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music 2 quotes...

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Musical concepts: duration, pitch, structure, texture, tone colour, expressive techniques Sample HSC Papers : Music 2

At Sixes and Sevens - Structure, Pitch, Texture, Duration Bar

Quote

Analysis

Concept

1-2

Alto 1 C motif introduced (monophonic), developed by alto 2 in b2, staggered entry, rhythmic diminution and expansion. 13/8 metre strictly grouped 3+3+3+2+2

Structure Texture Duration

4

Alto 1 plays developed version of C motif

Structure Pitch texture

7

Ostinato 1 introduced in alto 2. Lip bend.

Texture

10

Alto 2 introduces ostinato 1 in b10, continued by tenor at the end of the bar. Baritone ostinato 2 in b11. Staggered entry

Structure Texture

14

The C motif is played in rhythmic unison between Alto 1, 2. The C motif is further developed through pitch expansions

Pitch Texture

26

Alto 2 - scalic runs and colour trills Keep trill noise to a minimum dynamic contrast

Pitch Texture Structure

29-34

Layering of ostinatos in all instruments, repeating and fade, texture fades stepwise.

texture

Analysis

Concept

1-4

Alto 2 motif while the rest of the instruments have no bars non-aligned barlines.

structure

6

Angular melody, leaps. 7/4 Non-aligning barlines

Pitch

Delayed Arrival (structure) Non-aligned barlines, structure less strict Bar

Quote

draw lines for angular melody

10-

Quasi-ostinato in alto 2 and tenor, made by repairing previous motifs. Layering with a non-distinct pulse creates a blurring effect. They line up again at bar 41.

Structure Texture

38-39

Imitation in Alto 2 & Tenor

Pitch structure

Analysis

Concept

Whirlie drone emphasises minor 2nd. Dissonant harmony Tonal ambiguity b3 Staggered entry whirlies → bass → tenor → rest

Pitch Structure duration

Wheatbelt (pitch) Minor 2nd and perfect 5th Things to memorise - Lydian - major with raised 4th, used a lot - Mixolydian - major with flattened 7th - Dorian - natural minor (no raised 7th) with raised 6th - Phrygian and locrian start on semitone Bar 1-3

Quote

4

Minor 2nd pitch motif introduced Rhythmic unison

Pitch D&E

39-5 8

Independent phrasing and emphasis of S sounds in S1, S2, A2, T. Displaced ostinato Staggered entry Minor second Blurred sound, dissonance - tonal ambiguity Triplet

Tone colour Pitch Texture Structure Duration

55-5 6

Repetition Increase in dynamics each repetition Dissonance against above quote Word painting

Structure Duration Tone colour Pitch Texture D&E

50

Perfect 5th in tenor and bass Rhythmic unison

Pitch structure

“Continue in random patterns”

Crouching Tiger Concerto -

Dynamics and Expressive Techniques Tone Color

Bar

Quote

Analysis

Concept

Throu ghout the Piece

n/a

The constant switch between hands and sticks on the bongos creates interest

D&E Tone Colour

Sticks have a warmer tone colour, while hands have a rougher tone quality. 6

The perfect 5th tremolo alongside the sudden change in dynamics, open sound

D&E Tone Colour

Light and breathy tone to Heavy Tone 20-21

Gliss creates a random sound, the decrescendo gives the sense of fading away This creates a mysterious tone color due to the unmeasured gliss

D&E Tone Colour

33

The use of alternating up and down bows alongside the legato and staccato creates warmer and sharper tone colors.

D&E Tone Colour

43-44

Gliss Sudden change in pitch and dynamics D dorian

Tone colour Pitch D&E

50-51

Bowing on the timpani alongside the crescendo creates an eerie and mysterious tone colour.

D&E Tone Colour

(just draw the semiquavers with the things

Random Glissando gives it a resonant tone colour. 65

Gliss on perfect 5 and sudden Sforzando Piano creates an open sound, the switch to Sul Ponticello creates a nasally tone colour.

D&E Tone Colour...