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

AS Composition Commentary. I chose to write my piece for a woodwind quartet, consisting of a Flute, Clarinet, Oboe and Bassoon. This was because I am a clarinettist

Extracts from this document...


AS Composition Commentary Rebecca Beldam. Influences: I chose to write my piece for a woodwind quartet, consisting of a Flute, Clarinet, Oboe and Bassoon. This was because I am a clarinettist, and feel confident writing for woodwind instruments as I regularly play alongside them have frequently seen the capabilities of the instruments. My main influences for my piece were 'Falling in Love with Love' from Rodgers and Hart's 'The Boys from Syracuse' and the first movement of Vivaldi's Bassoon Concerto for Bassoon in E minor and Haydn's Symphony 103 in Eb Major. In 'Falling in Love with Love' I liked the scalic patterns such as: I liked this because it was interesting and not something I had played before and consequently I wanted to experiment with it, and use it within the Flute melody of the Theme. I incorporated elements of Vivaldi's Bassoon concerto in Variation 2 such as the wide leaps and the bassoon playing the main melody. I then decided to write the piece in F major, compared to the original Bb Major key signature of 'Falling in Love with Love'. This is because I knew because I was going to include a transposing instrument, and I wanted to include a key that used simple fingerings in order to maximise the sound of the clarinet. ...read more.


I thought this was comical as it relates to the bassoon often being referred to as the 'clown of the orchestra', and is often seen within 'Falling in Love with Love' such as in bars 120 and 121. The oboe often imitates within the theme, imitating the flute in bar six and again in bar twelve, creating a call and response structure between them. I liked this as it allows communication between the instruments and develops a relationship within the quartet. The clarinet takes over the melody in section B for four bars, until the flute and oboe come in once more at bar fifteen. The oboe takes the flute melody of bars fifteen and sixteen and uses the technique of retrograde, once more creating a call and response between the two instruments. I chose to use this technique, as it was not something I had used before and upon trying it, believed that it fitted well. The theme ends with a perfect cadence by all the instruments. Variation 1: Variation 1 is written in the relative minor of F major- D minor, with the Italian term 'Espressivo' written at the beginning, telling the musicians to play the piece expressively. ...read more.


I chose to use this time signature, as it was one that I had never played nor written in, and I therefore wanted to explore it. The melody is once again played on the flute much like the theme, in the opening bars. The accompaniment, instead of playing chords and countermelody's, creating a polyphonic texture as seen in Variation 1, builds up by introducing syncopated staccato notes on the oboe, along side dotted crotchets in the bassoon, joined firmly by the clarinet on the third. The bassoon takes over the melody in bar 50, where wide leaps of octaves are used, influenced by Vivaldi's concerto. I chose to do this because the bassoon had not had the melody in any of the piece so far, and I wanted to use this virtuosic technique once more, to emphasise the bassoons agility. The oboe continues it's call and response pattern, except it is now with the clarinet in bars 55 to 57. The clarinet plays the melody in quaver rhythms, taken from the flute melody in the beginning of Variation 2, and the flute plays the melody in the same rhythm as the bassoon previously did during it's solo. I did this because I wanted to use the ideas of developing the main melody, but still hinting at it's original state as shown Haydn's symphony. ...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

Here's what a teacher thought of this essay

4 star(s)

This is a clear annotation of the writers composition. It includes the use of a wide range of musical vocabulary and the use of samples from the composition really help to make the writers point clear.

Marked by teacher Nathan Smith 08/01/2013

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. Marked by a teacher

    In the poem "Piano and Drums" by Gabriel Okara, Okara shows the contrasts between ...

    "Panther ready to pounce" and "Hunter crouch with spears poised". These can be seen as violent as they are ready to fight as they are expecting a disturbance. The poet used juxtaposition a few times in the poem. "Jungle drums and the concerto".

  2. Concert review. I saw the University of Toronto Symphony Orchestra perform at the MacMillan ...

    The violins, in my opinion, played a little bit too loud, but the oboe overcame that as it had many melodies which were played strong.

  1. The Development of the Orchestra

    The clarinet, like the flute, first appeared as an alternate for the oboe, but in the late works of Haydn and Mozart the orchestra was standardized, with pairs of flutes, oboes, clarinets, bassoons, French horns and trumpets, in addition to the strings.

  2. Could you please tell me the popular 'Adavu's' names, how many steps are in ...

    that i can purchase to practice adavus on a daily basis......i have learned dance for few years, I was forced to leave dance since i left India and haven't been able to keep in touch ever since. iam craving to get back to dance and is intending on practicing adavus, and other items...

  1. Mozart Symphony No. 41 in C, K551 "Jupiter" Analysis of Development and Recapitulation

    and woodwind play a 2 bar ostinato lasting from bar 171 to 181. The bass moves by chromatic step helping to smooth the transition as the piece goes through the different keys. The timpani join in at bar 177, indicating that the harmony has now stabilised itself.

  2. Mozart Symphony No. 41 in C, K551 "Jupiter" Analysis of Exposition

    In bar 68, the flutes also join in, doubling what the strings are playing until the melody stops and the phrase ends in bar 71. In this same bar the bass and violas start playing a phrase similar to the consequent, which then leads into a cadential phrase all the

  1. How does Beethoven make Effective and Imaginative use of the Orchestra in the First ...

    The flutes and oboes, on the other hand (as was more typical of the time period in which the piece was written) have more ?melodic value? as it were; although they have nowhere near the amount of melodic importance as the first violins, together they arguably constitute the second most important melodic instruments in the symphony.

  2. Analysis of Mozart's Symphony No. 41 1st Movement

    Not only were there contrasts in mood with new themes, but contrasts of mood within a single theme. Mozart uses both these effects in his pieces. An example is during the first four bars. We start with a loud full solid sound for two bars, and then drop away to a delicate little melody.

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