Parallel chord

Brahms' pieces, particularly in Rhapsody No.2. In Schumann's "Frightening", in bar 21, the C major chord is followed by a tritonal harmonic leap onto a sforzando dominant seventh chord of F-sharp major at beat 2. This chord, together with a rising chromatic line heralds the return of the tonic key. Schumann has reinterpreted the chord of C major as the Neapolitan chord (the flattened second) of b minor (the tonic), making the surprising tritonal leap more logical than

more somber mood with the appearance of A@ minor, the parallel minor. The vocal line, in which the speaker outrightly admits doubt regarding the ideal, is marked recitative, and its chordal accompaniment is appropriately sparse. The shift to this section is quick, with an applied dominant seventh chord to B@ minor in bars seventy-four and seventy-five. In a moment of truth, all attention is appropriately

Claude Debussy was a leading composer of the early 20th century known for his impressionistic style and use of non-traditional scales and tonalities as well as chromaticism. Debussy’s Book of Preludes is some of his most well-known and last works for solo piano. Prelude 10, titled “Canope” in his Book of Preludes No. 2 was composed in 1913. It is meant to depict an ancient Egyptian city and Egyptian burial urns. Although only thirty-three measures long, and melodically and rhythmically simple, this

into chords to please our ears. Harmony is a magic compare to other elements of music. The tonal-gravitational forces for harmony are more complex and powerful than the melody. It contributes to the effect of the motion in music and it allows the component to manipulate the human emotion. Besides, harmony is music coming together with two or more sound to make effect and all around the world

texture is primarily homophonic in the first movement with seven main changes of sound in the first movement. The structure is based on the traditional Classical Period rondo form. Moravec’s harmonies do not follow traditional chord progressions and are varied by using extended chords, altered dominants, and modal scales. Three modes are used in main melodic sections. The first two are in lydian-dominant mode. The third theme uses octatonic mode or diminished scale, alternating whole and half step pattern

Pérotin is hailed as a sort of Mozart of his time. He was a scholarly musician and musical innovator . Pérotin is called by many different names: Perotinus – his Latin Name and Perotinus Magnus – Pérotin the Great ; and even “optimus discantor”, or great composer of discant. According to Hussman, Pérotin was a court composer for Notre Dame, but his connection to Notre Dame is not entirely confirmed. It is because of an account by the English traveler Anonymous IV and letters to a Bishop that it is

Claude Debussy was a leading composer of the early twentieth century known for his impressionistic style and use of non-traditional scales and tonalities as well as chromaticism. Debussy’s Book of Preludes are some of his most well-known and last works for solo piano. Prelude 10, titled “Canope” in his Book of Preludes No. 2 was composed in 1913. It is meant to depict an ancient Egyptian city and Egyptian burial urns. Although only thirty-three measures long, and melodically and rhythmically simple

chooses dramatic shifts in music material, unpredictable harmonies, and sudden changes in tempo and rhythm. The song starts with an unusually long piano introduction that lasted 8 measures, gives an idea of the large scale of this song. The rolled chords (mm.1-8) and broken octaves underneath the beautiful melody suggesting Peter’s lute. The vocal line begins with the expressive melody identical to the beginning of the piano introduction. It is characterized by embellishments on words “sind” (to be)

proceed to the tonic sounding V with an augmented sixth chord. He does just this in Sonata number 12, as shown in the example on the top of the next page in measures sixty-four through sixty-seven. VI7 ii7 V7 Ger+6 V Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, giving a dominant to tonic feel. He further gives this

almost entirely built on step-wise motion. Because of the step-wise quality of the movement, the primary harmonic motion is an oscillation between tonic and dominant chords. The movement begins quite solidly in C major as the first component of the theme (figure 2), which we will call component A, is a repeating eight note C major chord which hammers the tonic tonality into the listeners’ minds. This component ends with an ascending three-note step-wise motion in the right hand into the dominant of