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.
Wednesday, 17 December 2014
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.
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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
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