unit 2 set pieces music

The Moldau by Bedrich Smetana date

1874

The Moldau by Bedrich Smetana artist info

father of czech, born 1824

other songs by Bedrich Smetana

mar vlast, the bartered bride

The Moldau by Bedrich Smetana genre

Romantic, Program music

romantic characteristics

melody = lyrical, irregular phrase lengths, chromaticism

rhythm = undefined, rubato, tempo changes

harmony = many chromatic chords/dissonance

tonality = modulations maj/min (mainly mediant)

pitch = expanded upper/lower registers of piano/orchestra

texture = homophonic

timbre = grand piano (w/ pedal), harp, cor anglais, tuba, celesta, percussion

dynamics = changing, wide range

Mlic Rurt Hcd Tmmm Pr Th Tphctcp Dw

program music characteristics

external narrative

imaginative correlations (narrative)

represents musical concepts

enimrmc

The Moldau by Bedrich Smetana instrumentation

piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 french horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, triangle, cymbals, 2 harps, strings

The Moldau by Bedrich Smetana structure

rondo form

• intro (Em) river source

• A (Em) moldau river theme

• B (C) forest hunt

• C (G) peasant wedding

• D (Ab) moonlight dance

• A (Em) Moldau river theme

• E (unstable key) St John rapids

• A! (E!) moldau river theme

• F (E) Vysehrad castle Prague

• Code (E)

The Moldau by Bedrich Smetana narrative

2/6 poems. recurring theme unifies

orchestration =

• starts gentle flute, strings grow, brass/percussion forest hunt, muted string & harp dream dance

• dynamic contrasts (ppp→fff) cresc.decresc.

• articulation markings

• harmony = interchange, chromaticism, modulations (reflect scenes). Emin to maj = triumphant Prague arrival

The Moldau by Bedrich Smetana pitch

key = Em modulations finishes E maj.

melody = starts with ascending lfute melody motif. main melody starts/ends on tonic (swedish folk)

tonality = maj/min contrast. modal interchange (chords from parrallel maj/min)

Modulations = Em, Em, C, G Ab, Em, unstable, E, E, E (triumphant ending)

The Moldau by Bedrich Smetana timbre

orchestration = starts light flight; clarinet; motif strings

instrumental techniques/effects = strings (pizzicato at start) (arco main melodies) (tremolo rapids) (double stops)

The Moldau by Bedrich Smetana rhythm

starts 6/8;l crochet melody; 2/4 dance; 4/4 dream; ends 6/8

flute semiquavers w/ clarinet triplets

The Moldau by Bedrich Smetana society

french revolution, patriotism 19th, nationalist, Czech National Revival movement independence from Austria, folklore

The Moldau by Bedrich Smetana composition devices

imitation (opening flute motif → strings)

sequence (flute motif)

pedal points (transitions)

inversion

The Moldau by Bedrich Smetana dynamics/expressive

dynamics = ppp-ff, cresc, descrec, sforzando, rinforrzandor, loud piano

articulation = staccato, tenuto, accents, slurs, trills, cello appoggiaturas, staccato accents (marcato)

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald dates

1939 og, 1957 ella

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald artist info

billy strayhorn (writer/composer)

duke ellington (1st performance)

ella fitzgerald (1st lady in jazz, diabetes)

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald other songs

dream a little dream of me - ella; misty - duke

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald genre

swing (bebop)

swing (bebop) characteristics

• complex chord progressions

• instrumental virtuosity

• improv

• faster tempos, explore harmonies/melodies, no dancing

• bebop group = small combos, improv solo (based on chords), back to melody @ end

CVIFG

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald instrumentation

4 trumpets, 4 trombones, 4 saxophones, clarinet, rhythm section (piano, upright bass, drum set)

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald structure

AABA (common jazz)

intro, head (main), scat solos, instrumental solos, band break, head (main), ending

IHSIBHE

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald narrative through instruments

backing horns

sequences/riffs give structured/flexible foundation supporting melody/improv

contrasting dynamics

vocal improv/scat/mimickery

mini shout chorus & syncopated bass lines

jazz (black culture) improv

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald pitch

key = C

melody = weird (mediant→tonic through chromatic & large interval jumps. delayed resolution via chromatics)

tonality = major

harmony = 2nd chord of head is D7 w/G# melody (secondary dominant). then ii-V-I 12 bar blues common. piano intro foreshadows head (descending wholetone scale from 3rd to G# train whistle)

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald timbre

NONE but trombones mute

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald rhythm

tempo = 4/4 jazz 180BPM. 3 swing definitions

syncopation (1st piano intro note, bass intro), drums simple/repetitive pattern. head crotchets “walking” bass line, piano comping

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald society

duke directions to billy for NYC subway Harlem (central hub for black)

racial segregation, civil rights struggle, harlem thriving song anthem

swing/bebop elements

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald compositional devices

sequence (backing horns) (last A section)

riff (horns in bridge)

pedal point (intro bass plays syncopated G & harmony changes)

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald dynamics/expressive

sharp dynamic contrast (ff horns to pp when vocals) (mini shout chorus ff w/ accents)

vocals heavy tremolo. scat solo scoops/mimicking (armstrong)

Take the A Train Billy Strayhorn Duke Ellington by Ella Fitzgerald texture

holy/poly