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 tempo is quite slow (which is typical of Pink Floyd) in “Breathe” in common time (4/4) with the first four lines of music being based on the progression Em9 – A, and the last four lines of the song being based on the more vivid chord progression CMaj7 – Bm – F – G – Dm7 . The bass moves chromatically up through D # to begin the next verse on Em9. The complexity of the song is far more Jazz influenced than the simple triadic harmony of The Beatles’ “Love Me Do”, and this element is incorporated by the use of sevenths, ninths and suspensions throughout the song. In “Love Me Do” The Beatles have used a far more basic chord progression, sticking to two simple chords throughout the song – alternating between G (tonic) and C. This is repeated throughout each verse; however the band also chose to use the chord sequence through the chorus. There is a
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.
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.
Motets and madrigals are both forms of polyphony and include imitation techniques that strive to be heard but aim in opposite directions. So you first read “sacred choral works performed in worship services” and then you read “secular topics, love, humor, scenery, affairs in social gatherings.” Opposite much? Keep in mind that although the resemblances in the techniques and styles are the set-up of creating motets and madrigals, there are minor contrasts that create significant differences in the sound of the music. Motets is sacred choral works performed in worship services while Madrigals are about secular topics of love, humor, and took place more at home or social gatherings. Motets were designed to be performed in the Roman Catholic service.
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.
The Tyger is something more sinister and complicated. Like in this quote “Could twist the sinews of thy heart?/And when thy heart began to beat,/ What dread hand? & what dread feet? (Lines 10-12).” An article by Martin Price, Called Songs of Innocence and Experience, states that “The Lamb, the creator “calls himself a Lamb/ He is meek, & he is mild;/He became a little child.” In The Tyger the creator again is like what he creates… (Martin 17).” Which shows my early statement about Blake’s The Lamb and The Tyger. A similarity between the two poems by Blake would have to be the
The North faced a more austere and miserable environment which is somewhat represented in their work whereas the south were more focused on bringing out the religious imagery of the Bible in their artists works. This is probably one of the main differences in the work of Northern & Southern art. We can see above that the work of Northerners such as Hieronymus Boche and Albrecht Diirer is more abstract in comparison to the paintings of someone such as Raphael who we can see has decided to go for a more realistic approach. Why is this? It seems that the main reason to take into account is the fact that the church commissioned nearly all the works that were done by Southern artists meaning that the pictures were to be displayed in churches and on stained glass windows etc.
Adding it all together, it felt like each sound worked together to get this awesome combination of sounds. Most of their songs sounded homophonic, but obviously, the song Amazing Grace was monophonic. I wasn’t sure if Ovambo Summit was monophonic because there were some vocals but those weren’t played throughout the song. Also, many of their songs seemed to switch from monophony to homophony to polyphony during different sections. A lot of the songs had a fast rhythm but there were a few slow ones such as Lover’s leap, especially during the steel drum solo that made me feel peaceful and like I could float off into dreams.
Occasionally, composer simply borrowed popular tunes, but more often, they wrote original themes with a popular character. Classical melodies often sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The second phrase, in such melodies, may begin like the first, but it will end more conclusively and it will be easier to sing. Dynamics and the piano - The Classical composers' interest in expressing shades of emotion led to the widespread use of gradual dynamic change - crescendo (gradually getting louder) and diminuendo ( gradually getting softer). The end of basso continuo - The basso continuo was gradually abandoned during the classical period.