Class 18 presentation 2011

Class 18 presentation 2011 - Improvising Dances A...

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Unformatted text preview: Improvising Dances: A Dialogical Schematic Outline Duple Meter Rhythms: March (transferrable; allegro) Bourrée (middle; allegro) and Contredanse (low; presto) Gavotte (high; allegretto) 4 œ œ™ œ œ œ 4 > > 4œ œ œ œ œ œ œ œ œ 4 > > 4œœ œœœœ œœœœ 4 3 œ œ ™ œj œ ˙ 4> > Triple Meter Rhythms: Minuet (relatively unmarked: high/middle), Waltz/Ländler (low), and... Sarabande (high) (more characteristically in 3/2; adagio) 6 œ™ œ œ œ œ œ 8 Compound Meter Rhythms: Siciliano (low; andante) Gigue (middle/low; allegro) 6 œj œ œ œ œ œ œ 8 > > T h : G ¢ n I1 m·.¤ o f u an : ]IO U n rr 6 7 ruywx Th. Axmamx spam u..1m m lm m l oakum Qom. .»‘m·q bowsnmp /..4.1.Nw :4%-¤ [A Y2. ¤ i 2 A i s u '1,—··»..»¤ {/·»e»¤¤»,» g·..¤ ·; Registers: French Overture—Military/Hunting— m-ganizmiun palpable —ombra—Pastoral/Musettemeawres. “Turkish” -gummy¤gs ¤f bam and gmupings ¤l` In Hz walz; che dancer; {ex move m Hz: pulse uhhree which is p¤rc¤p— ` cible ¤n its lower level. butHze {bur-bean "phrase" shaped olmeasures is he more insiscem lim ohcxiqn; sometimes in quick walnzcs use operates Modalities: cantabile—Strict—Brilliant—Sturm und Drang— as ¤ "measure." and xherems "plu¤se" and "measure" begin en merge. Empfindsamkeit—Fantasia In the case uhqmpnund meters, groupings qhhc duple ben. nhu higher level of amine (che domed quarry nom In 6/8. lb. example), subszimu ` for gmupings musical topoi, after Wye Jamison Allanbrook of measure;. Toward Hz {elk ¤lxhespearmDunhille lcv- ll Partialbegin no upen up again. although less apparemly, since bah eves els list of are always duple. In A duple measure one mV perceive as xhc hear all Topoi in the music of Mozart, Haydn, and their contemporaries French Overture: dotted rhythms, pomp and ceremony Military/Hunting: French horns, flat keys, 3rds/5ths/6ths “Turkish”: ostinati, acciaccaturas, augmented seconds Ombra: trombones, sinister harmonies Pastoral/Musette: drone, 5ths in bass, Siciliana Singing Style: cantilena, from world of sentimental opera Strict Style: counterpoint, learned style, ecclesiastical Brilliant/Mechanical Style: passagework, virtuosity Sturm und Drang: syncopated rhythms, minor, turbulent Empfindsamkeit: “slow-movement style,” delicate, sensitive Fantasia: supernaturalistic, vertiginous Mozart, Piano Sonata in F, K. 332, first movement (1783) Mozart, Piano Sonata in F, K. 332, first movement (1783) STUFF TO KNOW FOR NEXT WEDNESDAY’S MIDTERM Keys, scales, intervals Concepts and definitions of consonance and dissonance Neighbor tones, passing tones, suspensions, anticipations, appoggiaturas Rhythmic organization and metrical features (syncopation, hemiola, metric shift) Triads and seventh chords Romanesca, Prinner Rule of the octave (ascending/descending variants, approach to 3) Cadences (soprano, alto, tenor, and bass; semplice, composta, and doppia) Questions and answers (dialogical schemata: Aprile, Pastorella, Meyer) Dance forms (march, minuet, bourrée, gavotte, contredanse, siciliano, gigue, sarabande, waltz) Topoi (registers and modalities) Harmonic and melodic reduction; schematic realization ...
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This note was uploaded on 01/02/2012 for the course MUSIC 2101 at Cornell.

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