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Haydn's variety of dramatic effects and ability to create tension was remarked upon in his own time: his music was increasingly taken as the standard by which other practice might be judged. Haydn's set of string quartets, Op. 33 gives the first examples of coordinated use of the resources of sonata form in characteristic fashion. The composer ...
In music, tension is the anticipation music creates in a listener's mind for relaxation or release. For example, tension may be produced through reiteration , increase in dynamic level , gradual motion to a higher or lower pitch , or (partial) syncopations between consonance and dissonance .
The contralto voice in opera and classical music has a range which typically lies between the F below middle C to two Fs above middle C (F5).In the lower and upper extremes, some contralto voices can sing from the E below middle C (E3) to two B ♭ s above middle C (B ♭ 5). [1]
Tension occurs when the music (and the listener with it) is pulled away from the tonic. Tchaikovsky "not only increases the contrasts between the themes on the one hand and the keys on the other," but ups the ante by introducing his second theme in a key unrelated to the first theme and delaying the transition to the expected key.
The combination of chromatic modulation with enharmonic modulation in late Romantic music led to extremely complex progressions in the music of such composers as César Franck, in which two or three key shifts may occur in the space of a single bar, each phrase ends in a key harmonically remote from its beginning, and great dramatic tension is ...
Even the last work he completed, the Op. 135 String Quartet, has been said to be an exercise in "Classical nostalgia." [58] Charles Rosen argued that, in his late period, Beethoven found new ways of exploiting old conventions in the classical style to produce thematic unity in works like the Piano Sonata in A-flat major, Op. 110. [61]
Scriabin builds a continuous structure of mounting complexity and tension, and pursues the combination of themes with unusual tenacity, eventually reaching a climax as harsh as anything in his music. [1] The piece ends with the original theme reinstated.
Dedication, Bach's manuscript. It is uncertain when most of the material for the Brandenburg Concertos was written. It is clear that the first movement of Concerto No. 1 (BWV 1046) was based on an introduction to Bach's 1713 cantata Was mir behagt, and the second and last may have been as well. [4]