Morse on the case by Pheloung
- Created by: Charlotte_Scott
- Created on: 21-04-17 12:40
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- Morse on the case by Pheloung
- Structure
- No clear structure
- Through composed to reflect on-screen events
- 3 main sections determined by instrumentation and tonality; b. 1-52 aeolian mode, b. 49-97 chromatic notes and b. 98-112 gravitation towards C major
- Texture
- Barely any Tutti passages
- Harp doesn't appear until bar 101
- Upper strings play throughout, but cellos and bass don't appear until bar 99
- piano plays intermittently throughout, playing various single notes, two notes, parallel 9ths (b. 36) and 4 notes on one occasion (b. 98)
- Melody
- relies on the use of short motifs
- Use of the aeolian mode
- gradual unfolding of lines built on perfect 4ths, minor 3rds and major 2nds
- the component intervals are treated in various ways (inverted, verticalised, rhythmically diminished and fragmented)
- Harmony and Tonality
- No sense of functional pregression
- Harmony consists mainly of verticalisations of the component intervals
- mildly dissonant
- chromatic notes produce stringent clashes i.e. b. 93-94
- the excerpt eventually moves to a C major chord (b. 110)
- the F# in b. 105/108 suggest the lydian mode
- The final chord is ambiguous as it lacks the 3rd
- Forces
- 9 instruments in total (piano, 4x horns, strings, harp and oboe)
- the horn represents Morse; bar 15 hears the horn enter on a 6th perhaps representing Morse as a glimmer of hope
- bar 65 sees the first chord in the piano part when Redpath says 'Inseparable'. this is the first time we hear idiomatic writing
- Rhythm and metre
- notated in 4/4, however, the metre is not easily detectable due to the lengthy, pulseless sounds and unpredictable placing of motifs within bars
- silent bar (b. 60-61) further intensifies the lack of motion
- Structure
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