Purcell Melody Movement One PDF

PURCELL – MELODY RHYTHM SONORITY DYNAMICS HARMONY + TEXTURE MOVEMENT + TONALITY ONE ARTICULATI...

PURCELL – MELODY RHYTHM SONORITY DYNAMICS HARMONY + TEXTURE MOVEMENT + TONALITY ONE ARTICULATI ON THEME 1 -Motif 1 (2 -Rhythm -Typical -Harmonic rhythm -Melody B1-10 sqs, 2qs, c), quickens scoring is slow until and outlines towards -Trumpet cadence points accompani tonic triad in cadence plays all -B1-5 – switching ment B1 notes in the between I(b),V (b) -Solo and -Arc shape piece, -Primary triads used b.c -B5 – pitch except a G* -B5 – move to A+ -B6 – tutti alteration to via pivot chord -B7 - move to -Cadences Antiphony dominant decorated with sus., NOA, ornamentation THEME 2 -Descending -Mostly -B16 - Lipping -Move to B minor -Antiphony B11-19 pattern in an quavers, -B15 – Dmaj ascending unlike T1 -B16 – Amaj sequence semiquav -B17 – Amin, -Fragments ers inverted pedal are shorter -B19 – pic.3rd -Slow chord changes THEME 3 -Motif 1 -Greater -D major embedded, -Melody B20-29 continues into rhythmic tonic chords with and rising scale excitemen root positions accompani -Differences t -B21 – chord ment to T2: rise vs changes every half descend, loud bar vs quiet, maj -B26 – 1st vs min, triadic inversions which vs scalic, sqs is typical baroque vs qs, detach harmony vs legato -B28 – vi, V7, I PURCELL – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR MOVEMEN Y ARTICULATI + E T TWO ON TONALITY -Melody moves -mainly -Typical -B minor - A in ascending crotchets Baroque -B1 – Homophony B1 – 8 crotchets -Dotted contrast establishing key -Contrary crotchets and -Gives trumpet (I, Vb, I) motion minims to a rest, meaning -B3 – secondary between highlight the piece is dom. Violin1 and VC cadential harmonically -B5 – E minor - -B4 – Dim 5th points adventurous darker - invterval – sad considering emotion -Regular trumpet cannot -B8 – pic.3rd phrases play a lot of punctuated accidentals by rests, 1+1+2 -Falling melody -B19 – Dotted, -A major B with a rising syncopation -B10 – A minor B9 - 20 bass - via chromatic contrary alteration motion -B11 – harmony -Phrases are shifts longer underneath in BC -B11-17 – Dmin, Fmaj, Amin, Amaj, Dmaj, Gmin7 -Chain of suspensions -B19, 20 – Dmin, Dmaj PURCELL – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR MOVEMEN Y ARTICULATI + E T THREE ON TONALITY A -B1 – scalic motif -Strong rhythmic -Dmaj -Harmony -Fugal character B1-32 -Melody drive with a changes once -B17 – characterized driving beat a bar om 1st Antiphonal 1st idea – B1- by a strong per bar idea -B19 – 15 repeated -Lots of -B1-4 - strong Homophony 2nd idea – pattern semiquavers – perfect cadence within B16-27 -B8-13 - Bass momentum -1st idea has antiphonal rises through -B31 - strong harmonic section 3rd idea – octave scale hemiola progression -B28 – M+A B28-32 -B17 – -Harmony arpeggic, changes every outlining tonic 2 bars in 2nd triad (similar idea to B1) -Perfect cadence -B28 – into B descending sequence -1st idea is -B33 - Stretto -Similar to A, -B43 – pivot -Imitative B inverted -B43,63 - upper chord ii/iv into fugal B33-64 hemiola strings, BC, B minor character trumpet but -B47 – pivot -B1 – union, they enter in back to Dmaj antiphonal, a different -B50 – first c+r order imperfect -B59 – cadence unison -B55 – false relation -B65 – lowest -More -chord I -Antiphonal CODA pitch in whole rhythmic -Piece ends with B64-80 sonata for vitality emphasis on trumpet -B76 - hemiola tonic VIVALDI – M1 MELODY RHYTHM SONORI DYNAMICS + HARMONY TEXTUR TY ARTICULATIO + E N TONALITY Rit 1 -Motif A1 – -B1 – f -D major B1-octaves dq,sq,dq,sq -B12 - ff -Mostly based on I with flute B1-12 -Motif A2 – and V interjections 4qus -Harmonic -Motif B – c, sequence of circle 4sqs of fifths -Motif C – 2sqs, q, 2sqs, 2qus Episode 1 -Motifically -Only flute -B13 - p -monophonic based on plays B13-20 ritornello -Virtuosic – built on 4th interval Rit 2 -No motif B -Rhythmic -B21 - f displacement (B4 B21-26 not B2) Episode 2 -Upper auxiliary -B29 - Rhythmic B28 - p -B32 - Walking -No bass line notes diminution bass – light B27-47 -Octave leaps -B34 – modulate -Thirds -Sequential by sequence to E minor -B minor, F* major, B minor Rit 3 -Flute plays -Rhythmically -No flute -B47 - f strings part displaced opening interjections B48-52 -B51 – straight into C motif to disguise A Episode 3 -Ascending, -B69 – suspension -B75 – lower -B78,80 – f then p -Walking bass - chromatic scale of regular rhythmic tessitura (similar to B32) Homorhythmi B53-95 -B57 – melodic forward -Sequential c augmentation of momentum modulation (D+, -Contrapuntal A1 -B76 – first E-, F*-) -No bass – -B65 – semiquavers for -B62 – B minor light descending- bass -B69 – A major -Unison in contrast to rest and then motoric -B80 – E minor strings VIVALDI – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR MOVEMEN Y ARTICULATI + E T TWO ON TONALITY A -Motif A1 (dq, -Repeated p -D major -Reduced sq, q) patterns in -Starts on texture B1-6 -Motif A2 bass chord I (c,q) -B2 – -B4 – -Leaps to sicilenne secondary show rhythms dominant (Vb7 emotion and (beat 1) of A major) expression –Emphasis -B4 – -Irregular on beats modulation to phrasing 1+3 A major (2/3?) - -Usually tonic -B5 – and dominant echappé chords with occasional vi -Harmonic rhythm increases towards final cadence B -Conjunct -Repeated p -Faster -Reduced -Passing patterns in harmonic texture B7-end notes bass rhythm -B11 – octave -B12 – -B7 – F*minor descending syncopation to dim7 in VC/BC and cross -B8 – Eminor rhythms modulation -B9 – dim7. -B10 – D major -Strong perfect cadence to VIVALDI – M3 MELODY RHYTHM SONORI DYNAMICS + HARMONY TEXTUR TY ARTICULATIO + E N TONALITY Rit 1 -Motif A -D major -Antiphonal (Descending -Slow harmonic -interrupts B1-16 scale) changes switching from bass -Motif B (16 between tonic and -Strings in quavers) dominant octaves -Motif C (Four (imperfect) ascending sets -B9 – weak perfect of sqs) cadence -5 statements in BC -Phrases become shorter Episode 1 -B24 – material -Saraband – -B16 – feminine -Trio sonata from 1st emphasis on perfect cadence -Flute and B16-39 movement second beat -B26 – secondary violin in thirds -B32 – sequential -B21 – rhythmic dominant, Gmaj and then augmentation of modulation cross parts material from -B31 – A major, -B21 - duet Movement 1 chain of suspensions Rit 2 -Material from -2 bar rhythmic -A major -Octaves 1st movement phrases -Chain of 7-6 B40-B59 suspensions Episode 2 -B68 - inverted motif B -Slow harmonic rhythm (every four -Viola acts as bassline until B60-B88 -B73 – 2 bar bars) B67 when bass ascending -Inner dominant pedal renters sequence -Chromatic rising -M+A -B81 – links to bassline -B76 – accomp. movement 1 and -B69 – circle of Is similar to B24 beginning of fifths with 1st movement 3 inversion chords ending in A major -B84 – dim7 -B85 – B minor Rit 3 -Motif B inverted -B93 – D major -Octaves B89-93 Episode 3 -B94 - Repeat -Pulsating -B98 – A major -Octaves of B24-31 crotchets BACH – MELODY RHYTHM SONORITY DYNAMICS HARMONY + TEXTURE MOVEMENT + TONALITY ONE ARTICULATI ON Ritornello 1 -Motif X (ascending 2 sqs, 1 -String orchestra -Ripieno and solo -A minor -Quick harmonic rhythm – first -B1 – antiphonal -melody and B1 - 23 qu) play together four bars accompaniment -Motif Y (3 sqs) -fortspinnung -B8 – phyrgian cadence -goes through octave -B9 – circle of fifths in 4 bars -B16 – E minor with a V-vi -B14 – 4 bar in B19 counterpoint Episode 1 -based on Y -B34 – sequence like -Exciting solo compared to -A minor -B31-38 – circle of fifths -Polarised texture – B24 – 51 B7 quaver -B44 – suspensions melody + bass -B43 – development rhythms in -B49 – C minor -> C major 0.32 of X ripieno -B49 – rising solo -Syncopation figure Ritornello 2 -Dovetailed -B75 - sequence -C major -walking bass B52 – 84 -B63 – G major -B67 – C major 1.09 -B72 – E minor -B74 – dim7 -finishes on ic – V - i Episode 2 -B86 – melodic augmentation -B108 - rhythmic drive -E minor -BC outlines new keys -B86 – conversational B85 – 141 -Scaling, rising -B120 – cross -B91-102 – Amin-> Amaj-> and contrary patterns rhythms Dmin->Dma j->Gmaj ->Cmaj - motion 1.49 -B120 – false recap >Fmaj ->Dmin -B102 – -B126 – material -B108 – F major interjections of from B89, -B119 – circle of fifths rit. characterized by y, -B123 – A minor -B107 – question descending -B133 – Cmin with pedal and answer contrary motion which becomes dominant between solo + against soloist of F minor (flattest key of bass -B135 – 4 octaves mvt) -B118 - Baroque texture -B132 – 5 part texture Ritornello 3 -B166 – highest note of whole -A minor -B159 – Ic – V – V7d -B149 - monophonic B142 - end movement -B166 – interrupted cadence -ends on Ic – V - I BACH – MELODY RHYTHM SONORITY DYNAMICS + HARMONY + TONALITY TEXTURE MOVEMENT ARTICULATION TWO 4 bar intro -Motif A (3 repeated qus) -C major – relative B1-4 -Motif B (rising 1 sq, 2 major dsq) -B3– circle of fifths -Ostinato bass x10 Solo -B6 – melodic -C major introduction displacement in B5-8 improvisatory melody -B7+8 – same as B1+2 Melody A -B9 – -Rhythmic -C major B9 -16 -B11 – written out expression -B9 – moving to G major improvisation with expression so diss. doesn’t resolve fotspinnung -> -B12 – G major -B15 – highest point in piece freedom -B13 – dim7, neo6 in -B15 -Linking ostinato Gmin, dim7, Gminb -B15 – 4 bar intro in acc., -B14 – contrasts B13’s but solo interruptions 2 bars complexity in -B15 – dominant pedal turns tonic in B16 Melody B -B17 – -No BC -B17 – false relationship -B19 - -B17 - 22 -Figurations with dim7 homophonic -B20 – linking ostinato -B21 – D minor Melody A -same as B9-14 but a note -B23 – D minor -B23-30 higher -B24 – V-I in A minor -B29 – linking, sequential -B25 – pic3 to A major ostinato provides -B26 – Vb-I in A minor momentum -B27 – dim7, neo6, dim7, -B30 – diminished octave A minb range in solo -B29 – circle of fifths over 2 bars Melody B -2 bar sequence -B31 – bass -B32 - G minor -B31-38 -B34 – lowest note ostinato -B34 – V7 – I in C minor -B36 – resolution with changes to (dark key) octave displacement Viola -B35 – F minor, aug, C -B37 – linking ostinato major -B37 – C major Melody A -B42 – direction in bass -C major -B39-42 -B42 – V-I Codetta -B43 – higher than intro -C major -B43-end B1 but same BC -ends on V7c – I – V - I BACH – MOVEMENT MELODY RHYTHM SONORITY DYNAMICS + HARMONY + TONALITY TEXTURE THREE ARTICULATION Exposition -Widely sweeping contour -Trochaic rhythms -A minor -Fugal B1 - 24 -Motif C (3 descending contrasts quavers -I – Vb – I reinforces harmony -Gigue – feel qus) -Supportive bass -B5 – E minor -Polarised feel -Motif Y (3 arc qus) -B22 – rhythmically -B8 – A minor -B13 – crossing -Motif Z (3 ascending qus) augmented -B13-15 – Dmin, Gmaj, Cmaj parts -Octave.5 covered in 4 -B15 – unison in bars solo and Vln1 - -B16 – compounds thirds between V2s,Vla, BC -B17 – complex -B19 – Vla comes out of texture Episode 1 -b40 – more active -B26 – rhythmically -A minor -Polarised B25 - 42 bassline as well as augmented with -B26 – 4-3 sus followed by 7-8 sus disjunct contrasting rhythmic -B34 – circle of fifths previous conjunct interjections -B39 – E minor -B33 – momentum and stability Ritornello 2 -Stretto -Different -Close texture B43 - 46 -Dovetailed articulations - contrasts B25 intricate Episode 2 -like 1st episode but 5th -B52 – hemiola feel -B55 – Vb7– I in D minor -Polarised like B25 B46 – 59 higher -B55 – momentum -B57 – Vb7 – I in C major -B58+59 – like B39 and with strong sense 40 but higher of three beats Ritornello 3 -No B41+42 meaning -C major -light support in B60 – 72 episode is cut short -inverted dom. Pedal bass -B61 – 8ve displacement --B64 – G major via 2nd dom -Vlns doubled in -B63 – active, melodic -B68-70 – D min, A min, C maj sixths bassline -Contrary motion -built on x, y, z from subject -B70 – from opening section Episode 3 -Material from opening up -B82 – highly -B90 – triple stopping -C major -No BC highlights B73 – 90 a 4th rhythmic -Travels through keys via V7– I solo -2 bar sequence -B89 – ties over -B83 – Circle of fifths -B79 – Contrary -B82 – arpeggio figures – beat but disrupted -B88 – V in E major sustained motion frantic string crossing with new 2 bar sequence -Cadential figurations Ritornello 4 -false entry in dominant -Metre is restored -A minor (Ib) B91 – 93 in BC (expecting to be the last rit) Episode 4 -episode 1 material -BC outlines harmony -B101 - B94 – 116 -BC is an octave higher -Sequential harmony Conversation with -B101 - Covers nearly 2 textural complexity octaves -> tessitura is a -B106 – antiphonal vehicle for momentum between vlns and -B104 – rit + ep 3 similar BC -B106 – bariolage -B110 – antiphonal -B105-116 – rising with variant of rit. descending in BC MOZART - MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR OVERTURE Y ARTICULATI + E ON TONALITY Exposition -7 bar opening -Quavers to -B15 – triple -B1 – pp -D major -Very light made up of create chaos stopping -B12 – ff -B1-8 – outlining with octaves B1-138 antecedent (3) -Quavers -B35 – fp with fast tonic/dom triad in strings and 1st subject – and consequent towards changes between f -B16 – strong bassoon (4) phrase cadences and p perfect cadence -Violins in B1-34 -Motif A (4 qus, -B40 – rhythmic -B95 - p -B55 – harmonic unison Bridge – c) diminution in diminution -B7 – B35-58 -B8 – melody ww. -B59 – 2nd sub - A antiphonal falls and rises -B41 – military major -B48 – 2nd subject – between parts rhythm for story -B61 – secondary octaves B59-107 -B19 – counter telling dom -Complete melody in flutes -B133 - -B75 – hints of change in Codetta – and oboes syncopation minor tonality (F*-, texture for 2nd B108-138 -B26 – repeats of E-) sub. - string B19 -B103-106 – Cmaj led -Motif B(dm, 2 with neo6 to Amaj -B136 – thirds qus) in violins -B116- tune repeats from B109 with intro of flute Recapitulatio -B157 – similar to B19 but -B250 – rhythmic -B176 – flutes -similar dynamics -D major -B287 - diminution in play the oboe -B158 - false anitphonal n chromatically trombone with part from B63 relations and altered B139 – End -B195 – octave anacrusis every -B180 – chain of bar additional suspensions begin 1st subject – displacement -B199 – theme from bassoon -B163 – switching B139-157 B95 is in the cello -B244 – gradually between Dmaj and not violins, it is a 5th adding ww. and Amaj and confirms Bridge – lower with full brass Dmaj in B172 B158-171 orchestra -B208 – melody is in -B222 – tonic key 2nd subject – violins (was in dominant -B221 – exact in expo.) B172-221 repeat of B108-188 -B279 – implied Codetta – apart from B222 -B229 – melody interippted cadence to B221-236 doubled in oboe increase and bassoon Coda – -B236-245 – phrase momentum MOZART – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR A1 NO1, Y ARTICULATI + E DUETTINO ON TONALITY Exposition Figaro’s theme -Slower than -G major – sub- -B30 – (dotted overture – dominant of Figurations B1-59 anacrusis, 4 settled Overture -B56 – melody 1st subject repeated cs, -Semiquavers – -B3 – 4-3 sus. passes ascend and business -B1-8 – outlining I through both group – B1-36 descend fifth -Viola and VC/BC and V of them Transition - cs) begin half way -B8 – Dmaj, then B36-48 Countermelody through bar Gmaj of Figaro’s -B5 – stretto in -B17 – strong 2nd subject theme (m, c, melody and cadential group– B49 - dq, sq, c, c) countermelody progression -chromatic lower -B42 – more -B43 – 59 auxiliary nots in quavers – secondary flute insistence dominant (Amaj) -Figaro enters on -B46 – rhythmic -B44-46 – circle of last two notes of vitality fifths phrase whilst -B49 – D major first 8 bars of melody are repeated however there is no stretto -Susanna’s theme (dc, q, 8 10qus, c) B30 – Figaro anticipates entry -B37 – Susanna sings Figaro’s theme -B50 – Figaro sings Susanna’s theme Link B61 – G major -Thirds – in with dominant sync B60 – 67 pedal -B67 – imperfect cadence MOZART – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR A1, RECIT Y ARTICULATI + E FOLLOWIN ON TONALITY G NO.1 Exposition -Irregular -Speech -1st B1-19 phrases – like inversion diminution rhythms chords to Bb -Circle of -Conjunct fifths -B1 – Gmajb -B2 – Cmajb -B5 – V-I in Fmaj -B7.3 – Bbmajb – flattest key when talking about Count -B9 – Cmajb -B11 – Amajb (implied Dmin) -B12 – Dmajb with implied pic.3 to soften her approach -B15.3 – MOZART – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR A1, RECIT Y ARTICULATI + E PRECEEDIN ON TONALITY G NO.3 B1 – 54 -Short, -Speech like -1st inversion -Scene two anxious rhythms chords has a third Scene 1 phrases -B41 – -B1 – Cmajb voice to -B1-41 – -Phrase rhythmic -B3 – Amajb increase secco contour goes drive, (tertiary), texture Scene 2 up for precision questioning questions -B7-23 – Circle -B42 – end - -B42 – Singer of fifths accompagnat sings A-G; 7-6 starting on o appoggiatura Dmajb ending (performance on Ebmaj practice) (darkness -B42 – reflects lyrics) descending -B26 – Cmajb sequence in (light, accompanimen unexpected) t – empathetic, -B28-36 – figured out, Circle of fifths, consolidated reflects the -B42 - consists circular nature of 4 bar phrase of with 5 smaller conversation phrases -B37 – Cmajb, -Next phrase is harmony ‘broken as it is changes faster punctuated by -B39 – Fmaj interjections -B40 – Bbmaj -Expression -B41 – Fmaj, Dmin -B42 – Gmajb -B46 – Cmaj, Amaj -B47 – harmonic rhythm MOZART – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR A1 NO3, Y ARTICULATI + E CAVATINA ON TONALITY -Motif A (3 -Emphasising -Pizzicato – -F major -Homophonic A crochets) strong beat in secretive -Outlines tonic and B1-20 -4 bar phrases VC/CB -Horns are dominant chords x5 -Dance, dotted ‘hunting’ – -B10 – vi, iib -Falling 3rd rhythms aristocratic motif meneut –Violin 1 is based on first 5 notes of Fmaj scale which goes back down scale -B18 – rising 6th - emphatic -Motif B (4 -Military -Arco -Inner tonic pedal -Freedom of B descending rhythms in -Involved -Starts on IV texture B21-63 crotchets) horns orchestration to -B27 – Modulation -Antiphonal -2 bar phrases -Syncopation balance simple to C major interaction -More activity with -B55 – Restless melody -B44 – tonic to dom -B33 – full lower auxiliary quaver movement -Triple stopping pedal, move to F orchestra with notes in Violins in wooodwind -Higher tessitura major begins close harmony -Ascending -B48 – F major in strings bassoon contrasts -B51-55 – vii dim – descending vocal V, imperfect -Scalic flourishes cadence in D minor in Violin 1 -B62 – hints at -B34 – intervals Italian 6th, widen and then Phrygian shrink imperfect cadence in D minor -Rising contour – -Violins are off- -Darker timbre – 2 -F major -Tutti C similar to opening beat bassoons -Tonic and dominant -B88 – 2 part B64-103 melody chords used texture -8 bar Q+A -B80 –83 – circle -B93 – full phrases of fifths orchestra -B86 – F major -B96 - 3 part -B96 – 7-6 texture suspensions -Imperfect cadence before A A MOZART – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR A1 NO 4, Y ARTICULATI + E ARIA ON TONALITY A (Exposition) -Melody built around tonic triad -B6 – syncopated and stretto -Pompous fanfare- like through -D major -Simple and diatonic -Strings in octaves B1-50 -B20 – descending -B14 – military horns, trombone -Starts on Chord I -B6 – sustained sequences and rhythm and timpani -B6-9 – I, iib7, V7b, I ww with 1st subject bassline -B46 – seriousness, -Full orchestra (first repeated straight movement in B1-14 -B36 – same material as B23 finality time since Overture) after -B15 – B minor strings creating a freer, layered Transition but with a higher -B17 – feels like a texture tessitura in perfect cadence in -B15 – Octaves B15-29 strings Amajor in strings with 2nd subject -B49 – cascading arpeggio towards B -B25 – chromatic flavor ‘stabbing’ woodwind B30-50 -B30-32- A major to -B29 – full E major which is orchetra repeated in B34-36 B41 – confirms A major -B46 – starts series of Italian 6ths -B49 – modulates back to D major B -Military rhythms -Triplets in strings -B56 – Ibaug, IV, Ib aug, IV progression -Parallel thirds B51-72 and vocal assisting repeated in B58 basso buffo style -B60 – G major (secondary dominant) -B61 – D major -B63 – quasi circle of fifths with harmonic rhythm increasing -B65 – Italian 6th -B66 – D major returns however destablised with D*s -B67 – 9-8 sus, -B71 – tonic Minor -Section finishes on imperfect cadence A (Recap, -B73 – melodic augmentation -B82 – reestablishes D -B76 – no counterpoint CODA) major and no cross -B92-end – oscillating rhythms B72-end between V-I -B82 – textural -B100 – brief increase MOZART – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR A1 NO 5, Y ARTICULATI + E DUETTINO ON TONALITY A -Contrast -Dotted anacrusis -B10 - stabbing -A major – -Light and between V1s -B5 – cross brightest key so feminine B1-20 and VC – rise vs rhythms far -B15 – Vocals fall -restless -Based around V-I are doubled -Motif A triplets in (with inversions) – in oboe x2 (repeated Violins contrasts and in flutes note qu, c, Bartello’s aria 2qus, c) -B10-12 – -Motif B preparation to E (descending major via D sharp qus, 2 same in B10, and E note c) pedal in VC and -B9 - Marcellino Horns in B13 cuts Susanna -B17 – V-I into E off major -B19 – reversal of parts B -melodic -restless triplets -B27 – back to A -parallel augmentation major via weak 10ths in B21-37 – mirroring V7d – Ib strings insults -B29 – repeated -B33 – full -based on motif Vb-Is in woodwind orchestra A and horns B35 – cadential 64 -B37 – see B61 – she’s calm and then laughing at her – slower harmonic rhythm C -B42 – melodic -rhythmic -B40 – D major augmentation diminution chord B38-47 B44 – entries -B40 – Susanna are reverses telescoped harmonic from B23 and direction using 24 2nd dom. – Bmin -B42 - Emaj MOZART – MELODY RHYTHM SONORIT DYNAMICS + HARMONY TEXTUR A1 NO 6, Y ARTICULATI + E ARIA ON TONALITY (aria agitata) A -Motif A – -offbeat quavers -Eb major – -interjections descending in violins contrast to from B1-15 2qus, c) sharp keys woodwind -2 bar phrases -oscillates -B14 – (phrase 1 has between I and V7 ww+brass 6th jump, -B9+12 - passing build up phrase 2 has 6/4 texture octave jump) -B11 – interrupted cadence -B15 – ii-V-I in Bbmaj B -ascending, -B23 – weak -Violin 2 and chromatic perfect cadence Vla mirror B16-B35 -descends back (V7d-Ib) vocal whilst into A section -B27 – dom7 in Ab Vc/CB play in maj/ dom7 in 10ths with Fmaj/ dim7 before strings resolution -B32 – -B29 – no doubling resolution vocals in -B35 – iib – V7 - I clarinet into A A -Eb major B36-51 C -augmented -speech like -dominant pedal -B68 – ‘A’ in rhythms – recit -Ab major contrary B52-end woodwind esc. -B56 – V-I in F motion -B60 – -B55 - rhythmic minor (repeated -B96 – augmented 4th augmentation of B52-54 but down a homophony in – agitated, then B16 third) strings perfect 4th -B67 – agitated -B59 – Ebmaj -B92 – only -B91– low quavers which is not strings tessitura of -B92 – no resolved from V7 MOZART – MELODY RHYTHM SONORITY DYNAMICS + HARMONY + TEXTURE A1 NO 7, ARTICULATION TONALITY TERZETT O Exposition -Motif A (2 ascending sqs, 1 -quaver momentum -stabbing woodwind -Bb major – primary -cross rhythms B1-15 qu) provides momentum chords with inner Motif B (2 cs) dominant pedal -short statements -ends with masculine strong perfect cadence Transition -use of motifs (inv, aug, -stabbing woodwind -B16 – 27 - G minor, -homophony – B16-42 developed) -B25 – lower tessitura Ebmaj, C minor, Bbminor hymn-like Short, rising phrase in V2s - menacing using 2nd doms. -B25 – parallel 0.18 -B26 – minor version of 1st -B27 – 37 – oscillates 10ths with Susanna opera appearance between Ic & Vs in F and sustained ww -B29 – counterpoint and repeated minor with dom pedal -B29 – Vln1 doubles text Basillio -B35 – dim7 interval -B37 - Motif C (descending scale) 2nd subject -conjunct, longer note values, -B44 – rhythmic -gentle, middle tessitura -F major – peaceful -thirds B43-68 lyrical augmentation of motif A -B51 – German 6th -lullaby esc. -feminine affect -B52 - use of circle of fifths -ww doubles Bas Coda of -thematic consistency with motif (quick harmonic changes) and Count exposition – A -B66 – G minor – sudden, B57 – 68) -B57 - ‘bat teil cor’ reflected in emotional, impassioned 0.48 scatto and rests 1.05 Development -2nd subject material -B93 – agitated quavers -Eb major – calmer -B71 – canon B70- 146 B92 – rising sequence in strings -B103 – contrasts lyrical -B88 – Cmin using 2nd dom -homophony -B92 – intervals in short melody -B90 – Bb maj using 1.20 phrases gets smaller, primary chord eventually outlining tonic -B110 - V-Is in Bbmaj, triad Gmin, Fmaj -B144 – contrary motion between -B117 – Bbmajor with Vc and Susanna dominant pedal suspended -B129 – Ib-V7c-I sequence in Gmin, Ebmaj, Cmin, Fmaj, Bbmaj -finishes on unresolved V7 Recap -B148 – material from1st subject -B159 – cross rhythms -tonic for 75 bars -B167 and 197- B147-200 -B163 – Susanna’s theme in B24 and syncopation homophony in V1 -B163 - rhythmic 3.09 -B182 – 197 – exact repeat of diminution in ww 2nd subject B159 – 174 -rhythmic momentum B167-200 -B198 – 200 – repeat of B195-197 with quavers 3.35 Coda -new dotted rhythms -parallel 1st inversion -ww is antiphonal B201-end -rhythmic vitality chords with voices -V-Is like beginning -strings in octaves 4.10 -homophony MOZART – MELODY RHYTHM SONORITY DYNAMICS + HARMONY + TEXTURE A1 NO 9, ARTICULATION TONALITY ARIA A -4 bar phrases -anapestic -stabbing chords -C major -Vlns in 8ves B1-13 -motif A (2 falling cs) rhythms - comic in woodwind -I-V-I repeated with the voice -rising harmonic idea B -conjunct, feminine phrases -new semiquaver -double stopping -G major -lighter B14-31 -motif B (2 repeated cs) rhythms in strings -use of -B20 – D major -woodwind in from preceding aria -no dotted rhythms ornamentation in oscillate between Vb7 thirds -B26 – vln 1s descending violin 1s –I -B22 - flourishes -B24 – G major heterophonic reinforced by texture dominant pedal -B25 – octaves A -descending to 4th - -B43 - timpani -C major B32-43 masculine introduced – fanfare like C -one bar short phrases -no dotted rhythms -B48-54 – pivot into G -tutti B44-69 -rising vocal, falling in vocal line major turns into circle -antiphonal – accompaniment -rhythmic of fifths conflict -B64 – comic buffo style augmentation before -B55 – E minor -B62 – general pause (slow -B61 – C major polarized feel) texture Codetta -from B26 (lyrics from B70-76 section B) A -C major B77-89 CODA -same as B61 -B97 – bugal call- B90-115 army