The musical tone of a piece of music is simply how much musical rhythm is in the music.
Most of the time when people are talking about the musical tone of modern classical music, they’re talking about the melodic sense of a song. A melodic sense is important when discussing the rhythmic and tonal aspects. In the case of the song by the same name, “Oh, the Places You’ll Go”, which is famous from the opera “Romeo and Juliet”, the melodic sense is more important because it sets up the musical structure of the opera. The voice also sings along a lot in that song, so the music has a certain energy that it creates. So it creates the impression of a really powerful performance—the first movement especially—because of the singing. The song sounds very much like a song, and you feel when you listen to it that you are listening to something more.
Is this a very common thing for a lot of classical pieces to do? Are there common musical principles to work with?
Very much. The most famous example of this is by Bach, where he’s working with quite a few examples, a whole lot of different techniques for how he’s playing what he calls a “marching-band” piece, the pieces for the First Symphony; the Second and Third. He starts with an idea, he creates two movements based on it that are also based on this basic idea, in a way, with different techniques.
The way to hear this is to listen to Bach’s Ninth movement, where he starts with a kind of marching-band section, an idea. And it’s got an incredibly powerful and powerful rhythm, which is, of course, a tonal quality. So the fact that he’s using this sort of marching-band section to set the music up is very much the way a lot of people listen to music today, but it has an amazing sense of energy, because the idea and the rhythmic structure of the music are so strong, it’s just like having this incredible strength of thought and a strength of will coming through. And so this idea of the music that seems so powerful, if you like, can be actually very, very powerful, really resonating in a way that the people listening can get a sense of and see for themselves. And that’s something that Bach really tried to do quite often, and this is why I think it would be really hard to take a piece that has a lot of energy—so very
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