In the beginning of the development, it gives you a hint of the first theme, and moves into a more minor sound at around 3:18, taking us off into a random dark sounding harmonic tangent. Soon after, at 4:39, an oboe comes in to save the orchestra with a solo. The oboe plays until the end of the development at 4:53. The recapitulation of
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.
1) 2) 3) THEME-BUILDING BLOCK THEMATIC DEVELOPMENT-EXPANDING THE THEME MOTIVE-SMALLEST MELODIC UNIT OF A THEME THE CLASSICAL ORCHESTRA 1) ESTABLISHED IT AS WE KNOW IT TODAY 2) BLENDED THE FOUR INSTRUMENTAL FAMILIES A) THE HEART WAS THE STRING CHOIR B) WOODWINDS ASSISTED THE STRINGS C) BRASS SUSTAINED HARMONIES AND ADDED BODY D) PERCUSSION (TIMPANI) SUPPLIED RHYTHMIC LIFE 3) 30-40 PLAYERS 4) VOLUME OF SOUND WAS NOT STRONG 5) LIFE BEGAN TO MOVE TOWARD THE CONCERT HALL (NEAR THE END OF THE PERIOD) with Beethoven 6) GRADUAL CRESCENDOS AND DECRESCENDOS 7) THE PIANO WAS INVENTED DURING THIS
Outline the major musical development of the classical period and the main characteristics of the classical style. Main characteristics of the classical style: Contrast of mood - Mood in classical music may change gradually or suddenly. Masters like Haydn and Beethoven were able to impart unity and logic to music of wide emotional range. Rhythm - In Classical music, there is a flexibility of rhythm. A classical composition has a range of rhythmic patterns.
In the first part, timpani make music richer layering. The flute give me briskly and comfortable feeling. As a polyphonic music, different main theme of integration is very coordinated. The second part is called "Restoration." It begins with a free style melody that soon change to the shape note tune.
Gradual changes in dynamics. (Pg. 302 – 303).” Figure 1: a standard set up for a baroque orchestra from “http://dandanmusic.weebly.com” Figure 2: The typical arrangement of the early classical orchestra from “http://dandanmusic.weebly.com” Listening to Bach’s Brandenburg Concerto No. 2, it is as lively a
The movements of this symphony combine a fixed idea along with other elements to connect the movements to one another. The fixed idea is in each of the movements. Berlioz uses methods in his orchestration from his inspirations of opera. You can tell by the English Horn and Harp used. In the first movement of Symphonie Fantastique, Berlioz introduces the emotional calmness by the slowness of the build using string instruments.
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.
Vivaldi was progressive musically. He established the concerto form as an instrumental standard, played with the idea that the soloist was at war with the larger orchestra and using the contrasts to dramatic effect, not only between players but in speed and volume levels as well, and he pushed the envelope on violin technique, something in which he probably remained untouched. His usual writing style was antiphony, a simple style, which allowed him to experiment with instrument solos and maintain a light and innocent texture to the music. Vivaldi was one of the rare Italian composers interested in woodwind instruments. He composed several concertos for the bassoon, oboe, recorder and flute, as well as the rarer clarinet.
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.