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Music GCSE > Pathétique > Flashcards

Pathétique Flashcards

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1
Q

Intro dynamics

A
  • ‘grave’ played slow and solemn relating to pensive and somber atmosphere
  • large + sudden dynamic changes to mirror intense emotions during romantic era
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2
Q

Intro rhythm

A

Played homorythmic where uses same ‘funeral’ motif

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3
Q

Intro structure

A

It is the intro which would have been highly unusual for the sonata form

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4
Q

Intro melody

A
  • Different notes played up a sequence and chromatic 4th
  • melodic flourishes which is a sequence of rapid played notes as a way of showman’s ship
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5
Q

Intro instrumentation

A

Use of the forte piano

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6
Q

Intro texture

A

Largely homophonic as chords played at same time

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7
Q

Key sig of harmony

A

C minor

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8
Q

Intro chords

A
  • stacks of minor 3rds
  • dim 7 chords which show unstable and can modulate through keys fast (common feature romantic era)
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9
Q

B5 onwards dynamics

A
  • maintains rapid and sudden dynamic changes
  • fermeta into 1st subject for dramatic pause and effect
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10
Q

B5 on rhythm

A

Use of syncopation into the motif but mainly HOMORYTHMIC

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11
Q

B5 on context

A
  • fast and scallic sequences with semi Hemi demi semi qu’avers showing the virtuosic and showmanship
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12
Q

B5 on melody

A
  • conjunct/descending
  • fast with semi Hemi demi semi qu’avers
  • melodic flourishes
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13
Q

B5 on texture

A
  • mainly MDH
  • during chromatic descending sequence, monophonic
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14
Q

B5 on harmony

A
  • key sig to Eb maj
  • use of chromatic harmony which was common feature of romantic era
  • reads treble clef in b9 which creates an interrupted cadence of 5-6 = common feature of romantic
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15
Q

1st subject rhythm

A

Time sig change to 22

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16
Q

1st sub melody

A
  • conjunct with few small leaps
  • rapid ascending sequence = manheim rocket
  • spiky articulation with use of staccato
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17
Q

1st subject bass part

A
  • plays tonic pedalling also known as murky bass which allows to exploit full range of the piano
  • chromatic notes - would expect Eb but in natural in key of C minor - unusual
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18
Q

1st subject melody harmony

A

Starts in C but then goes to Bb and E creating a tritone
- 3 whole tones creates clashing and dissonance

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19
Q

Bar 19

A

Has a perfect cadence of V-I with indication of finished feel
- does also use normal chords showing Beethoven also uses functional harmony = not everything is subverted and some conventional of classical period used

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20
Q

B27

A

Dominant chord of g acts as functional harmony

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21
Q

Transition sequence

A
  • has same motif with changed melody as a classical musical device
  • sequential writing is a reference to classical period to act as transition between 1st and 2nd subject
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22
Q

Transition harmony

A
  • chromatic bass
  • repeated Bb in bass which is dominant to Eb which is the key of 2nd subject
  • acts as dominant preparation to modulate into new key of Eb minor
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23
Q

2nd sub dynamics

A
  • uses ‘sopra’ which is hand crossing
  • uses ‘sotto’ to play quietly under the melody and used so it’s easier
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24
Q

2nd sub rhythm

A

Still in 22

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25
Q

2nd sub melody

A
  • melody is lyrical and legato
  • decoration of melody with acciaccatura and upper mordents
  • use of descending sequence for ‘new theme’
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26
Q

2nd sub harmony

A
  • subverts normal sonata form and unusual as it should go into relative major or dominant)
  • in Eb minor
27
Q

New theme harmony

A

Eb major

28
Q

New theme texture

A
  • 4 part polyphonic texture
  • there is a crescendo when hands play in contrary motion
29
Q

New theme influence

A

Use of Alberti bass which is a common feature of classical period however draws on both eras to subvert

30
Q

Codetta

A

Used to mark the end of the exposition

31
Q

Codetta melody

A
  • conjunct descending sequence
  • use of legato articulation which makes it lyrical which is a feature of romantic period
32
Q

Codetta unusual

A

Use of manheim rocket theme again

33
Q

Codetta harmony

A
  • 2 5 1 = D G C
  • D6maj, G7 (dominant 7th creates perfect cadence for next key) pause on C
  • secondary dominant progression
34
Q

How is development created

A
  • Builds on ideas from exposition but with fragmentation, rhythmic augmentation and modulation to unrelated keys
35
Q

Intro 2 dynamics

A
  • fp similar to intro 1
  • played ‘grave’ shock is slow and also minor key is used
36
Q

Intro 2 rhythm

A

Homorythmic as same rhythm is played on chords

37
Q

Intro 2 context

A
  • repetition in the middle of pièce would be highly unusual
  • subverts typical expectations by utilising techniques from both eras
38
Q

Intro 2 melody

A

Repeats same intro part

39
Q

Intro 2 key sig

A
  • g minor with help of dominant progression
  • however unrelated key which was unusual
40
Q

Intro 2 harmony

A
  • progression into unrelated key was a feature of romantic period
  • use of pivot note of D# which is same as Eb to move from G to E minor
  • was 7th leading note of E minor and would pull closer to tonic note
41
Q

B137 on dynamics

A
  • starts p and crescendo
42
Q

B137 on rhythm

A

Minims to crochet = notes doubled
- rhythmically augmented from motif
- quaver accomp in octaves

43
Q

B137 on melody

A
  • transition and fragments of theme are heard on bass from bar 149
  • melody ascends stepwise before resolving back down
  • manheim rocket heard in bass
44
Q

B167 harmony

A
  • long dominant preparation where dominant of G is played in rapid alternating octaves in bass as a pedal
45
Q

B167 melody

A
  • everything converted to left hand
  • broken arpeggio shape
  • repetition and fragments of manheim
46
Q

End of development

A
  • fast scallop virtuosic descending sequence
  • passage of trills leads to descending quaver pattern
  • monophonic
  • G as secondary dominant prep for key of C minor
47
Q

Récapitulation

A
  • recap of expo and development but in dif keys
48
Q

Recap 1st sub

A
  • key of C minor
  • perfect cadence using functional harmony
  • murky bass
  • manheim rocket however use of E natural creates dissonance and chromatic harmony
49
Q

How does recap 1st sub transition into 2nd

A
  • no transition sequence used as it was uncommon during recap section
  • use of a monophonic descending sequence into 2nd sub
50
Q

Recap 2nd sub melody

A
  • ascending sequence
  • use of ornamentation with acciaccatura and trills and mordents
51
Q

Recap 2nd sub harmony

A
  • Key sig of F minor = SUBDOMINANT
  • where B plays with Sonata form and modulates to unrelated keys as we would expect the topic
52
Q

Recap of new theme

A
  • key change back into tonic of c minor
  • normal Alberti bass and polyphonic texture
  • codetta AND THEN MANHEIM AGAIN
53
Q

Recap transition to coda

A
  • finishes with two fortissimo diminished 7th chords
  • loid and bold with a pause
  • chromatic chords making it dissonant and easier to modulate
  • common feature of romantic period
54
Q

Coda intro

A
  • four bars of intro with silence on first beat which was an unusual idea
55
Q

Coda intro dynamics

A
  • back into grave
  • sudden dynamic changes
56
Q

Coda intro rhythm

A
  • funeral motif
  • homorythmic
57
Q

Coda intro context

A
  • recap but goes back to intro at the end
  • not typical to have two intros = subverting typical sonata form
58
Q

Coda intro harmony

A

Key sig of C minor back into tomicm

59
Q

B299 dynamic

A
  • allegro molto e con brio
  • starts p
60
Q

B299

A
  • 1st subject of manheim
  • with murky bass
61
Q

End

A

Use of cadential 6-4
- which is a common classical progression

62
Q

End harmony

A

V6-4 = decorated 5 chord
I aug
V7 5-3 = g major
I = c minor
END ON PERFECT CADENCE

63
Q

Common features of romantic

A
  • chromatic harmony
  • sudden dynamic changes
  • dim 7th chords
  • modulation to unrelated keys
64
Q

Common features of classical period

A
  • sequences
  • cadential 6-4
  • functional harmony
  • Alberti bass

Music GCSE (7 decks)

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