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and read the CD booklet (pdf format)
... and uses a fusion of French and Italian styles, but unlike the earlier composers on this CD, Weiss' music is much more harmonically ambitious. The Menuet and Gigue in the Munich Ms are likely earl ...
... and uses a fusion of French and Italian styles, but unlike the earlier composers on this CD, Weiss' music is much more harmonically ambitious. The Menuet and Gigue in the Munich Ms are likely earl ...
LMM - Artaria String Quartet 2015-16 Program III Its Revolutionary
... ABOUT THE WORK: Six years separate the three “Razumovsky” Quartets of Op. 59 from the earlier set of Op. 18. In those six years Beethoven had come to terms with his growing deafness as suggested by the question he included in the sketchbook: “Can anything stop you from expressing your soul in music? ...
... ABOUT THE WORK: Six years separate the three “Razumovsky” Quartets of Op. 59 from the earlier set of Op. 18. In those six years Beethoven had come to terms with his growing deafness as suggested by the question he included in the sketchbook: “Can anything stop you from expressing your soul in music? ...
Abstract KN - UFDC Image Array 2
... one of the first solo clarinet works to include innovative extended techniques such as sub-tones and flutter tonguing. Stadler’s Caprices are one of the first solo-unaccompanied works for clarinet intended for performance. The Schoeck Bass Clarinet Sonata is one of the first solo bass clarinet piece ...
... one of the first solo clarinet works to include innovative extended techniques such as sub-tones and flutter tonguing. Stadler’s Caprices are one of the first solo-unaccompanied works for clarinet intended for performance. The Schoeck Bass Clarinet Sonata is one of the first solo bass clarinet piece ...
pour violon et piano
... How can one avoid seeing in Ravel’s works for violin and piano a certain spirit of defiance, an almost ambiguous pleasure in writing for two instruments he regarded as incompatible with one another? It would, therefore, not be too far-fetched to interpret the composition of each piece as the result ...
... How can one avoid seeing in Ravel’s works for violin and piano a certain spirit of defiance, an almost ambiguous pleasure in writing for two instruments he regarded as incompatible with one another? It would, therefore, not be too far-fetched to interpret the composition of each piece as the result ...
ABSTRACT Title of Dissertation: THE SCHERZO IN SELECTED WORKS FOR PIANO
... The objective of my dissertation project is to research scherzo-like concertos, scherzo as single movements in larger forms, and scherzo as independent works. My first recital will consist of two concertos with a scherzo-like character. These are Mozart's Piano Concerto No. 9 in?l Major; K. 271 and ...
... The objective of my dissertation project is to research scherzo-like concertos, scherzo as single movements in larger forms, and scherzo as independent works. My first recital will consist of two concertos with a scherzo-like character. These are Mozart's Piano Concerto No. 9 in?l Major; K. 271 and ...
Brentano String Quartet - Hancher
... urging of one performer or another (for example, the five cello works written in the 1960s, for which we have Mstislav Rostropovich to thank). In the case of the Third Quartet, it was the Amadeus Quartet who approached the composer, being well acquainted with him from his festival in Aldeburgh. Str ...
... urging of one performer or another (for example, the five cello works written in the 1960s, for which we have Mstislav Rostropovich to thank). In the case of the Third Quartet, it was the Amadeus Quartet who approached the composer, being well acquainted with him from his festival in Aldeburgh. Str ...
Volume 23 No.1 - Chamber Music Journal
... either commissioned over time by viola connoisseurs or that he simply like the light sound created by the ensemble. In any case, it is fortuitous, for he greatly enriched the literature for this combination. The number of piano trios for violin, viola and piano are few and far between. And perhaps t ...
... either commissioned over time by viola connoisseurs or that he simply like the light sound created by the ensemble. In any case, it is fortuitous, for he greatly enriched the literature for this combination. The number of piano trios for violin, viola and piano are few and far between. And perhaps t ...
Wolfgang Amadeus Mozart (1756-1791)
... nonetheless stood him in good stead when he took up his position as concert master at the Salzburg court, for instance. His violin concertos were written while Mozart was in Salzburg, all five of those considered authentic in the year 1775. They are not, as has been variously asserted, secondary wor ...
... nonetheless stood him in good stead when he took up his position as concert master at the Salzburg court, for instance. His violin concertos were written while Mozart was in Salzburg, all five of those considered authentic in the year 1775. They are not, as has been variously asserted, secondary wor ...
Harmony Rules - Jeanie`s Online Music Studio
... the feeling of a half-close in the music, like a comma. The most common imperfect cadence is I – V. This is written exactly like the Perfect cadence but backwards. Other common Imperfect cadences are II – V & IV – V. • Watch the leading note carefully, it will fall from the tonic. Don’t forget in a ...
... the feeling of a half-close in the music, like a comma. The most common imperfect cadence is I – V. This is written exactly like the Perfect cadence but backwards. Other common Imperfect cadences are II – V & IV – V. • Watch the leading note carefully, it will fall from the tonic. Don’t forget in a ...
NGFL_Shost_movt_4_analysis
... RHYTHM: Note that the heavily accented opening chords start on the first beat of the 3/4 bars. In movement III they were found on the weakest beats of a 4/4 bar (i.e. the 2nd and the 4th beats). TEXTURE: Apart from the A# pedal note held low in violin 1 which lasts here for 21 bars, the chords are ...
... RHYTHM: Note that the heavily accented opening chords start on the first beat of the 3/4 bars. In movement III they were found on the weakest beats of a 4/4 bar (i.e. the 2nd and the 4th beats). TEXTURE: Apart from the A# pedal note held low in violin 1 which lasts here for 21 bars, the chords are ...
Part 1 The Materials of Music - Owen J. Roberts High School Band
... The Classical Period Joseph Haydn – The Father of the Symphony • One of the most prolific composers of the Classical era • Wrote over one hundred symphonies in the four-movement structure, thus he earned the nickname “Father of the Symphony” • At the age of 29 he entered the service of the Esterhaz ...
... The Classical Period Joseph Haydn – The Father of the Symphony • One of the most prolific composers of the Classical era • Wrote over one hundred symphonies in the four-movement structure, thus he earned the nickname “Father of the Symphony” • At the age of 29 he entered the service of the Esterhaz ...
Program Notes - Wisconsin Union
... of one of the shortest of the Diabelli Variations. This particular variation of Beethoven’s features a sequence of neighborkey appoggiaturas, each a half step away from each main chord. Adams amplifies this chromatic relationship without intentionally distorting it. Like its original Beethoven model ...
... of one of the shortest of the Diabelli Variations. This particular variation of Beethoven’s features a sequence of neighborkey appoggiaturas, each a half step away from each main chord. Adams amplifies this chromatic relationship without intentionally distorting it. Like its original Beethoven model ...
Relations between Keys and Modes
... Floating (schwebend) tonality was Arnold Schoenberg’s term to describe music that oscillated between two or more keys regardless of whether they were major or minor. It was a treatment he explored extensively in his early music (in the Op. 6 songs, for example). However, the approach had been well e ...
... Floating (schwebend) tonality was Arnold Schoenberg’s term to describe music that oscillated between two or more keys regardless of whether they were major or minor. It was a treatment he explored extensively in his early music (in the Op. 6 songs, for example). However, the approach had been well e ...
Joseph Haydn (1732–1809) Haydn/Mozart, p. 1/9
... • In the recapitulation, the second and closing themes appear in the tonic, and the transition is extended and intensified. The slow movement is in ABA form. • Haydn’s slow movements tend to provide a calm and gentle melody in contrast to the dramatic first movements. • Other common slow-movement fo ...
... • In the recapitulation, the second and closing themes appear in the tonic, and the transition is extended and intensified. The slow movement is in ABA form. • Haydn’s slow movements tend to provide a calm and gentle melody in contrast to the dramatic first movements. • Other common slow-movement fo ...
American Flute Masterpieces
... technically challenging, however it is his artistry, musicianship and virtuosity that appeal to audiences and musicians alike. Liebermann composed Sonata for flute and piano, Op.23 in 1987 as a commissioned piece by the Spoleto Festival in Charleston, South Carolina. The work, performed at the fest ...
... technically challenging, however it is his artistry, musicianship and virtuosity that appeal to audiences and musicians alike. Liebermann composed Sonata for flute and piano, Op.23 in 1987 as a commissioned piece by the Spoleto Festival in Charleston, South Carolina. The work, performed at the fest ...
File - Matt Schroeder
... repeated once more, but this time is extended by an unexpected deceptive cadence which leads into some phrases reminiscent of the more volatile B section. These alternate with themes from the A section and ultimately lead to a perfect authentic cadence at the end. This ballad-like piece is very repr ...
... repeated once more, but this time is extended by an unexpected deceptive cadence which leads into some phrases reminiscent of the more volatile B section. These alternate with themes from the A section and ultimately lead to a perfect authentic cadence at the end. This ballad-like piece is very repr ...
Music Glossary - Trenton Public Schools
... Convenient method of numbering a composer’s works where a number follows the word “opus”. For example, Opus 28, ...
... Convenient method of numbering a composer’s works where a number follows the word “opus”. For example, Opus 28, ...
Mozart PowerPoint
... counter melody to go against the theme. Look at bars 191-197 and you can see the theme in the violins with the counter melody in bassoons, violas and cellos. Bars 198-211: the parts swap over. The theme is now in violas, cellos and bassoon, with the counter melody in violins. Music modulates through ...
... counter melody to go against the theme. Look at bars 191-197 and you can see the theme in the violins with the counter melody in bassoons, violas and cellos. Bars 198-211: the parts swap over. The theme is now in violas, cellos and bassoon, with the counter melody in violins. Music modulates through ...
Music Theory answers
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
1 To some, Joseph Haydn (1732‐1809) is known familiarly as “the
... developed his quartets with thematic story telling devices where each part is highlighted yet works together with the other members of the ensemble. This is true in his opus 33 string quartets. Haydn described the opus 33 set of six quartets as being written “in an entirely new, special way “ an ...
... developed his quartets with thematic story telling devices where each part is highlighted yet works together with the other members of the ensemble. This is true in his opus 33 string quartets. Haydn described the opus 33 set of six quartets as being written “in an entirely new, special way “ an ...
Borealis String Quartet - University of Florida Performing Arts
... The quartet opens with three powerful chords, a symbolic summons perhaps for the public concert audiences. The statement of the first theme, a single line of melody, is made by the cello alone, answered by the solo viola. After two further statements by isolated pairs of instruments, there follows a ...
... The quartet opens with three powerful chords, a symbolic summons perhaps for the public concert audiences. The statement of the first theme, a single line of melody, is made by the cello alone, answered by the solo viola. After two further statements by isolated pairs of instruments, there follows a ...
Program Notes by Eric Bromberger
... the most distinguished patrons of music ever. When the prince died in 1790, Haydn was offered a generous pension and might reasonably have been expected to retire after an honorable career. Instead, the 58-year-old composer found a wellspring of vital new energy–he made two lengthy visits to London ...
... the most distinguished patrons of music ever. When the prince died in 1790, Haydn was offered a generous pension and might reasonably have been expected to retire after an honorable career. Instead, the 58-year-old composer found a wellspring of vital new energy–he made two lengthy visits to London ...
The Four Main Musical Style Periods
... This piece (as most “12-tone” music does) uses more than one “form” of the row. Rows are usually changed by repeating the row backwards (retrograde), inversion (if the first two notes go up by a 5th, then inversion of that would be going down by a 5th), transposition, and a combination of retrograde ...
... This piece (as most “12-tone” music does) uses more than one “form” of the row. Rows are usually changed by repeating the row backwards (retrograde), inversion (if the first two notes go up by a 5th, then inversion of that would be going down by a 5th), transposition, and a combination of retrograde ...
Bezuidenhout interview
... without conductor, that the collective approach to timing—particularly the ability to move in and out of various tempo brackets and the possibility of small scale rubato and subdivision flexibility—is often more sophisticated and delicate than when one has the "security" of the conductor standing at ...
... without conductor, that the collective approach to timing—particularly the ability to move in and out of various tempo brackets and the possibility of small scale rubato and subdivision flexibility—is often more sophisticated and delicate than when one has the "security" of the conductor standing at ...
Music 11, 7/24/06 Fundamental of harmony Melodies are often built
... can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way it visits all its members. Some notes, though, do not fit into the triad this example ...
... can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way it visits all its members. Some notes, though, do not fit into the triad this example ...
Sonata form
![](https://commons.wikimedia.org/wiki/Special:FilePath/Simple_sonata_form.png?width=300)
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.