Stravinsky - Dumbarton Oaks (Movement I)

Question 1

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(Structure/Form) This piece utilises a type of a……………. c…………. form – the structure is derived from b………. of material that is usually developed/added onto in an organically evolving way.

Answer 1

This piece utilises a type of additive construction form – the structure is derived from blocks of material that is usually developed/added onto in an organically evolving way.

Question 2

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(Structure/Form) There is a …………. motif that dominates the entire movement and material/sections are developed based upon this material.

Answer 2

There is a 3-note motif that dominates the entire movement and material/sections are developed based upon this material.

Question 3

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(Structure/Form) It could be argued there are 5 d………………./’b………’ of this composition, each containing a different s…………./f……… or has a particular function in the music.

Answer 3

It could be argued there are 5 distinct sections/’blocks’ of this composition, each containing a different structure/form or has a particular function in the music.

Question 4

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(Structure/Form) Of particular note, is the use of t…………. f………. in section 2 (RM7-11) and a f…………. (RM11-20 [RM 13 is this starts])

Answer 4

Of particular note, is the use of ternary form in section 2 (RM7-11) and a fugue (RM11-20 [RM 13 is when fugue starts])

RM means Rehearsal Mark

Question 5

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(Structure/Form) From Section 5 (RM25) there is a c…….. is using material from the b…………………….. There is less frantic h………….. motion and music generally eases.

Answer 5

From Section 5 (RM25) there is a coda is using material from the beginning of the piece There is less frantic harmonic motion and music generally eases.

RM means Rehearsal Mark

Question 6

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(Structure/Form) RM28 acts as a l………….. p…………. to introduce the next section. As a result, it is used to modulate from ….. Major – ….. Major.

Answer 6

RM28 acts as a linking passage to introduce the next section. As a result, it is used to modulate from Eb Major – F Major.

RM means Rehearsal Mark

Question 7

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(Structure/Form) What other structural features are found in Dumbarton Oaks?

Answer 7

RM28 acts as a linking passage to introduce the next section. As a result, it is used to modulate from Eb Major – F Major.

RM means Rehearsal Mark

Question 8

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(Harmony/Tonality) The piece utilises a lot of m…………../t…………….. throughout, however, there is generally considered to be 5 t………. c………… (S1-Eb/S2-D/S3-Cm/S4-Eb/S5-Eb-F).

Answer 8

The piece utilises a lot of modulations/tonicisations throughout, however, there is generally considered to be 5 tonal centres (S1-Eb/S2-D/S3-Cm/S4-Eb/S5-Eb-F).

Get the tonal centres memorised, if possible.

Question 9

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(Harmony/Tonality) The harmony is a mixture of d……… chords with a……. d……………… There is varying levels of d…………. through (RM4 less so than others).

Answer 9

The harmony is a mixture of diatonic chords with added dissonances. There is varying levels of dissonance through (RM4 is less so than others).

Question 10

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(Harmony/Tonality) Stravinsky uses the final section of the movement (from RM28) to prepare the ……………. of the next ………… (F Major).

Answer 10

Stravinsky uses the final section of the movement (from RM28) to prepare move to the key of the next movement (F Major).

RM means Rehearsal Mark

Question 11

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(Harmony/Tonality) There is also usage of e…………….h…………… such as the ……… chord at RM2, with o…………. v………… (3 upper notes a 5th apart).

Answer 11

There is also usage of extended harmony such as the Bb13 chord at RM2, with open voicing (3 upper notes a 5th apart).

Question 12

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(Harmony/Tonality) The f…….. beginning in section 3 covers 5 ……….. in succession: ….. minor, …… minor, …… minor, …… minor and …… minor.

Answer 12

The fugue beginning in section 3 covers **5 minor keys **in succession: c minor, f minor, Eb minor, Ab minor and Bb minor.

Question 13

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(Melody) Primary material for the movement is a ….note a…….. idea that involves an ascending leap of a …… followed by step of a …….. This material is developed throughout the movement.

Answer 13

Primary material for the movement is a 3-note anacrusis idea that involves an ascending leap of a 3rd followed by step of a 2nd. This material is developed throughout the movement.

Question 14

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(Melody) Stravinsky uses a………….. c………… – structural technique where the melodic material is repeatedly v……. and d………….. from section to section.

Answer 14

Stravinsky uses additive construction – structural technique where the melodic material is repeatedly varied and developed from section to section.

Question 15

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(Melody) At Rehearsal mark 5, the melody undergoes a m…….. t………………. that r…………/l………. the intervallic range from a ….. to a ……………….

Answer 15

At Rehearsal mark 5, the melody undergoes a melodic transformation that restricts/lowers the intervallic range from a P4 to a minor 2nd.

Question 16

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(Melody) Every section of the piece involves some form of f……… development of melodic material. This can include material first introduced in the accompaniment such as ……. for a fugue at ……….

Answer 16

Every section of the piece involves some form of fugal development of melodic material. This can include material first introduced in the accompaniment such as RM6 for a fugue at RM13.

Question 17

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(Rhythm/Metre) The regular change in t……. s…….. often throws off the m…………… p…….. of the work and creates an additional level of tension.

Answer 17

The regular change in time signatures often throws off the metrical pulse of the work and creates an additional level of tension.

Question 18

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(Rhythm/Metre) Stravinsky would engage in r…………… d……………… and a………………… (expanding/lower note duration from a motivic idea). At RM7, there is more use of c………. and d………. c……………, whereas the previous section was dominated by quavers and semiquavers.

Answer 18

Stravinsky would engage in rhythmic diminution and augmentation (expanding/lower note duration from a motivic idea). At RM7, there is more use of crotchets and dotted crotchets, whereas the previous section was dominated by quavers and semiquavers

Question 19

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(Rhythm and Metre) There is regular use of semiquavers t…………………. to heighten the s…………… and rhythmic ambiguity of the piece.

Answer 19

There is regular use of semiquavers tied over barlines to heighten the syncopation and rhythmic ambiguity of the piece.

Question 20

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(Rhythm/Metre) He would frequently use changing t……. s…………….. to create an a………….. or s…………….. melody (adding or removing notes from the melodic motif)

Answer 20

He would frequently use changing time signatures to create an additive or subtractive melody (adding or removing notes from the melodic motif)

Question 21

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(Texture/Sonority) This work is largely p……………../c…………… Each section involves f………… handling of developed material in each section.

Answer 21

This work is largely polyphonic/contrapuntal. Each section involves fugal handling of developed material in each section.

Question 22

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(Texture/Sonority) He regularly r……………….. sections, such as ……….., in order to provide variety in the tone colour of his motivic ideas.

Answer 22

He regularly reorchestrates sections, such as RM4, in order to provide variety in the tone colour of his motivic ideas.

Question 23

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(Texture/Sonority) In moments of high tension, he increases the r………… of the instruments to cover a wider range (RM9 has a mostly, ……………. range, RM11 has ……………. sections starting 2 bars before the section begins).

Answer 23

In moments of high tension, he increases the registers of the instruments to cover a wider range (RM9 has a mostly, mid-lower range, RM11 has high register sections starting 2 bars before the section begins).

Question 24

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(Texture/Sonority) There are moments where his c…………………writing is supported with syncopated homophonic chordal ……………, combined with use of changing t……. s………………

Answer 24

There are moments where his contrapuntal writing is supported with syncopated homophonic chordal attacks/stabs, combined with use of changing time signatures.

Question 25

# Dotted line = fill in the blanks **(Texture/Sonority)** Throughout the work, he tends to favour c.......... m.......... or p........ notes in his bass instruments, in moments of low tension, and d..........., d........... ideas, in moments of high tension.

Answer 25

Throughout the work, he tends to favour **conjunct** **motion** or **pedal** notes in his bass instruments, in moments of low tension, and **detached**, **disjunct** ideas, in moments of high tension.

Question 26

# Dotted line = fill in the blanks **(Melody)** In the c........ section, Stravinsky brings back e.......... t............. to close the work, which is more akin to the traditional style.

Answer 26

In the **coda** section, Stravinsky brings back **earlier** **themes** to close the work, which is more akin to the traditional style.

Question 27

**(Rhythm and Metre)** Whilst there is generally a consistent semiquaver pulse throughout to keep momentum, at RM11, he completely .................. from the previous and next section with use of r..........

Answer 27

Whilst there is generally a consistent semiquaver pulse throughout to keep momentum, at RM11, he completely **detaches his idea** from the previous and next section with use of **rests**.