Describe the ways in which Beethoven makes use of form and tonality in the first movement The first movement of Beethoven’s First Symphony is in sonata form. This means that the movement is divided into four sections, the first subject, the bridge, the second subject and the codetta. The movement starts off in the tonic key of C major. It remains in this key for a few bars until in changes to D minor in bar nineteen. The first subject starts at bar thirteen and ends at bar thirty-three on a perfect cadence in C major.
Fifth Symphony The Fifth Symphony is one of the major symphonies composed by Ludwig van Beethoven. Premiered in 1808, it featured the whole orchestra. The first movement is in C minor, four chords are thrust forward in monophonic texture to open the work. The work is built upon a short motive which repeats throughout the piece with slight variation each time, creating a cyclical structure to the entire symphony. The four note motive repeats in the first theme constantly repeated with variation in rhythm, instrumentation, and dynamic level.
Exposition is the place where the composer “exposes” all of their musical ideas that they will use in movement Recapitulation. 7. What is the home key for Mozart’s 40th symphony? The home key is in G minor 8. How does the first movement end?
After a repetition, the tonality changes to “C major”, but it is still in A section, which refers to theme one. Accordingly, the A section embraces binary sections. Then, the B section begins with a “short- short- long” motive in an “A major” key. After raising two themes, the C section starts by changing key to “f# minor” key which is the subordinate key of “A major”. Then, begin with measure number 58, the B section returns followed by a repetition of an A section.
This procedure results in an “end-weighted” structure. Another balladic aspect of the finale of Op. 58 involves thematic relations within the movement. The sudden dramatic shift associated with the appearance of the secondary theme and its sequential design suggest a “characterizing” function within the balladic narrative, while the presence of the dancelike leggiero third theme provides a temporary distraction from the intensity of the main story. A final reference to Chopin’s balladic model can be found in the coda of the movement, where the virtuosic passages resemble Chopin’s Ballades in the transformation of the thematic material to such an extent that the only remainders of the original themes occur in the accompanying figures.
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.
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
It also ended with the sopranos singing at a forte. After the sopranos the male tenors then came in. The song was in African like language and was in a chant type style. The fourth song that was sung is O Vos Omnes. It was arranged by Pablo Casals in 1876-1973.
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
The piece is tonally ambiguous at the beginning of the piece but there are hints of it being in E minor but doesn't become clear until the bass guitars come in and then you can tell that the piece is in E minor. He three chord progressions used are C, Bm and E5, C, D and Em and C, D and Bm. At the start of section B the key switches to C minor and continues to change alternatively with the intervals in between getting shorter until the Coda where it stays in E minor until the end. The piece is in binary form (AB) and has 4 sections within the A and B sections. The piece begin monophonically with the live guitar playing a one bar ostinato.