Clara Wieck-Schumann: Piano Trio in G minor, Op. 17, movement 1
... o Exposition – first subject G minor (tonic), second subject B♭ major (relative major) o Development – a very flowing set of modulations including E♭/F minor/G minor/C minor/F minor o Recapitulation – first subject G minor (tonic), second subject G major (tonic major) o The closing coda – returns to ...
... o Exposition – first subject G minor (tonic), second subject B♭ major (relative major) o Development – a very flowing set of modulations including E♭/F minor/G minor/C minor/F minor o Recapitulation – first subject G minor (tonic), second subject G major (tonic major) o The closing coda – returns to ...
Latent Modernism: Formula and Athematicism in Later Roussel
... oblique complexities of the instrumental works. On the other extreme from ballet, mélodie, and character piece are not only the symphonies, but also the sonata form works in general, including the String Quartet and String Trio. Despite the attractiveness of much of the music of these pieces, their ...
... oblique complexities of the instrumental works. On the other extreme from ballet, mélodie, and character piece are not only the symphonies, but also the sonata form works in general, including the String Quartet and String Trio. Despite the attractiveness of much of the music of these pieces, their ...
Artifact 2
... Movement II – “Aase’s Death” o Peer returns home to find his mother dying. o Complete Contrast o Scored only for strings. o Binary form: AB Same rhythmic motive for the main melody throughout the piece. Listen o A Section: Consists of short 4-measure phrases. Of interest: m.4 has a French aug ...
... Movement II – “Aase’s Death” o Peer returns home to find his mother dying. o Complete Contrast o Scored only for strings. o Binary form: AB Same rhythmic motive for the main melody throughout the piece. Listen o A Section: Consists of short 4-measure phrases. Of interest: m.4 has a French aug ...
Time Signatures and Intervals
... and the process of naming remains the same. Always check the key signature on the left - does it affect the notes in the interval. Look left. ...
... and the process of naming remains the same. Always check the key signature on the left - does it affect the notes in the interval. Look left. ...
music questions section i
... b. Nearly all pieces of music end on the tonic chord When is the tonic triad always major a. In a major key ...
... b. Nearly all pieces of music end on the tonic chord When is the tonic triad always major a. In a major key ...
Augmented Sixth Chords
... meaning they are used to approach dominant chords. they are usually used to approach dominant triads, not dominant sevenths, because of the doubled roots present in dominant triads. however, they also often approach tonic chords in second inversion, which also contain a doubled fifth scale degree. ...
... meaning they are used to approach dominant chords. they are usually used to approach dominant triads, not dominant sevenths, because of the doubled roots present in dominant triads. however, they also often approach tonic chords in second inversion, which also contain a doubled fifth scale degree. ...
Introduction - Peter Sheppard Skærved
... tuning fork, and Bridgetower's own description of a rehearsal of the sonata. This last document makes it very clear that the two actually played from the ‘Forautograph’ manuscript in rehearsal. The manuscript breaks off half way through the first movement, and is in Beethoven's sketchiest hand, as i ...
... tuning fork, and Bridgetower's own description of a rehearsal of the sonata. This last document makes it very clear that the two actually played from the ‘Forautograph’ manuscript in rehearsal. The manuscript breaks off half way through the first movement, and is in Beethoven's sketchiest hand, as i ...
Chapter 5 - Wilson Central High School Band
... Parallel-key pentachords are the same except for the 3rd scale degrees. The minor key pentachord has a lowered 3rd (b3) scale degree (flat in this case means lowered…not necessarily a flat note) ...
... Parallel-key pentachords are the same except for the 3rd scale degrees. The minor key pentachord has a lowered 3rd (b3) scale degree (flat in this case means lowered…not necessarily a flat note) ...
PhD Degree ABSTRACT and commentary
... the fundamentals of musical expression and see how I might use the lessons of the past – distant and recent – to bring new life to my own creativity. With the firm conviction that each age must express itself artistically through thorough engagement with its own times, it has been my experience that ...
... the fundamentals of musical expression and see how I might use the lessons of the past – distant and recent – to bring new life to my own creativity. With the firm conviction that each age must express itself artistically through thorough engagement with its own times, it has been my experience that ...
12 Scale- A scale is a series of pitches in ascending order, such as
... scales, which differ in how many different pitch names they use, and in the pattern of steps they create. Often scales are named both by the starting letter and the pattern of steps. Diatonic scale- A diatonic scale uses all 7 pitch names once each until the octave is reached. Major Scale- Major sca ...
... scales, which differ in how many different pitch names they use, and in the pattern of steps they create. Often scales are named both by the starting letter and the pattern of steps. Diatonic scale- A diatonic scale uses all 7 pitch names once each until the octave is reached. Major Scale- Major sca ...
Joseph Haydn Biography.rev
... not related to the main Allegro, but can be (notable exception: the “Drumroll” Symphony, in which the Introduction actually returns before the coda). Exposition: Haydn’s expositions often use the first theme at the arrival of the contrasting key. “Monothematic” is a misnomer, since these expositions ...
... not related to the main Allegro, but can be (notable exception: the “Drumroll” Symphony, in which the Introduction actually returns before the coda). Exposition: Haydn’s expositions often use the first theme at the arrival of the contrasting key. “Monothematic” is a misnomer, since these expositions ...
Scale Degrees - Co
... Scale Name and why it is called with Note distances referred to in reference to the scales in their original mode. When modes are generated, the distances from one note to the next note change.Intervals of Major and minor 3rds and diminished and Perfect 5ths and that those intervals are comprised of ...
... Scale Name and why it is called with Note distances referred to in reference to the scales in their original mode. When modes are generated, the distances from one note to the next note change.Intervals of Major and minor 3rds and diminished and Perfect 5ths and that those intervals are comprised of ...
7609.01 A2 (Part 2) Written Paper (Summer 2012).indd
... Sweet honey sucking bees is in the tonic key of F minor and Wilbye’s originality of design is illustrated at the principal cadence points where it was customary to use the major third (tierce de Picardie) not the minor third. Wilbye develops this further by modulating to the tonic major several bars ...
... Sweet honey sucking bees is in the tonic key of F minor and Wilbye’s originality of design is illustrated at the principal cadence points where it was customary to use the major third (tierce de Picardie) not the minor third. Wilbye develops this further by modulating to the tonic major several bars ...
unknown piano piece by mozart discovered in the tyrol
... It is not registered in the Koechel catalogue, the standard directory of Mozart's works, nor mentioned as a piece by Mozart anywhere else thus far. It is known that especially during the second half of the 18th century, there have been numerous false author accreditations, hand-written and printed, ...
... It is not registered in the Koechel catalogue, the standard directory of Mozart's works, nor mentioned as a piece by Mozart anywhere else thus far. It is known that especially during the second half of the 18th century, there have been numerous false author accreditations, hand-written and printed, ...
johannes brahms (1833-1897) - Singapore Symphony Orchestra
... ambitious effort at orchestrating the music of other composers, a skill that he had been polishing for over four decades. (His first paying job was that of orchestrating operettas!) Between 1897 and 1923, Schoenberg transcribed music by Bach, Beethoven, Rossini, Schumann, Busoni, Zemlinsky, Schreker ...
... ambitious effort at orchestrating the music of other composers, a skill that he had been polishing for over four decades. (His first paying job was that of orchestrating operettas!) Between 1897 and 1923, Schoenberg transcribed music by Bach, Beethoven, Rossini, Schumann, Busoni, Zemlinsky, Schreker ...
Listening Log for Music Theory Lorna Spar 22 November 2013
... The global key of Romanze in F Major, op. 118, No. 5 by Johannes Brahms is F Major, which modulates to D major, the chromatic submediant key, and then returns to the global key. The phrases of this piece are mainly four measures long, with a few truncated and/or extended phrases. This piece is in ro ...
... The global key of Romanze in F Major, op. 118, No. 5 by Johannes Brahms is F Major, which modulates to D major, the chromatic submediant key, and then returns to the global key. The phrases of this piece are mainly four measures long, with a few truncated and/or extended phrases. This piece is in ro ...
David Korevaar`s
... fugue. By the end, the conflict is obvious enough – especially in the surprising and dramatic pre-dominant Neapolitan harmony of measure 45. [Some investigation of the proportion of minor inflection in this major-key piece could be fruitful – is the placement of more and longer minor-key sections i ...
... fugue. By the end, the conflict is obvious enough – especially in the surprising and dramatic pre-dominant Neapolitan harmony of measure 45. [Some investigation of the proportion of minor inflection in this major-key piece could be fruitful – is the placement of more and longer minor-key sections i ...
Johannes Brahms - Northern State University
... Great German master of symphonic, chamber, and choral music and lieder. Brahms never wrote an opera (he came closest in the cantata Rinaldo, Op. 50). Brahms counted among his close circle of friends some of the greatest musicians of his day, including Robert and Clara Schumann and Josef Joachim. He ...
... Great German master of symphonic, chamber, and choral music and lieder. Brahms never wrote an opera (he came closest in the cantata Rinaldo, Op. 50). Brahms counted among his close circle of friends some of the greatest musicians of his day, including Robert and Clara Schumann and Josef Joachim. He ...
Kim_umd_0117E_16700 - DRUM
... of ‘Oriental’ music in Pagodes, as well as the complex counterpoint depicting bells, gongs, chimes, and street noises. Four aspects of the piece’s texture are layered on top of each other to create an integrated work, namely, the influence of gamelan music suggesting the art of percussion and rhyth ...
... of ‘Oriental’ music in Pagodes, as well as the complex counterpoint depicting bells, gongs, chimes, and street noises. Four aspects of the piece’s texture are layered on top of each other to create an integrated work, namely, the influence of gamelan music suggesting the art of percussion and rhyth ...
A GUIDE TO THE TERMINOLOGY OF GERMAN HARMONY
... TI, t, tP, tL, S, Sp, Sl, s, sP, sL, D, Dp, Dl, d, dP, dL. Why all this complexity? Perhaps the central reason is that this ingenious, occasionally convoluted system enabled Riemann to achieve a grand and masterful synthesis of both the old and the new in late 19th-century music. Ostensibly remote t ...
... TI, t, tP, tL, S, Sp, Sl, s, sP, sL, D, Dp, Dl, d, dP, dL. Why all this complexity? Perhaps the central reason is that this ingenious, occasionally convoluted system enabled Riemann to achieve a grand and masterful synthesis of both the old and the new in late 19th-century music. Ostensibly remote t ...
Franz Joseph Haydn (1733-1809) CLASSICAL COMPOSER Vienna
... Haydn had a court appointment at the palace of the Esterhazy family in Vienna Haydn’s job was to compose music for special occasions. He was not allowed to show his music to anyone else. He was not allowed to retire without permission. After he worked for 15 years, the Esterhazy’s gave Haydn a new c ...
... Haydn had a court appointment at the palace of the Esterhazy family in Vienna Haydn’s job was to compose music for special occasions. He was not allowed to show his music to anyone else. He was not allowed to retire without permission. After he worked for 15 years, the Esterhazy’s gave Haydn a new c ...
Composer Profiles - Andrew Lesser Music
... the formal structure of the symphony and the string quartet. Haydn’s earliest symphonies reflect the formal structure of early Classicism, a three movement work based on the Italian opera overture, but soon he departed into the standard four movement “sonata” form format that composers still use tod ...
... the formal structure of the symphony and the string quartet. Haydn’s earliest symphonies reflect the formal structure of early Classicism, a three movement work based on the Italian opera overture, but soon he departed into the standard four movement “sonata” form format that composers still use tod ...
Mozart Requiem, Haydn Te Deum, Rheinberger Organ Concerto No 2
... Lacrymosa and composed the Sanctus, Benedictus and Agnus dei. To conclude the work, Süssmayr adapted the opening two movements into a Lux aeterna (something for which there is no precedent in any other religious work by Mozart, but which both Constanze and Süssmayr claimed was on Mozart’s direct ins ...
... Lacrymosa and composed the Sanctus, Benedictus and Agnus dei. To conclude the work, Süssmayr adapted the opening two movements into a Lux aeterna (something for which there is no precedent in any other religious work by Mozart, but which both Constanze and Süssmayr claimed was on Mozart’s direct ins ...
Bell`s virtuosic and dramatic delivery matched the quaret`s
... transitional year, with a number of guests filling in at violins I and II. With that she introduced new member Francesca Hiew at violin II, and guest artist Sophie Rowell at violin I, a returning familiar face who performed with the ASQ from 2006 to 2011. The evening’s performance began with Juan Cr ...
... transitional year, with a number of guests filling in at violins I and II. With that she introduced new member Francesca Hiew at violin II, and guest artist Sophie Rowell at violin I, a returning familiar face who performed with the ASQ from 2006 to 2011. The evening’s performance began with Juan Cr ...
Sonata form
Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period).While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this, sonata form is difficult to pin down in a single model.The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.Since its establishment, the sonata form became the most common form in the first movement of works entitled ""sonata"", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.