Young Peter Flashcards

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1
Q

Name of set work

A

Young Peter

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2
Q

Who composed it ?

A

James Horner

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3
Q

Key signature

A

D minor (Dorian mode)

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4
Q

Time signature

A

4/4, but irregular and changing metre in the faster section

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5
Q

Give three features of film music

A
  • The harmonic language is basically tonal but dissonance is also included, e.g the opening bars, to create a mood of apprehension
  • There are many sudden deviations to unrelated chords and modulations to remote keys
  • combines conventional instruments and voices with electronically generated effects and digital samples.
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6
Q

How does the composer create an otherworldly atmosphere in the opening theme? (4)

A
  • The opening dissonance on high strings evolves via a glissando effect into wordless male vocals.
  • These vocals continue against a background of synthesised sound
  • As the electronic and vocal sounds fade in and out, a solo trumpet enters with the main melody – theme (a). This uses the quaver/2 semiquavers rhythm of the piano ostinato as passing notes between the third and root of the D minor triad
  • Modal feel
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7
Q

Which key does the composer shift to first in the opening section ?

A

Eb major

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8
Q

When the trumpet material returns, how is it different?

A

It is a 4th higher in the Ab major tonality

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9
Q
12 marker 
Instrumentation 
Melody 
Harmony 
Structure
A

Instrumentation

  • Horner combines conventional orchestra with synthesised and sampled sounds and effects. The main themes are heard on Trumpet, treble voice and piano
  • Other notable features are the male vocal glissando call at the opening, with use of glissando strings and cymbal rolls.
  • Electronic keyboards and drums are also heard, creating a feeling of suspense. The electronic drums drive the music forward but more towards the end of the piece.

Melody

  • There are 3 main thematic ideas: the opening theme in the trumpet is followed by the treble solo and piano solo. Trumpet solo contains main melody that uses the quaver/2 semiquavers rhythm of the piano ostinato as passing notes between the third and root of the D minor triad
  • The treble solo theme is also triadic, alternating between d minor and a minor. This is sung at the top end of the treble range and includes dotted rhythms
  • The piano solo theme is a new expressive melody but more limited in range, moving stepwise with longer note values. It spans the major third in A major, the g sharp ( raised 7th ) giving a more tonal sense. It is introduced at the end in octaves accompanied by lower strings, and remains undeveloped.

Harmony

  • The harmonic language is basically tonal but dissonance is also included with overlapping ostinato parts. The piece is modal to start, in the Dorian mode, the absence of C# gives a flattened seventh.
  • There are many sudden deviations to unrelated chords and modulations to remote keys. One progression which Horner uses involves moving between two unrelated triads (e.g E minor and Eb major) which have one note (G) in common.
  • The chords are often added, providing a rich colour to the harmonic language. The 9ths and 13ths help to even out the progressions to more distant keys.

Structure

  • The piece has a structure based on repetition of the 3 main themes, but in different keys and an irreglar time signature 4/4 and changing metre in the faster section
  • The middle section contains a three-bar progression (Ab major – C minor – Cb major) used in a descending sequence while the three-note motif in the violins is developed by sequence and inversion.
  • The motifs are present from the outset, with a defining new section towards the end, using prominent percussion and a faster tempo. The piece ends with a new theme, ( previously unheard) giving an irregular structure to the work
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