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Thursday, April 14, 2005

Stracinsky Octet for Wind Instruments, second movement

This octet contains three variations which carries some piece of the original theme throughout it. Each variation is clearly labeled in the piece, but also you can tell where they are just by looking at the structural phenomena as the piece progresses.
At the very beginning, the piece introduces the main theme which is held in the flute and clarinet parts. The rest of the orchestra are playing a very soft steady beat, but on the off beats of the measures. The movement of this accompaniment is very stepwise. That melody is kept in the flute and clarinet until measure nine where the trombone plays with the idea. Dynamics, tempo, texture, density, and everything stay the same throughout this introductory section except the placement of the main idea and there, and one odd thing were there is a measure of 4/4 instead of the usual 3/4.
The first variation starts right after the double bar lines at the end of m. 14. The things that point out this variation are the double bar lines, a change in tempo from eighth=92 to eight=126. Also, there is a very dramatic change in dynamic shooting all the way up to a ff from a p. The texture changes along with the density and rhythm. Basically, there is a shift in everything except for meter, which stays 3/4. Starting in measure 15, the off beat accompaniment is gone and a more sustained line (which is also the main theme from the beginning) is introduced for the first four measure before transitioning back (when it goes back to the off beats, the main them is passed up to the flute and clarinet where they track the notes in their staccato line) . The tempo of the line has increased as while as the amount of notes put into a single measure making the lines longer and faster, and with the dynamics louder. An overall more grand effect. This variation then cools back down to a p when the off beat accompaniment is played to remind you of the beginning then this variation ends with the main them in the top trombone part.
Variation 2, starts after the double bar lines at the end of measure 26. Also, here we see a change in meter from 3/4 into 4/4. There is a change in tempo going to a quarter=120-126 from what we just had (eighth=126) This has a change in texture because there is still the eighth note staccato accompaniment, but instead of a section holding the melody. Stravinsky brings in the idea of solo instruments. This variation is also starting to toy around with the idea of uneven rhythms and uneven meters throwing in a 5/4 or a 3/4 here and there. Also, with the rhythms having dotted eighths and what not. All of the material in this variation seems very different all the way up until measure 48 where the trombone comes in with its solo and plays a patern that we had in the main theme from the beginning.
Variation 3 starts of after the double bar lines in measure 56 and right away we have a change in meter (now we are in 3/8). A change in tempo ( quarter=63). There is also a change in overall rhythm. The bass accompaniment is now a waltz feel 1 2 3...staccato... while the upper voices carry the melody. which shifts between legato and staccato eighth note runs.. hummm... then the piece kind of stops.......as it goes into a 2/4 measure

Sonata in D major III movement Mozart

alright this is long but bare with me. The theme is in D and rounded binary form. The A section consists of a symmetrical parallel period and ends on the dominant. The b section is more developmental with an asymmetrical contrasting period. The last four measures round it out bringing back the original expository material and key.

Variation 1
The melody is still very present, just more ornamented.
structural ideas are still the same. Rhythm and texture are what has changed the most here. Instead of eighths and quarters, we have triplet beats with the exception of measure 10 having eighths in the left hand. Dynamics are present with a movement from piano back to forte etc.

Variation 2
this one is a little more ambiguous as far as moving away from the main melody. But the same structure is there as well as harmonic ideas, so it isnt moving too far away from the subject.
triplets are still present in the left hand, but 16th notes carry us away from that idea in the right. Dynamics are alot like the dynamics in the first variation.

Variation 3
16ths are much more present here but i still feel like structural ideas are the same as well as harmonic, but this variation feels a little more shaky, like its moving away from the original harmony. yea thats all i have to say about that

Variation 4
in this one 16ths are in the left hand but i still hear the melody in the right hand. That may bc im inclined to find it there...or just because it is.

Variation 5
This one is alot slower with an eighth feel to it, but the dotted eights with the 16ths the third measure in and in the rest of the variation give it a little variety. I feel like this one moved away from the first subject alot more than the others.

Variation 6
This one was cool. the melody is at the top with 16ths and low left hand activity supporting it. I paid attention to the left hand in this one alot more. There isnt alot going on in it, but it was very present to me. The tempo in this is very different from the previous variation..a little faster paced.


im tired


Variation 7
ok this one was cool. first off...we're in d minor now. I feel like even though the structure was pretty much the same, i heard this differently. In the first subject, there is a half cadence four measures in..and it keeps the melody very calm. But in this variation we have a crescendo and building up into the half cadence. cool. It could just be the recording I listened to, but then the ending of the period at the 8th measure ends out in a piano, quiet. So the idea of building and release is kind of inverted there.

Variation 8
back to D major this one was boring. The left and right hands have independent lines or contrapuntal whatever you want to call it.

Variation 9
left hand and right hand feel more homophonic in this piece to me. The dynamics differ alot from 8.

Variation 10
big change from 9...back to 16ths. quicker tempo. left hand carries melody in the beginning with a cool little diddy coming from the right hand.

Variation 11
back into a slow tempo, and no more cut time. Left hand goes back to an accompaniment style, while right hand becomes more soloistic with the little trills and rounds.


Variation 12
this variation goes back and forth from an 8th feel to a 16th feel in the first half. But the whole last part of it is full of the 16th note feel. We're in 3/4 time, so that's special. The piece is pretty darn happy, which is alot like the original subject, but of course since this is the end of this long movement, it's jazzed up a little more.

Sonata in D major, K. 284, mozart

the theme is in rounded binary form. The A section is a parallel, symmetric modulating period (it goes from D to A major), ending on a PAC in measure 8. The pickup to measure 9 marks the short B section, and is not its own exposition. It's transitory because it's goes through a couple of keys before returning to the original key of D. The A section comes back, and prepares us for the final PAC in D.

var. 1-
It plays around with rhythm in this, and we feel as though we're in compound meter because of the tied triplets. Also affecting the rhythm is the change from constant downbeats at every other quarter rest in the first phrase to the quarter rests being on the offbeats. It kind of gives is a slowing down feeling. The modulations are still the same, as well as the cadences.

2-very drastic dynamic changes. (soft on each first phrase of the period, forte on the second phrase) More of a playful feel.

3-constant running 16th notes in only one voice. The left hand provides most of the harmonic structure.

4-Very noble feeling- more syncopated. The left hand now has the running 16th notes. Loud

5- dynamics change to piano. relaxing. slower than the var.'s before

6- very exciting. The bass line gives the three note introduction to the right hand's 16th notes.

7- change to d minor. very bittersweet. more trills. very slow

8-Back to fast, loud original key. Kind of a question and answer section between the right and left hand.

9. syncopated, varying dynamic degrees.

10. sounds like it's anticipating something (b/c of the right hand) Very transitional feeling. alot of accidentals

11. Mood changes-it seems to have settled in D major again. Very chromatic at times. this is my favorite variation. what do toricella and autograph mean?

12- very playful feeling again. Time changes to 3/4. I got this image of someone galloping away on a horse into the sunset...it kind of sounds like that! and it ends on a pac in the original key...

Mozart Piano Sonata in D - Theme with Variations

The theme is in a rounded binary form. The first eight bars, which repeat, make up a parallel period that is expository in nature. the last eight bars play around with the tonality, but, once again, it is a parallel period.
  • The first variation alters the rhythm to a triplet pattern. The left hand has a much less significant role, it has simple rhythms and basically simple chords. The theme still has the same form as in the actual theme section. The dynamics stay similar also.
  • The second variation has a significant change in that the left and right hands rely upon each other to deliver the theme. There are a lot of grace notes as ornamentation in the variation, and the rhythm is also varied from what we've seen previously.
  • The third variation seemed to have a quicker tempo from the particular recording I listened to. There is a steady flow of sixteenth notes and the beats are very solid.
  • The fourth variation has rhythms that change the overall lengths of the motives. It was also more difficult to hear the theme as clearly as we were able to in the past because there are more notes that were added as variant elements.
  • The fifth variation sounds like a simplification of the theme to me with the repetition of notes. We get the general gist of the motive, but we know it well enough by now to fill in the notes that aren't present.
  • The sixth variation has an interesting way of the motive being passed from the left hand to the right hand, all while the right hand has this sixteenth note pattern filling the space to make the variation more interesting.
  • The seventh variation is the first to not be in the key of D major, but in the parallel minor key instead. There is a much softer dynamic level and the the style and sound of this variation is a lot different than the others. It's difficult to pick the theme out at times.
  • The eighth variation is very fast. We have returned to the key of D major here. The theme is somewhat simplified again.
  • The ninth variation is very different rhythmically. The right and left hands complement each other and it's interesting to see how it fits together to make the theme present.
  • The tenth variation has the left and right hands performing opposite roles. While the right hand has lots of repeated sixteenth note figures, the left is playing the theme with much longer notes. These roles switch throughout the variation.
  • The eleventh variation is in 4/4 time instead of the previous cut time signatures. It is a much longer variation and is also at a slow tempo, which makes it really stick out. There is a lot of ornamentation present.
  • The twelfth variation is in 3/4, which is extremely different after being in cut time for most of the piece. It's extremely fast.

Mozart Theme and Variations D Major

Wow there are a ton of variations on this piece!! I am just going to kind of list things instead of writing in paragraph form... because I think it will be hard (not to mention boring) to read.
The theme is a continuous rounded binary form. The A section consists of two 4 measure phrases, the first of which ends on a HC in D Major, and the second on a PAC in A major. The B section is very short, only 4 measures long and ends on a HC back in the original key of D Major, which prepares us for the return of the A section, which ends on a PAC in D Major.

Variations: The variations in this piece are sectional. Most of them seem to be based off of altering the rhythm, texture, and dynamics. The last few change meter. The basic harmonic structure remains throughout the variations, but the melody is basically lost most of the time.

Variation #1:
*rhythm changes from an 8th note pulse to 16th note pulse. This happens a bunch throughout the variations.
*The melody is still there, but it is disguised by the triplets.
*Basic harmonic structure still present.

Variation #2:
*more dynamic contrasts, sudden and shocking changes from p-f-p-f.
*The density and texture change. There is a lot less going on, the hands play separately a lot.
*Call and response feeling between the 2 hands.
*More of a contrapuntal texture happening here.
* 8th note pulse returns

Variation #3:
*The 16th note pulse takes the place of the 8th note pulse
*Parallel octaves in the left hand make it sound a lot more rough and jaunty then previous variations.


Variation #4:
*The hands flip and create a change in texture. The right hand now has the sustained block chords, and the left hand plays the fast 16th note material.
*This is the first time I really thought, "where the heck is the melody?" But the basic harmonic structure remains the same.

Variation #5:
*Once again, the pulse returns to 8th notes.
*Tempo changes- much slower.
*The sound becomes much more flowing, which is a nice break from previous excited variations.

Variation #6: (I am halfway finished here kids... AAAHHH!)
*16th note pulse is back for more!
*Huge change in texture- FAST arpeggios.
*Drastic change in tempo from variation 5. Much faster.

Variation #7:
*Calm feeling returns
*Tonality changes from D Major to d minor.
*Tempo is slow, dynamic softer, very calm almost sad feeling.

Variation #8:
*Tonality shifts back to major.
*Contrapuntal texture.
*Tempo picks up... happy again!
*Dynamics are LOUD.

Variation #9:
*Very similiar to 8, except there are many more sudden dymanic contrasts between p and f.

Variation #10:
*16th note pulse again.
*Huge octave jumps going on in the right hand create a change in texture. Nice contrast against the smooth, flowing left hand.

Variation #11:
*Meter changes to common time
*Calm feeling returns

Variation #12: (It's the last one!!! get EXCITED!)
*Meter changes to 3/4
*Excited and loud again
*16th note pulse.

***** END OF NOVEL********* :-)

Suite No. 4 in d minor, Sarabande - HANDEL

This Sarabande is a parallel, symetric period of sixteen bars in the key of d with a half cadence at the end of 8 bars and a PAC to conclude. It is followed by two ornamental variations of the same length. Each period is played twice, and it goes quite slowly. The first variation elaborates more on the melodic gestures both in the bass and upper voices. The second variation has a running bass with the exact chord structure as the beginning (only thinned in voices) on top. It is quite short and simple, and I have little else more to say about it as the cadences and general chord structure remain the same throughout. The first variation takes the three quarters running down in the bass to the other voices and adds trills (at least this performance did) whereas the block chords of the original are better preserved in the second variation.

Wednesday, April 13, 2005

Mozart- Sonata in D major

The first section of this piece exhibits a sort of rounded binary form. It begins in D major with piano dynamics, and the first phrase is 4 measures long and ends in a half cadence. The new phrase then begins with the same motive in forte (to signal repeat), and it ends on a PAC in A major. These first eight measures are expository in nature and exhibits a parallel, modulating period. The next four measures are mostly transitional, frequently changing in dynamics and texture and causing a return to the original key. The A motive then returns in forte to make it clear, repeating exactly the first two measures and then leading into a terminative PAC in D Major. The structure (modulating parallel period with a weak then strong cadence, either A or D major or modally changed) is the point of variation for the rest of the piece, 11 in all. Within the confounds of this structure, the elements of dynamics, texture, rhythm, meter, tempo, and mode serve to provide variation. Each variation begins in piano and ends in forte (the dynamics usually changes multiple times in each section), making the movement from one variation to the next more apparent. The combination of texture and rhythm also helps to make the differences clear. The 1st variation has triplets in the right hand and blocked accompaniment in the LH, the 2nd alternates voices in has triplets in one hand and 4 16th notes in the other. The elements continue to change in this way for the duration of the piece. In variation VII, the mode changes from D major to d minor and switches back in the next variation. In Variation XI (Adagio cantabile), the meter changes from cut time to 4/4 and the tempo slows down drastically. In addition, the dynamics and rhythm are different than the rest of the piece with more extreme changes, and the section goes on for much longer. In Variation XII (the last), it turns to ¾, and it is very similar to the original theme. It seems that the Variations I-X, XI, and XII, can each be seem as a different group of variation.

Mozart: Piano Sonata in D major, K. 284 Theme and Variations

The theme, which is basically 16 measures long, is a very small rounded, continuous binary form. The A section is a parallel, open period consisting of two phrases that are separated by a half cadence in D major, symmetrical (four measures long), and modulate to A major, ending with a PAC in that key. I heard it as a modulation to A major because there was a strong emphasis on G# for two measures leading up to measure 8. The B section is simply a four measure phrase. However, the tonality of this phrase is different enough from the first two - it suggests A major, then E, then D (m. 9) during its brief developmental phase, before transitioning back to the original tonality with a half cadence in D major (m. 12). Rounding begins with the return of A in measure 13, this time finishing with a PAC in D major.

Now to discuss the varied elements of each variation:
Variation 1
The most obvious change is rhythmic - the eight note pulse is lost to the eigth note triplet. The structure and harmony are kept. The melody is disguised within the winding triplets, though it's still very present.

Variation 2
There are more changes here. One is in the dynamics - this variation alternates between piano and forte much more often than the theme. The density and texture change as well - the hands often play alone, giving the variation a contrapuntal sound. The structure and harmony are kept, but the melody is very obscured in a sort of call and response between the hands.

**Just realized there are 12 variations, so I will be commenting less and more in an outline format on the following 10, focusing on the most significant changes.

Variation 3
-Rhythm change: sixteenth not becomes basic pulse.
-Timbre change: piece beomes much more rough, especially because of the descending parallel
octaves in the left hand.

Variation 4
-Texture change: the fast moving notes are now in the bass, whereas the right hand plays slower.
-Original structure and harmony are still present, but the melody is basically impossible to pick out.

Variation 5
-Rhythm change: eight note is basic pulse.
-Tempo change: much slower, calmer.
-Timbre chagne: brash sound of chords in right hand of var. 4 is replaced by a smooth, relaxed sound.

Variation 6
-Rhythm change: back to the 16th note as basic pulse.
-Register change: left hand moves lower than var. 5, right hand at times is higher. Basically, the middle range isn't the center of activity like var. 5.
-Texture change: unison chords are replaced by fast arpeggiations.
-Tempo change: much faster

Variation 7
-Tempo change: slower.
-Dynamic change: softer, calmer mood.
-Tonality change: the piece changes from D major to d minor.
-Timbre chage: the excited, flighty sound of var. 6 is replaced by somber, mellow sound.

Variation 8
-Tonality change: back to D major.
-Tempo change: quicker again.
-Timbre change: back to a happier, bright sound.
-Texture change: now a contrapuntal texture - var. 7 had one melodic line over accompaniment.
-Dynamic change: louder.

Variation 9
-Overall, similar in many ways to var. 8.
-Dynamic change: much more contrast, sudden.

Variation 10
-Rhythmic change: 16th note is very present.
-Texture change: Octaves are split into oscillating 16ths.

Variation 11
-Meter change: now in common time, not cut.
-Tempo change: slower.
-Timbre change: much more mellow, no longer bright and excited.
-Texture change: back to a solo melodic line with accompaniment rather than a contrapuntal sound where both hands play parts of the melody.
-Form and structure are varied in that A and B are not just repeated, but the whole thing is written out.

Variation 12
-Meter change: in 3/4 now - first compound feel of the entire piece.
-Timbre change: back to excited, bright.
-Rhythm change: 16th note is back.
-Dynamic change: louder in general, with more sudden contrasts.

The structure and harmony basically remained constant throughout the entire piece, though the melody was basically lost in all the variations. Bits and pieces of the original could be heard later in the piece, but other than that it was changed significantly.

Stravinksy Octet

This set of variations by Stravinsky is sectional. There are structural phenomena at each new variation whether it be tempo, meter, orchestration, or dynamic. In the introduction the melody is heard in the flute and clarinet. The motive throghout the piece stays stylistically similar, that is, legato and somewhat dolce. The style of accompaniment is what significantly changes. The melody is based around the notes A- C#- A -Bb. Notice the accompaniment in the introduction; all off beats and very quiet. In bar 9 the second trumpet takes over the melody and the composer indicates ben cantabile. The accompaniment stays the same as does the dynamics. In bar 12 the trombone plays a smaller gesture that is based off the pitches of the melody. The 1st variation is signaled by a tempo and meter change. We are now in 3/4 and the speed of the rhythm has changed. 32nd note ascending patterns are passed from instrument to instrument except the trombones who have the melody. There has been a modulation so the pitches are different but inveralically they are similar. Notice the melody is still long, full-value, and legato as all the business goes on behind it. In bar 19 the melody is then in the flute and first trumpet as off beats while the rhythmic focus is on the bassoon duet. In bar 23 the melody returns to the brass as the trombone finally has some fast notes in the next bar and in bar 25 the winds play a morphed statement of the main intervals. In the 2nd variation the accompaniment is still secco but this time on the beat and the melody starts off in the trumpet and is transferred to the flute. Here the melody is a little less legato and becomes a little more wordy. This dotted 8th-16th note gesture is passed then to the flute while a march like accompaniment is heard. The melody then returns to the trumpet. this time the melody is half legato and half note. A decrescendo and a restart of the quarter note accompaniment returns as the melody is played between a trumpet duet. The 3rd variation is in 3/8 and starts off very busy between the bassoons. The melodic gesture lie in the flute then the clarinet until the mai melody can clearly be heard. The brass and winds provide a boom chuck chuck accompaniment. In bar 83 the 2nd trumpet has the melody in off beat quarter notes. The listener gets a since of hemiola and vertigo here while the winds still play sixteenth notes. The clarinet then joins the trumpet and variates the rhythm a bit. In bar 104 the trumpet again has the melody as the flute and clarinet are sky rocketing above it. The burkhart ends here.

Handel's Suite No. 4 in D minor, Sarabande

This piece uses sectional variations. The original theme is 16 measures longs. It is made of two parallel phrases. The first ends on a HC while the second ends on a PAC. The rhythm is the same for both phrases of the theme until the last four measures that differentiates them toward the cadences. The harmonic material is the same in the first variation. It too is a parallel period. The last three measures of the second phrase are more dense with more movement in the individual voices. The rhythm changes at the end as well. The second variation, the upper chords are sustained with the same repeated rhythm throughout. The lowest voice is very scalar and uses different harmony than the original. I think this is a contrasting period because although the upper voice chords are the same, the harmony is different. This variation really seems to be moving directionally forward. I think both of the variations are contrapuntal. I don't understand what it means to look at the bigger picture of the piece. I'll ask in class tomorrow.

Handel: Suite in E Major, Air and Variations

I know this is the homework assignment, but this is so damn charming I'm going to blog about it anyway. This represents the form of a sectional variation, wherein the variation is not of just a single pattern, but of a larger section. In the case of tis air the section is a group of 3 phrases. The first two phrases make up a parallel double period, with 3 half cadences (it modulates to the dominant on the second, but doesn't always sound like a PAC, and I construed it as a half cadence in the grander scheme) and similar material before a final PAC at measure 16. The final phrase reiterates the second half of the double period, again concluding on a resounding PAC. Each phrase is 8 measures long, making each section very symmetrical. The first two sections (Air and 1st variation) sound very similar, the variation being the addition of further arpeggiation of the chords with a constant sol being harmonized. The second variation mirrors the first one, until the final phrases desceneds towards the PAC when we have a furious trilling in the middle line. This figure is repeated again as we have the repetition of the second phrase. Now we move on to what sounds like new material, however it's still the same progression and identical section structure, the third voice drops out and the soprano line seems to drop the melody for simple arpeggiations. The lower voice maintains the melody line. The next variation inverts this, as the melody once again belongs to the soprano and the lower line arpeggiates out the chords. This section once again ends on a full PAC. Now we have one final variation, which is incredible, as we begin the harpsichord fireworks, whizzing up and down the keyboard with 16th note runs. When we run downwards, a run is returned up. We play back and forth with this motion, all the time maintaining our chord progression and our strict sectional form. This all ends on a PAC, as they all do, and all those runs ritard slowly as we approach our final descent to the PAC.
...sorry, wanted to go with the airplane reference.

Dello Joio: Piano Sonata No. 3, I

The title of the piece leaves nothing for the listener to be suprised with. Entitled "Theme and Five Variations," it is most definately a piano sonata employing sectional variation. This piece is 8 pages long, so as a preventative measure to retain my sanity I will discuss the theme and briefly discuss the 5 variations. This piece is unique in comparison to some others, as each variations is very much a seperate entity from the others. Each variation could potential stand as it's own individual movement.
The theme of the piece opens lasts for an entire page. If one listens to the first 4 and a half measures of the piece, you can hear the statement of the theme. This piece is very 20th century. There are few obvious cadences, unclear forms, and non-traditional chords. The theme is almost contrapuntal in nature. There are no clear periods or other structural organizations. After the right hand enters with the theme, the left hand starts the second measure with what sounds to be a counter-theme, imitating the right hand. There is a slight authentic cadence in measure nine, with the tonic chord extending the cadence over the next bar line. The theme ends on a really cool root position 9 chord. Not typical. This piece is riddled with jazzy harmonies that give this piece a very modern flair. Thus ends the theme.
The first variation, although remaining in the same key, is significantly different than the theme. The theme is masked behind a changed to a 3/8 key signature and staccato and marcatto sixteenth notes. This is an ornamental variation.
The second variation is in 6/8, with the right hand playing triplet chords in a chromatic scalar pattern. Fortunately for the listener, the theme of this piece comes back in the left hand. It's been modified from it's original form. Again this is a ornamental variation.
The third variation returns to common time, and we can again here the evolved theme in the right and left hands. Much louder and more articulated than any of it's predecessors, this variation is fast in furious. It sounds like the left hand is chasing the right in this variation. Again, I would select this variation as ornamental.
Surprisingly similar to the 2nd variation, we again find ourselves in 6/8 with the right hand playing triplet patterns. This time the theme is even more distorted, and both hands share in the ornamentation of the theme.
The final variation is a simplification of the theme. In the fifth variation there is a solo theme played ontop of a slow, chordal harmony. Dello Joio, with his jazzy chords, elaborates gradually while playing with his theme. After coming to a slow close, we return to a short 5 bar coda that restates a similar ending to that of the original theme. Ending on a root position G major chord, there was much rejoicing.

Well, it's over, it's done. I've typed a lot. I'm not sure how to analyze this piece. My final comments would be that Norman Dello Joio created a long, jazzy piano sonata with a theme and 5 very individual variations ornamenting and developing this theme, primarily through the usage of rhythms and pitch displacement.

Beethoven, Sonata Op. 26 Andante con Variazioni

It's sectional variation time!

These variations are large structures and that is true for this piece in A flat. The theme is in a rounded binary form and it is varied five times.

The A section of the theme is an 8 measure contrasting period. The first cadence in the fourth bar is a half cadence and the second cadence in the eighth measure is a PAC in the dominant key of E flat. This eight measure period is then basically repeated though there are some fairly significant melodic alterations and a significant change to the PAC by taking away some of the blurring of the PAC that occurs the first time through. The B section is a ten bar parallel period with a weak half cadence in Eb in the fourth bar and a PAC in E flat the eighth measure and a cadential extension to the tenth bar. That tenth bar then modulates back to the key of A flat and leads to a full repitition of the A section like it was the second time in the beginning.

The first variation keeps the same harmonic structure but there are a few changes to the music. One of the major changes is the thirty second note rhythmic pattern that is very prevalent in the melody part. The accompaniment which often echoed the melody an octave lower during the theme takes a much more minor role just playing chords on downbeats. The cool thing about this variation is in the B section where Beethoven has a cool ascending scalar line in the melody doing three three thirty second notes in two different octaves that rise.

The second variation is extremely FUN! The harmonies are once again are the same but the entire variation is a boom-chick thirty second note pattern that outlines the chords. The bass line is mostly in octaves and mostly has the melody on the boom while the treble clef part does the chicks. Very cool.

The third variation has a similar boom chick between the treble and bass parts but by switching the rhythm to sixteenth notes and moving to minor mode (A flat minor = 7 flats, ahhh!) the piece takes a much more somber tone in this variation and the rising line in the upper voice is very poignant. There is a more melodic break during the B section of this variation.

I would call the fourth variation the "waltz" variation due to the bass part having stacatto notes first on one and three (time sig is 3/8 if I haven't mentioned it yet) then on one and three and the and of three and then on all three beats. This section also has a very neat melody part, which is in octaves and also jumps octaves every couple of notes, giving a Bach like feel of two different melodies going on at the same time and a wonderful thirty second note descending run in one measure. It also returns back to the major key.

The last variation is the virtuosic section. The first time through the A section is dominated by the sixteenth triplet rhythm in both hands and the second time through quickens to mostly thirty second notes in both hands creating a very dense texture. The B section has much the same texture. The return to the A section however lightens up to a point that hasn't been heard since the first variation, which helps to signal the piece is coming to an end. The fastest rhythm is sixteenth notes that are only in one voice while the other voices stick with eighth notes.

The last eight measures of the piece serve a termanitive function with the harmony not straying from I and V and a no melody just a little chromatic line in the soprano.

Stravinsky Octet for Wind Instruments

This piece consists of a theme and five variations, labeled A through E, and they have a recurring order: ABACDAE. each variation is separated by double bars, which helps to identify them as sectional variations.
The theme begins in measure 1 and lasts until measure 15 where variation A settles in. the quarter note melody begins in the flute and clarinet. it an obscure, eerie melody and the eighth note pulse gets the metronome marking of 92, so it is fairly slow. the melody is passed on through the other voices (bassoon, trumpet, and trombone), but the accompaniment always consists of offbeat eighth notes.
in the first variation (A), the clarinets, bassons, and trumpets have a quick scalar passage while the trombones continue the first melody. the tempo has increased, and the music generates an intense feeling. the light accompaniment continues, as well.
in variation B, the theme briefly disappears, but later prevails and is also embellished. this is a melodic elaboration, or an ornamental variation. there is also change in texture and dynamics at the start of this variation.
variation A repeats, and then turns to variation C (which is the last one in the burkhart), which again, keeps a constant eighth note accompaniment in the brass. the flutes, clarinets and bassoons keep the melody. at the beginning of this variation, there is a change from simple to compound meter.
each of these variations differ from the next (obviously...) but each still contains similar melodic and harmonic content.

Tuesday, April 12, 2005

Bach Crucifixus from Mass in B minor

In the beginning of this piece we have a section from measures 1-14 that contains the melodic line accompanied by the word 'crucifixus' passing from one voice to another, first in a descending manner and then without pattern. This expository section gives the listener a solid idea of what the melody is. The next section runs from measures 15 to 29. The melody introduced with 'crucifixus' has moved to the lower voices and while it still retains the same word as the lyrics, the rhythm has changed. The section is the first instance of variation. Measures 29-36 have the voices almost in unison with the words in the lyrics and there's a much stronger sense of unity here. Following that, from bar 36 to the end there is a slight feeling of a return of the original motive with the downward motion of the voices entering with the word 'crucifixus' once again. However, the word is only repeated once and more lyrics follow, so it is somewhat deceiving. Bars 49 to the end are a bit of an extension.

Dido's Lament by Purcell

The overall form of this piece, aside from the recit, seems to be simple binary. The theme is first introduced in the beginning or where the recitative starts in the key of c minor. There is a hc at measure five but i dont feel that the recit section has an answer to the half cadence so I term this as a phrase group. The first variation starts at 14 with another at 35. The bass ostinato i think is first evident four measures before the aria actually begins. The variation at measure 35 is a little more ambiguous with the melody, but i still feel it is evident.

Bach Crucifixus

The piece begins in e minor. The progression repeating progression is played in the first four bars of the piece. Up till measure 15 we have a main melodic motive that is passed from voice to voice focused on the word crucifixus. It is two half notes followed by two quarter notes followed by a half note. It happens 8 times, all in different keys and slightly different intervalic changes. Then in mesaure 13 it is inverted a bit and elongated. Here in measure 15 the meat of the piece begins as Bach has now firmly established "crucifixus." There is now a sense of development and expository nature with much counterpoint. In the bars following bar 15 the word crucifixus is passed, still, amongst the choir but this time in straight half notes. In bar 20 we see more quarter notes arising creating almost some mellisma-like melodies. Bar 25 is almost a combination of the quarters and halves. At 30 there is much congruity of rhythm. Beginning in bar 37 the texture thins again. The word crucifixus is the focus as it inhabits another melodic motive. This time it is augmented. As the voices echo this the texture begins to get thicker and thicker and each line then operates independently creating a very thick and busy texture yet still remaining somewhat transparent. In bar 49 we feel the beginning of the terminative section. As the rhythm is more uniform throughout the ensemble and the texture is quite thick, ending in G major.

Dido's lament- PURCELL

I really liked this, ecspecially since right now we're working on an actual passacaglia in band. I know that Ron Nelson's passacaglia on BACH is a completely different style piece and time period when compared with Dido and Aeneus, but its the only real passacaglia that is fresh in my mind. I don't even know if that is what this is considered, or if the bass function is just an ostinato with different variations... but when I heard it I think 10 different times, I thought of a passacaglia.
I think the first variation begins in m.14, and then the second one is in m.35 with the clear return of the dotted rhythm, or at least that is what I listened for.
I felt like the piece was a simple or continuos binary with a clear A and B section but no return on the A section to close the piece.
The A section was comprised of two phrases, antecedent and consequent, with a half cadence then a PAC, and the B section is formed the same way. I thought that it was interesting that the lyrics of the sections were like a statement and then response, so that the lyrics of the B sections were a response to the lyrics of the A section. This might be a normal thing that isn't even important and I just noticed it because I'm not a singer, but I thought that it was neat.

"dido's lament", purcell

Dido's Lament begins with a recitative ending on a V chord in the key of g minor.- I see some connections between this and the upcoming A section (very chromatic

There is a string introduction after dido ends her recitative, descending chromatically down for four measures and finally resting on the i chord where dido starts singing. This continuous bass ostinato descending line pervades the entire aria, using variations on this line too. I think think this aria would be in simple binary form.

The A section begins in g minor. There's a HC on the first phrase, and another HC on the consequent phrase ("breast"). This period is repeated again.

The B section ("remember me") has 2 periods, the first ending on a HC, the second ending on a PAC, and then the exact phrase is repeated with the same cadences.

Bach- Crucifixus - Mass in B minor, BWV 232

This song contains four vocal voices and an orchestra...but looking at the orchestra part writen as a piano...

The bass is very easy in the piano part because for the most part it just moves chromatically down using quarter notes throughout the measure for the whole song. The treble line of the piano part is what changes as the song progresses... But it does stay on half notes and block chords..no moving quarter or eighth note runs...

In the very beginning there is motive that is passed from voice to voice from measure 5-13....there is one thing that is modified and it always occurs in the third voice...Instead of having a minor or major third at the end of the motive..there is diminished triad.

In measure 13 the soprano starts to set the text to a new melodic line, and also introducing new words....this then carries through the voices, and then goes through to build a big developmental section....In measure 16, this is the first time all the voices are singing together... from here on out the voices are more active....

Measure 29 is the first time that the words are lining up after a PAC in e minor...Now the words are lining up and the lines are all very simple steps and verys sustained...Measure 36... a HC all ending on the same word....

then in measure 37 a new motive comes in.... which is passed down from soprano all the way to the bass line....in measure 49 there is a V7-i.......ending all voices ending together...The voices then break apart until the last two and a half measures where the words are together and it ends on a great big g major chord....

J.S. Bach: Chaconne from Partita No. 2 in D minor for Violin Solo

According to our text, the chaconne was composed using a variation procedure based on a harmonic progression rather than a single melody. In this piece, the basic harmonic progression is:

: i ii(halfdim.) V i VI iv i V i :
*Since it's a solo line, the inversions of these chords change often in the piece. However, this is the basic progression of the theme, which is eight measures long, consisting of two parallel, symmetrical phrases that use the same chord progression. Since the first phrase has an authentic I don't know if Bach did this often, but the theme is displaced on the bar - it begins on beat 2 and ends on beat 1.

The piece contains more variations than I want to count. The first 19 basically move from a more chordal structure to a melodic line. At measure 81, the variations are put on hold and a turbulent period begins with a series of descending fully-diminished seven chords starts. The basic progression returns at measure 89 and the process continues, moving once more from a chordal structure to a single moving line and then back to chords.

At measure 133, the piece modulates to D Major (the parallel major), and the progression, it seems, is put on hold. This section, which lasts until m. 177, mainly consists of V - I movement. In measure 177, a resemblance of the original progression returns, this time in major. It then builds to a sort of ending for the D Major section in m. 209, and then there's another phrase modulation back to d minor, as well as the basic harmonic progression, though chords are substituted (that still maintain their function in the progression). For example, the ii half diminished chord is replaced by the iv7 chord.

There is a huge sense of return at measure 249 after a long buildup. The main progression returns and is played basically in the same way it was in the beginning.

Nice work, Bachy boy.

Dido's Lament

The first time the theme appears in this piece is in the recit. Variations on the theme appear for the first time in measure 14 when the vocal line in the aria begins. This is especially clear in m. 17-18 when the material greatly resembles m. 4-5. Another variation on the theme begins at measure 35. The melody is very different, but the same basic dotted rhythm is there, as well as similiar harmonic material.
This piece is based off of a bass ostinato. The ostinatio part appears first in the 4 measure intro to the aria. The aria seems to have two different sections. The A section is the "when I am laid" section, and the B section is the "remember me" section. The A section consists of two phrases. There is a HC in measure 17 and a PAC in measure 32. The B section has two phrases that are repeated twice. I would call the form of the aria simple binary, because the A section never returns.

Monday, April 11, 2005

Britten, Serenade, Op 31, Dirge

OH...what a piece. And I like Britten.

So this is an example of continuous variation on a theme in the tenor (sung by the tenor rather) intead of in the bass. It's nine iterations of six measures each in gm, cadencing melodically always strongly on the g -- made an IAC by the fact that the orchestra never has a solid g in the bass (though it's atonal, so...). The last variation ends without anything under it, so you could consider that a PAC. And at the third measure of the repeated material, there is definitely something of a weaker cadence (like an IAC). So you could split it into two contrasting, symmetric phrases that form a period.

One obvious variation I'd like to point out is the text, as the words change for every repetition, only the last verse is the same as the first.

1. By itself, end elides into the repeat, as low strings begin.

2. A slight rhythmic variation - half note reduced to dotted quarter, and an eighth pickup note takes up the difference. Strings are in unison and low. But break at the second part of the variation, where a dotted eighth and sixteenth are inverted.

3. half notes restored. Higher strings start to climb out of the texture. Constrasting rhythms in the strings and triplets against sixteenths. Odd leaps and melodic jabs in the bass.

4. one half note kept, the second not. Violins finally begin to raise into their register. They attack epeated notes of changing rhythmic divisions before leaping in a sort of gesture. Notes change at teh beginning of the second phrase and rhythm (triplets and repeated b), and then more triplets two beats away.

5. First half note not kept, second kept. A run down the register in the strings with grace notes. Upper strings build almost chords and low voice rumbles in sixteenths running in neighbor patterns and scales. For the second phrase, trills in the bass add tension.

6. Horns! at the beginning of second phrase, rhythm changed again -- 4 sixteenth notes instead of the dotted eighth sixteenth.

7. Horns die down and out. Texture thins and high violins slink around. Again rhythm change in same place, but here two eighth notes.

8. Lots of static intervals repeated in different subdivisions. Same rhythmic difference as before.

9. high trills signal the dying off of violin, bass runs down to the cellar agitates, then hits three last one voice attacks and goes out. Soloist ends on his own and does not make the octave leap up to the high g, but remains on the low g.

"Dido's Lament" - Purcell

“Dido’s Lament” opens with recitative: “Thy hand, Belinda …” The recitative includes several descending phrases, settling on a PAC in g minor. It is important to note that this section is simply recitative, and is used for dramatic purposes only. It is separate from the scene.

The entire aria is centered on a bass melody, or bass ostinato. I’m not sure if that classifies this piece as a passacaglia, but it definitely has continuous variations on the bass ostinato. The bass ostinato is basically the introduction to the aria, or the first four measures. Its ominous descending line is symbolically significant. You should imagine Dido’s wish to die and be “laid in earth.” The four-measure ostinato is repeated with variation 11 times, each time with the same rhythmic values. The only exception is that all the variations use a So-So octave jump before moving to Do. The ostinato has two cadences: a HC followed by a very obvious PAC.

It’s interesting how the bass ostinato has no relation to the vocal line in terms of cadences or structure – the vocal phrases do not line up with the four-measure ostinato. The vocal part itself seems to have two sections – the A: “When I’m laid” section and the B: “Remember me” section. The A section has two phrases, the first ending on “earth” with a HC and the second ending on a PAC with “breast.” The A section is repeated twice. The B section also has two phrases and is repeated twice. I guess you could label this aria as simple binary form.

I won’t discuss all the ways that Purcell varies the ostinato, but I want to point out the instrumental conclusion. Here the ostinato is played through twice in the bass, but plays a similar descending pattern with the same intervals. I love that even though the ostinato cadences at M. 59, that the other instruments do not cadence and continue their descending pattern until the end. It’s like there are two different melodies going on.

I have found a greater appreciation for this piece, which I first considered very slow and dragging when I heard it in high school.

Bach- Mass in B minor- Crucifix

The four measure harmonic progression is introduced in the beginning, and is repeated throughout the entirety of the piece without any change. What varies is the elements that occur outside of the bass harmony, especially in the upper voices. In measures 5, the soprano voice first comes in and introduces a short 1&1/2 measure melodic motive. It passes it down through each voice and then back up again, each one overlapping the other. It changes in tonality but maintains the same rhythm and most of the contour through measure 14. This part of the piece is very simple but the passing of voices retains interest. The in measure 15, a new melodic motive is introduced. Material similar to the m. 5-14 repeats is maintained and developed in the duration of the piece, but it is more contrapuntal with mini voices going at the same time, giving a sense of an unrelenting, constant motion (giving the sense of a death march as Jesus carries the cross to the top of the mountain). The treble part of the accompany contains blocked half note chords with constant change in the chord notes, maintaining the same texture throughout the entire piece, again creating this feeling of a march to the top, with no turning away from the suffering that awaits at the top of the mountain. Thank Jesus for continuing to take that walk.

Bach, Crucifixus from mass in B minor

This piece is in continuous variation form and is in e minor.

The basis for this continuous variation is a melody in the bass line which is extremely simple with quarter notes that descend chromatically from the tonic tone of e down to the b where a half cadence is usually reached at the end of the phrase in the fourth measure. The orchestra plays half notes on top of this which establishes the chord progression, which is not constant for each variation.

The first variation of this line is marked by introduction of the voices who from the soprano to the bass do a little one measure motive which the other voices imitate at other pitches. The chords are slightly tweaked at time but a half cadence is still reached.

The second variation has the same basic vocal motive but the order of voices is different and the starting notes are different and there are some tweaking of chords again but it still reaches a half cadence.

The third variation is the first time all of the voices have sung at the same time. Chords are tweaked again in both function and inversion and for the first time it ends on a HC with a 7th.

The fourth variation sticks out because there is a picardy third in the resolution from the previous variation. Also notable is how many of the orchestra chords have increased at this point to four notes whereas the first few variations only had three note chords and a couple of two note chords.

The notable thing about the fifth variation ends with a minor v chord which is very strange.

The sixth variation has the picardy third again but returns to the more usual V7 chord as the half cadence.

The seventh and eighth variations both have HC with V7 chords that resolve to normal e minor chords.

The ninth variation breaks up the texture of all the voices singing at the same time and goes back to an imitative structure where a new voice is added each measure. The chordal structure also goes to the weird minor five chord as the half cadence.

The tenth variation is striking because rather than resolving to the one chord, it jumps straight to V/IV chord which is shocking in the context. The four voices continue to sing at the same time for the most part and this variation ends on the minor five chord also.

The eleventh variation resolves nicely to the e minor chord and has a normal V7 half chord at the end.

The twelfth variation is the final one. For the first time, the bass melody changes slightly to hit a good cadence. The line goes from e to d sharp to d to c sharp to c back to c sharp to d to g which signals a modulation from e minor to G major to end the song HAPPY! This variation ends with a nice PAC from a D7 chord to a G major chord.

did's lament

first of all, i love this piece.

the recit strikes me as odd, however, because the cadential structure seems to be backwards. there is a HC at measure 5, but from the first three measures the tonality is ambiguous with a i-I-iv. there is what seems like it will be a HC in the key of c minor as the recit ends and we are leading the aria, but instead we moduate to the key of the minor dominant. measures 10-14 serve as the transitional measures from not only the recit-aria but from the old key to the new key of g minor.

the aria seems to be made up of a group of phrases, because i can't seem to find any real form in the section. there is a repeating phrase in the vocal line from m. 14-22 and again 24-32. after that though, we get another section of a sort of call-and-response between the orchestra and dido. this repeating of a phrase occurs again with the second motive "remember me" in m. 34-44 and again from 44-54.

we end in the key of g minor. wow...what a beautiful aria.

Purcell: "Dido's Lament" from Dido and Aeneas

We introduce this piece with a small recitative passage, which is separate from the "lament" although it really sets the stage dramatically. Unlike most recitative,however, the melodic line is the basis for the aria. I love the single cello line that moves us from the recit passage to the beginning of the aria. This line (Do-ti-te-la-le-sol-fa-fi-sol-do) serves as the basis for the variation, since this accompaniment is repeated over and over again. As the aria starts, we have a variation on the recitative melody, which by sheer coincidence matches the cello line quite well (well kiss my grits...). Instead of moving to B material, like a da capo aria, we have a return to our original material, or so it seems. This is the variation we've heard so much about, our rhythm remains very much the same, but the melody differs, reaching higher instead of sinking lower. Our words in this section are also different. Throughout it all the bass line remains constant, stabilizing the whole piece and allowing the singer to pursue new notes and harmonies. At the very end we have a recapitulation of the introduction, this time with violin and viola accompanying the cello. This song is so slow and sad, like this creeping darkness that threatens to overtake the listener. God this piece is powerful to me...

Chaconne in G major by Handel

I'm so excited to be writing about so many pieces that I'm actually playing now! I'm doing this piece for performance exams. Ughhh! I love the piece though. The structure is really fascinating. It begins with a section full of many trills and varied rhythm, almost romantic in nature. The main improvisitory theme is then varied many times. The harmonic progressions stay the same in every variation but the bass and soprano take turns trading the melody. It's like an equal partnership between the voices. It is also neat because the piece begins very slow with many eigths and quarters. Then it has a natural tempo increase by going to triplets. Then it finally switches to sixteenth note runs. This makes the piece seem more agitated and like the performer is going crazy playing faster and faster when really they're keeping the same tempo throughout. This performer added many trills as well. This very major section then goes into a parallel minor section in g. It is much slower and lyrical and beautiful. The melody seems to sing. This section is great because now instead of having an obvious melody and accompaniment switching voices every other variation, both voices are playing counter melodies. The sixteenth runs have prominent notes that makes melodies just as important as the eigth note melody lines. This section is a reverse of the first and instead of increasing tempo naturally, the performer starts adagio and then gradually accelerates until they hit the big bouncing octaves that crash in descending patterns until the G major key comes back once again. This time, the section starts with sixteenths and gets more vigorous by the addition of more dense chords and constant arpeggiation. It sounds like a rattling harpsichord or a car barreling forward with the accelerator pushed to the floor. It finally ends on a huge PAC after the many HCs that came before. I'm so glad I looked at this piece in this way. It makes me see it in a new way again.

Purcell "dido's lament"

dido begins by singing a recitative, which i suppose is the main motive in which the later voices vary. this main motive is quite slow moving and depressing (what a giveaway the title was...). the melodic interest lies in the first 4 measures, where she sings "thy hand, belinda! darkness shades me, oh thy bosom let me rest."
later, in measure 14, (where dido re-enters), she produces a slight variation on this theme, especially noticeable in measure 16. in this measure, she has a descending line, quite like the one seen and heard in measure 2. also, measures 17 and 18 are quite similar to measures 4 and 5.
when dido finishes singing her first variation, she moves on to a second, where she continues to use the familiar dotted rhythm, but a rather different melody. the accompaniment, however, replays the motive that dido just finished. the harmonic movement remains relatively untouched, which i feel provides some stability for the listener.

"Dirge," from Serenade Op. 31 by Britten

I guess I'll be the first one to take a stab at Variation form. This unique piece of music begins quietly while the tenor sings the statement of the sectional variation for 6 measures. This theme is repeated exactly the same 8 more times. There is no variation in the tenor, besides word changes, for a total of 9 statements. The variation in the piece comes with the Horn and strings.
A measure before the tenor ends the statement, the cello and bass enter with the first variation. 5 measures later, the viola comes in with the first variation, and the cello and bass pick up the second variation. Notice how the statement is 6 measures in length, while the variations are all 5 bars long. This creates a cool off balence effect. This stacking affect of adding instruments continues until Box 16, where all the instruments all alternate playing the 4th variation. The strings build until Box 17, where there is a loud, fanfarish horn player coming in with the first variation. The horn is short lived however, and after acting as an accompaniment to the tenor and horn the strings enter back in with the first variation near the end. As we approach the conclusion of the piece, we end just as we started. The tenor sings the unaltered repitition into nothingness.

Well there it is. Not sure what exactly to say, but I gave it my best shot. Hope people have good comments.