symmetry and balance- antecedent and consequent, derived from folk or courtly dances.
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Romantic period
more complex, cross-rhythms, greater use of rubato
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stamitz symphony in D
early classical- rhythms needed to create movement as rate of harmonic change slowed. e.g. bar 48 vln 1 4th mvmt upbeats etc.2nd mvmt vln 1 + oboe syncopated triplets.
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Haydn 104
mid classical- 'y' motif vln 1 19-20 4 crotchets 2 minims used extensively in development.
-stamping motif mvmt 4. relentless momentum.
-unexpected pauses. 1st mvmt elision at end of S1 so transition arrives 1 bar early.
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beethoven no 9
late classical- scherzo in triple time but accents make it sound quadruple, 4th mvmt allegro vivace 6/8 bassoon contrabassoon/ bass drum unison 8ve.
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berlioz symphonie fantastique
- 1st mvmt rising 2/2 melody- sense of yearning.
-triplets used in idee fixe to create cross rhythms.
-4th mvmt march dotted rhythms- ends pizz crotchet minim rhythm- head cut off.
-5th mvmt Eb clarinet 6/8.
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Tchaikovsky no.6
2nd mvmt influenced by russian folk- dance structures of minuet/scherzo/trio but in 5/4- limping effect
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