Bernstein - On the Waterfront: Symphonic suite 1954

- Monophonic opening

- Sparse scoring - reflects lonliness

- Slow tempo

- Use of blues scale - (flat 3/5/7)

• Jazz/blues influence that suggests America

- Common minor 3rd intervals

- Phrase reaches towards an octave but only makes it to a minor 7th

• bar 4

- Descending Tritone - bar 5

- Dissonance in 2-part canon

• C and Bb clash - bar 10

- Muted Trumpets = mournful timbre (bar 13)

- F pedal on harp/bass clarinet/clarinet (bars 13-16)

• Creates a sense of foreboding

- Chnge from minor to major 3rd suggests improvement in fortunes

• (bar 18-19)

- Atonality

- Lots of dissonance e.g.:

• G+A piano (bars 20-38)
• Tutti dissonant chords (bars 78-87)
• Chords a tri-tone apart (bars 106-113)

- Chromaticism:

• Subject of Fugue (bars 24-25)
•  In sax solo (bar 42)
• Semi-quaver sax motif (bars 70-77)
• New motif bars 88/91

- Wide angular leaps e.g. sax bar 52 (developed bars 70-77)

- Contrapuntal texture in fugal section = rough and tumble

- Homorhythmic texture = insistence, anger (bars 78-87)

- Fast and Barbaric tempos (bars 20-105)

- Changing time signatures = irregularity/unease

- Rhythmic patterns - ostinato (bars 20-105)

- Syncopation in ostinato

- Some instruments at high range e.g. wind bar 54 (brash sound)

- Heavy use of percussion

- Cymbal and timpany rolls = build of excitement

- Rim shots = suprise

- Sul ponticello = 'icy/harsh' sound (bars 108-113)

- Loud dynamic markings e.g. sax bar 42, wind bar 44 fff

- Frequent accents sffz

- Sudden changes in dynamics e.g.:

• Bars 62-63
• Textural / Dynamic effect bars 108-113