Aida, an Ethiopian princess, is torn between love of her homeland, family and the man who loves her. Radames, is the man Aida loves.  He is appointed Commander of the Egyptian Army and sent off to fight the Ethiopian invasion. Amneris senses the feelings between Aida and Radames which angers her for she is also in love with Radames. Radames returns to Egypt victorious along with a group of Ethiopian prisoners. Included in the group is Amonasro, Aida's father. Amonasro manipulates Aida into discovering the battle plan of the Egyptian Army from Radames. He is discovered giving the
details to Aida and Amonasro by Amneris and is sentenced to be
buried alive. Aida is an opera in which emotions run wild and you
can probably identify with at least one of the characters.
 

    The melody of Verdi's Aida-Grand March is built on a six measure phrase that repeats and is modulated or changed as the piece developes.  Click on the link below and listen to the theme of the melody.  As you listen, imagine youself actually being in the Egyptian Army marching back from a successful battle.  As you get to the edge of the city (your home), you hear the welcome of the trumpets as they play their call, celebrating the return of the soldiers.  This is the melody of the piece!  While you are listening, pay close attention to the rhythm and melodic line of the music.

Click Here to Listen to the Melody of Verdi's Grand March
 
 
    The melody starts in the key of  E-Flat Major (which is the Tonic) and then modulates or changes to the key of B Major.  Verdi uses "direct modulation" which is a modulation or change to another key with out preparing it.  He changes immediately from one key to another.  After exploring the new key for a while, it does eventually modulate back to the original key of E-Flat Major.  One could consider this as an A B A form.  The form of a piece is the way in which it is organized and set up.  Both of the A sections are in the same key (E-flat Major), while the B section is in another B Major).  The end of the second A section acts as a bridge into the Ballabile which is the next section of the opera.

    There are few accidentals used, however when they are, they are used as either passing or neighboring notes.   These are usually chromatic notes.  (D to D-flat)  When the piece modulates to B Major, accidentals are used to show the new key.  The melody intensifies as the piece developes by adding more instruments to play the melody.  Verdi and other composers use this technique often to build suspence and excitement in the piece.  This technique is called layering.  In the Verdi's Grand March, the trumpets start with the melody and then other instruments are layered on top of them.

    Each main section (ABA) has a form with in it.  As stated before, the melody is built on a six measure phrase.  This six measure phrase is then broken down into the antecedent, (which is the first three meaures) and the consequence (which is the remaining three).  The antecedent asks a question which is immediately answered by the consequence.  It is similar to call and response.

    Thanks to Finale, you can follow the rhythm and notation of the piece as you play it.  As you can see, like the melody, the rhythm repeats every six measures as well.  Click on the link below and follow the score.  There is one part that is different and this is the codetta.  The second notation below shows the "codetta."  This is something that is put at the end of a major phrase or section of a piece.  In this piece, it also has a second purpose which is preparing you to here the melody again.  Click below and listen for the trumpet to here the rhythm and watch the melodic line.  Also listen for the  codetta.  Follow the notation that is printed.
 

Click Here to Listen to the Melody of Verdi's Grand March

                 Melody:

    This is how the melody is formed in Verdi's Aida-Grand March.  After reading this and listening to the examples, try the following questions to see how much you have learned.