This analysis looks at two compositions. One resembles a through-composed work and the other a modern song form. The analysis of both pieces aims to illustrate that whilst there are similarities between the two compositions, the musical development of both pieces occurs in very different ways structurally. PIECE ONE This work is very minimalist in its treatment of content and this informs the structure. One interpretation could be that this is an organic piece, which begins with an introduction of four bars then three development sections each 16 bars long. Each new section brings new musical materials that expand and progress the work. Starting with one unison note and developing to multi layers, textures, melodic and harmonic fullness and a gradual crescendo in dynamics from a very calm pianissimo to a very triumphant fortissimo. …show more content…
The four bar introduction contains one note sung in unison by what sounds like many synthesized voices produced by a MIDI choir. There is no apparent rhythm to this note but upon closer observation an undulating pulse seems to be gestating. This sung pedal note, present for the entirety of the work, underpins the tonal centre of F. The first eight bar section, after the introduction, continues the monophonic texture as the new layer, the acoustic piano, plays the same note in unison. Rather than a long sustained note it is a pulsating quarter note ostinato adding corporeality to the work. Against this pulsating single piano note a synthesized sounding woodwind layer announces a melancholic motif. The motif falling from the flattened 6th (D flat) to the dominant (C) and then the flattened 7th (E flat) to the dominant strengthens the tonal centre. The motif, now in the foreground of a homophonic work, not only changes the simple nature of the monophonic texture but adds a complexity to the constant rhythmic pulse. The gesture of this layer provides a shift away from the metronomic quarter note. The motif sounds just before the beat, not in a harsh or accentuated syncopation, almost as if it is outside of the constraints of metre. See the Example 1 below. EXAMPLE 1: Beginning section 2 motif against piano pulse The tonality is sounding like a melodic minor scale. But at the end of this section a pseudo plagal cadence pronounces the piece’s tonality in full, from chord iv – I (b flat minor to F major). The raised third reveals the tonality as the Aeolian Dominant Scale otherwise known as the Hindu Scale. See Example 2 below. Example 2 Tonality The second section commences with all the elements of first. The cello adds a warm layer with long bowed legato notes playing the tonic at same pitch as the piano. The piano increases it constant pulsating single note to double time. On top of this the piano plays multiple notes providing harmonic substance and a thin but forceful synthesized string instrument presents the motif an octave higher. Towards the end of the second section a synthesized sounding trumpet, enters with a staccato 5 against 4 pattern. This rips and fights against the pulsing notes to expose the dynamic third section. The final section sees the full realization of this dramatic crescendoing work. The cello has a new vigor bowing each 16th note separately in a saw-like manner strengthening the foundation of the bass part. A new layer, two reed instruments, attack the piece playing with a rhythmic vitality, fast syncopation and harmonic discord interchanging from wide to very small intervals. It may be argued that the reeds are taunting and distorting the falling minor second motif, playing the semitones together in a higher register to create harsh chromatic dissonance to a once very consonant work. The build up is relentless in this final section with all layers active and contributing to a crescendo and accelerando to the very last note. The abrupt ending of the work leaves a small hint of reverb like that in a big hall in a live performance. PIECE TWO This string ensemble work is based around the contemporary song writing tradition. Each new section generates new material for the composition. The interpretation of this piece, for this analysis, perceives the structure in the following manner. See Example 3. EXAMPLE 3: Sections of the composition for this analysis. The introduction starts with a very quiet low note, the E below the bass stave played by a low string instrument. This note gradually crescendos from a pianissimo to fortissimo and ends abruptly, much like the entire structure of Piece One. The crescendo has the effect of a harmonic overblow as the cello joins an octave above and the violin two octaves above firmly establishing E as the tonal centre. Verse 1 opens quietly with the cello playing the melody and the higher strings playing the accompaniment. It is a role reversal of the bass and melody, swapping lines and creating an interesting textural experience to a tradition homophonic style. The cello’s timbre is bare and raw in its bowing and lack of vibrato whilst the higher strings play longer softer legato notes. There is a tranquil harmonic movement from i - iv (e minor to a minor) at the beginning of this section. The chords used in this first section give a sense of the natural minor or the Aeolian Mode. With the additional chords III (G major) VII (D major) and VI ( C Major) all employing the notes of that mode. See Example 4 below. EXAMPLE 4: Aeolian mode or natural minor scale starting on E.
Whilst verse 2.1 sounds at first like a continuation of Verse 1 there are new layers added, rhythmic changes and harmonic differences. The top accompanying layer of strings split to add a higher descant voice that for a very small moment offers a glint of polyphony. The most dramatic new layers added are the drums and a lower bass line reinforcing the current 3/4 metre and harmonic accompaniment. The new harmonic progression for this verse is i – iv – II – iv - i - iv – VII - VI. There are moments of asymmetrical pulses as the metres change from 3 beats to 4 beats and the use of rubato as the work transitions to the chorus. The chorus delivers new material and a new mood to the work. The tonality has shifted to a more harmonic minor feel with the raised 7th and dominant B major chord. The chorus is based on two repetitions of a four chord progression i – V – III – iv - i . This establishes a very strong diatonic progression moving away from the more modal tonality. At the end of each progression is a plagal cadence iv – i cementing this diatonic
change. The roles have switched to the traditional higher strings carrying the melodic line. The melody is now articulated with a fair amount of vibrato and a dotted swing of the 16th notes intensifying the line. The accompaniment is very full and texturally thick with the bass taking the root of all the chords. Verse 2.2 has the same harmonic progressions of Verse 2.1 but the cello has moved up a register and up a third for the new melodic material. The melody has subtly changed shape, no longer falling at the end of phrase but rising in a questioning manner. The texture is more embellished and with a florid upper string accompaniment articulating the chords with 16th notes in an almost Alberti bass like fashion. The upper strings have a mixture of bouncing the bow on strings, staccato and pizzicato. The chorus is almost an exact replication of the first chorus with the addition of a second descant violin that for a moment adds a polyphonic interest with the second higher melody having a similar contour but a distinct independence. This leads to the a unique new section I have labeled the Middle 8. This new material is neither verse nor chorus and creates a distinct mood change, lowering the intensity of the texture, layers, rhythm and melody. The work concludes with the chorus in full strength and a full descant violin part playing harmonically above the melody line and ending at full volume. The development of both these pieces involves the constant addition of musical elements. The build up of layers, texture, melodic, harmonic and rhythmic content and varies due to the chronological sections that create the structure of the two pieces.
The live theatrical production I chose to see was 9 to 5 The Musical. The production was performed by Fayetteville Technical Community College’s very own Fine Arts Department. The musical is based on the film released by Fox in 1980. Collin Higgins adapted the film from the book 9 to 5 written by Patricia Resnick. It wasn’t until 2008 that the film was adapted to a theatrical production. The production was originally brought to broadway by Robert Greenbait and Dolly Parton wrote the lyrics and the music for the Musical. The run on broadway was very short but the production later toured in other countries around the around the world.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
Aristotle’s Appeals — Discuss the song’s logos, pathos, and ethos separately (in subsections, if you wish); which of these is the most effective in the song, and stating why you think so. Remember, “why” is the big question in this paper – for every opinion you give, you must tell why you believe it.
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
This section represents a tranquil interval. It is a summer evening in the country and he hears two shepherds piping. The tranquil moment of the quiet summer evening alone with the pastoral duet fills his heart with an unfamiliar calm. Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness. The 4th movement: March to the Scaffold.
The first section, which we will call section I, starts with the opening chant and ends with a strong cadence on measure 18. It uses six overlapping phrases to express the first sentence of text. The first canon starts with the bassus voice, but the starting voice changes throughout the piece. However, each canon, throughout, is sung at the fourth. There are four strong cadences, m. 2, m. 5, m.10, and m. 18, each marking the end of a thought in the text. There are also many other places that exhibit a kind of pseudo-cadence where the modern ear expects to hear a resolution, and the resolution is reached; however, movement among the middle parts nullifies the effect of the cadence. For example, in m. 12, the superius and the bassus parts seem to reach a cadence point, but the tenor and alto parts continue to move catching the listeners attention away from the cadence point.
The same line is repeated ecstatically by the quartet, which soars upward to it’s peak. The orchestra and chorus re-enter at a rapid tempo to bring the movement to its conclusion.
The first movement is in sonata form - Allegro ma non troppo, un poco maestoso. Strings and horns appear from the distance as if they had already been playing out of earshot. The music gradually intensifies in volume until the final explosion into the first subject. Then this whole process is repeated. The first movement shows a contrast of emotion that seems to return in the recapitulation before moving firmly into the minor in the coda, with the movement ending with an emphatic statement based on the first subject.
Music and literature are constantly evolving with each new release, but how ground breaking are these pieces compared to its contemporaries? Miles Davis and Jorge Luis Borges have contemplated and answered this question frequently. Rather than add on to a previous style, these two took the future of their genres into their own hands. In Davis’s “Kind of Blue” as well as Borges’s “The Garden of Forking Paths,” old ideas are completely abandoned and new, inventive styles flourish. Not only do these two play with the content of their work, but they also explore different styles and means of composition. Both Davis and Borges experiment with new innovative ideas and concepts in their works successfully creating a unique style of their own.
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
This composition starts out on a very dark note. On the initial few notes, it sounds like it is enacting a depressing tale. One can imagine it to be like the soundtrack of a horror movie of current times. Nevertheless, as you progress through the track, it picks up its pace and also the mood of the track to that of a pleasant one. Further into the track the artist uses skilful note play with abrupt highs and lows. As the song proceeds one can feel the emotion the artist tries portraying with the
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
When the second theme plays, it’s noticeably less lighter and less higher in pitch from the strings. The third theme is done by the woodwind instruments like the oboe and clarinet, which preface the use of the opening motive again. The motive is soon followed by the violin. Next, there’s the repetition of the themes played in the piece so far, but not only are they repeated, they’re fleshed out into variations. The piece slows down and makes a quiet transition as the opening motive plays, jolting the instruments into action again. The themes continue to work counterpoint against each other. The triangle can be heard throughout certain sections, the clear ringing sound making an interesting contrast to the rest of the orchestra. When the movement nears its end, the instruments are initially soft and hesitant, but then pick up in tempo and volume in unison, finally cutting the piece off at a high and enthusiastic note. Bedächtig is a fun composition to listen to, and I admit that I preferred it over the other songs of the night. The main motive in Bedächtig honestly captivated me - I always perked up at that spirited combination of flute, sleigh bells, and clarinet that came in and out of the
Arnold, Denis, ed. The New Oxford Companion to Music. Vol. 2. Oxford: Oxford UP, 1983.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.