The texture is homophonic which is predominant in the classical period. The texture begins thin and then gradually gets thicker. In variation 1, the instruments especially the clarinet make wide leaps between one to another. In bars 9 to 11 violin 1 plays the quavers similar to an alberti bass. Also in bars 12 and 15 of variation 1 the quavers ascend chromatically.
Bach wrote many Bourrees in his time as well as other composers such as Handel. The piece is in 4/4 and has 2 upbeat quavers for each phrase and a two quaver followed by a crotchet rhythm throughout the movement. Occasionally a phrase ends with a dotted minim. This is in bars 9, 14, 18 and 26 at the end. There are two parts to the piece which are the treble and bass of the piece.
Sostenuto and sotto voce are also used to convey the poetic mood. The piece is played a la cantabile (in a singing style). Structure This piece is loosely in ternary form (ABA) and falls into 3 quite unbalanced sections; A (bars 1-27) in the key of D flat major, B(bars 28-75) in the key of C sharp major, repeated section A (bars 75-81) in the key of D flat major, and the Codetta (bars 81-99) in the key of D flat major. This piece is unusually structured for a
- In the piece, Magnificat, the sensual level is introduced immediately as it gives off a peaceful vibe with its’ major key and smooth notes. Gradually, the piece begins to portray a lot of energy from the quick, allegro speed and the wide range. As the choir sings, “Magnificat”, at the end of the word the pitch is raised and you begin to expect it each time they sing it. The first part of this piece, the runs are quite smooth allowing for the change in range to be smooth as well. The second part slows down greatly, giving off a more soothing vibe.
The melody is played in the right hand in section A and moves to the left in section B. Also, there is a lot of ornamentation in the first melodies. The overall and section A key is Db maj. In section B, it is C#. These keys have an enharmonic and tonic minor relation.
We can see it uses G , C and E minor chords the most. Some may think it has a modal feel due to the The piece has a time signature of 12/8 which is a compound time signature. The vocal line and the instrumental line use syncopation. The use of syncopation is common in most pop songs. In bar 2, we can see the use of cross rhythms which is created by the drum kit (hi hat).
It is played in a 4/4 time signature which differs from The Lamb which lacks any time signature. The Lamb 1. The melody is sung by synchronised voices in acapella. 2. The vocal range is serialism.
It starts with C major, and the pieces are arranging in ascending chromatic scale until it reaches B minor. The key scheme is as follows: (C, c, D, d, Eb, E, e, F, f, G, g, A, a, Bb, b). In the Two –Part invention no.9 in F minor, it is in a strict double counterpoint and binary movement, which means the subject and the counter subject appearing at the same time. Keyboard counterpoint means melodic material at some points become accompaniment and all accompaniments can become primary melodic phrases. This kind of musical form is called Evolutio Form.
A large number of added notes in the cantus firmus of the Agnus Dei are accounted through rhythmic imitation of the uppermost voice. Ockeghem liked to mimic the rhythmic patterns of the melodic line, and placed them into the Tenor. One such example can be found in the fifth and sixth bars of the Missa. Here, added notes are seen in the Tenor that are between the numbered notes of the borrowed Binchois melody. These notes have the same rhythmic values as the upper voices, especially the D to C as a dotted half note to quarter note, which is an imitation of the two upper voices just two beats before it.
Gallo’s piece of music would have had a fourth instrument (i.e. a harpsichord) to fill out the harmonies, but Stravinsky instead uses the whole orchestra to double notes and fill out additional harmonies. At the same time he also adds chromaticism to these chords (e.g. adding an A to the G major chord in bar 3), including the use of open strings in the second violin part (G-D-A). This is unusual as open strings were generally avoided in Gallo’s time as they were bare.