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Set work 4: Shoenberg: 'Peripetie'

Style and Period · Expressionist, Modernist
· Expressing intense emotions
· Schoenberg felt like chromaticism
had been developed as much as it
could be in the romantic period and
so he started writing in
expressionism (atonal) as he felt he
had to follow in the…

Page 2

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Are disjunct- sometimes use
octave displacement and jump
around a lot.
Complex and unpredictable
· Melodies are developed the middle 3
sections by:
Melodic inversion
· H and N are used (Hauptstimmer
and Neben stimmer) to show who
has the most important melody at
that point in the…

Page 3

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Tonality · This piece is A-tonal, there are no
keys used
Harmony · Hexachords are often used in the
harmony (bar 8 in bassoons)
· Dissonant and highly chromatic
chords are used throughout- help
make it atonal
· No conventional chords are used.-
make it more complex

Instrumentation · Full…

Page 4

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Set work 5: Bernstein: 'Something's Coming'

Style and Period · Composed in 1958
· Musical Theatre
· Song is derived from `Romeo
and Juliet' where Tony is the
tragic hero
Melody · Tritone; frequently repeated
within the melody (G +
Dsharp)/ full of stress/ helps to
add to the feeling…

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Dynamics · Wide ranging
· Tony sings pianissimo at
beginning to increase moody of
· P subito ­ suddenly quieter
· Sempre dim ­ getting quieter
all the time
· Piece ends with a fade out due
to music technology
Tempo ·

Rhythm · Syncopation ­ together with

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· Five woodwind ­ clarinet, sax,
trumpet etc
· Five percussion
· Seven brass ­ French horns,
trombone etc
· Strings
· Guitar
· Piano
Texture · Melody + Accompaniment
between Tony and the
· Polyphonic between orchestral
parts with countermelodies

Set work 6: Reich: 3rd movement (fast) from…

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· Features of minimalism:
Phasing(almost identical
parts going in and out of
sync with each other)
Metamorphosis- gradually
changing one idea to
another, often done by
changing one note at a time.
Layering-adding new parts,
often one at a time to
create a complex texture
Note addition

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a variety of parts play their
melody at the same time.
Live guitar comes in with
strummed chords (bar 36)
Guitars 5-7 imitate these
strummed chords, each with
their own distinctive chord
Once this counterpoint is
complete, the live guitar
returns to the resultant
melody (bar66) which it

Page 9

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· Section B
· Coda
Tonality · The piece is tonally ambiguous.
· Changes between E minor and
C minor but the piece is modal.
Harmony · The harmony is unrelated
(non-functional); Reich doesn't
follow conventional chord
sequences, typical for
minimalist pieces.
· Strummed chords:
· Guitar 5:C, Bm,E5(40)

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