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The 2 areas of study I chose to focus on in my piece were: Texture and Melody Structure and Form The links between my composition and the given strand (The Western Classical Tradition) are: Instrumentation: Piano and flute, both are western classical ins

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Introduction

Mitchel Follett The Appraisal 1. The 2 areas of study I chose to focus on in my piece were: * Texture and Melody * Structure and Form The links between my composition and the given strand (The Western Classical Tradition) are: * Instrumentation: Piano and flute, both are western classical instruments * Also make the composition a piece of chamber music (music for a small group of players) * Form: The musical development of the piece - I have used a theme and variations form, which is popular in western classical pieces. Particularly within the Classical era, Wolfgang Amadeus Mozart wrote a number of variations pieces such as the first movement of his Piano Sonata in A. K. 331 2. I chose the area of study 'Structure and Form' to focus on because I felt comfortable working with a pre-determined form and I felt it would be a good base to start from. It would ensure that my piece would have a clear direction and would develop as it progressed because it would be well structured and the big picture would always be in sight. I chose the area of study 'Texture and melody' to focus on because this would mean that the piece would sound fulfilled and completed. ...read more.

Middle

After doing this I realised I had lost sense of a melody and the piece sounded dull, never really altering much. I figured since one of my chosen areas of study was texture and melody that I should add a second western classical instrument to provide variety and carry the melody. The flute was an obvious choice as it is able to play it melodically and as previously stated I have experience with it. It had been a while since using it in a composition though so I consulted my friend who plays it on the range of notes it could play and then put the notes in a suitable octave. When playing through the composition as far as it was I decided the piece suited a minor key better, especially B minor as the existing content didn't really fit a major key and I intended from there to change the tone so it sounded slightly darker but exiting at the same time. I transposed the entire piece accordingly. I resolved the piece in a different key (bar 48 through to end) as the form was variations and I wanted to exploit the opportunity for doing this. When I came to review the piece I noticed some of the transitions in-between sections were incomplete (such as what is now bar 23 and 27) ...read more.

Conclusion

is in a different key and rather than being off beat like some sections is meant to flow legato, the sound builds up and then diminishes. Had I more time I would have made the piece longer and input another key change so the form would be more recognisable and so there were more developments making the composition even more musically stimulating. The Focus of the western classical link being instrumentation worked well as the two instruments worked in harmony together and made a great sound. The piano used the pedal to begin with to make the notes last longer and make it seem fluid when moving between bars. There were markings to indicate how particular sections should be played (i.e. accents above notes and crescendos) all things considered the instrument was used to a high standard. 6. The context of the piece is western classical chamber music and so this piece fits well within this category as it has the aspects a classical piece should have such as: * Western Classical instruments * Structure/form - A theme and variations piece, popular in Western Classical music and among others like the first movement of Mozart's Piano Sonata in A. K. 331 * Finally the homophonic tonality is not unsimilar to some of J.S. Bach's Concerto for 2 violins, strings and continuo in D minor; a piece of baroque music, only instead the instruments are from a different family. ...read more.

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