Bach's Influence on Chopin's Piano Sonata Op.35 No.2

The Piano Sonata Op.35 No.2, By Johann Sebastian Bach Essay
Macdonald believes in the individuality of the keys. Moreover, in the history of the keyboard music,
the work developed by Johann Sebastian Bach during the Baroque period entitled, The Well–
Tempered Clavier, is harmonically and musically substantial since he uses a pedagogical way to
state the individuality of each key signature; he demonstrates a preference for sharps rather than
flats. He chooses F sharp in both books of preludes and fugue. In the second movement of the Piano
Sonata Op.35 No.2, the Scherzo is written in the key of E flat minor. However, Chopin ends this
movement in the relative key with a G flat major chord. The key of G flat is closely related to the
Key of B flat minor as the relative key of E flat minor, which is the subdominant of B flat minor.
Musical Analysis and Performance Chopin wrote three piano sonatas: Sonata Op. 4 No. 1 in C
minor, Sonata Op. 35 No. 2 in B flat minor, and Sonata Op. 58 No. 3 in B minor. Scholars agree
with the idea that Chopin had a sort of appreciation for minor keys in this type of work. Also, these
sonatas are examples of Chopin's interest in the older tradition of the large forms. Chopin
demonstrated acceptance of the traditional concepts of the sonata form. For instance, he uses
double– bars and repeats marks at the close of the exposition. The Sonata Op.35, No. 2 in B flat
minor was composed in 1839 in France but, the third movement of this sonata was composed and
played separately in 1837. This sonata
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Cesar Franck Writing Style
César Franck was one of the most sought–after and remarkable composers of the 19th century. Born
in Liège in 1822, Franck received his musical instruction at the age of eight at Liège Conservatoire.
In 1834, he gave the first public concert in Liège. After moving to Paris in 1835, Frank entered the
Conservatoire where he studied counterpoint with Leborne and piano with Zimmermann. It was
during his student years at the Paris Conservatoire which Franck composed his first serious works,
three trios for piano, violin and cello, that foreshadows his late style music, concluding the early use
of cyclic form. In 1858, Franck was appointed as an organist at Sainte–Clotilde, which leads to his
combinations of organ techniques reflected in his late ... Show more content on Helpwriting.net ...
The chorale fulfilled the lack of 'cantabile' and sustained melody, the chorale served as the relieve
from the rush of the Prelude and lead to the Fugue. Franck gave to the Prelude Chorale et Fugue the
sense of being grounded in baroque practice. His inspirations were Bach, Beethoven's sonatas,
Schumann's Symphonic Etudes, and Liszt's Weinen Klagen variations. There is a close reflection of
Wagner's Parsifal in the melody of the chorale. The Prelude, Chorale, and Fugue, "in its basic ideas,
as well as their technical expression for the instrument...wielded a powerful influence over the rising
generation of composers in offering them a kind of ideal to follow, a complete expression of the
ideals that were opposed fundamentally to the superficial music then in popular favour." In d'Indy's
biography of his teacher, he tells us of Franck's sudden interest in the piano and how he came to
write the Prelude, Chorale, and Fugue: "César Franck, struck by the lack of serious works in this
style, set to work with a youthful fervour which belied his sixty years to try if he could not adapt the
old aesthetic forms to the new technique of the piano, a problem which could only be solved by
some considerable

Classical Music 's Influence On The Beatles
Classical Music 's Influence on the Beatles In this essay I am going to look at the way that classical,
in particular baroque, music has affected music of the 20th century. To do this I have chosen three
beatles songs and compared them directly to music by Bach and Beethoven. I hope to find many
correlations between the two pieces of music in each case. The first song I have chosen is the song
Blackbird. McCartney has claimed that the music was inspired by Bach 's Bouree in E minor, of
which he and George Harrison had learned to play at a young age. https://www.youtube.com/watch?
v=BrxZhWCAuQw https://www.youtube.com/watch?
v=APNI2CC0k6A&list=RDAPNI2CC0k6A&index=1 Blackbird – Bouree In E Minor (Bach)
Musically, the songs at first glance aren't that similar, for example the song Blackbird is majoritively
in a major key, whereas Bach's Bouree in E Minor, as named, is in a minor key. This is a seemingly
large difference but Blackbird is in G major and therefore the relative major key of E minor. The
two keys are very closely related and add to the similarities between the two pieces. The Bourrée is
distinguished by melody and bass notes played simultaneously on the upper and lower strings.
McCartney adapted a segment of the Bourrée and reharmonized it into the relative major key of G
as the opening of "Blackbird,". He then carried the musical idea throughout the song. This song also
makes use of baroque like counterpoint melodies. "Part of its structure is a particular

Richard Muhlfeld 's His Quintet For Clarinet, 2 Violins,...
In his Quintet for Clarinet, 2 Violins, Viola, and Cello Op. 115, Brahms creates an important and
influential work in the chamber music repertoire. By writing his Quintet for the specific clarinetist
Richard Mühlfeld's artistic brilliance, and by taking musical liberties with conventional forms and
expectations, Brahms crafts the intimacy and seriousness one has come to expect from chamber
music. Towards the end of his life, Brahms had intended on retiring from composing. Around 1891,
the Meiningen orchestra, with whom Richard Mühlfeld held his career with, frequently featured
Brahms's music at well known festivals in the area. Previous to meeting Mühlfeld, Brahms had no
interest in centering his writing onto the clarinet. He felt the ... Show more content on
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The Joachim Quartet concerts were known for being a major series performing strictly string
chamber music. Brahms had convinced Joachim with his manuscripts that the work was worthy of
the sacrifice of adding clarinet and piano to the series. The highly regarded reputation of the
Joachim concerts certainly allowed for the seriousness of the Quintet to be featured, for all of the
cleaver composition techniques Brahms employed were certainly appreciated by the intellectual
audiences the Quartet frequently attracted. The Quintet follows the general guidelines for form that
audiences of the time have come to expect from serious string chamber music pieces. The first
movement acts as a Sonata form with some unexpected variation, the second as a three–part song
form. The third and fourth movements begin to some unconventional practices. In the third, instead
of a scherzo movement in 3/4 time, we get a sonata allegro in 4/4 and 2/4 time. In the fourth, the
audience gets a theme and variations, but the tempo is considerably slower than what one would
normally expect from a concluding movement. In 1891, the only memorable clarinet quintet was
composed by Mozart. If one were to come into a performance of the Brahms Quintet with Mozart's
Quintet in mind, they would expect the clarinet to take the most important role, with the strings
accompanying more often than not. This is certainly not the case in Brahms's work, as the

Is The Mood Of The Song Here There And Everywhere By John...
"Yesterday." "Hey Jude." "Let It Be." Those are the songs that come to mind when thinking of Paul
McCartney's masterpieces with The Beatles. However, "Here, There and Everywhere," a beautiful
love song from the album Revolver, seems to go rather unnoticed. But one listen is all it takes to see
why John Lennon called it one of his favorite songs of The Beatles. The song's seemingly simple
tune and love lyrics hide subtle musical complexities that help give it a classic sound that endures
through time. "Here, There and Everywhere" has a fairly simple form: intro, verse, bridge, verse,
bridge, verse, outro. The form reflects the continual shifts in keys throughout the song from the
opening key of G major, to the prevalent "relative major to the parallel minor" key of B–flat major,
to the instrumental use of the parallel g minor, and to the occasional relative e minor1. Paul opens
the song with an 'intro' section, something that not many other preceding Beatles songs possessed.
This intro also commences the later key changes by shifting from the original G major key, to the
B–flat major key at the end of the two lines. The intro is followed by a series of verses and bridges.
The verses are generally in the key of G major, with short occasional ... Show more content on
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Because the song is in keys that are kind the ears and provides harmonies and melodies that yield a
rich yet calming sound, just the melody alone can withstand the test of time. The lyrics read like a
simple love poem and love ballads hardly change throughout time. Listening to this during the
1960s and listening to it now (purely musically, not influentially) will provide similar feelings of
love and devotion. It really is no wonder why it is a favorite among Paul McCartney, John Lennon,
and George Martin. I'm sure I'm not the only who feels the need to listen to this masterpiece here,
there, and

Critical Analysis Of Schubert's Erlk�nig
Franz Schubert was born in Vienna, Austria in 1797. Growing up Schubert learnt to play piano,
violin and viola. As well as being gifted with the ability of these instruments, his voice "earned him
admittance to the Imperial Chapel choir school." [2] This is where he developed his theory and
compositional ability. When Schubert passed away in 1828 he left behind "over 600 lieder (German
art songs), 9 symphonies, 15 string quartets, and hundreds of other different genres of pieces,
including operas, masses, and piano works." [3] one of these works is 'Erlkönig'.
The purpose of this essay is to examine Schubert's lied, 'Erlkönig' and evaluate how he portrayed
several distinct characters with the aid of musical elements and compositional devices. As well as
demonstrate, with findings through analysis and evaluation how "the interpretive responsibility in
Schubert's lied is equally shared between the voice and the piano."
'Erlkönig' is a lied, this is "a type of German song, especially of the Romantic period, typically for
solo voice with piano accompaniment." [4] This art song originates from a Danish Ballad called The
story of the Erlkönig. An art song is a piece that translates the mood and imagery of a poem for a
solo piano and voice into music, this was common for the Romantic period. Schubert's piano, voice
piece, 'Erlkönig', originated from a poem written by Johann Wolfgang von Goethe. This poem by
Goethe portrays a father riding through a storm, on horseback with his

Program Note for L.Dip.AANZCA
Toccata in Funk Bradley G. Eustace (b.1978) Moderate speed with energy Bradley Grant Eustace,
the son of Robert and Rita Eustace, was born in Cairne, Australia on July 12th, 1978. Eustace is an
Australian composer, arranger, publisher, and pianist who had been one of the nominees of the top
five in the Classical/Jazz section of the 2008 National Music Oz Awards. He started learning many
musical instruments in the age of 8 and he got his first Associate Diploma from Yamaha Music
Foundations when he was 15. In 1995, he won a MOST (Most Outstanding Student) scholarship in
the State of Queensland on bass clarinet. Then, he graduated as Diploma in Music Technology with
the Australian Guild of Music Education in 2001 and got the Master ... Show more content on
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He is known as a pianist, composer, and educator who graduated from University of Melbourne in
focus on music performance with title Bachelor of Music. Since he learnt piano in age 8, he began to
love improvising and he took music composition class when he was in college. He composed pieces
mostly for educating his students, to develop performance techniques and awareness of intelligent
design. As a proof of his dedication in educating people, his works are listed in Australian
examination syllabi and often heard in many music competitions, such as Theme and Deviations
(1990), A Gangster Suite (2003), Red Hot Rhapsodies (1997). Red Hot Rhapsodies is a suite that
consists of 3 folkish and virtuosic pieces composed for solo piano in 1997. It is like a sonata which
Transylvanian Romp as the first movement, Siesta as the second movement, and Jamaican Fumble
as the third movement. Transylvanian Romp starts in supertonic of C Major key and the actual key
reveals in the end of the piece. It has an irregular time signature 7/8. The articulation, legato and
staccato, shows the grouping of rhythm that always changes, such as 2+2+3, 2+3+2, 3+2+2, 3+4,
4+3. The form of this piece is free form but the first theme appears several times in many variations.
The melody of this piece is always moving forward without pause or stop.

Carter Burwell 's Impressionist Pieces
Carter Burwell:
In order to compare and contrast Claude Debussy's impressionist work from the 1800's to 20th
Century impressionist music, one can analyse composer Carter Burwell's impressionist pieces.
Carter Burwell was born in New York City on November 18, 1955. He graduated from King School
in Stamford, Connecticut and then studied animation and at Harvard College. In 1977, Burwell
graduated from Harvard and became a teaching assistant in the Harvard Electronic Music Studio and
a cartoonist for the Harvard Lampoon. He began to build up a career as a composer of film
soundtracks, creating a long working relationship with film makers the Coen Brothers and scoring
every film they have created. Burwell also composed film music for all of ... Show more content on
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Generally, the first and third sections (A) in ternary form are identically, however, it is common that
compared to the first section, the third section will contain further ornamentation. The second
section (B), tends to contrast dramatically with the first and third sections. Clair de Lune is also
extended by a coda which has been composed using material originating from the second section
(B). The piece mostly continues in the tonic, modulating only in bars 37 – 42. This means that the
sections are harmonically closed. The sections are as follows:
First section (A): Bar 1 – 26
Second Section (B): Bar 27 – 50
Third Section (A) + Coda: Bars 51 – 72
First Section Analysis:
Clair de Lune is in D flat major and begins with a tonic chord, excluding the tonic note. It is
introduced later on, where the median of the chord (F natural) is doubled. The right hand playing
chord I is supported by the left hand for the first four opening bars. This creates a chord–a–bar
harmonic rhythm. During these opening bars, the left hand slowly starts to descend while the
diatonic theme is played in the right hand. Debussy uses unconventional intervals, for example, G
flat and A (augmented second) in the first couple of bars. In bar 9, the introduction theme is
repeated, this time including some changes, such as harmonic substitutions and decorations. The F
and A flat interval is then reintroduced with ascending octaves. This phrase is then finished in bar
15,

Beethoven's Seventh Symphony Analysis
Symphony No. 7 in A Major (Op. 92), completed in 1812, might have been one of Ludwig Van
Beethoven's most popular pieces. The seventh of Beethoven's nine symphonies, its premiere concert
(December 1813 in Vienna) was performed at a charity concert in order to benefit the soldiers who
had been wounded a few months prior in the battle of Hanau. It was performed three times in ten
weeks following its premiere. During the time of the symphony's premiere, Vienna was still
distressed due to being taken over by Napoleon in 1805 and 1809 and yearning for victory; the
audience at the premiere seemed to have loved the energy and beauty of the piece. The Seventh
Symphony had been dedicated to both Count Moritz von Fries and Russian Empress Elisabeth ...
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The Seventh Symphony itself can and has been described in many words and fashions. It's
victorious, moving, energetic, powerful, and full of heart. The piece is known for its rhythmic
devices (such as dotted rhythm and repeated rhythmic figures) and the celebratory emotion to it, in
which makes listeners want to dance and burst into blissful joy. It involves four movements: 1. Poco
sostenuto – Vivace, 2. Allegretto, 3. Presto – Assai meno presto (trio), and 4. Finale, Allegro con
brio. The score includes two flutes, two oboes, two clarinets, two bassoons, two horns, two
trumpets, two drums (in which are tuned to A and E, except in the scherzo where they are in F and
A), and basses. The first movement is in A major, with repeated modulations between C major and F
major. The second movement also includes modulations (originally in A minor with switches to A
major) and the third movement is in F major. The first movement of Symphony No. 7 is noted for its
long ascending scales as well as its applied dominants relative to its C major and F major
modulations. The Introduction begins with a short A chord from the full orchestra. After eight bars,
the piece has briefly entered the key of F major already and is now accompanied by scales of two
octaves which begin softly, similar to the way a person creeps up and down a staircase. These scales
repeat, gradually becoming louder and more extravagant. The third theme

Franz Schubert
Life of Franz Schubert.
Franz Peter Schubert (Schubert) is one of the great Austrian composers in the Romantic era. He is
famous for songwriting, which he has written over 600 songs (Burkholder 598). He was born in
1797 in Himmelpfortgrund, the suburbs of Vienna, Austria with the great talent in music (Brown).
His father, Franz Theodor Schubert, was a schoolmaster and an amateur musician. Schubert's father
was teaching music to his own children by himself. Shubert started showing his great music talent
and won a scholarship to study music in a boarding school in Vienna. At the school, he had private
lessons from Antonio Salieri, a composer who is famous for his operas and kept taking lessons from
him even after Schubert left the school due ... Show more content on Helpwriting.net ...
The work consists of four movements, Allegro, Andante con moto, Scherzo, and Presto. The
subtitle, "Death and the Maiden" was named after his previous song work, which contains the same
themes as the string quartet. One of the unusual features of this string quartet is that the all
movements are written in minor keys while typical string quartets contain movements in both major
and minor keys. (It modulates into major keys but tonal centres stay in minor keys.) That must
reflect his feeling regarding his hopeless future because of the illness he contracted in the same year.
I chose the second movement of the string quartet to arrange since I found that unusual feature of
the key as stated above, while the second movement of typical string quartets tend to be written in
major key if the first movement is written in a minor key. Besides, the 2nd movement is written in
the form the variation by using the accompaniment of his previous song work "Death and the
Maiden"(Rothwell). Finally, I arrange the movement for piano solo because it would be to reach a
rather than a string quartet and I would like to show pieces that are written for other instruments to
people who don't have much opportunity to listen to classical chamber music at a

Music Analysis Bach Suite No. 3 in D Major Gavotte Essay
Analysis: Bach Suite No. 3 in D major
The instruments used in the piece are: * Trumpet 1 * Trumpet 2 * Trumpet 3 * Timpani * Oboe 1 *
Oboe 2 * Violin 1 * Violin 2 * Viola * Continuo – Harpsichord or Double Bass
Why this piece is typically baroque
This is piece is baroque as it includes many of the baroque characteristics: * Perfect Cadence!! – In
the concept Pitch, the perfect cadence is very obvious at the end of the sections and phrases –
change from the dominant to the tonic. * Duration – the rhythmic pattern heard at the start of each
gavotte, is reiterated many times throughout the piece. This also links to Pitch – the opening melody
of the piece is heard many times throughout ... Show more content on Helpwriting.net ...
The phrases are generally 8 beats long extending over 3 – the last two beats of the first bar and the
first two beats of the third bar( in the excerpt to the right).
Throughout Section A, there is no syncopation – all notes fall on the beat.
Texture – The texture is homophonic throughout the whole of Section A. There are three layers of
sound in the Section A. The first is the melody – played by the violins and trumpets. This is the layer
of sound which is most prominent throughout A. The second is the timpani and viola part. This is
the softest layer throughout the section. It provides harmony to the melody, using the notes of the D
major chord. The last layer is the continuo bass It provides accompaniment and bass.
The harmonic rhythm is not very steady as the chords only change in bars 7, 10 and 11. The chord
changes from D to A and then from A to E and E to A (shown in the musical excerpt). These chord
changes are changes from either the dominant to the tonic or the tonic to the dominant, showing the
typical barque chord changes.
Through adding trumpets, bars 1–3 and bars 5–7 are the densest of Section A. This highlights the
main repeated motif. Bars 3–5 and 7–11 are softer as these are the less important phrases of the
section.
Section A1 – bars 12–27
This Section is called A1, because it uses similar rhythms and pitch throughout the Section. The
structure of the section is however not the same to section A as there are various key changes

Essay on The keyboard sonatas of Haydn and Mozart
I. Haydn
Haydn has a special preference for writing music in a bundle of six. Each of the six pieces has its
individuality while sharing many common features at the same time. Haydn's solo keyboard sonatas
show striking diversity in type and style. They often could be categorized by their style periods and
each of them reflects a corresponding social background.
Sonatas composed from 1773 to 1784 were intended as "public" works from the very beginning,
with a clear conception of the taste, preferences, and instruments available to the musical public of
Vienna. The Sonata in F Major, Hob. XVI: 23; L38 written in 1773 for solo harpsichord is the best
known and most virtuosic of ... Show more content on Helpwriting.net ...
II. Mozart
Wolfgang Amadeus Mozart had endless ideas for writing piano sonatas and like his other works, his
sonata style has evolved dramatically over the years. His early works have been constantly
compared with other well–known composers at the time. For example, it has been suggested that
Haydn's F Major Sonata, Hob. XVI: 23 as a model for Mozart's K. 280 in the same key.
The C Major Sonata, K. 309 was written on November 8, 1777 for the fifteen–year–old Rosa
Connabich who was the daughter of the leader of the Elector Karl Theodor's famous Mannheim
orchestra, Christian Cannabich. It was composed for solo piano. The three movements include
Allegro con spirito, Andante un poco Adagio , and Rondo: Allegretto grazioso. The opening theme
of the first movement uses a symmetrical paragraph of fourteen bars with seven measures each. It is
followed by a pair of 3–bar balancing phrases. The slow movement also adapted the well balanced
phrase structure at its exposition. This particular style was never unusual to musicians during the
period. It has been used by many others including Josef Antonin Stepan whose Sonata no. 57 in E
flat embraced almost identical elements as in Mozart's C Major Sonata. However, Mozart made his
own mark distinctively in various moments. For instance, in the second movement, there was a
frequent alternation between two dynamics, piano and forte.
During 1777, Mozart was traveling with his mother

Differences Between Haydn And Mozart
In the late eighteenth century, most musicians made money from performing in churches, courts and
even cites. They also did compositions and teaching on commission. As attaining fame with the
public became a chief concern, the musician's composed materials that pleased everyone from
aficionados to the ones with little experience. During this era, two music specialists were known for
reaching a diverse audience with their excellent compositions that have come to epitomise the
classic period. No one did it better that Haydn and Mozart. Their music was outstanding; they
created music that was immediate with a profound and enduring appeal. Though their music was
exceptional, they illustrated differences in which specialised musicians work. (Nettl, ... Show more
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This is contrary to what Mozart was working on at this time. By choosing this kind of key, Mozart
illustrates a kind of deliberate conveyance of something diverse, emotional and moodier than past
concertos. According to Alfred Einstein; a German–American musicologist, he describes the
importance of different key signatures for Mozart. He says if G minor was the fatalistic key for
Mozart, then C minor was the dramatic one. The core differentiates the aggressive harmonies and
lyrical passages. He adds that the lyrical quality is usually outburst by the gloomy emotions. After
Mozart had established this furious and tempestuous mood through the use of this signature key, the
form of the piece remains to engender this unique departure from the previous piano concertos by
Mozart (Alfred Einstein, 1962) Typically, Mozart concertos start with dialogue like an interface
between the instrumentalist and also the orchestra; this can be not a similar with K491 wherever the
instrumentalist newer plays the initial four notes of the musical organisation introduction. The
exclusion of this dialogue at the start makes a lot of aggressive, foreboding sound. The previous
concertos did a back and forth sharing of themes at the beginning of the track. (Eva and Paul,

Mozart : The Aria In The Romantic Period
In this aria, the Queen demands for vengeance and the death of Sarastro. She expresses her fury and
longing for revenge. The aria is through–composed as there is no repetition. This is effective in
expressing the Queen's fury as the aria is an outpouring of emotions– there is no strict structure to it.
This is something different that Mozart did in the classical period. It brought in the use of the
through–composed form in the Romantic period. The melody is aggressive, with frequent use of
staccato. It is full of large leaps and jagged movement which successfully relays the intensity and
anger. Mozart also used coloratura(florid, elaborate vocal passages with heavy ornamentation) and
melismas to add to the turmoil of the piece. Music is vivace, a very fast tempo, with sweeping
flourishes and tremolos in the accompaniment. The strings play the tremolos aggressively, and the
full orchestra (winds and brass) is used for loud, punctuating chords. The vocal line is sharp and has
very precise rhythms. The instrumentation differs slightly from Queen of the Night Aria 1, as it
includes a trumpet and timpani. The oboe, flute, bassoon, horn, and string section all remain the
same. The strings accompany the vocal line, to strengthen the emotion in the lyrics, but also to help
the singer tune accurately on the higher notes. One example can be seen directly after the triplet
melisma, where the vocal line is about to go back into the staccato motif, so the motif is played the
bar

Musical Analysis Of Songs Without Words
Musical Analysis of "Songs Without Words, Op. 19, No. 3" by Felix Mendelssohn Felix
Mendelssohn composed "Songs Without Words, Op. 19, No. 3" during the Romantic Period. It is
known as a hunting song. The form of this song can be categorized as a rondo. This can be argued
because the A theme that begins at measure 5 reappears throughout the song about two times. It
comes back at measures 50 and 83. In between these A sections are a B section and a C section. The
B section starts in measure 29 and the C section starts at measure 67. Measures 1–5 are a short
introduction. The A section begins at the fourth beat of measure 5 and is in A major. The A section
ends in a half cadence, which is an E major chord. The B section, which starts on the fourth beat of
measure 29, is in C sharp natural minor. This is the relative minor of E major, which was the final
chord of the first A section. At measure 49, there is a modulation back to A major which leads into a
second A section beginning at measure 50. However, this A section is different mainly because the
melody appears in the left hand and the section ends in an imperfect authentic cadence instead of a
half cadence. This cadence is at the downbeat of measure 67, and there is no modulation to E major
this time. The C section begins at measure 67 and is in A major. This section acts more as a
transitional section that leads into a new statement of the main theme at measure 83. The final A
section restates the main theme one last

The Development of Harmony from Schumann through Brahms to...
The Development of Harmony from Schumann through Brahms to Debussy
In studying three composers, Schumann, Brahms and Debussy, it is possible through analysis, to
construct a Harmonic development through time – from early 1800's to early 1900's. I will go about
deducing a harmonic timeline by individually looking at each composer then will conclude with a
final comparison summarizing how different harmonic elements develop with the Romantic
Movement and its progression.
The harmonic journey will start with Schumann's Kinderszenen, or Scenes from Childhood. This is
a set of thirteen reminiscences of childhood, written during a temporary separation from Clara. They
are works about children, ... Show more content on Helpwriting.net ...
Bar 13 (and 14) also consists of a repeated perfect cadence in C major over a C pedal in the bass.
The use of pedal here is later magnified in many of Brahms' pieces, particularly in Rhapsody No.2.
In Schumann's "Frightening", in bar 21, the C major chord is followed by a tritonal harmonic leap
onto a sforzando dominant seventh chord of F–sharp major at beat 2. This chord, together with a
rising chromatic line heralds the return of the tonic key. Schumann has reinterpreted the chord of C
major as the Neapolitan chord (the flattened second) of b minor (the tonic), making the surprising
tritonal leap more logical than it initially seems. The original motivic material is presented exactly
as it occurred in bars 1–4 to provide an aesthetic harmonic balance to the piece. Textually,
Schumann's harmony strikingly contrasts the other pieces, for instance, there are often offbeat
semiquavers in the right hand creating a busier/more contrapuntal texture
The next harmonic platform is in the study of Brahms' devices and techniques in harmony and
texture. It is important to note that Brahms, in particular, led the strongest resistance to the more
extreme tendencies of musical Romanticism in general (as epitomised by Wagner's music) and I feel
this comes across in his use of harmony. Through his diligent study and

The Background Of LArlesienne
II. L'Arlesienne
Background of L'Arlesienne
L'Arlesienne is the incidental music written for Daudet's play 'L'Arlesienne'. L'Arlesienne is the
story of the young peasant, Frederi falls in love to the girl from Arles. Frederi tries to marry with the
girl from Arles, that he couldn't stop thinking about her after he met her. When Frederi and Vivette,
the girl he is marring by giving up the girl from Arles was walking, they saw girl from Alres walking
together with the other man. Because of this incident, Frederi remembers how much he loved her
and finally he commit the suicide by jumping off from the window. After he wrote the music for
play, he rearranged in to concerto orchestral suite. Bizet included two folksong, March of the King
and the ... Show more content on Helpwriting.net ...
The Danse dei Chivau–Frus appears in the final movement of Suite No.2. The melody taken from
Danse dei Chivau–Frus is described as theme B. The theme B begins on bar 21 in D major until bar
100, where theme B ends once. Theme B reappears from bar 117 to bar 124 in B major. It again
used on bar 141 in B major but modulate to ??? in bar 149 and it became D major on bar 175. On
bar 17 to bar 246 maintain the duple meter in 2/4. The movement begins in fast allegro dance–like
rhythm in ppp. Flute and clarinet play theme B in unison with the string accompaniment
emphasizing the down beat, making the strong feeling of two on bar 20 to bar 84. Strings are now
added to the melody and brass enters by playing bass in tremolo. Variations of instrumentations can
be seen from here. Tambourin keeps the eighth note whenever theme B is used. For example on bar
17, it emphasizes the first beat by putting an accent theret, which also makes the strong feeling of
two. String instruments keeps the first beet form bar 21 to bar 36, and from bar 37, horn, bassoon,
and low string instrument and violin alternatively play first and second beat, which makes more
duple feeling. Theme B2 gradually crescendo and on bar in ff, and again crescendo to be fff on bar
85. The string On bar 117 to 124 flutes plays the modulated melody in p. From bar 141 to 167, B1
repeatedly modulate with the crescendo, and on bar 168 to 174, transition is played in ff and it

Solomon 7 Stringed Instruments
'Solomon' by Hans Zimmer is performed by 7 stringed instruments including Violin I, Violin II,
Viola I, Viola II, Cello I, Cello II and Double Bass. Its 59 beats per minute with a total duration of
3minuets and 31 seconds. The rhythm consists of strung together minims and semibreves with no
change in C major. The time signature remains at 4/4 with the occasional change to 2/4. Appendix 1
– bars 15–21 of 'Solomon' by Hans Zimmer
As seen in Appendix 1 at bar 18 the second cellos begin and almost scale–like procedure up and
then back down the scale while the remainder of the instruments hold semibreves.5 Appendix 2 –
bars 22–28 of 'Solomon' by Hans Zimmer
The scale–like procedure is then also picked up by the first violins and the second ... Show more
content on Helpwriting.net ...
Both songs have an orchestral arrangement heavily featuring stringed instruments. All of the
composers for both of these songs (Hans Zimmer – Solomon, Mary J Blige and Thomas Newman –
The Living Proof) have used what they have seen on screen to create powerful and memorable
pieces to fit what has happened on screen. Both of these two songs are played during the ending
credits of their respective movies. The genre of songs in the soundtrack is also the same with 'The
Help' fitting into blues, soul, rhythm, and blues and rock and roll and '12 Years a Slave' fitting into
blues, rhythm, and blues and

The Overlooked Richness of the Recitatives of Bach's...
The Overlooked Richness of the Recitatives of Bach's Cantata 78
In "Expressivity in the Accompanied Recitatives of Bach's Cantatas," George J. Buelow writes that
although many of the distinguishing properties of Bach's music have been studied over the years,
few scholars have examined Bach's recitatives or have given them proper credit. He notes that these
recitatives generally either are ignored by musical scholarship or are briefly discussed with "general
errors" or "confusion." 1 For example, he cites Jack Westrup as stating that Bach's recitatives are
"basically an adaptation of the idioms of Italian opera" (19), and he mentions others who term them
"improvisatory" or unrelated to the text. Buelow asserts that "informed ... Show more content on
Helpwriting.net ...
Some of these instrumentally guided recitatives even contain arioso segments, melodious passages
that may seem out of place in a standard recitative. Two such recitatives that Buelow does not
mention are the intriguing movements 3 and 5 of Cantata No. 78. In the first of these two examples,
the arioso section lasts for the last four and a half bars of the piece and helps show the shift from the
sinner's inner monologue to an outward presentation of his grief to Christ. In the second, the arioso
spans the last dozen "andante" bars of the piece and illustrates a similar shift from the text's
discussion of Christ's strengthening of mankind through his suffering to an individual's placement of
his own suffering heart before Christ.
To most Baroque theorists, recitatives were simply a form of sung speech, an "oration in tones" (25).
Buelow points out that while Bach is a skilled rhetorician, he is also unusually sensitive to words in
his recitative style, finding "such a variety of musical and rhetorical means to express them," an
atypical accomplishment for the Baroque period (26). Buelow notes several approaches that Bach
takes to express his text as he looks in depth at a specific cantata. Cantata No. 78 reveals similar
trends, demonstrating Bach's expressivity through vocal and instrumental

The Third Movement Of Johann Sebastian Bach
Johann Sebastian Bach lived in Leipzig from 1723 until his death in 1750. In Leipzig, he was the
music director of the Collegium Musicum, which presented a series of evening concerts that brought
visitors and musical talent to the city. An example of the repertoire presented in these concerts
would be Bach's harpsichord concertos, which were arrangements of other concertos for different
instruments. According to Pankratz, these concertos (both for the original instrument and
harpsichord) were written with didactic purposes, meaning that they were supposed to help the
students improve their musical skills. Following Pankratz's idea of Bach being a music director with
instructive goals, this paper suggests that the third movement of the Harpsichord Concerto No.5 in F
minor, BWV 1056 by Johann Sebastian Bach is a prime example of his pedagogic influence in
Leipzig, represented by the constant interaction between the soloist and the ripieno. This is symbolic
of the teacher–student relation Bach had with the students, as he would often be the solo performer
in the evening concerts and the students would play the ripieno parts.
The interaction between the soloist and the ripieno comes in various forms: advanced counterpoint,
dynamics, dialogue, and/or harmonic changes. The work features three ritornello themes in which
we find all these interactions. The first theme (R1) is the main theme and it is four measures long.
The interaction is presented with the soloist simply playing

The Magic Flute Short Story
The Magic Flute is an opera with two acts by W.A. Mozart. The story of this opera begins with a
handsome prince, Tamino, is fighting with a serpent. Three ladies attendants of the Queen of Night
kill the serpent, save Tamino, and show him the portrait of the daughter of the Queen of Night,
princess Pamina. Tamino, instantly falls in love with Pamina. Tamino and the birdcatcher, Papageno,
leave to save Pamina, who was captured by Sarastro, the Queen of Night give them a magic flute
and a magic bell. With three boys' leading, Tamino arrives Sarastro's temple. An old priest tell
Tamino that Sarastro is not the evil man that told by the Queen of Night, and Pamina was entrusted
to Sarastro before her father's death because Pamina's father thinks that there were too many evil
things such as revenge in the Queen of Night's mind. Then, Tamino and Pamina embrace while their
first meet. To save the world, Tamino need to accomplish three challenges. Tamino passed the first
challenge by keeping ignore three ladies, who trying to frighten Tamino and Papageno and make
them speak. When Pamina want to talk with Tamino, he is during the second challenge which is
keeping silence. However, Pamina thinks that Tamino does not love her anymore, so she sing the
Aria, "Ach, ich fühl's, es ist verschwunden" (Ah, I feel it, it is vanished) with sorrow. Later, three
boys tell Pamina the truth, so she go for Tamino and claim to accomplish the rest of the challenge
with him. The happy ending of the

Music : Music Elements Were Analyzed And Understood
Janice Jacob
Language of Music
Concert analysis
This semester various music elements were analyzed and understood. Through the usage of various
musical elements each piece was able to express the composer's emotions and ideas. The first
concert that was attended was composed of classical compositions. It was called: solo and chamber
concert. The second concert or performance I attended was Pinocchio. In these concerts various
instruments were used to play and express the piece. In addition, singers had their voices
accompanied by the piano.
The first two pieces were very short. The first piece that was played in the concert was Zart und mit
Ausdruck by Schumann Fantasiestucke. In this movement there was constant triplet–rhythm
accompaniment in the piano. The rhythm supported the clarinet. The piece consisted was in A minor
and moved to arpeggio. However, the piece returns to A minor, but the final harmonic shift is in A
major. The second piece was called Voi, che sapete andit was composed by Mozart. The story
behind this piece was about a girl being in love. The beginning of piece starts off with a piano that is
playing in B flat. The piece had a happy melody. When analyzing the text of piece the music seemed
to accompany the words well. The happy melody expressed the mood in the atmosphere. It was
sound balanced and symmetrical because they are frequently made up of two phrases of the same
length. The only non–chordal tones are chromatic passing tones. Mozart builds up

Analysis of Bach´s Work Essay
Before actually going into the analysis of the actual piece itself, background information would be
helpful. The composition was written by Bach, and it is part of the sonatas and partitas for solo
violin. For this example, Partita II in d minor, movement I, Allemanda, will be discussed.
Allemanda, sometimes spelled allemande, derives from German and simply means "dance." While
there are various tempos used, this movement is usually fast, around 120 beats per minute. Strip all
the decorations and ornaments, and there is a straight–forward analysis. The piece begins and ends
in D, cadencing to tonic. There is an A halfway in between, creating a half cadence. In order words,
this can be easily be called a I–V–I, just like any other piece. ... Show more content on
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With numerous rhythms to choose from, along with a wide assortment of notes, it makes much more
sense why that G–sharp is longer than that note or why this D is only one sixteenth note. Breaking
down each rhythmical pattern will create better understanding as to why some passages have more
emphasis than others. The four 16th pattern will start. Because they are the most frequent out of any
other rhythm type, it makes logical sense they are the star of the show. It is the milk when making a
strawberry smoothie. Without the milk, it would fall apart. Milk is the base that holds everything
together, like glue. The four 16th notes are the cohesion that binds the piece into a solid entity. A
milkshake would not be defined as a milkshake without the milk. It even has the word "milk" in it.
This highlights the importance of its significance. Substituting milk might work, but it diminishes
the effects of the creation. The second rhythm pattern is the one 16th/two 32nd/two 16th. What is
the difference between the first pattern and this one? This one has two 32nd notes. Both own three
16th notes, so that one distinction is the only idea that makes it different. One clean might seem
trivial, but it establishes a notable contrast. They are the strawberries when making a strawberry
smoothie. They become second in command in terms of importance of the smoothie. It would make
sense the smoothie tastes of strawberry, does

Gretchen Am Spinnrade
Gretchen Am Spinnrade Franz Schubert composed the German Lieder, Gretchen Am Spinnrade, in
1814. This composition is one of Schubert's pinnacle compositions, which introduced the world to
the idea of the Romantic Lied, veering away from the already existing Classical Lied. Observing the
form, rhythmic structure, key modulations and dynamics with relation to the text, Schubert paints a
beautiful emotional drama for the listener allowing them to dive into the thoughts and emotions the
woman, Gretchen, is experiencing while longing for her lover, Faust. Gretchen Am Spinnrade is a
modified strophic composition in a seven–part rondo form – ABACADA. The A sections could be
interpreted as the 'reality' that Gretchen is faced with, and ... Show more content on Helpwriting.net
...
Shifting our focus back to the key modulations, the A section returns once we reach m 73. The D
section begins in m 85 just as it did in the C section with a dominant 7th chord preceded by its key
modulation, so Bb major 7 to Eb major to C major 7 to F major to D major 7 to g minor to E major 7
to A major in mm 85–92. The A section finally makes a return yet again in m 114 to finish off the
piece in d minor. Dynamics play a critical role in this lied to help bring across even more meaning
within the lyrics. Looking at the beginning A section, it utilizes a crescendo from the beginning
pianissimo in m 6, which then decrescendos with each word repeat "I'll find it, never more' and
completely decrescendos by m 11. The B section, which starts at m 13, raises the volume to mezzo
forte by m18 even though the wording describes a 'silent grave', as if she's begging to break free of
this silent grave that she claims to be trapped in. Then, in m22 there is a crescendo with 'and my
poor head' and in m27 'by thoughts of him'. This leads into a decrescendo in m 28 when describing
'who has my heart'. The return of the A section in m 31 uses a bit different dynamics. This time,
rather than having a decrescendo in "I'll find it, I'll find it never, never more" a crescendo is utilized
on both 'I'll find it' expressions. Forte is then

Analysis Of Helft Mir Ihr Schwestern
"Helft mir, ihr Schwestern" is song number five from Robert Schumann's song cycle Frauenliebe
und –leben. The song cycle was set to the text of a poem cycle of the same name by Adelbert von
Chamisso. Each poem in the cycle provides a glimpse into the story of a woman falling in love with
a man, getting engaged and married to him, getting pregnant and having a child, becoming a widow
and finally sharing her life story with her granddaughter. At the time that Schumann wrote this song
cycle, he was going through a legal battle with his future wife's father over the right to marry her.
This poem cycle contains themes of love, devotion, and longing that Schumann could personally
relate with his feelings for Clara Wieck, who would soon become Clara Schumann. In this essay, I
will demonstrate how Frauenliebe und–leben is directly reflective of Robert Schumann's own life
experiences. In so doing, I will be analyzing the ways in which Schumann set the music in a fashion
that emphasized the structure and emotional content of the poetry. In order to better understand the
context of Robert Schuman's setting of "Helft mir, ihr Schwestern," I will first provide a general
analysis of the song cycle as a whole. As Schumann set music to the various poems, he shifted the
tonality to closely related keys, such as a fourth or fifth away, or shifting the relative or parallel
major and minor keys. These shifts in tonality help emphasis the emotional development of the main
character of the poems. The song cycle begins with a relatively slow and reflective song in the key
of Bb major, where the main subject of the poem cycle first describes her feelings of intense, blind
love for a man. The next song shifts the tonal center up a fourth to the key of Eb. In this song, the
woman raises the man of her affection up on a pedestal of high praise, while she demeans herself to
a lowly maid. Song three, moves the tonality to the relative minor of the previous song, C minor.
This song is about the woman's disbelief that the man she adored so highly has fallen in love with
her, and Schumann reflects that disbelief by making the music more erratic in tempo. He also
emphasizes the disbelief by repeating the complete last stanza and then the

A Study on Mozart
Mozart's String Quartet No.6 in Bb Major K.159 3 has a classic rondo form that includes several
repeated parts punctuated by lively interludes in keeping with its allegro grazioso tempo. Using
repetition throughout the composition enables symmetry, but the piece is not perfectly symmetrical
either. The form resolves itself via a reinterpretation of the central, key section. That thematic
section starts the piece, but it does not end the piece. The coda is a completely different phrase from
the main theme, but in its key tonic element. The opening eight bars can be considered the central
phrase and theme, if not the "chorus" of the string quartet. This thematic element anchors the ear and
provides a foundation and structure for the entire composition. The opening eight bars are repeated
when they first appear when opening the string quartet, setting the tone of the piece for the first
sixteen bars. The thematic element is also repeated in the third cluster. Thus, the first three of the
piece's fourteen clusters forms a sort of chapter. From there on in, the eight–bar thematic segment is
played only in singular, rather than being repeated. Even without the repetition, the theme remains
cohesive. Mozart embeds a remarkable amount of symmetry and structure into this string quartet.
The first section after the first thematic element consists of four distinct segments or phrases of four
bars each. Likewise, the second section after the thematic element also consists of four

Brahm's Intermezzo No.3, Op.119 in C Major Analysis
9/29/12
MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
Volume 13, Number 3, September 2007 Copyright © 2007 Society for Music Theory
Adam Ricci*
The Progress of a Motive in Brahms's Intermezzo op. 119, no. 3*
ABSTRACT: Brahms's Intermezzo op. 119, no. 3 is structured around a motive with two
components–one melodic, one harmonic–that operate sometimes separately and sometimes together.
The global harmonic trajectory of the piece is embodied in the combination of these two
components; local harmonic motion proceeds through an expanded LR–cycle, with periodic short
cuts from one zone of the cycle to another. The A section unfolds a double–tonic complex while
introducing chromatic pitch classes in ... Show more content on Helpwriting.net ...
In this first appearance, the descending third is minor. Moreover, the total pitch–class content of the
progression in its first appearance is diatonic.
www.mtosmt.org/issues/mto.07.13.3/mto.07.13.3.ricci.html (click to enlarge)
Example 1. The Form
Example 2. The Two Components of the Motive
(click to enlarge)
1/10
9/29/12
MTO 13.3: Ricci, The Progress of a Motive in Brahms 's Intermezzo op. 119, no. 3
[7] The melodic cell and harmonic progression–J and DOWN–THIRD–UP–FIFTH– sometimes
occur independently, but for the most part interact to create a larger unit. This larger unit, given at
the bottom of Example 2, is the motive of my title.(8) Again, the fact that the motive is exclusively
diatonic is significant, because it makes the chromatic pitch classes especially salient. [8] The

opening of the piece animates the motive by repeating and varying the duration of J while
arpeggiating the chords of DOWN–THIRD–UP–FIFTH. Example 3 annotates the melody of m. 1
through the downbeat of m. 3, which fuses together three Js.(9) By fusing together three Js and
altering the duration of the final pitch of each J (the durations are , , and , for the three occurrences,
respectively), Brahms creates a symmetrical rhythmic structure.(10) The dots below the staff
indicate metric position: two dots indicate a strong beat, one dot a weak beat.(11) The first J starts
on a strong beat and concludes on a weak beat. The third J starts on a weak beat and

Analysis Of The Song ' My Beloved Is Mine '
In Canticle I, composed by Benjamin Britten, the song has been praised for its beautiful composition
to its seventeenth–century poem by Francis Quarles, entitled "My beloved is mine". Britten has
written this song for a "high voice", with no specific type of a voice. Thus, this song could be sung
by a tenor or a mezzo, although often times by a tenor. The poem, derived from the Song of
Solomon, has seven stanzas in all. However, Britten has omitted the fourth stanza and combined the
first and the second, and the last two stanzas to make a four–movement song of this poem. This
poem is unique in a sense that at the end of each stanza (with the exception of one), this poem
concludes with "So I my best–beloved's am; so he is mine." Although the poem is said to be adapted
from the Song of Solomon and thus the bible, Britten chose this specific poem to represent his
personal relationship with the pianist who accompanied this very song, Peter Pears. In this paper, I
will be looking at each movement carefully and how the text relates to the music Britten has
composed. This song is clearly divided into four movements, along with the poem. The first
movement is entitled Andante alla barcarola, and by definition, is a folk song sung by Venetian
gondoliers. This movement contains the first two stanzas of the poem, and right away, we see the
symbolism within the music by Britten. This first stanza specifically discusses of the metaphor of
two streams (people) coming together to be one.

Summary Of Prokofiev 's Harmonic And Key Relations
Prokofiev's Harmonic Idiosyncrasies and Key Relations in the Classical Symphony Prokofiev's
Classical Symphony is, oddly enough, one of his few pieces to garner much theoretical and
musicological interest. However, much of it seems to be misguided at best and more likely missing
the point altogether. This is not to say that everyone is wrong, to the contrary, most folks are not, the
problem is that the theorist and musicologist cannot seem to get on the same page. The enduring
question is not, as most would see it, whether or not the Classical Symphony is in fact "classical" (or
for that matter, if it is a symphony at all–some have stated that it is more of a divertimento) but
rather why it is so infectiously hip and so absolutely ... Show more content on Helpwriting.net ...
Richard Bass, however, does seem to understand Prokofiev's language, even though he does not
write about the first movement of the Classical Symphony. He describes Prokofiev 's language as
chromatic displacement. I describe it the way a jazz musician might, which is sidestepping, but it is
really the same thing. Malcom Brown rails against Prokofiev for his shoe–horned return to the tonic
in the second half of the primary theme, yet that is what makes the whole phrase work. That is what
made it Prokofiev's and no one elses. This detour, by half step or whole step is the underlying modus
operandi for much of Prokofiev 's melodic ideas. We hear it in Peter and the Wolf, in the 5th
symphony Scherzo, in Mercutio, from Romeo and Juliet, and we hear it in the first twenty seconds
of the Classical Symphony. So with that in mind, I will be analysing Prokofiev 's Classical
Symphony through the lense of harmonic variance, and occasionally rhythmic variance, since
harmonic weight and hypermeter are so often entwined. I will discuss, along with the basic formal
structure of each movement, Prokofiev's unique harmonic language as sussed out in the classical
style. The opening bars of the first movement is a Mannheim Rocket, straight out of the classical
world of Haydn. This leads immediately into the first theme, in the key of D major. All is well and
good until the first theme repeats, but this time down a whole step to C major. I–bVII is

Joseph Hayden's String Band Essay
Joseph Haydn was one of the most acclaimed composers of the Classical Era. Known as the father
of the string quartet, he has created music that is withstanding the test of time and only becoming
more eminent in today's choice of literature. Hayden's String Quartet in C Major, Op. 74, No. 1,
Movement III, is one of so many that deserve a closer look and a keen eye to decipher. The use of
elements such as balance, harmonic closure, form and modulations are easy to look over at first
glance. However, through active listening and chord analysis, it becomes easier to absorb the
material and thoroughly appreciate the masterpiece. While looking at the bigger picture, we can see
that the overall form of the piece is ternary with smaller binary sections within. The entire beginning
Menuetto section can be considered an 'A' section, which would make the Trio the 'B' section. This
is considered ternary because after both sections have been completed, the A section is repeated
once again (without its' internal repeats) and ends on a strong tonic cadence without continuing on
to the B section. The A section contains a binary form in itself. This is easily visible with the use of
repeat signs from measure 1–14 (a) and then signifies b from measures 15–60 (also the end of A).
Although beginning material is repeated in this b section, in measures 32–39, Hayden takes the
piece elsewhere with a small scale tonicization of a bVI chord and continuing on in a different
manner than a.

Essay General Knowledge
Rondo Op.51 No.1 in C major by Beethoven Rondo: a musical form characterized by a repeated
theme that alternate with other themes Opus: a number given chronologically order the works of a
composer This rondo was composed between 1796 and 1797. About the composer and period:
Beethoven, Ludwig van (1770–1827) Period: Classical (1750–1820)/early Romantic (about
1820/30s–1910) Nationality: German Contemporaries: Haydn, Mozart, Clementi Works included:
32 piano sonatas (including the 'Pathetique'; the 'Moonlight'; the 'Appassionata'); bagatelles, 6
sonatinas 9 symphonies – including the 'Eroica' (3rd); 'Pastoral' (6th); the 'Choral' (9th) chamber
music – including 9 piano trios, 5 cello and piano sonatas ... Show more content on Helpwriting.net
...
minant of C major) Bars 21–24 D major (Dominant of G major) C2 Bars 25–28 G major Bars 29–30
A minor (Relative minor of C major/Supertonic of G major) Bar 31 G major Bar 32 A minor/G
major Bars 33–34 (beat 2) G major D (codetta) Bars 34 (beat 3)–38 G major F# diminished 7 in bars
35, 37 Bars 39–43 (beat 2) A hint of C minor (Tonic minor of C major) A'' Bars 43–48 C major Bars
49 (beats 1–2) G major Bars 49 (beat 3)–51 C major (with chromatic notes) E1 Bars 52–54 (beat 2)
C minor (Tonic minor of C major) Bars 54 (beat 3)–55 (beat 2) F minor (Subdominant of C minor)
Bars 55 (beat 3)–56 Leading to C minor Bars 57–59 E flat major (relative major of C minor) E2
Bars 60–63 E flat major Bar 64 A hint of F minor Bar 65 A hint of G minor Bars 66–67 (beat 2) C
minor E1 Bars 67 (beat 3)–69 (beat 2) C minor Bars 69 (beat 3)–70 (beat 1) F minor Bars 70 (beat
2)–71 (beat 2) C minor Bars 71 (beat 3)–72 (beat 1) F minor Bars 72 (beat 1 s)–73 C minor Bridge
1 Bars 73–76 (beat 2) Chromatic scale passage leading to A flat major A''' Bars 76 (beat 3)–83 A flat
major Bar 83 (beats 3–4) Leading to C minor (Dominant) B' Bars 84–92 (beat 2) C minor A''' Bars
92 (beat 3)–100 C major B'' Bars 100 (beat 3)–105 (beat 2) C major (with chromatic notes) A'''' Bars
105 (beat 3)–106 (beat 2) C major Bars 106 (beat 3)–107 (beat 2) C minor Bars 107 (beat 3)–110 D
flat major Bridge 2 Bars 111–113 (beat 2) D flat major Bar 113 (beats 3–4) F

Chopin Prelude No 15 Essay
Chopin's Prelude No. 15 for Solo Piano Hey guys, welcome to my blog! Today, I'll be sharing with
you guys one of my favourite pieces by romantic composer, Chopin, Prelude No 15, or more
commonly known as Raindrop. Frederic Chopin's Prelude No 15, also known as Raindrop, is one of
Chopin's 24 preludes. His preludes were written between 1835 and 1839 and were published in
1839. Chopin's preludes were arranged in a circle of fifths, with each major key being followed by
its relative minor. In comparison, Bach's collection of fugues and preludes, known as 'The Well
Tempered Clavier' was arranged according to keys, each one a semitone higher. This is why some
believe Chopin intended the preludes to be played in a single performance as a continuous ... Show
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The rubato is a common device used by both romantic and classical composers and is used for
emotional expression. The rubato is played spontaneously and cannot be calculated. This again
highlights the individualism and freedom given to performers in the romantic era. The piece is slow
and is sustained. The music slows down in bar 81. The piece slows down with a ritenuto in bar 88
and ends with a

Concert Review Of 'Planet Of The Apes'
After a brief intermission, the orchestra played Planet of the Apes. This started off with an
immediate ominous timbre set by the double bass playing an ostinato consisting of eighth notes with
quarter note rests. The timpani then played a rhythm consisting of quarter notes and eighth notes. A
few bars later, the horns play a melodic line consisting of whole notes in small intervals. This idea is
built upon for some time until the rhythm of the underlying ostinato is changed to consist of notes
with a much faster duration, and other brass instruments join in to play a separate melody overtop.
Upper woodwinds add ornamentation with trills in a descending scale pattern while the brass play
an augmented version of the previous melody. This idea continues to develop until a change in the ...
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This started with a theremin playing notes of a long duration and large intervals. Underneath this,
double bass and cello played crescendoing eighth note–sixteenth note ostinatos that pushed the
phrase forward. As more instruments joined in, the dynamic gradually increased, and tension was
being created. Later, the theremin melody made an entry once more. The choir then started singing
"ahs" overtop starting with short duration notes that served as accents, then shifting to a more
connected melody, then shifting once more to shorter duration notes with major seventh intervals.
The intensity of the piece builds up later through the addition of more instruments. Each instrument
plays a counter melody which fits well with other sections. The strict rhythm in each melody allows
it to also sound like a machine, similar to what was happening in Charlie and the Chocolate Factory.
The instrumentation for this piece was also perfect, as the theremin has a very unique sound that fits
with the science fiction genre, and therefor the movie. Despite the length of the piece being short
compared to the rest of the program, it was still very

Analysis of Haydn's String Quartet: Op. 76, No. 4 Essay...
Analysis of Haydn's String Quartet: Op. 76, No. 4, in B–flat Major "Sunrise"
Haydn composed his Op. 74 quartets in the later years of his life between 1796 and 1797 and it was
the last of his completed string quartets. The set of quartets were dedicated to the Hungarian Count
Joseph Erdödy and were published in 1799. It was said that this selection of quartets was one of his
"most ambitious chamber works" with his attempt of "emphasizing thematic continuity, seamlessly
and continually passing motifs from one instrument to another" 1. The fourth of these quartets is
nicknamed "Sunrise". This is due to the exquisite rising theme heard in the first violin part at the
beginning of the first movement from bar one to bar four as seen in Figure ... Show more content on
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Instead of the dotted crotchet followed by a quaver phrase, it has now been modified to become a
quaver then a crotchet followed by a quaver as seen in Figure 4. Haydn most likely did this to
emphasise the
forzando he wrote on the first quaver of the bar. Bar sixty shows the introduction of one last new
motif in the exposition. It is first heard in all the parts halfway through bar sixty and is made up of
four quavers with a quaver rest between each of the notes. Sometimes this motif starts on the beat or
off the beat and in some occasions during this movement both the on the beat and off the beat motifs
are played together creating the sense that continuous quavers are being played, this first occurs at
bar sixty, another example of when this occurs can be seen later in the development. This concludes
all of the motifs that appear in the exposition. The development starts very similarly to the
exposition with the first violin part once again playing the sunrise theme with the only differences
being the distribution of the motifs 'x' and 'y' (The opening sunrise theme of the exposition was in
the order of motif 'y–x–x' then 'x–x–y' compared to the opening
sunrise theme of the development which is 'y–y–x' then 'x–x–x–x') and the fact the second melodic
phrase of the sunrise theme is one bar longer. The development then continues again similarly to

Glissade Research Paper
Le Glissade
The Glissade is a part of common Ballet choreography. It is a move that allows dancers to transport
themselves through time and music. This move thrills the body and its instruments are the legs.
While sitting in our seats what we see is grace. Music is playing and people are moving graciously
to the beat. When we first look at it, it seems like this is an easy move because of how effortlessly
the dancers move. However, by carefully watching dancers, we realize that this is a complex move
that requires planning, quick thinking, rhythm and control of the body. On the stage, what unfolds is
a wonderful story full of grace, strength and meaning for life and nature. The glissade is an image of
serenity, peace and happiness. Happiness ... Show more content on Helpwriting.net ...
They are most commonly done on the diagonal. A glissade is very often performed just before a
sauté chat, a cabriole and many other big jumps. As a travelling move, this move`s starting point is
in fifth position in a demi–plie. Therefore, the dancers begin with bent legs.The working leg reaches
about 20 degree off the floor, the dancer pushes off the supporting foot and extends it to the side.
Then both leg are straightened. As, one leg moves into the air with its foot pointed, the weight of the
dancer is shifted to the other leg. For a moment, the dancer is in the air with both legs and feet fully
stretched and pointed. For a moment, the dancer is in the air with both legs and feet fully stretched
and pointed as if in a sauté in second position. The other leg then moves quickly to meet the other.
The working leg then lands on the floor as the supporting leg (in the air already) quickly closes into
fifth position. The dancer then lands in fifth position again with their knees bent. This moves can be
done to move forward, backward, dessous ( under) and dessus (

So What Analysis Miles Davis
'So What' Miles Davis Solo Analysis
Miles Davis' solo is very minimalistic mainly using crotchet and quaver rhythms throughout with
the occasional triplet or semiquaver grace note. For the A sections of the first chorus he bases
phrases around the minor pentatonic scale. He develops his opening motif (bar 2 of A1) in bar 4–7
returning to the root (E) in between each ascending then descending phrase going up to the 7th (D)
in the final variation of the motif. The phrase lengths are irregular; Davis generally uses shorter
phrases in the E minor Sections taking a vertical approach to the improvisation then uses longer
phrases in the contrasting F minor section where he takes a more horizontal approach. In A1 of the
second chorus Davis' ... Show more content on Helpwriting.net ...
Davis uses his opening phrase, an upbeat crotchet followed by another 3 crotchets, at the start of
both choruses and continues to use the 3 crotchet pattern throughout the solo for example bar 7 of
A2 in chorus 1. He also uses the pair of quavers starting or ending a phrase motif from 'So What'
throughout this solo for example bar 7 of A1 chorus 1. From the start of this solo Davis' makes use
of the upper extensions starting on the 9th (E) of the D minor chord. He tends to start the majority of
phrases on the 4th of the chord being played at the time and also emphasises the 6th at the end of
some phrases (bar 7, A1 in chorus 1) using the F# over an A minor chord. In general phrases last for
about 2 bars although the phrase lengths increase during the middle of the solo. One of the standout
melodic phrases is the partly chromatic semiquaver/triplet run in bar 7, A1 in the second chorus
followed by the repeated triplet pattern in the following bar. This phrase contrasts with the rest of
the solo and adds variation and excitement whilst moving the solo forwards. Davis uses triplet
scalic/chromatic runs in order to emphasise notes at the start of phrases for example, bar 8 of A1 in
section 1 where the runs leads to the G which emphasises the use of the 11th over the D minor
chord. Miles Davis also uses ghost notes in this solo (bar 6 of A2 chorus) in order to vary the
dynamic levels

Analysis Of Claude Debussy's ' Preludes '
Claude Debussy was a leading composer of the early 20th century known for his impressionistic
style and use of non–traditional scales and tonalities as well as chromaticism. Debussy's Book of
Preludes is some of his most well–known and last works for solo piano. Prelude 10, titled "Canope"
in his Book of Preludes No. 2 was composed in 1913. It is meant to depict an ancient Egyptian city
and Egyptian burial urns. Although only thirty–three measures long, and melodically and
rhythmically simple, this piece is harmonically complex and dauntingly beautiful. Several small
sections make up the form of this piece. By comparing each section based on musical elements such
as melody, harmony, rhythm, and texture, and by analyzing elements of 20th century music, such as
pitch centricity and reference collections, we will have a better understanding of this work and how
it tells the story of an ancient world.
The piece is written at a slow tempo and has a meter of 4/4 throughout. It has a soft and small
dynamic range, moving between pianissimo and piano, and a light texture. The piece is written with
three staves in order to clarify and neaten Debussy's notation. The piece has a B–flat in the key
signature, suggesting D minor. The piece mainly centers around the pitch D.
"Canope" could be considered in ternary form, with section A (mm. 1–7), B (mm. 7–26) and section
A' (mm. 26–33). It mostly follows an additive process in which motives are not developed, but
instead placed side–by–side.

Yellow River Piano Concerto
The Yellow River Piano Concerto Xian Xinghai * Xian was born in 1905 in Pungu in China. * He
joined the communist party in 1938 where he composed the Yellow River Cantata. * The Yellow
River was considered by the Chinese as the cradle of China's civilisation and its sorrow. * The
cantata was an eight movement work for chorus orchestra and soloists with narration in between.
Yellow River Cantata * The cantata aimed to express the troubles of the people who lived on the
banks of the Yellow River who had to battle against flooding and the Japanese invaders. * The piece
was composed in four days. * It made use of traditional folk melodies as well as using western
techniques (Xian studied abroad). * Each ... Show more content on Helpwriting.net ...
| D | 55–59 | 52 crotchet beats per minute, piu moso, modulates to G minor (relative minor) | E | 60–
66 | 69 crotchet beats per minute, B flat major, rit. | Coda | 67–73 | 88 crotchet beats per minute, rit–
pause on final note, B flat major. | Characteristics of Movement 2 * The opening of 'March of the
Volunteer' is used twice by horn 1/trumpet 1 in bars 61–64. 'March of the Volunteers' is the Chinese
national anthem and was a revolutionary anti–Japanese song. * Mostly Composed in B flat major. *
Apart from the restatement of the opening 16 bar melody, only tiny snatches of material are
subsequently repeated. * The phrase structure is unusual with changes between 3/4 and 4/4 apart
from bars 1–9 and 17–25. There is little use of conventional question and answer phrases. * The
orchestra mostly accompanies the piano which plays a figuration based on the underlying harmony.
* There are textures for orchestra alone at bars 1–15 and 67–73 and for the piano solo at bars 17–23
and 27–30. * The movement is slow and is lyrical in nature with ballad like melodies. * There is the
use of a B flat pentatonic scale (B flat, C, D, F and G). * The movement was heavily influenced by
the romantic period (Tchaikovsky and Rachmaninoff) * The movement matches the second
movement of the Yellow River Cantata and depicts the image of travelling down the river.
Movement 3 Analysis Section | Bar

The Expansive First Movement From Schubert 's Rosamunde
The expansive first movement from Schubert's "Rosamunde" quartet is an odyssey in which the
principal melody, first heard in A minor, sets out on an epic quest for the attainment of A major. Laid
out in a straight forward Sonata Form, the Primary theme appears as a triple period, with the last of
the three phrases being in A major. The violent cadence in m. 32 dramatically switches the mode
back into a menacing A minor, completely forfeiting the three tries in which the Primary theme so
yearningly made to establish itself in A major. In looking through the movement, not only are there
an abundance of sudden and violent cadences, but sudden and violent cadences that abruptly alter
the direction in which the movement was seemingly ... Show more content on Helpwriting.net ...
33, and make their final appearance in m. 270 as a pick–up gesture to the closing material of the
Recapitulation before the Coda. Otherwise, this triplet figure features strongly in the more flurried
parts of the movement, namely in the transitional material of the Primary theme and the transitional
material of the Secondary theme. They are conspicuously missing from areas of relative passivity,
such as the main thematic areas of both the Primary and Secondary themes. Enigmatically, the
triplet figure does not feature in the Development. It is possible to see that this triplet figure features
most prominently in areas that are highly unstable. Beginning right after the cataclysmic A minor
chord in m. 32, the triplet figure first appears in m. 33 as just a tail of the cadence, as if it were
turbulence caused by the suddenness of the cadence. It appears again shortly after another strong
cadence in D minor (down one step in the circle of fifths), again as an after–thought. The triplet
figure returns again, this time with full force and intention in m. 44, acting as both the motor–
rhythmic element as well as a linear underpinning in a sequence of the descending circle of fifths.
The figure disappears in m. 56 into eighth–notes through rhythmic augmentation, just as the the
movement reaches the Medial Caesura. The triplet figure is then absent for the next ten measures,
where an antecedent–consequent structure forms

Bach's Influence on Chopin's Piano Sonata Op.35 No.2

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Bach's Influence on Chopin's Piano Sonata Op.35 No.2