TONALITY: There are major keys in use during the whole of ‘And the glory of the lord’ from Messiah by Handel. The piece begins and end on the key of A major. A section of the piece is played in E major (dominant key) and then when it reaches another section it modulates to B major (dominant of the dominant key) STRUCTURE: And the Glory of the Lord is built around four main motives; these short unique melodic (or rhythmic) idea. These motives are throughout the whole piece of music. Handel wanted
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the opening theme. Harmony: The harmony motion of Classical period music was slower and simple in compare to the music of the late Baroque. Thus‚ this piece has only simple harmony‚ which is particularly the tonic chord‚ dominant chord‚ dominant seventh‚ and secondary dominant seventh chord. Other characteristic of classical music’s harmony is the Alberti bass. This device divides each of the fundamental chords into a straightforward pattern of short‚ repeating notes that produces a sensitive chordal
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called the tonic. The word tonic means “tone”. This is the proper name given to the triad built on the keynote of the scale. Since the keynote predominates over the remaining tones‚ the tonic triad is the principal triad of the key. The root of the dominant triad is a perfect fifth above the keynote. Triads whose roots are related by the interval of a perfect fifth have a close
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introduction gives hints of what to expect on the piece and the closing theme could be debatable. The first 4 measures are the introduction of the piece where it starts with the tonic‚ then the predominant and introduces a Ger6/5 that emphasizes the dominant with a descending bass. Two major Themes are present throughout the nocturne (m. 5-20 and m. 21-46). The first theme‚ introduced in m.5‚ starts with the first and fifth of the tonic chord. The first chord change in this theme occurs in the third
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form with a shortened final section‚ a coda and 4 bar phrases. The long section B is contrasted by a shift to the tonic key and narrow-range bass motifs. The coda introduces a new but short melodic idea‚ but all the sections are united by persistent dominant pedals in quaver rhythm. Tonality and Harmony: Section A is in the tonic key of Db major‚ the countermelody is in Ab major but Section B is modulated to C# minor. Chopin defines the key of Db major by
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4th. Handel varies the harmony and tonality in Glory of the Lord lots with lots of key changes in a relatively short piece. The piece begins at A major‚ the tonic of the piece‚ then moves to E major‚ the dominant‚ then back to A major. The piece then moves to B major‚ the secondary dominant or supertonic major‚ before returning to E major and then finally to A major. The piece also has a plagal cadence (IV – I) for the Amen at the end. The piece is in 3/4 time which is dance like and joyfull
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Individual Assignment no. 2 Schubert’s Symphony no.8 in B minor‚ also called the Unfinished Symphony‚ deviates from the typical first movement of a Classical symphony in various aspects. Similar to other Classical symphonies‚ the first movement of unfinished symphony adapted sonata form as the skeleton. Despite the use of symphonic sonata form‚ Schubert begins the piece by an 8-bar quiet solo Preface theme which is played by the cellos and double basses in unison. The low registers and softly
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plagal Cadence. Throughout the piece‚ it is marked by recurrent perfect cadences‚ fortifying the key. The tonality is major throughout the piece. The A major key gives the piece a cheerful‚ jolly and an exuberant mood. Any modulations are to the dominant‚ contributing to the bubbly feel. As is common in baroque music‚ the dynamics are terraced. The number of
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Analysis of Haydn’s String Quartet: Op. 76‚ No. 4‚ in B-flat Major “Sunrise” Haydn composed his Op. 74 quartets in the later years of his life between 1796 and 1797 and it was the last of his completed string quartets. The set of quartets were dedicated to the Hungarian Count Joseph Erdödy and were published in 1799. It was said that this selection of quartets was one of his “most ambitious chamber works” with his attempt of “emphasizing thematic continuity‚ seamlessly and continually passing motifs
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dynamics and more extreme key relations. Beethoven started this piece with a slow introduction. It is not unknown but it’s not commonly used. It was not uncommon for slow introductions to start in a different key as the first chord was not tonic but a dominant 7th chord. This is then followed by the first four cadences and none of them is the tonic. We would normally expect to have the key established immediately‚ and so starting with a dissonant chord is unsettling for the listener. The main focus of
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