Variations on the theme “small fish in water”
Musique : Rex Potam

These variations are on a quite ancient theme, composed by Jean-Baptiste Lully.

I propose nine variations, from the simplest to the most complex.

For the fun, each variation is named after a Finding Nemo figure.

1. Nemo

THis first variation is not one, as it is the exposition of the theme, which is a simple modification and lengthening of the original theme.

The structure of this piece is a simple ABA’ form. The A theme, in Dm (the tonality of the whole work), is repeated, followed by a B theme in F and a reprise of the A theme, the whole repeated.

2. Gill

This piece is a melodic variation, where the theme is inverted: going up instead of down, and vice-versa.

The form of this variation is the same as the first, but in Gm.

3. Dory

Back to Dm. Here the theme is retrograde, i.e., it starts from the end and is played backwards.

The structure is slightly different, and introduces new colours: AA’BA’B’. In particular, the B theme (in F) is played by the tenor with the right hand, while the left hand keeps leaping from the bass to the soprano.

The end of that piece is “attacca”, meaning that the next variation must be played without any pause.

4. Peach

This variation is also in Dm. It is a formal minuet with trio (in G).

5. Marlin

The adagion, a classic variation. As the original theme is already in minor, how to make the piece sadder… Here I use Fm, which is the parallel minor to the Dm mediant. I think the effect works.

In 9/8, the fort is a simple ternary structure, that lengthens and embellishes some elements of the theme. The central part also uses a melody played by the tenor.

6. Bloat

Contrarily, and in complete contrast to the previous variation, this timle the form is lively and playful. It is a scherzo, even a double scherzo, with the A and B themes quite frantic, in contrast with the singing C and D themes. The end is quiter.

The tonality is D♭, which is a step out of the harmonic frame of the work.

7. Squirt

The waltz, yet another almost mandatory variation. The theme is in augmentation. The tonality is back to Dm.

All in all, this variation merely allows to reinstate the original theme before the two remaining variations.

8. Mr. Ray

Time for a polonaise, with it signature rythm: quaver-two semiquavers, then four quavers, in 3/4.

The tonality is A, the dominant of the work tinality. It is its culmunating point.

9. Pearl

At last, the sonata form allows to conclude gently, with a last recall of the theme. The tonality of this variation is of course in Dm, with the second theme in A. That second theme is a variation of the second theme of the minuet, for coherence.

The development is quite short. It starts in Cm, which is a tonality somewhat unexpected.