Class 27 presentation 2011 - Dance types: march, minuet,...

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Unformatted text preview: Dance types: march, minuet, bourrée, gavotte, contredanse, siciliano/pastorale Topoi: registers (French Overture—Military/Hunting — “Turkish”—ombra—Pastoral/Musette); & modalities (cantabile—Strict—Brilliant—Sturm und Drang— Empfindsamkeit—Fantasia) Instrumentation Afect Galant genres & forms: march (festive, military, solemn, funeral) minuet & trio (with contrasting affect in trio) andante/adagio (siciliano/pastorale, slow minuet or march) rondo (gavotte/bourrée/contredanse with varied episodes) sonata-allegro (march/minuet with contrasting “gentle” second theme) theme and variations (with each variation defined by dance type, topic, and affect) Gigue from J. S. Bach's Sixth French Suite in E i} 7 C vC ( 7 r ' 'Kirnberger's derived "sonata" Allegro ~ . i6 -r 74 m usic in the galant style Section Schema Key 1st Half Romanesca C Prinner riposte C Prinner, modulating }] 2nd Half C Fonte G Dm C (modulation) C F Prinner, modulating F C Cadence, hemiola } C The following musical example—one of the most prevalent melodic clichés in the galant style—can be heard in measures 7–8 of Somis’s minuet: e x . 5 .1 The High Drop High Drop Somis, schematic outlineA5of minuet (Gjerdingen, 74) X 3X X 4 & 3 X #X X 4 7 XE ¥ ¥ Prinner Romanesca u XXXXX u 1 7 XXX & X X¥ ? y X 3X X X &4 X 3E ?4 y XXX 6 X y x & ? major X X. XXX X X XE 5 2 XX 5 wX X E XXX ¥ E 1 Prinner Xx E 1 ¥{{ X X X bX z bX X XX x 2 5 E ¥ 1 XX X X X XX y X X X X X X XX X 3 4 3 fonte X XX w X X X X X XXX « E. X E. hemiola cadence 1 X¥ 4 minor X. X X X X X XX w X X X XX v X X X X & X E X XX X X X ? 16 X 25 1 ¥{{XXX X 5 X XXX X z w X XXX 43 w X #X X 3 11 X v X XXX 3 6 Prinner X zy X X X 4 5 1 { { cadence Somis, Minuet, op. 6 no. 4/iii (1734) Gjerdingen, 76 Section 1st Half 130 Schema Meyer Prinner, modulating }] Key G G { Cadence D D m usic in the galant style 2nd Half Fonte Monte Am G C D Em Half cadence } { G Meyer Prinner G G Cadence 129 G In the list above, the braces linking the Prinner with the ensuing cadence are meant to show that Haydn melded these two schemata together. Somis, Dittersdorf, and Haydn all initiated a modulating Prinner in the fifth measures of their respective movements and Haydn, schematic outline of theme (Gjerdingen, 129-30) cadenced in the key of the dominant in the eighth measures. As shown in example 10.1 Theme #2 &4X j #2 a ?4 5 & & u XXXX X X X J aX z # X X #X X # 4 #XX #X X & 9 ? 14 & ? 18 # &X X #X ? 22 { X ¥ & ? # #X #X 3 y X 3 VI XXX X XX XX XX X #X cadence X X X X X a ¥ X X a X J prinner x X J X X 7 #X X 4 X X X 1 ? IV X j X 1 xX a X X cadence X J 5 {{X j V X # X X nX #X aJ X XX X X XX X X Ja X X & X {{a J X xw w a a 71 5 X 1 XX aXXX J X D meyer X 5 j X m X #X J cadence 4 XX X X 7 X w X X aX J ¥ X 3 fonte # X nX a #X X X J X nX #X aJ 2 aj X X x XXXX X x XX J X #X X 71 X #X X # ¥ X mo n t e # XX 2 xw D # y X aX j X X X X 3 prinner { meyer X Xu X J aX 3 X X a ¥ X X X z X J a 4 X X a 1 j X X { { Var. I & ? # {X j # { a u XXX X XX X X X X X X J aX 3 meyer x XXXX XXX XX { ¥ 2 X X XX X w prinner X aX J ¥ 1 7 a j X & rn y XzX XpX inX er X X X x # #X X X X #X X X X X X a #j X X a X X & {{X j X cadence # XX X a? X a ¥ ¥ j Xa X &X {{ j X5 4 4 3 29 v #X X X X X XX & X X #X X #¥ aJ ? X 33 37 # V & X X #X X X #X #X aJ ? # XX & XXXX X X J #X aX ? 41 45 & u 3 prinner # z # X X X X X nX X X #X ?X 4 ¥ w XXXX XX X aX ¥ J X X Xa J 1 7 monte { XX X y X X 3 1 XXX X X 5 XX X x XX XX X X 4 X X X 5 j X 1 7 kj XX XX XX X w X aX J ¥ cadence X ¥ IV X XX XXXX X X e X X X # X cadX nceX Ja meyer ¥ 2 VI XX XX X w X X X v 7 X X #X X X X #X aJ X X X 1 fonte j X X X X 1 a a a { { Var. II & ? 53 & & 57 & # # # # # uX X X {J { X X a XXX X X X X #X & X X X X X X X #7X X XX x monte X X ¥ 7 X aJ X @ XXX a J& X w XXX 1 x X # X Xy nX wX X X X X X # X X XXXX X X #X X XXXXX X X X XX X X X XXXX XXXX 2 X 7 x { X ¥ 1 FO T Xy Xx NwEX ? X X meyer X X #X 1 1 X XXX X X w X X 1 7 X fonteX X j Xa X X ? X cadence X X 45 a a XX {{& X 1 X X XX 7 X 1 X X XX X x X {{J w X IV XXX XX X X X # X nX X X V X X X X X VI X X X X X X « XX X X XX XX & cadence # X j a? XX & XX XX X XX X X XX X 61 X # uX X XX X XX & X #X ¥ ? 65 1 69 # z prinner XXXXXX X #X X X X ? & X 4 meyer XXXXXXXX XXXX XXXX { 2 5 XXXXX XXX X X ¥ x 7 w XXXXXXXX 1 XXXXX XXX X XXX X X X ¥ cadenace X X j X X 5 3 4 XXXX X a { XX { X 1 Var. III & ? 77 & & 81 & # u XXX X X X X J aX j X # a # X a X bX X Xu bX J aX 4 # j X 3 prinner # bz X b X b X &X #¥ aX j & ? 93 & ? x XXXX X XX ¥ 2 # nX # a X XX nX 4 3 Monte IV X bX X D D w Xa J aX J & 71 nX X #X X J X X cadence X 5 ? a X J X {J { bX a ? X bX X X # X X Meyer X X aJJa aJJa yx X X & bX X X x 4 bX JX aXJa aX J X X X & j X 3 nX prinner ? z # bX X bX X #X # aX j xX X J 1 Xa J prinner D X # X X nX a X ? 5 ¥ 2 yX X X X bX X { X X X X #X J 4 3 meyer 3 a j X 1 cadence X XX X w X 7 X Xx J j X X X aX J ¥ Xz X prinner Xy X # #X X #X X 85 & X X X 3 #¥ ? 89 meyer { nX X X V X 1 cadence 71 w bX X X bX XX X cadence XX X 345 1 X { X{ Var. IV # &j X #a ? 1 01 & ? 1 05 & & XXXX X X X XXXXX u #X X XX XXXXXXXX Xy X #X XXX XXX X X # XXX XXXX 3 3 D X X 5 X X 5 a 1 x aX X J X X XXX X 1 13 & ? 1 17 & ? # 4 X X #X y X w fonte X X # X nX x XXXX # #X X X X X X # X X X X nX X 1 7 Diatonic monte # IVX X V XX #X X X X #X X a X J X X XXXX XXXX 7 a X X j X 1 a XX X x ? aX J w 5 XXy X j X 1 7 Xz X X Prinner Xy X X X x X #X #X X X X #X X X X X X X #X X & XX cadence X X #X X aX J X ?X 3 XX X w X 1 09 4 a X X X X XX X & X XXa ja X X X X cadence 4 Xmeyer w 1 X X x a #j X X X XXX XXX X { X XX XXXXXXXX 7 X uX X XXXX XXXX 2 X 4 # { 1 prinner # Xz X # X Xx XX X meyer w XXXXXXXX 1 X X X # X X X X VI X X X X X X X XX X X J a « X X X. 5 cadence XX X a # XX & XX XXXXXXXX # ? 121 125 & u #X XX XXXXXXXX { X X Xx 129 # X X #X X X X & #¥ a #j X & 4 & & 137 & ? 141 & 3 3 X X X X 1 7 Diatonic monte IV #X XVX # # # X X X #X X a X { X X 1 ¥ 1 X X X 5 XXa a X j X X cadence 4 fonte a j X x aj X X X X X aj X 3 Xx XX X 3 x X X 4 X 5 a? 5 XX XXXXXXXX w 1 j X X X cadence X XX X X. X 7 kj XX XX « X X X XXXX XXXX XXX X X XX cadence X X w 1 7 & X #X XX X X X XXX X meyer X XX XXXXXXXX 2 1 z prinner y X #XXXXXXXX ? 4 a X u XXX X XXXXXXXX #X j X X X X w X X X # X X X X VI X X X X X X X X X j X XX w X x kj XX XX aX j X XX XXXXXXXX 7 XXX X X X X X XXX XXX X X 2 1 i z prXnner y #XXXXXXXX ? 133 Xx XX X meyer X X X X X 1 a a ...
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This note was uploaded on 01/02/2012 for the course MUSIC 2101 at Cornell University (Engineering School).

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