Analysis Of Sostenuto Alla Campane

In the second section it represents the women fighting for their freedom. The movements are a lot more circular in this section. It uses more contractions, releasing & vibratory movements. In the first two sections, the dancer shows the struggle being not only physical but emotional also. She does this by the powerful expressions she uses on her face. She even imitates a couple of screams that play in the song ‘Been On A Train’. This gives the audience a clear understanding of the how she is feeling.

Section one is introduced with a pedal solo which is used to maintain the rhythm of a ¾ pattern that is consistently present throughout the entire piece and initiates the ostinato theme. A significant part of section one can be distinguished in measure 33 where the melody of both hands shifts to the swell organ manual. Also, the melody switches again to the choir organ manual in measure 49.

The piece has a time signature of 4/4 (C=common time) and is primarily in Db Major, modulating to C# Minor (the enharmonic equivalent). The accompaniment (left hand) through section A is based around the tonic and dominant chords- Dᵇ and Aᵇ- with the repeated quavers being Aᵇ - the dominant. In the B section, the repeated quavers played both as singular notes and octaves are on the dominant G#, which is the enharmonic equivalent to Aᵇ and therefore is the repeated quaver as in section A.

This composition consists of three movements of which we will further examine movement II, Adagio Cantabile. This movement is placed in high contrast with the other two, particularly in tempo.

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

The abundance of harmonies never loses the thread to his audience. Furthermore, the opening of the slow movement inspires the imagination and attention of its listeners. All these elements make this piece one of the most successful concertos in the musical history.

The next movement of the concert from Czechoslovakia, Three Revolutionary Marches, began dramatic with leaps and high-range climaxes. The music of this piece perfectly portrays the

The first movement began with a very strong texture as the music reflected a very powerful theme. It began with the heavy instrumentation from the strings including cellos, violins, and basses. The tempo was also relatively fast and generally upbeat. About a minute and half in there was a very noticeable solo by the violins which was a bit softer in terms of the texture. The melody seemed to be very upbeat and cheerful. Lasting the form of the movement was very well structured and the instruments backed each other up smoothly.

The third movement - Adagio molto e cantabile - is quasi-variational similar and involves two themes: Adagio molto and Andante moderato. Both themes are of unsurpassed beauty. There is no link musically between the themes. Indeed it seems that contrast serves an important function in the movement as also seen in the two dramatic fanfares hear towards the end.

Many ensembles across the world dedicate time to learning and performing early renaissance music. When practicing music not from this era, it is easy to perform it incorrectly and not give the work the justice it deserves. Ensembles that do not take careful time and consideration to study the style of early music and the techniques they must use when performing these pieces, ultimately fail when attempting to perform early music. When performing early music, such as Canzon Septimi Toni a 8, musicians must study the styles and techniques musicians in that time period implemented, reciprocate the tone, timbre and articulations used in the renaissance era for this specific work, transpose the piece to their instrument, and know the differences between early and modern instrumentation needed to perform the piece.

He creates this dance-like feel in a variety of ways. Firstly, the 2/4 time signature makes the music feel upbeat compared to the 4/4 time signature of the rest of the piece. Secondly, the sforzando accent on the first beat of every bar drives the music onwards. Also the catchy, short and rhythmic melody is lively and metronomic. Finally the fiddle-like manner in which the violins play creates a sense of a dance. There are unexpected changes and dramatic dynamic changes throughout the trio which are both romantic qualities. The fact that this movement moves seamlessly into the next is also romantic.

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

First movement has solo passages extending into long sections; alternated between four or five ritornello sections. First movement constructed in a variant of ritornello form with a double exposition.

The second movement, Andante con moto, however has two main different interpretations that it could be analyzed as song form or sonata form. The third movement, Con moto moderato, was composed in form of minuet and trio. Finally, for the finale, which consists of the Roman saltarello and the Neapolitan tarantella dance rhythm, contains characteristics of both sonata and rondo form.

The return to the home key can be seen as a relief from the “dissonance” produced by the passages of second themes in E major and b minor. Yet, the tonality on G major is not distinctive enough to induce a home-returning emotion in the listeners. Therefore, the composer restated the opening of the first theme in G major and continues with arpeggiando passages (Fig. H) (mm.288-295) establishing the dominant of the home key. The coda (mm.295-324) consists only