Perun and some others in the chat requested another entry in my music-major pontification series. If you missed it, you can read about recapitulations here.
Theme and Variations is more than a compositional procedure. In classical times, it was a full genre, with many pieces called "theme and variations" being written. It was standard training for composers; for example, Mozart routinely wrote sets of variations on popular opera arias of his time. (This bit alone merits its own thread someday, but right now I'll quickly point out that opera has been supplanted culturally by the movie industry. A modern composer would write variations on John Williams themes.)
A classic "Theme and Variations" begins by playing the theme, usually in an extremely simple format so the composer has room to vary it. The variations then follow, often with a moment's pause in between for separation. There's no limit or minimum for the number of variations, but 8-12 is a common range. Stylistically, these sets often jump without warning to something entirely different when a new variation starts. Finally, most classical variations end with a coda that wraps up the piece (instead of mere final variation, a more convincing signal to the listener that the piece is actually over).
Before diving into rock and metal, here's two very famous sets of variations from classical music, in chronological order.
1. Wolfgang Mozart, 1781
Twelve Variations on "Ah vous dirai-je, Maman"
This is a traditional French folk song, popularized by Mozart's famous variations, and known to English speakers as "Twinkle Twinkle Little Star". This set of variations has led to the legend that Mozart wrote this melody as a child. Not correct: he wrote a set of variations on a folk song at age 25. Great piece anyway.
2. Johannes Brahms, 1873
Variations on a Theme by Haydn
Variations were usually written for piano or small chamber music groups. When written for orchestra, they were part of a larger piece (like a movement from a symphony). This is the first piece in history written purely as Theme and Variations for Orchestra, standing alone.
There's one final bit to mention about classical variations: themes (and therefore variations) typically had two contrasting halves, which were each repeated. In other words: structure AABB for each theme/variation. This particular binary pattern has not transferred to rock (mostly) and remains a quirk of classical variations.
When looking at rock and metal, the process of variation is evident in nearly every song. Consider Wrathchild:
1. First riff, bass and drums.
2. Second time, add guitars.
3. Then replace the guitar solo with a vocal.
All happening over the same riff: a process of variation. Simple as it is, this is typical of rock/metal variation: the arrangement builds up gradually over a simple foundation. But we wouldn't call this theme and variations; it's just the process of songwriting.
Rather, the rock version of "theme and variations" takes places when a few qualifications are met.
First, a theme has to be presented for building upon. The presentation is the key here; you ought to feel, as a listener, that you're hearing something new being put on the table for musical operation. This means that there ought to be a sufficiently dramatic start to the variations, maybe even stopping the song to make it clear something new is about to happen.
Second, the process of variation has to be extended long enough to make it feel like variations on a theme and not simply more guitars on the riff. In other words: seconds don't cut it. You need to be able to measure it in minutes.
Sounds like tough criteria, yes? Indeed it is, but it happens more often than you might think. Just off the top of my head, here are two Iron Maiden songs which have sections that fit the bill perfectly, and are thus metal variations: "Phantom of the Opera" and "The Nomad". I am presuming that on a Maiden forum, the light should go on in everyone's head pretty quick for those songs, and I don't need to cite the moment when variations begin... (hint: there's not one but two sets in Phantom!)
Where else can we find them? Instrumentals are a good place to look. "Beck's Bolero" is a set of variations. "The Call of Ktulu" is a set of variations on the (binary, like classical!) opening theme, and even has a coda. (Possibly not accidental, Cliff knew this kind of stuff.)
Prog rock is another good place to look: "A Change Of Seasons" intro, from the drum entry at 1:26 to the overture's end at 3:41, is a set of variations. I've read an analysis of "Shine On You Crazy Diamond, Pts I-V" which dissected it as a set of variations (less convincing to me, but I see the argument).
Alright class, here's your assignment: find the closest thing you can to a genuine extended set of theme and variations from your favorite band and post it here.
Theme and Variations is more than a compositional procedure. In classical times, it was a full genre, with many pieces called "theme and variations" being written. It was standard training for composers; for example, Mozart routinely wrote sets of variations on popular opera arias of his time. (This bit alone merits its own thread someday, but right now I'll quickly point out that opera has been supplanted culturally by the movie industry. A modern composer would write variations on John Williams themes.)
A classic "Theme and Variations" begins by playing the theme, usually in an extremely simple format so the composer has room to vary it. The variations then follow, often with a moment's pause in between for separation. There's no limit or minimum for the number of variations, but 8-12 is a common range. Stylistically, these sets often jump without warning to something entirely different when a new variation starts. Finally, most classical variations end with a coda that wraps up the piece (instead of mere final variation, a more convincing signal to the listener that the piece is actually over).
Before diving into rock and metal, here's two very famous sets of variations from classical music, in chronological order.
1. Wolfgang Mozart, 1781
Twelve Variations on "Ah vous dirai-je, Maman"
This is a traditional French folk song, popularized by Mozart's famous variations, and known to English speakers as "Twinkle Twinkle Little Star". This set of variations has led to the legend that Mozart wrote this melody as a child. Not correct: he wrote a set of variations on a folk song at age 25. Great piece anyway.
2. Johannes Brahms, 1873
Variations on a Theme by Haydn
Variations were usually written for piano or small chamber music groups. When written for orchestra, they were part of a larger piece (like a movement from a symphony). This is the first piece in history written purely as Theme and Variations for Orchestra, standing alone.
There's one final bit to mention about classical variations: themes (and therefore variations) typically had two contrasting halves, which were each repeated. In other words: structure AABB for each theme/variation. This particular binary pattern has not transferred to rock (mostly) and remains a quirk of classical variations.
When looking at rock and metal, the process of variation is evident in nearly every song. Consider Wrathchild:
1. First riff, bass and drums.
2. Second time, add guitars.
3. Then replace the guitar solo with a vocal.
All happening over the same riff: a process of variation. Simple as it is, this is typical of rock/metal variation: the arrangement builds up gradually over a simple foundation. But we wouldn't call this theme and variations; it's just the process of songwriting.
Rather, the rock version of "theme and variations" takes places when a few qualifications are met.
First, a theme has to be presented for building upon. The presentation is the key here; you ought to feel, as a listener, that you're hearing something new being put on the table for musical operation. This means that there ought to be a sufficiently dramatic start to the variations, maybe even stopping the song to make it clear something new is about to happen.
Second, the process of variation has to be extended long enough to make it feel like variations on a theme and not simply more guitars on the riff. In other words: seconds don't cut it. You need to be able to measure it in minutes.
Sounds like tough criteria, yes? Indeed it is, but it happens more often than you might think. Just off the top of my head, here are two Iron Maiden songs which have sections that fit the bill perfectly, and are thus metal variations: "Phantom of the Opera" and "The Nomad". I am presuming that on a Maiden forum, the light should go on in everyone's head pretty quick for those songs, and I don't need to cite the moment when variations begin... (hint: there's not one but two sets in Phantom!)
Where else can we find them? Instrumentals are a good place to look. "Beck's Bolero" is a set of variations. "The Call of Ktulu" is a set of variations on the (binary, like classical!) opening theme, and even has a coda. (Possibly not accidental, Cliff knew this kind of stuff.)
Prog rock is another good place to look: "A Change Of Seasons" intro, from the drum entry at 1:26 to the overture's end at 3:41, is a set of variations. I've read an analysis of "Shine On You Crazy Diamond, Pts I-V" which dissected it as a set of variations (less convincing to me, but I see the argument).
Alright class, here's your assignment: find the closest thing you can to a genuine extended set of theme and variations from your favorite band and post it here.