Alto, tenor and bass enter in the episodes each with a theme that contrasts the original subject. On the other hand, the soprano carries on with the subject albeit on different notes for the episodes. The ability of John Sebastian Bach in imitating vocal choral music by the use of instruments is a distinctive characteristic of Baroque era music. The episodes are composed of the voices going in a round i.e. they repeat
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
In the sonata form, how can we determine the principle subject? The principle subject consists of a simple melody with a string bass being echoed from the wind 3. How is the melody of the second subject different from the first? The first melody opens quietly with lyrical cello theme on piano which then changes into a series of elaborate transformations. The second movement has a melancholy theme on the piano separated by fast happy interludes.
There is a falling motif and regular (periodic) phrases. It has chorale like melody in Section B (legato cantabile). In Section A, the melody is in the right hand (treble part). The melody starts in left hand (bass) in Section B then moves back to the right hand. Chopin uses ornaments in the Section A melody and uses rubato.
The development begins with sudden fury, but is quickly extinguished for the arrival of an unexpected and early recapitulation. The second movement uses louvering, a compositional device that utilizes one instrument at the beginning of a melody and then passes the rest of the phrase to another voice in the ensemble. This triple metered lyrical movement uses chains of suspensions to feature tension and release in the movement. The third movement is the canonic minuet with a canon in inversion. This counterpoint masterpiece demonstrates some of Mozarts most serious compositional techniques.
Rhythm shown in Mozart’s sonata is as follows; there are many scale passages and rising sequences, and while the 1st subject (in Exposition)it has a crotchet & quaver rhythm, the 2nd has a slower, legato rhythm. The time signature of the piece is 4/4. The Instrumentation of the piece uses violins, violas, cellos, double basses, a flute, 2 oboes, 2 clarinets, 2 bassoons and 2 horns. The main Key Signature of the piece is G minor, however the tonality of the piece alters from subject to subject. For example, in the 2nd Subject (of Exposition) it modulates to B flat major, but then returns to G minor in Recapitulation.
The 2nd subject is played in Bb major, with much chromatic movement. IN contrast to the 1st subject, the strings and woodwind share this melody, and the semitones within give it a strong pathetique mood. Balanced phrasing, a typical classical feature, is demonstrated in both of the melodies. This ‘question and answer’ style of music consists of a 4 bar imperfect cadence, followed by a 4 bar perfect cadence, shown in the second subject, in bar 44. During the exposition the melody is played by the violins and woodwind, with
A: Predominance of triple meter & limited rhythmic vocabulary. 7. what musical instruments were common on ars antique? A: Violins, violas, flutes and hapischords. 8. who was a minnesinger? A: A musician who wrote love poems in courtly loves traddition in Germany.
The fourth and final motif “for the mouth of the Lord has spoken it” is sung by the tenors and basses and the majority of notes have the same pitch- A. The texture alternates between homophonic and contrapuntal textures, but there are a few short monophonic sections. Handel often combines different motifs to create polyphonic textures. Instruments often double vocal line although usually at different octaves. The composition is in ¾ and maintains a fast tempo (allegro) until the end when it pauses to create a stretched ending.
This theme ends on measure 11. The melody (motif A) is now taken by the lower strings, which alternates with the violins playing a quick succession of small scales in response. The horn and bassoon play quarter notes which harmonize the melody. A second theme appears after the violins play the final scale, with a pickup from the oboe and bassoon, in measure 19. The theme starts in forte with the entire orchestra, in the key of C minor.