A Study of Four Solo Works for Tuba Page: 17
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17
piano enters into a two-voiced counterpoint again. This
type of piano part is contrasted with a chordal piano part
when the middle section of this movement begins in measure
40, The treatment is similar to that given the similar
melody of the first movement. (See Figure 1, page 4, and
Figure 2, page 5.) When three or more pitches form the
chords in the piano they are usually built on fourths or
fifths (inverted fourths).
The movement ends with the slower melody being harmo-
nized with very soft chords which do not progress with the
rapidity of the earlier chordal piano part.
1OVEDIENT III
Structure: Five-part Rondo Form
Measures
1 - 101 A
102 - 136 B
137 - 247 A
248 - 265 B
266 - 321 A
The principal melody of the last movement is one of the
most etude-like melodies in the literature of the tuba.
(See Figure 12.)
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Westby, Donald Lloyd. A Study of Four Solo Works for Tuba, thesis, August 1967; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc663143/m1/23/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .