Cyclic Forms

Forms, consisting of separate, perfectly formed, independent and united only by common idea musical
compositions, belong to cyclic forms. Independence of movements of such forms is enforced by contrast in
tempos, tonalities, genres, etc. Cyclic forms may consist or two or more movements. Prelude (or toccata,
phantasy, recitative) and fugue belong to two-movement cyclic form. Suite and sonata – sym- phonic cycles
belong to polymovement cycles. In contrast to polypart structures sepa- rate movements of cyclic forms
can be performed independent works.

Prelude and Fugue

For a long time prelude and fugue existed as separate musical compositions. 1___Prelude was quite a small
intro- duction and preceded the musical composition. During XVI-XVII centuries the prel- developed
independent piece of music of free construction. It combined ele- ments of polyphonic and homophonic
complexes. These features of a prelude contained unlimited possibilities. In the course of time prelude
became the first piece of music used in the composition of such cyclic forms as "prelude and fugue" and
"suite". "Prelude and highest manifestation of such qualities of independ- ent movements of the musical
composition as contrast and unity. In this cyclic two- movement form there are no clear thematic links. are
united by tonality, contrasting comparison of an improvisational, homophonic prelude with contrasting
constructive fugue. Their contents are quite often united by rection of their images. In the two-movement
cycle instead of the prelude there can be toccata, phantasy. 2___Only toccata is more masterly, Let's take
for example "Toccata and Fugue in d-moll by Bach. It has mighty exquisite, dramatic sounding.

The fugue catches and develops dramatic effects, virtuosity of the toccata, cre- ating a thick texture and
vivid sonority.

"Prelude and Fugue", as a cyclic form, doesn't belong to program music. But its vivid images and genre links
help experience artistic contents of music.

Suite

Suite, as cyclic form, was formed in the instrumental music during XVI-XVII c.c. It consists of several dances,
the character of which different and the form of which is independent. 3___They were composed in one
tonality and were constructed in two-part form. The contrast of their characters, tempos, meters, textures
became the major principle of suite construction.

Except major dances there could also be non-danced parts. Prelude, overture, toccata, or prelude and
fugue - each of them could be the beginning of the suite. After sarabanda, before gigue there could be
French dances: minuet, bourree. Sometimes instead of them there could be other pieces of music such as
aria, rondo, and scherzo. In some suites two dances of the same name were successively per- formed. For
example two minuets, two gavottes, two sarabandas. They were named doubles.

Ancient suites were composed for the clavichord, violin, violoncello, and or- chestra.4___. At that time
there was also spread such kind of suite form as partita. Yet, in the instrumental music of XIX-XX c.c. new
kind of suite was formed. It was characterized by increased contrast among the movements that were
written various genres and forms. Its program became uniting factor. And this phenomenon is reflected in
their names. As nile the program suite is polymovement cycle with unstable number of movements and
with highly developed tonal plan. "Carnival" by Schumann, "24 Child Pieces for the Piano" by Kossenko,
“Ukrainian Folk Suite" by Dankevych and others belong to new suites. Sometimes suite consists of separate
works, pieces, or excerpts of operas or dramatic performances. Such suites as "Peer Gynt by Grieg, "Romeo
and Juliet" by Prokofiev, "Pictures at an Exhibition" by Modest Mussorgsky and others are example of such
suites. Close to program instrumental suites are vocal and choral cycles. They are united only by the plot.
The examples of them may serve such vocal and choral suites as "Songs of Parents House" by Bibyk,
"Pastels" by Dan'kevych, "Colours and Moods" by Hubarenko, "My People" by Dychko.

Sonata Form

The most important large form in serious music for the last 200 years has been the classical sonata form as
written by Mozart and Beethoven. It originated in the 1700's and developed in the next century. We call a
sonata for orchestra a symphony, a sonata for soloist and orchestra a concerto, and a sonata for a small
instrumental group a duet, trio, quartet, or quintet. These works have more similarities as sonatas than
they have differences in size or orchestration. 5___In most sonatas, the longest movement opens the work
and sets its character. This movement involves the most complex musical writing. A slower, more lyric
section may come next to provide contrast. Then a fast, short section comes in contrast to both the
movements before it. The finale (last movement) usually returns to the feeling of the opening. It sums up
the composer's ideas, sometimes quoting some of the themes heard earlier. Some sonatas have only one
movement, and others may have five or six. The first movement of most sonatas is usually written in sonata
form. Let's consider it. The sonata form is a completed three-part composition, built on two contrast- ing,
developing main themes. It consists of the exposition, development, and reprise (recapitulation). Before
the exposition there can be introduction and after reprise coda.

A The ancient suite comprised four dances.

B Fugue was a polyphonic work with stable structure.

C Classical patterns of such suites are met in the creativeness of Handel, Bach, and other ancient composers
D There are no essential compositional, structural differences among them

F A sonata is usually divided into major sections called movements, somewhat like chapters in a book or
acts in a play.

Answers

1–B

2–D

3–A

4–C

5-F