The verdict: [0 1 6]
Forte name: 3-5
IC Vector: <1,0,0,0,1,1> (So you have semitones, perfect 4ths and tritones)
The following analysis comes from section A.
Ex. 7
The 3-note motif first starts off unaccompanied. Harmony is added in subsequent occurances through the use of intervals of bare 4ths and 5ths. I think Holst was trying to imitate early brass sounds here, bearing in mind that early brass instruments were valveless and only able to play notes of a particular harmonic series, hence the prevalence of 4ths and 5ths. There is also a gradual shift from bare 4ths and 5ths harmony to more triadic harmony. When the horns enter, there seems to be a change in colour. Besides having more triadic harmony, the 3-note motif has also transformed into one that is more diatonic in nature. The contour of the motif is maintained, but some intervals have been changed, just trace the top notes of the horn part (The horn part extends to the upper stave as well. Having quite a bit of trouble representing everything happening in the orchestra in a simpler form. Reading an orchestral score is quite hard as there're so many instruments to consider. It gets difficult when you have to deal with tenor clefs and transposing instruments too. Oh well, at least I still have my 2 piano score to back me up). This is in contrast to the opening 3-note motif, which can be described as more chromatic.
1 comment:
Indeed, orchestral score-reading requires practice, and it is certainly worth your while developing this important musician skill. Anyway, one reminder/caution: you should not merely describe the score, it is the music that matters; therefore, examine and point out the musical effects or processes.
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