Instrumental Music Flash Cards

HideShow resource information
Describe the Structure of Pavana Lachrimae
Tripartite Structure - AABBCC. Three strains where the repeat of each strain is a variation.
1 of 30
Describe the Texture of Pavana Lachrimae
In four parts and mainly contrapuntal. There's frequent imitation between parts. Semi quaver runs are accompanied by a thin texture. Occasional tune and accompaniment sections; melody line is supported by sustained notes.
2 of 30
Describe the Tonality of Pavana Lachrimae
It is modal in the Aeolian mode/A minor.
3 of 30
Describe the Harmony in Pavana Lachrimae
It's diatonic. There are modal features: phrygian cadences, tierce de picarde, false relations & musica ficta. Many suspensions. Passing 7ths at cadences. Inverted cadences. Mostly root position/1st inversion chords. Modal progressions.
4 of 30
Describe the Melody in Pavana Lachrimae
Mainly stepwise, leaps are narrow (usually no greater than a 4th). Melody is dominated by the descending 4 note motif (falling 4th). Melodic decorations at cadences. Final cadence of each section is decorated with idiomatic keyboard scales.
5 of 30
Describe the Rhythm & Metre in Pavana Lachrimae
Melody is even within minims, crotchets and quaver passing notes. Decorative runs and passage work are in the semiquavers. Appearance of a trill and turn in demisemiquavers. In common time with a slower feel of 2/2 (typical of a pavane).
6 of 30
Describe the Structure in the Brandenburg
In ritornello form, with a series of solo episodes. The ritornello is sectional, consisting of vordersatz, fortspinnung and epilog sections. Lengthy 1st ritornello consisting of 7 sections. Other ritornellos are shorter.
7 of 30
Describe the Texture in the Brandenburg
Mainly contrapuntal, based on a walking bass line. Through each episode the texture becomes thicker. Ep1 2 part counterpoint Ep2 3 part conterpoint Ep3 4 part counteproint Ep4 4 part free counterpoint
8 of 30
Describe the Tonality in the Brandenburg
It's in G major, and modulates to close related keys. C major, E minor, D major and B minor.
9 of 30
Describe the Harmony in the Brandenburg
It's diatonic and functional. Circle of 5ths are used. There are modulating sequences. Tonic and dominant pedals are used and some are lengthy.
10 of 30
Describe the Melody in the Brandenburg
It's diatonic and motivic - a small number of motifs dominate the music. The vordersatz and each of the fortspinnung introduce new melodic material. Each ritornello is based upon the ideas in the first one. Episodes are largely based on new material.
11 of 30
Describe the Rhythm & Metre in the Brandenburg
Syncopation is created by ties with quickly dancing sarabande rhythms. Hemiolas are found in the epilog. It's in triple metre 3/8
12 of 30
Describe the Structure in the Septet
It's in sonata form preceded with a slow introduction. There is a standard exposition repeat (common of the classical period). The coda is lengthened to create a second development. The recap of the bridge is developed.
13 of 30
Describe the Texture in the Septet
Melody dominated homophony is used. Broken chord accompaniment is used in the middle strings. Pedal points are used at structural moments.Textures vary considerably within the piece.
14 of 30
Describe the Tonality in the Septet
It's in Eb major. The exposition is standard moving from the tonic to dominant (Bb) for the 2nd subject. The development is tonally unstable but moves to G major to start but returns to Eb via Ab and F minor. Recap is standard and 2nd sub is in Eb
15 of 30
Describe the Harmony in the Septet
It's diatonic with mostly root & 1st inversion chords. Some 2nd inversions. Many dom7ths and notable dim7th in the development. Extended pedals, some inverted. Some V7ds, German augmented 6th imperfect cadences. Neapolitan chord.
16 of 30
Describe the Melody in the Septet
Many themes including the 1st sub, bridge, 2nd sub, closing section & codetta. Melodic motif (x) is used in several contexts and creates a sense of unity. 1st sub melody is ornamented with turns, suspensions and cadential trills. 3 note anacrusis.
17 of 30
Describe the Rhythm and Metre in the Septet
Varied rhythmic patterns, strongly associated with differing melodies in the exposition. Syncopated accompaniment patters. Sustained harmonies. 3/4.
18 of 30
Describe the Structure in the Kinderscenen
Rounded binary form (no.1 & no.3) and Rondo form in and arch shape in no. 11.
19 of 30
Describe the Texture in the Kinderscenen
Melody dominated homophony is used, cantabile melody over broken chords in no.1. Accompaniment patterns running across hands. Melody often in the bass accompanied by chords in the right hand.
20 of 30
Describe the Tonality in the Kinderscenen
No.1 is in G major. No.3 is in B mino, the middle section is modulating sequence that modulates to C major for 2 and a half bars. A neapolitan relationship. Tritonal shift between C and F# in bar 15.No.11 floats between E minor and G major. Unstable
21 of 30
Describe the Harmony in the Kinderscenen
Mostly diatonic, coloured by dom 7ths and dim 7ths. Some V7d chords. Tritonal relationships. Many interrupted cadences. Passing chromatic thirds in no.11. A modal relationship in No.11
22 of 30
Describe the Melody in the Kinderscenen
Expressive cantabile melody in no.3 in both right and left hand and in no.11. Much repetition of short melodic ideas, no. 3 is based nearly exclusively on the opening 2 bar motif. Energetic running melody in stepwise, staccato semiquavers in no.3.
23 of 30
Describe the Rhythm and Metre in the Kinderscenen
Consistent rhythmic patterns throughout no.1 & 3. Rhythmic patterns varied in No.11 but define the refrain and each episode. Syncopated accompaniment patterns. 2/4 in all three pieces
24 of 30
Describe the Structure in the Sarabande
Non standard binary form (ternary form) with coda.
25 of 30
Describe the Texture in the Sarabande
It's varied. Monophonic, homophonic, tune and accompaniment. Many examples of streams of parallel chords and close harmony textures. Gamelan effects: bare open triads based on quartal harmony. Parallel chords.
26 of 30
Describe the Tonality in the Sarabande
Essentially in C minor but the key is masked by the used of modality and quartal harmony. Few perfect cadences to define the key, many modal cadences are often imperfect cadences in effect. Often tertiary relationships.
27 of 30
Describe the Harmony in the Sarabande
Harmony is extensively modal. Use of quartal harmony. Chords are often created from added note harmony. Major 7ths as well as Dom7ths, added 9ths, 11th and 13ths. Streams of parallel chords based on a whole tone scale. Few perfect cadences.
28 of 30
Describe the Melody in the Sarabande
Simple melodies are generally in 2 bar phrases. Much stepwise motion. Melody is not a dominant feature in the piece.
29 of 30
Describe the Rhythm in the Sarabande
Characteristic rhythm, emphasising the second beat of the bar with a long note. Traditional sarabande dance rhythm.. Many rhythms are 2 bar units. Cross phrasing where the metrical emphasis is on the weak beats are found. Hemiolas. 3/4 times.
30 of 30

Other cards in this set

Card 2

Front

Describe the Texture of Pavana Lachrimae

Back

In four parts and mainly contrapuntal. There's frequent imitation between parts. Semi quaver runs are accompanied by a thin texture. Occasional tune and accompaniment sections; melody line is supported by sustained notes.

Card 3

Front

Describe the Tonality of Pavana Lachrimae

Back

Preview of the front of card 3

Card 4

Front

Describe the Harmony in Pavana Lachrimae

Back

Preview of the front of card 4

Card 5

Front

Describe the Melody in Pavana Lachrimae

Back

Preview of the front of card 5
View more cards

Comments

No comments have yet been made

Similar Music resources:

See all Music resources »See all Areas of Study resources »