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A LEVEL MUSIC CARDS > Texture > Flashcards

Texture Flashcards

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1
Q 
The texture of 
Ram Narayan
changes at line 19 with the entry of 
the table to provide the pulse.  What 
does the rest of the piece consist of 
texturally?
A 
A fusion of three continuous
elements; improvisatory strange
melodic, ostinatos like tampura
drove and rhythmically exciting table
drum patterns.
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2
Q

What is the overall texture of
Piano
Sonata in Bb: mvt I?

A 
Melody-dominated homophony.
Simple two-part textures abound, as
at the beginning of the piece, where
a melodic line in the right hand is
accompanied by a broken chord in
the left hand.
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3
Q 
Various Alberti bass textures are
used in
Piano Sonata in Bb: mvt I
Give examples of this.
A 
The F minor section (from b71) 
mentioned in the previous section. 
The Alberti bass is combined with a 
dominant pedal towards the end of 
the Exposition, at b57.
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4
Q

Where, infrequently, does the right
hand play in octaves in
Piano Sonata
in Bb: mvt I?

A

Bar 43

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5
Q

just wanting to find out if you have looked at these cards

A

well that answers that one

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6
Q 
In
Piano Sonata in Bb: mvt I, there
are occasional passages of
monophonic music, often with scalic
writing, as shown where?
A

at bar 8

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7
Q

When is there a three part texture in
Piano Sonata in Bb: mvt I
?

A

Bars 45-46

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8
Q

What is the textural role of the
gankoglin in
Agbekor Dance
?

A

It plays an ostinato throughout the

performance.

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9
Q 
After the opening monophonic
gankoglin in Agbekor Dance
begins,
which instrument joins halfway
through bar 1 creating a two-part
texture?
A

the Atsimeun

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10
Q

Which texture is introduced at the
arrival of the sago in bar 3 of
Agbekor Dance?

A

The highly complex, three part,
polyrhythmic texture which, with
brief variations, remains for the rest
of the piece.

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11
Q

What happens texturally in b 29-30

of Agbekor Dance?

A

The atsimenu plays in rhythmic
unison with the gankoglin for two
ostinato cycles.

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12
Q

There is a brief example of
harmorhythm in
Agbekor Dance
Where is this?

A

It’s very briefly present in the final

three notes of the excerpt.

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13
Q

What does the opening of
Ram Narayan
consist of texturally?

A

It consists of a melody and drove
texture. The sarongi plays the
melody and the tempura the drove

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14
Q 
What does the sarongi do 
interestingly texturally in 
Ram 
Narayan
?
A 
It sometimes plays two note chords 
(e.g. the opening notes of line 1) The 
resonance of the sarangi
s 
sympathetic strings creates a fuller 
sounding texture.
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15
Q 
What is the result of Cage's skilful 
handling of silence in 
Sonatas and 
Interludes
?
A

A fragile world in which the spaces
between gestures are just as
important as the gestures
themselves.

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16
Q

Where does Cage employ

homophonic chords?

A

In Sonata I, bar 1

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17
Q

Where does Cage employ

Monophony?

A

In Sonata II, bar 1

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18
Q

Where does Cage employ two-part

monorhythm?

A

In sonanta II Bar 10

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19
Q

Where in Cages Sonatas and
interludes is there treble movement
over static accompaniment such as
an ostinato or pedal note?

A

Sonata II, bar 17;

Sonata III, bar 1

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20
Q

Where does Cage employ layered

textures?

A

Sonata II, bar 30

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21
Q

What is the texture of ‘ String Quartet No 8’

in bars 1-2?

A

Contrapuntal with imitative entries,
rising from cello to viola I, based on
the DSCH motif and transpositions of
it.

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22
Q

In ‘String Quartet No 8’, the cello
enters first alone, so which term can
be used?

A

Monophony

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23
Q

When does the viola enter in
String
Quartet No 8
?

A

Two bars after the cello, so at bar 2,

beat 3.

24
Q 
The cello's entry plays the 
transposed DSCH motif 
(D-Eb-C-B) 
and the viola entry two bars later 
plays the DSCH motif transposed up a 
fifth (A-Bb-G-F#) Where is such a 
repetition a fifth above found?
A 
In much fugal writing, but here 
neither the arrangement of the 
subsequent entries not the brevity of 
the contrapuntal process encourages 
references to fugue (or even fugato)
25
Q 
In 'String Quartet No 8', violin I 
enters two bars behind Violin II, but 
does not pair with Violin II as the 
viola did with the cello.  What does it 
do instead?
A

It enters a fourth rather than fifth

above (G-Ab-F-E)

26
Q

Why, when the viola repeats its entry
on A, is it not really another
additional imitative entry in String
Quartet No 8?

A 
Because it does not genuinely 
overlap with the entry in violin I.  
Compare how in bar 52 violin II 
repeats rather than genuinely 
imitates what violin I began in bar 50.
27
Q

Which textures is widely used by

Shostakovich in String Quartet No 8?

A

Homophonic texture.

28
Q

Which textural device is used
occasionally in ways uncharacteristic
of pre-20th-century music by
Shostakovich?

A

Parallelism.

29
Q 
In bars 95-96 of 
String Quartet No 8
the violins begin with parallel 6ths.  
In bars 97-98. However, what do they 
do which was forbidden in most pre-
20th century styles?
A

They move in parallel perfect fifths.

30
Q

What is the prevailing texture of

‘Harold in Italy’: mvt III?

A

Melody-dominated homophomy.

31
Q

How does the opening of ‘Harold in Italy’: mvt III

begin?

A 
With a drove on C and G in long 
notes in 2nd oboes, clarinets and 
bassoon.  The violas play the same 
notes with a rhythmic figure.  The 
main melodic material is played in 
octaves by the 1st oboe and the 
piccolo, and a countermelody is 
played by the 1st violas.  There are 
minor changes within the other parts 
but the bassoon maintain a C 
throughout this section.
32
Q

What is happening textually at the
Allegretto (b.32) of
Harold in Italy: mvt III ?

A 
The strings play a homophonic 
accompaniment to the cor anglais 
solo/serenade theme.  The violins 
and cellos play pizzicato while the 
violas maintain a broken chord 
figure.
33
Q

What do the strings do at bar 53 of
Harold in Italy
, mvt III?

A

They play in octaves doing a
chromatic counter melody to the
woodwind, while a third part appears
in clarinet and horn.

34
Q

What is the texture of bars 23-27 of
String Quartet No 8
?

A 
The music is partly homorhythmic 
and this is one of three homophonic 
statements of the DSCH motif whose 
appearances help to define the 
structure of the movement.
35
Q

In bars 28-45 of ‘String Quartet No 8’,

what is a melody in violin I accompanied by?

A

Extended tonic and dominant droves
in the lower parts – viola and cello
have an octave C and violin II has G.

36
Q

The texture in bars 50-78 at String
Quartet No 8, is similar to bars 28-45
except for what?

A 
From bar 52 violin II has the melody, 
while from bar 53 violin I has a 
countermelody apparently based on 
a passage from Shostakovich's 5th
symphony.
37
Q

How is parallelism used in bars 11-12 of
String Quartet No 8
?

A

Both the violins and the cello move in
double octaves around a G
(dominant) pedal in the viola.

38
Q

What is unconventional about the
use of parallelism in bars 14-16 of
String Quartet No 8
?

A 
Though moving in double octaves, 
these octaves are between violin II 
and cello, not, as is more 
conventional, between neighbouring 
parts.  In the same place, parallel 
10ths between viola and cello 
combine with the octaves to create 
incomplete parallel 5/3s in the three 
lower parts (under the sustained B 
natural in violin I)
39
Q

At bar 60, what happens texturally in

Harold in Italy : mvt III?

A

The two horns in C play a horn call

version of part of Serenade theme in 3rds and 6th’s.

40
Q

*******What provides an additional textural
strand from bar 65 of
Harold in Italy: mvt III?

A

the idee fixe in long notes on viola.***

41
Q

What happens at bar 71 of Harold in Italy: mvt III between the harp and the strings?

A 
The harp takes over from the violin 
pizzicato in providing a chordal 
accompaniment while the strings all 
play sustained chords with 
semiquaver figures in the cellos.
42
Q

At bars 79-80 of Harold in Italy: mvt III what happens texturally to the wind?

A

There is a brief dialogue between car
anglais/oboe, clarinet, flute/piccolo
and bassoons, playing in octaves.

43
Q

In bar 166 of
Harold in Italy: mvt III,
what happens externally?

A 
The main themes are layered above 
the continuing ******saltarello***** rhythm, but 
without the pifferi melody.  Upper 
strings and cello sustained chordal 
with occasional supporting notes on 
double bass.
44
Q

In bars 202-206 of
Harold in Italy:
mvt III
, what happens texturally?

A

There is a monophonic statement of
the serenade theme on the solo
viola.

45
Q

After b17, where are there further exchanges between parts in Pavana Lachrimoe ?

A

24 and in bars 34-

35.

46
Q

What does the variation of the earlier
passage from b17 in b48-50 change
in Pavana Lachrimoe?

A

It is more genuinely imitative.

47
Q

What happens texturally in bars 39-
41 of
Pavana Lachrimoe?

A

Pairs of parts in parallel 3rds or 6ths
engage in rapid dialogue (again there
is scarcely only audible overlap).

48
Q

What happens to the dialogue which starts in bars 39-41 of Pavana Lachrimoe
once it gets to bars 42-45?

A

It subtly moves into limitation.

49
Q

What are bars 55-60 of Pavana Lachrimoe broadly similar to?

A

Bars 39-44 of which they are the

variation.

50
Q

What happens texturally in bars 56-

57 of Pavana Lachrimoe?

A 
The dialogue between pairs of parts 
is more emphatic not least because 
the bass abandons the dotted 
rhythm it had in bars 40 and 41, 
becoming rhythmically identical to 
the tenor.
51
Q

What is the texture of the opening of

Agbekor Dance?

A

It consists of monophonic* Gankogli*****

52
Q

Mostly, how many parts play at once

in Pavana Lachrimoe?

A

Most of the piece is in four parts, and
the texture is often similar to four-
part vocal writing.

53
Q

How does the texture vary from four-
part in Pavana Lachrimoe? As in
much other keyboard music, the
number of parts is not constant.

A 
Florid passages are sometimes in 
three parts, for practicality in playing.  
At the beginnings and ends of some 
sections a fifth part provides 
additional weight, but only with 
tonic
 chords of A (minor and, with 
tierce de Picardie, major)
54
Q

Which part in Pavana Lachrimoe is the melody borrowed from Dowland?

A

The top part.

55
Q

For the most part, what is the texture

of Pavana Lachrimoe?

A

Homophonic

56
Q

What is the texture of bars 1-4 of

Pavana Lachrimoe?

A 
The melody is supported by the bass 
in semibreves.  The inner parts have 
some contrapuntal interest-notably 
where the higher of the who (the 
alto) echoes or anticipates the 
melody's descending quavers.
57
Q

In bar 17 of
Pavana Lachrimoe
where the material from bars 1-4 is
varied, what happens texturally?

A 
The melody is elaborated with a 
figure that uses quavers and 
semiquavers; this is taken up by the 
bass in bar 18, before returning to 
the top part in bar 19.  The exchange 
between these two parts is not really 
imitation, which is generally 
overlapping successive entries.

A LEVEL MUSIC CARDS (2 decks)

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