Relative key

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  • Shostakovich's Use Of Uncertainty In Music

    Song no. 2 displays how Shostakovich uses uncertainty in major-minor mode to evoke folk-like flavor. In the orchestral introduction of song no. 2 mm. 1-18, the music sounds as if in an F# minor key, but the E major chords in mm. 16-18 that proceeds to the A major chord in m. 19 provide a certainty that the music really is in the key of A major (fig. 15), with the submediant chord at the beginning of the song gives the song a minor flavor. Fig. 15: The dominant chord in mm. 16-18 in song no. 2. Alfred J. Swan writes that the rhythm in Russian folksong is not rigid because a singer sometimes inserts an odd measure into a song spontaneously, and the song no. 2 displays this trait. Shostakovich inserts one additional beat in each of the first three measures of melody A, resulting a melody A’ that has different meter (figs. 16 and…

    Words: 631 - Pages: 3
  • Haydn Symphony 45 F # Minor Analysis

    Written Commentary Haydn’s Symphony No 45 F# Minor For this assignment, we were asked as a group to compile a resource pack which would facilitate a discussion on Haydn’s Symphony No 45 in F# Minor and Mozart’s Fantasy No 4 in C Minor. One of the tasks we received on Haydn’s Symphony No 45 in F# Minor was to complete a tabular analysis. For this, we had to identify the bar number, the section of the movement, the thematic/motivic content, the key signature, the harmonic progressions of…

    Words: 1202 - Pages: 5
  • Musical Analysis Of The Beatles

    Musical Analysis of “The Beatles”, the self-entitled White Album The first song of the album, “Back in the USSR”, written by Paul McCartney, directly parodies and references the Beach Boys, with subtler allusions to Chuck Berry and Ray Charles. It is set in the key of A major and has a 4/4 meter. Song form consists of an intro, four verse sections, each followed by a refrain, a bridge that follows only the second and third refrains, and an outro. The melody is undoubtedly bluesy, but…

    Words: 2666 - Pages: 11
  • Analysis Of Beethoven's String Quartet Op 18 No 4

    In Beethoven’s string quartet Op. 18 No. 4, there is the implication that the first movement sonata form has indeed been emancipated from the looming tyranny of the minor key and that the movement will, in fact, end in C major as opposed to C minor. In measure 194, the ESC is presented as a strong C major chord which should indicate the emancipation of the movement; however, this is not the case. As the closing material quickly continues, E-flats are reintroduced signaling that the outcome of…

    Words: 2169 - Pages: 9
  • Syncopation In Reggae Music

    plays with our expectations of where the beat should occur and loosen up the rhythm and give it life. I chose AoS1 because wanted to explore syncopation in both melodic and the rhythmic section lines. I have done this because I wanted to give the music a sense of being laid back. I also wanted to explore polyrhythms and cross rhythms. I also chose Aos2 as I wanted to explore tonality, diatonic melody lines and modulating to the relative key. In this area of study I used modulation when I changed…

    Words: 2265 - Pages: 10
  • Chopin's Mazurka In G Minor Analysis

    posth. 67, No. 2 begins with a double period (mm. 1-16) that briefly modulates in and out of the relative key of B-flat major. The first two measures use a v-i progression in g minor that is the mimicked with a modulated V-I in B-flat in measure three and four to finish the phrase with an IAC to solidify the beginning of the common double period structure. The motif then repeats itself over the v-i progression in g minor again, but changes from the original statement by staying in g minor and…

    Words: 847 - Pages: 4
  • My Personal Leadership Style

    Personal Philosophy After completing the leadership inventory, I came to find that I had equal amounts of each of the four leadership styles. Personally, I thought my primary leadership style was analytical and my secondary leadership style was supportive. I did not see myself as being directive or adaptive, so I was surprised at the results. By having equal amounts of all four leadership styles, I will be able to use all the different characteristics of these leadership styles to aid in my…

    Words: 1599 - Pages: 7
  • American Overture For Band Analysis

    The two themes, the inversion, and motifs are expanded and played upon. Also during the development, we encounter many different keys. Thru many chromatic sequences and patterns, we pass through D major, C# major, F# major, B major, e minor, a minor, f minor, and g minor. The build up into the recapitulation at measure one hundred ten features familiar passages and ideas. The recap leads us to the original horn fanfare, the inversion motif, and the original two themes, all seamlessly composed…

    Words: 747 - Pages: 3
  • An Analysis Of Homophonic Equations

    Two violins, one viola, and a cello played Joseph Haydn’s String Quartet, Op. 76, No.3 (Emperor), II in quadruple meter and in the form of one homophonic theme with four polyphonic variations. The theme is introduced by the entire quartet in an conjunct melody that has three unique phrases. The first phrase, “A”, is the first to be introduced and repeated a second time, “A-A”. Phrase “A” moves smoothly from mid to high in ascending and descending conjunct intervals and is repeated. A second…

    Words: 350 - Pages: 2
  • Contrapunctus 1: The Art Of Fugue

    pitch. Following the soprano’s answer the bass reintroduces the main theme at a lower pitch and is answered by the tenor. During this subject-and-answer interaction Bach uses imitative counterpoint to merge the four voices into one cohesive texture. Episode one is introduced with the soprano and tenor performing binary imitative passages. The bass and alto also perform binary imitative passages alongside the soprano and tenor. With the end of Episode one the middle section is introduced with the…

    Words: 504 - Pages: 3
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