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“And the Glory of the Lord”
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Metre?
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“And the Glory of the Lord”
Tonality?
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“And the Glory of the Lord”
Tempo?
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Allegro
(Matches joyful mood)
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“And the Glory of the Lord”
Dynamics?
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mf to f
(Terraced dynamics to match joyful mood)
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“And the Glory of the Lord”
Rhythm?
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| Hemiola and on-beat crotchet rhythms. |
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“And the Glory of the Lord”
Harmony?
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| Major harmonies, uses perfect and plagal cadences. |
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“And the Glory of the Lord”
Texture?
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| Alternating Homphonic and Polyphonic (Contrapuntal). Chorus ends with a Chordal Homophonic coda. |
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“And the Glory of the Lord”
Features?
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| Imitation & Sequence, Syllabic word setting and use of Melisma. |
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“And the Glory of the Lord”
Melody and Form & Structure?
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Chorus is based on 4 contrasting melodic ideas.
1. based on triad of A major & syllabic.
2. decending sequence & melisma.
3. repetition.
4. notes of long duration – repeated.
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“And the Glory of the Lord”
Insrumentation?
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| Four voices: soprano; alto; tenor and bass. Strings, Continuo, Trumpets, Timpani and later added oboes and bassoons. |
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“Symphony No.40 in G minor”
Metre?
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“Symphony No.40 in G minor”
Tonality?
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“Symphony No.40 in G minor”
Tempo?
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Molto Allegro
(Very Fast)
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“Symphony No.40 in G minor”
Dynamics?
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Starts at p but has lots of dynamic contrast including use of sfz and accents.
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“Symphony No.40 in G minor”
Pitch?
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Violins play 1st subject in octaves.
Limited pitch range.
2nd subject moves CHROMATICALLY.
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“Symphony No.40 in G minor”
Rhythm?
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Scale passages and rising sequences.
1st Subject – crotchet and quaver rhythm.
2nd Subject – slower, legato rhythm.
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“Symphony No.40 in G minor”
Harmony?
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1st Subject – G minor.
2nd Subject – Bb major (relative major) in exposition but G minor in recapitualation.
A variety of keys are explored in the development.
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“Symphony No.40 in G minor”
Texture?
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Mainly HOMOPHONIC (melody and accompaniment).
POLYPHONIC in development.
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“Symphony No.40 in G minor”
Features?
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Pedal notes in development.
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“Symphony No.40 in G minor”
Melody and Form & Structure?
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Sonata Form
Exposition – 1st sub. Bridge passage. 2nd sub. codetta.
Development – based on 1st sub. Polyphonic. Diffreent keys. Pedal notes. Themes passed between timbres.
Recapitualation – G minor. Bridge is longer. Lots of scale passages and rising sequences. Ends with a codetta.
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“Symphony No.40 in G minor”
Instrumentation?
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| Classical orchestra: 2xViolins; Violas; Cellos; Double Bases; 2xFlutes; 2xOboes; 2xClarinets; 2xBassoons; 2xHorns. NO TRUMPETS OR TIMPANI! |
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“Prelude No.15 in Db major Op.28”
Metre?
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“Prelude No.15 in Db major Op.28”
Tonality?
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“Prelude No.15 in Db major Op.28”
Tempo?
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“Prelude No.15 in Db major Op.28”
Dynamics?
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p (wider range in Section B)
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“Prelude No.15 in Db major Op.28”
Pitch?
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Top note is Bb. Moderate range. Lower pitch in Section B.
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“Prelude No.15 in Db major Op.28”
Rhythm?
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“Prelude No.15 in Db major Op.28”
Texture?
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Mainly HOMOPHONIC. Section B – Thick, Chordal almost chorale-like movement.
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“Prelude No.15 in Db major Op.28”
Features?
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Expressive use of pedals. Sostenuto (sustained), Acciacatura (“crushing note – Decoration)
Pedal Note – Ab (enharmonic G sharp)
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“Prelude No.15 in Db major Op.28”
Harmony?
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A (1-27) – Db Major
B (28-75) – C sharp minor
A (75-81) – Db Major
Codetta (81-89) – Db Major
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“Prelude No.15 in Db major Op.28”
Melody and Form & Structure?
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Two main themes in Section A and inverted dominant pedal in Section B. Ends with PERFECT CADENCE.
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“Prelude No.15 in Db major Op.28”
Instrumentation?
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Solo Piano (Chopin was a virtuoso)
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