music
- Created by: jack
- Created on: 14-04-13 15:55
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- music
- new york counterpoint
- tonality
- written in B major but heard in A major
- harmony
- very static sense of harmony
- 'imperfect cadence' repeats between chord 4 and 5 makes up the harmony
- chord I according to the heard key signature is A major but we don't hear this till bar 27 with all 4 parts playing a iverson of the A chord this makes chord 5 seem like it is the tonic
- chord Ic appears
- chord I according to the heard key signature is A major but we don't hear this till bar 27 with all 4 parts playing a iverson of the A chord this makes chord 5 seem like it is the tonic
- structure
- contrapuntal / counterpoint
- consists of pure layers of the melody lines that
- notes are added and removed slowly over time.
- contrapuntal / counterpoint
- tonality
- prelude to afternoon of the faun - ddebussy
- song to go with poem
- tonality
- sense of unclear tonality plays reference to the lack of clarity
- because of chromatic melody
- e major (in bars 105 - 106 perfect cadence )
- sense of unclear tonality plays reference to the lack of clarity
- texture
- opening flute solo is monophonic
- doubling of instruments is common (including examples of octave doubling)
- pedals occur (bars 106 - 110)
- In bar 107 homorhythm is employed in Horn and violin 1 parts
- pedals occur (bars 106 - 110)
- doubling of instruments is common (including examples of octave doubling)
- opening flute solo is monophonic
- structure
- Ternary
- A B A CODA
- Ternary
- Harmony
- use of 7 th chords which doesn't resolve
- melody
- flow my tears
- tonality
- A minor
- started as an instrumental then words where added later
- vocal sung in tenor (male) , male alto
- 3 sections
- section 1 bars 1-8
- ends with perfect cadence
- section 2 bars 9-16
- ends with imperfect cadence
- section 3 bars 17-24
- ends with perfect cadence
- section 1 bars 1-8
- has false relations in bars 5
- creates a poignant effect to reflect the sad words
- rhythm
- used reflexively
- word painting used in the words ' flow my tears' - descending
- exile is a upwards motif
- its a strophic song
- music doesnt fit words in verse 2 "tears" -"feare"
- 3 sections
- 1st finishes with perfect cadence
- 2nd opens in relitive major and finishes in imperfect cadence
- 3rd finishes with a perfect cadence
- happy is the highest note to show happiness (word painting)
- the vocal range is very narrow biggest leap is minor 6th in bar 1
- tonality
- howling wolf
- earthy raw quality to voice
- frequent slides and bends
- wordless "whoos" accompany the first part of guitar solo
- vocalisation
- texture
- mostly homophonic in the verses.
- there is dialogue between voice and lead guitar
- structure
- 6 choruses of the standard 12 bar blues
- added to introduction
- 6 choruses of the standard 12 bar blues
- tonality
- G major throughout
- blues notes used
- harnomy
- 12 bar blues progression
- I - IV - I - V - IV - ( I ) - V
- the last bar (dominant) prepares the ear for the return to the tonic in the next repitition of the sequence
- I - IV - I - V - IV - ( I ) - V
- 12 bar blues progression
- melody
- piano sonata
- texture
- melody dominated homophony
- melody in right hand and melody in the left
- alberti bass
- bar 71
- structure
- sonata form
- exposition
- ends with perfect cadence
- chages key to F major
- could be described as coddetta
- first subject is B flat
- development
- variety of keys including F major Gm and c m
- recapitulation
- b flat
- repeats exosition but alters transition of second subject now goes to tonic key
- exposition
- sonata form
- tonality
- uses functional tonality
- modulates to closely related keys
- harmony
- functional harmony based standard tonal progressions
- bars 9-10 , perfect cadence
- bars 21-2 imperfect cadence
- bars 83-4 interupted cadence
- bars 21-2 imperfect cadence
- 7th harmonies are used frequently
- dominaint 7th harmonies used frequenly
- texture
- ohime
- new seconda pratica
- texture
- 5 vocal parts
- canto
- quinto
- alto
- tenor
- bass
- homorhythmic
- 5 vocal parts
- structure
- through composed
- section one : texture builds
- section two two equal sub sections each with same text the secound is a varied and transposed repeat
- 5 part but with 3 part passages involving varied repetition of a passage featuring parallel 3rds
- section two two equal sub sections each with same text the secound is a varied and transposed repeat
- section one : texture builds
- through composed
- tonality
- functional tonality
- dorian mode trransposed to G with key signiture of one flat
- composer blurred the mode by often altering E naturals to E flats
- F natural to F sharps
- composer blurred the mode by often altering E naturals to E flats
- number of false relations in section 3
- **** the rest of ohime too long
- harmony
- dissonants used
- lamb
- upper ranges are narrow
- texture
- homophonic
- soprano main melodic interest with others provide melodic support
- two part writing
- homorhythmic
- homophonic
- structure
- strophic
- A B Av structure
- each line represents a poem line
- tonality
- g major verse 1 and 2
- second, fifth, bar is bitonal G major and E flat
- bar 6 is a retrograde of bar 5
- begins in G major end in E minor
- harmony
- four part writing
- built on triads and seventh chords
- modal harmony with a perfect cadence
- soprano and tenor have consecutive perfect 5ths
- modal harmony with a perfect cadence
- built on triads and seventh chords
- four part writing
- melody
- bars 1-2 are the basis for everything that follows up to bar 6 and in the soprano part thereafter
- serialism
- use of inversions and retrograde
- word setting is syllabic
- rhythm and metre
- no time signature
- music to be flexible
- guided by words
- music to be flexible
- no time signature
- tupelo honey
- unusual 7 minite song
- texture
- homophonic
- instrumental in bar 21 in initially polyphonic
- structure
- despite the apparently complexity of the transcription it works on a straightforward verse/chorus form
- repition of chord sequences thoughout
- tonality
- Bb major thoughout
- harmony
- diatonic harmony thoughout in Bb major
- uses a limited range of chords
- I - III - IV - V
- chord 3 is a second inversion Dm/A
- melody
- rhythmically complex
- many improvised variants on the melodic shapes
- melody uses higher end of the male vocal range
- pentatonic shapes in Bb dominant
- rhythm and metre
- slow ballad 4/4 tempo allows space for improvisation
- vocal line is syncopated contains anticipations and retardations
- rhythmic complexity of solos section with cross rhythmic layering
- bass uses repeated rhythmic ideas participially bars 2 and 4
- new york counterpoint
- minimalist
- lack of clear structure
- could be described as ternary with 3 parts A-B-A
- with section B defined as the 4 part pulsating chords
- could be described as ternary with 3 parts A-B-A
- structure
- blues
- 4 part writing
- homorhythmic
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