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muscia? > Symphonie Fantastique > Flashcards

Symphonie Fantastique Flashcards

Berlioz

1
Q

Instrumentation

A

Imaginative orchestration for its time. -> Gives much independence to the woodwind section

Written for the whole orchestra (unusual)

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2
Q

Rhythm in the opening

A

Quaver triplets (played by clarinets and flutes)

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3
Q

The quaver triplets play the…

A

Dominant note (G)

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4
Q

Throughout the piece you have (harmony)

A

Suspensions and resolutions

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4
Q

What is the texture in the very opening

A

Chordal homophony

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5
Q

Time signature

A

4
4

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6
Q

The tempo… (b.2 -17)

A

Starts slow (largo), and then becomes more lively

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7
Q

The strings play with…

A

Mute

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8
Q

Rhythms you encounter in the piece

A

Triplets
Sextuplets
Cross rhythms
Dotted quavers
Lombardic rhythms
However, you mainly have crotchets and quavers

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9
Q

Harmony

A

Diatonic - but, moments with chromaticism (i.e. diminished 7ths)

Functional

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10
Q

In b. 11, (violins), you have a leap of an…

A

Octave

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11
Q

In bar 5, you have an interval of a…in the 1st violins

A

Minor 6ths

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12
Q

How can you identify |B| in the score (b. 17)

A

The violins have a really fast, sextuplet, semiquaver run

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13
Q

In |B|, the music changes to which key

A

C major (?)

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13
Q

What is the chord playing in b. 2

A

C minor chord

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14
Q

When the violins play |B| (the super fast scale), where do they play in terms of the bow…

A

Tip

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15
Q

In b. 21 (just after the fast semiquaver passage has ended), describe the melody in terms of notes

A

Triads
Broken chords

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16
Q

The sextuplets in |C| are used to…

A

Sweep up to the 3rd beat of the bar. (Add momentum)

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17
Q

In b. 29 (|D|), what is occurring in terms of rhythm

A

Cross rhythms

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18
Q

How can |D| be identified

A

Dolce marking
(p dynamics)

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19
Q

In b. 30 (|D|), what is produced (think about what the flutes are doing)

A

Flutes are playing ascending and descending arpeggios, therefore, produce countermelodies

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20
Q

In |D|, when the flutes are playing ascending and descending scales, what are the violins doing (performance technique)

A

Tremolo

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21
Q

Texture…throughout

A

Varies

Think about, monophonic, polyphonic, countermelodies, homorhythmic, homophonic…

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22
Q

In section E, something happens between the instruments, what is occuring

A

Dialogue between the violins and cellos of the phrase the violins have been playing constantly (the one with the octave leap)

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23
How can we identify |E|
The cellos and double basses are playing rocking sextuplet octaves 1 bar before |E|
24
In b. 42 (easily identified by the woodwind family dropping out and the syncopation occurring in the violins), the key is now…
Ab major
25
What is happening in the strings in b. 43-45 (rhythm)
Syncopation
26
In b. 45, what is happening in terms of harmony in the cellos and double basses
Really long tonic pedal note (Ab)
27
How is |F| identified
By the trills in the violins that are then followed by broken chords / arpeggios
28
What is happening in terms of harmony in b. 56 (|F|)
Chromaticism
29
In b. 61 (when all the instruments are playing a chord), what performance techniques are the violins doing
Tremolo Divisi
30
In b. 61 (when all the instruments are playing a chord), we are now moving to the key of…
C major
31
B. 63, after the chord being played, describe the accompaniment
On/off beat accompaniment
32
The viola…
Plays arpeggio figures and sometimes plays in unison with the violin 1s
33
Dynamics
Large range (ff->pp suddenly / gradually)
34
In |H|, the section before the Ideé fixe is heard, what is the texture and time signature
Homophonic 2 2 (faster)
35
Describe |H| in terms of rests
Lots of rests - producing uncertainty
36
What else produces uncertainty in |H|
The arco and pizz combinations
37
When the idee fixe starts what section is it
The exposition (|I|)
38
How does the idee fixe start
Anacrusis
39
Which instruments play the idee fixe
Flutes and violins play in unison
39
What key are we in when the idee fixe is heard
C major
40
Describe the melody of the idee fixe
Ascends in pitch and then descends Manheim sigh influence
41
Melody is often…because of…(harmony)
Chromatic Passing modulations
42
Which cadence is used regularly
Perfect cadences
43
In b. 111, starting |K|, after the perfect cadence, what are the violas, 2nd violins and cellos doing
Playing a vibrant ascending scale which then descends into broken chords
44
The cellos are often playing…(performance technique)
Double stopping
45
In b. 124, before |L|, what is played in terms of harmony
4-3 suspension
46
In b.133 |M|, what key are we in (again)
Ab major
47
To build suspense, or to mimic the heartbeat, Berlioz…
Repeats the same note
48
The second subject appears briefly in…
b. 150 (|O|) G MAJOR
49
After the second subject appears (briefly in b. 150), what key do we move into in b. 156
E minor
50
The development section (b. 168) is identified by…
The idee fixe appearing in the cellos and double basses
51
In the development section, the cellos, violas and doubles basses play the idee fixe, what is happening in the 2nd violin parts
Play in octaves
52
How does the exposition end
With octaves on a G (dominant of C) Play a V7 chord
53
What key are we in in the development section
G major
54
In the development section, there is a…followed by repetitive…
Ascending passage Ascending melodies
55
The 2nd subject is played by the…in b. 189
Woodwind section
56
The woodwinds and strings…
Imitate each other
57
What is the tempo marking in the ascending chromatic crescendoing scale in |S| (b. 196)
Moto perpetuo crotchets
58
Before the silence, what happens in terms of rhythm
Syncopation
59
What is the dynamic marking leading into the 3 bars of silence
Crescendo to ff (Dramatic)
60
How can we identify the recapitulation section
Long sustained dominant pedal in the horns
61
Structure of the piece
Sonata form Expo Develop Recap Coda
62
During the recapitulation section (identified by the long sustained note in the horns), what are the violins playing
Repeated rising 4ths
62
In the recapitulation section, what key are we in and give AO4
G major idee fixe (Breaks the traditional sonata form)
63
Wider listening for descending appoggiatura scales in the strings (recap.)
Rosini
64
In the recapitulation, the second subject appears in the…but is passed in…through the…
Cellos Imitation Strings (violins)
65
How is the coda introduced
By Manheim roller technique on tonic in the timpani
66
How does the timpani play the drum rolls in the coda
Using sponge heads
67
In the coda, the violins play a melody based upon…
B. 119
68
In the coda (|E1|), the melody becomes more lyrical because
It has fragments of the idee fixe playing against a song like theme in the oboe
69
The accompaniment (double bass) in the coda mainly consists of…(rhythm and performance technique) to produce an…atmosphere
Crotchet triplets and pizz in the double bass Unsettling atmosphere (chromatic as well)
70
When the idee fixe is played by the full orchestra, the dynamic marking is
ff
71
Towards the end of the coda, passages are more (rhythm)
Syncopated -> urgency Repeated quavers in strings Accented off beats
72
The oboe then (tempo marking) in the coda as it…
Rit poco a poco Slowly descends chromatically (>)
73
Before the chordal texture at the end of the piece, the idee fixe appears again in the 1st violins in…(key)
C major
74
The performance marking at the end of the piece is..
Religiosamente
75
Texture at the end of the piece
Chordal homophony / (homorhythmic)
76
A cadence is repeated multiple times at the end of the piece. What is it?
Plagal cadence in pp
77
Final section feel symmetrical because…
It ends largo (same way it started largo)
78
Final chord of the sonata
C major

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