Throughout this piece the Recitative of the song is mainly sung in speech form, creating emphasis on specific parts of the text. The use of pitch created a great contrast between the Recitative and the Aria throughout the piece. “Dido’s Lament” starts with a descending chromatic line, with a repeating ground bass. Creating a ciaccona structure as it is repeated throughout the Aria. Ciaccona was very common for the Baroque period.
In bar 20, the tensions started to build up, the rhythm was crossing and with rising bass line. Some appoggiatura and sequence appeared. In bar 39, The woodwind were playing off-beat rhythm but as they reached bar 41, the cello and double bass were holding a long dominant pedal note. It could be tell that, the character was getting into a more stable mind, just like taken outside the real world. Starting from bar 64, it was the exposition, It was in a unsettle situation again as in the scored, the dynamic changed rapidly in every bars, ff to pp or pp to ff.
However, in bar 114 the texture converts from homophonic to polyphonic. In this bar the bassoons and lower strings play the first subject, while woodwind play a counter melody. This creates a polyphonic, or contrapuntal, melody. Pedals are used frequently throughout the symphony. In the first subject, the main theme is harmonised by a tonic
The development and the recapitulation manipulates the motive over and over again before pausing for an oboe solo which briefly halts the momentum of the music. The coda features a dominant-tonic harmony battling with the percussion emphasizing the beat. The second movement is in theme and variation form; as the form suggested, the movement features two different pastoral themes which becomes four simple elegant variations. The motive is heard during the variations, interrupting the peaceful mood until the basses create a powerful note heralding the return of the variations. The second movement ends with the bassoon and an accelerated passage in the coda.
This where the male character laments about his situation and pours his emotions out, not only into his vocals but also with his guitar playing. The two verse song starts where the first verse is sung in a soft, piano style. For the next verse, everything is immediately increased where the singing is done at a shouting pitch , hyper –forte) and the guitar is strummed in a violent and percussive allegro style. This amped up technique creates a stirring drama that effectively conveys the emotions of the character. The song “Gold” acted as the most emotional of the acts.
Schoenberg also layers different rhythms together to create a very complex polyphonic texture. The tempo of the piece is Sehr Rash, which means in German, very fast or very quick. The melody is made up of 7 motifs that are combined in different ways. The melodies are disjunct and often sound angular. Schoenberg does this by octave displacement.
On the repeat, the soloist joins the orchestra.) VOCAL MUSIC OF THE CLASSICAL PERIOD OPERA 1) 2) 3) 4) DRAMA THAT IS SUNG IT COMBINES VOCAL AND INSTRUMENTAL MUSIC WITH PEOTRY AND DRAMA, ACTING AND PANTOMIME, SCENERY AND COSTUMES IT USES A) SOLOISTS B) ENSEMBLES C) CHORUS D) ORCHESTRA E) SOMETIMES DANCING ELEMENTS OF OPERA A) RECITATIVE (EXPLANATIONS NECESSARY TO THE PLOT) B) ARIA (RELEASES THE EMOTIONAL TENSION. THIS IS WHERE THE SINGER SHOWS OFF THEIR VIRTUOSITY C) OVERTURE (USUALLY BEGINS OPERA AND NEW ACTS D) INTERLUDES (KNOWN AS SINFONIAS DURING PERIODBOCCUR BETWEEN SCENES) E) LIBRETTOBTHE WORDS SUNG DURING THE OPERA WERE WRITTEN BY ANOTHER PERSON CALLED A LIBRETTIST) ORATORIO 1) 2) 3) 4) 5) DESCENDED FROM THE RELIGIOUS PLAY-WITH-MUSIC FIRST ONES WERE SACRED OPERAS LATER ONES LEFT THE STAGE LARGE SCALE MUSICAL WORKS (GENERALLY BASED ON A BIBLICAL STORY) PERFORMED IN A CHURCH OR HALL WITHOUT SCENERY, ACTING, OR COSTUMES
The movements of this symphony combine a fixed idea along with other elements to connect the movements to one another. The fixed idea is in each of the movements. Berlioz uses methods in his orchestration from his inspirations of opera. You can tell by the English Horn and Harp used. In the first movement of Symphonie Fantastique, Berlioz introduces the emotional calmness by the slowness of the build using string instruments.
In Mozart’s K.333 the cadences are used to reinforce the tonality, such as in bars 9-10 where the cadence is in the tonic key. Dominant pedal notes are also used to add strength to these cadences, for example in the bars 57-58. In Poulenc’s Sonata these perfect cadences are not so clear and there are occasional discords that weaken the strength of the key. An example of this is in bar 4, where a perfect cadence is suggested, however it is interrupted by the horn. These kinds of interruptions would not occur in Mozart’s pieces as they were written in the stricter classical period, whereas
It is usually played by at least two instruments. Part II. Define the following terms: Terraced Dynamics – alteration between loud and soft. Basso Continuo – an accompaniment of new emphasis on chords and the bass part resulted in the most characteristic feature of baroque music, also known as figured bass. Concerto Grosso – a small group of soloist is pitted against a larger group of players.