Conclusions to the pieces

Watts diverges from his straightforward rhythms and chords in the middle of his piece; however he brings it back to those in the last two measures of the piece to conclude it. The first chord is a tonic chord in second inversion which then progresses to a dominant (A major) seventh chord in root position. To conclude the entire piece Watts uses a D major seventh chord in root position, a simplistic ending, however it does get the final consonant ending sound across. Tchaikovsky, being less conventional than Watts does not conclude his piece with a chord of any kind instead, it is concluded with an e in both the treble and bass clefs. Though the methods of getting to the end are quite different, both composers conclude their pieces in a similar way, using the tonic note as a means of finalizing the piece and looking for the consonant, rather than dissonant ending. This kind of ending goes along perfectly with what Watts did with the rest of the piece but for Tchaikovsky this kind of ending is much simpler than the rest of his piece, however it does not sound out of place, rather the opposite, the ending is the kind of conclusion or finale to the piece that an audience would be seeking from Tchaikovsky after his intricate and layered piece. The ending the Watts uses is the ending that makes the most sense for his piece seeing at it is in the tonic key and ending in a seventh chord, which he had many of within his piece.