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Criado por carlacamilleri
quase 10 anos atrás
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Questão | Responda |
Gershwin - Melody | Blues - Theme E features a flat 7 |
Gershwin - Rhythm | Varying tempos, different rhythmic devices used. Some swung rhythms. Tempo and rhythm during solo section elaborated. Use of rubato. Syncopation. |
Gershwin - Harmony and Tonality | Use of blues nots: 3rd, 5th, 7th degrees of the scale. Modulates throughout the piece. |
Gershwin - Structure | Rhapsodic 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" |
Gershwin - Dynamics | Varying dynamics. Some sudden changes and some gradual, flowing shifts. |
Gershwin - Timbre and Instrumentation | Originally 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 |
Gershwin - Texture | Thick and full texture through the tutti passages and thinner texture through the piano solo. |
Gershwin - Style and musical influences | Jazz, 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 |
Gershwin - 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. |
Prokofiev - Melody | Light, 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. |
Prokofiev - Rhythm | Fast tempo throughout. Constant forward movement because of staccato semiquavers in the underlying parts. |
Prokofiev - Harmony and Tonality | Mostly 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. |
Prokofiev - Structure | Sonata 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. |
Prokofiev - Dynamics | Mostly louder dynamics. Some quieter sections. Eg. FF to p immediately in Theme A. Crescendo to each new idea or section. |
Prokofiev - Timbre and Instrumentation | Traditional classical orchestra. Very little brass. Emphasis on strings and woodwind. Violins: melody Woodwinds: countermelodies. |
Prokofiev - Articulation | Staccato is used to create forward and light timbre. Slurring and tenuto create contrast. Sul punto del arco - modern twist. |
Prokofiev - Texture | Some thick sections with everybody playing, some thin sections. |
Prokofiev - Style/Musical Influences | Neo Classical No story to tell Wanted to tie classical with 20th century. |
Prokofiev - Compositional Devices | Call and response between woodwinds. Rhythmic displacement in the development theme B. Fragmentation in the development. |
Prokofiev - Performance Context (original) | Went straight to the concert hall. Loved by the public. Return to classical style but related well to the modern audience. |
Gershwin - Tune A Bars | Bars 2 - 5 |
Gershwin - Tune B bars | Bars 11 - 14 |
Gershwin - Tune C bars | Bars 19 - 20 |
Gershwin - Tune D figure | Figure 9 |
Gershwin - Tune E figure | Figure 14 |
Gershwin - Tune F - Figure | Figure 28 |
Flutter Tongue | Bar 13 in the trumpets |
Prokofiev - Intro bars | Bars 1 - 2 |
Where does the exposition come in and until which bar? | Bars 2 - 85 |
When does Theme A of the exposition come in? | Bars 3 - 18 |
When does Theme A' in the exposition come in? | Bars 19 - 38 |
When does Theme B in the Exposition come in? | Figure 6 - Figure 7 |
When does the Codetta in the Exposition come in? | Figure 10 |
When does the development come in and until which bar? | Bars 87 - 140 |
When 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 |
When does theme A' of the development come in and when does it finish? | Figure 13 - figure 14 |
When does Theme B of the development come in and when does it finish? | Figure 15 - Figure 18 |
When does the Codetta of the development come in and when does it finish? | Bar 131 - 140 |
When does the Recapitulation begin and end? | Bars 143 - 182 |
When does Theme A of the recapitulation begin and end? | Figure 20 - figure 21 |
When does Theme A' of the recapitulation begin and end? | Figure 21 - figure 24 |
When does Theme B of the recapitulation begin and end? | Figure 24 - 26 |
When does the Coda begin and end? | Figure 28 to the end |
Sonata Form - Intro | Primary function is to strike more serious or grander tone and to establish larger scale of motion |
How 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. |
How 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. |
Development | -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 |
How 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 |
Recapitulation | -Restates themes of exposition, usually in the same order - Second theme is now heard in tonic - May be temporary excursions to other keys |
How 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 |
Coda | - Reinstates main theme - Climax ending |
Exposition - Theme A Keys | D major, C major |
Exposition - Theme A' Keys | D major, B minor |
Exposition - Theme B Key | A major |
Exposition - Codetta Key | A major |
Development - Theme A Key | D minor |
Development - Theme A' Key | A flat major |
Development - Theme A Key (2nd time) | A minor |
Development - Theme B Key | E major (modulates a lot!) |
Development - Codetta Key | C major |
Recapitulation - Theme A Key | C major |
Recapitulation - Theme A' Key | D major |
Recapitulation - Theme B Key | D major |
Coda Key | D major |
When does Tune A appear in Rhapsody in Blue? | Bar 2 |
When does Tune B appear in Rhapsody in Blue? | Bar 11 (figure 1) |
When does Tune D appear in Rhapsody in Blue? | Figure 9 |
When does Tune E appear in Rhapsody in Blue? | Figure D |
When does Tune F appear in Rhapsody in Blue? | Figure 28 |
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