A level Music Revision - Stravinsky

Question 1

Melody

Answer 1

Lithuanian folk song
Ostinato
Fragmentary and repetative
Repeated notes, chromatacism
Diatonic, Accaciatura
Ornaments
Motifs

Question 2

Harmony

Answer 2

Dissonant
Bitonal (Eb7, Fb major)
Chromatic parts (scales)
Atonal
Modal
Aeolian

Question 3

Rhythm + Metre

Answer 3

Free rhythm (Intro)
Triplets, Quintuplets
Polyrhythm
Forward two against three cross rhythms
Forward against three cross rhythms
Time signature changes
Unusual time signature changes
Syncopation

Question 4

Structure

Answer 4

Intro:
The introduction can be interpreted as a musical representation of the
gradual awakening of the earth after the long Russian winter.
 There are a number of melodic ideas. First the meandering bassoon solo melody, then the cor anglais idea at figure 2 with its distinctive rising
perfect fourth. Next the oboe has a distinctive phrase with rising fifths at figure 5.
All the time the texture gradually increases from the original monophonic beginning to the chaotic multi-part polyphony that gradually emerges. Numerous short ostinato figures are combined.
A new piercing, high-pitched idea is introduced on the clarinet in D shortly after figure 9. Its first four notes dominate the texture and the music builds to a climax.
At figure 12 all suddenly stops and we are left with the solo bassoon
playing the opening melody unaccompanied. Briefly the next movement is anticipated as we hear the four-note ostinato theme in pizzicato violins.

AdP:
The famous bitonal stamping chords of the beginning of the section are reinforced by the eight horns, producing randomised syncopation.
The four-note ostinato theme begins in the cor anglais at figure 14 and continues sporadically for much of the whole section. See the notes on harmony and tonality for a discussion of the chords used.
Fragments of melody are heard in the solo trumpet then the first violins, with three against two cross-rhythm and descending chromatic scalic figures. Repeated note figures then follow in the brass with rising and falling chromatic scales in the woodwind (figure 17).
At figure 18 the stamping chords return, then a new conjunct, diatonic melodic idea (theme 1) starts in the bassoons at figure 19 beginning with repeated notes – accented on the off-beats. This develops into a rising and
falling scale which is echoed in the solo trombone at figure 20. This is all brought to a sudden, brutal stop just before figure 22, with fortissimo
dissonant chords and prominent timpani and bass drum.
At figure 22 the cor anglais ostinato resumes and at figure 25 is the main melody of the section (theme 2) – a simple diatonic folk tune in the solo horn, answered more flamboyantly by the flute.
The triplet repeated note idea (from figure 15) returns at figure 26, before the alto flute takes up theme 2 (figure 27), while the ostinato
accompaniment continues.
More instruments join the texture as we move towards another climax. The new tune continues to be repeated as a further melodic idea is introduced in the trumpets, shortly after figure 28 (theme 3). This starts with four repeated crotchets and is entirely conjunct. Two pairs of trumpets play this theme, both in parallel thirds. The four trumpets together produce parallel seventh chords in second inversion.
There is a short-lived quieter section as new ostinato figures begin at figure 30 and we move gradually towards the fortissimo tutti climax at the end of the section.

JdR:
The music continues without a break. As trumpets hold a loud chord of E♭7 (the notes of the previous cor anglais ostinato), there is a new presto tempo and a compound triple time signature (9/8) with a new diatonic melody in mixolydian mode in the woodwind. Notice the flattened seventh C natural in the D major scale. The percussion parts are prominent here. Dissonant chromatic scales in consecutive seconds are heard from figure 39.
An important new horn figure is introduced at figure 40. It is built entirely from two notes a fifth apart and sounds against a dissonant
accompaniment which includes an outline of the notes of the original cor anglais ostinato. The mixolydian idea returns now up a semitone.
At figure 41 there is a polyrhythmic effect as the bass instruments play in groups of 4+5, while the upper strings play in straight compound triple 9/8.
A gradual crescendo begins at figure 42. There is a tutti fortissimo at figure 43 in a variety of constantly changing metres, as a new conjunct
homorhythmic quaver idea is introduced.
The horn call returns at figure 44. Loud dissonant chords interrupt at figure 45, helped by an upbeat glissando and grace notes, as well as extremes in tessitura.
At figure 46 the quaver idea from the beginning of the section returns, now a third lower than at its first occurrence.
Again loud chords punctuate the texture and the section ends with
sustained trills on the flutes.

Question 5

Sonority

Question 6

Texture

Answer 6

Polyphony
Monophonic (Intro)
Two-part texture in a duet
Four-part texture
Homophonic
Mel-dom-hom
Multiple ostinato, countermelody
Homorhythmic

Question 7

Tonality

Answer 7

Dissonant
Bitonal (Eb7, Fb major chords)
Chromatic parts (scales)
Atonal
Modal
Aeolian