There is an ascending motive going up a tone then back down a semitone. Purcell immediately introduces the two different themes with the first theme in the 1st altos and the second overlapping in the first sopranos. The two themes marry together in a dissonant manner. This chromaticism emerges from modal and tonal form. Purcell layers the motives to create greater dissonance, for example in bar 8 with an A natural in the second sopranos and a G natural in the first altos.
Dizzy Gillespie started adding the solos to the music. Dizzy Gillespie might meant to make he first three choruses to be introduction to this music. The pitch of each chorus is high to low. But if you listen to the music numerous times, you can find out that the whole music’s pitch it low to high. “Manteca” by Dizzy Gillespie is not really that exiting music.
Occasionally, composer simply borrowed popular tunes, but more often, they wrote original themes with a popular character. Classical melodies often sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The second phrase, in such melodies, may begin like the first, but it will end more conclusively and it will be easier to sing. Dynamics and the piano - The Classical composers' interest in expressing shades of emotion led to the widespread use of gradual dynamic change - crescendo (gradually getting louder) and diminuendo ( gradually getting softer). The end of basso continuo - The basso continuo was gradually abandoned during the classical period.
bar 55. Within most phrases the melody arches – it rises and falls within the phrase. The phrasing for the piece is pretty regular, but at bar 12 becomes irregular. The melody is linked together by the intro, which is repeated and varied. Buckley plays the music how he thinks sounds right, therefore the song follows the natural rhythms of the words.
Because of the nature of the stop time accompaniment, Armstrong is able to use this relatively “out” note as a chromatic appoggiatura of sorts - and to use it extremely effectively. The D flat doesn’t sound like a “wrong note” - it just doesn’t sound like D7 until it resolves to the C. Furthermore, this
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.
It is characterized by surprising turns of harmony, chromaticism, nervous rhythms, and free, speech like melody. The empfindsam style aimed to touch the heart and move the soul. In the opening of the second movement, the line in the treble clef opens with an appoggiatura, leaps up and gradually descends (mm. 1-3). Already present, are the surprising turns of harmony that are indicative of the empfindsam style.
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.
In lyrical forms of music, the melody of a song revolves around that one catchy lyric that people just cannot seem to forget. Melodies give song composers the ability to portray different emotions depending on what that composer feels is important to their music. Harmony also plays a large role. While the melody gets most of the attention, harmony plays more of a background role giving support to the melody. It helps create a vertical progression throughout the
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.