Unity and Variety in "See Here the Conqu'ring Hero Comes" by Fride!
Question: Unity and Variety in "See Here the Conqu'ring Hero Comes" by Frideric Handel!?
Hi,
What in the song "See Here the Conqu'ring Hero Comes" adds to unity and variety!?
piece is by by Frideric Handel!.
Thanks for reading!.Www@Enter-QA@Com
What in the song "See Here the Conqu'ring Hero Comes" adds to unity and variety!?
piece is by by Frideric Handel!.
Thanks for reading!.Www@Enter-QA@Com
Answers:
I'm looking at the melody part:
http://www!.kendormusic!.com/str1999/parts!.!.!.
We see that the piece is in the ternary, or ABA form!.
Measures 1-24 comprise the A section, measures 25-48 comprise the B section, and the dal capo comprises the section A section!.
Dig a little deeper, and we find that the piece is written in the ternary form with a vengenance: each of the sections is also written in a smaller scale ABA form!. If you look at each 8-measure unit, you will see that!.
The B section offers some variety in the key change and new material, but there is also some subtle restatement here, too!. In the third and fifth measures of the B section, we see four eighth notes and two quarter notes, just as we do in the third and fifth measures of the A section!. In measures 34-35, we see this same rhythm, but with a little twist: instead of starting on the first beat of the measure, it starts on the third beat!.
In the B section, we would not expect as much as 4 measures to be restated, but in measures 37-40, Handel does exactly that!. These four measures are an exact transposition of measures 13-16!. In effect, then, Handel surprises us by NOT surprising us!.
A less creative composer might write the two sections completely differently, since that is what the rule book says to do!. But Handel was clever enough to write these subtle restatements, sometimes called "thematic links!." For another example of thematic links, take a look at the two themes in the first movement of the Mendelssohn violin concerto!.Www@Enter-QA@Com
http://www!.kendormusic!.com/str1999/parts!.!.!.
We see that the piece is in the ternary, or ABA form!.
Measures 1-24 comprise the A section, measures 25-48 comprise the B section, and the dal capo comprises the section A section!.
Dig a little deeper, and we find that the piece is written in the ternary form with a vengenance: each of the sections is also written in a smaller scale ABA form!. If you look at each 8-measure unit, you will see that!.
The B section offers some variety in the key change and new material, but there is also some subtle restatement here, too!. In the third and fifth measures of the B section, we see four eighth notes and two quarter notes, just as we do in the third and fifth measures of the A section!. In measures 34-35, we see this same rhythm, but with a little twist: instead of starting on the first beat of the measure, it starts on the third beat!.
In the B section, we would not expect as much as 4 measures to be restated, but in measures 37-40, Handel does exactly that!. These four measures are an exact transposition of measures 13-16!. In effect, then, Handel surprises us by NOT surprising us!.
A less creative composer might write the two sections completely differently, since that is what the rule book says to do!. But Handel was clever enough to write these subtle restatements, sometimes called "thematic links!." For another example of thematic links, take a look at the two themes in the first movement of the Mendelssohn violin concerto!.Www@Enter-QA@Com
Love to help you - but I have no idea what you mean!.Www@Enter-QA@Com