1. The pitch class sets appearing significantly in this piece are 026 and 014. Although there are two sets, the 026 set is seen more frequently especially at the end of phrases. However, it can also be seen alternating between other pitch class sets as in system 14 (026, 0135, 026, 0135). A repeated idea can be seen when comparing the beginning of the 2nd section (system 6) and the beginning of the 6th section (system 13). The repeated idea seems to consolidate systems 6 to 13 into one middle section.
2. In systems 2 and 3, Takemitsu builds his melodies on octatonic scales while in system 4, he builds the melodies using pitches from a whole tone scale. System 5 returns to using pitches from an octatonic scale. Beginning at system 6 to the end of system 8, the melody is derived from two
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Analyzing the intervals between sections and tying them into a larger perspective would be another way to explore this piece. Takemitsu seems to favor an emphasis on the 4th interval: the last note of system 5 (E-flat) to the first note of system 6 (A-flat), the last note of system 8 (G-sharp) to the first note of system 9 (D can also be spelled C double sharp to create an augmented 4th. Given this compositional style, examining the relationship of 4th intervals to tritones may be beneficial. The use of tritones can be seen both in the written notes and in some instances of multiphonics, for example towards the end of system 5 (A and D-sharp). Tying this into a larger perspective would also address the importance of the 026 pitch class set. Since the distance between 0 and 6 is a tritone or an augmented 4th, trying to connect tritones to fourths may perhaps shed light on the importance of the interval in this piece. Another topic of interest is how to divide the piece into musical sections. Although the composer places rests and holds at the end of the phrases, an overarching idea seems to group these ideas together into an entity by the organization of pitch class
1. Wide-ranging, dynamically expressive tonal melodies are played in equal temperament and generated from logical tonal harmonic progressions. 2. A simple, isometric, and restricted rhythmic range is used. 3. The texture is homophonic, that is, a principal melody line with accompaniment. 4. Clear periodic formal structure is favored. 5. The instrumentarium is restricted and standardized.
I have to pull two alleles (two straws) from the bag to represent one fish because fishes like humans get two alleles one from their father and one from their mother.
Section 3 is more merry and cheerful with the violins leading what feels like a race to be won. As they slow slightly we are soon dragged back to full speed and the race is on again. The violins and cello play off of each other as if in composition to see who will win the race. The bass brings in a dramatic flair as if building the suspense for the final climax of the music. The music slows to the point where you feel you have reached the end, but soon you are back on the journey again racing with the violins and lower instruments toward the finish line and the conclusion leaves the listener breathless.
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I am a plate that is made of clay that was taken from the Earth of Japan. But before I was made into a plate I was up to the mountains near a big forest that had a Jinja on top a beautiful waterfall where water fell from the top to the bottom and sometimes flowing to rivers. But when winter comes the waterfall would freeze into shards and when the winter goes the shards and snow turn into water filling up the waterfall making a waterfall from the top to the bottom flowing with an immense amount of water to rivers and ponds that would sometimes connect with the waterfall. My maker crafted me to be used as art depicting many natural objects or buildings even sometimes people in the drawing. I am also used to hold a meal for a person who would eat the nourishment from top to bottom. Most of the time I would have fish from the ocean or rice that was farmed in flatlands on top of me.
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The first section, which we will call section I, starts with the opening chant and ends with a strong cadence on measure 18. It uses six overlapping phrases to express the first sentence of text. The first canon starts with the bassus voice, but the starting voice changes throughout the piece. However, each canon, throughout, is sung at the fourth. There are four strong cadences, m. 2, m. 5, m.10, and m. 18, each marking the end of a thought in the text. There are also many other places that exhibit a kind of pseudo-cadence where the modern ear expects to hear a resolution, and the resolution is reached; however, movement among the middle parts nullifies the effect of the cadence. For example, in m. 12, the superius and the bassus parts seem to reach a cadence point, but the tenor and alto parts continue to move catching the listeners attention away from the cadence point.
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Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...
In bars 9-13, it is evident that Bach had thought of the bass prior to the creation of the right-hand harmony, letting it remain the same from previous measures. Afterwards, in mm. 22-25, the move to the subdominant is emphasized by using extensive scales instead of the florid counterpoints. The inversion of bars 9-13 is then found in bars 26-29. Bars 26-34 recall the original key, modulating from subdominant D flat back to A flat, restating the main subject of the prelude. The fugue’s subject is introduced in the tenor voice, with the answer being in the bass. After a fairly prolonged codetta, the subject and answer comes in, in treble and alto respectively. Much of the piece is based on the counterpoint found in bar 2. Throughout the piece, there are five episodes. Bars 7-10 are formed on the counterpoint found in bar 2. The second episode is based from bar 3, with an inversion of the third voice; an inverted version is later identified in episode 4. Another inversion of the second is established in bars 14-17. At last, bars 25-27 is constructed from the passage of semiquavers in bars 2-3 in tenor, with the addition of treble and alto
The next element I discovered was the pitch of the music. Relatively speaking, I would estimate that the majority of the pieces were on the high side of the pitch, and therefore frequency, scale. The range of pitches was moderate, but as stated previously, mostly higher notes were used.
There are two main rhythmic ideas that are present in this piece. The first is the regular rhythmic pulse in the pianos and mallet instruments
3 is the second movement of the piece. It lasts around five minutes of the total 22 minutes of the whole Orchestral Suite. Air is written for Trumpet, timpani, oboe, violin, viola and continuo. It is written in major key. The meter is duple, and I would dare to say that it is quadruple. The texture is polyphonic. It has a slow tempo and there is no presence of accelerando nor ritardando. The harmony is consonant. Melody is conjunct and peaceful. Has a lot of repetition. The melody is consistent. The string instruments are prodminant whereas the timpani and oboe just go along with the melody. Esta es una pieza sencilla binaria; claramente no hay devolución del material melódico apertura en la segunda parte del
...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.
The exposition of Dussek’s Piano Sonata in G Major can be broken down into two primary themes, two secondary themes, and finally a transition into cadential extension. The first primary theme is made up in large by a parallel period. The antecedent begins on measure 1 and continues to measure 4. A 2:2:4 sentence connects the antecedent with the consequent, which begins on measure 12. Much like the antecedent, the consequent gives off an impression of statement and response; however, it is more apparent in the consequent due to the drastically changing dynamics. Overall bleeding into the continuation of the consequent which begins on measure 16. The continuation concludes with a sequence emphasizing the central theme of the piece. The silence within the figures of this theme bring attention that a change is about to take place, leading into the second primary theme. While it can be considered a transition due to the right hand primarily playing sixteenth note runs with a chromatic structure, measure 23 is the beginning of the second primary theme. The secondary theme can b...