A Topical Survey of Nineteenth-Century Music
... diminution, hemiola, and rhythmic foreshortening. A Classical sonata-form exposition concludes by resolving tension created by the modulation, but here, aggressive timpani strikes and violent downbeats on rests destabilize the ending (mm. 124–31). This sense of instability intensifies in the develop ...
... diminution, hemiola, and rhythmic foreshortening. A Classical sonata-form exposition concludes by resolving tension created by the modulation, but here, aggressive timpani strikes and violent downbeats on rests destabilize the ending (mm. 124–31). This sense of instability intensifies in the develop ...
d0e076ad
... Brahms’s Compositions • Brahms also wrote a great deal of work for small forces. His many works of chamber music form part of the core of this repertoire, as does his solo piano music. Brahms is also considered to be among the greatest of composers of lieder, of which he wrote about 200. • Brahms n ...
... Brahms’s Compositions • Brahms also wrote a great deal of work for small forces. His many works of chamber music form part of the core of this repertoire, as does his solo piano music. Brahms is also considered to be among the greatest of composers of lieder, of which he wrote about 200. • Brahms n ...
A meeting with Horowitz - Geoffrey Douglas Madge
... retaining an impetus or impulse moment within the phrase. The ability to let this impetus continue over a complete phrase (a pianistic releasing of the breath) during a series of measures before a new impulse moment was made, the pillars and arches of musical architecture. This can be studied in a n ...
... retaining an impetus or impulse moment within the phrase. The ability to let this impetus continue over a complete phrase (a pianistic releasing of the breath) during a series of measures before a new impulse moment was made, the pillars and arches of musical architecture. This can be studied in a n ...
Tonal Harmony Chapter 1 Elements of Pitch
... Natural minor scale is like a major scale with lowered 3rd, 6th, 7th Harmonic minor scale can be thought of as natural minor with a raised 7th, or as major with lowered 3rd and 6th Melodic minor scale (ascending) is like natural minor with a raised 6th and 7th Melodic minor scale (descending ...
... Natural minor scale is like a major scale with lowered 3rd, 6th, 7th Harmonic minor scale can be thought of as natural minor with a raised 7th, or as major with lowered 3rd and 6th Melodic minor scale (ascending) is like natural minor with a raised 6th and 7th Melodic minor scale (descending ...
The 23 Greatest Solo Piano Works
... years of keyboard music, and in 24 lectures, it will give you the knowledge and insight to enjoy and appreciate the stunningly diverse literature of piano music. In addition to the study of the music, the course digs deeply into the artistic and social environments that shaped the music itself, shed ...
... years of keyboard music, and in 24 lectures, it will give you the knowledge and insight to enjoy and appreciate the stunningly diverse literature of piano music. In addition to the study of the music, the course digs deeply into the artistic and social environments that shaped the music itself, shed ...
The Baroque 1/4
... Progressions involving roots rising a 3rd, e.g., I – iii Weak progressions: The consecutives rule The most difficult progressions to handle are those that rise or fall by step. There is a danger of consecutive fifths and octaves, so there has to be some contrary motion. The rule of no consecutives r ...
... Progressions involving roots rising a 3rd, e.g., I – iii Weak progressions: The consecutives rule The most difficult progressions to handle are those that rise or fall by step. There is a danger of consecutive fifths and octaves, so there has to be some contrary motion. The rule of no consecutives r ...
187KB - NZQA
... although the dynamic level is the same, it is less dramatic both because of the instrumentation (strings only) and because the staccato articulation of the countermelody is more delicate. ...
... although the dynamic level is the same, it is less dramatic both because of the instrumentation (strings only) and because the staccato articulation of the countermelody is more delicate. ...
Musical Scales and Tonality - University of Toronto Scarborough
... • Although there is potentially a large set, we don’t actually use the entire set • Octave equivalence – repeat “notes” with 2:1 frequency ratio ...
... • Although there is potentially a large set, we don’t actually use the entire set • Octave equivalence – repeat “notes” with 2:1 frequency ratio ...
Introduction to Pieces by Marc`Antonio Negri
... While all the songs in Negri’s first book of Affetti amorosi, which appeared in partbooks, are for three voices and basso continuo, the second book is a one-volume edition; it contains 16 pieces for solo voice (the last one is by his pupil Lucia Quinciani) and three for two voices, as well as three ...
... While all the songs in Negri’s first book of Affetti amorosi, which appeared in partbooks, are for three voices and basso continuo, the second book is a one-volume edition; it contains 16 pieces for solo voice (the last one is by his pupil Lucia Quinciani) and three for two voices, as well as three ...
PACOTE 7.indd - Portal de Periódicos da UnB
... thirty years.1 Shortly after its premiere, Ginastera’s first piano sonata was incorporated into the standard piano repertory, becoming one of his most widely performed works. With respect to the musical language used in this sonata, Ginastera asserts rather abstractly: “the composer does not employ ...
... thirty years.1 Shortly after its premiere, Ginastera’s first piano sonata was incorporated into the standard piano repertory, becoming one of his most widely performed works. With respect to the musical language used in this sonata, Ginastera asserts rather abstractly: “the composer does not employ ...
KMBB Lecture 8
... social hierarchy of comedy (low, middle, high) and the notions of parody and wit. Return, too, to the idea of defeat of expectation, showing if this still has explanatory value. [Class to complete this slide: ...
... social hierarchy of comedy (low, middle, high) and the notions of parody and wit. Return, too, to the idea of defeat of expectation, showing if this still has explanatory value. [Class to complete this slide: ...
English Notes - Chandos Records
... groupings of five quavers in the left hand. The direction Moderato semplice at the head of the Intermezzo in A minor, Op. 76 No. 7 belies the formal conundrum of this forty-six bar piece, which is anything but simple. Although the outward ABA form is conventional and unmistakable, the oddity lies in ...
... groupings of five quavers in the left hand. The direction Moderato semplice at the head of the Intermezzo in A minor, Op. 76 No. 7 belies the formal conundrum of this forty-six bar piece, which is anything but simple. Although the outward ABA form is conventional and unmistakable, the oddity lies in ...
Chamber Music America
... American Academy in Rome, on December 14, 1936. Although the original last movement was ready in time for the performance, Barber was so uneasy about it that he immediately set about revising it. The three movements of the original version are in conventional forms: the first, a sonata, the second a ...
... American Academy in Rome, on December 14, 1936. Although the original last movement was ready in time for the performance, Barber was so uneasy about it that he immediately set about revising it. The three movements of the original version are in conventional forms: the first, a sonata, the second a ...
Chromaticism II: Tonicization/Modulation
... that lie entirely within a new key. Modulation generally employs two features: the cadential establishment of the new key; and a subsequent re-start in that new key. In music where cadential confirmation is less likely (e.g., many development sections, and much 19th-century music), modulation can be ...
... that lie entirely within a new key. Modulation generally employs two features: the cadential establishment of the new key; and a subsequent re-start in that new key. In music where cadential confirmation is less likely (e.g., many development sections, and much 19th-century music), modulation can be ...
Beethoven, Haydn, Mozart - Contact
... Accademia Filarmonica. A highlight of the Italian journey, which is now an almost legendary tale, occurred when he heard Gregorio Allegri's Miserere once in performance, then wrote it out in its entirety from memory, only returning a second time to correct minor errors. ...
... Accademia Filarmonica. A highlight of the Italian journey, which is now an almost legendary tale, occurred when he heard Gregorio Allegri's Miserere once in performance, then wrote it out in its entirety from memory, only returning a second time to correct minor errors. ...
Kris Curtis
... Baroque concerto, but also infuses sonata-allegro form to guide the path of thematic material that is tied to the tonal organization. The tonal organization comes from the Baroque concerto except for the “development” section that incorporates several modulations. Occasionally there are times when c ...
... Baroque concerto, but also infuses sonata-allegro form to guide the path of thematic material that is tied to the tonal organization. The tonal organization comes from the Baroque concerto except for the “development” section that incorporates several modulations. Occasionally there are times when c ...
Stephanie Reusch Paper 2 Composers use several types of non
... Mozart splits the development of this piece into 3 separate sections. He derives the first section from TR, this time in C major, and again tries to modulate to F. However, a dominant 7th chord in F is enharmonically equivalent to a German 6/5 chord in E, so Mozart ends the first section by modulati ...
... Mozart splits the development of this piece into 3 separate sections. He derives the first section from TR, this time in C major, and again tries to modulate to F. However, a dominant 7th chord in F is enharmonically equivalent to a German 6/5 chord in E, so Mozart ends the first section by modulati ...
Music Fundamentals Primer Lesson 2 – Scales and Key Signatures
... A scale is a collection of pitches that is used in a particular section of music. For convenience, scales are typically written as ascending seconds (whole steps and half steps) from a low note to a high note that shares the same letter name and is one octave higher. Basic diatonic scales have seven ...
... A scale is a collection of pitches that is used in a particular section of music. For convenience, scales are typically written as ascending seconds (whole steps and half steps) from a low note to a high note that shares the same letter name and is one octave higher. Basic diatonic scales have seven ...
cadences - UT School of Music
... music). Some cadences are more conclusive than others; some cadences are final—they signal the end of a part of music—and some are non-final—they are temporary resting points. In all of music, there are four basic kinds of cadences: Final Cadences Authentic Plagal ...
... music). Some cadences are more conclusive than others; some cadences are final—they signal the end of a part of music—and some are non-final—they are temporary resting points. In all of music, there are four basic kinds of cadences: Final Cadences Authentic Plagal ...
Pitch, tonality, and the missing fundamentals of music cognition
... Minor: 3rd and 6th scale degrees are lower than expected Is this static (lower-arousal) negativity? sad, solemn, gloomy, ...
... Minor: 3rd and 6th scale degrees are lower than expected Is this static (lower-arousal) negativity? sad, solemn, gloomy, ...
Carl Maria Von Weber and Cadenzas
... cadenza is coined and used in much too general of cases. An example of one of these general cases might be Carl 8aermann's ·cadenza," which has more qualities of an Eingang than a cadenza. There is no modulation throughout the passage like there would be in a cadenza, and it ends on a dominant 7th c ...
... cadenza is coined and used in much too general of cases. An example of one of these general cases might be Carl 8aermann's ·cadenza," which has more qualities of an Eingang than a cadenza. There is no modulation throughout the passage like there would be in a cadenza, and it ends on a dominant 7th c ...
joseph haydn - Patty Oeste
... • Haydn met the younger Mozart in the early 1780s and they became close friends. • Of Mozart Haydn said, “This I know: Mozart is the greatest composer the world possesses now.” • Haydn became immensely popular all over Europe. • In 1790, after the death of the Prince, Haydn was free to go to London ...
... • Haydn met the younger Mozart in the early 1780s and they became close friends. • Of Mozart Haydn said, “This I know: Mozart is the greatest composer the world possesses now.” • Haydn became immensely popular all over Europe. • In 1790, after the death of the Prince, Haydn was free to go to London ...
jon Nakamatsu - Harmonia Mundi
... vivid description of his artistry: ‘(Brahms) belonged to that racial [sic] school of playing which begins its phrases well, ends them well, and leaves plenty of space between the end of one and the beginning of another; and yet joins them without any hiatus . . .’ ‘Like Beethoven, he was most partic ...
... vivid description of his artistry: ‘(Brahms) belonged to that racial [sic] school of playing which begins its phrases well, ends them well, and leaves plenty of space between the end of one and the beginning of another; and yet joins them without any hiatus . . .’ ‘Like Beethoven, he was most partic ...
Lesson_SSS_-_Diatoni..
... than the previous one: i – iv – VII – III – VI – iio – V – i. (Some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here, the sequence traverses an entire cycle of descending fifths, from tonic back to tonic. This is common—particularly wi ...
... than the previous one: i – iv – VII – III – VI – iio – V – i. (Some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here, the sequence traverses an entire cycle of descending fifths, from tonic back to tonic. This is common—particularly wi ...
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.