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The English word rondo comes from the Italian form of the French rondeau, which means "a little round". [3] Today the word rondo is widely used in the English language to refer to any musical work, vocal or instrumental, containing a principal theme which alternates with one or more contrasting themes.
A rondeau (French:; plural: rondeaux) is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Together with the ballade and the virelai it was considered one of three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries.
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 distinction is especially characteristic of the literature of the art-song, where such works are contrasted with strophic settings.) [3] 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
The following works are some of the most universally respected and established cornerstones of the band repertoire. All have "stood the test of time" through decades of regular performance, and many, either through an innovative use of the medium or by the fame of their composer, helped establish the wind band as a legitimate, serious performing ensemble.
Glee – English part song of respectable and artistic character and often composed for male voices only. Partita – Suite of instrumental or vocal pieces, often consisting of dance movements. Passacaglia – Musical form similar to a chaconne, consisting of variations over a ground bass. Passion – Musical setting of the Passion of Christ.
Possibly the earliest published example is the diferencias for vihuela by Luis de Narváez (1538). [8] A favorite form of variations in Renaissance music was divisions, a type in which the basic rhythmic beat is successively divided into smaller and smaller values. The basic principle of beginning with simple variations and moving on to more ...
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.