Music Podcast Analysis Notes 11

String Quartet No. 13 in B Flat, Opus 130, Cavatina Dynamics Background Information: Composed by Ludwig van Beethoven, completed in November 1825, premiered in March, 1826 by the Schuppanzigh Quartet. Original form 6 movements, 50 minutes.

Dynamics: Piece relies on dynamics as its central element, being a purely string piece. Heavy emphasis on fast changes in dynamics not terraced, relies on quick crescendos and decrescendos. Cello plays at the same level of dynamics most of time somewhere between mp mf, usually around mp. Intro of the song perfect example of typical dynamic changes in the song fast crescendo dropping off sfortzandos heavily used. Example of decrescendos 1:25 in big crescendo up to note with violin playing drops off suddenly sudden drop-offs a common element in this piece. Pattern: Dynamic levels remain the same when it is a solo section with the cello and another instrument e.g. violin, 2:10, but when another instrument is added in, a large crescendo with a drop-off if only one instrument is added in, while at the end of each solo section, e.g. 2:30, large crescendo with no sudden drop-off. 3:53, new section of the piece p dynamic level, solo instruments crescendo out, dynamic level slowly increasing as solo instrument progresses (violin). 5:13, example of how a sudden crescendo leads into a main section, before a sudden decrescendo, leading into a large crescendo. 6:00 violin crescendos above other instruments to provide a powerful counter-melody, drops off suddenly in sections of importance, all instruments crescendo, while the melody in that section crescendos even further in order to display its importance. Each instrument plays a varying level of dynamics through the piece, although there are common sections where all instruments crescendo and decrescendo together, for example at 23 seconds in. Sections where a crescendo occurs, followed by a sudden drop-off, before crescendos again e.g. at 55 seconds in to 1:15 or so.

El Cascabel Duration Background Information: Composed by Mexican composer Lorenzo Barcelata. El Cascabel Spanish English: The Bells. The version on the golden record was recorded by Antonio Maciel y Las Aguilillas with El Mariachi Mxico de Pepe Villa, in the mariachi style of music popular in mexico.

Tempo: Fast, andante tempo seems to remain constant throughout the song. Ms Lawrence Instrument 1.0

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Music Podcast Analysis Notes 11

Tempo set by the rhythm guitars approx. 190 BPM. Unwavering tempo rhythmic guitars act as the percussion to keep the band in time. Sudden change in temp at the end of the piece instruments drop out, vocals cut in either a sudden drop in tempo, or a conduction section e.g. conductor signals each vocalist.

Beat: Indefinite beat due to the irregular metre of the song. If listening closely, guitars set a beat that other instruments interlock into; however the speed and metre of the song make it difficult to hear the pulse.

Rhythm: Many different rhythmic layers within the piece instruments grouped through interlocking metres and rhythmic techniques i.e. techniques complement each other. Base layer rhythmic guitars no instrument locks in with them, they set the beat Next layer string instrument and trumpets their metres complement each other, even in the solo sections the triplets played by the string instrument lock in with the solo of the trumpets, particularly in the opening trumpet section of the song in which the trumpet plays a small motif. Next layer Lead guitar plucking rhythmic ideas dont fit within any layer of the song heavy use of syncopation and contrasting metre solo section in the middle of the song uses an interesting concept of triplets in a 4/4 metre on the 7/8 metre of rhythm guitars. Final Layer Vocals constant solo throughout the song, contrast of an indefinable metre over the syncopated playing of the other instruments. Complex rhythmic ideas within the song complex use of note lengths mix of semiquavers, crotches, semibreves and minim in its solo in the latter half of the song. Vocals sing in synchronization in the finale of the piece. Overall, very complex, if repetitive, use of rhythm in the piece.

Metre: -

Irregular metre set within the song rhythm guitars seem to play in 7/8 or some combination of and 2/3. String instruments seem to play in 3/4, while the trumpets play in an odd combination of and 2/3 No clear main metre of song, each instrument seems to have a different metre, and change consistently within the same tempo. Vocals dont seem to have a metre, rather, they sing as a constant solo throughout the piece. Large use of polyrhythms. Trumpets play a 4/4 section in their triplet solo.

Brandenburg Concerto No. 2 in F, First Movement Pitch Background Information:

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Music Podcast Analysis Notes 11

Composed by Johann Sebastian Bach, presented in 1721, unknown date of composition. Regarded as the finest musical compositions of the Baroque era.

Melody: Definite melody played by violins. Melody switches to clarinet in 0:26, switches to trumpet in 0:30, flute in 0:39 i.e. melody passed around a lot, particularly in the full orchestra sections between the violins and trumpet, and in the softer sections, played by wind instruments such as the flute and clarinet. Wide range in the melody, spanning a number of octaves, particularly the trumpet section at 2:00 Heavy use of ostinato in the base line 5 seconds in, double bass / cello same 6 notes repeated. Additionally, counter melody of violin play an ostinato. Wide melodic range for the counter melody, e.g. at 1:08 with the oboe. Overall contour of the piece is a descending wave slight jumps, but pattern across a large section noticeably descending. E.G. at 1:15, Base line plays a descending pattern of notes, while the trumpet plays a downwards sequence of four notes. Melodic movement of the piece is a combination of steps and leaps. While base line is in a lower register, stills plays at the upper reaches of its lower register, e.g. at 1:00-1:04. Rest of the instruments play in a higher register, particularly the trumpet, e.g. at 1:40, although it does occasionally play in a lower register at 1:35. Large use of ornamentation used in the melody e.g. the flute at 2:19 grace notes. Extreme use of contrasting melodies and counter melodies playing simultaneously.

Harmony: Piece uses heavy modulation in its melodic line e.g. trumpets at 2:35. Consonant harmony throughout the piece. The stylistic accompaniment is alberti bass arpeggiated accompaniment. E.g. 1:45 Double bass / Cello can be clearly heard playing an arpeggio. Simple chord structure due to repetition in the song same chords, modulated into a higher or lower octave, or in a different order. Some sections contain a different key, e.g. 1:13, and as such, a different chord structure, but on the whole the chord structure remains fairly simple for the piece. Accompaniment doesnt play a typical block or parallel chords, rather, each instrument plays a different harmony or counter melody (examples throughout the whole piece). Fast harmonic progression through the majority of the piece, however sections such as 1:58 play simple block chords for a period of time slower harmony progression.

Tonality: Key of F-major, although it does contain accidentals.

Beethoven (cond. otto klemperer) - symphony no. 5 in (1) Tone Colour

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Music Podcast Analysis Notes 11

Background Information: Composed in 1804-1808 by Ludwig van Beethoven. Comprised of four movements, opening sonata, an andante, fast scherzo which leads to the finale. One of most well-known classical pieces in the world. Symphonies usually composed for an orchestra.

Tone Colour:
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7:50 - 7:55 - important contrast section the light, articulate sounds of the woodwinds and trumpets, contrasts well with the imitation from the strings, who produce a menacing, unwavering sound. 5:05 sound from the entire orchestra produces an unwavering, menacing solid sound in the four notes. 0:40 the strings produce an urgent, yet light and piercing, sound. 0:52 French horns produce a strong, reverberating sound that contrasts with the piercing wail of the strings in the earlier section. 0:56 the strings play a flowing, melodic line that compliments the spellbinding quality of the clarinet. 1:10 the strings begin to produce a smooth, yet eerie sound played with urgency. 3:32 violins play a light, chilling tune. 4:40 The combined woodwind section play a dissonant, yet bitter-sweet phrase. 1:00 The small ostinato played by the clarinet produces a sweet sound that is full of longing. The opening four notes of the piece a courageous and resonating, yet dark and heavy combination played the orchestra create a dark and mysterious mood for the piece. 3:08 The strident and heavy notes played by the cello contrast with the light and articulate playing of the violins and woodwinds. This piece is all about contrasting sections dark and menacing to light and articulate to courageous and reverberating tone colours within these sections are all constructed to complement each-other.

11 MU Gerard Rallos

Ms Lawrence

Instrument 1.0