This section is based upon the repeated quaver motif taken from bar 45 with the motif played only in the string section (bars 138-140). A descending Eb major scale is played in bar 143 to end the 2nd section and take us into the 3rd section of the development. The 3rd section (bar 144-160) features another
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.
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. The layering of the two motives also has a matter of spacing. The chorus starts expansive and then the different motives and inversions overlap and build up to the crux of the chorus on the second page. The themes then become less distinctive in the last 10 bars of chorus, with less focus on the main themes leading to a homophonic final bar. The build up of tension unto the crux and ending of the homophonic final bar is also shown through not only the harmonic plangency but the long unbroken crescendo building throughout the chorus.
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.
A classical composition has a range of rhythmic patterns. The classical style also can include unexpected pauses, syncopations, and frequent changes from long notes to short ones. Also they have a change from one pattern of note lengths to another, which may be either sudden or gradual. Texture - Classical music is basically homophonic. However, texture is treated as flexibly as rhythm.
The horns play on the first beat a G minor 1st inversion triad shifting to an F minor first inversion triad on the third beat, while the bass jumps in on the second beat with a little 8th note pick up and plays from the tonic (Bb) an ascending Bb seventh chord in quarter notes, omits the thirds and lands on the seventh at the 4th beat. Right there the rhythm is very gospel influenced and the harmony. We have the melody accenting one and three and the bass two and four. In gospel music it is a common device to separate two and four and one and three. In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music.
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
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.
It is usually played by at least two instruments. Part II. Define the following terms: Terraced Dynamics – alteration between loud and soft. Basso Continuo – an accompaniment of new emphasis on chords and the bass part resulted in the most characteristic feature of baroque music, also known as figured bass. Concerto Grosso – a small group of soloist is pitted against a larger group of players.
The second section, B (measures 65-164), contain themes three, four, and five. Theme three transitions in to A minor and presents a Hungarian rhythm, which greatly contrasts with the rest of the movement. Theme four is also in a minor key, then it transitions to F major by the fifth theme. These themes used in this section repeatedly, giving the section a developmental feel. Measures 165 to 308 make up the third episode of the movement.