vr 291 Verlations EXAMPLES OF FIXED THEME ELEMENTS. Form; the fixed-form variation’ While it goes without saying that any element of the theme may, in a variation, remain fixed, it can be observed in the historical practice of variation form that pri- ‘mary significance attaches to the retention in variation of any cr all of three basic elements: form, harmony, and (upper-voice) melody. Indeed, omitting many exam- ples from the past century or 80, itis possible to characterize virwally any tradi tional example of theme with variations as having invariable form from theme to variation, often with melodic, harmonic, or melodic-harmonic retention as well (Rarely, however, is any combination of fixed elements reained consistently throughout an entire variation set.) In romantic, classical, and pre-classical exam- ples, the form of the theme undergoes modification in the variation series in only ‘occasional instances. The following classification of traditional variations suggests itself: 1. Those having fixed form, withthe original harmony and melody decisively altered or relinguished (ae, and applicable only to occasional individual variations See the [Brahms examples cited below). 2. Those havin fxd form and melady (generally an upper-voice melody as distinct fom bass ostinato, discused in Chapter 9), with the theme's harmony decisively altered or relinquished. 3. Those having fixed form and harmony, withthe nielody decisively altered or relin- uished (very common) 44. ‘Those having fred form, harmony, and melody, with any one ofthese varied slighty’ ‘or with variation applied to other theme elements (very common). ‘Categories 2, 3, and 4 above occur in individual componeats of variation sets and in groups of such components or even through entire sets, When we consider the theme as a composite of many elerients, of which the above are the most basic in traditional variation treatment, we avoid the mistake of equating “theme™ with ““melody."* Mortis commits this eror in discussing Bach's Goldberg Variations: “This work is a masterpiece of its kind, but I confess it seems to me somewhat ofa strain on terminology to speak of it asa “theme and variations.” ‘The theme itself—a highly rococo litle dance in binary form—is completely ig- noted; all that is kept isthe binary structure andthe basic harmonic progressions.""* “ote ers that could conceivably apply tothe variation ein which the theme form i on stan are union (is itera sense) an ismorpc." Bu ese, lke We eejected srt fixed" imply the preservation of frm and ober elements of theme strstr Obviously no absolute disinetion canbe mide between the "decisive" eset and “sigh” (supereia variation ofan clement. ""Retetion In varation ipl thepresece of features ta bring the whole crim clsmext readily to mind. The appearance of melodie eulise, with new embellish ‘mens sth effect and le very common, Ta hatony, pin “eenion” ast imply serene 108 Uric culine and stingulshing features, such as begun of phrases and, especialy. caences, if "socialist be fel (Example 10.7 catein pon, an many ofthe exalted in chapter {Se concerned with hese distinctions) "R. 0. Monts, The Sictre of Music, p. 7.22 Veratons ‘Thus, Monts recognizes Bach's retention of the theme's form and harmony (to- {gether itis assumed, with its bass line), but considers the: wit the dismissal of the Upper-voice melody the “theme” is “completely ignored" ‘The reader may question the apparent exclusion of rhythm in the above delin- cation of three “basic elements” since certainly rhythm is one of the vital distin- suishing elements of any theme. But shythm and meter ar regarded here as primat- ‘ly aspects of melody, harmony, and form, Since fixed thematic form is a feature of nearly all vasiations until the late nineteenth century, we define the ixedform variation that in which form is the only basic clement remsining invariable. This is, ss noted above, a rare circumstance “Traces of the original harmony or melody, or both, are nearly always present in the fxed-form variation. In Ex. 10.7, form is clearly the principal tie between theme and veriation—the chef basi element of the theme which is preserved. Hat- ‘mony conforms only very limitedy, and is radically altered and reduced. Of the theme melody, iis primarily the 16ti:not motive which is discreetly woven into the canon, x. 10.7. Brahms, Varatlons and Fugue on a Theme by Hand, Cp. 24 Thee 93 SS ae (pen ‘Another example that might be described asa fixed-“orm type is variation 6 of the Brahms Variations on a Theme of Haydn, Op. 56. Here, the theme's melody and harmony are retained at phrase beginnings but radially altered at Furthermore, the middle section (third and fourth phrases) of this variation1203. Variations the melody and harmony so severely that for all practical purposes neither element remains fixed Form and melody; the melodically-ixed variation ‘The term melodically-fxed variation refers to that procedure ir. which melody and form are retained while harmony is decisively altered,” Example 10.8, from a lute ‘book of 1538, is among the earliest specimens of theme with variations. (The com- plete piece can be seen in HAM, Vol. 1, pp. 130-32.) x. 108 Luis de Narvaer, Diferenclassobra O Glorlosa Domina. Repeated by permision ofthe publishers from Archibald T.Oavgon and Wil Apel iol ago, tae Orn, Meco, one, Me (Combis, Mass Harvard Univeniy Pres, conyeght 1946, 1949, by the President GGe*Pais OF Harverd Colleges @ renewed 1974 by Ali D. Humes and Will aoa) For further study of the melodically-fixed variation, see Versos del sexto tono by Antonio de Cabezon, also in HAM (Vol. I, pp- 144-45): inits four sections, the cantus firmus (literally “fixed melody") moves through the four textural voices, ‘soprano to bass, Two further examples are the next item in the same volume, Cabe- ‘2on's Diferencias Cavallero, and (in Vol. Il, pp. 24-26) a set of keyboard varia- “he type common tem cans firmus variation Isley related, but 8a category marked ty mor ores sigtforvard eenon of theme eid with oF without an fen with) if fundames 12 Rutmontton onchange, end with sch factors a texture and vital placement subject 0 var ree werky eed i the present cones ar fn general of Ce conus fas type, white ini “onyoners of thse work fein Ex, 10.8 and accompanying comment a meleally-fed vara Cemrar nore namonty detned ere. A fhe cas poe the second mverment of Hays Sting ‘Guanct in C. Op. 36, No.3, where theme melody ecurs wit aly inden decorations. Bu in the Meas Mascon? is angey keds wel vasa & ha he mest signicant anges of humonizaie, Se even bee i Goutal tnt esata outlines can be sid be aller294 Varlto tions by Samuel Scheidt (1587-1654), particularly variation 4. The melodically- fixed variation, strictly defined, is infrequent, and is found chiefly in early literatures. Form and harmony; ‘the harmonically-fixed variation The harmonicallyfixed variation is vastly more commen than the fixed-form or melodically-fixed types. We have seen that harmonic retention isa feature of many ‘ostinato variations, It is also a feature of many baroque works, including Bach's Goldberg Variations, and many individual variations of the clasical period, as well sof many variations ofthe nineteenth century. The majority of nineteenth-century “character variations” are of this type. It must be undersiood that harmonic reten- tion admits subsidiary variation, but with the “essential harmonic outlines" —the focal points of phrase harmony—preserved. Inevitably, changes in such elements as texture and tempo involve adjustment in harmonic rhythm, occasional simplifi- cation or enrichment of the harmony, and comparable alterations. ‘An example of the harmonicaly-fixed variation is stown as Ex. 10.9, It will be seem that the theme's melody is dropped. (Again, reference i to the upper-voice ‘melody; itis understood that in the harmonicaly-fixed varation the bass “melody” js usually retained along with the original harmony.) The harmonic structure is largely maintained, although in m. 3 of the variation a new augmented-6th chord is used fo introduce the cadential dominant. The use of this embellishing chromatic harmony is encouraged by the slower tempo, and by its higher accessibility in the minor mode. Ex. 109 Mozart, Ten Variations, K. 460, 0n Come un agnllo by Sati Theme Allegretto295 Variations Further examples are the Abegg Variations in F, Op. 1, of Schumann and the variation movement of Beethoven's String Quartet in C-sharp minor, Op. 131 Form, melody and harmony; the melodically-harmonically-fixed variation ‘The rather cumbersome designation melodically-harmonicallyfired variation is adopted here (in preference to Nelson's ‘melodico-harmonic””) because implicit in the former term is the specification that all the basic elements remain fired, with ‘variation dependent upon minor alterations in these elements or in variation of other theme elements Like the preceding category, the melodically-harmonically-fixed variation is of great importance in view of the sheer volume of works (especially in the cight- centh and early nineteenth centuries) composed according to this principle. Many of, the variations of Mozart, Haydn, Beethoven, and Schubert—o mention only the ‘most significant names of the classical and early romantic periocs—are of tis type. In the melodically-harmonically-fixed variation, the theme melody is constant atits chief points, and its main outlines preserved. In some cases. profoundly trans- formed melody is built upon the original outlines. But often the retention of the theme melody in this type of variation involves its embellishmeat by the addition of suuxliary notes around its essential outlines. I is for this reason that tis category is ‘often designated ‘ornamental variation.” Melodie omamentation isa fundamental characteristic of the melodically-harmonically-fixed variation. (See Ex. 10.10.) Ex. 10.10 Morar, String Quartet in A, K, 464, tied movement. Andante Ver, 1 = 2 * Retention of the melody may involve, in addition to omamentation, incidental fragmentation, often with contrapuntal or other developmental treatment ofits im- portant motives. In Ex. 10.11, minor variation in the form results from such frag- ‘mentation, which causes a delay in the otherwise straightforward statement of the ‘embellished chorale melody Other examples of the melodicaly-armonically-fixed variation are found in the variation movements of Schubert's Trow Quintet; Beethoven's Quartets in A, Op. 18, No. 5 (see variations 1 and 3) and C-sharp minor, Op. 131 (see variation 3) and Haydn's Quartet in B-flat, Op. 55, No. 3, in which variation 2 treats the pri- ‘mary motive of the theme melody imitatively