IV EXPERIMENTS IV.4 (Thu Apr 05) The modulation landscape in Beethoven’s op. 106.

Slides:

Advertisements

Similar presentations

Harmonic Progressions By Wally Furrer. Chord Progressions The best way to study harmonic progression is to consider progressions in groups according to.

Advertisements

Secondary dominants are chords that are altered to sound like dominants (which are the fifth scale degrees of diatonic scales). This means changing minor.

Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Just and Well-tempered Modulation Theory Just.

Sonata-Allegro Form. Architecture Recalled ancient classical U.S. Capital Monticello.

AP MUSIC THEORY MR. JACKSON UNIT 11: SECONDARY DOMINANTS.

The Enjoyment of Music 10th Shorter Edition

Chapter 14 The Pre-dominant II and II 7 Chords. The Supertonic Family Major mode : supertonic sounds minor and its seventh chords is a minor seventh (m7)

Classical Music The Classical Style Malaspina Great Books.

Music History An Abbreviated History of Western Classical Music An Abbreviated History of Western Classical Music.

Guerino Mazzola (Spring 2015 © ): Math for Music Theorists Modeling Tonal Modulation.

The Enjoyment of Music 10 th, Shorter Edition The Enjoyment of Music 10 th Shorter Edition.

Chapter 12: The Symphony Sonata Form. Key Terms Sonata form Slow introduction (optional) Exposition Development Recapitulation Coda (optional)

I.1 ii.2 iii.3 iv.4 1+1=. i.1 ii.2 iii.3 iv.4 1+1=

I.1 ii.2 iii.3 iv.4 1+1=. i.1 ii.2 iii.3 iv.4 1+1=

I. Harmony Defined Harmony ≠ “Harmonious” Harmony: Music’s Vertical Dimension I. Harmony Defined.

 Ludwig Van Beethoven Ishleen Saini Music Biography  Ludwig Van Beethoven was born on 16 th December, 1770 in Bonn, Germany  was the grandson.

The Enjoyment of Music 10 th, Shorter Edition The Enjoyment of Music 10 th Shorter Edition.

Thursday, October 13,  Music Sharing: Mitchell & Hunter K. (CHS)  Let’s review… Triads (and inversions) 7 th Chords (and inversions) Figured Bass.

III. Sonata Form. Sometimes called sonata-allegro form Sometimes called sonata-allegro form Definition- The form of a single movement. Definition- The.

CLASSICAL FORMS Old forms and new forms will be discussed in detail later Usually though instrumentals will have four movements (1. FAST 2. Slow 3. Dance-related.

Classical Period Forms. Sonata Allegro - Review Exposition Exposition Development Development Recapitulation Recapitulation Coda Coda.

Mozart Symphony No 40 in G minor. The essay question - melody Well proportioned/balanced melody lines Regular 4 bar phrases Contrasting melodies in the.

Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Mathematical Models of Tonal Modulation and.

Classical Period Forms Movement Cycles & Sonata Allegro.

Chapter 13 The Symphony. Key Terms Symphony Sonata form Exposition First theme Bridge Second group Second theme Cadence theme Development Recapitulation.

Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Construction of Sonata op. 3 by Mathematical.

Secondary Dominants and Leading-Tone Chords

Introduction to the Ideas of Heinrich Schenker Introduction to the Ideas of Heinrich Schenker.

Thursday, October 11, 2012 (10–11–12!).  Music Sharing: Haley & Joey (XHS)  Let’s review (and make sure we really know this stuff!) Figured Bass vs.

Journal  Highland Cathedral – Mass band, Breman 2008 

Chapter 8 Diatonic Harmony

The Leading-tone Seventh Chord

Key Relationships AP MUSIC THEORY 2014.

Major Triad (chord) A chord is three or more notes played simultaneously.

Dominant seventh chords are diatonic seven chords of the fifth scale degree or V 7 chords. Has a distinct sound from the tritone that forms between the.

Cadences. Why we need Cadences A cadence is where the music reaches some kind of goal – often accompanied by a rhythmic pause. The music between cadences.

Steve, HEEEELP! Beethoven Piano Sonata, Op. 2, no. 1 in f minor, (1st movement) Beethoven Piano Sonata, Op. 2, no. 1 in f minor, (1st movement)

Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Towards „Grand Unification“ Of Musiacl Composition,

$1 Million $500,000 $250,000 $125,000 $64,000 $32,000 $16,000 $8,000 $4,000 $2,000 $1,000 $500 $300 $200 $100 Welcome.

Triad Brain Teasers 1. Do all triads contain three notes? 2. A Triad can be simplified to a stack of __?___( name interval ). Name all the intervals.

Tippett Tonality. Sometimes the piece has an ambiguous tonality which depends on modes and pentatonic scales. This is a way of arranging chords around.

The Evolution of Sonata Form in the Wind Music of W.A. Mozart Brian Alber Fall 2005 Music 923 Brian Alber Fall 2005 Music 923.

HAYDN 4 Symphony No. 26 in D minor, Lamentatione: movement i.

The Classical Era: The Enlightenment and the 18 th century.

Guerino Mazzola (Spring 2016 © ): Performance Theory IV RUBATO IV.1B (Fr Apr 04) Some Problematic Performances.

Classical Music The Classical Style. From Baroque to Classical  High Baroque   Albinoni ( )  Handel ( )  J. S. Bach ( )

Piano Concerto in G Major, K453,. a work for instruments (usually orchestra) that features a soloist or group of soloists like the sonata and symphony,

Mozart – Symphony no.40 in G minor

Chords Review & Progressions I

Chapter 16 - Further Expansion of the Basic Phrase: Tonic Expansions, Root Progressions, and the Mediant Triad.

Diatonic Triads and 7th Chords

AP Music Theory Mr. Silvagni

MELODY Melody usually single note phrases that is the LEAD of the piece = single notes that add to a recognizable whole.

Secondary Dominants Chapter 20.

In the Classical period and beyond

IV EXPERIMENTS IV.3 (Thu March 29) Modeling tonal modulation.

Voice Ranges Bass: E2-C4 Tenor: C3-F4 Alto: E3-D5 Soprano: B3-A5

Harmonic Progressions

INTERVALS, SCALES & CHORDS

I. Rêveries · Passions ― Sonata Form

Triad Scale Names Primary Triads.

H Melody/Harmony Relative Major / Minor – A change of key (modulation) from minor to major key using the same key signature but found three semitones higher,

Tonic, Subdominant, and Dominant.

Index Notation Sunday, 24 February 2019.

Chapter 12: The Symphony Sonata Form.

Leading Tone Seventh Chords

Beethoven- String Quartet No.16, Op.135/Ⅰ

I 大地悲嘆之飲酒歌 1st Theme 1st Theme ( ) ( ) 5 8

Piano Sonata No.8 in C Minor, 1st movement ‘Sonata Pathetique’

Presentation transcript:

IV EXPERIMENTS IV.4 (Thu Apr 05) The modulation landscape in Beethoven’s op. 106

! Sonata scheme for the allegro movement in Beethoven‘s op.106 according to Erwin Ratz: Einführung in die musikalische Formenlehre. Universal Edition, Wien 1973 !

Fast normal modulation: B♭ ® G♭ 7:06

Normal modulation: G ® E ♭ 4:50

Modulation of „catastrophe“ type: E ♭(3) ® D(3)~ b(3) 6:00

Erwin Ratz‘ (1973) and Jürgen Uhde‘s (1974) theses Ratz: The sphere of tonalities of op. 106 is polarized in a“world“ centered around B-flat major, the main tonality of the sonata, and an „antiworld“ centered around b-minor. Uhde*: When one changes between the worlds of Ratz— an event that happens twice in the allegro movement—then the modulation processes become dramatic. They are completely different from other modulations, and Uhde calls them „catastrophes“. b minor B-flat major

Thesis:. The modulation structure of op. 106 is governed Thesis: The modulation structure of op. 106 is governed by the symmetries of the diminished seventh chord C# -7 = {c#, e, g, b♭} carrying the admitted modulation forces. C(3) B♭ (3) E♭(3) D♭(3) G♭ (3) E(3) A(3) G(3) F(3) A♭(3) B(3) D(3) ~ b(3) Exposition Developement Recapitulation Coda

= maximal symmetry group separating D from B♭ C(3) F(3) B♭ (3) E♭(3) A♭(3) D♭(3) G♭ (3) B(3) E(3) A(3) D(3) G(3) Sym(C# -7) = maximal symmetry group separating D from B♭

inversion of tonalities? C(3) B♭ (3) E♭(3) D♭ (3) G♭ (3) E(3) A(3) G(3) F(3) A♭(3) B(3) D(3) ~ b(3) How to calculate inversion of tonalities? Invert tonic of old tonality, you get third of new tonality.

Modulators in op. 106/allegro Exposition Recapitulation Development Coda B♭ ® G G ® E♭ ® D/b ® B ® B♭ B♭ ® G♭ ® G ® B♭ B♭ symmetries of transposition! e-3 Ig * Id/d# * Ib♭ Ia/a♭ e3

Fast normal modulation: B♭ ® G♭ Inversionb♭ VIG♭ IB♭ Fast normal modulation: B♭ ® G♭ IIIG♭  VG♭ 7:06 I IV II VI V III VII a-flat in II  V  VII b-flat in III  VI  I f in III  V  VII

Ludwig van Beethoven: op.130/Cavatina/# 41 Inversione♭ : E♭(3) ® B(3) 4:00 oppressive

e♭ E♭(3) b B(3) Inversion e♭

Inversiond♭ : G(3) ® E♭(3) #124 - 125 #126 - 127 4:50 d♭ g

C-minor melodic Gruppen und Kategorien in der Musik, p.107 a g f e♭ d b♭ C-minor melodic fundamental instead of tone of double duration replaces tone of a higher octave Gruppen und Kategorien in der Musik, p.107

Transposition-3: B♭(3) ® G(3) VIIG Ia VIIG

Limited transpositions by a minor third motivic zigzag

motivic zigzag in op.106 1 0 -2 1 ( ) b. 75-78

b. 79-80

L 3