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music gcse > Main Title/Rebel Blockade Runner by John Williams > Flashcards

Main Title/Rebel Blockade Runner by John Williams Flashcards

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1
Q

list as many melodic features of star wars as you can

A

-arpeggio like
- anacrusis
- melody ideas repeated by different brass instruments
- leitmotif
- ostinato
- lower auxillary figure
- descending bass
- grace notes
- trills
- parallel motion
- semitone steps
- rising perfect 5th, rising 6th, minor 7th leap, falling 4th
- melodically contrasting b section
- legato
-stepwise
- scalic
- countermelody
- contrary motion
- doubling
- repeated sequential figures

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2
Q

list as many instrumentation/articulation features of star wars as you can

A
  • staccato
  • trombones and trumpets
  • tremolando violins
  • timpani roll
  • brass
  • leitmotif on high trumpets
  • lower strings, bassoons and brass
  • snare
  • pizzicato
  • upper woodwind
  • glockenspiel
  • horns
  • piano
  • oboe
  • harp
  • vibraphone
  • celeste
  • flute
  • violas
  • horns
  • glissando
  • piccolo
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3
Q

give an example of staccato in star wars

A
  • b.2 onwards; repeated triplets
  • repeat of main a theme, bar 21
  • link section: b.30-32
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4
Q

where is there free imitation between trombones and trumpets in sw?

A

bar 1-3

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5
Q

give an example of tremolando violins in sw

A

bars 1-3 and onwards

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6
Q

what is free imitation?

A
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7
Q

give an example where brass creates a march-like effect in sw

A

b1-3 combined with steady tempo

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8
Q

how is brass used in b1-3 of sw?

A

imitation: melody ideas repeated by different brass instruments and march-like

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9
Q

give an example of an arpeggio-like melody in sw

A
  • b2-3
  • transition: rapid arpeggio figures b.33-35
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10
Q

give an example of anacrusis in sw

A
  • b1
  • b11
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11
Q

what is a leitmotif

A
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12
Q

give an example of a leitmotif in sw

A

bars 4 -11on high trumpets- ba ba ba BAA BAAA ba ba ba BAAAA BAAA ba ba ba BAAA BAAA ba ba ba baaaaaaaa

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13
Q

describe the function of the lower strings, bassoons and brass in the main A theme of SW

A

play punctuating syncopated block chords

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14
Q

describe the function of the snare in the main A theme of sw

A

emphasises rhythm

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15
Q

describe the function of the upper woodwind and violins in the main a theme of sw

A

play tremolando chords and an inverted tonic pedal

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16
Q

what is a lower auxillary figure

A
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17
Q

give an example of a lower auxillary figure in sw

A

b7

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18
Q

give an example of a descending bass in sw

A

slightly in the main a theme b4-11

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19
Q

give an example of grace notes in sw

A
  • main a theme, b7, percussion, semiquaver grace notes
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20
Q

describe the run in the main a theme of sw

A

demisemiquavers, on violins; floruish builds excitement and brilliance

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21
Q

give an example of parallel motion in sw

A

main a theme, b7 and b10-11

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22
Q

give an example of semitone steps in sw

A

trill in b8 of main a theme

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23
Q

give an example of a rising perfect 5th in sw

A

main a theme, bar 4, Bb to F (inversion of a 4th; quartal harmony)

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24
Q

give an example of a minor 7th leap in sw

A

b5-6 main a theme c to d

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25
Q

give an example of a falling 4th in sw

A
  • a theme: b5 and 6, d to f
  • b section: bar 13 and 15
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26
Q

which instruments play the melodically contrasting b section in sw

A

all strings except double basses, so it is doubled across 3 octaves

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27
Q

describe the function of the glockenspiel in the contrasting b section

A

picks out important notes

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28
Q

describe the function of the horns, piano left hand, and oboe, in the contrasting b section in sw

A

play accompanying block chords

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29
Q

describe the function of the piano right hand, harp, and flute in the contrasting b section of sw

A

reinforce the harmony using triplet figures

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30
Q

describe the melody of the b section of star wars

A
  • a 4 bar idea which is repeated and slightly altered on the second playing
  • more stepwise and more legato than a
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31
Q

give an example of a rising 6th in sw

A

b section: bar 12

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32
Q

give an example of a scalic melody in sw

A
  • b section: bar 18, Bb minor melodic scale
  • repeat
33
Q

give an example of contrary motion in sw

A

b section: bar 18, Bb minor melodic scale

34
Q

give an example of a counter melody in sw

A

in brass, in b section bar 15 onwardsish
- repeat of main a theme has ‘rushing’ upwards scale-like passages in woodwind

35
Q

give an example of doubling in sw

A
  • melody in b section doubled across 3 octaves on strings
  • repeat of main a theme doubled across 3 octaves in violins, violas, cellos, trumpets, horns
36
Q

give an example of a harp glissando in sw

A
  • repeat of main a theme, bar 29, to link to next section
37
Q

give an example of a repeated sequential figure in sw

A

link section: rapidly ascending, in strings bassoons and flutes, bar 31-32

38
Q

give an example of when the timpani is used in sw

A
  • link section, bar 32: timpani roll
  • spaceship appears: bar 42-43 hammers out ominous rhythm
39
Q

give an example of a piccolo melody in sw

A

star filled sky section: bar 36-39

40
Q

give an example of when the vibraphone and celeste are used in sw

A

star filled sky section: bar 36-41, accompanying the piccolo melody

41
Q

give an example of ostinato from sw

A
  • star filled sky section: harp bars 46-41
  • battle continues and inside rebel craft: strings/lower brass + woodwind play ostinato figure on C bars 51-60
42
Q

describe the strings melody in the appearance of the planets section

A

scurrying upwards figures build tension, bars 39-41

43
Q

describe the function of the woodwind and brass in the transition section

A

sustain strange unstable harmonies bars 33-35

44
Q

describe the function of the bass instruments in the appearance of the spaceship section

A

play low c pedal ff from bars 42-43

45
Q

describe the overall orchestration of sw

A
  • full symphony orchestra with no electronic effects or synths; unusual but means it wont be outdates (timeless, recalls old-school heroes)
  • has traditional symphonic/romantic treatment ie doubling of parts
46
Q

list as many features of the harmony and tonality of sw as you can

A
  • tonic notes
  • inverted tonic pedal
  • 7th intervals
  • quartal harmony
  • Bb major
  • non-diatonic chords
  • unconventional cadences
  • block chords
  • Bb minor melodic scale
  • strange and unstable harmonies
  • pedal
  • augmented chords
  • arpeggios
  • mixing of C major and C minor
  • chromatic
  • atonal
  • 2 chordal figures
  • dissonance
  • cluster chords
  • tritones
  • triads
  • bitonality
  • minor 3rd, perfect 4th
47
Q

list as many textural/structural features of sw as you can

A
  • free imitation
  • regular 4 bar phrases creating an AABA shape
  • contrary motion
  • orchestral textures
  • lighter texture
  • accompaniment
  • thicker texture
48
Q

list as many features of the tempo, rhythm, metre and dynamic of sw as you can

A
  • rapid repeated triplets
  • quadruple time
  • steady tempo
  • fortissimo
  • triplet
  • punctuating syncopated chords
  • semiquaver lower auxillary figure on alternate beats
  • demisemiquaver run
  • contrasting minims and triplet quavers
  • mezzo forte
  • rhythmic unison
  • ritardando
  • syncopation
  • triplet semiquavers
  • crescendo
    -pianissimo
  • homorhythm
  • pause
  • 3/4 triple time
    fast tempo - 160 bpm
  • poco rall.
49
Q

describe the overall texture of sw

A

few use of solo timbres and lighter textures; mostly thickly scored

50
Q

give an example of triplets in sw

A
  • introduction: rapid repeated staccato triplet tonic notes, bar 1
  • introduction: arpeggio-like triplet figures, bar 2-3
  • main a theme: contrasting minims and triplet quavers eg bar 4-5, create tension and excitement
  • contrasting b section: reinforce harmony in piano RH, harp, flute, clarinet
  • link: triplet semiquavers, bar 30-31
51
Q

describe the tempo of the introduction, bar 1-3, sw

A
  • steady tempo
  • poco rall before a section
52
Q

describe the metre of the introduction, bar 1-3, sw

A

quadruple time

53
Q

describe the dynamics of the introduction, bar 1-3, sw

A

fortissimo

54
Q

describe the tonality of the introduction, bar 1-3, sw

A

Bb major

55
Q

describe the harmony of the introduction, bar 1-3, sw

A
  • repeated tonic notes
  • inverted tonic pedal on trombones and trumpets
  • 7th intervals
  • quartal harmony
  • mostly F, Bb, Eb, Ab used in the harmonisation
56
Q

describe the dynamics of the Main A theme, bar 4-11, sw

A
  • fortissimo
57
Q

describe the rhythm of the Main A theme, bar 4-11, sw

A
  • punctuating syncopated block chords in brass/lower strings/bassoons eg. b.4-6
  • rhythm emphasised by snare eg.b.7
  • inverted tonic pedal varied by semiquaver lower auxillary figure on alternate beats b.7
  • demisemiquaver violin run b.7
  • contrasting minims and triplet quavers eg b.4-5
  • rhythmic feels supports strong quadruple pulse
58
Q

describe the structure of the Main A theme, bar 4-11, sw

A
59
Q

describe the harmony of the Main A theme, bar 4-11, sw

A
  • upper woodwind and violins play tremolando chords and inverted tonic pedal eg. b.6
  • non-diatonic chord with unconventional cadence
  • militaristic low pedal rhythms eg. b. 4-6
  • mostly diatonic
  • not many perfect cadences; unconventional
60
Q

describe the harmony of the contrasting B Section, bar 11-20, sw

A
  • accompanying block chords in horns, piano LH and oboe
  • harmony reinforced by triplet figures in piano RH, harp, flute, and clarinet
  • non-diatonic chord Db major rises a 3rd (tertiary relationship) to F major b.15
  • dominant pedal in bass instruments eg b12-13
61
Q

describe the rhythm of the contrasting B Section, bar 11-20, sw

A
  • rhythmic unison bar 18
62
Q

describe the tempo of the contrasting B Section, bar 11-20, sw

A
  • ritardando at end, bar 20
63
Q

describe the dynamics of the contrasting B Section, bar 11-20, sw

A

mezzo forte
fortissimo bar 18
crescendo bar 17

64
Q

describe the rhythm of the link section, bar 30-32, sw

A

triplet semiquaver rhythm

65
Q

describe the harmony of the transition Section, bar 33-35, sw

A
  • strange unstable harmonies sustained by woodwind and brass
  • F minor major 7th with a D in the bass making it a D half diminished 9th bar 33: augmented and diminished chords
  • pedal b.33-35
  • less statements of real melodic interest, more harmony, orchestral textures, and rhythms
66
Q

describe the tonality of the transition Section, bar 33-35, sw

A

atonal

67
Q

describe the rhythm of the transition Section, bar 33-35, sw

A
  • rapid arpeggio figures in strings
  • rhythmic feel changes to a less obvious pulse
68
Q

describe the harmony of the star-filled sky Section, bar 36-38, sw

A
  • chords and arpeggios in woodwind, vibraphone, harp, celeste and violin accompany the piccolo
69
Q

describe the tonality of the star-filled sky Section, bar 36-38, sw

A
  • modulates to Cmaj with added Ab
  • C majore chords inflected by notes from C minor like Ab and Bb make it rich and vibrant
70
Q

describe the texture of the star-filled sky Section, bar 36-38, sw

A

lighter

71
Q

describe the dynamics of the star-filled sky Section, bar 36-38, sw

A

pianissimo at first

72
Q

describe the harmony of the appearance of planets section, bar 39-41, sw

A
  • block chords build up in trombones and horns
  • highly chromatic
73
Q

describe the tonality of the appearance of planets section, bar 39-41, sw

A

strings and brass in different keys; atonality creates uncertainty and contrasts clearly tonal main theme

74
Q

describe the harmony of the appearance of the spaceship section, bar 42-43, sw

A
  • low c pedal
  • 2 different chordal figures represent imperial forces
75
Q

describe the harmony of the appearance of the larger spaceship in pursuit section, bar 44-50, sw

A
  • dissonant chords (C and Db, F and G)
  • closely spaced cluster chords eg b 45
  • tritones (augmented 4th / diminished 5th) of G and Db
  • c pedal
76
Q

describe the harmony of the ending section, bar 51-60, sw

A
  • dramatic triads on brass and upper woodwind
  • sustained low c fades in
77
Q

describe the tonality of the ending section, bar 51-60, sw

A

bitonal - Db major and Fb (E) major chords over C minor pedal

78
Q

describe the tempo of the ending section, bar 51-60, sw

A

fast tempo - 160 bpm

79
Q

describe the rhythm and metre of the appearance of the larger spaceship in pursuit section, bar 44-50, sw

A
  • ritardando bar 47-50
  • fermata bar 50
  • 3/4 triple time
  • homorhythmic - mixes quavers, triplet quavers, crotchets and rests

music gcse (8 decks)

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