Element AO3 point AO4 effect Wider Listening

Context Estampes (prints) written in More allusive than ‘Prelude to the Afternoon of a
1903. Impressionist = emphasis programmatic. Get an overall Faun’ = allusion and
on colour and texture. impression of something. understatement.
Influences of Indonesian Ravel’s Piano Trio inspired by
gamelan music and Spanish Basque dance/Malaysian poetry.
music.
Melody ‘Pagodes’ = built on two-bar Certainty/structure amongst
phrases. the overall ‘impression’.
Pentatonic structures (the Oriental style (relates to Nuages (Clouds) by Debussy and
patterns change throughout). Jarvanese slendro scale). Jeux d'Eau (The Play of Water) by
Ravel use the pentatonic scale.
First melodic line consists of Equivalent of what might be “
only 4 pitches (5th note of played on the metallophones
pentatonic scale (B) supplied in of a gamelan ensemble.
accompaniment).
Melody is rhythmically varied Adds contrast/interest. Tchaikovsky Romeo and Juliette
(introduction of triplets b11). love theme = added triplets in
accompaniment at climax.
Whole-tone element in central Debussy liked to focus on ‘Prelude to the Afternoon of a
section (b33). symmetrical patterns and Faun’ = use of modes and scales
structures = sense of ease. such as the whole-tone and
pentatonic.
Final pentatonic motif heard at Sense of resolution/finality. “
b37 draws on original pitches.
‘La soiree dans Grenade’ = built Varying motifs reflect new, Elfman’s Batman uses repeated
on a limited number of melodic exciting, Spanish ideas. leitmotifs.
motifs.
Theme 1= orientalist Augmented 2nd = distinctive Stravinsky uses a Lithuanian folk
‘Andulusian’ Arabic melody of flamenco music. song to open his symphony – The
(Moorish lament) at b7 = Acciaccatura = improvised Rite of Spring = also has
semitone and augmented 2nd guitar style also in flamenco dissonances.
feature (dissonant). music.
Acciaccaturas, limited range
(8ve), and avoidance of
balanced phrasing.
Theme 2 at b17 = balanced 2- Guitar-like sound. Debussy's Golliwog's Cakewalk =
bar phrases with repeated notes banjo-like effects (influenced by
(extended at b33 with African culture).
descending 3rds sequence).
Theme 3 at b23 = whole-tone Slightly jazzy/exotic. Voiles, the second piece in
elements. Debussy's first book of Préludes,
is almost entirely within one
whole tone scale.
Theme 4 at b41 = major mode Contrast between major and
with lengthy descent. minor.
Harmony ‘Pagodes’ = affected by Gong sound = far East Nuages (Clouds) by Debussy and
pentatonic content in the influences = new and exotic. Jeux d'Eau (The Play of Water) by
melody = pentatonic Ravel use the pentatonic scale.
harmonisation b37 with Vaughan Williams uses parallel
parallelism and gong-like open movement in OWE (inspired by
5th chords. French impressionist music).
Static quality/slow harmonic Typical of Jarvanese gamelan Little/slow harmonic change in
rhythm (prolongation of one = adhering to Indonesian Arvo Pärt’s Spiegel im Spiegel.
chord). roots. Also adds stability.
‘Changing background’ Contrast between certainty Maxwell-Davies: drone in
 approach = changing of melody and uncertainty of ‘Farewell to Stromness’ = more
harmonisations of the same accompanying harmony = static (ABA structure)
melody. tension and interest.
Added 6th at start (B-D#-F#-G#). Colouristic harmony.
Extended chords (b7). Non-functional harmony = Schoenberg used extended
less stable? Ethereal? chords in ‘Peripitie’.
Diminished triad. Moment of sorrow.
Isolated major 2nd. Colouristic, blurs harmony.
‘La soiree dans Grenade’ = Changes = more
much more varied. unpredictable (improvised
guitar?) = less stability.
Pedal points. Draw the harmony in to a Chopin’s ‘Raindrop’ Prelude =
tonal centre. tonic pedal throughout.
Parallel 7th chords. Parallel movement = typical Vaughan Williams OWE.
of Debussy = creates washy
texture = impressionism.
Whole-tone harmonies. Jazzy/Spanish. Voiles, the second piece in
Debussy's first book of Préludes,
is almost entirely within one
whole tone scale.
False relations between Dissonance. Branching Thomas Tallis - Lamentations of
adjacent chords/simultaneous further from convention. Jeremiah II = use of false
false relations. relations to create dissonance
throughout.
Chords of 4ths and 5ths/open Open sound. Sometimes Vaughan Williams OWE.
5th chords. bare.
Parallel triads Bare/open. Triadic bell-like sound in VW ‘BH’
Tonality ‘Pagodes’ = static harmonies = Static harmonies = not Little harmonic change in Arvo
remains close to B major, moving far from tonic and Pärt’s Spiegel im Spiegel.
moving into the region of F# dominant = gong-like.
minor/D# minor in the central
section.
‘La soiree dans Grenade’ = Keys Draws the listener to the Chopin’s ‘Raindrop’ Prelude.
are reinforced through use of tonal centre = security.
pedal points
Most keys are related to the Security – some Chopin Nocturne in F# major =
tonic of F# major conventionalism. modulates to related keys.
The major mode theme is Emphasis.
repeated once
Tonality is weakened through Ambiguity contrasted by Voiles, the second piece in
use of whole-tone harmony clear, tonal statements Debussy's first book of Préludes,
is almost entirely within one
whole tone scale.
The two interruptions in triple Contrast Janacek quartet = dissonant
time are in the C and A interruptions between tuneful
mixolydian melodies.
The opening ‘Arabic’ theme Sense of
closes the piece in the tonic resolution/equilibrium.
major
Sonority Full range of the piano in both To convey the complexities Rachmaninoff’s Piano Concerto
pieces. of music they represent no.2 = piano pushed to extremes,
(multiple instruments in with full range exploited.
gamelan/guitar sounds in
flamenco).
‘Pagodes’ = washes of sound Overall impression of Ravel’s Piano Trio 4rd movement
created through use of Indonesian gamelan (layered = 3 instruments sound like an
 sustained pedal. percussive gongs). orchestra.
‘La Soiree dans Grenade’ = Guitar-like quality heard in Debussy’s Golliwog’s Cakewalk =
brittle staccato articulation used Spanish music = atmospheric. banjo-like effect conjured.
on occasion.
Una corda pedal. Softer, muffled sound =
characteristic timbre of
‘Pagodes’.
Texture ‘Pagodes’ = layered homophony Different gamelan Complete contrast with opening
at beginning. instruments entering? of Rachmaninoff’s Piano
Concerto no.2 (powerful chords).
Melody dominated homophony Different intricate parts work Chopin’s ‘Raindrop’ Prelude = A
from bar 3, with double pedal together to convey an section and A1 section in melody
(drone), and additional inner impression of Jarvanese dominated homophony (with
part from bar 7. gamelan. Drone = far east. raindrop pedal throughout).
Two-part counterpoint. Gamelan style (percussive ‘La Mer’ = draws on complex
counterpoint). counterpoint of Jarvanese
gamelan music.
Brief imitation Reinforcing key ideas. Call & Coro-pregón in Miranda
response style oversees?
Left hand chords, with high, Bell sound relates to Vaughan Williams evokes a sense
bell-like right hand. ambiance of gamelan music. of bells in ‘Bredon Hill’.
Rapid ornamental right-hand Ornamental = oriental. Ravel’s Piano Trio 4th movement
figuration. piano (end) = dramatic flourishes.
‘La soiree dans Grenade’ = Similar to how a guitar solo
texture draws on various types would sound (chords rather
of homophony. than polyphonic).
Monophonic melody in LH with Habanera rhythm inverted as Chopin’s ‘Raindrop’ Prelude
inverted pedal in RH (b7). pedal = emphasis = makes use of continued tonic
impression of Spain from pedal notes (sometimes inverted)
early on. Contrast with to evoke a sense of rainfall.
Moorish lament in LH.
Chords with single sustained Drone-like quality of exotic,
bass note. oversees music? Tension.
Homophonic, melody in octaves Thickens the texture and Ravel frequently places the
(b38). places emphasis on melody strings 2 octaves apart (piano in
(more grandeur). middle) to thicken the texture in
his Piano Trio in A minor.
Three layers (melody in middle Almost like 3 separate End of B section of Chopin’s
part, chords above, habanera in instruments = musical ‘Raindrop’ Prelude = chords in
bass). ensemble? 3 guitars? left hand, and chords in right
hand while the raindrop
continues in the middle.
Structure ‘Pagodes’ = loose ternary form Fluidity = moving away from Chopin’s ‘Raindrop’ prelude
with coda rigid structures of (conventional ternary form).
romanticism.
‘La soiree dans Grenade’ = More of an impressionist
succession of different themes, approach (non-
with some repetition. Opening conventional). Telling the
theme returns at end. events of the evening as they
unravel?
Rhythm ‘Pagodes’ = syncopation, Common to gamelan music Debussy's Golliwog's Cakewalk =
hetero-rhythms/cross-rhythms (percussive) = evokes sense syncopations.
(2s against 3s). of Jarvanese culture.
Tied notes over bar lines. Undermines a strong sense
of first-beat accent.
Triplets, quintuplets. Oriental/variation. Vaughan Williams OWE.
 Long, gong-like sound in bass. Gamelan impression.
‘La soiree dans Grenade’ = Very Spanish = instantly Bizet in his opera Carmen (also
distinguishing habanera rhythm. creates impression that set in Spain).
culture.
Staccato spread chords. Guitar/flamenco dance.

Triplets. Exciting/anticipation. Tchaikovsky Romeo and Juliette.

Syncopation/hetero-rhythm (2s Jazzy/innovative/Spanish. Debussy's Golliwog's Cakewalk =
against 3s). syncopations.
Scotch snaps. Liveliness.
Metre ‘Pagodes’ = 4/4 with two bars of Contrast.
2/4 (b92 & 94)
‘La soiree dans Grenade’ = 2/4 Improvised style of Spanish Ravel’s Piano Trio in A minor =
with two sudden switches to guitar. frequent changes in time
3/4. Indications that the signature = irregular/innovative
performer should alternate feel.
between rubato and tempo
guisto (strict time).
Tempo ‘Pagodes’ = moderement anime Varying speeds typical of Debussy's Golliwog's Cakewalk =
(moderately quickly), with gamelan. ragtime = also uses tempo/metre
frequent use of ritardando. to adhere to impression it is
creating (African origins).
‘La soiree dans Grenade’ = Relaxing evening in Grenada. “
‘mouvement de Habanera’ and
should begin slowly in a
nonchalantly graceful rhythm.
Dynamics ‘Pagodes’ = range from delicate Variation = tension. Gamelan Debussy's Golliwog's Cakewalk =
at the beginning to massive ff at = dynamic contrasts huge dynamic contrast, as well as
climax. depending on instruments. his orchestral composition ‘La
Mer’.
‘La Soiree dans Grenade’ = ppp Contrast/tension. “
to ff.
Ending = ‘lointain’ (distant) and Night in Grenada draws to a Ending of the first and third
the music gradually dies away. close. movements of Ravel’s Piano Trio
in A minor.