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Hi Máté -
I hope everything's OK with you. I've got another lesson for you here, there's not much writing, just a quick explanation of each thing with examples. These are all 'tricks' really, things that you can use to spice up your music and make it sound more stylistic when you write in the classical style. (Other periods of music have other 'tricks' that you can incorporate into your work. Some of them were specific to composers, like Purcell, who we might look at after this stuff).
At the end is an analysis of that Mozart piece I linked on the last page for you, and a correction of the Haydn tutorial I gave you last week that is (hopefully) much less sloppy. If you're having trouble with the last homework you can just post the bass lines you have so far and we'll work on them together (that can sometimes work very well in the beginning).
Also for this lesson, would you be able to have a go at analysing the Haydn minuet I've redone, and just point out any interesting harmonies etc.?
Best wishes
Matt
PS I forgot something quite important! The seventh of a diminished seventh should be approached with care, either by preparation in the previous chord (like any other seventh) or by step (most preferably from above), and it MUST resolve downwards by step, if not immediately, very soon afterwards. For example, in 2e) although the E-flat does not resolve immediately down to D (it goes up to E-natural on the 6/4 chord) it does resolve downwards on the next chord to D natural. This delayed resolution may make it seem unimportant to resolve the dissonance, but it isn't - it's more important in this situation almost! If you delay a resolution, you are in essence prolonging the dissonance in the listener's mind, so they're waiting for it even more!
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Sep 5 2008, 6:21 PM
Linear Mode
