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7 Cards in this Set
- Front
- Back
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Forces |
- Trombone and double bass as solo instruments, e.g. bars 46-end only features bass instruments. - 20th century imposition. |
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Forces Complex, unusual and specific part writing. |
- Very high tessitura in solo double bass in bars 24-25. - Frequent glisses in trombone, e.g. bar 2 (where it is accentuated by doubling). - Specific performance markings, e.g. du talon instruction, bar 12. |
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Structure Keeps the baroque binary structure, but adds comic turns. |
- e.g. the B section is delayed by Stravinsky's addition of bars 22-24, which are in the tonic instead of the expected dominant. - Displays elements of pastiche as well as neo-classicism. |
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Tonality Largely functional, but undermined by unusual/bare cadences and 'jokes'. |
- e.g. the only slightly unusual modulation (to the tonic minor), bars 46-49, is borrowed from the original baroque source material. - The final cadence can be seen as a iii⁷ - I where chord iii⁷ has no 3rd and chord I is bare octaves of F. |
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Texture Mostly melody-dominated homophony, brief moment of unusual texture. |
- e.g. three-part heterophony between double bass, flute I and flute II, made more striking by the three-octave gap between them, bar 38. |
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Rhythm & metre Some intentionally unusual rhythms. |
- e.g. semiquaver ascending scale in double bass, bar 21. - Pause before the final cadence, as a joke. |
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Melody Inversion of the original motif ends piece with a 'joke'. |
e.g. original melody heard at bar 2; inversion at bars 65-66. |
