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unit 4 (chapter 43 (Romantic Characteristics (Themes (Destiny, God and…
unit 4
chapter 43
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Romantic Characteristics
Forms expanded, pieces longer
Harmony more chromatic, dissonant, and expressive
New forms: symphonic poem, choral
Melodic lyricism, “singing” melodies
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Moving the public
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Public concert hall, not palace
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listening guides
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Mazurka in B-flat Minor, Op. 24, No. 4
A
In the A section, the melody features syncopated and dotted rhythms accompanied by a chromatic, "om-pah-pah" bass.
B
The melody grows more disjunct in the B section, with more dotted rhythms and staccato articulations. Chromatic motion in a descending inner voice creates dissonance.
Intro
An octave breaks into two lines: The top line descends by half step with the bottom line ascending in the same way.
C
In the C section the melody, played in octaves, features unusual combinations of intervals. The first phrase is answered by a series of staccato chords.
D
Triplet patterns propel the melody in the D section, and melodic accents appear on the second beat. Shifts between major and minor harmony occur frequently.
Coda
In the coda, Chopin introduces a simpler, more static melody. Shifts between major and minor color the harmony. The pianist uses even greater rubato
Symphony No. 3 in F Major, III
a theme 1
The cellos introduce an achingly lyrical melody, the first theme of the A section. Next the violins take their turn.
a theme 2
There's a brief respite from the first melody's longing with this elegant new melody, theme 2.
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b theme 1
A surprising chord heralds the B section. A hesitant 3-note motive dominates this passage in A-flat major, accompanied by off-beat 16th notes in the cellos.
coda
At first mimicking the transition to the B section, a brief coda swells and ebbs, bringing this movement to a quiet close.
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