The Overlooked Richness of the Recitatives of Bach's Cantata 78 In "Expressivity in the Accompanied Recitatives of Bach's Cantatas," George J. Buelow writes that although many of the distinguishing properties of Bach's music have been studied over the years, few scholars have examined Bach's recitatives or have given them proper credit. He notes that these recitatives generally either are ignored by musical scholarship or are briefly discussed with "general errors" or "confusion." 1 For example
substantial aspect of Kuchka’s music is the evasion of a dominant function by not raising the 7th scale degree, and eventually leads to plagalism or the use of modes. However, the utilization of a dominant function either as a major chord or as a major-minor seventh chord exist in all songs of this oratorio. In song no. 2, the dominant function occurs as a major chord (m. 18, m. 30, and m. 119) and as a major-minor seventh chord (m. 46), while a minor dominant only occurs in parts that are in the C# Aeolian
of secondary chords, relative keys, and extensions of the dominant function, as to avoid tonic, which represents her death. In addition, Bizet manages to establish a sense of ambiguity to Carmen’s view of her fate through unusual progressions and breaking of sequences. (Encyclopaedia Britannica) Secondary chords have a very specific function throughout this piece. Beginning at measure 38, there is a pedal of F in the bass line, as well of the use of a fully diminished vii43/iv chord that moves to
Schubert’s setting of Goethe’s poem, “Gretchen am Spinnrade,” is evocatively beautiful and menacing – an ominous feeling of overwhelming melancholy and love’s fateful delirium. The lyrics are in stanzas of four and are in strophic form. Schubert’s D Minor setting is through-composed and accordingly illustrates the sorrowful feelings of Gretchen. The first stanza, “Meine Ruh’ is hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr” following the third and sixth stanzas transforms, not into
This can be heard in the way the song seems to persuade the listener to glide gracefully through the sounds. The track So What was instrumental in the introduction of chords that were often referred to as the "So What Chords". Bill Evans’ chord voicing included intricate harmonies such as elevenths and sevenths of the minor seventh chord. Each song that came from this album would have a lasting effect on the world of Jazz. Kind of Blue has continuously been considered one of the best Jazz records ever
Wolfgang Amadeus Mozart, (1756-1791), was a creative composer of the Classical era. Wolfgang Mozart’s piano sonatas present a particularly neat picture. During the Classical Era, the type of piano which was the fortepiano was extremely different than today’s modern piano. That being said, the use of dynamics was crucial and affective in the classical period. I noticed that each of his sonatas has its own character, story line, dialogue, and meaning. In Mozart’s piano sonata in B flat major, K. 281-
part in distinguishing between the personalities, for instance in Frightening, section A Is mostly homophonic with mainly conjunct harmonic movement. Section B, however, doesn’t move in one functional unit, with the melody in the left hand and chords in the right hand - this top heavy harmony creates juxtaposition, magnifying the sense of craziness and vigour that is a trait of Florestan's personality. In "Of foreign lands and Peoples" section A's harmonic texture is flipped upside-down
marking (piano) is the visual change and supports the notion that the new theme begins. There is a triple figuration variation that interjects this theme. The interjection starts with a full measure of the new tonic, A chord, followed by a full measure of triplets, to a D sharp seventh chord (V7/V). This happens four times between measures 103-132. This is reminiscent of Haydn’s String Quartet, Op. 33, No. 2 “The Joke,” in the sense that the listener may think that the end has been reached just for Beethoven
solos, they would recognize things Davis was playing late in the solo, as variations on themes he was playing earlier on. On a more technical basis, it shows the difference in the two solos, of the amount of time Davis spends on notes outside the chord. In ‘New Rhumba’, the earlier piece, his use of extensions is greater, and there are far more times where he uses flattened, or sharpened extensions. The later piece, ‘So What’, is less active in this area. This essay reveals some of the aspects of
anacrusis, before the first bar in the piece. Starting in C major the bass remains fixed to the C throughout the song whilst chords ov... ... middle of paper ... ...nown chord. Bars 9 and 10 of the theme return to the original E minor chord along with the same opening melody. But in bars 11-12, the music suddenly heads in a new direction, sounding out three more minor chords that bear no relation to one another. The resulting sound isn’t just unusual. Since the progression is curious, it creates
overture in Baroque style. Beethoven uses dotted rhythm, which is a very short chord followed by a long one. The piano, especially the pianos during Beethoven’s time, could not sustain strong chord for long, because the tone dies out. However, Beethoven had a nice way of dealing with the piano’s shortcoming, which is not able to sustain strong, turning them to become advantages instead. The dying out of the piano chord makes way to play the dotted rhythm soft. The first four bars are built upon tonic
is a chord progression derived from the equal tone tuning. In a circle of fifths, the 12 keys are arranged with equal intervals in between, in a way that each key is a fifth below, or a fourth above each other. Figure 1. Circle of fifths (Shepherd, 528) It was known as the most logical, natural movement of one chord to another in Western music. Each of the twelve keys is arranged like numbers on a clock representing the root notes of a chord (including major, minor, or dominant seventh). Moving
mid-register of the piano, supported by low octaves that outlines the harmonic progression. Everything culminates to a dramatic ascending scale with a long trill that falls on a B flat minor chord. After a moment of outburst, half-diminished seventh chords were played; projecting pain and sadness which is supported by a dominant pedal on F key that symbolizes darkness. The last section returns to the theme with a hint of resolution given at the last few bars with bell-like
Funk is a music genre that originated in the mid- to late 1960s when African American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues. Like much African-inspired music, funk typically consists of a complex groove with rhythm instruments such as electric guitar, electric bass, Hammond organ, and drums playing interlocking rhythms. Funk originated in the mid-1960s, with James Brown's development of a signature groove that emphasized
Antonio Vivaldi is a famous Italian baroque composer, known by most Suzuki violin students who study his concertos or by audiences everywhere who have heard and love his composition of the Four Seasons. Having grown up as students of the Suzuki Violin Method, we recognize this composer and have experience performing his pieces. In addition to his many concertos written for solo violin, Vivaldi composed many concertos intended to be performed by two solo violins, accompanied by a small orchestra
Chopin pioneered the idea of creating a true artistic form from technical exercises, making his etudes historically important. Each etude has its own musical story to tell even though they adhere to a basic principle as a means to train and refine the performer’s technique. They are not simply dry and repetitive exercises like etudes prior to Chopin. There’s emotion behind his etudes that transcends from technicality and mere note playing to a true virtuosic artistry that is executed with delicate
Rossini and Il Barbiere di Siviglia Gioachino Rossini, like many great composers, was born in the right place at the right time. The musical firmament was still mourning the loss of Wolfgang Mozart in 1792 when Rossini was born. His parents were both gifted musicians, and young Gioachino was in a music conservatory by the age of 14. Rossini composed ten operas within the following seven years and had established himself as a gifted composer in the opera buffa style. This genre of comic opera
easily be called a I-V-I, just like any other piece. That is fine. Because every song essentially is I to V to I, there must be something else that differentiates this piece from everything else. What makes this piece interesting? What makes tonic to dominant back to tonic worth listening for? To put it frankly, the notes in between the beginning, the middle, and the end, is what makes anything sound different. Bach devised some interesting ways to train our ears to listen to aesthetic notes when, in
Hongwei Cai Phrase, Subphrase in Granados’s Piano suite Goyescas (Los Majos Enamorados), No.1 Los Requiebros The late nineteenth century to the early twentieth century was a flourishing era in the music community to both musicians and music fans. A great number of composers through their unique musical aesthetics and unrestrained creativity composed a great volume of different style music. A major contemporary trend or the feature of the music at that time was tonality collapse. However, there
musical training... ... middle of paper ... ...s and syncopation. Though a passepied is traditionally written in triple meter, Debussy employs an interesting choice of meter throughout his piece that deviates from the norm of such a form. Modal chords give it a rather moto perpetuo feel, meaning a fast tempo and a steady, continuous stream of notes. Present in almost every measure is a crisp staccato accompaniment under which the melody provides us with two themes: the acicular introductory theme