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Thematic Variation
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these. Variation techniques Mozart's Twelve Variations on "Ah vous dirai-je, Maman" (1785), known in the English-speaking world as "Twinkle, Twinkle, Little Star" exemplifies a number of common variation techniques. Here are the first eight bars of the theme: Melodic variation Mozart's first variation decorates and elaborates the plain melodic line: Rhythmic variation The fifth variation breaks up the steady pulse and creates syncopated off-beats: Harmonic variation The seventh variation introduces powerful new chords, which replace the simple harmonies originally implied by the theme with a prolongational series of descending fifths: Minor mode In the elaborate eighth variation, Mozart changes from the major to the parallel minor mode, while combining three techniques: counter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franz Schubert
Franz Peter Schubert (; 31 January 179719 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast ''oeuvre'', including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a libr ...s, incidental music, and a large body of piano and chamber music. His major works include "Erlkönig (Schubert), Erlkönig" (D. 328), the Trout Quintet, Piano Quintet in A major, D. 667 (''Trout Quintet''), the Symphony No. 8 (Schubert), Symphony No. 8 in B minor, D. 759 (''Unfinished Symphony''), the Symphony No. 9 (Schubert), "Great" Symphony No. 9 in C major, D. 944, the String Quintet (Schubert), String Quintet (D. 956), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ah Je Vous Dirai Maman Var 5
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Debussy Reflets Dans L'Eau, Opening Bars
(Achille) Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries. Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, '' Pelléas et Mélisande''. Debussy's orchestral works include ''Prélude à l'après-midi d'un faune'' (1894), '' Nocturnes'' (1897–1899) and ''Images'' (1905–1912). His music was to a considerable extent a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Debussy Reflets Dans L'Eau Opening 2 Bars
(Achille) Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries. Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, '' Pelléas et Mélisande''. Debussy's orchestral works include ''Prélude à l'après-midi d'un faune'' (1894), '' Nocturnes'' (1897–1899) and ''Images'' (1905–1912). His music was to a considerable extent a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Debussy
(Achille) Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries. Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, '' Pelléas et Mélisande''. Debussy's orchestral works include ''Prélude à l'après-midi d'un faune'' (1894), ''Nocturnes'' (1897–1899) and ''Images'' (1905–1912). His music was to a considerable extent a r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ah Je Vous Dirai Maman Var 8
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Imitation (music)
In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. The intervals and rhythms of an imitation may be exact or modified; imitation occurs at varying distances relative to the first occurrence, and phrases may begin with voices in imitation before they freely go their own ways. Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. Definitions When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Non-chord Tone
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord (see: factor (chord)). Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music. Nonchord tones are often categorized as ''accented non-chord tones'' and ''unaccented non-chord tones'' depending on whether the dissonance occurs on an accented or unaccented beat (or part of a beat). Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a minor seventh chord. For example, in 1940s-era bebop jazz, an F played w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
