A Level Music: Septet in Eb, Op.20: Movement 1
- Created by: ChloeGerrard
- Created on: 11-06-14 13:49
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- Septet in Eb, Op.20: Movement 1 by Beethoven
- Background
- Written in 1799
- First performed a year later in Court Theatre, Vienna
- Published 1802, dedicated to Empress Maria Theresa
- Septet rare
- In 6 movements
- Resources
- 4 string instruments, clarinet, bassoon & horn
- Clarinet: equals violin in prominence. Sounds a tone lower than written
- Cello & Double bass: adds textural weight & depth of pitch
- Main melodic interest: violin and clarinet
- Bassoon and horn provide harmony, yet Bassoon has solo with clarinet: bars 69-73
- Viola accompanies with arpeggio figures: bar 61
- Horn: Eb: sounds a major 6th lower than written
- Violin and viola: double/ multiple stopping, not high in tessitura. No pizz, but staccato.
- Dynamic contrasts: fp: bar 12, sf:bar 18
- Structure
- 1st mvment of 6: Serenade
- Sonata Form with slow Intro
- Longer CODA than usual
- Defined by tonality
- Tonality
- Functional, dictated by Sonata form
- Modulations: to related keys
- Slow intro: Eb Major (tonic)
- Briefly to tonic minor, Eb minor: bar 10
- 1st subject: Eb major
- 2nd subject: Bb major (dom): bar 53
- Development: C minor (relative min) to Ab major (subdom): bar 124, to F minor (relative of subdom): bar 132
- All established by perfect cadences
- Dominant pedal: bar 140 begins recap. 2nd subject in Eb maj
- Harmony
- Functional, typical of classical style
- Clear perfect (28-9) and imperfect cadences (7-8)
- Mostly root and 1st inversion chords, occasional 2nd inversion
- Typically classical cadentical Ic-V: bars 38 and 97
- Chords varied: mostly diatonic with some chromatic, e.g. German Augmented 6th: bar 7
- Pedals: create tension
- Dom 7th chord: ending of intro. Leads to tonic chord at start of Exposition.
- Harmonic rhythm slow: e.g. 4 bars of tonic Eb at beginning of Expo.
- Speeds up towards cadences
- Metre
- 3/4 in intro. Cut common time: simple duple in main section.
- Intro slow, Main Section lively (allegro con brio)
- Rhythm
- More rhythmically complex in intro: demisemiquavers, sextuplets and double dotted rhythms
- 1st subject theme: 3 quavers and minim tied to quaver
- Accompaniment: Continuous repeated quaver pattern in viola
- When repeated (bar 29), accompaniment is replaced by syncopated rhythm in violin and viola over on-beat crotchets in cello
- Accompaniment: Continuous repeated quaver pattern in viola
- 2nd subject: opening: sustained minim rhythm
- Continuous triplet rhythms: bars 76-79
- Themes begin with anacrusis
- Syncopation: bars 45-46
- Rhythmic diminuation: crotchets halved to quavers: 284-285
- Increased pace and excitement
- Textures
- Wide variety
- Slow intro: tutti homophonic chords: bar 1, monophony (violin solo): bar 2
- Allegro section: MDH (as expected for sonata): beginning of exposition
- Antiphony: clarinet/bassoon and violin: bars 47-50
- Homophonic/ homorhythmic: bars 50-53 and 86-97
- Octaves between 5 instruments: starts of development section: bar 113
- Octave writing: clarinet and bassoon: bar 128 or 7ths: bar 140
- Pedal notes: add stability: bars 140-153
- Melody
- Diatonic, with brief chromaticism: chromatic scale in 1st sub, bars 25:26
- Chromatic scales lead into a melody: bar 69
- Intro: conjunct and disjunct
- 1st subject theme :rising sequence based on 4 note motif from bar 8 of intro (chromatic auxiliary note)
- Moves sequentially up a 3rd each time with longer note forming Eb maj triad
- After scalic passages & chromatic step-wise quavers, theme ends with turn and ornamented perfect cadence
- Periodic Phrasing: balanced Q&A
- Repeated with fuller instrumentation
- 2nd subject theme: bar 53: intervals of 4th played semi-staccato before conjunct movement. Bar 61:descending quavers, spanning an octave and slurred in pairs.
- Codetta: based on two motifs: anacrusis to 1st sub and conjunct descending figures from 2nd sub.
- Moves sequentially up a 3rd each time with longer note forming Eb maj triad
- 1st subject theme :rising sequence based on 4 note motif from bar 8 of intro (chromatic auxiliary note)
- Repetition
- Ornamentation
- Grace Notes
- Acciaccaturas
- Appoggiaturas
- Trills
- Diatonic, with brief chromaticism: chromatic scale in 1st sub, bars 25:26
- Background
- Diatonic, with brief chromaticism: chromatic scale in 1st sub, bars 25:26
- Chromatic scales lead into a melody: bar 69
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