is (are) there characteristically repeating annoying/overused cliche motiffs

[visitor]

as in a particular pattern or type of pattern used in music of the common practice period but keeps coming up again and again across various pieces by different composers, of type, or even large segments of time?


similar to this annoying phenomenon of the 'millennial whoop' where that annoying pattern has been used more and more frequently in popular music, I wonder if the the Victorians had a similar musical cliche or something along that lines. examples of such would be most welcome/thanks
*i know there are hallmarks of certain composers, so i'm not so much looking for something that is a key defining trait of one artist or type of music, but rather an overused pattern in music that is not all that great but because it was popular, it 'worked' at the time

 

 

[dcstudio]

The Alberti bass comes to mind.  Pop genre music didn't invent annoying repeated motifs they have always been there.

[visitor]

The Alberti bass comes to mind.  Pop genre music didn't invent annoying repeated motifs they have always been there.

ha ha yes, i sort of thought along both those lines but the alberti bass isn't so much a melodic motiff so much as it is an accompanying or texture tool, not too unlike use of basso continuo in baroque style right? I should have expressed better by saying a melodic fragment maybe there is some ubiquitous little doo dad that I've overlooked. I certainly don't believe pop is unique or groundbreaking in being 'annoying' quite the contrary, knowing pop can borrow is an off shot of past elements, i'm trying to examples by which they are derived or inspired by/from.

I have to suspect given the incredible popularity of opera and the huge amount of literature there (and only a fragment of which are remembered or performed today) that there has to be tons of operatic examples, i'm just not familiar enough w the literature on that side of the pool to effectively look for them.
although my research into opera boufoon /french comedic opera led me to Russian comedic opera (as much as we generally associate the French with loving Opera, the Russians loved/love it more).

This gem of course came up in my search, i'm not sure how i feel about it, but i suspect there is some vocal cliche techniques being used....

which seems to pay homage to to

[Bob]

I guess the millennial whoop has to have the emphasis on the lower note too.  Otherwise it starts sounding the Ur song, even though it still is, but the Ur song is 'emphasis on the upper note' I think.


I was thinking overusing V I in classical music at the end.  Although, really anything that probably could be called "style" too could also be considered a cliche.

Found this...  It's more general but there are some here.  Changing key, that's one.
https://consequenceofsound.net/2014/04/10-unavoidable-music-cliches/


https://en.wikipedia.org/wiki/Cliché

I think part of it is producing the effect of, "Oh, yeah... I've heard that before.  Guess they're doing that again..."  It wouldn't matter what it is, just that it's been done a lot and the viewer/listener has heard/seen that many times before.


 

[Bob]

Top 10 Pop Song Clichés
WatchMojo.com



More oriented in searches....

I was thinking of the throat frying sound woman can do when they sing.  That sounds.... overused if it's done on every starting note. 

[Bob]

Some from movies.

A few music ones toward 7 min in.

[georgey]

I was thinking overusing V I in classical music at the end.

 

I did a quick check on the Beethoven sonatas to see which movements ended with a strict V-I or a V7-I ending.  I’m talking about just 2 block chords at the very end with no extra notes or suspended notes.  Here is a partial list:
Op 2 No. 1 – 1st mvt
Op 2 No. 1 – 2nd mvt
Op 2 No. 1 – 3rd mvt
Op. 2 No. 2 – 3rd mvt
Op. 2 No. 3 – 1st mvt
Op. 2 No. 3 – 4th mvt
Op. 7 – 1st mvt
Op. 7 – 2nd mvt
Op. 10 No. 1– 1st mvt
Op. 10 No. 2– 1st mvt (V – I but only the root note of the chord in octaves)
Op. 10 No. 2– 2nd mvt
Op 13 - 1st movement
Op. 14 No.1– 3rd mvt (V – I but only the root note of the chord in octaves)
Op. 14 No. 2 – 2ndt mvt
Op. 22 – 1st mvt
Op. 22 – 4th mvt
Etc, etc. 

I remember at least one later sonata movement (can’t remember without looking) that ended where Beethoven suddenly and unexpectedly interrupted what he was doing in a pianissimo voice just to pause for a second and then end with a very loud V7-I in his usual 2 block chords as if to thumb his nose at those that think this ending is a cliché.

[Bob]

I have harder time seeing chord progressions as cliché though.

Axis of Awesome - 4 Four Chord Song (with song titles)
random804's channel

Pachelbel Rant
RobPRocks

[chopinlover01]

The Alberti bass comes to mind.  Pop genre music didn't invent annoying repeated motifs they have always been there.

Alberti bass, tremolos, scale runs... agreed.

Also, welcome back DC!

[ted]

Any idea can start its life as inspired and end up hackneyed through overuse. Most improvisers, even famous ones, are particularly susceptible to this. Trouble is, just as many listeners seem to love the cliches as hate them, and music is for enjoyment after all.