Search results
Results from the WOW.Com Content Network
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 ...
Tiento – Form of keyboard music similar to the fantasia, known for its intricate counterpoint. Toccata – Piece typically for a keyboard or plucked string instrument, characterized by fast-moving or virtuosic passages. Villancico – Spanish song or lyrical poetry, often associated with rustic and popular themes.
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 song's lyrics refer to a "picture print by Currier and Ives," whose lithographs were popular in the 19th century. Leroy Anderson's own recording of "Sleigh Ride" was made on September 11, 1950, [ 8 ] and was released on his album "Leroy Anderson Conducts His Own Compositions" [ 9 ] on the Decca label in 1951.
Three Rondos on Slovak Folk Tunes, Sz. 84, BB 92 (Hungarian: Három rondo népi dallamokkal), [1] also referred to as Three Rondos on Folk Tunes, is a collection of three small pieces for piano by Hungarian composer Béla Bartók.
The final movement is in a traditional rondo form, A–B–A–C–A–B–A. Again, the main melody is pentatonic. The movement's rhythm was inspired by Dvořák's experience riding on trains and hearing them chugging on tracks while traveling across America, as seen in the "chugging" of the second violin and viola throughout the piece. [28]
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).
Here the triplet motif of the opening of the quartet also reappears, in disguised form. Then the chorale theme recurs, leading to the second statement of the main section. The third section of the rondo begins. This is a complex, involuted section with chromatic swirls of triplets and hemiolas that cause the listener to lose all sense of ...