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

Music Appraisal - Classical Waltzes

Extracts from this document...

Introduction

Music Appraisal - Classical Waltzes Piece 1 - Waltz in B Minor F. CHOPIN, Op. 69, NO.2 Piece 2 - Waltz in C# Minor J. BRAHMS, Op. 39, NO.7 Piece 3 - Je Te Veux ERIK SATIE My chosen three pieces are all waltzes in 3/4. They each maintain the feeling of a traditional waltz, conjured up by the chord movements in the bass clef. Furthermore, each work is composed for piano. Piece 1 - Waltz in B Minor F. CHOPIN, Op. 69, NO.2 This piece was published after Chopin's death and is one of a pair with Waltz in Ab Major. It has a time signature of 3/4 and should be played moderately fast. The music is in B Minor but also modulates into B Major giving the sudden peak of happiness in the middle of the piece. The use of chromatic scales is also apparent; they generally give a sense of falling back in to the main rhythm as they are used just before a section of flowing melody. Block chords are applied in the left hand; with a strong first beat on the bass note just before, to give structure to the piece and possibly to dancers. This is covered by the right hand with the main swaying rhythm. Dynamics of this piece often relate to the phrases and cadences, if the rhythm begins to increase in pitch then the dynamics ...read more.

Middle

Nevertheless, both of the other waltzes incorporate the different duration of a note throughout their piece, while Satie structures his to certain sections and keys. The tonality varies throughout the waltz as different key signatures are used for each new section. Although, I would say this piece was in C Major as the first and main section is composed in C Major. The structure of this piece is: ABA' /CDC/ ABA''. As I said section A is in C Major, section B is in G Major, section C is in F Major but modulates twice into Eb Major and section D is in Bb Major. This waltz has no apparent structure to tonality unlike the other two pieces. The structure has much repeating of the main 'section A' but also integrates new ideas with in each larger section i.e. ABA'. This feature is common to all three waltzes giving an interest to the waltz thus, giving a sensation of wholeness and relation to a previous section. Texture is not altered very often but when it is it does not last very long. Generally, the texture is, to an extent, thick with octave chords which are prominent in all parts; this is similar to Brahms' Waltz. These chords are used in both clefs but primarily in the bass clef and which fall on the first beat of each bar. ...read more.

Conclusion

* I decided not to accent the first note of a phrase as I thought it overpowered the rest of the piece. However, I accented the first note in the last section as an accent was suitable here, as it led to the end of my piece. * I included chromatic scales in my composition, though not as many as seen in Chopin's Waltz in B Minor. The chromatic scales did give a sense of falling back into the main melody thus, achieving what I hoped. * As my composition was not as long as Chopin's I had to condense his structure and apply it to my work. I keep the idea of 3 main sections. The structure to my waltz is: A A' B A'' /C D C/ A' B A'' This is a slight variation of the structure I wished to follow: A A' B A'' B A'' /C C'/ A B A' * I applied the idea of a flowing melody alongside a structure bass rhythm and I believe it worked rather well. * I interlaced most of the dynamic changes to suit the phrases and sections in my piece. * For the middle section I did the opposite to my set specification, which was to have a thick texture for the middle section. I decided I would have a thinner texture than the first section. This worked and allowed my entire composition to be balanced. ?? ?? ?? ?? Gary Chew Candidate No: 3003 Centre No: 28384 ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our GCSE 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 GCSE Music essays

  1. Marked by a teacher

    The 2 areas of study I chose to focus on in my piece were: ...

    I wrote my first broken chord (AEA) and then created/developed variations on it simply by transposing it up and down this later became my first section (for the left hand). I went on to write an initial melody for the right hand, this did not seem to work as well

  2. Composition Brief and Appraisal

    The piece mainly relates to Anitra's Dance as a whole, as this was the main basis for my piece, and mainly the similarities come from it. But my other two pieces, The Wedding March (Mazurka 20a) and Mazurka Fantaisie contain the typical features of Mazurka's.

  1. How Historical and Social Events have affected Artists' Music

    I'm crying. Sitting on a cornflake, waiting for the van to come. Corporation tee-shirt, stupid bloody Tuesday. Man, you been a naughty boy, you let your face grow long. I am the eggman (woo), they are the eggmen (woo), I am the walrus, Coo coo, kachoo.

  2. Jazz final: Duke Ellington

    music."11 The success of Ellington's music relied on the harsh backgrounds and realities that his compositions stemmed from and what he was motivated by. Ellington strived to project his racial pride through his music. His aim was to portray jazz as a serious art form representing the black experience and struggle in America.

  1. The history of Music

    This is the practise of ragging an existing piece of music. To 'rag' a piece of music is to take a well-known tune and change the rhythm of it to make it syncopated, or 'jazzy'-sounding. Syncopation was always a prominent feature of African-American music.

  2. How does the music in Mozart's 'Die Zauberflöte portray good and evil?

    recitative is simple and direct which implies that it is more modern and it sounds more dramatic. The Queen's utterance is to the point and sounds terse. 'The orchestral introduction preceding this is more portentous, but then it is intended to parallel the visual effect of the Queen's awesome appearance.

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