RagtimeMax Posted November 2, 2012 Share Posted November 2, 2012 Greetings fellow composers, I have a quick question regarding sonata-allegro form in a symphonic movement: Is it generally frowned upon for the second subject group to actually be in a slower metric tempo than the primary subject group? E.g. in 6/8 time: Primary subject group: dotted quarter = 120 Transitional phrase: rit. e dim. Secondary subject group: dotted quarter = 80 closing phrase: rall. to fermata || Development: dotted quarter = 120 (Same applies for the Exposition repeat) I've heard of Rachmaninoff being criticized for this practice. Is there any basis in it being frowned upon? It works organically in my symphony so far, but I sometimes worry that it will be criticized as an architectural weakness. Thanks for any input! Max Quote Link to comment Share on other sites More sharing options...
tuohey Posted November 2, 2012 Share Posted November 2, 2012 If it works for that specific piece of music then do it. The people criticising Rachmaninov are likely to be criticising the fact that the metric/tempo change is inappropriate for that specific piece rather than criticising metric/tempo changes in general. It's actually quite a common practice anyway. If you listen to any of Alban Berg's pieces that are in sonata form, each subject has its own tempo. For example, if you listen to his piano sonata: at 1:16 when the second subject enters you'll notice the score says "Langsamer als Tempo I" (Slower than Tempo I). This tempo then returns in the development when the second subject material is developed and the original tempo returns when the first subject material is being developed.As for whether a tempo or metric change is appropriate for your piece, I cannot say without hearing it as each individual piece is a different case. All I can say is that there is nothing wrong with doing this if it fits the situation. I hope that helps. 1 Quote Link to comment Share on other sites More sharing options...
RagtimeMax Posted November 2, 2012 Author Share Posted November 2, 2012 Helps immensely - and gives me a little confidence boost moving forward with the composition. Thanks! Quote Link to comment Share on other sites More sharing options...
Kvothe Posted November 2, 2012 Share Posted November 2, 2012 I agree with Touhey had said about Berg. Look into that. Quote Link to comment Share on other sites More sharing options...
Guest Ravel's Hookers Posted November 2, 2012 Share Posted November 2, 2012 why you caring? year is 2012 Quote Link to comment Share on other sites More sharing options...
Kvothe Posted November 2, 2012 Share Posted November 2, 2012 Or you can do both in combo. Modulation with tempo change. what ever suites your fancy. Quote Link to comment Share on other sites More sharing options...
RagtimeMax Posted November 3, 2012 Author Share Posted November 3, 2012 In this case, I'm definitely doing tonal; more of less late-Romantic/early 20th-century. The two subject groups are in C minor and Ab major respectively. Thanks for the input! Quote Link to comment Share on other sites More sharing options...
Kvothe Posted November 4, 2012 Share Posted November 4, 2012 No problem at all. You are the composer, use discretion where it fits best. :D Quote Link to comment Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.