In music, the term note has two primary meanings:
A sign used in musical notation to represent the relative duration and pitch of a sound (♪, ♫);
A pitched sound itself.
Notes are the "atoms" of much written music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis.[1]
The term note can be used in both generic and specific senses: one might say either "the piece 'Happy Birthday to You' begins with two notes having the same pitch", or "the piece begins with two repetitions of the same note". In the former case, one uses note to refer to a specific musical event; in the latter, one uses the term to refer to a class of events sharing the same pitch. (See also: Key signature names and translations.)
In music, the term note has two primary meanings:
A sign used in musical notation to represent the relative duration and pitch of a sound (♪, ♫);
A pitched sound itself.
Notes are the "atoms" of much written music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis.[1]
The term note can be used in both generic and specific senses: one might say either "the piece 'Happy Birthday to You' begins with two notes having the same pitch", or "the piece begins with two repetitions of the same note". In the former case, one uses note to refer to a specific musical event; in the latter, one uses the term to refer to a class of events sharing the same pitch. (See also: Key signature names and translations.)
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AssignmentListen to the first movement of Beethovens Patheti.docxrock73
Assignment
Listen to the first movement of Beethoven's "Pathetique” Sonata, and give at least two examples of the composer writing extreme contrasting opposites in a musical element, as described in the reading guide.Just give a quick example, and a time stamp of where you heard the contrasting elements on the recording.
https://www.youtube.com/watch?v=c4JRKmYj_nE
(This is the link of the music)\
Here are some references if you want:
The Pathétique begins in C minor with an intense, slow introduction, dominated by an opening motive in dotted rhythm: long-short-long-short-long-long.
Slow introduction
0:00
This six-note idea seems to pose a series of unresolved questions as it is repeated on higher and higher pitch levels. The tragic mood is intensified by dissonant chords, sudden contrasts of dynamics and register, and pauses filled with expectancy. The slow introduction is integrated in imaginative and dramatic ways into the allegro that follows it.
The tension of the introduction is maintained in the allegro con brio, a breathless, fast movement in sonata form. The opening theme, in C minor, begins with a staccato idea that rapidly rises up a two-octave scale. It is accompanied by low broken octaves, the rapid alternation of two tones an octave apart.
First theme
1:41
Growing directly out of the opening theme is a bridge that is also built from a climbing staccato motive.
Bridge motive
1:57
This bridge motive has an important role later in the movement.
The contrasting second theme, which enters without a pause, is spun out of a short motive that is repeatedly shifted between low and high registers.
Second theme
2:08
This restless idea begins in E flat minor but then moves through different keys. The exposition is rounded off by several themes, including a high running passage and a return of the opening staccato idea in E flat major.
High running passage
2:53
The development section begins with a dramatic surprise: Beethoven brings back the opening bars of the slow introduction. This reappearance creates an enormous contrast of tempo, rhythm, and mood. After four bars of slow music, the fast tempo resumes as Beethoven combines two different ideas: the staccato bridge motive and a quickened version of the introduction motive. The introduction motive is presented in a rhythmically altered form: short-short-short-long-long.
Development
3:11
Bridge introduction motives combined
3:54
The bridge motive is then developed in the bass, played by the pianist’s left hand while the right hand plays high broken octaves. After several high accented notes, the brief development concludes with a running passage that leads down to the recapitulation.
For a while, the recapitulation runs its usual course as themes from the exposition are presented in the tonic key of C minor. But Beethoven has one more surprise for the coda—after a loud dissonant chord and a brief pause, he again brings back the opening of the slow introduction. This time the s ...
1. Music Phrases A musical phrase is similar to a sentence in gcareyshaunda
1.
Music Phrases:
A musical phrase is similar to a sentence in grammar. Using the
piano keyboard
: Now use the piano keyboard in SFSkids: Just use your “mouse” to play,
Twinkle, Twinkle Little Star
: This part is phrase (lower case letters are quicker, shorter notes, and upper case letters are longer notes.) Phrase (A): g, g, d, d, e, e, D c, c, b, b, a, a, G that’s phrase, A.
Continue with phrase
B
by playing the following d, d, c, c, b, b, A d, d, c, c, b, b, A, now play the (A) phrase again. The overall phrase form is ABA
Now play Old MacDonald’s Phrase A: C, C, C, G, A, A , GE, E, D, D, C: now repeat phrase A.
Phrase B:lower case letters are faster notes: g, g, C,C,C, g ,g, C,C,C c, c, C ,c, c, C, c, c, c, c, C,C : then back to Phrase A. This is a typical children’s or pop song phrase form of either phrase’s AABAor A B A.While the lyrics will be your friend simply because it doesn’t require any true music listening skills, you will improve your listening skills as this short course progresses. This may help you identify the music and not just the lyrics.
2.
Harmony:
Use the Harmonizer: click the blue square. Watch how the melody, by changing the harmony, can sound “happy”, sad when using minor scale harmony, creepy with certain types of chords. Play harmony viewer 1, 2, 3
3.
Harmony
: Click SFS and click square box Harmonizer. It plays same melody but either different scale or different chords for emotional content.
4. Then click harmony viewer and play No. 1, 2, 3
5. Now go to top of page again and find “Instrumentation” and try various combinations of the three given instruments. Some combinations sound good while others sound a bit odd or out of balance. Imagine a composer dealing with endless instrumental combinations for orchestra. Every beat and every measure is a carefully calculated adventure.
6. Next experiment with
Performalator.
7.
Compozerizer
is fun to fool with
8. Next, go to top again and find
Instruments of the orchestra.
It gives you a few, but not nearly all, instruments as a way to hear timbre or instrumental color.
Lastly you will work on
“Radio”
found at top of page. There are several “stations” 1 through 6 with various beginnings of music pieces. Below is a list the pieces for your ears from “Radio”. These are extremely short excerpts of listed works.
Click the square button:
Radio station 1:
Tchaikovsky, Scherzo features pizzicato or plucked strings and then find Bartok’s piece from Concerto for orchestra. This features two bassoons.
Radio station 2
: Prokofiev, Dance of the Knights,: Copland, Fanfare for the Common Man, Richard Strauss, Sunrise from “Also Sprach Zarathustra” and finally one of my favorite soft and “pretty classical works, Stravinsky, Rite of Spring.
Station 3:
Copland, Simple Gifts from his ballet. Simple gifts is a religious American, Shaker, song that Copland uses and writes variations to the piece.
Skip station 4 none
Station 5:
Zoltan Kodaly (Hunga ...
7. Nice Clarinet and woodwind Melody again Horns () join with strong down beats Flutes have trumpet line from earlier
8. Section B Flute Solo with accompanying woodwinds Nice gentle backgrounds behind the solo melody
9. Section B The Solo melody is repeated through the ensemble with a heart warming tone This section is very expressive and builds up to the climax of the returned flute solo end
10. Section A returns Clarinet melody returns followed by the woodwind entracnce, fanfare, repeated melody, and Horn downbeats ().
11. ENDING! Fanfare like in the intro to the song with entire ensemble, with horn countermelody Finale with melody, and horn lines
