Theme and Variations Form

          Theme and variations is defined by Merriam-Webster as a standard form of musical composition consisting of a simple usually harmonized melody presented first in its original unadorned form then repeated several or many times with varied treatment so based on the theme that at least some semblance of its general melodic or harmonic form is evident. The main theme is first stated. Then it is restated as a variation which has been altered in some way (time signature, rhythm, additional melodic notes, etc.). However, the variation is subtle enough to allow the theme to still be recognizable. Then a second variation is introduced in the same manor, with a different slight change. The composer can introduce as many variations as he/she desires.

          When listening to the musical example discussed in the video, we can hear the basic elements of the theme represented in each variation. When analyzing the musical example we also see how these basic elements are represented. In one slide, I even highlight the main theme pitches that are embedded within the first variation during a side-by-side comparison. This side-by-side analysis will help you to understand the given musical example, and also help you to analyze future theme and variations that you encounter.

This Learning Music With Ray video discusses theme and variations form.  In it, I discuss the meaning and aspects of theme and variations as they relate to musical form.  I then analyze a piece of music that is written in theme and variations form.  In this stage of the lesson I review the components of this type of form, and the ways to identify them in the musical example. 

Rondo Form

The Free Dictionary by Farlex defines rondo as a musical composition built on the alternation of a principal recurring theme and contrasting episodes. The main recurring theme is usually labeled as the “A” section and the contrasting episodes are labeled with additional consecutive letters (B, C, D, etc.). Therefore, ternary form is the simplest example of a rondo (A-B-A). More complex examples contain additional contrasting episodes (A-B-A-C-D and so on).


There are several factors that can make it difficult to identify a rondo form in “real world” musical examples. First, the contrasting episodes do not always have to be the same length as the main recurring theme. They don’t even have to be the same length as each other. The “B” section (for example) could be half the length of the “C” section. In addition, the main recurring theme can sometimes be embellished or shortened when it is restated.


The key to identifying the sections of a rondo form is in first identifying each area where the recurring theme is stated. Since this sections repeats throughout the form, it is the easiest to recognize. Once each statement of the main theme is located the boundaries of the form can be established. The material between each statement of the recurring theme is obviously the contrasting episodes.


We will be studying Mozart’s piano sonata No. 3 (K 545 3rd movement) as our musical example of a rondo form.

As we study this example in the attached video lesson, listen for each restatement of the main theme.    

This Learning Music With Ray video discusses rondo form.  In it, I discuss the meaning and aspects of rondo form as they relate to musical form.  I then analyze a piece of music that is written in form.  In this stage of the lesson I review the components of this type of form, and the ways to identify them in the musical example. 

Jazz Improvisation with Pentatonic Scales

                In the past, we have discussed many topics that are necessary in preparation for this lesson.  They include: pentatonic scales, seventh chords, modal scales, and jazz improvisation with modal scales.  Now that we know how to form various seventh chords, modal scales and pentatonic scales we can discuss and use those elements freely in this lesson.  Also, we can freely associate various modes with the seventh chords that they are normally connected to in jazz improvisation.  Now we will be identifying the pentatonic scales that relate best to these modes and seventh chords.

                There are basically three pentatonic scales that will work for jazz improvisation within each key signature.  Remember, every key signature contains one set of modal scales and diatonic seventh chords.  For example the key of C major contains C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian.  When improvising over any of these modes (or their related chords) there are three pentatonic scales that can be used.  When combined, these pentatonic scales outline the pitches of the key signature.

                When compared to the Ionian mode, the three pentatonic scales that relate to the key are the major pentatonic scales built from the root, the fourth scale degree and the fifth scale degree.  In Dorian mode, these same three scales would be built off of the third, fourth and seventh scale degrees.  Since they outline the pitches of the same diatonic key, those same three pentatonic scales work across any mode or chord that is diatonic to that key.  The reason for using pentatonic scales (as opposed to modal) is the contour that these scales add to the melodic lines. 

                However, with major seventh chords the fourth scale degree of the Ionian mode is generally considered to be an “avoid” tone.  It can be used as a quick passing or neighbor tone, but is often considered to be too dissonant as a structural tone in improvisation.  For that reason, the pentatonic scale built off of the fourth scale degree is not often used when improvising over a major seventh chord.     

Last week we discussed quartal harmony and how it can be used to create quartal piano voicings.  These types of voicing relate well to the sound of pentatonic improvisation.  Often piano players will accompany their pentatonic improvisation with quartal voicings.  McCoy Tyner and Chick Corea are known for first establishing this style of improvisation.  

        

In this Learning Music With Ray video I discuss the use of pentatonic scales in jazz improvisation.  I list the most common modes and chords used in jazz, and then relate them to the pentatonic scales that best outline the notes of each mode.  Finally, I demonstrate pentatonic improvisation over the modes and chords that are discussed in the lesson.     

Quartal Voicings

Dictionary.com defines a quart as a unit of liquid measure of capacity equal to one fourth of a gallon.  The Latin root “quarta” means fourth.  From these definitions, we can conclude that quartal harmony in harmony built off of pitches that are intervals of a fourth apart from each other (as opposed to tertial harmony – pitches that are thirds apart).

                The concept of quartal harmony can be applied in many ways on the piano.  One application would be to combine quartal harmony with the study of modal scales.  This is a good way to get aquanted with quartal harmony at a beginning level.  Start by playing three pitch left handed chords on the piano that run through the Ionian scale.  Voice the core scale tones in the bottom of the chord and stack two pitches (a fourth apart) above that.  Keep all of your chord tones diatonic to the Ionian scale.  Then try to apply this technique to the other modal scales. 

Once the above technique is mastered, you can expand on it by playing two handed five pitch voicings.  Ionian mode tends to lend itself to playing two pitches in your left hand and three in your right hand.  Dorian tends to be more comfortable with the opposite arrangement (three pitches in your left hand and two in your right).  You should explore each mode and find the chord arrangement that is most comfortable for you.

Another application is to attempt to voice full seventh chords with roots and upper extensions.  When voicing these chords, it is impossible to maintain an interval of a fourth between every pitch of the chord.  One should attempt to form as many fourth intervals as possible while accurately representing the necessary chord tones to clearly define the chord.

                Another application of quartal harmony is to form rootless voicings that contain upper extentions.  When voicing these chords, it is sometimes possible to maintain an interval of a fourth between every pitch of the chord.  Again, it is important to accurately represent the necessary chord tones in order to clearly define the chord.

                Another exercise that can be useful in identifying quartal voicings is forming five part diatonic harmonies built down from the top pitch.  With major seventh chords, a quartal voicing can be built down from every pitch of the major scale except the 4^th (since it is an avoid tone).  With minor and dominant seventh chords the options are more limited.  

The tasteful and musical use of quartal voicings can provide much needed variety to our harmonic pallet.  When keyboard players can add these modern sounding harmonies to their pallet they can more easily express a wide range of sound and emotion.  I continually look for new voicings and styles to study in order to expand my performance technique.

This Learning Music With Ray video discusses quartal chord voicings.  In the video, I explain what quartal harmony is and how it can be applied to piano chord voicings.  I provide visual examples of these voicings written on a musical staff.  Finally, I demonstrate these applications of quartal voicings by playing them on the piano.