Set works 2
On this page we will try to become more familiar with the individual themes (melodies) in the set works. For now, it is most important to know what the themes sound like, but you should also start to consider how they're written. These themes don't need to be learned off, but they do need to be understood. Questions like rhythmic and melodic features, time and key signatures etc. are common.
Bach 1st movement 'allegro'
The key is D major.
Time signature 2/2. Cut common time.
syncopation is heard throughout.
Virtuoso sections on the harpsichord featuring scale passages in demi-semiquavers
Melody features step and leaps and triadic (chords) movement.
The form is ritornello form.
The key is D major.
Time signature 2/2. Cut common time.
syncopation is heard throughout.
Virtuoso sections on the harpsichord featuring scale passages in demi-semiquavers
Melody features step and leaps and triadic (chords) movement.
The form is ritornello form.
It is very important to be able to hear and recognise sequences and imitation throughout the whole 2 movements.
The main theme from the 2nd movement is on the 1st year page for this set work. The form again is ritornello, AABABA
Metre is 4 (4/4), but the tonality is minor.
The main theme from the 2nd movement is on the 1st year page for this set work. The form again is ritornello, AABABA
Metre is 4 (4/4), but the tonality is minor.
Morning- Peer Gynt
Morning is in the key of E major, begining on soh, me re doh re me etc played by solo flute answered an octave below by solo oboe (both woodwind). The opening flute/oboe melody is based on a triad (chord) of E. This melody might be described as triadic or using a broken chord or arpeggio.
Morning is in the key of E major, begining on soh, me re doh re me etc played by solo flute answered an octave below by solo oboe (both woodwind). The opening flute/oboe melody is based on a triad (chord) of E. This melody might be described as triadic or using a broken chord or arpeggio.
In the middle of this section, the tonality brightens as it changes from minor to E major. The added accidentals (sharps) below show this tune is in E major.
Below, is the later version in the key of F as played by the French Horn
To pave the way for a key change to A minor for Anitra's dance, a chord of E major (chord 5 in A minor) is played on strings. Note the pause sign, the tempo marking and the time signature. Strings play pizzicato, plucked in the intro and con sordini (with mutes)
The main melody is arco, but there are many sections that alternate between arco and pizzicato. Notice the dots (staccato), curved line (slur) tr. (trills) and stroke (tenuto or stress)
The B section introduces a new melody in parallel 3rds (not polyphonic). Note that this time the curved lines are tied notes, i.e. hold them rather than play them again.
In the Hall of the mountain King is in B minor, 4/4 time (common time) and is mostly staccato. Also note the accents.It starts in the Bass clef, on low pitched instruments Bassoons, Cellos, and Double basses. This melodic ostinato gradually rises in pitch to the treble clef and to higher pitched instruments. as it gets higher, it also gets faster and louder.
Hoedown is in D major and 2/4 time. In the introduction below notice the accents, tempo, bowings, flats, triplets.
Section A - Bonyparte
Note the instruments, syncopation throughout, accents, sf and triplets.
Section B - McCleod's reel.
Trumpet, then oboe, staccato and 8va.
Trumpet, then oboe, staccato and 8va.