Essay - Melodic writing Flashcards

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1
Q

Melodic writing - pieces to talk about

A
  • Stamitz Op 3 No 2
  • Haydn 26
  • Haydn 104
  • Mozart Symphony 40+41
  • Beethoven 3
  • Beethoven 5
  • Beethoven 6
  • Beethoven 9
  • Mendelssohn 4
  • Berlioz Symphonie Fantastique
  • Dvorak 9
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2
Q

Melodic writing - Stamitz Op 3 No 2

A
  • Gallant style influence
  • Melodies moved away from Baroque complexity to simpler and scalic melodies with short phrases - follows simple scalic pattern through majority of 1st mvt
  • Melodies pleasant to ear due to predictability
  • Mannheim features also evident in the melody here e.g. Mannheim sigh (two slurred notes with first one accented).
  • Overall, melody of this early classical work simplistic, built off short phrases and structurally predictable
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3
Q

Melodic writing - Haydn 26

A
  • Haydn Symphony 26 (1st mvt) - simple minor key, syncopated melody based on arpeggio of accompanying chord
  • Haydn 26 1st mvt in ‘Storm and stress’ style - often uses minor tonality and syncopations for unrest
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4
Q

Melodic writing - Mozart Symphony 40+41

A
  • Mozart took slightly contrasting approach than Haydn - with more limited instrumentation, his melodies remained more intricate.
  • E.g. Mozart Symphony 40 in G minor contains lots of short melodic ideas, overall effect is lyrical → Slow legato melody in winds emphasises main melody more → melody has chromatic inflection potentially to make up for interest since harmony is very triadic
  • Mozart’s 41st symphony (his last symphony) last movement → interweaves six melodic themes from throughout work in contrapuntal texture - shows his Baroque influences
  • Chromatic inflections in melody became more common throughout romantic period so can argue that Mozart had influence in melodic writing on future composers
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5
Q

Melodic writing - Haydn 104

A
  • By his final symphonies, melodies became simpler (e.g. Haydn 104). Monothematicism seen across final few works.
  • Final mvt of Haydn 104 in sonata form but S2 is just S1 in the dominant key. Melody is simple and functional (based off D major scale) and very conjunct
  • Regular phrase lengths e.g. S1 is 8 bars antecedent + consequent phrasing
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6
Q

Melodic writing - Beethoven 3

A
  • Beethoven 3rd Symphony → melody to given to a bass clef reading instrument.
  • The piece opens with a highly lyrical arpeggiac theme, showing start of move into romanticism
  • Melody passed around instruments in a quick succession - means a larger range of pitches/timbres being used for melodies (not confined in one instrumental part)
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7
Q

Melodic writing - Beethoven 5

A
  • Beethoven’s 5th Symphony - idea of leitmotif → dramatic opening theme becomes basis of whole symphony through manipulation rather than exact repetition
  • Begins in Cm, ends in C major → represents triumph over adversity → philosophical idea replaces gallant style
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8
Q

Melodic writing - Beethoven 6

A
  • 6th symphony also an example of Beethoven introducing programmatic elements into his work
  • Last movement has simpler melody - F major highly scalic and arpeggiac with long lyrical phrases) → depicts Shepherd’s song of thanksgiving.
  • Contrasts previous movement with disjunct and short phrased minor melody + super high piccolo moment depicts thunderstorm
  • Overall, Beethoven’s melodic writing can be seen as highly developmental time with new concepts being introducts e.g. motifs and melodies depicting images becoming new symphonic standard
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9
Q

Melodic writing - Beethoven 9

A
  • Final mv ‘Ode to Joy’ theme where vocal parts borrow from previous mvs → Standard classical orchestration with added horns and trombones in last two mvs as well as piccolo, contrabassoon, bass drum, triangle, cymbals, choir
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10
Q

Melodic writing - Mendelssohn 4

A

Mendelssohn also used new melodic methods. Mendelssohn’s 4th Symphony → 4th mv has tripleted, tarantella style flute melody (example of programmatic writing as he wanted to depict Italian dances)
* New melodic material in development in mv1
* In the coda of the last movement, Mendelssohn brings back a minor version of the S1 of the mv 1– a common feature of Romantic symphonies.

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11
Q

Melodic writing - Berlioz Symphonie Fantastique

A
  • Composers drew more on idea of motifs. Berlioz coined term ‘idee fixe’ (theme that represents place or person that recurs throughout symphony manipulated for specific purposes).
  • Symphonie Fantastique (Berlioz) → idee fixe first introudced in violins → as new oboe theme enters, idee fixe heard again in counterpoint
  • This concept made melodies have stronger links to each other
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12
Q

Melodic writing - Dvorak 9

A
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