Download Listening Log for Music Theory Lorna Spar 22 November 2013

Listening Log for Music Theory
Lorna Spar
22 November 2013
Introduction
The music written during the later Common Practice Period, 1800 to 1900, exemplifies
one of the main aspects of the concept of tonality, which is that tonic will always be stable and
strong throughout shifts to other keys. This is shown through the use of tonicizations and
modulations. Tonicizations are a form of secondary dominance chromatic material that gives
emphasis to what is coming after it. Modulations are similar to tonicizations, however, they
actually leave the current key and go to a closely related key. These modulations are defined by a
definitive cadence in the new key. Both of these are possible because of the greater pitch
vocabulary and chromaticism than the early Common Practice Period. During this period, a
greater variety of form concepts were being created and used.
The expansion of pitch vocabulary to include chromatic pitches along with the diatonic
pitches already in the keys is important because they are used to emphasize diatonic pitches.
Diatonic pitches in turn, emphasize tonic, which stabilizes the music. Chromatic pitches began to
be used in augmented sixth chords, altered dominances, and chromatic mediants in addition to
being used in tonicizations and modulations.
The texture of music is created by counterpoint, two or more individual lines that are
simultaneously moving independently of one another. These lines confirm the strength of tonic
and usually have a homophonic or heterophonic texture, while a few have areas of monophony.
There were a few compositions from this period that had a polyphonic texture, but this did not
become more common until after the Common Practice Period.
The majority of the sonorities found in late Common Practice Period music are diatonic
tertan triads or tetrads, but the greater range of pitch vocabulary allowed for chromatic chords.
These include augmented sixth chords, altered dominant chords, chromatic mediants, all of
which were used infrequently compared to the diatonic chords.
Time organization throughout the Common Practice Period was based on constant beats,
2, 3, or 4 per measure, in simple or compound time. The most strength belonged to the first beat,
with all other beats taking on differing degrees of strength. Pieces written during this time period
tend to change meter to distinguish sections of the piece, or stress certain musical themes.
Rhythm is also used to create stress in or between different voices. Triplets were used to divide
duple meters into three while duplets were used to divide triple meter into two.
Multiple of these musical elements can be observed in the following pieces, which also
reflect the composition and style of other works from the late Common Practice Period.
Siegfried Idyll
Richard Wagner (1813-1883)
Lima Symphony Orchestra, Crafton Beck
9 November 2013
Tonality:
The global key of Siegfried Idyll by Richard Wagner is E major. In this composition there
are multiple modulations that occur, including modulations to minor and major keys. However,
the composition modulates back to the global key for the conclusion of the piece. Siegfried Idyll
is in symphonic (or tone) poem form, which is a continuous movement that has been inspired by
a story, or extra-musical idea. The piece starts out with six measure phrases, and then changes
length through truncations and extensions.
Pitch Vocabulary:
One of the motives that occurred often was the downward movement of a fifth and then
stepwise motion back up to the note that was leapt down from. Throughout the piece chromatic
and non-diatonic pitches were used as non-chord tones as well as parts of chromatic material.
Musical Textures:
The texture of this composition is homophonic, with the lower voices accompanying the
melody within a similar rhythmic structure. Grace notes are used to provide interest to the line as
well as accents, staccatos, trills, pizzicatos, crescendos, and diminuendos.
Sonorities:
Dissonances are used in this piece as parts of chromatic material or non-chord tones and
often tend to resolve. However, not all of the dissonances in this piece resolve how they are
expected to.
Time Organization:
This composition begins in quadruple simple time and goes to triple simple time, and
then comes back to quadruple simple time. The tempo begins quietly moving and changes for
different sections of the piece, sometimes with the use of a fermata following a ritardando or
rallentando at the end of a section. Some triplets are used throughout the piece.
Symphony No. 4 in F Minor, op. 36
Andantino in modo di canźona (II)
Peter Illyich Tchaikovsky (1840-1893)
Lima Symphony Orchestra, Crafton Beck
9 November 2013
Tonality:
Symphony No. 4 in F Minor, op. 36, Andantino in modo di canźona by Peter Illyich
Tchaikovsky begins in the key of B-flat minor, modulates to its major dominant key, and then
returns to the global key. The piece’s final cadence ends on a minor subdominant chord. It is in
rounded binary form (A, B, A’) and has mainly eight measure phrases, although some are
different in length due to truncations and extensions.
Pitch Vocabulary:
The opening motive of the movement is repeated many times throughout the work and is
passed around among the different voices. The chromatic material that is used is part of nonchord tones, or chromatic material. This chromatic material includes the modulations that take
place, tonicizations, and borrowed chords.
Musical Textures:
The use of slurs mixed with accents and staccatos in the main motive that is repeated
throughout the movement provides interest to the line. The end of the B section goes from the
full ensemble to only the violin, viola, cornet in F, and the cello, which provides a different
sounding texture than the rest of the movement and section. There are also small solos
throughout the movement that add interest to the texture as well. The texture of this movement is
homophonic.
Sonorities:
Most of the dissonance written by Tchaikovsky in this movement resolves, but not all of
it. There are a few areas where the ensembles all plays three quarter notes on a major mediant
ninth chord before another chord.
Time Organization:
This movement is in duple simple time throughout the duration of the piece. The
beginning tempo is andantino in modo di canźona, which goes to a section of più mosso, a
ritardando, and then returns to the original tempo. In the B section there is a reoccurring
rhythmic pattern of a dotted eighth note, a sixteenth note, and then two eighth notes.
Symphony No. 4 in F Minor, op. 36
Scherzo Pizzicato Ostinato (III)
Peter Illyich Tchaikovsky (1840-1893)
Lima Symphony Orchestra, Crafton Beck
9 November 2013
Tonality:
The global key of Symphony No. 4 in F Minor, op. 36, Scherzo Pizzicato Ostinato
composed by Peter Illyich Tchaikovsky is F major. There is a modulation to the chromatic major
mediant key, A major, and then a modulation back to the global key of F major. The form is A,
B, C, A’ with mainly eight measure phrases. The movement ends on an F major chord, the tonic
of the global key.
Pitch Vocabulary:
There is a different motive for each section of this piece, with the motive of the A’
section being similar to the motive of the A section. Non-diatonic notes are used as non-chord
tones, and in chromatic material, such as modulations, tonicizations, and borrowed chords.
Musical Textures:
The main texture of this composition is homophonic, with small areas of monophony
when runs are passed from one instrument to another. In the B section there is some imitation of
the flute and oboe melody lines. The musical texture of the C-section sounds vastly different
from the A, B, and A’ sections. Solos on different instruments within the piece add to the texture
as well.
Sonorities:
Dissonance is used throughout the melody lines as many different types of non-chord
tones as well as in some of the harmonies used as well. Most of the dissonance that is written in
this piece resolves, or resolves to a different place than expected, but not all of it resolves.
Time Organization:
The meter of this movement is duple simple time, which remains throughout the whole
movement. The tempo begins at allegro, moves to meno mosso, and then returns to allegro.
Syncopation is used often, with either entrances on offbeats or sections where some of the
instruments only play on offbeats. Only eighth notes are played up until the A’ section where
sixteenth notes are added in the high winds. Sixteenth triplets are also added towards the end of
the movement.
Symphony No. 4 in F Minor, op. 36
Finale (IV)
Peter Illyich Tchaikovsky (1840-1893)
Lima Symphony Orchestra, Crafton Beck
9 November 2013
Tonality:
The global key of Symphony No. 4 in F Minor, op. 36, Finale by Peter Illyich
Tchaikovsky is F major. This piece has a modulation to a minor key, and then it returns to the
global key. The form of this piece is sonata form.
Pitch Vocabulary:
The opening motive is repeated a couple of times. There is repetition of the sixteenth note
runs that first occur towards the beginning of the piece. Chromatic notes are used as non-chord
tones and as part of chromatic material.
Musical Textures:
The main texture of this composition is homophonic, with small sections occurring when
the instruments are doing sixteenth note runs in octaves. There is also imitation between parts as
well as grace notes that are used.
Sonorities:
Most of the dissonance that is used in this movement in non-chord tones and chromatic
material is resolved, but there are some times when the dissonance is not resolved.
Time Organization:
The piece begins in quadruple simple meter, changes to triple simple meter, and then
changes back to quadruple simple meter. The tempo begins at allegro con fuoco, changes to
andante, ritardandos to a fermata, and then returns to the original tempo. A rhythmic pattern that
occurs often is a quarter note, dotted eighth note, sixteenth note, two eighth notes, and then a
quarter note.
Cantos de España, op. 52
Preludio-Asturias (Leyenda)
Isaac Albéniz (1860-1909)
Yemani Schneider, guitar
15 November 2013
Tonality:
The global key of Preludio-Asturias (Leyenda) from Cantos de España, op. 52 by Isaac
Albéniz is D major. The piece modulates to other major and minor keys, but returns and
concludes in D major. Throughout the work there are definitive authentic cadences.
Pitch Vocabulary:
The opening motive is repeated many times throughout the piece in the global and
modulated keys. Non-diatonic pitches are used as non-chord tones to provide interest in the line.
Musical Textures:
The texture of this work is homophonic, with multiple dynamics being utilized
throughout the piece. The rolled chords on the guitar also have a different sound and add to the
texture of the piece.
Sonorities:
There are many definitive authentic cadences and dominant to tonic motions throughout
the piece. The dissonances that are used are most often resolved.
Time Organization:
This piece is in single compound meter with constant eighth notes being played for a
majority of the piece. The rhythmic pattern of eighth note, a slurred sixteenth note triplet, four
sixteenth notes, and two eighth notes is repeated many times throughout the piece, as it is part of
the main motive of the piece.
Chansons Grises
“L’heure exquise”
Reynaldo Hahn (1874-1947)
Brittany Rhea, soprano, and Karen Miller, Piano
2 November 2013
“Fêtes galantes”
Reynaldo Hahn (1874-1947)
Brittany Rhea, soprano, and Karen Miller, Piano
2 November 2013
“A Chloris”
Reynaldo Hahn (1874-1947)
Brittany Rhea, soprano, and Karen Miller, Piano
2 November 2013
Tonality:
The global key of “L’heure exquise” from Chansons Grises by Reynaldo Hahn is B
major. The form of this piece is simple binary form. Its phrases tend to be four measures long,
although there are a few that are extended.
The global key of “Fêtes galantes” by Reynaldo Hahn is G major. Most of the phrases are
four measures in length, with a few that are extended. The form of this song is simple binary
form.
The global key of “A Chloris” by Reynaldo Hahn is A major with a modulation to a
minor key and then a return to the global key. This piece of music is made up of mostly four
measures phrases and is in simple binary form.
Pitch Vocabulary:
“L’heure exquise” does not have many chromatic pitches. The chromatic pitches that it
does have are used to give emphasis to what is coming up next or as non-chord tones. The piano
accompaniment is made up of a lot of broken chords in the right hand for most of the song.
“Fêtes galantes” has an opening piano motive that is repeated multiple times throughout
the piece. Non-diatonic pitches are used as part of chromatic material and as non-chord tones.
“A Chloris” has chromatic pitches that aid in the modulation to the minor key and back to
the global key as well as non-diatonic pitches used as non-chord tones. The opening piano
motive is repeated many times throughout the piece.
Musical Textures:
The texture of “L’heure exquise” is homophonic, with the piano accompanying and
supporting the vocalist. The texture is also tranquil and the volume of dynamics does not ever
reach forte, other than a few sforzandos in the piano accompaniment.
The texture of “Fêtes galantes” is homophonic with sforzandos on the ending chord of the
main piano motive. Grace notes, accents, and staccatos are used as well.
The texture of “A Chloris” is homophonic, tender, and expressive, crescendos and
diminuendos are used, but only to vary between piano and pianissimo.
Sonorities:
In “L’heure exquise” there are some alterations between submediant and tonic that are
showcased in the opening piano motive. The dissonances that are used in this piece are resolved.
In “Fêtes galantes” there is a harmonic progression of tonic, to a tonic six, to a super
perfect authentic cadence. The dissonances that Hahn has put into this work are resolved.
In “A Chloris” there is a harmonic progression that goes from dominant to the median,
back to dominant, and then arrives at tonic. Most of the dissonance that is used in this piece is
resolved, but not all.
Time Organization:
“L’heure exquise” is in duple compound meter, and there are a few duplets in the piece. It
begins tranquilly and then goes through a rallentando towards the end of the song, and ends on a
fermata.
“Fêtes galantes” begins in quadruple simple time and moves into triple simple, then duple
simple time, and then back to quadruple simple time through the main piano motive. This
happens multiple times during the song. This piece begins at an allegretto tempo, rallentandos,
returns to the original tempo, ritenutos into a fermata, and then returns to the original tempo.
“A Chloris” begins in quadruple simple meter and has short areas of duple simple meter
throughout the piece. Triplet sixteenth notes to an eighth note tied to a quarter note are part of the
reoccurring piano motive. The piece begins at a slow tempo, très lent, becomes expressionate,
and then returns to the original tempo.
“Das Verlassene Mägdlen”
Hugo Wolf (1860-1903)
Brittany Rhea, soprano and Karen Miller, piano
2 November 2013
Spanish Liederbuch
“In dem Schatten meiner locken”
Hugo Wolf (1860-1903)
Brittany Rhea, soprano and Karen Miller, piano
2 November 2013
“Auf ein altes bild”
Hugo Wolf (1860-1903)
Brittany Rhea, soprano and Karen Miller, piano
2 November 2013
Tonality:
The global key of “Das Verlassene Mägdlen” by Hugo Wolf is A minor. The first phrase
ends with a half cadence and the final cadence is a minor subdominant to tonic. The phrases are
mainly eight measures long, although some are truncated or extended.
The global key of “ In dem Schatten meiner locken” from Spanish Leiderbuch by Hugo
Wolf is E-flat major, with the final cadence being a half cadence. The phrases are mostly four or
eight measures long.
The global key of “Auf ein sltes bild” by Hugo Wolf is F-sharp minor with the first clear
cadence being a minor subdominant to a Picardy third. The next cadence in the piece is a half
cadence. The phrases tend to be four measures long.
Pitch Vocabulary:
In “Das Verlassene Mägdlen” the piano accompaniment has a few switches between bass
clef and treble clef in the left hand part. An interval that was important to the piece, and occurred
multiple times, was a leap downwards of a fifth from a chord tone to a chord tone. Non-diatonic
pitches were used as non-chord tones or as part of chromatic material.
In “In dem Schatten meiner locken” one of the most important and recurring interval is
the leap of a minor third downwards on the words “Ach nein”. When non-diatonic pitches were
used they were used as part of chromatic material, or as non-chord tones.
In “Auf ein altes bild” sections of the piano accompaniment alter between treble and bass
clef. Through chromatic material and non-chord tones non-diatonic pitches were used.
Musical Textures:
“Das Verlassene Mägden” has a homophonic texture with the piano accompaniment
supporting the vocalist. There is not much dynamic contrast, as the dynamic level varies between
pianissimo and piano.
The texture of “In dem Schatten meiner locken” is homophonic, with varying dynamic
levels, sforzandos and a ritardando used to add to the texture.
“Auf ein altes bild” has a homophonic texture and uses varying dynamic levels to add to
the texture and interest of the piece.
Sonorities:
In “Das Verlassene Mägden” not all the dissonance used is resolved, but most of it is.
Part of the ending harmonic progression of the piece is minor subdominant, cadental six-four,
dominant, minor subdominant, tonic, minor subdominant, tonic.
In “In dem Schatten Meiner locken” the majority of the dissonance that is used is
resolved. Some non-chord tones and chromatic material are used.
“Auf ein altes bild” uses non-diatonic pitches as part of chromatic material and as nonchord tones. Almost all of the dissonance heard is resolved.
Time Organization:
The meter for “Das Verlassene Mägden” is duple simple, with a frequently used rhythm
pattern in the piano accompaniment of quarter note, two eight notes, quarter note, two eighth
notes. It begins at the tempo of langsam, goes through a ritardando to a fermata, and then back to
the original tempo.
“In dem Schatten meiner locken” is in triple simple meter with an easy, tender tempo,
which slows down, and then returns to the beginning tempo.
The meter of “Auf ein altes bild” is quadruple simple with a tempo of langsam. At the
end of the piece there is a ritardando into a final fermata.
Romanze, F Major, op. 118, No. 5
Johannes Brahms (1833-1897)
Veronica Champa, piano
18 October 2013
Tonality:
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 rounded binary form. The final cadence is subdominant to tonic.
Pitch Vocabulary:
Non-diatonic pitches are used to form chromatic material, such as tonicizations and
modulations, as well as being non-chord tones. The melody of the B section is much clearer than
the melody of the A section because there is not as much going on in the other voices. The
melody of the A section is repeated with a few alterations in the A’ section.
Musical Textures:
The texture of this composition is homophonic, although sometimes there is more going
on in the counterpoint than other times. Crescendos and decrescendos are used throughout the
piece, usually paired together for a grow and fade effect. Trills and grace notes are also used to
add to the texture of the piece.
Sonorities:
Most of the dissonance in this piece is resolved, but not all of it gets to be resolved.
Chromatic pitches are used in modulations, tonicizations, as non-chord tones, and as other
chromatic material. There are authentic cadences and half cadences in the piece.
Time Organization:
This piece begins in triple simple meter, changes to cut time, and then changes back to
triple simple meter. The opening tempo is andante which passes through a ritardando and a
fermata before changing to allegretto grazioso, and then back to andante with a ritardando
through the last few measures.
Conclusions
These pieces that have been analyzed are similar to many other pieces in the Common
Practice Period. The elements that we have been analyzing in many of the pieces this semester in
regards to tonality, pitch vocabulary, musical textures, sonorities, and time organization make
their appearance in these compositions as well. The key signature written for the piece was the
global key, but sometimes the pieces modulated to different keys with the use of chromatic
material as indicated by the cadences. For example, Symphony No. 4 in F minor, op. 36, Finale
by Tchaikovsky modulates to and clearly cadences in a minor key before modulating back to the
global key and cadencing in the global key. Most of the pieces had a clear form, such as the
Romanze by Brahms and Symphony No. 4 in F minor, op. 36, Andantino in modo canźona by
Tchaikovsky, which were both in rounded binary form.
The main texture of the compositions analyzed was homophony, while a few had
areas of monophony. Chromatic materials were used as well as the use of non-diatonic pitches as
non-chord tones. About half of the compositions analyzed kept the same meter throughout the
piece while the rest changed meter at least once, if only for a short time before going back to the
opening meter. This served to emphasize what was currently going on in the music, or to show
the difference between movements. Composers often used repeating motives and rhythms, even
after modulating to stress certain musical themes or to emphasize different voices in the
ensemble. For example, the opening piano motives from “Fêtes galantes” and “A Chloris” by
Hahn, which repeat themselves throughout the rest of the piece.
The musical elements found in these analyzed compositions reflect the music of the late
Common Practice Period and foreshadow where the evolution of music was headed.