Bartlome 1

Ashley Bartlome
Music 1010
Tyler Oliphant
May 2, 2015
A Biography of Ludovico Einaudi
Ludovico Einaudi is a sixty year old Italian composer, who has taken social media and
the internet by storm. His music is known for its diversity. His music has been categorized as
New Age, Contemporary Classical Music, Neoclassical New Age, World Music, and Minimalist.
He was classically trained, but he frequently plays with pop artists and bands including the
famous German band To Rococo Rot (Mundi). Einaudi is not afraid to experiment with music
and try new things. When asked to define his own music Ludovico said, I dont want to label it
with just one word. There is something in it that comes from classical, but I have influences from
different music Ive experienced in my life, from African music to folk and rock (Sweeting).
And with each new album Ludovico produces, he continues to defy categories and continues to
explore what music can do.
Einaudi was born on November 23, 1955 in Turin Italy. He was the grandson of Luigi
Einaudi who was the Italian president after World War II. Ludovico was first introduced to the
piano by his mother who would play for him. This must have impressed him because in his
teenage years he began to compose his own music on a folk guitar (Parsons). When he grew
older, he went to study music at the Conservatorio Verdi in Milan Italy, which is the largest
music school in Italy, and it is also a one of the most respected schools in all of Europe
(TheMusicSalesGroup).
He graduated from Conservatorio Verdi 1982, with a diploma in composition. He then
continued to study music under the renowned Luciano Berio, who has been called one of the
most important composers of the twentieth century (TheMusicSalesGroup). From Berio,
Ludovico Einaudi learned about orchestral music and accompaniment, as well as a very open
way of thinking about music (Adan Sweeting). Berio was also an experimenter with his own
music. He constantly pushed the boundaries and experimented with electronic music, long before
it was popular to do so. Berios musical style was characterized by his attainment of an
equilibrium between a keen awareness of tradition and a propensity to experiment with new
forms of musical communication (De Benedictis). While Einaudi certainly has his own style of
music, with a more classical influence, Berio has certainly affected Einaudis technique. Einaudi
has picked up a balance between traditional classical music and experimentations with folk and
rock music. Einaudi has also recently begun to work with electronic music, just as his teacher
before him.
But Einaudi found musical fame differently than those in the music world have assumed.
In the early 1980s he seemed to be on a glittery path to fame as a classical pianist, and he was
working for several musical institutions. However, he decided he wanted to branch out, and work
as a solo artist instead of at the musical institutions, thus giving him the freedom to reconcile his
wider-ranging influence (TheMusicSalesGroup). Einaudi began to compose music with his own
flair.

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Being true to his artistic style however, was not immediately rewarding. It wasnt until
ten years later in 1992, that he released something the music world loved. He had written an
entire suite for the electric harp entitled, Stanze. This suite was an instant success when it was
first played on the radio, and was quickly requested again and again by listens. Looking back on
the album now, it is unique among all his work because it is one of the few where Einaudi isnt
playing his own compositions (Jameson). Talented harpist Cecilia Chailly played the harp for
each of the pieces. This suite, later published as an album, helped Einaudi get his foot in the
music world.
Emboldened by the success of Stanze, Einaudi published another album called Le Onde
in 1998, six years later. This album was devoted to solo piano music, which he played himself.
Listeners quickly made sure that it was a permanent fixture atop the Classic FM Charts
(TheMusicSalesGroup). He then continued to produce albums in subsequent years, gaining more
and more success with each album. To date he has published 9sucessful albums (Ludocivo
Einaudi).
In each of these albums Einaudi sets himself apart as a composer by the unique way he
sets up his albums. Sometimes he likes to create a story with his music, and the music takes
listeners through that story as they listen to the album. At other times Einaudi wants to create
albums that are interesting and thought provoking to the listeners. For example, when asked if
his album Nightbook was a sampler of his composing styles he replied, No, the idea was to
create musical contrasts. I didnt want to create an album that had just one color. I tried to frame
each piece with its opposite in order to have a constant variation of colors, rhythms, and weights
with the piano always as a leading character (MainlyPiano).
Critics have also noted that in each album, Einaudi has grown and experimented in
different ways. For example, his third album I Giorni explored African tribal themes and folklore
based on his travels to Africa (Ludovico Einaudi: I Giorni). His fifth album Una Mattina, is
written for solo piano and cello and focused on deep classical roots. And his last two albums
Nightbook, and In a Time Lapse, are full of electronic adaptions, electronic synthesis, and
orchestras, all of which harmonize with leading piano solos. His music covers a wide range of
genres and it is beginning to cross the Atlantic Ocean and catch peoples attention in the United
States.
This is due in part to Einaudis use of social media, which helps to get his music out
there. He has held several live YouTube concerts from the comfort of his home. This creates a
personal relationship between Einaudi and his fans. Viewers are given the opportunity to watch
up close as Einaudi plays the piano. This is an experience that is unobtainable at his live
concerts, and his fans appreciate the opportunity to have a private concert.
His fame began to skyrocket as his music appeared more and more on Pandora and
YouTube. He began to give wider and more focused concerts in his home city, and then
progressed to several concert tours. He has traveled and performed in The United Kingdom,
Germany, India, Japan, Thailand, Vietnam, China, and The USA and his concerts are almost
always sold out. He has performed in the USAs Tanglewood Festival, Paris IRCAM, and
recently in the National Center of Performing Arts of Beijing (TheMusicSalesGroup). Einaudi
has also performed and recorded concerts in Italian monasteries, Londons Royal Albert Hall, the
La Scala Opera House, the Avignon Film Festival, and he has performed with the Royal

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Liverpool Philharmonic Orchestra (TheMusicSalesGroup). Traveling all over the world hasnt
stopped him from continuing to compose though. Some of his ideas for new albums have come
while touring and giving concerts, including some of the songs on the album Nightbook.
However his fame isnt just in concerts and albums now. His music is included in many
films and television shows, including Doctor Zhivago, Sotto Falso Nome, This is England, This
is England 86, and Intouchables (TheMusicSalesGroup). His work is also featured in
commercials for movies such as Black Swan, The Book Thief, and The Reader. His music is also
used in commercials for many companies including, American Airlines, Sony Blu-ray, Nissan,
and the National Basketball Association Championships, and the 2014 Olympics in Sochi Russia
(Lee).
Einaudi has had become one of the most popular composers in the UK and throughout
Europe, and in 2005, Ludovico received the senior order of Knighthood bestowed by the Italian
Republic (or the OMRI), in Rome (TheMusicSalesGroup). This great honor has increased his
popularity even more. He has gained more fans and more chances to perform his music.
Einaudis music career, which has already been long and prosperous, seems still to just be taking
off. Hopefully we will see many more great and moving albums from this rising talent.

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Composition History
The three pieces of music I have chosen to focus on are, I giorni, Nuvole bianche and
Nightbook. Each of these songs was written by Ludovico Einaudi and first performed by him. I
giorni, is the most well-known out of the three, while Nuvole bianche, and Nightbook, are less
known songs from his other albums.
I will begin with the song I giorni, which is both the name of a song, as well as the name
of Einaudis third album. The title of this song translates to The Days in English. It was first
released in Italy on November 14, 2001, and produced in Italy by BMG Ricordi. However, the
album, and the song sharing its title, took a while to gather steam. It wasnt available on iTunes
until April 2014, when Ponderosa Music & Art published it for the USA (Ludovico Einaudi- I
Giorni). But before then, it first received attention after Greg James, an immensely popular
British comedian, played the song three nights in a row on the British BBC and radio, in order to
help it gain recognition (James).
Greg James stated that hed used the album, especially the solo piece I giorni, to help him
study when hed been at college (James). Through his praise, the song shot to the UK Singles
Chart, and ranked at number 32, and stayed in that position for several weeks (Ludovico
Einaudi-I Giorni). It was also extremely requested on Classic FM, a popular classical radio
station in Britain (Ludovico Einaudi: I Giorni). The song has also been used largely to help
launch Airtel, an Indian telecom provider (I Giorni). Besides being played on countless radio
stations all over Europe, I giorni has also had the privilege of being performed by Einaudi at the
Royal Albert Hall in 2010 and at the iTunes Festival in 2013, (Setlist). This song is often
performed along with Einaudis other most famous and well known works in concerts.
What makes I giorni, and indeed the album named after it so appealing, is that it
resembles a tonal poem. It was inspired during a trip that Einaudi took to Africa. While he was
there, he heard many folk and tribal melodies. One of these was a twelfth-century folk song
which discussed a hippo near the village. This hippo was greatly loved by the villagers, and
when he was suddenly killed by a hunter, he was greatly mourned by those who had known him.
This story caught Einaudis attention and imagination. In the album I giorni, Einaudi uses each
song on his album to describe a piece of the entire folk legend and represent his interpretations of
the folk songs from Mali. The song I giorni is near the middle of the album perhaps suggesting
that I giorni represents the villagers reflection on the good that the hippo brought to the village
(Ludovico Einaudi: I Giorni).
The next song I have chosen is Nuvole bianche from Einaudis fifth album, Una mattina.
This album has been criticized as Einaudis most classical album. This album isnt the most
popular, and is not as well-known as some of his other albums. The album was ranked at spot 59
on the UK Singles Top 75 in 2004, with Nuvole Bianche ranking 34 for only a week (Ludovico
Einaudi-acharts.us). The album was originally published on June 2004 by BMG Ricordi.
However it was not released on iTunes until September 6, 2004 though the songs where
originally published 3 months earlier. The album was again published by Ponderosa Music & Art
in the USA (Ludovico Einaudi-Una mattina).
The titles of the songs on this album are written in Italian, and Nuvole bianche translates
to White Cloud in English. The other song on the album which also bears the name Nuvole,

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translates to Black Cloud in English. It would seem that Einaudis inspiration for these two
songs came from the observing clouds across the sky, or when he was outside observing nature.
Indeed most of the names of the songs on the album, when translated into English, are after
objects in nature.
While the album Una mattina is not as well known by the general public, the song
Nuvole bianche, has had the most time in the spot light out of the entire album. In iTunes, it is
one of the most commonly downloaded songs of the entire album, and had an appearance in the
wildly popular French film Intouchables as well as two British soap operas called This is
England 86 and Derek (At a Glance). Einaudi however does not often play this song in
concerts. The song is a hidden gem among his works.
The last song I have chosen is the song Nightbook, from the album sharing the same
name. The album was published on October 5, 2009, in Italy through BMG Ricordi, though
iTunes released it 15 days earlier in the USA through Ponderosa Music & Art. This album is his
second most famous to date, and this album is where Einaudi began to experiment in New-Age
music. The entire album was heavily influenced by brothers Robert and Ronald Lippok, who
help make up a German electronic band called To Rococo Rot. The brothers helped play the
string and percussion instruments which are so prevalent in the Nightbook (Bluefat). The
brothers also inspired Einaudi to place electronic tracks beside to his piano solos and thus create
an album unlike anything he had previously produced. The large success of the album has been
credited to the addition of electronic synthesis to his already stunning piano solos. The album
Nightbook was on Italy Albums Top 100 for 30 weeks straight (Ludovico Einaudi-Nightbook).
The album Nightbook was inspired after Einaudi was asked to play at Bicocca Hangar in
Milano Italy. The sound there was totally different from what he was expecting, and he said it
was like playing in a very strange cathedral; there was an incredible reverb, and with the
character of those immense towers around me, it was sort of apocalyptic experience (Bluefat).
Einaudi went home and wrote new pieces of music to play for the concert. He felt like the hall
needed a different type of music than what hed originally planned to play. He wrote a lot music
sketches because he didnt have much time to write everything down before he needed to play
for the concert. After the concert he was reviewing the music and realized hed liked what hed
played. Some of the music sketches would eventually become part of the album Nightbook. The
song Nightbook itself was there to capture the transition between light and dark, between the
known and the unknown (Mundi). It embodies some of the themes that Einaudi is trying to
show throughout the album.
The song Nightbook has received some fame, though the other songs on the album have
been used in more commercials and movies. The song Nightbook was played at the Royal Albert
Hall Concert in 2010 and in the iTunes Festival in 2013(Setlist). This song is often found by
those who enjoy Lady Labyrinth or Eros from the album, and are looking for more music from
Einaudi.
The songs Nightbook, I giorni, Nuvole Biache are still being discovered within the United
States. They are most popular in Europe and the UK at the moment. But while they may not be
as popular within the United States, they are still gorgeous piano solos and ready to be enjoyed
and experienced by listeners of any country.

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Listening Guide
Nightbook: This songs form is similar to a Theme and Variation form. It introduces a
theme and then builds on it. Three main themes are introduced. It also similar to a Rondo form,
because the music always wants to return to the first melody introduced. While it doesnt follow
either of these forms completely and fully, it does generally returns to theme A, after elaborate
variations on each of the themes.
i.

0:00-0:06 This segment introduces first the piano, and then simultaneously the cello and
shakers. The shakers are a great addition because they help create a steady beat and drive
the tempo. They keep a consistent 4/4 time. Like the shakers, the cello also plays each
beat with quick bow draws, and continuously plays the same note. The piano also plays
one note repeatedly to help introduce the main motif

ii.

0:07-0:14 Motif A is now introduced by the piano and then repeated. This motif
consists of a quick four notes with a small range. These notes are a whole step apart from
each other. It begins on the note introduced by the piano previously, and then plays the
next two whole steps above it. The final note finishes on the original note, creating a
conjunct melody. The general contour of this motif is an arch. This is also where a minor
melody is established. During this motif, the cello and the shakers continue to keep the
beat.

iii.

0:15-0:29 Motif A is again repeated three times by the piano, but this time each motif is
accompanied with counterpoint chords. While the motif stays the same, the counterpoint
continuously descends down the scale. This entire series is played twice, and motif A is
played a total of nine times before continuing on. This becomes an introduction for the
rest of the melody.

iv.

0:30- 1:01 Motif A is now expounded and lengthened into theme A, which is heard in full
for the first time. The chords of the melody are fuller and richer, creating a different
timbre than the motif. The counterpoint creates dissonance though the melody is still
conjunct. The range of theme A is wider than the motif and the general contour of the
melody is ascending. The cello also breaks away from the shakers to hold notes for a
measure in conjunction with the counterpoint. The melody is still minor.

v.

1:02-1:30 The song now enters an A section and creates a variation on theme A. The
shakers are still driving the tempo, but the piano and cello begin to echo each other,
almost like a round. The piano plays a variation of the theme, and the cello then plays a
harmony back. This creates a rich texture. The A variation is repeated twice and this
section ends with the cello and the piano playing the same notes in unison. The variation
is longer in length and greater in range than the original theme. There is also a greater
tension created by dissonance than in the original theme.

vi.

1:31- 1:46 Here the percussion changes. The shakers are joined by a snare drum which
makes the tempo feel faster, and adds to the intensity level. The percussion begins in the
middle of the A variation.

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vii.

1:47-2:02 The A variation is now repeated with the snare drum, but this time the
response of the cello has been replaced with a violin. The violin echoes the piano an
octave higher than the piano, while the cello now returns to sustaining one note for
several beats. The violin increases the range of the melody, even though it is the same
melody.

viii.

2:03- 2:34 At this point the violins fall silent. The A variation repeats again, but this time
the cello has returned, the cello echoes the piano with harmony again. The deeper sound
of the cello contrasts with the violin, and this changes the timbre of the variation. The
snare drum and shakers continue to help keep the time and the tempo. The A theme is
repeated twice in this section with a slight variation between the two repetitions.

ix.

2:35- 3:00 Theme B now begins. The snare drum and shakers fall silent, leaving only the
piano and the violin to play. The piano plays the theme while the violin plays the same
melody an octave higher. However, without the steady beat of the percussion, the tempo
feels as though it has decreased. The melody and harmony now transition to a major key
and the notes are largely disjunct. The tension has relaxed and created a more consonant
melody. The volume becomes softer, and the texture lessens without the percussion.

x.

3:01- 3:36 Here the piano continues and creates a variation on theme B. A viola or a
violin begins to play a harmony to the piano. This is the first time the string instruments
have played the harmony and melody at the same time. There are no deep notes in the
counterpoint of Theme B, which has transitioned into a smooth conjunct melody. A
marimba also enters softly to help accentuate the second and fourth beats.

xi.

3:37-4:06 A minor melody is now reestablished as the form returns to the A variation.
The shakers have also returned and the song feels an increase in tempo. The piano and
violin echo and chase each other as the cello provides counterpoint to the main melody.
The volume begins to grow as the A variation is repeated twice. The texture and the
timbre are also fuller as more instruments join in.

xii.

4:07-4:37 At this point the form changes to the original theme A, as once again the snare
drum reenters. This creates a quicker tempo. The violins fall silent in this section and are
not heard in the piece again. At 4:23 the theme repeats a second time, but with this
repetition, a new set of dissonant chords are introduced on the piano. The volume
increases with this new harmony. The cello drives the last two measures of theme A,
helping to transition from a minor key to a major key. After the cello finishes we do not
hear it again, which shortens the range of the melody again.

xiii.

4:38-5:09 Theme C is now introduced in a major key. The melody is dissonant yet
largely conjunct and the range is large. The piano and the snare drum continue with this
theme, repeating it twice. The snare drum and shakers are still present and still helping to
move the tempo of the piece.

xiv.

5:10-5:50 Theme C now reverts back to theme B which is also in major. Only the piano
and the snare drum are present now. Theme B repeats three times without a variation

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continuing the steady rhythm. At 5:40 the percussion ceases with a final rattle from the
shakers and the piano sustains a final major chord for the last ten seconds. The song ends
with a medium volume and a fade out to silence.

I giorni: This song loosely resembles a Theme and Variation Form. It introduces several
themes and variations and then repeats all of those a second time, ending on a coda of the last
variation introduced.
i.

0:00-0:23 The music starts by introducing theme A. This theme is a solo piano with a
beat. The melody is conjunct and of medium volume and range. The melody is also very
consonant. It has a polyphonic texture because the left hand is playing a conjunct
counterpoint harmony. The melody is in a major mode.

ii.

0:24-0:34 At this point we are introduced to a variation of theme A. While the

counterpoint remains in the same area on the piano, the same melody is shifted up to a
higher note, but does not change the key. The general contour of theme A and its variation
are ascending.

iii.

0:35-0:46 Here the song returns back to the original theme A. This theme is repeated
exactly as it was when it was introduced.

iv.

0:47- 1:09 Theme B is now introduced to the ear. Here the counterpoint is much more
elaborate and disjunct than in theme A, and the melody shifts as well. Its range of notes
shortens, and becomes dissonant when paired with the counterpoint. The melody provides
the repetition while the counterpoint provides the contrast in the form. The general
contour of the melody is descending. Theme B also surpasses theme A in volume.

v.

1:10- 1:30 The song moves smoothly into theme C. This theme is very flowing because it
is conjunct with little dissonance created by the melody or the counterpoint. The melody
again takes on an elaborate nature in this theme. The counterpoint provides simple filling
out of the chords. Theme C is its own distinct theme due to the melody taking on an
almost completely consonant expression.

vi.

1:31- 2:01 Theme D enters with a quickening pace. The pulse feels faster and the octaves
between the melody and the counterpoint are farther then weve heard before. Both the
melody and the counterpoint have an elaborate and dissonant feeling, and the notes are
disjunct. The volume increases slowly throughout the theme. The tempo continues to
increase until the rhythm feels very quick and then at 2:01 the notes are sustained and
held for seven seconds giving the impression of a false ending. This is an example of
organized sound and silence.

vii.

2:08- 2:31 At 2:08 the music reenters but it is a new theme which we havent heard yet.
Theme E, in opposition to theme D, begins with a slow tempo. The melody and the

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counterpoint are simple and the melody is disjunct. The volume has dropped to a softer
tone, and the range of the notes is quite wide. Theme E repeats once more, beginning at
2:19. This is the shortest of all the themes.
viii.

2:32- 2:55 Theme E leads us back to theme A, however this repetition of theme A feels
muted. The tempo seems to move slowly and somberly with longer pauses between the
notes. The melody and the counterpoint are simpler with the chords having an unfinished
quality. The form leans towards repetition here, and the theme is repeated twice with the
second repetition starting again at 2:45.

ix.

2:55- 3:04 The variation on Theme A begins again and here the fullness of chords reenter
the mix. The melody and the counterpoint feel elaborate and the octaves are explored on
both sides of the piano. The tempo increases here as well.

x.

3:05- 3:17 The original theme A again repeats in its original form, exactly like it does in
the beginning of the song. The tempo continues to increase.

xi.

3:18- 3:39 In the same order as previous, theme B follows theme A, however this time it
is a variation on theme B instead of the original theme. In this variation the counterpoint
is fuller and the form of it varies, while the melody maintains the repetition as it did in
the original theme. The volume begins to grow again throughout this theme.

xii.

3:40- 4:01 Theme C enters again and is repeated exactly. The volume and tempo remain
the same as in the variation on theme B.

xiii.

4:02- 4:32 Theme D quickly follows the previous theme, and once again the range is
large. And as previously heard, theme D once again leads to the same sustained chord at
the end, which falls to silence. However this time the chord is held only for a few
moments before the next theme occurs. And unlike the first time theme D appeared, it
doesnt lead us to theme A, rather it lead back into theme C.

xiv.

4:33- 5:08 Theme C returns with a muted and simplified timbre. The volume has fallen
and is gentle and each note is more sustained. There are longer pauses as the main
melody and counterpoint work together. The counterpoint is simplified as well. The
melody also plays an octave higher than in the original theme. This helps to increase the
range of this theme making it sound new to the listeners ears, despite the fact that this is
the third time it has been heard.

xv.

5:09-5:27 Theme E returns now and we see it garnished for the first time. The melody is
filled out by arpeggios, and is also played higher up, which increases the range. The
tempo also increases and the volume grows as it passes through the theme. This helps to
emphasize the contour of the melody as it ascends. The counterpoint remains the same,
and plays the same series of chords, which helps to give recognition to the form. Theme
E builds until it suddenly pauses from 5:28-5:31.

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xvi.

5:32-5:50 The coda now begins and repeats theme E again, with the counterpoint
becoming much more elaborate and the volume rising ever so slightly as the theme
continues. This is a variation on variation of theme E which we have just heard. The song
ends on a series of upward arpeggios. With these arpeggios the tempo slows and the
volume softens. The last chord is major.

Nuvole bianche: This song most closely follows a Sonata format. However it is much
shorter and the Exposition does not repeat itself. The Recapitulation however, in typical Sonata
format ends with a coda.
i.

0:00- 0:30 The Exposition of the song begins with a solo piano playing a series of four
chords. This series is played twice. The chords are played slowly and softly creating
theme A. The counting is in 4/4. The melody is conjunct, dissonant, and the range is
small. The tempo is slow and soft here, and the melody minor. The contour of the melody
is an arch.

ii.

0:31-0:54 Theme B is now introduced and played twice. This theme is disjunct and
consonant. It is still in minor, the tempo is slow, and the range is only slightly larger than
theme A. The contour of this theme is an inverted arch and the harmony is simple.

iii.

0:55-1:15 A variation on Theme B is now heard. Deeper arpeggios are played with the
left hand, lengthening the range of the song significantly. This also creates more
dissonance as the counterpoint becomes more elaborate. The tempo slowly begins to
increase to a moderate level. The Theme B variation is repeated twice before it bridges us
into the next theme.

iv.

1:16-1:59 Theme C is introduced with a slower tempo. The melody has shifted to a major
mode and is largely conjunct. It is in this theme that the music begins to grow in volume.
At 1:39 the melody shifts up several notes, though it doesnt change key. This creates a
light and airy texture because the range has increased. The harmony also maintains its
elegance throughout this section as it creates a counterpoint. Theme C marks the end of
the exposition and unlike most theme and variation forms, Einaudi chose not to repeat the
exposition.

v.

2:00-2:21 At this point in the song the Development begins. Theme D is introduced
taking fragments of Theme C and varying them. Theme D bridges the song back to a
minor key. It is still largely consonant and the range remains the same. The volume also
recedes though the tempo now increases. The main melody feels smooth and even.

vi.

2:22-2:42 Here the melody shifts switches back and forth between major and minor as it
as it explores theme E. While it never changes from a minor key, there are a number of
major chords created through the counterpoint. The melody creates a great deal of tension
as the range increases. The tempo now increases to a fast pace and the contour of this
melody is descending.

Bartlome 11

vii.

2:43-3:14 The tempo slowly begins to slow down in this section as theme F begins. The
melody is very conjunct and flowing yet it becomes more dissonant as the melody favors
minor near the end. The general contour of the melody is descending, and the volume
slowly drops. There is a pause in the last several seconds, created from a chosen silence.
This marks the end of the development.

viii.

3:15-3:42 Theme A appears again to show that the Recapitulation has begun. Once again
four chords are played somberly and softly. The melody is fully minor with few major
chords. The A theme is played exactly as it was in the Exposition, without a change in
volume, tempo, or the melody.

ix.

3:43-4:28 Theme B once again plays twice through, and then the variation of the theme is
played twice. This section works as a bridge because the tempo slowly increases and the
volume begins to rise again.

x.

4:29-4:49 However after theme B, the song doesnt return to theme C like it has in the
past. Rather it returns to themes from the development by playing theme E. This works
well because both theme B and E have similar ranges and both melodies rely on the
dissonance created through counterpoint.

xi.

4:50-5:20 Theme F then repeats exactly as it has before. At the end of this section
however, there is a long pause for ten seconds. This pause is created as an organized
silence between the music rather than a sustained note falling silent.

xii.

5:21-5:35 A new theme emerges out of the quiet. Theme G is both conjunct and
consonant. The tempo is slow with pauses between the chords. The general contour of the
melody a loose arch. The range has also becomes smaller.

xiii.

5:36-5:58 Here the song ends with a coda that repeats half of theme G. It ends softly and
on a major note. This note is sustained until it fades into silence.

Bartlome 12

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Bartlome 13

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