Debussy's use of the Fibonacci sequence Essay

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

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 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.

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

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

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

* Duration – the rhythmic pattern heard at the start of each gavotte, is reiterated many times throughout the piece. This also links to Pitch – the opening melody of the piece is heard many times throughout

sunrise theme of the development which is ‘y-y-x’ then ‘x-x-x-x’) and the fact the second melodic phrase of the sunrise theme is one bar longer. The development then continues again similarly to

This section concludes with a run or lowering pitch and a repeat of open notes of the E Major open chord created by the capo:

28 No. 15 was written during the second period. This movement (III) is in ternary form (ABA). This first A section (A1) is in binary form and consists of 70 total measures in the key of D major. It is made up of two 32-bar sections that are divided into eight 4-bar phrases, a 4-bar extension at measures 45-48, and a 2-bar cadence at the end of the section. The second A section (A2) is made up of nine 4-bar phrases. A1 consists of a repeating theme that follows the chord progression I, ii6, V7, 1 in measures 5-8 and then goes to V6, vi6, V7/V, V I in measures 13-17 and the repeats these same progressions in measures 18-32 except measure 32 ends on the V chord instead of the 1 chord. A2 continues in D with a different and less melodic theme in measures 33-49 before repeating to the main theme in measures 50-70. This section crescendos and grows in

The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).

Felix Mendelssohn was one of the most famous composers during the 19th century. Although in his music he did show some features of romanticism, he was strongly influenced by traditional genres such as counterpoint etc. In this essay, the biography of the composer, background of the genre and analysis of the piece will be investigated

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While this form has a formula or approach to it. It is rather rigid and leaves itself to be very open. It uses a 3 part binary form that has an Exposition, Development and Recapitulation. Many composers have developed and expanded this style of music composition. Mozart being the subject of this paper is also one of the composer known for