Cem ERÇELİK Blog

Bartok Mikrokosmos 65 Animated analysis

2013-11-10T11:30:00.001-08:00

Bartok 115

2013-01-19T03:13:00.003-08:00

Mm. 1-2

G Ab A Bb B C C# D. Sum =1

B C C# D

1-------------A 5/7

Bb A Ab G

Mm. 3-4

G A Bb B C C# D. Sum =1

C C# D

1---------G 5/7

B Bb A

Mm. 5-6

C C# D D# E G A Bb B. Sum=1

C# D D# E

1------------G 5/7(D)

C B Bb A

Mm. 7-8

G A Bb B C C# D. Sum =1

C C# D

1---------G 5/7 Same with Mm 3-4.

B Bb A

Mm 9-12 Motivic Changes

C C# E F F# A Bb B. Sum=0

C C# E F

B------------B 6/6

Bb A F# F

Mm 13-14

C C# E F# A A#. Sum =2

F# A A#

2-----------

E C# C

Mm 15-16

A C# D# E F#. Sum =1

E F# A

2-----------

D# C# A

Mm 17-20 Cannonic Motive

D E F F# G G# Sum=0

G G#

F#-----D 6/6

F E

Mm 21-22

G G# A# B C C# D Sum=2

A# B C

2----------C# 2/10

G# G D

Mm 23-24

G A A# B C C# D D# E Sum=1

C# D D# E

2--------------G 7/5

C B A# A

Mm 25-28

F# G G# A A# B C C# D. Sum=0

B C C# D

A#-------------- 4/8

A G# G F#

Mm 29-32

C C# D E F G A A# B. Sum=3

G A A# B

3 -------------F

E D C# C

Bartok Mikrokosmos 72

2012-12-08T04:49:00.000-08:00

Bartok Mikrokosmos 72

Mm.1-2 starts with G in both melody and bass part and added 2 semitones vertical harmony to inwards so there is a chord GAFG. The chord has one octave and one 8 semitones. Bass parts and melody parts range distances are 6 semitones to C#. Both G is a boarder and stable that we can look tenor and alto part for contour. Both in this parts contours distances are same and inwards. Contour starts in same time with G and two semitones away. Next step is climax point C# by 4 semitones. We are 6 semitones away from boarder. Intervals in contours are same and moving by 4 semitones up/down and back in five times. Vertical distances are 0-0-8-0-8-0. Shape is zigzag.

Mm. 3-4 is qualitative as an answer of mm1-2. G is still boarder and F and A shown in weak beat differ from G. Climax pointd are C(alto) and D(tenor) in 7 semitone distance. Contours has own same intervals each other and they are 2-4-1-1-4. Intervals between contours are 0-8-0-2-0-8. Shape is envelope.

Mm. 5-6 is variation of 1-2.

Mm 7-8 is starts like 3-4. In Measure 7, lines are straight and outwards and reaching boarders next measure. Measure 8 has accented and hanged in same points in intervals of 5 and 7 semitones. Its like a fight won by fifths! We can say fist idea is end.

Second idea is different in contours way and boarders position. Contours are going outwards and boarders in tenor and alto part.

Mm. 9-10 Contour intervals are 2-4-1-1-4. Contours are drawing to climax point and return back once. Interval between contours are 8-0-8-8-8-0 semitones. Shape is envelope.

Mm 11-12 similar with the last two measure. Climax distance is 7. Contours are still same and intervals by moves are 2-4-1-1-4-5. Climax point occured two times. Interval between contours are 8-0-8-2-8-0-2. Shape is envelope and zigzag.

Mm 13-14 This measures can be considered it is a small development of mm 9-10. Ranges are similar. Until this measures whole pieces bass and treble parts drawn contrast line with same intervals. This measure, bass and treble parts has same line contrast but intervals are irrevelant. Treble drawn 4-4-1-2-4-2-4 and bass drawn 3-3-2-2-3-3-4. Vertical intervals are 8-0-7-4-8-0-4-2. Shape is zigzag and envelope.

Mm 15-16 They are looking like some kind of a closing. E and G still draw out. A# and D diminished interval shown. Treble clef starts with 6 semitone vertically.. Melody has 4 and 2 semitones intervals. Bass part is first time rhytmically different. Its start with 5 semitones interval vertical. Line intervals are 2-2-2-2. Two measure has same motivic movements and drawing to only one way direction up is for preparing via shifting register the new idea in higher register.

Mm 17-18 Has intervalic differences in treble and bass part. Lines are drawn similar and still inward. Treble part is 7 semitone distance. Bass part has 4 semitone distance. Treble melody interval is 2-4-1-1-4. Bass melody interval is 2-1-1-1-1. Vertical intervals are 8-4-2-2-1-4. Lines are in tenor and alto part. Shape is envelope.

Mm 19-20 Treble part range is 6 semitones. Bass part range is 3 semitones. Treble melody interval is 1-4-2-2-4. Bass part melody interval is 1-1-1-1-1. Vertical intervals are 2-0-5-4-5-0. Shape is envelope.

Mm 21-22 Melody parts changed to bass and sophrano part. Bass clef register shifted up. It is the first time flats are observed. Treble and bass melody range is 7. Bass melody interval is 2-4-(6)-7-1-4. Treble melody starts in first weak time and interval is 2-4-1-1-4. Vertical intervals are 2-6-2-3-4-5-6. Shape is envelope.

Mm 23-24 Both parts are starting in first weak time. Only two part shown that reach the end of the piece in envelope shape. Measure 24 is similar with measure 8. Bass part is in bass clef again. Treble and bass melody interval is 5-1-1 to reach last measures tenor and alto parts. Measure 24 is a four part chord consist of 7 and 5 semitones.

Bartok Mikrokosmos No. 65

2012-12-08T04:48:00.001-08:00

Bartok Mikrokosmos No. 65

Mm. 1-4 Introduction. Starts with D-A and E-B. Every 5th chord moving 2 Semitones in a intention that wants to complete 5th cycles via starts from D and expand to comprisingly whole the 5th cycle in clockwise. Contour is up and down.

Mm. 5-9 First Idea. Melody shows up against bass part at measure 5 and G occured in anticlockwise side in weak time. D dorian agreed with the F in measure 7 and also contour direction is changed, become in same direction with bass part. F and C camed together in anticlockwise direction in 5 th cycle. The new notes observed in weak time. At Mm 9 , Eb used with Bb. The new notes shows in strong beat and anticlocwise of fifth circle. Melody starts and ends with A.

Mm. 10-14 Second Idea. Melody and Bass contours directions are changed and opposite. F# the new note found in weak position and clockwise side of D. Mm 11,12 and 13 in a affect of D ionian and Phrigian which depends on weak beats. At Mm. 13, Bass contour direction changed and goes downside. Melody starts and ends with D.

Mm. 15-18 Third idea in D Dorian mode. Melody starts in C in high. Bass accompaniment changed and It’s in lower with long standings. Melody has small differences before. 8th notes observed in second measure of idea with new contour line seen. At Mm. 18 Last note of chromatic scale and last member of circle of fifths Ab shown in weak beat. Thus all notes shown up by whole step down and when contour drawing down. Melody starts and ends with C. Weak beat of mm18 has an accent that ties itself to next idea.

Mm. 19-23 Fourth idea in D Phrigian mode that starts like it is Locrian. Melody contour is changed to opposite with third idea. Mm. 19–18 variated. Bass part has longer standings than third idea and differance in last beat of mm 23 is in opposite direction. Melody starts and ends with D.

Mm. 24-27 Coda. D dorian again and ends with D.

Ludwig Van BEETHOVEN SONATA No. 1 Op. 2 No. 1 Analysis

2012-07-01T09:12:00.001-07:00

Ludwig Van BEETHOVEN

SONATA No. 1 Op. 2 No. 1

ALLEGRO

Exposition

m.m 1- 8 : The first theme in f minor and ends with Half Cadence

m.m 9-20: Transition part. It is modulated from f minor to A flat Major which is relative major of f minor

m.m 20-28: The second theme starts in the second beat of measure 20 and ends in the first beat of measure 28. The second theme is in A flat major and at the end of his theme, there is a Half Caddence.

m.m 28- 41: Transition part. İt is in A flat major . It starts in the second beat of measure 28 and ends in the first beat of measure 41.

m.m 41- 48: It is codetta part and stil in A flat major. At the end of codetta there is a PAC

Development

m.m 49- 55: The first theme repeated with there are some differences such as measure 50 is repeated in measure 51 again. His theme ends in the first beat of 55 with HC. And it is A flat Major.

m.m 55- 63 : The second theme starts in b flat minor and ends in the first beat of measure 63 with HC.

m.m 63- 100: His is transition part. In the half of measure 63 and its tonality is do minor. Between 63-67 , small part of the second theme is repeated in the left hand then measures 68- 71 little part of the second theme repeated again but this time the right hand has the melody. In measure 70, it modulates to “b flat minor” and after that modulates to “ A flat major” in the 71th measure then modulates to “f minör” in the 74th measure.

Recapitulation

m.m 101-108: The first theme is repeated in the tonic and there is a HC at the end of the theme and at the end of the 108th measure there is a HC.

m.m 109-118: This is transition part. It is 8 measure long and in f minor.

m.m 120- 127: The second theme is repeated . It is in f minor and there is a HC at the end of the theme.

m.m 128- 140: It is transition part. There are 2 f minor scale in his part.

m.m 140- 152: Coda. It is in f minor and ends with the PAC

ADAGIO

Exposition

m.m 153- 161: The first theme in F major. It lasts 8 measures long. There is a PAC at the end.

m.m 162-184: There is a transition part. Measures 162- 169 contain some musical ideas from the first theme. ( in f minor). Measures 170- 174, these measures are kind of passing part. This part is in d minor which is relative minor of F major. Then in the 176th measure it modulates to C major which is V of F major. It lasts until the 184th measure.

Recapitulation

m.m 185- 192: The first theme is repeated but there are some rhytmical changes. It is in F major and at the end of the theme, there is a PAC.

m.m 193- 200: Same musical ideas with measures 162-169 but there are some rhytmical changes. In F major

m.m 201- 208: Transition part. In F major . Mostly used V-I progression.

m.m 209- 213: Coda. In the 209th measure, there are lots of 32th notes and they present tonich chords . At the end of the coda, the second movement finish with chords which are I-V-I (PAC)

MINUETTO

Minuet

m.m 214-227: The first theme is in f minor but in the 219th measure it modulates to A flat major which is relative major of f minor. It ends with IAC. At the end of the theme, there is a reprise . (14x14)

m.m 228- 253: Transition part. Between measures 228- 235, the first theme is represented again but his time harmonic progression is different and it modulates to f minor again in the 231th measure. This part has some varieties of the theme. At the end there is PAC

( theme lasts 28 measures long and the transition part lasts 27 measures. Theme part and transition part are nearly equal.)

Trio

m.m 254- 263: The first theme is in F major. It lasts 10 measure long and ends with HC. It has reprise (10x10)

m.m 264- 286: Transition part. Measures 264- 279 are all about variation of the theme and then the 280th measure the theme is repeated.

PRESTISSIMO

Exposition

m.m 287- 294: The first theme which is in f minor and lasts 8 measure long, ends with HC.

m.m 295- 307: It is a transition part. Up to the 305th measure the first theme is varied. And also in the 299th measure, there is a modulation to c minor. Measures 306 and 307 are contains a scale which is c minor scale.

m.m 308- 315: The second theme begins which is in c minor. In the left hand there are triplets and that triplets contains the melody.

m.m 316- 335: There is a new melody who moves us to coda. The left hand plays octaves and the right hand plays triplets to accompany that octaves.

Throughouth the exposition part triplets are the most used rhytm. Sometimes the left hand has triole and the right hand has melody or vice versa and sometimes both of them have triplet.

In the 320th measure, there is a different melody but I think it is not a theme it is just a bridge that takes us to the end of the movement.

Eventually, in the 336th measure coda stars and it imitates the first movement.

In the second reprise it is modulated to A flat major.

Development

m.m 345- 354: There is a new melody but it is a little bit weird because now we are in development part . Development part starts with A flat Major . Most of the time, the right hand plays some chords and the left hand play the melody.

m.m 355- 394: Up to the 394th measure, that new melody is represented in different shapes.

m.m 395- 424: Between these measures, the first part of the theme represented and again it is modulated to f minor. The left hand has triplets, the right hand has the melody.

Recapitulation

m.m 424- 431: The first theme is repeated in f minor.

m.m 432- 446: Transition part. Variation of the first theme is presented and then, measures 445- 446 there is af minor scale .

m.m 447- 474: The second theme is represented in f minor.

m.m 475- 481: Coda part. The left hand has some arpeggios and the right hand accompanies it with chords. At the end of the coda there is a PAC.

Free music

2012-07-01T09:10:00.005-07:00

Prelude For Violin and Piano No 2 by Cem ERÇELİK

Piano: Benan DALKIRAN
Violin: Merve BİÇER
Coposer: Cem ERÇELİK

Stravinsky - Mezmurlar senfonisi Ve Neoklasisizm

2012-07-01T08:38:00.003-07:00

Stravinsky

Mezmurlar senfonisi Ve Neoklasisizm

Dini bir eser olan mezmurlar senfonisinin orkestrasyonu, Klarnet, keman, viyola ve genişletilmiş tahta üflemeli partları ayrı tutularak karakter kazanmıştır. Eser, beşli katlanmış pikolo ile beş flüt, dört obua, coranglais, üç fagot, kontrfagot, dört korno, pikolo trompet, dört Do trompet, üç trombon, tuba, timpani, davul, iki piyano, arp, çello, kontrbas, ve dört partili koro partilerinden oluşmaktadır.

Stravinsky, bu eserini şöyle ifade etmiştir. "-Bu ilahileri de dahil ettiğim bir senfoni değil aksine, senfonize ettiğim bir ilahidir." (“it is not a symphony in which I have included Psalms to be sung. On the contrary, it is the singing of the Psalms that I am symphonizing.")

Birçok stravinsky eseri gibi, ara sıra oktatonik dizi gözlenebilir. Eser do tonal ekseninde olup, do majör ve do minör dizileri üç bölümün de iskeletini oluşturur.

Premiyeri, Ernest Anserment yönetiminde Societe Philharmonique de Bruxselles tarafından 13 Aralık 1930' da gerçekleştrilmiştir. Eser Neoklasik bir anlayışa sahiptir.

Neoklasisizm, diğer plastik sanatlarda olduğu gibi antik çağın değil, 18. yy Klasik döneminin yeniden canlandırılmasıdır ve alman modernizmine bir tepki olarak fikir edinilmiştir. Neoklasik düşünce, diğer modernist akımların aksine insanların doğuştan tonal duyguya sahip olduğunu savunur. Tarih boyunca müzisyenler geçmişin müziğinden, formları, etkileri,müzikal betikleri ödünç alıp, onlardan yeni birşey oluşturmuştur. Stravinsky de bu durumu, "iyi besteci özenmez, çalar!" ("A good composer dosen't imitate, he steals!") diyerek açıklamıştır.

Kompozisyonel teknik olarak içeriği, tonaliteye sahip olması, geleneksel formları kullanması(dans suitleri, konçertolar, sonatlar...vb), saf müziğe sahip olması, hafif müzikal doku ile işlenmesi ve bestecilerin müzikal ifadenin bilincinde olmasıdır.

Stravinsky de Mezmurlar Senfonisi' nde senfoni biçimini kullanmış, tonal duyguya sahip, müziğin önceliğe sahip olduğu, yeni bir neoklasik eser ortaya koymuştur.

20. yy Resim Sanatı Tarihler

2012-07-01T08:37:00.000-07:00

1880'ler	1940'lar

Tonalizm - 1880 - 1920	Soyut dışavurumculuk - 1945 ve sonrası
Sembolizm - 1880 - 1900'ların başı	Aksiyon resmi
Post-empresyonizm (Geç İzlenimcilik)	Renk alanı resmi
Neo-empresyonizm (Yeni İzlenimcilik)	Art informel
	Art brut
1890'lar	Tachism

Ekspresyonizm (Dışavurumculuk)	1950'ler
Fauvism
	Neo-dada - 1950'ler
1900'ler	Pop art
	Durumculuk
Die Brücke - 1905 - 1913
Art nouveau - 1905 - 1939	1960'lar
Kübizm - 1908 – 1939
Fütürizm - 1909 - 1939	Op Art
	Geç-resimsel soyutlama
1910'lar	Sert kenar resmi
	Fluxus
Süprematizm - 1915 - 1920'ler	Minimalizm
Dada - 1916 - 1923	Kavramsal sanat
Bauhaus - 1919 - 1933	Performans sanatı
	Fotogerçekçilik
1920'ler	Süreç sanatı
	Arazi sanatı
Neue Sachlichkeit - 1920'ler - 1940'ler	Post-Minimalizm
Konstrüktivizm - 1920'ler ve sonrası
Art deco - 1920'ler - 1930'ler
de Stijl - 1920'ler - 1932
Sürrealizm - 1922 - 1939

1930'lar - II.Dünya Savaşı

Abstraction-Création - 1931-1936
Sosyalist realizm - 1930 - 1950

20. yy önemli olaylar

2012-07-01T08:35:00.001-07:00

Yıl	Olay	Besteci
1900
	Dünyanın ilk metrosu Paris' te hizmete girdi.	Arnold Schoenberg
	İlk okyanus aşırı radyo yayını yapıldı.	Anton Webern
	Pablo Picasso'nun eserleri ilk defa sergilendi.	Alban Berg
	Wright Kardeşler uçağı icat etti.	Serge Prokofieff
	Rus-Japon Savaşı başladı. Rus Çarlığı yenildi.	Heitor Villa-Lobos
	Albert Einstein görelilik kuramı' nı ortaya attı.	Béla Bartók
	Auguste ve Louis Lumiére renkli fotografçıklığı geliştirir.	Ernst Bloch
1910		Edgard Varèse
	Paslanmaz çelik ilk olarak Sheffield, İngiltere'de icat edildi.	Claude Debussy
	I. Dünya Savaşı başlar.	Alexander Scriabin
	İlk telefon görüşmesi yapıldı.	Maurice Ravel
	Tank, ilk kez I. Dünya Savaşı'nda kullanıldı.	Kaikhosru Sorabji
	Nazi partisi kuruldu.	Igor Stravinsky
1920		George Gershwin
	ABD'de düzenli radyo yayınları başladı.	Charles Edward Ives
	Robot sözcüğü ilk kez kullanıldı.	Aaron Copland
	lk başarılı roket deneyi gerçekleştirdi.	Jean Sibelius
	Sesli sinema filmi yapıldı.	Erik Satie
	Alexander Fleming, penisilini buldu.	Alexander von Zemlinsky
	Rusya'da büyük bir kuraklık başlar. 18 milyon kişi açlıktan ölür.	Aram Ilich Khachaturian
	John Logie Baird, ilk televizyon görüntülerini iletir.	Joaquin Rodrigo
	Dünya bir ekonomik krize girer.	Dmitri Shostakovich
1930		Olivier Messiaen
	Matahma Gandhi, Hindistan'daki pasif direnişi başlatır.	William Walton
	Plüton gezegeni keşfedilir.	Benjamin Britten
	Güneş Sistemi'nin dışından gelen radyo dalgaları keşfedilir.	Pierre Schaeffer
	Şeritli Manyetefon icad edilir.	Iannis Xenakis
	Naylon bulunur.	Milton Babbitt
	Radar icad edilir	Bülent Arel
	II. Dünya Savaşı başlar.	György Ligeti
1940		Luigi Nono
	II. Dünya Savaşı'nda Birleşik Krallık; Bulgaristan, Macaristan ve Romanya'ya, Amerika Birleşik Devletleri ve Hindistan ise Japonya'ya savaş ilan etti.	Luciano Berio
	Alman ordusu Paris'e girer, İtalya Yunanistana saldırır.	Pierre Boulez
	Japon donanması, Pearl Harbor'u bombalar	Karlheinz Stockhausen
	Japonya'nın Hiroşima ve Nagasaki kentlerine atom bombası atıldı.	George Crumb
	Birleşmiş Milletler Eğitim, Bilim ve Kültür Örgütü'nun yasası Londra'da 44 ülkenin katılımıyla kabul edildi	John Cage
	İsrail bağımsızlığını ilan etti.
	ABD'de ilk renkli TV yayınları başladı.
	ABD, Manhattan projesini başlattı.
	İlk otomatik elektronik sayısal bilgisayar icad edildi
	Radyoaktif karbonla (karbon-14) tarihleme yöntemini geliştirildi.
	"Sesduvarı" aşıldı.
	NATO kuruldu
1950		Toru Takemitsu
	RCA ilk bireştireci yaptı.	Krzysztof Penderecki
	Dünyada ilk bilgisayar satışa sunuldu.	ladimir Ussachevsky
	Avrupa Kültür Anlaşması, Cenevre’de imzalandı
	Sovyetler Birliği'ne ait, dünyanın ilk yapay uydusu olan Sputnik 1 uzaya fırlatıldı.
	İlk Parkmetreler Birleşik Krallık'ta kullanılmaya başlandı
	Uçuk mavi popüler renkti.
	Küba'da Fulgencio Batista iktidarı, Fidel Castro ve Che Guevara önderliğinde yıkıldı.
1960		Michael Finnissy
	Berlin Duvarı'nın yapımına başlandı.	İlhan mimaroglu
	İsrail birlikleri Kudüs'ü ele geçirdiler.
	Kalp nakli yapıldı
	Paris Sorbonne üniversitesinde başlayan mitingle tüm Fransa'da öğrenciler ve işçiler tarafından isyanlar çıktı, meclisin feshedilmesine bile neden olan olaylar silsilesi başladı. İsyan 16 Haziran'da bastırıldı. İsyan bir sürü sivilin ve polisin ölümüne se
	Ses hızını aşan ilk yolcu uçağı Concorde deneme uçuşunu başarıyla gerçekleştirdi.
	Tarihte ilk kez insanlı bir uzay aracı Ay'a ulaştı. Apollo 11, 20 Temmuz 1969'da Ay yüzeyine indi. Astronot Neil Armstrong Ay'a ilk ayak basan insan oldu.
	Vitnam Savaşı başladı.
1970
	Rüzgar enerjisi yeniden gündeme geldi.
	Amerikan sondası Mariner-9 Mars gezegeni çevresinde yörüngeye girdi ve yaklaşık bir yıl boyunca gezegenin yüzey haritasını çıkardı.
	Salvador Allende, dünyada (Şili'de) seçimler yoluyla göreve getirilmiş ilk marksist lider oldu.
	Dünya'nın 3. büyük opera binası olan İstanbul'daki Atatürk Kültür Merkezi bütünüyle yandı.
	İlk Mikroişlemci (Intel 4004) yapıldı.
	Elektronik posta (e-mail) geliştirildi.
	ABD başkanı Richard Nixon görevinden istifa etti (Watergate skandalı)
	Vitnam Savaşı bitti.
	Monarşi İspanya'ya geri döndü; Juan Carlos İspanya kralı oldu.
1980
	IBM PC (Personal Computer) kişisel bilgisayarlar piyasaya sürüldü
	MTV yayına girdi
	Arjantin, Birleşik Krallık'a bağlı Falkland Adaları'nı işgal etmeye başladı.
	Çernobil faciası gerçekleşti.
	S.S.C.B. Bölündü.
	Yugoslavya dağıldı.
	Phjlips firması ilk kompakt diski (CD) tanıttı.
1990		Michael Hersch
	Körfez Savaşı başladı.
	Hubble Uzay Teleskopu uzaya gönderildi.
	Karadeliklerin varlığına ilişkin kanıtlar bulundu .
	İlk genetik kopyalama gerçekleştirildi.
	Almanya yeniden birleşti.
	WWW servisi hizmete girdi.
	Amerika Birleşik Devletleri Başkanı Bush ve Rusya Devlet Başkanı Boris Yeltsin, ilk nükleer silah indirimi anlaşmasını imzaladılar.
	Bosna savaşı gerçekleşti.

Ludwig van Beethoven, Piyano Sonata No. 8 in C minor, Op. 13 (Pathétique)

2012-07-01T07:51:00.004-07:00

Ludwig van Beethoven

Piyano Sonata No. 8 in C minor, Op. 13 (Pathétique)

18. yüzyılın 19. yüzyıla kavuştuğu günlerde, Fransız Devrimi Avrupa' yı sarsarken genç Beethoven da müzik dünyasında yeni çağı hazırlamakla meşguldü. Kimileri için Klasik dönemi doruğa ulaştırıp Romantik döneme kimlik kazandıran, kimileri için ise Klasik ve Romantik çağlardan farklı bir "çağ" olarak görülen bu önemli besteci; 1770 yılında Almanya' nın Bonn kentinde doğmuş, yaşadığı tarih açısından her iki döneme de damgasını vurmuştur.

Beethoven hiç kimseyi mutlu etmek için eser yazmadığı gibi, bestelerini de bir gösteriş olarak değil, iç dünyasının gereksinimi olduğu için üretmiştir. Genç Beethoven' ın Pathétique sonatı yazarken, Mozart K. 475, Haydn Senfoni No. 103 gibi eserlerden ve Jan Ladislav Dussek' in piyano sonatlarından etkilendiğini söyleyebiliriz.

Beethoven ın müziğinde kendilerini geliştiren motifler, tematik yapı ve melodi ile o denli birbirine kenetlenmiştir ki tek bir motiften koca senfoniler yazılmış ve bütünlük içinde sunulmuştur. Tematik yapı, çeşitli şekillerde büyümekte ve küçülmekte; bir cümleden ayrışarak yapıtın başka bir yerinde ansızın ortaya çıkabilmektedir. Bu gelişimler sonat biçiminin karakterini ve anlatımını içerdiği gibi, yapısal açıdan da bütünleşmeyi sağlamaktadır.

Pathétique sonat içinde de bu gelişimleri gözleyebiliriz. Eser grave tempolu do re mib motifi ile başlar. Çıkıcı hareketlerle motif 7 kez yükselir ve 7 kez düşer.

Motif, "Allergro" bölümünde gerçek bir çıkış özgürlüğüne varır. Bu motifle, "Allegro con brio" nun ana teması "fa sol lab" motifi birbirinden kopmaz bir biçimde içiçe geçer kenetlenir.

Yükseliş düşüncesi, "Grave" girişinde olduğu gibi, "Allegro-Rondo" bölümlerinde de görülmektedir.

"Do re mib" motifi, Allegro con brio nun development bölümünün, Eb 2. temasının da içinde bulunmaktadır.

Aynı bölümün mib re do re fa mib seslerinden oluşan ve triller ile süslenmiş olan birbaşka motif, eserin 2.Adagio cantabile bölümünün 20. ölçüsünde değişmiş bir ritm ve grupettolar ile süslenmiş olarak karşımıza çıkar. Ezgisel sesler ve notalar her iki motifte de eşittir.

3.Rondo bölümünün ana teması ile ilk bölümün motifinin gelişmiş halidir. Rondo nun ana temasında da do re mib sıralanışını görebiliriz. 2. bölümün ana temasının yan cümlesindeki son motif ise, rondo bölümün, ana temasının, 3. motifini türetmiştir. Burda ezgiler birbirine benzerlik göstermekle birlikte ritm ve tonalite değişmektedir.

Beethoven, eserlerinde fikirlerini birbiri içinde bu şekilde yoğurmuş ve tümevarmasını sağlamıştır. Bu yüksek bütünlük duygusu dinleyicisine eserini yaşattırmıştır.

Tüm bu kompozisyon teknikleri üzerindeki dehası ve farklı iç dünyası bir araya geldiğinde, eserlerinde birbirinden farklı havaya bürünen bölümleri ve bölümlerin içindeki karşıtlıkları yaratmış, Beethoven' ı müzik dünyasında ayrı bir çağ olarak görülmesini düşündürecek kadar önemli bir yere ulaştırmıştır.

HERBERT SPENCER

2012-07-01T07:49:00.003-07:00

HERBERT SPENCER

Part One : LIFE
     He was born in Derby, England on April 27, 1820. He was the eldest child of nine children, but the only

one to survive infancy. He had weak and sickly childhood . His father and many of his

family members was teacher. However, He hadn't educated formally. George taught him

Sciences and Math, but education was weak in other areas because he thaught Spencer

from an extremist nonconformist perspective. His entire family was very nonconformist and

individualistic. He worked as civil engineer for railway but in his early 20s, turned to

journalism and political writing. He became a subeditor for The Economist. Then he

finished first book named Social statics. Upon the death of his uncle Thomas, in 1853,

Spencer received a small inheritance which allowed him to devote himself to writing

without depending on regular employment. In 1855, He wrote second book named The

Principles Of Pschology. It wasnt's succesful as much as first book. About this time he

experienced serious health problems that affected him for the rest of his life. He could

write for only few hours each day. His published works are The social Organism, First

Principles, Principles of Biology, The study of sociology, The principles of Ethics- many

volumes, The Principles of Sociology- many volumes, The Man Versus the State and

Autobiography .

Part Two : Spencer's Ideas

   The most memorable idea of the english philosopher Herbert spencer was his

assertion that the passing of time withnesses “the survival of the fittest”. He used this

words for refer to society. As a biologist, He thought that society mirrored biology. His

social darwinist idea is that if you compete among society, the most intelligent,

ambitious, and productive people will inevitably win out. He supporting this cruel

competition, thinking that as the fittest survived, society would undergo steady

improvements. Thus he think that don't help poor people because this movement drag

society down. Therefore, of course industrialists applauded spencer. Spencer's thoughts

about economy is goverments shouldn't interfere to economy. The most financial giant

Rockeffeller, often recited Spencer's “social gospel” to young children in Sunday school,

casting the growth of giant corporations as merely the naturally ordained “survival of the

fittest”. Others, contrarily stand the idea, because they aren' t in a jungle. Socaity's

worthy is much than a selfish jungle. Thus, social darwinism fell out of favour among social

scientists, though it still surfaces today as an influential element of conservative political

thought.

Part Three : The System Of Synthetic Philosophy

   Spencer was standing his generation's ideas because orthodox mentality was

weaken against modern sicence mentality. His philosophy system added fundementals to

understanding excellence of human such as such as the first law of thermodynamics and

biological evolution. In essence Spencer's philosophical vision was formed by a

combination of deism and positivism. On the one hand, he had learned something of

eighteenth century deism from his father and other members of the Derby Philosophical

Society and from books.

   He refer about this world as design of the universe and rules of nature's “Being

transcendentally kind”. Well planned nature rules by the creator, objected for providing

human hapiness.

   Beyond the accepting positivist ideas, he thought conception of a philosophical

system as compound with other branches of scientific knowledge. He followed positivism

because positivism provides only genuine knowledge without speculative ideas about

nature of reality. His system of synthetic philosophy, reflected his tension between

positivisim and deisim. Spencer followed comte for certainity of scientific knowledge. He

justified like comte that laws of nature are valid for the universe. The first objective of the

synthetic philosophy was that, all the events in the universe can be explained in natural

laws. Spencer studyed branches like biology, sociology, psychology for proving that natural

laws monitoring in different scientific disciplines. It is obvious in his writings about ethics

that, laws of ethics and laws of nature have same contents.

   The second objective of the Synthetic Philosophy was to show that these same

laws are merciless. Contary to Comte' s wholeness of scientific method, Spencer believe

that scientific knowledge is a form of natural laws and it is the reduction of evolutional

laws.

Part Four : Evolution

   Spencers's first article about his evolutional perspective named “Progress: Its Law and Cause” published in 1857 and formed to “First Principles of a New System of Philosophy”. This article included some ideas from Samuel Taylor Coleridge' s “The Theory of Life” and law of embryological development. He explained an evolutional theory. Spencer thought that all tha structures in the universe develop from a simple, undifferentiated, homogeneity to a complex, differentiated, heterogeneity, while being accompanied by a process of greater integration of the differentiated parts.(Spencer evrendeki bütün oluşumların basit, değişime uğramamamış ve homojenlikten karmaşık, değişime uğramış ve heterojen bir hale, daha çok değişime uğrayan parçalarla entegre olduğu bir süreçten geçerek oluştuğunu ileri sürer) This evolutionary process could be found at all the universe. It was a universal law, applying to the stars and the galaxies as much as to biological organisms, and to human social organization as much as to the human mind. It differed from other scientific laws because it is too general and special siences laws are an example for it's princple.
   This attempt to explain the evolution of complexity was radically different from that to be found in Darwin’s Origin of Species which was published two years later. Spencer is often, quite erroneously, believed to have only appropriated and generalized Darwin’s work on natural selection. The primary mechanism of species transformation that he recognized was Lamarckian use-inheritance which posited that organs are developed or are diminished by use or disuse and that the resulting changes may be transmitted to future generations. This evolutional mechanism is important for explaining “high evolution” especially for humanitys social devolopment. Spencer, in contrast to Darwin, he thought that evolution had a direction and an end-point, the attainment of a final state of ”equilibrium”.

Part Five : Sociology

   The evolutionary progression from simple, undifferentiated homogeneity to complex, differentiated heterogeneity was exemplified, Spencer argued, by the development of society.(Evrimin; basit, farklılaşmamış homojenlikten karmaşık, farklılaşmış heterojenliğe ilerleyişi Spencer'a göre toplumun gelişimi ile açıklanmıştı.) He developed a theory of two types of society, the militant and the industrial, which corresponded to this evolutionary progression. Militant society, structured around relationships of hierarchy and obedience, was simple and undifferentiated; industrial society, based on voluntary, contractually assumed social obligations, was complex and differentiated.(boyun eğme ve hiyerarşik ilişkiler üzerine kurulu militan(saldırgan) toplum basit ve farklılaşmamış; sözleşmeye dayalı yükümlülükler ve gönüllülük üzerine kurulu endüstriyel toplumsa karmaşık ve farklılaşmıştı.) Spencer's described society as “social organism” was evolving to more complex according to universal evolutional law. Industrial society was the direct descendant of the ideal society developed in “Social Statics”.

Part Three : Human Nature

   As a researcher, Spencer believed in evolution. Everything can be explained in

evolution. In this process, onrganisms are develop from simple to more complex level by

level as natural selection. The man who said that “the survival of the fittest” was Spencer,

not Darwin. What we are is determined by what we inherit and circumstances of our

enviroment . For Spencer, our mind and body developing paralelly and our central nervous

system and brain development was mechanisitic. Inclination between individuals in races

was reflected in the charesteristic of rational self-interest. During the evolution period,

social life is the most important role on individualizm with rising of socialization.

Beethoven Sonata in C Minor Op. 10, No. 1, Analysis

2012-07-01T07:45:00.005-07:00

Beethoven Sonata in C Minor Op. 10, No. 1

1.Allegro molto e con brio

(Sonata)

Exposition

mm. 1-8 1^st Theme in Tonic with parallel period.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

1 4 8

HC PAC

mm. 9-21 Development of Contrasting Idea form 1^st Theme.

mm. 22-30 Theme 1 in different register with parallel period.

mm. 32-55 Transition. Includes F minor and Db major.

mm. 56-63 Theme 2 in Db major with parallel sentence.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

56 59 63

HC IAC

mm. 64-105 Coda. Materials of coda is Theme 2 bass part and Theme 1 motif.

Development

mm. 106-113 Theme 1 in F minor.

mm. 114-117 Codetta.

mm. 118-133 Development of theme 2.

mm. 134-135 Codetta, closed in Db Major.

mm. 136-167 Development in Db major Bb minor.

Recapitulation

mm. 168-187 Same with Theme 1 in C minor tonic form exposition.

mm. 188-189 Codetta.

mm. 191-214 Transition.

mm. 215-228 Recapitulation of Theme 2 in F minor.

mm. 229-232 Codetta.

mm. 233-284 Coda. Includes Theme 1 and Theme 2 ideas. Ends in Tonic C minor.

2. Adagio Molto

(Sonata Exposition and Recapitulation)

mm. 1-16 First 8 measure Theme 1 Contrasting period in Ab. Contrasting sentence. Connected to its symetry.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

1 4 8

HC IAC

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

9 12 16

HC PAC

mm. 17-23 Transition in Bb major.

mm. 24-45 Theme 2 in Eb Major. Variation after first 8 measure contrasting sentence.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

24 27 31

HC IAC

mm. 46-61 Recapitulation. Theme 1.

mm. 62-70 Transition.

mm. 71-90 Theme 2 in Ab major.

mm. 91-112 Coda includes theme 1 material.

3. FINALE

Prestissimo (Sonata)

mm. 1-8 Exposition. Theme 1 in C minor. Contrasting sentence.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

1 4 8 HC PAC

mm. 9-10 Codetta.

mm. 11-16 Transition to Eb major.

mm. 17-24 Theme 2 in Eb major. Parallel sentence.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

17 20 24

HC IAC

mm. 25-27 Codetta.

mm. 28-46 Coda.

mm. 47-56 Development starts. Development of Theme 1.

mm. 57-73 Recapitulation starts. Theme 1 in C minor and transition.

mm. 74-101 Theme 2 in C major and coda.

mm. 102-123 Coda.

Beethoven Sonata in G Major Op. 14, No. 2 Analysis

2012-07-01T07:44:00.002-07:00

Beethoven Sonata in G Major Op. 14, No. 2

1.Allegro

(Sonata)

Exposition

mm. 1-8 1^st Theme in Tonic with contrasting period. Antedecent, 2 measures of basic idea + 2 measures of contrasting idea [b.i. + c.i.] and ends with a weak cadence. Weak cadence generates the need for a more definite ending like mm. 8^th (PAC).

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

1 2 3 4 5 6 7 8

HC PAC

mm. 9-25 Transition in Dmajor.

mm. 26-33 Theme 2 in Dominant (D major) with parallel period.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

26 29 33

HC PAC

mm. 33-40 4 Bar ended in dominant .Next 4 bar an octav higher and ended with Plagal cadence.

mm. 41-47 4 Bar Prepares ending in tonic mm. 45. Last 2 bar is repeated.

mm. 47-63 Coda with rhytmic imitations.

Development

mm. 64-73 Development 4 bar phrase form exposition theme 1 in G minor. Then 4 bar development with 2 bar codetta.

mm. 74-81 Theme 2 form exposition in Bb minor parallel period. mm.80 modulated to Ab major(V).

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

(73)74 77 81

HC IAC

mm. 81-88 A Development that theme 1 melody in bass. Modulated to G minor in mm. 85.

mm. 89-98 Developments modulated to F minor for preparation of Eb major with stopped end.

mm. 99-106 Development of theme 1 in Eb major.

mm. 107-124 Development that prapares modulating to G major.

Recapitulation

mm. 125-132 Same with Theme 1 in G major tonic form exposition.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

125 129 132

HC PAC

mm.133-152 Transition.

mm. 153-160 Theme 2 from exposition in G major in parallel period.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

153 156 33

HC IAC

mm. 161-200 Coda starts with theme 2 ending preperation ideas and theme 1 ideas.

2. Andante

(Theme And Variations)

mm. 1-8 Theme 1 parallel period starts in C. In mm. 6 modulated to G and end with G.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

1 4 8

HC PAC(inG)

mm. 9-16 Theme 2 Contrasting period in C.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

9 12 16

HC PAC

mm. 16-20 4 bar codetta phrase.

mm. 21-40 Variation 1. Theme is syncoped. Counteropint exist.

mm. 41-60 Variation 2. Chords syncoped.

mm. 61-64 Closing of variation 2.

mm. 65-84 Variation in sixteenth notes.

mm. 85-90 Coda.

3. Scherzo

(Rondo)

mm. 1-22 Main Theme in Gmajor.

mm. 1-8 First refrain in tonic paralel sentence.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

1 4 8

HC PAC

mm. 9-16 Second refrain in dominant contrasting sentence.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

9 12 16

HC IAC

mm. 17-22 Third refrain in contrasting sentence.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

17 12 22

HC PAC

mm. 23-38 Episode 1. Three 4 bar phrase starting on dominant of e. 4^th same phrase starting on a minor dominant.

mm. 39-41 Codetta.

mm. 43-64 Main theme.

mm. 65-138 Episode 2. Starts in C major dominant.

mm. 65-72 Ideas from B section of main theme.

mm. 73-124 is (ABA').
mm. 73-88 is A in parallel sentence. First 8 measure starts with C major then repeated.

mm. 89-104 is B in parallel sentence. First 8 measure starts with G major. Repeatation' s first four measure starts as the melody in bass part and in minor.

mm. 105-108 Codetta.
mm.109-124 idea of A. Harmonic progression and register difference is on trepetation of A.

mm. 125-138 Main theme in C major.

mm. 139-160 Main theme (Original)

mm. 161-188 Transition.

mm. 189-212 Episode 3 or coda in G maj.

mm. 189-196 The idea which is bass melody taken from B of main theme.

mm. 197-204 Motivic development on bass.

mm. 204-213 More motivic development.

mm. 213-236 Same as 189-196 but melody in right hand and in tonic.

mm. 237-354 Coda.

Beethoven Sonata in G Major Op. 49, No. 2 Analysis

2012-07-01T07:43:00.001-07:00

Beethoven Sonata in G Major Op. 49, No. 2

Exposition

mm. 1-8 1^st Theme in Tonic with paralel period. Second four measure phrase in higer octave and connected to measure mm. 8-12 four measure main theme phrase and modulated to D major.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

1 2 3 4 5 6 7 8

IAC IAC

mm. 8-12 is main theme phrase that modulation to D major

mm. 13-14 Codetta

mm. 15-20 Transition in Dmajor

mm. 21-28 Theme 2 in Dominant (D major) with contrasting period and connected to repetation of theme 2 mm. 29-36.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

21 24 28

HC PAC

mm. 29-36 Repetation of theme 2

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

29 33 36

HC PAC

mm. 37-52 Coda

Development

mm. 53-56 Development phrase form exposition theme 1 and theme 2 in A minor.

mm. 57-64 Development in E minor with contrasting period.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

57 60 64

HC IAC

mm. 65-66 Codetta to G major

Recapitulation

mm. 67-74 Theme 1 in G major tonic.

Antecedent Consequent

Basic Idea Contrasting Idea Basic Idea Contrasting Idea

________________________________________________________

67 70 74

HC IAC

mm.75-87 Developed transition from exposition do D major then G major tonic.

mm. 88-95 Theme 2 from exposition in Gmajor in contrasting period and its connected repetation mm.96-103.

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

88 91 95

HC HC

mm. 96-103 Theme repeats and ends with PAC

Antecedent Continuation

Basic Idea Contrasting Idea

________________________________________________________

96 99 103

HC PAC

mm103-122 Coda includes transition ideas.

Harmonic Progression

2012-07-01T07:33:00.001-07:00

Harmonic Progression

Functions

All of the degrees of a scale are functions. Each function has a different effection. However, when describing effections fundamentally, there are three basic functions which are tonic, subdominant and dominant. It' s an analysing techniques called schenker. Ex.21 shows the functions characteristic as basic functions.

Strenght	Tonic Functions	Predominant Functions	Dominant Functions
	-I, vi	-ii, iv	-V, vii
Strong	-I	-ii	-V
Weak	-vi	-iv	-vii

Ex.21

Property Of Functions

Tonic Function (I):

Tonic function is key's function. A harmonic progression must end with the tonic function.

Dominant Function (V):

Music is come into existance from tensions. Dominant function is the most powerful tension and in a harmonic progression, dominant should go to tonic. I-V and V-I progression can frequently observed in progressions. It's the element of authentic cadence. The authentic cadence is that the dominant function occures before the tonic function at the end of pieces.

Subdominant Function (IV):

Subdominant function is a preparing step of dominant. Cadances which are consist of subdominant, are named plagal. The progression is IV-I. It isn't fulfilig like authentic cadences.

Supertonic Function (II):

Supertonic function's are related with subdominants. Supertonics be used in plagal cadences instead of subdominants. Frequently, subdominants don't appear before the subdominants. It is the next step of tonic.

Mediant Function (III):

This function related with tonic. It is halfway from tonic to dominant. Mediant function can't be observed frequently in a harmonic progression.

Submediant Function (VI):

The submediant function is halfway down tonic to subdominant. The cadence which is consist of V-VI, name is deceptive. Deceptive cadances are surprising movements. They never deployed at finish of a piece.

Leading-tone (VII):

In seventh form, leading-tone function is a bifunctional chord. The function includes subdominant and dominant effections. Thus it can be used in plagal or authentic cadences. When the leading-tone comes after IV function, the two note must stay common. Leading -tone can move to dominant but dominant can't move to leading-tone. The condition same for the tonic function.

Voice Leading

2012-07-01T07:31:00.002-07:00

Voice Leading

Melody

The principles of a melody had started to develop for human voice. In the ages which is polyphony starts, music develop in churchs choirs. The harmony developed for the developing melody. Structure of a melody is that a melody has not contain big leaps and repetitions as much as possible. Ryhthm is simple. Shape of the melody must be simple for clarity. Notes of melody must belongs to chords. A melody frequently use closest steps in the key.

Choral Writing

For the four part harmonization, the coral writing is important for observing parts of the chords clearly. It's develop for the choirs of churches in the past, then harmony developed accordingly. Coral writing consist of the four part such as bass, tenor, alto and sophrano.

Ex.17

In the figure, when writing position of the chord is important. The object of the choral staves

writing parts without crossing. Thus parts can tracking eaisly in closest positions. Closest and wide positions can provide equilibrium.

Parts can not crossing each other. For example, tenor part cannot be above of the alto part. Parts can not be an octave over above or below from the part which is closest. (Except bass)

Movement Rules

There are some disonant movements which is thoght by the composers. Parallel perfect fifth and parallel octave doesn't acceptable movement. The parallel intervals can't move paralelly.

Ex.18

Consecutive perfect fifths are one of the disonant movements. The same parallels can't move up or down.

Ex.19

Other disonant moves is about the leaps on sophrano part. Direct octaves or perfect fifths can occured in this condition. Bass and spohrano part can't move to a perfect fifth or an octave.

Ex.20

Chords

2012-07-01T07:19:00.002-07:00

Chords

Triads In Root Position

In harmony, notes are deployed vertically. The most basic propotions are between these vertically deployed notes which are triads. These basic chords can be in four different harmonious forms which are major, minor, diminished and augmented. The ranges which is constitue triads are thirds and fifths. Ex.11 is showed triad names and which triad has which propotion.

Ex.11

In a scale, triads of degrees have different kinds. They are showed as roman numerals. Major triads shown as capital letter, minor triads which are showed as small letter roman numerals. Ex..12 Shows all triads of degrees in all kind of scales with symbols.

Ex.12

Sometimes, thirds of triads can be stand with an accidental signatures that except from scales key signatures. They are symbolize such as ( b ) and (#).

Ex.13

Triads In All Inversions

A note is a sound. There is no matter which sound in which pitch. However, for the propotion of triads, the intervals between the notes of triads can not far away over an octave. Id est, a note can be stayed at an octav above or below. In this case, triads takes a small addition to their symbols as distance between bottom note. If the root uppered an octave, third is become a bottom note. Distance between the bottom note is become a sixth. The fifth note and the uppered root note become a third and a sixth.

Ex.14

Seventh Chords In Root Position

The seventh chords are vertically formed from four different notes of a scale. There are five kinds of seventh chords such as major seventh, major minor seventh, minor seventh, half-diminished seventh and dimnished seventh. The symbols of the chords are M7, Mm7, m7, Ø and 7°.

The propotion of the chords is shown in Ex.13.

Ex.15

Seventh Chords In All Inversions

The seventh chords can be inverted like triads. However, their symbols are different from of triads because of intervals. The seventh chords have four condition and four symbols.

Ex.16

If the note, symbolized by the number which is taken an accidental, the number takes the same accidental on leftside.

Intervals

2012-07-01T07:12:00.001-07:00

Intervals

Name of the intervals between two notes are to determine as how many note names are between this two notes. Name of the intervals between C and E is a third interval. Because its about three note names called C, D and E. However, there are nine types of intervals that are named major, minor, perfect, dimnished, augmented, doubly dimnished, doubly augmented, unison and octave. In harmony, this adjectives is important for describing name of chords. Ex.9 is show that what kind of intervals have and how many steps and symbols have.

Intervallic Inversions

Intervals can be named upwards to downwards. In this case, names of intervals can be changed. In that point, number of "nine" helps to check the names. If an interval is a second, inversion of second is the seventh. Seven plus two is nine so calculation is okay. If an interval is major, inversion must be minor. The chart in ex.10 shows all the changes.

Interval	Inversions
Unison	Unison
Minor	Major
Major	Minor
Diminished	Augmented
Doubly diminished	Doubly augmented
Perfect	Fourth (*only fifth can be perfect)
Augmented	Diminished
Doubly augmented	Doublydimnished
Octave	Octave

Minors

2012-07-01T07:10:00.000-07:00

Minor Scales

Minor scales can be described Aeolian mode of the major scales. There are three kinds of minor scales which are Natural, Harmonic and Melodic minor scales. Natural scales are diatonic scales but Harmonic and Melodic scales are nondiatonic scales. Natural minors are consist of whole and half steps. The pattern of minor scales is WHWWHWW.

Ex.6

Harmonic minors difference from natural minors is requirement of the tension between leading tone and tonic. Thus leading tone has a half step above uppered.

Ex.7

Melodic minors differences from natural minors are sixth and seventh degrees are rised a half step when going upwards. All the degrees are same with natural minor scales when they are going to backwards.

Ex.8

Relative Minors

The minor scales are in a relative with major scales. Major scales key signatures are same with relevant minors key signatures. Relative major is a minor third below the tonic of the minor. For example C majors relevant minor as A minor.

Major Scales

2012-07-01T02:57:00.002-07:00

Major Scales

Down to ages, music have been modernizing by itself. This blog trakes this developments from renaissance age. However, for understanding major scales, we should know how to occure this major scales from before the classical age. Tetrachords which are invented by pythagoras and used by ancient greek musicans are constituent of major scales.

Ex.3

The major scale is a pattern of half steps and whole steps. Each step is a degree of the scale.

Ex.4

Degree Function

I. Tonic Key note

II. Supertonic Next step above the tonic

III. Mediant Halfway from tonic to dominant

IV. Subdominant Preliminary step of dominant

V. Dominant The fifth above the tonic

VI. Submediant Halfway down tonic to subdominant

VII. Leading-tone Tension

Importance of "The Circle Of Fifths"(Ex.2) is that It is shows what major scale uses what kind of and how many accidental sign. Thus, key signatures of major scales becomes obviously. For major scales, the way of calculating key signatures, the last accidental in key signatures is back step of tonic. For instance, A major' s back step is sol# and la majors key signatures are fa# do# and sol#. Just continue counting on a row that fa# do# sol# re# la#... or sib mib lab reb ...

Ex.5

Harmony

2012-07-01T02:52:00.002-07:00

As a composer a few years ago, start to write a simple harmony book. I' ll share in this blog.
Its an headstart.

Part One : Scales And Intervals

Pythagoras Scale And The Circle Of Fifths

Pythagoras (570-504 BC) has discovered a propotion about the vibration in different string lenghts for a pleasing harmony. He developed a scale consist of whole and semi tones. The Pythagorean scale is a tuning for the diatonic scale. Tetrachords are occuring from this propotion. Two tetrachord are constitute a major scale.

Ex.1

A perfect fifth of first tethrachord's start is start of second. The start of second tetrachord is perfect fourth below from the end.

Fifths(#) do sol re la mi si fa# do#

Fourths( b ) do fa sib mib lab reb solb dob

The Secquences are elements of "The Fifths Circle". Fifths Circle is shows flats and sharps row.

You can find Circle of fifths on google.

J. S. BACH Project

2012-07-01T02:43:00.003-07:00

I decide to share my homeworks. Here is the J. S. BACH bio.

Johann Sebastian Bach

Biography

Eisenach, 21 March 1685

Young Sebastian had this flawless soprano voice, which gave him the chance to join the choir in Kurrende primary school. He was given his first serious music lessons by his older brother Johann Ambrosius Bach. In the year 1700, he left his home to enter the music school of Michaelis in Lüneburg.

Bach’s first works were written in Lüneburg. Among them, there are some variations and preludes. In the year 1702, he applies to Church of Jacobi as an organist, but he gets refused. A year after, he enters the private orchestra of Duke Johann Ernst in Weimar. After a short period working here, he is brought to be the organist of the church of Bonaficus in Arnstadt. In 1704, he composed his first church cantata, (no:15) and he also started his Re major sonata this year. Do minor prelude and fugue was composed in this period, Do major Tocaata and fugue was also played first time in this church. although these pieces were not his superiors, he was distinguished from contemporary musicians in terms of melodic features of his fugues. Soon, he had his place amongst famous organists in Germany. Seeking for more, Bach left his duty in Arnstad and moved to Mühlhausen, and entered the Chuch of Blasius. Mühlhausen was a city that can give him more oppurtunities in terms of music tradition. Also, same year he married with his relative Maria Barbara. The only cantata which was published within his healthy years; “God is my king” was also composed in this city.

In 1708, he started working with Wilhelm Ernst as a chamber musician. He was given duties as a violist, organist and violinist. This year he had the chance to make studies of Italian musicians. With this knowledge, he applied some of Vivaldi’s concerto for his harpsichord.

In the year 1717, he was brought to be the chief of the orchestra of Anhalt Preose Leopold. Bach’s art has been the peak of religuous and secular polyphony since the renaissance. He valued horizontal writing in his system, and led all forms that were used before to perfection. Knowing the importance of double theme, he operated with an understanding of mathematical work.

Bach was forgotten after his death. Only after 50 years, with efforts of Beethoven, Mendelssohn and Schumann, he gained popularity. Chopin, Liszt and Frank, played his pieces and ensured his re-recognition.

Bach’s Understanding of Counterpoint

As well as his effort in reflecting thoughts into note series, he applied counterpoint firmly. Although his works, being more complex in terms of the science of harmony, he developed and decorated a simple and natural sketch easily. The concept of a theme to reverse side have revealed an alive and agitated musical style. As one of the most successful musicians, Johann Sebastian Bach had all the aspects of his art under control. As well as being rigorous in artistic sense, he was very diligent, and productive. The genius of Bach, appears itself in his counterpoints. Playing one of his fugues reverse and forward simultaneously, and still having perfect harmony as well as playing them reverse or forward and still having a good sound was his uniqueness.

Guitar Woods

2012-06-30T22:56:00.000-07:00

Hi fellas. I wonder what happend to traditional Brasilian Rosewood logs? Twas forbidden to cut this trees since 1991. Still there is no Brasilian Rosewood. I scared that gonna die without see it again. Any ideas?

Çarşaf Çarşaf

2012-06-30T22:23:00.000-07:00

I got so bored that, decide to write this blog called Carsaf (means sheet in turkish). I dont know what to write about exactly but I think It' s possible to gonna be about wine, music, electronics and computers. By the way Im using TI MSP430 launchpad and its ROCKS!

Ok If you are an begginer on electronics like me, msp430 launchpad is perfect. After Rev. 1.4 they are sending launchpad with male pins. You can easily convert them to female.

Inside the box, there are two female adapter. Only you should do is forcing to connect each other in wrong way.

You can find this adapters on every electronic market. Its easy to brake for what you need. For using 5v power on usb socket you can solder in it.