Movement 2

Question 1

2nd movement (1)

Rhythm and contrast

Answer 1

• rhythmic ostinato, structural bass
• contrast; Pedal notes + frequent leaps on melody / Measured bass rhythm + free flowing triplets + tied note rhythms in Vln / Orchestra passages F + solo passages P

-Rhythmic interest in melodic lines through, accentuation and cross phrasing

Question 2

2nd movement (2)

Opening ostinato

Answer 2

-opening ostinato passage;

tonic pedal,

secondary dominant strengthened through IV in bar 1 matched by modulation to dominant,

tension of sus and other dissonance on string beats,

rising stepwise shapes on weak beats matched by wide leaps downwards on strong beats

Question 3

2nd movement (3)

Melody and harmony

Answer 3

• two contrasting melodies
• features of melody and harmony;

Suspensions disguised as solo part weave about the chordal texture

Chromatic chords and substitution borrowed from opposite mode

Question 4

2nd movement (4)

Dissonance

Answer 4

• false relations
• appoggiaturas
• accented passing notes heightened by chromaticism
• resolution of sus on bar 36 achieved through minor 7th leap; false relation

Question 5

2nd movement (5)

First solo

Answer 5

• solo matches opening bars with tonic pedal
• imperfect cadence, 2nd dominant, IV to V

-melody in first bar repeats scalic dissent featuring lombardic

Question 6

2nd movement (6)

Ending

Answer 6

• last 4 bars act as codetta
• rhythmic ostinato repeated in Tonic with upper stings now in higher tessitura

-soloist leaves intricate rhythmic patterns and unusual melody turns glide to distinct scalic patterns in regular triplets