In the following 24 bars (20 – 44) it modulates to the relative major, being B flat major, which it remains in for the next 55 or so bars, at the end of which it returns to G minor. The following development involves F sharp minor, and then returns to the tonic key. The remainder of the piece is in G minor. Homophonic texture is used in the first 114 bars of Symphony 40, especially in bars 34 – 43 and bars 88 – 100. However, in bar 114 the texture converts from homophonic to polyphonic.
There are suspensions in B section. The dynamics vary from pp-ff with many crescendos and diminuendos. The dynamics are soft throughout A section whereas B section’s dynamics start soft (sotto voce) then it crescendos to ff. There is a use of Smorzando towards the end and it ends softly (p). The texture uses broken chordal accompaniment in A section, and chordal accompaniment in B section.
The two chromatic notes [notes not in the original key] of a sharpened 4th and a flattened 7th appear in both keys, and the vocal melody ends on the flattened 7th of D major [C natural]. The augmented 4th interval [forming a tritone] is used frequently in West side Story. The flattened 7th is a blue note [the influence from jazz]. The harmony is tonal, but the chords contain added 6th,7ths, 9ths and 11ths. There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95.
Hu Zhenqi 24 June 2011 MRLC Mr.Ryan HOW BACH’S STYLE IS DISTINCT FROM VIVALDI’S Bach and Vivaldi are two of the most well known composers in the Baroque period. They have similarities and differences in their style of composition. This essay would focus on their differences in style. Their styles are different in many ways and most people would focus on their use of melody, harmony or rhythm but this essay would focus on their use of basso continuo. The way Bach uses basso continuo in his music is what makes Bach’s style distinct from Vivaldi’s.
Repetition – the restatement of a section of music. This might be just a few notes or a whole section of music. Improvisation – the process in which music is made up spontaneously, without the use of written musical notation. Polyphony – a texture featuring two of more parts, each having a melody of rhythm line and sounding together, this creates a multi-layered texture. Call and response – simple from involving a solo (call) followed by a group answering phrase (response) There are different rhythms in this piece, like Polyrhythm, syncopation and cross rhythms, etc.
I like the xylophone part because it felt like it was one part of the song. In the second chorus, which is also a 32-bar form, repeats what was played in first chorus. In the music, it seems like that the piano is the main instrument. The entire band seems to be a main instrument for the background
Structure • Sonata form – repeat of the exposition was predominantly used in the classical period • Exposition x 2: o 1st subject – b.1-43 o Bridge passage – b.44-58 o 2nd subject – b.59-94 o Codetta – b.95-124 • Development – b.125-247 • Recapitulation: o 1st subject – b.248-287 o Bridge passage – b.288-302 o 2nd subject – b.303-372 • Extended Coda – b.373-502 Pitch Melody: • Piece begins in C minor with several modulations throughout: o The second subject modulates to E flat major through the descending arpeggios in the bridge passage o The development is in F minor before modulating back to the tonic of C minor in the recapitulation o The second subject in the recapitulation is in C major, the tonic major o The piece is back to C minor in the coda and there is an extended tutti perfect cadence from bar 496 to the end o The modulations are of major and minor tonalities, a classical characteristic • From bar 6 there is the use of imitation and sequences in the throughout the strings before the whole orchestra restates the theme at bar 18. • There is then the return of the main motif announced by the full string and wind sections and the horns, followed by sequenced variations. • At bar 38 a new rhythmic and melodic ascending motif is introduced in the strings: • The bridge passage consists of
The second movement has a melancholy theme on the piano separated by fast happy interludes. 4. Why do composers often use exposition repeats? Composers often used exposition repeats to help the audience familiarize with the music. 5.
These sections are the exposition, which starts from the first bar in K.333, the development, which between bars 63 and 93 and the recapitulation that occurs from bar 93 until the end of the piece. Poulenc’s Sonata is written in ternary form, which means that it follows an A-B-A structure. In this specific piece, the A section starts at bar 1, the B section starts at bar 26, then at bar 58 the A section returns again. In Mozart’s K.333 there are clear perfect cadences used in the piece that help reinforce the tonality, however in Poulenc’s Sonata although there are perfect cadences some of them are not completed and are instead suggested and then interrupted. In Mozart’s K.333 the cadences are used to reinforce the tonality, such as in bars 9-10 where the cadence is in the tonic key.
* Mozart is known for his great melodic ideas, his melodies are simple, elegant and songful. * The three works of Op. 10 are in C minor, F major and D major. The first was begun in 1795 and the third completed by July 1798. Published in September, 1798, by Eder in Vienna, the set is dedicated to Countess Anna Margarete von Browne, whose husband, Count Johann von Browne (1767-1827), was one of Beethoven's chief early patrons.