Scheonberg Section B answers

Scheonberg Section B answers

  • Created by: Viv
  • Created on: 13-05-12 11:15


  • Use of klangfarbenmelodie- 'tone colour melody'- used to break up the melody by passing it around different parts of the orchestra. This gives the tune more variations in Timbre
  • Has Fragmented Angular Melody lines
  • Uses short distinct motifs
  • Hexachords
  • Melodic Inversion
  • Uses the markings Hauptstimme and Nebenstimme to show the instruments in the orchestra who has the principle and secondary voice
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Harmony and Tonality

  • Atonal
  • Much use of Hexachords
  • Disssonance created by Hexachords
  • A returning hexachord can be heard in the piece of notes C, Bb, E, F, C# and A
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  • Sudden Changes of Texture
  • In some places a complex polyphonic/ contrapuntal texture can be heard
  • At other points texture is thinnner and solo instruments can be heard such as clarinet or flute
  • Full Orchestra is used for final climatic chord
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  • Large post-romantic orchestra
  • Allowing him to make lots of contrasts in Texture, Timbre and Dynamics
  • Many sections have increased in size
  • Quadruple Woodwind, large Brass and Percussion, fairly standard String section
  • Many parts play in extreme upper and lower ranges
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  • Dramatic extreme changes
  • Wide range of Extreme Dynamics - pp to fff
  • Change very quickly
  • Many Crescendos and Diminuendos
  • Mutes are used to create Tone Colour
  • In Section B, all Principle and Secodary Parts are f-fff
  • Section A Starts ff but drops to pp in bar 6
  • Section B Starts pp but Dynamics build up quickly
  • Section A1 starts loud but quickly drops to pp
  • Section C range from pp to fff in some individual instruments, ends very quietly
  • Section A2 crecendos quite quickly from pp to fff then immediately dies away at the end to nothing with a pp chord by the horns and double basses
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  • Tempos change in each Section
  • The Movement is marked Serh Rasch (very fast) 
  • Other instructions include heftig (passionate) and ruhiger (calmer)
  • At the end of Section A, a rubato Clarinet line creates the illusion the tempo slowing more than it actually does
  • Section B returns to the original Tempo marking 
  • Short durations create the ilusion that the Tempo has increased much more than is actually the case
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Rhythm and Metre

  • Use of Rubato by Clarinets
  • Use of Syncopation
  • Lots of Different note lengths from Demi-semiquavers to Semibreves
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  • Broadly in Rondo Form- Some people say Free Rondo
  • Five Sections
  • A, B, A1, C, A2
  • Defined by Development of motifs
  • Sections are different lengths
  • Unusual as not a common structure at the time
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