Today I will be analyzing a string quartet by Haydn, specifically a fast one. The work that I will be analyzing is called "String Quartet in B flat Op.1 No.1" Musical Elements:
Triple Compound Meter
Major (Bb) for majority of the work, then minor for a small section
Homophonic texture
Tempo: Allegro
4 string instruments, Violin 1 and 2, Viola, Cello
Cresendo on the first part of each phrase and decrescendo on the second part
Musical Structure:
Very segmented, periodic structure
Each phrase is about 4 measures
Musical structure and rhythms are consistent but are on different pitches the second time
B section changes tonality for a couple of measures which leads to the A section.
I'm back with another one of my listening journals. This time I'm going to be analyzing a Mozart piano concerto. The piano concerto that I will be analyzing is " Piano concerto #21 in C Minor". I'll limit myself to the first 4 minutes since the movements are long
Musical Elements:
Tonality: Major and Minor later a little bit after the piano begins to play
Texture: Homophonic throughout
Tempo: Allegro
Timbre:
Woodwinds, Brass,and strings
Duple simple
various amounts of crescendos
move separated than legato
Musical Structure:
Very periodic, trade off between section every two measure
Today, I am going to be analyzing Lady Gaga's Fugue and comparing it to the Bach's "Little Fugue" in G minor. I will be looking for each subject, and finding out what key it's in. After that, I will answer some questions.
Subjects:
Measure 1: i
Measure 6: iii
Measure 15: i
Measure 24: VII
Measure 26: V
Measure 32: VIIb2
Measure 36: VI
Measure 54: ii
Measure 57: i
2. While examining both Bach's "Little" Fugue and LG Fugue, I found some similarities. One of the major things that I noticed is the form in regards to the key structure. Similar to the LG Fugue, Little modulates to major keys near the middle of the piece and modulates back to the minor keys at the end of the piece. For the most part , the LG fugue does not modulate into different into close keys like Little. Most of the modulations in Little are mostly closely-related keys.
3. I think that most of the Barque composers would kind of like this piece. While being similar in starting key and form, I think that most of the Barque composers would disagree with some of the modulations (i.e VIIb2).
Today, I will be doing another listening journal and this time I will be listening to Conzona Sonare No.2 By Gabrieli. I am playing a brass arrangement of this piece, so I already know what it sounds like.
Musical Elements
Tonality: Major
Timbre: All brass, Tuba, Trombone, Trumpet (airohpones)
Texture: Polyphonic
Duple Simple
Tempo: Moderate speed
Musical Structure
Turnary
A (0:00-0:28)
B (0:29-1:44)
A (1:45-end)
Modulates in the B section and then cadences back to the A section
Overall very repetitive and imitative. The melody is passed around each instrument many times
Musical Techniques
decrescendo in the B section and gets loader in the A section
all of the moving parts were clearly loader than the other parts
Musical Context
Baroque Era
Italian
Canzona, an imitative style of music
I'm back again with another musical analysis, but this time it will be on the Baroque era of music, specifically the opera "L'Orfeo" by Monteverdi. I will only be analyzing for musical elements this time around from "0.45-2:21"
Timbre: Brass instruments, string instruments and percussion (intranaphones, chordophones, membranophones respectively). The harp, lute, and recorder also make an appearance in this work
