AOS 2- Serialism Peripetie from Five Orchestral Pieces Analysis Table

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Shauna Bates
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1 AOS 2- Serialism Peripetie from Five Orchestral Pieces Analysis Table Section A Bars 1-18 Task Label this section on your score. Clarinets & Flutes state two hexachords in bars 1 and 3. Bass clarinet hexachord in bar 1 is made up of the following notes: C#, D, E, F, G#, A. Flute hexachord in bar 3 is made up of the following notes: A, A#, B, C, E, G#. Bassoons double the bass clarinet hexachord in first two bars. This is same as horn hexachord from bar 8 but transposed up 4 semitones; A, Bb, C, C#, E, F Bar 6 in the strings and trumpets is an inversion of the hexachord; A, G#, F#, F, D, Db. Clarinet C# D E F G# A Hexachord Intervals Up 1 ST Up 2 ST Up 1 ST Up 3 ST Up 1 ST Horn Hexachord A G# F# F D Db Intervals Down 1 ST Down 2 ST Down 1 ST Down 3 ST Down 1 ST Bass clarinet and flute hexachords lead to a fanfare horn motif in bar 3. This is the first part to be marked as the principal voice. Task Highlight these hexachords on your score. Sehr rasch = very quick BPM. Triplet quavers, and sextuplet semi-quavers Bar 7 tempo slows slightly Each instrument in the orchestra plays in Section A. Bars 1-7 the brass instruments dominate the Piece is built on the hexachords. Full pitch range / tessitura of each instrument are Forte to start. Dynamics get louder as melodic ideas are played by instrumental groups. Bar 5 dynamics reach FFF

2 (etwas ruhiger). Rubato clarinet melody at bar 10 makes tempo feel slower than it actually is. texture. Trombones take over the principal voice in bars 5-6 before it returns to the horns. Bars 8-10 ostinato in bassoons and bass clarinet. Bar soft clarinet melody. Marked as principal voice. Instrumental groups play in quick succession with some overlaps of chordal / homophonic bursts. Texture thins from bar 10 as clarinet melody is played. used. Bar 10 clarinet melody is expressive, gentle, angular and uses dissonant leaps of minor 9 th, major 7 th and diminished octave. These cause dissonance and create tension. before dying away to PP. Brass instruments use a mute. Schoenberg uses this for the dampened sound quality while still using extremes of ranges, which is unusual.

3 Section B Bars Task Label this section on your score Bar 18 cello takes over the role of principal voice from clarinet. Bar 20 trumpet takes over role of principal voice from cello. From bar 20 to bar 34 the principal voice passes between 7 different instruments. Bar 28 trumpet one enters with secondary voice. Bar 29 piccolo, flute and clarinet in D join in as secondary voices. Cello plays in a very high tessitura in what develops into a frantic section. Task Highlight the principal and secondary voice sections. Tempo returns to original marking of sehr rasch. Short note durations such as quavers and semi quavers make the music seem faster than it actually is. Full orchestra is used in Section B. Orchestra is used in different instrumental combinations until bar 30 where the full orchestra play together. Bars are the climax of this section. Not all instruments play for the full 5 bars. Wind and percussion instruments provide the instrumental power. In bars violin 1 and cello have a soft and gentle melody line. It is Piece is built on the hexachords. Full pitch range / tessitura of each instrument are used. Bar 10 clarinet melody is expressive, gentle, angular and uses dissonant leaps of minor 9 th, major 7 th and diminished octave. These cause dissonance and create tension. Forte to start. Dynamics get louder as melodic ideas are played by instrumental groups. Bar 5 dynamics reach FFF before dying away to PP. Brass instruments use a mute. Schoenberg uses this for the dampened sound quality while still using extremes of ranges, which is unusual.

4 very difficult to hear but adds to the texture and demonstrates Schoenberg s attention to detail. Texture is complex and polyphonic. Section A Bars Task Label this section on your score Section A starts with the return of the violins as the principal voice with an ascending melody. A flourish from the horns answers the violins in bar 37 this then leads us to bar 40 and a return of the horn hexachord from bar 8. This section provides us with a rest from the turmoil of section B. Mood is menacing giving the impression that there is more turmoil and fireworks to come in the following sections. Task Highlight the principal voice sections.

5 Section C Bars Task Label this section on your score. Bar 44 bassoon is principal voice. Bar 45 takes cello over the principal voice role. Task Highlight the principal voice sections. Tempo marking alternates between ruhiger which means calmer and heftig which means passionate. Bars are made up of a sparse texture. In these bars Schoenberg continues to overlap solos in different instruments. Bars consist of a much fuller and thicker texture where the majority of the instruments are involved. Wide pitch range / tessitura of instruments are used. Angular leaps in the bassoon and cello when they are the principal voices. Bars melodic flourishes in the woodwind and strings enhance the louder dynamics. Bar 44 starts this section with an overall PP dynamic. Individual instruments have different crescendo and diminuendo markings. Bar change to a FFF dynamic before starting to die away in 56. The dynamics mirror the changes in the texture in this section.

6 Section A Bars Task Label this section on your score. The start of this section is highlighted by a change in tempo to the original faster speed. Triplet figure in clarinets and second violins starts the section. Rhythmic motifs from opening bars return in this section. Section A Bars Bar 1 Bar 3 Section A Trumpets bars Clarinets bars Flutes bars Starting with clarinet 3, violin, 2 and viola in bar 59 the instruments are introduced one by one in quick succession. This creates a layering effect as the rhythmic motifs are repeated. From bar 61 the texture builds until at bar 64 the whole orchestra are playing together for the final climatic chord. Melodic material from the opening is being used and developed for final section. Bar 64 2 is a climatic chord of a hexachord C, D, Eb, F#, G, G#. Most of orchestra are playing (except cor anglais and double bass) Bar the double basses play an unrelated tremolo chord. This is played in a high tessitura and is sustained after the rest of the orchestra subside to conclude the piece. Opening dynamic at bar 59 is PP. Crescendos quickly to FFF in bar 64. Dynamics fade quickly to PP by bar 66.

Students' guide: Area of study 1 (The Western classical tradition 1650-1910)

Students' guide: Area of study 1 (The Western classical tradition 1650-1910) This resource gives students a breakdown of Haydn's Symphony 101 in D major 'The Clock' movt. 2. It also offers guidance on