Name: Jesse Braun

Song Title, Group, and Youtube Link:

Fur Elise by Ludwig van Beethoven:
https://www.youtube.com/watch?v=_mVW8tgGY_w
Section 1: Duple or Triple Meter (or both or something else): explain which
you hear and how/where you can hear it. Locate at least one syncopation
and one instance of dotted rhythms, or state unequivocally that there are
no such instances.
This song is clearly in triple meter. This is given away considering the piece is
written in 3/8 time. It can also be heard in the song throughout part A especially
around 0:20. There is a clear emphasis on the first beat of each measure which
repeats every three beats. The treble and clef portion of the song is strongly playing
out the melody where you can distinctively hear the beat of the song. You are not
able to find it in one particular voice throughout the A and B sections of the work.
At the point around 0:50-1:00 there is evidence of some syncopation. Not only does
the tempo change from very soft into a crescendo and the pace quickens, but there
are many repeated instances of syncopation which start to occur on the first beat of
each measure and variously throughout the time span of 0:50-1:00. At the point of
1:00 there are a few measures consisting of dotted rhythms repeating back and
forth up a scale. There is also instances of syncopation found in the C section of the
piece around 1:35.

Section 2: Major and/or Minor Harmonies: explain which you think you
hear, where in the song, and why. Be sure to clarify if youre labeling the
entire song as major and minor or simply a specific moment. &&Also
Dissonance.
The entire song is Minor because it is in the key of A minor. Although it sounds
major at times, the minor key that is associated with the piece is more sufficient for
the way the song is written. At times throughout the piece there is specific evidence
of the chromatic tones mixed in the melody from time to time such as around the
time stamp of 1:01.
There are many times of dissonance throughout the piece as well. Specifically,
around the time of 1:35 where section C starts there are several dissonant chords in
the treble clef that sound as though the pianist played the wrong notes. This is also
a good area to point out the use of some minor harmonies which can be herd
between the dissonant chords.
Section 3: Conjunct and/or Disjunct melody: locate one or both of these
melodic styles within the song (be specific about where), and explain why
you think youre correct. Address melodic shape as well.

The melody of the piece is mostly disjunct, especially because there is almost no
stepwise melody until the second part of the piece. Throughout the entirety of the
piece, most of the melodic style is disjunct because of the lack of close consecutive
intervals between the notes in the melody. Yes, the melody goes up and down a
scale, but its intervals are always varying from a few notes to an octave or two. An
example of this is seen in the beginning of the song from 0:00 through 0:22. A few
measures that particularly stick out as disjunct are in the time frame of 2:10 where
there are several octave jumps. There are however, some conjunct parts of the
piece such as at times 1:54 through 2:00 where there are many notes played
consecutively up and down a scale with little space between each consecutive note.

Section 4: Homophony and/or Polyphony: locate one or both of these

textures within the song (be specific about where), and explain why you
think youre correct.
This piece is certainly homophonic in that it does not have two or more melodic
lines. The entire piece consists of a main melody with accompanying harmony. An
example can be heard at 1:10 through 1:20. In this example there is only one
melody which is only accompanied and not duplicated or added to. The
accompaniment allows the melody to flow smoothly throughout the piece as well as
transition effortlessly from section to section throughout the piece such as at 1:33
when it goes from a repeated section A to section C. Its texture is simple
throughout the piece which also plays into being homophonic because polyphonic
pieces tend to have a more complicated texture, whereas this piece consists mostly
of the melody with little accompaniment, for example at times 0:45 through 0:50.
Section 5: Other: choose at least one term from the Terminological Starter
and explain where you think you hear it in the song and why. You can also
discuss musical traits not found on the Terminological Starter if you wish.
I will briefly discuss the form and dynamics of the piece. This piece consists of three
separate parts. Part A, or the first part, is like the theme of the song which is
repeated throughout the piece. Part A is found at 0:00 through 0:50. Part B in this
piece gives it some added character with a more happy touch. Part B can be found
at 0:50 through 1:05. Part C provides the piece with a dramatic flair which is
accompanied with a pitch change. Part C can be found at 1:32 through 1:58.
The overall form of the piece is rondo form. This form is played in the order of A B A
C A with A being the repeated melody throughout the piece and also acting as a
theme.
In many ways the dynamics make the piece as beautiful and impactful as it is.
Throughout the piece there are various crescendos where the music seems to
become louder and more vibrant such as at the time stamp of 1:35. This is
accompanied with a decrescendo at the time stamp of 1:50 where the notes
become gradually softer. Although it may seem that the tempo has gone up at the
crescendo and down at the decrescendo, these two dynamic changes have only to

do with the change in loudness or softness of the music being played. The overall
meter stays in 3/8 through the entirety of the piece.