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Title page of Franz Rigler's "Three Rondos" (1790) First page of the manuscript for Mozart's Adagio and Rondo for glass harmonica, flute, oboe, viola and cello. The rondo is a musical form that contains a principal theme (sometimes called the "refrain") which alternates with one or more contrasting themes, generally called "episodes", but also occasionally referred to as "digressions" or ...
The simplest kind of sonata rondo form is a sonata form that repeats the opening material in the tonic at the end of the exposition and recapitulation sections. [A B' A] exp [C"] dev [A B A] recap By adding in these extra appearances of A, the form reads off as AB'AC"ABA , hence the alternation of A with "other" material that characterizes the ...
The work follows the common A–B–A–C–A pattern characteristic of the rondo form; "A" is a returning theme and "B" and "C" are episodes. "A" is in A minor (the key of the piece), "B" is in F major, and "C" is in A major. Following the last appearance of "A" there is a coda that draws on the music for A as well as a minor key version of C.
The rondò is distinct from the refrain form called rondo. [6] In recent English and German musical literature, the Italian spelling and pronunciation (with accent on the last syllable) has been adopted to distinguish this from the (predominantly instrumental) form called rondo (with accent on the first syllable).
A minor; Rondo - Allegro vivace This movement is in sonata rondo form with a foreshortened recapitulation. The toccata-like rondo theme, like the allegro and scherzo themes, begins in A minor and soon modulates to C major. The V-I-V-I chord sequence featured in the first and third movements again appears prominently in the intervening episodes.
The music modulates to the dominant key of D major, and then back to G major in which the exposition is heard again. For the development, the music modulates to G minor, then B ♭ major, then C minor, then G minor and finally back to G major, at which point the recapitulation occurs followed by a short coda.
The song was made popular by García's daughter, the well-known mezzo-soprano Maria Malibran. Liszt's piece is essentially a set of variations on the song, loosely organized in rondo form. [1] As with Liszt's other piano works based on other composers' pieces, it contains a complete exploration of the elements of the theme.
Many examples of this form can be found in Schubert's lieder, in which the words of a poem are set to music, and each line is different. In his lied " Erlkönig ", in which the setting proceeds to a different musical arrangement for each new stanza and whenever the piece comes to each character, the character portrays its own voice register and ...
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