Analysis of Stravinsky’s Rite of Spring

the Rite of Spring is introduced by a Bassoon solo which is played at its highest register using
the tenor clef which is abnormal and the high-pitched melody of the Bassoon solo mimics
the harsh tones of primitive rural Russian village instruments. The scenery of the start of
spring can be visualised through the different instruments mimicking the different sounds
within nature such as the flutes and clarinets imitating the sounds of birds tweeting.

Intro - From the introduction the music is developed through the addition of other layers
which are not in sync and flow in different patterns and rhythms. The rite of spring heavily
relies on evolved modes and include passages in B flat minor and have 3 different tonal
triads – D minor, E flat minor and C sharp minor, but they are difficult to detect and requires
careful analysis and intentional listening.

Texture - The Rite of Spring is chordal music and has homophonic texture with block chords
underneath the melody. The homophony of the Rite of spring is effective and important to
the melody and accompaniment for the ballet piece as it creates a clear melody within the
chaotic piece. The thick-textured homophonic melody creates a colossal impact with the
exuberant sounds layered together.

Rhythm - As for the rhythm of the music, it is laid down by string instruments and it played a
vital role in the radicality of the Rite of Spring. Unlike the traditional purpose of rhythm to
blend the tempo with the harmony and dynamics, Stravinsky places the rhythmic element
on par with the melody.

Harmony – The harmony is characterised by aggregate chords, where one tonality is piled
on another – E flat on F flat to begin with in the famous Rite chord.

Tempo – the tempo of the Rite of Spring is moderately slow in the introduction and
progressively becomes faster as the music builds on.

Timbre – Stravinsky uses a wide range of instruments and experiments with the extremes of
the pitch range of the instruments.