OUTPUT

IN
HUM111
Submitted to:
Mr. Mark Cavin Ronquillo

Submitted by:
Jaika C. Adalid
BSED I- English
HUM111 [TTH 1:00-2:30 PM]
Variation Forms
Repetition is a basic element of musical structure. Thus, composers devise
ways of varying an idea when they repeat it. Variation is a formal technique in
music where the main idea is repeated in an altered form by changing the music

melodically, harmonically, or contrapuntally. Variation is operative to some extent in

every kind of music. The most common variation form is known as theme and

variation or theme with variations. In this form of composition, two or more

sections are based on the same musical material, which is treated with different
variational techniques in each section. The changes may involve harmony, melody,
counterpoint, rhythm, timbre, orchestration or any combination of these.

In Renaissance vocal music there were two principal variation techniques:

contrapuntal variations following the stanzas of strophic chants; and sets of
variations over a single, often quite lengthy, foundation voice in a mass or motet. In
instrumental music a quite different sort of variation began to appear, one of great
significance for following eras.

The canon is one of the most elementary contrapuntal forms. It is a very old
type. It is a polyphonic composition in which all the parts or voices have the same
melody throughout, although starting at different points, a device known as

imitation.

Sonata Forms
The sonata is regarded as a musical form. The term came from the Italian
sounare, to sound, indicating a piece to be sounded on instruments, as distinct
from cantata, a piece to be sung. The sonata form or sonata form or sonata allegro
form is a large scale dramatic form. It is the most highly organized member of the
several movements that make up the sonata cycle.
It consists of three main sections - exposition, development, and
recapitulation - and sometimes includes an optional coda at the end. In
the exposition, the main melodic ideas, or themes, are introduced. In the
development section,
these
themes
are
explored
and
dramatized.
The recapitulation brings back and resolves the two original themes by placing
them both in the tonic key, which is the main tonal center of the piece and almost
always the key in which the piece begins and ends. Often, the tonic key is indicated
by the title of the work. The coda, if present, is a closing section that wraps up the
melodic ideas and reaffirms the tonic key with a strong cadence.

EXPOSITION
In the first section, the exposition, the main musical ideas of the piece are
exposed. There are usually two contrasting themes. The first theme is always in
the tonic key. A short, modulatory passage called a bridge leads to the second
theme, which is in a related but dissimilar key. After closing with a strong cadence
in the new key, the exposition is repeated verbatim so that the listener hears each
melody twice. This repetition is important, because these themes will return in
other sections.

DEVELOPMENT
The development is where the action occurs. In this section, the music
modulates to foreign keys, new themes appear, and the melody often sounds much
like an improvisation. It is exciting and vivid, taking the listener on a whirlwind
aural journey that is loosely based on the themes established in the exposition.
When these themes appear, they are usually fragmented, turned inside out and
upside down, and can be difficult to recognize.

RECAPITULATION
After the development, the recapitulation brings the melody 'home' to the
tonic key. In this section, the original themes from the exposition are repeated
(i.e. recapitulated, or 'recapped'), although this time, both themes are in the tonic
key. The bridge section still serves to connect the themes. However, this time the
bridge does not modulate to a new tonal area, but remains in the home key, the
tonic. This critical difference provides a strong sense of resolution and completion
as the recapitulation ends in the tonic key, thereby ending the piece.
Alternatively, the recapitulation may lead to a closing section known as
a coda (Italian, derived from the Latin cauda, meaning 'tail'). The coda section may
vary greatly in length. A brief coda may serve as an extension of the final cadence,
while a longer coda may introduce new themes, further develop the original themes,
and/or significantly extend the length of the work.