music set works

It is a Ballet- a type of madrigal

Rapid triple metre (3/4)

Syncopation bar 12 (alto)

Hemiola bar 20-21

Conjunct movement and small leaps

Octave jumps bar 2

Suspensions bar 83 (alto)

In G major changes to D major in bar 9 and C major in bar 44

Binary Structure (AB)

Pedal notes bars 46-52 (alto)

The word setting is almost entirely syllabic

It is a Lied- A type of german song

Slow triple metre (3/4)

Mainly syllabic

Longest melisma occurs bars 54-55 in the vocal part

Conjunct movement and small leaps

Turn in bar 21

Key of B Minor modulates to D# minor at bar 47

Neapolitan chord bar 59

Ends with a Tierce de picardie

The piece is Through composed

Change in time signature between 4/4, 2/2 and 3/2

Stresses on odd beats (bar 126)

Bitonality with modal elements suggesting Aeolian mode

Most of the vocal melodies have a narrow range, revolving around the repetition of only a few notes

Heavy use of dissonance

Excluded upper strings and clarinets in his attempt to create an unemotional sound

Mainly syllabic vocals but with occasional melismas

There is some counterpoint including imitation

Written for 4 part (SATB Choir)

Each section is repeated

Neo-classical style

Quadruple metre

Steady on beat crotchets in the bass (typical of rocksteady)

Syncopation in the upper parts

Mainly syllabic word setting with some melismas (bar 73) at the end of phrases

High falsetto notes (bar 25)

The key is Db major

Emphasis is placed on the chorus which is repeated 4 times

Texture is melody dominated homophony

Instruments include: Vocals, guitars, bass, trumpets, saxes electronic organ and drums

Quadruple metre with swung quavers

Emphasised backbeat

Semiquavers in the lead guitar (bar 31)

Stop time

Vocal line is mostly syllabic with a few short melismas

The melody is primarily based on a G minor pentatonic scale

Based on chords (I,IV and V)

There is no modulation

There are 6 choruses of 12 bar blues

Pitch bends bars 21-22 lead guitar

Glissandos bar 42 lead guitar

It is a transcription

The pavane is in fairly slow duple metre - Key of D major

The galliard is in lively triple metre - Key of D minor

Galliard has a hemiola in bar 7

All parts have a fairly narrow range

Movement is mainly conjunct with some stepwise movement in the opposite direction (bar 24 pavane)

False relations in bar 11 pavane

Both dances have 3 different sections each of which is repeated (AABBCC)

Performers would often ornament their part on the repeats

The dances were published as being suitable for bowed instruments and/or wind instruments

The music was deprived from vocal styles and thus is unidiomatic (not written for a specific instrument)

Simple quadruple metre

Most bars feature quaver movement, sometimes provided by syncopated crotchets in the upper part against the on-beat crotchets in the bass (such as the start of the movement)

Short rests clairfy the end of sections (at the ends of bars 8 and 16)

Stepwise movement and mainly small leaps

The melody includes ornamentation such as trills and appoggiaturas (bar 10,12)

Perfect cadences define keys and mark the end of sections

Diminished 7th such as in bar 13 generate harmonic tension

In the key of D minor and ends in the tonic major

Sonata form- commonly used in the classical period

First 16 bars use periodic phrasing- classical characteristic

2 oboes, bassoon, 2 horns and strings- typical of early classical period

2 part counterpoint in the first 8 bars

Terraced dynamics bar 53 and 56

In compound duple metre (6/8) but some sections are in simple metre (2/4)

Syncopation (eg. in the opening violin theme)

Repeated staccato notes (first heard in bar 13)

Melodies in the trio are more lyrical are based on rising and falling 3rds

Imperfect cadences to keep the piece moving forwards

Pedal notes are sometimes used (tonic at the start)

The movement is in C minor and ends with a tierce de picardie on the chord of C major

The scherzo consists of 3 themes, each is modified and developed when returned

The work is written for 2 violins, viola, cello and piano

Brahms' writing is very idiomatic

Free imitation when the piano joins in

Slow triple metre (3/4) which is typical of the sarabande

Melodic ideas are often immediately repeated, sometimes with slight variations (such as the first 4 bars)

Stepwise movement and small leaps

Parallelism applied to a range of chords (35-41)

Quartal harmony

In C# Aeolian mode

The use of modal and quartile harmony leads to unsual cadences

The movement has a rondo or ternary form

Exploits the pianos range

Most of the music requires the use of the sustaining pedal

Textures include monophonic passages in bar octaves (bars 20-22) but are otherwise homophonic

Melody-dominated homophony