Describe the ways in which Beethoven makes use of form and tonality in the first movement The first movement of Beethoven’s First Symphony is in sonata form. This means that the movement is divided into four sections, the first subject, the bridge, the second subject and the codetta. The movement starts off in the tonic key of C major. It remains in this key for a few bars until in changes to D minor in bar nineteen. The first subject starts at bar thirteen and ends at bar thirty-three on a perfect cadence in C major.
* Mozart is known for his great melodic ideas, his melodies are simple, elegant and songful. * The three works of Op. 10 are in C minor, F major and D major. The first was begun in 1795 and the third completed by July 1798. Published in September, 1798, by Eder in Vienna, the set is dedicated to Countess Anna Margarete von Browne, whose husband, Count Johann von Browne (1767-1827), was one of Beethoven's chief early patrons.
Moreover, other techniques used such as ornamentation and inversion as well as broken chords are also noticeable. In theme 1, such as measure number 5-7, 2 ornamentation notes are used on the right hand. In theme 2, 3 short passing notes also appear on the left hand. The C section used inversions of the motive in theme 1 followed by sequences. It is a tool for composer to vary its main theme.
These sections are the exposition, which starts from the first bar in K.333, the development, which between bars 63 and 93 and the recapitulation that occurs from bar 93 until the end of the piece. Poulenc’s Sonata is written in ternary form, which means that it follows an A-B-A structure. In this specific piece, the A section starts at bar 1, the B section starts at bar 26, then at bar 58 the A section returns again. In Mozart’s K.333 there are clear perfect cadences used in the piece that help reinforce the tonality, however in Poulenc’s Sonata although there are perfect cadences some of them are not completed and are instead suggested and then interrupted. 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.
In the sonata form, how can we determine the principle subject? The principle subject consists of a simple melody with a string bass being echoed from the wind 3. How is the melody of the second subject different from the first? The first melody opens quietly with lyrical cello theme on piano which then changes into a series of elaborate transformations. The second movement has a melancholy theme on the piano separated by fast happy interludes.
Compare and contrast the structures and use of melody in Corelli's Trio Sonata, Mozart's Piano Sonata and Berlioz's Harold in Italy Corelli's trio sonata is written in binary form with both sections repeated. Each section is defined by tonality as well as repeated marks. Section A (bars 1-19) starts in D major and modulates to the dominant of A major. Section B (bars 20-43) begins in the dominant with the same melodic material (inverted) and modulates through various related keys, such as B minor (bars 26-28) and E minor (bars 28-32) before returning to the tonic at the end. Bars 41-43 can be referred to as the Codetta which emphasises the tonic key.
Schoenberg uses a lot of techniques to build up the texture and make it more interesting and more complex. Some of these techniques include inversions, imitations and canons. The rhythms are also complex and vary. The rhythms change quickly between ¾, 2/4 and 4/4. Schoenberg also layers different rhythms together to create a very complex polyphonic texture.
THE CLASSICAL PERIOD (1750-1825) THE CLASSICAL PERIOD OF MUSIC 1) TIME OF GREAT MUSICAL EXPERIMENTATION AND DISCOVERY 2) CENTERS AROUND ACHIEVEMENTS OF VIENNESE SCHOOL A) HAYDN B) MOZART C) BEETHOVEN 3) THREE CHALLENGING PROBLEMS A) EXPLORE MAJOR-MINOR SYSTEM TO ITS FULLEST B) TO PERFECT A LARGE FORM OF ABSOLUTE INSTRUMENTAL MUSIC (THE SONATA CYCLE) C) TO DIFFERENTIATE BETWEEN ITS (SONATA CYCLE) VARIOUS TYPES 1) SONATA 2) CONCERTO SYMPHONY 3) ELEMENTS OF THE CLASSICAL PERIOD 1) ELEGANT AND LYRICAL MELODIES A) ELEGANT AND LYRICAL MELODIES B) CLEAR-CUT CADENCES 2) THE HARMONIES THAT SUSTAINED THESE MELODIES A) FIRMLY ROOTED IN THE KEY RHYTHM 3) A) MUSIC WAS IN EITHER 2, 3, 4, OR 6/8 B) STAYED IN RHYTHMIC STYLE IT BEGAN WITH 4) FORM A) UNFOLDED
The development and the recapitulation manipulates the motive over and over again before pausing for an oboe solo which briefly halts the momentum of the music. The coda features a dominant-tonic harmony battling with the percussion emphasizing the beat. The second movement is in theme and variation form; as the form suggested, the movement features two different pastoral themes which becomes four simple elegant variations. The motive is heard during the variations, interrupting the peaceful mood until the basses create a powerful note heralding the return of the variations. The second movement ends with the bassoon and an accelerated passage in the coda.
In Beethoven, Ninth Symphony, in the first movement it starts out slow, soft and low and then there is second movement which has such an outburst of energy and dramatic tone. The third movement changes to something with less intensity and your