Photo: Sam Lion

Did Beethoven use rondo?

yourclassical.org - Learning to Listen: Let's Get Ready to Rondo - YourClassical

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Rondo form Wikipedia.org

Lately, on Learning to Listen, we've been focusing on musical form - the blueprints that composers use to make a piece of music. If you'd like a reminder on what form is, check out the Introduction to Musical Form episode here on classicalmpr.org.

This lesson focuses on the term 'rondo'.

The rondo was fairly ubiquitous throughout the Classical era (toward the end of the 18th and early years of the 19th century). Composers like Mozart and Haydn and Beethoven all loved the rondo form and used it often. But way before those guys, as much as a century or two earlier, J.S. Bach, Lully, Couperin and even Monteverdi wrote rondos. So. What's a rondo? I like to explain rondo by using fruit. Here's why. If we lay a bunch of fruit in a line the way a composer lays out musical ideas for a rondo, we'd have the following in front of us: an Apple, a Banana, an Apple, a Clementine, an Apple, a Banana, and an Apple. Do you see the pattern there? We put an apple between every other piece of fruit. The apple represents the primary musical ideas of the piece. Once the composer presents those ideas, he or she moves on to the banana ideas. Once we're done hearing the banana ideas, we go back to hear the apple ideas again. But the rondo keeps going and then it's time for the Clementine, followed by another apple; then the banana, and finally another apple. We always go back to the apple after we're introduced to new fruit. If you're not much of a fruit person, you could picture a rondo as a chain of letters: A B A C A B A. The A always comes back before we hear another letter - or in music, before we hear new material. Why would a composer want to repeat the apple or the A material over and over? Isn't that really repetitious? What works about a rondo? The A material becomes familiar through its repetition; the art of a rondo involves straying from that A material and taking the listener elsewhere before returning us to that familiar aspect; the A material. Letters and fruit aside, listen to the audio above to hear how Beethoven created a rondo for the final movement of one of his first real hits - his Piano Sonata No. 8 called the Pathetique.

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Is Bohemian Rhapsody in sonata form?

Boss has argued that 'Bohemian Rhapsody' follows the processes of sonata form insofar as the primary motivic ideas are introduced in the opening third of the song, juxtaposed and fragmented in the opera section, and recapitulated in the coda section.

cambridge.org - Sonic Patterns and Compositional Strategies in Queen's 'Bohemian ...

Queen's ‘Bohemian Rhapsody’ (1975) has been the subject of many academic analyses; the song has not been considered, however, in the context of Queen's wider output. This article examines ‘Bohemian Rhapsody’ in relation to Queen's idiolect as identified from the group's songs written between 1973 and 1975. ‘Idiolect’ refers to the common musical details of an artist's output or segment of their output. I subdivide the category of an idiolect to include sonic patterns and compositional strategies. The former accounts for patterns that are consistent in their presentation across songs, the latter accounts for patterns that differ in their presentation across songs. The formal and harmonic structures of ‘Bohemian Rhapsody’ reflect the group's common compositional strategies; the song's textural arrangements highlight Queen's sonic patterns. ‘Bohemian Rhapsody’ occupies a unique place in Queen's output, as the first song to present all the major elements of the group's idiolect.

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