The structural phenomena I found to be the most prevalent in the theme of this piece were cadences, tonality, and motive. Most of the cadences are clearly noted and easy to pick out. They are often accentuated by dynamic changes at the beginning of the new phrase following the completed cadence. The piece begins in a solid D major, but after the repeat/double bar at the end of measure 8, Mozart plays around in the dominant key for a few bars before returning once again to D major. Also of note, there are no tempo markings in the score, but the performer of the particular recording I listened to leans on the first beat of the last measures of phrases, thus creating the feel that the piece is slowing. The cadences feel much more final to me because of this.
Motive is a very important part of any theme - it gives the listener a solid foundation that is then elaborated upon in the variations, so a clear theme is essential. Initially, the motif in this piece is introduced and then repeated before continuing on to the short phrase that contains the tonality change. Finally, The theme is stated once more but in a shortened version for the last four bars of the tema.
Thursday, February 03, 2005
Bartok: Mikrokosmos No. 109 "From the Island of Bali"
This piece is in ternary form, with two distinct A and B sections, followed by a recapitulation of the original material. It starts with a nice walking tempo, andante, in a nice triple meter (6/8). Most of the material seems to be call and response, with the left hand originating an idea and the right hand finishing the thought. As the end of this first section draws to a close, the two hands play simultaneously in inverse directions, weaving into a perfect authentic cadence to bring about the second section.
The second section starts with a new meter (4/4) and a slower, more deliberate risoluto tempo. The hands playing the same melody an octave apart, giving the single melody line more depth. Also, we increase dynamics to a powerful forte, slowly building to fortissimo as we repeat the original second section material only an octave lower, with now two octaves between the hands, then elaborating on it to a rising din and low growl, before returning to the very beginning material. The andante material returns, with the growling octave Ds in the bass to compliment it. We continue the original material to a ritardando right before our final cadence that slowly dies away in the last 4 bars.
The fugal nature of this piece, mixed with some atonal elements, lends a very complex and exotic nature to the piece. I'm not usually partial to modern pieces, but I like the use of a plain piano to do it, the single instrument with multiple textures makes this piece work.
The second section starts with a new meter (4/4) and a slower, more deliberate risoluto tempo. The hands playing the same melody an octave apart, giving the single melody line more depth. Also, we increase dynamics to a powerful forte, slowly building to fortissimo as we repeat the original second section material only an octave lower, with now two octaves between the hands, then elaborating on it to a rising din and low growl, before returning to the very beginning material. The andante material returns, with the growling octave Ds in the bass to compliment it. We continue the original material to a ritardando right before our final cadence that slowly dies away in the last 4 bars.
The fugal nature of this piece, mixed with some atonal elements, lends a very complex and exotic nature to the piece. I'm not usually partial to modern pieces, but I like the use of a plain piano to do it, the single instrument with multiple textures makes this piece work.
Schumann: Scenes from Childhood Op.15 No.8 "By the Fireside"
Alright, let me start by giving my general impression of the piece. To be honest, I felt like I was listening to a soundtrack for a Jane Austen movie. This isn't bad at all! I love Jane Austen, and this is in the style of much of the music associated with her novels.
The piece starts with arpeggiated chords as the bass function, while the right hand plays a simple, reminiscent sounding melody. The first idea that came to my head was either a child sitting at a huge piano playing this, because it is so very simple, this is a completely valid thought. The second thought that comes to mind with the reminiscent pull to the bass function is of course an adult remembering what its like to be a child. If in fact, either of these ideas were key to Schumann's composing of his "Scenes from Childhood", I feel that they were accurately portrayed.
The used of the bass arpeggiations give the piece a solid rhythmic bass that would be important to a young child learning to play a piano piece (if that was the intention???) The musical phrases almost always end in perfect authentic cadences as well, making the form and structure of the piece easy to follow, and understand. When the phrase is repeated, for about the third time or so, it shifts tonally a bit, though not far enough away from the tonic, or for long enough to be considered a true modulation.
Once again, as I sat listening to the piece again and again, Julie is kind of turning her nose up because "its boring and simple", however, I can definately appreciate the purpose Schumann had in writing the piece that way and secretly, I thought it was kind of pretty :)
The piece starts with arpeggiated chords as the bass function, while the right hand plays a simple, reminiscent sounding melody. The first idea that came to my head was either a child sitting at a huge piano playing this, because it is so very simple, this is a completely valid thought. The second thought that comes to mind with the reminiscent pull to the bass function is of course an adult remembering what its like to be a child. If in fact, either of these ideas were key to Schumann's composing of his "Scenes from Childhood", I feel that they were accurately portrayed.
The used of the bass arpeggiations give the piece a solid rhythmic bass that would be important to a young child learning to play a piano piece (if that was the intention???) The musical phrases almost always end in perfect authentic cadences as well, making the form and structure of the piece easy to follow, and understand. When the phrase is repeated, for about the third time or so, it shifts tonally a bit, though not far enough away from the tonic, or for long enough to be considered a true modulation.
Once again, as I sat listening to the piece again and again, Julie is kind of turning her nose up because "its boring and simple", however, I can definately appreciate the purpose Schumann had in writing the piece that way and secretly, I thought it was kind of pretty :)
Schumann: Carnaval, Op. 9, NO. 4, "Valse Noble"
This is a cute little ternary waltz by none other than crazy Bob Schumann. It starts in Bb major with an eight bar (4 x 2) simple waltz melody in octaves in the right hand. Accompanying this melody is a Boom-chuck-chuck bass line. Typical in the Romantic era, sforzandos (did i spell that right? Oh well it's like this: sfz) and crescendos are included in this section as well. This section ends with an IAC.
Next comes a 16 measure (4 x 4) B section. Schumann cuts down the texture to a single note at a time for the melody in the right hand, and the left hand plays arpeggios instead of boom-chucks. This section is all piano with accents on the first beat of every measure to add some shape to the quiet phrases. This section ends in a PAC.
Finally we return to A and the original key with a small transition and enough differences to call this A' instead. The texture remains the same as the B section, and the chord progression and melodic ideas remain the same as the original A. The first 8 measures are piano ending in a IAC. A fortissimo echo for 8 measures brings back the original texture (boom-chuck-chucks and melody in octaves) and structure (4 x 2) and ends in a IAC.
Oh Crazy Bob. How predictable you are.
Next comes a 16 measure (4 x 4) B section. Schumann cuts down the texture to a single note at a time for the melody in the right hand, and the left hand plays arpeggios instead of boom-chucks. This section is all piano with accents on the first beat of every measure to add some shape to the quiet phrases. This section ends in a PAC.
Finally we return to A and the original key with a small transition and enough differences to call this A' instead. The texture remains the same as the B section, and the chord progression and melodic ideas remain the same as the original A. The first 8 measures are piano ending in a IAC. A fortissimo echo for 8 measures brings back the original texture (boom-chuck-chucks and melody in octaves) and structure (4 x 2) and ends in a IAC.
Oh Crazy Bob. How predictable you are.
Mozart Sonata in D Major K. 248
This movement is the third and final movement of Mozart's sonata K.248. This movement is where Mozart takes the liberty of taking a theme and variating it and playing with it. The main theme has already been stated in the first movement, and he has already written slow melodies in the second mvt, this is his time to play. He does this by creating a main theme in D major that is 8 beats long(in half-time that is). He then replays the theme, but in kind of an inverted form, after which there is a very definitive half-cadence. This is like his opening statement of this movement. After this, he recapitulates the theme in another oder of variations ending it with a definitive PAC. Then begins the first official variation. He plays with the melody, changing the chords under it, changing the rhythms, even modulating a bit to the dominant key. Thus it continues, with strong cadences and hints of the main motive or theme, finally ending in the 12th variation on a strong I chord.
Schubert's Six Moments Musical, Op. 94, no. 6
Schubert’s Moment Musical No. 6 is full of cadential sensations that are heightened by structural phenomena. The most obvious method used by Schubert is the changes in tonality. The Allegretto, for example, begins in A-flat major, changes to D Major, then back, then to D again, and finally to D-flat Maj. Each of these tonal sensations are also enhanced by dynamic changes which are clearly marked by Schubert. For example, the piece goes from forte to piano before the cadence in m. 16 and the notes that follow the cadence are in a new key and are pianissimo. In addition to the dynamic and tonal changes, the piece also includes metric changes. For instance, there are different groupings of notes in m. 29-38 than in 1-28 following the cadence in 27. There are also a few examples of changes in density, as the bottom voices drop out in some of the cadences. The text of the piece is chordal throughout, and there are no fluctuations in the register or tempo.
Mozart ''Eine kleine Nachtmusik" III
This piece is divided into two large sections, the minuet and trio. The minuet is divided in two by a very dominant change in dynamics, rhythm, and density. The dynamic changes to piano, the rhythm is in constant eighth notes in the upper voices, and the density decreases. In the second section of the minuet, there is a motive that repeats from the first section. The trio on the other hand is set up in three parts. It is in the dominant key (D major). It is also at a slightly slower tempo at the beginning of the phrases. From the first to the second section, there is an obvious structural division where all but one voice rests. This sets up the second part nicely. The transition between the second and third parts of the trio is done much more smoothly by using a half cadence and stepwise motion. In both of these places, dynamics play a large role in communicating the idea to the listener. Also, the third part uses the motive that begins the trio. Articulation also is used to change the mood between the minuet and the trio. It gives the sence of a dance and lifts my mood.
This piece is divided into two large sections, the minuet and trio. The minuet is divided in two by a very dominant change in dynamics, rhythm, and density. The dynamic changes to piano, the rhythm is in constant eighth notes in the upper voices, and the density decreases. In the second section of the minuet, there is a motive that repeats from the first section. The trio on the other hand is set up in three parts. It is in the dominant key (D major). It is also at a slightly slower tempo at the beginning of the phrases. From the first to the second section, there is an obvious structural division where all but one voice rests. This sets up the second part nicely. The transition between the second and third parts of the trio is done much more smoothly by using a half cadence and stepwise motion. In both of these places, dynamics play a large role in communicating the idea to the listener. Also, the third part uses the motive that begins the trio. Articulation also is used to change the mood between the minuet and the trio. It gives the sence of a dance and lifts my mood.
Wednesday, February 02, 2005
Schumann, "Carnaval," Op. 9 No. 4, "Valse noble"
Schumann composed “Valse noble” in ternary form (ABA). The first section starts the piece off in the key of B-flat major, and the tempo is placed at one that would give the imagery of being a little majestic (un poco maestoso). To help with the majestic feeling Schumann also starts the dynamics at forte in the first measure, which then grows throughout the whole first A section. This increase in dynamics leads straight into the IAC in measure 8. The A section is then repeated one time before moving on into section B.
Section B (m. 9-24) is quite the opposite when placed in comparison with section A. Right in the first measure you experience a change in key to D major, and another change in the register of the treble clef which drops a whole octave. Also, the dynamic in measure 9 is piano where as in section A the softest dynamic was forte. In measure 13 the difference between section A and B increases when you see instruction for the musicians to play very gentle (molto teneramente) instead of majestically like in section A.
Before the return of section A, there is an eight measure transition (m. 25-32) to connect the two different sections, and bring us back into the original key of B-flat major. In the first measure of the transition the dynamic is still piano, but in measure 26 they start to increase which continues for three measures. In these eight measures there is a good mix of rhythms from both sections, but more from A because it is the section Schumann is trying to work his way back into.
Once back in section A, Schumann places a double forte on the first measure. The dynamic is set this way to give the sense that we are back home, and to really stress the difference in the sections. Also, Schumann works the treble line back up into the higher register where it originally was at in the first A section. Instead of having the same eight measures as in the first A, Schumann only uses the first four measure of the original A section and then uses the last four measures to bring the register and dynamics back down to end on another IAC.
Section B (m. 9-24) is quite the opposite when placed in comparison with section A. Right in the first measure you experience a change in key to D major, and another change in the register of the treble clef which drops a whole octave. Also, the dynamic in measure 9 is piano where as in section A the softest dynamic was forte. In measure 13 the difference between section A and B increases when you see instruction for the musicians to play very gentle (molto teneramente) instead of majestically like in section A.
Before the return of section A, there is an eight measure transition (m. 25-32) to connect the two different sections, and bring us back into the original key of B-flat major. In the first measure of the transition the dynamic is still piano, but in measure 26 they start to increase which continues for three measures. In these eight measures there is a good mix of rhythms from both sections, but more from A because it is the section Schumann is trying to work his way back into.
Once back in section A, Schumann places a double forte on the first measure. The dynamic is set this way to give the sense that we are back home, and to really stress the difference in the sections. Also, Schumann works the treble line back up into the higher register where it originally was at in the first A section. Instead of having the same eight measures as in the first A, Schumann only uses the first four measure of the original A section and then uses the last four measures to bring the register and dynamics back down to end on another IAC.
Schumann, "Carnaval," Op. 9 No. 4, "Valse noble"
This piece has two major sections. The first section is in Bb major and ends with a IAC at measure 8, though this cadence is complicated by the large number of non-chord tones in the top voice including a C# on the downbeat of the I chord that resolves to D. The meter is 3/4 and the accompaniment does a pattern of the bass note on 1 and upper chord notes on 2 and 3.
The B section (m. 9-24) is very different from the A section. The key changes to g minor. The tempo becomes slower and has more rubato. The accompaniment turns to arpeggiated eighth notes. The dynamics are softer than the A section. This section has two half cadences on the V7 which is accentuated by pauses on these chords.
The B section then undergoes a transition to the A section (m. 25-32). The key returns to Bb major and the melody and accompaniment are similar to that of the A section but the dynamics and tempo are the same as the B section.
This leads back to a full return of the A section (m. 33) with an exact repetition of the A theme for the first few bars, but then changes to a descending line that anticipates the final cadence, which is an IAC that doesn't have the non-chord tones of the first A section which gives the song a feeling of an ending.
The B section (m. 9-24) is very different from the A section. The key changes to g minor. The tempo becomes slower and has more rubato. The accompaniment turns to arpeggiated eighth notes. The dynamics are softer than the A section. This section has two half cadences on the V7 which is accentuated by pauses on these chords.
The B section then undergoes a transition to the A section (m. 25-32). The key returns to Bb major and the melody and accompaniment are similar to that of the A section but the dynamics and tempo are the same as the B section.
This leads back to a full return of the A section (m. 33) with an exact repetition of the A theme for the first few bars, but then changes to a descending line that anticipates the final cadence, which is an IAC that doesn't have the non-chord tones of the first A section which gives the song a feeling of an ending.
Schumann: Album for the Young, "Wild Rider" Op. 68, No. 8
It’s everyone’s favorite piano proficiency piece! Wild Rider is pretty straight-forward – it’s in ternary form – AABA. It opens with a distinct A section with melodic material played in the right hand. After a repeat of the A section the melody switches to the bass clef, left hand, with some variations. There is no repeat of the B section, and the A section is recapitulated once through.
There are many examples of structural phenomena in this piece. The most obvious device used is a change in motive. The return of the original melody signals a change in musical structure. A change in register is evident in the introduction of the B section, where the melody moves from the right hand to the left hand. Schumann also changes the bottom stave from treble to bass clef to reinforce this transition. Schumann directly modulates from a minor to F major, which is not visually obvious (due to the lack of B flats) but is easily identified aurally. Also, Schumann incorporates straightforward cadences. There is a clear-cut half cadence marking the first half of the melodic motive in section A, followed by a perfect authentic cadence. This cadential pattern of half cadence followed by a perfect authentic cadence is repeated in the B section. In conclusion, Wild Rider is a simple, straightforward piece that perfectly suits its purpose of training beginning pianists.
There are many examples of structural phenomena in this piece. The most obvious device used is a change in motive. The return of the original melody signals a change in musical structure. A change in register is evident in the introduction of the B section, where the melody moves from the right hand to the left hand. Schumann also changes the bottom stave from treble to bass clef to reinforce this transition. Schumann directly modulates from a minor to F major, which is not visually obvious (due to the lack of B flats) but is easily identified aurally. Also, Schumann incorporates straightforward cadences. There is a clear-cut half cadence marking the first half of the melodic motive in section A, followed by a perfect authentic cadence. This cadential pattern of half cadence followed by a perfect authentic cadence is repeated in the B section. In conclusion, Wild Rider is a simple, straightforward piece that perfectly suits its purpose of training beginning pianists.
Bartok: Mikrokosmos, No. 109, "From the Island of Bali"
This short chromatic piano piece was composed by Bela Bartok in binary form. The first of the three structural divisions begins softly, andante, in six-eight time. The right and left hands alternate with each other, repeating their motives throughout the first section. The first sign of structural phenomena shows at the beginning of the Risoluto section. There is a meter change to four-four, tempo increase, and the volume swells to forte. Another structural phenomena is a register change, as both hands move up an octave at the beginning, then drops down at the end with a sforzando. This structural division also shows the piano players hands in unison with each other for part of the Risoluto, instead of alternating motives. The final Andante section returns to triple meter, and a slower tempo. The base is sustained for the first six measures while the treble clef demostrates complex contrapuntal motives similar to those played in the first structual division. The tempo slows yet again four measures from the end, accompanied by a decrescendo to pianissamo, while both hands play a sustained chord held until the sound dies.
Mozart: Eine kleine Nachtmusik, III
Published in 1787, this is a piece composed for 2 violins, viola, cello; movement III is a minuet/trio.
The minuet (or "menuetto") is in the key of G and is composed of two eight-bar phrases which are both repeated. Each phrase ends in a perfect authentic cadence, and the last four measures of each phrase are identical excepting the staccato markings in the fifth and sixth measures of the second phrase. The first eight measures are more rhythmically based on the quarter note with some eighth notes and two trills (both violins participate). The second eight measures begin with the two violins at octaves from each other on a run of eighth notes punctuated only by three simultaneous quarter notes on the part of the viola and cello until measure 12 where the viola joins in the eighth notes and a crescendo leads back to the repitition of material and cadence. The first eight measures are in forte, the second half of the second eight measure phrase is in piano--the violins always commencing ahead of the viola and cello--and then returns to forte with the return of the material from the first phrase. The texture is relatively integrated, but the melody is held jointly (in octaves-register) by the two violins.
The trio section is in D, the dominant key, and is also made of two repeating sections, though the first is eight measures in duration while the other is twelve. The first eight measures end in another perfect authentic cadence, while the first four measures of the second section arrive at a half cadence that leads directly--punctuated by a decrescendo to the original piano dynamic at the start of the trio--into another eight measures of almost the same material in the first section of the trio excepting an additional g natural in measure 28 and an additional a sharp in measure 29. These last eight measures, naturally also end in a perfect authentic cadence with a note to return to the minuet section ("menuetto da capo"). Unlike in the minuet, the first violin takes the melody while the second violin and viola act jointly together in almost continuous eighth notes, filling in the harmonic layers and adding movement to the melody. The cello again continues its role as the bass. In fact, it is even less active in the trio and often consists of merely a staccato octave leap on the first two beats (in quarter notes) and then nothing else. This however serves to punctuate the continuous flow of the upper voices. Besides also containing many eighth notes, the first violin has a small rhythmic motive of a dotted quarter and three eighths. The first eight measures are at piano dynamics and there is an abrupt change to forte after the PAC in measure 24, and then returns in measure 29 to piano.
The meter stays in 3/4 throughout both sections, and the registers of the instruments remain relatively stable. All instruments continue througout the entire movement, with the cello functioning as a base, the two violins with the bulk of the melody, and the viola sometimes following the role of the cello and sometimes the role of the second violin. Therefore, the timbre and density are constant. The tempo is allegretto and remains constant as well.
The minuet (or "menuetto") is in the key of G and is composed of two eight-bar phrases which are both repeated. Each phrase ends in a perfect authentic cadence, and the last four measures of each phrase are identical excepting the staccato markings in the fifth and sixth measures of the second phrase. The first eight measures are more rhythmically based on the quarter note with some eighth notes and two trills (both violins participate). The second eight measures begin with the two violins at octaves from each other on a run of eighth notes punctuated only by three simultaneous quarter notes on the part of the viola and cello until measure 12 where the viola joins in the eighth notes and a crescendo leads back to the repitition of material and cadence. The first eight measures are in forte, the second half of the second eight measure phrase is in piano--the violins always commencing ahead of the viola and cello--and then returns to forte with the return of the material from the first phrase. The texture is relatively integrated, but the melody is held jointly (in octaves-register) by the two violins.
The trio section is in D, the dominant key, and is also made of two repeating sections, though the first is eight measures in duration while the other is twelve. The first eight measures end in another perfect authentic cadence, while the first four measures of the second section arrive at a half cadence that leads directly--punctuated by a decrescendo to the original piano dynamic at the start of the trio--into another eight measures of almost the same material in the first section of the trio excepting an additional g natural in measure 28 and an additional a sharp in measure 29. These last eight measures, naturally also end in a perfect authentic cadence with a note to return to the minuet section ("menuetto da capo"). Unlike in the minuet, the first violin takes the melody while the second violin and viola act jointly together in almost continuous eighth notes, filling in the harmonic layers and adding movement to the melody. The cello again continues its role as the bass. In fact, it is even less active in the trio and often consists of merely a staccato octave leap on the first two beats (in quarter notes) and then nothing else. This however serves to punctuate the continuous flow of the upper voices. Besides also containing many eighth notes, the first violin has a small rhythmic motive of a dotted quarter and three eighths. The first eight measures are at piano dynamics and there is an abrupt change to forte after the PAC in measure 24, and then returns in measure 29 to piano.
The meter stays in 3/4 throughout both sections, and the registers of the instruments remain relatively stable. All instruments continue througout the entire movement, with the cello functioning as a base, the two violins with the bulk of the melody, and the viola sometimes following the role of the cello and sometimes the role of the second violin. Therefore, the timbre and density are constant. The tempo is allegretto and remains constant as well.
Schumann: Album for the Young, Op. 68 No. 8, "The Wild Rider"
wut up, y'all?! just chillin' in the MITC w/my plate o home fries LAdams, analyzin', fraternizin', and realizin' I aint got no game! STRAIGHT UP - I'm like a Wild Rider widout da ride, yo! Meanwhile all da otha playas be sittin' in a benz on twenties wit da ladies comin' out da windows y'all! FUR REAL.
Schumann's "Wild Rider" is pretty straightforward. It's got three sections ("ternary form"), and the first and third are identical (ABA). There are only two structural divisions, and these separate the A and B sections at measures 8 and 16. At these two points, there's a change in tonality - from a minor to F major and back to a minor, as well as a change in register - the melody switches from the right hand to the left.
Most everything else remains constant - the tempo, meter, rhythm, density, timbre, texture, and motive don't change. According to artist's interpretations, there could be changes in dynamics.
$poon out. peace n' love y'all
Schumann's "Wild Rider" is pretty straightforward. It's got three sections ("ternary form"), and the first and third are identical (ABA). There are only two structural divisions, and these separate the A and B sections at measures 8 and 16. At these two points, there's a change in tonality - from a minor to F major and back to a minor, as well as a change in register - the melody switches from the right hand to the left.
Most everything else remains constant - the tempo, meter, rhythm, density, timbre, texture, and motive don't change. According to artist's interpretations, there could be changes in dynamics.
$poon out. peace n' love y'all
Schubert: Six Moments Musical, Op. 94, No.6
Moment musical No. 6 is from a set of character pieces by Franz Schubert (1797-1898). It is a very rich sounding piece full of many occurances of structural phenomena. The most important and most evident use of structural phenomena are the abrupt changes in tonality. The piece begins in Ab major, but shifts to E major and back a few different times. At the trio, the key changes to Db major. While the changes in tonality are fairly obvious and pretty abrupt, they really contribute to the mood and the emotional value of the piece. To me, the sections of the piece that are in E major sound very bittersweet and sentimental, and create a romantic feeling of longing.
Another noteable use of structural phenomena are the dynamics. The changes in dynamics are the result of the editors dynamic markings rather than a change in density or texture. For the most part, each phrase begins pp or p and gradually crescendos to mf or f, which keeps the piece interesting. The bulid up to the forte dynamic causes a sense of urgency and importance.
The third fairly prominent element of structural phenomena is the recurring motive which we hear in the opening of the piece. The beautiful melody appears again after the trio section, which gives the listener a sense of resolution and completion.
Another noteable use of structural phenomena are the dynamics. The changes in dynamics are the result of the editors dynamic markings rather than a change in density or texture. For the most part, each phrase begins pp or p and gradually crescendos to mf or f, which keeps the piece interesting. The bulid up to the forte dynamic causes a sense of urgency and importance.
The third fairly prominent element of structural phenomena is the recurring motive which we hear in the opening of the piece. The beautiful melody appears again after the trio section, which gives the listener a sense of resolution and completion.
Schumann: Carnaval, Op. 9, No. 4, "Valse noble"
Schumann composed the Valse noble in ternary form, with an opening eight measures that are repeated at the end. The piece begins in Bb major with an IAC in measure 8. Typical of Schumann, his texture is octaves in the right hand with an oom-pah-pah base line. Dynamics are set at forte with crescendos with a sforzando in measure 4 being the focal point of the line.
Beginning in measure 9, Schumann takes us to D major (the chromatic mediant) and changes our texture an arpeggiated base line with basically a one-note melody in the right hand. Dynamics are taken to a piano marking with small accents on the downbeat of each measure. The B section ends with a PAC at measure 24.
Measures 25-32 seem to be an a' section, being in Bb again and having the same base function as the A section. The texture is still basically the same as the B section however, but the dynamics begin to crescendo again. The a' section is ended by an IAC. In measure 33 we're in the full-fledged repeat of the A section, with our ff and octaves...don't forget the oom-pah-pahs. The piece ends with an IAC.
Nice work Schumann...even though you were a bit crazy.
Beginning in measure 9, Schumann takes us to D major (the chromatic mediant) and changes our texture an arpeggiated base line with basically a one-note melody in the right hand. Dynamics are taken to a piano marking with small accents on the downbeat of each measure. The B section ends with a PAC at measure 24.
Measures 25-32 seem to be an a' section, being in Bb again and having the same base function as the A section. The texture is still basically the same as the B section however, but the dynamics begin to crescendo again. The a' section is ended by an IAC. In measure 33 we're in the full-fledged repeat of the A section, with our ff and octaves...don't forget the oom-pah-pahs. The piece ends with an IAC.
Nice work Schumann...even though you were a bit crazy.
Bartok: Mikrokosmos, No. 109, "From the Island of Bali"
First of all, let it be known as such; that the recording for this piece was not made available by the library. Their computer said that it was checked out earlier today but was never returned, which it should have been, after 2 hours. They, therefore, concluded that, perhaps, it wasn't even checked out at all and is still yet to be put out on reserve. I then looked in the catalog to see if there were other recordings of Mikrokosmos, but none of them contained the beloved no. 109. Also, Naxos Online did not have this recording. So I gave up looking for a recording. In the 5th bar of the piece a phenomena subtely occurs. The right and left hand almost reverse roles with a sort of inverted feel. In bars 9 and 10 the density increases, having both hands moving in 8th notes, along with a gradual ritardando and decrescendo, creating a division. At the risoluto the meter, tempo, and style change. Up to the 5th bar after the time change both hands are in rythmic and melodic unison creating a powerful driving atmosphere with much intensity and density. Then, at the 5th bar after, a sort of imitative counterpoint makes itself present. The 12th bar after the change there is a sudden dynamic change to ff, and the rythmic and melodic unison is brought back. This new drive culminates in the sforzando followed by the allargando, returning the listener (or looker) to the style of the first section. The meter returns to triple and the dynamic is brought back down to piano and is in a singing style. The right hand has a very melodically complex motion, while the rythmic variation stays fairly constant. All this is played over the left hand holding concert D's. The left hand briefly joins in on the rythm then slows down to a breaking point...where then it returns to the original tempo and final chords are played very softly and are supposed to last a long time.
numero tres: schubert musical no. 6
the structural phenomena in schubert's musical moment no. 6 include just about every element mentioned in the book, but has some exceptionally noticeable cadences and key changes. this piece begins in Ab major, but immediately tonicizes the dominant in the sixth measure. in fact, there are several V(7)/V chords throughout the allegretto section of the piece. the key changes many times, from Ab major to E major and back again and the bVI chord (in Ab) can serve as a pivot chord for a enharmonic modulation. at the trio, the key changes yet again to Db major. the d.c. at the end of the trio section returns to the opening motive, reassuring the listener that this prominitent melody has not gone astray.
as far as other elements of structural phenomena are concerned: the tempo stays relatively constant throughout the piece, leaving room for rubato here and there; each motivic gesture begins quietly, but gradually loudens, and then tapers off at the end of each phrase; AND the texture remains constant as well, because both the left and right hands move together, with the exception of ornamentation and/or lingered suspensions prolonged by either hand.
as far as other elements of structural phenomena are concerned: the tempo stays relatively constant throughout the piece, leaving room for rubato here and there; each motivic gesture begins quietly, but gradually loudens, and then tapers off at the end of each phrase; AND the texture remains constant as well, because both the left and right hands move together, with the exception of ornamentation and/or lingered suspensions prolonged by either hand.
from Schumann's, Album of the Young, "Wild Rider" op. 68 No. 8
The two strongest structural phenomena I noticed in this piece were tonality, and register. The piece starts out in A minor and then shifts to F major at measure 10. It then returns to A minor at measure 17. What helps the listener notice this is also the register change. In the beginning of the piece the main melody line is played in the right hand while the left hand supports it with eighth notes and rests. At measure 10 the main melody line goes down to the left hand and is played in a much lower register while the right hand supports it, and then returns back to the way it was originally played at measure 17.
Robert Schumann's Kinderscenen Op. 15, "No. 8 By the Fireside"
"By the Fireside" sounds as childish as the title alludes to. The tempo and dynamics are the most evident structural phenomena. The piece begins very softly. When new material enters, the dynamics grow from a piano to mezzo forte. This makes the new section of music more obvious. The written in ritardandos also complete phrases. The rit. at measure 16 is especially beneficial in concluding the phrase with a PAC. The performer played the piece with swells that defined the composition through tempo. The density doesn't change much which makes the piece a bit stale. At measure 9 the tonality changes without a key change. It's difficult to know what key these next seven measures are in since the accidentals don't match with the the relative or parallel minor key. The piece is played very quickly which adds flare but I still don't enjoy the piece due to the simplicity in harmonic texture and the lack of varied structural phenomena.
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