Schubert Program Notes - DigitalCommons@Olin
... (Kobald, 1928) The disease, along with his manic-depressive tendencies, had a negative impact on his mental health, although this did not prevent him from composing. (McKay, 1996) Indeed, some of his most memorable works date from his last few years of life, including his Moments Musicaux, Op. 94 (D ...
... (Kobald, 1928) The disease, along with his manic-depressive tendencies, had a negative impact on his mental health, although this did not prevent him from composing. (McKay, 1996) Indeed, some of his most memorable works date from his last few years of life, including his Moments Musicaux, Op. 94 (D ...
2 – First Species Counterpoint
... Example 2-2 presents three “rough draft” harmonizations of a cantus firmus in Eb Major, two of which have flaws that are common to many early attempts at counterpoint. Solution A is the only good solution of the three. Notice that it uses only tonic and dominant chords, which isn’t necessarily desir ...
... Example 2-2 presents three “rough draft” harmonizations of a cantus firmus in Eb Major, two of which have flaws that are common to many early attempts at counterpoint. Solution A is the only good solution of the three. Notice that it uses only tonic and dominant chords, which isn’t necessarily desir ...
File - Christopher Hoddinott.com
... the Spanish composer Manuel de Falla. Here he also met a number of other composers including Ravel, Stravinsky and Poulenc. Despite writing several widely acclaimed pieces for guitar, Rodrigo was not a guitarist, saying that he could not ‘play four notes in a row’ on the guitar. However, he was an e ...
... the Spanish composer Manuel de Falla. Here he also met a number of other composers including Ravel, Stravinsky and Poulenc. Despite writing several widely acclaimed pieces for guitar, Rodrigo was not a guitarist, saying that he could not ‘play four notes in a row’ on the guitar. However, he was an e ...
CREATING GROUND TRUTH FOR AUDIO KEY FINDING:
... have difficulties. For this paper, we constructed a dataset with 3324 music audio recording excerpts, 2.6 times the number in the MIREX dataset. It is worth noting that this dataset created from actual music recordings is distinct from the MIREX dataset synthesized from MIDI files. We implemented fi ...
... have difficulties. For this paper, we constructed a dataset with 3324 music audio recording excerpts, 2.6 times the number in the MIREX dataset. It is worth noting that this dataset created from actual music recordings is distinct from the MIREX dataset synthesized from MIDI files. We implemented fi ...
1875 oil painting by Wilhelm August Rieder, after his
... (D. 678) and, in 1822, embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements and sketches some way into a third remains an enigma, and it i ...
... (D. 678) and, in 1822, embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements and sketches some way into a third remains an enigma, and it i ...
Lesson_CCC_-_The_Min..
... avoided. In the harmonic minor composite, the augmented second disrupts the otherwise smooth flow of half and whole-step motion in the melodic ascent. Furthermore, scale degree 6 in minor is a half-step away from scale degree 5 and thus tends strongly toward scale degree 5. By raising scale degree 6 ...
... avoided. In the harmonic minor composite, the augmented second disrupts the otherwise smooth flow of half and whole-step motion in the melodic ascent. Furthermore, scale degree 6 in minor is a half-step away from scale degree 5 and thus tends strongly toward scale degree 5. By raising scale degree 6 ...
BEETHOVEN 9: ODE TO JOY The humanity of mankind revealed in
... At the end of July 1812, Beethoven met Goethe, under the organization of Bettina Brentano. These two great men admired each other, but didn’t understand each other. The composer found the poet too servile, and the poet last estimation was that Beethoven was “completely untamed.” Beethoven admired Go ...
... At the end of July 1812, Beethoven met Goethe, under the organization of Bettina Brentano. These two great men admired each other, but didn’t understand each other. The composer found the poet too servile, and the poet last estimation was that Beethoven was “completely untamed.” Beethoven admired Go ...
Lesson_CCC_-_The_Min..
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key. Liste ...
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key. Liste ...
Alois Hába`s Suite für vier Posaunen
... paying particular attention to tone centrality and tonic analogues. Example 3.5 shows the opening two measures of the first movement with each trombone part appearing on its own staff. Each part, then, represents an individual voice, which I refer to as the soprano, alto, tenor, and bass.9 The harmo ...
... paying particular attention to tone centrality and tonic analogues. Example 3.5 shows the opening two measures of the first movement with each trombone part appearing on its own staff. Each part, then, represents an individual voice, which I refer to as the soprano, alto, tenor, and bass.9 The harmo ...
Lesson_CCC_-_The_Min..
... V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a much stronger sense of resolution. The same would be true of a progression using VII instead of vii°. By borrowing the leading tone from the major scale, we have the same V and vii° triads in minor as w ...
... V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a much stronger sense of resolution. The same would be true of a progression using VII instead of vii°. By borrowing the leading tone from the major scale, we have the same V and vii° triads in minor as w ...
Lesson_CCC_-_The_Min..
... natural minor scale. However, because of its internal structure, the natural minor scale is not always able to perform important tonal functions. One of the most important characteristics of tonal music is the relationship between tonic and dominant. This relationship is weakened in minor because th ...
... natural minor scale. However, because of its internal structure, the natural minor scale is not always able to perform important tonal functions. One of the most important characteristics of tonal music is the relationship between tonic and dominant. This relationship is weakened in minor because th ...
Other Chords of the Major Key
... be used in succession, which results in parallel fifths. In the example below, the power chord is denoted by I5 which can be confused with the Tonic. Notice that the soprano approaches from a step above and the alto from a half step below. The tenor has a common tone and the bass is singing the root ...
... be used in succession, which results in parallel fifths. In the example below, the power chord is denoted by I5 which can be confused with the Tonic. Notice that the soprano approaches from a step above and the alto from a half step below. The tenor has a common tone and the bass is singing the root ...
- Kingston University Research Repository
... progressions is a tendency to end each phrase on a relatively straight forward tonallyrelated and consonant chord, which provides a resolution in tension. Each successive phrase ends with the following chords: Dim7/A; B7; CM7; Bb7; Bb9/13.The final chord of the movement is very Stravinskian in its r ...
... progressions is a tendency to end each phrase on a relatively straight forward tonallyrelated and consonant chord, which provides a resolution in tension. Each successive phrase ends with the following chords: Dim7/A; B7; CM7; Bb7; Bb9/13.The final chord of the movement is very Stravinskian in its r ...
Mozart PP - mshumanities
... (Austria's third largest city), Count Thun, announced a concert of Mozart's music. However, the situation was awkward because Mozart had no music prepared to play, and the concert was only four days away. Mozart wrote to his father: "As I have not a single symphony with me, I am writing a new one at ...
... (Austria's third largest city), Count Thun, announced a concert of Mozart's music. However, the situation was awkward because Mozart had no music prepared to play, and the concert was only four days away. Mozart wrote to his father: "As I have not a single symphony with me, I am writing a new one at ...
Lam_ku_0099D_14771_DATA_1 - KU ScholarWorks
... incorporated twentieth-century harmonies into traditional forms and into classical piano writing. This paper seeks to emphasize the advantages of his music for piano pedagogy. Chapter Two concentrates on the composer’s life, compositional style, contribution and rewards, and it includes a short list ...
... incorporated twentieth-century harmonies into traditional forms and into classical piano writing. This paper seeks to emphasize the advantages of his music for piano pedagogy. Chapter Two concentrates on the composer’s life, compositional style, contribution and rewards, and it includes a short list ...
Complete Appendices
... Repeat sign ( ] } ) Two vertical lines with two dots placed in front or after the lines, instructing the musician to repeat a section. Rest A symbol to represent a specific duration of silence. Rhythm The movement of music in time; the relative duration of sounds or silence. Roman numerals Roman num ...
... Repeat sign ( ] } ) Two vertical lines with two dots placed in front or after the lines, instructing the musician to repeat a section. Rest A symbol to represent a specific duration of silence. Rhythm The movement of music in time; the relative duration of sounds or silence. Roman numerals Roman num ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... Motives and Phrases A motive is a smallest identifiable music idea A motive can consist of a pitch pattern, a rhythmic pattern, or both Rhythm motives are easier to identify than pitch motives Best to use motive to refer only to those musical ideas that are “developed” A phrase is a relati ...
... Motives and Phrases A motive is a smallest identifiable music idea A motive can consist of a pitch pattern, a rhythmic pattern, or both Rhythm motives are easier to identify than pitch motives Best to use motive to refer only to those musical ideas that are “developed” A phrase is a relati ...
A master`s recital in flute - UNI ScholarWorks
... flutist’s virtuosic capabilities. The three central sections of the piece each begin with the flute stating, then embellishing an operatic theme. The first section is in triple meter and is the flute’s utterance of Carmen’s ominous fate motive, which portends Carmen’s death. Following the statement ...
... flutist’s virtuosic capabilities. The three central sections of the piece each begin with the flute stating, then embellishing an operatic theme. The first section is in triple meter and is the flute’s utterance of Carmen’s ominous fate motive, which portends Carmen’s death. Following the statement ...
Comparison between the
... In the 1750’s Haydn felt that homophony and polyphony were irreconcilable within the same movement, a notion suggested by some of his earlier quartets. However, he strove for a reconciliation of the 2 styles in his later compositions, in which rich contrapuntal lines enliven the essentially homophon ...
... In the 1750’s Haydn felt that homophony and polyphony were irreconcilable within the same movement, a notion suggested by some of his earlier quartets. However, he strove for a reconciliation of the 2 styles in his later compositions, in which rich contrapuntal lines enliven the essentially homophon ...
Concerto for Violin and Orchestra
... 1910 “Konzertstück” for violin consists of two movements played without pause; the first two movements of his Concerto for Violin (No. 1, Op. 26, 1866-68) are directly linked, also. The last few decades, as of this writing, have seen an increasing number of composers using the continuous form: Knuss ...
... 1910 “Konzertstück” for violin consists of two movements played without pause; the first two movements of his Concerto for Violin (No. 1, Op. 26, 1866-68) are directly linked, also. The last few decades, as of this writing, have seen an increasing number of composers using the continuous form: Knuss ...
- gst boces
... • A mysterious person showed up at Mozart’s door and asked him to write a Requiem. A requiem is a mass for the dead. If Mozart finished, he would be paid a large sum of money. Mozart began writing the requiem soon after, but became ill. This was due to overwork. He believed that he was writing for h ...
... • A mysterious person showed up at Mozart’s door and asked him to write a Requiem. A requiem is a mass for the dead. If Mozart finished, he would be paid a large sum of money. Mozart began writing the requiem soon after, but became ill. This was due to overwork. He believed that he was writing for h ...
Mozart`s Death
... illness, the great musician suffered a convulsion, lapsed into a coma and died. Mozart's death is believed to have been caused by rheumatic fever and kidney ...
... illness, the great musician suffered a convulsion, lapsed into a coma and died. Mozart's death is believed to have been caused by rheumatic fever and kidney ...
The Guitar Chord – An analysis of Alberto Ginastera use of the guitar
... is played either with open strings or with pressed strings. As previously mentioned, it is rare to find chords formed solely by open strings in the tonal repertoire (This use becomes more common in late romantic and modern repertoire, when some composers began to explore this peculiarity of the guit ...
... is played either with open strings or with pressed strings. As previously mentioned, it is rare to find chords formed solely by open strings in the tonal repertoire (This use becomes more common in late romantic and modern repertoire, when some composers began to explore this peculiarity of the guit ...
A Technical and Musical Approach to Rachmaninoff`s
... of compositional writing over previous works with a tendency to carry specific musical moods, often as character pieces. This is evident when comparing works such as the Prelude in C-sharp minor Op. 3/2 to the Preludes of Op. 23 and Op. 32 and ÉtudesTableaux, Op. 33 and Op. 39. Works from the third ...
... of compositional writing over previous works with a tendency to carry specific musical moods, often as character pieces. This is evident when comparing works such as the Prelude in C-sharp minor Op. 3/2 to the Preludes of Op. 23 and Op. 32 and ÉtudesTableaux, Op. 33 and Op. 39. Works from the third ...
FUNDAMENTAL HARMONY Chromatically
... • NB. In major keys, chord viio is also a naturally occurring diminished triad, so it too can be easily made into a diminished 7th chord. ...
... • NB. In major keys, chord viio is also a naturally occurring diminished triad, so it too can be easily made into a diminished 7th chord. ...
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.