In the sonata form, how can we determine the principle subject? The principle subject consists of a simple melody with a string bass being echoed from the wind 3. How is the melody of the second subject different from the first? The first melody opens quietly with lyrical cello theme on piano which then changes into a series of elaborate transformations. The second movement has a melancholy theme on the piano separated by fast happy interludes.
In the bridge, high bowed strings, sometimes using harmonics and tremolo, add a countermelody. Orchestration There are five woodwind players who double up: Clarinet and saxophone Two horns Three trumpets Two trombones Seven violins Four cellos Two double basses Drum kit Percussionists Piano Electric and accoustic guitar Structure The song does not follow a conventional verse-chorus structure, but has several musical ideas and sections that recur. The structure is: Introduction Section A Section B Section B1 Section A 1 Outro [fades
There are however accidentals throughout the piece, albeit rare. For example, he uses an F# in bar 10, which is from the tonic major, the scale of G major. This isn’t a common feature throughout the piece, apart from when he’s modulating to another key. Mozart uses a range of different keys throughout this piece, with it in G minor from bars 1 – 20. 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.
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.
The bass and chords were played on one or more continuo instruments, typically harpsichord, organ or lute. Firstly, in Bach’s music, the basso continuo instrument, the harpsichord, tends to be playing a melody while in Vivaldi’s music, it tends to be playing chords. When the harpsichord is playing a melody, the music feels more layered, as there is one additional melody in the music as well as other individual melodies played by the other instruments in the piece of music. On the other hand, when the harpsichord plays chords it is contributing to the harmony rather than melody and in other words, accompanies the melodies played by other instruments in the music and helps create more depth in the music. This is evident from Bach’s Brandenburg Concerto 5, Movement 1, measures 21-28 and Vivaldi’s Spring, Movement 1, measures 56-59.
What is most memorable about this piece is tone is smooth and has disco beat and one would just want to dance to it. Professionally, Michael Jackson did not play any musical instruments, however in this piece you can hear are the brushes on the drums, the piano, and violins. In recording his music, Michael was great at using a synthesizers, computers and tape recorders to composer some of his music. Michael had the unique ability to vocally sing each chord of each instruments that would be played in his compositions. Like Beethoven he kept a great deal of his
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.
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. Dominant pedal notes are also used to add strength to these cadences, for example in the bars 57-58. In Poulenc’s Sonata these perfect cadences are not so clear and there are occasional discords that weaken the strength of the key. An example of this is in bar 4, where a perfect cadence is suggested, however it is interrupted by the horn. These kinds of interruptions would not occur in Mozart’s pieces as they were written in the stricter classical period, whereas
He also devised a second horn part to harmonise the first using the notes of a D major arpeggio. In some cases the second horn parts were doubled by various instruments to fill in neccesary notes that could not be played, such as the leading note C#. The trumpets and horns play off each other through Suite No.2, especially in movements 1 and 2, where the trumpet parts were an octave higher than the horns which exploited their contrasts of register and timbre. Trumpets in the baroque period had similiar problems to the horns as they did not have valves and were commonly written in either D or C. Therefore Handel
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