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Jazz arrangers frequently develop variations on themes by other composers. For example, Gil Evans' 1959 arrangement of George Gershwin's song "Summertime" from the opera Porgy and Bess is an example of variation through changing orchestral timbre. At the outset, Evans presents a single variation that repeats five times in subtly differing ...
Variations on a Theme of Mozart Op. 42 (for two pianos) Variations on a Theme of Mozart Op. 75 (orchestral version) George Malcolm: Variations on a Theme of Mozart (4 harpsichords) Henry Maylath: La ci darem Varied; Franz Xaver Wolfgang Mozart: Variations on Minuet from Don Giovanni, Op. 2; Max Reger: Variations and Fugue on a Theme by Mozart ...
Introduction and Variations on a Theme by Mozart (Sor) Variations and Fugue on a Theme of Purcell, subtitled The Young Person's Guide to the Orchestra; Variations, Interlude and Finale on a Theme by Rameau; Variations on a Theme by Tchaikovsky (Arensky) Variations on a Theme by William Carlos Williams, a poem by Kenneth Koch; Variations on a ...
Variations on a theme by another composer. These are usually written as discrete sets of variations. There are hundreds of examples, including: Ludwig van Beethoven's Diabelli Variations [citation needed] Johannes Brahms's Variations on a Theme by Haydn (which theme was probably not written by Haydn at all) [citation needed]
Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.
Theme and variations – Form where a main theme is followed by a series of variations that alter its melody, harmony, rhythm, or timbre. Double variation – Composition where two themes are alternated and varied. Threnody – Song composed as a memorial to a dead person.
Variations for Orchestra (Schoenberg) Sequentia cyclica; Variations sérieuses; Six Variations on "Hélas, j'ai perdu mon amant" Soirées de Nazelles; String Quartet No. 9 (Simpson) Symphonic Studies; Symphonic Metamorphosis of Themes by Carl Maria von Weber; Symphonic Variations (Dvořák) Symphonic Variations (Franck)
The theme begins with a repeated ten-measure passage which itself consists of two intriguing [citation needed] five-measure phrases, a quirk that is likely to have caught Brahms's attention. Almost without exception, the eight variations follow the phrasal structure of the theme and, though less strictly, the harmonic structure as well.