Unit+4+Work

You can share ideas and attach files of your Unit 4 work on this page.

Please remember to include **your name** above any comments you make on this page. CONTRAST KENIS :D

-Sudden dynamics changes reinforce sudden contrasts between sections: movt 1 fig 12 moves from p to ff in next bar -very chant like using ostini:written as prelude -the E minor punctuating chord contrasts with the constant semiquaver flow of the alternating sections. -Contrast exists within section, fig 4 between legato articulation and crochet rhythm of melody and staccato articulation and quaver movement of ostinato. -often sudden changes to contrasting sections withou a gradual transition:3 bars after fig 12 sudden change in dynamics, metre, tonal centre with no transition or link. -fig 10 melody of wide leaps very contrasting to previous s plainchant melody

REPETITION

-use of ostinati to unify sections by their repetition of the same melodic and rhythmic ideas:ostinao figure introduced at fig 4 recurs at 7 and serves as a recognizable feature of this movement -repeated E minor chord unifies the movement, asserts a tone centre of E acts as a punctuation mark. -Contains two climaxes both use the same ostinato patterns played in quavers in some instruments and semiquavers in other instruments

-Melody introduced at fig 4 repeated a lot throughout the movement alternating with the contrasting sections fig 7 three bars after fig 12 -the presence of the chorus is used to create a church like atmosphere in this piece.

VARIATION

-dom 7th and dim7th pattern are used frequently in diff positions and inversions: the opening semiquaver figure in the oboe on the dom 7th of E flat and C is varied at fig 1 then at fig 2 it appears again in ascending form but based on phrygian mode. -the opening melody is repeated with additional use of instrumentation in fig 7 -3 bars after fig 12 the vocal melody first introduced at fig 4 in the alto part reappears in the tenor part but in this version the altos harmonise with a repeated note pattern as heard at fig 12 before soparo take over the main melody at 13. This is quite dissonant and has a polyphonic texture. - Ostinato figure in fig 4 forms the basis of the instrumental fugue subject yet the intervals betwwen the second and thrif notes ascends a 5th rather then down a 4th this is called octave equivalence.

K.Y.Foong ^^ //(only brought the score of the Stravinsky back so forgive me if what I typed seems funny) //:P Stravinsky - Symphony of Psalms(Movement 1) Repetition 1) Rhythm - Rhythmic ostinatos (bar 2-3, 5-7, 9-10) Constant semiquavers : creates drive 2) Harmony/Tonality - Sharp, Punctuating E minor chord to reinforce tonal center of E (bar 1, 4, 8) Variation 1) Melody - Octave Equivalence The ostinato figure from figure 4 forms the basis of the instrumental fugue subject but the interval between the 2nd and 4rd note ascends up a 5th instead of down a 4th (octave equivalence) 2) Figure 4 and Figure 7 : Oboe 1s repeat same melodic and rhythmic ostinati but an octave higher Contrast 1) Tone Colour - Change of instrumentation. (before and after rehearsal mark 4) Before rehearsal mark 4 : Instr. - Horns, Pianos, Low Strings After rehearsal mark 4 : Instr. - Choir + Wind ensemble 2) Melody - Intervals SATB choir part often based on Octatonic scale (semitones and tones). However, at bar 53 ; rehearsal mark 10 - Big interval leaps (perfect 8ves and minor 7ths)