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.
Schoenberg does this by octave displacement. Schoenberg doesn’t really develop the motif but instead represents the motif in different ways by using techniques like melodic inversions, augmentation and diminution. Schoenberg uses a large orchestra made up from brass, strings, percussion and woodwind. The instruments change quickly between each other making the piece contrast in timbre. Schoenberg also makes the instruments play at the extremities of their range either very high or very low.
With their light brown wooden paperclip shapes, they looked more like bassoons. In 1838, Adolphe Sax un-raveled the clarinet body, and it became the straight instrument we know it as today. Despite the fact that the bass clarinet has been around for a while, the first solo recital was not performed on it until 1955, when Josef Horák marked history by being the first professional player to dedicate an entire recital to the instrument. Bass clarinets are commonly made of plastic or African hardwood with the keys, bell and rods constructed of nickel, silver or other composite metal. The mouthpiece, which holds the reed, is made of plastic, resin, hard rubber or other composite material.
On the repeat, the soloist joins the orchestra.) VOCAL MUSIC OF THE CLASSICAL PERIOD OPERA 1) 2) 3) 4) DRAMA THAT IS SUNG IT COMBINES VOCAL AND INSTRUMENTAL MUSIC WITH PEOTRY AND DRAMA, ACTING AND PANTOMIME, SCENERY AND COSTUMES IT USES A) SOLOISTS B) ENSEMBLES C) CHORUS D) ORCHESTRA E) SOMETIMES DANCING ELEMENTS OF OPERA A) RECITATIVE (EXPLANATIONS NECESSARY TO THE PLOT) B) ARIA (RELEASES THE EMOTIONAL TENSION. THIS IS WHERE THE SINGER SHOWS OFF THEIR VIRTUOSITY C) OVERTURE (USUALLY BEGINS OPERA AND NEW ACTS D) INTERLUDES (KNOWN AS SINFONIAS DURING PERIODBOCCUR BETWEEN SCENES) E) LIBRETTOBTHE WORDS SUNG DURING THE OPERA WERE WRITTEN BY ANOTHER PERSON CALLED A LIBRETTIST) ORATORIO 1) 2) 3) 4) 5) DESCENDED FROM THE RELIGIOUS PLAY-WITH-MUSIC FIRST ONES WERE SACRED OPERAS LATER ONES LEFT THE STAGE LARGE SCALE MUSICAL WORKS (GENERALLY BASED ON A BIBLICAL STORY) PERFORMED IN A CHURCH OR HALL WITHOUT SCENERY, ACTING, OR COSTUMES
In Suite No.2 of The Water Music, the oboes mostly double violins 1 and 2 however did not double their quavers suggesting they were not yet as agile as the oboes used today, or occasionally play their own motifs with the bassoon. In a baroque orchestra the bassoon was used to double the bassline and in Water Music it plays alongside the oboes to proivde timbral contrast. The horns in a typical baroque orchestra had a problem at the time, they could only play notes of the harmonic series in which they were crooked. This meant their melodic material was limited by what they could play however Handel solved this problem in Water Music by using D major for each movement and rarely straying from it in sections where the horns were playing. He also devised a second horn part to harmonise the first using the notes of a D major arpeggio.
Cyclical Literature in early19th Century A song cycle is a group of songs designed to perform in a sequence during classical music. All of the songs are by the same composer and often use words from the same poet, lyricist, or relating a story. Each song sang separately, but the composer imagined that they would be performed together as one work. They are for solo voice and piano accompaniment, however, they also can be without accompaniment or instruments. It started before the Romantic period, but it become popular with German composers of the nineteenth century.
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
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
Sonata Form There is no perfect definition of sonata form. Sonata form came about to represent a piece of music that has no words to go with it. Also, the popular form of choosing two themes, repeating them, developing from them, and recapitulating those themes is whats given sonata form its name. Over the past 200+ years, sonata form has grown into this commonly used structure of music. Sonata form mainly focuses on the harmonic and thematic expression of music that sets the mood in the exposition.
The harpsichord was phased out and replaced with the invention of the piano during the Classical period. During the Baroque period, two bass instruments would read off the same line of music with numbers written above notes for the third bass to play. Music from the Baroque period seems very one dimensional and intended to be played to a smaller audience. The text described it best (Sporre, 2013), “Classical in contrast to Baroque style, which typically dealt with a single emotion, Classical pieces typically explore contrasts between moods. They may contrast moods within movements and also within themes (Pg.