String Quartet in a Flat Major
Submission Type
Event
Faculty Advisor
David Vayo
Expected Graduation Date
2020
Location
Young Main Lounge, Memorial Center
Start Date
4-21-2018 12:30 PM
End Date
4-21-2018 12:30 PM
Disciplines
Education
Abstract
This string quartet uses two main themes for most its melodic content, organized into several different sections. The first of these themes is a slow, major theme in A flat major that is varied, transitioning to a harmonically unstable secondary theme in a faster tempo, and a 4/4 meter.
After the introduction of these two themes that rise to a peak and quickly die down, a large developmental section begins, remaining in a faster tempo and combining the themes in several different ways. This then progresses through several rises and falls in musical energy that characterize this piece, with a number of climaxes. This later leads to a cadenza in the cello, and a recapitulation of the first theme, but with a greatly changed mood that dies down to a close. This organization very roughly follows a sonata form, without a return of a “B” section in a recapitulation.
There are several features that are at the forefront of this quartet. One is the contrapuntal texture often taken by several voices of the quartet during the quicker section of the piece, utilizing polyrhythms and different combinations of voices and themes. Another is the harmonic language that makes heavy use of chromaticism and extensions of tonality that is taken throughout this piece.
String Quartet in a Flat Major
Young Main Lounge, Memorial Center
This string quartet uses two main themes for most its melodic content, organized into several different sections. The first of these themes is a slow, major theme in A flat major that is varied, transitioning to a harmonically unstable secondary theme in a faster tempo, and a 4/4 meter.
After the introduction of these two themes that rise to a peak and quickly die down, a large developmental section begins, remaining in a faster tempo and combining the themes in several different ways. This then progresses through several rises and falls in musical energy that characterize this piece, with a number of climaxes. This later leads to a cadenza in the cello, and a recapitulation of the first theme, but with a greatly changed mood that dies down to a close. This organization very roughly follows a sonata form, without a return of a “B” section in a recapitulation.
There are several features that are at the forefront of this quartet. One is the contrapuntal texture often taken by several voices of the quartet during the quicker section of the piece, utilizing polyrhythms and different combinations of voices and themes. Another is the harmonic language that makes heavy use of chromaticism and extensions of tonality that is taken throughout this piece.