A New Theory of Tonality - Assignment Example

Immediately, the song that was played at the entry of the movement returns while coalescing beautifully with the piano. The notable feature of the third movement when another song attempts to come in but the music dies away smoothly. The fourth movement (Finale) is admirable and it appears to be noticeably calm particularly after having gone through a Scherzo. The violoncello is plunged as the melodies progress as if announcing the arrival of the end but immediately climaxes and the trio fades.

            In light of the differences in the movements, it can be seen from the description above that the first movement basically is characterized by a long first harmonic which progressed to an F minor followed by a progression to E major and finally to A minor (Burnett, and Nitzberg 284).  Pointedly, the Piano Trio includes a piano. In terms of dominance, it can be attested that both were equally dominant (equal musical lines) considering that bought led to competing effects particularly in the first and the second movement.

Pointedly, range, dynamics, rhythm are used in the Piano Trio as the movement went from one tempo to the next. For instance, the following the pitch transition from an A to D–C-sharp, and finally to D. With regard to the Octet in E-flat Major, Op. 20 (which contains the movements; Allegro moderato con Fuoco, Andante, Scherzo. Allegro leggierissimo, and Presto), the melody is performed by eight performers (four with violins, two with violas, and another two with violoncellos). There is a tone color of instruments as one is able to differentiate the sound produced by the various instruments.