The only instrument in the prelude is a piano where the A section uses middle range of piano, and the B section uses lower, bass range. The piece is not too virtuoso and it uses a sustaining pedal, rubato, and has dynamic changes. In this piece, there are Cantabile melody lines. It has lyrical/legato/elegant melody. There is a falling motif and regular (periodic) phrases.
However, in bar 114 the texture converts from homophonic to polyphonic. In this bar the bassoons and lower strings play the first subject, while woodwind play a counter melody. This creates a polyphonic, or contrapuntal, melody. Pedals are used frequently throughout the symphony. In the first subject, the main theme is harmonised by a tonic
Sonata form means that it has 3 main sections; Exposition, Development and finally Recapitulation. Within Exposition (which is homophonic) there is the 1st Subject, the Bridge Passage, the 2nd Subject and finally the Codetta. The structure of Development is based on the first subject; yet texture becomes more polyphonic and explores different keys and pedals as well as themes passing between different instruments. Recapitulation has many scale passages and rising sequences, but ends with a codetta; it too being homophonic as Exposition was. Rhythm shown in Mozart’s sonata is as follows; there are many scale passages and rising sequences, and while the 1st subject (in Exposition)it has a crotchet & quaver rhythm, the 2nd has a slower, legato rhythm.
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.
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.
Comment on how Schoenberg uses the following musical elements in this piece Tonality and Harmony Melody Rhythm Texture Timbre Peripetie is an atonal piece. This means that the piece has no key. The piece uses a lot of dissonant harmonies as well as most of the chords and melodies are often built on hexachords. The texture is mostly Polyphonic with the odd monophonic and homophonic bits. Schoenberg uses a lot of techniques to build up the texture and make it more interesting and more complex.
It is these aristocrats that introduced Beethoven’s work in Russia, by hiring him for their functions. Many Russian composers are influenced by Beethoven in their chamber music. In a string quartet the first violinist traditionally takes on the melody, with the second violinist and the viola adding the texture and counter-rhythms, and the cello adding the bass line. A majority of compositions at this time would be in Sonata form, as this was the most popular form of the classical era. There was also a specific layout for symphonies, which, according to classical standards, should have four movements, with the last being a spectacular show of the skills of the composer and the performers, producing a breath-taking grand finale.
Throughout this piece the Recitative of the song is mainly sung in speech form, creating emphasis on specific parts of the text. The use of pitch created a great contrast between the Recitative and the Aria throughout the piece. “Dido’s Lament” starts with a descending chromatic line, with a repeating ground bass. Creating a ciaccona structure as it is repeated throughout the Aria. Ciaccona was very common for the Baroque period.
The performer sings a verse and then repeats the first line, sometimes with some variation. The third line completes the thought, often with a rhyme. A second form begins with the A-A-B pattern, but it also has an additional four lines, followed by a two-line refrain. The blues are about more than being sad. They were also delivering messages in musical code.
Baroque Music Baroque music is a style of Western art music collected from about 1600 to 1750. This age followed the Renaissance, and was shadowed in turn by the Classical era. Baroque music articulates order, the important order of the universe. However it is always energetic and melodic. Music imitates the atmosphere of the eras, then as now as always.