He was playing piano concertos at the age of eight. Chopin became a successful composer, teacher and performer in Vienna and Paris. His piano music includes Polish folk music and dances such as the mazurka and polonaise, and reflects his love of his homeland. Chopin composed Prelude Number 15 whilst isolated in a monastery in Vallderosa in Spain because he had tuberculosis, an extremely infectious disease at the time. He died about a year later in Paris at the age of 39.
1) 2) 3) THEME-BUILDING BLOCK THEMATIC DEVELOPMENT-EXPANDING THE THEME MOTIVE-SMALLEST MELODIC UNIT OF A THEME THE CLASSICAL ORCHESTRA 1) ESTABLISHED IT AS WE KNOW IT TODAY 2) BLENDED THE FOUR INSTRUMENTAL FAMILIES A) THE HEART WAS THE STRING CHOIR B) WOODWINDS ASSISTED THE STRINGS C) BRASS SUSTAINED HARMONIES AND ADDED BODY D) PERCUSSION (TIMPANI) SUPPLIED RHYTHMIC LIFE 3) 30-40 PLAYERS 4) VOLUME OF SOUND WAS NOT STRONG 5) LIFE BEGAN TO MOVE TOWARD THE CONCERT HALL (NEAR THE END OF THE PERIOD) with Beethoven 6) GRADUAL CRESCENDOS AND DECRESCENDOS 7) THE PIANO WAS INVENTED DURING THIS
The initial melody idea in the development is the dotted quaver-semiquaver motif taken from bar 14-15 of the exposition section. In bars 112-113 there are diminished 7th chords taken from the 2nd subject of the exposition (bar65-66), these diminished 7ths lead us into D major (bar 114). In bar 116-117 diminished 7ths are used again to take us to G major for bars 118. Diminished 7th chords used again in bar 120-121 which takes us to the key of C minor for bars 122-125. The rapid modulation continues throughout the 1st section still going round the cycle of 5ths moving to F minor (bar 126-129), Bb major (bar 130-131), Eb major (bar 132-133), then Eb minor (134-135) and finally resolves onto the unrelated key of Bb major for the second section of the development.
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.
Pepper Adams Park Frederick “Pepper” Adams was a famous jazz baritone saxophone player and composer from Michigan. He was born in 1930 and died in 1986 from lung cancer. In his life, he composed 43 pieces, was the leader on twenty albums, and was involved in 600 sessions as a sideman. When he was young, he began his musical career on the tenor sax and clarinet. By 16, he made the successful choice to switch to the baritone saxophone and was then involved in the Lucky Thompson’s band in 1947.
The seven modes that the Greeks developed each used their own tonic note which is a note that is flattened or sharpened in order to make the mode sound Minor or Major. As a result, each mode has its own unique sound. During the Greek times when the seven modes were developed, they each got their name from the region or group of people from which they came from. The regions from which they came from were located throughout Italy, Turkey, and Greece. Each Greek mode can be played in different keys, so therefore, there are twelve versions of each mode and each are used in the many common forms of Jazz music and Jazz improvisation Each mode however uses different tonic notes.
These tone rows use the 12 notes of the chromatic scale. In this notes can only be used once thus creating the mathematics of the piece. In the Second movement the theme is ‘very calming,’ it uses all instrument but strings and is very symmetrical in rhythm, tone colour and dynamics. Variation 1 is ‘livelier’, uses only strings. It is symmetrical in dynamics as all dynamics are mirrored.
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.
It is characterized by surprising turns of harmony, chromaticism, nervous rhythms, and free, speech like melody. The empfindsam style aimed to touch the heart and move the soul. In the opening of the second movement, the line in the treble clef opens with an appoggiatura, leaps up and gradually descends (mm. 1-3). Already present, are the surprising turns of harmony that are indicative of the empfindsam style.
Sonata form mainly focuses on the harmonic and thematic expression of music that sets the mood in the exposition. The development is contrasted and elaborated, and usually resolved with a safe sound of harmony in the end, recapitulating the main ideas. Among all of the examples we have heard in class like Mozart’s Symphony 25, or the Moonlight Sonata, I believe that Ludwig Van Beethoven's Symphony No. 5 represents sonata form with the most accuracy. The exposition of Symphony No.