Cesar Franck Writing Style

Cesar Franck Writing Style
CГ©sar Franck was one of the most sought–after and remarkable composers of the 19th century. Born in LiГЁge in 1822, Franck received his
musical instruction at the age of eight at LiГЁge Conservatoire. In 1834, he gave the first public concert in LiГЁge. 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. вЂЁIn 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.вЂЁFranck 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." вЂЁIn 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:вЂЁ"CГ©sar 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
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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 halfcadence, 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

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.

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

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 BourrГ©e is distinguished by melody and
bass notes played simultaneously on the upper and lower strings. McCartney adapted a segment of the BourrГ©e 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

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

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 MГјhlfeld'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 MГјhlfeld held his career with, frequently featured Brahms's
music at well known festivals in the area. Previous to meeting MГјhlfeld, Brahms had no interest in centering his writing onto the clarinet. He felt the ...
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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

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 more content on Helpwriting.net ...
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

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'smusic) and I feel this comes
across in his use of harmony. Through his diligent study and

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

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

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
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minant of C major) Bars 21–24D major (Dominant of G major) C2Bars 25–28G major Bars 29–30A minor (Relative minor of C major/Supertonic of G
major) Bar 31G major Bar 32A minor/G major Bars 33–34 (beat 2)G major D (codetta)Bars 34 (beat 3)–38G 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 43–48C major Bars 49 (beats 1–2)G major Bars 49 (beat 3)–51C major (with
chromatic notes) E1Bars 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)–56Leading to C minor Bars 57–59E flat major (relative major of C minor) E2Bars 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 E1Bars 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 пЃёs)–73C minor Bridge 1Bars 73–76 (beat 2)Chromatic scale passage leading to A flat
major A'''Bars 76 (beat 3)–83A 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)–100C
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)–110D flat major Bridge 2Bars 111–113 (beat 2)D flat major Bar 113 (beats 3–4)F

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

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 Helpwriting.net ...
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

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

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
| 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

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.

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 ... Show more content on Helpwriting.net ...
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

Analysis of BachВґs 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 Helpwriting.net ...
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

The Background Of L Arlesienne
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 themusic 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

Critical Analysis Of Schubert's ErlkпїЅnig
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 'ErlkГ¶nig'.
The purpose of this essay is to examine Schubert's lied, 'ErlkГ¶nig' 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."
'ErlkГ¶nig' 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 ErlkГ¶nig. 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, 'ErlkГ¶nig', 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

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... Show more content on Helpwriting.net ...
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

Program Note for L.Dip.A ANZCA
Toccata in FunkBradley 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 Helpwriting.net ...
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.

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 ErdГ¶dy 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 Helpwriting.net ...
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

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 content on Helpwriting.net ...
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,

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...
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

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
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

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
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

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

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 ...
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 Mozarthad 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

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
They are most commonly done on the diagonal. A glissade is very often performed just before a sautГ© 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 sautГ© 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 (

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 fГјhl'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

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.

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 themusic 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

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 Helpwriting.net ...
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,

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 ofItalian 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

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 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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