Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Construction of Sonata op. 3 by Mathematical.

Slides:



Advertisements
Similar presentations
Know: Triads Be able to: Compose in a whole tone scale like Debussy Understand: Augmented chords Whole tone scale Play as pupils enter.
Advertisements

Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Just and Well-tempered Modulation Theory Just.
Classical Music Sonata Form.
1 Leaving Cert Music Composition MELODY WRITING Teachers’ Workshop 2007 Teachers - Look at the associated pages in your workbook Presenters - See notes.
Harmonic intervals  A harmonic interval is two notes played at the same time.
Moffat Academy Music Department Advanced Chords. You will learn about 4 different types of chords  Major  Minor  Augmented  Diminished.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science architecture du livre „The Topos of Music“
Piano Concerto no 23 in A Major
Classical Music The Classical Style Malaspina Great Books.
Guerino Mazzola (Spring 2015 © ): Math for Music Theorists Modeling Tonal Modulation.
MUSIC OF THE ROMANTIC ERA. Melody Melody receives the greatest emphasis and its style is chiefly "melody with accompaniment". Melodies are more.
Piano Concerto no 23 in A Major
Chords  In order to properly label chords, you must first find it’s quality…  1 – Count the number of notes in the chord, should be 3, (if 4-notes see.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Concepts locaux et globaux. Première partie:
Form. Form p. 2 C Major Triad, Meas. 1-2 C Major 5 Finger Pattern, m. 2-3.
Classical Period Forms. Sonata Allegro - Review Exposition Exposition Development Development Recapitulation Recapitulation Coda Coda.
Mozart Symphony No 40 in G minor. The essay question - melody Well proportioned/balanced melody lines Regular 4 bar phrases Contrasting melodies in the.
Begins on page 166 Chapter 20 Piano Sonatas The Sonata  Multi-movement for ► One instrument and piano ► Two instruments are equally important ► Piano.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Mathematical Models of Tonal Modulation and.
Classical Period Forms Movement Cycles & Sonata Allegro.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Mathematical Music Theory — Status Quo 2000.
2014/2015 Session SS2 Music Note. TRIADS The most basic chords are called triads, and they contain three different notes played at the same time. These.
Set Works Live! 2013 Mozart – Piano Sonata in Bb K333 Miss E Oliver Head of Music, Bristol Cathedral Choir School Piano: Alex Tchernakova.
LC Mozart Test You are about to answer 30 questions about the vocabulary you need to know for the LEAVING CERT EXAM. You will see a key word or a definition.
The Leading-tone Seventh Chord
What is a Triad? NCVPS AP Music Theory.
Fun with Triads! Ms. Wilmes. What is a Triad? A Triad is a chord containing three notes stacked on top of each other A Triad is a chord containing three.
NCVPS AP Music Theory How to write a triad?. Identification Identification of the aspects of each type of seventh chord are important when beginning to.
+ Triads, Tetrachords and The Major Scale. + Triads A triad is a chord with three notes built in thirds. Every triad contains a: Root, Third, and Fifth.
Guerino Mazzola U & ETH Zürich Topos Theory for Musical Networks Topos Theory for Musical Networks.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Towards „Grand Unification“ Of Musiacl Composition,
Sonata Form Classical Period. Sonata form The sonata is broken up into the following sections: –1 st movement: Allegro –2 nd movement: Slow –3rd movement:
Begins on page 173 Chapter 21 The Symphony and Beethoven.
Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Manifolds and Stemmata in Musical Time.
Simple Chords A Brief Overview By: Steve Derbish A Brief Overview By: Steve Derbish.
84. Chord A harmonic unit with at least 3 different tones. Day 13 – Triads and Inversions.
Tippett Tonality. Sometimes the piece has an ambiguous tonality which depends on modes and pentatonic scales. This is a way of arranging chords around.
Guerino Mazzola (Spring 2016 © ): Performance Theory IV RUBATO IV.1B (Fr Apr 04) Some Problematic Performances.
Classical Music The Classical Style. From Baroque to Classical  High Baroque   Albinoni ( )  Handel ( )  J. S. Bach ( )
1 st mvt. Sonata Form Exposition TUTTI SOLO 1 st Theme nd Theme Epilog
HAYDN 3 Symphony No. 26 in D minor, Lamentatione: movement i.
Mozart – Symphony no.40 in G minor
Piano Chord Progressions
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
Diatonic Triads and 7th Chords
Chapter 16 Secondary Functions 1.
AP Music Theory Mr. Silvagni
Music Theory.
In the Classical period and beyond
IV EXPERIMENTS IV.3 (Thu March 29) Modeling tonal modulation.
IV EXPERIMENTS IV.4 (Thu Apr 05) The modulation landscape in Beethoven’s op. 106.
Janacek:Sinfonietta /Ⅰ-Ⅱ
I. Rêveries · Passions ― Sonata Form
Internet Institute for Music Science
V EXPERIMENTS V.2 (Thu Apr 19) Synthesis II: Symmetries.
Triad Scale Names Primary Triads.
Seventh Chords.
Mozart: Piano Concerto no 23
II GETTING OFF GROUND II.1 (Mo Feb 04) Jazz in transition
Tonic, Subdominant, and Dominant.
1st mvt. Sonata Form Exposition 1st Theme 2nd Theme Epilog 1 1
Haydn:Cello Concerto no.2/Ⅰ
R.Schumann :Symphony No.1/Ⅰ
MUSIC HIGH SCHOOL - ELECTRONIC PIANO – Unit 6
Beethoven-violin Sonata no.9/Ⅰ
Beethoven- String Quartet No.16, Op.135/Ⅰ
I 大地悲嘆之飲酒歌 1st Theme 1st Theme ( ) ( ) 5 8
Piano Sonata No.8 in C Minor, 1st movement ‘Sonata Pathetique’
Presentation transcript:

Guerino Mazzola U & ETH Zürich Internet Institute for Music Science Construction of Sonata op. 3 by Mathematical Methods

composition Sonate für Klavier „Aut G (Messiaen III)\DIA (3) “ (1981) Gruppen und Kategorien in der Musik Heldermann, Berlin 1985 Construction on 58 pages 99 bars, 12/8 metrum, C-major Sonate pour piano „L‘Essence du Bleu“ (Acanthus 2002) CD: Patrizio Mazzola

C (3) B b (3) E b (3) D b (3) G b (3) E (3) A (3) G (3) op.106 Thesis:The modulation structure of op. 106 is governed by the inner symmetries of the diminished seventh chord C # -7 = {c #, e, g, b b } in the role of the admitted modulation forces. F (3) A b (3) B (3) D (3) ~ b (3) Exposition Recapitulation Development Coda

separation C (3) F (3) B b (3) E b (3) A b (3) D b (3) G b (3) B (3) E (3) A (3) D (3) G (3) Aut Ÿ (C # -7 )

e -3 U g * U d/d # * U b b U a/a b e -3 modulators Modulators in op. 106 ExpositionRecapitulationDevelopment Coda Coda B b  G G  E b  D/b  B b  B b  G b  G  B b B b

Op. 106Op. 3 scheme Overall Scheme minor third  2 nd Messiaen scale „limited transposition“ major third  3 nd Messiaen scale „limited transposition“ Aut Ÿ (C # -7 ) = Aut Ÿ (C # -7 ) = Aut Ÿ (C # + ) = Aut Ÿ (C # + ) =

B b (3) A b (3) E (3) D (3) C (3) G b (3) moduations Thesis:The modulation structure of op. 3 is governed by the inner symmetries of the augmented triad chord C # + = {c #, f, a} in the role of the admitted modulation forces. G (3) B (3) E b (3) F (3) D b (3) A (3) Exposition Recapitulation Development Coda

C  B b  G b G b  A b  E E  F F  C U c # e -4 U a e -4 * e -4 * Modulators in op. 3 DevelopmentExpositionRecapitulation Coda Coda modulators

motivic principle Motivic Zig-Zag in op.106    Bars 75-78

Model Motivic Zig-Zag Scheme minor third  2 nd Messiaen scale „limited transposition“ major third  3 nd Messiaen scale „limited transposition“

m ö bius Motivic strip of Zig-Zag (15) (15) (10) (11) (19) (19) (20) (2) (16)

main theme Main Theme CC C Bars 3-5

kernel Kernel of Development        ‘‘‘‘  U2U2U2U2 A B C D E F A‘ B‘ C‘ D‘ E‘ F‘                                                                          

dbdbdbdb Kernel Matrix A B C D E F dbdbdbdb f a DrDrDrDr DlDlDlDl A‘ B‘ C‘ D‘ E‘ F‘ kernel

DrDrDrDr DlDlDlDl D  =  D r  D l kernel

kernel moduation DrDrDrDr DlDlDlDl Kernel Modulation U a : G b  A b UaUaUaUa Ua(Dl)Ua(Dl)Ua(Dl)Ua(Dl)