Section A
Key: On G
Features: 3-note motif, ostinato bass pattern
Music: Ex. 1, Ex. 1-1
Section B
Key: On C
Features: Modal passage with semitone idea, parallel movement of triads
Music: Ex. 3, Ex. 3-1
Section C
Key: ??
Features: Fanfare-like tune
Music: Ex. 6
Ex. 6
Section DKey: ??
Features: Modal passage with semitone idea but now extended, parallel movement of triads, some hints of ostinato bass pattern
Music: Ex. 3-2
Section E
Key: On G
Features: Reminiscent of section A (but shortened)
Section F
Key: On G
Features: Fanfare-like tune, modal passage with parallel movement of triads, ostinato bass pattern (they all seem to occur in a rather seamless fashion unlike previously where their occurances can be clearly marked out in sections)
Section G
Key: Moving towards ending on C
Features: Loud and thick chords, a string of cresc. scalic strings and woodwinds
1 comment:
For the next step, examine each section in terms of its structural function to better understand how they relate to one another. Consider, for example, whether themes are being stated or developed; at the same time, note the nature of the harmonic structure (e.g. closed/open, stable/fluid). Remember, formal analysis must always take into account the melodic/thematic as well as the harmonic features.
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