Essay Titles 4/03/2015

Title I - Sonata Piano et Forte by Gabrieli was written at a time when Venice was at the forefront of artistic innovation. How is this innovation shown in Gabrieli's music? <

Title II - The music from Thy Hand, Belinda by Henry Purcell was written to describe Dido's descent into suicide. How has Purcell illustrated Dido's state of mind in this work? <

Title III - The opening of the Hunt by Jerry Goldsmith describes a chase between humans and what is believed to be aliens in the 1968 film 'Planet of the Apes'. Identify features of the piece that show this.

Title I

Sonata Piano et Forte was written during the transition from renaissance music into early baroque music, putting Gabrieli at the spear tip of the development into the new period in terms of the innovation visible in this piece. This can be seen with his use of hints of diatonic scales with the piece appearing to be in G minor at the beginning. however the music here is actually in the dorian mode. Traces of the myxolydian mode occur at bars 26-32. Harmony is functional with use of mostly root chords, such as the many in bar 47 to 52, and some first inversion chords. Occasional second inversion chords appear such as at the end of bar 53. The only dissonance is with suspensions so overall the piece demonstrates functional harmony, showing the piece is being written innovatively. The venue of the piece was Saint Mark's cathedral and Gabrieli cleverly employs its acoustic properties by writing this piece as a broken choir. When the second choir begins to play at bar 14 the sound of the first choir will resonate and harmonise with the second. Gabrieli also employs dynamics, though limited, which demonstrate his innovation in terms of composition. This was a relatively new feature of music and can be seen when the music changes form pian to forte in bars 25-26 respectively. Gabrieli challenges the normal standard of polyphonic music around this time by writing a Sonata, or together, which is shown by his use of homophony at bars 47-48. Homorhythmic writing briefly at bar 45 to further demonstrate this change from strictly polyrhythmic writing. 

In terms of historical context, Venice was powerful in trade and the ruler or Doge was renowned across Europe and beyond. This piece was written for him and its innovation reflects Venice's power to hire artists at the forefront of innovation which Venice certainly was the centre for.

Title II

The music from Thy Hand, Belinda by Purcell is written to describe Dido's descent into suicide and her state of mind is reflected in his writing. Evidence of this can be seen in the vocal melody in the recitative which falls from a C at the beginning to a lower D by the end of this section showing a descent, like her state of mind. The harmony in this passage is often switching between minor and major such as the major 7th in bar one to the minor 7th in the next bar. This along with movement from A natural to A flat in bar 2, followed by A natural again in bar 3 beat 1, clearly describes Dido contemplating death as she argues with herself.  Odd suspensions such as the minor 9th to 8  and major 7th  double suspension to 6 sound dissonance as if she were confused. Again the lines between major and minor are blurred with a minor 7th to E major third in bar 6 and 7 respectively. This passage is ended with a mysterious Phrygian cadence at bar 8-9 describing her unsure mental state.

In the Aria her depression is much clearer with a five bar chromatic ground bass which descends. An unprepared dominant 7th caused by violin II reflects her sorrow in bar 7 followed with an F sharp in the vocals against a IV second inversion chord in bar 8. Double dissonance occurs at bar 13 with the second beat of this bar containing a half diminished chord. The final chord at bar 56 contains no thirds creating tonal ambiguity ending the piece with mystery.

Schumann - Kinderscenen 1,3 and 11

Structure:

1,35 - Rounded binary with repeats (aabb with b having a tiny bit of a at bar 19)

• 1 - bar 15 a is in b
• 3 - bar 17 a is in b

11-Rondo arch form abacaba

Tonality:

1 - b1-8 G, b circle of fifths in E minor to G in bar 19

3 - b minor b1-8, g major b9-17

11

• b1 implication with E minor chord, this is derailed quickly and by b4 there is an imperfect I-V cadence in G major. with another one in b8.
• b9-10 is in e minor but there is a two bar harmonic sequence in the bass taking b11-12 to C major
• b21 is g major but b25 is e minor

Texture:

1 

• In three parts
• Melody and accompaniment
• Broken chords in middle of the texture
• detached quavers in the bass
• bar 9 - 12 thirds in left hand
• bar 9 thirds in right hand in counter point with bass

3

• Leaping left hand
• Melody and accompaniment
• brief left hand drone at bar 13

11

• 3 part homophony in opening then 4 part at bar 4
• Parts reversed (polarised) at bar 5
• melody in bass at bar 9 with off beat right hand
• 
  

Paragraphs/Essays for Corelli

Structure and Melody

Corelli's Trio Sonata III in D is written in binary form with repeats The entire structure is a result of his highly motivic writing which is first shown in bar 1 where the motif is extended with passing notes filling the third gaps as shown in bar 1 beats 3-4. Close imitation or Stretto is used in bars 20-22 between violin I and II. There is frequent use of sequence such as rising sequences in bar 1 beat 4 - bar 2 beat 3 and inversion is shown in bar 5. This leads to mostly conjunct writing with some small leaps and occasional octave leaps like the one at bar 26 in the first violin. Imitation is shown in bars 11-13 within the canon at the same region.




Harmony and Tonality


The harmony in Corelli's Trio Sonata III in D is functional as demonstrated by his use of cadences which confirm the key (such as the perfect cadence in bars 18-19) and chords in root position (bar 6 beat 4) or first inversion (bar 7 beat 1). Tonic pedal is used in bars 15-18. There is occasional use of the second inversion such as in bar 30 beat 1 but it immediately resolves to the root chord. 7ths are often used such as in bar 9 in suspensions which are shown in the figured bass which also describes a sharpened 6th chord and a diminished triad in bar 14 bear 4, the only deviations from diatonic harmony.
The tonality in this piece, like the harmony, is functional with modulations to related keys such as the one to A major in bar 9. The B section starts in A major but returns to D major in bar 22. A the start of the circle of fifths (bars 32-35) E minor is employed which then travels to A major, then D major and then G major.


Texture, Rhythm and Meter


There are three parts plus continuo in Corelli's trio Sonata III in D. This continuo is written in figured bass which begins in bar 7 on the first beat. At bar 1-2 monophony is shown but soon becomes two part at bar 3 until bar 5. There is no harmonic support up to bar 6 beat 4. 3 part canonic imitation is used in bars 11-13. This canonic writing occurs again at bar 28 but in 2 parts with harmonic support. Contrapuncy is used from bar 35 onwards leading to polyphony. Homorhythmic writing is rare and only seen in bars 3-4. Another interesting feature of the piece is the polarised texture when the Bass Viol comes in at bar 6 beat 3.
A gigue like feel is given to this piece with the compound duple time signature. A majority of the work is based around quavers and semi-quavers with longer notes in other parts such at in bar 15. Bars 26-27 are clearly syncopated with a cross rhythm in the top part. This causes a hemiola in bar 27.

Reference Points for Corelli

Harmony

• Perfect V - I cadence bars 18-19 
• 7ths used often bar 9 beat 1
• Circle of Fifths bars 32-35 (traditional composition device)
• Pedal bar 15-18 (tonic)
• Functional Harmony
• Cadences to Confirm Key
• Chords are mostly in root position bar 6 beat 4 and first inversion bar 7 beat 1
• Frequent use of suspension bar 30 beat 4
• Perfect cadence close both sections i.e. bb 42-43
• Sharpened 6th chord
• Occasional use of second inversion bar 30 beat 1 but immediately resolves to root chord
• Figured bass harmony
• Nearly all diatonic harmony apart from bar 14 beat 4 where a diminished triad is used

Melody

• Simple diatonic, motivic, melodic writing
• Outline of thirds is a consistent feature e.g. bar 1
• Prominent use of sequence e.g rising sequence bar 1 beat 4 - bar 2 beat 3
• Decoration to the melody is often through use of passing notes e.g bar 1 beat 4-6
• Use of inversion bar 5
• Leads to mostly conjunct writing with some small leaps and occasional octave leaps e.g. bar 26 (Violin I) 
• Motivic writing leads to imitation as development bar 11-13
• Stretto (close imitation) bar 20-21

Texture

• 3 parts plus organ for figured bass harmonic support (bar 7 beat 1)
• Monophonic bars 1-2
• Two part bar 3-5 in thirds
• Just 3 parts (no harmonic support) bar 6 beat 4
• 3 part imitation (canonic) bars 11-13
• Stretto (close imitation) bar 20-21
• 2 part canonic writing with harmonic support bar 28-31
• Becomes more contrapuntal from 35 onwards
• Homorhythmic bars 3-4 (rare)
• Polarised texture when the Bass Viol comes in

Rhythm and Meter

• Piece is in compound duple time giving a dance (gigue) like feel
• Majority of the work is based around quavers and semi-quavers with longer notes in other parts bar 15 upper parts
• Clearly syncopated bar 26-27 with a cross rhythm in the top part
• Causes hemiola in bar 27

Tonality

• Functional Tonality
• Moves from D to A 
• B section starts in A major but moves back to D in bar 22
• Goes to E minor in bar 32 (super tonic)

Structure

• The piece is in Binary form with repeats
• Structure is entirely dependent on the motivic cell
• Motif is taken through sequence, inversion, imitation and stretto

Performing Forces

• Instrumentation
• A trio sonata is two instruments plus continuo
• In this case the continuo is a bass part and harmonic support
• The two instruments are Violins
• The continuo is an Organ for the harmonic support (plays figured bass) and a Violone/Bass Viol(large viol/a double bass with frets)
• Repeats have ornamentation on repeats
• Piece is highly idiomatic and under the hand
• Violin I never has to exceed third position with a top D at bar 34
• Range is standard but violin I keeps high tessitura
• Never falls below a C# bar 42
• Violin I leads e.g. bars 1-2 however once entries are in and Violin II bar 3 and continuo are in, everyone has equal parts
• Performance Markings
• Phrasing
• Lack of Staccato
• Legato
• Tenuto
• Dynamics
• Absence of lots of dynamics
• Limited dynamics e.g. bar 30 is piano until bar 32 when it is forte
• Unusual
• No pizzicato
• No double stopping, probably due to the speed of the piece
• No indication of articulation except for bar 1 beat 4-6

Homework: Write paragraphs on all of these (combine if you want) e.g. Structure and Melody, Harmony and Tonality

Baris Melampahan Study

The instruments are made by the community for the community and the instruments are not owned by individuals but instead are owned by the community. The instruments tunings can vary due to the handmade nature of them. This will create a beating clash called Om Bak. Each Om Bak is unique to a Gamelan. The music is not notated but is taught by a Sekaha. A Baris is a war dance and there are different ones depending on the type of warfare. This piece describes general warfare.

Rhythm and meter

• Kempli keeps the pulse for the whole piece, a horizontal gong
• Each instrument has a particular rhythmic role that it plays
• A colotomic structure; Rhythmic role does not change throughout the piece
• Gong is used in rhythmic cycles, an anticipatable beat

Instrumentation

• Kempli - A vertical gong, keeps the time of the piece
• Kemong - A small hanging gong
• Kempure - A larger version of the Kemong
• Jegogan - A type of metallophone
• Calung - A higher pitch Jegogan
• Ugal - Another metallophones which plays the melody
• Gangsa - Larger metallophone
• Reyong - Sets of Kempli, play the off beats
• Kendhang - a double headed drum with two different pitched ends
• Ceng-ceng - Little symbols
• Suling - A bamboo flue (plays same as the calung

Melody

• The melody is always played on the Ugal
• The core melody is called the Pokok
• When it gets to U on the score, the Pokok can be heard
• Embellishments on the jegogan and calung occur to enhance the Pokok
• Minor changes occur to the Pokok by embellishment or omission such as at A+ where pitches of the Pokok are ommitted
• Jegogan stays the same when the Ugal changes but the Calung changes following the Ugal but the Ugal is always going back to the Pokok
• Gangsa and Reyong also act as an embellishing instruments

Harmony

• You cannot say that there is any traditional harmony
• Harmonies that are formed are because of embellishments over pokoks and various other gongs
• The only thing that is harmonically important is when in the repeated sections the tuned instruments all play a D (2 as written on the score)
• Gongan - an 8 beat phrase
• Keteg  - A split Gongan, worth half a Gongan; beat 4 in the first Keteg is given the second pitch (2/D) and the second Keteg has the 4th beat given pitch (6/A)
• Pelog Selesir is the scale they use. A Pelog has 7 notes and Selesir is the 5 notes they have chosen from it making the accidental harmonies pentatonic

Tippett

Texture:

Opens in octaves
Counterpoint bar 1-4
Polyphonic mostly e.g bar 1-4
Antiphony bar 5-12
Homorhythmic bar 37
Homophonic bar 90


Melody

Close Imitation with inversion bar 138 in second orchestra

Tippett Harmony & Tonality Essay

The Harmony in Tippett's Concerto for Double String Orchestra is derived mostly through his use of counterpoint between the highly independent melodies as there is a lack of block chords. Instances of harmonic punctuation are unconventional such as augmented triads beginning at bar 118 showing his use of non-functional harmony. In bar 91 in the changeover to the key of F minor, Tippett uses added Sixths. Tippett's use of modes in this piece reflects the harmonic language of his writing with many false relations such as in bar 5. His modality is present in the cadences, which are sparse in this work, with a phrygian cadence in bar 20 and an extended modal cadence based around a flattened 7th leading to the tonic chord with no thirds. This also demonstrates tonal ambiguity. Ambiguity of key is also demonstrated in bars 85 to 89 when pandiatonicism is used, removing the focus of any key despite C sharp minor being established. Despite the harmony being mostly non-functional, occasions of traditional harmony are present such as a perfect cadence in G at bars 45 to 47.
 The tonality that Tippett employs is one which relies heavily on modes, and the lack of certain characteristic pitches causes tonal ambiguity. He uses atonality with tonal centres  beginning on A  then moving to C at bar 21, G at bar 39 then E at bar 68. The piece opens in the Aeolian mode then the transition that follows is in the phrygian mode. E flat major is shown in bar 97 which moves to A flat at bar 107. The whole tone scale is used in some melodic patterns after this. The piece expresses variable tonality by having alternative notes within a standard mode, shown in the opening where the Aeolian and Mixolydian mode play as well as hints of pentatonicism. Despite this, the piece still displays diatonicism such as at bar 90-91 when a clear movement from the tonic to the dominant occurs.

Very well written, as for the contents all accurate and well put with the exception of you comparing augmented triads to harmonic punctuation. Points well illustrated. Confident

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