Also in bars 12 and 15 of variation 1 the quavers ascend chromatically. In the first two bars the fragmented motif is played by the violins and then in bar 4 the same fragmented motif is played
There is a perfect cadence (chord V to I) at bar 4 followed by ornamentation over a dominant 7th chord in a septuplet figuration incorporating an acciaccatura (crushed note). Chopin also uses an ominous crotchet tread in this piece towards to end of the A section in order to create a feeling of dread or anticipation. Chopin’s piano music is a perfect example of the Romantic ideal for expressing the poetic feelings and emotions through the medium of sound. He uses long lyrical melodies (see the whole of the A section, most prominently in bars 12-16, and bars 79-80) to convey these emotions, as well as arpeggios in bars 14, 16 and 18. There are also broken chord accompaniments, and a falling motif in bar 1 which help convey the mood.
The melody is played in the right hand in section A and moves to the left in section B. Also, there is a lot of ornamentation in the first melodies. The overall and section A key is Db maj. In section B, it is C#. These keys have an enharmonic and tonic minor relation.
The first section was Franz Schubert’s Symphony No. 8 B Minor, “unfinished,” D. 759. The instruments used were fifteen violins, six violas, five cellos, three bass, two flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, and a harp. The first movement is Allegro Moderato in B minor. The movement opens with a dark melody in the bass, followed by a soft flowing melody.
There are two parts to the piece which are the treble and bass of the piece. The bass accompanies the top line throughout most of the piece but has certain parts where it takes over the melody e.g. when the piece modulates and it goes down in a scale towards the end of the piece. The harmony of the piece is complicated as it modulates frequently. It starts off in E minor for the first and second phrases but towards the end of the second phrase it modulates to G major which is the relative major of E minor.
Stravinsky has re-written this music for woodwind with many contrapuntal counter melodies. In bar 11, the horn part could be described as ‘sighing’, and in bar 15, the bassoon has glissandi written in which are very unusual timbres, especially considering this music was once for solo keyboard. The final four bars before variation one are exactly as Monza wrote them, only re-arranged for wind. Variation 1 starts with the first horn
The two composition are significant among Brahms other works as they stem from a period in Brahms life when he just embraced the beauty of color and sound of the clarinet. In addition, the two sonatas were the last chamber pieces Brahms composed before his death. He notably prepared an oft-performed transcription of the sonatas for viola, and altered the register to suit the instrument. While at his Bad Ischl retreat in the summer of 1894, Brhams completed the two sonatas. The two sonatas were reportedly first performed for Duke Georg and his family privately in the September of 1894.
Later, the strings came in as an accompanying section along with the guitar playing chords. After the English horn finished the melodic solo, Mr. Williams played the melodic line, which is almost identical to that of the English horn. Mr. Williams’s solo was very melancholic, yet uplifting. Both the soloist and the orchestra were very sensitive to harmonic changes and drama during the movement. The cadenza was very impressive musically and technically.
Briefly describe three contrasting techniques of improvisation; using examples from the three jazz set works you have studies. One highly common technique of improvisation is chromatic alteration throughout solos where notes outside of the chord are used in order to extend the harmony and add tensions to the chords. For example blues notes are used in all three set works. The use of the flattened 3rd and 7th are particularly noticeable in the clarinet counter melody in the 4th chorus of Hotter Than That. There are also blues inflections in the vocal and guitar duet where the flat 3rd is emphasised by bending the notes at the beginning of phrases.
Discuss the principle differences and similarities between the orchestra used by Handel and Mozart, and how the composers wrote for them. Handel’s Water Music Suite no. 3 was composed in 1717 and uses a relatively large orchestra for this early Baroque period. Mozart’s Horn Concerto No.4 was composed in 1787 and uses a relatively large orchestra for this time. Both of the pieces also had different purposes, the Handel was written as a celebration for the king.