继续奏鸣曲式，主题和变奏。
这次请来了一位artist 做客，Kensho Watanabe，看出来教授很喜欢这个勤奋的小哥哥。
- Introduction
回顾上节课提到的，流行音乐中的 verse and chorus。
basically, you have the same material; you have the same musical material coming back again and again and again. With the chorus we actually have the same text coming back again and again and again. But with the verses although the music is the same, the text keeps changing each time. We get new strophes — or new verses — of text. So keep that in mind: verse, chorus, verse, chorus. Sometimes this can start with the chorus. Sometimes there’s a harmonic change in here that we would call the bridge, but essentially it’s the repetition of the same material over and over again in terms of the music — but in terms of the text, you get new text each time for the verses.
Parts of the Sonata-Allegro Form
奏鸣曲式形成于18世纪，it’s something put together in some measure by Joseph Haydn and then passed on to his good friend, Wolfgang Amadeus Mozart.【由海顿传给他的忘年交Mozart】
因为后面教授计划安排学生们去听一场音乐会。第一个作品就是Mozart的，第一乐章便是奏鸣曲式，所以就继续讲奏鸣曲式。
【听音乐会之前，搞懂这些很有必要啊，不然真的是暴殄天物，而且大概率会听睡着了……】
继续上一个lecture，这里介绍了奏鸣曲的4个function types。
thematic
开头presenting a theme，比如 Beethoven’s Fifth Symphony 开头，four-note motive后，呈现一个主题
transitional
从主题A 到主题 B，需要一个过渡。transition
developmental
对应着发展部
cadential
结束部。
where the composer will just throw on a lot of heavy, simple harmonic motion to slow the music down psychologically.
Distinguishing Functional Types within the Sonata-Allegro
嗯，现学现用。在奏鸣曲中，区分四个functional types。
一段Mozart的pieces。
【这段值得反复听。】
Theme and Variations
主题和变奏。
主题一直在，只是有些变化而已。【归来仍是少年，哈哈】
we will get that theme, get that theme again with something changed. Then we will get that material again with something changed. And again with something changed……
教授给了一个隐喻来解释主题和变奏这种曲式。
类似铁路火车上的一系列棚车之类的东西，大小大致相同，但是每辆棚车的外观都会有些许不同。
一个主题越简单，就越有可能应用于主题和变奏曲式，也许是因为它使得作曲家拥有更多自由发挥的空间去进行变奏。
the simpler the theme, the more likely that theme is to become the basis of a set of theme and variations.Maybe it gives the composer more freedom to pursue variation.
来听 Beethoven’s “God Save the King” 和 耶鲁自家的毕业生Charles Ives的作品Variations on America。
随后，练习 Mozart的小星星变奏曲。
赏析：
in the first variation, Mozart is changing the theme. he’s sort of changing the theme by making the notes go quicker.
in the second variation, he is changing the context.
And so on.
in the final variation, He’s just ornamenting a major triad so it’s a good — more cadential stuff — sort of very simple material at the end.
Examining Theme and Variations in Corelli’s La Folia
邀请Kensho 一起合奏一曲。
Kensho Watanabe，the concert master of the YSO. also one of the conductors of the Berkeley Chamber Orchestra, 三岁开始拉小提琴，同时对绝对音高非常敏感【has a very keen sense of absolute pitch】，人群中万里挑一。【One person in ten thousand has this particular gift, statistically.】
一段小提琴和钢琴的合奏， lovely。
教授和Kensho 合奏的是 Corelli 的 La Folia, Violin Sonata Op. 5 No. 12 in D Minor。
Corelli：
是巴洛克时期最有影响力的意大利小提琴家和作曲家，他几乎只为弦乐器创作。在器乐领域里，占有很重要的地位，音乐史上人称“现代小提琴技巧创建者”及“大协奏曲之父”。
La Folia:
西班牙语，福利亚舞曲，一般以基础和弦进行上以变奏曲形式演奏。
共变奏13次。印象深刻的是教授让 Kensho 拉了一段用四指才能拉出来的和弦，说了一句：
When he does it, you think it’s very simple, right, easy to do. It takes years to be able to do that.
【真正台上一分钟，台下十年功，敬佩】