1. 曲式分析 Form and Analysis

2. 主題與變奏  Sectional variations; Continuous variations  A theme: elements (fixed and variable)  Handel suite No. 5 Handel suite No. 5 1. Key: E 2. Mode: major 3. Form: simple continuous binary 4. Length 5. Basic tonal structure & Precise harmonic sequence ∥ : I  V-I / of V : ∥ : I  V-I : ∥ 6. Tempo 7. Melody 8. Bass 9. Texture: homophonic, mostly four-part chordal style

3. 主題與變奏  Sectional variation  A theme: elements  Handel suite No. 5 Handel suite No. 5  Ornamental, Double 1 eighth to sixteenth  Simplifying, Double 2  Figural, Double 3, 4

4. 主題與變奏  Sectional variations  Bach: Goldberg Variations, AriaGoldberg Variations, Aria  Contrapuntal  Imitative  Canonic  Fugal  Additive  Characteristic  Vari. 7, a gigue  Vari. 19, minuet  Vari. 16, French overture

7. 主題與變奏  Form in Sectional variations  Form of the theme Two-reprise form  Form of each variation  Form remain unchanged  After 19th century, an independent development on some motive or other distinct feature of the theme  Development of a theme  Finale: most brilliant; da capo; fugue; coda; developmental coda

8. Benjamin Britten Young People’s Guide to Orchestra (Variation and Fugue on a theme by Henry Purcell

9. 主題與變奏  Shape in Sectional variations  Rhythmic crescendo: note in smaller and smaller value  Grouping: 1, 2:sixteenth; 3, 4: triplet; 5, balancing the theme  Schematic order: Goldberg variation  Every third variation is a canon, 10 groups  A characteristic vari. on one keyboard  Brilliant variation written in manner of an etude, or technical study, for two keyboards  A canon

10. Harpsichord

11. 主題與變奏  Shape in Sectional variations  Other Schematic orders:  Haydn, Britten, Beethoven  Schematic order aided by  Increasing complexity: Haydn: Quartet, op. 76, no. 3

12. 主題與變奏  Modification of Sectional variations  On two theme  Rondo A B A’ C A”  Isolated modification  Beethoven: Eroica  Uses both strict and free variations  Theme preceded by an intro.  Melody is not introduced until third vari. Gradual in crease complexity; rhythmic crescendo;

13. 主題與變奏  Summary  “Sectional” the theme and each variation is a complete little piece in itself. Usually there will a distinct stop between variation  “strict” variations keep the form of the theme and, normally, the key and length as fixed elements.  No variation is necessary limited to only one category.

14. 連續型變奏  Continuous variation  Historical note: from 17th c.  Ground bass: ostinato bass; ostinato harmonies  Chaconne; passacaglia  Bach's Violin Chaconne in d YouTube - Heifetz Bach Chaconne Bach's Violin Chaconne in dYouTube - Heifetz Bach Chaconne  Purcell: Dido’s lament 1, 2, 3, 4 Purcell: Dido’s lament 1, 2, 3, 4  Romanesca: Romanesca:

15. Ground-Bass Characteristics 1. Melody normally in the lowest voice, is repeated 2. Ornamentation of the bass melody may or may not be introduced 3. Short, a single phrase, no more than 8 bars 4. Not transposed to different pitch 5. Support other voices: a changing fabric above 6. The supporting voices often change cadence at a different point from the bass

16. 連續型變奏  Handel:  Suite nr 7: Passacaille ListenListen 1. A theme, a single phrase, 2. Distinct melody and bass line, not necessary fixed elemnets of the successive variations. Rather, the precise harmonic sequence constitutes the fixed element. Slight changes occur. 3. Follow each other without a perceptive break, insuring a continuous flow 4. Any of the types of sectional variations are likely to occur, but emphasis is on those homophonic texture

17. 連續型變奏  Shape in continuous variations  Short with many variations. Extremely important  Shape: give a unifying impression to the movement as a whole. More coherent than in sectional form.  J. S. Bach Passacaglia in C-Minor: Analysis p. 88 J. S. Bach Passacaglia in C-Minor: Analysis

18. 連續型變奏  J. S. Bach Passacaglia in C-Minor: Analysis p. 88 J. S. Bach Passacaglia in C-Minor: Analysis  Twenty variations  Three parts 1. Part one (1-12): gradual increasing intensity and excitement. Rhythmic crescendo toward vari. 6, vari. 9 introduces a new and vigorous motive which leads to brilliant run in vari. 10. 2. Part two (13-15): decrease in volume, less and less complex 3. Part three (16-20): return of the ground bass, finale a double fugue

19. Ground-Bass  Special applications  Ostinato figure  Free ground bass  Soprano ostinato

20. 連續型變奏  Summary 1. Variations on a ground bass 2. Variations on ostinato harmonies Different Application of Ground Bass 1. Ostinato figure 2. Free ground bass 3. Soprano ostinato