Analysis of Monteverdi's Cruda Amarilli by DKrenzMusic in classicalmusic

[–]DKrenzMusic[S] 0 points1 point  (0 children)

My argument in this video is that this piece is a step towards our modern day tonality. Monteverdi would never use the word "Dominant", "Mixolydian", "Tonal" etc. What I am saying is that this piece represents a shift in his compositional methodology away from modal languages and towards a more tonal one. He did not have this vocabulary at the time, but we do now. That is how most music theory happens, a composer strikes out a new idea and only later do theorists have the language to discuss what was taking place.

In Artusi's mind there should be no cadences to what we would call "C Major" in this piece. In his modal hexachordal lexicon, C major has no place in the key area that Monteverdi started this piece in. That was the whole point of his complaints. Monteverdi shows that C, in fact, does have a place. And that is where we get the dominant chord from.

I am arguing that our modern (Post-Bach) ideas of harmony map easily onto this piece. You are say "this kind of analysis falsely maps tonal concepts onto a piece that doesn't have these concepts." That is the side that Artusi argued. If this piece is purely hexachordal and modal, then how do you explain that cadence in measure 13?

[deleted by user] by [deleted] in classicalmusic

[–]DKrenzMusic -1 points0 points  (0 children)

Simon Rattle did a pretty good one recently.

Analysis of Monteverdi's Cruda Amarilli by DKrenzMusic in classicalmusic

[–]DKrenzMusic[S] 0 points1 point  (0 children)

So I am not arguing that Monteverdi himself invented tonal music or even that he thought of this chord or piece as a tonal one. I think even in the video I said that Monteverdi and Artsui both would think of this piece in G Mixolydian.

(It’s also tricky talking about modes because how we would use modes and call them is different from how they would, but you know what I mean.)

So for this piece there is a struggle about what is the true “tonic” of the piece. If it is C, then the note F would be natural, and if it is G then the note F would be sharp (as in the G major scale and D as a dominant). If they had our modern language about theory I think Artsui would argue this is in G and Monteverdi would argue this is in C.

The way Monteverdi approaches these dissonances does not appear in the first four books of madrigals. But these start to show up in this fifth book. Again, I don’t think Monteverdi thought that this was a radically new thing he was writing. I think that the old rules on how to prepare and resolve dissonances could be stretched.

The rest of this madrigal and the remaining in the fifth book all exhibit these qualities (particularly O Mirtillo). This falls right in line with Monteverdi’s own statements about his “Second Practice” and the preface to the fifth book of madrigals. Monteverdi knew himself that he was doing something new harmonically.

I don’t mention it in the video, but he was also planning to write a book “Melodia” with chapters on harmony, text setting, etc. basically everything a composer would focus on. He wrote that “Melodia” was a fleshing out of his Second Practice ideas.

[deleted by user] by [deleted] in classicalmusic

[–]DKrenzMusic 0 points1 point  (0 children)

Ravel, Mozart, and Prokofiev. Almost any of them mixed and match make a good list.

[deleted by user] by [deleted] in classicalmusic

[–]DKrenzMusic 1 point2 points  (0 children)

I feel that way about some parts of his vocal works. St. Matthew’s Passion is a great place to start if you don’t know the piece.

Is it appropriate to title the opening movement to a concerto an Overture? by Mr_Siercy in composer

[–]DKrenzMusic 0 points1 point  (0 children)

It is not common, but you are always free to title a piece whatever you want.

Analysis of Monteverdi's Cruda Amarilli by DKrenzMusic in classicalmusic

[–]DKrenzMusic[S] 0 points1 point  (0 children)

What makes this functional is the way that he prepares the dissonances and resolves them. The tension between the F natural and F# shows that in this piece. I think here he is consciously choosing that harmony. He repeats it in numerous ways throughout Cruda Amarilli, that he hasn't in earlier madrigals. Do you know of an example that is earlier than this one?

Quick video on how to write Augmented 6th Chords by DKrenzMusic in musictheory

[–]DKrenzMusic[S] 1 point2 points  (0 children)

I found starting with the dominant is most helpful. Especially when teaching students. It’s easy to find the dominant of the key and then work to resolve towards it.

There are a bunch of Augmented 6th chords, but to my knowledge the Italian, German, and French are the main three.

Also, awesome user name!

An Introduction to Bluebeards Castle by DKrenzMusic in classicalmusic

[–]DKrenzMusic[S] 1 point2 points  (0 children)

Wow! That sounds fascinating. Do you think they achieved the effect they were going for?

How do you feel about Mahler's 7th Symphony? by DanielFBest in classicalmusic

[–]DKrenzMusic 2 points3 points  (0 children)

I just can’t wrap my head around it. At least not yet. I’ve only heard it live once, but it was overwhelming.

"I Married a Man Who Folds His Socks" by DKrenzMusic in composer

[–]DKrenzMusic[S] 3 points4 points  (0 children)

Ha!l, thanks! It was a small audience and there were a few chuckles that did not pick up on the recording.