October 1 - The Empty Quarter

Rendezvous with Harriet at

Elephant Bar, after the continuance of Theoretical Week 7, featuring  W.A. Mozart's Sonata in C Major, K. 545, opening 4 bars, and the beginning of Compositional Round 2. 








680 to

Diablo; after, paper-grading,


late-afternoon coffee with

Carol and


The evening class proceeds from Monteverdi's L'Orfeo to G.F. Handel's Messiah: Hallelujah, and even beyond a bit to F.J. Haydn's Symphony No. 45 ("Farewell") and 94 ("Surprise"), with more on way for next week...

C Melodic Minor
(Raise 6 and 7 on the way up, using naturals
Re-lower with flats on the way down)
C D Eb F G A B C
C Bb Ab G F Eb D C

Four Movements of an Idealized Symphony, and Typical Forms
I. Sonata-Allegro - A (ab Exposition) B (Development) A' (a'b' Recapitulation)
II. Theme and Variations - A A' A'' A''' ...
III. Minuet and Trio - A (a repeat b repeat) B (c repeat d repeat) A (ab)
IV. Rondo - abaca or abacaba

Three Sylistic Periods, and Characterizations, for
Ludwig van Beethoven (1770 -1827)
Early - Classical
Middle - Typical
Late - Romantic

[8732] F.J. Haydn - Symphony No. 94 ("Surprise"): II
[8756] W.A. Mozart - Violin Concerto No. 5 ("Turkish"): III
[8770] Ludwig van Beethoven - Symphony No. 5: I
[8803] Hector Berlioz - Symphonie Fantastique: V. Dream of a Witches' Sabbath
[8810] Frederic Chopin - Piano Prelude in E Minor
[8813] Richard Wagner - Gotterdammerung: Finale


190th day of summer, high 78;

Late libations with the girls and boys follow, then home, to compose page 42 of At a Medical Deposition and Psalm 102.