1. The 'Walking Theme', however it is different here because it is not the centre of focus, but rather is played quietly on the oboe (pp) and the violins (p).
2. It involves a similar rhythm- the four semiquavers and two quavers (as in bar 90) is the same as the motif in bar 7, also the pattern of these, with the last note being a relatively large interval gap above the others, is similar in both cases (although the gap is a 5th in bar 89, and a 4th in bar 7).
3. The texture suddenly goes right down, so that none of the woodwind plays, and only the lower half of the strings play. This emphasises the melody.
4. It is played only by the viola, cello and horns in a low register, creating the feel of it being a mere memory. It ends in F minor however, creating tension.
5. "Second walking theme". It is similar to the bass clarinet at bar 70 and ?
6. Call-and-response between the clarinets and violins,
playing in unison (e.g flutes and oboes bar 126),
chromaticism (e.g. clarinets bar 125),
pedal note throughout in the cello part (bars 125-131),
walking bass in the double bass part (bars 125-)
imitation (e.g clarinets bars 125-128)
ostinato in 3rd and 4th horn parts (bars 132-135)
stretto of the taxi horns and the previous rhythm (found in e.g. bar 129)
7. It is played as a triad of B, with three of the four tubas.
8. It is in a different key (Bb) and now has a much broader texture behind it, with the instruments all playing loudly (either mf or f), increasing the impact of this.
9. The texture is dramatically reduced (to just the 1st & 2nd flutes, bassoons, 2nd violin, and the viola) for bars 166-169, then the clarinets, first violin and cello come in at bar 170, then the oboes, english horn and 1st and 2nd trumpets come in at bar 172, and finally the 1st and 2nd horns at bar 173. This very small texture to begin with, followed by a gradual build in texture creates an easy, calm feel. The fact that all the instruments play pianissimo and also dolce (for the most part) adds to this effect. Also the sudden tempo change (to molto menno mosso- very much less movement) means that we are put into a much calmer state.
10. The imitation- it acts like many voices talking at once, creating a commotion.
11. They are playing a melody very reminiscent of the first walking theme, although simply using the first bar of it and then repeating that in a different key, to transition to B.
12. Augmentation
13. Literally 'With fire', this is created by the ff dynamic and short rhythmic lengths (e.g. semiquavers, which predominate the melodies).
Thursday, 18 December 2014
Wednesday, 17 December 2014
Gershwin 'An American in Paris' Questions #1
1. Strong 2 beats of the bar, creating a strong feel of the 2 feet marching. Also, a slight lilt to the rhythm, created by varied note lengths and articulations, creating the feeling of an uneven, natural walk.
2. Imitate the violins from a bar earlier, in unison. The notes lead to the 3rd Trombone and Tuba note in the next bar.
3. 11 bars- the cadence is interrupted
4. Repetition of the walking theme, except the second violin has a melody in bars 12-15. This part ends with a shift to F minor, the parallel minor key.
5. "Dodging taxis", material in flute parts has come from the violin parts at the beginning, and semiquavers (e.g. in violins) has come from their part at the beginning of the piece, except that now it is repeated without rests, creating a slightly altered rhythm.
6. The taxi-horn is a very striking feature, as is the dramatic change in note durations (from predominating semiquavers to quavers and crotchets), that create a sort of hemiola feel. I would call this the "Taxi" theme.
7. The rhythm of the flutes and bells/xylophone is the same as we have heard before in the horns and violins (figure 3).
8. The taxi horn that is played has a different pitch to the first, and after it plays, the semiquaver sequencing that follows is different from the semiquaver movement before it in this way (that it is more sequential than the last, in rhythm and in pitch), and the two flutes play different things, as well as all the instruments having much shorter note durations, creating a faster harmonic rhythm. Also, the taxi horns now (bars 40-43) have their rhythm repeated, as they have a short call-and-responsorial dialogue.
9. The piece gets faster here (Vivo, meaning lively). This boosts the tension here and creates the feel of increased franticness, perhaps as the protagonist dodges cars. Also the use of rests increases the liveliness of the music, with the 'um cha um cha' pattern. The use of staccato increases the impact of this technique. Finally the use of chromaticism develops tension here, as it is used in most of the parts.
2. Imitate the violins from a bar earlier, in unison. The notes lead to the 3rd Trombone and Tuba note in the next bar.
3. 11 bars- the cadence is interrupted
4. Repetition of the walking theme, except the second violin has a melody in bars 12-15. This part ends with a shift to F minor, the parallel minor key.
5. "Dodging taxis", material in flute parts has come from the violin parts at the beginning, and semiquavers (e.g. in violins) has come from their part at the beginning of the piece, except that now it is repeated without rests, creating a slightly altered rhythm.
6. The taxi-horn is a very striking feature, as is the dramatic change in note durations (from predominating semiquavers to quavers and crotchets), that create a sort of hemiola feel. I would call this the "Taxi" theme.
7. The rhythm of the flutes and bells/xylophone is the same as we have heard before in the horns and violins (figure 3).
8. The taxi horn that is played has a different pitch to the first, and after it plays, the semiquaver sequencing that follows is different from the semiquaver movement before it in this way (that it is more sequential than the last, in rhythm and in pitch), and the two flutes play different things, as well as all the instruments having much shorter note durations, creating a faster harmonic rhythm. Also, the taxi horns now (bars 40-43) have their rhythm repeated, as they have a short call-and-responsorial dialogue.
9. The piece gets faster here (Vivo, meaning lively). This boosts the tension here and creates the feel of increased franticness, perhaps as the protagonist dodges cars. Also the use of rests increases the liveliness of the music, with the 'um cha um cha' pattern. The use of staccato increases the impact of this technique. Finally the use of chromaticism develops tension here, as it is used in most of the parts.
Monday, 1 December 2014
Structure in an American in Paris
The piece 'An American in Paris' is broadly divided into two aspects: the Paris of the daytime, where the protagonist is happily marching down the Champs-Elysees, or around the city's cafes. Then there is the night-time Paris, full of smokey jazz clubs (we hear a melody reminiscent of the Blues being played throughout).
There is a lot of repetition throughout the work, in particular the main melodies, like the walking theme (that we hear first in the very beginning), the taxi-cab theme (played by the horns in figure 3), the can-can theme (figure 11), walking theme 2 (figure 13), and the night-time Blues theme (figure 48). These melodies are often repeated in other instruments, so that their timbres are changed, thus the impacts of the melodies are enhanced. This reinforces the overall idea of the two main aspects in the piece.
The aforementioned melodies fit into the two categories I talked about earlier, with the majority fitting into the daytime aspect of Paris. It is as though the protagonist sees the daytime Paris regularly during his stay, and only rarely gets to experience the night-time goings on, which are far more exotic and enthralling.
The melody for the night-time is reminiscent of typical American Blues, showing that perhaps the protagonist is projecting his Americanised views onto the Parisian night.
Gershwin does not finish his masterpiece, however, without bringing back every theme for a final, somewhat nostalgic farewell, as though the protagonist is finally saying goodbye to every part of Paris that he has been to before he leaves. This last part of the piece is, however, far more excited, and we finally get some soaring melodies, as though to suggest that the airplane is departing. Gershwin leaves us with the night-time melody ringing in our ears before his final, incredibly grand, cadence, as if to say "Remember the excitement held in the depths of Paris!"
There is a lot of repetition throughout the work, in particular the main melodies, like the walking theme (that we hear first in the very beginning), the taxi-cab theme (played by the horns in figure 3), the can-can theme (figure 11), walking theme 2 (figure 13), and the night-time Blues theme (figure 48). These melodies are often repeated in other instruments, so that their timbres are changed, thus the impacts of the melodies are enhanced. This reinforces the overall idea of the two main aspects in the piece.
The aforementioned melodies fit into the two categories I talked about earlier, with the majority fitting into the daytime aspect of Paris. It is as though the protagonist sees the daytime Paris regularly during his stay, and only rarely gets to experience the night-time goings on, which are far more exotic and enthralling.
The melody for the night-time is reminiscent of typical American Blues, showing that perhaps the protagonist is projecting his Americanised views onto the Parisian night.
Gershwin does not finish his masterpiece, however, without bringing back every theme for a final, somewhat nostalgic farewell, as though the protagonist is finally saying goodbye to every part of Paris that he has been to before he leaves. This last part of the piece is, however, far more excited, and we finally get some soaring melodies, as though to suggest that the airplane is departing. Gershwin leaves us with the night-time melody ringing in our ears before his final, incredibly grand, cadence, as if to say "Remember the excitement held in the depths of Paris!"
Wednesday, 26 November 2014
Expressionism, Impressionism, Serialism, and Minimalism
Expressionism is comprised of:
Minimalism is comprised of:
- A high level of dissonance
- Extreme contrasts of dynamics
- Constantly changing textures
- ‘Distorted’ melodies and harmonies
- Angular melodies with wide leaps
e.g. This piece, which is comprised almost entirely of dissonances, and does not seem to have a tonal centre. It also incorporates many different dynamics (e.g. it is roughly pp at 0:25 and roughly ff at 1:25, with many dynamic levels in between those). It also changes texture a lot, for example having only a solo violin at 1:56 and having the full ensemble playing at 1:25. Finally there are many large intervals within melodies in the piece.
- Layers of ostinati
- Constantly repeated patterns that are subjected to gradual changes
- Layered textures
- Interlocking repeated phrases and rhythms
- Diatonic harmony
Impressionism is comprised of:
- A focus on suggestion and atmosphere rather than strong emotion or the depiction of a story- as in programme music
- Lots of use of the major and minor scale system, but tends to make more use of dissonance and more uncommon scales such as the whole tone scale
- Short forms e.g. Preludes and Nocturnes
- Static harmony
- Emphasis on timbre
- Ornamentation obscuring melodies
Serialism is comprised of:
- 'Twelve-tone technique'- using the 12 notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations.
- Integral serialism or Total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch
e.g. This piece, which clearly uses just 12 tones in a series. I believe that it is also Integral Serialism, as dynamics are used in a specific and ordered way.
Friday, 14 November 2014
Stravinsky-The Rite of Spring Comparison
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Texture
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Melody
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Harmony
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Rhythm
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Beginning
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No one texture lasts more than a few bars, homophony, polyphony, and
monophony all used.
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Clear melody in Fagotti
part, which is then taken over at a different pitch by the Cor Anglais, and
then the two have a dialogue with these melodies being elaborated on. Clear
countermelodies e.g. in Horn and Clarinet parts
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Clear harmonies, due to the simple textures
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Lots of triplets, quintuplets etc. Cross rhythms.
|
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Ending
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Complex polyphony, with only a break during the rests at the end.
Also homophony in figure 201, for the chord and also the ascending chromatic
scales.
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In almost all parts except timpani. Ascending chromatic scale at the
end could be seen as a melody.
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Unclear, due to the very complex polyphony. Heavily dissonant.
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Driving ostinato-like rhythm in almost all parts, and syncopation
created by the timpani part in particular.
|
Sunday, 9 November 2014
Rossini, Petite Messe Solenelle- Prelude Religieux
This movement from our set work is, as the title indicates, a prelude. That means that it is like an introduction to something more significant.
The piece opens with a series of chords that have a rhythm like a funeral march, which is emphasised by the fact that the key here is F# minor, creating a solemn atmosphere. In bar 17 however, the meter changes to 3/4, and introduces the fugal subject (in C# major) in the piano left hand. This sequences, moving the part upwards. This exposition of the subject is then answered in the piano right hand, and in bar 33 is presented again by the soprano voice. Bar 41 marks the beginning of the episode with ascending scale patterns; the left hand imitating the right hand. This passage is then transposed up a 4th. In bar 47 there is a motif in the piano part that seems to mimic the exposition section in bar 17. In bar 59, there is an ascending sequence, that is similar to the one in bars 41-46, except that the main part is the soprano voice. In bar 69 we get the beginning of the "re-exposition" and the subject from the bass in bar 17 is played again, transposed down a 5th. This is answered by the soprano part in bar 77. At bar 85, the soprano has a similar sequence to that at bar 41. There are many places where parts are repeated, for example bar 91 is similar to bar 47, bar 101 to bar 57, and bar 103, to bar 59. In bar 119, there is a chromatic passage that descends (although the contour of each bar means that it is not a perfect chromatic descent). There is then harmonic instability until F# minor is re-established in bar 139, because we get the tonic and dominant (139 and 141) played. At bar 141, the right hand is similar to the 'head' of the subject. This continues on until the key becomes F# major (the parallel key) at bar 145. The movements ends with very similar material to that of the beginning, in order to round it off. It ends in F# major.
After the movement, there is a tiny Ritornello that brings the key back to C major, for the Sanctus movement.
The piece opens with a series of chords that have a rhythm like a funeral march, which is emphasised by the fact that the key here is F# minor, creating a solemn atmosphere. In bar 17 however, the meter changes to 3/4, and introduces the fugal subject (in C# major) in the piano left hand. This sequences, moving the part upwards. This exposition of the subject is then answered in the piano right hand, and in bar 33 is presented again by the soprano voice. Bar 41 marks the beginning of the episode with ascending scale patterns; the left hand imitating the right hand. This passage is then transposed up a 4th. In bar 47 there is a motif in the piano part that seems to mimic the exposition section in bar 17. In bar 59, there is an ascending sequence, that is similar to the one in bars 41-46, except that the main part is the soprano voice. In bar 69 we get the beginning of the "re-exposition" and the subject from the bass in bar 17 is played again, transposed down a 5th. This is answered by the soprano part in bar 77. At bar 85, the soprano has a similar sequence to that at bar 41. There are many places where parts are repeated, for example bar 91 is similar to bar 47, bar 101 to bar 57, and bar 103, to bar 59. In bar 119, there is a chromatic passage that descends (although the contour of each bar means that it is not a perfect chromatic descent). There is then harmonic instability until F# minor is re-established in bar 139, because we get the tonic and dominant (139 and 141) played. At bar 141, the right hand is similar to the 'head' of the subject. This continues on until the key becomes F# major (the parallel key) at bar 145. The movements ends with very similar material to that of the beginning, in order to round it off. It ends in F# major.
After the movement, there is a tiny Ritornello that brings the key back to C major, for the Sanctus movement.
Sunday, 26 October 2014
Nostalgic Blog Post: The Feeling We Once Had, from The Wiz
This song is for solo voice and orchestra, and comes from the musical The Wiz, written in the 1970's. We can see this because of the compositional devices used in the song. For example, the song uses a lot of rubato and improvisational ornamentation in the voice. This is typical of the ballad style, from which the song obviously comes, due to its rich harmony and meaningful lyrics. Some of the instruments used are also modern, for example the electric keyboard and synthesised instruments.
The song begins with just one chord on the electric keyboard (BM), and a slow drum beat, that plays on the off-beats of the bar (beats 2 and 4- another typical feature of modern ballad music). The voice comes in on the tonic note (B), and its melody has a pivotal contour, centred around the B. The chords of this part are BM and CM only, alternating. Next the synthesised solo violin comes in at 0:23, with a short melody that follows on from the vocal note (beginning on it, a G), then has a suspension note (D), which resolves to a C (chord V in G) and then returns to the tonic, G. At 0:45, the accompanying instruments have an ascending counter melody/pedal notes that take the song up to the key of Eb, which then repeats. At 1:26 we get a change in section, which is highlighted by the sudden quaver-movement drum beat and more interesting accompaniment (the violins suddenly have a syncopated counter melody that incorporates staccato as well as the usual legato notes, adding interest to the music. At 1:55, the violins have a descending chromatic scale, that builds tension because of its atonal quality. This however leads into a more resolved section, where they have sustained notes again, as before. At 2:39 the violins have the syncopated section that has the different types of articulation again, giving a sense of balance and coherence to the song. Then follows a period that is almost stretto-like in nature, although the sections come horizontally, rather than vertically (they come one-after-another in quick succession rather than all at once). This, as with stretto, builds interest and tension, before finishing the song.
I used this recording and my perfect pitch to work out the notes used in the song.
The song begins with just one chord on the electric keyboard (BM), and a slow drum beat, that plays on the off-beats of the bar (beats 2 and 4- another typical feature of modern ballad music). The voice comes in on the tonic note (B), and its melody has a pivotal contour, centred around the B. The chords of this part are BM and CM only, alternating. Next the synthesised solo violin comes in at 0:23, with a short melody that follows on from the vocal note (beginning on it, a G), then has a suspension note (D), which resolves to a C (chord V in G) and then returns to the tonic, G. At 0:45, the accompanying instruments have an ascending counter melody/pedal notes that take the song up to the key of Eb, which then repeats. At 1:26 we get a change in section, which is highlighted by the sudden quaver-movement drum beat and more interesting accompaniment (the violins suddenly have a syncopated counter melody that incorporates staccato as well as the usual legato notes, adding interest to the music. At 1:55, the violins have a descending chromatic scale, that builds tension because of its atonal quality. This however leads into a more resolved section, where they have sustained notes again, as before. At 2:39 the violins have the syncopated section that has the different types of articulation again, giving a sense of balance and coherence to the song. Then follows a period that is almost stretto-like in nature, although the sections come horizontally, rather than vertically (they come one-after-another in quick succession rather than all at once). This, as with stretto, builds interest and tension, before finishing the song.
I used this recording and my perfect pitch to work out the notes used in the song.
Sunday, 5 October 2014
Unheard Blog Post- La Cenerentola by Rossini
Having begun studying some of Rossini's music in class, I know a few things about him. For example, he wrote many operas, for which he was most famous. Hence this piece is very operatic, like an aria (with soprano singer and string-dominated orchestra included). This type of orchestra is very typical of Romantic period opera, the period in which Rossini was composing.
The piece opens with a solo piccolo, accompanied only by a call-and-response style pizzicato on the strings, which creates a very light, gentle effect for the introduction. The only chords used here are I and V, which is very harmonically strong. Then at 0:11 the singer comes in, with a melody that begins exactly like the piccolo's, creating imitation. This melody then repeats, with different lyrics, but at 0:29 it is different, with the vocal part having a leap of a 6th, followed by descending scalic patterns, to return to the tonic. The orchestra then play a short, chromatic melody (0:35-0:40), which the singer joins in with half way through, before she ornaments the last note. They then repeat this. Next the singer has a florid (heavily ornamented) melody that plays upon the opening, giving a theme and variation structure to the piece. At 1:21, the piece moves into the second variation, which is faster and even more ornamented than the previous one. Throughout these two variations, the orchestra's texture is pulled right back, so that they are only playing pizzicato (or staccato notes for the woodwind etc.) At 1:33, the woodwind have a short descending scalic melody, that imitates the voice in a comical cadence (a perfect cadence). At 2:12 this variation ends, with the orchestra coming back in fully with repetitive semiquaver movement. This begins the long, extensive cadence, as is so common with opera, and arias in particular, in which the music moves through many different keys, returning, of course, to the tonic.
I used this recording
The piece opens with a solo piccolo, accompanied only by a call-and-response style pizzicato on the strings, which creates a very light, gentle effect for the introduction. The only chords used here are I and V, which is very harmonically strong. Then at 0:11 the singer comes in, with a melody that begins exactly like the piccolo's, creating imitation. This melody then repeats, with different lyrics, but at 0:29 it is different, with the vocal part having a leap of a 6th, followed by descending scalic patterns, to return to the tonic. The orchestra then play a short, chromatic melody (0:35-0:40), which the singer joins in with half way through, before she ornaments the last note. They then repeat this. Next the singer has a florid (heavily ornamented) melody that plays upon the opening, giving a theme and variation structure to the piece. At 1:21, the piece moves into the second variation, which is faster and even more ornamented than the previous one. Throughout these two variations, the orchestra's texture is pulled right back, so that they are only playing pizzicato (or staccato notes for the woodwind etc.) At 1:33, the woodwind have a short descending scalic melody, that imitates the voice in a comical cadence (a perfect cadence). At 2:12 this variation ends, with the orchestra coming back in fully with repetitive semiquaver movement. This begins the long, extensive cadence, as is so common with opera, and arias in particular, in which the music moves through many different keys, returning, of course, to the tonic.
I used this recording
Wednesday, 17 September 2014
Erster Aufzug- Wagner Opening (10 bars)
This piece comes from an opera by Wagner called Tristan and Isolde, from which we get the so-called 'Tristan' chord. In the opera there are a few leitmotifs that come throughout (in every piece), representing different forms of love and doubt. These motifs are only a few bars long each, however there are many occasions on which they are repeated a few times at once.
The piece is not in a specified key signature, because most of the parts have no key signature, however the clarinets in A, the bass clarinet in A, and the Cor Anglaise all have different ones (to begin with, and the parts' key signatures all change at different points throughout the piece). There are also many accidentals throughout the piece, further blurring the key signature. It was becoming popular in the Romantic period not to stick to one key. However the time signature is 6/8 throughout. There is a lot of use of ritardandos and then a tempo's, meaning that the piece is not at a strict tempo. This aspect is typical of the Romantic period, when strict tempo was becoming uncommon, to create arguably more emotional music (hence the period's name).
The piece opens with the cellos playing the "Grief" motif, followed a bar later with the oboes playing the second motif ("Desire"), consisting of many semitones against each other, which creates a strongly dissonant chord, causing instant tension in the piece. Perhaps this represents the real-life tension between feelings of desire and grief. The cellos then repeat the "Grief" motif after a bar, whilst the clarinets in A imitate the "Desire" motif half way through it, again causing tension. All this tension is further enhanced by the long periods of rests in this opening section. The parts where notes are being played here have relatively thick textures, with 4 or 5 instruments playing at once, creating a louder dynamic and thus even more drama. Of course there are also dynamics used here- diminuendos from the first note, meaning that the first note is almost accented, and in the cello part, the use of crescendos and then diminuendos builds, and then releases tension. In the third time that instruments play in the piece (bar 11), all the instruments have sforzandos, again creating tension. This however comes after the cellos have had a short melody- the "Grief" motif, which has been transposed up a third since the first time it played. The fact that there is this melody means that we are lulled into a false sense of security before the big, dissonant (and thus highly tense) chord.
I used this recording: https://www.youtube.com/watch?v=LRoOzJNr1sc
The piece is not in a specified key signature, because most of the parts have no key signature, however the clarinets in A, the bass clarinet in A, and the Cor Anglaise all have different ones (to begin with, and the parts' key signatures all change at different points throughout the piece). There are also many accidentals throughout the piece, further blurring the key signature. It was becoming popular in the Romantic period not to stick to one key. However the time signature is 6/8 throughout. There is a lot of use of ritardandos and then a tempo's, meaning that the piece is not at a strict tempo. This aspect is typical of the Romantic period, when strict tempo was becoming uncommon, to create arguably more emotional music (hence the period's name).
The piece opens with the cellos playing the "Grief" motif, followed a bar later with the oboes playing the second motif ("Desire"), consisting of many semitones against each other, which creates a strongly dissonant chord, causing instant tension in the piece. Perhaps this represents the real-life tension between feelings of desire and grief. The cellos then repeat the "Grief" motif after a bar, whilst the clarinets in A imitate the "Desire" motif half way through it, again causing tension. All this tension is further enhanced by the long periods of rests in this opening section. The parts where notes are being played here have relatively thick textures, with 4 or 5 instruments playing at once, creating a louder dynamic and thus even more drama. Of course there are also dynamics used here- diminuendos from the first note, meaning that the first note is almost accented, and in the cello part, the use of crescendos and then diminuendos builds, and then releases tension. In the third time that instruments play in the piece (bar 11), all the instruments have sforzandos, again creating tension. This however comes after the cellos have had a short melody- the "Grief" motif, which has been transposed up a third since the first time it played. The fact that there is this melody means that we are lulled into a false sense of security before the big, dissonant (and thus highly tense) chord.
I used this recording: https://www.youtube.com/watch?v=LRoOzJNr1sc
Sunday, 7 September 2014
Improved Analysis of Prokofiev Symphony
This movement of the symphony (a 4-movement work
for full orchestra begun in the Classical period) by Prokofiev demonstrates
many elements of the music at the time (the Romantic Period), for example it
utilises a string-dominated orchestra. The piece is in Sonata form, a form
typical to the Classical period. It also involves periodic (symmetrical)
phrases, another feature typical of the time. The use of terraced dynamics,
which, in the Romantic period, was known as ‘Sturm und Drang’ (storm and
stress) We can tell that the piece was written in the early 20th century
because it seems to be part of a precursor to Neoclassicism in its style, (as
it was not yet the 20th century when Neoclassicism had begun) with
its balanced structure (ABA) and arguably emotional restraint.
The piece begins in D major, and as I mentioned,
uses terraced dynamics throughout, with the dynamics ranging from pp to ff
(e.g. bars 1 and 10). These dynamics are
enhanced by the instrumentation- Prokofiev uses a thinner texture for quieter
sections and a thicker texture for louder ones, for example in bar 1 when the
dynamic is ff, every instrument is playing. In bar 10 however, only the violin
I is really playing, because the dynamic is pp. This
use of instrumentation means that the sections are naturally louder or softer,
and more or less dramatic and intense. In general the piece is at quite a fast
tempo, as it is marked Allegro (lively), which is enhanced by the 2/2 time
signature, giving the piece a forward moving feel. Although this time signature
does change in bars 27 and 61 to 2/4, it returns to 2/2 in the following bars. During
the melodies, there is a lot of unison used, for example the melody in the
beginning of the piece, between the flute, clarinet and all strings (except the
bass).
The structure of the piece is of course that it
uses a Sonata form, which means that it has an Exposition, followed by a
Development for much of the piece, and finally has a Recapitulation. The piece
begins in D major, up until bar 7, when it moves to the relative minor- B minor
(there are A#’s in the clarinet part- VII for the key of Bm), then it moves to
CM in bar 11, then goes to the relative minor of C in bar 16 (Am). In bar 18 it
goes to AM, the dominant key of the original (DM). Along with the sudden change
in the rhythms of the parts, I believe this dramatic key change signifies a new
subject. This new subject consists of most of the the parts having a
crotchet on the last beat of bar 18, which seems to be an anacrusis into the
subject, at which point the viola takes the melody, consisting of quaver
movement. The Violin I in the next bar imitates this short melody, and then in
bar 23 the Violin II takes the melody, although it is now simply quavers moving
in a step-wise motion only, in a small, pivotal contour.
A: 5
B: 4
C: 5
D: 5
Saturday, 6 September 2014
Prokofiev Exam Conditions Analysis
This piece is typical of Prokofiev’s lively-yet-large style, which I have often heard in his bigger works. It uses a full orchestra in order to do this, utilizing instruments at every range to create a full feel for the piece. The piece is in 2/2, meaning that, combined with the lively tempo marking, it moves along quite fast. It is also in a major key (D), so is joyful as well.
The piece begins with all instruments sounding with the tonic chord (bar 1), thus giving a big opening, which gives the audience a sense of how the piece is going to be- a big work. This then continues into a melody that finishes on the tonic an octave above (bar 3), instantly creating a sense of growth and tension building. The timpani and brass here are used only on the two most important chords- the two tonics, thus making them even more important. This opening immediately leads into a flowing violin melody, accompanied only by Violin II and Viola playing repetitive ascending rhythms that build the tension (bars 3-6), until other instruments come in too (bar 7)
Marks:
Criterion A (Identification of elements) - 4
Criterion B (Structure in the music) - 3
Criterion C (Terminology) - 3
Criterion D (Context) - 2
Total: 12/20
The piece begins with all instruments sounding with the tonic chord (bar 1), thus giving a big opening, which gives the audience a sense of how the piece is going to be- a big work. This then continues into a melody that finishes on the tonic an octave above (bar 3), instantly creating a sense of growth and tension building. The timpani and brass here are used only on the two most important chords- the two tonics, thus making them even more important. This opening immediately leads into a flowing violin melody, accompanied only by Violin II and Viola playing repetitive ascending rhythms that build the tension (bars 3-6), until other instruments come in too (bar 7)
Marks:
Criterion A (Identification of elements) - 4
Criterion B (Structure in the music) - 3
Criterion C (Terminology) - 3
Criterion D (Context) - 2
Total: 12/20
Thursday, 10 July 2014
World Music week 2- Oceania (sorry about the formatting)
Afterthought 2-
1)There is a drone accompaniment in
this composition. Is it ever silent?
No.
2)The title of this piece is ‘The
Parrot’. Which aspect of the music do you think represents the parrot, and why?
I think it is the timbre that the instrument produces, which sounds like a parrot's voice.
3)Compare the rhythmic style of this
melody with that of the aruding jaw’s harp
The rhythm is very consistent in the aruding piece, swinging between three beats in a bar to four beats in a bar. It is continuous, with no rests, whereas this melody (the Greek folk dance) stays with the same time signature and thus even though it does not have any rests either, it feels more relentless, because it keeps playing much more similar rhythms repeatedly.
4)Contrast the texture of this
ensemble music with the texture of dance music from Greece.
The texture of the aruding music is homophonic, because the jaw's harp and drums both have the same rhythms throughout. The Greek piece is polyphonic, because the backing instruments play the tonic notes of the chords that are based on the melody, although they have a similar rhythm.
Afterthought 4
Similarities and differences between the Rihe panpipe and the Rope female chorus:
Similarities:
Start on exactly the same note
Polyphonic
Drone
Occasional high notes (head voice/squeaks)
Constant tempo
Three performers/instruments, two with interweaving melodic lines, and one drone
Consistent
Narrow range in melody
Definite ending
Breaks in the melody lines (rests)
| Microtonal
Differences:
Rihe is staccato throughout, Rope is legato throughout In Rihe, drone has a rhythm, not just one long, sustained note |
Sunday, 29 June 2014
Music in East Asia
Afterthought 1:
1. Compare the tone quality of the Shakuhachi to that of the Turkish Ney.
The tone quality in the piece of Shakuhachi varies, but the piece is played on an aerophone and so there is an overall breathy sound, however this varies from relatively clear notes to much more breathy ones. There is no tonguing used, but rather at 0:47, the note is overblown, and so produces a tone that is very much like wind.In the piece of Ney, the tone is also from an aerophone, however there are almost no overblown notes and most notes are pure, as opposed to the occasional breathiness in the Shakuhachi. However in places like 1:00, the note is slightly overblown, and so a slightly breathy tone results.
2. Compare this music with the Egyptian Arghul. What similarities/differences are there in terms of a) tempo, b) melodic range, c) use of rests and d) texture?
The piece of Arghul is much livelier than the other two, and has a much more distinct melody to it- whereas the other pieces have long, sustained notes throughout the majority of the piece, in this piece the melody (played on an aerophone seemingly similar to a bagpipe) has notes with much shorter durations, is much faster, and has a more singable tune.
However the melodic range is quite small, just like the other two pieces, though it is slightly larger than the others.
The piece uses rests in much the same way as the Shakuhachi, because it has them after every phrase. This is different to the Ney, which does not have rests, insofar as is possible (the performer only takes breaks for breath).
The texture of the Arghul is more similar to that of the Ney, because they both have a melody accompanied by one single instrument (drums in the Ney and a drone in the Arghul). This is different to the texture of the Shakuhachi, which only has the one instrument which plays the melody.
Afterthought 6:
-Does the vocal tone quality of the male
soloist remain similar over his whole range? In what kind of scale does he
sing, and which notes of this scale seem the most important?
The vocal tone of the male singer (from 0:56) varies over his range. In the higher register, it sounds more desperate and passionate, and is louder. When he sings lower, the quality is similar, but it is quieter, perhaps because he is struggling to sing so low.
He seems to be singing in a mode, however the most important notes seem to be the As and the Es (possibly the As are the tonic, or equivalent and the Es are the dominant, or equivalent, which would actually mean that this piece was in the equivalent of A major/minor, and not a mode at all).
-Compare the scale of this music with the
scales used in the piece for qin and sizhu ensemble.
The scale of this music seems to be tonal, however the scale is not obvious, whilst in the qin and sizhu ensembles have much more scale-focused melodies, and in the piece of qin, the melody uses a lot of step-wise movement, making the scale much clearer. In the sizhu this is also the case. The scales of the sizhu and qin seem to be major, whereas with the opera, it seems to be either minor or modal.
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