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Music? > Symphonie Fantastique > Flashcards

Symphonie Fantastique Flashcards

Berlioz

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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
Q

How can we identify |E|

A

The cellos and double basses are playing rocking sextuplet octaves 1 bar before |E|

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24
Q

In b. 42 (easily identified by the woodwind family dropping out and the syncopation occurring in the violins), the key is now…

A

Ab major

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25
Q

What is happening in the strings in b. 43-45 (rhythm)

A

Syncopation

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26
Q

In b. 45, what is happening in terms of harmony in the cellos and double basses

A

Really long tonic pedal note (Ab)

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27
Q

How is |F| identified

A

By the trills in the violins that are then followed by broken chords / arpeggios

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28
Q

What is happening in terms of harmony in b. 56 (|F|)

A

Chromaticism

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29
Q

In b. 61 (when all the instruments are playing a chord), what performance techniques are the violins doing

A

Tremolo
Divisi

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30
Q

In b. 61 (when all the instruments are playing a chord), we are now moving to the key of…

A

C major

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31
Q

B. 63, after the chord being played, describe the accompaniment

A

On/off beat accompaniment

32
Q

The viola…

A

Plays arpeggio figures and sometimes plays in unison with the violin 1s

33
Q

Dynamics

A

Large range

(ff->pp suddenly / gradually)

34
Q

In |H|, the section before the Ideé fixe is heard, what is the texture and time signature

A

Homophonic

2
2 (faster)

35
Q

Describe |H| in terms of rests

A

Lots of rests - producing uncertainty

36
Q

What else produces uncertainty in |H|

A

The arco and pizz combinations

37
Q

When the idee fixe starts what section is it

A

The exposition (|I|)

38
Q

How does the idee fixe start

A

Anacrusis

39
Q

Which instruments play the idee fixe

A

Flutes and violins play in unison

39
Q

What key are we in when the idee fixe is heard

A

C major

40
Q

Describe the melody of the idee fixe

A

Ascends in pitch and then descends

Manheim sigh influence

41
Q

Melody is often…because of…(harmony)

A

Chromatic
Passing modulations

42
Q

Which cadence is used regularly

A

Perfect cadences

43
Q

In b. 111, starting |K|, after the perfect cadence, what are the violas, 2nd violins and cellos doing

A

Playing a vibrant ascending scale which then descends into broken chords

44
Q

The cellos are often playing…(performance technique)

A

Double stopping

45
Q

In b. 124, before |L|, what is played in terms of harmony

A

4-3 suspension

46
Q

In b.133 |M|, what key are we in (again)

A

Ab major

47
Q

To build suspense, or to mimic the heartbeat, Berlioz…

A

Repeats the same note

48
Q

The second subject appears briefly in…

A

b. 150 (|O|)

G MAJOR

49
Q

After the second subject appears (briefly in b. 150), what key do we move into in b. 156

A

E minor

50
Q

The development section (b. 168) is identified by…

A

The idee fixe appearing in the cellos and double basses

51
Q

In the development section, the cellos, violas and doubles basses play the idee fixe, what is happening in the 2nd violin parts

A

Play in octaves

52
Q

How does the exposition end

A

With octaves on a G (dominant of C)

Play a V7 chord

53
Q

What key are we in in the development section

A

G major

54
Q

In the development section, there is a…followed by repetitive…

A

Ascending passage
Ascending melodies

55
Q

The 2nd subject is played by the…in b. 189

A

Woodwind section

56
Q

The woodwinds and strings…

A

Imitate each other

57
Q

What is the tempo marking in the ascending chromatic crescendoing scale in |S| (b. 196)

A

Moto perpetuo crotchets

58
Q

Before the silence, what happens in terms of rhythm

A

Syncopation

59
Q

What is the dynamic marking leading into the 3 bars of silence

A

Crescendo to ff

(Dramatic)

60
Q

How can we identify the recapitulation section

A

Long sustained dominant pedal in the horns

61
Q

Structure of the piece

A

Sonata form

Expo
Develop
Recap
Coda

62
Q

During the recapitulation section (identified by the long sustained note in the horns), what are the violins playing

A

Repeated rising 4ths

62
Q

In the recapitulation section, what key are we in and give AO4

A

G major idee fixe

(Breaks the traditional sonata form)

63
Q

Wider listening for descending appoggiatura scales in the strings (recap.)

A

Rosini

64
Q

In the recapitulation, the second subject appears in the…but is passed in…through the…

A

Cellos
Imitation
Strings (violins)

65
Q

How is the coda introduced

A

By Manheim roller technique on tonic in the timpani

66
Q

How does the timpani play the drum rolls in the coda

A

Using sponge heads

67
Q

In the coda, the violins play a melody based upon…

A

B. 119

68
Q

In the coda (|E1|), the melody becomes more lyrical because

A

It has fragments of the idee fixe playing against a song like theme in the oboe

69
Q

The accompaniment (double bass) in the coda mainly consists of…(rhythm and performance technique) to produce an…atmosphere

A

Crotchet triplets and pizz in the double bass

Unsettling atmosphere (chromatic as well)

70
Q

When the idee fixe is played by the full orchestra, the dynamic marking is

A

ff

71
Q

Towards the end of the coda, passages are more (rhythm)

A

Syncopated -> urgency
Repeated quavers in strings
Accented off beats

72
Q

The oboe then (tempo marking) in the coda as it…

A

Rit poco a poco

Slowly descends chromatically (>)

73
Q

Before the chordal texture at the end of the piece, the idee fixe appears again in the 1st violins in…(key)

A

C major

74
Q

The performance marking at the end of the piece is..

A

Religiosamente

75
Q

Texture at the end of the piece

A

Chordal homophony / (homorhythmic)

76
Q

A cadence is repeated multiple times at the end of the piece. What is it?

A

Plagal cadence in pp

77
Q

Final section feel symmetrical because…

A

It ends largo (same way it started largo)

78
Q

Final chord of the sonata

A

C major

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