General Flashcards
what bar does section A1 start?
bar 1
What bar does section A2 start?
bar 15
What bar does section B1 start?
bar 23
What bar does section B2 start?
Bar 35
what bar does section a start
52
what is the relationship between the first and second mvt
neapolitan (flattened 6th)
what is the key at the start of the b section
b minor
how does b minor relate to the opening key
minor neapolitan
give features of this work that is typical of neoclassicism
clear cadences (imperfect 29-30), use of octatonic scales (21-22,30), wrong note harmony (42), avoidance of root position chords
how does bar 23 fit into the form of the movement
could be the opening of the b section in ABA structure - return of A in 52 is unusually in dominant
describe harmony in 37-45
series of sequential 6/3 chords (38-45) - incidental augmented chords at 42,44
where is there octatonic writing
21-22, 30, 33-34, 62-64
where does the melody from bar 1 and 2 first reappear
bar 41
how is the repeat of the opening material different to the first time
repeated sequentially in 43-44- bassoon countermelody added in 41-43
discuss Poulenc’s use of scales and modes in this movement
whole work built on Neaplotan relationships (mvt 1 in a major, met 2 in Bb major), modulations to unrelated keys (e minor at bar 17, c major at 41), use of octatonic scale (21-22,30,33-34,62-64), Bb not returned to after bar 10 except for first inversion at bar 41. central section in B =/- but tonality ambiguous because of the lack of root position chords until bar 35
outline the structure of the work
loosely ternary form (a=bar1,b=bar23,a’=41), new melody at 23 in b minor and recall of melody at 41 has sense of tonic, lack of contrast between a+b, end of a section should be tonic V-I which there isnt at 22, recall of a isnt in tonic, return of a at 52 is in f major and is short, more like a coda
comment on features that make this work neoclassical
immediate chromaticism in RH piano (bar1), changing metres at 8, wrong note harmony (41-46), simple structure-arguably in ternary form, use of octatonic scales (bar 21-22,30,33-34,62-64)
comment on use of instruments in this movement
uses full range of each instrument (low b in oboe at figure 5), piano has accompanying role in figure 1, antiphony between wind (bar 12-13), bassoon plays countermelody (bar 41)
what is the tonic key of the movement
Bb major
give one harmonic feature of the opening bars
tonic pedal in LH of piano - immediate chromaticism in RH piano
describe harmony in bar 3
Gb chord, modal harmony
key and cadence in bar 7-8
perfect cadence in f major
key in bar 11
Eb major
key in bar 12
Db major
Key moved to in bar 17
e minor
key and cadence in bar 21-22
imperfect cadence in B +/-
name the melodic feature seen in bars 26-29
diminution
describe the harmony in bar 30
descending dom 7th and augmented 6th chords
where is the neapolitan 6th chord
bar 13
where is the tierce de picardie
35
describe the melody in 41-45
sequential- from opening melody
where is the wrong note harmony in the movement
bar 42
describe the harmony in 45-51
entirely diatonic (45-48), more chromatic (49-51), broken chords in LH piano, increased harmonic rhythm
key at 52
f major
describe the harmony from bar 52-end
tonic pedal in LH piano, static harmony due to pedal, octatonic from 62-64, plagal feel at 59-60
describe the final chord
dissonant major 7th in f minor
