File - Emma E Marsden

Marsden 1

Listening Log for Music Theory

Emma Marsden

18 November 2011

Introduction

The music composed between 1800 and 1900 falls into the Romantic Period.

Notable composers of this period are Wagner, Schubert, Schumann, and Beethovan. These composers aimed at reaching powerful emotions that often reflected their own personal lives.

Prior to 1800, composer’s primarily used tonic and dominant chords. By the end of the 1800’s, however, composers began using these chords freely in their pieces . One of the most important musical developments that came out of this period was the use of chromatic chords. Chromatic chords include chromatic mediances, augmented sixth chords, and altered dominances.. Composers’ also began modulating more to both distant keys and closely related keys. The use of the chromatic chords and the modulations are emblematic of the freedoms composers took with the music of this time period.

Musical form in this time period also differed from eighteenth century music. Form in this period was freer. In lengthier works, shape was achieved through the use of recurring themes and thematic transformations. Emphasis was placed on lyrical, expressive melodies that reflected and conveyed emotion. In addition, the textures of pieces in this period are heavier, with obvious tonal contrasts.

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Overall, the Romantic Period can be generally classified by the freedoms the composers took in the music. By expanding upon form and chromatic vocabulary, the composers were able to shape pieces that reflected delicately intricate themes and ideals.

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Sonata No 31 in A flat Major, Op. 111

Ludwig van Beethoven (1770-1827)

Sam Petrick, piano

Sept. 9, 2011

Tonality (include phrase design, cadences, modulation, and form)

This movement is arranged in the standard sonata form. The opening pauses briefly on a dominant seventh and then expands upon the cantibale theme. A second group of themes is then introduced through a modulation with figurations of a downward stepwise moving bass and upward moving soprano. The exposition ends with a cadential theme and is not repeated. The development restates the initial theme in a falling sequence. The recapitulation restates the opening theme and returns to the global key. The arpeggiated transitions restated and slowly modulates. However, it does not stay in the new key. The piece modulates back to the global key and closes with an authentic cadence, that appears to be preceded by a cadential 6/4.

Pitch vocabulary (include important melodic events and use of chromaticism)

This piece starts out in a major key. It modulates a few times but always returns to the global key. In this piece the intervals of a 3 rd and 4 th are very important. Pauses on rhythmically strong dominant seventh chords and arpeggiated transitions assist the modulations. In this piece chromatic chords are generally used to assist in either modulating away from or back to the global key.

Musical textures (include counterpoint observations and use of articulations)

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The piece combines small motives into larger themes which are then recapitulated and reworked throughout the piece. The piece is homophonic. The piece contains many different dynamic articulations that reflect important moments of transition.

Sonorities (include harmonic patterns and use of dissonance)

In this piece, chromatic chords are used throughout to modulate away from and back to the tonic key. This piece contains tonicizations, augmented, altered and borrowed chords.

Time organization (include meter, rhythms, and tempi)

This piece is written in four. However, aspects appear to be in two. Dotted rhythms and eighth note patterns are also present throughout.

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Il Brviare di Seville

“Una voce poco fa”

Gioacchino Rossini (1792-1868) and Cesare Sterbini (1784-1831)

Kate Hunt, soprano and Bernadette O’Connor, piano

9 September 2011


This aria is in E Major and does not modulate away from the global key. The aria begins with a lengthy piano introduction. When the voice enters at the recitative, the piano fades from elaborate embellishments to ascending and descending block chords with what appears to be a brief pedal point in the bass. The recitative ends in a perfect authentic cadence. This aria is written in rounded binary form and ends on an authentic cadence.

Pitch vocabulary

In this particular aria, chromatic chords are used to place emphasis on the text of the vocal line. The chromatic chords most often used in the aria are tonicizations and borrowed chords. Chromatic chords are also used heavily in the transition from the A section to the B section. In addition, cadenza’s are highly prevelant in the more dramatic sections of the piece.


This piece has a heterophonic texture as it is two independent lines. Specifically, the piece is textured as a melody plus accompaniment, with the soprano voice being the important melodic line.

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The sonorities in this aria serve to prolong the tonic of E Major. The aria uses mostly consonant chords and the chromatic dissonances all appear to resolve correctly. The chordal structure of the aria, outside of the chromatic chords and dissonances, largely follows the standard I-IV-V7-I progression pattern.


This piece is written in ¾ . The aria is taken at an Andante tempo. This piece has many dotted rhythms to provide accent to the vocal line. In addition, quick 32 nd note run also provide emphasis to important areas of the piece. Triplet grace notes also add to the rhythmic variety of the piece.

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La Boheme

"Mi chiamano Mimi"

Giacomo Puccini (DATES)

Inna Dukach, soprano and the DPO

21 October 2011

Tonality (include phrase design, cadences, modulation, and form)

This piece is written in D Major. This aria is written in a modified or free rondo form.

The piece begins with a brief introduction the A section which is followed by B—C-A’-B’ which is then followed by a recit/coda. The A section ends on a half cadence and is connected to the much shorter B section by a pedal point. The B section ends with a authentic cadence with ascending ^5-^1 motion. The C section is extended by a sequence and ends on a half cadence. A prime ends the same as A. B prime also ends the same as the first B section. However, the authentic cadence in B prime comes out of a descending ^5-^1 motion that is used to reflect the text. Sections connect through pedal points and 6/4 inversion chords. The aria ends in a recitative, or coda, that contains a pedal tonic prolongation to an authentic cadence.

Pitch vocabulary (include important melodic events and use of chromaticism)

This aria prolongs scale degree 5 throughout. Puccini uses chromatic and diatonic neighbor chords in this prolongation of scale degree 5. The lowered 3, raised 4 and lowered

6 scale degrees are also present in augmented 6 chords. Puccini also uses secondary V and diminished triads throughout the piece.

Musical textures (include counterpoint observations and use of articulations)

The aria is extremely legato and the melodic line is flowing and continuous in nature.

This is once again reflected in the pedal motion of the bass. The piece is heterophonic in

nature. It can be described simply as being melody plus accompaniment. However,

Marsden 8 orchestral parts do double the vocal line and add to its richness and variety.

Sonorities (include harmonic patterns and use of dissonance)

The dissonance in this piece is often used to place an emphasis on text referencing

Mimi’s inevitable death. The tension that the few moments of dissonance cause serves to add variety to the otherwise smoothly flowing line. The piece prolongs scale degree 5 (as both a member of the diatonic tonic triad and dominant triad) and sections of the aria are connected through pedal points and 6/4 inversions of chords. In the C section an obvious V,

IV chord progression is heard and followed by a sequence that brings the piece back the V.

The subordinate progression pattern is also heard, however, the pattern appears to use occasional substitutes for tonic.

Time organization (include meter, rhythms, and tempi)

This aria varies in meter. It switches from 2/4 marking to 4/4 throughout the piece. It can be described as andante lento as parts of it are at a walking speed and others are much slower. This difference provides excellent rhythmic contrast that helps emphasize important parts of the vocal line. In general, the tempo of this piece adds to the dramatic flow and tension of the text. Additionally, the bass line often returns to pedal moments that help to maintain the legato line of the piece.

Marsden 9

Etude in E Major, op 10 No 3

Chopin (1810-1849)

Lauren Erhart, piano

9 September 2011

Tonality (include phrase design, cadences, modulation, and form)

The piece is written in E Major and does not modulate, despite extended chromatic areas. This piece is arranged in a ternary form-ABA. The melody of the A section comes from repeated notes. The contrasting B section contains a restatement of the theme.

The return of the A section is merely a truncated version of the original A.

Pitch vocabulary (include important melodic events and use of chromaticism)

The melody of this piece is largely structured around repeating notes. The piece contains diminished seventh chords and tritones, particularly in the B section. The theme in B is restated on an extended prolongation of the dominant seventh.

Musical textures (include counterpoint observations and use of articulations)

The piece is legato in style and is written for two hands that play three distinct voices, or lines, making the piece polyphonic in texture. The line is leagato, with staccato areas.

Sonorities (include harmonic patterns and use of dissonance)

Subordinate progressions are used throughout the piece. In addition, dissonances are used in chromatic chords like tonicizations and borrowed chords. Dissonances are also found the tritone. In general, dissonances are used to extend the chromatic areas and to build tension and drama.

Time organization (include meter, rhythms, and tempi)

The piece is written in 2/4. In the A section, syncopated rhythms give the piece variety and build the melodic line. In the B section, the rhythmic pattern shifts dramatically, giving

Marsden 10 this section a turbulent feel. The syncopated rhythms of the original A section are once again repeated in A prime.

Marsden 11

Symphony No 8, Unfinished

Allegro Moderato

Franz Schubert

DPO

Oct. 12 th 2011

(rehearsal observation)


This movement is in sonata form. Specifically, the piece moves A-B-A-coda. The exposition begins in a minor key and modulates to the closely related key of G Major after a brief transition. Later on in the movement, it modulates again to E minor and then modulates once again B minor. It modulates once more and ends in a major key. The development is extended and restates the initial theme. The flutes, who had the main melodic role in the exposition, take over at the end of this section and mark the transition to the next. In the recapitulation, the closing almost repeats the exposition. However, it modulates and ends with a coda in the tonic key, of G Major. Throughout the entire piece, there are strong cadential areas, marked by the ^5-^1 motion in the bass.


This movement begins in B Minor. Chromaticism is used as a part of the most important melodic event. This event is a pattern that includes a lowered third. This theme is in minor and built around the tonic triad. Chromatic neighbor chords are also used widely throughout the movement. In addition to the chromatic neighbor chords, tonicizations and borrowed chords are also used.


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This movement is heterophonic. This piece does not use many articulations as the entire piece is very legato and sustained. It has a very drawn out feel and is rarely broken up.


In this movement, pedal dissonance is used to create tension in the legato line at the exposition and very briefly in the recapitulation. There are subordinante progressions throughout the piece as well as tonicizations. The tonicizations also occur in chains during transitions.


This movement is written in ¾ time. Syncopated and dotted rhythms also occur throughout the melody. The accompaniment mainly occurs in eighth note rhythms. The movement starts out slow and gradually gains speed until it reaches the recapitulation and the coda, where it slows back down.

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Sonata in B flat Major

Molto moderato

Franz Schubert (1797-1828)

Menahem Pressler, piano

21 September, 2011


The first movement of Schubert’s Sonata in B Flat Major, Molto Moderato, begins predictably, in the key of B Flat Major. However, it quickly modulates to a different major key. After this initial modulation, the piece modulates many other times. The modulations are as follows : tonic key, different major key, minor key, tonic key, relative minor, tonic key, and then finally, the movement ends in its parallel minor key. This piece is written in sonata form. The opening phrase is roughly 9-10 measures long and ends on an half cadence. This movement contains two primary themes, with multiple sub-themes thrown in to add variety and interest. The closing of the movement repeats the melody from the exposition a fourth higher.


In this movement, chromaticism is used in the modulation between the keys.

Tonicizations, borrowed chords and enharmonic respellings are the most frequently used chromatic chords. The leading tone is also highly utilized when the piece is modulation. In addition, much of the chromatic vocabulary from this piece is found in the lower voices of the left hand.


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This movement is heterophonic, due to the two rhythmically independent lines.

However, there are moments of rhythmic homophony, particularly in the beginning of the movement


The most commonly used, non-diatonic sonorities are tonicizations, enharmonic respellings, borrowed chords, and altered dominances. Dissonance is employed, primarily through the use of sevenths (tetrads), which, for the most part, resolve as expected.

Dissonance in this movement is also used to create tension to build up the multiple modulations.


This movement is written in cut time. There is rhythmic unison at points as well as 16 th ,

8 th , and 32 nd note rhythmic areas.

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“Titan”

Symphony No 1, in D Major

Langsam, Schleppend

Gustav Mahler (1860-1911)

Cincinatti Symphony Orchestra

24 September 2011


This movement is written in modified sonata form. The introduction of the movement begins slowly in minor and then modulates to a major key. The first section has a drone with a descending arpeggiated motif, ^5-^1, in the woodwinds. The melody is first presented in the lower strings and is later taken over by the brass. The development brings back the introduction and the drone. The recapitulation is dominated by horn fanfare and a new motif takes over. This movement utilizes authentic, half, and deceptive cadences.


This movement opens on a drone of the dominant. It then continues in a ^5-^1 pattern. A fanfare motif follows this, in the clarinet and trumpets (who start off stage), in a descending pattern. A descending seconds theme is also used. Chromatics are used in tonicizations and borrowed chords. Chromatics are also used as sevenths and leading tones.


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Melodically important aspects of this piece include the drone and the two note motif. This movement is heterophonic. It is considered heterophonic because it contains two distinct lines. The beginning of the movement appears to homophonic. It is very thin.

Much of the piece is lyrical and flowing. However, the melody has many marcatto points.


This movement contains many pedal points and tonicizations. This movement also uses many variations. Subordinate progressions are also found in the piece. There are also a lot of passing areas in the piece, particularly in transitory areas.


This movement is written in 4/4. The movement posses borrowed rhythms and also employs triplets and suspended rhythms. Dotted rhythms and syncopation are also present. Much of the rhythmic variety comes from the fanfare. It is taken in a waltz tempo.

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“Titan”


Kräftig bewegt, doch nicht zu schnell , Recht gemächlich



24 September 2011


The form of this movement is a modified minuet and trio. This movement is written in A Major. The same melody repeats throughout and outlines A Major in the strings and brass. This section comes to a close with an authentic cadence. The middle section, the trio, is much slower than the melody. This section contains little brass orchestration. Mahler briefly interjects a rising form of the initial melody before bringing it back formally, and closing the movement with another authentic cadence.


Only one theme is presented in the movement. This melody is mainly presented in the brass and in the strings. Chromatic pitches are used to bring in tension and build the climaxes of the movement. They are also used in the ascending chromatic line of the main theme.


This movement is heterophonic. This movement is heterophonic as there are only two voices-the melody and the accompaniment. At times, it sounds like it is not due to the

Marsden 18 canon or round like thematic action. The first and third section of the movement moves briskly and is contrasted with the slower, more legato, middle section.


This movement contains the standard I-IV-V-I subordinate progression. Dissonances in this movement are used mainly as leading tones and suspensions over the bass.

However, these dissonant areas are rare. The main chords used in the piece are tonic, subdominant, and dominant.


This movement is organized in three at a waltz tempo. The first and third sections of the movement are taken at a faster tempo then the middle section. The main theme utilizes dotted rhythmic patterns.

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“Titan”


Feierlich und gemessen,



24 September 2011


The third movement of this symphony begins in D minor and is written in ternary form. The initial theme is based on the round “Frere Jacques” in a minor mode. This section cadences with sol-do motion in the base, leading one to believe it is a authentic cadence.

The movement modulates to G Major and E Flat Minor. The middle section is based on jewish folk music and overlaps with the round from the first section. The final section brings back the initial round theme.


One of the most important melodic events is the round in a minor mode. It is in a minor made due to the chromatic lowered ^3. The round is accompanied by a pulsing bass drum. The countermelody is played by the oboe. In the middle section, there is more chromaticism as it is very indicative of the Jewish folk music on which it is based. Many of these chromatics act as passing and neighbor tones/areas.


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This movement is heterophonic as indicated by the canon. Parts of the piece are legato and are are very spiccatto and bounce like.


This movement has obvious sol do motion throughout that points to a definite prolongation of tonic. The piece utilizes borrowed chords. There is not much dissonance, due to the canon. All dissonances in the middle section are harmonic.


The piece is written in 4/4, using syncopated rhythms, half notes in the timpani in the bass, dotted rhythms and lots of eighth notes. There are very few borrowed rhythm, giving the movement a subdued quality.

Marsden 21

“Titan”


Stürmisch bewegt – Energisc



24 Septmeber 2011


This movement is in a rondo form. It can be described as ABA’C-with C representing the previous Allegro. The movement begins in f minor with dissonance and modulates to D

Major with a descending fourth pattern. The middle and ending sections bring back the fanfare themes from the previous movements. There are half, authentic, and deceptive cadences present in the movement.


The movement begins with an angry and dark theme, meant to represent hell that is particularly emphasized with the low brass. It is played in minor. The fanfare of early themes also returns. Chromatics in the woodwinds are used to build dramatic tension.


The thick texture and marked style of playing, lead one to believe that the piece is polyphonic. The final section is long and rounded in texture, with loud crescedendos and obvious decrescendos.


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Subordinate progression are used in the movement . There is also the standard use of tonic, subdominant, and dominant chords leading and building upon a tonic prolongation. Extension of cadential action creates dissonance with chromaticism in the transitions to the new keys.


The pieces is written in 4/4. Fanfare patterns occur in the trumpets at the end of the movement. Triplets are also used in the horns. Dotted and borrowed rhythms are also evident throughout.

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Conclusion

In the pieces described above, many aspects are indicative of the music written between 1800-1900. One of the indications is that music in this period began to be written largely in what is known as sonata form. For example, the forms of Beethovan’s Sonata No

31, and well as many of the Mahler Symphony No. 1 movements, can all be described as sonata form. This form is much more structured then the strophic form previously favored by composers. Another indication of the time period can be found in the composer’s use of chromatic pitches. An example of this being the tonicizations and borrowed chords found in the first movement of Schubert’s Sonata in B Flat Major. In this time period, composers began to use chromatic chords and pitches freely to change the key or tonal area of their pieces. A third indication of the time period can be found in the musical expression and articulations. In this time period, composers’ began to focus on making their pieces tell a story and evoking a response from the audience. The best example of this would be all four movements of Mahler’s Symphony No 1. The movements of this work clearly develop and tell a story, hence the work’s nickname, “Titan”. Mahler does this by using forms, rhythms, textures, and chromaticism that are all indicative of the time period in which he wrote.

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