Variations Project

Variation form is one of the oldest structures or plans used by composers when writing music. It was particularly popular in with 16th century keyboard composers. Variation movements are found in works ranging from String Quartets to orchestral pieces. They have been written for most solo instruments.

In a work of this kind, a theme is first presented in an uncomplicated way. Then, during the variations which follow, it is changed and presented in different disguises.

A theme may be old (such as a folk song) new, (written by the composer) or even borrowed from another composer. Whatever the source, the theme needs to be easy to recognise and fairly simple. See and hear an example

Often it is in Binary (2-part) or Ternary (ABA) form. An example of a binary form theme is "The Harmonious Blacksmith" [MIDI file by K.W.Whitcomb^] by Handel which you can follow in "Enjoying Music 3" by Bennett, page 46-47.

Elgar's "Enigma Variations" theme is in ABA form. See page 40 of "Portraits in Music 1" by Jenkins & Visocchi.

There can be as many variations as the composer likes. Here are 2 ways of representing a possible structure:-

Harmony
Metre (beats in a bar)
Speed
Mode (major to minor and vice versa) Instrumentation (especially in an orchestral work)

At the end of a set of variations the original theme might be restated, or there might be a long coda. Sometimes there is a new long section. Britten followed his set of variations on a theme of Purcell, with a fugue. This work is known as "The Young Persons' Guide to the Orchestra" which you will study later.

"Miniature Variations"

Listen to and follow "Miniature Variations" by Ashworth. For each variation, write down the element or elements which you think have been changed. CLICK HERE

Now, [on manuscript paper] write some variations of the folk song "Bobby Shaftoe".
Work as follows:-

On pages 58-61 of 'Form and Design' by Roy Bennett, you will find the music of "Ah, vous dirai-je, Maman" [MIDI file by F. Raborn] [we know it as "Twinkle, twinkle little star"!] by Mozart.

At the top of page 58 Bennett tells us that, before the 19th century, variations were mainly decorations of the tune. He also tells us what is going on in each variation and the important notes are circled to show that the contour of the tune is still present.

While you look at and hear the music, fit the statements below with the correct variation. Two have been done for you.

	Feature	Variation
a	Swiftly running semiquavers in the right hand	1
b	Quaver rests placed after the 1st crotchet of the bar.	5
c	Minor key with imitation
d	Theme in quaver chords in the right hand with semiquavers in the left
e	Uses a dotted quaver + semiquaver rhythm and demisemiquaver scales.
f	Left hand sometimes in octaves; semiquavers in right hand
g	Triplets in the left hand
h	Theme clear in right hand with semiquavers in the left hand
i	Imitation using staccato crotchets
j	Change of metre with an allegro tempo mark.

Your teacher will revise passing notes with you and tell you about other 'unessential' notes called 'upper-' and 'lower-auxiliary notes'. These sorts of notes can be chromatic too. Wow!

Now add some unessential notes to "Bobby Shaftoe". Try this twice adding obvious ones to your first version and then really go to town for your second version. You could put in a few mordents or trills, or grace notes if you like.

Try to play the variations written by someone else in the class. If you are a violinist, someone in your class might have intended their music to be played on the violin. If they have written something which is really difficult to play on the violin, tell them, and the class, why. The same goes for any other instruments for which class members have written.

With a partner, play the original theme of "Bobby Shaftoe" and get your partner to add the harmony. If you can play the keyboard, piano or guitar you could do it all yourself.

HARD:
Next, try to use some different chords, or change chords in different places. (Try the second version on the music).

Listen to the slow movement of Haydn's "Emperor" String Quartet and follow it in Fiske's "Score Reading" Book 2, starting on page 20. On file paper, describe the theme and write a sentence or two about each variation. (Don't forget to read page 19).

a) In the same Fiske book, pages 47 - 52 listen to and follow the Finale of Mozart's Clarinet Quintet. [MIDI file by R. Bakels^] Again, on file paper describe the theme and write a sentence or two about each variation.

b) Listen to and follow the Poco Adagio from Haydn's String Quartet Op. 9 No. 5 which you will find in 'Sound Matters'.

* I do not want the life history of these composers. Tell me the kinds of pieces they composed and some of the features of their style.

The time has come for you to compose your own theme which needs to be at least 8 bars long. ("Miniature Variations" has a theme which is on the short side to say the least).

3) An Electronic Keyboard manufacturer wants the demonstration button of a new product to show off several different voices (timbres) and rhythm styles. Compose a set of variations for keyboard which demonstrate some of the most important features of this new keyboard.

4) You have been commissioned to write a study for unaccompanied solo instrument in the form of a set of variations which will be used in a music examination.

5) When you have studied Elgar's "Enigma Variation" you might try to composer a set of piece about real or imaginary people. This could be difficult and will require careful planning.

6) The Open University are planning a series of TV programmes on Evolution. The producer wants to draw a parallel between the way a musical theme evolves. Consequently, each programme will have a different variation of your theme as the introductory music; the whole composition will be played in the final programme whilst viewers see a video collage of images from previous tutorials by was of a review session.

It is not so easy to suggest a way of writing your variations. You will want to tackle some of the methods you met earlier. Be prepared to reject some ideas and to put your variations (if necessary) into a final order which is different from the order in which you composed them.

You will be given a deadline by when the work has to be completed. Plan your time and do not expect to write it all in one sitting. Remember that it is easier for a teacher to help you, in lesson time, if you have composed* something (whatever YOU think of it) than to help you if you just say you are stuck.

* 'composed', as far as I am concerned!) means "to have made up, and recorded some music in a retrievable form, which may be manuscript paper."

Although it falls outside the time period for this Area of Study you should listen to the variations from "The Young Persons' Guide to the Orchestra" and follow the notes in "Enjoying Music 3" by Roy Bennett. Listen to the fugue if you wish. [Hear the theme HERE (I hope the link works) or visit the Boosey & Hawkes site)

The following words all occur on pages 58-63 of "Enjoying Music 3". Find out what they mean and write short definitions on the lines provided. Some will be in the text, others you must look up in another book. [Click for help]

a	allegro	___________________________________________________
b	arpeggio	___________________________________________________
c	con sordino	___________________________________________________
d	dolce	___________________________________________________
e	double-stopping	___________________________________________________
f	glissando	___________________________________________________
g	largamente	___________________________________________________
h	legato	___________________________________________________
i	mute	___________________________________________________
j	pizzicato	___________________________________________________
k	polka	___________________________________________________
l	presto	___________________________________________________
m	roll (on a drum)	___________________________________________________
n	rubato	___________________________________________________
o	staccato	___________________________________________________
p	tremolo	___________________________________________________
q	triple-stopping	___________________________________________________
r	vivace	___________________________________________________
s	waltz	___________________________________________________

Let's have a closer look at Purcell's theme. Several arrangements of the 'Rondeau' from "Abdelazer" are available, so you could play it as an ensemble exercise.

Discuss the tune in class (as printed in the book) and make sure you cover the following vocabulary. If in doubt - ASK!

Key; time signature; dynamics; accents (both dynamic and agogic); staccato; triad; sequence; phrase; harmony; cadence; modulation (the music is in F major in bar 4); hemiola - as part of your discussion of the rhythm.

Your discussion should have helped you to identify various elements within the tune which Britten decides to develop in his variations. It is rather like a cartoonist looking at a face and deciding which features stand out and should be emphasised.

[It's worth noting here that 'analysis' of music can be either deathly boring or extremely illuminating, and Purcell just sat down and wrote the tune without thinking about whether or not he ought to have 'this' or 'that' in it.]

On file paper, describe how Britten changes, adapts, exploits or develops bar 1 of the theme in:-

Study the "Enigma Variations" by Elgar. These are covered in "Portraits in Music 1" by Jenkins & Visocchi.

Although this appears to be the end of this topic you will continue to employ the techniques you have already used in your composition when we move on to look at the Ground Bass.

Here are some files from that site (Click the speaker icon to hear them.
Right click and select 'save target as' to Download them and listen later)

	Variations for Orchestra on a Theme by Haydn, Op.56a [MIDI file by J.Kirschbaum^]	Brahms, Johannes (1833-97); Ger.
	Piano Sonata in A major, K.331 (1st movement) [MIDI file by T.A.McGrath^]	Mozart, Wolfgang Amadeus (1756-91); Aust.
	Theme and Variations from Serenade No.10 in Bb for twelve wind instruments and double bass, K.361 [^MIDI file by O.Seely who invites you open the file in 'Finale', print out the parts and play it!]	Mozart, Wolfgang Amadeus (1756-91); Aust.
	Trout Quintet; Finale (Theme and Variations), Op.32 D.667 [MIDI file by D.A. Jacobi]	Schubert, Franz Peter (1797-1828); Aust.
	Variations on a Chorale Melody 'Mein junges Leben hat ein End' [MIDI file by L.Laitola]	Sweelinck, Jan Pieterszoon (1562-1621); Dutch
	Symphony No.94, "Surprise", second movement Real Audio: 28k \| 56k OR click on the speaker (left) to go to the Essentials of music site and find Haydn.	Haydn, Franz Joseph (1732-1809); Austr.
	Symphony No. 5, second movement [^MIDI file by (P.Cvikl)]	Beethoven, Ludwig van (1770-1827), Ger.

Colin's Teaching Resources

Edexcel GCSE - Area of Study 1

Repetition and contrast in Western Classical Music 1600-1899

"Miniature Variations"