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Theme and Variations in G Major Op. 4 - Score and parts.pdfThe theme of the Variations is Haydn inspired, despite it being of a style slightly prior to Haydn.
A Theme and Variations Composition based on early Classical Period musical organization. It consists of six variations and an ending. This piece features heavy counterpoint and inversions and fragments of the melody.
The work demonstrates the compositional techniques and musical form of the classical era, as well as my understanding on them.
Piece Breakdown
Variation I
Variation I is based very strictly on the theme, but with more intense counterpoint, as well as a tacet Violoncello part. It is very light and jovial, but ends with more calmness.
Variation II
Variation II has a different harmonic progression as well as a different key, but is based on the same melodic idea. It starts at D major - the tonic, and proceeds up to the supertonic, dominant, submediant, back to the supertonic, dominant, tonic, supertonic and again ends with the tonic.
Variation III
This variation features a developed theme melody but scattered throughout the high strings' parts through counterpoint, with hints through some harmonizing notes of the other parts and some parallel thirds. It is still in D major, but slickly transitions to the next variation through a perfect cadence (V-I).
Variation IV
Variation IV is in G minor, a change from the theme's G major. The accompanying voices have a similar structure as the theme, with two consecutive notes that are the same in a phrase.
Variation V
Variation V has an interesting inversion on G but with a few changed notes to fit the harmony. The melody is also inserted irregularly, instead on the third beat of a bar, it begins a phrase on the second beat of a bar, twice.
Variation VI
The final variation keeps the very original melody of the theme and is assigned to the Viola, but reharmonizes half of it, with the E major and A major chord for the second Violin and Violoncello. The Violin plays a rather independent ostinato.
The ending is just a build up of a ton of V-I cadences and finally repeats the G major chord three times.
About Classical Organization
How is classical period music Organized?
The classical period laid down many foundations of music, such as harmony, structure, instrumentation, and compositional devices. Classical period music have clear melodies and simplistic chords, as well as extremely balanced form. The melodies are usually designed to be balanced with a 4 bar "question" and a 4 bar "response".
What is functional harmony?
Functional harmony is a chord framework that have functions in the tonality and sounds smooth and satisfying if used and voice leaded correctly. The functionality of a chord is related to the next chord it tends to go to - such as the dominant or subdominant wanting to lead to the tonic.
How do composers use systems of musical theory to organize and communicate their ideas?
Some of the most common systems of musical theory include the 12-note chromatic scale, chord progression systems, rhythm, melody, and form. Composers utilize the elements of music differently to express their ideas, for instance, repetition or ostinato to create excitement, or rich harmony to create a wholesome tone. Composers use different forms to structure their ideas in appropriate ways; such as sonatas, symphonies, concert overtures, Ă©tudes, etc.
How are the musical elements used in European Classical period Music
The musical elements are: Dynamics, Form, Harmony, Melody, Rhythm, Texture, Timbre and Tonality. There are much more dynamics than the Baroque period, but not as expressive as the Romantic period. Composers during the Classical period used more forms of music than previously, and the texture is thick but clear, as well as functional harmony being the main way composers designed their harmonic progressions.
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