1 G MINOR
Double bass, timpani, ophicleide/tuba- G tonic pedal in octave
Root position chord
3 Rapid scalic figuration
Bassoons play contrary motion to the rest of the wood wind- g minor scalic descent
Chorus T B enter on second beat- start on the SUBMEDIANT (Eb) - start of their
chromatic ascending line
Strings- arpeggio-like ideas that support chromatic line
B4- violin II – dim 7
Trumpet octaves
4 Chromatic WW followed by 2 tetrachords
10 bar TRIPLETS
opening Theme 1 Reaffirmation of G MINOR in all parts
phrase 5-8 Enter female chorus
SAT in two parts- dissonance due to held tonic in top part and bottom part chromatic
descent
Chorus sings theme 1
B tonic pedal
Doubling of voices in WW
Strings and ww homophony- same semi quaver oscillation with lower auxiliary note
SUBDOMINANT MINOR HARMONY HALFWAY THROUGH BAR 7 – Eb MINOR
9-10 Descending semiquaver scalic idea- sequential pattern
MONOPHONIC OCTAVES
STRINGS ONLY
STAGGERED ENTRY OF DOUBLED BASS
11-20 REPEAT 1-10
Now added bass drum in between ff G MINOR chords
21 D MINOR TONICISED
22 = 6/4 INVERSION ON 2nd BEAT
REPEAT LAST BEAT = DOMINANT MINOR (A MIN)
Bass leads chorus- ANTIPHONAL/IMMITATIVE
Chorus follows in syncopated fashion
Contrary motion in strings- arpeggio
Upper woodwind playing ascending tetrachord- interval extended to 5 th
Antecedent Pedal in timpani
and Orchestra- CHORDAL HOMOPHONY
Consequent ANTIPHONY- Strings- ascending arpeggio answered by upper woodwind in descending
arpeggio
phrasing
TRUMPET FANFARE- 3 PART CHORD
23 + 24 Accented crotchets- T and B and orchestra
ANSWER Timpani = syncopated tonic pedal
ING 2 B24= SUSTAINED A MAJOR CHORD (V OF D MIN)
BAR STRINGS, UPPER WOODWIND, CLARINET AND OBOES IN UNISON / OCTAVES
PHRASE Beat 1= perfect 5th A major scalic idea
Beat 2= tetrachord
Beat 3 = perfect 5th scalic idea up the octave
FINAL QUAVER- A CAPPELLA
25-28 REPEAT OF 21-24
29 and TONIC MINOR 7TH DUE TO CHROMATIC LINE
30 TEXTURAL CHANGE
T + B – material of opening
Bass- chromatic descent
3rd of chord only enters at least beat of 30- raised to F # now
31 DIMINISHED HARMONY BUILT ON DOM MINOR 9TH ON G- ff chords are accented
Double bass starts on F- dominant of F = C -> C minor tonicized in next bar
Chorus sings theme 1 material- sop sings F natural now- sop and alto sing this theme at a
higher pitch than before
Octaves in bassoon
Start of chorus descending sequences
Double bass, timpani, ophicleide/tuba- G tonic pedal in octave
Root position chord
3 Rapid scalic figuration
Bassoons play contrary motion to the rest of the wood wind- g minor scalic descent
Chorus T B enter on second beat- start on the SUBMEDIANT (Eb) - start of their
chromatic ascending line
Strings- arpeggio-like ideas that support chromatic line
B4- violin II – dim 7
Trumpet octaves
4 Chromatic WW followed by 2 tetrachords
10 bar TRIPLETS
opening Theme 1 Reaffirmation of G MINOR in all parts
phrase 5-8 Enter female chorus
SAT in two parts- dissonance due to held tonic in top part and bottom part chromatic
descent
Chorus sings theme 1
B tonic pedal
Doubling of voices in WW
Strings and ww homophony- same semi quaver oscillation with lower auxiliary note
SUBDOMINANT MINOR HARMONY HALFWAY THROUGH BAR 7 – Eb MINOR
9-10 Descending semiquaver scalic idea- sequential pattern
MONOPHONIC OCTAVES
STRINGS ONLY
STAGGERED ENTRY OF DOUBLED BASS
11-20 REPEAT 1-10
Now added bass drum in between ff G MINOR chords
21 D MINOR TONICISED
22 = 6/4 INVERSION ON 2nd BEAT
REPEAT LAST BEAT = DOMINANT MINOR (A MIN)
Bass leads chorus- ANTIPHONAL/IMMITATIVE
Chorus follows in syncopated fashion
Contrary motion in strings- arpeggio
Upper woodwind playing ascending tetrachord- interval extended to 5 th
Antecedent Pedal in timpani
and Orchestra- CHORDAL HOMOPHONY
Consequent ANTIPHONY- Strings- ascending arpeggio answered by upper woodwind in descending
arpeggio
phrasing
TRUMPET FANFARE- 3 PART CHORD
23 + 24 Accented crotchets- T and B and orchestra
ANSWER Timpani = syncopated tonic pedal
ING 2 B24= SUSTAINED A MAJOR CHORD (V OF D MIN)
BAR STRINGS, UPPER WOODWIND, CLARINET AND OBOES IN UNISON / OCTAVES
PHRASE Beat 1= perfect 5th A major scalic idea
Beat 2= tetrachord
Beat 3 = perfect 5th scalic idea up the octave
FINAL QUAVER- A CAPPELLA
25-28 REPEAT OF 21-24
29 and TONIC MINOR 7TH DUE TO CHROMATIC LINE
30 TEXTURAL CHANGE
T + B – material of opening
Bass- chromatic descent
3rd of chord only enters at least beat of 30- raised to F # now
31 DIMINISHED HARMONY BUILT ON DOM MINOR 9TH ON G- ff chords are accented
Double bass starts on F- dominant of F = C -> C minor tonicized in next bar
Chorus sings theme 1 material- sop sings F natural now- sop and alto sing this theme at a
higher pitch than before
Octaves in bassoon
Start of chorus descending sequences
