Section B for Area of study two: Peripetie

Breakdown of the topics they may ask you for section B of the exam for 'Peripetie' by Schoenberg

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  • Created by: Cora H
  • Created on: 11-05-12 08:55
Preview of Section B for Area of study two: Peripetie

First 376 words of the document:

Arnold Schoenberg
Written: 1909
Revised in: 1922 and 1949
(This piece is just one long paragraph talking about each section separately,
however all the necessary things for everything are in it so learning this should
The overall structure of this piece is loose rondo form, (A,B,A,C,A). Section A
has a very quick start but then slows down at bar 7. It is full of complex rhythms
and uses triplets, sextuplets and diminution. A full orchestra is used at the start
dominated by brass then woodwind. This section includes every instrument in
their families, but only for a few bars at a time. This section has sudden changes
in dynamics.
Section A is atonal, with no sense of key. It uses a wide range with complex
notes and melody, which is angular with lots of leaps. The dynamics begin
loudly and get louder until suddenly they drop down to `pp'. Mutes are used on
the trumpets and trombones.
Section B returns to the original tempo marking. The whole orchestra is used,
creating a polyphonic and complex texture, with mutes for the timbre. The
piece has a klangfarbenmelodie, and descends rapidly angularly. This section
begins quietly before building into a climax.
The repeat of section A is very similar to the original section A. The tempo is
the same with augmented note values. The instrumentation and melody are as
before, and the hexachord from bar 8 is repeated by the horns. Section A has
softer dynamic.
Section C alternated between being calm and passionate. The time signature
changes from 3/4 to 4/4. Here the piece has a brief monophonic interval.
Fewer instruments are playing, and there is an overlapping combination of solo
instruments. Hexachords are used all the way through this melody, and the
dynamics range from `pp' to `fff', with individual crescendos.
Section A returns back to the original tempo, and builds up to get a
homophonic texture, before dying out to only a few instruments, and a
tremolo is played at the end. The melody from the opening is repeated and

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Schoenberg uses many unusual playing techniques in this piece such as heftig,
etuas, ruhiger using extreme dynamics and registers.…read more


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