Lecture 11. Form: Rondo, Sonata-Allegro and Theme and Variations (cont.)
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Okay, let me just check the volume. Sounds okay. Let's get started. This week, we're going to continue our discussion of musical form and we're going to fold that discussion inside of the preparation for the concert which is when Saturday and it is where Battel Chapel should be on the sheet there and it's at 8 p.m.
And we're going to have the Sabbrook Orchestra perform for us today. We're going to talk about theme and variations and one of the pieces that's on that concert. And then on Thursday, we're going to have the conductor and several of the soloists come in and talk to us about the difficulties of this particular con concert and sort of get us alerted to the sort of thing that we should be on the lookout for as reviewers. We will be continuing with this of course uh in sections this week.
And when you come to lecture next time, we will give you what I call a prep sheet, a sort of guide to all three pieces that are going to be performed. And then when you go to section, you will get um a uh sheet in having to do with how you write a review. It's a whole list of sort of dos and don'ts in writing a review. Those of you that are are are in the Monday section, we will work this out in advance.
We'll talk about that on Thursday, but you may be encouraged to come to an earlier section. Uh, and if that doesn't work out, we're going to reform those Monday sections in a way that will work for you as well. I know there are a couple of students also that can't be here uh this weekend. It's inevitable that that's the case.
Uh, there will be a makeup concert scheduled at a later date. So, don't worry about this. But do keep coming because the principles involved in writing a review for this particular concert are identical to whatever concert uh you attend. Any questions about that before we get started?
Okay. If not, let's go ahead with the concert program. It's kind of fun. I started with this way early last uh August arranging this.
What I wanted to do was get a concert coming uh in the middle of the term because I think you're ready now to go at this serious material concert in the middle of the term performed by an undergraduate orchestra on in which the program would be sort of user friendly would be the kinds of things that we had been working with. So I contacted a couple of ensembles uh and the Sbrook group uh one had the best program and two uh seem to be quite responsive in getting back to me about some of the things that we might do. And indeed one of the pieces the Brahms that we're going to talk about I I suggested that they do because I needed for teaching purposes in here I needed a good theme and variation piece. Uh and I've got one in the Beethoven but u it's not quite as clearcut as this particular one.
So, as you can see, I have three pieces on this concert. I hope you all have the sheet there. They should be listed. Uh, the overture to the marriage of Figuro by Mozart.
This is an overture, an opening to uh his opera, The Marriage of Figuro. And good news here that this spring, the Yale Opera Company, an undergraduate opera company will be performing the marriage of Figaro. And it's abs is an absolutely delightful opera. I mean, it's to die for.
Not only is it lots of fun and funny, uh, but it happens to be in terms of the craftsmanship involved, arguably the greatest opera ever written. So, we're fortunate to have it here and you'll get a a preview of this, uh, this Saturday with the overture that we will hear. Then we will go on to a piece by Johannes Brahms. Uh, anybody know anything about Brahms?
Um, they're interesting characters in the history of music. Vagner, he might have been an sob, but nonetheless, he was interesting. Mozart is endlessly fascinating. Bach is interesting in his own way.
Beethoven uh sort of the prototypical romantic genius. Very interesting. I can't say that Brahms's person personal life was all that interesting. So maybe we'll just forget about it.
We'll just say that he was born in Hamorg uh Germany and he died in Vienna. And I I may have put his dates on on your sheet there. Uh but he is of course one of the three bees. Uh, who are the other two in the history of music?
Of course, Bach and Beethoven. I once asked in a quiz in here. Uh, who are the three B's of music? And a student answered, Bach, Beethoven, and Heiden.
I was very depressed for the rest of the day. But, but Brahms indeed is the third B here. Uh, so we don't want to forget about him. He's a very serious composer.
He takes everything very seriously. I think I put on your sheet there. Did I or did I not? the kinds of things that he wrote. Yes, I did.
Uh, four symphonies, two piano conertos, a violin concerto, many overtures, many songs, much great chamber music. If you're a violinist and you get rather advanced, you can play the beautiful, beautiful bronze violin sonatas. If you're a chist and you get reasonably advanced, you can play the beautiful uh cello sonatas. So, he wrote a lot of really great chamber music.
Oddly, he wrote no program music, and we'll talk about that a little bit later on. what program music is and he wrote no opera. Well, so a little bit different very much sort of heavyduty instrumental instrumental music. Well, let's talk about this uh composition. It will not open the piece.
It will be the second on the concert. It won't open the concert. It'll be the second piece. Um a set of variations on a theme by Joseph Heayen.
Well, the theme probably isn't really by Joseph Heayen, but when Brahms got it, everybody thought it was by Joseph Heayen. probably just a religious folk song in honor of St. Anthony, but that's neither here nor there. Uh the shape of this uh song or theme that uh uh Brahms is working with here is one that we're very familiar with. Now, instead of putting a b c b I could have done that up here.
I'm going to flesh this out a little bit. We're call going to call this anticedent consequent extension consequent. But it's the same it's the same form that we saw in the Beethoven ode to joy. So it's a familiar organization for a a musical theme sort of uh opening closing extension and then closing again.
And in this particular set of variations, Brahms will do this which of course is our what sign again? Repeat sign. So he's going to repeat each of these two sections. actually Beethoven did that and to some extent he owed you joy too. So he's got this very straightforward theme with that particular form.
Let's listen to the theme and we'll try to pick up where the uh anticedant concludes and where the consequent begins. Oh, and before that we could we could plug in other information. What's the meter? Ask yourself as you listen, what's the meter of this?
What's the mode, major or minor? What is the bass doing? What string technique is the bass employing here? [Music] Okay, that's the consequent. Now he's going to repeat it.
Let's go back. We'll just I'm sorry. We'll just continue. Wherever you are, Linda, it doesn't really matter.
Are we continuing? Okay, let's just continue. Repeat. Here's the [Music] anticedant.
Here's the [Music] consequent extension rising melodic sequence. [Music] Now he's going to bring it back down. Descending melodic sequence and the consequent. Okay, let's pause. We're just going to pause it there.
Um, at this point, what he does is take that bum, that tonic pitch and extend it for a long period of time. It's down in the bass. It's being held. This is a a device that derives from organ technique where an organist would just put his foot or her foot on a particular key and just hold it for a long time.
So, we call it pedal point. So, what Brahms is doing here is sort of extending this tonic harmony by means of a pedal point. So, let's listen to this. [Music] But now we've got to repeat, I believe. Bum.
So, we're back to the [Music] extension going up the sequence now. Back down. [Music] And here's the pedal [Music] boy. Okay. So, go ahead to the next spot.
So, that's the theme. It's it's rather straightforward and really quite quite lovely. Uh the solo instrument there, of course, was an obo solo obo there. So, now we're going to go on.
We're not going to go through all these variations on your sheet. What about these timings here? Can you come in with a stop clock and and have have your or watch or it set in a way that at 2 minutes and 19 seconds you expect the uh first variation to come in. Is that going to work, Oscar?
Why won't that work? A conductor might interpret things his or her own way. We're going to have both a male and a female conductor. uh on Saturday night. Uh so yeah, exactly.
Um because different conductors have different ideas about tempo. Brahms would write allegro essay or something like that. Rather, but how fast is rather fast. So they're not precise indications.
So these times are approximate here, but give give you a sense of when things might happen. So we're going to go on now to variation five, I believe, uh which is at 8 minutes and 36 seconds or an approximation thereof. Um, and here we're going to give you maybe the most difficult of all the variations for the orchestra to play. It's very disjunct rhythmically.
They're not all together. It's very contropontal. Counterpoint is always harder to play uh in an orchestra than homophony because every you've got all these things that have to be coordinated. Um, so let's listen to this.
If things seem muddled and unclear in a performance of this piece, my guess is it's it may well uh happen here. But let's listen just to to a little bit to show you how difficult and how far away from the theme Brahms can go. [Music] Okay. So, we'll stop it there. So, it's hard for me even to get in terms of the rhythm there to be absolutely sure where the beat is because there's so much syncopation.
I think that's a very fast one two with a triple subdivision under underneath. Uh but again the point there may be gee I didn't remember hearing where' that theme go that was hard to hear. Well he was varying it so much uh that he's pretty much totally disguised the theme at that point. Uh let's go on now to listen to a little bit of variation 7 uh at 11:03 or thereabouts.
Uh, this is my favorite variation, but let's listen to bit of it and see if you like it [Music] too. Okay, there's the A section. Here comes C. [Music] back to [Music] A. Okay, let's pause it there.
Now, what am I doing up here? What is this? Well, what I'm trying to do is indicate what we call a compound meter. It's one of these where you basically have a two, but you have a triple subdivision.
And conductors, if it if that two is slow enough, might go one, two, three, four, five, six. One, two, three, four, five, six. So, it'll be interesting to see maybe we should ask the conductor uh on Thursday how how he or she I I forget who's conducting exactly which pieces here how he or she is going to conduct that. We're going to do it y very slow too like that or we're going to really show the subdivisions.
If he's showing the subdivisions, that's probably a suggestion that maybe he doesn't or she doesn't have quite as much confidence in the orchestra and wants to really show that beat very clearly rather than with a working with a very experienced group where you just kind of give the large patterns and they'll be able to put it all together. Now, as we continue with this, let's move up to 218 or 1218, please. Linda, we are now at this spot. We're going to have the extension and it's kind of fun to watch what Brahms is doing here.
Brhms is obsessed with rhythm and it drives you nuts when you're a performer of this stuff. One, he's obsessed with variation and two, he's obsessed with rhythm. He will change things even when he doesn't need to change things. And I remember accompanying my last child in the Brahms uh cello sonata and I would have to continually change hand positions for no good reason which is kind of arbitrary that he wanted maybe just a slightly different sound whereas the sound before that Beethoven would have been satisfied with and Mozart would have been satisfied with wouldn't suffice for him.
So he's obsessed with variation. He is obsessed with rhythm. And as we listen to this passage, we will see the basic one two three four five six one two three four five six and then suddenly he will change it. 1 2 3 4 five six one two three four five six one two three four five six uh emphasizing this way that in music is called hemiola.
Uh is probably some kind of Greek root there having to do with twos and threes. I'm not really sure. Uh but what as you can see we've got what we had was in effect two units of three. Now we've got three units of two.
I remember Leonard Bernstein I don't know whether it's Westside Story or not. What is that from? Is it from Westside Story? Okay.
Uh so that's a good example of hemiola too. I think it's called America or something like that. Uh so that's what he is. and you're rolling in one of these and you suddenly shift to the other back and back and forth. So let's listen to a love this lovely six become three groups of two.
1 2 3 4 five 6 1 2 3 4 five 6 1 Let's do that again. Let's do that again. It took me a while to find the the six beat there. So, go back and a little before.
So, here's E. 1 2 3 4 5 6 1 2 3 4 five six And then he goes back. four, five, six, one, two, three, four, five, six. Okay. Well, that's just a um a little rhythmic Phillip there uh with Brahms, but it's the kind of thing that keeps interest in his music.
Now, we're going to go on to the last variation. Uh and it's an interesting one because it's got two things going on here. He's got a theme and then he's got what we call an ostanado in music. Anybody remember, I think we've bumped into this term before, what an ostanado is.
What does an ostanado do, Roger? Good. That's it. Exactly.
From the Italian ostanare obstinate. And it just repeats the same phrase over and over and over again. So what he's got here repeating oddly is in the bass. There's his tonic.
And that just keeps repeating over and over and over. Uh above which we have a very distant variation of the theme. Doesn't sound like the theme very much. So let's listen to the ostanado and this highly varied theme up above. [Music] Can you hear the bass? [Music] Let's pause it there.
Notice also what's he throwing in against his basic beat. What What's that? We've talked about it before. We're b we're coming on here.
One, two, one and two and one and two and y de what's that? Triplets. Okay, so we we talked about that before. So here he's making this more complicated rhythmically by not only using heiol in syncopation but also threes against two simultaneously.
He's throwing in some triplets in the melody up above. Okay, let's continue just a bit more. Oh, right. Right there is fine.
Yeah. [Music] So at this point you say what the heck happened to my theme? I don't remember that at all. We've sort of lost track of that as this ostanado bass keeps grinding way underneath. But gradually uh what he does is take that ostanado and move it up into the upper part of the register of the orchestra and then gradually make this transform back into the theme.
Sort of magically transform itself back into the theme. So let's go on now to 1755 and we'll pick it pick it up there if that's okay. [Music] sounds very confused. But if you listen to the upper register, you can hear [Music] the theme is coming back in the upper woodwinds. [Music] Is that all point? [Music] Okay, so now you think the piece is over. Slowing the tempo way down.
Sound diminishes. Could end it right here. [Music] And that last little bit at the end of course is called the kota, right? Okay. So he once again when theme of variations, if you don't give the audience a kod, they're expecting the next variation to begin.
So you got to throw on that kod so that uh everybody knows, hey, that really was the end. No fooling. Uh questions about that. So that's Brah's variations on the theme of heen.
It's I can't say it's a it's a a very in it's a beautiful piece but it's a very serious piece but it's a good piece for you. This is a very serious group this year. I'm impressed with the seriousness with which you show up here and that you take this uh I gather sometimes I see that you're actually much more interested in the classical stuff that we're doing than in the pop stuff which is not always the case uh over the years working with Yale undergraduates. Okay.
Uh a question. Yes. Uh Daniel. Yes.
Once what? However disguised it is, how the question is, is the framework of the theme always this ACE business? No matter how far he goes melodically from the original pattern and how complex in terms of counterpoint and rhythmic permutations he becomes, it still is dropped within this same framework of the ACE. Although admittedly, it's pretty difficult to hear sometimes.
Yeah, David. Michael sorry uh that that I that is just with this piece here uh you can work with other composers Paganini's variations on a theme of rock manoff for example where the length of the variations will become very different and it'll be uh it won't be sort of as I like to say boxc carl like as this arrangement this is still boxc carl like even though uh it's very diversified in terms of what's put in and on those box cars Two good questions there. Thanks. All right.
Uh, having finished demon variations for the moment, let's go on to talk about rondo. R O N D O. Uh, Rondo. Is that really true?
Well, it it goes by a couple of different names. Uh, uh, English call it rondo form. The Germans call it Rondo form. When Mozart wrote, and I've looked at a lot of his autographs, wanted to write Rondo.
He spelled it R O N D O. France, but if you go to Italy, they would call it loton. I love these these these Latinate languages are so wonderful, aren't they? They the way they play with the vowels.
So, it's the same idea. A rando, a hondo, and a retonlo. It's the same principle. And oddly the principle develops right out of the thing that we were talking about uh and that Frederick introduced this to uh the idea of verse and chorus because what's involved here is really one musical concept, one big theme coming back again and again and again.
Uh and this goes all the way back to the Middle Ages where they would have soloists singing new verses and then everybody would sing the chorus and the thing that we all remember is the chorus. That's the big ticket item. That's the thing that everybody's doing. So that's the thing that keeps coming back again and again and again.
So this in an odd way I think is the easiest of these forms to remember. If you hear some music where you get music and then something else and then hit in the face with that same music again then something else and you get hit in the face with that same music again and then something else and then same music again. That's probably rondo form. And you can you can give it these different names in different languages but the the idea is the same.
And as I suggest, it's primordial. I think on your sheet to show you how primordial it is, I even gave you the text of a Rondo by Gileiam Dufi that goes all the way back into the 15th century. We don't have to go back that far. Uh and you can see we'll end up today with a Rondo by Sting.
So this has been around for a long time, this particular particular form. Um let's have an introduction to it uh by listening to a reasonably well-known piece by Jean Joseph Mur who was a composer in residence at the court of King Louie X 15th at Versailles and in Paris in the early years of the 18th century. You probably know this music because for years it was the background theme or the introductory material for masterpiece theater on public television. So, let's listen to a be a bit of this and uh let me take this material off and we'll chart here and I'll ask you what the meter of this is.
But the meter and how many measures of our refrain, our main theme, what we'll call it a here, how many measures we have in our theme. [Music] Okay, let's stop it there. So, what'd you think about that? What's the meter? Well, I kind of gave that away.
Sometimes you listen to music, you can't stop yourself. It's like the end of Doctor Strange Love. You ever see that movie? Get back down.
Um, so, uh, yeah, it's a piece in dupal meter. How many how many measures did we have in our theme? How many measures did we count there? Well, listen to let's listen to it again.
Right back to the beginning, I guess, Linda. [Music] So, what do you think? Eight. All right, let's put eight up here and let's listen again now. Just continue, please.
So we stop it there and we had how many there? Eight again. So everything is always fours and eights in music. No, not exactly.
If you start, we're counting measures there in the Brahms. His theme sometimes has five measures in those sections. But this one happens to be uh different and more common uh 8 plus 8. And actually in reality here, this is just slightly different than the first eight.
The ending of it is slightly different from the first day. So there we are. We've got our refrain or our theme in place. Our big a idea.
Now, let's go on to uh the next [Music] material. Stop it there. How many bars did we have there? Well, eight again.
Okay. So, we could call the D. A different sort of rhythm there. We could call this a B idea or we could even call it an X.
Just something different. Something different. And we that lasted for eight bars. Back it up just a couple of Linda if you would please so we can get back into that B and then we'll go on to the next A.
So here we are with our B. [Music] Yeah, let's stop it there. So, what happened to our A this time? How long was it? There's still eight.
Did we get it again, though? No. We got just one statement of it. Why didn't we get it again?
Well, maybe he didn't need to give it to us again. Ever watch television commercials when they first come on and then what happens to these commercials a couple of months later? What do they do? You've gain Yeah.
They shorten them. They'll run a 60-minute version of it, then a then a 60- That'd be interminable. A 60-second version, then a 30-second version. you psychologically, sublimally, you'll you're filling in the missing information. So, keep an eye out for that kind of thing.
And composers do that, too. They know well, we've heard this a fair amount. We'll will will give the psychological uh force of the whole thing, but really just give it to them in half. Okay.
So, uh wherever we are there, [Music] it Yeah. So, back in around 45 or so, if you can get there. Okay, here we got a count now. [Music] So let's pause there. How long was that section?
20. Yeah, 20 bars there. It's a long run of other material. And then as you can hear here, our a theme is coming back.
Let's see if we get it repeated. Was there a kod there? No. Um, how did he how did this particular group of performers make the piece sound as if it were ending?
Dan Daniel uh or Angela is it? Yeah. He da dam slowed it way down. So if you don't that's another way of getting a sense of end here rather than throwing on some extra bricks to say the thing has concluded harmonically.
All right. So that's one rondo. Let's go on to a more sophisticated rondo. We're going to go uh on to one by Vivaldi here.
Now this is in retor form as you'll see when you read the textbook. Um but the principle is the same. We have a theme that keeps coming back again and again and again. And you all know this theme.
You've probably heard it at Starbucks or Oban eight zillion times, right? Anybody sing it? Anybody remember what the Vivaldi spring concerto sounds like? Okay.
Angela's on a roll this morning, so nice and loud. Don't be shy there. Come. Good.
Okay. [Music] Da da da. Then we have a second idea. So here it's kind of a our our main theme here is really kind of two ideas, A and B. But we're going to just for the sake of argument here just call this big A here.
Okay. So that that that's the theme. So let's listen to a bit of this. Um, well, no, we don't even have to listen to this because Angela has given us the Retornello.
So, let's go on to the first X here. We've got something else coming in. Uh, and it's Vivaldi's attempt to write birds chirping away on a beautiful spring morning. So, let's listen to the birds [Music] here.
After the birds chirp, we get our A coming back. So, let's listen to our A come back [Music] here. Okay. So, now we're taking a walk through a beautiful forest in the spring day and we see a babbling brook and the brook is foaming, surging away.
So, that's what we've got here. So, what was that that we just heard? Was that something else or was that our retoelloo? Jerry, nice and loud.
Okay. Uh, that was my next question. You've jumped to it. So, it was the Rtorel.
And my next question is, but what was different about that Rtorel? Well, the first time we had it. Now, we're getting it's a lower key. So, we've had a modulation.
This is actually down on the dominant. We don't need to know that. We don't need to know whether it's tonic or dominant. But, I think it would be good we we heard that is just a little bit different. lower, maybe a little darker than the brighter sound up above.
So, we had that and now let's see what happens. Doesn't the storm come up and sort of threaten us here in the beautiful [Music] forest? Lots of tremolo, lots of agitation. [Music] Now what happened? Okay, we'll stop there.
Uh, yes, that was our retor coming back. Our our theme coming back. But how was it different? Okay.
Yeah, it was in minor. [Music] bing. So, it had changed key again. Uh, and again, we don't need to know what key it went to. If you were a betting man in Las Vegas or betting woman in Las Vegas, what would you say?
It went to the relative minor because about half of the time, uh, that's what they do. And indeed, in this this particular case, it went just three half steps down to the relative minor. But hearing that it went to the minor is all we're after here. So, this was in a in a minor key here.
And then on it goes. We needn't play play this out to the end. It gives you a sense of how rtorelo form can inform this particular rondo. Let's turn to another one by Mozart here.
Uh yeah, I think we've got time for that. Um take this off. So it's a horn concerto by Mozart written in the 1870s. Uh and we're just going to start it out here and we're going to hear the first theme.
It's the basis of listening exercise 26, which we'll get to uh in a week or [Music] so. Okay, let's stop there. Why is this an easy theme to remember? because it's full of da da da da da da da da da da da da da da da da da da da da da da da da da da da da. It's a lot of notes right on the same pitch bum and it's actually starts dominant da da sort of goes along like that.
So we can keep a mental graph of this with our axis. Now in a second and then the orchestra repeated this then in a second the B theme is going to come in and it's going to be very different. [Music] What's that? Arpeggio. Okay.
So, instead of using repeated pitches, we mark the B section of this be by the use of lots of leaps here. So, we're going to have lots of space between our exit. And then it's going to have a couple of different motives in here, but they're all very skippy. They're all very disjunct.
And it's these disjunct leaps that mark the B section. So, let's just continue. [Music] more jumps. Now listen to the bass here. Good.
Another pedal point sitting on the [Music] dominant. What's this? Well, this is our theme. A coming back.
Okay, we're going to stop it here. So, here we are at this particular particular juncture. Notice each time the uh French horn plays the theme, then the orchestra repeats it. Now, as we go into this section, we'll get a new theme.
It's C. Uh, and it will be marked by an interesting development. What's happened to the mode? So, what happened to the piece there?
Change to minor. Change to minor. So, we're we're moving fast here. We're doing all this in just one hearing.
So, there we are. Our C section is marked by minor. So let's [Music] continue. Rising sequence here.
Melodic sequence. Now falling sequence. Now step [Music] lower. And a step lower yet again.
And then a sneaks [Music] in repeated by the [Music] orchestra. And here come our jumps. So, we're back to be [Music] Oh, a little deceptive cadence there. Just pause it right there.
Sing the next pitch. Well, not only bomb, but that somebody starts singing da da da da da da da da da da da da da da da. You know what's happening next? He sets you this big long dominant pause.
Da da da da dum. And off it goes. So play that, Linda, [Music] please. Now this we have we've had our A in the orchestral repeat of it, but we haven't heard this kind of stuff before.
What would you imagine going, what is this we're listening to now? KOD. I'm moving things along here. So, we have a kod and notice that down I forget the particular key Mozart is working through the Duke of Earl harmony once again in this particular particular section.
Uh so let's listen to a bit of that. [Music] And this is just filler arpeggio addatic filler. So that's our kod again to show us uh that the piece is and you can end your rondo in a couple of ways. But the point here is notice the form that has been created by Mozart. And again it is timeless.
I think we have time now to show a slide. Uh and Jason isn't here today. I wanted him to do this. Uh I think I can turn this on myself though.
And we're going to listen to uh Linda start playing uh the sting, [Music] please. Okay, so let's stop that just for a moment. Uh, what do I have up here on the board? Anybody ever seen this before?
Anybody been there? Where would you imagine it is in France at the Chateau de Shambour? C H A M B O R D. Uh, I took this leaning out of a bus.
And you can see over the left we have one idea, the A idea, contrasting idea. Return to the A idea. A largely contrasting idea here in the middle. return to your central concept. Uh a contrast here that matches this contrast over there and then the central idea at the end.
It's in exactly in one of these palendroic AA c a ba form. The same thing that you get here in the Mozart horn concerto and the same thing that Sting and the police have programmed into their particular rondo. Uh you've got the sheets on this. Maybe I'll turn the lights back on because we don't need to see that anymore.
Yeah. Did you like that? You want that back on? Yes.
Okay. Yeah. It's It's pretty. I like it, too.
Okay. Um and we can we can see well enough up here. So, let's listen to we I'll just tell you we've got this initial idea. Um uh um where is what key is he?
Once again, the 1 164 51 Duke of Earl stuff. But interestingly enough, here half the time he doesn't come back, which is what a deceptive cadence. So he alternates here between authentic cadences and deceptive cadences. So we'll listen to a little bit of it.
If we run out of time, then we'll stop. Every sixond break. [Music] There's the six. Deceptive cadence. [Music] One. Okay, we got to stop it here or the copyright people will be all over us.
Uh, then it goes on to the B section. Oh, can't you see? And for that we have the different [Music] chords. Okay, we can continue to play now.
Um, [Music] that's this section. All right, let's move it up to the next A. I want to get to C. Tell you what, go straight to C.
This is pretty cool what he does here. He's in this particular [Music] key. And he gives us this sound. Kind of a shocking chord change right in the middle of the piece.
It's a kind of a what we would call a flat seventh degree. Let's see if we can hear this tonal shock and then we'll stop. Since you gone, I'll be lost with all the trace. I dream that I can only see your face.
I look around, but it's you I can't replace. I feel so cold and I long for your embrace. I keep crying, baby, baby, please. Then he jumps back to the tonic.
And from there on out, he's just running the 1 6451 instrumentally in this section. Then the B section comes back in the A section at the end. So that's it. I think we're out of time.
And I thank you for staying over a bit and we'll see you on Thursday. [Music]