Poulenc - Sonata for Horn, Trumpet, and Trombone

Question 1

Neoclassical Features:

(8 points)

Answer 1

• Short movements (unlike romantics)
• Ternary form
• Largely based on simple tonal harmonies
• Syncopation
• Largely tonal and diatonic melodies
• Light-hearted
• More virtuosic than classical music, and with notes that are not achievable with A natural
• Modulations to unrelated keys

Question 2

Texture:

(5 points)

Answer 2

• 3-part melody-dominated homophony in A section
• Monophony at end of A section
• The final bar is homorhythmic
• 2-part “oom-pah” texture in the second part of the B section
• Melody is mostly in trumpet, but moves to horn for part of the B section

Question 3

Structure:

(5 points)

Answer 3

• (Loose) ternary form / ABA
• Return of A is a varied repeat / A1
• Return of A contains B material
• Linking sections / bridge passage
• Coda

Question 4

Tonality:

(10 points)

Answer 4

• Starts in G major
• Modulates to D major by bar 8
• G minor (bars 23-25)
• Middle passage is in Eb major
• then modulates to Bb major
• G for return of A section
• Traditional cadences
• Unrelated keys eg. G to Eb
• Coda is chromatic
• Tonality blurred by dissonance and chromatic notes

Question 5

Harmony:

(3 points)

Answer 5

• Frequent dissonances (perfect cadence at end of first consequent phrase)
• Pedal note in trombone at end of first half of B section
• Largely based on simple tonal harmonies

Question 6

Melody:

(8 points)

Answer 6

• The tune often outlines broken chords
• Simple diatonic tunes
• Balanced phrasing
• Occasionally very disjunct (octave leap in first line, and two-octave leap just before the cadenza)
• Conjunct movement also present (first consequent phrase)
• Cadenza contains chromaticism
• Frequent repeated notes
• Occasional ornaments (bar 12 grace notes)

Question 7

Rhythm and Metre:

(9 points)

Answer 7

• Tunes often begin with an anacrusis
• Mainly quavers and semi-quavers
• Cadenza is in free-rhythm
• Time signatures change frequently
• Quintuple time occurs occasionally
• From bar 9-12, metre alternates between triple and quadruple time
• Cadenza bar is 4/4 with an extra quaver to act as an anacrusis (9/8)
• Speeds change frequently and often show the listener where the changes of section are
• The monophonic section at the end of the A section is an example of rhythmic augmentation