Karteikarten
Musicworks
Karten in diesem Stapel (69)
- 1Gershwin - MelodyBlues - Theme E features a flat 7
- 2Gershwin - RhythmVarying tempos, different rhythmic devices used. Some swung rhythms. Tempo and rhythm during solo section elaborated. Use of rubato. Syncopation.
- 3Gershwin - Harmony and TonalityUse of blues nots: 3rd, 5th, 7th degrees of the scale. Modulates throughout the piece.
- 4Gershwin - StructureRhapsodic form - a loose, free form which encourages contrasting themes and melodies. Random, uneven structure but Gershwin composed this work in such a way that it retains some sectional structure. Structure is also reminiscent of a concerto structure "tutti - solo - tutti - solo"
- 5Gershwin - DynamicsVarying dynamics. Some sudden changes and some gradual, flowing shifts.
- 6Gershwin - Timbre and InstrumentationOriginally written for jazz band and solo piano. Orchestrated three times by Verde Grode and a version for two pianos was written. Utilises both classical and jazz potential - flutter tongue, wah wah mutes. Brings across 20th century style. Banjo and sax. Piano is present in all orchestrations
- 7Gershwin - TextureThick and full texture through the tutti passages and thinner texture through the piano solo.
- 8Gershwin - Style and musical influencesJazz, train ride to Boston. American culture - hispanic tune and jazzy urban theme. Fused elements of jazz and classical music in attempt to bring jazz to the concert hall
- 9Gershwin - Performance context (original)Gershwin was commissioned to write it by Paul Whiteman. Received a mixed response from the public and critics. Public loved it, critics didn't.
- 10Prokofiev - MelodyLight, flowing, free feeling. Only briefly interrupted by a minor key in theme A of the development. Mostly scalic. Wide leaps in strings in Theme B. Melody here is sharp and angular. Contrasts with Theme A.
- 11Prokofiev - RhythmFast tempo throughout. Constant forward movement because of staccato semiquavers in the underlying parts.
- 12Prokofiev - Harmony and TonalityMostly major. Modulates through different keys across the different themes and sections. A few minor keys such as Bm and Dm. Adheres to the classical sonata form structure such as second theme in recapitulation is in the tonic.
- 13Prokofiev - StructureSonata Form. Features an exposition with Theme A, A' and B, a development, where each idea is developed and enhanced and the recapitulation, where the themes are restated in order. Balance and simple structure. Typical of classical period.
- 14Prokofiev - DynamicsMostly louder dynamics. Some quieter sections. Eg. FF to p immediately in Theme A. Crescendo to each new idea or section.
- 15Prokofiev - Timbre and InstrumentationTraditional classical orchestra. Very little brass. Emphasis on strings and woodwind. Violins: melody Woodwinds: countermelodies.
- 16Prokofiev - ArticulationStaccato is used to create forward and light timbre. Slurring and tenuto create contrast. Sul punto del arco - modern twist.
- 17Prokofiev - TextureSome thick sections with everybody playing, some thin sections.
- 18Prokofiev - Style/Musical InfluencesNeo Classical
No story to tell
Wanted to tie classical with 20th century. - 19Prokofiev - Compositional DevicesCall and response between woodwinds. Rhythmic displacement in the development theme B. Fragmentation in the development.
- 20Prokofiev - Performance Context (original)Went straight to the concert hall. Loved by the public. Return to classical style but related well to the modern audience.
- 21Gershwin - Tune A BarsBars 2 - 5
- 22Gershwin - Tune B barsBars 11 - 14
- 23Gershwin - Tune C barsBars 19 - 20
- 24Gershwin - Tune D figureFigure 9
- 25Gershwin - Tune E figureFigure 14
- 26Gershwin - Tune F - FigureFigure 28
- 27Flutter TongueBar 13 in the trumpets
- 28Prokofiev - Intro barsBars 1 - 2
- 29Where does the exposition come in and until which bar?Bars 2 - 85
- 30When does Theme A of the exposition come in?Bars 3 - 18
- 31When does Theme A' in the exposition come in?Bars 19 - 38
- 32When does Theme B in the Exposition come in?Figure 6 - Figure 7
- 33When does the Codetta in the Exposition come in?Figure 10
- 34When does the development come in and until which bar?Bars 87 - 140
- 35When does Theme A of the development start and finish? When is it repeated?Figure 12 - figure 13 and parts of theme repeated in bars 103 - 110
- 36When does theme A' of the development come in and when does it finish?Figure 13 - figure 14
- 37When does Theme B of the development come in and when does it finish?Figure 15 - Figure 18
- 38When does the Codetta of the development come in and when does it finish?Bar 131 - 140
- 39When does the Recapitulation begin and end?Bars 143 - 182
- 40When does Theme A of the recapitulation begin and end?Figure 20 - figure 21
- 41When does Theme A' of the recapitulation begin and end?Figure 21 - figure 24
- 42When does Theme B of the recapitulation begin and end?Figure 24 - 26
- 43When does the Coda begin and end?Figure 28 to the end
- 44Sonata Form - IntroPrimary function is to strike more serious or grander tone and to establish larger scale of motion
- 45How did Prokofiev fit the description of the introduction of sonata form?He set the feeling of the entire piece as it is in "con brio" - "with vigour". The fast ascending D major arpeggio also set the forward motion of the entire piece.
- 46How did Prokofiev fit the description of the exposition of sonata form and how does it differ?- The first subject included more than one theme (Theme A and A')
- Theme B was in the dominant because it is a major movement. - 47Development-Develops material from the exposition
-Moves through a number of keys
-Tonal instability and rhythmic and melodic tension
-Prepares structural climax, the "double return" too the main theme and to the tonic key which begins the recap - 48How did Prokofiev fit the description of the development of sonata form and how does it differ?-It develops each theme in some way eg. theme A is in D minor, not D major. Theme A' is in A flat major.
-Intertwining the two moved through keys quickly
- Rhythmic displacement = rhythmically unstable
-Quick change through keys = melodically unstable
-Codetta acts as structural climax = tutti
- Because it is so similar to exposition codetta, it provides a nice turn around - 49Recapitulation-Restates themes of exposition, usually in the same order
- Second theme is now heard in tonic
- May be temporary excursions to other keys - 50How did Prokofiev fit the description of the recapitulation of sonata form and how does it differ?-Reinstate themes in order
- Second theme heard in tonic
- No excursions to other keys, once it reaches the tonic it remains in the tonic until the end - 51Coda- Reinstates main theme
- Climax ending - 52Exposition - Theme A KeysD major, C major
- 53Exposition - Theme A' KeysD major, B minor
- 54Exposition - Theme B KeyA major
- 55Exposition - Codetta KeyA major
- 56Development - Theme A KeyD minor
- 57Development - Theme A' KeyA flat major
- 58Development - Theme A Key (2nd time)A minor
- 59Development - Theme B KeyE major (modulates a lot!)
- 60Development - Codetta KeyC major
- 61Recapitulation - Theme A KeyC major
- 62Recapitulation - Theme A' KeyD major
- 63Recapitulation - Theme B KeyD major
- 64Coda KeyD major
- 65When does Tune A appear in Rhapsody in Blue?Bar 2
- 66When does Tune B appear in Rhapsody in Blue?Bar 11 (figure 1)
- 67When does Tune D appear in Rhapsody in Blue?Figure 9
- 68When does Tune E appear in Rhapsody in Blue?Figure D
- 69When does Tune F appear in Rhapsody in Blue?Figure 28