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.
The piece Bourree is a movement from the Suite in E minor originally written for Lute which is one of seven suites. The Bourree comes after the sarabande and before the gigue. The definition of Bourree itself is a fast and lively French dance that is used in a suite along with around 6 other movements. J.S. Bach wrote many Bourrees in his time as well as other composers such as Handel.
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.
Chopin uses ternary structure in the Raindrop prelude, which is a typical structure in Romantic music. It consists of the first section to the second section then back to the first section. Section A starts from bar 1 to bar 27 and section B is from bar 28 to bar 75, showing that section A is shorter. In section A, the melody is long and heard several times, while in section B, a new melody is heard mainly in the bass. The melody is played in the right hand in section A and moves to the left in section B.
Other scales that could be used during improvisation include the D minor pentatonic scale (D, F, G, A, C) or the D Blues scale (D, F, G, G sharp, A, C, D). What gives the Dorian mode it’s distinct quality, is the 6th degree of the scale. These scales are usually accompanied by minor 7th chords i.e. D min7 (D, F, A, C) and E flat min7 (E flat, G flat, B flat D flat). When the song modulates all chords and scales move a semitone up.
In both pieces the orchestral horns only use the open notes. But the solo horn in the Horn Concerto No.4 uses more developed techniques such as handstopping, to showcase the virtuosticity of Leutgeb, and the advanced techniques developed on the horn. In both the Mozart and Handel pieces crooked horns are used, Mozart’s in Eb and Handel’s in D. The orchestral horns in Mozart’s Horn Concerto No.4 are only used at cadence points to add to the harmony, for example in bars 80-84. Neither pieces have a basso continuo part, they use the cello and bass instead. In both
Analysis and Comparison of the Clarinet and Viola Versions of the Two Sonatas by Brahms Name Institution Introduction Johannes Brahms, a romantic composer, did two clarinet sonatas Op. 120, 1 and 2 in 1894. Brahmas wrote the two works for clarinet and piano, and dedicated them to his clarinetist friend Richard Mühlfeld (Musgrave, 1985; Swafford, 1997). The clarinet sonata was largely underdeveloped with regards to its form until the completion of the two sonatas, when the combination of piano and clarinet was used in the subsequent works. 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.
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 piece is bitonal in places. The A section is in D major and the B section modulates to C major. This song is for a male solo singer and an extended theatrical orchestra. The theatrical orchestra consists of 5 woodwind, 2 horns, 3 trumpets, 2 trombones, 7 violins, 4 cellos, In addition, he used a drum-kit, two other percussionists, piano, electric and acoustic guitars, saxophones, a mandolin and celeste. Also uses of Latin-American instruments – castanets and maracas to reflect the Puerto Rican gang.
He also played the clarinet and the alto horn. In saxophone, he uses the technique called “Altissimo”, which is basically, any note higher than F# (sharp), the highest range in the normal range of a saxophone. To achieve the technique, the player produces many voicing techniques such as the tongue, throat and the air stream, in result disturbing the fundamentals of a note and attaining one of the higher overtones controlling. This type of technique is common in the jazz genre. “Coltrane Changes/Cycles” is the second technique used by John Coltrane.