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    271 - PDFsam - Kupdf - Net - Techniques and Materials of Music

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    paco desantis
    The document discusses different ways that musical motives can be developed or transformed, including through interval changes due to transposition or sequence, changes in rhythm, inversion, expansion through addition of notes, and ornamentation. Specific musical examples are provided to illustrate each type of motive transformation.

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    271 - PDFsam - Kupdf - Net - Techniques and Materials of Music

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    paco desantis
    39 views5 pages
    The document discusses different ways that musical motives can be developed or transformed, including through interval changes due to transposition or sequence, changes in rhythm, inversion, expansion through addition of notes, and ornamentation. Specific musical examples are provided to illustrate each type of motive transformation.

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    271_PDFsam_kupdf.net_techniques-and-materials-of-music (1)

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    The document discusses different ways that musical motives can be developed or transformed, including through interval changes due to transposition or sequence, changes in rhythm, inversion, expansion through addition of notes, and ornamentation. Specific musical examples are provided to illustrate each type of motive transformation.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    39 views5 pages

    271 - PDFsam - Kupdf - Net - Techniques and Materials of Music

    Uploaded by

    paco desantis
    The document discusses different ways that musical motives can be developed or transformed, including through interval changes due to transposition or sequence, changes in rhythm, inversion, expansion through addition of notes, and ornamentation. Specific musical examples are provided to illustrate each type of motive transformation.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 5

    2.

    Interval changes will occur when the motive is transposed or altered to accommodate a change in
    the underlying harmony.

    Piano Sonata in D Major, no. 37 Haydn

    Waltz, op. 9a, no. 13 Schubert

    3. Interval changes will occur when the motive is used sequentially.

    The Temple of Glory Rameau

    4. A change of interval often results in a sense of motive expansion.

    Piano Trio, op. 1, no. 3 Beethoven

    258 REFERENCE MATERIALS


    C. Change of rhythm.

    Nocturne, op. 15, no. 2 Chopin

    Piano Sonata in D Major, no. 9 Haydn

    D. Inversion.

    Sonatina for Violin and Piano Schubert

    Invention no. 4, BWV 775 Bach

    E. Longer motives are frequently constructed from submotives or fragments that are “broken off” and
    developed separately.

    Piano Concerto, K. 491 Mozart

    THE MOTIVE 259


    Piano Sonata, op. 2, no. 1 Beethoven

    F. Addition of notes; transformation.

    Wiegenlied, op. 49, no. 4 Brahms

    Note in the following example (Rondo, K. 494) how Mozart progressively ornaments the motive, ultimately
    using the transformed motive in an imitative passage.
    1.

    2.

    260 REFERENCE MATERIALS


    3.

    4.

    THE MOTIVE 261


    16 The Sequence

    I. A sequence is the repetition of a musical motive or pattern on successively higher or lower pitch levels. A
    sequence may occur in only one voice, but most frequently it involves all voices or elements of the texture.
    Certain chord progressions are typically elaborated sequentially; in other instances the sequential lines them-
    selves give rise to linear progressions (those having nonfunctional root motion).

    II. Common sequential progressions.


    A. Sequences typically occur with a series of chords related by root motion of a descending fifth. When all
    the diatonic triads or seventh chords occur in this context, the IV and vii• will not have their more usual
    functions.
    1. Diatonic triads.
    Piano Sonata, K. 545 Mozart

    In the minor mode, note that the VII is a major triad built on the unaltered seventh scale-degree.
    Sonata in A Minor for Recorder and Continuo, no. 4 of Fifteen Solos, op. 1 Handel

    262

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