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By Belkin A.

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Here are the standard, familiar cadences, with suggested ways of achieving similar effects in non-tonal contexts. • Full cadence: ending. All the musical elements combine to suggest closure. Examples abound, especially at the ends of movements. (repertoire example) Elliott Carter, Symphony of Three Orchestras: The final climax of the piece (m. 383) is followed by a series of descending phrases into the lowest register, which become more and more fragmentary. 388) slowly dies away. ) which remains unresolved on the local level.

The arrival of the theme in m. 35-6 is made much more prominent by the preceding rising sequence. st (repertoire example) Bartok, Concerto for Orchestra, 1 movement, #76: The arrival of the main theme is prepared by a long crescendo, repeating the first part of its motive over a subtonic pedal, rising through the orchestra. Fantasy and Fugue, for Organ: The sudden arrival of the pedal, f, after the very soft music which precedes, creates a shock, marking the return of the main theme. th th (repertoire example) Mahler, 9 Symphony, 4 movement, m.

Climax can engender change: For example, a crescendo (often realized as a rising sequence) can culminate in a shift to a new idea. The climax serves as a turning point: The novelty provides a psychological boost and acts as the accent fulfilling the buildup. Piano Sonata: In m. 81, after a sequential rise, the music stops abruptly on a climactic high note. This common tone becomes the first note of a contrasting section. The rising line and the crescendo create tension; the new section resolves it, but in an unexpected way.

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A practical guide to musical composition by Belkin A.


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