Two great composers, two different times, two different regions of the world.
Turkish March Two great composers , two different times, two different regions of the world and two works with " Catchy Melodies " The Turkish March Wolfgang Amadeus Mozart, which is part of the last movement of the sonata K.331, in L Major, is perhaps one of the catchiest melodies of musical universal . Meanwhile, “Pueblito Viejo" (“Old Town”) composed by Jose Alejandro Morales, is the Colombian Andean best known song by Colombian generations of the 20th and 21st centuries, this is because both tunes are catchy (melodic rhythmic ostinatos), both have modal modulation and scales also used in the melodies . Wolfgang Amadeus Mozart (1756-1791), born in Salzburg but most of his career development in Vienna where he died. He was one of the most important composers of classicism , short musical period that spanned the second half of the eighteenth century, which were the years that the composer lived, and who died at age 35, leaving more than 600 works including sonatas, concert, symphonies, operas, masses and a requiem not finish because he died when I was composing. His death is still a mystery that leaves open many speculations. It is believed that Mozart wrote the Sonata K.331 in L, around 1783 and since then became a required piece in the repertoire of pianists, and even the non professional musicians, “alla Turkish march" third movement is the part that melodically exalts this work.
Jose Alejandro Morales (1913-1978) was born in Socorro, Santander , a municipal located in the eastern mountain range of the Colombian Andes; at a very young age he went to the city of Bogota where he started his artistic career, he worked as a journalist and also died there. His first composition was made at the age of 22 while developing his artistic career in Bogota, also there was a time that he returned to his native Santander where he founded a musical group, that is where he was invaded by nostalgia of his childhood memories; He composes “Pueblito Viejo " ("Old Town") evoking nostalgic feelings of the his life in the town of Socorro. "Old Pueblito” was his most successful song, because not only was it known in Colombia, but also in other countries, and was even translated into English and French. Its structure is in waltz tempo “Andante” with melodic ostinatos and scales that evoke nights of a Colombian Colonial town.
Ilustración 2 “http://www.canaltro.com/webtro/images/Jose-A-Morales.jpg”
Modulation In both subjects a modal modulation occurs, is to say that changes to the mode but not the tonic note. The Turkish march is in the key of a minor, modulates to direct a major key. In this type of modulation that there is no need to anticipate modulation because it remains the same tone, just changing low to high or vice versa. You can also use chords of his homonymous; these changes are called modal mixture, such as lesser use the 4th major, or the 6th major etc. It should be noted that in most used scales relative minor F # minor. The first noticeable modulation is the sixth measure where it uses an F # as the bass makes a harmonious rhythmic ostinato on E minor, in eighth measure melody descends to use the D # which is sensitive to E minor which solves the next measure ending the first sentence.
The number 30 measure modulation is evident # minor is the relative minor of A major, both melody and scales that is made by the right hand and the ostinato or accompaniment of the left hand F and using the notes E # and D #, which are part of the melodic minor scale of F # minor. The following double bar naturally returns to A major, overriding the previous alterations to be pictures.
Pueblito Viejo is in the key of C minor and modulates to C major, like the Turkish march is a modal modulation. modulation is observed on the fifth of the fifth in fourteenth measure , i.e. D major low in A descending chromatically to G (Measure 15) , the latter being dominant in the next measure resolves to C minor, original key (Measure 16)
In the measure being 60 in C major uses a G # as embroidery, then moves to F major and the next measure makes an Ab in the second voice of the melody becoming the F major in F minor.
Both pieces end up mostly homonymous(A major and C major) respectively.
The Turkish March...
(short melodic phrase repeated throughout a composition, sometimes slightly varied or transposed to a different pitch. A rhythmic ostinato is a short rhythmic pattern constantly repeated).
Turkish March - rhythmic - melodic ostinato It should be noted that all sections are repeated, because this piece is a rondo. The last section (bar 86 ) is repeated , but varied accompaniment and some notes to support the melody, for that reason it doesnâ€™t have repeat bars, being that it is the end of the piece; it has to be surprise, surprise was keep repeating but vary it and bring her to climax and then go to the beat found in bar 111. The following are both rhythmic and melodic ostinatos be explained. The first occurs early in the piece. The rhythmic - melodic motif that repeats consists diatonic note (diatonic is that they are notes of the scale), the chord, chromatic chord tone embroidery to leap towards the chord, this pattern is clearly seen in Fig. 1
The second recurring theme is composed of four eighth note , four sixteenth and two notes , the first time exactly repeats itself , in C major and the second does in Am but keeping the same structure. Fig. 2
Pueblito Viejo- rhythmic ostinato The first ostinato is very evident in the introduction of the topic, consists of eighth note 5 eighth, black, two eighth notes and a black, this is repeated melodic playing with different arrangements and escalas.Fig.3
The second is in the ostinato theme B, where he spends the major mode (bar 37), eighth rest comprised five eighths, and black and white. Unlike the first ostinato, the eighth notes are almost always together. This motif occurs throughout the B. Fig.4
Using the scales in melodies Turkish March In bar 21 modulates to A major, then modulates to bar 30 F # minor, which uses a melodic minor scale (major and sensitive sixth) Fig.5
The fourth section (bar 30) is interesting because the melody plays beginning in F # minor, A major and then takes F # minor. There is something interesting in bar 47, first B # that works like embroidery or trill and then makes an A # in the last semi - quaver that functions as the dominant third of B minor. Figure 6
Pueblito Viejo In bar 9 E natural, which belongs to the C major scale, key of F minor. Fig.7
In bar 22 uses a natural B, which belongs to a harmonic minor scale, then the next measure uses the Bb as part of the natural minor scale. Figure 8
In bar Bb 58 is used both in the low and second voice of the melody , as note dominant seventh (C7 ) that resolves to high F with sixth member in the next measure