I was listening to Ein Deutsches Requiem today and remembered how much I enjoy that great circle of fifths in the sixth movement.
Does anyone else have any similar moments which they enjoy?
I was listening to Ein Deutsches Requiem today and remembered how much I enjoy that great circle of fifths in the sixth movement.
Does anyone else have any similar moments which they enjoy?
if non-choral is allowed, the numerous examples in Mozart piano concertos are very enjoyable (IMO)
EDIT - I can't give chapter and verse because I don't have any scores in front of me. Would we all agree that CoF are usually instantly recognisable?
Last edited by mercia; 08-01-12 at 04:00.
Mozart's Pachelbel's Canon
Bars 23 - 25 in the slow movement of Brahms's First Piano Concerto...![]()
"The isle is full of noises... Sounds, and sweet airs, that give delight and hurt not"
The Tempest, Act III scene 2 ll 148-9
it's a long time since I did 'O' level music. is the circle of fifths basically a device for getting you from one key to another distant key?
but surely your Masters in Music was more recent.....................................
Not necessarily, mercs: RVW uses it to affirm the Tonality of the Second Group of his Fifth Symphony (bars 69-76; and in the Recap starting five bars before fig13). Up until this point, the Tonality has been shaded with various Modal "flavours" (Mixolydian, Aeolian, Dorian): here the composer celebrates the "unsullied" Diatonic major key by rejuvenating what had become a cliché.
Yes!![]()
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If you stick it on, it's about halfway through the second piano entry in the slow movement.
(If you recall, the movement starts with a section just for orchestra, for 13 gorgeous adagio 6/4 bars... then a section of piano solo for 5 bars... then 2 bars of orchestra alone... then then the piano again joined after a bar by two descending notes from the horns in octaves: and then my circle of fifths bit with just cellos and basses for accompaniment![]()
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"The isle is full of noises... Sounds, and sweet airs, that give delight and hurt not"
The Tempest, Act III scene 2 ll 148-9