Main Items of Change in Bartok's Concerto
The Bartók model is more dissonant, harmonically ambiguous in places,
and more interesting rhythmically. It is written for a large full
orchestra with no set concertino group and involves more use of
percussion instruments. Bartók uses short, narrow melodic phrases
with a strong contrapuntal texture in places. He uses scales other
than major and minor, and there is extreme chromaticism and virtuoso
handling of a wide range of instruments, with specific and direct
instructions for the playing of those instruments.
In the first movement, the wedge figure which appears frequently is
very chromatic. The Serbo-Croat melody in bar 76 is based on the
germinal motive: F, G, Aflat, Bflat, Bnatural, C. The F – Bnatural
of which is based on the octatonic scale made up of alternating tones
and semitones, it is also an augmented fourth, tritone. In this
section, the time signature changes very frequently. The clarinet and
oboe parts at 118 play a whole tone scale, with the interval of a
tritone between the parts.
The theme at 155 in the oboe is based on an Arab melody, with a narrow
range, with a drone in the bass. There are often parallel moving
chords, such as in the violins at bar 192, and the trumpets and harps
at 462. These parallel moving chords are reminiscent of Debussy and
impressionistic elements.
In the recapitulation, all of the subjects are brought back in the
wrong order. At 424, like 192, the chords between the flutes and oboe
are spaced out, with the oboe between the flute parts, and the second
flute playing very low. At this point, there are cross rhythms with
t...
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...trong contrapuntal fugue with a bizarre village band type
accompaniment. A series of octatonic scales begins in bar 409, and
there are whole tone scales in the strings at bar 533, with glissandi
in the basses.
Throughout the work Bartók uses a wide range of percussion
instruments, such as timpani, cymbals, side drum, tam-tam and bass
drum. Bartók uses very precise instructions for the playing of these
percussion instruments, such as in the first movement at bar 390,
cymbals to be played with the thick end of the Side Drum stick, in the
second movement at the start, the side drum to be played without
snares, and in bar 114 of the fourth movement, the tam-tam is to be
played laissez vibrer.
Therefore, the main items of change are more dissonance, rhythmically
more interesting, and the use of a larger orchestra.
At bar 54 the theme in the oboe, clarinets and cellos is based on the
...re the flute returns accompanied by a string sequence. The tonality alternates between major and minor continually. The strings play an arpeggio melody, in major, as the oboe plays a descending chromatic scale with a diminuendo and perfect cadence
Percussion instruments are by far the most dominant of the four major instrument families. There are many different types of cymbals and drums, which are ...
An outcast is a person who has been rejected by society or a social group, an outsider. Many times outcasts are rejected, isolated, and judged. However, what gives us that right to isolated, reject, and judge other people? When in fact you may not even know the person whom you are showing this impoliteness to. Djuna Barnes was an outcast. She has been rejected, isolated judged yet, she figuratively took the word outcast and made it her own. She speaks for those who can’t speak for themselves.
The orchestration comprises of a standard set of instruments, including two flutes, two clarinets, two oboes, two bassoons, two trumpets, three trombones, four horns, timpani, bass drum, cymbals and strings. An additional instrument is the tuba (Chung 22). Moreover, it appears that the piano is not the only soloist; rather other instruments such as flutes, clarinets and horns make minor appearances for similar purposes.
trumpet or flute. It was the right hand corner that filled in the material during the rhythmic
The concert started with a religious piece called Profanation from Jeremiah and it was based on a biblical story of a prophet named Jeremiah and his story in Jerusalem. This music piece tends to be a folk music. The music piece is managed to be divided into three sections, prophecy, profanation, and lamentation. The song starts with a solo horn fading in slowly playing over for couple seconds until a solo flute takes the roll along with a softer drum roll leading to a gathering of bassoons and clarinets.Also, the trombone enters in a high pitch increasing the song tempo.The melody throughout the song was lead by the flutes in first and then by the violins. The symphony ends with a three-note motif in a melodic gesture leading the song to end with a quiet tone.The second music piece is called candidate suite and it was conducted by Clare Grundman and has five parts. The first part is called The best of all possible worlds. In addition to Westphalia choral, Auto da fe, Glitter and be gay, and Make our Garden grow. The song starts with a high timpani hit and a brass fanfare. The melody then is lead by the trombone, and the flute joins the trombone. The tempo and the melody tend to be fast and there was soloist by the flute, clarinet, and the bassoon. The piccolo then leads the melody and shapes a descending tone. In the middle of the song, the theme sounds quiet and slows with a flute solo in the
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.
This is a song released in late 1980’s, written and produced by Giorgio Moroder and performed by Donna summers. It is an all time disco classic which used futuristic production in an era where the industry standard was orchestra.
... 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.
Many of the ethnic instruments they brought with them were adapted into the drum set: gongs, “Chinese” cymbals, tacked tom toms, Temple Blocks, Woodblocks and Cowbells. Greek immigrants contributed a small musical disc known as the “Greeko” cymbal, and a Turkish immigrant family named Zildjian brought with them an ancient technique for manufacturing high-quality, hand-hammered cymbals that would shortly make them a household name among drummers around the world. This early sit down “contraption” included a variety of percussion instruments including whistles, sand paper blocks, gongs, woodblocks, triangle, temple blocks, cowbells, and a goose neck style cymbal stand. By 1920, this set up became the standard. these early sets were known as “trap kits,” a name that’s still used occasionally to describe the drum
painting, and I react as such. There is a clear blue middle that he seems to draw attention to.
...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.
Some of the musical features included in this extract would be the timbre. Throughout the entire extract
The Classical Period brought forward new musical innovation. The sudden change in emotion and contrast in the music from the classical era is one of the many fascinating topics. However, the topic most talked about to this very day is Mozart’s Requiem. The mystery of which parts were composed by Mozart puzzles many. Even the rumor that surrounds Mozart’s cause of death is fascinating. Peter Shaffer’s play Amadeus, added more controversy to this intriguing mystery.