Area Of Study 6 (New Directions) Flashcards
Includes "The Rite Of Spring", "Petals" & "Three Dances" + WL
What is the context of “The Rite Of Spring”?
Who: Igor Stravinsky What: Russian ballet Where: Paris How: Large "Korsakov" stylistic orchestra Why: Ballet Russes When: 1913
Describe the melody of “Introduction”
The Rite Of Spring
Opening bassoon solo, before rising perf 4ths at fig 2
Oboe fifths at fig 5, then high D clarinet after fig 9
Describe the harmony of “Introduction”
The Rite Of Spring
Five pitches in opening bassoon solo
Constant harsh dissonance and polychordal at fig 11
Describe the tonality of “Introduction”
The Rite Of Spring
Tonality asserted by stressing key note
Distinct layers of polyscalarity at fig 6
Describe the rhythm of “Introduction”
The Rite Of Spring
Rubato with no dotted rhythms in opening
Polyrhythm at fig 11, then silence at fig 12
Describe the texture of “Introduction”
The Rite Of Spring
Monophony with polyphony balance in opening
Parallel motion at fig 7, then families at fig 11
Describe the sonority of “Introduction”
The Rite Of Spring
Opening high bassoon solo
Horizontal flutes at fig 6, then harmonics at fig 10
Describe the melody of “Augurs Of Spring”
The Rite Of Spring
Four note ostinato at fig 14, then triplets at fig 15
Conjunct bassoon at fig 19, with diatonic horn at fig 25
Describe the harmony of “Augurs Of Spring”
The Rite Of Spring
Inversion of dom 13th at fig 13, then chromatic at fig 17
Parallel 7th trumpet chords at fig 28
Describe the tonality of “Augurs Of Spring”
The Rite Of Spring
Bitonality at fig 13, then chromatic scales at fig 15
Mix of modal/melodic and minor scales at fig 28
Describe the rhythm of “Augurs Of Spring”
The Rite Of Spring
Ostinati blocks at fig 13, then cross rhythms at fig 15
Silence before fig 22, before syncopation at fig 31
Describe the texture of “Augurs Of Spring”
The Rite Of Spring
Rapid rate of change with false ending at fig 13
Fragments at fig 29, then adding ostinati at fig 30
Describe the sonority of “Augurs Of Spring”
The Rite Of Spring
Eight Augurs chord horns at fig 13
Prominent timpani before fig 22, then alto flute at fig 27
Describe the melody of “Ritual Of Abduction”
The Rite Of Spring
Diatonic woodwind at fig 37
Two notes 5th apart at fig 40 with quavers at fig 43
Describe the harmony of “Ritual Of Abduction”
The Rite Of Spring
Eb7 at fig 37 then dissonant chromatics in 2nds at fig 39
Flattened 7th C in D maj scale
Describe the tonality of “Ritual Of Abduction”
The Rite Of Spring
Mixolydian at fig 37 returns up a semitone at fig 40
Conjunct quaver idea returns 3rd lower at fig 46
Describe the rhythm of “Ritual Of Abduction”
The Rite Of Spring
Compound triple meter at fig 37
Polyrhythmic bass at fig 41, then meter changes at fig 47
Describe the texture of “Ritual Of Abduction”
The Rite Of Spring
Dissonant thick horns 2 notes 5th apart at fig 40
Homorhythms at fig 42, then loud dense chords at fig 47
Describe the sonority of “Ritual Of Abduction”
The Rite Of Spring
Prominent percussion at fig 37, then high gliss at fig 45
Sustained flute trills in final bars
WL: “Jeux” by Claude Debussy
La Mer
Blocks of chords with acciaccatura woodwind
Dotted quavers with double stopped harp
WL: “Infernal Dance” by Igor Stravinsky
Firebird
Counterpoint intro with flattened dominant
Biaphony with extensive use of hemiolas
WL: “Enemy God” by Sergei Prokofiev
Scythian Suite
Obstacle course of tuplets and grace notes
Full orchestra moves sparsely in unison
WL: “I Will Follow” by U2
Boy
Minimalistic guitar ostinato overlaps other sounds
Resonating bells with augmented note values
WL: “Shabby Old Rake Enters” by Bela Bartok
Miraculous Mandarin
Frequent slides on strings and muted brass
Perf 4th drop followed by a rising dim 3rd
