لحن وتنويعات
بالإنجليزية Variation في الموسيقى، التنويع هو تقنية تتعلق بالقالب الموسيقي حيث تتكرر المادة بشكل متغير. قد تتعلق التغييرات بالهارموني، اللحن، الكونترابنط، الإيقاع، طابع الصوت، التوزيع او اي مجموعة مما سبق.
اللحن والتنويعات
يعني هذا القالب تغيير اللحن أو زخرفته أو تزيينه بشكل أو آخر بتغيير حدة الصوت أو الإيقاع أو الهارموني أو المقام (كبير أو صغير). اللحن ما زال مميز لكنه لا يبدو له نفس الصوت. كي ينجح اللحن والتنويعات لابد ان يكون سهل تذكره. تقليديا ينوع المؤلفون الموسيقيون الأغاني الشعبية وخاصة الأغاني الوطنية مثل "فليحفظ الله الملك" لبيتهوفن أو "أمريكا" لتشارلز آيفز. هذه الألحان شائعة جزئيا بسبب بساطتها، وهذه ايضا ميزة للمؤلف. الألحان السهلة يمكن تنويعها بشكل جديد.
عامة يمكن تنويع اللحن بطريقتين: الأولى بتغيير اللحن نفسه. الثانية بتغيير السياق حول ذلك اللحن المصاحب. أحيانا تستخدم التقنيتين معا. في مجموعة التنويعات كلما زاد تحرك اللحن الأبعد عن اللحن الأول، اصبح أكثر إبهاما وعلى السامع تتبع اللحن مع تنويعه بطرق معقدة على نحو متزايد.[1]
تقنيات التنويعات
Mozart's Twelve Variations on "Ah vous dirai-je, Maman" (1785), a French folk song known in the English-speaking world as "Twinkle, Twinkle, Little Star", exemplifies a number of common variation techniques. Here are the first eight bars of the theme:
تنويعات اللحن
Mozart's first variation decorates and elaborates the plain melodic line:
تنويعات الرتم
The fifth variation breaks up the steady pulse and creates syncopated off-beats:
Harmonic variation
The seventh variation introduces powerful new chords, which replace the simple harmonies originally implied by the theme with a prolongational series of descending fifths:
Minor mode
In the elaborate eighth variation, Mozart changes from the major to the parallel minor mode, while combining three techniques: counterpoint, suspensions and imitation:
Other examples
Variation techniques are frequently used within pieces that are not themselves in the form of theme and variations. For example, when the opening two-bar phrase of Chopin's Nocturne in F minor returns later in the piece, it is instantly repeated as an elegant melodic re-working:
Debussy's piano piece "Reflets dans l'eau" (1905) opens with a sequence of chords:
These chords open out into arpeggios when they return later in the piece:
Sometimes melodic variation occurs simultaneously with the original. In Beethoven's "Waldstein" piano sonata, the main second-subject theme of the opening movement, which is in sonata form, is heard in the pianist's left hand, while the right hand plays a decorated version. (See also heterophony.)
While most variations tend to elaborate on the given theme or idea, there are exceptions. In 1819, Anton Diabelli commissioned Viennese composers to create variations on a waltz that he had composed:
Beethoven contributed a mighty set of 33 variations on this theme. The thirteenth of these stands out in its seemingly wilful eccentricity and determination to reduce the given material to its bare bones:
Wilfrid Mellers describes this variation as "comically disruptive... The original tonal sequence is telescoped, the two-bar sequences being absorbed into the silences."[3]
In a similar fashion, the first of the 24 variations of Rachmaninoff's Rhapsody on a Theme of Paganini for piano and orchestra presents a terse summary of Paganini's original.
Variations on material originally by other composers
Many composers have taken pieces composed by others as a basis for elaboration. John Dowland's "Lachrimae" was frequently used by other composers as a basis for sets of variations during the 17th century. Composed in 1700, the final movement of Arcangelo Corelli's Violin Sonata Op. 5, No. 9, opens with this rather sparse melodic line:
Corelli's fellow-composer and former student Francesco Geminiani produced a "playing version"[4] as follows:
According to Nicholas Cook, in Geminiani's version "all the notes of Corelli's violin line ... are absorbed into a quite new melodic organization. With its characteristic rhythmic pattern, Geminiani's opening is a tune in a way that Corelli's is not... whereas in the original version the first four bars consist of an undifferentiated stream of quarter-notes and make up a single phrase, Geminiani's version has three sequential repetitions of a distinctive one-bar phrase and a contrasted closing phrase, producing a strongly accented down-beat quality."[5]
Jazz arrangers frequently develop variations on themes by other composers. For example, Gil Evans' 1959 arrangement of George Gershwin's song "Summertime" from the opera Porgy and Bess is an example of variation through changing orchestral timbre. At the outset, Evans presents a single variation that repeats five times in subtly differing instrumental combinations. These create a compelling background, a constantly-changing sonic tapestry over which trumpeter Miles Davis freely improvises his own set of variations. Wilfrid Mellers (1964) wrote that "[i]t called for an improviser of Davis's kind and quality to explore, through Gil Evans' arrangement, the tender frailty inherent in the 'Summer-time' tune... Between them, solo line and harmonic colour create a music that is at once innocent and tense with apprehension".[6]
هوامش
- ^ The Essential Listening to Music, Craig Wright
- ^ White 1976, p. 63.
- ^ Mellers 1983, p. 386.
- ^ Cook 1990, p. 189.
- ^ Cook 1990, p. 190.
- ^ Mellers 1964, p. 356.
مراجع
- Braunbehrens, Volkmar. 1990. Mozart in Vienna. New York: Grove Weidenfeld. ISBN 0-8021-1009-6.
- Copland, Aaron. 2002. What to Listen for in Music. Revised edition of an authorized reprint of a hardcover edition published by McGraw-Hill Book Company. New York: Signet Classic. ISBN 0-451-52867-0.
- Hodeir, André. 2006. The André Hodeir Jazz Reader, edited by Jean-Louis Pautrot. Ann Arbor: University of Michigan Press. ISBN 978-0-472-09883-5.
- Irmer, Otto von. 1986. Preface to Beethoven: Klavierstücke. Munich: G. Henle.
- Raymar, Aubyn. 1931. Preface to Mozart: Miscellaneous Pieces for Pianforte, edited by York Bowen. London: Associated Board of the Royal Schools of Music.
- Sisman, Elaine. 2001. "Variations". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
- White, John David. 1976. The Analysis of Music. Englewood Cliffs, N.J.: Prentice-Hall. ISBN 0-13-033233-X.
للاستزادة
- Ehrhardt, Damien. 1998. La variation chez Robert Schumann. Forme et évolution (Diss. Sorbonne 1997). Lille: Presses Universitaires du Septentrion. ISBN 2-284-00573-X
- Nelson, Robert U. 1948. The Technique of Variation; A Study of the Instrumental Variation from Antonio de Cabezón to Max Reger. University of California Publications in Music 3. Berkeley: University of California Press.
روابط خارجية
