Absolute Music

Throughout section A there is a consistent IV-I chord progression. These are aligned with each phrase and through the use of plagal cadence it makes each phrase seem resolved before moving onto the next.

Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.

The I chord confuses the tonal direction becasuse the listener expects the ii to be followed by V and then I. This is even more confusing because the scale that accompanies the I chord implies V (the chord the listener wants to hear). The next bar rounds off this cadential prolongation (ii-V-I) but the exposition does not yet end. The arrival to I does not occur until beat three of the bar. The first two beats create even more prolongation as they nearly modulate. And even after this, the exposition is not done. There is a two bar codetta (a one bar figure played twice, the second time with variation) before the strong V7-I cadence with a C pedal tone. This is the first very strong cadence since the start of the closing material. Since the cadence at the end of the exposition is to C without any hint of F as a tonic, the Developement begins in C. In fact, it is clearly in C as its pick-ups are a C arpeggio and the first bar looks and sounds like I and shows no indication of a ‘Bb’ or any other scale alteration. The opening of the developement is also a textural change but seems to resemble old material in its melody. Both the first theme and the second theme have similar figures to the new material. The developement starts with tonal movement in each of the first two measures, I in the first measure and ii6 in the second. In the third bar the harmonic rythym increases with a I64 for the first two beats and a V7 in

After a repeat of the exposition, the performance moves on to the development with the soft material from the second half of closing theme two. It begins a whole step higher than its first appearance and immediately begins to modulate. Eight bars later new arpeggiated material enters on a Bb7 chord, beginning a twelve bar chromatic bass line moving to C# right before measure 109. Here the opening theme enters, similarly a whole step higher than at the beginning. Hearing the principal theme in the wrong key is a sure sign of a false recapitulation, and the P theme is

The harmonic rhythm is not very steady as the chords only change in bars 7, 10 and 11. The chord changes from D to A and then from A to E and E to A (shown in the musical excerpt). These chord changes are changes from either the dominant to the tonic or the tonic to the dominant, showing the typical barque chord changes.

The first is evident in m. 3, when the bass, tenor, and alto sing “Care”, and a c seventh diminished chord is sung. It then breaks off, and is resolved into a B major chord. Nevertheless, dissonance is portrayed in this word again when the soprano joins in at m. 7 and an augmented c triad is sung. This is significant in delineating the sadness of the piece. This first section continues with this technique, oscillating between dissonance and consonance. A highly consonant area is in the following section starting at m. 15, rightfully expressing the joy that music can bring. In m. 23, there is a dissonance for a one beat duration before the piece returns to the melancholic text. A dissonance is heard again in a c diminished chord between the top three parts in m. 26 in the word “deadly”, bringing back the text’s tension. The dissonances become less prevalent as the piece moves into the next section discussing happiness. Properly, the first part ends on a major chord, providing an uplifting end and supporting the triumphant mood the text brings.

For my first paper, I chose to write about Beethoven’s Symphony no. 6 conducted in Rome by Claudio Abbado in F Major. I chose this symphony based on the description of the symphony which is a program symphony that transfers the listener to an outdoor setting. I had not listened to Classical music since taking music class back in the sixth grade, but I am almost certain we covered Beethoven’s symphonies. Upon hearing the first fifteen seconds of the piece, I was transported back into both my middle school class and a setting where I felt like I was actually immersed in most of the feelings described in Beethoven’s words of his symphony. The symphony is a Sonata form which we learned is work written as absolute music written for a specific combination

4. What is absolute music? Instrumental music based on abstract principles of music theory and form.

From Bars 142 – 175 the first subject; the song ‘Jim Jones’ is repeated, played in E minor. From bars 176 – 184, the transition between ‘Jim Jones’ and ‘The Lime Juice Tub’ is repeated, although it is changed a little; in the last two bars, it changes into E major. Then them B1, ‘The Lime Juice Tub’ is repeated in E major, along with the linking passage. Theme B2, ‘The Ballad of 1891’ is then repeated in A modal. The linking passage is then repeated again, and Theme B3, the song ‘Gallant Peter Clarke’ is then repeated in C major.

E1 Bars 52-54 (beat 2) C minor (Tonic minor of C major) Bars 54 (beat 3)-55 (beat 2) F minor (Subdominant of C minor) Bars 55 (beat 3)-56 Leading to C minor Bars 57-59 E flat major (relative major of C minor) E2 Bars 60-63 E flat major Bar 64 A hint of F minor Bar 65 A hint of G minor Bars 66-67 (beat 2) C minor E1 Bars 67 (beat 3)-69 (beat 2) C minor Bars 69 (beat 3)-70 (beat 1) F minor Bars 70 (beat 2)-71 (beat 2) C minor Bars 71 (beat 3)-72 (beat 1) F minor Bars 72 (beat 1 s)-73 C minor Bridge 1 Bars 73-76 (beat 2) Chromatic scale passage leading to A flat major A’’’ Bars 76 (beat 3)-83 A flat major Bar 83 (beats 3-4) Leading to C minor (Dominant)

Just so you know before hand, the lyrics to the music came from the CD with trademark of Delta Music Inc. The movement opens agitatedly as the orchestra picks up fragments of one theme after another from the previous three movements, as if seeking a satisfactory vehicle for its expression; but each is discarded in turn. The first seven notes of the main theme to come are tentatively uttered, but it too is abandoned as the search continues. Once again the theme begins, this time in the woodwinds, but it soon breaks off. Finally, the theme emerges decisively in the basses for a subdued first statement. The second statement is calm, tranquil, confident, and the theme continues onward in the various voices of the orchestra, broad and flowing. The winds make a strong statement of the theme. The flow of the music abruptly halts--there are rapid shifts--great agitation, until the orchestra introduces the baritone singing the first three lines of the poem, rejecting the feverish discords of the previous passage, calling for a different music, whose nature is suggested by the strings beneath his voice:

Then a gradual increase of animation forced the theme all the way up to the vigorous cadence. The recapitulation of themes followed an agitation and restlessness which led to a new and stormy climax which in turn gave way to blander harmonies and quiet rhythms. The first movement ends to the first theme in quiet feeling.

The chord structure of this work is very functional. Cadence points are fairly clear and the phrases are usually of a

Among the many musical types of the period, the classical period is best known for the symphony, a form of a large orchestral ensemble. The symphonic pieces generally had three movements, the sonata, the minuet and the finale. Building of the achievements of earlier composers,

Orchestra concerts are an example of music being presented in an emotional and artistic manner. Often people, mainly think of contemporary music when they hear about orchestra concerts. Music composed in the late 1970s to 1990s. But its music extends to much further than that. Scores have been performed from many composers in grand concerts that originate from many sources. These sources include movies, television shows, and even video games. The level of emotion that these concerts express varying from excitement, sadness, intensity, and many others. As a listener, you feel absorbed in the dramatic conducting of the composer and the unity of the orchestra as a whole. Even the setting of the concert can be cinematic as other displays show the grandeur of an orchestra. Our bodies were meant to take in the sounds of music more so than the images. What we derive happens automatically as we drown in the mixture of emotions orchestra has to offer.