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7 Cards in this Set

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Unusual choice of dominant timbres.

- Trombone and double bass as solo instruments, e.g. bars 46-end only features bass instruments.

- 20th century imposition.


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.


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.


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.


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.

Rhythm & metre

Some intentionally unusual rhythms.

- e.g. semiquaver ascending scale in double bass, bar 21.

- Pause before the final cadence, as a joke.


Inversion of the original motif ends piece with a 'joke'.

e.g. original melody heard at bar 2; inversion at bars 65-66.