5604862
| Question | Answer |
| Dynamics | extreme range - ppp-->fff e.g. end of piece (clarinets) |
| Dynamics | expressive crescendi/diminuendi - e.g. b.5-6 swift diminuendo |
| Rhythm/metre | use of different metres: mainly 3/4, also 4/4 and some 2/4 |
| Rhythm/metre | use of augmentation & diminution: e.g. hexatonic fanfare in triplets repeated later at a different pitch in sextuplets (diminution) |
| Rhythm/metre | complex off-beat entries, starting partway through a bar, and syncopations |
| Rhythm/metre | recurring rhythmical motifs such as triplet and, snapped semiquaver - dotted quaver from b.19 reused throughout, particularly in final section |
| Structure | loose rondo structure (ABA'CA'') recurring A sections represent a return of a particular mood/orchestral sound rather than a recognisable theme |
| Structure | each section focuses on different instrumentation, texture and rhythmic pattern with some features recurring to give unity |
| Melody | use of atonality makes melodic lines angular and inaccessible - large, awkward intervals e.g. b.10 clarinet solo |
| Melody | use of notes taken from hexachord, played linearly |
| Melody | use of principal voice to highlight which instrument has most important melody e.g. horns from b.24, melody snakes through texture |
| Instrumentation | large orchestra with variety within each section: Cor Anglais, bass cl, contrabassoon |
| Instrumentation | timbre of instruments considered as important as melody: klangfarbenmelodie |
| Instrumentation | -muted brass -arco & pizz strings -cymbal tremolo with cello bow -v low trombone b.35 |
| Texture | monophonic clarinet solo b.16-18 - lyrical |
| Texture | complex contrapuntal passages e.g. final section from b.59 (contrasting) |
| Texture | imitation in violin/viola in final section |
| Harmony/tonality | atonal - no key at all |
| Harmony/tonality | use of hexachords: cluster of 6 pitches that can be played together, as a chord, or in succession to create a melodic motif (woodwind at start) |
| Harmony/tonality | hexachord can be transposed e.g. upper woodwind at b.3 |
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