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Theme-and-variation structure generally begins with a theme (which is itself sometimes preceded by an introduction), typically between eight and thirty-two bars in length; each variation, particularly in music of the eighteenth century and earlier, will be of the same length and structure as the theme. [8]
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 ...
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 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]
Variations on a Theme may refer to: Variations on a Theme of Frank Bridge; Carmen Variations (Horowitz), subtitled "Variations on a Theme from Carmen" Variations on a Theme of Chopin (Mompou) Variations on a Theme of Chopin (Rachmaninoff) Variations on a Theme of Corelli; Variations and Fugue on a Theme by Handel; Variations on a Theme by Haydn
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.
In Music, Imagination, and Culture Nicholas Cook gives the following concise description: "The Handel Variations consist of a theme and twenty-five variations, each of equal length, plus a much longer fugue at the end which provides the climax of the movement in terms of duration, dynamics, and contrapuntal complexity.