This guide follows Piazzolla’s Oblivion (1982) in one part (ternary form).
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Follow all 3 sections as they play
After a two- , A unfolds the long, melancholy melody in C minor over a bass that never loses its gentle tango pulse. B is a short, eight- contrast in which the line grows more intense; it is played twice, with a different ending the second . Then the music of the first section (A′), so the piece closes with the that ended the opening section, a plain three-part plan.
Section boundaries in music are not always sharp; a transition may be felt over a pause or a held chord.
HandelMessiah: He was despised
BachPrelude and Fugue No. 1 in C major (WTC II), BWV 870BachPrelude and Fugue No. 9 in E major (WTC II), BWV 878BachPrelude and Fugue No. 11 in F major (WTC II), BWV 880BachPrelude and Fugue No. 14 in F-sharp minor (WTC II), BWV 883BachPrelude and Fugue No. 16 in G minor (WTC II), BWV 885BachPrelude in D minor (WTC II No. 6), BWV 875BachPrelude in E♭ major (WTC II No. 7), BWV 876BachPrelude and Fugue No. 3 in C-sharp major (WTC II), BWV 872BachPrelude and Fugue No. 13 in F-sharp major (WTC II), BWV 882Path 27
Twelve directions the century took, from Schoenberg's Verklärte Nacht of 1899 to Piazzolla's tango of 1982.
Schoenberg → Ives → Bartók → Holst → Gershwin → Barber → Prokofiev → Copland → Ligeti → Górecki → Piazzolla
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