codetta การใช้

• A tutti codetta brings the first movement exposition to a close.
• A brief codetta is often heard connecting the various statements of the subject and answer.
• The exposition concludes with a strong codetta.
• A triumphant codetta concludes the exposition.
• The next climax calms down with a codetta using Excerpt 3, and the exposition part is closed.
• The codetta, just as the other parts of the exposition, can be used throughout the rest of the fugue.
• Starting at measure 43, the second theme leads to the placid codetta, also in A major, which is based on the initial theme.
• The juxtaposition of calm and vigor continues through the exposition, to the statement of the second theme, and a short codetta leading to the development.
• The first answer must occur as soon after the initial statement of the subject as possible; therefore the first codetta is often extremely short, or not needed.
• The second part is an exact transposition of the codetta of the exposition ( which also features the same thematic superposition ), which leads the whole movement to a calm end.
• One device which helps Tchaikovsky greatly in this regard is a codetta attached to the end of the theme, to which is attached in turn a quasi-cadential or linking extension.
• He even mixed the codetta material with the theme itself in the Andante grazioso variation ( No . 4 in Fitzenhagen's arrangement, No . 5 in Tchaikovsky's original order ).
• The material in the semiquaver codetta ( bar 6 ) of the fugue subject and of the countersubject ( bars 7 9 ) is used and developed extensively throughout BWV 688, sometimes in inverted form.
• A long section for orchestra alone ( a contrast to the near-continuous solo piano in the previous movement ) unrolls in three parts which contain a number of small motifs, a striding, bluesy theme at its central section and the reappearance of the celesta in a codetta.
• Although his self-made technique is not nearly as successful as Janacek's his material does not stand up to so much repetition, and he sometimes falls into empty na飗et?( codetta of first movement and much of the finale ), this refreshingly imaginative work makes one want to hear more recent examples from his long list of compositions.