To understand what code is in music, the translation of this word will help us. The term came to the theory of musical composition from the Italian language. His most memorable translation is “tail”. It also translates as "train" and more prosaically - "end". It turns out that the code is the final section of a piece of music. But this explanation is not enough to understand what code is in music. The definition of the term will become much more complete after becoming acquainted with the laws of the structure of musical compositions.
The concept of musical form and its main parts
To the question of what code is in music, the theoretical and musical discipline called "Analysis of Musical Works" answers in detail and scientifically. Or just a musical form.
Any work of classical art is built according to certain canons. In music, one of the elements of its expressiveness is the form of a musical work. Even the simplest play from P. I. Tchaikovsky's Children's Album has its own form and is divided into sections. You need to know what these sections are - (it will be easier to understand what code is in music): introduction, initial section, middle, reprise (conclusion), code. It turns out that the final section in music itself is available without codes. It is called a reprise. This section repeats the musical material from the beginning of the piece. What is code in music and why is it needed?
Why is the musical composition “tail”?
Perhaps the code appeared due to the fact that sometimes composers felt a certain understatement in their works. Then, after the reprise, when, it would seem, the last chord of the work had already sounded, a code was written. Its function is to prove the unsaid in the work, sometimes to reassure the listener, to convince him that this is definitely the end, and sometimes even to consolidate the effect achieved in the previous sections.
Koda: its harmonious and melodic features
So what is code in music? This is the section following the final one. To keep the code in the mind of the listener precisely as the final completion, composers resort to the possibilities of musical harmony. This is the doctrine of the structure and combination of chords. Codes very often sound on a tonic organ point. It is a repetition of the tonic of the work (its main note) in a bass voice throughout the entire section.
The harmonies (i.e., chords) that composers use in codes are called plug-ins. They sound very soft, do not contain dissonant (sharp, sharp) chords. This enhances the feeling of completion. The composer, as it were, shows that all hope or excitement is left behind.
Even in the codes, they use the development capabilities of the melody. Here the composer no longer needs a wide expanded melodic line. In order to repeat the main musical theme of the work, there is a reprise. In the code, most often this main topic begins to fragment. The composer divides her into motives. The closer the end of the work, the shorter these motives.
Sometimes there are codes that are especially interesting in their musical material. A work may have more than one bright melody, but several. But if the main theme sounds in the work at least twice (at the beginning and in the reprise), then the melody, for example the middle, can only sound here and we will not meet again. In this case, composers sometimes “remind” of her in the code. It turns out like a second reprise.
Conclusion
What is code in music? This is an optional section of the work following the reprise and symbolizes its final completion. Sometimes with the help of the code section catharsis is achieved or a feeling of utter hopelessness is affirmed. Often, composers do not write codes, but give their harmonic features to the reprise section. At the same time, the same goal is pursued - to create the effect of final completion. Then they say that the piece of music ended with a reprise with features codes.