Chapter_17_6e - Chapter 17: Classical Forms Chapter 17:...

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Unformatted text preview: Chapter 17: Classical Forms Chapter 17: Classical Forms Ternary and Sonata­Allegro Ternary Form (ABA) Principle of presentation, contrast, and return Presentation and Return In the tonic key Return either a full or partial statement Contrast Different melody Contrasting key and/or mood Minuet and Trio Minuet and Trio: History A genre, not a musical form Character Elegant musical style Stately tempo Constant triple meter Court of Louis XIV (1643­1715) Baroque minuets generally in binary form (AB) Trio: a second minuet played by three instruments Minuet and Trio: Structure Minuet—Trio—Minuet create ternary form (ABA) Classical era minuets generally ternary Miniature ternary within a larger ternary form A (minuet) |: A :||: BA :| B (trio) A (minuet) |: C :||: DC :| ABA Typical 15­step pattern A (minuet) B (trio) A (minuet) A A B A B A C C D C D C A B A 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Mozart: A Little Night Music (Eine kleine Nachtmusick) Composed during the summer of 1787 One of his most popular compositions Four movements First: Fast (sonata­allegro) Second: Slow (rondo) Third: Minuet and Trio (ternary) Fourth: Fast (rondo) Serenade A light, multi­movement composition For strings or small orchestra Intended for public entertainment Often performed outdoors Music for specific occasions Sonata­Allegro Form Originated during the Classical period Emerged around 1750 Drama and conflict within a single movement Dramatic presentation, conflict, and resolution Great flexibility Standard first movement form for instrumental compositions Sonata­Allegro Form Three Major Sections Exposition Presents main thematic material Opposition and blending of contrasting themes Development Thematic material from exposition developed Recapitulation Themes return in original order First theme A distinctive and memorable musical idea Variable length Usually played twice Always in the tonic key (I) Transition (bridge) Lacks a distinctive thematic identity Rapid figural patterns Scales, arpeggios, and melodic sequences Active bass line Rapid chord changes Cadence generally followed by a brief pause Modulates to the dominant (V) Second theme A distinctive and memorable musical idea Contrasting mood from the first theme Usually played twice Harmony stable in the dominant key (V) Exposition Closing theme Normally in a light, carefree style Frequent cadences signal end of the exposition Remains in the dominant key (V) Development Utilizes theme(s) from the exposition Themes in any order Fugato Melodic and harmonic sequences for modulations Retransition often a pedal point on dominant Recapitulation Themes appear in original order Themes remain in tonic key (I) Transition theme substantially modified Optional Sections* Introduction Slow tempo Impressive character Ominous or puzzling chords Never repeated Optional Sections Coda Added at the end of the movement Variable in length and content Cadences emphasize movement’s conclusion Listening tips Memorize the pattern Remember melodies Identify four principal musical styles Give it your full attention Practice Four principal musical styles Thematic sections Clearly recognizable themes Memorable tunes Transition Full of melodic movement and sequences Rapid chord changes Four principal musical styles Development Agitated style, contrapuntal, and harmonically active Motives from earlier themes Concluding passages Occur at the end of major sections Tend to repeat motives or cadential phrases Static harmony Purpose of each style Thematic: state the melodies Transition: moves the music forward Development: expands musical ideas Concluding: provides closure ...
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This note was uploaded on 01/10/2012 for the course MUS 1751 taught by Professor Harris during the Summer '08 term at LSU.

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