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
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.
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.
Carl Philipp Emmanuel Bach was one of the most influential musicians of the Enlightenment. Trained by his father, J. S. Bach, he served on the Court of Frederick the Great, became musical director of five churches in Hamburg, and composed numerous oratorios, songs, symphonies, concertos and chamber music. It is in the second movement of the fourth of his Sechs Clavier-Sonaten fur Kenner und Liehaber (Six Clavier Sonatas for Connoisseurs and Amateurs) where the main characteristics of the empfindsam style are present. The empfindsam style, or sentimental style, is most closely associated with C. P. E. Bach. It is characterized by surprising turns of harmony, chromaticism, nervous rhythms, and free, speech like melody.
Vivaldi’s orchestra in the Bassoon concerto consisted of a bassoon, Violin 1 and 2, Viola, Cello, and Bass. ******** Composer Beethoven was born in Germany. He was an innovator, widening the scope of sonata, symphony, concerto and quartet, and combining vocals and instruments in a new way. His personal life was marked by a struggle against deafness, and
In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music. On the 9th bar Miles plays the major seventh, Cannonball the 4th,Coltrane doubles Miles an octave lower and the rhythm section plays a dominant chord on the 5th. This voicing is then three times transposed and they end up playing on the eleventh bar the same voicing with the flat six on top, which means the rhythm section is playing a dominant chord on the flat seventh, which then resolves back to one after two bars and which is a substitution of a very gospel like chord change, 4 minor to
Gradual changes in dynamics. (Pg. 302 – 303).” Figure 1: a standard set up for a baroque orchestra from “http://dandanmusic.weebly.com” Figure 2: The typical arrangement of the early classical orchestra from “http://dandanmusic.weebly.com” Listening to Bach’s Brandenburg Concerto No. 2, it is as lively a
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.
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.
French composer Maurice Ravel is often associated with Debussy as an impressionist whose music encompasses a variety of influences while carrying traditional forms, diatonic melodies and complex harmonies within a tonal language. This language was developed at an early age, as Ravel was born into a musically nurturing environment and began music lessons at the age of six, giving his first recital at the age of fourteen, and would ultimately attend the Conservatoire de Paris as a piano major. This essay will outline Rapsodie Espagnole (1908), one of Ravel’s major works for orchestra. The Rapsodie Espagnole, composed during 1907-08 was first performed in the middle of March 1908 in Paris. The work is scored for an orchestra of 2 piccolos, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, sarrusophone (oboe/bassoon mixed breed), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, castanets, tambourine, gong, snare drum, celesta, 2 harps and strings.