string quartet no.8 by shostakovich

Question 0

harmony

Answer 0

slow harmonic rhythm 
perfect cadences 
9-8 suspensions 
chromaticism 
false relation 
drone
tonic pedal 
dominant pedal 
3rd less chords ( bare 5ths) used

Question 1

forces including timbre

Answer 1

string quartet : violin 1, violin 2, viola and cello
lower ranges of the instruments used - low tesitura
only arco/bowing used- minimal exploration of techniques.

Question 2

melody

Answer 2

conjunct movement b.67-70 
melody is placed in lower ranges 
chromatic scalic passages 
DSCH motif = D, Eb, C,B heard several times. key interval of a minor 3rd Eb-C 
repetition of motifs 
sequential (sequence b.19-23 in viola) 
narrow range in melodies 
quotation from symphony no.1 and no.5

Question 3

texture

Answer 3

monophonic b.1
imitative counterpoint b.2-8 -> 2 part, 3part, 4part as viola,violin2 and violin 1 enter.
parallel octaves over dominant pedal on G in viola b.11-12
homorhythmic b.23-27 (DSCH)
extended tonic and dominant drones in the lower parts eg; start of section B
2 part counterpoint section C over tonic pedal

Question 4

rhythm and metre

Answer 4

simple quadruple time throughout
simple rhythms
some syncopation b.24-25 violin 2
rhythmic augmentation of DSCH motif b.79-82
dotted rhythm in the quotation from symphony no.1 b.17-18 violin 2
very long tied drones notes in lower parts in section b+c

Question 5

structure

Answer 5

DSCH motto is used widely/ recurs

music is in an arch from ABCBA with modified repeats OR ABCB1A1

Question 6

tonality

Answer 6

frequently ambiguous tonality
uses all 12 notes of chromatic scale in first 7 bars
perfect cadences establishes C minor b.25-27
tonic and dominant pedals/drone
often uses major version of tonic chord and bare fifths chord
distant keys are implied
End of work unison G sharp froms a link to second movement key of G sharp minor

Question 7

10 marker

Answer 7

neo classical elements ;
clear structure : arch form ABCB1A1 with intro
use of perfect cadences b.25-26 (end of section A)
use of tonic & dominant drones or pedals b.28-45/section B
use of 9-8 suspensions on chords V b.25
anticipation eg.b.25
bare 5ths on chord 1 b.26
sequential repetition
use of only bowing no other techniques
use of a key signature suggestion C minor
narrow range

20th century elements:
chromatic melodies eg b.28/start of section B
chromatic melodies and consecutive chords Em,E,Eb,D b.13-15
ambiguous tonality in places eg intro b.1-7 all notes of chromatic scale are used
augmented triad on Eb: Eb G B(natural) b.118
modulations to unrelated / remote keys
parallilism in the melody: parallel octaves in DSCH motif b.11-12
wide range of textures

Question 8

performance circumstances

Answer 8

he was russian - relevant because of Soviet Union
1906-1975
20th century classical
1960’s- first performed by beethoven quartet in Leningrad on 2nd october 1960
chamber music
contemplated suicide
quotations from previous works and spells his name D- Eb- C-B