Summertime-George Gershwin

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  • Summertime
    • Performing forces
      • Written vocal line can be interpreted freely--Rubato
      • Vocal decorations--Portamento
      • String textures mainly used
      • Colour from:  Clarinet: bar 3 Bells: bar 6
        • Wordless backing chorus- women's voices- verse 2
      • Violin obligato - bar 26
    • Texture
      • 2nd verse denser in texture due to violin obligato/vocolisation
      • Monophonic opening
      • melodic fragments in accompaniment fill gaps in vocal line
    • Harmony
      • 16 Bar Blues: bm,bm,bm,bm em,em,f#,f# bm,bm,bm,bm d,e,bm,bm
      • Added 6th chords (minor triads + major 6th
      • Bm6-C#6-rocking from I-ii
      • Perfect cadence at end
      • False relations- bar 14
      • Circle of 5ths - bar 41-43
    • Tonality
      • B minor- no modulatin
      • V pedal
    • Rhythm and metrre
      • Simple duple time- alla breve
      • Slow harmonic rhythms-often minims bar 8
      • Syncopation-bar 15
      • Rhythms notated as dotted quavers-bar 9
      • Triplets - bar 12/19
      • Violin countermelody uses mainly quavers
  • Melody
    • Vocal part spans 1 octave
    • Portemento- bar 10/21
    • Summertime
      • Performing forces
        • Written vocal line can be interpreted freely--Rubato
        • Vocal decorations--Portamento
        • String textures mainly used
        • Colour from:  Clarinet: bar 3 Bells: bar 6
          • Wordless backing chorus- women's voices- verse 2
        • Violin obligato - bar 26
      • Texture
        • 2nd verse denser in texture due to violin obligato/vocolisation
        • Monophonic opening
        • melodic fragments in accompaniment fill gaps in vocal line
      • Harmony
        • 16 Bar Blues: bm,bm,bm,bm em,em,f#,f# bm,bm,bm,bm d,e,bm,bm
        • Added 6th chords (minor triads + major 6th
        • Bm6-C#6-rocking from I-ii
        • Perfect cadence at end
        • False relations- bar 14
        • Circle of 5ths - bar 41-43
      • Tonality
        • B minor- no modulatin
        • V pedal
      • Rhythm and metrre
        • Simple duple time- alla breve
        • Slow harmonic rhythms-often minims bar 8
        • Syncopation-bar 15
        • Rhythms notated as dotted quavers-bar 9
        • Triplets - bar 12/19
        • Violin countermelody uses mainly quavers
    • melodies under vocal line are more chromatic
    • Uses parallel movement- bar 12
    • Whole tone scale - bar 19
    • Orchestral line sometimes mimics vocal line- Bar 22/23

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