One Note Samba and Nocturne Op.9 No. 2

One Note Samba and Nocturne Op.9 No. 2

The compositions One Note Samba by Antonio Carlos Jobim, and Chopin’s Nocturne Op.9 No. 2 are western classical that exploit diverse musical elements that include melody, harmony, and rhythm in communicating themes on social issues. The artists equally used form, texture, and timbre concurrently, leading to the recognition for the piece as classical masterpieces. As a result, familiarization with the contents is necessary for understanding the influence of the elements and mode of their integration into the pieces. In this essay, the paper compares and contrasts the musical elements of the two pieces.

Comparing and contrasting One Note Samba and Nocturne Op.9 No. 2

After listening to the compositions, the first element of creativity that one’s conceptualizes is the beat. The piece One Note Samba has a sharper beat developed by the instruments, just as the case of Nocturne Op.9 No. 2. However, the pace of the flow of the beats vary. The pieces genre fits classification as western classical. One note samba develops the highly syncopated melody from the note that defines the composition. An overview of the melody indicates that Chopin Nocturne Op.9 No. 2 has a legaoto melody. The sounds highlight the similarity with the presentation of One Note Samba that relied on the flow as the basis for creativity. The difference of the works is that Nocturne Op.9 No. 2 has 12 quaver beats per bar (Romano). One Note Samba has a descending chordal presentation. Listening keenly to the tunes arouses positive emotions.

The exploration of the creativity of the composers indicates that one note has a smooth flow. The composers stretch the chords from the beginning to the highest post in a descending format. Chopin’s piece does not have a descending chordal but has lengthen chord.

The harmony of the pieces have similarity in the in using rounded binary. The approach to emphasis depends on harmony in One Note Samba. Nocturne Op.9 No. 2 uses slow flow that arouses an emotive feel. The song is has a low pitch. Unlike One Tune Samba, the harmony depicts after the first few seconds. One has to listen for some second to contextualize the harmony of Nocturne Op.9 No. 2. The musical elements in One Note Samba have consonance with diverse aspects of the combination with dissonance. The subsequent element of music for evaluation is the rhythm. One Note Samba has a dominating tone in the initial stages of the pentation. The rhythm is repetitive and depends on the tunes created around the one note that defines the musical piece. The mode of expression explicates the idea in Nocturne Op.9 No. 2. The instruments used tends to project a uniform rhythm in the beginning then vary slightly before repeating the same tune.

One Note Samba has a form that devolves on one note. Listening to the form of Nocturne Op.9 No. 2, one gets the idea that it has a time signature of 12/8. The beats of the pieces vary with the beats for one samba that measure A B C A B’ form. The effects of the binary is not as rounded at the case for Nocturne Op.9 No. 2. The other area of comparison is the texture of the presentation. One Note Samba sounds monophonic because of the minor keys, but the dominant key accords the homophonic form. The effects in Chopin’s piece is rounded. Although the form of Nocturne Op.9 No. 2 sounds as monophonic on the minor keys, the element enhances the exciting feel from the songs.

The texture of One Note Samba and Nocturne Op.9 No. 2 accentuates the flair of the composition. The musicals employ a diverse aspect of each. In One Note Samba, the creation has a fusion of the Nocturne Op.9 No. 2 that expresses the pitch of the song as high. The One Note Samba tends to magnify the teture to blend the lyrics of the composition with the message. Nocturne Op.9 No. 2 uses a texture that magnifies the beats then balances the same with the theme. According to Hurry, Mark, and Mark, the texture influences creativity of classical competition if blended effectively with lyrics. Hence, the reason Chopin used a timbre texture with harmonized song phrases. One Note Samba and Nocturne Op.9 No. 2 timbre sound warm and rich. In One Note Samba, the song has a blend of color that contributes to the richness and brittle feel as the notes repeat. In One Nocturne Op.9 No. 2, the timbre sounds harsh at the middle section but warmer as the songs blends with the beats.

Lastly, One Note Samba and Nocturne Op.9 No. 2 highlights the creativity of Antonio Carlos Jobim and Frédéric Chopin in altering sounds with instrument beats subtly to accord the music the desired feel. The song relays the intended message accurately. The infusion of melody, harmony, rhythm, form, texture, and timbre, together with the message, contributed to the classification of the classical songs as great pieces. After listening to the song, one contextualizes theme that leads to the comprehension of the meaning of the song.