The Composition Techniques Used in Sibelius Symphony
The second symphony written by composer Jean Sibelius {1865-1957} is one of the best examples in classical music of advanced compositional techniques such as melodic variation, tonal transitions, imitation, and suspension. Written in basic four-movement form (Allegretto, Tempo Andante/ma rubato, Vivacissimo, and Finale), Symphony #2 provides the listener with a fluidity of motion, which constantly engages the ear. The first movement in Sibelius Symphony #2 is written in the key of D major, uses A-B-A form, sets the tonal foundation for the rest of the symphony by incorporating sub-dominant and dominant chord progressions, and demonstrates ingenious suspension and transition techniques. The most noticeable and repeated element of Allegretto is the dominant and sub-dominant chord progression of I (tonic), IV (sub-dominant), V (dominant). First used by all strings in the opening measures of the movement, this progression is continually being played by the low strings (Cellos and Basses). Sibelius writes this movement in A-B-A form so of course each section of this movement has certain characteristics. The first section of the movement (A) opens with the strings playing an expressive style known as Coll`e while stating I, IV, V, I. The oboe plays the melodic material throughout this section, with the flute playing a legato accompaniment line. Also characteristic of section A is the use of 4's to carry the melodic line (horns, oboe, flute, and clarinet). The transition from section A to section B, and the transition from Major to Minor, is made by the clarinet. In section B the melodic line is at first carried by the flute with the oboe and/or clarinet, then the strings take over until a dramatic pause at measure . After the 2 ½ beats of rest the strings come back once again with a dominant chord (V). The melody is then tossed around between the woodwinds and strings until after a brief cut-time section the strings first state the pitsicato ascending chromatic pattern, which is used throughout the piece in chord suspension and transition. My favorite part in movement one then comes next. Sibelius builds and prolongs resolution by continuing the ascending chromatic pattern underneath the horn repeatedly playing the leading tone to V, which seems to have some sort of resolution even though it isn't root. He then holds a German V chord and then resolves to root before going on. The rest of section B is a collage of imitation, Coll`e style i, iv, v (minor), chromatic patterns, chords I, IV, V, and prolonging resolution and "resolving" with dominant chords.
“You gotta play this piece like an English military band would,” said Jules during band one day while rehearsing the first movement of Gustav Holst’s Second Suite in F. “1. March” begins with four notes played by the low brass which is then echoed by the upper woodwinds. The trumpets have a noble melody which broadens when the entire ensemble joins in. Next, the piece lightens up with an upper woodwind melody. Later on there is a euphonium solo, and following that is a grand theme with an extremely distinguished style. After, there is a change in style and time signature. One simple theme repeats with different dynamics and instrumentations every repetition. The Wind Ensemble played this piece at the Winter Band Concert on December 11, 2013. This work, though easy looking at first glance, was genuinely difficult to put together. It had few layers, so mistakes or intonation problems were extremely noticeable. Furthermore, the style of the piece was extremely intricate and hard to master. Therefore, “1. March” had positives and negatives regarding intonation, balance and blend, articulation, style, and dynamics throughout the entire ensemble and the low instrument section.
In Roman Catholic tradition, the requiem mass is a ritual celebration of the Last Supper within the context of a funeral. The requiem mass is distinguished from masses for other occasions by the presence of a specific text, laid out in the missal of Pope St. Pius V from 1570, and the absence of the more joyful parts of mass, such as the Gloria, and the Credo (Cave).
Symphony No. 5 in C minor, composed by the legendary Ludwig van Beethoven, is one of the most famous orchestral musical compositions done by the German-born composer. The symphony is broken down into four movements. The symphony has such a profound effect on so many people because of its use drama by introducing sudden and powerful chords which quickly grabs the audience’s attention as well as creating a variety of musical ideas through his use of excitement by way of fast and slow tempos. The first movement, Allegro con brio, which utilizes the Sonata form, contains an opening sequence or Exposition, which initially compels my attention during its first 6 seconds due to its powerful entry and introduction of the basic four-note motive (short-short-short-long) of the piece. The quick repetition in a lower step using strings in unison keeps me engaged due to its energy, as it sort of
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
Premiering in 1931, Still’s Symphony No. 1 was the first African-American composed symphony. The tone poem expresses the African-American experience from slavery to triumph. The first movement, Moderato assai (“Longing”), is in A-flat and features a classic blues twelve-bar pattern. The second movement, Adagio (“Sorrow”) in F major, sounds more spiritual, but continues the blues theme. The third movement, Animato (“Humor”) in A-flat, has two themes and two variations. In this scherzo movement we hear similarities to “I’ve Got Rhythm”. The final movement, Lento con risoluzione (“Aspiration”) in F minor, creates the idea of African-American triumph and pride by utilizing the entire orchestra, which includes, horns, woodwinds, strings, and percussions.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
The year is 1788 as Wolfgang Amadeus Mozart began to work on his last three symphonies during a time of strife for musicians as the Austro-Turkish War continues to war on in Austria. Tired from moving his family from central Vienna to the suburbs of Alsergrund all while in debt to his ears as he continued to borrow money from friends including a fellow mason, Michael Puchberg, Mozart finished his final symphony on August 10, 1788. This piece, nicknamed the “Jupiter Symphony,” coined by impresario Johann Peter Saloman, was Mozart’s longest symphony with a total of four movements, a typical symphonic form during the Classical era. The Jupiter Symphony totals to about forty five minutes of music ending with a quintuple fugato that brings back the five melodies introduced in the final movement making the closer one of the most complex examples of counterpoint that has ever been created. My goal shall be to give the reader a sense of Mozarts life at the time of this composition, a detailed analysis of all four of these movements, as well as a look at why this piece was seen as a work of innovation.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
Another programmatic theme present in this movement is the use of raindrops. This feature is first seen in measure fourteen with the flute. The flute is marked with staccato accents on each note of the repeating progression. The
The Symphony number 5 in C Minor by Beethoven is a classical piece that I played in High School, there is a lot of integral moving parts played during this selection. The movement and synchronization between each section, to include notes, tones, pitches, bars, and bridges are exquisite. Listening, as the music builds up and then softens this is known as the (The Subido Sinado Technic). This technique leads your imagination to believe that there’s a competitive force driving the communication of each section as if there some intimate jousting accruing right before your eyes. The structure of the bridge change allowed the mood of the selection to change without recognition. One of the most captivating experiences is the instrumental part, strings, brass, horns, how talented and professional they are, every note is crisp, the melody is enchanting.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
Berlioz wrote this piece based off of passionate love for a beautiful woman, this symphony describes his obsession, with this woman he was self-destructive. Most orchestra music is based off of classical western music but Symphonie Fantastique is a love story. He had created his music that was his and no one else he is known for being original, although Beethoven had some influence on Berlioz’s work but like Berlioz, Beethoven had also created his own music. Symphonie Fantastique’s is forty-five-minute-long piece that has five different movements in it. The piece is called an idee fixe; this means a fixed idea this is due to the fact that throughout the symphony there is the same repetitive form of the notes just each in a different manner. The instruments used to perform this symphony are flutes, oboes, clarinets, bassoons and French horns along with many other brass instruments. Symphonie Fantastique is called a programme music because it does not just describe music but it describes a story. The fourth symphony is supposedly about Berlioz having a dream that had killed his love in a moment of angry and was being carried away but the “police” to be executed and as he is being taken away a march is playing and as he thinks of his love one more time than his head was cut off. After many years of success Berlioz had moved back to Paris in 1868, he was lonely because his marriage to Smithson did not last long and his second wife had passed in 1862, and his son had also passed away. Berlioz had then died at the age of sixty-five in Paris. Berlioz may have died a lonely man but he left a new type of orchestra music, he wrote music whit his heart and it may have been destructive but it was beautiful and it helped influence music then and has still introduced more
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.