Minuet Oxford Reference Online
Pas de menuet always begin with the right foot Both Rameau and Tomlinson describe the two most commonly used steps: the pas de menuet à deux mouvements and the pas de menuet à trois mouvements Each pas de menuet takes two measures of 3/4 time The
Structure & Style: the Study and Analysis of Musical Forms
-20th Century use of antecedent-consequent phrase structure-at 2’ 29” on Spotify Monday, August 27, 12 Chapter 5 Menuet-Ex 98 Brahms Symphony No 1, III
Influences of the Early Eighteenth-Century Social Minuet on
Sep 18, 2014 · version of the menuet, the menuet ordinaire An examination of eighteenth- century dance treatises reveals that the practical necessity of the minuet is not a particular type of phrase structure, as is commonly believed, but rather the presence of consistently maintained metrical levels above the notated metre in
SoW for Component 3 (AoS A) and Component 1 (Composition WCT
- Structure in Haydn 104 (third movement) Start with at basic minuet structure (compare to simple Minuet) and relate to Haydn 104 (discuss closely related keys) Comparing A section iterations in Minuet Rounded binary in Trio Tonal relationship to Trio (flat submediant) Motivic structure
Classical Part 1 - DANIEL NISTICO
The Minuet and Trio creates a ternary form structure: Minuet - Trio - Minuet - The Minuet is an elegant and graceful dance in triple time - The Trio gets its name because it traditionally used three instruments
GCSE Music AOS 1 –Musical Forms and Devices
The structure for the Minuet and Trio can be loosely classed as ternary form, with each section (minuet and trio) in binary form The texture is melody and accompaniment = Homophonic
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STRUCTURE 1806 spandrel 1801 pilaster 1800 camber 1804 truss (above) Impulse III Speak Your Mind (top right) Structure Pilaster (bottom right) Tone Pitch TONE 1756 prelude 1757 minuet 1752 pitch 1758 finale QUICK SHIP BROADLOOM 7
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HistoryIV. Classical The Symphonic Influence
1History Classical1. What pieces from the Classical period have you played before? -Please be specific if possible about edition, who transcribed it, etc. 2. What recordings of Classical pieces have you listened to? -Please give specific details about recording artist and provide a link to the recording if possible. 3. What overall details of the Classical period are you aware of? -Are there any major historical details of the period that stand out to you? Are you aware of any of the artwork, science, history, etc. of the period? 4. What performance conventions are you aware of concerning this style of music? - Is there information relating to dynamics, tempo, tone color, etc. that you've learned about this style? If so, where did it come from?
2Sor's Minuet op.22 The Symphonic InfluenceThis Minuet is frequently played by guitarists, but is often treated with some contempt and underestimation. Research that I've done has revealed some very important information that is hardly discussed. Guitarists of the 18th and 19th centuries were immersed in orchestral genres, including symphony and opera. Fernando Sor actually composed both symphonies and operas! Their music was heavily influenced by the orchestra and guitarists used vivid contrasts of tone and dynamics to create orchestral effects. The Symphony This orchestral genre was extremely popular during the classical period. The three big names Haydn, Mozart and Beethoven (a.k.a. the First Viennese School) all composed symphonies of the utmost excellence. These influenced symphonies of the time and symphonies yet to come. The Symphony is a multi-movement work for orchestra that is generally in this form: I: Allegro (Sonata Form) 2: Adagio 3: Minuet and Trio 4: Scherzo (Rondo) The Minuet and Trio creates a ternary form structure: Minuet - Trio - Minuet - The Minuet is an elegant and graceful dance in triple time. - The Trio gets its name because it traditionally used three instruments.
3Task 1Listen to this Minuet and Trio by Mozart: click here -Share your thoughts about the structure and character of this Minuet and Trio -What sort of orchestrations are used? -Do you detect changes of key? If so, what effect do those changes have on the character of the music?
4Minuet op.22 by Fernando Sor
5Task 2-Study the harmony of the Minuet and Trio. What implications do the different tonal regions have on your interpretation? -How would you orchestrate the piece? Write a brief description and try to specifically describe what musical features informed your choices -Read the information below from my book 'Play Like a 19th Century Guitarist: Tone and Dynamics'. How would you apply that information to the Minuet?
64Plucking Regions
Five vs. Three Plucking Regions
Most of the quotes from the previous section suggest that 19th century guitarists frequently changed colour and were
moving their right hand from the bridge to the fretboard and everywhere in-between whenever the musical context
demanded it.Guitarists of the 21st century tend to think of there being three main plucking regions; ponticello, normal and tasto.
When playing 19th century music, it's often a trend for 21st century guitarists to be conservative with varying
colours, perhaps due to a mistaken belief that that was how guitarists of the era played. However, a diagram found in
Sidney Pratten's Guitar School sheds new light on this idea. Sidney Pratten's diagram suggests that 19th century guitarists thought of five distinct plucking regions (Examples A - E). 75What's more is that Pratten also describes the effect of each Example:
Applying the plucking regions to music
Pratten also shows how the Examples can be applied to a passage of music. She chose to use Sor's Minuet no. 05 from
Op.11, measures 35-40. Within these six measures, Pratten indicates changing hand position five times. The
implications of this are enormous, as it suggests that 19th century guitarists were changing colours with great contrasts
and frequency.1 Contrasts of this nature result in large physical movements of the right arm, not unlike the arm
movements seen in Julian Bream's playing. A typical 21st century guitarist's approach to 19th century music is to avoid
using such vivid and frequent contrasts of colour, and instead to opt for much subtler shadings where the hand barely
moves position.Can you think of passages in any 19th century pieces you're working on where you could apply colour with such
contrast and frequency? Below Pratten's example I've given one of my own. Pratten's example for applying the plucking regions 86My own examples for applying the plucking regions (in Sor's Grand Solo)Conclusions/Summary