Ahhh ... yes. The soothing sounds of the harpsichord. A tried, tested, and proven instrument that forever adorns an array musical genres from the sweet melodies of nighttime lullaby's to the triumphant fanfares of a proud nation. The harpsichord is timeless, and it is surprising if you a selection of modern popular music that does not feature the enchanting sounds of the harpsi .... oh wait. My mistake. I was thinking of every other instrument BUT the harpsichord. Not to be too harsh, I do, AT TIMES appreciate the sound of the harpsichord and the unique texture it brings to various orchestrations, and even as a solo instrument. And it was the instrument that Handel chose to feature his Chaconne from Trois Lecons. Yes ... Handel ... ever heard of him?
Due to the lack of dimension in the piece from an orchestration or multiple instrument perspective, it is imperative to look very closely at the subtleties the Handel features in an unassumingly simple piece. Take for example the foundation and development of the rhythmic pattern throughout the piece. From start to finish, the rhythmic durations get gradually smaller. As the piece moves from one variation to the next there is a definite steady decrease of rhythmic durations. In addition, the hand in which the various rhythms occur shifts from variation to variation. A very clear indication of this is the shift from variation I to II in which the rhythms shift from a combination of eighth notes in the right hand and half and quarter notes in the left, to the same combination of notes only in different hands, the left taking the eighth pattern and so on. In addition, the clear development of the rhythm into smaller durations is seen in variation III when a quicker triplet rhythmic pattern is introduced and so and and so forth as variation IV sees another switch of hands and variation V introduces a still quicker sixteenth note pattern.
The variations can also be grouped into pairs, threes and fours all bound under the major musical feature of similar rhythmic hand exchange and similar note value selection. As previously stated, variations I and II are a great example of a pair of variations grouped together with these standards where variations 19 20 21 are a good threesome and 5 6 7 8 would do well in a game of four square. Harmonically, the variations that are grouped have a relative similarity in the types of inversions implemented and whether the mode is minor or major, and in the abundance of chromaticims, often affected by tonicizations that occur between key changes.
Harmonic analysis: G Major
m. 1 I
m.2 V6
m.3 vi7,V7/V
m.4 V
m.5 I6
m.6 IV,I6,vii o6
m.7 V64-53
m.8 I
Variations 1-8 features the use of relatively the same chord with major, if not the strong majority of the textural variations occurring because of the rhythmic variations and not the change in harmonics. The shorter variations in the rhythm however, give the variations a bouncier, faster, more upbeat feel that gives the performer a lot of opportunity to bring the energy up as the piece seems to move into a naturally excited feel.
Variations 9 10 14 16
m 1 i
m 2 v6
m 3 iv6
m4 V
Variations 11 12 13 15
m 1 i iv6
m 2 VII III6
m 3 VI ii6
m 4 V ii6
The descending bass line in variations 9 10 14 16 is a simple descending bass line in the minor key from do down the so fa and so forth. The other group of minor variations however, features a bass line that jumps around far more and almost resembles a some sort of vocal warm-up going down the moving back up only to go furhter down, almost to suggest the confusion or disarray of this later section of grouped minor variations.
Form: Rounded Sectional Binary.
Neapolitans: m. 102, m. 110,
Secondary Dominants: m. 131, 132, 133
Secondary Leading-Tone Chords: m. 85
Minor Fives: m.74, m. 82, m. 130, m.133
The continuous material is mainly found in measures 1-8 in which the harmonic structure does not change, modulate or seem to move in any matter. The sectional material is almost as obvious in the form of minor variations in different keys, and the basic fact that there are 21 variations that are all treated as different sections in the piece thereby breaking it up.
In regards to the sound of this piece: I find it simplistically peaceful, yet curiously fulfilling. The simplicity and rustic sound of the harpsichord hearken back to the days of old and remind me of how well we have it now and the amenities we take for granted on a daily basis. The speeding rhythms also seem to represent a defeat of a problem or a moving away from slower, less memorable times in ones life and always looking to the future. The performer of this piece obviously only has so much room for personal expression, but perhaps amidst all the variation there is room for ones own flare.
Friday, March 21, 2008
Thursday, March 20, 2008
Michigan, here I come!
Purcell’s “Ah, Belinda, I am prest,” from Dido and Aeneas is a textbook example of how a Passacaglia actually works in real music. The piece begin with a very simple four measure melodic figure which appears in the bass, the figure is very consistent and reappears a total of twenty-two times in 6 varying forms. Each of the six forms are identical to each other as far as interval relation ship goes. The first variation appears down a P4 and the second variation is down another P4 from there. After this first eight measure departure from the original it returns not to be altered again until the final three full runs of the motive. The third of these alterations begins in measure 73 when a major third is added above the original motive to thicken the texture and the final alteration is a simple doubling of the motive with a perfect octive below to accomplish the same affect. The only problem with these last few alterations is that we do not know if they are actually from Purcell or if they are simply the doings of whoever realized Purcell’s original score. While trying to find a copy of the original with its figured-bass accompaniments, I was only able to find another realized edition. In this edition, edited by William H. Cummings, there are many more alterations to the same ground-bass line throughout the air. The only thing that really matters though is the fact that in both editions, as well as the few recordings I was able to listen to, the same ground-bass motive is always present and steadily continues throughout the air until the beginning of the following recit.
The variation part of this Passavaglia, which makes it thus, is found in the ever-innovative way that the solo melodic line relates to the constant ground bass. The beauty of this inconsistency is in the way that Purcell manages to end and begin two phrases, which are both playing at the same time, at different times and not lose the ever pressing nature of the air.
There is one question that our workbook poses us with that I have to disagree with. When it asks us how Purcell portrays the text with embellishing tones I feel they are disregarding a huge part of the stylistic nature of this air. In Purcell’s time embellishing was seen as an opportunity for the performer and that is precisely why he did not add any embellishments. This was what made the relationship between composer and performer balanced and gave the performer the opportunity to exercises, in this case, her creative abilities. However, Purcell does leave us with many clues as to where these embellishing tones should, or could, be added. These moments are stylistically determined to be in the repetition of the original melodic material. For example in measure 18 to measure 33. The exact moments where embellishments are appropriate can be found in Purcell’s writing and leaving of time at cadences. Important dramatic words such as “torment” and “prest” are also written by Purcell with the assumption that upon these words the performer will make the character, and the piece, her own.
The variation part of this Passavaglia, which makes it thus, is found in the ever-innovative way that the solo melodic line relates to the constant ground bass. The beauty of this inconsistency is in the way that Purcell manages to end and begin two phrases, which are both playing at the same time, at different times and not lose the ever pressing nature of the air.
There is one question that our workbook poses us with that I have to disagree with. When it asks us how Purcell portrays the text with embellishing tones I feel they are disregarding a huge part of the stylistic nature of this air. In Purcell’s time embellishing was seen as an opportunity for the performer and that is precisely why he did not add any embellishments. This was what made the relationship between composer and performer balanced and gave the performer the opportunity to exercises, in this case, her creative abilities. However, Purcell does leave us with many clues as to where these embellishing tones should, or could, be added. These moments are stylistically determined to be in the repetition of the original melodic material. For example in measure 18 to measure 33. The exact moments where embellishments are appropriate can be found in Purcell’s writing and leaving of time at cadences. Important dramatic words such as “torment” and “prest” are also written by Purcell with the assumption that upon these words the performer will make the character, and the piece, her own.
Handel Chaconne in G Major
George Frideric Handel (1685-2008)-Chaconne in G Major, from Trois Lecons (Three Lessons)
Harmonic analysis: G Major
M. 1: I
M.2:V6
M.3:vi7,V7/V
M.4:V
M.5:I6
M.6:IV,I6,vii dim.6
M.7:I-5,V64-53
M.8:I
m.102:N6
m.110:N6
m.74:v6
m130:v6
m.82:v6
m.85:vii dim7/iv
m.131:vii dim6/v
m.132:V7/iv
m.133:V7/VII and V7/III
A (pacG Major), B (pacg minor), A (pac G Major) = Rounded Sectional Binary!!!
Var. 5,6,7 and 8 are at the same group because they have sixteen note motion. Var. 5 and 6 have a different pattern that 7 and 8 but they are still in the same group because of the identical rhytam.
Variations 17 and 18 are "together" because of the sixteen notes in the right hand. Var. 17 sixteen notes are in stepwise motion, but Var. 18 is mostly arpeggiating motion.
Var. 19,20,21 are in one group because they all have ascending arpeggiating motion (Var. 19 in left hand, Var. 20 in right hand and Var. 21 in the bouth hands).
Var. 9.10.14.16 have the same bass motion(i, v6, iv6, V)-Lamenti style.
For Var. 11,12,13,15 I coud not find anything similar(i, iv6, VII, III6, Vi, ii6).
Harmonic analysis: G Major
M. 1: I
M.2:V6
M.3:vi7,V7/V
M.4:V
M.5:I6
M.6:IV,I6,vii dim.6
M.7:I-5,V64-53
M.8:I
m.102:N6
m.110:N6
m.74:v6
m130:v6
m.82:v6
m.85:vii dim7/iv
m.131:vii dim6/v
m.132:V7/iv
m.133:V7/VII and V7/III
A (pacG Major), B (pacg minor), A (pac G Major) = Rounded Sectional Binary!!!
Var. 5,6,7 and 8 are at the same group because they have sixteen note motion. Var. 5 and 6 have a different pattern that 7 and 8 but they are still in the same group because of the identical rhytam.
Variations 17 and 18 are "together" because of the sixteen notes in the right hand. Var. 17 sixteen notes are in stepwise motion, but Var. 18 is mostly arpeggiating motion.
Var. 19,20,21 are in one group because they all have ascending arpeggiating motion (Var. 19 in left hand, Var. 20 in right hand and Var. 21 in the bouth hands).
Var. 9.10.14.16 have the same bass motion(i, v6, iv6, V)-Lamenti style.
For Var. 11,12,13,15 I coud not find anything similar(i, iv6, VII, III6, Vi, ii6).
Mozart is a little star
Firstly, here is a great performance of this piece: http://www.youtube.com/watch?v=3izeEp3JKwc
I think these variations, as the workbook questions suggest, are best understood as being paired (or trio-d). Variations I and II go together, as both contain quick, figural 16th-note runs in a neighbor-tone pattern; the first in the right hand, the second in the left hand. Likewise, variations III and IV go together with their triplet figurations (in the right and left hand respectively), both featuring arpeggiation and chromatic neighbors. Variation V is the only one not to have a direct partner, but that's because its variation is character - the very simple rhythm and detached quality make this piece childlike and playful, more like the theme. It is clear, however, that there are influences from the other variations. V is a nice break from what the listener now expects - paired rhythm figurations for each variation - and instead changes the mood and sets up for the next. Variation VI borrows the playful staccato from V in the right hand and the left hand 16th-note neighbor figure from II. It would probably fit best along with Variation II, but Mozart wanted to keep the similar movements separate. Variation VII foreshadows the grandiose twelfth variation with its initial deep left hand and show-offy right hand 16th scalar runs. But this variation is best paired not with XII but with X, because of the 6th-->7th motion sixteenths in the right hand (m. 173-175 and 188-192), which will feature prominently in that variation.
With the next variation, Mozart changes the mood completely, and gets farther away from the theme, with an almost canonical "Minore" variation. Suspensions, chromaticism and foreign harmonies dominate, making this seemingly simple, even childish, piece seem far more complex. I would comsider this a character variation, again, because the change of mode seems to evoke a completely different narrator. This is best paired with the next variation, number IX, because while sounding more simple and close to the theme, it shares the canonical opening and suspensions, although actually back in the major mode (maggiore). Variation X, as I have mentioned, explores the 16th note figure introduced in number VII. This figure stays in the right hand, as the left hand takes over the melody above and below it. Mozart retains chromaticism, sliding playfully through descending harmonies back to tonic (m. 249-264).
Variations XI and XII go together more for character again than for similar figures or ornaments. XI is labeled, "Adagio", and Mozart pours all the aria-like, show-offy Empfindsamkeit he can into it. (The YouTube video performance features not one, but two lengthy cadenzas before the return of the A in measure 281.) This grand and stately character is shared in the final variation, which also works well as a closer because it manages to recap almost every previous variation's figures. The left hand neighbor tone 16ths from Var. II are back, as well as suspensions from Vars. IV, IX and XI, chromatic embellishments from Var. V, and figural/ornamental elements from Vars. I, III and VII. He also adds a large coda, where the closing phrase is reiterated, and then a codetta after that which serves to bring the piece to a grand finish, and the exhilarated listeners to their feet.
This is a great piece, and Mozart manages not to change so much from piece to piece that by the end one can't remember the theme. It's still there, but grandly embellished and played with in a well-organized series of sectional variations. I can imagine Wolfie, smiling, maybe winking at the audience here and there, as he plays this piece effortlessly and charmingly before some royal court.
But that is quintessential Mozart. Especially the wink.
I think these variations, as the workbook questions suggest, are best understood as being paired (or trio-d). Variations I and II go together, as both contain quick, figural 16th-note runs in a neighbor-tone pattern; the first in the right hand, the second in the left hand. Likewise, variations III and IV go together with their triplet figurations (in the right and left hand respectively), both featuring arpeggiation and chromatic neighbors. Variation V is the only one not to have a direct partner, but that's because its variation is character - the very simple rhythm and detached quality make this piece childlike and playful, more like the theme. It is clear, however, that there are influences from the other variations. V is a nice break from what the listener now expects - paired rhythm figurations for each variation - and instead changes the mood and sets up for the next. Variation VI borrows the playful staccato from V in the right hand and the left hand 16th-note neighbor figure from II. It would probably fit best along with Variation II, but Mozart wanted to keep the similar movements separate. Variation VII foreshadows the grandiose twelfth variation with its initial deep left hand and show-offy right hand 16th scalar runs. But this variation is best paired not with XII but with X, because of the 6th-->7th motion sixteenths in the right hand (m. 173-175 and 188-192), which will feature prominently in that variation.
With the next variation, Mozart changes the mood completely, and gets farther away from the theme, with an almost canonical "Minore" variation. Suspensions, chromaticism and foreign harmonies dominate, making this seemingly simple, even childish, piece seem far more complex. I would comsider this a character variation, again, because the change of mode seems to evoke a completely different narrator. This is best paired with the next variation, number IX, because while sounding more simple and close to the theme, it shares the canonical opening and suspensions, although actually back in the major mode (maggiore). Variation X, as I have mentioned, explores the 16th note figure introduced in number VII. This figure stays in the right hand, as the left hand takes over the melody above and below it. Mozart retains chromaticism, sliding playfully through descending harmonies back to tonic (m. 249-264).
Variations XI and XII go together more for character again than for similar figures or ornaments. XI is labeled, "Adagio", and Mozart pours all the aria-like, show-offy Empfindsamkeit he can into it. (The YouTube video performance features not one, but two lengthy cadenzas before the return of the A in measure 281.) This grand and stately character is shared in the final variation, which also works well as a closer because it manages to recap almost every previous variation's figures. The left hand neighbor tone 16ths from Var. II are back, as well as suspensions from Vars. IV, IX and XI, chromatic embellishments from Var. V, and figural/ornamental elements from Vars. I, III and VII. He also adds a large coda, where the closing phrase is reiterated, and then a codetta after that which serves to bring the piece to a grand finish, and the exhilarated listeners to their feet.
This is a great piece, and Mozart manages not to change so much from piece to piece that by the end one can't remember the theme. It's still there, but grandly embellished and played with in a well-organized series of sectional variations. I can imagine Wolfie, smiling, maybe winking at the audience here and there, as he plays this piece effortlessly and charmingly before some royal court.
But that is quintessential Mozart. Especially the wink.
Alright…So this set of songs was just way too long!Basically, Mozart figured out just about every figural variation known to man for “Ah, vous dirai-je, Maman” aka “Twinkle, Twinkle, Little Star”. As the song set progresses, the variations get more complicated and yes, more varied! This can be clearly seen by observing the differences between variations 1 and 2 and variation twelve. Whereas variation number 1 has a very simple left hand, which switches to the right hand in variation 2, number twelve has complicated 16th note patterns in each hand . So, variation twelve can be seen as a composite of Var. 1 and 2. Twelve brings the set to an appropriate close by coming back full circle with the sixteenth note motive of 1,2. There were some variations that shared the same techniques and variation themes like parts of VII (m.187-192) and v.X (m.241-264). These two variations share the same right hand rhythmic motive. This set works much like a song cycle, the variations telling different parts of the same “story”. Some are major, some minor :( all leading up to the big climax and finish. In some places it seems to lose momentum. I felt that variation nine, for example, was completely superfluous. It just didn’t seem to be leading anywhere, and it slowed down the progression and flow of the set.
I’m not even going to begin to discuss how I would perform this, since I have the paino skills of a two year old. I think the person on the CD did just fine…
Have a Great Spring Break everyone!
I’m not even going to begin to discuss how I would perform this, since I have the paino skills of a two year old. I think the person on the CD did just fine…
Have a Great Spring Break everyone!
know what time it is? spring break time
ok this is the Handel Chaconne in G Major, I'm going to start with the harmonic analysis of the theme. it goes I - V6 - vi ii7 - V - I6 - III I6 vii06 - I ii6 V64-753 - I. Isn't that a nice little chord progression? I thought it was. As for the bazillllllion variations, they are similar. But isn't that what you'd expect from a chaconne? Handel is a bit of a madman though, he likes to mix it up sometimes. For instance, in the third measure of the first variation the predominant is a secondary dominant, which it wasn't in the original theme. Sometimes too he changes the order of the chord. He uses the same chords but changes up the order of everything, which is what I just said, but I changed up the order of the words, kind of like Handel. Also, when the melody in the variations (like the second and the fifth and the sixth...) gets more complex, he slows down the harmonic rhythm so that our simple brains can handle it. To slow down the harmonic rhythm he has to leave some chords out. But it's ok, because I guess he wasn't that attached to him. Something else notable about the harmony is when it's CRAZY MINOR TIME! Starting at variation nine it is a whole new ball game. First it goes into the parallel minor, aka g minor, and then it has like a character change and a tempo change too. Yeah, I know, that's a lot at once. See it becomes adagio, which is slower, and dolce, which means sweet, like ice cream. The crazy differences that go from variation nine until variation 17 (told you there were a bazillion) are what make me say that this piece is sectional ternary. I mean obviously it's theme and variations, those are its subcategories. So every variation ends with a strong PAC, and they're all separately marked, so it's sectional. Ok well as far as the rhythm goes, the theme is pretty boring, quarter notes, half notes, and crazy notes on beat three. Then it becomes eighth notey and then a nice little dotted eighth note thing with anticipations. variation one thought that eighth note time was so cool they should just have it the whole time. Then variation two decided that the left hand should get to join in the eighth note party, while the right hand has good times with dotted quarter notes. Do you know what happens in variation three? you're about to! There is a meter change. Oh yeah. It goes into 9/8, and there's still eighth note time, in the right hand again, but now it sounds like triplet time. Then in variation four triplet time continues in the left hand. Notice a pattern yet? It seems to me as though Georgey Frid has a little pattern going. He has two variations paired together, tries out a new rhythmic idea in the right hand, and then when that gets crazy applause he puts it in the next variation in the left hand. It continues in variation five, where it goes back to 3/4 time and the right hand has sixteenth notes. Then variation six, the left hand has the sixteenth notes. At that point he runs out of ideas, so he sticks with the sixteenth note nonsense for two more variations. Then it's CRAZY MINOR TIME! As per the perfect title, everything goes to hell. The rhythm is madness, it's in minor, even the harmonies are special. Like this time he uses a new secondary dominant, before he was all about the V/V but now he got all vii0/V. and THEN in the tenth variation in measure five with a #vi. Then in the next variation he's all about the IIIs, he pretty much just lost his mind. Then he gets all into the #vi again in variation sixteen. Ok so that's really all I wanted to say about George's crazy use of harmonies. My last comment about this unbelievably long piece is that in variation twenty one, my favorite because it's the last, he has sixteenth notes in BOTH HANDS. Yeah. He thought he'd pull out all the stops. You know what that reminds me of? It reminds me of Senator Barack Obama. I bet he pulls out all the stops at the convention. I bet he would even appreciate George's insane use of the #vi and #iv. Let's see if we can tell by looking at him. Let me know if you agree.
To repeat or...wait, to repeat!
Alright...here we go. Alright...here we go. Alright...here we go. Alright...here we go!
Sorry, just trying to get into the feeling of this piece, that is, saying the same thing over, and over, and over, and over, and OVER again!
This is an...interesting piece. Actually, I believe with the right performer, it could be very interesting and dynamic, despite its repetitiveness. This is a textbook example (seeing as it's in our book!) of a passacaglia. The bass repeats 21 times, with a couple of slight variations. However, it is mostly the upper three voices that vary and create interest in the piece.
m1. - i
m2. - V
m3. - iv / V 6-5,4-3
m4. - i
m 53. - i 6-5
m 54. - i64 / vi7 / vi42
m 55. - viifulldim43 / V
m 56. - i
I find it interesting, that, though the bass part is exactly the same, the upper voices change the chords, to create interest even within an extremely reptitive piece. In the performance of this piece, it would be important to bring out all the differences, the singer would need to emphasize the the differences between the 21 repetitions. For example, in measure 27, the "ah Belinda" differs from the previous three times the singer has sung it, rising in eighth notes. The singer should emphasize this new variation, bring out the angst and pain in the notes and words.
I feel that the repetition of this piece actually works quite well with the text. When on eis in pain and agony and "anguish," the words would tend to repeat, especially when you first start to speak, "ah" might be the only thing that you can muster to say. I feel that the reptitive nature of the music continues this difficulty to speak and illustrates Purcell's intentional, almost painful reptition to make the listener feel the singer's emotions. So, even as the singer manages to find the words to express their feelings, Purcell continues to repeat the bass line to keep the long, anguished feeling alive within the music.
Okay, that's it, I'm out...I'm now officially on Spring Break!
Sorry, just trying to get into the feeling of this piece, that is, saying the same thing over, and over, and over, and over, and OVER again!
This is an...interesting piece. Actually, I believe with the right performer, it could be very interesting and dynamic, despite its repetitiveness. This is a textbook example (seeing as it's in our book!) of a passacaglia. The bass repeats 21 times, with a couple of slight variations. However, it is mostly the upper three voices that vary and create interest in the piece.
m1. - i
m2. - V
m3. - iv / V 6-5,4-3
m4. - i
m 53. - i 6-5
m 54. - i64 / vi7 / vi42
m 55. - viifulldim43 / V
m 56. - i
I find it interesting, that, though the bass part is exactly the same, the upper voices change the chords, to create interest even within an extremely reptitive piece. In the performance of this piece, it would be important to bring out all the differences, the singer would need to emphasize the the differences between the 21 repetitions. For example, in measure 27, the "ah Belinda" differs from the previous three times the singer has sung it, rising in eighth notes. The singer should emphasize this new variation, bring out the angst and pain in the notes and words.
I feel that the repetition of this piece actually works quite well with the text. When on eis in pain and agony and "anguish," the words would tend to repeat, especially when you first start to speak, "ah" might be the only thing that you can muster to say. I feel that the reptitive nature of the music continues this difficulty to speak and illustrates Purcell's intentional, almost painful reptition to make the listener feel the singer's emotions. So, even as the singer manages to find the words to express their feelings, Purcell continues to repeat the bass line to keep the long, anguished feeling alive within the music.
Okay, that's it, I'm out...I'm now officially on Spring Break!
Michigan, here I come!
Purcell’s “Ah, Belinda, I am prest,” from Dido and Aeneas is a textbook example of how a Passacaglia actually works in real music. The piece begin with a very simple four measure melodic figure which appears in the bass, the figure is very consistent and reappears a total of twenty-two times in 6 varying forms. Each of the six forms are identical to each other as far as interval relation ship goes. The first variation appears down a P4 and the second variation is down another P4 from there. After this first eight measure departure from the original it returns not to be altered again until the final three full runs of the motive. The third of these alterations begins in measure 73 when a major third is added above the original motive to thicken the texture and the final alteration is a simple doubling of the motive with a perfect octive below to accomplish the same affect. The only problem with these last few alterations is that we do not know if they are actually from Purcell or if they are simply the doings of whoever realized Purcell’s original score. While trying to find a copy of the original with its figured-bass accompaniments, I was only able to find another realized edition. In this edition, edited by William H. Cummings, there are many more alterations to the same ground-bass line throughout the air. The only thing that really matters though is the fact that in both editions, as well as the few recordings I was able to listen to, the same ground-bass motive is always present and steadily continues throughout the air until the beginning of the following recit.
The variation part of this Passavaglia, which makes it thus, is found in the ever-innovative way that the solo melodic line relates to the constant ground bass. The beauty of this inconsistency is in the way that Purcell manages to end and begin two phrases, which are both playing at the same time, at different times and not lose the ever pressing nature of the air.
There is one question that our workbook poses us with that I have to disagree with. When it asks us how Purcell portrays the text with embellishing tones I feel they are disregarding a huge part of the stylistic nature of this air. In Purcell’s time embellishing was seen as an opportunity for the performer and that is precisely why he did not add any embellishments. This was what made the relationship between composer and performer balanced and gave the performer the opportunity to exercises, in this case, her creative abilities. However, Purcell does leave us with many clues as to where these embellishing tones should, or could, be added. These moments are stylistically determined to be in the repetition of the original melodic material. For example in measure 18 to measure 33. The exact moments where embellishments are appropriate can be found in Purcell’s writing and leaving of time at cadences. Important dramatic words such as “torment” and “prest” are also written by Purcell with the assumption that upon these words the performer will make the character, and the piece, her own.
The variation part of this Passavaglia, which makes it thus, is found in the ever-innovative way that the solo melodic line relates to the constant ground bass. The beauty of this inconsistency is in the way that Purcell manages to end and begin two phrases, which are both playing at the same time, at different times and not lose the ever pressing nature of the air.
There is one question that our workbook poses us with that I have to disagree with. When it asks us how Purcell portrays the text with embellishing tones I feel they are disregarding a huge part of the stylistic nature of this air. In Purcell’s time embellishing was seen as an opportunity for the performer and that is precisely why he did not add any embellishments. This was what made the relationship between composer and performer balanced and gave the performer the opportunity to exercises, in this case, her creative abilities. However, Purcell does leave us with many clues as to where these embellishing tones should, or could, be added. These moments are stylistically determined to be in the repetition of the original melodic material. For example in measure 18 to measure 33. The exact moments where embellishments are appropriate can be found in Purcell’s writing and leaving of time at cadences. Important dramatic words such as “torment” and “prest” are also written by Purcell with the assumption that upon these words the performer will make the character, and the piece, her own.
Mozart
Theme: Simple quarter note counterpoint.
I: 16th note runs in the right hand
II: 16th note runs in the left hand
III: triplets in the right hand
IV: triplets in the left hand
V: Right hand and left hand alternate on off beats
VI: 16ths in the left and right hand alternates off and on
VII: 16th note runs in the right hand with quarters and half notes in left.
VIII: Uses a minor key and chromatism.
IX: Variation most like the theme.
X: Fast and 16th note jumps by six
XI: Alot of runs in both hands
XII: Left hands plays very fast 16th notes.
Alot of the variations make great pip. In fact the first four are just inversions of each other. In these cases the hands just switch off the main motive. There are a lot of the inverted playing between the hands. There is a build of momentum at the X variation. In true Mozart fashion, the final movement has a much brilliant gusto as one piece can muster. The performer would need to keep as loose as possible and make sure that the runs are fast, but somewhat light. Mozart musical genius allows for simple runs and harmonies to never get boring, so it is always important to make sure that the preformer never feels like it is boring. Even if it is hard due to so called know it alls who only believe music is good when it is not in the classical style. Anyone who says that they don't like Mozart because they think it is boring, are stupid. There is so much to cherish in Mozarts music.
I: 16th note runs in the right hand
II: 16th note runs in the left hand
III: triplets in the right hand
IV: triplets in the left hand
V: Right hand and left hand alternate on off beats
VI: 16ths in the left and right hand alternates off and on
VII: 16th note runs in the right hand with quarters and half notes in left.
VIII: Uses a minor key and chromatism.
IX: Variation most like the theme.
X: Fast and 16th note jumps by six
XI: Alot of runs in both hands
XII: Left hands plays very fast 16th notes.
Alot of the variations make great pip. In fact the first four are just inversions of each other. In these cases the hands just switch off the main motive. There are a lot of the inverted playing between the hands. There is a build of momentum at the X variation. In true Mozart fashion, the final movement has a much brilliant gusto as one piece can muster. The performer would need to keep as loose as possible and make sure that the runs are fast, but somewhat light. Mozart musical genius allows for simple runs and harmonies to never get boring, so it is always important to make sure that the preformer never feels like it is boring. Even if it is hard due to so called know it alls who only believe music is good when it is not in the classical style. Anyone who says that they don't like Mozart because they think it is boring, are stupid. There is so much to cherish in Mozarts music.
George Frideric Handel (1685-1759): Chaconne in G Major, from Trois Leçons (Three Lessons)
George Frideric Handel (1685-1759): Chaconne in G Major, from Trois Leçons (Three Lessons)
Roman Numeral Analysis: Variation 1, m. 1-8 I: G Major
m. 1-4: I: I, V6, vi7, V7/V, V
m. 5-8: I: I6, IV, I6, viidiminished6, I, ii6, V864-753, I4-3
In regard to the prevalent durations the workbook presents, the durations of the patterns of the variations tend to go in pairs of twos. Variations 17 and 18, for example, are paired together due to their sixteenth note motives. Variation 17 has the sixteenth note figure in the right hand, keeping one sixteenth note per eighth beat the same while the other note moves mostly in stepwise motion to other tones, usually below the note that stays the same. The same type of behavior is observed in Variation 18’s right hand part, except that the jumping pattern of the moving sixteenth notes is arpeggiating rather than moving in stepwise motion. Also, the movement of the sixteenth notes mostly remains above the stagnant sixteenth note.
Variations 19, 20, and 21 are paired as threes because they all contain an ascending arpeggiating figure. For variation 19, the figure is in the left hand. Variation 20 has the figure in the right hand. Variation 21 has the figure in both hands.
One could argue that variations 5, 6, 7, and 8 are paired together since they have a similar sense of motion created by their sixteenth note patterns despite variations 5 and 6 have a different sixteenth note pattern from variations 7 and 8. Furthermore, these variations have nearly identical rhythms in the part that plays supporting chords (the right hand part in variation 5, the left hand part of variation 7, etc.).
Often, roles of hands between variations switch, with each hand taking the role of what the opposite hand played in the previous variation. For example, the triplet eight notes in the right hand and half note-quarter note chords in the left hand that provide harmonic and rhythmic support in variations 3 match exactly what is done in variation 4, except the hands roles are switched; the triplet eight notes that were played in the right hand in variation 3 are played in the left hand for variation 4, and the right hand of variation 4 takes on the quarter note-half note chords of variation’s 3 left hand. Other variations in Handel’s piece that switch hand parts include variations 5 and 6 and variations 7 and 8.
Locations of Neapolitans, Secondary Dominants, Secondary Leading-tone Chords, and Minor v’s
m. 102 – N6
m. 110 – N6
m. 74 – v6
m. 82 – v6
m. 130 – v6
m. 85 – secondary leading tone (viifulldiminshed7/iv)
m. 131 – secondary leading tone (viidiminished6/V)
m. 132 – secondary dominant (V7/iv)
m. 133 – secondary dominant (V7/VII, V7/III)
The first four measures of the bass of variations 9, 10, 14, and 16 are in a Lamenti style, descending in a stepwise motion of G to F to E flat to D, or do, te, le, sol. Variations 11, 12, 13, and 15 do a different pattern. Rather than do, te, le, sol, the bass goes in pairs (except sol) of (do, le) (te, sol) (le, fa) sol. The basic do, te, le, sol pattern is there with the first note of each beat for these variations, however.
Roman Numeral Analysis: Harmonic Progression for Variations 9, 10, 14, and 16
i, v6, iv6, V
Roman Numeral Analysis: Harmonic Progression for Variations 11, 12, 13, and 15
i, iv6, VII, III6, VI, ii6 (could imply inclusion of E flat in chord, making it a iidiminished6), V
The Phrygian cadences (iv6, V) create nice chromaticism with (le, sol) to lead into V (m 75, for example). The N6 making flat II is also chromatic movement (m. 102 and m. 110). viidimished triads, or leading tone chords, create a (ti-do) motion (such as m. m. 78). Secondary leading tone chords create chromaticism in a similar manner, except it is tonicizing a scale degree other than one (m. 85 with viifulldimished7/ivand m. 131 with viidimished6/V). The chromatic movement of secondary dominants is similar to secondary leading tone chords in that it tonicizes a scale degree other than one with its (ti-do) motion to a temporary tonic (as described above, examples include m. 132 with V7/iv and V7/VII in m. 133).
These harmonic progressions prevalent in the minor section of the piece are not present in the major key sections due somewhat to their lack of diatonic presence in the key of G Major. Strictly from a harmonic viewpoint, the form would be A (PAC with G Major triad), B (PAC with G Minor triad), A (PAC with G Major triad), or rounded, sectional binary.
Indeed, Handel’s Chaconne in G Major possesses traits of both continuous and sectional variations. Characteristic of a chaconne, a continuous variation form, variations 1 through 8 maintain the same repeating harmonic structure as the original theme. Occasionally, different inversions are used (such as m. 29, with I used in fist beat rather than I6 in m. 5) some smaller passing harmonies of the original theme are altered or omitted (m. 43 with vi7 left out which was used in m. m. 3), but the harmonic structure of variations 1 through 8 still manages to maintain the harmonic feel of the original theme. Variations 17 through 21 also maintain the similar harmonic progressions as the original theme and the chaconne qualities variations 1 through 8 possess. Furthermore, small links are used when going from one major variation to another major variation (or from one minor variation to another minor one) to keep the piece in a constant motion with seamless transitions (last beats of m. 64 and m.96, for example). In contrast to the continuous form and more like a sectional form, the piece is divided into sections with the break between the major and minor sections of the piece (between variations 8 and 9, m. 71-73), therefore giving the piece a binary feel as previously described. Additionally, each variation is separated by a double bar line, which is typical of sectional variation form.
Despite being a chaconne based creating multiple variations of one theme, the piece manages to be enjoyable to listen to. The piece displays several different moods, such as majesty (the slower, more grand original theme) playfulness with quick passages full of scales and rhythmic liveliness (variations 5 and 6, for example), melancholy (the Lamenti bass of Variation 9, for example), and virtuosity and showmanship (the flashy double arpeggiation of variation 21 and left hand octaves of variation 15). A performer of such music must be aware of dynamic shifts in mood and adjust his or her playing and mood/presence on stage to depict the emotion. For example, to show calmness and tranquility in a piece, one must not only play quietly and smoothly but also appear at peace on stage. Music is also a performing art when one plays at or attends a recital, so it is vital in creating a top rate performance of a piece.
As always, special chord qualities such as Neapolitans and minor v’s must be treated with care, especially in the context of the minor, melancholic area of the piece that these chords occur in. The keyboardist is permitted to take time to enjoy and feel the sorrow of the chords that decorates the sad quality of G minor (this applies to adagio section starting from variation 9. Please refer to above section of locations of Neapolitans, minor v’s, etc. for examples).
Roman Numeral Analysis: Variation 1, m. 1-8 I: G Major
m. 1-4: I: I, V6, vi7, V7/V, V
m. 5-8: I: I6, IV, I6, viidiminished6, I, ii6, V864-753, I4-3
In regard to the prevalent durations the workbook presents, the durations of the patterns of the variations tend to go in pairs of twos. Variations 17 and 18, for example, are paired together due to their sixteenth note motives. Variation 17 has the sixteenth note figure in the right hand, keeping one sixteenth note per eighth beat the same while the other note moves mostly in stepwise motion to other tones, usually below the note that stays the same. The same type of behavior is observed in Variation 18’s right hand part, except that the jumping pattern of the moving sixteenth notes is arpeggiating rather than moving in stepwise motion. Also, the movement of the sixteenth notes mostly remains above the stagnant sixteenth note.
Variations 19, 20, and 21 are paired as threes because they all contain an ascending arpeggiating figure. For variation 19, the figure is in the left hand. Variation 20 has the figure in the right hand. Variation 21 has the figure in both hands.
One could argue that variations 5, 6, 7, and 8 are paired together since they have a similar sense of motion created by their sixteenth note patterns despite variations 5 and 6 have a different sixteenth note pattern from variations 7 and 8. Furthermore, these variations have nearly identical rhythms in the part that plays supporting chords (the right hand part in variation 5, the left hand part of variation 7, etc.).
Often, roles of hands between variations switch, with each hand taking the role of what the opposite hand played in the previous variation. For example, the triplet eight notes in the right hand and half note-quarter note chords in the left hand that provide harmonic and rhythmic support in variations 3 match exactly what is done in variation 4, except the hands roles are switched; the triplet eight notes that were played in the right hand in variation 3 are played in the left hand for variation 4, and the right hand of variation 4 takes on the quarter note-half note chords of variation’s 3 left hand. Other variations in Handel’s piece that switch hand parts include variations 5 and 6 and variations 7 and 8.
Locations of Neapolitans, Secondary Dominants, Secondary Leading-tone Chords, and Minor v’s
m. 102 – N6
m. 110 – N6
m. 74 – v6
m. 82 – v6
m. 130 – v6
m. 85 – secondary leading tone (viifulldiminshed7/iv)
m. 131 – secondary leading tone (viidiminished6/V)
m. 132 – secondary dominant (V7/iv)
m. 133 – secondary dominant (V7/VII, V7/III)
The first four measures of the bass of variations 9, 10, 14, and 16 are in a Lamenti style, descending in a stepwise motion of G to F to E flat to D, or do, te, le, sol. Variations 11, 12, 13, and 15 do a different pattern. Rather than do, te, le, sol, the bass goes in pairs (except sol) of (do, le) (te, sol) (le, fa) sol. The basic do, te, le, sol pattern is there with the first note of each beat for these variations, however.
Roman Numeral Analysis: Harmonic Progression for Variations 9, 10, 14, and 16
i, v6, iv6, V
Roman Numeral Analysis: Harmonic Progression for Variations 11, 12, 13, and 15
i, iv6, VII, III6, VI, ii6 (could imply inclusion of E flat in chord, making it a iidiminished6), V
The Phrygian cadences (iv6, V) create nice chromaticism with (le, sol) to lead into V (m 75, for example). The N6 making flat II is also chromatic movement (m. 102 and m. 110). viidimished triads, or leading tone chords, create a (ti-do) motion (such as m. m. 78). Secondary leading tone chords create chromaticism in a similar manner, except it is tonicizing a scale degree other than one (m. 85 with viifulldimished7/ivand m. 131 with viidimished6/V). The chromatic movement of secondary dominants is similar to secondary leading tone chords in that it tonicizes a scale degree other than one with its (ti-do) motion to a temporary tonic (as described above, examples include m. 132 with V7/iv and V7/VII in m. 133).
These harmonic progressions prevalent in the minor section of the piece are not present in the major key sections due somewhat to their lack of diatonic presence in the key of G Major. Strictly from a harmonic viewpoint, the form would be A (PAC with G Major triad), B (PAC with G Minor triad), A (PAC with G Major triad), or rounded, sectional binary.
Indeed, Handel’s Chaconne in G Major possesses traits of both continuous and sectional variations. Characteristic of a chaconne, a continuous variation form, variations 1 through 8 maintain the same repeating harmonic structure as the original theme. Occasionally, different inversions are used (such as m. 29, with I used in fist beat rather than I6 in m. 5) some smaller passing harmonies of the original theme are altered or omitted (m. 43 with vi7 left out which was used in m. m. 3), but the harmonic structure of variations 1 through 8 still manages to maintain the harmonic feel of the original theme. Variations 17 through 21 also maintain the similar harmonic progressions as the original theme and the chaconne qualities variations 1 through 8 possess. Furthermore, small links are used when going from one major variation to another major variation (or from one minor variation to another minor one) to keep the piece in a constant motion with seamless transitions (last beats of m. 64 and m.96, for example). In contrast to the continuous form and more like a sectional form, the piece is divided into sections with the break between the major and minor sections of the piece (between variations 8 and 9, m. 71-73), therefore giving the piece a binary feel as previously described. Additionally, each variation is separated by a double bar line, which is typical of sectional variation form.
Despite being a chaconne based creating multiple variations of one theme, the piece manages to be enjoyable to listen to. The piece displays several different moods, such as majesty (the slower, more grand original theme) playfulness with quick passages full of scales and rhythmic liveliness (variations 5 and 6, for example), melancholy (the Lamenti bass of Variation 9, for example), and virtuosity and showmanship (the flashy double arpeggiation of variation 21 and left hand octaves of variation 15). A performer of such music must be aware of dynamic shifts in mood and adjust his or her playing and mood/presence on stage to depict the emotion. For example, to show calmness and tranquility in a piece, one must not only play quietly and smoothly but also appear at peace on stage. Music is also a performing art when one plays at or attends a recital, so it is vital in creating a top rate performance of a piece.
As always, special chord qualities such as Neapolitans and minor v’s must be treated with care, especially in the context of the minor, melancholic area of the piece that these chords occur in. The keyboardist is permitted to take time to enjoy and feel the sorrow of the chords that decorates the sad quality of G minor (this applies to adagio section starting from variation 9. Please refer to above section of locations of Neapolitans, minor v’s, etc. for examples).
"Ah, Belinda..."
m. 1 – i vii i
m. 2 – V iv6 iii
m. 3 – iv i V7
m. 4 – i
m. 53 – vi6 vii
m. 54 – i64 vi6 ?
m. 55 – viio7 V
m. 56 – i
This song is a continuous variation in the Passacaglia (ground bass) form. The bass part is the constant in the variation. The bass phrase is repeated 21 times with slight changes including the bass being lowed for a section and added thirds and octaves. The first line of “Ah Belinda” is repeated in measure 18. While the second time “Ah Belinda” is sung in measure 9, and then repeated exactly in measure 25. The line “Peace and I are strangers grown” is always sung two times back to back, and this pattern is repeated at the end of the piece. The minor key adds the desperation and sadness within the song.
The repetition of “Ah, Belinda” for the first two pages seems completely redundant and used for dramatic effect. While usually I am all for dramatic effect, I really do not like it in this context. For some reason with everything else that is put into this piece with the minor key and the accidentals, the repetition of this line seems pointless. I personally do not feel as though I would sing this since my focus is musical theater, however as a teacher I would instruct the student to find the pain that the performer is feeling. I believe that they need to tell a story through the song they are performing. I think they need to lean into the high note, and the repetitions. I think that a performer can use the repetitions to express the pain. (I may not like the repetitions because of the way I saw them performed on youtube.) I think that any song has a chance depending on the performer. I also think that even performed during an opera this song could lose its expression and emotion if it is over acted.
m. 2 – V iv6 iii
m. 3 – iv i V7
m. 4 – i
m. 53 – vi6 vii
m. 54 – i64 vi6 ?
m. 55 – viio7 V
m. 56 – i
This song is a continuous variation in the Passacaglia (ground bass) form. The bass part is the constant in the variation. The bass phrase is repeated 21 times with slight changes including the bass being lowed for a section and added thirds and octaves. The first line of “Ah Belinda” is repeated in measure 18. While the second time “Ah Belinda” is sung in measure 9, and then repeated exactly in measure 25. The line “Peace and I are strangers grown” is always sung two times back to back, and this pattern is repeated at the end of the piece. The minor key adds the desperation and sadness within the song.
The repetition of “Ah, Belinda” for the first two pages seems completely redundant and used for dramatic effect. While usually I am all for dramatic effect, I really do not like it in this context. For some reason with everything else that is put into this piece with the minor key and the accidentals, the repetition of this line seems pointless. I personally do not feel as though I would sing this since my focus is musical theater, however as a teacher I would instruct the student to find the pain that the performer is feeling. I believe that they need to tell a story through the song they are performing. I think they need to lean into the high note, and the repetitions. I think that a performer can use the repetitions to express the pain. (I may not like the repetitions because of the way I saw them performed on youtube.) I think that any song has a chance depending on the performer. I also think that even performed during an opera this song could lose its expression and emotion if it is over acted.
Mozart's Variations
Variation Elements Varied Elements not varied
1 Right-hand quarter notes change to Left hand mostly the same with
16ths, with neighbor tone patterns some rhythmic variants
2 Left-hand quarter notes change to Right hand keeps melody with some
16ths with neighbor tone patterns chords and suspensions
3 Right hand switches to triplets, and Left hand keeps steady quarter
the melody comes from a mix of the notes
harmonies of both hands
4 Left hand switches to triplets Right hand plays melody in chordal quarter notes
5 Both hands bounce off each other Right hand continues to play melody
with an eighth-quarter pattern
6 Left hand starts on neighbor tone Right hand starts with melody in sixteenth pattern, which switches chordal eighth notes, which switches
to the right hand and back to the to the left hand and back to the left
left
7 16th note scale passages in the Left hand has a variation of the
hand melody in half and quarter notes
8 Switches to minor, left hand Right hand has a variation of the
accompanies melody
9 Both hands play a very light Right hand has a variation of the
staccato, sometimes the left seems melody
to imitate the right
10 Right hand answers left hand with Left hand has melody, but often
three sixteenth notes crosses over the right hand
11 Adagio, dotted eighth, sixteenth Right hand has melody in a more
motive, left hand accompanies right complex form
12 Left hand has running sixteenths Right hand has melody with many
with somewhat of a neighbor tone trills and embellishing tones
pattern
Overall, this piece has an ABA form. The first A consists of the theme and first 7 variations, B is variations 8, and the second A is the last 4 variations. I would definitely pair the first two variations together as the are basically the same with switched hands. The same goes for variations 3 and 4. After variation four we seem to lose momentum for a bit with simple eighth and quarter notes. We pick back up with sixteenth note patterns and runs in variations 6 and 7, but again slow back down with we hit the minor mode of variation 8 along with the simplicity of variation 9. We then start to pick back up with the sixteenth is variation 10, slow down a little but are still not bored with the 32nd note runs in the adagio variation 11 and move full steam ahead into the quick sixteenths of variation 12, ending on a nice full C chord completing a PAC.
1 Right-hand quarter notes change to Left hand mostly the same with
16ths, with neighbor tone patterns some rhythmic variants
2 Left-hand quarter notes change to Right hand keeps melody with some
16ths with neighbor tone patterns chords and suspensions
3 Right hand switches to triplets, and Left hand keeps steady quarter
the melody comes from a mix of the notes
harmonies of both hands
4 Left hand switches to triplets Right hand plays melody in chordal quarter notes
5 Both hands bounce off each other Right hand continues to play melody
with an eighth-quarter pattern
6 Left hand starts on neighbor tone Right hand starts with melody in sixteenth pattern, which switches chordal eighth notes, which switches
to the right hand and back to the to the left hand and back to the left
left
7 16th note scale passages in the Left hand has a variation of the
hand melody in half and quarter notes
8 Switches to minor, left hand Right hand has a variation of the
accompanies melody
9 Both hands play a very light Right hand has a variation of the
staccato, sometimes the left seems melody
to imitate the right
10 Right hand answers left hand with Left hand has melody, but often
three sixteenth notes crosses over the right hand
11 Adagio, dotted eighth, sixteenth Right hand has melody in a more
motive, left hand accompanies right complex form
12 Left hand has running sixteenths Right hand has melody with many
with somewhat of a neighbor tone trills and embellishing tones
pattern
Overall, this piece has an ABA form. The first A consists of the theme and first 7 variations, B is variations 8, and the second A is the last 4 variations. I would definitely pair the first two variations together as the are basically the same with switched hands. The same goes for variations 3 and 4. After variation four we seem to lose momentum for a bit with simple eighth and quarter notes. We pick back up with sixteenth note patterns and runs in variations 6 and 7, but again slow back down with we hit the minor mode of variation 8 along with the simplicity of variation 9. We then start to pick back up with the sixteenth is variation 10, slow down a little but are still not bored with the 32nd note runs in the adagio variation 11 and move full steam ahead into the quick sixteenths of variation 12, ending on a nice full C chord completing a PAC.
Handel
Chord Progression: m.1-I, m.2-V^6, m.3-vi&V^7/V, m.4-V, m.5-I^6, m.6-IV&I^6&vii^o, m.7-IV^(43)&I^(64)&V^7, m.8-I^7
One thing that links all of the variations of Handel's Chaconne in G Major is that they all are only 8 measure long. The first variation is a rhythmically simplified version of the original. All of the variations are in some form of triple meter. The second variation remains in 3/4 time and instead has the original bass in the melody and its elaboration of in the bass. The third variation goes into 9/8 time and its melody consists of almost all triplet 8th notes. The bass of this melody still retains the original rhythm almost completely. In this variation the original bass part returns to the bass of the bass of this variation and the melody mirrors the bass of variation two only in triplets instead of straight 8th notes. In Variation 4, the original bass again takes residence in the melody and a reproduction of the melody of variation 3 in the bass. While the chord progression remains the same for all of the variations, here we see the first obvious change of the accompaniment, bass-like, block chord part. It changes so that there is only one beat per chord in a given measure with rests in between the chord changes. The melody elaborates on the melodies of the previous variations. This is the first introduction of the sixteenth note into the variations. Variation 6 is basically the inversion of variation 5 with all of the same rhythmic texture. Variation 7 has the melody with continuous sixteenth notes and the bass has a similar line as Variation 5. Variation 8 is basically the inversion of variation 7 with the addition of a first and second ending.
All of the first 8 variations are harmonically identical. They all share the same chord progression and utilize similar harmonizations with different time signatures and rhythms. The shorter bass note length causes a more upbeat, happy, dance-like feel to come to the music.
The major variations are grouped by two. Variations 1 and 2, 3 and 4, 5 and 6, and 7 and 8 all correspond. They usually are the inverted versions the other in the pair. They all have the same harmony and chord structure. There are times in the minor variations where the melody and the bass switch parts back and forth like in Variation 13 where the melody goes from eighth notes to sixteenth notes while the bass goes from sixteenth notes to eighth notes.
All of the minor variations' bass lines go in a downward progression.
This piece would probably be seen as a large form of rounded binary because of the movement from G major to G minor and back and the identical chord progressions of the first and last sections.
Performing Purcell
Purcell's aria "Ah, Belinda, I am prest" from Dido and Aeneas is an overall simple binary (AB) form but uses continuous variation, particularly passacaglia, to connect all the sections together. The bass line to this aria is very important because it is the tool used to connect the sections while the upper parts provide times of variation. The bass line repeats throughout the whole aria with the variation happening either in the voice line or upper part of the continuo. Purcell is very clear when he modulates into g minor in measures 45-52 because the bass line suddenly switches to the same note pattern, only using pitches from g minor scale. The A section starts with the vocal line slightly imitating the passacaglia bass in measure 3. To me, this imitation on "ah!" says that Purcell's passacaglia was meant to be the continuous sigh throughout the aria. To contrast with the simple bass part, Purcell makes the vocal line very elegant, rhythmically interesting, and easy to embellish. The singer should probably emphasize qualities in the vocal line, such as the sigh, by leaning on the chromaticism, embellishing dotted rhythms, and inflect the text that Purcell paints so well.
In the repeated A section starting in measure 18, Purcell uses a rhythmic crescendo to create more tension and draw more interest from the listener. Since the basso continuo part does have that moving line, as a singer I would try to make this repeat more legato than the first and worry about text more in the first take. This will give a chance for the basso continuo to be heard better and for the singer to give a different color to their tone. I think Purcell would want the singer to ornament the heck out of measures 25-33 since there's no variation in the bass.
In the B section, starting in measure 36, Purcell puts a direct imitation of the passacaglia in the voice. I interpret this move as Purcell's way of switching from "voices." In section A, Dido is clearly speaking to Belinda- an objective, extroverted statement. Perhaps this B section is an inner soliloquy; a more personal side of Dido. Once again, the initial statement I think, should emphasize the text. The singer has to wonder why Purcell chose to place the move from tonic-leading tone on the word "peace." Perhaps he's foreshadowing the tragic end of the opera by showing that Dido is already thinking of a more permanent, morbid peace. The text is also important because of the text painting Purcell sets on "strangers." It's important for the audience to hear the moving line. I think the singer should also bring out the difference between the viio42 harmony on "grown" in measure 39 and the i in measure 44. Is Purcell implying that Dido has become more comfortable in her relationship with peace?
So my question is, why did Purcell decide to modulate in measure 45. I'm guessing it has something to do with a change of mindset. Just when Dido becomes comfortable with her situation, she realizes that she's actually screwed- a great reason for a change of key. This also gives Purcell the chance to put the theme in a range allowing for a more interesting color for a mezzo. Especially on the word "languish;" he must really want this word to win the prize. It lands right on the modulation, takes up two measures, and spends an entire half note on the leading tone. The second "languish" spends most of its time on dominant, moving eveuntually to a viio in measure 52. The third "languish" in measure 53, starts on a neopolitan 6 chord and the vocal line and basso continuo part move together, which I interpret as Purcell's way of getting an even darker color than already portrayed- he must have really wanted "languish" to be the cheese of the song.
The little interjection in measures 56-63, I think are just Purcell's way of getting back to c minor and having some declamatory statements before the return of the inner soliloquy. Here in measure 56, we see the same i, viio juxtaposition, only this time it's within one measure. The suspension in measures 56-57, dotted rhythms in measures 58 and 59, and overall thicker texture, demonstrate a nice contrast to the coming measures 60-61. Like the beginning of the piece, the first part of this section (56-59) should be more declamatory and text driven, and the second part (60-63) should be legato and more personal.
The return of the B section in measure 64 should be performed in a more helpless tone, with an "unfinished" presentation. Even in measure 67, there are more eighth notes in the basso continuo, a sign that the while the voice may end, the instrumental part will finish Dido's thoughts for her, since it mirrors her subconscious. The instrumental part does move on in measure 72 by repeating the passacaglia, which will be continued until measure 84. I think this section should be the basso continuo's chance to ornament and express more freely since they don't have to worry about the singer anymore. The singer should probably present themselves as a kind of "living dead" during this instrumental closing. I think Purcell is implying that Dido's feelings are incomplete and in a way, inarticulate because of the lack of the vocal return to the A section. Dido just suddenly stops talking to Belinda, and even herself, and the basso continuo has to finish for her because she's so emotionally unstable. Overall, I think one of the singer's main goals in performing Purcell is to make sure the text is well-communicated. I think he's a genius at setting the English language, something few composers do well and usually the text plays an important role in his songs. I also think that his use of the text, mood changes, and drama is ahead of his time, so the singer shouldn't be afraid to really bring this out in their performance of any Purcell song or aria.
In the repeated A section starting in measure 18, Purcell uses a rhythmic crescendo to create more tension and draw more interest from the listener. Since the basso continuo part does have that moving line, as a singer I would try to make this repeat more legato than the first and worry about text more in the first take. This will give a chance for the basso continuo to be heard better and for the singer to give a different color to their tone. I think Purcell would want the singer to ornament the heck out of measures 25-33 since there's no variation in the bass.
In the B section, starting in measure 36, Purcell puts a direct imitation of the passacaglia in the voice. I interpret this move as Purcell's way of switching from "voices." In section A, Dido is clearly speaking to Belinda- an objective, extroverted statement. Perhaps this B section is an inner soliloquy; a more personal side of Dido. Once again, the initial statement I think, should emphasize the text. The singer has to wonder why Purcell chose to place the move from tonic-leading tone on the word "peace." Perhaps he's foreshadowing the tragic end of the opera by showing that Dido is already thinking of a more permanent, morbid peace. The text is also important because of the text painting Purcell sets on "strangers." It's important for the audience to hear the moving line. I think the singer should also bring out the difference between the viio42 harmony on "grown" in measure 39 and the i in measure 44. Is Purcell implying that Dido has become more comfortable in her relationship with peace?
So my question is, why did Purcell decide to modulate in measure 45. I'm guessing it has something to do with a change of mindset. Just when Dido becomes comfortable with her situation, she realizes that she's actually screwed- a great reason for a change of key. This also gives Purcell the chance to put the theme in a range allowing for a more interesting color for a mezzo. Especially on the word "languish;" he must really want this word to win the prize. It lands right on the modulation, takes up two measures, and spends an entire half note on the leading tone. The second "languish" spends most of its time on dominant, moving eveuntually to a viio in measure 52. The third "languish" in measure 53, starts on a neopolitan 6 chord and the vocal line and basso continuo part move together, which I interpret as Purcell's way of getting an even darker color than already portrayed- he must have really wanted "languish" to be the cheese of the song.
The little interjection in measures 56-63, I think are just Purcell's way of getting back to c minor and having some declamatory statements before the return of the inner soliloquy. Here in measure 56, we see the same i, viio juxtaposition, only this time it's within one measure. The suspension in measures 56-57, dotted rhythms in measures 58 and 59, and overall thicker texture, demonstrate a nice contrast to the coming measures 60-61. Like the beginning of the piece, the first part of this section (56-59) should be more declamatory and text driven, and the second part (60-63) should be legato and more personal.
The return of the B section in measure 64 should be performed in a more helpless tone, with an "unfinished" presentation. Even in measure 67, there are more eighth notes in the basso continuo, a sign that the while the voice may end, the instrumental part will finish Dido's thoughts for her, since it mirrors her subconscious. The instrumental part does move on in measure 72 by repeating the passacaglia, which will be continued until measure 84. I think this section should be the basso continuo's chance to ornament and express more freely since they don't have to worry about the singer anymore. The singer should probably present themselves as a kind of "living dead" during this instrumental closing. I think Purcell is implying that Dido's feelings are incomplete and in a way, inarticulate because of the lack of the vocal return to the A section. Dido just suddenly stops talking to Belinda, and even herself, and the basso continuo has to finish for her because she's so emotionally unstable. Overall, I think one of the singer's main goals in performing Purcell is to make sure the text is well-communicated. I think he's a genius at setting the English language, something few composers do well and usually the text plays an important role in his songs. I also think that his use of the text, mood changes, and drama is ahead of his time, so the singer shouldn't be afraid to really bring this out in their performance of any Purcell song or aria.
Handel's Chaconne in G Major
The theme of Handels Chaccone in G Major is simply marked Maestoso, and is eight bars long. This is a contrasting period, with a half-cadence in bar four, and a perfect-authentic cadence in bar eight. The theme consists of quite large block chords in the left hand, with a highly ornamented right hand melody. The theme is in G major.
As with all Theme and Variations, the overall form is ABA’ where B represents a contrasting group of variations that typically change key. One way to categorize Theme and Variations is as Ternary Form, however Ternary can be ABA or AAB, when Theme and Variations can not be AAB. In the case of this work, the B section modulates to the parallel minor of g minor.
The A section consists of all material up through Variation 8. Every variation in this case has the same harmonic progression. The B section consists of Variations 9-16, and finally A’ is Variations 17-21. A really easy way to understand these sections is to look at the key signatures. Despite the fact that the B section modulates though, the variations have a different chord progression.
Here is the progression for the A sections:
M1. I
M2. V
M3. vi ii7
M4. V
M5. I6
M6. IV I6 viio6
M7. V64-53
M8. I
Differently, the B section possesses a bass note that descends stepwise creating a harmonic sequence.
Looking back at Variations 1-8, the duration of notes decreases, as the fastest note moves from a quarter note, to triplets, to sixteenth notes in the final variations. Along with this increase, the duration of the variations themselves begin to shorten, likely due to a slightly increased tempo. Starting in variation 3, the triplet motion is in the right hand, while in variation 4, the hands switch and the triplets are in the left hand. Interestingly, the hand with the triplets for these to variations is in the key signature 9/8, while the accompanying hand is in ¾, possibly due to ease of dictating the accompanying hand. For variations 5 and six, the sixteenth notes begin in the right hand, and in the next variation switch to the left hand. Variations 7 and 8 introduce a compound melody that is passed between the hands.
The returning A’ section retains the idea of the compound melody, as it transitions back into G major. The accompaniment becomes far more sparse by simply outlining the chord at the beginning of each measure. The last three variations are a fast sweep of arpeggios that, in variation 19 are in the left hand, in 20 in the right, and in the final 21st variation are in both hands. These arpeggios are sixteenth note arpeggios that begin in parallel movement, though in measure 170 for example begin to move obliquely and conversely.
Overall, this piece begins simply with many ornamentations, at a maestoso tempo. However, as the excitement of the variations build up and the rhythms become more technical, the duration of the variations decreases. In this event, it is definitely possible to just group movements into larger groups based on the rhythms and patterns that they share (for example switching a melody line to the left handfrom right).
As with all Theme and Variations, the overall form is ABA’ where B represents a contrasting group of variations that typically change key. One way to categorize Theme and Variations is as Ternary Form, however Ternary can be ABA or AAB, when Theme and Variations can not be AAB. In the case of this work, the B section modulates to the parallel minor of g minor.
The A section consists of all material up through Variation 8. Every variation in this case has the same harmonic progression. The B section consists of Variations 9-16, and finally A’ is Variations 17-21. A really easy way to understand these sections is to look at the key signatures. Despite the fact that the B section modulates though, the variations have a different chord progression.
Here is the progression for the A sections:
M1. I
M2. V
M3. vi ii7
M4. V
M5. I6
M6. IV I6 viio6
M7. V64-53
M8. I
Differently, the B section possesses a bass note that descends stepwise creating a harmonic sequence.
Looking back at Variations 1-8, the duration of notes decreases, as the fastest note moves from a quarter note, to triplets, to sixteenth notes in the final variations. Along with this increase, the duration of the variations themselves begin to shorten, likely due to a slightly increased tempo. Starting in variation 3, the triplet motion is in the right hand, while in variation 4, the hands switch and the triplets are in the left hand. Interestingly, the hand with the triplets for these to variations is in the key signature 9/8, while the accompanying hand is in ¾, possibly due to ease of dictating the accompanying hand. For variations 5 and six, the sixteenth notes begin in the right hand, and in the next variation switch to the left hand. Variations 7 and 8 introduce a compound melody that is passed between the hands.
The returning A’ section retains the idea of the compound melody, as it transitions back into G major. The accompaniment becomes far more sparse by simply outlining the chord at the beginning of each measure. The last three variations are a fast sweep of arpeggios that, in variation 19 are in the left hand, in 20 in the right, and in the final 21st variation are in both hands. These arpeggios are sixteenth note arpeggios that begin in parallel movement, though in measure 170 for example begin to move obliquely and conversely.
Overall, this piece begins simply with many ornamentations, at a maestoso tempo. However, as the excitement of the variations build up and the rhythms become more technical, the duration of the variations decreases. In this event, it is definitely possible to just group movements into larger groups based on the rhythms and patterns that they share (for example switching a melody line to the left handfrom right).
Ah, Belinda I am prest!
I am prest with frustration with Dido and Aeneas, I thought after music history we could be done with this, guess not.
Chord analysis:
m. 1 - i, vii, i
m. 2 - V, iv6, i6
m. 3 - iv, i64, V7
m. 4 - i---
m. 53 - vi6, V, i,
m. 54 - i64, vi, iv42
m. 55 - viiº7, V--
m. 56 - i---
This song is a continuous variation, in particular a passacaglia. There are a series of 21 statements of the theme with one transposition that is repeated twice. This transposition is found in measures 45 through 52 over the words "languish". The idea of languish is the theme of this song and from what else I have heard seems to be the theme of the opera.
In general this song does not have any form of variation in the melody line, probably because it is pasacaglia. The text and melody line seem to repeat over and over again. There are often some embellishing tones to further have you feel the anguish of the singer. The descending minor line helps the singer feel the sadness that she is feeling. The word "Guess'd" is held out for much longer than any other word in the entire piece. I think this is because Purcell really wanted to focus not only on the pain but also on the idea that the singer does not want anyone to know the pain or shame she is feeling. He uses alot of sharp 4s and other embellishing tones to add to this.
If I were to perform this piece I would use the continuous variation to give me a sense of propelling forward so I can see an end to my languish. I would use the embellishing tones and Fi's to help me understand the tonal sense of the piece, meaning the notes used to help reinforce the sadness. Peace and I are strangers grown. This would be a hard way to finish a song, there is no sense of a positive spin. This kind of reminds me of the ending speech in Taming of the Shrew, it is all about women submitting to men, not exactly a happy idea for me, and this has no sense of a happy coming out of the song.
FINALLY IT"S ALMOST SPRING BREAK.
Chord analysis:
m. 1 - i, vii, i
m. 2 - V, iv6, i6
m. 3 - iv, i64, V7
m. 4 - i---
m. 53 - vi6, V, i,
m. 54 - i64, vi, iv42
m. 55 - viiº7, V--
m. 56 - i---
This song is a continuous variation, in particular a passacaglia. There are a series of 21 statements of the theme with one transposition that is repeated twice. This transposition is found in measures 45 through 52 over the words "languish". The idea of languish is the theme of this song and from what else I have heard seems to be the theme of the opera.
In general this song does not have any form of variation in the melody line, probably because it is pasacaglia. The text and melody line seem to repeat over and over again. There are often some embellishing tones to further have you feel the anguish of the singer. The descending minor line helps the singer feel the sadness that she is feeling. The word "Guess'd" is held out for much longer than any other word in the entire piece. I think this is because Purcell really wanted to focus not only on the pain but also on the idea that the singer does not want anyone to know the pain or shame she is feeling. He uses alot of sharp 4s and other embellishing tones to add to this.
If I were to perform this piece I would use the continuous variation to give me a sense of propelling forward so I can see an end to my languish. I would use the embellishing tones and Fi's to help me understand the tonal sense of the piece, meaning the notes used to help reinforce the sadness. Peace and I are strangers grown. This would be a hard way to finish a song, there is no sense of a positive spin. This kind of reminds me of the ending speech in Taming of the Shrew, it is all about women submitting to men, not exactly a happy idea for me, and this has no sense of a happy coming out of the song.
FINALLY IT"S ALMOST SPRING BREAK.
Why would you want to play 21 variations!!!????
080320
Blog #8
George Frideric Handel (1685-1759)
Chaconne in G Major, from Trois Lecons (Three Lessons)
P.100 CD 2.1
There is a theme and 21 variations each lasting 8 measures long. All of the variations are supposed to be repeated but the recording that came along with the anthology did not play the repeats. Some of the variations have a first and second ending. The different variations include eight notes, triplets, and sixteenth notes that alternate in the left and right hand. The variations use upper, lower and double neighbor tones. The time signature switches as between ¾ and 9/8. Some variations feel as if they should be grouped together because the right hand plays maybe eight notes and a harmonic progression in the left hand and in the next variation the left hand would play eight notes and the right hand would play the harmonic progression
Roman Numerals in the key of g major:
I I, V6 V6, vi7/V, V, I6 I6, IV I6 viidim6, I I64, V7, I4-3 I
In variations 1-8 the same chord progression or similar is used. As the variations change and less harmonic chords are played it still sounds like the same because on the downbeat of each measure is the same as the original progression. The variations with lots of moving embellishments have less harmonic chords played but it still plays the same chords that are supposed to be played on the downbeat. The harmonic variation is shown in the rhythm of the progressions. A measure that started with a quarter beat and then half beat would vary to half beat, quarter beat measure or a quarter beat, dotted quarter beat, and eight beat measure, or a quarter beat and half beat rest, or quarter beat then quarter beat rest and then another quarter beat.
Variation 9, 10, 14, and 16 Roman Numerals:
i, v6, iv6, V, I, iv, i64, i
Variation 11, 12, 13, and 15 Roman Numerals for the first 4 measures:
i iv6, VII III6, VI ii6, V i6
Neapolitans: m102 (variation 12), m109 (variation 13)
Secondary dominants: m131, m133 (variation 16)
Secondary leading-tone chords: m.85 (variation 10), m131 (variation 16)
Minor v: m74 (variation 9), m114 (variation 14)
The harmonic progressions in the g minor variations are the same as the variations in g major except for chords that change when a key changes from major to minor. The descending bass line descends down a major second to the next measure. There is chromaticism in the 3rd and 4th measures of the progression. To make it a V the f-sharp needs to be changed in the minor key.
This Chaconne uses continuous and sectional variations. For continuous it has a ternary form where the first A section is major then the B section is in the parallel minor and the second A section goes back to the major key. The theme is clearly stated and the variations are easy to tell, aside from the variations being labeled. When it goes to the minor key the meter slows down. It has a change of character compared to the first section with all the moving notes. In the all of the variations there is a ground bass. In the minor section it uses the continuous technique of repeating the melodic phrase. Chaconnes tend to be continuous with a statement and a repeating harmonic progression. But Chaconnes also are hard to tell the division because the variations seem to all flow together.
Blog #8
George Frideric Handel (1685-1759)
Chaconne in G Major, from Trois Lecons (Three Lessons)
P.100 CD 2.1
There is a theme and 21 variations each lasting 8 measures long. All of the variations are supposed to be repeated but the recording that came along with the anthology did not play the repeats. Some of the variations have a first and second ending. The different variations include eight notes, triplets, and sixteenth notes that alternate in the left and right hand. The variations use upper, lower and double neighbor tones. The time signature switches as between ¾ and 9/8. Some variations feel as if they should be grouped together because the right hand plays maybe eight notes and a harmonic progression in the left hand and in the next variation the left hand would play eight notes and the right hand would play the harmonic progression
Roman Numerals in the key of g major:
I I, V6 V6, vi7/V, V, I6 I6, IV I6 viidim6, I I64, V7, I4-3 I
In variations 1-8 the same chord progression or similar is used. As the variations change and less harmonic chords are played it still sounds like the same because on the downbeat of each measure is the same as the original progression. The variations with lots of moving embellishments have less harmonic chords played but it still plays the same chords that are supposed to be played on the downbeat. The harmonic variation is shown in the rhythm of the progressions. A measure that started with a quarter beat and then half beat would vary to half beat, quarter beat measure or a quarter beat, dotted quarter beat, and eight beat measure, or a quarter beat and half beat rest, or quarter beat then quarter beat rest and then another quarter beat.
Variation 9, 10, 14, and 16 Roman Numerals:
i, v6, iv6, V, I, iv, i64, i
Variation 11, 12, 13, and 15 Roman Numerals for the first 4 measures:
i iv6, VII III6, VI ii6, V i6
Neapolitans: m102 (variation 12), m109 (variation 13)
Secondary dominants: m131, m133 (variation 16)
Secondary leading-tone chords: m.85 (variation 10), m131 (variation 16)
Minor v: m74 (variation 9), m114 (variation 14)
The harmonic progressions in the g minor variations are the same as the variations in g major except for chords that change when a key changes from major to minor. The descending bass line descends down a major second to the next measure. There is chromaticism in the 3rd and 4th measures of the progression. To make it a V the f-sharp needs to be changed in the minor key.
This Chaconne uses continuous and sectional variations. For continuous it has a ternary form where the first A section is major then the B section is in the parallel minor and the second A section goes back to the major key. The theme is clearly stated and the variations are easy to tell, aside from the variations being labeled. When it goes to the minor key the meter slows down. It has a change of character compared to the first section with all the moving notes. In the all of the variations there is a ground bass. In the minor section it uses the continuous technique of repeating the melodic phrase. Chaconnes tend to be continuous with a statement and a repeating harmonic progression. But Chaconnes also are hard to tell the division because the variations seem to all flow together.
Bee-th-oven
Uggghhhh....is it spring break yet?
Okay so this Beethoven piano thing is a rondo. We haven't covered this yet, but I did me some readin' and I learned about this herre rondo form.
The workbook wanted me to do a harmonic analysis and form diagram, so I "happily" obliged.
A, parallel period, F Major
m.1 I6, iihalfdim
m.2 I6
m.3 IV, V/IV
m.4 IV
m.5 V
m.6 I
m.7 V, I
m.8 V HC
m.9 -14 same as m.1-6
m.15 ii6, V
m.16 I PAC
B, some may say this is in C Major
m.17 V, VI42
m.18 V7
m.19 ii, V
m.20 V/V
m.21 V7
m.22 V/V
m.23 V7
m.24 V/V
m.25 V, vi
m.26 V6, V/V
m.28 V HC
Return of A with PAC m.29-36
C, yeah I don't know what to say about this section...it's kinda in a rounded binary form annnd it might also be in D major here? I'm not exactly sure.
m.37 IV65
m.38 III43
m.39 III65
m.40 ii43
m.41 vi6
m.42 ii
m.43 vi6
m.44 ii
m.45 vi6
m.46 ii, vi43
m.47 III, ii43
m.48 vi, III
m.49 vi
m.50 iii
m.51 IV
m.52 I
m.53 IV
m.54 I6
m.55 ii
m.56 vi6
m.57 Vdim, vi
m.58 III
m.59-63 same as m.37-43
m.64 viidim65
m.65 vi, III65
m.66 vi
F Major, this part acts like a bridge that goes back into the A section; it has an improvisational feel to it.
m.67 V42
m.68 I64
m.69 V64
m.70 I
m.71 V7
m.72 ii64
m.73 ii64
m.74 V HC
A
Same as first A section. It includes a short coda tagged on at the end that repeats the D-T gesture twice.
m.91 V
m.92 I
m.93 V7
m.94 I
I hear this piece as a five-part rondo form. ABACA. When I listened to it I heard three distinct parts which would constitute to a five-part rondo form. This also could be viewed as a seven-part rondo form because of the end of the C section. The part that returns to F major could be seen as separate and independent from the C section therefore making it a new letter, D. It would fit in the form ABAC(A)DA. The A in the parentheses is not actually heard in this piece but I am sure someone could make a case for seven-part rondo form with that little bridge section. And to take it even further, this piano piece can also be see as composite ternary form, ABA. The A sections would remain the same as in the rondo forms, but the B section would be drastically longer. It would include both the B and C letters of the five-part rondo form.
Measures 1-36 (ABA in five-part rondo) alone makes up a rounded binary form. I think it looks like a textbook example of rounded binary form. The only part that is not quite typical of the form is in the last two measures of the B section. The last two measures is basically an embellishment of the V chord with sixteenth notes. this technique is used in rondo forms to cue in the listener that the main tonic key or main theme is going to make a come back. This form can also be heard in measures 37-66, section C in five-part rondo. And like I said above measures 67-74 act as a bridge to section A...not typical in rounded binary forms.
the phrase rhythm of the A sections are all 8 measures long. The B section, which I see as one long phrase, is consisted of 12 measures. There is only a four measure difference between the two but you can definitely hear it when listening to the piece. It seems like it takes forever before the B section to get to a cadence, whereas with the A section the cadence comes naturally after 8 measures. Now the C section is a whole different story! I could not find a consistent phrase rhythm within the C section, but I did find that if you break it down into rounded binary form (aba') then you could see it. The a and b sections both have a phrase rhythm of 12 measures long, which, again, tends to make one feel like the cadence is far away. The repeat of a has a phrase rhythm of 8 measures which then leads into the bridge.
yay spring break!
Okay so this Beethoven piano thing is a rondo. We haven't covered this yet, but I did me some readin' and I learned about this herre rondo form.
The workbook wanted me to do a harmonic analysis and form diagram, so I "happily" obliged.
A, parallel period, F Major
m.1 I6, iihalfdim
m.2 I6
m.3 IV, V/IV
m.4 IV
m.5 V
m.6 I
m.7 V, I
m.8 V HC
m.9 -14 same as m.1-6
m.15 ii6, V
m.16 I PAC
B, some may say this is in C Major
m.17 V, VI42
m.18 V7
m.19 ii, V
m.20 V/V
m.21 V7
m.22 V/V
m.23 V7
m.24 V/V
m.25 V, vi
m.26 V6, V/V
m.28 V HC
Return of A with PAC m.29-36
C, yeah I don't know what to say about this section...it's kinda in a rounded binary form annnd it might also be in D major here? I'm not exactly sure.
m.37 IV65
m.38 III43
m.39 III65
m.40 ii43
m.41 vi6
m.42 ii
m.43 vi6
m.44 ii
m.45 vi6
m.46 ii, vi43
m.47 III, ii43
m.48 vi, III
m.49 vi
m.50 iii
m.51 IV
m.52 I
m.53 IV
m.54 I6
m.55 ii
m.56 vi6
m.57 Vdim, vi
m.58 III
m.59-63 same as m.37-43
m.64 viidim65
m.65 vi, III65
m.66 vi
F Major, this part acts like a bridge that goes back into the A section; it has an improvisational feel to it.
m.67 V42
m.68 I64
m.69 V64
m.70 I
m.71 V7
m.72 ii64
m.73 ii64
m.74 V HC
A
Same as first A section. It includes a short coda tagged on at the end that repeats the D-T gesture twice.
m.91 V
m.92 I
m.93 V7
m.94 I
I hear this piece as a five-part rondo form. ABACA. When I listened to it I heard three distinct parts which would constitute to a five-part rondo form. This also could be viewed as a seven-part rondo form because of the end of the C section. The part that returns to F major could be seen as separate and independent from the C section therefore making it a new letter, D. It would fit in the form ABAC(A)DA. The A in the parentheses is not actually heard in this piece but I am sure someone could make a case for seven-part rondo form with that little bridge section. And to take it even further, this piano piece can also be see as composite ternary form, ABA. The A sections would remain the same as in the rondo forms, but the B section would be drastically longer. It would include both the B and C letters of the five-part rondo form.
Measures 1-36 (ABA in five-part rondo) alone makes up a rounded binary form. I think it looks like a textbook example of rounded binary form. The only part that is not quite typical of the form is in the last two measures of the B section. The last two measures is basically an embellishment of the V chord with sixteenth notes. this technique is used in rondo forms to cue in the listener that the main tonic key or main theme is going to make a come back. This form can also be heard in measures 37-66, section C in five-part rondo. And like I said above measures 67-74 act as a bridge to section A...not typical in rounded binary forms.
the phrase rhythm of the A sections are all 8 measures long. The B section, which I see as one long phrase, is consisted of 12 measures. There is only a four measure difference between the two but you can definitely hear it when listening to the piece. It seems like it takes forever before the B section to get to a cadence, whereas with the A section the cadence comes naturally after 8 measures. Now the C section is a whole different story! I could not find a consistent phrase rhythm within the C section, but I did find that if you break it down into rounded binary form (aba') then you could see it. The a and b sections both have a phrase rhythm of 12 measures long, which, again, tends to make one feel like the cadence is far away. The repeat of a has a phrase rhythm of 8 measures which then leads into the bridge.
Strawberry Short Cak
You’d better be limber for this performance: “Twinkle twinkle little star” was never more technical. Through variations upon variations Mozart does what no other could (or should) – over-think simple melodies. Although wonderful and beautiful to a small child, the main theme loses its newness much like the infamous “Song that Never Ends.” Repetition and lack-of-newness are the villains during a variation composition, looming and bearing down on one’s creative approach. Sometimes leaving itself open to individuals with massive amounts of time (or the clinically insane) the challenge is exactly how to overcome those monstrous villains. Thank goodness Mozart decided on only 12 ways to pronounce his musical prowess.
Basic synopsis of variations:
I. RH has 16th notes; LH has melody
II. RH melody; LH 16th notes
III. RH triplets; variation moves away from strict melodic repetition
IV. LH triplets in lower tessitura of pianoforte; RH melody
V. RH melody; syncopation incorporated along with chromaticism
VI. RH is melody & accompaniment which moves to LH but back to RH; if not melody, 16th notes
VII. Resembles III variation in that it moves away from strict melodic interpretation, but harmonic structure prevalent
VIII. Slower than any previous movement and in a minor key
IX. Melody played as a round between LH & RH (i.e. Row Your Boat)
X. Builds intensity, possibly preparing ending; extremely flashy and chromatic
XI. Exact opposite to what is expected – backs off building tension and works (very well) as a release point for entire piece; sets up the explosion of notes in XII
XII. LH is frantic while RH plays skeleton melody and is fastest/flashiest/most annoying of all movements
I applaud thee, Mr. Mozart, for beating a dead horse (but beating it well). Some of the variations are but inversions of previous ideas (i.e. I and II) but most are complete ideas unto themselves. Still, those complete ideas reminisce on earlier thoughts producing a work that feels segmented but belonging together, if not simply for the melody “Twinkle Twinkle Little Star.” (obvious, I know)
A performer should do exactly what Mozart puts on the page, and do it to extremes. What makes this piece is performing the variants as psychotically frantic as possible and then playing the next movement as slow as painfully possible. Contrast, my dear Watson, is the key! Unless you want your audience to 1) fall asleep or 2) slash your tires. Definitely a piece I could see individuals holding a grudge about if not performed well; taking all those repeats can become tedious if not done with taste. That being said, be cautious of not taking repeats...people have been black-listed for less.
But in our accepting reality we know that Mozart is a true genius, endeavoring in work that will push the coming centuries of music. Although simplistic in construction his variations as a group create a wonderful composition that one can come back to again and again.
Passacaglia-my new favorite word
"Ah, Belinda, I am prest" is from Henry Purcell's Dido and Aeneas. This is the first of Dido's tragic arias in this opera. She laments how she is filled with torment and will languish her grief. It is a perfect example of a passacaglia, a form of continuous variation. The bass line consists of a repeating four bar phrase the repeats throughout the entire piece. It moves C-Bnat-C-G-A-E-F-G-G-C. This repeats from msr. 1-44, with a slight alteration at msr. 32, where an extra C and Bnat have been added to the beginning of the line. This theme changes slightly at msr. 45 when the song changes keys and the bass line moves down a fourth. The theme returns to its original key in msr. 53. But at msr. 77, the bass line moves down an octave and the tenor takes over the original bass line, so that the aria finishes with the variation in doubled in the lower parts.
The theme coincides with the vocal line in some places and not in others. In the very beginning of the song, the first vocal phrase enters midway through the bass theme and ends with the theme. (its second time through) This kind of pattern with the vocal line entering in the middle of the bass them and finishing with it is seen throughout the song. But there are places where the vocal line doesn't begin nor end with the theme, like in msr. 11-17.
The vocal line is embellished in many ways to portray Dido's lamenting. She sings many B naturals, which clash with the harmony, adding tension. Purcell uses dotted rhythms, which to me seem like it's here trying to sing without crying, breaking up the line slightly. Purcell also uses A naturals and F sharps, like in msr. 45-47 in the vocal line and harmony to bring out "languish" and "grief". I also like the long line he gives to "languish" in msr. 49-52-the drawing out of the melody on this word really gives the listener the feeling of aching and grieving.
Purcell brilliantly uses the bass line to portray his theme in this song. It is a great example of passacaglia-such a fun word to say-variation. How he manages to write a beautiful aria over a continuous repeating bass line is incredible and is worth noticing.
The theme coincides with the vocal line in some places and not in others. In the very beginning of the song, the first vocal phrase enters midway through the bass theme and ends with the theme. (its second time through) This kind of pattern with the vocal line entering in the middle of the bass them and finishing with it is seen throughout the song. But there are places where the vocal line doesn't begin nor end with the theme, like in msr. 11-17.
The vocal line is embellished in many ways to portray Dido's lamenting. She sings many B naturals, which clash with the harmony, adding tension. Purcell uses dotted rhythms, which to me seem like it's here trying to sing without crying, breaking up the line slightly. Purcell also uses A naturals and F sharps, like in msr. 45-47 in the vocal line and harmony to bring out "languish" and "grief". I also like the long line he gives to "languish" in msr. 49-52-the drawing out of the melody on this word really gives the listener the feeling of aching and grieving.
Purcell brilliantly uses the bass line to portray his theme in this song. It is a great example of passacaglia-such a fun word to say-variation. How he manages to write a beautiful aria over a continuous repeating bass line is incredible and is worth noticing.
Chicka-what?/ Chaconne
The rhythmic patterns prevalent in Handel's Chaconne in G Major (set of variations) are very important and prominent throughout the piece. As the set progresses, the rhythmic value of each variation gets smaller. This begins with the very first Variation with the introduction of eighth notes in the right had and a quarter half note pattern in the left. Variation 2 takes the quarter half note pattern in the right hand and the eighth notes then shift to the left hand. Variation 3 introduces the rhythmic value of the triplet with the same quarter half note pattern in the left hand. The right hand takes that pattern in variation 4 and the left hand picks up the triplets. Variation 5 introduces the sixteenth notes in the right hand with a quarter note (then two quarter rests) pattern in the left. In variation 6, the right hand picks up what the left hand was doing and the left hand plays sixteenths. The pattern for the rest of the variations is usually the same, meaning that in one variation the left hand will be playing what the right hand is in the next variation and vice versa. Sometimes, both hands are playing sixteenth notes in what would seem to be a frenzy of notes. Variations often group into groups of twos and fours as well. These include:
Pairs: Var. 1 and 2; Var. 3 and 4; Var. 9 and 10;
Threes: Var. 19, 20, and 21
Fours: Var. 5, 6, 7, and 8; Var. 11, 12, 13, and 14; Var. 15, 16, 17, and 18
The fact that patterns are exchanged between hands is the common bond that holds those groupings together as well an apparent feeling of musical "flow" or "connection" between the variations.
The harmonic analysis of the theme is as follows:
m. 1: I
m. 2: V6, V64
m. 3: VI7, ii
m. 4: V
m. 5: I6
m. 6: IV, I6, vii diminished6
m. 7: IV, I64, V7
m. 8: I
The harmonic structure of the following 8 variations is virtually the exact same as the theme. The texture of the variations change, however, especially due to the rhythmic patterns that are used. The theme is much more regal and prelude-like than the rest of the variations. Therefore its texture is more embellished and thick in the opening chords, almost like a fanfare. Some of the variations seem less thick as far as texture is concerned because they contain fast-moving note figures such as triplets and sixteenth notes.
The descending bass line in variations 9, 10, 14, and 16 are all set in a descending pattern of a second. This may include rhythmic variations, but in all cases, the bass line is descending by the interval of a second. In variations 11, 12, 13, and 15, the bass line is set by a series of sequences. In variation 11, for example, there is a falling fifths sequence that sets the bass line. There is chromaticism most notably in variation 16 in the bass line. From measure 129 to 130, the bass line (on the strong beats) descends by a half step until the beginning of measure 132. Examples of the following chords occur in these measures:
Neapolitans: mms. 84 and 102 (variations 10 and 12)
Secondary dominants: mms. 131 and 133, ii half diminished/V (variation 16)
Secondary leading-tone chords: mms. 75 and 83, vi chord (variations 9 and 10)
Minor v: mms. 74 and 82 (variations 9 and 10)
These types of progressions are not evident in the major key progressions because the major keys do not lend themselves to this type of weird mixtury-type things. This piece would be in binary form if it were soley based on harmonic complexity--the A sections are comprised of rather simple, predictable harmonies, and the B section is much more complex, including many of the chords used above.
Examples of continuous as well as sectional variations are abundant in this Chaconne. There are more continuous sections than there are sectional, but I'll go through some of both. Variations 3, 6, 8, and 19 are all sectional and the rest are continuous. Most of the time, the continuous sections are characterized by moving notes such as sixteenth notes that flow into the next variation. The sectional variations usually mark the ending of some kind of rhythmic pattern or character of the piece--for example, the end of variation 8 ends the first major key section of the piece and variation 9 begins the section of variations that are in a minor key. Overall, this piece is a brilliant example of a theme and variations and is quite interesting to examine as well as to listen to.
Now I seriously have to go because I've written way too much. And I really need one of these if I'm going to keep on living:
Pairs: Var. 1 and 2; Var. 3 and 4; Var. 9 and 10;
Threes: Var. 19, 20, and 21
Fours: Var. 5, 6, 7, and 8; Var. 11, 12, 13, and 14; Var. 15, 16, 17, and 18
The fact that patterns are exchanged between hands is the common bond that holds those groupings together as well an apparent feeling of musical "flow" or "connection" between the variations.
The harmonic analysis of the theme is as follows:
m. 1: I
m. 2: V6, V64
m. 3: VI7, ii
m. 4: V
m. 5: I6
m. 6: IV, I6, vii diminished6
m. 7: IV, I64, V7
m. 8: I
The harmonic structure of the following 8 variations is virtually the exact same as the theme. The texture of the variations change, however, especially due to the rhythmic patterns that are used. The theme is much more regal and prelude-like than the rest of the variations. Therefore its texture is more embellished and thick in the opening chords, almost like a fanfare. Some of the variations seem less thick as far as texture is concerned because they contain fast-moving note figures such as triplets and sixteenth notes.
The descending bass line in variations 9, 10, 14, and 16 are all set in a descending pattern of a second. This may include rhythmic variations, but in all cases, the bass line is descending by the interval of a second. In variations 11, 12, 13, and 15, the bass line is set by a series of sequences. In variation 11, for example, there is a falling fifths sequence that sets the bass line. There is chromaticism most notably in variation 16 in the bass line. From measure 129 to 130, the bass line (on the strong beats) descends by a half step until the beginning of measure 132. Examples of the following chords occur in these measures:
Neapolitans: mms. 84 and 102 (variations 10 and 12)
Secondary dominants: mms. 131 and 133, ii half diminished/V (variation 16)
Secondary leading-tone chords: mms. 75 and 83, vi chord (variations 9 and 10)
Minor v: mms. 74 and 82 (variations 9 and 10)
These types of progressions are not evident in the major key progressions because the major keys do not lend themselves to this type of weird mixtury-type things. This piece would be in binary form if it were soley based on harmonic complexity--the A sections are comprised of rather simple, predictable harmonies, and the B section is much more complex, including many of the chords used above.
Examples of continuous as well as sectional variations are abundant in this Chaconne. There are more continuous sections than there are sectional, but I'll go through some of both. Variations 3, 6, 8, and 19 are all sectional and the rest are continuous. Most of the time, the continuous sections are characterized by moving notes such as sixteenth notes that flow into the next variation. The sectional variations usually mark the ending of some kind of rhythmic pattern or character of the piece--for example, the end of variation 8 ends the first major key section of the piece and variation 9 begins the section of variations that are in a minor key. Overall, this piece is a brilliant example of a theme and variations and is quite interesting to examine as well as to listen to.
Now I seriously have to go because I've written way too much. And I really need one of these if I'm going to keep on living:
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