iGCSE Music

iGCSE Music: Paper 1 Common questions Melodic shape: y

Ascending / descending

y

By step / by by leap

y

Com bination,

e.g. initial ascending leap f ollowed by by descending scale

Rhythm: y

S ynco pated

y

yrhyt hm Polyrhyt

y

Ostinato

y

Time

y

etr e Metr 

y

Fast or sl r  slow

signatur  signatur e

Style Baroque: Bass line is very very im por tant/pr  tant/pr om ominent y y

Figur  igur ed ed

bass: BASSO CONTINUO (har  psich  psichor d/ d/or gan; gan; cello/bass)

y

S mall or chestr  estr a

y

 phonic CONTR APUNTAL/poly ph

y

Mor e

y

Lots of or na naments

textur  textur e (OR  homo ph  phonic, ch chor ale-like ale-like textur  textur e in ch chor us) us)

DISSONA NT than Classical in High High Ger  Ger man sty st yle (Handel, etc. = consonant)

Classical: t, r egular  egular p phr ase-length ase-lengths (e.g. 2 4-bar  4-bar p phr ases) ases) Shor t, y y

S ym ph  phony

y

Str ing ing

y

Minuet

y

CONSON A NT

y

Tonic-dominant

quar  quar tet tet (+ tr  tr io) har mo mony har mo mony

Romantic: y

Big or chestr  estr a

y

Bigger  igger  br ass ass section th than in th the Classical per  per iod

y

Pr ogr ammatic

(tells a st ory) ry)

y

Mor e CHROMATIC TIC

har mo mony t han Classical

y

Mor e

y

Gr eater  eater d dynamic r ange ange th than Classical music

expr  expr essive essive

20th Century: Very DISSONA NT, some ATONAL y y

Much uch mor e com plex

y

For m

becomes

SYNCOPATION, POLYRYTHM rhyt rhyt hm, e.g. SYNC

uch mor e com plex much

and unpr  unpr edictable edictable

Rudiments Standard European staff notation including: dynamic: alterations in the volume of a piece of music. tempo and expression markings simple ornaments and articulation signs: signs: em bellish  bellishments to a melody. The most commo n or na naments ar  ar e tr ills ills and mor dents. dents. Other  or na naments include acciaccatur  acciaccatur as, as, appoggiatur  ggiatur as as and tur  tur ns. ns. treble, bass and alto clefs key signatures up to 4 sharps and 4 flats in major and minor keys time signatures intervals: Number of semitones Name Minor 2nd r  2nd 1 2 r  2nd Major 2nd 3 r  3r d Minor 3 4 r  3r d Major 3 Per fect 5 fect 4th 4th 6 Augmented 4th 4th 7 fect 5th 5th Per fect 8 r  6th h Minor 6t 9 Major 6t r  6th h Minor 7t r  7th h 10 Major 7t r  7th h 11 Octave 12 y y y y

y y y y

Melody and Rhythm y y y y

y y y

Major (scale): In

a happy appy sounding key key minor (scale): In a sad sounding key key chromatic (scale): A scale consisting of all th t he 12 semitones of th the octave pentatonic (scale): A scale made up o f five notes used a lot in tr  tr aditi aditional Scottish ttish Music ± usually usually has no semitones. Melodic movement by step or leap Phrasing Duple, triple or irregular metre

Chinese

and

y y

syncopation: when notes ar  ar e play played off th the beat polyrhythm: music which ich featur  featur es es sever  sever al al differ  differ ent ent rhyt rhyt hmic patter  patter ns, ns, play playing it at th t he same time (a commo n featur  featur e of Af r  r ican ican music).

Harmony y y y

y

Primary

chords: I, IV, and V(7) secondary chords: II and VI Perfect (VI), imperfect (IV), plagal (IVI), and interrupted (Vnot I, usually usually cadences Modulations to related keys

VI)

Ensembles and instruments/voices y

y y y y y y

y

y

y

y

y

y y

y y y

1

idges R idges

rchestras: Orchestras:

Lar  Lar ge ge gr oups of instr  instr uments made up of  mem ber   ber s o f t he f our  families str  str ings, ings, woodwind, br  br ass ass and per  per cussi cussio n. wind and jazz bands choirs chamber ensembles the main instruments and voices used in the above ensembles Piano, harpsichord, organ amelan: per  Gamelan: per cussi cussion-based Indonesian n-based  Indonesian music play played with ith gongs and metallo ph  phones. It usually usually has a heter  eter o ph  phonic textur  textur e (due to its str  st r ong element of im pr   pr ovisation), and o ften consists of a fast upper  upper pa par  r t and a slow lower pa r  par  r t. t. rabb: rabb: A bowed str  str ing ing instr  instr ument f r  r om abia with ith a very very small r es esonating ch cham ber   ber , om  Ar abia giving it a br  br eathy eathy,, flute-like tim br   br e. e. It usually usually has one str  str ing, ing, or at r  at most thr  thr ee. ee. kora: kora: 21-str  -str inged inged har   p-lute f  r om ica, which ich includes both plucked and sy sym path  pathetic om  Afr ica, str  str ings. ings. It is used by by pr ofessional musicians among th the Mandika peo ple of Gam bia. xylophone: xylophone: A tuned per  per cussi cussio ns instr  instr ument used in  Afr ican ican music, which ich consists of  esting on gour d r es esonator s. s. It is also used in Wester  Wester n music. wooden notes r esting -pitched plucked str  str ing ing instr  instr ument f r  r om abia that looks like a lute, but µd: a low-pitch om  Ar abia ithout f r  r ets. ets. It has a lar  lar ge ge r es esonating ch cham ber   ber , giving it a guitar  guitar -like -like tim br   br e. e. with Ety Etymologically gically, µd¶ is th the same wor d as µlute¶, alth although ugh it also has fewer  str  str ings ings (but quite a few noneth netheless). sitar: sitar: so lo instr  instr ument f or  r aga; aga; best-known instr  instr ument f or  im pr   pr ovisation in India in  India;; g our d 1 sound box and a long neck with ith moveable f r  r ets ets ; 7 main str  str ings, ings, one o f which ich is th the main str ing ing while th the other s play play dr one notes; th t he main str  str ing ing is o ften pulled to bend melody str  notes. srang : A bowed, vio lin-like instr  inst r ument f r  r om  India.. om India tabl: tabl: a pair  pair  of single headed dr  dr ums, used f or  play playing th the tala in India in India;; differ  differ ent ent par  par ts ts of  the dr  dr um-head make differ  differ ent ent sounds; often used f or i r  im pr   pr ovisation ar  ar ound th the tala. ch¶in: ch¶in: A plucked str  str ing ing instr  instr ument f r  r om ina.. om China erh-hu: erh-hu: A Chinese inese,, vio lin-like instr  inst r ument with ith a br  br eathy eathy tim br   br e. e. shakuhachi: shakuhachi: A flute-like instr  instr ument f r  r om apan. om  J apan. acr  acr oss th the finger  finger  boar d of str  str ing ing instr  instr uments

y y

y y y

y

koto: koto: a plucked str  str ing ing instr  instr ument f r  r om apan. om  J apan. bandoneon: bandoneon: a ty pe o f accor di dion used (instead of an or chestr  estr a) a) as an accom paniment to the tango f r  r om entina. om  Arg entina. quena: uena: a ty ty pe of flute f r  r om  Andes ndes,, gener  gener ally ally tuned in G om t he  A pan pipes: pipes: wind instr  instr uments f r  r om entr al/ al/South uth Amer ica. ica. om Centr  guitar: guitar: used in C ar ibbean ibbean music in R eggae eggae (a bass guitar  guitar  play playing a loud r iff), iff), Caly aly pso (a steel guitar  guitar  accom pany  panying singer  singer s alo ng with ith ma r acas), acas), Mento (accom pany  panying singer  singer s, s, sometimes r eplaced eplaced with ith a banjo, play playing fast, sy synco  pated hcor ds, ds, while other  instr  inst r uments play play their  eir  own sy s ynco pated rhyt rhythms), and R ock  Steady teady (a bass guitar  guitar  play playing  bass r iffs). iffs). un-tuned percussion instruments: instruments: Instr  nstr uments which ich accom pany  pany m bir   bir as as and voices in  Afr ican ican music.

Instrumental and/or vocal effects y y y y y

y

y

y

y

y y y

Arco: rco: bowing a str  str inged inged instr  instr ument. pizzicato (pizz): plucked str  str ings. ings. glissando: glissando: sliding quickly quickly over  ver adjacent adjacent notes. tr emolando (tremolo or t r  tr em): liter  liter ally ally means tr  tr em bling harmonics: harmonics: musical tones which ich ar e par  par ts ts of t he har mo ser ies ies above a fundamental monic ser  note, and may be hear  ear d with ith it. double stopping: stopping: The act of play playing two notes simultaneously usly on a melodic per  per cussi cussio n instr  inst r ument (like a mar im ba) or  str  str inged inged instr  instr ument (f or  exam ple, a vio lin or  a guitar  guitar ). ). In  per   per f  fo   r ming a double sto p, two separ  separ ate ate str  str ings ings ar  ar e depr  depr essed essed (µst o pped¶) by by the finger  finger s, s, and bowed or plucked r  plucked simultaneously usly. strumming: strumming: play playing (a guitar  guitar  or si r  similar  ilar  instr  instr ument) by by sweeping th the th t hum b or a r  a plectr  plectr um up or d r  down th the str  str ings. ings. pitch bending (or portamento): portamento): a slide f r  r om especially in singing om one note to another , especially r  play ying th the violin. or pla mute: mute: A device fitted to a musical instr  instr ument to alter  alter  the sound pr  pr oduced: by by affecting the tim br   br e, e, r educing educing th the vo lume, or  most commo nly nly both. roll: roll: A r apid apid succession of beats (especially (especially dr um beats). melisma: melisma: lots of notes to one sy syllable blue notes: notes: flattening cer  cer tain tain notes of th the scale such such as th the 3r  3r d or 7t r  7th h

Structure y

y y y

Binary: inary: A musical str  str uctur  uctur e with ith two par  par ts ts of appr  appr oximately ately equal length length, which ich ar e both ty pically  pically r epeated. epeated. ternary: ternary: Made up of thr  thr ee ee sections like a sandwich ich (A-B (A-B-A) rondo: rondo: 4 par  par ts ts in th t he patter  patter n: n: AB ABACA theme and variations: variations: A com positional tech technique wher e a main motif is alter  alter ed ed every every time it is r epeated. epeated.

y

ground bass: bass: the ter  ter m used in Bar oque2 ver again. again. over 

music wher e

a bass par  par t is r epeated epeated over  ver  and

Compositional devices y y y

y

y y y

y

y

y

R epetition: epetition: a device often used in Af r  r ican ican music to or ganise ganise th the music. imitation: imitation: wher e one vo ice or inst r  instr  r ument co pies what has just been play played by by another  sequence: uence: a patter  patter n of notes which ich goes up or  down in pitch pitch every every ti me it is r epeated. epeated. Sequences can be divided between instr  instr uments. canon: canon: A passage or  piece of  music in which ich a theme is taken up by by two or  mor e par  par ts ts that over  ver lap. lap. 3 inversion: inversion: play playing a musical figur  figur e upside down, with ith the inter  inter vals vals inver  inver ted. ted. ostinato: ostinato: A continually ntinuall y r epeated epeated musical phr  phr ase ase or rhy r  rhytthm. drone: drone: A pipe (especially (especially in a set of bagpipes) or  str  str ing ing used to sound a continuous note pitch. of low pitch Alberti bass: bass: Accom paniment consisting o f ch chor ds ds br  br oken up into patter  patter ns ns play played in th the left hand of th the piano. pedal: pedal: a single note that is held on or  r epeated epeated in th the bass. The chor ds ds above the bass the bass note stay stays th the same. may change, but th contrary motion: motion: The gener  gener al al movement of two melodic lines in o pposite dir  dir ecti ections. the lines moves up, th the other  line moves down. If th the vo ices always That is, when one o f th inter vals vals (in o pposite dir  dir ecti ections) th they ar e said t o be in st  in  st r  rict i  ct cont r  ra   ry move by the same inter  motion. motion.

Texture y

y

y

y

y

2

Melody

and accompaniment: accompaniment: a melody which ich can be sung or  play played on an instr  instr ument, ith an accom paniment. A song with ith piano accom paniment falls int o this category. ry. with homophonic: homophonic: liter  liter ally ally means µsounding togeth gether ¶. ¶. H omo ph  phonic music is play played in block  chor ds. ds. Sometimes, homo ph  phonic music is called ch c hor dal dal music, it means th the same th thing. polyphonic: polyphonic: liter  liter ally ally means µdiffer  µdiffer ent ent sounds or  voices¶. Po ly ph  phonic music has par  par ts ts th t hat each other . Sometimes this is called contr  ntr apuntal apuntal music ± it means weave in and out of each the sa me th t hing. Poly ph  phonic music may contain an element of i mitation, wher e one v oice r  instr  r ument co pies what has just been play played by by another . or inst monophonic: monophonic: having a single melody eith either  with ithout accom paniment, or  accom panied by by 4 sim ple ch chor ds, ds, or  often a dr  dr one . heterophonic: heterophonic: A t y pe of textur  textur e char acter  acter ized ized by by the simultaneous var  var iati iation of a single uch a textur  textur e can be r egar  egar ded ded as a kind of c om plex mono ph  phony in which ich melodic line. Such ther e is only nly one basic melody, but r ealized ealized at th the same time in multiple vo ices, each each of  ich play plays th t he melody differ  differ ently ently, eith eit her  in a differ  differ ent ent rhyt rhythm or te r  te m po, or  with ith var  var ious which em bellish  bellishments and elabor ati ations.

A per  per iod of Eur  Eur o pean music between th the year  ear s 1600 and 1750 pitches or n r  notes; usually usually expr  expr essed essed in ter  ter ms of steps The distance bet ween two pitch 4 A note th that is sustained or r  r  r epeated epeated thr  thr ough ughout a section of music 3

Style o

Baroque (1600-1750)

The Baroque era was a period of great change in music. It is here that the foundations of  5 6 harmony as we know it developed, as composers replaced modes with the familiar major and minor scales. Music was written to order in these times and all composers worked for a patron - such as the Church, a royal court, or a wealthy noble.

ey features K ey

Key musical features 7 gener ally ally po ly ph  phonic in textur  textur e Music is gener  usually a harpsichord continuo par  par t Ther e is usually Music is clear  clear ly defined in major and minor key keys 8 9 Melodies ar e long and flowing imitation and sequences Terr aced aced dy dynamics ar  ar e em plo yed wher e th the music is eith eit her  loud or s r  soft, depending on th the textur  textur e of th the music naments10 ar e used f r  r equently equently Or na y y y y y

y

mportant composers I mportant y y y y y

Claudio Monteverdi 1567-1643 Henry Purcell 1659-1695 Antonio Vivaldi 1678-1741 Johann Sebastian Bach 1685-1750 George Frideric Handel 1685-1759

Pitch, texture and timbre The f o llowing glossary ssary cover  ver s all th t he im por tant tant musical featur  featur es es used in th the Bar oque per  per iod: P itch itch y

y

y

5

Polyphonic/counterpoint

is wher e th the melodies of th the music inter  inter weave with ith each each other . 11 They ar e often used in Fugues . Figured bass or  continuo is a bass line f or  the continuo play player  (har  psich  psichor d, d, or gan gan or  12 lute) sh shown by num ber   ber s. s. These num ber   ber s indicate th the inter  inter vals vals of t he chor ds ds to be  play  played. ills, Appogiatur  giatur a, a, Tur n, n, Acciaciatur  Acciaciatur a and Mor dent. dent. Ornaments include Tr ills,

A com bination of notes play played at th the same time to cr eate eate a ch chor d A scale patter  patter n made up of inter  inter vals vals of whole and half steps 7 par ts ts th that play play at th the same time, weaving in and out of each each other  Two or  mor e melodies or  par  8 epetition of a phr  phr ase ase of melody by a differ  differ ent ent par  par t The r epetiti 9 A patter  patter n of notes which ich goes up or d r  down in pitch pitch every every time it is r epeated epeated 10 An em bellish  bellishment or dec r  decor ati ation to the melody 11 A musical f or m based on imitati on 12 pitches or n r  notes; usually usually expr  expr essed essed in steps The distance between two pitch 6

exture T exture y

y y y

y

y y

Orchestra: rchestra: made

up o f t he strings (1st and 2nd vio lins, vio las, cellos, double basses), pair  each each of flutes, o boes, o boe d¶amor e), e), brass (3 tr um pets), percussion woodwind (a pair  (kettle dr  dr ums, tim pani) and keyboard (har  psich  psichor d). d). Solo instruments: instruments: e.g. or gan gan pr  pr elude, elude, vio lin par  par tita. tita. 13 Choral: Choral: ch choir s (sometimes a capella ) or acc r  accom panied by by ensem bles or h r  har  psich  psichor d. d. R ipieno/ ipieno/ Concertante: Concertante: a gr oup of instr  instr uments/solo gr oup of instr  inst r uments. The Bar oque com poser  ser s made use of contr  ntr asts asts between gr  gr oups of instr  instr uments and so lo instr  inst r uments. Sequence: uence: melodic phr  phr ases ases r epeated epeated at differ  differ ent ent pitch pitches, has the effect of smoothly flowing lines o f melody. 4 Homophonic: omophonic: a musical textur  textur e which ich invo lves a melody1 accom panied by by har mo monies. olyphonic: wher e th Polyphonic: the melodies of th the music inter  inter weave with ith each each other .

T imbre imbre y

y

y

y

Bach trumpet: trumpet: sounds much uch br igh ighter  ter  than a moder  der n tr um pet. Par ts ts wer e flor id id and difficult to play play. 5 Harpsichord: arpsichord: t y pically  pically Bar oque, very very distinctive tone colour 1 , main key key bo ar d instr  inst r ument. boe: r eed Oboe: eed instr  instr ument. Ther e ar  ar e two kinds, o boe and o boe d¶amor e, e, th the latter  latter is is lower  in 16  pitch  pitch . 7 Violin: Violin: r eplaced eplaced th the vio l1 . Vivaldi com posed many any br illiant illiant vio lin pieces.

Musical forms Orchestral 

y

y

y y

13

8

Fugue: Fugue: a musical f or m based on imitation1 . It has main melodies (called subjects), and counter  unter -melodies (called counter  unter  subjects). These ar  ar e r epeated epeated at high igher  and lower   pitch  pitches and differ  differ ent ent key keys and can also be alter  alter ed ed in differ  differ ent ent ways. The effect is of very very inter  inter weaving textur  textur es. es. It is like a very very lar  lar ge ge and com plicated r ound. Bach ach is a well know n and po pular   pular  com poser  ser  of th this f or m and has a boo k of Toccata and Fugues. verture: a piece of instr  Overture: inst r umental music wr itten itten in 1 movement. It¶s o ften used as an 19 intr  intr oduction to an o per   per a or  or at ator io . 20 Concerto: Concerto: so lo instr  inst r ument accom panied by by or chestr  est r a, a, usually usually in 3 movements Concerto Grosso: rosso: the same as a concer  ncer to, however  ever , it uses a gr  gr oup of s o lo instr  instr uments (concer  ncer tante) tante) and a gr  gr oup of accom pany  panying instr  instr uments (r  (r ipien ipieno).

per  per f  fo   r med with ithout instr  instr umental accom paniment arr  arr anged anged rhyt rhythmically ically to cr eate eate a musical phr  phr ase ase 15 quality of sound or ti r  tim br   br e of an instr  instr ument The quality 16 the speed of th the vibr  vibr ati ations f r  r om instr ument; a fast The position of a tone in a musical scale; dependent on th om the instr  speed pr  pr oduces a high igh pitch pitch, and a slow speed pr  pr oduces a low sound 17 A str  str inged inged instr  instr ument used pr  pr imar ily ily in th the Bar oque per  per iod 18 epetition of a phr  phr ase ase or  melody by a differ  differ ent ent par  par t Th e r epetiti 19 A piece of music f or  vocals and or chestr  estr a th that tells a st ory with ithout th the use of pr  pr o ps or scene r  scenery ry 20 A passage or p r  phr ase ase per  per f  fo   r med by by just one voice or  instr  instr ument 14

Vocal music

 No  Notes

ocal/Choral  V ocal/Choral  y

y

y y

y

Opera: pera:

a plot set to music f or  solo singer  singer s and ch chor us us with ith or chestr  estr al al accom paniment. Ther e ar e two main featur  featur es: es: µR ecitative¶, ecitative¶, quickly quickly sung dialogue and µAr  µAr ia¶, ia¶, a song usually usually f or s r  solo voice with ith or chestr  estr al al accom paniment. ratorio: similar  ilar tto o per   per a but it is per  per f  fo   r med as a concer  ncer t with ithout costumes or acting r  acting and Oratorio: the wor ds ds have r eligi eligious meaning eg th the Messiah essia h by Handel. Chorale: Chorale: a so lemn hymn tune, har mo par ts, ts, invar  invar iably iably with ithout sy synco pation. monised in 4 par  assion: an or at ator io in which ich the wor ds ds ar  ar e about th the suffer  suffer ing ing and th the death death of Jesus e.g. Passion: atthew¶s Passio n by by Bach ach. St. Matth Cantata: Cantata: a sh shor t or at ator io with ith so los, ch chor us us and instr  instr umental sections. o

Classical (1750-1810)

The phrase µclassical music¶ often refers to all music which is not µpop¶. But in music history µClassical¶ refers to the music composed bet ween 1750 and 1810.

Evolution from Baroque to Classical 2

1 Alth Although ugh we date th the Classical per  per iod as star  star ting ting ar  ar ound 1750 the tr  tr ansiti ansitio n f r  r om om Bar oque was an evo lution not a clean br  br eak. eak. Many any musical f or ms per  pe r sisted, sisted, and th the Classical sy sym ph  phony gr ew the Bar oque tr  tr io sonata: out of th

Trio sonata  Classical sonata  Italian overture  Classical Classical symphony

ey features K ey

Key musical features y y y y y

has sim ple, µsingable¶ melodies 22 usually usually com pr   pr ises ises 4-8 bar  bar p phr ases ases 23 clear  clear , homo ph  phonic textur  textur e (usually (usually) dynamics (or  volume) now uses cr  cr escend escendo and diminuendo (getting louder  uder and and quieter  quieter ) tim pani ar  ar e often th the only nly per  per cussi cussion used

I mportant mportant composers of the Classical period:

y

Mozart 1756-1791

y

Haydn 1732-1809

T   ypes of composition:

Music

21

Type of composition

A per  per iod of Eur  Eur o pean music between th the year  ear s 1600 and 1750 A section in which ich music seems to fall natur  natur ally ally that can often be play played in one br  br eath eath 23 A single melody being play played with ith accom paniment 22

Instr  nstr umental music

 ber  music Cham ber 

Chur ch music

Mass, R equie equiem

Dance music estr al al Or chestr  Vocal

Suite, Minuet

(e.g. Str ing ing quar  quar tet) tet)

 phony, Concer  ncer to, Over  ver tur  tur e S ym ph O per   per a, a, Or at ator io, Chor ale, ale,

Ar  Ar ia ia

Pitch and texture P itch: itch: y

y

y y y

y

Theme or subject: subject: an im por tant tant melody which ich occur  ccur s mor e than once in a piece of  theme may be just a melodic figur  figur e. e. music. A th Sequence: uence: the r epetiti epetition o f a melodic figur  figur e or  phr ase ase is r epeated epeated at a high igher  or  lower   pitch  pitch. Figure (motif): a sh shor t melodic phr  phr ase. ase. Concord: Concord: a har mo chor d. d. monious ch Alberti bass: bass: a bass line th that consists of br  br oken ch chor ds, ds, a pr  pr om featur e of Classical ominent featur  music. Arpeggio: rpeggio: th the notes of a ch chor d play played one after  after an another instead r  instead of at th t he same time.

T exture: exture: y

y y

Chamber music: music: f or  play playing in a r oom  ber , ie wr itten itten f or  a small num ber   ber  o f  oom or  cham ber  instr  inst r uments. For  exam ple, a str  str ing ing quar  quar tet tet (2 vio lins, vio la and cello), piano tr io (vio lin, cello and piano) or st r  str  r ing ing sextet. Orchestra: rchestra: expanded in size, dy dynamics and textual r ange. ange. Music is mor e homo ph  phonic, in contr  ntr ast ast to mainly ainly poly ph  phonic Bar oque, and so ligh lighter  ter and and clear  clear er .

Musical forms any f or ms, Many

e.g. th the suite, th the concer  ncer to, the over  ver tur  tur e, e, the changed f r  r om per iod. om t he Bar oque per 

mass,

th the chor ale ale ± continued little

Below ar e some distinctive f or ms ty ty pical of Classical music. Orchestral:

y y y

Symphony: Symphony: a lar  lar ge ge or chestr  estr al al wor k, k, usually usually in f our c r  contr  ntr asting asting movements. Minuet: inuet: a dance in 3/4, often par  par t of a Minuet and Tr io. Sonata form: form: c onsisting of t wo themes or  gr oups of th t hemes, linked by by a br  br idge idge passage. thr ee ee sections ar  ar e known as µexposition¶, µdevelo pment¶, and µr  µr ecapitulati ecapitulation¶. The thr 

V ocal/Choral: ocal/Choral:

y

R equiem: uiem: a R om atho lic mass f or t r  the dead with ith solo voices, ch chor us us and or chestr  estr a. a. oman Cath

y

pera: Opera:

A dr  d r amatic piece f or  or chestr  estr a, a, chor us us and vocal solo ists com bining acting with ith  per a star  star ts ts with ith an over  ver tur  tur e, e, f or  or chestr  estr a f ollowed by chor uses uses and ar  ar ias ias (a music. An o per  solo singer  singer  with ith or chestr  estr a). a). They also have r ecitatives, ecitatives, half spoken and half sung music.

Evolution of orchestra and piano

Changes to the orchestra: y y y

y

The

har  psich  psichor d continuo gr adually adually fell out of use. gr ow instr uments, especially especially hor ns. ns. Ther e was a gr  owing use of wind instr  In th t he ear  ear ly classical per  per iod, or chestr  estr as as wer e still small and var  var iable, iable, ty ty pically  pically str  str ings, ings, 2 hor ns, ns, 1 or 2 r  2 flutes or a r  a pair  pair  of o boes. Later  Later  com poser  ser s included flutes and o boes, 1 or  2 bassoons, and occasionally nally 2 tr  t r um pets and a pair  pair  of kettledr  kettledr ums. Clar  lar inets inets f ound a r egular  egular  place towar ds ds the end of t he 18th 8th century century..

Ev olution olution of the piano:

y

y

y

y

Dur  Dur ing ing th the Classical per  per iod music f or  instr  inst r uments became mor e im por tant tant th than music f or  vo ices f or t r  the fir  fir st st time. Bartolomeo Cristofori f r  r om taly invented th the piano as ear  ear ly as 1698. By 1700 he had om Italy  built one and called it gr  gr avice avicem balo co l piano e f or te, te, (h (har  psich  psic hor d with ith so ft and loud). Instead of plucking th the str  str ings ings th they wer e str  str uck uck by by small hammer s. s. With With lots of piano music being wr itten itten th the Alber  Alber ti ti bass develo  ped, consisting of sim ple  br   br oken ch chor ds ds r epeated epeated in th the left hand. Mozart was one o f th t he fir  fir st st musical celebr  celebr ities ities when he per  pe r f  fo   r med as a ch child bef or e th t he Em per   per or  of Austr  Austr ia ia in Vienna.

Symphony and concerto

he symphony  T he y

y y y

Essentially Essentially t his was a sonata, which ich had 3 or  4 contr  ntr asting asting sections, play played by the estr a. a. or chestr  It was also influenced by by the Italian over  ver tur  tur e, e, which ich had thr  thr ee ee sections: fast, slow, fast. per fected fected by by Haydn and Mozart dur  dur ing ing th the classical per  per iod. It was per  thr ee ee movements of th the ear  ear ly sym ph  phony became f our  with ith the additio n of th the Minuet The thr  and Tr io.

B asic asic symphonic form

Structure 1st movement 2nd movement 3r d movement 4th 4th movement

Description

fair  fai r ly fast, in sonata f or m slower  speed, mor e song-like, often in ter  ter nary nary f or m (3 par  par ts ts in th t he patter  patter n: n: AB ABA) tr io often called minuet and tr  fast speed, ligh light-h t-hear  ear ted, ted, often in r ondo f or m (4

 par   par ts ts in th t he patter  patter n: n: AB ABACA)

he T he y

y y

y y

concerto

The

concer  ncer to featur  featur es es a so lo instr  instr ument in com petition with ith the or chestr  estr a, a, develo ped f r  r om ncer to. om Bar oque solo concer  The so loists and or chestr  estr a ar  ar e of equal im por tance. tance. themes between th the s o lo ist and or chestr  estr a, a, Ther e is a dialogue between melodic lines and th ith each each taking tur  tur ns ns to accom pany  pany the other . with Ther e ar  ar e thr  thr ee ee movements (fast, slow, fast) like th t he ear  ear ly sym ph  phony (no minuet or t r  tr io). ncer tos usually usually last 35-40 minutes. Concer  o

R omantic omantic (1810-1910)

The emphasis in R omantic omantic music individual expression.

was

much less on formal balance and much more on

ey features K ey

Key musical features y

y

y y y

Ther e was mor e

f r  r eed eedom o f f or m and design, and an em ph  phasis on intense expr  expr essi essio n o f  feeling (contr  ntr ast ast to the balance between expr  expr essiveness essiveness and f or mal str  st r uctur  uctur e in Classical  per   per iod). 24 R om ith dr amatic contr  ntr asts asts of dynamics , r egister  egister s, s, tone omantic music is e motional, with 25 26 colour s and tem pos . 27 It has song-like melodies, often above homo ph  phonic textur  textur e. e. 28 ar e expanded, leading to lar  lar ge ge scale com positions . Classical f or ms ar  uch music was wr itten itten f or  soloists (especially (especially o n th t he piano), designed to show off th t he Much  play  player ¶s ¶s br  br illiance illiance of tech technique.

I mportant mportant composers:

y y y y y

Ludwig van Beethoven (1770-1827) Johannes Brahms (1833-1897) R ichard ichard Wagner (1813-1883) Frédéric Chopin (1810-1849) Claude Debussy (1862-1918)

T   ypes of composition

Music 24

The

25

quality of sound or ti r  tim br   br e of The quality

Type of composition

volume at which ich a note is play pla yed; an exam ple of a dy dynamic instr  instr ucti uction is f or te, te, which ich means to play play loudly udly an instr  instr ument 26 ich a piece of music is play pla yed The speed at wh ich 27 A single melody being play played with ith accom paniment 28 ething is made up of  Com position is wh at someth

Instr  nstr umental music

 ber  music, Sonata Cham ber 

Chur ch music

R equie equiem

Dance music estr al al Or chestr 

Waltz, Polka, Mazur  azur ka ka  phony, Sym ph  phonic poem, S ym ph Pr ogr amme music Lied, O per   per a, a, Song Cycle

Vocal

(solo instr  instr ument)

Solo

concer  ncer to,

featur  featur es es of t he

R om omantic

Pitch, texture and timbre The

f ollowing glossary ssary cover  ver s some  per   per iod.

of

the

most

im por tant tant

musical

P itch itch

y y y

odulation: moving Modulation:

f r  r om key to another . om one key odes: now came back into use, par  par ticular  ticular ly in music dr  dr awing on f o lk tr  tr aditi aditions. Modes: R egister: egister: th t he pitch pitch r ange ange o f an instr  inst r ument. Extr  Extr emes of pitch pitch wer e now being used, made  possible by by advances in instr  instr ument making and play playing tech techniques.

T exture exture

y

S ym ph  phony or chestr  estr a: a: Ty pically  pically

consisted o f str  st r ings ings (up t o 60 vio lins, violas, cellos and double basses), woodwind (picco lo, 3 flutes, 3 o boes, cor  anglais, 2 clar  clar inets, inets, high igh clar  clar inet, inet, bass clar  clar inet, inet, 3 bassoons and a double bassoon), br  br ass ass and per  per cussi cussio n.

imbre T imbre y y

y y y y

y

lissando: Glissando:

sliding quickly quickly over  ver adjacent adjacent notes. Flutter tonguing: tonguing: a way of blowing an instr  instr ument, usually usually the flute, th that has th the effect of  very very fast tr  t r illing. illing. Arco: rco: bowing a str  str inged inged instr  instr ument. Pizzicato (pizz): plucked str  str ings. ings. Tremolando (tr  (tr emolo or t r  tr em): liter  liter ally ally means tr  tr em bling. dr aw bow acr  acr oss str  str ing ing very very close to the br idge idge on a str  st r inged inged Ponticello (pont): dr  instr  inst r ument. Sotto voce: voce: very very so ftly ftly, liter  liter ally ally under  under tthe br  br eath eath.

Musical forms and styles A few f or ms, such such as the mass and th the r equie equiem, continued little ch changed f r  r om om t he Bar oque  per   per iod. But many any new and distinctively distinctively r om omantic f or ms wer e develo ped: Orchestral 

y

Symphony: Symphony: expanded com par   par ed ed to the classical sy sym ph  phony.

Solo concerto: concerto: a lar  lar ge ge scale wor k in 3 or 4 r  4 movements f or s r  solo instr  inst r ument and or chestr  estr a. a. Symphonic poem (tone poem): a piece o f  music in one movement which ich explor es es emotions, pr  pr ogr ammatic. Sonata: Sonata: a com position f or  a solo instr  inst r ument with ith piano or  solo piano. A fair  fair ly lo ng wor k  k  in sever  sever al al movements eg Moonligh nlight Sonata by by Beeth eethoven. Programme music: music: a com position f or  or chestr  estr a based on a story or a r  a par  par ticular  ticular  idea. ances: new f o lk dance f or ms wer e intr  intr oduced, par  par tly tly as a r esult esult of t he inter  inter est est in Dances: nationalist musical sty st yles. The Waltz was a dance in 3/4 time, th t he Po lka a r ound dance in 2/4 time and th the Mazur  azur ka ka was a Polish lish dance in 3/4 time.

y y

y

y y

V ocal ocal / Choral 

y

pera: Opera:

y

scale. Lied (plur  (plur al al is Lieder  Lieder ): ): a Ger  Ger man song (always sung in Ger  Ger man). Song cycle: cycle: a collection of Lieder  Lieder .

y

a

ider  r ange ange of wider 

subjects and, in th the case of  R ichard ichard Wagner, Wagner,

uch much

bigger  bigger  in

tyles  S tyles Nationalist: Nationalist: music concer  ncer ned ned with ith cr eating eating specifically specifically national sty st yles differ  differ ent ent f r  r om om t he dominant Austr  Austr ian ian and Ger  Ger man sty st yles cr  cr eated eated by by Beethoven, eethoven, Schubert and other s. s. Major  com poser  ser s include Dvoák and voák and Grieg. rieg.  pr essi essio nist: a sty st yle which ich sets out to cr eate eate a sensory im pr   pr essi ession, o ften o f aspects o f  I m pr  the natur  natur al al wor ld ld (e.g.  La Mer  Mer b by Debussy). ebussy).

y

y

Expansion of the orchestra It was

th the de mands of B f Beeth eethoven¶s sy sym ph  phonies th that br  br ough ught about th the dr  dr amatic expansio n of th the estr a dur  dur ing ing th the R om per iod. Beeth eethoven¶s Fir st st Sym ph  phony is th t he r eal eal beginning of th t he or chestr  omantic per  der n or chestr  estr a. a. It was scor ed ed f or : moder  y y y y y y y y y y y

 No  Note y

1st

and 2nd violins vio las cello s double basses 2 flutes o boes clar  clar inets inets  bassoons tr um pets hor ns ns kettledr  kettledr ums th that in Beeth eethoven¶s or chestr  estr a: a: the key key boar d instr  instr ument

was

r eplaced eplaced by by str  str ings. ings.

y

the develo pment flexibilit y.

of

t he valve

meant

th that br ass ass instr  instr uments now had gr eater  eater  r ange ange and

The symphony In

th the R om sym ph  phony: omantic sy y y y

y

the fir  fir st st movement is always fast (Allegr  (Allegr o). the second movement is usually usually much uch slower  (Lar  (Lar go) and var  var ies ies in mood. the thir d movement is a Scher zo - ener  ener getic getic with ith str  str ong rhyt rhythms and sometimes using f o lklor e. e. the f our th eith either  imitates th the fir  fir st st or c r  contr  ntr asts asts it.

ee im por tant tant Thr ee

sy sym ph  phonic com poser  ser s wer e Brahms, rahms, Tchaikovsky and Mahler. ahler.

rahms B rahms y

y

Brahms enlar  enlar ged ged th the or chestr  estr a with ith tr om the double bassoon and occasio nally nally om bones and th the bass tuba in his sy sym ph  phonies. His fir  fir st st sy s ym ph  phony (com posed when he was 40) was nicknamed th t he µtenth µtenth¶, suggesting it r  to Beethoven¶s nine sy sym ph  phonies. was a wor t hy successor t

oák  Dv oák  y y

voák (like Dvoák (like

Beethoven) eethoven) com posed nine sy sym ph  phonies His ninth nint h sym ph  phony was wr itten itten in 1893 and fir  fir st st per  per f  fo   r med in  New Yor k. k.

chaikov  sky  T chaiko y y y

A R ussian ussian com poser  ser , he was influenced by by f o lk music. iginally educated as a lawyer , he did not devote himself t o music until th the age of 23. Or iginally Of h f his 6 sy sym ph  phonies, th the last thr  thr ee ee ar  ar e best known.

M ahler  ahler  y y y

Ger  Ger man com poser  ser  of sy sym ph  phonies and µLieder  µLieder ¶. ¶. Dur  Dur ing ing his lifetime he was th though ught of as one of th the wor ld¶s ld¶s leading conductor s. s. He wr ote 10 sym ph  phonies with ith the last being unfinish unfinished.

20th Century (including impressionism, serialism, neoclassical, jazz) The 20th Century was a time of great exploration and experiment in music. o

ey features K ey

Key M usical usical Features har mo ation, moving away f r  r om aditional key keys monic explor ati om tr aditi 29 3 develo pment of new com position tech techniques, e.g. tone r ow ser ial ial music 0 ow and ser  3 a backlash backlash against R om ith new f o cus on sound and tim br   br e 1 r ath ather  than omantic ideals, with melody im pr   pr oved communications br ough ught much uch bigger  bigger  (ultimately ately wor ld ldwide) audiences, and intr  intr oduced com poser  ser s to a wider  ider  var  var iety iety of musical sty st yles com poser  ser s dr ew on µpo pular   pular ¶ influences such such as r agti agtime, blues, jazz, f olk  music and  po pular   pular dance dance sty styles new tech techniques in r ec ecor ding, ding, instr  instr ument making and am plification lead to new ways o f  music-making y

y

y

y

y

y

I mportant mportant composers

Igor Stravinsky (1882-1971) Arnold Schoenberg (1874-1951) Benjamin Britten (1913-1976) Aaron Copland (1900-1990) Béla Bartók ( artók (1881-1945) Olivier Messiaen (1908-1992)

y

y

y

y

y

y

Pitch and texture  New

kinds of pitch pitch and textur  textur e wer e widely idely exper  exper imented with ithin th this per  per iod.

itch P itch y

y y y y

29

Tone row (note r ow technique which ich uses all 12 semitones or ganised ganised ow): a com positional tech into an or der  der b by the com poser  ser . R etrograde: etrograde: th the play playing of a musical figur  figur e such such as a tone r ow ds. ow back war ds. 32 Inversion: Inversion: play playing a musical figur  figur e upside down, with ith the inter  inter vals vals inver  inver ted. ted. 33 odulation: moving f r  r om key to another . Modulation: om one key Atonal: tonal: music with ith no key key.

A ser  ser ies ies of notes using all 12 notes f r  r om chr om om th e chr  omatic scale A meth ethod of com position wher eby eby a com poser  ser  constr  nstr ucts ucts a ser  ser ies ies of inter  inter vals vals using, in any an y or der  der , all 12 notes of  the chr  chr om omatic scale 31 quality of sound f r  r om instr ument th that allows it to be distinguish distinguished f r  r om The quality om one instr  om other s 32 pitches or n r  notes; usually usually expr  expr essed essed in ter  ter ms of steps The distance bet ween two pitch 33 Th e main n ote of a piece of music 30

exture T exture y

y

y

rchestra: Orchestra:

As R om per cussi cussion including a var  var iety iety of dr ums, omantic, but extended use of per  r attle, attle, tubular  tubular  bells, gongs, cy cym  bals, yxlo ph  phones, glockenspiels, mar im  ba etc.  phones ar  ar e sometimes added also. Saxo ph Electronic music: music: music pr  pr oduced by by electr  electr onic means, o ften r ec ecor ded ded and th then manipulated. Experimental sound production: production: f or  exam  ple, in pr epar  epar ed ed piano, invented by by John Cage, Cage, o  bjects such as r ubber  ubber  bands, nuts, bolts and hair  air   pins ar  ar e attach attached to the piano str  str ings ings to pr oduce unusual sounds when th the key keys ar  ar e str  str uck. uck.

Musical forms  New f or ms wer e

develo ped while many any tr aditi aditional f or ms continued to thr ive. ive.

raditional forms T raditional Musical

form nstr umental music Instr  Chur ch music Or chestr  estr al al Vocal echno logical Tech

Composition  ber  music, Solo pieces Cham ber  R equie equiem, Cantata S ym ph  phony, Solo, Concer  ncer to  per a, a, Song cy cycle O per  Electr onic Electr 

N ew ew forms y y y

y

y

34

Serial music: music: music th that uses th the Tone R ow ow . music: music com posed using tones smaller  Microtonal music: aller tthan a semitone. music: music in which ich phr ases ases ar  ar e r epeated epeated over  ver  and over  ver , with ith small Minimalist music: changes intr  intr oduced one by by one. 35 Neo-Classical: Neo-Classical: music which ich uses much uch dissonance and less feeling of key key ± develo ped  by  by com poser  ser s such such as Stravinsky and Bartók  who wanted to move away f r  r om om t he emotion of R om omanticism. Aleatoric music is th the music of chance applied to many any wor ks ks wr itten itten after  after  WWII. ser s using th this tech technique include Cage, Lutoslavski, Stock hausen and Xenakis. Com poser  the actual musical mater  ater ial ial is pr  pr e deter  deter mined but it is th t he per  per f  fo   r mer s who decide Often th ich sections ar  ar e play played in which ich or der  der . which

Serialism and Minimalism These wer e

34 35

par  par ticular  ticular ly influential inno vations in 20th Century entury music.

A ser  ser ies ies of notes using all 12 notes f r  r om chr om om th e chr  omatic scale that, when play played togeth gether , cr  cr eate eate a discor d, d, or a r  a jarr  jarr ing ing sound Two or  mor e notes th

erialism  S erialism Schoenberg was th the f ounder  under  of ser  ser ialis ialis m, a 12-note sy syste m that r eplaced eplaced tonality nality36. The com poser  ser  fir  fir st st arr  a rr anges anges th the 12 notes of th the chr  c hr om any or der  der  of h f his or  her  omatic scale in any choice. This becomes th t he note-r  te-r ow ow. All 12 notes ar  ar e of equal im por tance tance and th they should appear  appear  in th the or der  der  of th the note-r  te-r ow ow, alth although ugh they can be r epeated. epeated. As well as using th t he note-r  te-r ow iginal f or m, it may be used back war ds ds (r  (r etr  etr ogr ade), ade), ow in its or iginal upside down (inver  (inver si sio n), or b r  both back war ds ds and upside down (r  (r etr  etr ogr ade ade inver  inver si sio n). 37 Each Each of th these can be tr  tr ansp ansposed to begin on any any note of th the chr  chr om omatic scale. Schoenberg¶s pupils Berg and Webern also took up ser  ser ialis ialism. uch f r  eer  in his appr  appr oach ach and often br  br ough ught in extr  extr a mater  ater ial ial not dr awn f or m Ber g was much r eer  the ser  ser ies. ies. Webern was much uch str  str icter  icter in in his use of ser  ser ialis ialis m.

y y

y

y

y y y

y

M inimalism inimalism 38

This

kind of music uses r epeated epeated ostinati . S mall ch changes in musical phr  phr ase ase ar  ar e intr  intr oduced one by by one. phase sh shifting in which ich par  par ts ts gr adually adually move out of sync This may include ph other . The music has a hy pnotic quality qualit y. technology may be em plo yed. Music tech eich ar e pr  pr om ser s. s. Philip Glass and Steve R eich ominent minimalist com poser 

y y y

y y y

ith with

each eac h

azz and folk influences  pular ttr aditi aditions Po pular 

had a big im pact on 20th century century ar t music.

azz influences  J azz ever al al Sever 

ingr  ingr edients edients in gener  gener al al 20th century century Amer ican ican Jazz: y y y y y y

36 37 38 39

music

can be tr  tr aced aced back to the influence

39

f r  r esh esh vitality vitalit y in rhyt rhythm, r ely elying on sy synco pation synco pated melodies above a steady steady beat  blues notes ± flattening cer  cer tain tain notes of th the scale such such as th the 3r  3r d or 7t r  7th h br ass ass effects muted br  a keener  keener  inter  inter est est in per  per cussive cussive sounds instr  inst r uments play playing in shr  shr ill ill r egister  egister s

ganisation of melodies Th e or ganisati

and har mo the piece a centr  centr e key key or  pitch pitch monies to give th ite a piece of music in a differ  differ ent ent key key f r  r om iginal To r ewr ite om th e or iginal A phr  phr ase ase or patte r  patter  r n th that is r epeated epeated thr  thr ough ughout a section of music An alter  alter ati ation of a rhyt rhythm when a weak beat is accented

o f 

y

im pr   pr ovisat ory elements ± even r esulting esulting in aleator ic ic  per   per f  fo   r mance ch cho ice is at th t he cor e of th the com position

music wher e

im pr   pr ovisation and

R avel, avel, Milhaud, Gershwin, Kurt Weill, Stravinsky, Walton and Copland ar e amongst com poser  ser s who have used jazz elements in th their  eir  wor ks ks

Exam ples: µR agti agtime f or eleven r  eleven instr  instr uments¶ by by Stravinksky; Stravinksky; µPiano Concer  ncer to¶ by by Gershwin. in.

Folk influences y y

Dur  Dur ing ing th the fir  fir st st half of th the 20th century century,, nationalism had a lar  lar ge ge influence on th the music. Many any com poser  ser s studied f o lk songs and used f olk  melodies in th their  eir  com positions. ritten, Copland, Copland, and Williams. Williams. Exam ples ar  ar e Britten,

Soviet composers Thr ee ee of

th the gr  gr eat eat 20th century century com poser  ser s wer e f r  r om ussia). om the Soviet Union (now R ussia).

 S ergei  ergei P rokofie rokofiev  y y y

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He studied at St. Peter  eter sbur  sbur g Conser  nser vat vatory in 1904. After  After tthe R ev evolution he was given per  per missio n to tr avel avel abr  abr oad. When he r etur  etur ned ned to R ussia ussia he f ound himself  out of favour  with ith the auth author ities ities and in the subject of par  par ticular  ticular and and dir  dir ect ect censur  censur e. e. 1948 th He died in 1953, on the same day day as Stalin, and so could not enjoy the subsequent r elaxati elaxation in musical censor ship. His most fa mous piece is pr  pr o bably  bably µPeter  eter and and th the Wolf¶.

hostakov ich ich Dmitry  S   S hostako y

y y y y

Like many any Soviet com poser  ser s of  his gener  gener ati ation, he tr ied ied to r ec econcile th the musical r ev evo lutions of h f his time with ith the ur  ur ge ge to give a vo ice to r ev evolutionary nary socialism. His car  car eer  eer va var  ied with ith the political climate in R ussia. ussia. r ied His o per   per a µLady µLady Macbeth acbeth¶ was condemned by by Stalin. His µ Ninth inth Sym ph  phony¶ br  br ough ught cr  cr iticis iticism f r  r om ught it too f r  r iv ivolous. om o fficials who t hough After  After  Stalin¶s death death he had mor e f r  r eed eedom to com pose.

I   S tra  gor  S  trav insky  insky 

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He studied music with ith R imsky-Korsakov imsky-Korsakov in R ussia. ussia. After  After  the R ussian ussian R ev evo lution of 1917 he moved to Wester  Wester n Eur  Eur o pe, and th then to the USA in 1939. In the post-war  year  ear s he tur  tur ned ned f r  r om style o f eclectic neo-classicism to com posing in om a sty the twelve-note tech technique invented by by Shoenberg. Shoenberg. His most fa mous wor k  k  was pr  p r o bably  bably µThe R ite ite of  S pr   pr ing¶, ing¶, containing r epr  epr esentati esentations o f   pr   pr ehistor ic ic pagan R ussian ussian r ituals ituals and sacr  sacr ifice. ifice.

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pera: Opera:

com poser  ser s wer e seeking to r e-cr  e-cr eate eate th the dr ama of th t he ancient Gr  Gr eeks eeks by by fusing  poetry etry,, theatr  eatr e, e, visual ar  ar ts ts and music. The fir  fir st st big o per   per a, a, Orf  eo by Claudio Montever  ntever di, di, per f  fo   r med in 1607. was per  oratorio (including recitative, aria and chorus): similar  ilar  to o per   per a but it is per  per f  fo   r med as a concer  ncer t with ithout costumes or  acting and th the wor ds ds have r eligi eligious meaning e.g. Handel¶s  Messiah. musical: musical: in ear  ear ly 20th-century -century Amer ica, ica, th the booming musical th theatr  eatr e and th the cinema industr  industr ies ies stimulated th the com position of much uch new music. symphony: symphony: essentially essentially a sonata, which ich had 3 or  4 contr  ntr asting asting sections, play played by the estr a. a. or chestr  concerto: concerto: featur  featur es es a so lo instr  instr ument in com petition with ith the or chestr  estr a, a, develo  ped f r om om Bar oque solo concer  ncer to. string quartet: uartet: 2 violins, vio la and cello sonata: sonata: A 3-par  3-par t f r  ith an exposition, f o llowed by a develo pment, and finally finally a r om om, with r ecapitulati ecapitulation march: march: very very po pular   pular  in A mer ica. ica. (The com poser  ser  John Philip Sousa was known as a s T he  Mar   Mar ch Kin g , and invented a special bass instr  instr ument f or  mar ching called th the µsousaph usaphone¶.) altz: waltz: iginating in Vienna, dur  dur ing ing th the 19th 9th Century entury the waltz became po pular   pular  all over  ver  o Or iginating Eur  Eur o pe. A fath father and r  and son, both called Johann Str auss, auss, com posed a huge num ber   ber  of  auss (th (the son) was called The Waltz King. waltzes. Johann Str auss t hr ee ee beats in th the bar  bar  and has a bass note on th t he fir  fir st st beat. o The Waltz always has thr  Waltzes can be identified by by the µum cha cha, um cha cha¶ that f or ms the  backbone of th the music. nly featur  featur e a low pitch pitched accom paniment and a high igher  ser  ser ies ies o f  o They commo nly elegant melodies. o The speed of th the waltz is usually usually fair  fair ly quick and lively lively. minuet and trio  pular  dance of th t he Classical per  per iod. It had 3 beats in th the bar  bar  o The Minuet was a po pular  and was play played at a moder  der ate ate speed. o The sty style was so well-lo ved th that com poser  ser s like Mozar  zar t put minuets into estr al al sy sym ph  phonies, even th though ugh these wer e not f or dancing r  dancing to. or chestr  ar e s ometimes linked in twos, s o ther e would be a Minuet 1 and Minuet o Minuets ar  2. They would both be play played, th then Minuet 1 would be hear  ear d again. later  minuets, of  Mozart and Haydn f or  exam ple, th the Minuet 2 was called a o In later  rio. i  o. T r  Minuets wer e play played by the or chestr  estr al al instr  instr uments of t he time: vio lins, vio las, o cello s and double basses would be used and sometimes o boes, flutes, bassoons, ench hor ns ns and tim pani. They would also be play played by so lo instr  inst r uments, Fr ench especially especially the har  psich  psichor d and piano.

iGCSE Music: Paper 2 World Music Instruments y

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mbira: mbira:  Afr ican ican µth µthum b piano¶ used thr  t hr ough ughout th t he c ontinent. This instr  inst r ument consists of  str ips ips flicked with ith the th t hum bs o f both hands, attach attached t o a wooden box metal or  bam boo str  r  gour d. d. or g kora: kora: 21-str  -str inged inged har   p-lute f  r om ica, which ich includes both plucked and sy sym path  pathetic om  Afr ica, str  str ings. ings. It is used by by pr ofessional musicians among th the Mandika peo ple of Gam bia. rabb: rabb: A bowed str  str ing ing instr  instr ument f r  r om abia with ith a very very small r es esonating ch cham ber   ber , om  Ar abia giving it a br  br eathy eathy,, flute-like tim br   br e. e. It usually usually has one str  str ing, ing, or at r  at most thr  thr ee. ee. µd:

a low-pitch -pitched plucked str  str ing ing instr  instr ument f r  r om abia that looks like a lute, but om  Ar abia ithout f r  r ets. ets. It has a lar  lar ge ge r es esonating ch cham ber   ber , giving it a guitar  guitar -like -like tim br   br e. e. with Ety Etymologically gically, µd¶ is th the same wor d as µlute¶, alth although ugh it also has fewer  str  str ings ings (but quite a few noneth netheless). qnn: An  Ar abic abic zith zither -like -like str  str ing ing instr  instr ument, plucked with ith a plectr  plectr um. The str  st r ings ings ar  ar e laid on a boar d (with ith no sound boar d), d), giving it a tinnier  tinnier and and less r es esonant sound th than th t he µd.

ny: ny: An Ar  An  Ar abic abic end-blown flute-like instr  inst r ument. drums: drums: Per cussi cussio n instr  instr uments ubiquitous in West  Afr ican ican music. Af r  r ican ican dr  dr ums come in 4 a var  var iety iety of sh shapes and sizes. The bodies ar  ar e usually usually made f r  r om ds 0, and clay clay; om wood, gour ds dr um heads ar  ar e made f r  r om om animal skins. talking drums: drums:  Afr ican ican pper  pper cussi cussion instr  instr uments which ich ar e imitative of speech speech patter  patter ns. ns. They belo ng to t he family ily o f  hour glass glass sh shaped pr  pr essur  essur e dr ums. The gan gan is th the smallest, th the dun dun is th the lar  lar gest. gest. They have a dr  dr um head at both ends. un-tuned percussion: percussion: Instr  nstr uments which ich accom pany  pany mir es es and voices in Afr  in  Afr ican ican music. xylophone: xylophone: A tuned per  per cussi cussio ns instr  instr ument used in  Afr ican ican music, which ich consists esting on gour d r es esonator s. s. It is also used in Wester  Wester n music. wooden notes r esting

of 

voice: voice: The most commo n instr  instr ument in  Ar abic abic music. This music is very very melodic, but ith a small r ange ange o f instr  inst r uments (all with ithin a 4th 4th or 5t ar e also fewer d r  5th h). Ther e ar  r  dr ones (or  with im plied dr  dr ones) th than in Indian music.

Song Structures y

40

The

Call-and-response: Call-and-response: A vocal textur  textur e, e, used mostly stly in  Ar abic abic vocal par  par t tends to r epeat epeat th the music of th the fir  fir st st vocal par  par t. t.

dr  dr ied ied and hollowed-out sh shell of a f r  r uit uit

music, wher e

the second

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Highlife: ighlife: A West  Afr ican ican and r ock sty style.

music

sty st yle com  bining Af r ican ican instr  instr uments

ith with

Wester  Wester n p o p

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maqm: m:  P er  sian equivalent of µr  µr aga¶ aga¶ (scale/mode of Indian music). ajn: ajn: f our -n -note scale in  Ar abic ich f or ms par  par t of th t he maqm. Ther e ar e many any abic music, which ajns (as th ther e ar e hundr  undr eds eds o f r  f  r agas agas in Indian music), many any of  which ich use inter  inter vals vals not f ound in Wester  Wester n music, e.g. ¼ and ¾ tones.   q: R hyt hythmic cycles used in  Ar abic abic music (like th the µtala¶ in Indian music). They ar e longer  nger and and mor e so ph  phisticated th than th those used in Wester  Wester n music (e.g. mar ch, waltz).

Symphony No. 6 in F Major, Op. 68 [P astoral  astoral ] (movements 1 and 2) by Ludwig van Beethoven (1770-1827) Beeth eethoven was one o f th t he most significant com poser  ser s of th t he late 18th 8th and ear  ear ly 19th 9th centur  centur ies, ies, his r eputati eputation r esting esting on nine Sym ph  phonies, five Piano Concer  ncer tos, one Vio lin Concer  ncer to, th thir t y-t wo ing Quar  Quar tets, tets, t wo Masses and sever  sever al al other  or chestr  estr al, al, ch cham ber   ber  and Piano Sonatas, seventeen Str ing vocal wor ks. ks. In sty style and outloo k  his music stands at th t he very very end of the Classical Period , though ugh many any commentator s used to classif y it as r epr  epr esenting esenting th the fir  fir st st expr  expr essi essio n o f   Romanticism in music. Beeth eethoven¶s Sym ph  phonies wer e com posed over  ver aa r elatively elatively long per  per iod o f time, f r  r om om 1799, when  No. 1, to 1823, when he com pleted Sym ph  No. 9. He wor ked he began Sym ph  phony  No  phony  No ked slow ly and meth ethodically dically, and th the pr  pr ogr ess ess of each each wor k can be o bser   bser ved ved thr  thr ough ugh the many any sketch sketch books he used to wor k  k  out his ideas as th they develo  ped. He tr  r ansf  ansf or med the entir  entir e natur  natur e of t he Sym ph  phony, expanding its f or ms (especially (especially   Sonata Form), incr  incr easing easing its length length and giving it a gr eater  eater  significance th than it had pr evi eviously usly held. In th t his c ontext, th the fact th that he wr ote far  far  fewer   phonies th than eith either  Hay Haydn or  Mozar  zar t is indicative of a differ  differ ent ent appr  appr oach ach. For  com poser  ser s Sym ph  phonies later  later  in th the 19th 9th century century,, Beeth eethoven¶s influence meant th that th t hey came t o who wr ote Sym ph see th this genr  genr e as th the veh vehicle f or exp r  expr  r essing essing th their  eir  most im por tant tant ideas.

While most of  Beeth eethoven¶s Sym ph  phonies ar  ar e exam ples o f  what is often called absolute music, some of them r efer  efer  to concepts and ideas th that come f r  r om ces outside th the wor ld ld o f  music om sour ces itself. Sym ph  phony  No roica o   ica], f or  exam  ple, gr  gr ew out of B f  Beeth eethoven¶s po litical idealism and  No. 3 [ E r  iginally to have been dedicated to  Napoleon Bonapar  napar te te (th (the dedication was famously usly was or iginally r emoved in a fit of anger  anger  when  Napoleon cr ow  per or  in 1804). By the time o f  owned himself E m per   phony  No eethoven¶s desir  desir e to make his philo so ph  phical intentions abso lutely lutely clear  clear  led Sym ph  No. 9, Beeth him to include a ch chor al al finale, a setting of  Schiller  iller ¶s ¶s Ode to  J o y (with ith its r efer  efer ences ences to the  No. 6 is also based on extr  µbr  µbr otherhoo d of  man¶). Sym ph  phony  No extr aa-musical ideas concer  ncer ning ning th the  power  and beauty beauty o f  Natur  atur e ± a th theme that was to become an especially especially im por tant tant aspect of  ich was alr  alr eady eady well known in 18th 8th-century -century Austr  Austr ia. ia. Beeth eethoven would have R om omanticism, but which   been familiar  iliar  with ith the two Or at ator ios of  his f or mer  teach teacher , Hay Haydn (T he C r  reation e  ation and T he Seasons), Seasons), and th these wor ks ks belo ng to a pastor al al tr  t r aditi adition in Eur  Eur o pean ar  ar t that goes back sever  sever al al

hundr  undr ed ed year  ear s. s. Beeth eethoven lo ved th the country untryside side and spent his su mmer s in var  var ious villages ar ound Vienna: his letter  letter s ar  ar e full of r  f r efer  efer ences ences to his deligh delight in lo ng walks thr  thr ough ugh the fields and paper  and a pencil with ith him, so that he could jot down any an y musical ideas woods. He often t ook paper  that occurr  ccurr ed ed to him dur  dur ing ing his walks. Alth Although ugh the ear  ear liest liest sketch sketches f or  the  P astor  asto r al al S  ymp  ymphon y on y date f r  r om t he wor k  k  on om 1803, most of th the Sym ph  phony was done between Mar ch and Decem ber   ber  1808. By this time, the pr ogr essive essive deafness which ich had been tr  tr oubling Beeth eethoven since at least 1801 had become a per  per manent handicap, pr  pr eventing eventing him f r  r om ear ning ning a satisfactory living as a per  per f  fo   r mer . He came to depend om ear  payments f r  r om ealt hy patr  patr ons (t o whom many any o f  his wor ks ks wer e dedicated), on r eceipts eceipts on pay om wealthy f r  r om per f  fo   r mances of h f  his wor ks ks (th (though ugh these wer e very very unr  unr eliable) eliable) and on selling th t he m om public per  to publish publisher s. s. The  P astor  asto r al al S  ymp  ymphon y was dedicated to two of  his most im por tant tant suppor ter  ter s, s, Pr ince ince Joseph seph Lo bk ow Andr ey R azu azu movsk y. It was fir  fir st st per  per f  fo   r med at a concer  ncer t owitz and Count Andr  held in th the T heater  eater  an der  der  Wien in Vienna on 22 Decem ber   ber  1808 (th (t he pr  p r ogr amme also included fir  fir st st per  per f  fo   r mances o f th t he Fifth ifth Sym ph  phony and th the Chor al al Fantasia, O p. 80). The or chestr  estr al al par  par ts ts published by the Leipzig fir  fir m o f  Br eitk  eitk o  pf und Här  Här tel tel in May 1809; the scor e was not wer e publish issued until 1825. The  P astor  astor al al

S  ymp  ymphon y on y is an exam ple o f   programme music ±  music th that tells a st ory or  descr  descr ibes ibes a scene. The ter  te r m was fir  fir st st used by by Liszt, but it has since been f ound extr  extr emely ely useful as a way o f categor ising ising music wr itten itten much uch ear  ear lier  lier , including such such wor ks ks as Vivaldi¶s Four  ally expected th that a piece of pr  pr ogr amme music will have some kind of ver  ver  bal Seasons. It is nor mally annotation attach attached to it, to explain th the st ory that it por tr ays or t r  to define what is being descr  descr ibed. ibed. t he case o f th t he  P astor  astor al al S  ymp  ymphon y on y,, the ver  ver  bal annotations t ook th t he f or m o f descr  descr iptive iptive titles In th each movement, which ich Beeth eethoven intended to be pr  pr inted inted not only nly in th t he scor e but also in th t he or  each  pr   pr ogr amme of a per  per f  fo   r mance, so that th t hey could be under  under st stood by by per  per f  fo   r mer s and listener  listener s alike. He was anxious, however  ever , that the descr  descr iptive iptive elements in th the wor k  k  wer e not to be ver em ph  phasised: his or iginal iginal subtitle was  Mehr  Au r  Au sd ruck ruck der  der   E mp mp f  ind un g  als Maler  Maler ei ei (µMor e over  the expr  expr essi essio n of feeling th than painting¶). This im plies th that th the pur  pur ely ely musical, sy sym ph  phonic aspects the Pastor al al Sym ph  phony ar e at least as significant as th t he descr  descr iptive, iptive, if not mor e so. This is not of th ry-telling, but a sy sym ph  phony whose emotional wor ld ld is defined as a r esp esponse to the musical st ory-telling, feelings suggested by by the titles of its movements.  Never  ever theless, sever  sever al al commentator s have suggested th that it por tr ays a single day da y in th the country untry,, f r  r om ning to evening: seen in th this way, om mor ning the c onnection with ith other  pastor al al wor ks ks is only nly str  st r ength engthened ± one ch char acter  acter istic istic many any o f th t he m shar e is th their  eir  sense of time, wheth ether  it be th the pr  pr ogr essi essio n of th the seasons (Vivaldi¶s Fo ivaldi¶s  Four  ur Seasons Seasons r  Hay ydn¶s T he Seasons), Seasons), or  of a week (Hay (Haydn¶s T he C r  reation). e  ation). or Ha Beeth eethoven¶s titles f or t r  the five movements of th the Pastor al al Sym ph  phony evo lved quite slowly. After  After expe exper  r imenting with ith var  var ious differ  differ ent ent ver  ver si sio ns, he finally finally chose th the f o llowing: I II III IV

rwachen heiter  eiter e  E mp mp f  ind un g en en  E rwac

bei der  der  Ank   Ank un f  t auf   auf  dem dem  Lande [Awakening of  happy appy feelings on arr  arr ival ival in th the country untryside side] by the br  br oo Szene am Bach [Scene by ook ]  sti g es es Z u sammensein der  der  Landleu andleute [Merry gath gather ing ing of country untry peo ple ±   Lu sti g  sometimes known as µThe peasants¶ merrymaking¶] Gew Gewitter, itter, St ur  ur m [Thunder  under , Stor m]

ten g esan g. esan g.  H ir ten

F r  ro   he , dankbar  dankbar e Ge fü Ge fühle nach dem St ur  ur m [Sheph epher ds¶ ds¶ Song. Joyful, gr  gr ateful ateful feelings after  after tthe stor m]

V

Beeth eethoven¶s title f or  the fir  fir st st movement was alter  alter ed ed when th t he wor k  k  was r epr  epr inted inted as par  par t of th t he published by Br eitk  eitk o pf und Här  Här tel tel in 1862. Most later  later  editions, including th the Com  plete Edition publish Eulenbur  Eulenbur g and Phihar mo iniatur e scor es, es, have f o llowed th this incorr ect ect ver  ver si sion. monia miniatur  The

3r  3r d, d, 4th 4th and 5th 5th movements ar  ar e wr itten itten in such such a  br   br eaks eaks between th the movements.

way

that th t hey lead into each each other  with ith no

al Sym ph  phony The Pastor al

is scor ed ed f or  a ty  pical classical or chestr  estr a, a, with ith two each each of  Flutes, lar inets inets and Bassoons (i.e. double wind ), ), two Hor ns, ns, two Tr um  pets, two Tr om O boes, Clar  om bones, Tim  pani and Str ings. ings. The Tr um  pets ar e used only nly in the 3r d, d, 4th 4th and 5th 5th movements, th the nly in th the 4th 4th and 5th 5th and th the Tim pani only nly in th the 4th 4th. Tr om om bones only The

tr  t r ansp ansposing instr  instr uments used in th the fir  fir st st two movements ar  ar e as f o llows: 2 Clar  lar inets inets in B flat: th t hese par  par ts ts ar  a r e wr itten itten a tone high igher  than th t hey sound (so candidates need pr  pr actice actice in tr  tr ansp ansposing sh shor t f r  r ag agments of th this par  par t dow down a tone); tone); 2 Hor ns ns in F (1st, 3r  3r d, d, 4th 4th, 5th 5th movements): th t hese par  par ts ts ar e wr itten itten a per  per fect fect 5th 5th high igher  than th they sound (so candidates need pr  pr actice actice in tr  tr ansp ansposing sh shor t f r  r ag agments of th these par  par ts ts dow down a perf   perf  ect 5t h); 2 Hor ns ns in B flat [i.e. B flat basso] (2nd movement): th these par  par ts ts ar e wr itten itten a major  9th 9th (an octave + a tone) high igher  than they sound (so candidates need pr  pr actice actice in tr  tr ansp ansposing shor t f r  r ag agments of th these par  par ts ts dow down a major  major 9t  9t h); Double Bass: th t his par  par t is wr itten itten an octave high igher  than it sounds (but candidates will not  be expected to tr ansp anspose any any o f th this par  par t). t).

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y

It

should be noted th that sever  sever al al editio ns of the scor e (e.g. Eulenbur  Eulenbur g) g) show the clar  clar inet inet tr ansp ansposition as µ C  the Ger  Ger man name f or  B flat. Similar  ilar ly, the hor ns ns in th t he l  ar inetti inetti in B¶ , using th Clar  2nd movement ar  ar e often sh shown as µ C  ni in B¶ . Car e needs to be taken to ensur  ensur e th t hat candidates Co   r ni under  under stand stand th this so that they ar e not confused. Most scor es es will list th t he instr  instr uments using th their  eir  taught to avoid o bvious confusions (e.g. µ cor  Italian names, so candidates need to be taugh cor ni¶  ni¶  ar e hor ns, ns, not cor nets!) nets!) Candidates

need to under  under stand stand th the main abbr  abbr eviati eviations f ound in th the scor e, e, which ich r elate elate to some of  the conventions used in notating an or chestr  estr al al scor e. e. These include: y

y

y

The

abbr  abbr eviati eviation  z u 2 in th the woodwind par  par ts, ts, meaning th that both instr  instr uments wr itten itten on a single stave play play the same notes; abbr eviati eviation 1. in th t he woodwind par  par ts, ts, meaning th that only nly t he 1st play player  should play play The abbr  the phr ase ase th that has this mar king king (sometimes this pr inciple inciple applies to play player s other  than the 1st, as at b.281 of th the fir  fir st st movement, wher e only nly the 2nd Hor n play plays); The abbr  abbr eviati eviation  pi  zz. (sh (shor t f or  µ pizzicato¶)  pizzicato¶) in th t he str  str ing ing par  par ts, ts, meaning th that the str  str ings ings should be plucked with ith the finger  finger  until th this mar king king is cancelled by by the ter  ter m ar co, co, that th the play player s sh should r esu esume using th the bow; meaning th

y

The

abbr  abbr eviati eviation con Sord  . (sh (shor t f or  µcon Sor  Sor dino¶) dino¶) in th t he solo Cello par  par ts ts in th the 2nd that these instr  instr uments sh should be play played with ith a mute. In fact movement, meaning th Beeth eethoven¶s autogr aph aph scor e and th the set of par  par ts ts used f or t r  the fir  fir st st per  per f  fo   r mance sh show that the vio lins sh should also be muted, a detail th that is sometimes o bser   bser ved ved in moder  der n  per   per f  fo   r mances and r ec ecor dings. dings.

eethoven¶s music is pr  pr ed edominantly inantly diatonic in char acter  acter , though ugh he makes f r  equent use o f  Beeth r equent them as  passing-notes . In th t he fir  fir st st movement th ther e chromatic notes in his melodies, often using th ar e sever  sever al al  pedal   points, r ecalling ecalling th the char acter  acter istic istic drone play played by many an y f o lk instr  instr uments. Ther e ar e sever  sever al al ostinato patter  patter ns ns (quite unusual in Beeth eethoven¶s music), which ich also r ecall ecall a ty pical image o f th the tr  t r aditi aditional music o f th the country untryside. side. The th t hematic mater  ater ial ial r elies elies heavily eavily on shor t, t, f r  r ag agmentary entary melodies which ich invo lve a gr  gr eat eat deal o f r  f r epetiti epetition; th t he under  under lying har mo mony is sim pler   pler  than in any any other  Sym ph  phony by Beeth eethoven, with ith few minor  chor ds ds and har dly dly any an y chr om the pace o f h f har mo change) tends to be slow, omatic har mo monies. The harmonic rhythm (i.e. th monic ch ith single ch chor ds ds lasting o ften f or  sever  sever al al bar  bar s. s. Contr  ntr ast ast is made when the har mo rhyt hm with monic rhyt changes, and by by the use of lengthy lengthy crescendos and diminuendos . Above the slow-moving har mo ar e often lively lively and agile, with ith f r  r equent equent quaver  and semi quaver  mony, the melodies ar  tant featur  featur e of  movement. The interval  o f a 3rd  (often major , but sometimes minor ) is an im por tant  both the melodic wr iting iting and th the har mo ganisation (a ty ty pically  pically Beeth eethovenian ch char acter  acter istic), istic), monic or ganisati  but th the Tonic,  Dominant  and  Sub-Dominant  chor ds ds and key keys ar  a r e used extensively extensively, under  under lining lining eethoven¶s em ph  phasis on some of t he most essential com ponents of  tonal  music. Sever  ever al al Beeth  passages in th the Sym ph  phony suggest th that Beeth eethoven may have been try trying ing to encapsulate some of  the featur  featur es es of f o lk  music in th this music, but with ithout ado  pting any of its actual f or ms or  instr  instr uments. The fir  fir st st t wo movements both use th the full str  str uctur  uctur e of   Sonata Form. Alth Although ugh the pr inciples inciples of th t his f or m wer e not fir  fir mly establish established until c.1830, Beeth eethoven¶s use o f it fits main pr  the patter  patter n very very closely sely. Candidates need to know that the main outlines of  Sonata For m ar e as f ollows: y

y

y

 EX  ich  POSITION  (which

intr  intr oduces th the main th themes in a par  par ticular  ticular  or der  der ) First Subject  in th the Tonic key key; the  Br  ich modulates to the Dominant Transition (also called th  Br id  id  g e  P assa g  assa g e), which key key if th the main key key of th the sy sym ph  phony is major ( r  (or t r  to the R elative elative Major  if th the main key key is minor ); ); the Dominant (or  R elative elative Major ) key key;  Second Subject in th ich finish finishes this section in th the key key of the Second Subject). The Codetta (which Exposition is mar ked ked to be r epeated epeated ± alth although ugh the r epeat epeat is often missed out in der n per  per f  fo   r mances. However  ever , th t his ch changes th the pr  pr o por ti tions of th the str  str uctur  uctur e very very moder  significantly significantly.

 D EVELOPM  E  NT (dur  (dur ing ing which ich themes may be extended, f r  r ag agmented or c r  com bined, and the music modulates f r  r equently equently and extensively extensively. Classical com poser  ser s used th the Develo pment to explor e th the latent possibilities of th their  eir tthemes) etur ning ning to the music of t he Exposition, but with ith significant  R E CAPITU  CAPITU  L ATION  (r etur  modifications) First Subject  in th the Tonic key key; Transition adjusted so that it does not modulate except in passing;

y

the Tonic key key.  Second Subject in th ich finish finishes the who le movement in th the CODA (which similar  ilar  music to the Codetta, but it is nor mally ally lo nger  nger .

Tonic

key key).

The Coda often

uses

In

the fir  fir st st t wo movements of th t he Pastor al al Sym ph  phony, the str  str uctur  uctur al al pr inciples inciples of th t his f or m ar e very very clear  clear . However  ever , th t he Develo pments in both movements ar  ar e significantly significantly differ  differ ent ent f r  r om om those in his other  Sym ph  phonies, with ith much uch less em ph  phasis on com bination and f r  agmentation of th themes, r ag and with ith much uch mor e use o f r  f r epetiti epetition. This is one of th t he most telling ways in which ich the c ontent t he Sym ph  phony was deter  deter mined by by the emotional effect of its descr  descr iptive iptive elements, cr  cr eating eating a of th feeling of peaceful contentment with ith none o f th t he tur  tu r  bulence and aggr  aggr essi ession th t hat can be f ound in any of B f Beeth eethoven¶s other  wor ks. ks. many Tonic key F major First movement: Allegro ma non troppo  Awakening of ha pp y feelings on arrival in the countryside  EX   POSITION  (bb. 1-138) First subject  (bb.. 1-531) unusually, begins quietly quietly. Bar e 5th 5th between Violas & Cellos, The movement, unusually st Subject melody in 1st Violins, jo ined in 3 by by 2nd Vio lins, play playing in 3rds Fir st  fragment y) ith the 1sts.  N.B. th t he fir  fir st st 4 notes ( fragment x ) and th the second bar  bar  ( fragment with ich become pr om featur es es later  later  in th t he movement. The fir  fir st st chor d change which ominent featur  comes at 4, moving f r  ther e is a  pause at 4, em ph  phasising r om om Tonic to Dominant; th the Dominant ch chor d and making th the fir  fir st st 4 bar  bar s seem like an intr  intr oduction to the After  this th t he 2nd Vio lins r epeat epeat f r  r ag agment x while th the 1st Vio lins add movement. After  a phr  phr ase ase der  der ived ived f r  r om r ag agment y. The har mo rhyt hm speeds up in 9-11, with ith a om f r  monic rhyt cr escend escendo leading to a f or te te at 11, em ph  phasising th the fir  fir st st appear  appear ance ance of t he Sub fragment  z ), Dominant ch chor d. d.  NB bar  bar s 9- 10 ( fragment  ), with ith 3rds between bass and tr  tr eble. eble.  NB also t hat th the rhyt rhyt hm o f th these bar  bar s is der  der ived ived f r  r om rhyt hm in 5-6 and om the Vio la rhyt 7-8. This passage is r epeated epeated (13-15), th this time with ith a sudden piano when the chor d occur  ccur s. s. In 16-251 the music settles onto the Dominant Sub-Dominant ch chor d, d, with ith Dominant Pedal, cr  cr escend escendo f o llowed by diminuendo, and a r ising ising figur e in th t he 1st Vio lins, der  der ived ived again f r  r om r ag agment y. At 25 th this ostinat o figur  om f r  ises sequentially sequentially, f or ming a link t o the r etur  etur n of  Fir st st Subject on so lo ostinat o r ises Flute, with ith bar  bar e 5th 5th play played on Hor ns ns and Cello semiquaver  iquaver s (notated in abbr  abbr eviated eviated f or m). This is f o llowed at 33 by by the addition o f other  wind and str  str ing ing instr  instr uments in a cr  cr escend escendo leading to the fir  fir st st Tutti  of t he movement, a f or te te r estate estatement of Fir st st Subject over  ver  Tonic and Dominant har mo monies.

Transition (bb. 53-66) very shor t and makes th the move to the Dominant key key in an astonish nishingly ingly This is very economical way. Clar  lar inets inets and Bassoons intr  intr oduce a tr  tr iplet iplet rhyt rhythm in 53 (tr  (tr iplet iplet rhyt rhyt hms become extr  extr emely ely significant later  later  on in th the movement). 1st Violins play play a r ising ising ver  ver si sion of f r  r ag agment x. In 57 th the har mo nly minor  mony is D minor  ± the only chor d t o appear  appear  in th t he Exposition. This moves, via a 2nd Inversion of  F major  at 61, to the  Dominant 7th of  C major  at 63. Chr om   ps in 1st Violins in omatic F shar  64-66 make a br  br ief, ief, tentative suggestion o f th t he D ominant of th t he D ominant (i.e. G

), major ),

allow ing th the r etur  etur n of th t he Dominant 7th 7th at 67 to sound as if th the settling back into its new key key centr  centr e of C major .

music

is

 Second Subject (bb. 67-1151) char acter  acter ised ised by by sustained legato play playing. The fir  fir st st th thematic ingr  ingr edient edient is a br  br oken This is ch chor d figur  figur ati ation, pr  p r ed edominantly inantly descending, in th the 1st vio lins (67-70), passed to the 2nd epeat it at 79, Clar  lar inet inet and Vio lins (71-74) and Cellos (75-78); Cellos and Basses r epeat Bassoo n f r  r om par t in 67-74 becomes the 1st Violin par  par t in 75-82, th the 1st om 83. The Cello par  Flute par  par t in 79-86 and th the Cello/Bass par  par t again in 83-92. However  ever  sim ple th the th t hematic ideas may be, th the r esulting esulting imitative textur  textur e is high ighly so ph  phisticated. Fr om upper  om 83 the upper  str  str ings ings play play quaver  quaver  tr iplets, iplets, th t hen semiquaver  iquaver s f r  r om cr eating eating a sense of speeding up om 87, cr  towar ds ds 93, wher e a second th thematic idea is intr  intr oduced, f or te, te, a r ising ising and falling motif in 3r ds ds (der  (der ived ived f r  r om r ag agment z) with ith a rhyt rhythm der  der ived ived f r  r om r ag agment y.  NB the e m ph  phasis om f r  om f r  chor d at th the end of this motif (96). This is f o llowed by an on the Sub-Dominant ch answer ing ing motif, descending, also in 3r  3r ds, ds, mar ked ked p dolce, as if attem pting to r eestablish eestablish the gentle mood. These two motifs ar  ar e r epeated epeated in 100-106, f o llowed by by a cr  cr escend escendo and a gr adual adual incr  incr ease ease in th the har mo rhyt hm, based on the answer ing ing motif. At 111 the monic rhyt rhyt rhyt hm goes into tr iplets, iplets, suggesting 6/8 time f or a r  a few bar  bar s, s, with ith a mor e agitated ver  ver si sio n the answer ing ing motif, r each eaching a Perfect Cadence in C at 114-115. of th Codetta (bb. 115-138) entir ely ely over  ver  a ch chor d of C major , with ith a Pedal C that lasts f or  no less The Codetta is built entir  than 21 bar  bar s. s. The Vio lins play play a r ustic ustic tune 4 bar  bar s lo ng, with ith rhyt rhyt hm der  der ived ived f r  r om om  fr a g ment  y ment  y:: this imitates f o lk  music with ith its pr  pr om shar   pened 4th 4th. Fr om ominent sh om 123 this r educes educes to an ostinato based on th t he last bar  bar  o f th t he tune, with ith a diminu diminuendo. endo. The ostinato   passes to the 2nd Vio lins at 127, wher e the wind instr  instr uments dr  dr o p out, th then (sligh (slightly tl y alter  alter ed) ed) to the Cellos at 131. At 135 th t he 1st Vio lins r etur  etur n t o  fr a g ment ment x, x, linking back to the o pening (f or t r  the r epeat) epeat) or f  r  f or war d to the star  star t of th the Develo pment.  D EVELOPM  E  NT (bb. 139-2791) This

is entir  entir ely ely based on mater  ater ial ial f r  r om st Subject and Tr ansiti ansitio n. 139-142 om t he Fir st use th the fir  fir st st 2 bar  bar s of th the Fir st st Subject, over  ver tthe Dominant 7th 7th chor d of F major . A r ising ising sequence based on  fr a g ment ment x intr  intr oduces an E flat, tur  tur ning ning th the F major  har mo 7th of B f B flat major  (th (the Sub-Dominant), and th the fir  fir st st mony into the D ominant 7th two bar  bar s of th the Fir st st Subject ar  ar e r epeated epeated over  ver tthis har mo ther e is a mony. At 151-152 th fect Cadence in B flat major . Wh W hat f ollows is most unusual in a Sym ph  phony by Per fect Beeth eethoven or  any any other  late Classical com poser  ser . A descending ostinato in th t he 1st br iefly iefly passed to 2nd Violins and Flute at 155, is der  der ived ived rhyt rhythmically ically Vio lins, br  f r  by sustained har mo lar inet inet and r om ment  y.. This is accom  panied by om  fr a g ment  y mony in t he Clar  Bassoon par  par ts, ts, a Pedal Point in th the Double Bass par  par t and a tr  tr iplet iplet figur  figur ati ation in th t he r emaining str  str ing ing par  par ts, ts, and a long cr escendo escendo begins. The har mo mony does not change f or  12 bar  bar s. s. Then at 163, with ith no pr epar  epar ati ation, the chor d changes to D ith the effect of br igh ightening th the entir  entir e major , moving up a major  3r d ±  with atmosph spher e of th the music. The same textur  textur e continues over  ver tthis new har mo r  a mony f or a fur  fur ther  12 bar  bar s, s, and th the cr escendo escendo also continues. In th t he climax at 175 th t he Vio lin

ostinato passes to the Cello/Bass par  par ts ts and th the D major c r  chor d is play played in a dotted rhyt rhyt hm (wind) and as semiquaver  iquaver s with ith abbr  abbr eviated eviated notation (upper  (upper  str  str ings). ings). The r om after  a shor t diminuendo only nly its last 2 ostinat o is t hen iso lated (f r  om 179) and after  notes r emain, play pla yed by 1st Bassoon and 1st Violins. At 191 the Fir st st Subject r eappear  eappear s and th the music moves into G major . Then at 197 another  long cr escendo escendo  begins, th the ostinato/t ostinato/tr  r iplet iplet textur  textur e r etur  etur ns ns over  ver  a ch c hor d of G major  which ich again is held f or  12 bar  bar s. s. At 209 the har mo mony changes, moving down a minor  3r d this time, onto a ch c hor d of E major  ± but th the br  br igh ightening effect is just as str  st r ong. The E bar s, s, and th the cr escendo escendo again continues. The major  chor d is again held f or  12 bar  climax at 221 and th the move away f r  r om eated exactly exactly as bef or e (cf  175 om it ar e tr eated etc.), except th that the har mo st Subject r etur  etur ns ns as mony is now still E maj or . The Fir st expected at 237 and th the music moves into A major . At 243, however  ever , Beeth eethoven does not r epeat epeat th this pr  pr ocess a th thir d ti t ime, but instead   begins a lo ng pr epar  epar ati ation f or  the R ecapitulati ecapitulation, with ith  fr a g ment ment z as its basis. the music passes thr  t hr ough ugh D major  (252) and G minor  (257); Fr om om A major  at 243 th this is th t he only nly ti me in th the movement th that a minor  key key occur  ccur s, s, and its appear  appear ance ance is e m ph  phasised by by t he mar king king o f sfp t o high ighligh light the Dominant and Tonic ch chor ds ds eethoven¶s music,  s f  or  zando mar kings kings ar  ar e of G minor  (255, 257, 259). In Beeth usually usually very very commo n, o ften thr  thr ow the rhyt rhythmic em ph  phasis onto an off-beat. ow ing th Her  Her e, e, by contr  ntr ast, ast, th they ar e used very very spar  spar ingly ingly, and always on the main beat of  the bar  bar : the effect is a subtle under  under lining lining of th t he har mo dir ecti ection o f th t he music. monic dir  At 261 the B flat is ch c hanged to B natur  natur al al ( s  s f    p again her e), e), th thus establish establishing C ra    g ment ment z is then extended in a t utti, tti, play played  f  or tissimo, tissimo , with ith major  at 263.  F r  fur  fur ther  sf mar kings kings em ph  phasising th the main beats of th t he 2-bar  2-bar  phr ases. ases. The melodic B flats (277, 279) take th the key key back into the Tonic (F major ), ), and th the music comes t o r est est on th t he Sub-Dominant ch chor d at 275. A r ising ising motif, which ich gr ow ows out pla yed over  ver  this chor d by 2nd Vio lins, Violas and Cello s, with ith a of t he tutti, is play diminu diminuendo, endo, f or ming a br  br ief ief link int o the R ecapitulati ecapitulation, which ich begins wher e a   Plagal Cadence r es esolves onto F major  at 279. The 1st Vio lins sustain a high igh D above th this, moving down to a C at th the cadence point.  R E CAPITU  CAPITU  L ATION (bb. 279-417) First Subject  (bb. 279-3281) ecapitulation begins almost im per   per ceptibly ceptibly, with ith the Fir st st Subject stated by by The R ecapitulati 2nd Violins and Vio las. A tiny tiny decor ative ative detail in th the 1st Vio lins leads to a tr  t r ill ill br oken ch chor d figur  figur ati ation th t hat takes th the place of th the pause at on G and a descending br  the beginning of th t he movement. At 289 th the 2nd Violins conflate th the two or iginal iginal vio lin par  par ts ts while th the 1st Vio lins play play a tr  t r iplet iplet figur  figur ati ation (th (thus com bining th the Fir st st Subject with ith a featur  featur e der  der ived ived f r  r om ansition). Clar  lar inets inets and Bassoons take om t he Tr ansiti ver tthe or iginal iginal str  str ing ing par  par ts ts at 291,  fr a g ment etur ning ning to the str  str ings ings at 297. The ment z r etur  over  r ising ising ostinato der  der ived ived f r  r om ment  y is now play played by the 2nd Violins (300). om  fr a g ment  y Thr ough ughout this, th t he 1st Vio lins continue th their  eir  tr iplet iplet figur  figur ati ation, taking over  ver  the iplets move into the Vio la par  par t. t. The ostinat o r ises ises ostinato at 304, when the tr iplets sequentially sequentially as in th the Exposition, but does not lead to a r etur  etur n of th the Fir st st Subject the cr escendo escendo occur  ccur s as th the ostinato r ises, ises, leading str  str aigh aight on s olo Flute; instead, th into the t utti statement of th the Fir st st Subject. 312-327 ar  ar e th the same as 37-52.

Transition (bb. 328-345) The tr iplet iplet rhyt rhyt hm is mor e fully fully or chestr  estr ated ated th than it was in th the Exposition, with ith Hor ns ns and Violas added to the or iginal iginal Clar  lar inets inets and Bassoons, and th the spacing o f  the ch chor ds ds is also changed. The har mo mony r emains as it was until 339; at 340 a new chor d is inser  inser ted ted (th (the Dominant 7th 7th of F major , in its 3r  3r d Inver  nver si sio n with ith the B flat in th t he bass), pr  pr eventing eventing th the music f r  r om key. The next om moving into t he Dominant key few bar  bar s ar e r ewr itten itten and extended (341-345 ar  ar e equivalent to 64-66), again to ensur  ensur e th that th the Tonic key key is pr  pr eser  eser ved. ved.  Second Subject (bb. 346-3941) Apar  Apar t f r  r om ke y, which ich is now F major (t r  (th he Tonic), th this f o llow s th the Expositio n om t he key exactly exactly. Ther e ar e var  var ious changes in or chestr  estr ati ation, which ich need to be noted, but the music is to all intents and pur  pur  poses identical to 67-1151 in th the Exposition. CODA (bb. 394-512) At 119 bar  bar s, s, this is very very lo ng ± almost as lo ng as th the who le Exposition and ccupying almost a quar  quar ter  ter  of th t he t otal length length of th t he movement. It begins exactly exactly occupy as th the Codetta (but again with ith changes in or chestr  estr ati ation) f or t r  the fir  fir st st 24 bar  bar s (up t o and including 417), and 418-422 ar  ar e equivalent to the fir  fir st st 5 bar  bar s of t he Develo pment (cf  139-143), but with ith an added r efer  efer ence ence to  fr a g ment ment x in th t he 1st par t. t. This takes th the music into the Sub-Dominant (B (B flat major ) again. At Vio lin par  422 th the Fir st st Subject is r e-stated, f   e-stated,  f  or te te and staccato and staccato,, but har mo ith as many an y monised with as 4 ch chor ds ds to the bar  bar  ± a very very sudden incr  incr ease ease in har mo rhythm (th (t his is th t he monic rhyt fastest har mo rhyt hm in the who le movement). The last two bar  bar s o f th t he Fir st st monic rhyt Subject ar  ar e r epeated epeated in th the wind section (426-427) over  ver  Tonic and Dominant chor ds ds (still in B flat major ); ); th then th the r ustic ustic tune f r  r om eappear s in th t he om t he Codetta r eappear  lar inet inet and Bassoon par  par ts, ts, over  ver aa B flat Pedal, th the pr  pr om tr iplet iplet rhyt rhythm again Clar  ominent tr  suggesting 6/8 time. A 4-bar  4-bar  extension (436-439) takes th the music back into F ustic tune is r epeated, epeated, t utti, tti, and th the 4-bar  4-bar  extension is th t hen major  at 440. The r ustic fur  fur ther  extended in a ty ty pically  pically Classical cadential pr  pr ogr essi ession using ch chor ds ds I ±  VI  ±  Ic ± V ±  I (448-459), with ith  s f  mar kings kings on every every 1st beat in th the wind par  par ts ts and a  f  or tissimo tissimo climax at 458 on ch chor d Ic. Then th the excitement th that has been gener  gener ated ated subsides, fir  fir st st by dr o pping out the wind instr  instr uments and by by the use of a descending sequence in th the upper  upper  str  str ings ings over  ver  a Dominant Pedal, th then by a diminuendo (460-467). The effect of 6/8 time is pr  pr eser  eser ved ved thr  thr ough ughout the whole the str  str ing ing par  par ts ts br ing ing back th the descending ostinat o fir  fir st st of this passage. At 468 th hear  ear d at 151 in the Develo pment, interr  interr upted upted by by a f or thr igh ight Im per   per fect fect Cadence  pr   pr ogr essi ession, t utti (471); this is r epeated epeated in 472-475. A duet f or  Clar  lar inet inet and par t outlining Tonic and Dominant har mo Bassoo n f o llows, the Bassoo n par  monies the Clar  lar inet inet melody has a rhyt rhyt hm der  der ived ived f r  r om ment  y.  y. At 479-4801 the while th om  fr a g ment  duet is interr  interr upted upted by by an em ph  phatic Per fect fect Cadence pr  pr ogr essi ession, t utti, tti, bef or e it esumes, but now the clar  clar inet inet par  par t is r ewr itten itten in tr  tr iplets iplets (480-482). Thr ee ee fur  fur ther  r esu fect Cadences f o llow , with ith a diminu diminuendo, endo, while th the Clar  lar inet inet tr  tr iplets iplets continue Per fect (483-488). The Tonic ch chor d is extended f or  a t otal of 4 bar  bar s (488-491), still with ith the Clar  lar inet inet tr  tr iplets iplets going on. At 492 th the 1st Violins r etur  etur n to the Fir st st Subject,

ich which

then passes to the 1st Flute at 498. The r ising ising scale at th t he end of the 1st theme (497) also ends th the Flute melody (501) and is th then r epeated epeated by by O boe Vio lin th and Bassoo n (503-504) and again by by all wind and str  str ing ing instr  instr uments (505-506)  bef or e the final Per fect fect Cadence of th t he movement (507-508). The Tonic ch chor d is r epeated epeated thr  thr ee ee times  f  or te, te, and th then twice piano ice piano at th t he very very end, r etur  etur ning ning in th these last two bar  bar s to the pr  pr ed edominant dy dynamic level of th the movement.

Tonic key B flat major Second Movement: Andante molto moto  Scene by the brook  sever al al scor es, es, including th the Eulenbur  Eulenbur g and Philh ilhar mo The te m po indication given in sever  monia iniatur e scor es, es, is  Alle  Alle gr   gr o molto mosso. mosso. This incorr ect ect indication or iginated iginated with ith the Com plete miniatur  Edition publish published by Br eitk  eitk o pf und Här  Här tel tel in 1862; Beeth eethoven¶s tem po indication was  Alle  Alle gr o molto moto. moto. The

com pound metr  etr e (12/8) of this movement has a pr  pr ecedent ecedent in th the tr iplet iplet rhyt rhythms of t he fir  fir st stmovement, in par  par ticular  ticular tthe extended passage in th the Coda (bb. 428-467). By the use of subtle tech techniques of th t his kind Beeth eethoven is able to make each each movement appear  appear  to be a logical par  par t of  an or ganic ganic who le, with ithout com pr   pr om the individual ch char acter  acter  of th the individual movements. omising th An im por tant tant featur  featur e of th t he or chestr  estr ati ation of th t his movement is th the use of t wo solo muted Cello s thr ough ughout, sometimes play playing divisi but often in uniso n, on their  eir  own par  par t, t, separ  separ ate ate f r  r om om t he r est est of the Cello s, which ich play play with ith the Double Basses. This gives th the movement much uch o f its r ich ichness of sonor ity ity. In the or chestr  estr al al par  par ts ts used f or  the fir  fir st st per  per f  fo   r mance, as noted above, th the par ts ts ar  ar e also mar ked ked to be muted. Vio lin par   EX   POSITION  (bb. 1-581)

First Subject  (bb. 1-183) Ther e is a lo ng melody (1-71), play played at th the outset by by the 1st Vio lins. It is accom  panied by by flowing quaver  quaver s in th the 2nd Vio lin, Vio la and so lo Cello par  par ts, ts, and sustained Hor n notes in octaves; 2nd Vio lins and Violas play play in 3r ds, ds, as do the 2 solo Cellos (th (t he textur  textur e of 3r  3r ds ds c ontinues a significant featur  featur e f r  r om fir st st om t he fir  3r ds ds r emain an im por tant tant par  par t of t he substance of the music movement, and 3r  thr ough ughout this 2nd movement). The Cello/Bass par  par t, t, pizzicato, under  under   pins the har mo ds I ±  I ±  V ±  V(7)±  I b ±  II7b ±  Ic ±  V ±  I. The melody at fir  fir st st mony ± chor ds  fragment  appear  appear s r ath ather  f r  r ag agmented. The 4 semiquaver  iquaver s at th the end of 1, 2 and 3 ( fragment  tant later  later . Ther e ar  ar e pr  pr om t he beginning o f  a) become im por tant ominent a ppoggiaturas at th 2, 3 & 4. Wh When the melody becomes mor e continuous at 5, th t he accom paniment changes to equally equally flowing semiquaver  iquaver s. s. At 7, th the semiquaver  iquaver  accom paniment continues, th the melody is taken over  ver  by 1st Clar  lar inet inet and 1st Bassoon, while th the 1st ate with ith high igh tr ills ills and th the Hor ns ns play play a gently gently synco pated figure (7Vio lins decor ate 131). The melody is t hen extended to f or m a cadential theme in the 1st Vio lin  par   par t ( 13-183), with ith added counter  unter  points and/or  doublings inth int he Clar  lar inet, inet, Bassoon, solo Cello and Flute par  par ts, ts, over  ver aa Tonic Pedal. Transition (bb. 184-29)

f r epeated epeated The motif o f r 

semiquaver  iquaver s in th t he 2nd Vio lin, Viola and so lo Cello par  par ts ts is r emar kably kably similar  ilar  in effect to the tr  tr iplets iplets at th the beginning o f th the Tr ansiti ansitio n in th the fir  fir st st movement. After  After  a fur  fur ther  2 bar  bar s the Fir st st Subject melody seems to begin again, with ith the flow ing semiquaver  iquaver  and  pizzicato bass accom paniment and th the synco pated figur  figur e in th the Hor ns ns which ich is passed to the Bassoons 2 bar  bar s later  later  and then taken up by by mor e wind instr  instr uments (21-26). Meanwhile th the 1st Vio lin the har mo ich intr  intr oduces an E natur  natur al al in 23 melody develo  ps, f  o llowing th mony, which ( making th the Dominant 7th 7th chor d of  F major ) and a B natur  natur al al in 26 (making th the Dominant 7th 7th chor d of C major ). ). When th t he music r es esolves onto a C major  chor d at 27, th the B flat is r est estor ed ed in th the 1st Vio lin melody to establish establis h the Dominant key key (F major ) as a new tonal centr  centr e. e. 27 and 28 ar  ar e based on chor ds ds V7 and Ic in F, then 29 is entir  entir ely ely built on ch chor d V7 to make a Per fect fect Cadence in F at th t he star  star t of  the Second Subject.  Second Subject (bb. 30-46) This is intr  int r oduced by by the 1st Flute, with ith the semiquaver  iquaver  accom paniment (now  staccato)  staccato) in th the 1st Violins, suppor ted ted by by chor ds ds play played by wind and  pizzicatol  pizzicatolower  str  str ings. ings. A fur  fur ther  bar  bar  of Dominant, th then Dominant 7th 7th har mo mony (31) leads t o a r epeat epeat of th t he Second Subject in th the 1st Bassoo n par  par t, t, which ich then continues it to f or m another  long melody. The 1st Violin semiquaver  iquaver s continue and har mo fir st st by wind and pizzicato str  str ings ings (32). At 33 monic suppor t is given at fir  the textur  textur e ch changes and th the 1st vio lins decor ate ate with ith fur  fur ther  tr ills ills which ich under  under line line the close r elati elationsh nship between th the Fir st st and Second Subjects. The unexpected A ecalls th the similar  ilar  br igh ightening of th t he atmosph spher e at 163 and major  chor d on 331 r ecalls 209 in th the fir  fir st st movement, and is ach achieved her e by the same means (a har mo monic change to a chor d a 3r d away f r  r om eceding C major  chor d). d). This is so om t he pr eceding   beautiful th that it is r epeated epeated in th the f o llowing bar  bar , this time with ith the Bassoo n by Vio las and so lo Cello s. Fr om melody doubled by om the 2nd half  o f 35 to the 3r d  beat of 37 th the 1st Vio lin tr  tr ills ills occur  ccur  on every every beat and th ther e is a cr escendo escendo leading to a t utti f r  r om then th the flowing accom paniment ceases and is r eplaced eplaced om 373 to 391; th  by  by a bar  bar  of duplet quaver  quaver s (39), dr  dr awing deliber  deliber ate ate attention to the cadential 6/4 chor d that occur  ccur s her e. e. The interr  interr upti uption of th t he continuous f or war d movement of  the music is even mor e pr  pr onounced in 40, which ich almost stands still ±  only nly the tr  t r ill ill in th the 1st vio lins continues thr  thr ough ughout th this bar  bar . Beeth eethoven¶s intention seems to be to make th the listener  listener  expect a  full close in F majo r  at this p oint, but he does not  pr   pr ovide it; instead he r etur  etur ns ns to a var  var iati iation of the Bassoo n melody f r  r om om 33,  play  played now by 1st Flute and 1st Violins, with ith a decor ati ation in semiquaver  iquaver s (der  (der ived ived f r  r om ment a) a) in th the Vio la and 2nd Vio lin par  par ts ts and continuous om  fr a g ment  pizzicato quaver  quaver s in th the so lo Cellos. A cr  cr escend escendo in 43 leads to another  t utti (equivalent to 38 but differ  differ ently ently or chestr  estr ated) ated) over  ver  the same cadential 6/4 ch chor d (44 into 45), and th the semiquaver  iquaver  accom paniment is r est estor ed ed at th the beginning o f  the t utti. tti. The cadence is again delay delayed, not th t his time by duplet quaver  quaver s but by by an ar  peggio figur  figur e of  staccato quaver s in th t he 1st Violin and Bassoon par  par ts, ts, jo ined in  staccato quaver  the f ollowing bar  bar  by a Flute. In 47 (which ich is equivalent to 40) th t he 1st Violin tr  tr ills ills r eappear  eappear , but in th this bar  bar  the cadential th theme f r  r om t he Fir st st Subject is om the end o f th

 br   br ough ught back in th the at 501.

Vio la

and so lo

Cello

par  par ts, ts, leading to a Per fect fect

Cadence

in

F

Codetta (bb. 50-541) 50 r etur  etur ns ns to the music o f th the beginning o f th the movement, but th the or iginal iginal quaver  quaver  accom paniment is now in semiquaver  iquaver s; s; t he em ph  phasis on 3r ds ds is never  never theless ra    g ment ment a is expanded to span a wider  ider  pitch pitch r ange, ange, but th the maintained.  F r  appoggiatur  ggiatur as as ar e r etained. etained. The tur  tur ns ns in th t he 1st Violin par  par t at 52 and 53 suggest the decor ative ative tr  tr ills ills th t hat have occurr  ccurr ed ed at var  var ious points, r ewr itten itten to be suitable f or t r  the end of a main section of th the movement.  D EVELOPM  E  NT (bb. 54-911) 54-56 use th the staccato 1st Violin figur  figur ati ation and th the pizzicato bass f r  r om star t of  om t he star  the Second Subject, over  ver  chor ds ds I ±  V7±  I in F major . Then in 57 th the har mo mony changes by by a 3r d, d, f r  r om om F major  to D major  ( yet another  instance o f this effect),leading into G major  at 58. Her  Her e the Fir st st Subject r eappear  eappear s on a solo ith the flowing semiquaver  iquaver  accom paniment and th the synco pated hor n O boe, with figur  figur e again (cf 7) and a descending br  br oken ch chor d figur  figur e in th the 1st Violins. An im por tant tant new featur  featur e is also added ± a r ising ising ar  ar  peggio in staccato in staccato semiquaver  iquaver s in the Flute par  par t. t. This gr  gr ow ation o f th the melody at 62 and is taken up by by ows int o a decor ati the O boe in 63. 64 uses a sequence based on secondary ndary Dominant ch chor ds ds (I b in G  ±  V7 of D ±  V7 of G ±  I in G) with ith the Flute and O boe imitating each each other  in semiquaver  iquaver s. s. 65 pr  pr epar  epar es es f or  a Per fect fect Cadence in G, and th then 66 (which ich is equivalent to 47 at th the star  star t of the Codetta) br  br ings ings back th the cadential th theme as  bef or e, e, but th this time in G major . In 68 th the music makes a sudden tur  tur n towar ds ds G minor (an r  (an unexpectedly unexpectedly tur  tur  bulent f or te te occur  ccur s her e), e), bef or e leading onto the Dominant 7th 7th of E flat major  dur  dur ing ing the diminu diminuendo in the second half  o f t he bar  bar  ± another  shift down a 3r d in th the har mo ithout any any o f the br igh ightening of t he atmosph spher e that has come mony, but with about pr evi eviously usly. The next par  par t of th t he Develo pment uses th t he same mater  ater ial ial as in 58-68, but substantially substantially r ewr itten. itten. The Fir st st Subject melody is now play played by a solo Clar  lar inet, inet, with ith the r ising ising ar  ar  peggios in th the Vio la par  par t and th the descending  br   br oken ch chor d figur  figur e in th the Bassoons; th the semiquaver  iquaver  accom paniment and th the synco pated Hor ns ns ar  ar e much uch as bef or e. e. The 1st Violins have a r ising ising figur  figur e, e, clear  clear ly r elated elated to the Bassoon par  par ts ts and answer ing ing th them bar  bar  by bar  bar  (69-73). The Clar  lar inet inet intr  intr oduces semiquaver  iquaver s int o its melody at 74; 75 is equivalent to 64 with ith the same secondary ndary Dominant ch chor ds ds tr  tr ansp ansposed to fit th the E flat major ke r  key y centr  centr e; e; and 76 is equivalent to 65, pr  pr epar  epar ing ing again f or  a Per fect fect Cadence. In 77 th the cadential th theme is br ough ught back  yet again, and in 78 another  r apid apid modulation occur  ccur s. s. This time the sh s hift ift o f th t he har mo 3r d t o G flat major  (which ich itself lies a 3r  3 r d below mony is up a 3r  the Tonic key key o f this movement). The Fir st st Subject melody r etur  etur ns ns again, now r est estor ed ed to the 1st Violins, while th the Clar  lar inet inet and Bassoo n r ecall ecall th the or iginal iginal quaver  quaver  accom paniment f r  br oken ch chor d figur  figur e appear  appear s in r om om 1-4. The descending br  the Flute par  par t, t, but th ther e is no answer ing ing figur  figur e. e. In 8 1 and 82 th the notation appear  appear s suddenly suddenly very very com plex: th the ch c hor d in 81 is C flat major , but th the 2nd Bassoon and ar e notated in B major  (th (t he enh enhar mo this c ontinues in 1st Vio lins ar  monic equivalent); th

82, wher e th t he ch c hor d is th the Dominant 7th 7th of C flat (i.e. G flat major  with ith an added t he 2nd Bassoon and 1st Violins ar  ar e notated as th though ugh the chor d is F F flat), but th shar  p major  (again, th the enharmonic equivalent). Wh What this means is th that Beeth eethoven arr  arr ives ives at th the C flat ch chor d f r  r om key of G flat major , but th then om t he key r edefines edefines it as B major  in 83 in or der  der  to begin a modulation back, thr  thr ough ugh F t he c ontr  ntr adict adictory notation in th the Bassoon and Vio lin par  par ts ts major , t o B flat major ; th demonstr  nstr ates ates th that th t his is how he was th t hinking. The fir  fir st st half o f 83 is based on th t he chor d of B f B major ; th the second half on a second inver  inver si sion of E minor ; th the fir  fir st st half  t he dominant 7th 7th of C major , which ich is br  br iefly iefly establish established on th t he of 84 is based on th 3r d beat; th then th t he bass descends to B flat, f or ming a dominant 7th 7th in F major . 85 appear  appear s t o be leading to a fir  fir m Per fect fect Cadence in F, but th the addition of an E flat fir st st beat of 86 takes th the key key fir  fir mly towar ds ds B flat major . This passage on the fir  apid modulation which ich takes time t o explain but is s mooth makes a com plex and r apid and high ighly logical to the ear  ear . Fr om ver  a Dominant om 86 to 90 the music is built over  pr epar  epar ati ation f or  the R ecapitulati ecapitulation. Ther e is no clear  clear  Pedal in B flat major , in pr  thematic content in th these 5 bar  bar s: s: th the se miquaver  iquaver acc accom paniment patter  patter n continues in th the 2nd Vio lins, Vio las and so lo Cello s, with ith its melodic outline high ighligh lighted in the Clar  lar inets inets and Bassoons and with ith additional har mo monic and melodic high ighligh lighting in th the Flute and O boe par  par ts. ts. The Dominant Pedal is play played by  pizzicato Cellos/B s/Basses and, in lo nger  nger  notes, by by the Hor ns, ns, while th the 1st Vio lins decor ate ate it with ith octave leaps and tr  tr ills. ills.  R E CAPITU  CAPITU  L ATION (bb. 91-118) First Subject  (bb. 91-96) The Fir st st Subject is now given to the 1st Flute. The accom paniment is in semiquaver  iquaver s in th t he 2nd Vio lins, Vio las and so lo Cellos. 1st Bassoo n, 1st Clar  lar inet inet and 1st Violins have th the r ising staccato ising  staccato semiquaver  iquaver aar  peggio that fir  fir st st appear  appear ed ed in the Flute par  par t at 58 in th the Develo pment; 2nd Clar  lar inet inet and Hor ns ns play play the descending br  br oken ch chor d figur  figur e f r  r om par t at th t he same po int in th the om t he 1st Vio lin par  Develo pment, while th the 2nd Flute has the r ising ising br  br oken ch chor d answer  to this, taken f r  r om the 2nd Bassoo n has th t he synco pated om t he 1st Vio lins at 69. Meanwhile th figur  figur e f r  r om t he Exposition. Thus sever  sever al al ingr  ingr edients edients dr  dr awn f r  r om var ious om 7 in th om var   point in th the movement ar  ar e br  br ough ught t ogeth gether , making th this R ecapitulati ecapitulation a genuine summing-up of  what has gone bef or e. e. Bar s 944-96 ar  ar e equivalent to 104-12, but r ee-or chestr  estr ated. ated. The woodwind r epeat epeat of th the Fir st st Subject and th the cadential th theme that f ollowed it in th the Exposition ar e omitted now; because th the Develo pment f ocused so heavily eavily on th t he Fir st st Subject, any any fur  fur ther  r epetiti epetition at th this point would  be super  super flu fluous. Transition (bb. 97-101) bar s of th the or iginal iginal Tr ansiti ansitio n ar  ar e also omitted, so that th the Tr ansiti ansitio n The o pening bar  now begins very very differ  differ ently ently and is significantly significantly shor ter  ter ± ± less th than half its or iginal iginal length length. It begins (97) at th the r es esolution of an  Interru pted Cadence.  F r  ra    g ment  ment  a f r  r om st Subject f or ms th t he melodic basis of 97-98 and it is not until 99 th that om t he Fir st the music r egains egains its equivalence to the Exposition (99 is equivalent to 27).  Second Subject (102-1221)

Apar  Apar t f r  r om key, which ich is now B flat majo r  (th (t he Tonic), th this f o llows the om t he key Exposition exactly exactly. Ther e ar e var  var ious ch c hanges in or chestr  estr ati ation, which ich need to be noted, but th the music is t o all intents and pur  pur  poses identical t o 30-501 in the Exposition. CODA (bb. 122-139) the same way as th t he Codetta, but f r  r om changes substantially substantially. This begins in th om 124 it ch play a sustained melody high igh above the semiquaver  iquaver  The 1st Vio lins play accom paniment; th this melody is sh shadowed heter  eter o ph  phonically nically (i.e. vir  vir tually tually doubled,  but with ithout the or na namental tur  tur ns) ns) in th the upper  upper  wind par  par ts, ts, cr  cr eating eating a distinctive clash clash between th the G in O boe, Clar  lar inet inet and Bassoo n par  par ts ts at 1261 and th the simultaneous A flat appoggiatur  ggiatur a in th the 1st Vio lins ± th the A flat also appear  appear s in th the semiquaver  iquaver acc accom paniment. t y pical o f  Beeth eethoven¶s sometimes adventur  adventur ous appr  appr oach ach to melodic This is ty dissonance. This passage is r epeated epeated in 127-128, com plete with ith the G/A flat clash clash, ith Clar  lar inets inets and Bassoons now high ighligh lighting th the melodic outline o f t he with semiquaver  iquaver  accom paniment. U p to this p oint th the music has suggested its subject ithout attem pting any any liter  liter al, al, pictor ial ial imitation of  N atur e. e. At 129, however  ever , f our   Natur  with instr uments play play snatch snatches of bir  bir ds dsong:  N ac achti g  ti g all  all  (so lo Flute) is th t he woodwind instr   Nigh ightingale, Wachtel (s tel (solo O boe) is th t he Quail, and  K uck uck  (two Clar  lar inets inets in unison) is th t he mor e r auc aucous call o f t he Cuck oo oo. Beeth eethoven intended th that th t he names of th the bir  bir ds ds sh should be pr  pr inted inted in th the or chestr  estr al al  par   par ts, ts, so that th t he play player s wer e cer  ce r tain tain which ich bir  bir ds ds th t hey wer e i mitating, but he was happy appy to leave th the listener  listener s to wor k it out f or  themselves ± th though ugh scor es es of th t he Sym ph  phony invar  invar iably iably r epr  epr oduce th the play player s¶ s¶ instr  instr ucti uctions. Ther e is a br  br ief  ief  r efer  efer ence ence to the cadential th theme in 131-132, th then the bir  bir ds dsong is r epeated. epeated. Its  position in th the movement suggests th that it is equivalent to a Caden z a in a Concer  ncer to  per atic atic Ar  Ar ia, ia, even th though ugh it is based on Chor d I in r oo ather  than or  o per  oot position, r ath the 6/4 ch chor d that would occur  ccur  at the star  star t of a tr ue ue Cadenza. At 1363 th the cadential th theme r etur  etur ns ns f or  one last time, star  star ting ting in th the 1st vio lin par  par t and th then imitated by by Bassoo n, Clar  lar inet inet and Flute. A cr  cr escend escendo in 138 leads to a mar king king o f   s f  at  f  at the final cadence po int; th ther e is a diminu diminuendo thr ough ugh the sustained Tonic chor d, d, f ollowed by b y two fur  fur ther  Tonic ch chor ds, pianissimo ds, pianissimo,, and a pause on th the final r est. est.