Webern - Quartet Op. 22

Question 1

(Melody) The melodic material is built from a ……….

Answer 1

12- tone row

Question 2

(Melody) Webern heavily uses …….. to present his melodic material.

Answer 2

Fragmentation

Question 3

(Melody) Webern uses a technique ……. to present a melody in several instruments

Answer 3

Klangfarbenmelodie

Question 4

(Melody) There is a use of …….. melodies, which are large intervallic leaps in the melody.

Answer 4

Angular melodies

Question 5

(Melody) Most of the melodic material uses ….. note ideas

Answer 5

1-3 note ideas

Question 6

(Texture/Sonority) The texture is very …….. with mostly one or two notes being played.

Answer 6

Sparse

Question 7

(Texture/Sonority) There is a use of ………. as part of the imitation for the introduction.

Answer 7

Mirror canon

Question 8

(Texture/Sonority) There is a use of ……….. - the switching of a melody from one instrument to another.

Answer 8

Klangfarbenmelodie

Question 9

(Texture/Sonority) There are surprise uses of ………….. such as tremolo/pizzicato in close succession.

Answer 9

Extended instrumental techniques

Question 10

(Texture/Sonority) There is a use of ……….. a technique where a few notes collide with each other vertically.

Answer 10

Pointillism

Question 11

(Structure/Form) The form is loosely based on …………..

Answer 11

Sonata form

Question 12

(Structure/Form) Webern uses ……. and …….. to differentiate the sections.

Answer 12

Repeats and ritenutos

Question 13

(Structure/Form) The ………. section begins to explore other tone rows.

Answer 13

Development section

Question 14

(Structure/Form) The …….. and ……… are symmetrical mirror images of each other.

Answer 14

Introduction and Coda

Question 15

(Structure/Form) The exposition and recapitulation use …………….. as a nod to sonata form.

Answer 15

Variations of the same rows

Question 16

(Harmony/Tonality) There is no use of ………. harmony due to the tone rows.

Answer 16

Triadic harmony

Question 17

(Harmony/Tonality) Some vertical harmonic ideas come as a result of the ……… technique

Answer 17

Pointillism

Question 18

(Harmony/Tonality) There is ……………. tonal centre. This would be called ………..

Answer 18

No clear tonal centre, called atonality.

Question 19

(Harmony/Tonality) Though there is no tonality, the piece ………….. maybe as a link to a sonata form tonal plan.

Answer 19

Starts and ends on the same pitch (C#/Db)

Question 20

(Harmony/Tonality) When pitches do overlap and imply harmony it’s usually ………… with intervals of ……… and ………

Answer 20

Dissonant, with intervals of 2nds and 7ths.

Question 21

(Rhythm/Metre) There is a heavy use of …….. fragments in the piece

Answer 21

Syncopated

Question 22

(Rhythm/Metre) To throw of the metrical pulse, Webern would ………

Answer 22

Regularly change time signatures

Question 23

(Rhythm/Metre) There are often overlapping phrases as a part of the ……….. technique

Answer 23

Klangfarbenmelodie

Question 24

(Rhythm/Metre) There is ………… metrical pulse in the music

Answer 24

No clearly defined

Question 25

(Rhythm/Metre) The piece is dominated by own two note values the ……….. and …………

Answer 25

Semiquaver and Quaver