set pieces Flashcards
1
Q
Brandenburg - Performing forces and their handling
A
- Concertino (solo group) – flute, violin, single manual harpsichord
- Ripieno (string orchestra)
- Continuo – harpsichord + cello/bass
- Harpsichord virtuosic – role as basso continuo & concertino
- Figured bass
- No dynamic markings in harpsichord
- Dynamic markings in other instruments largely for balance
2
Q
Brandenburg - Structure
A
- Ternary ABA (unusual – would expect ritornello)
- A (bb.1-78) – D major with brief sections in dominant; begins in fugal style
- B (bb.79-232) – begins in B minor (relative); new theme in flute; second theme returns in A major; fragments of A-section theme appear frequently; ends with perfect cadence in B minor
- A (bb.233-end) – repeat of opening A-section, beginning with D major chord to establish return to tonic key
3
Q
Brandenburg - tonality
A
- Tonic key – D major. Used for most of both A-sections
- B-section modules to A major (dominant) and B major (relative minor)
- Diatonic
- Brief modulations to other related keys
4
Q
Brandenburg - melody
A
- Subject, answer, countersubject
- Mostly conjunct
- Some leaps
- Scalic runs (esp. harpsichord)
- Rising sequence
- Occasional ornaments: trills in harpsichord, appoggiaturas
5
Q
Brandenburg - texture
A
- 4-part counterpoint
- Begins in fugal style (NOT actual fugue),
- Violin and flute in 2-part imitation
- Harpsichord in 2-part counterpoint
- Occasional 3rds
- Flute/violin sometimes double each other in unison when ripieno is playing
- Middle section theme – bassline has tonic pedal on B
- Imitation
6
Q
Brandenburg - harmony
A
- Functional – predominantly chords I, IV and V with occasional use of II and VI
- Mainly root position and first inversion
- Dominant 7ths in various inversions
- Perfect cadences at ends of sections
- Occasional suspensions
7
Q
Piano Sonata - Performing forces and their handling
A
- Fortepiano
- Wide range of 5 8ves and wide dynamic range show development of piano
- Melody in RH, accompaniment in LH, except beginning of 2nd subject where hands cross
8
Q
Piano Sonata - Structure
A
- Slightly modified sonata form with intro
- Slow intro b.1
- Exposition (1st subject) b.11 , transition b.35, subject 2a b.51, subject 2b b.89, codetta b.131
- Link (based on slow intro) b.133
- Development b.137
- Recapitulation b.195
- Coda b.295
9
Q
Piano Sonata - Tonality
A
- Tonic key – C minor
- Modulates to Eb b.5
- 1st subject Cm
- 2nd subject (2a) Ebm – this is not a closely related key (more typical of romantic)
- Subject 2b Eb major (relative major of Cm – closely related)
- Development goes through many keys – typical of a development section
- 2nd subject recapitulation in Fm – not Cm as would expect in typical sonata form
10
Q
Piano Sonata - melody
A
- 1st subject rising
- 2nd subject ornamented with mordents
- Both 8 bar phrases
11
Q
Piano Sonata - Harmony
A
- Frequent diminished 7ths create tension –typically romantic
12
Q
Music for a While – context
A
- Henry Purcell 1659 – 1695
- Worked in highly prestigious jobs – for the Chapel Royal and Westminster Abbey where he wrote a lot of church music.
- Also wrote for the Theatre Royal – semi opera ie: plays with music and songs, a pre-cursor to opera where everything is sung.
- Music for a while is for a play by John Dryden with whom Purcell worked a lot.
- Greek mythology – Oedipus accidentally kills father and marries mother then gouges out his eyes.
- Alecto is a fury, committed to persecuting those who kill their parents. In this song a priest tries to calm Alecto to allow the ghost of Oedipus’s dead father to rise so they can reveal his murderer. Really jolly stuff!
13
Q
Music for a While – performing forces & handling
A
- Soprano & basso continuo (harpsichord & bass viol)
- Soprano range of a 9th – low E up to F
- Lots of melismatic writing – often used as a form of word painting eg: ‘eternal’
- Syllabic writing on ‘drop’ also word painting
- Bass viol plays the bass line
- Harpsichord plays chords derived from figured bass in RH & doubles the bass line in LH
- The bass line is a ground bass (ostinato) – common in the Baroque period
- Originally this would have been sung by a counter-tenor as women were not allowed to perform on stage.
14
Q
Music for a While – melody
A
- range of a 9th – low E up to F
- phrases largely in 6 bar units
- mostly moves by step
- most phrases descend – reflects trying to calm Alecto
- ‘drop’ more angular
- Lots of ornamentation – some written out eg: eternal, some by the singer
- Word painting: ‘drop’ ‘eternal’ ‘wondering’ ‘easd’
15
Q
Music for a While – structure
A
- Rounded binary (AB short return of A) – similar to ternary form
- Rounded binary a common baroque structure
- Intro 3 bars
- Link to section B at b.22
- A returns at b.29
- 6 bar phrases (twice through the ground bass)
16
Q
Music for a While – harmony and tonality
A
- A minor
- Chromatic notes in the ground bass implies mini modulations through the bass. (Purcell is well known for using chromatic notes & dissonances to reflect the texts he sets)
- Modulates to Em ‘til Alecto’
- G major on last ‘freed the dead’ (word painting!) but straight back to Am
- Two bar link to section B is in C major
- Returns to Am on ‘til’ the snakes’ but a tierce de Picardie means ‘snakes’ is actually an A major chord. This is not a modulation though – just a harmonic device.
- Use of dissonance on ‘pains’ is word painting. 9-8 suspension which only resolves several beats later on ‘easd’
- Ic V I cadences at the end of each ground bass phrase
17
Q
Music for a While – texture
A
- Melody dominated homophony
- In places the harpsichordist may improvise countermelodies eg: b6, but these are not composed by Purcell.
18
Q
Music for a While – Tempo, metre and rhythm
A
- Nothing marked in original score, but it is slow.
- Words guide decisions re: tempo and dynamics.
- 4/4 Simple quadruple time
- Constant quavers in ground bass
- Long note on ‘mu –sic’ brings out that important word
19
Q
Killer Queen - melody
A
Syllabic
Quite angular
Wide ranging
8ve leaps
Reuse of melodic patterns throughout the song
20
Q
Killer Queen - rhythm
A
12/8
Syncopation
Anticipations of the main beat throughout.
Rhythmic motifs use throughout the song
21
Q
Killer Queen - tonality
A
Eb major (3 flats)
Modulates frequently and quickly
22
Q
Killer Queen - harmony
A
Starts oscillating chord vi & V7
Circle of 5ths
Ascending modulation through notes of a Cm7 triad
Descending chromatic bass line through use of root, 1st, 2nd & 3rd inversion chords, and non-diatonic chords
Pedal notes
