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Music? > Piano Trio in G minor, Op 17 mvt 1 > Flashcards

Piano Trio in G minor, Op 17 mvt 1 Flashcards

Schumann

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1
Q

What is the key of this piece

A

G minor

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2
Q

What is so significant about doing this piece in the key of G

A

It is Mozarts favourite key to convey sadness and tragedy.

CONTEXT: Clara was experiencing lots of turmoil in her life (husband becoming crazy…)
- she creates a cathartic response to biographical circumstances

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3
Q

What is the structure of this piece

A

Sonata form

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4
Q

What is so significant about the structure of this piece

A

It had no intro or coda

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5
Q

Name the sections in this sonata

A

Expo
Develop
Recap
“Coda”

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6
Q

AO4 point regarding the structure

A

This structure was commonly used in the classical period and bridged into the romantic period.
It became a fundamental structure for the first movements of chamber structures and symphonies

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7
Q

Wider listening for sonata form

A

“Funeral March” (I.e. Piano sonata in Eb major)
by Haydn

Piano sonata n. 3 in Bb major
By Mozart
WHICH ALSO HAPPENS TO BE IN THE RELATIVE MAJOR KEY TO CLARA’S SONATA

“Appasionata” (Piano sonata n. 23 in F minor Op. 57) by Beethoven

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8
Q

How many 1 subjects are heard in this piece

A

1a, b, c, d

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9
Q

What are the lengths of the 1st subject like

A

Irregular phrases in length

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10
Q

The first note of 1b is played …. To 1a

A

Octave lower

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11
Q

The interval between the 1st and 2nd note of 1a is

A

A perfect 5th (played downwards)

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12
Q

What is the AO4 point for the irregular phrases of the subjects

A

It produces unease and a polyphonic texture.

Which is commonly heard in fugues - REMEMBER THAT CLARA IS WRITING EARLY ROMANTIC / LATE CLASSICAL PERIOD

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13
Q

Give a wider listening for irregular phrase lengths

A

Kate Bush : “And dream of sheep”

Bach : “Toccata and Fugue in D minor”

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14
Q

Wider listening for G minor

A

Mozart : Piano quintet n. 4

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15
Q

What is the piano accompaniment doing in the intro

A

Plays off beat causing rocking quavers

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16
Q

AO4 point for the rocking quavers

A

Serene, lullaby like quality obtained

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17
Q

Wider listening for rocking quavers in piano

A

Chopin : “Berecuese in Db major Op. 57”

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18
Q

What does Berecuese translate to in French

A

Lullaby

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19
Q

When was Berecuese composed and why might this be significant

A

1844

2 years before Schumann composed this sonata - might have been influenced

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20
Q

In terms of texture there are brief moments of

A

Monophony

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21
Q

Where is the monophony heard (instruments)

A

In the violin, descending scalically. Leads into the chromatic descent played in the LH piano

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22
Q

In bar 5 when 1b is heard, what happens in terms of harmony

A

There are constant passing modulations between Diminished 7ths and Dominant 7ths.

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23
Q

AO4 for Dim and Dom 7ths

A

Beethoven influenced her

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24
Q

Wider listening for Dim Dom 7ths

A

Beethoven : Piano sonata n23 in F minor Op 57

(“Appadsionata”)

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25
Q

What rhythms are heard in the melody

A

Dotted rhythms

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26
Q

What is the importance of dotted rhythms

A

Gives an upbeat sense which lightens up the melody

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27
Q

Wider listening for dotted quavers

A

Mendelssohn : piano trio n.1, D minor Op 49, mvt 1

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28
Q

In Mendelssohn : piano trio n.1, D minor Op 49, mvt 1
Describe

A

Creates dramatic contrasts between sections, alternating between stormy, passionate outbursts and more lyrical, reflective episodes

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29
Q

This sonata is harmonised predominantly with

A

Primary chords

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30
Q

Wider listening for pieces that use primary chords

A

Mozart: “Sonata Facile”
(Piano sonata n. 16 in C major K 545)

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31
Q

What is the mood of this piece in terms of the primary chords it uses

Mozart: “Sonata Facile”
(Piano sonata n. 16 in C major K 545)

A

The primary chords reinforce the graceful and balanced nature of the composition.
It uses functional harmony, and an Alberti base

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32
Q

3 types of sequences heard in this piece

A
  • Rising
  • Descending sequences of 3rds (Eb C A). i.e. Triadic
  • Conjunct descent accompanying the chromatic descent in LH
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33
Q

Which piece also has sequences

A

Beethoven : “Archduke Trio”
(Piano Trio in Bb major Op. 97)

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34
Q

What is important to note in this piece in terms of sequences

Beethoven : “Archduke Trio”
(Piano Trio in Bb major Op. 97)

A

Musical motifs heard throughout but sometimes repeated at different pitches (alongside the use of counterpoint) creates a more expressive melody

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35
Q

In b.23 (when Ic is heard), what is the texture like

A

Homorhythmic

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36
Q

How is 1c introduced in terms of harmony, performance technique, dynamics

A

Sf / ff
Cadential 6 4
Double stopping in the violin

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37
Q

The double stopping (1c) is followed by what performance technique

A

Legato playing

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38
Q

AO4 for homorhythmic texture in 1c

A

March like feel - Distress
Unexpected interruption

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39
Q

Wider listening for homorhythmic, sharp, staccato playing

A

Brahms : Symphony n1 Cm, Op 68, Mvt. 1

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40
Q

What is the texture like in
Brahms : Symphony n1 Cm, Op 68, Mvt. 1
And give AO4 point

A

Occasional sections of homorhythm between families to propel the music forwards.
Sense of urgency
Climatic ending which gives resolution and a sense of triumph

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41
Q

Occasional chords are

A

Added 6th, 7th, 9th

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42
Q
A
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43
Q

What period are added chords typical of

A

Romantic period

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44
Q

Wider listening for added chords

A

Liszt : “Dream of love”

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45
Q

How are added chords used in “Dream of Love”

A

To portray the yearning for love and create intensity

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46
Q

In b. 30 we have….which causes a cadence

A

Chromatic alteration

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47
Q

In b. 30, where the chromatic alteration is used, what cadence is played and which key are we now in

A

Interrupted cadence -> V7-iii

Bb major (relative major)

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48
Q

There are…in the RH of the piano during two consecutive perfect cadences towards b. 31 (rhythm)

A

Quaver runs

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49
Q

What are the quaver runs musical seeds of

A

Beethoven’s 5th symphony

50
Q

Harmony

A

Pedals

51
Q

2 types of pedals used frequently

A

Dominant
Subdominant

52
Q

When does the dominant pedal occur

A

In the violin and is then taken over by the piano

53
Q

When do subdominant pedals occur (2 examples)

A

It is played on an Eb and ends the harmonic sequence of Bb, C, D. (Played in the LH)

During the heterophonic section. The subdominant pedal resolves chromatically upwards to a secondary dominant leading to a dominant pedal on F

54
Q

What are pedals used for

A

Build the tension at the end of the exposition

Allows for further exploration of modulations

55
Q

Wider listening pedals

A

Mozart : Piano sonata n.8 in A minor (Allegro Maestoso)

56
Q

Mozart : Piano sonata n.8 in A minor (Allegro Maestoso)

(Pedal notes)

A

The pedal notes are played as quavers to produce urgency.

Evokes a sense of melancholy and intensifies the pathos and suspense in his sonata.

57
Q

What texture is heard (that is usually uncommon)

A

Heterophonic texture

58
Q

What is produced as a result of the 2 bar heterophony

A

Off beat rhythms

59
Q

Wider listening for heterophonic texture

A

Stravinsky : “Rite of spring”

60
Q

What does “Rite of Spring” explore in terms of texture

A

Folk melodies

61
Q

What is unusual about when the 2nd subject is being played

A

2nd subject starts on the 2nd beat of the bar

62
Q

What occurs between instruments

A

Imitation

63
Q

Give 2 examples of when imitation is heard between the violin and cello

A

When piano is playing block chords, phrasing of violin is syncopated

Brief imitation accompanied by short harmonic sequences in the piano are used to introduce the internal codetta

64
Q

Give 2 examples of when their is imitation between piano and violin

A

Linked between a perfect cadence

And when there is further imitation of the musical idea 1st sounded between b. 23 - 24. (Now, rhythmically developed)

65
Q

AO4 point about imitation

A

Disrupts the lyrical melody of the first subject before the modulation to Bb major

66
Q

Wider listening for imitation

A

Mozart : Piano trio n.2 in G major (Allegro)

67
Q

In terms of imitation

Mozart : Piano trio n.2 in G major (Allegro)

A

Evokes a feeling of delight and light-heartedness
Elegance, playfulness, camaraderie and dialogue

68
Q

Wider listening for internal codetta

A

Beethoven’s piano sonata

69
Q

The RH of the piano plays shifts of 3rds. AO4…

A

Common in early romantic period. Mendelssohn and Chopin regularly used this technique

70
Q

In b. 49 something important happens in terms of harmony

A

Neapolitan chord is heard

F to Ab (degree of home key in G min)

71
Q

Wider listening for Neapolitan chord

A

Chopin : Nocturne in Bb

72
Q

What does the Neapolitan chord avoid in Chopin’s nocturn in Bb

A

Adds tension and chromaticism.

Moment of departure from the expected progression, adding to the unexpected atmosphere

73
Q

Something happens in terms of melodies between the violin and cello (whilst played at pp)

Towards the end of the exposition

A

Countermelody outlines diminished 7th arpeggio

74
Q

How does Clara return to G minor at the start of the repeat of the exposition

A

With a 6 bar modulation

75
Q

What type of suspensions are used

A

4-3

Double simultaneous suspensions
9-8, 7-6

76
Q

Why is a 4-3 suspension used (AO4)

A

To link 1(a) to 1(b), the second time it is heard

77
Q

Wider listening suspensions

A

Brahms : Piano sonata n.3 in F minor

78
Q

Suspensions in
Brahms : Piano sonata n.3 in F minor

A

Adds intensity
Mirrors Brahm’s struggles and his passions in life. Creates powerful climaxes that convey a sense of emotional turbulence.

Also, melancholy produced

79
Q

The exposition is repeated. What is the AO4 point for this

A

Common of the romantic period and sonata forms

80
Q

Wider listening for repeated exposition

A

Haydn : “London”
(Symphony n. 104 in D major Adagio - Allegro)

81
Q

Between the LH of the piano and the violin something happens in terms of harmony / notes

A

Descending chromatic lines

82
Q

Harmony (chords)

A

Diminished

83
Q

Give an example of when diminished chords are used + AO4

A

A half diminished chord turning into a diminished chord, due to the F# added.

Helps the music modulate.
Romantic influence

84
Q

Wider listening for diminished chords

A

Chopin : Fantasie impromptu in C#m

85
Q

How is the accompaniment composed in this trio (piano) - harmony

A

Short harmonic sequences

85
Q

Diminished chords
Chopin : Fantasie impromptu in C#m

A

Sense of yearning which alongside the fast and virtuosic sections, help create a contrast with the more lyrical and expressive passages.

Feeling of longing

86
Q

Wider listening for short harmonic sequences

A

Schumann : Kinderszenen Op. 15 : 7
(Traumerei)

87
Q

Short harmonic sequences in
Schumann : Kinderszenen Op. 15 : 7
(Traumerei)

A

Dreamlike and introspective character

88
Q

In b. 53 what key are we in

A

Bb major. However, after 2 bars we move into D major as it shifted up a 3rd (dominant of the home key)

89
Q

What is unusual about the fast progression from Bb to D

A

Traditionally it should have stayed in Bb, but the material is restless and unwilling to stay in anticipated key

90
Q

What tempo marking is seen in b. 56

A

Poco rit.

91
Q

Why is poco rit. Used

A

Sense of arriving at an acceptable key

92
Q

Which piece uses rit

A

Beethoven : “Moonlight sonata”

93
Q

After the rit. What is heard in terms of harmony

A

A dominant 7th played fp on the 2nd beat of the bar

94
Q

AO4 dominant 7th

A

Destabilises the music

95
Q

There is chromatic harmony that moves back to Bb, what is AO4 point

A

Outrageously colourful for the 1840s

96
Q

Which key are we in in the development (b. 92)

A

Modulates to submediant (Eb)

97
Q

Modulating to Eb in the development section causes…

A

Sense of settlement. However, as it is the development section, she writes in such a way that the music drives forward to explore new territory.

98
Q

Between instruments there is…

A

Dialogue

99
Q

What does dialogue create (texture)

A

Contrapuntal texture - contrasting the mainly homophonic texture form the beginning

100
Q

In terms of suspensions in the development section. What happens

A

3 consecutive 7-6 sus, over a chromatically descending baseline

101
Q

What is the AO4 point for having 3 consecutive 7-6 suspensions over a chromatically descending baseline

A

Adds depth and timbre to the music.

102
Q

How do the suspensions return in the development section

A

1st and 2nd subject group material heard first in the violin then RH of the piano, then moves into the cello as the music moves towards Fm

Chromatic exploration of 1st subject material in violin, leading to to a harmonic sequence

1st subject material returns in LH, but now it is played in octaves. (Which adds weight to the music)

103
Q

Having the return of subjects in the development is common in….

A

Chamber music

104
Q

The phrases in the cello are sequenced up a tone. Give AO4

A

Intensifies the emotion of the piece.

105
Q

Types of chords in development (3 examples)

A

Block
Off beat
Broken

All influences of the romantic period

105
Q

Remember these 4 things heard throughout in piano (and the last one is between the instruments)

A

Dialogue
Arpegiases figures
Octave doubling
Imitation

106
Q

Between the violin and cello, there is…which places emphasis on 2 7-6 suspensions played down beat

A

Free counterpoint

107
Q

In b. 139-143 what happens in terms of harmony to introduce the appearance of the 2nd subject

A

Circle of 5ths

108
Q

There is something which clearly indicates that the piece is romantic. (Chord)

A

French 6th

109
Q

The cello’s tesitura in the development is…indicating that it is a romantic piece

A

Upper register

110
Q

There are….descending expressively in the violin (development)

A

Diminished 5ths

111
Q

A dominant pedal is played in the violin and cello in the development section. Give AO4

A

Piano is searching for the same dominant harmony - may convey the disorientating emotions Schumann felt in her life.

112
Q

How is the recapitulation established in terms of harmony

A

It is established with a perfect cadence

113
Q

AO4 for perfect cadence establishing the recapitulation

A

Replicates the 1st subject group exposition exactly as dictated by traditional sonata form

114
Q

Intensely chromatic in recapitulation AO4

A

Typical of romantic period

115
Q

There is a bridge passage in recapitulation what is significant AO4

A

Slightly altered from exposition

Wants to provide tonal stability and therefore need to slowly transition to the tonic of 6, not relative major

116
Q

Describe the subjects in recapitulation

A

1d comes back in the bridge section. Only this time it is played a perfect 4th higher to allow progression to achieve tonal stability

2nd subject revealed by a dominant pedal in LH. NOW IN G MAJOR (tonic)

117
Q

AO4 about subjects in recapitulation

A

Breaks the norms of sonata form

118
Q
A

Music? (21 decks)

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