Introduction

sonority

largest ever orchestra - bar 98

lots of transposing instruments

score - transposing pitch

piccolo - sounds an octave

alto flute in G

cor anglais(instrument) and horn are in f

clarinet in Bb - maj 2nd lower

Clarinet A - min 3rd lower

basoon(faggot) -

piccolo clarinet in D - maj 2nd high

piccolo clarinet in Eb - min 3 high

bass clarinet - 9th lower

bass trumpet Eb - maj6 lower

Tenor Tuba Bb

Contrabasson + double - octave lower

(theres a lot of wind instruments)

ussually in a wind section there are 8 but its over 20

percusions - 2 timpani

tuned cymbals

tam tam

guiro

instrumental techniques that are extended

triangle

the basoon starts of playing high

dudki- has associations of spring

tremolo on the flute and picolo(notes that close together)

flutter tonguing on flute bar 60(marking : b.60)

trills pizz,solo double bass

in figure 10(important) there are 6 double bass playing double bass 1-4 playing chord double bass 5 is con sordino and double bass 6 is playing pizzicato,precise,specific,nuanced

viola has glissando harmonics

structure and tonality

blocks of sound - contrasting fragments(you could say its leitmotifs

moves away from functional harmony but there are tonal centers(its not atonal)

bar 1-9 : hexatonic on a (6 notes)(maj minor tonality),the melody is the lithuanian folk song(lithuanian folk song - melody a)

fig 2-3 c# center - (cor anglais melody( - melody b))

figure 4-5 E maj center (more or less but undermind dont just say its e major) - melody C

figure 6-8 ambiguity but it moves towards Bflat center(pedal note is double bass Bb pedal note) - Alternating between B and C

figure 9 - F mixolydian in oboe + clarinet,very angular woodwind melodies - melody D

figure 10 and 1- polytonal,here we got elements of all of (Melody C,B,D,3 melodies at the same time)

cor anglais - melody B,piccollo clarinet - melody D, -clarinet in A,(melody C)

Figure 12 - Abm - Melody A(Semitone lower)

Sparse Texture appearance of 4 note ostinato

hes using old elements(folk so,ngs,melodies) and compose everything around this,using additional new polytonals,

melody

lithuanian folk song,(it is based on the hexatonic scale(ABC DEG)

to the original melody,he added rubato,grace notes and shifting time signatures

Melody B - C#,D#,F#,G#

melody a and b are quite folky quite pentatonic quite limited,not much chromaticism but then melody c comes in and then its chromatic

regressive evolution

melody C - chromatic

melody D - angular

ireggular phrasing
figure 8 big leaps in the flute

motific development,fragmentation,variation,displaced repetition

this displaced reptition can be seen in bars 1-3 repeated the idea in figure 3

harmony

non functional - throughout

and disonant

there are folk featuress(drones)

features from impressionsism(paralel 4ths and whole tone scale : use debussy for wider listening)

good valuative point : while debussy clearly states the whole tone scale here its more clouded in chromaticism,Whole tone scale still there but clouded in chromaticsm,could say its a development of debussy

bitonality

lots of false relations

in general its controlled disonance

go back to firebird,petrushka(the petrushka chord) (for wider listening)

texture

in general massive variety of textures,(they are chunked)

• monophonic opening(1st bar)

• when it reaches the climax its

• 2 and 3 part textures

• not really melody and harmony,its polyphony - its lines

• figure 4 we have layered texture - theres no real clear melody

• bar 32 we have homorythm

• figure 7 complex polyphony with prominent melodies(melody goe it foregrownd,goes into background and back etc)

• flutter tonging techniques to bring out new layer of texture which makes it stand out : techniques make actually new textural layers

• everything cuts it

tempo rhythm and metre

lento tempo rubato : change in time signatures; gives it this improvised feel

rhythmic displacement - change emphasis, shows his attention to detail, sounds like every is doing whatever they want(but they are not)

polyrhythms in bar 62,reflectred in the chaos of awakening spring

irregular emphasis within the meter

rhymic complexity triplets,sextuplets,groups of ten, cross rhythm

its relentless rhythmic, idea of relentless

fiure 5 and clarinet (group of six) Bass Clarient(Group of 8)

figure 7 basson plays triplets and horns play semiquavers

dynamics

in our movement 1-3 pp-ff

in the whole piece its ppp-fff