Byron Weigel Music Theory

The Daily Beethoven

YuYu Hakusho

David Bennett Thomas

Choose 720p from below the video window for high definition.

Video by David Bennett Thomas http://www.davidbthomas.com
Performance by David Korevaar http://www.davidkorevaar.com

Andrew Filmer

A short sample from a presentation of crossover music for a contemporary music course at IUSB.

Claude Bolling’s Suite for Chamber Orchestra and Jazz Piano Trio combines various musical styles, the most notable being jazz and music from the baroque period.

In his efforts to make these two genres blend in a cohesive fashion, the orchestration is designed with subtle hints of what is to come. This video takes the beginning of the suite to show how some of this is realized.

The unexpected crescendo alludes to the Mannheim School-era orchestral crescendo, in particular to Carl Stamitz. While it doesn’t seem to have a distinct function in this selection, it foreshadows a much larger crescendo at the end of the 4th movement.

Andrew Schartmann·29 videos

This video addresses the question: what is a motive?

For more, visit – http://www.drewsical.com

The Daily Beethoven·419 video

(Make sure “Annotations” is ON to see section labels)

I. Allegro con brio @0:03
II. Andante con moto @7:19
III.Allegro @16:18
IV. Allegro @20:57

Symphony No. 5 in C minor,Op. 67
Arturo Toscanini, NBC Symphony Orchestra 1952

For a more detailed analysis with live performance, check out this link:
http://lvbandmore.blogspot.com/p/symp…

Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.

For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo…

Arrangement for Electric Rock Band:
http://www.youtube.com/watch?v=29HS-z..

David Bennett Thomas·62 videos

Dennis Greenwood·145 videos

 

Austin Patty·141 videos

The Daily Beethoven·419 videos

(Make sure “Annotations” is ON to see section labels)

0:00 – 1. Grave, Allegro Di Molto E Con Brio
9:41 – 2. Adagio Cantabile
15:07 – 3. Rondo: Allegro
Piano Sonata 8 In Cm Op.13, “Pathétique”
Piano: Alfred Brendel

1/27 Beethoven’s Sonata ‘Pathetique’ (Color Analysis)
http://lvbandmore.blogspot.com/2011/0…

An alternate “midi” version can be found here (I actually prefer the other version): http://www.youtube.com/watch?v=_ynAs_…

Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.

For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo…

Introduction to Sonata Form:
http://lvbandmore.blogspot.com/p/abou…

My Analysis Cheat Sheet:
-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. The basic sequence is Intro, Exposition, Development, Recapitulation and Coda.
-EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key
-THEME / THEME GROUP: musical “paragraph”. These can be broken down into 1 or more “tunes”. These are grouped according to key and end on cadences. The 1st Theme Group is in the home key. The 2nd Theme Group is in the dominant or other key.
-CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure.
-MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing.
-DEVELOPMENT: free-form “working out”/”fantasia” section where earlier themes are subjected to variations and atomizations. Possibly a new theme is introduced (“Eroica”).
-RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes.
-CODA: Follows the Recap, kind of a second development designed to finish off the work.
-SEQUENCING: repeating a phrase on different starting notes (keys)
-TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet
-SCHERZO/MINUET: 1st pt. of a 3-pt. Scherzo form, usually AA.BA’.BA’ in 3/4 time. Lively.
-TRIO: Middle section of a Scherzo movement, slower, broader than the Scherzo section
-RONDO: Similar to Sonata form except that the Development is replaced by a new section and there is less transition material. A principal theme (A) alternates with contrasting themes (BCD…). (Ex.ABACABA.)
-FUGUE: form in which a subject(s) undergoes canonical permutations
-VARIATION: repeat of a theme with variation
-CADENZA: unaccompanied instrumental solo
-BINARY FORM: Structure in AB. 2-Part Song form.
(Disclaimer: I do not have a music degree, all of the above is purely from memory and observation)

1st Movement – Grave, Allegro di molto e con brio
Introduction (LIGHT GREEN)
Exposition
-1st Theme (MAROON)
-2nd Theme (BROWN)
-3rd Theme (GREEN)
Exposition (Repeat)
-1st Theme (MAROON)
-2nd Theme (BROWN)
-3rd Theme (GREEN)
Development
-Introduction reprise (LIGHT GREEN)
-1st Theme (BLUE)
Recapitulation
-1st Theme (MAROON)
-2nd Theme (BROWN)
-3rd Theme (GREEN)
Coda (LIGHT GREEN)

2nd Movement – Adagio cantabile (starting at 9:41)
1st Theme (MAROON)
2nd Theme (BLUE)
1st Theme (MAROON)
3rd Theme (GREEN)
1st Theme Variation (MAROON 2)
Coda (OLIVE)

3rd Movement – Rondo allegro (starting at 15:07)
1st Theme (MAROON)
2nd Theme (BROWN)
1st Theme reprise (MAROON)
3rd Theme (BLUE)
1st Theme Variation (MAROON)
2nd Theme Variation (BROWN 2)
1st Theme (Short Var.) (MAROON)
2nd Theme Variation (BROWN 2)
1st Theme reprise (MAROON)

The Daily Beethoven·419 videos

(Make sure “Annotations” is ON to see section labels)

Bartók – Concerto for Orchestra, Sz. 116, BB 123
I. Introduzione. Andante non troppo – Allegro vivace @0:00
II. Giuoco Delle Coppie. Allegretto scherzando @9:58
III. Elegia. Andante non troppo @16:00
IV. Intermezzo Interrotto. Allegretto @24:00
V. Finale. Presto @28:16

Fritz Reiner and the Chicago Symphony Orchestra

This analysis was derived in part from David Cooper’s analysis in the Cambridge Guide to Bartok’s Cto for Orch.

Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.

For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo…

The Daily Beethoven·419 videos

shellac1925·500 videos

An analysis of the Pathetique Symphony by Leonard Bernstein, with musical examples played by the New York Stadium Symphony Orchestra (the summer incarnation of the NY Philharmonic).

The Daily Beethoven·419 videos

(Make sure “Annotations” is ON to see section labels)

Bartók – Concerto for Orchestra, Sz. 116, BB 123
I. Introduzione. Andante non troppo – Allegro vivace @0:00
II. Giuoco Delle Coppie. Allegretto scherzando @9:58
III. Elegia. Andante non troppo @16:00
IV. Intermezzo Interrotto. Allegretto @24:00
V. Finale. Presto @28:16

Fritz Reiner and the Chicago Symphony Orchestra

This analysis was derived in part from David Cooper’s analysis in the Cambridge Guide to Bartok’s Cto for Orch.

Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.

For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo..