Chord Essays & Research Papers

Best Chord Essays

  • How Significant Are Circle-of-Fifths Progressions and Minor Chords and Minor Keys, in the Two Movements That You Have Studied?
    How significant are circle-of-fifths progressions and minor chords and minor keys, in the two movements that you have studied? Throughout the 1st and 3rd movement of the Symphony, Mozart implements a circle-of-fifths chord progression on several occasions. The first instance of this in the first movement is from Bar 31 to Bar 34, where on the first two beats of every bar there is a descending pattern of diminished chord, and on the second two beats there is the circle-of-fifths pattern: A7 /...
    513 Words | 2 Pages
  • Abrsm Grade 8 Aural
    ABRSM GRADE 8 AURAL Baroque Style: Use of sequence (2 parts), no dynamic contrast/terrace dynamic, limited range of keyboards, use of ornaments, simple harmony, non-legato Texture: Homophonic (Melody against melody) Classical Style: Simple harmony, regular phrase length with cadence, graceful melody, use of scaly passage, gentle dynamic shaping Texture: Melody against accompaniment Romantic Style: Rubato playing, use of sustaining pedal, cantabile melody, chromatic harmony/rich...
    689 Words | 3 Pages
  • AS Music Lesson 6 Brandenburg 2 Fugues And Stylistic Composition
    AS Music – Lesson 6 Bach Brandenburg Concerto 2 – Harmony and Tonality Performing a Fugue Progress Check on Composition Assignment 1 Starter It’s BINGO time. Learning Objectives  To be able to describe the tonal scheme, harmony and harmonic devices used in Bach Brandenburg Concerto No 2.  To be able to contribute to an accurate performance of the Geographical Fugue and make suggestions as to how the performance could be improved.  To review individual progress on Composition 1 and...
    349 Words | 4 Pages
  • Analysis of Bach Allemande - 1036 Words
    Analysis of “Allemande” from J.S. Bach’s English Suite No. 3 in G minor. I have analysed Bach’s allemande from the English suite no. 3 using the Schenkerian method, by reducing the score down to its basic foundations, in order to show how the work can be understood on the foreground, middle ground and background levels. In order to this, I have taken away unnecessary notes, such as the neighbour and passing notes, to leave the score as a basic four part chorale-like piece with two chords...
    1,036 Words | 3 Pages
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  • Still and Copland - 456 Words
    Brianna Hatter September 11, 2013 The musical example, Prelude in E Minor by Chopin was one of his most famous works from his entire catalogue. The Prelude is also known as "suffocation." In Fact, Chopin's last dynamic marking in the piece is smorzando, which means "dying away." The piece was played at Chopin's funeral upon request by himself. There have been many musical pieces that were based on the prelude. Some of these pieces include Antonio Jobim's "Insensatez," and Serge...
    456 Words | 2 Pages
  • Scarlatti Sonata - 1214 Words
    Domenico Scarlatti (1685-1757) was an Italian composer who was born in Naples, Italy, in 1685, the same year as Johan Sebastian Bach and George Handel, and spent much of his life in Spain and Portugal as music master to the princess Maria Barbara who later became Queen of Spain. The Scarlatti’s Sonatas Form and Tonal structure In the works of Scarlatti there are no sonatas that may be considered completely typical. Generally there is a single movement in binary form with both a varied and...
    1,214 Words | 6 Pages
  • Morphological Analysis of Mozart's "Fantasia in D-Minor" Kv.397
    Aristotle University of Thessaloniki School of Fine Arts Department of musical studies Lesson: Introduction to music morphology Teaching: Mrs. Sampson – Nika Evanthia Student: Vlahopoulos Ioannis Morphological analysis of Mozart’s “Fantasia in D minor”, KV. 397. Thessaloniki, 2005 Preface Although the title ‘fantasia’ if often used as a generic implication for a work where its structural features are secondary to the...
    2,439 Words | 11 Pages
  • a detailed lesson plan in mapeh
    A DETAILED LESSON PLAN IN MAPEH 2 FOR SECOND YEAR HIGH SCHOOL LUCEÑO, RON BRIAN M. OCTOBER 7, 2010 I. OBJECTIVES: At the end of the 45-minutes session, the second year high school students will be able to identify the chord reading symbol of triad. II. SUBJECT MATTER: PRACTICING THE CHORD READING SYMBOL OF TRIAD. A. Reference: Text Book in MAPEH2 B. Materials: Keyboard, strips of cartolina, pentel pen C. Ideas: Triad is a chord reading symbol with a three note chord. D....
    645 Words | 4 Pages
  • Beethoven 1st symphony sonata form
     Beethoven’s use of Sonata form in his 1st Symphony Beethoven, in common with his predecessors Haydn and Mozart, uses the Sonata form in the first movement of his first symphony. This was Beethoven’s first attempt at the symphonic form having composed chamber music and two piano concertos. Beethoven made the sonata form more expressive through his use of dynamics and more extreme key relations. Beethoven started this piece with a slow introduction. It is not...
    361 Words | 1 Page
  • Form in Chopin Nocturne in D Flat Major
    In Nocturne in D flat Major, Frederic Chopin (1810-1849) creates a complex work that consists of complicated harmonies and rhythmic motives. These two components are interwoven to build elaborate themes which lead to a melodic design that Chopin is known for. The piece has multiple key elements that combine to form this expressive work for piano, such as thematic growth. Various themes are introduced in the work and as Chopin develops them, they are barely recognizable. Other important elements...
    1,470 Words | 4 Pages
  • chopin's nocturne - 775 Words
    Chopin’s Nocturne no.20 in C-sharp minor, Opus Posthumous was a nocturne written by Frederic Chopin. This piece first major phrase revolves around a simple progression of V6/5, i, ii4/3, V4-3, and V in the key of c# minor. The second theme has modulations and interesting approaches to come back to its home key. The introduction gives hints of what to expect on the piece and the closing theme could be debatable. The first 4 measures are the introduction of the piece where it starts with the...
    775 Words | 2 Pages
  • The Beatles; 'Day Tripper' & 'We Can Work It Out'
    John Lennon, George Harrison, Ringo Starr and Paul McCartney were the founding members of the band that gave the 1960's its characteristic musical flavour, the Beatles (1). Forming in Liverpool, England in 1960, the band was accustomed to fame having burst onto the scene during the onset of the Vietnam war; where not only were they the first musicians to use a recording studio as a writing tool and to make use of memorable chord progressions and melody lines, but were also recognised for their...
    2,933 Words | 8 Pages
  • Claude Debussy Experiment with Harmony: Footprints in the Snow
    Harmony Capstone March 14, 2013 Footprints in the Snow (Des pas sur la neige) is one of Claude Debussy’s, a French Impressionist composer, many piano preludes. This particular prelude is number six out of twelve in his first book of preludes, written between December 1909 and February 1910. Footprints in the Snow is considered the saddest and most moving of all of Debussy’s preludes. Although the key signature suggests F major or D minor, the piece is modal, switching between various...
    750 Words | 2 Pages
  • Sonny's Blues - 359 Words
    Sonny’s Blues James Baldwin’s short story, Sonny’s Blues, is a story about the narrator’s younger brother, Sonny, who has been in trouble with selling and using heroin, and how the narrator deals with it. Throughout the story, the author uses music and imprisonment as motifs. He also uses rage and fury as a common theme. Blues music, which is characterized as a template of chords with lyrics reflecting sadness and usually pertaining to African Americans, is very similar to Sonny’s Blues....
    359 Words | 1 Page
  • Guitar: Behind Blue Eyes by The Who
    Learn to Play Behind Blue Eyes by The Who on Guitar Views: 136,127 Rate: 4.33 This is another request. Hope you all enjoy it, The tabs will be after the chords which are Chorus: C D G But my dreams they aren't as empty C D E As my conscience seems to be Bm Learn to Play Behind Blue Eyes by The Who on Guitar What is up guys, It is Aaron again. This is another request; this song is called “Behind Blue Eyes” it was...
    1,533 Words | 5 Pages
  • Looking at the first movement of Sammartini's Symphony in F Major, No. 32. Discuss how it demonstrates the general music characteristic of a new classical style.
    Most instrumental music of the Classical period pursued a three- or four-movement form with a first movement in sonata form, which expands on binary form. Some general music characteristics of a new classical style that are going to be discussed in this assignment are in terms of melody, harmony and also the form. Melody: The focus on melody in classical style was directed to a more linear structure, in contrast to the frequent sequential expansion of the early style. In addition, periodicity...
    442 Words | 2 Pages
  • Ap Music Theory Study Guide
    work was taken off various websites/my own knowledge Cadence- two chord progression that occurs at the end of a phrase Conclusive Cadence- anything ending on a tonic triad Inconclusive Cadence- sounds incomplete(half/deceptive) not ending on tonic Half- any chord going to a V Phrygian Half- IV- V Authentic- V (or vii at least that’s what musictheory.net says ) going to I Perfect Authentic (PAC)- 3 conditions 1. Must be V chord first rather than vii 2....
    2,163 Words | 22 Pages
  • K. 332 First Movement Analysis
    Mozart Sonata No. 12 in F Major K. 332 First Movement Rachel Gilmore MTC 461.001 November 26, 2012 The first movement of Mozart’s piano Sonata No. 12 in F Major is written fairly typically in the very structured sonata form. Historically is follows the main guidelines that were understood for the form. Harmonically, is progresses like expected. There are a few surprises here and there, but they are typical for Mozart’s compositions, especially his sonatas of the 18th century. In all, it...
    1,988 Words | 5 Pages
  • L’amante Segreto: Voglio Morire - Barbara Strozzi
    Barbara Strozzi was an Italian composer and performer during the seventeenth century. Between the years 1644 and 1664 she published eight volumes of vocal music. In these publications Strozzi most frequently wrote for solo soprano and basso continuo. Six of these volumes include only secular vocal music including vocal styles such as madrigals, ariettas, arias, and cantatas for solo voice. One cantata in particular, L’amante Segreto: Voglio Morire, was part of her second collection of secular...
    960 Words | 3 Pages
  • Musical Motifs in Glory of the Lord
    The Glory of the Lord by Handel has four motifs which are: ‘And the Glory the Glory of the Lord’ – This motif outlines the chord of A major, the tonic chord, and moves up the last three notes of the scale. This helps to establish the key. The word-setting is syllabic, one word to a syllable. ‘Shall be revealed’ – In this motif the second bar is a repeat of the first bar but a tone lower. The word ‘revealed’ is melismatic (several notes to one syllable). ‘For the mouth of the lord hath spoken...
    321 Words | 1 Page
  • Mozart Jupiter Symphony - 1715 Words
    Symphony Analysis Bars 1-16 In this essay I will be writing about the opening first 16 bars of the Mozart Symphony Jupiter (K551), starting off in C major, common time. [1] The opening bar introduces the first Antecedent idea, consisting of an octave C in all instruments. This is then followed by ascending semiquaver triplet runs, in the strings and woodwind, from G to C which have a decoration-like affect. This is juxtaposed against the timpani and the brass still carry on with octave C’s....
    1,715 Words | 6 Pages
  • Song Analysis - 2202 Words
    | Name: Larquitin JohnsonCourse: Music 11Professor: Dr. Anthony Gatto Assignment: Song Analysis – Forget You Date: 10/25/11 The spell of a saccharine song such as Cee Lo Green’s “Forget You,” demonstrates the magical powers of a great song that captivates the senses of many people. Even my seven-year-old daughter gets excited whenever she hears the song “Forget You” playing over the airways. From the outset, I was also wooed by its spell. The message of the song redefines my...
    2,202 Words | 4 Pages
  • Aeromodel Guidelines - 8150 Words
    SAEINDIA SAE Student Convention Welcome to Aero-modeling using Paper Wings! Paper Airplane models for college students! Enjoy Learn and align with Curriculum September 2008 Paper Wings Guidelines This may look ridiculous and appear to be a child’s play. As you use the kit and build your first plane, you will realize that it is not all that simple. Soon you will learn to make the plane to fly and discover the joy of flying. In the process you will learn the nuances of flying...
    8,150 Words | 36 Pages
  • Harmonic & Structural Analysis of Marcel Bitsch, Concertino Pour Basson Et Piano
    TMU302H1 Harmonic & Structural Analysis of Marcel Bitsch, concertino pour basson et piano Marcel Bitsch composed his Concertino pour basson et piano in 1948 prior to accepting the position of teaching counterpoint at the Paris Conservatoire from 1956 to 1988. It is an exciting piece written using the chromatic scale containing two movements. The piece in its entirety is very animated and neotonal, often using non-functional chord...
    1,440 Words | 5 Pages
  • Arvo Part "Spiegel Im Spiegel"
    Addam Farmer Materials of Modern Music 12/7/2011 Research Paper Final Arvo Part Spiegel im Spiegel Spiegel im Spiegel, originally written for violin and piano, is one of Arvo Part’s most influential compositions. At first listen, the composition sounds like a standard minimalist piece: it is in F Major, written in 6/4 time, and over 8 minutes long. The most important aspect of the piece lies not in the musical content itself, but in the way that Part uses that content. Arvo Part was an...
    942 Words | 3 Pages
  • Analysis of Haydn's String Quartet: Op. 76, No. 4
    Analysis of Haydn’s String Quartet: Op. 76, No. 4, in B-flat Major “Sunrise” Haydn composed his Op. 74 quartets in the later years of his life between 1796 and 1797 and it was the last of his completed string quartets. The set of quartets were dedicated to the Hungarian Count Joseph Erdödy and were published in 1799. It was said that this selection of quartets was one of his “most ambitious chamber works” with his attempt of “emphasizing thematic continuity, seamlessly and continually passing...
    2,204 Words | 6 Pages
  • Piano Concerto in a Major, K. 488
    Mozart completed the Piano Concerto in A Major, K. 488, in March 1786 and it is a graceful piece in three movements. It used a small orchestra with two flutes, two clarinets in A, two bassoons, and two horns in A, along with the usual string orchestra. The first movement embodies the form called a “sonata form with double exposition.” This form is common in concerti and one feature of this form is that the first exposition does not end with a double bar and repeat sign indicating a literal...
    714 Words | 2 Pages
  • HISTORIA DI JEPHTE: AN ORATORIO LATINO BY CARISSIMI
    HISTORIA DI JEPHTE: AN ORATORIO LATINO BY CARISSIMI Oratorios are similar to operas but based off of a religious topic.1 One example of an oratorio is Historia di Jephte. Historia di Jephte is an oratorio latino by Roman composer Giacomo Carissimi during the 17th century.2 Carissimi was successful creating the greatest possible sense of drama with out action.3 ORATORIO IN THE 17TH CENTURY An oratorio is basically an opera with a sacred topic. Oratorios can also be thought of as...
    1,467 Words | 5 Pages
  • Chopin: Raindrop Prelude - 452 Words
    Chopin’s Raindrop Prelude Structure Like many piano pieces of the Romantic period, Chopin’s Raindrop prelude is in ternary form (ABA1). This is where the second A section very similar to the first A section. However, it is the B section which provides a contrast to the outer A sections. The first A section lasts from bar 1-27. It is in D flat major. The B section is from bars 28-75 and it is in C# minor which is the enharmonic equivalent of Db major. Then there is the return of the A section...
    452 Words | 2 Pages
  • Music - 1232 Words
    Chapter One Music in which one tone predominates over the other tones is called tonal. Iteration is an important means of causing one tone to predominate over other tones. In simple tonal music the tone that receives the greatest stress through iteration is often the keynote or tonic. The term tonality means practically the same thing as key. Music in which a single tone predominates over the others is said to be tonal. In tonal music one tone takes precedence over all the others; this tone is...
    1,232 Words | 3 Pages
  • My Walking Stick - 355 Words
    My Walking Stick This is a barbershop style song sung by Golden Gate Quartet. The song is accompanied by guitar and the singing group is consist of four men. At the beginning of the song, the rhythm is free. It starts with the guitar playing an arpeggio, establishing the key of the piece. At 8”, the tenor, bass and the baritone sing the same chord, and the highest pitch is the same as the last note that the guitar played. While the chord is continuing, the lead sings an improvisation based on...
    355 Words | 1 Page
  • Song without Words Analysis
    Advanced Theory I 22 May 2014 Analysis of Mendelssohn's "Songs Without Words" Lieder ohne Worte (Song without Words) is written by the Romantic composer Felix Mendelssohn Bartholdy. It is a collection of forty-eight short lyrical piano pieces of markedly song-like character that he wrote at various periods of his life between 1809 and 1847. They are well suited to the study of musical form because of their artistic value. Op. 19b, No. 1 Andante con moto in E major was written in 1830 and...
    1,405 Words | 4 Pages
  • Circles: Circle and Data C3
    This is all I have so far: Circles IB Mathematics SL Type I Luxjoria Thibodeaux 24 February 2013 Mr. Wallace Period 6 In this task, I will analyze the positions of points in intersecting circles. The data is presented separately to distinguish between the original circle and the original circle’s relationship to circle 2 and circle 3. I will analyze each circle analytically and graphically to develop a general statement to represent the given data, as well as, consider any...
    260 Words | 2 Pages
  • Creating Variation within Traditional Classical Music Forms
    MUS 428 November 19, 2013 Creating Variation within Traditional Classical Music Forms While much of the Classical era music is stereotyped for sounding the same, there is much variation within the style and music of that period. Although there are many different forms and variations of those forms, deviations in that respect are not as easily recognized to the casual listener. It takes some attention and focus to notice a formal variation. What the casual listener will recognize are...
    571 Words | 2 Pages
  • River Flows in You - Analysis
    Dynamics – At the beginning of the piece its supposed to be played quite softly, my sheet music says ‘mezzo piano’. The piece gets louder and louder in a gradual crescendo and then roughly two minutes through (depending on how slowly or quickly you play it) there is a diminuendo, which is emphasized by the change from arpeggios to chords in the bass part. Tempo – It starts off quite slowly and then picks up on the second line and continues at that speed until the quavers in the right hand...
    329 Words | 1 Page
  • Age of Reason - John Farnham (Music Song Breakdown)
    Intro: From the day that we were born we've been heading down a track Sometimes it's made for good sometimes for bad But if we look behind us there's a wave coming down Carrying us forward to a new age Chorus: What about the world around us How can we fail to see And now that our fathers have gone And we've been left to carry on What about the age of reason Verse: So why can't we be still why can't we love each other Is kindness an ancient skill buried by our blindness...
    887 Words | 5 Pages
  • Classical Music Criticism and Judgment
    The Classical Music Criticism and Judgment by Mutita Narkmuang February 23rd, 2013 Classical music is one kind of the art music from various style of music. On Oxford Dictionary give the meaning of classical music as serious music following long-established principles rather than a folk, jazz, or popular tradition, and even give more specifically meaning by the period of music(since the music has 6 periods; middle age, renaissance, baroque, classic, romantic and contemporary) that...
    716 Words | 2 Pages
  • Alexander Scriabin - 1173 Words
    Alexander Scriabin (1872-1915) Scriabin was neither interested in folk music nor nationalism, rather he developed an individual idiom that drew both on Russian traditions and on the European heritage of the virtuoso pianist-composer. (He absorbed the chromaticism of Liszt and Wagner, and juxtapositions of texture, scale, and figuration from Debussy) The whole of his work is evolutionary in character. In short, his early works exhibit lyrical and strong tonal romanticism. In his early...
    1,173 Words | 4 Pages
  • Ii V I Jazz Progression
    The II V I chord progression is commonly used in jazz, when it is played in jazz the ii is typically played as a minor 7th chord, the I is a major 7th chord and the V is a 7th chord. The progression of these chords provides a voice leading between the thirds and sevenths of these chords. While the ii V I progression is the harmonic building block of many other progressions. The chords are built using the major or minor scales which results into a major ii V I or a minor ii V I. For the Major ii...
    618 Words | 2 Pages
  • Hey Jude - Song Analysis
    Hey Jude - Song analysis “Hey Jude” is a song by the English rock band The Beatles and was written by Paul McCartney. It was first released in August 1968 under The Beatles label ‘Apple Records’. Hey Jude runs for 7mins and 11secs and at the time of release was the longest single to top the British charts. The song is said to have evolved from “hey Jules”, a song that had been written as a ballad to comfort Lennon’s son Julian during his parents’ divorce. McCartney said, "I started with...
    1,120 Words | 4 Pages
  • Maestro - Interior Monologue - 909 Words
    Maestro - Internal Monologue Eduard Keller Intervention at page 71 Weeping like a baby, I walk away from the frustrating, sweet music that hides such devastating and infuriating emotions. Like a bright red rose that smells of redolent, aromatic fragrance satisfying the nose, yet with thorns that impair when tempted. How insulting! How could they play Wagner? Although I knew that the orchestra would of course play Wagner, it seems that every time, I hope for something better; to keep my mind...
    909 Words | 3 Pages
  • Little Wing Analysis - 1027 Words
    Analysis coursework on ‘Little Wing’ From the Jimi Hendrix Experience’s 1967 album “Axis: Bold as Love”, Little Wing has arguably become one of their most celebrated songs, and can perhaps be said to be Hendrix’s most endearing ‘ballad’. This essay will attempt to analyse how aspects of the music have given it such an admirably distinct character. The sound is somewhat determined by the ‘rock trio’ instrumentation, and the most defining aspect is arguably Hendrix’s guitar playing. Hendrix’s...
    1,027 Words | 3 Pages
  • Brahm's Intermezzo No.3, Op.119 in C Major Analysis
    9/29/12 MTO 13.3: Ricci, The Progress of a Motive in Brahms's Intermezzo op. 119, no. 3 Volume 13, Number 3, September 2007 Copyright © 2007 Society for Music Theory Adam Ricci* The Progress of a Motive in Brahms’s Intermezzo op. 119, no. 3* ABSTRACT: Brahms’s Intermezzo op. 119, no. 3 is structured around a motive with two components—one melodic, one harmonic—that operate sometimes separately and sometimes together. The global harmonic trajectory of the piece is embodied in the...
    8,644 Words | 23 Pages
  • Lascia Ch'Io Pianga Analysis
    The analysis of the aria “Lascia ch'io pianga” by Haendel according to the thorough bass method, shows us how the composer refer in this piece to the typical compositional procedures of baroque music. The aria starts with a pedal (frame, according to Joel Lester's terminology) followed by a cadence harmonized according the regle de l'octave both in ascending and descending motion (MM. 5-8). The second episode starting at M. 8 consists of a sequence, precisely a modified sequence, in which the...
    634 Words | 2 Pages
  • Song Profile: Paranoid Android by Radiohead
    Song Profile: Paranoid Android by Radiohead Radiohead is a five piece alternative rock band formed in 1985 in Oxfordshire, England. The group is comprised of lead vocalist, guitarist and band figurehead Thom Yorke, guitarist and keyboard player Jonny Greenwood, guitarist and vocalist Ed O’Brien, bass player Colin Greenwood, and drummer/percussionist Phil Selway. Radiohead rose to fame with the release of their second album The Bends in 1995 and secured their stardom in 1997 with their...
    1,050 Words | 3 Pages
  • Chopin Music - 418 Words
    Melody: In Section A, there are stead left-hand quavers supported by a lyrical right-hand melody. This begins and ends with the 4 bar phrases repeated with small variation. In Section B it is also based on 4 and 8 bar phrases with some of them repeated. The melody has a narrow range and it consist mainly of quavers, longer notes in the bass and the quaver pedal transfers to the top part. The Cods starts unaccompanied and then it moves to an inner part before the final cadence. The melody also...
    418 Words | 1 Page
  • Concert Report - 751 Words
    Music 110 Concert Report 18 Nov. 2010 Nov. 18: Strauss and Brahms Intro The concert that I attended at Yale University on November eighteenth was called Symphonie Fantastique. During the concert, the band played Beethoven's Piano Concerto No. 4, William Tell Overture, and Berlioz: Symphonie Fantastique. The music was excellent and played with much expertise. Each piece was performed well. I enjoyed listening to the extravagant music with very few mistakes. Beethoven’s Piano Concerto no. 4...
    751 Words | 2 Pages
  • Compare and contrast the texture and structure of Beethoven, Bach and Sweelinck?
    Compare and contrast the texture and structure of Beethoven, Bach and Sweelinck? Beethoven’s Septet in E flat movement is in sonata form with a slow introduction and the component parts are defined by changes of key, same goes for the development section. The coda is also much longer than earlier composers of the classical era would have written. The Introduction of the movement starts at bar 1 and carries on until bar 17. The introduction is in the key of E flat which is the Tonic key but it...
    1,306 Words | 3 Pages
  • music - 897 Words
    Individual Assignment no. 2 Schubert’s Symphony no.8 in B minor, also called the Unfinished Symphony, deviates from the typical first movement of a Classical symphony in various aspects. Similar to other Classical symphonies, the first movement of unfinished symphony adapted sonata form as the skeleton. Despite the use of symphonic sonata form, Schubert begins the piece by an 8-bar quiet solo Preface theme which is played by the cellos and double basses in unison. The low registers and...
    897 Words | 3 Pages
  • And The Glory Of The Lord - 508 Words
    And The Glory Of The Lord - Composed by George Frederic Handel. - Handel died in 1759 and was buried in Westminster Abbey. - It is the first chorus for voices and orchestral accompaniment from the oratorio 'Messiah'. - Handel wrote Messiah in only 24 days. The libretto is taken from the bible and tells the birth, death and resurrection of Jesus. - ATGOTL was first performed in Dublin. - Composed in 1741, the Baroque Period (1600 -1750) Features - Ornamented melodic parts. - Major/Minor key...
    508 Words | 2 Pages
  • Theory Analysis on Haydn's Piano Sonata in Bb Major
    Haydn Piano Sonata in Bb Major Haydn's Piano Sonata in Bb major has three clearly defined sections: the exposition, the development, and the recapitulation. In the exposition, the thematic statement from measure 1 through 10 is more or less the introduction followed by a theme in parallel period from measures 11 to beat two of 22. Up to this point we are in the key of Bb major, ending on a half cadence. Though it stays in this key, E is tonicized with a five of four in measures 11 and 16....
    1,048 Words | 3 Pages
  • Les Nuits D'Ete - 2052 Words
    Amy Shuford 5 April 2011 Music History II Research Paper – Les Nuits d’Ete Dr. Christina Reitz An Analysis of Hector Berlioz’s Les Nuits d’Ete Born in 1803, in the village of La Côte-Saint-André, France, Hector Berlioz produced some of the most invigorating and exciting music of the Romantic period (Holoman, 1, 6). Romanticism primarily focused on subjectivism, therefore people were concentrating more on their emotions and spirituality and less on logical explanations for the problems of...
    2,052 Words | 6 Pages
  • Beethoven Cello Sonata, Op. 69, mvmt 1
    T. Jason Brown Advanced Form and Analysis Spring 1998 An Analysis of Beethoven s Sonata for Cello and Piano in A major, Op. 69, mvmt. 1 Beethoven’s Sonata for Cello and Piano, Op. 69, was written in 1808-09, just following his Symphony no. 6, Op. 68, “The Pastoral.” It may have been written with his “immortal beloved” in mind, since the dedication is to one of the suspected “beloved’s” brothers-in-law. On one copy, Beethoven wrote, in Latin, the phrase “Between Tears and Sorrow.” In this...
    2,030 Words | 14 Pages
  • 143 Mozart K332 I Exp
    Materials 5 Mu3107 Dr. C. Ross STRUCTURAL ANALYSIS OF MOZART: PIANO SONATA IN F MAJOR (K. 332); I Mm. Section Key(s) EXPOSITION FIRST GROUP (in PTA) 1-4 PT1, phr 1 F 5-12:2 12:3-16:2 phr 2 $ PT2, phr 1 $ Comments; Cadence Types Lyrical R. H. melody, mainly disjunct, supported by Alberti bass; Harmony is I, V7/IV, IV6/4, vii°6, with F pedal point in the bass. HC. RH continues unaccompanied for 2 bars, reversing the general contour of the first phrase (thus, an inexact melodic...
    1,346 Words | 9 Pages
  • Brahms Symphony No.3 Programme Note
    “Many music lovers will prefer the titanic force of the first symphony; others the untroubled charm of the second, but the third strikes me at being artistically the most nearly perfect.” – Edward Hanslick, music critic. Brahms’ third symphony was long awaited by his fans, after a six year break from his second symphony. It is neither forceful, nor charming. It is a strange, non-traditional work. Its opening is reminiscent of Schumann’s “Rhenish”, making us wonder, why? Is it an homage to his...
    551 Words | 2 Pages
  • Brahms’ “Wie Melodien” Op. 105
    The lyrics for Brahms’ “Wie Melodien” Op. 105, No. 1 are from a poem written by Klaus Groth. It is a poem that never clearly states its true meaning. Instead, it arouses an emotional feeling of one dreaming about something from the past. And, these emotional feelings are expressed in Groth’s poem through a variety of images. The poem begins with using “melodies” as an image. In the first phrase, “Like melodies draw it to me softly through the mind,” the word “melodies” seems to be...
    1,548 Words | 4 Pages
  • Analysis of Joni Mitchell - River
    Joni Mitchell - River Released in 1971 and produced by Reprise records, river is an intensely emotional contemporary folk song about heartbreak. Written solely by Joni Mitchell for her album ‘Blue’ the song is reminiscent of Christmas time although lyrically it has little relationship to Christmas. (Hopper, 2012) Instead of using a typical verse/chorus style this song is written using different sections – A/B/C etc. The line ‘I wish I had a river’ is the overlying focus point throughout...
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  • Comparison task between Prokofiev's Classical Symphony and 'The Yellow River'
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