Relative key

“Sind es Schumerzen, sind es Freuden”(“are they sorrows or are they joys”) is a song from Brahms’ song cycle Romanzen aus L. Tieck’s Magelone, Op. 33 No. 3. As text for his song cycle, Brahms chose excerpts from the novel Die schöne Magelone by Ludwig Tieck (1773-1853). The novel tells a love story between Peter von Provence and Magelone, the king’s daughter. In this particular song, Peter and Magelone falls in love with each other. Though Brahms is most widely known as an instrumental composer,

Le Glissade The Glissade is a part of common Ballet choreography. It is a move that allows dancers to transport themselves through time and music. This move thrills the body and its instruments are the legs. While sitting in our seats what we see is grace. Music is playing and people are moving graciously to the beat. When we first look at it, it seems like this is an easy move because of how effortlessly the dancers move. However, by carefully watching dancers, we realize that this is a complex

‘So What’ Miles Davis Solo Analysis Miles Davis’ solo is very minimalistic mainly using crotchet and quaver rhythms throughout with the occasional triplet or semiquaver grace note. For the A sections of the first chorus he bases phrases around the minor pentatonic scale. He develops his opening motif (bar 2 of A1) in bar 4-7 returning to the root (E) in between each ascending then descending phrase going up to the 7th (D) in the final variation of the motif. The phrase lengths are irregular; Davis

reflects the continual shifts in keys throughout the song from the opening key of G major, to the prevalent “relative major to the parallel minor” key of B-flat major, to the instrumental use of the parallel g minor, and to the occasional relative e minor1. Paul opens the song with an ‘intro’ section, something that not many other preceding Beatles songs possessed. This intro also commences the later key changes by shifting from the original G major key, to the B-flat major key at the end of the two lines

introduction. The A section begins at the fourth beat of measure 5 and is in A major. The A section ends in a half cadence, which is an E major chord. The B section, which starts on the fourth beat of measure 29, is in C sharp natural minor. This is the relative minor of E major, which was the final chord of the first A section. At measure 49, there is a modulation back to A major which leads into a second A section beginning at measure 50. However, this A section is different mainly because the melody appears

This is contrary to what Mozart was working on at this time. By choosing this kind of key, Mozart illustrates a kind of deliberate conveyance of something diverse, emotional and moodier than past concertos. According to Alfred Einstein; a German-American musicologist, he describes the importance of different key signatures for Mozart. He says if G minor was the fatalistic key for Mozart, then C minor was the dramatic one. The core differentiates the aggressive harmonies and lyrical

Chopin’s 24 preludes. His preludes were written between 1835 and 1839 and were published in 1839. Chopin’s preludes were arranged in a circle of fifths, with each major key being followed by its relative minor. In comparison, Bach’s collection of fugues and preludes, known as ‘The Well Tempered Clavier’ was arranged according to keys, each one a semitone higher. This is why some believe Chopin intended the preludes to be played in a single performance as a continuous

majoritively in a major key, whereas Bach’s Bouree in E Minor, as named, is in a minor key. This is a seemingly large difference but Blackbird is in G major and therefore the relative major key of E minor. The two keys are very closely related and add to the similarities between the two pieces. The Bourrée is distinguished by melody and bass notes played simultaneously on the upper and lower strings. McCartney adapted a segment of the Bourrée and reharmonized it into the relative major key of G as the opening

Franz Schubert was born in Vienna, Austria in 1797. Growing up Schubert learnt to play piano, violin and viola. As well as being gifted with the ability of these instruments, his voice “earned him admittance to the Imperial Chapel choir school.” [2] This is where he developed his theory and compositional ability. When Schubert passed away in 1828 he left behind “over 600 lieder (German art songs), 9 symphonies, 15 string quartets, and hundreds of other different genres of pieces, including operas

Carter Burwell: In order to compare and contrast Claude Debussy’s impressionist work from the 1800’s to 20th Century impressionist music, one can analyse composer Carter Burwell’s impressionist pieces. Carter Burwell was born in New York City on November 18, 1955. He graduated from King School in Stamford, Connecticut and then studied animation and at Harvard College. In 1977, Burwell graduated from Harvard and became a teaching assistant in the Harvard Electronic Music Studio and a cartoonist