There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95. Timbre The vocal part is for a tenor voice, with some sections requiring a quiet, whispered tone. The song is accompanied by a large, live band. Instrumental timbres include pizzicato strings [plucking], clarinets often in their low register, muted brass, piano and drum kit. In the bridge, high bowed strings, sometimes using harmonics and tremolo, add a countermelody.
The piece contained four movements, Allegro non Troppo, Allegro Appassionato, Andante, and Allegretto Grazioso. The fourth movement, Allegretto Grazioso, is developed into five main episodes, in the rondo form ABABA. Compared to the rest of the piece, this movement is a happy, carefree rondo sonata in B-Flat major. In the beginning, there is a sense of lightness that is achieved by the harmony centering around the Eb, which is the subdominant of B-flat. The first A sections, bars 1 to 64, and presents the first two themes.
THE CLASSICAL PERIOD (1750-1825) THE CLASSICAL PERIOD OF MUSIC 1) TIME OF GREAT MUSICAL EXPERIMENTATION AND DISCOVERY 2) CENTERS AROUND ACHIEVEMENTS OF VIENNESE SCHOOL A) HAYDN B) MOZART C) BEETHOVEN 3) THREE CHALLENGING PROBLEMS A) EXPLORE MAJOR-MINOR SYSTEM TO ITS FULLEST B) TO PERFECT A LARGE FORM OF ABSOLUTE INSTRUMENTAL MUSIC (THE SONATA CYCLE) C) TO DIFFERENTIATE BETWEEN ITS (SONATA CYCLE) VARIOUS TYPES 1) SONATA 2) CONCERTO SYMPHONY 3) ELEMENTS OF THE CLASSICAL PERIOD 1) ELEGANT AND LYRICAL MELODIES A) ELEGANT AND LYRICAL MELODIES B) CLEAR-CUT CADENCES 2) THE HARMONIES THAT SUSTAINED THESE MELODIES A) FIRMLY ROOTED IN THE KEY RHYTHM 3) A) MUSIC WAS IN EITHER 2, 3, 4, OR 6/8 B) STAYED IN RHYTHMIC STYLE IT BEGAN WITH 4) FORM A) UNFOLDED
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.
The first movement of Beethoven's 1st symphony is in sonata form made up of an exposition including a 1st and 2nd subject, transition and codetta motifs from which will be explored often in unrelated keys within the development section. The development can be seen to be divided into 4sections. The 1st section of the development (bar 110-135) features rapid modulation through a cycle of 5ths. At bar 110 following a descending G7 in the 2nd time bar, the key suddenly moves to an A major chord in its 1st inversion (a tertiary relation to the tonic key of C). The initial melody idea in the development is the dotted quaver-semiquaver motif taken from bar 14-15 of the exposition section.
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.
I like the xylophone part because it felt like it was one part of the song. In the second chorus, which is also a 32-bar form, repeats what was played in first chorus. In the music, it seems like that the piano is the main instrument. The entire band seems to be a main instrument for the background
These sections are the exposition, which starts from the first bar in K.333, the development, which between bars 63 and 93 and the recapitulation that occurs from bar 93 until the end of the piece. Poulenc’s Sonata is written in ternary form, which means that it follows an A-B-A structure. In this specific piece, the A section starts at bar 1, the B section starts at bar 26, then at bar 58 the A section returns again. In Mozart’s K.333 there are clear perfect cadences used in the piece that help reinforce the tonality, however in Poulenc’s Sonata although there are perfect cadences some of them are not completed and are instead suggested and then interrupted. 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.
The horns play on the first beat a G minor 1st inversion triad shifting to an F minor first inversion triad on the third beat, while the bass jumps in on the second beat with a little 8th note pick up and plays from the tonic (Bb) an ascending Bb seventh chord in quarter notes, omits the thirds and lands on the seventh at the 4th beat. Right there the rhythm is very gospel influenced and the harmony. We have the melody accenting one and three and the bass two and four. In gospel music it is a common device to separate two and four and one and three. In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music.
Occasionally, composer simply borrowed popular tunes, but more often, they wrote original themes with a popular character. Classical melodies often sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The second phrase, in such melodies, may begin like the first, but it will end more conclusively and it will be easier to sing. Dynamics and the piano - The Classical composers' interest in expressing shades of emotion led to the widespread use of gradual dynamic change - crescendo (gradually getting louder) and diminuendo ( gradually getting softer). The end of basso continuo - The basso continuo was gradually abandoned during the classical period.