Live clarinet has the most active and interesting part (range of over 2 octaves)
1 of 7
Tonality
Diatonic
Hexatonic scale-based
Lydian feel
B major - never resolves to it
- no Dsharp until pulsing chords (bar27)
Lack of any key-defining cadences
2 of 7
Melody
Repetition of falling phrase (bar 1/2)
Bar 35 - Live clarinet given more range and is more extreme in its disjunct melodic shape
Broken chord/arpeggiac patterns
Leaps and some stepwise movement
3 of 7
Structure
Thematic - evolves
2 distinct sections - bars 1-26/bars 27-end
(bar 67 thins out = reversal of the beginning)
4 of 7
Rhythm and Metre
Simple triple metre throughout
Metre is hard to discern
Bar 27 = clarinets enter with repetitive semiquavers (pulsating chordal homophony) = evolved into a complex tapestry of rhythms which evoke the buzz of the city
5 of 7
Harmony
Alternation of chords IV and V form the main harmonic movement of the piece
Dissonance (bar 27 in Bmajor chord over Csharp in bass/bar 39 there is an Fsharp over a Gsharp in the bass)
Overlap of chords result in brief, but audible dissonance
6 of 7
Texture
Central feature - outlines the structure
Persistant use of staggered repetition of melodic material
Canonic material
Imitation
Live clarinet bar 25 = textual independence and solo passagework
Opening bars - homorhythm
Counterpoint
Bar 13 = music divided into 3 undoubled homorhythmic pairings
Comments
No comments have yet been made