QUESTIONS: DANCES
Q:Where did the Sarabande originate from?
A: Spain (Spanish Origin)
Q: What is the tempo of an Allemande?
A: Moderate Speed
Q: What are the two types of Courantes?
A: French and Italian
Q: What is a special characteristic of a Sarabande?
A: Has a strong emphasis on 2nd beat of bar
Q: What time signature is used in a minuet?
A: ¾ time ( simple triple time)
Q: Where did the Gigue originate from?
A: England, Scotland or Ireland ( English, Scottish or Irish)
Q: What is a special characteristic of a Gigue?
A: Often fugal treatment of principle idea
Q: What is the style of an allemande?
A: Serious Style
Q: What dance is in 4/4 time?
A: Allemande
Q: Which dance had a slow tempo?
A: Sarabande
Q:Which dance is uncomplicated in style?
A: Minuet
Q: Which dance is the 1st dance in the suite?
A: Allemande
Q: Where did the Allemande originate from?
A: Germany
Q: What time signature does Gigue use?
A: 6/8 or 12/8
Q: Which dance has harmonic texture and ornaments?
A: Sarabande
Q: What is the tempo of a Courante?
A: Fast speed
Q: Which Courante has a great variety of rhythm?
A: The French Courante
Q: Which Courante is free flowing?
A: The Italian Courante
Q: What is the tempo of a minuet?
A: Moderate Speed
Q: Which dance has its continuous division of its beats into 3's?
A: Gigue
Q: What is the character of a Sarabande?
A: Dignified Character
Q: Does a Courante have an anacrusis?
A: Yes
Q: Where did the minuet originate from?
A: France
Q: What is the time signature of a Courante?
A: Simple Triple
Q: Which dance is usually the last dance in a suite?
A: Gigue
Q: Which dance has running passages?
A: Courante
Q: What is a feature of an allemande?
A: Anacrusis quaver
Q:Which dance commences on the 1st bar?
A: Minuet
Monday, August 16, 2010
Grade 5 AMEB Musicianship Form and History Analysis
FORM AND HISTORY
Art Song, Lieder:
What is the name given to art song with a German text? Lieder
What is the form of an art song when the music is repeated for all stanzas? Simple Strophic Setting
What is the form when new music is written for all the stanzas? Through- Composed Form
What is a song cycle? A song cycle is a composition with a circle or series of songs which are related to the same poetic subject.
What is an art song? The Art Song is a comparatively short piece of music in which words, melody, and accompaniment are of equal importance. In contrast to a folk song, it is a song composed with serious intent by a trained composer. The Art Song reflects the mutual influences of literature and music.
What is a Lied? The word, ‘Lied’ is German for ‘Song,’ and is the name applied to the Austrian and German compositions in which the vocal line and the Piano accompaniment are of equal importance.
Name an art song composer from:
France - Faure: The Good Song (Song Cycle)
Debussy: This is Languorous Essay (Art Song)
Russia – Cui:
Prokofiev:
Scandinavia – Grieg: I love thee
Hungary- Bartok
Czechoslovakia- Dvorak
Poland- Chopin
U.S.A- MacDowell
Who was the “heart and soul of the entire Lieder literature? Franz Schubert
Name five 19th century composers who wrote Lieder. Schubert, Schumann, Franz, Brahms, Hugo Wolf.
Name two 20th Century composers who wrote Lieder. Mahler and Berg.
Name a song cycle from-
Schubert: Die Winterreise
Schumann: Liederkreis
Mahler: Lieder eines Fahrenden Gesellen
Brahms: Magelonelieder
Hugo Wolf: Mignonlieder
Name five different British Composers who wrote Art Songs. Benjamin Britten, John Ireland, Ralph Vaughan Williams, Gustav Holst, Frederick Delius,
Name a song cycle from each of the following:
Benjamin Britten- A Charm of Lullabies
John Ireland- Songs of a Wayfarer
Ralph Vaughan Williams- The House of Life
Gustav Holst- Four Songs
Frederick Delius- It was a Lover and His Lass
What is Chamber Music? Chamber music is instrumental ensemble music performed by one player for each part, as opposed to orchestral music in which there are several players for each part.
Who is known as the father of instrumental music? Haydn
Describe the String Quartet Form:
1st Movement- Allegro in Sonata Form 2nd Movement- Usually Slow
3rd Movement- Minuet and Trio 4th Movement – fast – Sonata-Rondo Form
Name the greatest Classical masters of chamber music. Haydn, Mozart, Beethoven, Schubert.
Name 4 composers who wrote string quartets during the Romantic Period. Mendelssohn, Schumann, Brahms, Dvorak.
Who wrote the following:
Harp Quartet- Beethoven
The Lark- Haydn
Russian Quartets- Haydn
The Trout Quintet- Schubert
Hunt Quartet- Mozart
‘Death and the Maiden’ String Quartet- Schubert
The ‘Tost’ Quartets - Haydn
‘Serious’ Quartet- Beethoven
‘Sun’ Quartets- Haydn
‘Emperor’ Quartet- Haydn
‘Grosse Fuge’ Quartet’ - Beethoven
‘Rasumovsky’ Quartets – Beethoven
Art Song, Lieder:
What is the name given to art song with a German text? Lieder
What is the form of an art song when the music is repeated for all stanzas? Simple Strophic Setting
What is the form when new music is written for all the stanzas? Through- Composed Form
What is a song cycle? A song cycle is a composition with a circle or series of songs which are related to the same poetic subject.
What is an art song? The Art Song is a comparatively short piece of music in which words, melody, and accompaniment are of equal importance. In contrast to a folk song, it is a song composed with serious intent by a trained composer. The Art Song reflects the mutual influences of literature and music.
What is a Lied? The word, ‘Lied’ is German for ‘Song,’ and is the name applied to the Austrian and German compositions in which the vocal line and the Piano accompaniment are of equal importance.
Name an art song composer from:
France - Faure: The Good Song (Song Cycle)
Debussy: This is Languorous Essay (Art Song)
Russia – Cui:
Prokofiev:
Scandinavia – Grieg: I love thee
Hungary- Bartok
Czechoslovakia- Dvorak
Poland- Chopin
U.S.A- MacDowell
Who was the “heart and soul of the entire Lieder literature? Franz Schubert
Name five 19th century composers who wrote Lieder. Schubert, Schumann, Franz, Brahms, Hugo Wolf.
Name two 20th Century composers who wrote Lieder. Mahler and Berg.
Name a song cycle from-
Schubert: Die Winterreise
Schumann: Liederkreis
Mahler: Lieder eines Fahrenden Gesellen
Brahms: Magelonelieder
Hugo Wolf: Mignonlieder
Name five different British Composers who wrote Art Songs. Benjamin Britten, John Ireland, Ralph Vaughan Williams, Gustav Holst, Frederick Delius,
Name a song cycle from each of the following:
Benjamin Britten- A Charm of Lullabies
John Ireland- Songs of a Wayfarer
Ralph Vaughan Williams- The House of Life
Gustav Holst- Four Songs
Frederick Delius- It was a Lover and His Lass
What is Chamber Music? Chamber music is instrumental ensemble music performed by one player for each part, as opposed to orchestral music in which there are several players for each part.
Who is known as the father of instrumental music? Haydn
Describe the String Quartet Form:
1st Movement- Allegro in Sonata Form 2nd Movement- Usually Slow
3rd Movement- Minuet and Trio 4th Movement – fast – Sonata-Rondo Form
Name the greatest Classical masters of chamber music. Haydn, Mozart, Beethoven, Schubert.
Name 4 composers who wrote string quartets during the Romantic Period. Mendelssohn, Schumann, Brahms, Dvorak.
Who wrote the following:
Harp Quartet- Beethoven
The Lark- Haydn
Russian Quartets- Haydn
The Trout Quintet- Schubert
Hunt Quartet- Mozart
‘Death and the Maiden’ String Quartet- Schubert
The ‘Tost’ Quartets - Haydn
‘Serious’ Quartet- Beethoven
‘Sun’ Quartets- Haydn
‘Emperor’ Quartet- Haydn
‘Grosse Fuge’ Quartet’ - Beethoven
‘Rasumovsky’ Quartets – Beethoven
Grade 4 AMEB Musicianship - Purcell, Bach and Handel Analysis
HENRY PURCELL:
Henry Purcell was born in London in 1659. At the age of 9, he was chosen as a chorister of the 'Children of the Chapel' in the Court of Charles II. Here he had an opportunity to learn and study all kinds of music and instruments. He learnt the organ from another famous Englishman, Dr John Blow, organist of Westminster Abbey. Purcell spent his whole life in London, and held many important positions in the King's service, such as Composer for the Violins, Keeper and Repairer of Instruments and Harpsichord player to James II. His compositions fell into four main categories- Church Music, Dramatic Music, Court and Occasional Music and music for Amateurs. Purcell later died in 1695 and his songs are his supreme achievement and are still recognised today.
JOHANN SEBASTIAN BACH:
Johann Sebastian Bach was born in Germany in 1685. Bach began his musical life as a choir boy and spent his whole life in Germany. Between 1708-1717, Bach was an organist in various cities and wrote a great deal of organ music. Between 1717-1723, Bach was a musical director first for a duke in Weimar and then for a prince in Cothen for whom he wrote lots of instrumental music. Between 1723-1750, He was cantor (musical director) of the Lutheran church and school of St Thomas in Leipsig and he wrote much sacred music including more than 200 cantatas. Bach later died in 1750 and he is regarded as one of the greatest composers of all time.
GEORGE FREDERIC HANDEL:
George Frederic Handel was born in Halle, Saxony in 1685. From the beginning he was keen on opera. Though his parents wanted him to be a lawyer, he found work as a violinist in the opera orchestra in Hamburg, and soon began to write opera himself. At 21, he travelled to Italy, playing the harpsichord and absorbing the Italian style composition.
Henry Purcell was born in London in 1659. At the age of 9, he was chosen as a chorister of the 'Children of the Chapel' in the Court of Charles II. Here he had an opportunity to learn and study all kinds of music and instruments. He learnt the organ from another famous Englishman, Dr John Blow, organist of Westminster Abbey. Purcell spent his whole life in London, and held many important positions in the King's service, such as Composer for the Violins, Keeper and Repairer of Instruments and Harpsichord player to James II. His compositions fell into four main categories- Church Music, Dramatic Music, Court and Occasional Music and music for Amateurs. Purcell later died in 1695 and his songs are his supreme achievement and are still recognised today.
JOHANN SEBASTIAN BACH:
Johann Sebastian Bach was born in Germany in 1685. Bach began his musical life as a choir boy and spent his whole life in Germany. Between 1708-1717, Bach was an organist in various cities and wrote a great deal of organ music. Between 1717-1723, Bach was a musical director first for a duke in Weimar and then for a prince in Cothen for whom he wrote lots of instrumental music. Between 1723-1750, He was cantor (musical director) of the Lutheran church and school of St Thomas in Leipsig and he wrote much sacred music including more than 200 cantatas. Bach later died in 1750 and he is regarded as one of the greatest composers of all time.
GEORGE FREDERIC HANDEL:
George Frederic Handel was born in Halle, Saxony in 1685. From the beginning he was keen on opera. Though his parents wanted him to be a lawyer, he found work as a violinist in the opera orchestra in Hamburg, and soon began to write opera himself. At 21, he travelled to Italy, playing the harpsichord and absorbing the Italian style composition.
Grade 4 AMEB Musicianship - Form and History Question and Answer
QUESTIONS- COMPOSERS
Q: Who didn't write any concertos?
A: Purcell
Q:What year was both Handel and Bach born in?
A: 1685
Q:Who wrote the Brandenburg Concertos?
A: Bach
Q: Who wrote only one opera and what was the name of that opera?
A: Purcell, Dido and Aeneas
Q: Who wrote 6 French Suites and 6 English Suites for keyboard?
A: Bach
Q:Who wrote the Music for Royal Fireworks?
A: Handel
Q: Who didn't write any operas?
A: Bach
Q: Which two of the set composers wrote anthems?
A: Handel and Purcell
Q: What is Bach's full name?
A: Johann Sebastian Bach
Q: Where was Bach born?
A: Germany
Q: Who wrote more than 200 cantatas?
A: Bach
Q: Who didn't write any concertos?
A: Purcell
Q: Who was born in 1659 and died in 1695?
A: Purcell
Q: Who wrote the Goldberg Variations?
A: Bach
Q:Who wrote the concerto in D minor for 2 organs?
A; Handel
Q: Who wrote The Art of Fugue?
A: Bach
Q: When did Handel die?
A: 1759
Q: Who wrote the evening hymn?
A: Purcell
Q: Where did Purcell sing as a choir boy?
A: Court of Charles II
Q: Who lived and worked in Germany, Italy and England?
A: Handel
Q: Who wrote Israel in Egypt?
A: Handel
Q: Who wrote the Italian Concerto?
A: Bach
Q: Who wrote 48 Preludes and Fugues?
A: Bach
Q: Who wrote 8 suites for Harpsichord?
A: Purcell
Q: Who wrote Before Thy Thomas my God, I stand?
A: Bach
Q:Which two composers were choir boys?
A: Bach and Purcell
Q: Which composer was deeply religious?
A: Bach
Q: Who wrote the Water Music Suites?
A: Handel
Q: Who didn't write any concertos?
A: Purcell
Q:What year was both Handel and Bach born in?
A: 1685
Q:Who wrote the Brandenburg Concertos?
A: Bach
Q: Who wrote only one opera and what was the name of that opera?
A: Purcell, Dido and Aeneas
Q: Who wrote 6 French Suites and 6 English Suites for keyboard?
A: Bach
Q:Who wrote the Music for Royal Fireworks?
A: Handel
Q: Who didn't write any operas?
A: Bach
Q: Which two of the set composers wrote anthems?
A: Handel and Purcell
Q: What is Bach's full name?
A: Johann Sebastian Bach
Q: Where was Bach born?
A: Germany
Q: Who wrote more than 200 cantatas?
A: Bach
Q: Who didn't write any concertos?
A: Purcell
Q: Who was born in 1659 and died in 1695?
A: Purcell
Q: Who wrote the Goldberg Variations?
A: Bach
Q:Who wrote the concerto in D minor for 2 organs?
A; Handel
Q: Who wrote The Art of Fugue?
A: Bach
Q: When did Handel die?
A: 1759
Q: Who wrote the evening hymn?
A: Purcell
Q: Where did Purcell sing as a choir boy?
A: Court of Charles II
Q: Who lived and worked in Germany, Italy and England?
A: Handel
Q: Who wrote Israel in Egypt?
A: Handel
Q: Who wrote the Italian Concerto?
A: Bach
Q: Who wrote 48 Preludes and Fugues?
A: Bach
Q: Who wrote 8 suites for Harpsichord?
A: Purcell
Q: Who wrote Before Thy Thomas my God, I stand?
A: Bach
Q:Which two composers were choir boys?
A: Bach and Purcell
Q: Which composer was deeply religious?
A: Bach
Q: Who wrote the Water Music Suites?
A: Handel
AMEB Grade 5 Musicianship - Art Song Analysis
Grade 5 Musicianship.
Art Song-
The Art Song is a comparatively short piece of music in which words, melody and accompaniment are of equal importance. It reflects the mutual influences of literature and music and show the composer’s sensitivity to the character of the text.
Simple Strophic Setting-
A simple piece of music is repeated for all stanzas.
E.g. ‘Wandering,’ from the cycle ‘Die Schone Mullerin,’ by Schubert.
Modified Strophic Setting-
The setting retains the same musical framework for each stanza, but changes details in voice and accompaniment to suit the style.
E.g. ‘Linden Tree,’ from the cycle ‘Die Winterreise,’ by Schubert.
Through- Composed Setting-
The setting proceeds to a different musical plan for each new stanza. The form of the poem dictates the form of the music.
E.g. ‘This is Languarous Setting’ by Debussy.
Art Song – France
Debussy – Chansons de Bilitis
Faure- The Good Song
Verlaine (Poet.)
Art Song- Russia
Prokefiev
Tchaikovsky
Cui
Balakirev
Borodin
Mussorgsky
Rimsky-Korsakov
Art Song- Scandinavia
Grieg – I love thee
Art Song- Poland
Adam Mickiewicz
Chopin
Art Song- U.S.A
Chadwick
Parker
Mac Dowell
Lieder
The word ‘ Lied is German for ‘Song,’ and is the name applied to the Austrian and German compositions in which the vocal line and the piano accompaniment are of equal importance.
Art Song-
The Art Song is a comparatively short piece of music in which words, melody and accompaniment are of equal importance. It reflects the mutual influences of literature and music and show the composer’s sensitivity to the character of the text.
Simple Strophic Setting-
A simple piece of music is repeated for all stanzas.
E.g. ‘Wandering,’ from the cycle ‘Die Schone Mullerin,’ by Schubert.
Modified Strophic Setting-
The setting retains the same musical framework for each stanza, but changes details in voice and accompaniment to suit the style.
E.g. ‘Linden Tree,’ from the cycle ‘Die Winterreise,’ by Schubert.
Through- Composed Setting-
The setting proceeds to a different musical plan for each new stanza. The form of the poem dictates the form of the music.
E.g. ‘This is Languarous Setting’ by Debussy.
Art Song – France
Debussy – Chansons de Bilitis
Faure- The Good Song
Verlaine (Poet.)
Art Song- Russia
Prokefiev
Tchaikovsky
Cui
Balakirev
Borodin
Mussorgsky
Rimsky-Korsakov
Art Song- Scandinavia
Grieg – I love thee
Art Song- Poland
Adam Mickiewicz
Chopin
Art Song- U.S.A
Chadwick
Parker
Mac Dowell
Lieder
The word ‘ Lied is German for ‘Song,’ and is the name applied to the Austrian and German compositions in which the vocal line and the piano accompaniment are of equal importance.
HELLO THERE
So,
I decided to make a music blog.
I'm probably not gonna post heaps of stuff on here,
because I just want to help those people doing AMEB exams to read the notes I took AGES making. Hope you find them helpful. :)
If you like fashion, please go check my other blog out -
applecherriemango.blogspot.com/
Thank-youu. <33
I decided to make a music blog.
I'm probably not gonna post heaps of stuff on here,
because I just want to help those people doing AMEB exams to read the notes I took AGES making. Hope you find them helpful. :)
If you like fashion, please go check my other blog out -
applecherriemango.blogspot.com/
Thank-youu. <33
AMEB Grade 5 Analysis - The Vagabond by Ralph Vaughan Williams
The Vagabond by Ralph Vaughan Williams
1. Music: Ralph Vaughan Williams
2. Poet: Robert Louis Stevenson
3. Song Type: English Art Song
4 Song Form: Modified-Strophic Form
5. Key Signature: 3 Flats (C minor)
6. Time Signature: C (common time) 4/4
Introduction
- LH establishes the crotchet rhythm that continues the song and represents the vagabond trudging across the countryside.
- RH has the ‘Give to me the life’ motif.
Strophe 1
- Vocal line composed of chord note leaps and steps.
- Flattened 7th (Bb) giving the line a modal character (Aeolian)
- The triplet figure and arpeggio notes at the words ‘Give to me the life’ become a motif and represent the vagabond’s free choice of lifestyle
- In the progression in bars 21-22, it is not a perfect cadence, but still functions as a dominant-tonic resolution.
- The piano then repeats the intro.
Strophe 2
- The music of Stanza 2 is the same as Stanza 1, except for the words and the additional tenuto marks in bar 37.
- An additional transitional bar to lead to strophe 3. (p43)
Strophe 3
- Starts in E minor, the relative minor of G major.
- New melody, however harmony stays the same.
- Melody moves by step, more than by leap unlike previous Strophes
- Makes a modulation to G minor in bar 49
- Briefly going into A minor in bar 57
- Returns to C minor in bar 59
Strophe 4
- The vocal line is almost identical to the vocal line in Strophe 2, other than the ‘me’ in bar 75 is extended into a minim instead of a crotchet
- The dynamic markings are more extreme
1. Music: Ralph Vaughan Williams
2. Poet: Robert Louis Stevenson
3. Song Type: English Art Song
4 Song Form: Modified-Strophic Form
5. Key Signature: 3 Flats (C minor)
6. Time Signature: C (common time) 4/4
Introduction
- LH establishes the crotchet rhythm that continues the song and represents the vagabond trudging across the countryside.
- RH has the ‘Give to me the life’ motif.
Strophe 1
- Vocal line composed of chord note leaps and steps.
- Flattened 7th (Bb) giving the line a modal character (Aeolian)
- The triplet figure and arpeggio notes at the words ‘Give to me the life’ become a motif and represent the vagabond’s free choice of lifestyle
- In the progression in bars 21-22, it is not a perfect cadence, but still functions as a dominant-tonic resolution.
- The piano then repeats the intro.
Strophe 2
- The music of Stanza 2 is the same as Stanza 1, except for the words and the additional tenuto marks in bar 37.
- An additional transitional bar to lead to strophe 3. (p43)
Strophe 3
- Starts in E minor, the relative minor of G major.
- New melody, however harmony stays the same.
- Melody moves by step, more than by leap unlike previous Strophes
- Makes a modulation to G minor in bar 49
- Briefly going into A minor in bar 57
- Returns to C minor in bar 59
Strophe 4
- The vocal line is almost identical to the vocal line in Strophe 2, other than the ‘me’ in bar 75 is extended into a minim instead of a crotchet
- The dynamic markings are more extreme
AMEB Grade 5 Erlking by Franz Schubert Analysis
Set Works – Erlking by Franz Schubert
1. Music: Franz Schubert
2. Poet: Johann Wolfgang von Goethe
3. Song Type: German Lieder
4. Song Form: Through-composed
5. Key Signature: 2 Flats (G minor)
6. Time Signature: C (common time, 4/4)
7. Characters: Narrator, Son, Father, Erlking
Stanza 1 (Bars 1 – 32)
- G minor
- 15 bar intro, with the narrator setting the scene in bar 16.
- RH triplet chords depict a galloping horse, creating a rushing, agitated mood.
- LH rising triplet motif increases tension.
- Narrator’s voice set in middle register, with a calm melody composed of steps and leaps.
Stanza 2 (Bars 33- 54)
- 4-bar passage revisiting the introduction
- Father asks what’s wrong. Father’s melody in lower register. Includes ascending 4th.RH unison octaves, LH silent or long note.
- Son asks if he can see Erlking too. Son’s melody in higher register. Terror in RH by repeated diminished seventh chords.
- Father reassures the son.
Stanza 3 (Bars 55- 71)
- Key change to Bb Major.
- Erlking appears, with a tuneful and lyrical melody.
- Rhythmically diverse
- Quaver triplets divided between hands.
Stanza 4 (Bars 71- 84)
- Back to G minor
- Son cries in agitation, moves up from D- Eb.
- RH and voice have numerous semitone clashes.
- Tonality of G minor vague, representing fear and confusion.
- Father tries to calm boy, voice leaps a 4th, then mostly steps.
Stanza 5 (Bars 85- 95)
- Erlking reappears in C major.
- Quiet volume to match Erlking’s sneaky attempts.
- RH with running arpeggios
Stanza 6 (Bars 96-111)
- Son speaks, with same music as Stanza 4, but transposed up a tone to A minor, showing more desperation.
- Father speaks , in C sharp minor, then moves to D minor.
Stanza 7 (Bars 112 – 130)
- Revisits Intro for 5 bars
- Erlking speaks, starting softly.
- Last word goes from p-fff
- Son screams, stating Erlking has hurt him.
- Sf on the 1st and 3rd beats on last 3 bars.
Stanza 8 (Bars 130- 147)
- Return to G minor
- Narrator Speaks, tells the father riding home to seeking safety, however the son is already dead.
- The horse stops galloping, and the last three bars show a dramatic sense of stillness.
1. Music: Franz Schubert
2. Poet: Johann Wolfgang von Goethe
3. Song Type: German Lieder
4. Song Form: Through-composed
5. Key Signature: 2 Flats (G minor)
6. Time Signature: C (common time, 4/4)
7. Characters: Narrator, Son, Father, Erlking
Stanza 1 (Bars 1 – 32)
- G minor
- 15 bar intro, with the narrator setting the scene in bar 16.
- RH triplet chords depict a galloping horse, creating a rushing, agitated mood.
- LH rising triplet motif increases tension.
- Narrator’s voice set in middle register, with a calm melody composed of steps and leaps.
Stanza 2 (Bars 33- 54)
- 4-bar passage revisiting the introduction
- Father asks what’s wrong. Father’s melody in lower register. Includes ascending 4th.RH unison octaves, LH silent or long note.
- Son asks if he can see Erlking too. Son’s melody in higher register. Terror in RH by repeated diminished seventh chords.
- Father reassures the son.
Stanza 3 (Bars 55- 71)
- Key change to Bb Major.
- Erlking appears, with a tuneful and lyrical melody.
- Rhythmically diverse
- Quaver triplets divided between hands.
Stanza 4 (Bars 71- 84)
- Back to G minor
- Son cries in agitation, moves up from D- Eb.
- RH and voice have numerous semitone clashes.
- Tonality of G minor vague, representing fear and confusion.
- Father tries to calm boy, voice leaps a 4th, then mostly steps.
Stanza 5 (Bars 85- 95)
- Erlking reappears in C major.
- Quiet volume to match Erlking’s sneaky attempts.
- RH with running arpeggios
Stanza 6 (Bars 96-111)
- Son speaks, with same music as Stanza 4, but transposed up a tone to A minor, showing more desperation.
- Father speaks , in C sharp minor, then moves to D minor.
Stanza 7 (Bars 112 – 130)
- Revisits Intro for 5 bars
- Erlking speaks, starting softly.
- Last word goes from p-fff
- Son screams, stating Erlking has hurt him.
- Sf on the 1st and 3rd beats on last 3 bars.
Stanza 8 (Bars 130- 147)
- Return to G minor
- Narrator Speaks, tells the father riding home to seeking safety, however the son is already dead.
- The horse stops galloping, and the last three bars show a dramatic sense of stillness.
Sunday, August 15, 2010
AMEB Grade 5 String Quintet K614 by Wolfgang Amadeus Mozart Analysis
String Quintet, K614 by Wolfgang Amadeus Mozart
1. Composer – Wolfgang Amadeus Mozart
2. Song Type – 1st Movement (Allegro di molto)
3. Song Form - Sonata Form
4. Key Signature – Eb Major
5. Time Signature – Compound Duple Time. (6/8)
Exposition (1-86)
First Subject(1-19)
- The first subject begins in E flat major by the viola with descending answering phrases from the violins.
Bridge (20-38)
- The bridge passage is to modulate to the dominant in preparation for the second subject.
- The repeated quavers and trills is used imitatively, first with violas, then with violins.
Second Subject (39-53)
- The first violin begins the second subject in the dominant (Bb Major)
- Second subject repeated by the cello in upper register, letting viola play lower notes.
Codetta(54-86)
- In Bb Major
- In the final two bars, a slight harmonic twist with the reintroduction of an Ab, in order to quickly return to the opening in Eb major.
Development
- Begins with the last fragment of the exposition, moves a bit into C minor, then goes to Ab major in bar 90.
- Here the first violin introduces an “athletic figure” with leaps, and arpeggios
- A quick modulation to G minor, the athletic violin returns.
- From 106 onwards, many question and answer sequences occur
- In bar 123, reappearance of the last bars of the exposition occur.
Recapitulation
First Subject(125-143)
- The first subject is restated, with a few embellishments in the violins descending line
Bridge (144-164)
- Very Similar to the bridge in the Exposition
- No modulation to the dominant
Second Subject (39-53)
- The second subject is presented twice in Eb major
- First Viola, then First Violin
Codetta(54-86)
- Similar to previous Codetta
- Changes in harmony to keep it in the same key.
- Cello taking up the trill motif for the first time in the piece.
- Last 5 bars of Codetta are identical to the end of the Exposition.
Coda
- Using the repeated quaver and trill motive from the first subject
- Rounds off firmly on the tonic
1. Composer – Wolfgang Amadeus Mozart
2. Song Type – 1st Movement (Allegro di molto)
3. Song Form - Sonata Form
4. Key Signature – Eb Major
5. Time Signature – Compound Duple Time. (6/8)
Exposition (1-86)
First Subject(1-19)
- The first subject begins in E flat major by the viola with descending answering phrases from the violins.
Bridge (20-38)
- The bridge passage is to modulate to the dominant in preparation for the second subject.
- The repeated quavers and trills is used imitatively, first with violas, then with violins.
Second Subject (39-53)
- The first violin begins the second subject in the dominant (Bb Major)
- Second subject repeated by the cello in upper register, letting viola play lower notes.
Codetta(54-86)
- In Bb Major
- In the final two bars, a slight harmonic twist with the reintroduction of an Ab, in order to quickly return to the opening in Eb major.
Development
- Begins with the last fragment of the exposition, moves a bit into C minor, then goes to Ab major in bar 90.
- Here the first violin introduces an “athletic figure” with leaps, and arpeggios
- A quick modulation to G minor, the athletic violin returns.
- From 106 onwards, many question and answer sequences occur
- In bar 123, reappearance of the last bars of the exposition occur.
Recapitulation
First Subject(125-143)
- The first subject is restated, with a few embellishments in the violins descending line
Bridge (144-164)
- Very Similar to the bridge in the Exposition
- No modulation to the dominant
Second Subject (39-53)
- The second subject is presented twice in Eb major
- First Viola, then First Violin
Codetta(54-86)
- Similar to previous Codetta
- Changes in harmony to keep it in the same key.
- Cello taking up the trill motif for the first time in the piece.
- Last 5 bars of Codetta are identical to the end of the Exposition.
Coda
- Using the repeated quaver and trill motive from the first subject
- Rounds off firmly on the tonic
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