Parallel chord

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  • The Development of Harmony from Schumann through Brahms to Debussy

    1063 Words  | 5 Pages

    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

  • Analysis Of Claude Debussy's ' Preludes '

    1827 Words  | 8 Pages

    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

  • Music And Harmony In Music

    1344 Words  | 6 Pages

    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

  • Perotin Is Hailed As A Kind Of Mozart Of His Time

    1621 Words  | 7 Pages

    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

  • Analysis Of Claude Debussy 's ' Canope '

    1377 Words  | 6 Pages

    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

  • Death Schone Magelone By Ludwig Tieck

    948 Words  | 4 Pages

    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)

  • K. 332 First Movement Analysis Essay

    2002 Words  | 9 Pages

    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

  • Summary Of ' Beethoven ' Sonata First Movement '

    2297 Words  | 10 Pages

    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

  • The Toccat A Genre Originating Throughout The Middle Of The Sixteenth Century

    1130 Words  | 5 Pages

    Toccata The toccata is a genre originating in Italy in the middle of the sixteenth century. According to John Caldwell’s definition, “toccatas were the sectional contrapuntal forms of keyboard music derived from 16th-century vocal forms, including the contrapuntal keyboard ricercare.” Therefore, the form of toccata has a very significant status to explore the keyboard music in Baroque Period. There are twelve complete works of Johann Sebastian Bach, which use this title, toccata. The toccatas always

  • Analysis on Beethoven' S Piano Sonata No3, Op 2

    1830 Words  | 8 Pages

    his part-writing test on this last cadence on four counts of parallel fifths and two counts of parallel octaves, with doubled leading tones. 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

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