Brahms ballad
- Created by: gifteddipstick
- Created on: 11-03-23 13:59
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- Brahms Ballad
- Dynamics and articulation
- Starts forte and staccato in sub a
- Sub b shows more piano and slurred articulation and even the use of a sustain pedal
- Overall B is much quieter and slurred with a cresc through sub a
- Sub b in overall B is also very quiet but perhaps shows a little more in the way of textural dynamics
- Overall A' is just like A really
- Rhythm tempo meter
- In 4/4 throughout
- Generally fast rhythms of quavers
- Use of syncopation is common in the A and A' sections
- There are many more dotted rhythms in overall B and the tempo feels slower due to longer rhythms
- Rhythmic patterns are extended in A'
- Structure
- Ternary A B A' coda
- Each section also has its own mini ternary form within it which leads to a very satisfying overall form
- This piece was written towards the end of his life and really showcases the musical genius he can now put into his works
- Melody
- Scalic patterns and the three quaver nanacrusis characterise the piece
- The melody is mostly characterised by what is heard in the first 4 bars or so and then extended (eg in overall A')
- Overall B introduces new melodic material
- Texture
- The texture is mostly melody dominated homophony
- In the codetta of A, it becomes chordal before going back to mel dom hom
- Harmony
- The piece's tonic key is G minor
- It starts to modulate through the cycle of 5ths to D major (secondary dominant modulations) and then back to G minor in overall A, sub A
- There is a tierce di picardie into a codetta at the end of overall A, sub A' that is used as a modulation to B for overall B
- It uses a mixture of diminished 7ths and augmented 6ths in B to create temporary dominants as perfect cadences into the new key
- Overall A, sub B is in Eb major
- Dynamics and articulation
- Untitled
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