Bach wrote many Bourrees in his time as well as other composers such as Handel. The piece is in 4/4 and has 2 upbeat quavers for each phrase and a two quaver followed by a crotchet rhythm throughout the movement. Occasionally a phrase ends with a dotted minim. This is in bars 9, 14, 18 and 26 at the end. There are two parts to the piece which are the treble and bass of the piece.
The third part is even slower yet, but has a new sense of cheer to it. As the soloist sings with the instrument, you begin to get into and expect this peaceful melody to continue, when all of a sudden Bach adds in the whole choir in an instant going at a quick tempo. The notes are also crisper then before adding feelings of excitement. Throughout the parts, imitative polyphony is used, as the lines are independent yet sound together harmonically. The color and tone of the various voices and instruments flavour the melody and all appear to contribute to each other.
He also uses a lot of melody dominated homophony in this piece, including at bars 12 to 15 where the violin has the melody and is accompanied by the woodwind. At this point the writing for the violin is very typically virtuosic. Another feature of this piece which is typical of the Classical style is the fact that it is in sonata form with a slow introduction (bars 1-17), an exposition (bars 18-111), a development section (bars 112-153), a recapitulation (bars 154-232) and a coda (bars 233-end). The introduction begins in the tonic key (E flat) but at bar 10 changes to the tonic minor (E flat minor). Within the exposition there are 2 subjects and a transition stage.
How does Stravinsky create Unusual Timbres through Innovative Instrumentation? In his Pulcinella suite, Stravinsky uses musical material by older composers and manipulates it to create his own version. One way that he uses to do this is by using unexpected or unconventional instrumentation, getting progressively more innovative through the suite. In the Sinfonia, Stravinsky uses music from a piece by Gallo and uses his music in the first violin and cello parts, with the original viola line moved around the orchestra more. Gallo’s piece of music would have had a fourth instrument (i.e.
Two main examples include: * Symphony: a sonata for orchestra * Concerto: a sonata for solo instrument and orchestra However, the term ‘sonata’ is not to be confused with the imperative ‘sonata-form’. An amazing amount of important music from the classical period to the twentieth century is composed in this form (also known as sonata-allegro form). Structure A piece of music written in sonata form
This kind of musical form is called Evolutio Form. The contrapuntal polyphonic technique use in this piece is imitating the subject, which the subject here has four measures in length. The first imitation of the subject is called the answer. The answer imitate the subject in the octave rather than fifth. The first phrase modulated to the dominant c minor(bar 15), Left hand played the combined theme and countertheme in this key leads to develop a two modulatory phrases, in bar 21-24, it exchanged its parts halfway, while in bar 25-28, is in
Both of the pieces also had different purposes, the Handel was written as a celebration for the king. Whereas the Mozart was written to showcase the development of the Horn at this time and also to show the virtuosic abilities of Leutgeb. Handel uses a generally large orchestra containing 2 oboes, a bassoon, 2 horns, 2 trumpets, violin 1, violin 2, viola and cello and bass. Whereas Mozart uses 2oboes, 2 horns, a solo horn, violin 1, violin 2, viola and cello and bass. Although Mozart uses a solo Horn, both pieces have the strings as their main body.
In each of these variations Mozart had used themes, compositional devices and classical features to unite the piece. These classical features fit into three concepts of music. These are duration, texture and structure. It also affects the atmosphere. The finale consists of 5 variations and the allegretto con variationi.
Throughout his prolific career, Franz Liszt fashioned many solo piano pieces from the works of other composers, perhaps most notably the symphonies of Ludwig van Beethoven and the lieder of Franz Schubert. Many of his own works he also arranged for piano solo, particularly his vocal music—for example, his settings of three Petrarch sonnets were included in the second volume of his Années de pèlerinage. The best examples are, however, his Liebesträume. Whereas Liszt’s vocal music is largely neglected, his piano arrangements on the other hand enjoy a far better reputation and presence on recital programs. Both the vocal and piano editions of the three Liebesträume (Dreams of Love) were published simultaneously in 1850.
Brian Naughton MUSC1100_30 Opera Evolution Essay4 4 March, 2012 Opera’s Evolution from Baroque Era to Classical. Classical Opera's expansion and evolution owes a great deal of gratitude to the Baroque era of the early eighteenth century, but where Baroque opera was mainly designed and created for aristocracy or royal audiences, Classical opera branched out as a form of musical entertainment for the general public using the opera house as a center of experimentation. The population of the middle class would eventually become the mainstream participant engaging in opera entertainment as a response to aristocratic forms of opera. Some of Baroque's composers like Handel and Monteverdi used speech-like melodies in polyphonic textures in a linear-horizontal dimension consisting of continuous melody with wide leaps and chromatic tones for emotional effect where as classical composers such as Haydn, Mozart and Beethoven incorporated homophonic textures of chordal-vertical dimension with melody in balanced phrases and cadences with diatonic scales involving narrow leaps in their compositional works. The Baroque expressive effects of chromatic harmonies established in the major-minor key system with very brief expansions to other keys would evolve into Classical opera's favoring of diatonic harmonies expanding on the tonic-dominant scale which became the basis for classical opera's large scale form.