Form and Analysis

Mozart String Quartet in D minor

2008-05-08T23:24:00.002-04:00

In Mozart's String Quartet in D minor, K. 421, the third movement, Mozart uses chromatic embellishment even within the first ten measures. Analysis looks like this:
m.1 : i
m.2: CTd7
m.3: i
m.4: V
m. 5: VII
m.6: IV65
m. 7: VI #6
m. 8: III #5
m.9 : iid6, V7
m.10: i
In measures 14-19, Mozart uses chromatic voice exchange and a held "E" in the cello, prolonging the E minor tonic harmony.
m.22: i
m.23: V7
m.24: i+7
m.25: IV
m.26: VII
m.27: III
m. 28: iid
m. 29: V/V
The chromatic sequence in the cello in measures 1-10 is moved to the first and second violins in measures 22-29.
Measures 30-39 are the same as 1-10.

adieu, adieu...you know the rest

2008-05-08T23:10:00.002-04:00

hay, girl, hay!

mozart roman numeral crapnalysis:
key: d minor
m.1 i
m.2 iv43, i
m.3 i
m.4 V6
m.5 VII
m.6 IV65
m.7 Ger+6
m.8 V, i6
m.9 cadential 64
m.10 i

In measures 14-19 Mozart uses the cello's note (E) as the basis of a common tone modulation to the dominant key. The harmony prolonged here is a V/V chord.

ugh,this part's confusing
m.22 V7
m.23 V7/IV7
m.24 IV7
m.25 vii7
m.26 iii
m.27 vi
m.28 Ger+6
m.29 V

uh the violins play the same motive as the first two analyzed parts except for it's slightly chromatic in measures 22-29. That's really the only similar part I see. You probably shouldn't analyze measures 30-39 because it's the same as the first ten measure of the piece....unless you were bored and needed to waste time.

this bunny is cute. the end.

August Rush and Schumann

2008-05-08T23:01:00.003-04:00

In Schumann's "Widmung" we have some of his trademarks popping up everywhere. Throughout the first verse the infamous "three hand" accompaniment plays delicatly below the vocal line. Which builds up to "for which I float" then descends on the line "O my grave." There is a great big key change to start off the second verse, from Ab Major to E Major, as well as a new accompaniment. The accompaniment for the second verse continues in the "three hand" tradition of Schumann, but has steady chords on every beat in the highest voice and the lower voices holding out the root E the entire time. This gives the second verse a more driving feel. The vocal line slows from the previous verse, to longer drawn out phrases. The differences in the accompaniment and the voice make it so the voice can flow nicely above it, but still feel the pull of the song. It then changes key back to Eb major in the middle of the line "you raise me lovingly above myself," which only emphasizes the word 'lovingly.' With the return of the original key, the original accompaniment returns as well. The first verse is repeated up to the line "in which I float" and ends with the last line from the second verse "My good spirit, my better self."
Schumann did a wonderful job of taking a beautiful poem and setting it to music. It is simply a love song, but it is so much more than that at the same time. The words are beautiful in and of itself. However set to music the feeling is ten times more impressive. The love and passion that is stated in the lyrics are made more powerful by the music that surrounds it. I guess that is what music really is, all around us, making things more powerful. Looks like August Rush made a really great point. :-)

Fryderyk Chopin: Mazurka in F minor, Op. 68, No. 4

2008-05-08T21:53:00.002-04:00

Fryderyk Chopin’s Mazurka in F minor, Op. 68, No. 4 exhibits an astounding amount of chromaticism in such a short piece. Due to the sheer amount of chromaticism, a Roman numeral analysis is difficult to do. Therefore, one needs to pay attention to overall basic harmonic structure rather than literal every note harmonic analysis in order to comprehend where Chopin is harmonically taking the piece. Due to the latter characteristics of the piece, I feel that it may be easier for the listener to understand the piece if one would go through the piece in sections and observing each section in detail rather than just go through the measures labeling each Roman numeral. So, lets go through each section in basic harmonic and structural detail to get a better general understanding of the piece.

m. 1-8:

First phrase: m. 1-8, key of F minor, i

While there is a feeling of subphrases within these measures, divided in m. 1-2, m. 3-4, m. 5-6, and m. 7-8, the ideas flow seamlessly from one to another, due to the chromaticism and the descending stepwise motion of the harmonies and motives (such as the RH motif in m. 1-2 being used throughout these measures). A perfect authentic cadence in the key of i is perceivable in m. 8 with an F minor triad.

m. 9-14:

Second phrase: m. 9-14, elides to next phrase in m. 14, key of F minor, i

This second phrase is more or less a variation of the first phrase. A half cadence in the key of sharp III is present with an E7.

m.:1-14: parallel period

m.15-19:

Third phrase: m. 15-19, elides to next phrase in m. 19, key of A major, sharp III

m. 14-15 and m. 16-17 repeat each other, creating an emphasis on the repeated right hand motif and the key of A major, a key that is distantly related from F minor. There is a perfect authentic cadence in the key of sharp III in m. 19.

m. 19-23:

Fourth phrase: m. 19-23, key of F minor, i

The right hand motives of this section (right hand of m. 19-20, for example) are the exact same right hand motives used in m. 15-19, only transposed to the key of i, F minor. The perfect authentic cadence in the key of i in m. 23 is the most conclusive cadence in the piece.

m. 15-23: parallel period

m. 24-27:

Fifth phrase: m. 24-27, key of A flat major, III

This phrase has a sudden change from the previous phrase’s F minor key to this one’s A flat major key. However, the key then travels to C minor, the v of F minor, due to the perfect authentic cadence in the key of v in m. 27.

m. 28-31:

Sixth phrase: m. 28-31, key of C minor, v

The material from this measure is similar to the previous phrase, but this phrase ends in a half cadence in the key of v with a G major triad.

m. 24-31: parallel period

m. 31-39: Retransition, elides to m. 40

m. 40: same material as m. 1

As one listens to the piece, there is a sense of continuous forward motion melodically and harmonically, constant and often unstable harmonic traveling for a number of reasons. Aspects of the piece that contribute to the continuous forward motion and harmonic instability include heavy use of chromaticism (m. 14-15 for melodic and m. 2-4 for harmonic, for example), the use of inverted chords rather than root chords (F6 in m. 1, for example), the use of very dissonant chords (such as E full diminished 65 in m. 7), elisions (first beat of m. 14 and 19), and quick shifts in key (from F minor to A major in m. 13-15, A flat major to C minor in m. 26-29).

Another major aspect of this piece which contributes to perpetual musical motion is sequencing, which is present in m. 1-5, for example. This excerpt travels harmonically in a descending stepwise motion every 1 measure, starting from F minor 6 to G7 to G flat 7 to F7 and ending at E minor 7. Also, the motive/melody transposes by descending whole steps every two measures from m. 1-6. A similar sequence can be found in m. 7-11.

The sequencing from m. 32-39 feels even more complex than the previously explained one due to more melodic chromaticism, thus making harmonies more difficult to determine. The melody of the right hand transposes in a descending stepwise motion from m. 32-36 every two measures. Likewise, the harmonies also descend in stepwise motion every two measures in m. 32-36. The sequencing intensifies in m. 37-39, this time descending by stepwise motion every 1 measure rather than two measures.

As Chopin marks sempre legatissimo (m. 11) and sempre legato (m. 32), it is possible that the composer wishes for the performer to practice these markings in order to give the listeners even more of a sense of continuity and seamless flowing from one idea to the next. In addition to always legato playing, one must also observe the sotto voce (m. 1), which literally means “under voice.” Perhaps Chopin wishes for a lyrical, soft but projected and singing like sound to carry the melodies of the piece, which can be accomplished through closer contact to the keys and depressing the keys with slow motion. Flattening the fingers some may help create a singing like melody, as doing so would enable one to play on the key with more surface area, which promotes a full, rich sound as opposed to the tip which promotes a bright, pointed sound.

Apart from the feeling of continuous motion, the mood of the piece is strange in a sense that there are sudden key changes from major to minor keys, somewhat giving me the sense of bipolarity, changing from a more somber, gloomy and tranquil mood suddenly to a happy and robust mood, which is something I may expect from the music of Robert Schumann rather than Chopin. m. 9-14, for example, is generally in a quiet, sotto voce mood. Then, in m. 14 a sudden shift to A major, a distant sharp III relation, along with a crescendo bring the spirit of the piece up for a moment, only to return to the gloomy and somber F minor (after a tonicization of iv in m. 19-20) in the phrase in m. 19-23. I believe exposing the bipolarity along with the continuous motion will musically bring the piece to life and make it shine. Therefore, the performer should make the most of thedynamic markings and sudden mood shifts within musical reason of course (not going from pianissimo to fortissimo in a matter of a few beats! Do not do this!)

The marking D. C. dal segno senza fine in m. 40 is interesting, as it is asking the performer to return to m. 2 and continue playing, but without end. There is no fine marked in the score, so Chopin has not specified where one should conclude the piece and stop playing. For Chopin to write senza fine further supports the idea of continuous nonstop motion and traveling. Since the piece is to sound senza fine, a performer might be inclined to repeat the piece more than once. Of course, the piece must end at some point in recital, so eventually concluding in m. 23 may be the best option, as the perfect authentic cadence here in the tonic key of F minor is the strongest and most conclusive sounding cadence in the piece.

Chicka-chicka yea, my last blog, my last blog!

2008-05-08T21:45:00.003-04:00

So words cannot even begin to describe my excitement for this blog. It's the last one! = ) So here it goes. (My brain is slightly fried due to end-of-the-year syndrome, so I'm going to be brief.)

I have been given Chopin's Mazurka in F minor, Op. 68, No. 4
Sweet lord does this have a ton of chromaticism. My brain was a little overwhelmed by all the accidentals at first, not gonna lie. Chopin uses B natural, A sharp, D natural, G flat, F flat,C flat, and E natural as embellishments of the melody, all within the first eight measures. As I began my attempt at a harmonic analysis, I found that such an analysis does not makes sense for this type of piece. There is just too much chromaticism that the Roman numeral analysis becomes ridiculous. But, a few measures, such as measure one (i6) do make sense with Roman numeral analysis.
Measures 9-15 are similar to measures 1-8. The bass line is nearly the same, with the second chord of the odd measures (9,11,13,15) having a new chromatic note in them. The melody is the same but with added eighth notes in the measure to allow for some new chromatic additions as well. In measures 32-40 something very interesting happens. Here we see several beats that have two different chromatic notes with the same letter name.In msr. 37 there's an F flat and F sharp and in msr. 38 there's an E flat and E sharp. This helps with the chromatic progression to msr. 40 where 'D.C. dal segno senza fine' is written.
This marking calls for the performer to return to measure 2 and play the piece again but without ending. There is no 'fine' marked in the score so the performer must choose how many times to play the piece and where to end. To me, measure 23 looks like the best spot to end since it has the most conclusive cadence of the piece(authentic cadence).
This piece contains a lot for just 40 measures and has a lot of fun chromaticism. I would never play for I think I'd probably mess up the majority of the accidentals along the way. Oh well, props to whoever can play this!

Peace. It's been real.

Widmung

2008-05-08T21:25:00.001-04:00

Schumann's "Widmung" is a song roughly translated to "Dedication" which features the setting of a poem by Friedrich Ruckert. The text of the poem in relation to the musical exposition of the ideas is best studied after the large-scale musical form is established. "Widmung" is in A B A form, and although it is reminiscent of rounded binary form, the B section consists of completely independent harmonic material including a different key altogether and thus the piece fits the definition of a ternary form better. More specifically, this is a form of simple ternary because the sections of the piece do not take on any additional musical forms. The text alone is mysterious and beautiful. The poem can be looked at both in a subjective and objective manner and most certainly through a mix of the two. The undefined "you" that the author is speaking of is portrayed mainly in a positive light and is often made the center of the speakers existence and source of joy. There are a few verses however that speak of the "you" of third party in quite the opposite light. The contrast is so stark that the speaker associates the third party with death and even goes as far as blaming this party for his death while only a few verses earlier he was praising it as if it was heaven. The nature of these lyrics and the lack of clarity as to whether the author was even referring to a person or an object, feeling, desire or other aspect of existence.

The text however does give ample material for a setting to music that reflects the beauty and emotion that the poem exudes. For example, the key change from Ab Major to E Major occurs when the text is referring to the postlude of the poems section about death. While one typically associates death with minor modes and life with major modes, Schumann takes a different approach and gives the lines of text that talk about the "you" being rest and peace and a gift from heaven and sets them to an entirely separate major mode in the middle of the major A sections. In addition to the key change, the accompaniment takes on a much more peaceful and steady driving tone as the fluid moving eighth note arpeggios are replaced with chordal quarter note passages that accentuate the sturdiness and certainty of the speakers words that he has found rest and gentle peace. The modulation is direct and hence lacks a transition. The piano accompaniment suddenly shifts keys, rhythmic patterns simply to accentuate the romantic ideas that the B section elaborates. Schumann. The text painting that plays a crucial role in this piece is found in the abnormal key change and the rhythm shift that accentuates and pulls out the ideas of love and completion in the text. From a chromatic perspective, the techniques used including flat chords seem to appear at sections during which the text refers to mysterious ideas. For example when heaven is mentioned, the chromaticism comes into play perhaps to accentuate the mysteriousness of heaven. If I were to perform this, I would make a point to make the contrast between the A and the B sections very distinct and to make sure I adequately convey the emotions through my facial expressions and bodily movements. The communication of emotions in this piece is crucial to its delivery in my opinion. Strict adherence to the dynamic will also beautifully supplement the composition techniques.

Chopin

2008-05-08T21:06:00.002-04:00

Due to the large amount of chormaticism embedded in Chopin's Mazurka in F minor, Op. 68, No. 4, it is difficult to apply harmonic analysis. The chromaticism can be seen straight away in measures 1- 8. The embellishments played here are B natural, D natural, A#, Fb, Gb, Cb, E natural, A natural, G #, and F#. It is definitely identifiable that the section is in F minor, but chord analysis is not really necessary. Beginning at measure 2, every two measures there is a sequence. The phrase desecends by a whole step at each new seqence. In addition, the last two measures of this entire phrase ends in a i chord at measure eight.
Measures 9 - 14 are similar to measures 1 - 8. The only difference is that it's set higher. But it has the sequence pattern. However, the cadence at the end of measure 14 is a half cadence in the key of A major. The modulation to the new key occurs by sequential chromaticism.
The section that consists of measures 15 - 23 begins in A major, but at measure 19 modulates back to F minor. This continues and there is a solid ending pac in F minor in measure 23.
At the beginning of the phrase in measures 24 - 32, the key is set in Ab major. Ab major is of coruse the relative major of F minor.
From measure 32 - 35 there is a desecending fifths sequence. Measures 32-40 is a very interesting phrase in general because some measures there will be two different chromatic notes with the same letter name. For example, in measure 36 there is an Eb and an E#, and in measure 38 there is a D natural and a Db. At measure 40 the performer returns to measure 2, but it's interesting because there is no official fine. The best place to end this piece would be at measure 23 because it holds a sold F minor chord, the key the piece originally begins with.

LAST ONE!

2008-05-08T20:37:00.002-04:00

This is my last blog entry (huzzah!), and today we are discussing Schumann (the crazier of the two Schu's) and his lovely piece, Widmung.

The larger form of this piece is Ternary, your typical A B A, and this form is made doubly obvious by the seemingly strange key change from Ab major to E major. Actually, this is closer than it first appears. Schumann must have read about Beethoven and his crazy chromatic mediant fetish; E major is an enharmonic respelling of Fb major, the flat major VI to Ab's tonic I.

The key change itself is a text-painting device: as we approach the key change (remember, down a third from tonic) the singer's line is "you my grave, [down] into which I cast my grief." And then we change key, using a nifty common-tone modulation, Ab-->G#, and the accompaniment becomes less florid and more supportive, grounded. The singer explains that "you are rest, you are peace, you are bestowed upon me [down] from heaven." The accompaniment is more solid and chordal - if it were minor, I would say it's solemn like a funeral march - the major gives this much more hope and joy, even though we're kind of still in the death-theme textwise.

Then, just as cliche and text-painting-y, the key changes back (up) to Ab (with another common-tone modulation, C#-->Db) on the perfect line, "you raise me lovingly [up] above myself." Oh Schumann. How cute is that. (PS - anyone else hear the Josh Groban song with that line?)

A final interesting note is that one Schu here steals from another Schu - part of Schubert's "Ave Maria" is quoted in the last measures, twice. The do-ti-do-mi-re-do of that melody is set in a ground-bass type of ti-la-le-sol-do falling progression. The chromaticism describes an otherworldly serenity and happiness, as if the singer is still in disbelief at their luck and contentment.

And that's all for this piece. I will almost miss blogging with you guys. Have a great summer, all! Ciao!

LAST BLOG EVER! Hip Hip Hooray!

2008-05-08T19:56:00.002-04:00

Okay, so I'm pretty excited that for my last piece to annalyze, I got Robert Schumann's "Widmung" or "Dedication" from the song cycle Myrten! I really like this song, partly because I heard it about twenty times during German diction! It's a really beautiful song, with wonderful lyrics that truly describe Schumann's devotion to his wife, at least I hope it's to her and not a girlfriend! That would kind of ruin the romance of this song!
The words speak of devotion and call his, hopefully, wife his soul, heart, bliss, and pain. He calls her his world. The music has lovely romantic runs in the intro to prepare the listener for the romantic nature of the work.
At the key change, the second verse begins. I wouldn't say that the tone of the text truly changes significantly, but the accompaniment certainly changes significantly and while I understand that it adds interest and diversity to the song, but I'm not sure it's a good change, only because the choppy nature of the triples make it more difficult to bring across the romantic feel of the song and keep the legato in the voice. A good singer can provide a wonderful counterpart to the accomaniment, which makes a nice texture, but a not-so-good singer might make the line choppy as well, something to watch for.
The Gb's in measures eight through nine I think are used to emphasize the word "Himmel," or heaven, and the heavenly and unusual nature of his wife. Also, the piece is in ABA form.
Okay, I think I'm done. So, I'm signing out! Ciao!

Last Blog!

2008-05-08T19:25:00.002-04:00

Yeah!

Chopin's Mazurka in F minor uses many chromatic harmonic techniques. For example, in measures 10-13, the is a chromatic falling fifths pattern, going from G to Gb to C to Cb. Also, in measure 29, a German 6 chord is reinterpreted enharmonically as a V7 chord. In measures 24-29 there is a modulation to a chromatic-mediant related key. Finally, in measures 11-14, there are chromatic passing tones embellishing the opening melody.

Sorry this is crappy, I have 5 billion more things to get done.

WIDMUNG! the end!

2008-05-08T19:17:00.002-04:00

Widmung by Robert Schumann was written in 1840 as a part of his song cycle Myrthen. The title translates to "dedication" with text written by Friedrich Rückert. The song is clearly in an A B A' form which means that it is probably rounded binary but with a closer look at the B section we see or hear that the B section is in a completely different key and very very different than the A section which probably means that it is Ternary form. It is probably simple ternary form because the there are not binary forms within the larger ABA form. When the A section returns it is more of an A' because the cadence ends differently. The poem itself is very romantic. It talks about the composer or poet's love, and the fact that they are their world. It makes the title interesting because it could be that Schumann was dedicating this song or the song cycle to his wife or it could be that he is simply discussing how he dedicates himself to his wife. When the key change happens the text takes a turn to a more peaceful idea that is represented by longer notes and a steadier accompaniment, with the words, you are rest, you are peace. The modulation is a direct modulation, it is very abrupt with a sudden change of piano style. The Gb5 that is found in measures 8 and 9 was probably used to portray the idea of heaven which is the text that accompanies this section. The composer probably chose a chromatic note because heaven is not a stable idea, no one really knows what it is, and not everyone believes in it. When I sang this piece for proficiencies I really tried to think about the contrasting sections and why the composer would have chosen to make similar text so different.

last. blog.

2008-05-08T19:01:00.002-04:00

Soooo you know what time it is? Cause I do--yep, you've got it, it's last blog EVER time. I cannot contain the excitement right now. So, without further ado, here it goes.

The chord progression of the first 10 measures of the third movement of Mozart's String Quartet K. 421 is as follows (in D minor):

(measure) 1: i
2: iv6
3: i
4: V6
5: vii0
6: iv6
7: Gr+6
8: V7
9: V 65-43
10: i

The harmonies employed with this chromatic descending bass line is primarily that of tonic, subtonic, and dominant harmonies.

The analysis for measures 11-20 is as follows:

11: vii half diminished7/V
12: V
13: V
14: II
15: vii half diminished/II
16: II
17: vii half diminished6
18: v7
19: V
20: vii half diminished/V

The name of the device used in the cello part of measures 14-19a is called pedal point. The harmony prolonged throughout this part of the piece is V.

The harmonic progression of measure 22-29 is as follows:

22: V7
23: V7/iv
24: V7/vii
25: V7/III
26: V7/VI
27: VI
28: Gr+6
29: V

Wow, this section has a LOT o' secondary dominant harmonies...
The progression in the harmonies of the violins in 22-29 are similar to the descending chromatic bass line in measures 1-10. Measures 30-39 do not need to be analyzed because they are, indeed, an exact repeat of measures 1-10.

I'M FINISHED!!!!!!!!

LAST BLOG EVER! (sorry for the enthusiam, Prof.)

2008-05-08T18:27:00.004-04:00

Widmung is the first song of 26 in Schumann’s song cycle Myrthen. This cycle was a gift, dedicated to his wife on their wedding day, hence the name Widmung, meaning dedication. This song speaks of all the aspects of love. It speaks of the good and the painful side of an all encompassing love.
This song is mostly made of root position and inverted I V and IV chords, giving it a very stable sound, strengthening the theme of love in the song.
The overall structure of this song is ABA.
A: AbM mm.1-13
B: EM mm.14-29
Return of A: AbM mm.30-44

The roman numeral analysis for mm. 8-9 is
m.8 IV6 v
m.9 IV

The purpose of the Gb5 in these two measures could have to do with text painting. The translation for the text in measures 8 and 9 is “ in which I float”. Therefore, the flatted G that is outside the normal tonal structure of the key (Ab), could suggest an “other worldliness”.
I have had the privilege of performing this song before. And when I learned this song, I made sure that over the fast-paced and smooth accompaniment, I didn’t make the melody too choppy sounding. It is hard in this song, especially with the German language, to keep a smooth line that continues even through glottals and rests. It is also hard to stay calm vocally when singing this song. With such a swooping and seemingly fast-paced piano accompaniment, by the return of A, I always had to remind myself not to speed towards the end.

Sic hoc adfixum in obice legere potes, et liberaliter educatus et nimis propinquus ades

2008-05-08T17:31:00.001-04:00

Analysis:

mea. 1 – i

mea. 2 – iv6

mea. 3 – i

mea. 4 – V6

mea. 5 – VII

mea. 6 – IV6

mea. 7 – Gr+6

mea. 8 – V7 i6

mea. 9 – V64-53

mea. 10 – i

mea. 11 – vii*7/V

mea. 12 – v

mea. 13 – v7

mea. 14 – II

mea. 15 – vii*/II

mea. 16 – II7

mea. 17 – vii*6

mea. 18 – v7

mea. 19 – i

mea. 20 – vii*7/V

mea. 21 – i V

mea. 22 –

mea. 23 – I

mea. 24 – IV

mea. 25 – VII7

mea. 26 – V7/VI

mea. 27 – VI

mea. 28 – Gr+6

mea. 29 – V

mea. 30-39 – literal repeat of mea. 1-10

The harmonies of the chromatic descending bass line are relatively tame; only a IV6 in mea. 6 and the German augmented 6^th chord in mea. 7 pop out as examples of mode mixture; otherwise, the chords develop as one would expect for a classical composer (even the famous cadential 6/4). The B section of this movement has a pedal point in the cello, which provides a dramatic backdrop for the rather odd chords that progress on top of it. It’s a developmental section that flirts with major keys and provides an obvious shift in harmony versus the first section. I say “dramatic” because the kinds of chords created are II and v, both of which, in theory terms, are like saying ‘666’ to religious fanatics. (that’s an overstatement, but you get the idea). Nevertheless, Mozart comes out of this section, reaffirms his domination of minor keys and then gives a repeat of section A. I like that kind of analysis where there’s not a repeat, but writing out the original melody. In theory, it looks like there’s been more work done than I’ve actually accomplished. Anyways…

Key points: be aware of your role within the chord. Because strings are not equally tempered, those darned inner voices can make the difference between the light and proverbial sludge. Leading tones are huge and help set up important chord shifts when Mozart writes for non-diatonic chords (aka mode mixture). As always, play what is written but be creative and constantly have opinions about performance and interpretation – make your recording stand out from the rest!

さいごのブログ＜－last blog

2008-05-08T17:23:00.001-04:00

080508
Blog #14

II. Extended analysis
A. Wolfgang Amadeus Mozart, String Quartet in D minor, K. 421, third movement (p. 157) CD 2.74

Roman Numerals
Key: Dm
M1: i
M2: iv43
M3: i
M4: V6
M5: vii
M6: IV6
M7: Gr6
M8: i64
M9: V64-53
M10: i

In measure 14-19 the cello holds out the same note, so it’s a pedal point. The chords above are changing but the pedal point doesn’t take part in the harmonic framework. A dominant chord is prolonged.

M22: V7
M23: V7/iv
M24: iv
M25: vii7
M26: III
M27: vi
M28: Gr6
M29: V

The motive is passed around from the first violin, second violin and the viola and cello play some harmonic stuff that isn’t fun to play. In m22-29 the second violin comes in first and then the first responds rather in m1-10 the first violin plays first and the second and viola interact after the first violin states something. The tendency is to just go down the scale with the motive. Measures 30-39 is exactly the same as the opening in measures 1-10. With the DC it gives a strong ending with an authentic cadence.

I played this before, it was pretty fun, and like the seconds and violas get to come out a more than usual and interact with the first compared to some other quartets where the first violin hogs the spotlight.

mozart string quartet in D minor

2008-05-08T15:19:00.003-04:00

Let me start by pointing out that this quartet is obviously inferior to Haydn's op. 17 no. 3 quartet in E flat major. Ok, now that that is taken care of.
The first ten measures, in D minor, have these roman numerals
i IV64 ii042 i i V6 vii
IV6 Ger6 V V42 i ii V7 i
The device used in the cello part is a pedal tone. It is being used to prolong the harmony of V7/V. That's handy because the pedal tone is the root of that chord. Measures 22-29 are where Wolfgang falls for secondary dominants. It goes:
V7 V7/IV V7/vii V7/III V7/VI VI Ger6 V
This is a falling fifths sequence for a while. Wolfgang probably would not have gotten a good grade had he been in Spiegey's theory class, he hardly resolved anything correctly. In the first violin part the chordal seventh resolves up a seventh, then that leading tone resolves in the viola part, then the chordal seventh is resolved down a half step (yay) and everything is back to normal. In the second violin part the leading tone is resolved by the violist (cuz they know how to do it right), then the chordal seventh is right, but then the leading tone is resolved by the violist again (we have to do all the work). The violinists are playing in canon, started in the second violin part, with the second part a fourth up. It worked out into nice chromatic lines for both of them. How handy. Measures 30-39 are the same as the beginning, everything is the same as the beginning. He prolly just couldn't think of anything new. Or maybe he had somehwere to be.... we will never know. The end.

Widmung by Schumann

2008-05-08T14:21:00.002-04:00

Widmung is probably the most performed worked of Schumann's song repetoire. The song is ABA, or ternary. The word Widmung means dedication and the poem as follows is a deication of love. The modulation at measures 13-14 suggests the contrast in the text. The first stanza talks about the painful side of love, but at the key change the text discusses the peacefulness of love. The key change is by a chromatic mediant. The Gb text paints the word "float".
In the first phrase, the performer would want to make sure that they would not climax on on the word "Seele" as one would need to make sure there will still be energy for the word "Herz". On Schmerz, a softer dynamic would need to be used as well as floating the word "schwebe". In the B section, a feeling of rubato and ever changing dynamics would serve very well in this piece. On the word "himmel" (heaven) would need to be mf or less, because this is not a Handel Heaven but a reflective feeling. This piece is one of the most teasured and enjoyable pieces in all of lieder.

ludwig

2008-05-08T10:42:00.002-04:00

Beethoven's piano sonata in C Major Op. 53
The roman numerals for measures 79-83 in E minor are:
iv V/iv iv ii065 i64 V i II i64 V7
For measures 84-87 (first ending) in C major
I ii6 I64 vii06 I I II
and for measures 86-90 (seond ending) in d minor
v iv III64 vii7 i VI III vii7 i
He used a melodic sequence in measures 80-81, c a f#, b g e, a f# d#, e.
Here he was just arpeggiating chords of e minor, which helps establish that key. He elaborated on this melodic idea in the following measures, adding a scalar figure with the same rhythm. The first of these ends on a nice e again, but in preparing for the modulation Beethoven changes the second so that it is spelling out C major chords and it ends predictably in C major. For the two measures of the first ending Beethoven emphasizes the key change by playing repeated C major chords, but surprisingly in the last beat plays a D major chord. This matches exactly the two measure introduction to the piece.
The second ending begins with a C major chord again, but this time only for a beat so that the transition to d minor can be established. One way that he shows this new key is in the bass line, which has a rising and slowing progression to the D in measure 88. He also uses that same arpeggiating sequence in the melody, this time using D minor chords, to establish the key. Finally in measures 90 and 91 the D minor chord is played as the C major chord was at the very beginning and the first ending, firmly landing the listener in the neopolitan key.

A String of Pearls

2008-05-04T21:43:00.002-04:00

mm.
Eb:
11 - Iadd6
12 - Iadd6 bVII7 V7/IV
13 - IV IVmaj7 IV7

This excerpt is pretty tricky because of the chromaticisms especially in measure 12. Looking at the D7-Db7 is particularly interesting because, though the parallel fifths are diminished, it is kind of an awkward chord progression. The Eb7 chord in a tonic of Eb is also a bit jarring, though looking at the Ab chord (IV) in the next measure, it becomes clear that this Eb7 chord is functioning as a secondary domninant (V7/IV).

pirate skulls and bones

2008-05-01T23:51:00.003-04:00

sticks and stones and beethovens...

roman numeral analysis, fun!

EM
m.79 iv64, IIIhalfdim
m.80 iv, iidim6
m.81 i6, V7
m.82 i, iv
m.83 III6, ii

CM
m.84 I, iv
m.85 iii6, ii
m.86 I
m.87 I

FM
m.86 V, I6,IV
m.87 iii64, ii
m.88 vi, I6 , IV
m.89 iii6, ii
m.90 I

There is a two measure harmonic pattern that is in each key. It's in measures 82-83, 84-85, and 88-89. The two beat sequential pattern is repeated many times throughout measures 80-89. the first two measures of the sequence goes down by a half step then after that it looks as if the sequence goes down by way of falling thirds.

The two sequences are layered on top of each other in this excerpt. You could say that the shorter melodic sequence acts as a way to connect the longer harmonic sequence. the melodic sequences also provides a link between keys by introducing or reintroducing notes of the upcoming key within the sequence.

2008-05-01T23:37:00.002-04:00

Analysis for Jerry Gray and Eddie de Lange, "A String of Pearls"

m. 11: i(6/5)
M.12:i (6/5) II7 flat ii7
M. 13: vi

harmonically this excerpt is not exactly simple but functionally it is very important. It leads us back from a previous section to the close of the piece. Most of these chords shares a common tone between them, or move apart in no bigger motion than a second allowing for the composers so bend the rules of resolution.

The piece ends with motion from an E chord to a B to a C. the interesting thing about these final two chords is that every note of the B chords resolves up to the C and all no more than a second creating a very interesting, almost incomplete sound.

Ludwig van Beethoven, Piano Sonata in C major, Op. 53 “Waldstein”, first movement: Allegro con brio

2008-05-01T23:24:00.001-04:00

Roman Numeral Analysis: m. 78-90

m. 78-83: [III] [E major]: I, V7/iv, iv64, V7/iv, iv, ii6 diminished, V864-753, i, i6, iv, V864-753

m. 84-87: [III]: I: I, I6, IV, V864-753, [1st ending: I]: I, [second ending: IV]: I6, IV, V864-753

m. 88-90: [IV]: vi, I6, IV, V864-753, I

The first movement of Ludwig van Beethoven’s Piano Sonata in C major, Op. 53 “Waldstein” exhibits sequencing of melody and harmony in m. 82-90. The harmony follows a falling thirds pattern, going from E minor (m. 82) to C major (m. 84), skipping A minor, then finally arriving at D major (m. 90). The same quarter note-eighth note-eighth note etc. melody with the first run of it starting from the third beat of m. 80 going to m. 83, is used and transposed to fit diatonically within all of the harmonic changes all the way up to m. 90. The melody is played a total of three times.

In context of the piece, the melodic and harmonic sequence functions to seamlessly transition the piece from E major to F major to start the development. In doing so, Beethoven still manages to maintain much melodic and musical interest in this excerpt. The change from C major to F major the second time the section is repeated is unexpected and interesting. Therefore, the performer should make much musically speaking out of the shift from C major to F major (m. 86-90). Beethoven writes in crescendos that go into softer markings piano (m. 86-87) and pianissimo (m. 88-89). These dynamics add to making the moment musically interesting, so they should be observed, almost exaggerated in the crescendo markings to the piano or pianissimo markings.

First Theory paper...now blog....will this night ever end?

2008-05-01T23:20:00.002-04:00

Well at least this blog is a short one.
Chords:
m. 11 : I ( +6 )
m. 12: vi 65
II
ii ( + b6)
I7
m. 13: IV
IV65
IV º65 (?)

Measure 12 which is the transition between the two measures of text we were asked to analyze. The interesting thing about this measure is all the chromaticism that is used, including a major II, shortly followed by a minor ii. We would expect that because a ii usually serves as a predominant that the following chord would be a V chord, but it is not, instead we have a tonic chord.

The final two chords to me seem rather out of place, having a B major chord in E flat major, now that's just weird. and then we have the slide up the C major chord. Guess that's just how they did it back then. The fact that the E flat is held above the B major chord makes it an even more interesting ending.

Shortest Blog Ever

2008-05-01T22:27:00.009-04:00

Sorry Spiegs, but the paper is taking precedence over this blog...so it's gonna be really quick!

"A String of Pearls"
by Jerry Gray and Eddie de Lange

m11 - i65
m12 - i65 - II7 - V7/IV
m13 - IV

This is a transitional measure which allows the composer leeway, no idea how to spell that, with the chromaticism, which he uses a lot! measure twelve, especially is rather confusing with LOTS of accidentals! The composers used close movements between the notes to accentuate the closeness of the chromaticisms.

2008-05-01T22:27:00.005-04:00

Ok, so here’s the thing…this is going to be a rather short blog…what can you do? I have a theory paper to write ,people!
Measures 79-90 of Piano Sonata in C major, Op. 53, by Beethoven are a whirlwind of 16th notes and chromaticisms.
Here is the roman numeral analysis for it:
E minor
79 iv64 III
80 iv iidim
81 i6 III
82 i iv
83 III ii

Cmajor
84 I I6
85 iii6 ii
86 I
87 I

F major
86 V I6 IV
87 iii6 ii
88 vi I6 iv
89 iii6 ii
90 I

Blog

2008-05-01T22:23:00.002-04:00

Brief Analysis A, Jerry Gray and Eddie de Lange's "A string of Pearls":

Qualities for each chord: m.11- I+6
m. 12- II7, flatII+flat7, I+7
m. 13- IV, IV65
m. 14- I+6
m. V7, I+6

It seems that in measures 11-13, each chord is ascending through means of a chromatic sequence until we reach m.13 and move to the IV. The bflat would want to move to keep moving down chromatically, but instead goes up to a c natural which feels awkward since the harmony just went cflat, bflat, you would want to keep moving down two more half steps, but you get that Aflat chord which acts as more of a dominant function since there were two chords built on D and Dflat, even with the interrupting tonic, the Aflat still comes across with a little dominant feel until the fourth beat.

theory, theory everywhere!

2008-05-01T22:09:00.002-04:00

m. 79-83
EM::
m.79 - VI I7
m.80 - IV iv
m.81 - i64 V7
m.82 - I IV
m.83 - ?

m. 84-87 (1st ending)
CM::
m.84 - I VI
m.85 - V
m.86 - I
m.87 - I V/V(?)

m. 86-90 (2nd ending)
FM::
m.86 - V I6 IV
m.87 - V6
m.88 - VI IV
m.89 - ?
m.90 - I

The sequence in this section is stated twice. The first time is in m.82-85 in the bass (it is stated twice the second time down a third), and the second time is in m.86-89 (repeated down an octave). There is also a sequence in the treble voice that is a measure and a half to two measures. This sequence is repeated four times (m.80-81, 82-83, 84-85, 88-89). Beethoveen certainly kept the listener guessing with all the key changes in such a small section. But they occured smoothly and easily with key transitions.
When I hear Beethoveen I think virtuosity, which is just what this piece offers. This is a great piece for an accomplished pianist. Obviously I am not a pianist myself, but as a fellow musician and listener, I really am impressed by what one can do on the piano. This is a very impressive piece, and one that I would be very interested to see it performed.

Blog

2008-05-01T22:08:00.002-04:00

Beethoven's Waldstein Sonata's first movement uses both harmonic and melodic sequences to modulate keys between sections. In measures 78-87, there is a modulation from the end of the E Major codetta of the exposition back to the C Major beginning of the exposition. In these few measures, there is a melodic sequence consisting of a quarter note two eighth notes in a downward motion motive. But there is also a harmonic sequence, where the harmony starts on E and goes up by a step to get to C.
Also, the second time through this part, continuing through measure 90, there is a modulation to D minor for the development. The melodic sequence is the same motive, and this time the harmonic sequence starts on a Bflat chord and goes down by steps to get to D.

i wish all the blogs were this short

2008-05-01T21:20:00.007-04:00

Soo...I have brief analysis A- Jerry Gray and Eddie de Lange's "A Sting of Pearls"

msr. 11: I add 6
msr.12: iv65; bII7; ii; I7
msr. 13: IV; IV65

There is some interesting chromaticism in measure 12 with a D7-Db7 chord. It's kinda awkward, but it works for the song. The use of the major flat II and the minor ii give this transition measure a different feel. It ends with an incomplete sounding E chord with the B resolving up to the C.

Beethoven Piano Sonata in C Major Op. 53

2008-05-01T21:06:00.000-04:00

measures 79-83
key: E minor

iv64, V7/iv | iv, ii6 | V64-53 | i, i6, iv | V64-53

measures 84-87
key: C Major

I, I6, | IV, V64-53, | I( first ending) | (second ending) I6, IV | V864-753

measures 88-90
key: D Minor

vi, I6 | IV, V64-53 | I

The sequencing in the allotted measures is found in a couple ways. Mainly through the repetition of the same melodic patterns through the three key areas. The movement from E minor to C major to D major follows the pattern of a falling thirds sequence and moves the two-beat long melodic sequence that highlights the musical passage.

The shifts and small transitions between the keys are accomplished gracefully through the use of a fluid melodic line that modulates through the phrases with a steadily moving piano accompaniment. There are no firm cadences or coda's that would normally work to give each key area its own unique and distinctive feel. Instead, the music seems, in my opinion to be going for a subtle key change, and that it so accomplishes through the smooth connections between phrases that Beethoven utilizes through the falling third sequences. In addition, crescendos and other dynamic markings give this section a very animated feel and take the focus off of the key area shifts and move them instead to the emotions of the melody and dynamics. If I were to perform this piece I would be sure to focus my attention to the dynamics and make sure each transition to a new key area was smooth as the music seems to intend it to be.

ベートーヴェン <--- Beethoven

2008-05-01T19:44:00.002-04:00

080501
Blog #13

B. Ludwig van Beethoven, Piano Sonata in C Major, Op. 53 (Waldstein), first movement, mm. 74-92 (p. 40) CD 1.55

Roman numerals
Key: III EM
M79: I
M80: IV, ii6
M81: i64, V7
M82: I, I6, iv
M83: V86-75

Key: CM
M84: I, I6, IV
M85: V
M86: I
M87: I

Key: IV FM
M86: V, I6, IV
M87: V
M88: VI, I6, IV
M89: I64,
M90: V864-753

There is a sequence in the three keys. It appears in m. 81 and goes through till m85 and then again in m86 till 89. It is in groups of 2 measures and it is transposed down a third. The sequences helps it transition from EM to CM to FM then to DM. It has a forward motion moving it towards the new key in the development.

This piece sounds pretty neat and makes me want to practice. Weird!

Tchaikovsky is waiting...

2008-05-01T17:12:00.001-04:00

Harmonic analysis for measures 79-90:

Key of E minor:

mea. 79 – iv vii/iv

mea.80 – iv ii6

mea. 81 – V64-53

mea. 82 – i6 ii6

mea. 83 – V64-53

Key of C Major:

mea. 84 – I ii65

mea. 85 – V64-53

mea. 86 (1^st ending) – I

mea. 87 – I V42/V

Key of F Major:

mea. 86 (2^nd ending) – V I6 IV

mea. 87 – V64-53

mea. 88 – vi IV

mea. 89 – vi V7

Key of D minor:

mea 90 – i6

This excerpt from Beethoven’s famous Piano Sonata in C Major, Op. 53 Waldstein, mm. 79-90 happens at the end of the exposition, transitioning from E minor to D minor. I say “E minor” rather than “E Major” (as the book states) because of the repeated E minor chords throughout mm. 79-83. Even so, transitioning from one sharp key to one flat key is a simple process for Beethoven as he simply does what any sane composer would and should do: cycle through the circle of fifths. Beginning in E minor, Beethoven shifts in measure 83 to the key of C Major, a surprising but effective modulation. Using the majorness of C to his advantage, the modulation to the key of F is accomplished through another sequence happening between measures 83-86 (second ending). As quickly as Beethoven shifts into the F Major he shifts back into D minor, again surprising but foreshadowed. In measure 97 Beethoven repeats (for the 4^th time in a row) a cadential 6/4 in the respective key, after which he typically modulates o the appropriate key. In measure 88, however, Beethoven does not modulate but introduces a deceptive cadence in the key of F, a D minor chord (vi). Two bars later when the listener again hears the major V7 the audience is expecting the following chord to either 1) go back and reaffirm tonic or 2) hear another deceptive cadence. Well, Beethoven, being the crafty person he is, does both. His cadence, although seemingly a deceptive cadence (V going to vi) is actually the preparation for his new key, the key of D minor. But by the time the listener realizes this the point has come and gone, leaving the audience in awe of Beethoven’s glory.

A short Blog?!?!?!?!? There is something just in this world

2008-04-30T23:03:00.004-04:00

I will follow suit with my title and make a short blog.

The chords for measures 11-13 are:
vi65
vi43
vi42
I hear the notes as a Cm7 instead of Eb as the book says.
Measure 12:
Vi65
iiiadd2
VII7
bVII7
I7 or V7/IV
measure 13:
bv
bv6
V43
V65 with b7

This pop piece puts me in a good mood being so short. The last two chords give a short of ta-dah feel to me. The ending chord has a jazzy feel with the C, but you might not here that as a jazzy tonic, but a Cm7. The Eb and Bb help the tonic feeling. Leading into it the Bmajor 7 definetly gives the jazz feel. In the jazzy feel the second to last chord gives it a sliding feel to the last chord.

Now on to the finishing touches to LEIDERKRIES OP.39.

W. A. Mozart: String Quartet in D minor, K. 421, First Movement: Allegro

2008-04-24T23:48:00.001-04:00

Part C. of MTGW
Exposition: m. 1-41
First Tonal Area: m. 1-14, key of i, D minor
Phrase a: m. 1-4, HC in key of i with A6
Phrase a’: m. 5-8, PAC in key of i with D minor triad
Phrase b: m. 9-10, HC in key of i with A major triad
Phrase b’: m.. 11-14, HC in key of i with A major triad

Independent Transition to Second Tonal Area: m. 15-24

Second Tonal Area: third beat of m. 24-35, key of III, F major (Typical key change)
Phrase c: m. 25-28, PAC in key of III, F major triad
Phrase c’: m. 29-32, PAC in key of III, F major triad
Closing material for previous phrase, extension of cadence: third beat of m. 32-35, PAC in key of III, F major triad
Phrase d: third beat of m. 35-37, PAC in key of III, F major triad
Phrase d’: third beat of m. 37-39, PAC in key of III, F major triad
Closing Theme, Coda: third beat of m. 39-41

Exposition Notes

W. A. Mozart’s String Quartet in D minor, K. 421 is in sonata form. A typical key change a major key sonata form piece would go to in the exposition is the key of III, the relative major, and Mozart does indeed take the piece to the relative major key of F major in m. 24 with the PAC in the key of III with an F major triad. There are significant differences between the two themes in the first tonal area. First, they differ significantly in rhythm; the first theme of the FTA is driven by a rather slow eighth note pulse (see violin 2 and viola part of m. 1-4, for example). The second theme of the FTA, however, is driven by quick sixteenth notes (see violin 2 and viola of m. 24-25, for example). Second, the moods of each theme differ significantly; The first theme’s D minor key along with its slower rhythm create a somewhat somber, gloomy, and heavier character to the theme. The second theme of the FTA has fast, light, sixteenth notes and is in the key of F major, which makes the second theme lighter hearted, joyful, and playful in mood.

I believe the closing material of m. 39-41 is better labeled as a codetta since the joyful, light mood of the closing material is reminiscent of the FTA’s second theme, and the triplet sixteenth rhythm have been experienced before in m. 29 and 31.

Part E. of MTGW
Development: m. 42-70Tonally unstable, continuous harmonic and melodic motion

The development and the exposition are clearly divided harmonically since the development begins with an E flat major chord, a chord quite distant from D minor and the relative major of D minor, F major. Some motives used in the development section include the use of the one the piece begins with in the melody of m. 1-4. The difference is that rather than starting in the minor key of D minor, the motif is first played with a major chord quality of E flat major in m. 42, the beginning the development section. Another motif in the development used that was previously used in the exposition is the five sixteenth note-eighth note motif of m. 39-41 in the exposition, for it is used much in the development from m. 59-69. Of particular note is m. 67-69, where this motif is passed and played from one instrument immediately following the other taking turns playing it. For example, in m. 67, the viola first plays the motif, then the violin 2 right after the viola finishes playing the motif, then the violin 1 follows suit, etc.

Part D. of MTGW
Recapitulation: m. 70-117
First Tonal Area 2: m. 70-second beat of m. 83
Phrase a: m. 70-73, HC in key of i with A6
Phrase a’: m 74-77, PAC in key of i with D minor triad
Phrase b: m. 78-79, HC in key of i with A major triad
Phrase b’: m. 80-second beat of m. 83. HC in key of i with A major triad

Independent Transition to Second Tonal Area 2: m. 84-93

Second Tonal Area 2: m. 94-105, key of i, D minor (Typical key of Recapitulation)
Phrase c’’: m. 94-first beat of m. 98
Phrase c’’’: third beat of m. 98-m.102
Closing material for previous phrase, extension of cadence: third beat of m. 102-105
Phrase d’’: m. 106-first beat of m. 108, PAC in key of i, D minor triad
Phrase d’’’: m. 108-110, PAC in key of i, D minor
Closing Theme, Coda: third beat of m.110-115, extended Coda compared to exposition

Coda of Piece: third beat of m. 115-117

Recapitulation Notes

The recapitulation is, as expected, repeated material from the exposition. A typical key relation of the FTA2 going to STA2 is to remain in the key of i, and Mozart keeps the whole recapitulation in D minor. Of course, Mozart needed to alter some sections to have the recapitulation remain in D minor, especially since the original FTA and STA change key from D minor to the relative major key of F major. For example, rather than using something like the first inversion V/III chord in the third beat of m. 14, Mozart uses a startling C sharp fully diminished 7 chord for the recapitulation from the FTA2 to the STA2 in m. 83, which creates an unexpected shock to the listeners, yet still gives the listeners a sense of musically traveling since nothing like it has been experienced before in the piece. The most shocking difference between the first STA of the exposition and STA2 of the recapitulation is the key difference; STA is in F major, and STA2 is in D minor! The minor quality takes some of the joyful, light hearted charm of the F major STA away, creating a slightly more serious, somber mood than before, yet Mozart retains all of the motifs from the STA to STA2.

From a performance standpoint, the piece contains much musical value, as many pieces of Mozart do. The general feel of the piece is generally somber and gloomy, enshrouded by the D minor key quality set by the pace of the FTA of the exposition and the FTA2 of the recapitulation, among other sections such as the STA2 of the recapitulation and the serious, sudden forte ending in the coda of the piece in m. 116-117. This Mozart piece has some Beethoven qualities in it (including the darker mood of the piece), with sudden shifts in dynamics from forte to piano, and fortepianos and sforzandi marked in the score. The startling C sharp fully diminished 65 in m. 83 is an example of a chord shocking the audience in a Beethoven manner. The dynamics of the piece are a must to keep the spirit and shock of the piece alive, and other sections more expected of Mozart like the light hearted F major section of the STA in the exposition should be played as the mood is; light, and in a fun manner.

Mozart is fab.

2008-04-24T23:14:00.002-04:00

seeing as this is a sonata, there are three section. Our WONDERFUL book decided to make it unavoidably clear where those three big distinctions were, like we couldn't find anything ourselves. So the easy thing for me to do now would be to tell you what was given to me. The exposition is from measures 1-41 the development is from measures 42-70 and the recapitulation is from measures 71-117. We begin in measure 1 in D minor, and we actually have what I consider to be two themes in our first tonal area, Mozart can do stuff like that. We reach our transition into our second tonal area in measure 15 and we get to our new tonal area by measure 25 (of course it is in the relative major of F what else would it be). Well we chill in our second tonal area for a bit but at measure 33 we enter into our closing theme. onward!

We are not at the development which begin in E flat major. he decides to first pick on our first theme from our first tonal are. there are two main motives in this development which are variations on ones which we have already heard. the first is in m. 42 of the development which is a play on the opening motive of the first tonal area. the second is in m. 60 and is a play on the motive in m40 in our closing theme of the exposition. and thats enough about that.

We are graced with the reappearance of our original first tonal area in the recap. however not every think is as is has been. we continue along on our merry way until we reach the transition in m. 84. since we have to stay in our original key this time, D minor, the transition need to...well not transition. so we thats exactly what we don't do...transition that is. well we change things up starting in m. 87 and we hear new transitional material until m. 92. this is now a longer transition and has sort of messed everything up, but not enough for M-dogg to handle. we get back like I said in m. 93, but we begin our second tonal area (which is really the same tonal area as our first) on the measure in 95 as opposed to half way through the measure. Mozart takes care of the change of stress and he goes on to treat us to a nice bit of closing material followed by a coda which brings us to the end of Wolfgang Amadeus Mozart's String Quartet in D minor, k. 421, first movement.

Blog # ... whatever is near the end

2008-04-24T23:10:00.002-04:00

Mozart String Quartet #15.
We are so close to the end but this blog seems to be one of the longest ones we have seen all semester. Guess they're trying to shove all the good stuff in at the end.
The book has already divided the piece into the three sections for us. The first being the exposition in measures 1-41. And like most Sonata forms there is of course the first and second tonal area. The first being measures 1- 8 which consists of an initial a followed by an a' both 4 measure phrases. There is then a very significant ( at least in length ) transition, that feels very tonally unstable. The second tonal area begins in measure 25 and concludes in measure 31. It is followed by another short transition that leads into the closing material, measures pick up to 36 until 41. As the first key is d minor we expect that the second tonal area will be in the relative major, in this case F Major, which Mozart follows through with. The two sections differ not only in key but in their general feel as well. If I was a performer I would feel more drawn to the emotional contrast between the two keys, we all know that minor is a much more depressing key, but the style of both sections seems to highlight this idea. I believe that it is a closing theme because it is before a strong cadence instead of after one. The book then leads us to the recapitulation, measures 71-117, an odd choice, since we are studying sonata form, we should look at the sonata the way it is written. So, I decided to do it in order and go straight to the development. The development starts in E flat Major and begins with the development of the first tonal area. It begins by developing the motive from the first measure and goes on to develop some of the themes from the closing theme, or I guess it would be to say the closing theme. Then we move into the recapitulation. The recapitulation returns with a pretty much unchanged first tonal section. The second tonal section we should anticipate to be the same motives but transposed into the minor, original key instead of the relative major. The transition should also be the same but should not leave the key of one so will probably have some kind of different ending. The second tonal area is indeed in the same key however the difference is that during the recapitulation the transition is shortened by a half a measure, there is not a strong cadence because there is no reason to declare the new key, instead the second theme area tonal area thing begins at the begin of measure 94 instead of in the middle of the measure, like it was in measure 25. From the beginning of the transition we see that we are going to be staying in the key as it starts on a D in the first violin part instead of on a C, which it did the first time. We then conclude with some nice closing themes like we did in the exposition followed by a coda to give us a nice strong conclusion. Gotta love Mozart, and strings :).

More Sonata Form

2008-04-24T23:07:00.001-04:00

Mozart's String Quartet in D Minor is in Sonata Form.
The exposition takes place in measure 1-41 and starts in D minor. In measures 12-24 there is a transition that takes the second tonal area into F Major, or III, just as expected. The two tonal areas vary much more than just the key. The first is much broader while the second has more fast notes. The first seems more sorrowful and lamentish than the dancelike second. When performing this piece, I would bring these differences out by playing more rubato in the first area while playing the second as strictly what is written. There are a few parts of the exposition that contain typical quartet textures. In measures 1-6, the first violin plays a solo part while the others accompany, and in measures 32-33, the first violin and cello play a duet while the second violin and viola accompany. Additionally, in measures 12-14, a motive is passed through the quartet. In measure 106, a codetta starts to end the exposition, and follows a PAC.
Measures 42-69 are the development and retransition. The development begins in Eb major and develops the material from the very beginning of the piece. Along with the motive from measures 1-2, the motives from measures 9-10 and 25-26 are also developed in this section. Here we also see many typical string quartet textures. In measures 42-45, there is one instrument playing a solo while the other three accompany, and in measures 55-58, the first violin and cello play a duet. In measure 69 a motive is passed through the instruments, and in measure 52, the violins play a duet. Then, in measure 65, the retransition starts, which is signified through the use of frequent C sharps.
The recapitulation starts in measure 70. This time, the second tonal area stays in the tonic. Although there is a transition similar to the exposition, it doesn't modulate to F major. The second tonal area is also different as it starts two beats off than in the exposition, which may show that beats one and three were equally important when this piece was written. At the end of this section there is a repeat, and so the last bar in the first ending modulates to Eb Major to get back to the beginning of the development. The second time through however, there is a coda to end the movement.

Bloggy blog blo9g blog oblig ciupn bloh

2008-04-24T23:05:00.003-04:00

God Bless Naxos.

2008-04-24T22:59:00.000-04:00

First Section AKA Exposition::
d minor
1st Theme – m. 1-8
Trans. – m. 9-24 (maybe..?)
2nd Theme – m. 25-41

Second Section AKA Development::
Eb Major – d minor
1st Theme – m. 42-50
Trans. – m. 51-58
2nd Theme – m. 59-70 (return to d minor in second theme)

Third Section AKA Recapitulation
d minor

This quartet is a gorgeous work by Mozart in the sonata-form. There is some evidence of imitation (Josquin, anyone?) throughout the parts, as well as the solo line being passed from voice to voice. I love the way the piece moves and flows smoothly. I love the way that the voices fit together and intertwine. In this piece timing is everything; there are many times where a phrase is repeated from the violin to viola to cello to bass, then back up again. I like that tag-team kind of feel.
From the exposition to the development there is a strange change of key, d minor to Eb Major. This is certainly something interesting, and I would love to know what Mr. Mozart was thinking while writing it. Of course he makes a smooth transition back into the heavily embellished recapitulation to the starting key of d minor.
While I really did enjoy listening to this piece and picking it apart, I felt that the repeats could get to be too much. This piece is pretty long as it is, and certainly shows off the performers’ talents, so I feel like the repeat in the recapitulation could be taken out. However that is coming from a vocalist, take from that what you must. I found a recording of it on Naxos by the Klenke Quartet and you can tell how intone with one another they are. It is truly a piece of art and wonderful to listen to. They work together so masterfully, as if they were carrying on a conversation through the music.

More Mozart...can we ever get enough?

2008-04-24T22:51:00.005-04:00

To answer my title...No! I still love him, even if this piece is purely instrumental!
Okay, so I have to admit I really liked this, despite it's lack of lyrics. It had a wonderful melody, and I loved the way Mozart continued to move the melodic motive between the four instruments, allowing us to hear it in different octaves and intervals, adding to the depth of the sound.
Down to the nitty gritty:
The first 41 measures are the exposition of the sonata. The first theme is in measures 1 through 8, followed by a transition that ends in measure 24, leading to the second theme, from measures 25 to 33. It then has a closing theme that lasts until measure 41, when the entire exposition is repeated.
The exposition has a lot of really cool stuff going on! It is very dramatic at the beginning with the held D that then slurs down and octave, with the low grouped eighth notes pressing beneath it. Mozart then ups the drama in measure 6, as he takes the melody up into the higher notes of the atmosphere, keeping them grounded by the ever-present pulsing violin 2 on D4. Then comes the transition, which is wonderfully playful, especially with the long runs that shift down gradually to the four instruments (ex. measures 12 - 14). Then fun, winding section ends with a huge chord that almost surprises the listener after the cascading runs of the previous three measures. It grabs your attention, and keeps it, as it continues toward the second theme. But before we get there, there is some serious fun going on in measure 23 with little jumps in the violin 1 part, which sounds like skipping, at least to me...it feels like Mozart saying, "here we go, second theme, I can't wait!" Then comes the second theme, which is very different from the first to emphasize his kind of ADD-like attitude, ending with more fun runs...can't get enough! And he makes them sound so grounded with the other three parts that continue bold patterns on the chords. And, finally, the closing theme has a wonderful "chase" in measures 37 - 39...not really sure how to describe it more than just a race to the finish line, but then he steals it away, as it preceeds a repeat of the entire exposition.
Okay, now for the meat of the sandwich! Here comes the development, where Mozart takes everything and musses it up a bit! The development is even more dramatic than the exposition, especially the beginning, which uses a hard hit chord to emphasize its beginning and then continues with lots of close chromatic chords in the violins and faster notes in the bass, just to mix things up from the norm. Not to mention the low bass is pushing the lower octaves, adding an intensely deep sound...Awesome! Okay, then it picks up, propelling the movement forward with many groups of eighth notes, sixteenth notes, and syncopations in all four voices. It also has a lot of chromaticism, especially in measures 50 and 52. Mozart not only brings back the first and second themes and then plays with them, but he also plays around with motives in different hands again...kind of tying the piece together in a small way.
Finally, he brings back the other piece of bread for our sandwich...and, for those of you who don't know, I have recently found out that I am allergic to wheat and can no longer eat bread, possibly causing my weird analogies to sandwiches. Anyway, the bread is back, perhaps with some mayo and mustard on this side, as it is a bit expanded from the original.
Alright, that's about all I have to say...I really like this piece...fun to listen to...and now bed!

Mozart SONATA!

2008-04-24T22:44:00.000-04:00

Mozart String Quartet in D Minor, K. 421 first movement

Element Measures Key/Mode Comments
Exposition 1-41 D minor with elements of A major reveals main melodic material
First Theme 1-14 D minor ends in HC
phrase a 1-4 D minor ends with IAC

The first section of this string quartet is play book throughout the first 41 measures. This string quartet is in sonata form and the first 41 measures are fairly predictable as far as the generally accepted exposition form goes. The movement is in D minor and from this part of the sonata, the expected second key area is the relative major key which is III of the D minor, or F major. Mozart does indeed modulate the key to A in measure 24 with the PAC consisting of the F major triad. Not only do the first few themes differ in key but they also have a drastically different feel mainly accentuated by the rhythmic acceleration that occurs between the two phrases. The second key area adopts a faster less stable sound that is driven my quick moving sixteenth notes. This is different from the slower first key area that has a driving bass of mainly staccato eighth notes. The character of the first movement of the first movement is slower and coupled with the minor key it gives the feelign of mourning, sadness and grief. As the movement speeds up however and shifts into the new key with the faster rhythms, it carries a lighter more playful and fun mood that is easily distinguishable from the first key area. The closing theme is much more accurately called a codetta because it branches from the original key material and elongates the cadence in preparation for the next section of music. The repeating notes in the Viola 2 and the arpeggios in the viola serve to elongate this cadence.

Measures 70 - 117 feature the recapitulation section of the piece as the tonal key is reintroduced and elements of the original theme are re expressed. The elements presented in the exposition including the two tonal areas are reintroduced in the recapitulation yet this time, the entire recapitulation remains in the key of tonic or D minor. This means that the light hearted bouncy section of the second tonal area is played this time around in D minor removing a lot of the cheeriness of the exposition and expanding upon the sadness and somberness of the piece. The movement ends in a somewhat humorous way as the virtuosity of the orchestral parts and the piano are kind of laughed at as the piece ends in a simple abrupt quarter note value chord that surprisingly ends the piece. Although there is definite buildup to the final cadence it is quite surprising.

The development section found in mm. 41 - 70 in comparison with the nature of the previous sections is not tonally stable by any means. There is no definite cadence or anything resembling such and the general feel of the section is of lost abandonment or a search for home, however sad it may be, through some, if any means. Although it is unstable, this movement consists of melodic material taken from previous movements including the original phrase found at the beginning of the first tonal area in the exposition. Although there are hints of key shifts to the III it generally stays in the D minor register with scattered chords in the III. If performing this piece I would adapt the second tonal area as the focal point because I believe it fleshes out the somber mood of the piece and represents the fleeting joy when it is reintroduced in a minor key, as if the only happiness the audience was looking for again was sucked in by all of the other somber sections and there was nothing left. i would therefore cherish the introduction of the III second tonal area of the exposition and accentuate the rhythms throughout the piece to help the audience get a crisp feel of the emotions. In addition a huge part of this piece are the dynamics which help set the mood.

Mozart String Quartet, D minor

2008-04-24T22:42:00.003-04:00

The Exposition of Mozart's String Quartet No. 15 in D minor consists of the first 41 bars of the movement. This Exposition is, of course divided up into a FTA and a STA (First and Second Tonal Areas). The FTA is from bar 1-14, and at this point the FTA transitions independently (with no previous themes) to the STA until bar 25 when the STA begins. Overall the FTA can be broken up into pairings of aa and bb in terms of phrases, which end up being short, around 4 bars. For example, a from mm. 1-4 is repeated from mm. 5-8 though with different voicing (a'). Measures 9-14 become a bit more irregular, especially with the 2 bar phrase mm. 9-10 which ends on an A major triad (V).

The FTA is expectedly in D minor (i), while the second tonal area overall is in its relative major, F major. The STA can be characterized by much faster, staccato sextuplets that each voice takes turns propelling the entire ensemble. While the FTA can be characterized as far more melodramatic, with chromaticism and many contrasting dynamics, the STA moves more horizontally with no dynamic markings for multiple measures at a time.

The transition between the two tonal areas is distinctly chromatic, with lots of syncopation that both help smooth the transition to F major.

The development section, which begins in measure 42-70 expectedly toys around with the themes of the first two tonal areas in the exposition. There is no real distinct tonatlity to the development predominantly because of the abundance of chromaticisms and flirtations with leading tones and such.

Finally, the recapitulation which comes in measure 70-end rather suddenly is the capo of the piece verbatim. As the FTA of the recap (d minor) ends in measure 83, the transition this time, is actually a dependent transition, because it uses themes throughout the entire movement. In measure 94, the STA is repeated, however in the key of D minor (i) instead of F major (relative major). This is expected, since we know that the piece will end soon, and it needs to be in the true tonic.

The biggest thing to convey in performing this piece is the contrasting moods between the FTA and STA themes. While the FTA is quite somber, the STA hurries forward especially with the rapid sextuplets. Particularly at the end of the piece when the STA area is in D minor instead of F major, it is important to make this interesting variation clear.

2008-04-24T22:21:00.000-04:00

Mozarts String quartet in D minor is a lovely piece in sonata form. The first section or “P” (mm. 1-8 ) begins with a haunting and legato line in the first violin, accompanied by a stark eighth note pattern from the violin and viola parts. This eighth note rhythmic motive gives the piece motion, pushing it forward as it grows in intensity and complexity. This is followed by the transition (mm.9-15) which ends with an imitated motive (?) in all four parts. The second theme extends from measure 15 to measure 33. It is then followed by a coda from 34 to the end. The second theme area features a wider variety of harmonic and rhythmic techniques than the first section.The development is in the key of Eb Major and includes measures 42-70ish This is moodier than the exposition.The recapitulation, as is expected, returns to the themes presented in the exposition. However, this time the transition does not lead us away from the original key of D minor. Then we have “S” which is in the same key since we haven’t modulated. It then ends with a shorter coda than in the exposition, sequencing upwards, concluding with a strong PAC. The end!

PS. Yay for Mozart! I really liked this piece. It had a wide range of emotions displayed and even though it has a lot of repeats and was kinda long, I was never bored. :)

Ich Grolle Nicht und Im Rhein im heiligen strome

2008-04-24T22:12:00.000-04:00

As you may know I am a big Mozart fan, so this being a Mozart piece makes this blog easier. The exposition of this piece is from measures 1 through 41; however the first theme is in measures 1 through 8. In the second key area, the expected key is III, but Mozart is not confined to the rules of music writing like we are. The next key area is bVII. In case I wrote that incorrectly, it cadences in C major, I think calling it VII would mean C# major, which is not the case. The first and second themes vary in the way of their quality. The first sounds much gloomier than the second. The second themes rhythm is much more free and jumpy giving it a peppier feel than first. I believe that the section at the end is better defined as a codetta than a closing theme. I don’t feel that the music is substantial enough on its own for a closing theme, even if it is a little long.
Measures 23 and 24; 30 and 31, the violin I plays a melody while the other accompany. Measures 15 and 16, the outer voices play a duet, measures 12 and 13 show a motive being passed through the voices.
In section D, the entire piece is in the tonic key. At the beginning of the second section, a D minor chord is played to secure the d minor-ness. The entry differs from the exposition, as well as the rhythm.
The development begins in Eb major, with help of octave Eb’s in the violin and an Ab in the cello. At measure 43 there is a do- ti motion in the violin that is repeated that could be a motive. It is repeated in all voice but the 2nd violin. The retransition is at measure 53, all of the voices come in at separate times. This might be to give the feeling of the instruments coming together to the end. Measure 42 to measure 43, the 1st violin plays a melody while other accompany. A violin cello duet in 58 – 62; 42 – 49, the do-ti motive passed through the voices; however I could not find a violin one and two duet, but I am sure there is one in there. Even in my time as a string player I never played in a quartet or at least not one of consequence, but I know the challenge is for all of the musicians to be on the same page musically. Stragglers are not welcome here. I find this string quartet quite interesting for a myriad of reason, most of which I have had to tell you already. Goodnight my dear colleagues and remember:

Im wunderschönen monat mai… we won’t have to do these blogs anymore. Even though I must admit when they are Mozart they are fun.

Mozart quartet in D minor

2008-04-24T21:17:00.000-04:00

Exposition: m. 1 -41
First Theme: m. 1 - 12 HC d minor
Transition: 13 - 24
Second Theme: 25 - 32, key: F major (III), PAC
Closing Theme: 34 - 41, Fmajor, HC

For a Sonata set in a minor key the expected second key area is III, or sometimes a v. And, as expected, this movement modulates to the key of F major (III) at measure 24. The first theme definitley has a more serious characterization, while the second theme is lighter and emits a very pleasent feeling. In addiiton, the second theme tends to build on a certain musical thought. It is a string of 16th notes that when each time its played is given a bit of an extension. The last section should be labeled as a closing theme because it carries a new introduced theme till the end. Also, codettas tend to be slightly unstable harmonically, and there is no sign of instability harmonically. As for typical quartet strng textures, m. 29 - 32 is when there is a solo in one section and the others accompany, and m. 12 - 14 is an example of a motive being passed along by each part.

The development begins in eb minor. Despite the new minor key, the first four measures are familiar to the listener because it takes from the very beginning of the first theme, 42 - 45. Another motive from the first theme that appears in the development is the descending four sixteenth notes that leads into two descending eighth notes. This occurs in measure 59 -62. The last motive that can be seen is the trill effect with the dotted eighth note. This occurs from m. 42 - 57 in each part. Lastly, the retransition begins at measure 66 - 69.

The recapitulation is in D minor, even for the second theme. It does not make the usual modulation to III. The first tiheme is from m. 70 - 81 ending in an HC. The transition begins in 82 and continues in D minor. The transition ends in a pac, at measure 94 which begins the second theme. Second theme is pretty much the same other than the fact that is in d minor. This section ends at measure 1o2 with a pac. Lastly, the closing theme begins here and ends with a pac at measure 117.

Monster Mozart Sonata

2008-04-24T20:51:00.002-04:00

Phew. Here goes.

Overview of Mozart's 15th String Quartet in D minor, K. 421:

EXPOSITION (m. 1-41)

FTA - m. 1-8
- two four-measure phrases, IAC and PAC in i

transition - m. 9-24
- modulates to III with PAC in F major at m. 24

STA - m. 25-32
- two four-measure phrases, two PACs in III

KL (closing theme) - m. 33-41
- a series of PACs in III, followed by retransitional (the first time) or transitional (the second time) material in m. 41

DEVELOPMENT (m. 41-69)

- opens with development of FTA "octave + accompaniment" motive (originally found in m. 1, 5); developed starting in Eb major, the Neapolitan key to i, in m. 42-45

- goes on to develop another FTA motive, the "trill + chromatic neighbor" motive (originally found in m. 2, 6); developed in m. 46-49

- finally, develops motive from closing theme, the "arpeggio + staccato sixteenths" motive (originally found in m. 35, 37, 9-40); developed in m. 59-69

retransition - m. 66-69
- prolongation of A major (including long, held A (V) in cello in m. 67-69) announces return to FTA in m. 70

RECAPITULATION (m. 70-117)

FTA - m. 70-77
- remains relatively untouched, back to D minor (i)

transition - m. 78-93
- maintains same motives but does not modulate away from i

STA - m. 94-102
- mostly the same, except in i rather than III, and starts in the middle of m. 94, rather than at the beginning as in m. 25 - also, ends after downbeat of m. 102

KL - m. 102b-112
- mostly the same, except in D minor, with several PACs in i this time, including "arpeggio + staccato 16ths" motive from before. After 112, there is a repeat sign - so this may also serve as a transition, once again, for the development, or (as in the recording I heard, where they chose not to repeat the development) as a transition to the coda

Coda - m. 112-117
- basically just a typical cadential extension, lots of V - i, with the "arpeggio + staccato 16ths" motive used and partially developed once more, before the very end.

---
Additional notes and tying-up of loose ends:

The tonal areas (i - III, etc.) are fairly typical and well-tonicized.

I chose to label the KL as such because of the coda at the end, and because of the repeats - it isn't just a coda, and if it is, what does that make m. 112-117? An addenda? I don't think so.

Hope that's all. Good grief.

Good night all.

Mozart and Sunshine

2008-04-24T20:32:00.002-04:00

Whoa! Mozart's String Quartet in D minor, K. 421 ....
Exposition= m.1-41
First Theme= m.1-8 (1-4, 4-8)
Transition= m. 9-24 (dependent)
Second Theme= 24-41 (24-33)
Coda= 33-41

This movement is in D minor. At first, I thought maybe the random C Major chord in measure 14 was the second tonal area, but if you look at it, it's pretty tonally unstable after that random chord. Almost as if Mozart's saying "Come on Miffy, grab the corn puffs- we're going to Iowa!" ????? RANDOM! In measure 24, Mozart actually modulates to the expected area of III, F Major, the relative major of D minor. Typical of Sonata form. The reason I think this is the actual modulation is 1. it's more typical 2. it's more tonally stable than the C Major chord 3. Look at the motion after the modulation: I, I6, V etc. Mozart is establishing key.
These themes do contrast in ways other than just keys. For instance, the second theme has more rhythmic crescendos that switch between the voices. The character changes from having the melody in the FT derive from descending Octave leaps, to having a more step-wise melodic motion in the ST; giving the ST a naturally happier feeling. The transition preludes this happier feeling very nicely by giving the 32nd notes in the first violin in measure 23. So the whole quartet is pretty sad, maybe their socks didn't get a chance to fully dry in the laundry and their left toe is still feeling the after-effect. Until the first violin says in m.23 w/his 32nd notes "don't worry! pruny lint is in style this season, take off your socks!" To which, the whole quartet rejoices in the barefoot, linty bliss of F major. As a performer, I would make sure that these sections have stark contrasts and that the chord in m. 14 is a big surprise. The first violin also has the job of introducing happiness in measure 23, so he needs to follow the slurs and make it as cute as possible.
The end is better defined as a closing theme, because it's a little longer than what I would call a codetta and it has "themes" and motives of its own that are passed throughout the voices.
An example of a passage where a solo part is played while everyone else accompanies is measures 25-29, where the first violin has the melody. An example of a first violin/cello duet can be found in m.34-35. And an example of a motive being passed throughout the quartet can be found in m. 12-14.
Let's move on to the development, shall we? ( I know, I'm going out of order from what the book told us to do, but why do they have us do the recap first?) The development spans measures 42-70 and starts with a an Eflat Major chord. The first motive developed here, we first heard in the opening of the exposition. Remember the descending octave leaps? I guess somebody didn't find soggy toe lint so attractive...sad. This motive is developed through "flirting" with different keys. Ex: m. 55 with Csharps and m. 58 with Fsharps. Another developed motive is the dotted eighth, sixteenth- two eight notes rhythm. It reappears throughout the piece. Another motive we saw in the first movement is augmented a bit in the development. Look at m.25 in the first violin, now look at m. 59, it's the same idea, only with a half note beginning and the motive eliding into the next measure. The retransition begins in m.65. An example of solo/accompaniment is in the first violin of m.55. An example a passed motive is in m.67-69. An example of a first/second violin duet is in m.64-65.
The recapitulation is in measures 70-117.
First theme= 70-77
Transition= 77-94
Second Theme= 94-102
Closing Material= 102-117

The entire recap is in D minor. This is possible by the recurring motive placed in the transition that holds the Csharp, the leading tone to D minor that is going to confirm the listener that at the cadence in 94, they are indeed in D minor. Ironically, this is the same motive used in all three sections by the first violin, initially in m.23. The entry of the second theme is different in the recap because it falls on the downbeat of measure 24, where as in the exposition, it came in on beat 3. The reason this is possible is because of the preparation leading up to this entry. In the exposition, there was a lot of syncopation leading up to the second theme. In the recap, Mozart starts to place longer note values on the downbeats to emphasize meter and lead to greater unification as we reach a cadence and the end of the piece. For the rest of the recap, the rhythm is shifted forward to emphasize downbeats and the buildup of a cadence. This is especially apparent in the cello, where almost no emphasis of meter existed in the exposition until the double bar. In the second theme and closing material of the recap, the cello really helps to emphasize rhythmic stability to move toward the end of the piece. Mozart's writing here can be analyzed historically through careful thought of the classical era and enlightenment's role in influencing art of this time. Enlightenment philosophers would have said that the world is in order and harmony and would have placed much focus order and laws with an optimistic perspective of the world. Hence Mozart's orderliness, and need to establish order near the end of the recapitulation. The end of the recapitulation is designed to be able to repeat through the constant motivic repetition throughout the voices. This motion give the listener the idea that maybe the end is not quite there, perhaps more material may be introduced. The performers may choose to play it either way, Mozart probably designed it that way to add some enlightenment optimism and to ensure a longer piece so that the dinner party could last longer and get rich people more wasted and convinced to give him more money. The movement ends with a strong D minor PAC on forte.

4:21

2008-04-24T17:47:00.001-04:00

The exposition of Mozart's String Quartet in D minor (K. 421) is quite the sonata formed mold. Dedicated to Joseph Haydn, these quartets are the cornerstone of chamber music repertoire and are frequently performed. The "Haydn" quartets are some of Mozart's most famous, including the 'Hunt' quartet (K. 458) and the 'Dissonance' quartet (K. 465).
Both themes within the exposition are packed with rhythmic intensity, and rightfully so, due to the slow tempo notated by Mozart. There is a chaconne bassline played within the first tonal area (m. 1-24), accentuated by the upper strings and their short but repeated melody. The second phrase (m. 25-40) is much different with a longer melody, more elaboration and extended types of variation, including all voices. What makes it most interesting, however, is the different types of articulation and bowing Mozart implies/directs, creating interesting texture and balance within the quartet.
The development begins in E flat, quite a stark difference from the original D minor. Two prevalent themes exist within the section, the first resembling the FTA of the A section whereas the second resembling the STA of the A section. The first again contains the chaconne-ish bass and creates disposition for the listener, pushing its way towards a welcome resolution in bar 59, a G minor chord. Here the second theme takes charge and introduces a new melody, eventually moving the tonal area back to the original key of D minor.
Finally, we arrive at the recapitulation, and as expected is back in the key of D minor and is nearly a literal repeat of the exposition. Again, as expected the B area has modulated to the key of D minor and embellishments have been altered accordingly.
Although simple and straightforward, Mozart's quartet poses considerable difficultly for the ensemble. The tempo is slow, leading to one of two problems: 1) speed up 2) slow down. Take time and use a metronome to watch those troubled spots that may lead to significant tempo fluctuation. That's not to say the entire piece should be at the same steady tempo (as liberty should be taken to emphasize cadential moments) but when that liberty and expression is introduced it is important to start in the original tempo. That being said, emphasize the difference between dotted quarter/eighth note figures and triplets. It's always been a problem and will continue to pose trouble. Plus, that difference can make or break a good performance of this piece. Alongside tempo and rhythmic accuracy, the articulation (especially unison sections) must be addressed. Careful attention to details and style will pay off eventually and can create a one-of-a-kind performance.

モーツァルト <--that says Mozart in japanese

2008-04-24T15:42:00.001-04:00

080424
Blog #12

C. Mozart, String Quartet in D minor, K. 421, first movement, mm. 1-41

Exposition: mm 1-41; d minor and F major
First theme: mm 1-8 ; d minor
Phrase a: mm1-4; d minor; ends with an IAC
Transition: mm 9-24; modulation from d minor to F major
Second theme: mm 24-33; F major; has a closing theme
Closing theme: 34-41

Since this movement is in D minor, the expected second key area is in III, so F major. This modulation happens from measures 9-24. There is added chromatic notes and it is fully in F major at measure 24. The second theme sounds more uppy and cheerful, possibly because of the change of key. The second violin, viola and cello play a steady metronome for the melody of the first violin, with the cello playing on the first and third beats and the viola and 2nd violin playing sixteenth notes with a sixteenth note rest at the beginning of the beats where the cello plays on the 1st and 3rd beats. In the second theme the melody get passed around to the different instruments rather than the 1st violin playing the melody all the time. The voices are conversing with each other than in the first theme. I feel like to perform these in some places it feels natural to move your body and more/step forward on some of the long notes that maybe are emphasized more. Maybe that helps with the communication too because this is a string quartet with only 4 people playing. The definition of codetta is a small coda, and coda is following a strong cadence and bring it to an end, but I feel like this isn’t the case. At the first and second ending it doesn’t feel like a strong cadence. It feels more like a closing theme than a codetta.

One instrument plays a solo part while the others accompany: mm 1-4; mm 25-28

The first violin and cell play a duet, with accompaniment in the second violin and viola: mm 32-35

A motive is passed through the quartet, with each instrument playing it in turn: mm 12-14

D. Mozart, String Quartet in D minor, K. 421, first movement, mm 70-117

Recapitulation: mm 70-117; D minor
First theme: mm 70-77 ; D minor
Phrase a: mm 70-73; D minor; Identical to mm. 1-4
Transition: mm 78-93
Second theme: mm 94-102
Closing theme: mm 102-117

The entire recapitulation is in the tonic key D. This is different than the exposition because the second theme modulated into III, but in this recapitulation it stayed in the tonic key. The end has a forward motion, partly because the viola has all the repeated arpeggios pushing it forward.

E. Mozart, String Quartet in D minor, K. 421, first movement, mm 42-70

Development: mm 42-70, E-flat major

The development begins with an E flat chord. There are three motives in this development section that are repeated throughout. One starts from measure 53 on. It’s a half note, dotted quarter note and an eight note theme. It goes around to the different voices sort of like a round and as if the instruments are conversing. Another theme is in measure 46 on, the viola and cello plays that motive throughout the development. The recapitulation begins at measure 70 because it has the return of the themes from the exposition in the same order. This second large section has a repeat with a first and second ending. When you play the first ending it is 1 measure added of that motive, but when you play the second ending it has a few more measures of those sixteenth notes that the first violin plays. So it sounds different the second time and signals that is coming to an end, if you didn’t already feel like it should be coming to an end after listening to all of the movement.

One instrument plays a solo part while others accompany: mm 42-45

The first violin and cello play a duet, with accompaniment in the second violin and viola: mm 56-58

A motive is passed through the quartet, with each instrument playing it in turn: mm 53-58

The first and second violins play a duet: mm 45-49

This piece sounds like a lot of fun to play. I really like the second theme in the exposition, maybe because it sounds so cheerful.

I played this once...

2008-04-24T14:56:00.003-04:00

This piece (1st movement of Mozart String Quartet K. 421) is, in my opinion, very cool. I loved playing it and it's interesting to analyze it now that I've had that experience I suppose.

The exposition is divided as follows:
exposition: measures 1-41
first theme: measures 1-8 (with two phrases, each 4 measures long)
transition: measures 9-14.2 (made up of two phrases, one from measure 9-10 and the other new phrase includes material from measure 9 but possesses an extension up to measure 14. 2)
second theme: measures 14.3-41 and the internal phrase structure of the second theme is as follows--

mms. 15-18 phrase
mms. 19-24 phrase
mms. 25-26 small phrase
mms. 27-28 small phrase
mms. 29-33 variations of the small phrase heard in mms. 27-28
mms. 33-41 an extended coda (could be called closing material) that builds in each voice (inverted counterpoint!)

Because this movement is in D minor, the expected key area for the second theme would be III, however, this does not occur. It modulates to the key of C major with a big C major chord on the third beat of measure 14, the beginning of the second key area.
The second theme and the first theme contrast in different ways than key areas, however. The character of each section is different. At the beginning, the first violin and viola parts are marked "sotto voce" which means half voice. This, in my opinion, is a mournful sounding section of the piece and that should be considered when performing this. Performers should consider what this means for the performance, including bow strokes and contact points of the bow on the string. However, the second theme presents itself as completely different. It begins with a large forte chord and a sudden drop to piano. Perhaps this is meant to be startling--the abrupt change to piano signals a previously absent playfulness in the music that should be emphasized through light bow strokes and some short, staccato eighth notes. The second theme is also developed much more than the first theme--it is developed through the tension of inverted counterpoint in each part that slowly builds to climaxes that are then surprisingly followed by playful piano sections once again. Performers should certainly pay attention to the dynamics and articulations because they do much to color the second them as opposed to the somber first section.
I believe that the codetta could certainly be labeled as closing material. First of all, it is much longer than a "typical" coda of only 2-4 measures. It encompasses 9 measures and has its own phrase structure that includes the building of tension through inverted counterpoint and repeatedly transposed motivic material throughout.
Typical string quartet structures are as follows:

1. one instrument plays a solo part while others accompany: mms. 1-9; mms. 25-32
2. the first violin and celo play a duet, accompaniment in viola and 2nd violin: I actually couldn't find any of these places in the exposition...
3. a motive is passed through the quartet: mms. 12-13.2; mms. 20-23; mms. 33-41

The internal structure of the recapitulation is as follows:

recapitulation: mms. 70-end
first theme: mms.70-77 (with a phrase from mms. 70-73 and another phrase from 74-77)
transition: mms. 78-83 (with a phrase from 78-79 and another phrase from 80-83)
second theme: mms. 83-102.2 (with a phrase from 83-88, extended material developed through each instrument from 89-93, a phrase in the first violin with accompaniment from the other parts from 94-102, and starting at 98 there are variations from the first violin of the previously heard theme)
closing material/codetta: mms. 102.3-117(end) (more extensions of previously stated material)

The entire recap is in the tonic key, and this is made possible by the chord present at the beginning of the second theme. Because of this, the recap differs from the exposition. The rhythm of the second theme in the recap also differs from the rhythm in the exposition. There are longer syncopated note values present in measures 17-18 of the exposition and there is a rhythmic diminution of these notes in measures 86 and 87 of the recap to make up for lost time. This reveals that metrical practices in the Classical era were extremely calculated and well thought-out. This clearly reflects enlightenment thinking of the era as well.
The end of the recap facilitates repetition because it does not necessarily signal the end of the piece. There are repetitive motivic figures in the first violin as well as the second violin and the viola. These figures do not seem like they would lead into the end of the piece, but that they would introduce new or repeated material, which is precisely what they do.
The development begins in the key of Eb major with a large rolled chord in the first violin. There are three motives that are developed throughout the development, beginning with motive "a" at measure 43, motive "b" at measure 50, and motive "c" at measure 59. Motive "a" is passed throughout the parts and is a trilled dotted eighth note-sixteenth pattern followed by two eighth notes and a half note. Motive "b" is played by all parts at the same time (though all parts have different notes) and is a descending type of scale pattern. Motive "c" is a progression of five sixteenth notes followed by an eighth note.
The retransition occurs at measure 53. Here, all parts drop out except for the viola which has a solo line that eventually is built upon by the other instruments. This signals the retransition because it is new thematic material and eventually builds up a lot of tension before releasing it all at the appearance of the recapitulation at measure 70.
The scoring of this section is as follows:

1. one instrument plays a solo while the others accompany: mms.42-45
2. the first violin and cello play a duet while the others accompany: mms.63-65
3. a motive is passed through the quartet with each instrument playing it in turn: mms. 53-62
4. the first and second violins play a duet: mms. 46-49

This piece is wonderfully written and is so much fun to play! Too bad it's not as fun to analyze...:(

Sonata Form

2008-04-18T18:23:00.002-04:00

Outline:
Exposition: m. 1 - 28 C Major
First Theme: m. 1 - 12 C Major
Transition: m. 13 C Major
Second theme: me. 14 - 28 C Major
Development: m. 29 - 40 A Major
Retransition: m. 41
Recapitulation: m. 42 - 70 F Major

Mozart's piano sonata in C major is a very clear cut sonata form. All of the components: exposition, first theme, second theme, transitions, development, and recapitulation all seem to be in place.
The first two themes from the exposition are developed in the Development. It is extremely sequential and modulatory. When the recapitulation occurs the main theme begins in a different key, F Major. This is not surprising considering it is a basic I - V key change. It continues in this key until measure 51, and it begins to make subtle transitions. From measures 51 to halfway through 57 it is the key of D major. The from 58 to the end the piece remains in C major. A motive that seems important in the piece is when there is a run of sixteenth notes and the quarter notes against them every first and four beats. This motive is heard in the exposition and in the recapitulation. It brings a sense of movement and transition in the piece.

sonata form blog

2008-04-17T23:54:00.002-04:00

clementi
ok so let's do some harmonic analysis first. measures are gonna be separated with -
I-I-I-V-I-I V65/V-(pivots to dominant) I IV I V-I-V6-I-V43-I6-V42-V64/53-I
Then there is a repeat sign. Next section:
back to C: V42-i6-V42 i-V-V-i-vii i- V-I-I-I-V-I-I-I V6453-I-V6-I-V43-I6-IV-V-I
So clearly this is a sonata form. The exposition is from measure one to measure 15, then the development is from measure 16-23, and then it's the recapitulation from measure 24 to the end. The first tonal area is in C major and has two themes. They are both four measure phrases. Then it pivots to G major by measure 8. This is the second tonal area. It also has two four measure phrases. Then there is the development, which was hard to do the roman numerals for because it uses quite a bit of modal mixture to, you know, develop. Then it is the recapitulation until the end. Clementi did change it a little bit this time, for instance he took the primary theme of the first tonal area down an octave in the recapitulation. Because of the way Muzio wrote the themes, it is sometimes hard to hear what chord is beign played. For instance, the themes in the first tonal area will have scales in the right hand with only one note played in the left hand. He was getting a little crazy then, but he cleaned it up later. yay muzio

Just a Quickie!

2008-04-17T23:09:00.005-04:00

Alright, so I'm doing this in my spare time while writing my music history essay, so here goes nothin:
Exposition: measures 1-28 (C Major for all)

First theme: measures 1-12
Transition: measure 13
Second theme: measures 14 - 25
Coda: measures 26 - 28

Development: measures 29 - 40 (F Major)

Retransition: measure 41 (C Major)

Recapitulation: measures 42 - 70 (C Major)

I really like this piece. It's short and sweet, with some really nice runs going on in the first theme, and some cool lobbying back and forth in the second theme (m. 18 - 21)...feels kind of like a tiff between two lovers...maybe that's just because I finished watching a Romantic Comedy...who knows! Anywho, the development deals primarily with the second theme of the exposition, especially the calls back and forth, only this time they are a bit more complex, like the fight is heightening, including some bass cleff now to add depth to the calls (m. 35 - 40).

Then the recap returns with a one measure transition in 41, bringing back the nice runs of the first theme. Overall, this is a nice, quick sonata that is clearly defined by its form and has a lot of personality!

Nice going, Mozart

Muzio Clementi: Sonatina Op. 36 No. 1

2008-04-17T23:08:00.005-04:00

Roman Numeral Analysis
m. 1-6 Key of I (C major): I, V, I viihalfdiminished7/V
m. 7-15 Key of V (G major): I, ii6, V64-53, I, V6, I, V43, I6, ii6, V64-53, I
m. 16-22 Key of i (C minor): V, i6, vii, i, V, V7, i, vii, i,
m. 23-28 Key of I (C major): V, I, V, I
m. 29-32 Key of I (C major): I, V64-53, I, V6
m. 33-38 Key of I (C major): I, V43, V6, IV, V64-53, I

Structure

Sonatina Form (ABA)

A. (Exposition) m. 1-15, key of I, C major

Exposition is simple continuous binary form (AB)

(A) First Tonal Area
Parallel Period m. 1-15
Phrase A m. 1-4, HC in key of I, G major triad
Phrase B m. 5-8, PAC in key of V, G major triad

(no specific transition section , modulation to V done in previous phrase)

(B) Second Tonal Area
It is possible to perceive this section as one big phrase, due to its continuous motion, although V6 leads to I in m. 9-10 and a V43 to a I6 in m. 11-12, but this is possible also.
Phrase C m. 9-10, IAC in key of V, G major traid
Phrase C’ m 11-12, IAC in key of V, G6 Elides to next phrase
Phrase D m. 12-15 PAC in key of V, G major triad

B. (Development) m. 16-23, key of i, C minor

Development is contrasting period, made by Phrases E and F

Phrase E m. 16-19, HC in key of i, C minor
Phrase F m. 20-23, HC in key of I, C major

(no specific retransition section, modulation to I done in previous phrase)

A. (Recapitulation) m. 24-38, key of I, C major

Recapitulation is simple sectional binary form (A’B’)

(A’) (FTA)
Parallel Period m. 24-31
Phrase A m. 24-27, HC in key of I, G major triad
Phrase B’ m. 28-31, PAC in key of I, C major

(again, no transition section is really present, modulation done in previous phrase, recapitulation remains in tonic key)

(B’) (STA)
Phrase C’’ m. 32-33, IAC in key of I, C major
Phrase C’’’ m. 34-35, IAC in key of I, C6 Elides to next phrase
Phrase D’ m. 35-38, AC in key of I, C major

The right hand motif of m. 1-4, especially the quarter note-two eighth notes-two quarter notes motif of m. 1-2, is developed. Rhythmically and in regards to musical shaping, m. 1-4 is imitated directly in m. 16-23. To set it apart from the other sections, the development section is in the key of the parallel minor, C minor.

The changes made to the recapitulation from the development are in the key change. In the exposition, m. 5-8 modulate to the key of V, with m. 8 ending in a PAC in the key of V with a G major triad. Unlike m. 5-8, m. 28-31 end with a PAC in the key of I with a C major triad, which keeps the second section of the recapitulation in the tonic key of C major rather than modulating the passage to the key of V like the exposition did. The keeping of the tonic key in the recapitulation permits a seamless method of ending the piece after m. 34-38.

Indeed, Clementi’s Sonatina O. 36 No. 1 shares many qualities with the larger sonata form on a smaller scale. First, Clementi’s piece is divided into three sections, exposition, development, and recapitulation, which are the sections sonata form is divided into. Second, both the development and recapitulation section exhibit their own binary forms within the sections; having musical forms such as binary within a larger section is common to sonata form. However, unlike sonatas, transitional and retransitional sections are practically nonexistent. Modulations do occur, but they are done within the phrases themselves rather than by having a large portion of the piece specifically written to explore and/or sequence to other keys. Furthermore, the development section from m. 16-23 is very short and does not travel to any other key than the parallel minor, C minor. In comparison to a sonata, transitions/retransitions and the development section of pieces like a larger Beethoven or Mozart sonata may travel several keys spanning many measures to create harmonic instability in these sections.

The piece has a joyful, rhythmic feel to it with few dissonant harmonies. The lighthearted quality of classical music such as this Clementi sonatina should not be forgotten in performance; the performer should keep the latter qualities alive in the music by being straightforward with the piece’s markings such as staccato notes and dynamics. There is not much room for rubato in the piece. The exception to this is the end, for one can musically justify ending the last measure or two with a small ritard if he or she desires.

Clementi Analysis

2008-04-17T22:40:00.002-04:00

Muzio Clementi, Sonatina in C Major, Op. 36, No.1, First Movement

This sonatina which every faithful piano student will suffer through some time or another when they first begin lessons looks something like this when analyzed:

m.1-8 : (C Major) I, V, I, V/V, V Half Cadence

m. 8-16 (G Major) V6, I, ii, I6, IV, V, I PAC... Contrasting Period

m. 16-23 (C Major) V42, i6, viid, i, V, V7, i64, viid, i, V HC

m. 24-end (C Major) I, V, I, V7, I V, I, V43, I6, IV, ii6, V7, I. PAC

So this piece follows Sonata form: m. 1-15 are the exposition, within the exposition the primary theme and first tonal area is in measures 1-8. The secondary theme and tonal area is in measures 8-15.
Measures 16-23 are part of the development. We know this because Clementi develops the themes from the exposition and places them within harmonies of different keys. It is rather harmonically unstable, using minor tonic harmonies and diminished seven chords. Measures 20-23 can be identified as the retransition. These measures lead to the HC in the original tonic key and prepare for the return of the primary theme.
Measures 24-end are part of the recapitulation, marked by the return of the themes from the exposition in the same order. The secondary theme is transposed to the tonic of the primary theme, and the transition material leads to the eventual PAC instead of modulating. I don't think there is a codetta, because the closing material uses themes from the exposition, no new theme is introduced and the listener doesn't really get a sense of closure until measure 38. In other words, it'd be really awkward to end anywhere else. Enjoy Clementisizing!

let me introduce you; Sonata, the world, The world, Sonata

2008-04-17T22:27:00.001-04:00

Element Measure Key/Mode
Exposition 1-28 -----

First theme 1-12 CM (I)

Transition 13

Second theme 14 -26.1 GM (V)

Codetta 26-28 GM (V)

Development 29- 41 -----

Retransition 33-41 -----

Recapitulation 42- 73 CM (I)

This is, in my opinion, and extremely terse example of Sonata form. A great place for beginning sonata appreciators. We begin with a nice and simple, though not entirely simple due to its irregular hypermeter, First/ primary theme. This theme is 12 measures long; its first phrase ends in m. 4 on a nice pac before taking off in m. 13 and ending on a cute little half cadence in CM. there is a very brief, one measure, transition from the first onal area to the second in measure 13 and then we continue onto the key of V (GM) where we find ourselves in the midst of our secondary theme. (Her name is B and she is a nice brunet who like to ride horses and is an unhappy single, in case you were wondering.) We stay with her from measures 14 until the downbeat of measure 26 when we are handed over to the brief closing material from measure 26-28.
After our brief stint with closing material we are introduced to DEVELOPMENT (definitely the most exciting of the sonata gang.) Development decides to use moments from our closing material to develop first, this is minimally strange, though strange all the same. We continue to see development use the closing theme through most of his section, however he does use a modified version of the motive we say back in B, you know, when the hands play tag. It’s a cute little bit so having it developed and depressed a bit (minor key) is perfectly ok with me. We have a harty retransitional section (actually the chase part) which makes up most of our development, its on he’s Mozart. Our full blown return to our First theme is a little surprising, but not extremely so, just enough to make it interesting. Of course this Recapitulation remains in the same key throughout which brings us to the end of our simple little sonata.

Sonata stuff

2008-04-17T21:40:00.000-04:00

Mozart's Piano Sonata in C Major First movement.
Exposition m. 1- 28
First Theme- m. 1-12 C Major
Transition - m. 13
Second Theme - m. 14-25 G Major
Codetta - m. 26-28
Development m. 29-41 harmonically unstable.
Recapitulation m. 42- 73
First Theme - m. 42- 57 F Major transitions back to C Major through runs
Transition - m. 58
Second Theme - m. 59- 70 C Major with some moments in D Major
Coda - m. 71-73

SONATA FORM!!! Well thank goodness this is a textbook example of a song written in sonata form. It is very clear cut in each section, with a clear exposition, development and recapitulation. The two themes are clearly divided by strong cadences and a one measure transition. The development section brings back motives from the second theme and then, well, develops upon them in a harmonically unstable way. The recapitulation brings back the themes of the exposition but this time they are in different keys. The first theme is in F Major, all though it ends in the expected key, C Major. The second theme seems to begin with C Major and then toy around with D major for a while. This is different from the first time around, but should because this is going to be the end of the piece so we need to end in tonic. The recapitulation of the second theme is followed by another coda which concludes this movement. The motive found in the second theme that seems important to me is the use of the falling broken chords. It is this same idea that is repeated and then explored in the development section, but instead of a broken chord, it is a run, with added accidentals.

Mozart Sonata K. 545

2008-04-17T21:27:00.004-04:00

I am so not feeling creative right now. Hence the title. The sections of the first movement (allegro) are as follows:

Exposition: measures 1-28, C major
First theme: measures 1-12, C major
Transition b/w 1st and 2nd theme: measure 13, C major
Second theme: measures 14-25, C major
Codetta: 26-28

Development: 29-40, A minor
Retransition: measure 41, C major

Recapitulation: measures 42-70, C major

In the development section, the harmonic material that is being developed is reminiscent of the material present in the exposition in measures 18-24. The harmonic motion that is featured in this section is modulatory, eventually this a minor in this section modulates back to C major.

In the recap, there are a few changes to the theme that is present in the exposition. It starts out the same in measures 42-48 as compared to measures 1-6, but the scalar motion is expanded in the recap. There is also more cadential like action in the recap than there is in the exposition, including soaring scale passages in the right hand with slower rhythmically moving notes in the left hand. The rest of the recap is quite similar to the exposition.

One of the most important motives in this piece is the eighth note sixteenth pattern. This occurs often in the movement and is developed thoroughly in the recapitulation. It first appears in measure 5 of the exposition. In the recap, it is expanded to include notes that do not appear in the exposition, such as D, C, Bb, and A. It is also expanded to include the left hand in this pattern while the right hand plays quarter notes and rests.

Overall, this movement is a short and good example of sonata form. Yeah Mozart!

Mozart... What more can I say?

2008-04-17T21:08:00.002-04:00

Exposition- m. 1-28- C major
Theme 1- m. 1-12- C major
Theme 2- m. 14-28- measure 13 acts as somewhat as an introduction; with the F# this section turns to G/D major
Development- m. 29-41 F major with runs
Recapitulation- m. 42-73,
Theme 1 in F majorFirst Theme- m. 42-57- back to C major
Theme 2- m. 58-73, which ends in C major, but briefly in G/D major

In Mozart's Piano Sonata in C major, K. 545 is in sonata form. Too bad that the title is not sufficent proof of that. What amazes me about Mozart is his ability to take simple harmonies and make them so unbearably exciting. In measures 5-10, the runs are so very exciting to the listener. Anyone who appreciates piano virtuosity will fine this so incredibly pleasing. Speaking of piano virtuosity, measure 11 will never cease to excite me. The build from measure 10 with the runs in the RH and dotted quarter eigthth notes in LH, then switch it to stacato eigthths in RH and 16th note arpeggiations. Mozart messes with our sense of tonic by ti-do-ing C# to D, then adds F#s into the mix.

Mozart has that certain something that no other composer I can think of has achieved. I think it is the ability to be cheeky and honest in the same piece, to be innocent and devilish in same piece. When Mozart writes runs, you can feel yourself lifted up out of your seat and you can fly. At risk of sounding stupid, that is what Mozart does to me. Then sense of control established is unparalleled.

2008-04-17T20:25:00.002-04:00

Ok, here it goes...

P: mm.1-12
T: mm.13
S: mm.14-26
K: mm.26-28

Dev.mm.29-41

Recap:
P:mm.42-57
T:m.58
S:mm59-70
K:mm.71-end

This is a great example of sonata form. It is very clear where each section (p,t,s,k) begins and ends. And for that, I would like to give Mozart a big hug!
The first section is nice enough. We’ve all heard it enough to recognize it. It starts in the great, stable key of C Major, and then in the secondary theme (mm.14-26) it is in the key of G Major. Then Mozart has some fun in the development section with a sixteenth note motive battle of the hands. The development is in the key FM and CM. It then recapitulates in m.41. Then we have the pleasure of hearing the PTSK from the first section of the sonata once again! Yay!

Oh Clementi

2008-04-17T20:20:00.000-04:00

CM:
m.1 – I
m.2 – I
m.3 – I
m.4 – V
m.5 – I
m.6 – I vii7/V
m.7 – V vi6 V6 V/V
m.8 – V
m.9 – V6
m.10 – I
m.11 – V43
m.12 – I6
m.13 – IV ii6
m.14 – V6
m.15 – I

cm:
m.16 – V42
m.17 – i6
m.18 – vii i
m.19 – V
m.20 – V7
m.21 – i64
m.22 – vii i
m.23 – V

CM:
m.24 – I
m.25 – I
m.26 – I
m.27 – V
m.28 – I
m.29 – I
m.30 – V7
m.31 – I
m.32 – V6
m.33 – I
m.34 – V43
m.35 – I6
m.36 – IV ii6
m.37 – V6
m.38 – I

Clementi’s Sonatina in C Major is a sonata form (ABA). The A section repeats, as does the BA section. The A section is in C major, and then switches suddenly to the c minor in the B section (measure 16). At the end of the B section, measure 23, there is a quick run including Mi to transition back into C major. The second time that A is introduced it is down an octave (measure 24-27), it differs for 3 measures then continues lowered a fifth all the way to the end. The A section has the exact same harmonic structure as well except for the three measures, in A1 m.4-6 and in A2 m. 28-30. In the A sections the hands alternate eighth note and quarter note rhythms. The B section also starts out with the A theme, lowered a step.
I really like this sonatina. It is short and sweet; the theme is recognizable and repeated plenty of times. I also like that it is easy to listen to. While I could not personally play this up to speed any time soon, it is certainly an easier piece than any of our previous hearings. I also like that the B section is minor, but it doesn’t sound too different from the other sections. There is a very smooth transition from B to A in the second half of the piece. The entire piece flows nicely, very stable and transitions smoothly. It really is a lovely piece of music.

Sonata-nata

2008-04-17T19:21:00.004-04:00

Mozart's Piano Sonata in C major, K.545 First Movement
Okie dokie, here's the little chart I came up with based on the one in the workbook:

Exposition: msrs. 1-28-CM, embellishments during repeat
First Theme: msrs. 1-12- CM, ends with IAC
Second Theme: msrs. 13-28-GM, ends with PAC

Development: msrs. 29-41; modulates to new key

Recapitulation: msrs. 42-73, new keys involved
First Theme: msrs. 42-57-FM/CM, ends with IAC in CM
Second Theme: msrs. 58-73, GM/CM, returns to tonic at end (msr. 70), ends with PAC

In the development section part of the second theme is developed. This theme has movement between the right and left hands consisting of 32 notes and quarter notes. The development borrows this motive of sorts and uses chromaticism to move the piece forward into a new key. The question and answer feel of the hands helps keep the piece going and smoothly transitions into the key of FM for the recapitulation.

The recapitulation has a couple new twists to it in comparison to the exposition. For one it begins in F Major. Also, the first theme is expanded with msrs. 50-53 with the runs of eighth and sixteenth notes in the left hand: a mirror of msrs. 46-49. The theme returns to its original self at msr. 54 and modulates back to the tonic to end on the same IAC it did in the exposition.
The second theme starts at msr. 57 but a fifth lower than in the exposition. In msr. 67 it changes a bit and begins to modulate back to the tonic key of C Major.

I like this piece because the different sections are really clear, making it a good example of sonata form to use for studying. Woot Mozart!

Sonata Form, emphaisis on recognizable themes

2008-04-17T19:07:00.004-04:00

Mozart Piano Sonata in C major, K. 545 - first movement.

Exposition mm 1 - 28

Theme 1 - mm. 1-12 C major (I)
transition - mm. 13
Theme 2 - 14-25 G major (V)
codetta - mm. 26-28

Development mm. 29 - 41 (mostly in the key of v, g minor)

Recapitulation: mm. 42 - 73
Theme 1 - mm. 42 - 56 F major - cadences in F major
transition - mm. 58
Theme 2 - mm. 59 - 70 C major
coda - mm. 71-73

Mozart's Piano Sonata in C is a very straightforward example of Sonata form. The exposition is played through twice, which makes it actually a double exposition because of the repeat sign in bar 28. This brief codetta cadences in G major, or V which is typical of the conclusion of the exposition. This leaves the listener not entirely satisfied with the cadence, which leads very well into the development section.

Interestingly during the development, Mozart begins by playing with the arpeggiated motive used in the previous codetta. Later in the development, starting around measure 35 though, the scalar 16th notes may also be traced back to the scalar passages at the end of the exposition Theme 1. Interestingly, mozart uses these scales as a method for modulation throughout by altering individual notes. His Exposition Theme 1 begins in C major, ends in G major, the development begins in G minor, ends in F major (start of recapitulation), and also the recapitulation starts in F major and eventually finds its way back to G major and C major, all with the use of these scalar 16th notes. The key to these modulatory are the manipulation of notes like F to F#, Bb to B natural, etc. which serve as 'fi' or secondary dominants to change the quality of the scales.

The recapitulation in measure 42 brings us immediately back to the familiar Theme 1 from the exposition, however it is transposed to IV (F major). Through the use of scalar 16th notes, Mozart adds an F# in measure 55 (signifying a secondary dominant) which allows this Theme 1 to cadence in G major. From this G major, we can again alter the F#, bringing it back down to F natural in the transition to get back to the original tonic C major with the second theme in measure 59.

Overall, this example of Sonata form is quite short, with a fairly brief development section, however this is quite expected; classical music tends to emphasize stability and the recurrence of themes, while using modulatory and development sections to slightly vary the harmonic and textural structure in anticipation of another noticible theme.

Sonata Form! Clementi's Sonatina in C Major

2008-04-17T19:06:00.003-04:00

Starts in C Major
m1: I
m2: I
m3: I
m4: V
m5: I
m6: I, V/V
m7: V, vi6, V64, V/V
m8: V
To G Major
m9: V6
m10: I
m11: V64
m12: I6
m13: IV
m14: V
m15: I
To C minor
m16: V42
m17: i6
m18: viidim, i
m19: V
m20: V
m21: i6
m22: viidim, i
m23: V
To C Major
m24: I
m25: I
m26: I
m27: V
m28: I
m29: I
m30: V
m31: I
m32: V64
m33: I
m34: V64
m35: I6
m36: IV
m37: V
m38: I

This piece has two large sections, as a sonata form does. The first section, the exposition, is measures 1 to 15. The first theme is measures 1 to 7. Measures 7 and 8 form a transition from C Major into G Major, and the second theme starts in measure 9. The second large section is measures 16 to 38. The first theme, the development, is similar to the first theme from the exposition, but is in C minor this time and lasts from meausre 16 to measure 23, where there is a retransition back to C Major. In measures 24-31, there is a return of the first main theme, the recapitulation, which ends on a PAC in measure 31, leading into a coda through the end of the piece.
While performing this piece, I would follow the dynamics exactly, starting loudly through the first section and backing down at the C minor second section. Then I would build through to the coda for a nice strong ending. I would probably not use much rubato as it is a classical piece and should be played with a very steady tempo.

そのピースが大きらい！＜－－－that means I really hate that piece in japanese

2008-04-17T18:54:00.000-04:00

080417
Blog # 11
Chapter 28 Sonata – Form Movements

Analysis
A. Muzio Clementi, Sonatina in C Major, Op. 36, No. 1, first movement (p.76) CD 1.74

Roman numerals
In C major
M1: I
M2: I
M3: I
M4: V
M5: I
M6: I, vii/V
M7: V, V/V
In G Major
M8: I
M9: V6
M10: I
M11: V64
M12: V
M13: IV, ii6
M14: V
M15: I
In C Major
M16: V
M17: i6
M18: vii, i
M19: V
M20: V7
M21: i6
M22: vii, i
M23: V
M24: I
M25: I
M26: I
M27: V
M28: I
M29: I
M30: V
M31: I
M32: V6
M33: I
M34: V43
M35: I
M36: IV
M37: V
M38: I

There are two clear large sections because they are marked with repeats. Measures 1-15 and measures 16-38. The first theme in the exposition is in measures 1-8 and the second theme is from measures 8-15. The second theme goes into g major. Measure 8 has a half cadence and measure 15 ends with an authentic cadence. In the second big section at measure 23 it has a half cadence and then finishes at measure 38 with a perfect authentic cadence. From measures 1-15 is the exposition. Then in the second large section there is a small development from measures 16-23 and then a recapitulation in measures 24-38. It repeats the same first theme but in an octave lower and is slightly different at measures 30. In the development it has some minor chords and goes into the tonic key. In the development section it has the first theme but it is in minor and sounds a little different. Then at measure 20 it does something completely different for the next four measures. From measure 20 it feels like it has a forward motion. At measure 32 it is transposed down a 5th compared to the one in measure 9. This sonatina differs than the regular sonata form because everything is shorter. The development section is extremely shorter. The first theme is even shortened to 8 measures. There isn’t really a transition to modulate because this pieces is so short.

Let me just say, we did this piece in musicianship or something and I absolutely hate it!!!!! It makes me want to throw my laptop out the window and break these CDs in half!

Save the Rainforest - Drink Coffee

2008-04-17T15:35:00.001-04:00

Form:

FTA: mea. 1-8 (C)

elides into:

STA: mea. 8-15 (G)

mea. 16-23 (Cm)

FTA: mea. 24-31 (C)

elides again into:

STA: 31-38 (C)

A (C)
mea. 1 – I
mea. 2 – I
mea. 3 – I
mea. 4 – V
mea. 5 – I
mea. 6 – I viiº7/V
mea. 7 – V vi6 V6/4 V/V
mea. 8 – V (pivoting as I in G)
mea. 9 – V6
mea. 10 – I
mea. 11 – V4/3
mea. 12 – I6
mea. 13 – IV ii6
mea. 14 – V6/4-5/3
mea. 15 – I

B (Cm)
mea. 16 - V4/2
mea. 17 – i6
mea. 18 – viiº i
mea. 19 – V
mea. 20 – V7
mea. 21 – i6/4
mea. 22 – viiº i
mea. 23 – V

A (C)
mea. 24 – I
mea. 25 – I
mea. 26 – I
mea. 27 – V
mea. 28 – I
mea. 29 – I
mea. 30 – V7
mea. 31 – I
mea. 32 – V6
mea. 33 – I
mea. 34 – V4/3
mea. 35 – I6
mea. 36 – IV ii6
mea. 37 – V6/4-5/3
mea. 38 – I

Clementi’s Sonatina in C Major is an unusual sonata form. Here’s why:

According to expectations, each measure contains only one chord, so the harmonic rhythmic is rather slow to start. As cadences appear (as in measures 6-7) the rhythm picks up drastically, up to four chords being expressed. That’s not too peculiar as plenty of composers follow this same pattern. However, the length at which Clementi moves is quite short, the FTA only being an entire 8 measures. There is no transition between the FTA and STA as the cadence at measure 8 elides with the beginning of the STA (hence no transition). This is very unusual, as most sonatas during this time have at least a small transition.

All is going fine and dandy until the B section (the development, for the sonata form-challenged), when Clementi shifts to the parallel minor, C minor! (Drastic and unexpected, I’m sure.) He even ventures out to change some of the RH structure, introducing octave G’s. It’s all a ploy to keep the listener unaware of what’s coming next…as ambiguous and dastardly as it may seem. And fool us he does, our dear old Clementi, with a short “Sol Fa Mi Re Do” retransition to the A section, in C major as would be expected. Surprisingly, the melody is voiced an octave lower than the exposition and measures 28-30 are a wee bit different but the real change comes later, in measures 31-32. Rather than the beginnings of an arpeggio upwards, Clementi goes down; again, very, very clever. It’s also here that we finally realize, “Ah! You’ve stayed in the same key!” It’s a wonderful and joyous time for everyone as the modulation has created a complementary and cohesive unit we like to call “recapitulation.” But again, it’s all so darned short with very little time for any transitions. No matter – we still have two themes, a transition, and some nice material that closes it all up, giving us our complete (but bared-boned) sonata form by Muzio Clementi.

Cheers!

I will shoot this piece in the face if I have to listen to it one more time.

2008-04-17T12:45:00.002-04:00

This is a pretty easy to follow sonatina with clear exposition, development, and recapitulation sections. Okay, let's start out the harmonic analysis.

Exposition ms.1-15
First Tonal Area: C Major
ms.1-3 I
ms.4 V, HC
ms.5 I
ms.6 I, V6/V
ms.7 V, vi6, V64, V/V, transition
Second Tonal Area: G Major
ms.8 I
ms.9 V6
ms.10 I
ms.11 V43
ms.12 I6
ms.13 IV
ms.14 V
ms.15 I, PAC

Development ms.16-19
New Key: c minor
ms.16 V42
ms.17 i6
ms.18 V65, i
ms.19 V, HC
Retransition ms.20-23
ms.20 V7
ms.21 i64
ms.22 V6
ms.23 V

Recapitulation ms.24-end
First Tonal Area: C Major
ms.24-26 I
ms.27 V
ms.28-29 I
ms.30 V7, HC
ms.31 I, transition
Second Tonal Area (transposed to tonic key)
ms.32 V6
ms.33 I
ms.34 V43
ms.35 I6
ms.36 IV
ms.37 V
ms.38 I, PAC

Pretty simple right?
Now, to answer questions c, d, and e...
The theme from the first tonal area is "explored" in the development. Really all that happens here is that Clementi takes the first theme, which is in major, and makes it minor, pretty straightforward. The harmonic motion is also simple it goes D,T,D,T, and then back to Dominant one last time ending on a half cadence.

Nothing really drastic happens when the two themes return in the recapitulation. The first theme is in its original key but is lowered by an octave. The second theme is also the same...minus the it being transposed to the tonic key part.

Yep, this is a sonatina. And yes, a sonatina is a basically a shortened sonata. And yeah, it does have an abbreviated development section. Is there really anything else to say? Well, I suppose you could say that if this were a sonata then perhaps the development section would have elaborated a bit more on the first theme, as well as developed the second theme, and maybe even the development section could make up it's own theme for itself! yay for run-on sentences.

Clementi's Sonatina

2008-04-16T13:56:00.003-04:00

Alright, it asks for a full analysis, so here goes:

In C major (I):
1 - I
2 - I
3 - I
4 - V
5 - I
6 - I, viio7/V
7 - V, vi6, V64, V/V
In G major (V):
8 - I
9 - V6
10 - I
11 - V43
12 - I6
13 - IV, ii6
14 - V7
15 - V
In C major (I):
16 - V42
17 - i6
18 - vii0, i
19 - V
20 - V7
21 - i64
22 - viio, i
23 - V
24 - I
25 - I
26 - I
27 - V
28 - I
29 - I
30 - V7
31 - I
32 - V6
33 - I
34 - V43
35 - I6
36 - IV, ii6
37 - V7
38 - I

Now the form analysis:

Exposition

FTA - m. 1-8 --> key of I, modulates to V
STA - m. 8b-15 --> key of V
* - phrases overlap at m. 8, with no formal transition

Development

m. 16-23, two HC's in I at ms. 19 and 23
retrans - arguable, m. 23b (so short, really more of a link)

Recapitulation

FTA - m. 24-31 --> key of I
STA - m. 31b-38 --> key of I
* - phrases overlap again at m. 31, with no formal transition

The FTA theme we'll call the "arpeggiating" motive (do-mi-do-sol-sol), which first appears in m. 1-8. The STA theme we'll call the "scalar" motive (do-re-mi-fa-sol-la-ti-do...), which appears in m. 8-15. The development section (m. 16-23) mainly explores the arpeggiating motive, but sets it in the minor mode and destabilizes the harmony in the bass.

The retransition is really not a full retransition, just a short bass scale borrowed from m. 4 of the FTA - and since there are no transitions from the FTA to the STA in either the exposition or the recapitulation, I'd probably call this little half-measure a link, rather than a full retransition.

The recapitulation begins with the same FTA from the exposition, except that the right hand is one octave lower than before, and of course, it remains in C major instead of modulating. I believe the different octave in the second FTA is to keep the STA's scalar motive, when it arrives in m. 31, in a nice mid-range tessitura; because this time, we haven't modulated.

So, what makes this a Sonatina, as opposed to a sonata? First of all, excluding repeats, the entire piece is only 38 measures long. Also, examining a typical sonata form we find:

EXPO DEV RECAP
P T S K P T S K

Whereas in Clementi's Sonatina, we have:

EXPO DEV RECAP
P S (k*) P S (k*)

...with neither transitions from P (FTA) to S (STA), nor thematic closing material. *(One could argue that the arpeggiated tonic chord in ms. 15 and 38, since it appears at the end of both the expo and the recap, could be Clementi's "K", but again, it's so short the serious viability of this is doubtful.) This piece certainly qualifies as a sonata form-inspired work, but it does not have the length or the extra material that we find in most true sonatas.

I do hope that covers it. Until next time!

Beethoven's Augmented Sixth Chords

2008-04-11T00:09:00.002-04:00

Beethoven frequently employed exotic sonorities throughout most all of his works, though more frequently later in life. One great example of Beethoven's use of an Augmented Sixth chord is in measure 46 of the Rondo of his Pathetique Sonata (the third movement).

The chord is spelled Cb Eb F A which constitutes the le, do, fi required for any time of augmented sixth chord. Noticing the F present, we may conclude that this Augmented Sixth chord is in fact a French Augmented Sixth chord which adds even more dissonance to this pre-dominant chordal function.

The chord preceding is a IV6 chord (spelled Ab C Eb key: Eb major) which has a duration of a half-note, similar to the augmented chord itself, and the Bb triad (V) following.
Overall, this is a textbook example that properly sets up and executes the harmony in a traditional manner.

In performing this passage, one must account for the numerous leading tones and the strength that they want to resolve. Also, the performer must also notice the particularly lengthy duration of these three sucessive chords and appropriately bring out this deviating harmony (like a secondary dominant function). Amidst this fast paced rondo, there really isn't much time to breathe, so the chord should not be dwelled upon, however it should most definitely have the weight of a brief, yet significant half-cadence.

Things We Said Today

2008-04-10T23:38:00.001-04:00

The Beatles’ “Things We Said Today” exhibits their complete disregard to textbook style theory with innovative use of the Neapolitan chord. The Neapolitan chord contributes to the song’s chilling aura. This is one of the more relaxed Beatles songs, but tension can be felt when the Neopolitan chord is used in both the verse AND the bridge. The chord aggressively moves us away from a minor and holds us there for two lines.

The neopolitan chord is used as text painting in that it is used mostly under lyrics which begin with “Someday…” The lyrics, which dig into the skepticism of lasting love, take a foreign turn when thinking about “someday” (the future) and the harmony follows suit, illuminated by the joltingly exotic Neapolitan chord to create a foreign out-of-key sense. The chord then resolves unnaturally and unexpectedly back to I, landing at the comfort of the present “things we said today.”

Cheesy Beatles Tribute Video featuring “Things We Said Today:”

http://youtube.com/watch?v=GwokRK8P6D4&feature=related

Things We Said Today Lyrics

You say you will love me
If I have to go.
You'll be thinking of me,
Somehow I will know.
Someday when I'm lonely,
Wishing you weren't so far away,
Then I will remember
Things we said today.
You say you'll be mine, girl,
'Til the end of time.
These days such a kind girl
Seems so hard to find.
Someday when we're dreaming,
Deep in love, not a lot to say.
Then we will remember
Things we said today.
ETC…

Blog.

2008-04-10T23:22:00.002-04:00

In the third movement Ludwig van Beethoven's Piano Sonata in C minor, Op 13 we find a use of an augmented-sixth chord. At this point in the movement the piece is in Eb Major, and in measure 46 we find a French augmented-sixth. It works very much as a chromatic passing chord, as it passes from Ab-A-Bb in the soprano and from C-Cb-Bb in the bass. It comes from a IV chord and resolves as we expect to a V chord.

If I were performing the piece, I would push through this chord and foreshadow the crescendo that comes a few measures later. The V chord seems like a very important chord in the excerpt and I think that the few measures before it, starting with repeating quarters, seem to build through the French 6th to the V.

Also, in measures 49-50 there is a chord that some might mistake for an augmented-sixth chord. There is a B, the same as Cb, and an Eb, but it lacks the A natural needed to complete the augmented sixth. Therefore it is not an augmented-sixth chord.

this blog is what you can tell future classes what not to do.

2008-04-10T23:06:00.002-04:00

In Robert Schumann's Die Beiden Grenadiere, he uses an N6 on the word "besiegt" which means "defeated" which works well against the text painting. On the other hand tonight was the opening night of "Our Town" and I had an eye appointment all day today, and I don't have the energy to think anymore about this, I promise I will work hard on the next one. My apologies for this embarrassing blog. Thank you and good night.

Der Tod und das Madchen

2008-04-10T23:03:00.002-04:00

Since my recent change of voice range and fach, I've decided to look at more appropriate repertoire for my newly found contralto sound. "Der Tod und das Madchen" by Schubert, calls for a very dark sound to correctly portray the contrasting characters in the song. The first character is the maiden who says: " Pass by! Oh, pass by! Go away, fierce man of bone! I am still young, go my dear! And do not touch me." Schubert captures this character by marking the vocal line to come in quite a bit faster than the 8 bar, dirge-like introduction. Set in d minor, Schubert uses syncopation and chromaticism to get a feeling of anxiousness an fear for the maiden character. The harmonies used here for the maiden's part are: i__IV6__viid__i6__+III__iv__viihd65__III___viihd43__III__viihd__viid43__i6__viid65_i_V
Then the piano plays to a half cadence followed by a fermata. Drama!
After this dramatic pause, it's time for Schubert to introduce the second character, Death. Yes, "Death" is a character in this song. Schubert directs the performers to go to Tempo I for this, the dirge tempo from the intro. He also puts in a pianissimo marking in the accompaniment. Death's words are a little more shocking, so I'll give them to you one line at a time. In fact, they are so important that Schubert gives the vocalist only one note- tonic- for five whole measures! In general, "Death's" vocal line is very stagnant, low, calm, to help emphasize the text and the character of death. Death's first line: " Give me your hand, you beautiful and delicate form!" is sung over the harmonies i_iv_iv6_VI7. Death has more to say: " I am a friend, and have not come to punish." In this line, Schubert places a iihd65_iihd43_IV, and then he modulates to F Major on "strafen" or "punish." hmmmm, why would Schubert go to major on a word like "punish?" hmmmm. The next line, "Be of good cheer! I am not savage," is goes from IV_I_I64_IV. The repeated IV-I motion gives it almost a prayer-like feeling, convincing the listener for a moment to believe death and see that he could offer some peace and relief from whatever pain the maiden is experiencing. Death ends his lines by saying: "You will sleep softly in my arms!" For this line, Schubert sends Death back to d minor starting on a VI, and then moving to a French Augmented 6 chord on "meinen armen" or "my arms." This is the perfect chord for this particular spot in the song because Schubert's painting the picture of death as a complex character and incorporating both the Major and minor parts of the song, while foreshadowing the Major ending. The french 6 chord indicates that death's arms are safe while adding that little uncertainty in the le and fi. At this point, the audience has heard both characters and needs to be convinced of deaths safety, even within the key of d minor. As soon as Schubert accomplishes this with the French 6 and a perfect authentic cadence on "schlafen" or "sleep," he moves write into D Major. The ending, I guess we can call it a codetta, is much like the intro, only in D Major- ending the song with a pretty positive guess that Death has had his way with the maiden. I would definitely not rush the last 6 measures, especially since Schubert places a fermata at the end. This is all good thinking time for the audience. I would prefer if the singer remain in death's character, looking like he's just gotten his way. Overall, the job of the performers in this song is to bring out the anxious fearful character of the maiden and the opposite, creepy, in-control character of Death. I really like hearing a singer who can hit that low d at the end because I think that Death's character lends itself to a darker, very evenly toned voice that can capture the mood and color of the song while singing virtually one note the entire second half. I think both Jessye Norman and Marian Anderson sing it and I think they both do a wonderful job of giving the listener a sense of two different characters. The other part of performing this song would be emoting based on the text and harmonies. For instance, on the French 6 chord, the singer needs to look happier than the previous measure because I think that at this point, Death already knows that he's won over the maiden and he needs to portray that to the audience by emphasizing the French 6. The pianist can help this setting up the moment properly by emphasizing the chromatic bass that Schubert gives leading up to French 6, creating tension that can be intense. The piano also needs to bring out the half note- quarter- quarter pattern given. It just sounds to me, like I said earlier, very much like a funeral dirge and it contrasts with the dotted rhythm in the voice. I think that's important to bring out, because I think Schubert is trying to paint the character in both parts, so both parts have to be committed to bringing out those qualities that he's put in the music.

neopolitan chord blog

2008-04-10T23:02:00.001-04:00

Franz Schubert wrote this song caled "Erklonig" and it has a few neopolitans in it. I'm only going to talk about one section. Schubert uses a neopolitan sixth chord in measure 117 and 119, and it serves as part of a sequence of rising chords. The words in this passage mean "I ove you, I'm aroused by your beautiful form; if you're not willing, I'll take you by force." These words are more than a little creepy for their obvious ties to rape. The rising bass line that employs several nondiatonic chords works well to accentuate these words. The bass line is building, as are the speaker's feelings. The non diatonic chords has an uncomfortable feel, which suits the idea first of her not being willing and second of him raping her. The neopolitan sixth chord in this passage also does not resolve directly to the dominant, like it wants to, which is frustration in the music matching frustration in the text.

Oh! Augmented Sixth

2008-04-10T21:42:00.003-04:00

Yes, it's true what you've heard...I did find an augmented sixth chord in a Beatles song. I used my fierce augmented sixth finding skillz and sure enough I found a German aug. sixth chord in the song "Oh! Darling" from the Abbey Road album.

The German augmented sixth chord is found in the bridge of the song in which it makes two appearances! For those of you who don't know where the bridge is in this song its the "When you told me you didn't need me anymore....I nearly broke down and died" part. You know what I'm talkin' bout now? Kay good. Now, if you would look in any old beatles guitar tab book or what have you, you would find that the German augmented sixth chord would be labeled as a flat VI (F7 in the key of A major) chord. But don't let this fool you! That chord is, in fact, a German augmented sixth chord! You may be saying to yourself, "but wait...f....a...c...eflat...that's not an augmented chord!". Well if you take that eflat and enharmonically spell it as d# then guess what you get? That's right! A good ol' German augmented sixth chord. Since the german augmented sixth chord is not something heard that often in popular music you might want to think of that chord as a flat VI when playing/performing it because it flows better within the rest of the song....a lot of publishers of guitar tab books agree with me. One other note on the performance of this song, the first time the augmented chord is played it doesn't really resolve to where you think it might. Instead of resolving to dominant like most german augmented sixth chords would it goes to tonic....just an interesting little snippet. The second time the chord is played it does resolve to a dominant chord, for those of you wondering. Now, for all of you who really have no interest in performing this song and really would just like to sit back and listen to it take note of these musical observations! The first thing I noticed while listening to the bridge is the bass line...uhm it's basically amazing! It does this upward chromatic thing that goes right into the augmented chord, SO GOOD! And like I mentioned before the augmented chord doesn't resolve straight to a dominant chord, instead it pulls you back to tonic. So there's kinda like some tension/pull going on right there at the "...you didn't need me anymore..." part. Take a listen!

Mozart Piano Sonata in d Major third Movement

2008-04-10T21:20:00.003-04:00

Here it is at last ladies and gentlemen. The long awaited Italian augmented sixth chord, finally found in Wolfgang Amadeus Mozart's Piano Sonata in D Major, K. 284 the third movement, the seventh variation.

The first clue I found was that this section was written in the parallel minor key of the original theme, and every other variation thus far. This was immediately where I began my search knowing that most often than not, augmented chords are found in minor keys.

This variation is the only one in a minor key making it very special. There are actually two separate Italian augmented sixth chords. The first appears in the third full measure, beat four, before the first repeat sign, and in the second to last measure before the second repeat signs. Both of these chords, by definition, feel and sound like dominate seventh chords but with a funky resolution. This being said these chords give this variation sudden, unexpected feelings of being Major, perhaps someone almost let the sunshine in.

N chord

2008-04-10T21:14:00.000-04:00

080410
Blog #10

Pick a piece with a Neapolitan or Augmented Sixth chord. Write about its affect on the performer and the listener.

Schubert’s Erlkonig has Neapolitan chords and it is tonicized as well too. I don’t understand German so while I’m listening to the vocalist I’m not really listening to what he’s singing, more like the layers of the words and the piano accompaniment. I really like the forward motion in this piece, and the way it has a spinning and rotating motion. In measures 116-123 there is Neapolitan chords and tonicized chord too. The words for that section translates to “I love you, I’m aroused by your beautiful form; and if you’re not willing, I’ll take you by force.” Oh yeah, the background to this text is that there is father and son riding on a horse and the son this Erl King appears but is only visible to the son. The Erl King is trying to convince the boy to come with him and that the Erl King’s daughters will take care of him. And at the end the Erl King takes him by force and the father is carrying away a dead boy. But back to that section, it sounds really out of space. The vocalist gets a little softer in dynamics and the piano accompaniment as well. It sounds kind of outer space-ish and sort of final in a weird way. This section really sounds a lot different than in other places. The vocalist takes his time and the words are held out and connected.

Ominous, Potent, and Thrilling...Oh My!

2008-04-10T20:32:00.003-04:00

Schubert's Erlkonig's final measures contain many neapolitan sixth chords to add interest intensity to the ending of the dramatic piece. They are present in measures 143, 145, and 146, at the conclusion to the work and, most importantly, the most surprising and cruel part of the work.

Neopolitan sixth chords are used to extend the pre-dominant, leading to the dominant, and to give the powerful, angry, and urgent emotions to the work. These punching impact greatly helps the drama of the father's discovery that his son is dead, taken by the erlkonig.

In measure 143, the neopolitan sixth begins subtely in the beating bass chords, on the words he arrives. This increases the tension in the work and gives the word "arrives," or "erreicht" an ominous tone. It then returns in measure 145, this time more harshly with the melody prodiminately displaying the ra, arriving on the word "not" or "distress." Another fabulous text painting by Schubert. And in measure 146, the full brillance of the chord comes across with an immense impact ass the piece comes to a close, with the N6 emphasizing the word his, his being the father's arms that hold the dead child. The Neapolitan almost places the blame for the boy's death on the father, as the dad refused to listen to the boy's worries about the Erlkonig. It nearly brings the listener to tears as they image the dead boy lying in HIS father's arms...dead.

Schubert superbly placed the Neapolitan sixth chords to provide the most impact at the very dramatic ending of the piece. He certainly could have used them earlier when discussing the son's fears, but he waits until they will be of the most use.

The performance of this piece will always be somber and chilling. The words alone describe a horrific tragedy, and the steady beat of the piano, acting as a horse's gallop, increases the drama. The performers would need to bring out this intensity. The pianist should be heavy with his chords as he traverses the work to draw attention to the heaviness of the horse and the difficulty of keeping up such a speed late at night in the wind, and the singer should attempt to portray different emotions with his or her voice as narrator, young boy, and father, each with separate identities and heaviness in the voice.

In the final six measures of the work, the singer and pianst should draw attention to the Neapolitan chords and bring them out to support the horrific scene being told. Leaning on the Ab and Eb to emphasize the harsh texture of the chord and to draw out the drama from the piece. They should both use dynamics to their advantage in order to bring out the intensity. Perhaps a piano starting in measure 143, moving toward almost a pianisimo in order to make the listener move forward in their seats, straining to hear the ghastly end!

Haydn's Requiem in C minor

2008-04-10T19:52:00.000-04:00

In the 68th measure of the first movement of his Requiem in C minor, Haydn employs an Augmented 6th chord in the form of a German 6th. The chord is spelled out in the piano accompaniment and works in tandem with the SATB voicing. In the choir, the spelling is A in the bass, C in the tenor, F# in the alto and C in the soprano. Underneath the choir, the piano leads into the chord with a B natural, D G# ornamentation, then settles into the German 65 chord with the necessary le do and fi.

To avoid parallel 5ths the German 6th is followed by a V64 chord that resolves and eventually heads back to the tonic. The German 6th is also preceded by a V65-53 chord that harmonically prepares for the German 6th and also prevents the presence of parallel 5ths. In regards to the use of the chord. The dissonance of the augmented 6th adds to the somber mood of the requiem. In this first movement, Haydn is establishing the themes with which he will present his mournful piece. In this particular phrase, the choir is singing "Kyrie leison" at which point, the German 6th gives the dissonance with which Haydn hopes to instill a true sense or mourning, sadness and very unsettling feeling.

In terms of performance, it would be best in my opinion to emphasize the German 6ths so that the listening audience fully comprehends the mood of the piece which I feel the German 6th has a lot to do with in that respect. In addition, in terms of micromanaging, I would make the voice part singing the fi sing out over the other voices to really emphasize the dissonance and clashing that help the mournful essence of Haydn's requiem shine through.

Neapolitan Chord!

2008-04-10T19:15:00.000-04:00

A Neapolitan Chord can be heard right in the third measure in the first movement of Beethoven's very well known Moonlight Sonata, or Sonata quasi una Fantasia. Many of us are familiar with how this piece begins, it has the slow walking sounding of a c minor chord. This how the first few measures play out:
m 1: i
m2: i42
m3: VI N6
m4: V7 i V7

The Neapolitan Sixth is basically used as a transition into the major V chord. After measure 4, the V7 chord moves into a minor i, and then the famous melody begins. The VI and the N6 are used to extend the tonic into the dominant chord. In addition, Beethoven wants the N6 to cresendo slightly into the major V chord. This demonstrates that Beethoven wants this chord to be emphasized because it is the transition.

Another instance of a Neapolitan sixth chord lies in meausures 52 and 54. When this plays it is at a very recognizable point in the piece. And at both instances the chord moves to a major I chord. This is different because usually the N6 moves to the dominant. This section is played before hand in the piece, so I believe that when Beethoven repeated he wanted to emphasize it with the N6. The N6 also gives the piece a sense of suspense, and it allows the listener to question where/when the peice is going to resolve. I think Beethoven wanted to hold the listener's attention, and he does so by resolving the N6 to a major I. The major I also helps the piece transistion back into the well-known melody in the end. However, now it is heard in the bass.

Very, very sneaky..

2008-04-10T19:03:00.000-04:00

In Schubert’s “Am Meer” from his song cycle Schwanengesang, he introduces and concludes the piece the same way. He decides to be a little unconventional and has a Ger6 chord resolve to a I chord in C major. He uses a D# for the me instead of a Eb, but enharmonically they are the same note.

The recording I found on Naxos of Benjamin Luxon singing “Am Meer” is absolutely gorgeous. The piano part plays with the voice with its sweet opening into the intense middle section of this piece. The form is ABAB, where the A section is slower and more serene, and the B section is darker and more intense. The transition from A to B is exactly the same each time, and the introduction and the conclusion are the same as well. The words change in each verse but the two A sections are rhythmically identical, and the same goes for the B sections.

Since the augmented sixth is a part of the accompaniment in the introduction and conclusion I would just put a lot of emphasis on it. Since it is followed by a major I chord, I think it would be best to accentuate the oddness of it and bring it out a little more over the other parts. I really like this piece because it is so insecure, where the listener thinks it is a smooth ballad then suddenly it is not. It almost seems like its predictable, but when listening to it, the transitions are what give it away not the vocal line itself. I like that the augmented sixth does not resolve like it should, because again it is a small trick played on the listener. Schubert was very crafty with this piece of music.

pick your own adventure

2008-04-10T18:26:00.002-04:00

Let me just say that in the very grand world of music it is quite intimidating to have to find one piece with just ONE CHORD that you need, meaning that you would think it would be easy but soon find that not every composer likes augmented sixths chord. I searched through all of my proficiency pieces and failed, looked at my musical theatre scenes music and failed, and finally just started flipping through one of my Schubert anthologies and STRUCK GOLD!

Litanei is from the Feast for All Souls Day. This holiday is used to commemorate the faithful who have departed. I found a lovely French augment sixth chord in measure 8 that resolves to a very strong FIVE chord. This augmented sixth chord is falls on the text three times because the melody is repeated with different text three different times. It falls on 1) all who have passed 2+3) all that have, in both cases it is referring directly to the souls of those who have already gone. I think that the composer chose to do this because he was trying to create a kind of eerie effect and combine the idea of the soul having moved on but still being present, or else they would not be remembering them. If I were performing this I would use the augmented chord to help me feel a sense of remembrance for those who have already gone, which is both a happy and sad idea. It would help me contrast the repetitiveness of the word "alle", all the, because the first time it is accompanied by the augmented chord and the phrase talks about all those who have departed, or left this world. and then in the next statement after the fermata on the five chord, it is harmonized by a one chord which it also eventually resolves to, all though in an inversion, and the phrase accompanying this says all souls rest in peace. This statement contrasts the earlier eeriness of the augmented chord because it gives a sense of strength and encouragement thinking that those who have past are now resting in peace and not in limbo somewhere...unlike the first statement which implies that the souls are simply gone...to no place in particular.

2008-04-10T17:39:00.002-04:00

The Elrkonig by Schubert is a fantastic piece of music. The poem the music is set to is one of my favorites. I remember reading it in school and being so scared for the little boy!
The ending six measures of Erlkonig contain at least two Neapolitan chords. These chords appear in mm. 143 and 146.
My take on these chords is that, for the performer, one of the things they do is to serve as a harmonic caution signal. When the performer reaches this section and plays the N6 they know that something is goin’ down in the text. Reading the translation, we know that when the N6s appear, the little boy is being taken from his father, just as the courtyard is in sight!
To me, these N6 chords sound “light” in comparison to the surrounding chords. To me that signifies that the fight is over between the little boy and death, for better or worse. The lightness could be interpreted as his soul leaving his body…? Or, they could be interpreted as the Erlkonig’s victory. He has the little boy and has called off his haunting pursuit of the frantic father and his child’s now lifeless body.
But I really don’t count as the audience/listener because I have the score right in front of me and I know that the N6 chords are there. And because I’m studying them, they should have meaning. But to the untrained ear of an unsuspecting listener, I don’t think the N6 chord would even be detected. There are so many more factors that are more apparent to the listener to suggest that there is a mortal fight going on in the story.
The lesson of this blog, you ask? Neapolitan’s are only cool to you and me… the audience?...not so much

cookie monster

2008-04-10T17:34:00.000-04:00

Beethoven’s Piano Sonata No. 21 in C major, Op. 53, “Waldstein” contains an augmented 6^th chord, the point of this assignment. Specifically during the second movement of the sonata is my focal point, a short yet prolonged section of music. It takes quite a performer to sit and play such a short-looking piece so slowly, realizing it in a full 4-5 minute time span. Nevertheless, Beethoven wrote it as an introduction for the third movement of the sonata, a rondo, and included a few nifty chords in that process.

The opening statement is quiet in timbre and thin in texture but the second beat catches the audience’s attention with a tri-tone in the RH, from A to D#. On the edge of the seats, the audience demands resolution, which Beethoven gives in the form of an E major chord. However, the same idea of leading tone happens in the following measure with an ascending C# to A# passage in the RH that waits again, resolving to a B major chord. This time, Beethoven has prepared the audience’s expectations and leads measure 5 to a B diminished chord, to an Italian augmented 6^th chord, resolving to C major, or the V of F major (the key of the movement). The phrase ends with vi, ii6, V7, I; a rather normal progression considering the first few bars.

As a performer, this type of information is absolutely pertinent and can create a truly superb performance. I’ve never quite understood how this information could help an individual but once a performer gets past playing the correct notes there has to be another level of performance. This is it. By understanding that the F in measure 22 is the highest note of the piece, make that note special. Realize and emphasize the “leading tones” of the notes immediately preceding measures 2, 4, and 6. Seeing how chords and lead lines fit together and create coherent structures is a functional way of 1) passing time and 2) creating exciting performances. Just like my blurb on how to become better at involving the audience we should also see where we as performers can enhance our own perception of the music and try to apply that understanding into the music we play. Just a thought.

Fryderyk Chopin: Ballade No. 1 in G minor, Op. 23

2008-04-10T16:55:00.003-04:00

Roman Numeral Analysis: m. 208-first beat of 224

m. 208-211: i, i6, i64, i, iihalfdiminished7, V7, V43

m.212-215: i, i6, i64, i, iihalfdiminished7, V7, V43

m. 216-219: i, N6, V7, i, N6, V7, I

m. 220- first beat of 224: viifulldiminished7/iv, (not expected) N6, viifulldiminished65/iv, (not expected) N6, viifulldiminished7, i, iihalfdiminished65, V7, i

Beginning from m. 208, Fryderyk Chopin’s Ballade No. 1 in G minor, Op. 23 begins the coda, marked with Presto con fuoco to last from m. 208 to m. 252, suggesting that Chopin wants from the performer a fiery, agitated, energetic (perhaps an energy with a dark color being in the key of G minor), and fast coda. The Neapolitan chords in m. 216 and m. 218 are held with an accented bass C held three beats along with an agitated, accented melody and embellishing chordal tones in the right hand, creating tension and the fiery quality of the coda. Had Chopin used different chord like a iv, the coda’s overall fiery effect would have diminished, and the iv chords would surprise listeners less than a Neapolitan chord would, thus making the piece less interesting to both the listeners and performers.

Again, Neapolitan chords are used in the third quarter note beat of m. 220 and 221. This time, however, they are arguably even more shocking than the first previous use of the Neapolitan chord, for Chopin deceives the listeners’ expectations in chord resolutions in this passage. Following the viifulldiminished7/iv’s in the first two quarter note beats of m. 220 and 221, the listeners would naturally anticipate a iv chord to follow. Unexpectedly, a N6 is used, keeping the audience in musical suspension by delaying any resolution of some sort until the first quarter note beat of m. 224, only to dive back into the fiery flourish of accented melodies and chordal skipping embellishments of the coda on the third quarter note beat of m. 224.

As Chopin writes presto con fuoco from the beginning of the coda in m. 208, the performer should take note of the marking and adjust his or her playing accordingly. Accents should speak out in its presence, especially the accented melodic notes I the right hand (the accented melody from m. 215-223, for example) However, they should not be harsh accents as one would play in twentieth century composers Prokofiev’s or Bartok’s piano music. Although the coda is always moving at a fast pace, the performer should expose the Neapolitan chords to surprise the listeners not with taking time since this section of the coda generates forward motion to the conclusion of the piece. Rather, simply by respecting the accents and bringing out the melody and bass Chopin has written (observe accents, melody, and harmonic structure of m. 216-221, for example) is effective and conveys Chopin’s intentions well.

Even the Beatles know how to add a little Neapolitan!

2008-04-10T14:21:00.004-04:00

The Beatles are extremely famous for adapting the typical I-IV-V-I rockabilly progressions that were so popular before the 60s to new progressions that included augmented sixth harmonies as well as Neapolitan harmonies. This is evident in the song "Do You Want to Know a Secret" from the album Please Please Me released in 1963.

This song possesses one of the most "minor" sounding introduction of any Beatles song, and does so because of the presence of the Neapolitan (bII) chord introduced in the last part of the 3rd measure of the song. John Lennon sings "You'll never know how much I really love you, you'll never know how much I really care" in what sounds almost like a pop recitative. The presence of the Neapolitan chord on the second "really" adds a different flavor to the introduction of the song.

As far as its effect on the performer, the Neapolitan chords adds an almost "bluesy" feeling and perhaps begs to be emphasized. This is evident when John Lennon sings "really" the second time--it seems almost as if he is scooping down into it to emphasize its sadness. The lyrics and tune of this introduction serves as a way for the singer to express his concern with that fact that his lover does not understand how much he cares. Therefore, the Neapolitan chord provides the tension that is clearly delineated by the text. For John's guitar, this chord may also need to be stretched out a little to be emphasized. John does precisely that, and though it is subtle, the emphasis can be heard.

As far as the effect on the listener, it is one of perhaps surprise and knowledge of something a little "different." If one were used to the typical chord progressions of rock at the time, perhaps this would provide a new flavor to the music that listeners were not previously aware of. This chord also serves, as stated before, to emphasize the longing that is clearly present in the words. Soon the piece becomes more upbeat when the singer decides to tell his lover "his secret," but at the beginning, the listener is surely aware of the singer's longing.

Here's a link to a cute little George/John picture melange (sorry Ringo and Paul) that is accompanied by the song. Enjoy!

http://www.youtube.com/watch?v=yHhRC7K0RHA

"Erlkönig" and it's N6

2008-04-10T13:33:00.003-04:00

"Erlkönig" is a haunting and moving piece. Schubert is a master of text painting and once again proves that with this song. We all know the horse trotting sound that is produced by the bass line and the frantic chords in the right hand. But what everyone may not notice is the Neapolitan sixth chord in measure 143.

The N6 appears in the last half of the final verse. At this point, the Erl King has taken the boy away from his father and the boy is screaming for help as the King does him harm. The father rides swiftly with his son in his arms but by the time he stops riding, his child is dead. It is the father's arrival to the courtyard that brings about the N6 chord. It is proceeded by a iv chord, which is typical, and bring the verse to a sort of halt. It almost pauses the music, mimicking the father's distress and loss of hope for his son. The chord is not resolved immediately like the listener would expect, but is stretched out through the next couple of measures. This is Schubert's way of intensely painting the father's distress and the abrupt moment when he looks down and realizes his son is dead. It's the feeling of your heart stopping and your breath being taken away for what seems like forever when you realize something horrible has happened. Schubert physically writes in this pause with 4 beats worth of rests after the N6 chord on "Noth" in measure 145. He proceeds with the final recitative and brings the song to a close with the final i chord.

Even though this N6 may not be extremely noticeable at first, after a few hearings and reading the translation, it makes sense. A N6 chord is used to enhance the harmonic structure and overall tone of the melody its embellishing. Schubert uses his incredible text painting skills to place this unexpected chord at the end of the song to leave the listener with the lingering feeling of anguish and despair, thus connecting the audience with the father.

Beethoven's Moonopolitan Sonata

2008-04-08T22:19:00.003-04:00

Beethoven's first movement from his Moonlight Sonata is one of the most recognizable of his works. It's lush triplet rhythm is a sweet melancholy for the listener. One aspect which makes this Piano Sonata different is Beethoven's well placed Neapolitan chords. Beethoven begins the piece softly and fluidly with smooth triplets in in the tonic c#minor. However, in measure three he catches the audience of guard and disrupts the sleepy first two measures with a Neapolitan sixth chord in the third beat of the measure. The d natural sticks out and fleshes out the texture to give the line momentum. This chord is exciting because the listener realizes right away that this isn't some beautiful lullaby it is a painful and wrenching line against a rolling accompaniment.
The poly rhythmic effect of the melody against the accompaniment helps to highlight Beethoven's harmonic choices. The performer cannot help but rise and fall with the momentum and movement of the progression. Beethoven gives instruction in his score as to how the performer should interpret his role. The translation is "the performer should play the part with great delicacy and without dampers." So, Beethoven obviously wanted a sea of sound for this piece. That is why is is so interesting that he chooses to use Neapolitan chords throughout the piece. The way the dissonances expand into the other chords is eerie in some places. For example, when the original a section is reiterated at the end of the piece Beethoven uses a Neapolitan sixth in measure fifty and then oozes into the dominant. The performer I listened to chose to crescendo a little bit through measures forty-nine and fifty to bring out this progression and then he backed away as the melody descended. This created a nice "windy" effect and gave the line itself more drive.
It would be easy to emote through this piece because it is written so well. Since the style is delicate but the sound is full and uncontrolled the piece itself seems to be expressing it's inner feelings. The piece moves quickly because it is so intense. Although it seems relaxed and easy playing, the chords are aggravated at times and the poly rhythmic quality of the melody causes the piece to feel restless. However, because Beethoven structures the entire piece around a thick texture he manages to make the simple melody very touching.
Through a rolling rhythmic structure, a unique and simple melody, and vivid harmonies like Neapolitan chords Beethoven makes his Moonlight Sonata memorable. The piece is gorgeous sounding even with all of its strange harmonies and irregular rhythm. The picture it paints is rich and complex but it is bittersweet and quaint at the same time.

Rossini's Hot Messe

2008-04-08T13:35:00.003-04:00

Rossini was pretty much a rock star. His Petite Messe Solennelle - which, by the way, is being performed by the Chamber Singers, Katya Kramer, Amanda Hobson and Brian Clark TONIGHT at 7:30pm in Thompson - is a brilliant and fascinating work, bridging Classical and Romantic styles.

One of my favorite movements is the Sanctus, which is in 6/8, and has, to quote Shani Wahrman, a "Christmas carol in the final scene of a movie" kind of sound. It combines the text of both the Sanctus and the Benedictus:

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth; pleni sunt coeli et terra gloria tua.
Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

The text of the Benedictus is first stated in measure 18: a soft, flowing, 8-bar phrase ending with an applied-chord half cadence in m. 24-25. When the Benedictus text is restated in m. 35, this time Rossini changes it up with a little text-painting. The first half of the phrase (m. 35-38) is almost completely untouched, but then the choir sings "qui venit in Domini," in m. 39-42. I'll give you the chords here (C major):

m. 39: V42/IV
m. 40: IV6, Fr+6
m. 41: I64--V7
m. 42: I

In m. 40, the choir sings "venit in", and Rossini sets this symbolically with a Fr+6 chord - so that as the choir "comes to the Lord", the Fr+6 announces the imminent arrival of the much-longed-for dominant in m. 41. Rossini has a nice bit of text painting there - the tension building as we wait for he who "comes in the name of the Lord", the French 6th tells us he will soon arrive - and the listener's subconscious desire for the dominant arrives with the Lord - the dominant, ha ha, with "Domini", before returning satisfyingly to tonic in m. 42.

There are many other neat little moments like that throughout the Messe - but you have to be there tonight to hear them! Trust me, it'll be worth it.

Opus Posthumous

2008-04-03T23:46:00.004-04:00

Beethoven's Opus Posthumous definitely carries a slight weight of confusion concerning it's correct form. The argument is whether to conceive this piece as a five-part rondo, seven-part rondo, or a ternary composite. Yes, many choices, but only one decision can be made. However, this proves a difficult task considering this piece has musical aspects that pertains to each of the three previously listed forms.
Personally, I believe this piece to be a five part rondo due to the overall form, ABACA. Where is the primary confusion?

Like any ordinary five-part rondo, it begins with it's refrain, A. It's set in the key of F major and ends on a PAC. This leads right into the B section. Nothing quite out of the ordinary yet. We then view a transition back into the refrain, or A2. A2 ends on a PAC, and then enters the C section, which happens to be in the key of vi, or D minor. This section creates the most confusion. Moving into a the key of vi is primarily a seven-part rondo characteristic. Another confusion that approaches the listener is the length and the discontinuity of the section. However, I bellieve the second section of C is basically a continuation of the section, but portrays differences. Lastly, there is a retransition back into the key of F Major.

Of course, as the book suggests, a little more analization reveals another type of breakdown. When splitting this piece into each of it's sections, each comes out as a rounded binary form. And when a piece contains a mixture of forms it is known as composite ternary. However, the continuous return to A solidifies the notion of a rondo.

Lastly, there is a differnce concerning phrase rhythm between the sections. A has a standard eight-measure rhythm, that complies with a standard period. However, sections B and C vary. Section B is a ten measure phrase. While section C contains a main period that continues for 11 measure. This creates a sense of hypermeter in the piece. Once again, it brings out the unusual characteristics of the piece and just leads the listener to more confusion. However, I don't think there is anything to be quite confused about. I believe Beethoven prepares his audience for variety in his piece by choosing unusual chord progressions in A.

Clarke's Trumpet Of-Your-Own-Choice

2008-04-03T23:43:00.003-04:00

aka Voluntary... geddit?

Here's your chart; "r" indicates a repeat

FIVE PART RONDO:

A1 - m. 1-8, ends with a PAC in I, trpt and organ
rA1 - m. 9-16, PAC (I), organ only

B - m. 17-24, HC (I), both
rB - m. 25-32, HC (I), organ only

A2 - m. 33-40, PAC (I), both
rA2 - m. 41-48, PAC (I), organ only

C - m. 49-56, HC (I), both
rC - m. 57-64, HC (I), organ only

A3 - m. 65-72, PAC (I), organ only
rA3 - m. 73-80, PAC (I), both

This rondo is not a typical five-part rondo, in that it never modulates away from tonic. In both the B and C sections applied chords are used, but never to the extent which usually defines a modulation. The ends of both these sections have a very half-cadence-y feel.

Also notably different is that each section repeats individually. This would probably make it more difficult to perform, because one typical rule of performance is that every repetition has to bring something new and exciting to the listener's attention. It is likely, though, that this may have been more for ceremonial or social purposes, and then the music would have been danced to, which means the performance doesn't require as much noticeable variety since people won't be listening all that hard.

Ludwig van Beethoven’s Piano Sonata in C minor, Op. 13, Pathétique, third movement: Rondo, Allegro

2008-04-03T23:30:00.009-04:00

Structure Analysis
Form: seven part rondo: A(i)B(III)A(i)C(VI)A(i)B’(I)A(i) Coda(i)

A. a three eighth note anacrusis, then m. 1-17, key of i, C minor
a: m. 1-4, half cadence in V, G major
b: m. 5-8, perfect authentic cadence in i, C minor

a and b: create a contrasting period, m. 1-8

b’: fourth beat of m. 8-12, perfect authentic cadence in C minor, i. However, it is deceptive in quickly going to a C7 chord in the second beat of m. 12
suffix: m. 12-17: perfect authentic cadence in key of i, C minor

Motives associated with A:
eighth note- eighth note-half note- quarter note in m. 4-6, quarter note-whole note rhythm reversed in m. 12 and 14.

four eighth note rhythm-arpeggiation in left hand remains for nearly entire A, from m. 1-8, 11-15

Seven eighth note arpeggiation in m. 9-10

E flat-F-D-E flat-C rhythm (rhythm not quite exact repetition) and its contour in m. 1-2 is present in m. 7-8

quarter note-half note-half note-eight eighth notes rhythm present in m. 12-13, 14-15

Independent transition: m. 18-25, travels to the key of III, E flat major, enters new key with B65 at m. 24, if looking for cadences in this transition, imperfect authentic cadence may be seen in m. 20 in key of iv, F minor, and in m. 25 in key of III, E flat major, eliding with next phrase

B. m. 25-43, key of III, E flat major
c: m. 25-28, half cadence in key of III: V65, B flat 65
d: m. 29-36, one may see half cadence in key of III: V7, B flat 7, more likely and logical solution is m. 29-37, imperfect authentic cadence in key of III: I, E flat major, eliding to next phrase on first beat of m. 37.
e: m. 37-43, perfect authentic cadence in key of III: I, E flat major
f: fourth beat of m. 43-47, half cadence in key of III: V, B flat major
f’: fourth beat of m. 47-51, perfect authentic cadence in key of III: I, E flat major

c, d, e, f, f’: create something similar to phrase group, but conclusive cadence exists at m. 43

Elision with dependent transition at first beat of m. 51

Dependent transition: m. 51-61, travels to key of i, C minor, enters new key with G7 from m. 58-61, big half cadence to lead to i

A. m. third and a half beat of m. 61-78, key of i, C minor, exactly same as m. 1-17, with the same independent transition from m. 12-17

C. m. 79-120, key of VI, A flat major
g: third and a half beat of m. 78-82, half cadence in key of VI: V, E flat major
g’: m. 83-86, perfect authentic cadence in a very short change of key to V/VI,
E flat major

g, g’: create a parallel period

g’’: m.87-90, half cadence in key of VI: V, E flat major
g’’’: m. 91-94, perfect authentic cadence in a very short change of key to V/flat VI, E flat major

g’’, g’’’: create a parallel period

m. 95-98: one may possibly see as an extension of cadence of g’’’, which would make the cadence a half cadence in key of VI: V, E flat major. However, likely to be seen as independent transition, entering key of VI with E flat major in m. 98

g’’’’: second beat of m. 98-102, half cadence in key of VI: vii, G diminished
g’’’’’: m. 103-107, half cadence in key of i: V, G major

g’’’’, g’’’’’: do not really create period, as both end in half cadence, but they share motivic qualities, such as staccato eighth notes that shift from left hand in g’’’’ to the right hand in g’’’’’

independent transition: m. 107-120: huge half cadence to a G7 in m. 119 to lead to i, C minor, in the next A section

A. third and a half beat of m. 120-128, key of i, C minor
m. 120-128: only material of m. 1-8 repeated exactly
m. 129-134: dependent transition, sharing the themes and motives from A in m. 9-10, for example, ends in half cadence in I: V(7)

B’. m. 134-157, key of I, C major
c’: m. 134-137, half cadence in key of I: V65, G65
d’: m. 138-143, one may interpret as half cadence in key of I: V, G major, eliding with next phrase on first beat of m. 143, another may interpret imperfect authentic cadence in key of V, G major, also eliding with next phrase. However, key change is short
e’: m. 143-146, imperfect authentic cadence in key of I, C major, eliding with next phrase
e’’: m. 147-153, perfect authentic cadence in key of I, C major
f’’: fourth beat of m. 153-157, half cadence in key of I: G major

Dependent transition: fourth beat of m. 157-170, half cadence to lead to key of i, C minor, for the following A section, Beethoven deceives the audience into thinking an f’’’ would begin here, but it travels unexpectedly, becoming a dependent transition rather than another phrase.

A. m. 171-178, a repeat of material from m. 1-8

Coda: m. 178-210, perfect authentic cadence in key of i, C minor in m. 210, one may see the material in m. 178-182 (first beat of m. 182 only) as a b’’, a prime of m. 8-12, rather than coda material, although texture in m. 178-182 is quite different and more energetic and tension building than material from m. 8-12.

Please refer to the Structure Analysis for the phrase and motive structure of m. 1-17. Indeed, Beethoven deceives the audience and strays of the typical path of regular hypermeter and four bar phrases, etc. From m. 1-8, Beethoven follows the typical antecedent-consequent phrase-period structure and creates a contrasting period. However, a b’ is added from m. 9-12, repeating and extending the thematic material in the right hand of b (the eighth note-eighth note-half note- quarter note motif from m. 5-8) in the right hand of b’ in m. 9-12. Then, unexpectedly, Beethoven adds a suffix from m. 12-17, which ends in perfect authentic cadence in the tonic key in m. 17. Although m. 1-8 have regular hypermeter and four bar phrases, the peculiar length of the six measure suffix and the elision transitioning from b’ to the suffix in the first beat of m. 12 contribute to irregular hypermeter.

The form is seven part rondo with the following structure and key relations with roman numerals: A(i)B(III)A(i)C(VI)A(i)B’(I)A(i) coda(i). The III in B and VI in C are typical key changes in seven part rondos. Traveling to I for the B’ in a minor key is relatively uncommon however, and while traveling from a minor key to its parallel major is a large mood change, Beethoven gives the listeners a sense of having traveled farther than the piece actually did by his inclusion of the dependent transition in the fourth beat of m. 157-170 rather than bringing back what would be the expected f’’’.

The coda is energetic, dark and tension building to affirm the tonic key of C minor. Several motives from the third movement recur in the coda. First, the triplet eighth note motif from B (m. 37-40, for example) is present in m. 182-192, especially m.189-192. The fast rhythms of the triplet eighth note motif create fiery tension in the coda, especially in m. 189-192, aided by the crescendo and the staccatissimo left hand also in m. 189-192. Next, the four eighth note arpeggiation-rhythm motif of m. 1-7 are also present in m. 182-188 of the coda. Third, the descending scale and the final dominant chord rhythm and contour of m. 199-202 was also present in m. 117-120 and m. 58-61. Finally, the E flat-F-D-E flat-C rhythm (not quite exactly) and its contour in m. 1-2 are vitally present in the fourth beat of m. 202-206. Although the motives are used in the coda in a fashion that will build tension and create forward energy and motion, another key importance of using motives in the coda is to give the section a feeling of familiarity yet be different simultaneously, but not so different to be completely foreign to listeners. Large dynamic shifts (pianissimo to fortissimo in m. m. 206-208), sudden sforzandi (m. 187-188, m. 193-199), and pointed staccatissimos (m. 189-198) typical of Beethoven’s compositional are present and contribute to energy, tension, and forward motion in the coda.

First and foremost, performers should take care to be respectful of sforzandi, staccatissimos, and sudden and large dynamic shifts, for they are key to Beethoven’s style, as stated before. One key area to respect Beethoven’s markings is m. 202-210. The subtle change from piano (m. 202) to pianissimo (m. 206) should be treated as dark and mysterious, as the audience is completely unaware of what is going to happen next. Then, the performer should startle the audience with an angry fortissimo (208). Of course, the performer should appear physically subtle and mysterious with the piano and pianissimo and angry with the fortissimo just as he or she would do musically. Although it is not marked in the anthology score, a decrease in tempo and a sudden increase in tempo in m. 208 like the one done in the performance of the Theory Book’s CD is practical and logical to increase tension and let the subtlety of m. 205-208 sink into the audience and the fortissimo of m. 208 startle the audience even more. Next, unexpected changes and shifts from the typical seven part rondo phrase structure and expectations should be treated differently. For example, the transition from m. 158-170 is completely unexpected and should be filled with energy from the performer by pushing it forward. One could do so possibly by a crescendo from m. 158-166. Other examples of shifts from typical seven part rondo from is the b’ and suffix of A (fourth beat of m. 8-17). Finally, the dark mood of the third movement rondo is reminiscent of the first movement of this sonata. Therefore, the performer should attempt to play the third movement in a fashion that would let listeners be reminded of the dark mood of the first movement.

rondooooo not rondeaux

2008-04-03T23:25:00.002-04:00

So I think that each one of these blogs is only worth 2.5% of our final grade. Hope I did the math right. OK so this trumpet voluntary by Jeremiah Clark is a Rondo. It is a five part Rondo that goes A B A2 C A3. Let's talk about the refrain, aka A. The refrain is a parallel period. The first phrase ends in a half cadence, the second is a PAC. Every time that the trumpet plays the refrain it is repeated in the organ before going on to the next sections. As far as the B and C sections, they can be thought of as modulating to the dominant, or A major. You could say that they just play with the dominant and secondary dominants a lot though. It's something we could fight out in theory class I think. As a performer I would try to vary the refrain every time it comes around, to make sure no one falls asleep. If I were playing the organ, which I wouldn't because there is way too much to do, I would maybe try to bring out a new line every time it comes around to keep everyone awake. And then at the end, on either instrument, I would BELT it. that is all.

Beethoven Sonatina in F Major

2008-04-03T23:17:00.002-04:00

M. 1- I

M. 2-I

M. 3-IV

M. 4-IV

M. 5-V^7

M. 6-I

M. 7-V, I

M. 8-V

M. 9-I

M. 10-I

M. 11-VI

M. 12-VI

M. 13-V^7

M. 14-I

M. 15-ii^6, V

M. 16-I

M. 17-V^7

M. 18-V^7

M. 19-ii^o7

M. 20-ii^o7

M. 21-V^7

M. 22-ii^o7

M. 23-V^7

M. 24-ii^o7

M. 25-V, I

M. 26-V^64, (V^7)/V

M. 27-V

M. 28-V

M. 29-I^6

M. 30-I^6

M. 31-IV

M. 32-IV

M. 33-V^64

M. 34-I

M. 35-ii^6, V^7

M. 36-I

M. 37-vi

M. 38-III^43

M. 39-III^43

M. 40-ii^043

M. 41-vi^6

M. 42-ii^o7

M. 43-vi^6

M. 44-ii^o7

M. 45-vi^6

M. 46-ii^o7, vi^6

M. 47-III^43, vi

M. 48-III

M. 49-vi

M. 50-iii

M. 51-IV

M. 52-I

M. 53-IV

M. 54-iii

M. 55-ii

M. 56-vi^6

M. 57-(vii^0)/vi, vi

M. 58-V/vi

M. 59-vi

M. 60-V/vi

M. 61-V/vi

M. 62-vi

M. 63-vi

M. 64-ii

M. 65-vi, V/vi

M. 66-vi

M. 67-V^42

M. 68-I^65

M. 69-V^64

M. 70-I

M. 71-V

M. 72-cadenza/retransition

M. 73-cadenza/retransition

M. 74-cadenza/retransition

M. 75-I^6

M. 76-I^6

M. 77-IV

M. 78-IV

M. 79-V^43

M. 80-I

M. 81-V^65, I

M. 82-V

M. 83-I

M. 84-I

M. 85-IV

M. 86-IV

M. 87-V^43

M. 88-I

M. 89-IV, V^7

M. 90-I

M. 91-V

M. 92-I

M. 93-V^7

M. 94-I

I would say that this piece is overall a five part rondo. It has the general ABA'CA"+Coda. The first A section goes from M. 1-17 that ends in a PAC. Section B goes from M. 17-28 and ends in a half cadence. The second A' section starts from M. 29-36 and ends in a PAC. The C section goes from M. 37-66 and ends in a PAC in D Major. The last A section goes from M. 75-90 and ends in a PAC. The coda is four measures long, M. 91-94 and ends in a PAC. I don't really see any aspects of a seven part rondo in this particular piece. There are only three different themes and the A section only repeats three times as opposed to the four times it would need to repeat for it to be seen as a seven part rondo. This does have some elements of a composite ternary. One could say that there are three distinctive sections. The first being M. 1-36 and a rounded continuous binary. The second section could be seen as M. 37-66 and a theme and variations. The last section could be seen as being M. 75-94 and a simple binary. The first section(1-36) easily fit into rounded sectional binary. It has the A section repeat itself and the B section repeat with the A section. This section creates the first three sections of the Rondo form for this piece(ABA'). Measures 27-28 functions as a re-transition into the A section. This is like a special introduction that is only used for the A section. This is not particularly normal to find in Rounded Continuous Binary. It is, however, found often in rondo form. The section section(m.37-66) I would describe as being a theme and variations because it is a continuous repetition of the C theme with slight alterations in the melody and harmony. This section fits as the C section of the rondo form. Measures 67-74 are another re-transition into a repetition of Section A. The A sections have a shorter phrase rhythm than the rest of the sections.

Sonatina in F major

2008-04-03T23:15:00.004-04:00

Beethoven's Sonatina in F Major is an example of an effective application of multiple forms into one movement. The sprightly opening eight measures are repeated throughout the piece, and Beethoven labels the movement as "rondo" form, but I do not think it can fall into a specific form. It combines aspects of five-part rondo form, seven part rondo form, as well as binary and ternary.
When I first heard the piece it seemed to be A:ll B A C D C" trans A:ll. I wondered if Beethoven took the rondo form and decided to put a rounded binary in the middle just for kicks. However after analyzing the chords and the changes in key the form was easier to recognize. In repeated first section (m. 1-16) Beethoven stays in F maj. he then changes to the dominant key of C maj. in the B section (m. 17-26). He then modulates chromatically in measures 27-28 returns to the original A section in measures 29-36. In section C (m. 37-66) Beethoven changes to d min. If one divides the piece by key this is the section which leads the listener to believe it is in 5-part Rondo form. Beethoven transitions back into the final A sections in measures 67 through 74 and back into F maj. So, if you analyze the form based strictly on key the form would be A :ll B A :ll C :ll A:ll.
It is possible to see parts of Beethoven's Sonatina in seven-part rondo form. If one views the C section in three separate sections C D" C it could be possible to argue that there are seven sections and the third repeat of A has been replaced with D (m. 49-58) and repetition of the melody in measures 37 through 40 is like the repetitions of the previous sections.
However, I think it is more important to note how Beethoven combines his unique rondo with both binary and ternary forms. Section A is a parallel period every time it reappears in the piece. Sections B and C have two distinct sections making them seem like binary form. Section C stands alone as a rounded binary form. He connects these different ratios of forms with two very distinct transitions which sweep the listener in and out of the tonic key.
This piece, though confusing, is a true display of an alternate interpretation of a simple style. By combining such independent sections Beethoven created the illusion of a seven section form when really it was five. Also, by using binary and ternary forms within the sections Beethoven created a broader feeling for such a short piece and made the return of the original A section more exciting. Sonatina in F maj. takes a seemingly simple form and becomes an exception to the normal rondo conception.

RONDO

2008-04-03T23:13:00.001-04:00

I have to say I love Beethoven for labeling this piece RONDO. He is my kind of composer, and a genius at that. The rondo takes place in an ABACABA form, with modulations and accidentals here and there, and a very skilled pianist. The A section (c minor) comes in right away without any introduction and continues through measure 17. In A2 b’ does not return, and in A3 the a section is shortened and b is stretched out. There is a coda after A4. A1 (which ends with a suffix) and B1 are separated by a large block chord and a pause, but then B jumps into quick eighth notes in both hands. Later on in the B section (modulates to Eb major) the two hands alternate the quick eighth note rhythmic pattern. There is another big block chord at the end of B before heading in to A2. In the C section there are a lot of flats and naturals added to move into the key of Ab major. This section is a little different in style and feeling; however it included the alternation between the hands just before the pause, as seen in section B1. There is yet another chord and pause then the A section returns us to c minor and continues in this key through the end of the final B and A sections. Completed nicely with a descending scale in the right hand to end on a c minor chord.
I really enjoyed listening to this piece. To me it a lot like what an aria is meant to be, a way for the performer to show off their skills. I, being a vocalist (say what you will) would fail miserably if handed a piece of such intensity and skill level. I would love to be able to play to through a piece that is so well known and lovely to the ear. I like this recording because the pianist does not take too many liberties or artistic interpretations, so I was able to follow along easily and not get lost. I realize that many people may decide to put their own spin on it, but for educational purposes I like not getting lost in artistic differences. I also think that Beethoven wrote it this way because that is what he wanted, and I have trouble with performers who take too many liberties anyways.

I hate blogs...sorry Spiegelberg

2008-04-03T23:10:00.001-04:00

Okay, so Beethoven is crazy, and I’m not just talking about his hair. His piece Opus Posthumous is very confusing. Although it is a short second movement, the piece, titled Rondo, is far more complex than your average variety. It has elements of a five and seven part rondo, and some composite ternary.
I see this piece as a five part rondo overall, ABACA. However, it is not this simple. The C section, especially brings up a few problems and modulates to the key of vi (D minor). It is much longer than the other sections, and, has an obvious A and B section, both of which repeat, within it. The C section, therefore, does not sound like a section that stands alone, instead, it seems almost like two sections...which would create an ABACDA...which doesn’t really work.
Following the C section, there is a long transition, that tripped me up at first, as a section all to itself. But I believe that it is merely a transition from measures 67-74. Then the closing material, hesitantly called A, comes back, an it has elements of A and B that combine to finish the piece.
There are a number of transitions in this piece, which is customary in a rondo form. Also, the A section does come back over and over. These things have convinced me that it is, indeed a type of 5-part rondo, although it definitely has independent B and C sections, and C is a binary form all on its own. And the close is confusing, almost feeling like a rounded binary or composite ternary with its repetition of material from A and B, but in the end, I feel that it is a 5-part rondo. And...I’m still a bit confused...so...yeah

Night!

Twinkle, Twinkle

2008-04-03T22:41:00.002-04:00

Kay guys so two weeks ago I accidentally did the Rondo blog...so now I'm gonna get with it and do Variations, get excited!!

The piece I am analyzing is Mozart's Variations on Ah, vous dirai-je, Maman, better known as twinkle, twinkle little star! There are 12 variations based on the theme in this piece; in most of the variations you can hear the skeleton of the original theme. Alright now I'm gonna go over each of the variations individually and you know just describe some defining characters of them. I won't do the first variation cause the workbook already covers it so yep.

Variation 2 - should be paired with var. 1
Left hand does some major sixteenth action with a neighboring tone emphasis, slight chromaticism near the end.
Right hand is very similar to original theme.

Variation 3
Right hand introduces a new triplet figure, maintains melody of theme
left hand similar to original theme.

Variation 4 - should be paired with var. 3
Right and left hands switch places from variation 3.

Variation 5 - can be paired with var. 1 & 2
Okay the first thing I thought when I heard this variation was CUTE!!! I thought I'd just throw that in there. This variation has syncopated rhythms in both hands. They both preserve the original harmonies of the theme until measure 129 where the right hand does some downward chromaticism.

Variation 6
The right hand has the melody here but in quick eighth note spurts
Left hand is having a great time playing sixteenth notes. There is a neighboring tone pattern that moves slowly upward. In the middle of the variation the two hands switch spots for a few measures.

Variation 7
The melody is played in the left hand here while the right hand has mostly a sixteenth note scale figure throughout this variation.

Variation 8
Conveniently marked as minore, this variation is in the parallel minor to the original key. Crazy chromatic time starts in measure 201 and lasts until about measure 207.

Variation 9 - kind of like a reminder of original theme
This is almost the same as the theme. The major thing going on here is the left hand repeating the right hand's phrase two measures later. it creates a nice little echo effect.

Variation 10
This variation has crazy left hand technique stuff going on...ok not really, it's just that the left hand plays a lot on the "right hand" clef. What's going on here is that left hand plays a single note and then the right hand takes off from that note in a quick sixteenth note pattern that goes up a fourth and then back down a fourth.

Variation 11
This variation has the theme in slow-mo all the way through. the basic harmonies are the same but it is a little difficult to hear the original them because it is sooo slow! the right hand plays 32nd notes often and this variation has a very free flowing rubato-ish feel to it.

Variation 12 - summarizes rest of variations
The last variation picks up the tempo quite a bit and acts as a finale for all of the variations. The left hand does about the same thing that happens in variation 2 while the right hand starts a new variant...thats finale appropriate I suppose. There are a lot of trills involved. In the middle both hands are having good times with sixteenth notes. Then end of the variation rounds out with one last exclamation from the right hand in the form of rising sixteenth notes.

Beethoven third movement

2008-04-03T22:26:00.000-04:00

Beethoven key motives is the short sequence at the first and second measures after the pick-up and the three repeated G’s in measures three and four, then the sequence from measures five through eight. Measures eight through twelve make use of a sequence again and the high Bb is another trade mark of this motive. Each time another sequence has started, it can be seen as variations of the same idea. Beethoven plays a strong PAC at the end of the opening motive. In the B section, Beethoven makes use of quarter note 6ths in the left hand as the right hand plays runs as a trademark of the B section. Another interesting element is Beethoven draws on a tiny cluster chord, made up of a B and an A, as another staple of the B section. The C section has the hands moving right after one another very quickly giving them no time to rest. The D section is even faster using the same idea but it builds to a new section, thus making this 7 part rondo.

Since this is a 7-part Rondo, there is a lot of repetition throughout the piece. The performer needs to make sure that all the repetition doesn’t get boring. In fact, as we listened to the Russian trumpet player in musicianship today, I noticed how he was grouping his runs. He did them in threes, I think. This attention to detail will prove very affective. For instance in the first runs, you could play them with a crescendo to the top, then reach a forte, then when the runs return you could invert your initial idea. Also when the big motives return, changing your idea of how to play them would do a lot of good for the interest of the piece.

Opus Posthumous Rondo

2008-04-03T22:25:00.002-04:00

I never cease to be amazed at what this book asks you to do with so short a piece. All though, to the credit of Beethoven and this book there is quite a lot shoved into this two page piece.

It is obviously a RONDO because 1) that is the chapter/ section we are in and 2) it is labeled that way ;) you gotta love when they make it easy for you, or at least you think they make it easy for you until you dive a little deeper in. When I first heard this piece I was a little confused on the form while following it in the score because there were quite a lot of repeats, including a repeat of both the B and C section. I wondered how this could still stand as a Rondo form with a repeating B and C and then decided that all of the repeating A sections trumped any kind of doubt that I had.

The book then brings up an interesting thing for us to focus on in our writing the idea that this piece is a hybrid, a mixture of multiple forms. First of all it is a RONDO but within that large undefined form we have two possible break downs, a five or seven part rondo. We have learned that a seven part rondo is characterized by of course, having seven parts, but also have a C section that stands its own against ABA and ADA. This greater division of a seven part rondo gives us the feeling of composite ternary. However, this piece only has ABACA, which leads us to believe that it is a five part rondo. The only question that still bothers me is the length of the C section ( I originally felt that after measure 48 that we were headed to D, but since there was no A there could not be a D). We then have measures 67 through 74 that serves as a retransition back into our final A that is repeated and then followed by a coda. We also find a shorter transition back into A after B with the chromatic run found in measures 27 and 28.

The C section has a definite minor feel compared to the A and B section. As suggested by the book they could both have their own feeling and are made up of separate forms. They both could stand alone as separate binary forms, just as the whole thing could also be seen as having qualities of a composite ternary form.

The book also asked us to look at the harmonic rhythm. The harmonic rhythm of the A section is interesting compared to the other sections. A is made up of an 8 bar phrase, a sentence structure with 2 + 2 + 4, and yet section B has an 10 measure phrase and C, well we can just C is much longer than an 8 bar phrase.

Beethoven seemed to like to mix it up for us, give us something to keep us awake since there seems to be no category under which this piece fits exactly, therefore a listener would not fall into the possibility of getting bored with the Rondo form, with the continuos repetition of A.