Grieg Norwegian March

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  • Grieg Norwegian March
    • Dynamics and articulation
      • The largest dynamic contrast is through section B which starts very quietly and ends very very loudly
      • Textural dynamics are very common in this piece as the full capabilities of the piano are tested
      • The slurred aspects of a Norwegian Gangar are represented in the slurs of this music
    • Rhythm tempo meter
      • The piece is in 6/8 which is really unusual for a march but helps to convey the 'gangar' feel to the music
      • Section B consists of just a semiquaver rhythmic motif
    • Texture
      • There is a lot of parallel textures in octaves, especially in A' when textural dynamics really come into play
    • Structure
      • The piece is in alternate ternary form I:ABA':Icoda
      • Section B is characterised by the semi quaver motif and A' has the chain of suspensions and octavey goodness
      • The piece is partially inspired by a Norwegian gangar and by a traditional march
    • Melody
      • Two quaver anacrusis present throughout
      • Lots of ornaments (most common is the mordent written as an acciaccatura)
      • Sequencing is common through the cycle of 5ths and intervallic augmentation through this cycle in section B
    • Harmony
      • Tonic key is C major
      • Modulates to the dominant twice through section A
      • Section B very creatively takes you through a chromatic cycle of 5ths from G back round to G again
      • A' is by far the most harmonically interesting section as it starts with a chain of suspensions and then modulates so that the right hand is playing in Ab major and the left hand jumps between Ab minor and F minor (the tonic and relative minors)


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