Grieg Notturno
- Created by: gifteddipstick
- Created on: 12-03-23 13:06
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- Grieg Notturno
- Dynamics and articulation
- Generally quiet dynamics with the biggest contrast in section B which is representative of the recap of the day before falling asleep
- Similar to dynamics, articulation is mostly legato and the sustain pedal is common
- The nightingale call is the exception to the smooth articulation as it has to sound like what it's representing
- Section B also has the greatest change in articulation as well as dynamics
- Rhythm tempo meter
- The piece starts in 9/8 and has that compound time signature 'lilt'
- Section B is therefore made distinct from section A as it is in 6/8; keeping the lilt but giving it a new feel
- There are also metrical timed rests through random bars of 3/8 that are silent
- The slow tempo also gives it a dreamlike feel
- Structure
- The piece is in ternary A B A' coda
- The time signatures tend to denote a new section the clearest of anything
- The way the piece is really 'nocturne' in style is through the three sections each representing a different stage of falling asleep: relaxing, reflecting, drifting off
- This was also the only piece that Grieg wrote in this style to show connections to Europe from his Norwegian background
- Melody
- Chromatically descending LH
- Dreamlike high tessitura and pitch
- Programatic nightingale call at the end of section A
- Key interval of a perfect 4th
- Use of sequencing in A' to bring the music back to the home key and a satisfying finish
- Texture
- Almost all melody dominated homophony
- Harmony
- Tonally kind of ambiguous but it's assumed to be in C major (the other option would be A minor due to a possible raised 7th)
- Use of a harmonic sequence at the very end of the piece which is incredibly resonant and sonoric
- There's a use of a chromatic cycle of 5ths and a German aug 6th and Neapolitan 6th to modulate to G major (the dominant)
- Implied plagal cadence into A' through the lack of a 3rd in the chords
- Dynamics and articulation
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