Sarabande 1 2 3 4 5

Stylistic Features

Tonality Definesthe Structure-modulation todominant 2ndsection

rounded binaryform

part of a dance suit(5th movement)

moves throughclosely relatedkeys

no writtendynamics orarticulation (addedon performance)

Melody Writing scalic Some Syncopation Conjunct Sequences

HarmonyFunctional/diatonicthroughout

2 part textureshows clearharmonic structure

highly harmonicallydecorated righthand;suspensions,appoggiaturas,passing notes,accented passingnotes etc

Chromaticism fromchanges of key

Diminished Chordb12

Structure

Rounded Binaryform (A=shortB=long)

Section A ends inthe Dominant

Section B passesthrough manykeys, ends in tonic

Recognisedstructure of thebaroque period

Tonality definesstructure

TonalityOverall tonality Dmajor

First modulation isto the dominant-imperfect cadencein A major

Section A finisheswith a perfectcadence in Amajor

Section B starts inthe dominant andmodulates to Bminor in b19/20

b21-23 suggests amodulation to Eminor in the lefthand. b23-24perfect cadence inE minor(supertonic minor)

TextureMainly 2 parttexture

Right hand oftenhas the melody

Start and end ofsections arepolyphonic

First two bars areMelody DominatedHomophony withchords in left hand

Rhythm

Complex rhythmsthat sound as freeas improvisation

Rhythms comeback, imitatedrhythms

Second beat in baremphasised.Typical ofsarabande Triple Simple Time Slow

Gigue 1 2 3 4 5

Stylistic FeaturesTonality Definesthe Structure binary form

part of a dance suit(7th movement)

moves throughclosely relatedkeys

no writtendynamics orarticulation (addedon performance)

Melody Writing

melody usessimilar ideasthroughout scalic or Arpeggios

Conjunct melody,accompanimentoften jumpsaround Imitative Fugal

HarmonyFunctional/diatonicthroughout

Many of the sameharmonic devicesas the sarabande

Harmonicsequence b18-19repeated b29-31

Dramatic Dim 7thb91

Most ties indicatesuspensions. Also,triple suspensionb16-17

StructureBinary form (A+B48 bars each)

Section A ends inthe Dominant

Section B passesthrough manykeys, ends in tonic

Recognisedstructure of thebaroque period

Tonality definesstructure

TonalityOverall tonality-Dmajor

Modulates toDominant (Amajor) b7

Returns to D majorb16

Section A ends inA major withperfect cadence

Second sectionstarts in D major

5 6 7 8 9 10 11

no writtendynamics orarticulation (addedon performance)

contrapuntaltexture

written forharpsichord

second sectionsimilar to first simple harmony

Emphasis onsecond beat

Diminished Chordb12

Neopolitan 6thchord E minor b23

Use of secondarydominant to createpassingmodulations (b25)

Tonality definesstructureb21-23 suggests amodulation to Eminor in the lefthand. b23-24perfect cadence inE minor(supertonic minor)

b29 similar phraseto beginning,returns to D major

SecondaryDominants

Slow Semi QuaversDemi Semi quavermovements

5 6 7 8 9 10 11no writtendynamics orarticulation (addedon performance)

contrapuntaltexture

written forharpsichord fast tempo

2nd section similarto first

FugalMost ties indicatesuspensions. Also,triple suspensionb16-17

Tonality definesstructure

Second sectionstarts in D major

From b 61-66there are perfectcadences in Eminor, F# minor, Bminor. Perfectcadence in Eminor b 70

Finishes in Dmajor

SecondaryDominants used

11

11

TextureStarts monophonic(subject)

Bar 7 startscountersubject+answer

Fugue like-polyphonic when 2parts join in

Bar 78 - 3 partcounterpoint

First 21 bars are infugal texture

Rhythm Imitive RhythmsTrimple Compoundtime

Continuous semiquaver movementand dotted quaverchords

Tippett 1 2 3 4 5

Stylistic Features1st violin has widerange

no solo intruments-double orchestra

very few extendedtechniques

phygian cadenceIvb-V compoud time

Melody Writingoften doubled 8veabove and below

driven by excitingrhythm repetition of motifs mainly conjunct

wide range for 1'stviolin

Harmonynon functionalharmony

no emphasis on3rd of chord ofperfect cadences

dissonant but notatonal

Structuresonata form withritonelo infulences

1-20 First Sub -39second link 40-68

Development 69-128 Recapit. 129-232

Theme presentingsimultaneously in 3octaves

Tonality

Tonality does notdefine thestructure phygian cadence modes tonal centres

Texturecontrapuntal inplaces doubles melody

double stops for3bars

orchestralhomophohy butcontrapuntaltogether-antiphonous 2 orchestras

Rhythmrhythm drivesmelody syncopation additive rhythms

time signaturechanges

Joke Quartet 1 2 3 4 5

Stylistic Features String Quartet Simple harmonies Periodic PhrasingClear harmonicProgressions

Melody Dominatedhomophony

Melody WritingSimple MemorableMelody

Folklike andDancing

Equal LengthPhrases

Most materialcomes from Motifin opening theme Conjuct mainly

Harmony

13 bar longDominant Pedal atbar 16

Central EpisodeDominant Pedal inAb

Instead ofresolving Bar 41stuck on 1c 4times Moves to F minor Returns to Eb

Structure Rondo

Refrain' getsshorter each timereturns

Refrain has ABAStructure itself Ends on Tonic

Tonality helpsdefine structure

TonalityTonality Definesthe Structure II-V-I Often seen

Ab Major NotStrong Cadence

13 bar longDominant Pedal atbar 16

Central EpisodeDominant Pedal inAb

TextureMelody DominatedHomophony

plenty of interest inother parts

Tiny amount ofdouble stopping

4 part texturemainly

Rhythm 6/8 time Simple Rhythms StacattosContinuousQuavers

Webern

First 21 bars are infugal texture

supportive bassline

Bar 34, 3 bars ofmonophony

3 partsoccasionally

5 6 7 8 9 10 11

compoud time suspensions uses key centressontato form withritenello influences syncopation

time signaturechanges

wide range for 1'stviolin

syncopatedmelody

moves betweeninstruments

limited use ofextendedtechniques

Theme presentingsimultaneously in 3octaves

2 orchestras

Each orchestrajust as importantas other

Full and richtextuerCharacteristic ofTippett

Parts interact inpatterns with otherparts in sameorchestra, rarelywith otherorchestra

time signaturechanges

frequent change ofpulse

Often second tiednotes are accentedwhich leads tostrong syncopation

5 6 7 8 9 10 11

Melody Dominatedhomophony

Tonality Definesthe Structure

significant use ofdominant pedals

use of periodicphrasing

modulates toclosely relatedkeys

uses modifiedrondo form

more detaileddirections thanbaroque

Conjuct mainlyMelodicSequences Arpeggios

Returns to Eb Tonic Pedal in Eb Sequential Rise

Tonality helpsdefine structure

Central EpisodeDominant Pedal inAb

Instead ofresolving Bar 41stuck on 1c 4times Moves to F minor Returns to Eb Tonic Pedal in Eb

5 6 7 8 9 10 11

Retrograde InversionRetrogradeInversion Tone Row

FragmentedMelody Short Piece

Inspired byBrandenburgConcertos

11

11more detaileddirections thanbaroque

Melody in 1stViolin mainly

11Inspired byBrandenburgConcertos

Melody Writing Fragmented Tone RowMoves betweeninstruments Disjunct Angular

Harmony

Structure

Ternary with Introand Coda - Sonatalike

Tonalityatonal- use of tonerow etc

Texture Sparse texture

Rarely more thanone instrument ata time

Melody Movesbetweeninstruments

Rhythm

Angular Tritones