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.
Sunday, 9 November 2014
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 |
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