I'm writing a Piano Sonata in A-flat in the Classical Era style, and I'm working on the development section right now, which has always been a struggle of mine. I started in B-flat, briefly went to B-flat minor, then back to B-flat (I do a lot of modal modulations), then went to G (via the swift...
I decided to start a new series of articles explaining to non-professional (but careful) listeners why certain works are remarkable or revolutionary.
This time I took on a journey inside Chopin's Sonata No. 2, one of his most personal and groundbreaking works which contains the...
Understanding Beethoven's Ninth
In a brief interlude between entries in my ongoing series on Mahler's symphonic works, I have decided to tackle one of the most famous symphonies in the repertoire. Why bother? It's such a well-known, well-understood work, one that almost...
Understanding Mahler's Fifth Symphony
Part 3: II - Sturmisch bewegt
0:00~1:22 First theme group (A minor)
1:22~3:32 Second theme group (F minor)
3:32~4:22 (A minor->B-flat)
4:22~6:30 Cello solo, variation on theme 2 (E-flat minor)
6:30~7:32 Trauermarsch Theme 2...
Understanding Mahler's Second Symphony
Part 2: I - Allegro Maestoso
0:00~2:53 First Theme group (C minor)
2:53~4:05 Second theme group (E major->E-flat minor)
C minor, A-flat (brass chorale), G minor (march), C major (2nd theme), E major (2nd...
Part 3: Form in Mahler's Music
Note: Roman numeral notation is used here to refer to key areas rather than chords. Minor keys are denoted by lower-case. In this notation, I is tonic, i is minor-key tonic, V is dominant, and so forth.
Mahler's first movement form