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16 Cards in this Set
- Front
- Back
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John Cage, Sonata III |
1 + 1 + 3¼ + 3¼ = 8½ That summation of semibreves in a unit That summation of units in the piece Units marked with double-barlines The ¼ unit not double-barlined |
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John Cage, Sonata II |
1½ + 1½ +2⅜ + 2⅜ = 7¾ That summation of semibreves in a unit That summation of units in the piece Units marked with double-barlines ½ and ⅜ units double-barlined Final ⅜ unit approximate |
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John Cage, Sonata I |
1¼ + ¾ + 1¼ + ¾ + 1½ + 1½ = 7 That summation of semibreves in a unit That summation of units in the piece Units marked with double-barlines ¼ and ¾ units double-barlined ½ units not double-barlined, but time signature changes |
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Pheloung Structure
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B: As oboe enters, oboe-string overlap of sections, as viola descent finishes C: As horns enter OR 2: The only silence |
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Pheloung Motivic Material |
Perfect 4th: inverted, in DEA motif, marks B section in oboe Major 2nd: inverted, in DEA motif, verticalized in piano, ends A section DEA: diminished, augmented and inverted in horns, reordered, retrograde and repeated in piano, verticalized, inverted retrograde Piano motif: uses 4ths and 2nds, repeated at 2 |
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Shostakovich Structure |
Arch Form Intro: fugato A: homophonic entry B: arioso 1, chromatic descent, C: arioso 2, 4th figure B*: bar before cello chromatic descent A*: not at high point, DSCH motif in violin 1, almost identical to A until after Sypmohy 1 quote |
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Shostakovich Melodic Material |
DSCH: Before and at section changes, reordered in 2nd 5th symphony quote 1st Symphony: A and A* 5th Symhpony: 3 statements in B section, tritone descent Arioso 1: Chromatic descent, B in cello at B* Arioso 2: Accompaniment figure, C and the end |
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Shostakovich Tonality |
Unusual chords shortly after A, followed by Cm A ends with PC in Cm Long I-V-I progression in C section? ambiguous Tertiary modulations at B*, down twice Bright bit in C major Augmented triad close to the end Ends with PC in Cm |
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Tonality of Berlioz |
-chords of F and G7 referenced in A section -B-flats suggest Mixolydian scale -Serenade melody begins in C but moves to Am -Weak PC in C before imitative figures -Look for bassline F-sharp>G, indicates G major -Look for C-shart>D, indicates Dm -Followed by melody in Dm -B ends with PC in C |
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Berlioz' development of melodic material |
~A: -viola contrary-motion countermelody, augmentation of figures ~B: -Idee Fixe in bar 3-4 of Serenade theme -Woodwind melody + string countermelody -Serenade in 3rds + 6ths -Triplet embellishment ~Coda: -Flute + harp: Idee Fixe augmented -Serenade theme fragmented -3rd melodic phrase of Serenade a little way in |
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Sinfonia Structure and Tonality |
-Originally Gallo, trio sonata -Circle of 5th at 2nd theme -Extra beat added with time-signature changes -In Bm in B section -After that, use 7-8 figures in lowest part to discern key of harmonic sequence -G major throughout A* -No anacrusis at A*, surprise beginning -6 bars cut to 4 |
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Gavotta Structure and Tonality |
-Originally Monza, keyboard piece -Opening section either Mel. Dom. Hom. or a 4-Part texture -Each section in Binary Form -In woodwind of Variation 2, look for a chain of unresolved dissonances and parallel 5ths |
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Vivo Structure and Tonality |
-Originally Pergelosi, cello sonata -To dominant at B -Stravinsky adds 3 bars at the beginning of B -Big syncopated cadences in Gm and F -F major at A* -Parallel minor for lyrical bit -PC removed -Final cadence iii-I |
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Gabrieli Tonality |
-Circle of 5ths to diminant at B section -Major-minor shift in Sinfonia -G minor references at C section -3/1 section = tertiary progressions -Unprepared dominant 7ths -Ends with dominant pedal |
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Gabrieli Structure |
-B = baritone solo -Sinfonia = instruments -C = duet -D = countertenor -E = Tutti |
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Sweelinck Tonality |
-A section visits G major -All imperfect cadences are phrygian -Look for A aeolian and A melodic minor scales -C-sharp>D sounds like Dm but C-sharp is just for perfect imitation -B and B* in relative major -Look for suspension |
