Frederick Chopin was a master of piano miniatures. We all know that. And his preludes was a fertile soil for all kinds of acrobatics regarding harmony and musical form. In this article, we will talk about his Prelude in C minor op. 28 no. 20; its form, its harmony and its overall musical expression.
I hope that this harmonic analysis of Ludwig van Beethoven's Piano Sonata Op. 2 No. 1 first movement will help you in your work. I will try my best to post the second movement as well as soon as possible. If you are interested to find out something about stylistic procedures in this musical piece, please let me in the comments.
Today, I have one really interesting article for you. I will talk about musical gesture inside the musical topic of traveling (in the broadest sense of that word) in one of Sabaton’s songs – The Final Solution. It is very powerful song with genius example of a musical gesture produced by the word painting. Before we dive into the analysis I have to talk briefly about the ideas of musical topic and musical gesture.
Today, I will talk about musical form. It won’t be any form, but sonata form. Also, it will be quite interesting one. I guess that many of you have heard Mozart’s Piano Sonata No. 16 K 545. It is sometimes called Facile sonata, mainly because of its easiness in terms of technical requirements needed for its playing. However, as much as easy it is to play, the first movement of this sonata has some remarkable formal procedures in it.
The time has come to finish the A-B-A1 form of the articles, which talks about classical music influence in songs by Sabaton. Today, I will talk about Sabaton’s song The Red Baron from the album The Great War, released in 2019. This song features one of Bach’s most famous organ fugues, Fugue in G minor BWV 578. The way its melody is incorporated in Sabaton’s song is very interesting, especially considering the fact how the song was made in the first place.
There is a certain level of mysticism in this Ballade Op. 23. From the very first listening a careful listener could be in the position to recognize the strange change of characters throughout the musical flow. Isn’t that intriguing? How is it possible for all these different characters to coexist in such a dense piece, one might ask themselves. Well, I’ll try to answer on this and some other questions, and perhaps, find new ones to ask so someone else can answer them.
You will find some extraordinary insights about the first movement of the Symphony No. 45 by Joseph Haydn. I will be talking about its form and harmony, but most importantly, I will talk about its musical style. Musical style will give us the complete explanation for some very interesting procedures in the harmony and the form, which otherwise would be understood as a mere exceptions to the classicism norms.
I suppose that all people that have heard this song were absolutely astonished by this solo. This paraphrase gives Fields of Verdun a cutting edge in the musical sense. It is an absolute peak of the song’s dramaturgy and it is so beautifully composed that I absolutely had to write this article about it.
In this article we are going to talk about one of the most striking songs by Sabaton and Bach’s influence that can be found in it.
In August 1894, while he was in Münich, Sibelius wrote to his wife Aino that he finally understands many things about his musical path. Pohjola’s daughter was a product of it.