Piano Quartet No.1 (Barry)

Question 1

Form & Structure

Answer 1

A = 1
B = 3
C = 9
D = 3
E = 2
F = 1
G = 1
H = 1

Question 2

Structure Order

Answer 2

A - B1 - C1 - C2 - B2 - C3 - D1 - D2+B3 - E1 - C4 - C5 - E2+D3 - C6 - C7 - F+C8 - C9 - G - H

Question 3

Irish Melodies Used

Answer 3

Sí Beag Sí Mhór
Lord Mayo’s Delight
‘Tis the Last Rose of Summer
Beidh Aonach Amárch

Question 4

Features of Contemporary Music - Tonality

Answer 4

• Abandon the norms of tonality
• Dissonance => Lack of harmony among musical notes
• Atonality => A musical composition with no central tone

Question 5

• Texture

Answer 5

• Polyphonic

Question 6

• Melody

Answer 6

• Wide leaps
• Irregular phrase lengths
• Absence of cadences
• Absence of harmonic structures

Question 7

• Rhythm

Answer 7

• Polyrhythms => Use of two or more contrasting and independent rhythms simultaneously which create a thicker texture

Question 8

• Metre

Answer 8

• Polymetry => Two or more contrasting metres are heard simultaneously (Example: one part may be in 4-4 while another is playing 6-8)

Question 9

• Orchestra

Answer 9

• Introduction of electronic music
• Addition of synthesisers, processing effects and pre-recorded samples.

Question 10

Instruments

Answer 10

• Violin
• Viola
• Cello
• Piano

Question 11

Barry’s Style (Features)

Answer 11

• Complex compositions
• Contrasting textures, tempos & time signatures
• Inspiration from Irish melodies
• Fusion
• Atonal & dissonant melodies
• Canon at uncommon distances & intervals
• Use of compositional techniques, e.g. canon, inversion & retrograde
• Demanding & complex performing techniques
• Creative use of rests/silence

Question 12

Form

Answer 12

Eight pieces of thematic material

Question 13

Canon

Answer 13

When a melody is imitated by one or more parts at a fixed distance and interval.

Question 14

Inversion

Answer 14

Taking a melody & turning it upside down, inverting its melodic shape.

Question 15

Retrograde

Answer 15

Rewriting & performing an original melodic line in reverse.

Question 16

Augmentation

Answer 16

When a composer lengthens the value of the original notes in a melodic theme.

Question 17

Diminution

Answer 17

When a composer shortens the value of the original notes in a melodic theme.

Question 18

Wedging

Answer 18

A composer stretching the melodic intervals of the original melody.

Question 19

Splicing

Answer 19

A composer reducing the interval distance between the notes of the original melody. (Opposite of wedging)

Question 20

Polymetry

Answer 20

Combining two different metres/time signatures simultaneously.

Question 21

Counterpoint

Answer 21

Combining two or more different melodies which are played simultaneously.

Question 22

Telescoping

Answer 22

Taking the first & final note or fragments from several sections in a work & combining them together to create new material.

Question 23

D1

Answer 23

Based on Beadh Anach Amarach
Cello: roughly, detached articulation / drone like pattern
Homophonic
Rhythmically unstable (Polymetry)

Question 24

D2 + B3

Answer 24

Polyphonic
No canon
Inversion
Rhythmically distorted version of B
Drone like

Question 25

E1

Answer 25

Retrograde of D2
4 parts canon in 8ves quaver distance apart
Canon
Minor based
Accents