• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

What do you consider to be the main items of change in Bartk's concerto from the practice of the baroque composers in the Concerto Grosso?

Extracts from this document...

Introduction

Elizabeth Morgan. What do you consider to be the main items of change in Bart�k's concerto from the practice of the baroque composers in the Concerto Grosso? The Bart�k model is more dissonant, harmonically ambiguous in places, and more interesting rhythmically. It is written for a large full orchestra with no set concertino group and involves more use of percussion instruments. Bart�k uses short, narrow melodic phrases with a strong contrapuntal texture in places. He uses scales other than major and minor, and there is extreme chromaticism and virtuoso handling of a wide range of instruments, with specific and direct instructions for the playing of those instruments. In the first movement, the wedge figure which appears frequently is very chromatic. The Serbo-Croat melody in bar 76 is based on the germinal motive: F, G, Aflat, Bflat, Bnatural, C. The F - Bnatural of which is based on the octatonic scale made up of alternating tones and semitones, it is also an augmented fourth, tritone. ...read more.

Middle

There is a syncopated passage in the flutes and oboes at bar 456. The second movement is very rhythmic, and in this movement there is no set concertino group, but each new theme is presented by pairs of instruments. In this movement, there is the use of the side drum, creating a recurring tattoo. The octatonic scale appears once more in bar 62 in the flute parts. At 228, there is a Debussy like texture with the harp, adding to the tone colour. Also at this point, Bart�k uses very specific instructions for the playing for the string instruments, such as 'arco au talon' and 'arco, con sord punta d'arco'. In the third movement at bar 10, Bart�k uses decorated arpeggios made up of alternating minor 3rds and minor 2nds. This section is in an Arab style, which is quite chromatic, with a lot of orchestral colour, such as trills, tremolando, glissandi, and static harmony. ...read more.

Conclusion

However, the Cflat is treated like a blue note, reminiscent of jazz. In the development section at 265, there is a strong contrapuntal fugue with a bizarre village band type accompaniment. A series of octatonic scales begins in bar 409, and there are whole tone scales in the strings at bar 533, with glissandi in the basses. Throughout the work Bart�k uses a wide range of percussion instruments, such as timpani, cymbals, side drum, tam-tam and bass drum. Bart�k uses very precise instructions for the playing of these percussion instruments, such as in the first movement at bar 390, cymbals to be played with the thick end of the Side Drum stick, in the second movement at the start, the side drum to be played without snares, and in bar 114 of the fourth movement, the tam-tam is to be played laissez vibrer. Therefore, the main items of change are more dissonance, rhythmically more interesting, and the use of a larger orchestra. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Music section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Music essays

  1. Performance Investigation: Bolling Suite for Flute and Jazz Piano Trio: Baroque and Blue

    The flute remains constant up till the last five bars of Q where there is a diminuendo. Around the cantabile section the piano follows the pitch line with dynamics to match, interestingly the flute does not do the same. This almost lackadaisical approach by Zucker towards dynamics continues as she

  2. Nicolai Rimsky-Korsakov's Concerto for Trombone, composed in 1878. The work is one that I ...

    Lindberg also crescendos through the first triplet of A from a dynamic of approximately mezzo-forte to forte at the third bar of A. The next bar is primarily the same; however, into the fourth bar of A, Lindberg adds a stress / tenuto to the second crotchet beat.

  1. How does Jacques Loussier’s interpretation of Toccata and Fugue in D Minor differ from ...

    Whilst others such as John Lewis and the Modern Jazz Quartet have had their attempts in swinging the classics, few were as successful as the trio. Their first album "Play Bach No.1" sold more than 6 million copies in 15 years until the trio broke up in 1978.

  2. How the Flute has developed throughout time up to the point of Boehm and ...

    The net effect of his work was the overthrow of the design principles of the old flute (conical bore, closed-standing keys, six open holes under the fingers)

  1. French Flute Music between 1935 and 1955: Varèse, Messiaen and Jolivet

    in chamber music, and to the considerable development of the orchestra in both the symphonic and the operatic fields. The profound changes that came about in the evolution of the tonal system, (that was gradually being regarded as outdated) led composers to favour more restricted forces, revising those of traditional

  2. Discuss the main features of the baroque concerto.

    With his publishing of his opus 6 (12 concerto grossi).he soon became a cult figure in both his home country in Italy and elsewhere in Europe, even after his death in 1713. Although today many would find the music of Corelli monotonous and conservative, it is important to remember that his music was the height of innovation for his day.

  1. The impact of California Smoking Bar Banned to the bar owners in Orange County.

    Bar establishments do not like the new smoking law. The owners, managers, employees of bar establishments disapprove of the new smoking law which took effect on January 1 (Hambrick, 1998).

  2. Critical evaluation - In the Snack Bar Edwin Morgan.

    "Monstrous" also has fearful connotations so encourages the reader to think of the old man in a negative light, directly reflecting the attitudes of those who catch a glimpse of him. This reaction evokes pity and persuades the reader to dwell on their own prejudices.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work