Bartok Mikrokosmos 65 Animated analysis

Bartok 115

 Mm. 1-2

G Ab A Bb B C C# D. Sum =1

  B  C  C#  D

1-------------A 5/7

  Bb A  Ab G

Mm. 3-4

 G A Bb B C C# D. Sum =1

  C  C#  D

1---------G 5/7

  B  Bb  A

Mm. 5-6

C  C# D  D# E  G  A  Bb B. Sum=1

 C# D  D# E

1------------G 5/7(D)

  C  B  Bb A

Mm. 7-8

G A Bb B C C# D. Sum =1

  C  C#  D

1---------G 5/7  Same with Mm 3-4.

  B  Bb  A

Mm 9-12 Motivic Changes

C  C# E  F  F# A  Bb B. Sum=0

   C  C# E  F

B------------B 6/6

  Bb A  F# F

Mm 13-14

C  C# E  F# A  A#. Sum =2

  F# A  A#

2-----------

  E  C# C

Mm 15-16

A  C# D# E F#. Sum =1

  E   F# A

2-----------

  D# C# A

Mm 17-20 Cannonic Motive

D  E  F  F# G  G# Sum=0

   G  G#

F#-----D 6/6

    F  E

Mm 21-22

G  G# A# B  C  C# D Sum=2

   A# B  C

2----------C# 2/10

   G# G  D

Mm 23-24

G  A  A# B  C  C# D  D# E Sum=1

   C# D  D# E

2--------------G 7/5

    C  B  A# A

Mm 25-28

F# G  G# A  A# B  C  C# D. Sum=0

     B  C  C# D

A#-------------- 4/8

    A  G# G  F#

Mm 29-32

C  C# D  E  F  G  A  A# B. Sum=3

    G  A  A# B

3 -------------F 

    E  D  C# C

Bartok Mikrokosmos 72

Bartok Mikrokosmos 72

            Mm.1-2 starts with G in both melody and bass part and added 2 semitones vertical harmony to inwards so there is a chord GAFG. The chord has one octave and one 8 semitones. Bass parts and melody parts range distances are 6 semitones to C#. Both G  is a boarder and stable that we can look tenor and alto part for contour. Both in this parts contours distances are same and inwards. Contour starts in same time with G and two semitones away. Next step is climax point C# by 4 semitones. We are 6 semitones away from boarder. Intervals in contours are same and moving by 4 semitones up/down and back in five times. Vertical distances are 0-0-8-0-8-0. Shape is zigzag.

            Mm. 3-4 is qualitative as an answer of mm1-2. G is still boarder and F and A shown in weak beat differ from G. Climax pointd are C(alto) and D(tenor) in 7 semitone distance. Contours has own same intervals each other and they are 2-4-1-1-4. Intervals between contours are 0-8-0-2-0-8. Shape is envelope.

            Mm. 5-6 is variation of 1-2. 

Mm 7-8  is starts like 3-4. In Measure 7, lines are straight and outwards and reaching boarders next measure.  Measure 8 has accented and hanged in same points in intervals of 5 and 7 semitones. Its like a fight won by fifths!  We can say fist idea is end.

            Second idea is different in contours way and boarders position. Contours are going outwards and boarders in tenor and alto part.

            Mm. 9-10 Contour intervals are 2-4-1-1-4. Contours are drawing to climax point and return back once. Interval between contours are 8-0-8-8-8-0 semitones. Shape is envelope.

            Mm 11-12 similar with the last two measure. Climax distance is 7. Contours are still same and intervals by moves are 2-4-1-1-4-5. Climax point occured two times. Interval between contours are 8-0-8-2-8-0-2. Shape is envelope and zigzag.

            Mm 13-14 This measures can be considered it is a small development of mm 9-10. Ranges are similar. Until this measures whole pieces bass and treble parts drawn contrast line with same intervals. This measure, bass and treble parts has same line contrast but intervals are irrevelant. Treble drawn 4-4-1-2-4-2-4 and bass drawn 3-3-2-2-3-3-4. Vertical intervals are 8-0-7-4-8-0-4-2. Shape is zigzag and envelope.

            Mm 15-16 They are looking like some kind of a closing. E and G still draw out. A# and D diminished interval shown. Treble clef  starts with 6 semitone vertically.. Melody has 4 and 2 semitones intervals.  Bass part is first time rhytmically different. Its start with 5 semitones interval vertical. Line intervals are 2-2-2-2. Two measure has same motivic movements and drawing to only one way direction up is for preparing via shifting register the new idea in higher register.

            Mm 17-18 Has intervalic differences in treble and bass part. Lines are drawn similar and still inward. Treble part is 7 semitone distance. Bass part has 4 semitone distance. Treble melody interval is 2-4-1-1-4. Bass melody interval is 2-1-1-1-1. Vertical intervals are 8-4-2-2-1-4. Lines are in tenor and alto part. Shape is envelope.

            Mm 19-20 Treble part range is 6 semitones. Bass part range is 3 semitones. Treble melody interval is 1-4-2-2-4. Bass part melody interval is 1-1-1-1-1. Vertical intervals are 2-0-5-4-5-0. Shape is envelope.

            Mm 21-22 Melody parts changed to bass and sophrano part. Bass clef register shifted up. It is the first time flats are observed. Treble and bass melody range is 7. Bass melody interval is 2-4-(6)-7-1-4. Treble melody starts in first weak time and interval is 2-4-1-1-4. Vertical intervals are 2-6-2-3-4-5-6. Shape is envelope.

            Mm 23-24 Both parts are starting in first weak time. Only two part shown that reach the end of the piece in envelope shape. Measure 24 is similar with measure 8. Bass part is in bass clef again. Treble and bass melody interval is 5-1-1 to reach last measures tenor and alto parts. Measure 24 is a four part chord consist of 7 and 5 semitones.

Bartok Mikrokosmos No. 65

Bartok Mikrokosmos No. 65

            Mm. 1-4 Introduction. Starts with D-A and E-B. Every 5th chord moving 2 Semitones in a intention that wants to complete 5th cycles via starts from D and expand to comprisingly whole the 5th cycle in clockwise. Contour is up and down.

            Mm. 5-9 First Idea. Melody shows up against bass part at measure 5 and G occured in anticlockwise side in weak time. D dorian agreed with the F in measure 7 and also contour direction is changed,  become in same direction with bass part. F and C camed together in anticlockwise direction in 5 th cycle. The new notes observed in weak time. At Mm 9 , Eb used  with Bb. The new notes shows in strong beat and anticlocwise of fifth circle. Melody starts and ends with A.

            Mm. 10-14 Second Idea. Melody and Bass contours directions are changed and opposite. F# the new note found in weak position and clockwise side of  D. Mm 11,12 and 13 in a affect of D ionian and Phrigian which depends on weak beats. At Mm. 13, Bass contour direction changed  and goes downside. Melody starts and ends with D.

            Mm. 15-18 Third idea in D Dorian mode. Melody starts in C in high. Bass accompaniment changed and It’s in lower with long standings. Melody has small differences before. 8th notes observed in second measure of idea with new contour line seen. At Mm. 18 Last note of chromatic scale and last member of circle of fifths Ab shown in weak beat. Thus all notes shown up by whole step down and when contour drawing down. Melody starts and ends with C. Weak beat of mm18 has an accent that ties itself to next idea.

            Mm. 19-23 Fourth idea in D Phrigian mode that starts like it is Locrian. Melody contour is changed to opposite with third idea. Mm. 19–18 variated. Bass part has longer standings than third idea and differance in last beat of  mm 23 is in opposite direction. Melody starts and ends with D.

            Mm. 24-27 Coda. D dorian again and ends with D.

            

Ludwig Van BEETHOVEN SONATA No. 1 Op. 2 No. 1 Analysis

                Ludwig  Van  BEETHOVEN

                   SONATA No. 1 Op. 2 No. 1

ALLEGRO

Exposition

m.m  1- 8 : The first theme in f minor and ends with Half Cadence

m.m 9-20: Transition part.  It is modulated from f minor to A flat Major which is relative major of  f minor

m.m 20-28: The second theme starts in the second beat of measure 20 and ends in the first beat of measure 28.  The second theme is in A flat major and at the end of his theme, there is a Half Caddence.

m.m 28- 41: Transition part. İt is in A flat major .  It starts in the second beat of measure 28 and ends in the first beat of measure 41.

m.m 41- 48: It is codetta part and stil in A flat major.  At the end of codetta there is a PAC

Development

m.m  49- 55: The first theme repeated with there are some differences  such as  measure 50 is repeated in measure 51 again. His theme ends in the first beat of 55 with HC. And it is A flat Major.

m.m  55- 63 : The second theme starts  in b flat minor and ends in the first beat of measure 63 with HC.

m.m 63- 100: His is transition part. In the half of measure 63 and its tonality is do minor. Between 63-67 , small part of the second theme is repeated in the left hand  then  measures 68- 71 little part of the second theme repeated again but this time the right hand has the melody. In measure 70, it modulates to  “b flat minor” and after that modulates to  “ A flat major” in the 71th measure then modulates to “f minör” in the 74th measure.

Recapitulation

m.m 101-108: The first theme is repeated in the tonic and there is a HC at the end of the theme and at the end of the 108th measure there is a HC.

m.m 109-118: This is transition part. It is 8 measure long and in f minor.

m.m 120- 127: The second theme is repeated . It is in f minor and there is a HC at the end of the theme.

m.m 128- 140: It is transition part. There are 2 f minor scale in his part.

m.m 140- 152: Coda. It is in f minor and ends with the PAC

ADAGIO

Exposition

m.m 153- 161: The first theme in F major. It lasts 8 measures long. There is a PAC at the end.

m.m 162-184: There is a transition part. Measures 162- 169 contain some musical ideas from the first theme. ( in f minor). Measures  170- 174, these measures are kind of passing part. This part is in d minor which is relative minor of F major. Then in the 176th measure it modulates to C major which is  V of F major. It lasts until the 184th measure.

Recapitulation

m.m 185- 192: The first theme is repeated but there are some rhytmical changes. It is in F major and at the end of the theme, there is a PAC.

m.m 193- 200: Same musical ideas with measures 162-169 but there are some rhytmical changes. In F major

m.m 201- 208: Transition part. In F major . Mostly used V-I progression.

m.m 209- 213: Coda. In the 209th measure, there are lots of 32th notes and they present tonich chords .  At the end of the coda, the second movement finish with chords which are I-V-I (PAC)

MINUETTO

Minuet

m.m 214-227: The first theme is in f minor but in the 219th measure it modulates to A flat major which is relative major of f minor. It ends with IAC. At the end of the theme, there is a reprise . (14x14)

m.m 228- 253: Transition part. Between measures 228- 235, the first theme is represented again but his time harmonic progression is different and it modulates to f minor again in the 231th measure. This part has some varieties of the theme. At the end there is PAC

( theme lasts 28 measures long and the transition part lasts 27 measures. Theme part and transition part are nearly equal.)

Trio

m.m 254- 263: The first theme is  in F major. It lasts 10 measure long and ends with HC. It has reprise (10x10)

m.m 264- 286: Transition part. Measures 264- 279 are all about variation of the theme and then the 280th measure the theme is repeated.

PRESTISSIMO

Exposition

m.m 287- 294: The first theme which is in f minor and lasts 8 measure long, ends with HC.

m.m 295- 307: It is a transition part. Up to the 305th measure the first theme is varied. And also in the 299th measure, there is a modulation to c minor. Measures 306 and 307 are contains a scale which is c minor scale.

m.m 308- 315: The second theme begins which is in c minor. In the left hand there are triplets and that triplets contains the melody.

m.m 316- 335: There is a new melody who moves us to coda. The left hand plays octaves and the right hand plays triplets to accompany that octaves.

Throughouth the exposition part  triplets are  the most used rhytm. Sometimes the left hand has triole and the right hand has melody or vice versa and sometimes both of them have triplet.

In the 320th measure, there is a different melody but I think it is not a theme it is just a bridge that takes us to the end of the movement.

Eventually, in the 336th measure coda stars and it imitates the first movement.

In the second reprise it is modulated to A flat major.

Development

m.m 345- 354: There is a new melody but it is a little bit weird because now we are in development part . Development  part starts with A flat Major . Most of the time, the right hand plays some chords and the left hand play the melody.

m.m 355- 394: Up to the 394th measure, that new melody is represented in different shapes. 

m.m 395- 424: Between  these measures, the first part of the theme represented and again it is modulated to f minor. The left hand has triplets, the right hand has the melody.

Recapitulation

m.m 424- 431: The first theme is repeated in f minor.

m.m 432- 446: Transition part.  Variation of the first theme is presented and then,  measures 445- 446 there is af minor scale .

m.m 447- 474: The second theme is represented in f minor.

m.m 475- 481: Coda part. The left hand has some arpeggios and the right hand accompanies it with chords. At the end of the coda there is a PAC.

Free music

Prelude For Violin and Piano No 2 by Cem ERÇELİK

Piano: Benan DALKIRAN
Violin: Merve BİÇER
Coposer: Cem ERÇELİK

 

Stravinsky - Mezmurlar senfonisi Ve Neoklasisizm

Stravinsky

Mezmurlar senfonisi Ve Neoklasisizm

         Dini bir eser olan mezmurlar senfonisinin orkestrasyonu, Klarnet, keman, viyola ve genişletilmiş tahta üflemeli partları ayrı tutularak karakter kazanmıştır. Eser, beşli katlanmış pikolo ile beş flüt, dört obua, coranglais, üç fagot, kontrfagot, dört korno, pikolo trompet, dört Do trompet, üç trombon, tuba, timpani, davul, iki piyano, arp, çello, kontrbas, ve dört partili koro partilerinden oluşmaktadır.

         Stravinsky, bu eserini şöyle ifade etmiştir. "-Bu ilahileri de dahil ettiğim bir senfoni değil aksine, senfonize ettiğim bir ilahidir." (“it is not a symphony in which I have included Psalms to be sung. On the contrary, it is the singing of the Psalms that I am symphonizing.")

         Birçok stravinsky eseri gibi, ara sıra oktatonik dizi gözlenebilir. Eser do tonal ekseninde olup, do majör ve do minör dizileri üç bölümün de iskeletini oluşturur.

          Premiyeri, Ernest Anserment yönetiminde Societe Philharmonique  de Bruxselles tarafından 13 Aralık 1930' da gerçekleştrilmiştir. Eser Neoklasik bir anlayışa sahiptir.

         Neoklasisizm,  diğer plastik sanatlarda olduğu gibi antik çağın değil, 18. yy Klasik döneminin yeniden canlandırılmasıdır ve alman modernizmine bir tepki olarak fikir edinilmiştir. Neoklasik düşünce, diğer modernist akımların aksine insanların doğuştan tonal duyguya sahip olduğunu savunur. Tarih boyunca müzisyenler geçmişin müziğinden, formları, etkileri,müzikal betikleri ödünç alıp, onlardan yeni birşey oluşturmuştur. Stravinsky de bu durumu, "iyi besteci özenmez, çalar!" ("A good composer dosen't imitate, he steals!") diyerek açıklamıştır.

         Kompozisyonel teknik olarak içeriği, tonaliteye sahip olması, geleneksel formları kullanması(dans suitleri, konçertolar, sonatlar...vb), saf müziğe sahip olması, hafif müzikal doku ile işlenmesi ve bestecilerin müzikal ifadenin bilincinde olmasıdır.

         Stravinsky de Mezmurlar Senfonisi' nde senfoni biçimini kullanmış, tonal duyguya sahip, müziğin önceliğe sahip olduğu, yeni bir neoklasik eser ortaya koymuştur.