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Beethoven Trio New
Beethoven Trio New
Beethoven Trio New
Lively theme
4 bars long
Staccato notes in the treble or RH of the
piano
Contour which rises and falls - starts and
ends on the tonic
Descending sequence in Bars 3 and 4
I V harmony in the bass/LH of the piano
outlines Bb and F
Cello plays broken chords
What happens next and how is it
related to the first 4 bars?
What happens next and how is it
related to the first 4 bars?
Clarinet repeats pianos melody
exactly
Piano now plays broken chords and
outlines the harmony with its bass
notes
Slight addition to the harmony.
Subdominant IV included in bar 5
The cello echoes the pianos bass
notes but on the weak beats
Bars 9-12 and 13-16
2 bar phrase, which outlines a tonic
dominant progression played first by piano
and then repeated by clarinet
Bars 13-16 are similar to Bars 1-4 melody
in the treble and continuous broken chords
in the bass/left hand
Clarinet and Cello interject in parallel with
one another
All in all the first 12 bars is really only 6
bars of music
1.40Beethoven versus Mozart
Beethoven versus Mozart
This four-bar phrase structure is much simpler than
Mozarts, consisting only of six bars of music in total.
framework for all of them (except the first of the two in the
minor, Var IV, where the chords are richer), in a similar way to
Allegretto).
concluding flourish.
In conclusion
In the Variations the Theme itself, as a recognisable
melody, disappears almost entirely.
Instead, Beethoven uses its simple harmonic basis as
the framework for all of them (except the first of the
two in the minor, Var IV, where the chords are rich
similar way to jazz improvisations on a blues chord
structure
Brief references to the melody can be heard from
time to time (e.g. in Var VI) and it returns vigorously
and very recognisably in the last variation (IX).
The main focus here is on the variety of textures
Beethoven creates in his variations
Features of the Viennese classical
style
Classical music tried to appeal to a broader audience -
Balance, clarity and simplicity which was achieved in the
following ways:
Clear forms
Melodies
Texture
Harmony
Rhythm
Mood
Dynamics
Instrumental characteristics
Features of the Viennese classical
style
Classical music tried to appeal to a broader audience -
Balance, clarity and simplicity which was achieved in the
following ways:
Clear forms such as Sonata form, Theme and Variations,
Menuet and Trio
Melodies tuneful - easier to sing and remember. They were also
balanced because most melodies were usually either 4 or 8
measures/bars long. Regular phrase lengths. Rise and fall of the
pitch and the importance of the tonic. Grouping of notes into clear
phrases.
Ornamentation much less decoration that in the Baroque
period which came before the classical period
Homophonic texture Texture: simple homophony (a melody
accompanied by plain chords); elaborated homophony, where the
chords are broken in a rhythmic or decorative function; imitation
between instruments (call-and- response)
Harmonysimple harmonies often based around I, V (tonic
dominant) or I, IV , V clear use of cadences. The use of
dissonant chords was limited
Features of the Viennese classical
style
Rhythm - in general, the tempo must be steady and
usually does not change very much during a piece or
movement. Grouping; its relation to the rhythms of the
melodies and accompanying figures
Mood hetereogenous a variety of contrasting moods
within a single piece (or movement)
Dynamics Many dynamic graduations - use of crescendo
and decrescendo
Instrumental characteristics: recognition of
characteristic timbres; compass (pitch range); technical
(virtuosic) and expressive capabilities; limitations;
conventional roles in ensembles and orchestras.
Larger orchestra greater and regular use of brass and
woodwinds
Viennese classical style around
1788
The third movement of Mozarts symphony (Menuet and Trio)
the Menuet and Trio from Mozarts Symphony no. 39, the variation movement
from Beethovens Clarinet Trio and the slow movement of Haydns Trumpet
be laid:
Rhythm: the beat its speed and grouping; its relation to the rhythms of the
Melody: the rise and fall of pitch; grouping of notes into phrases; balance of