Boyd

 Name and explain notes, rests, signs, terms, the title + key/tonality
 Balinese gamelan [traditional Indonesian music] equally tempered version of the pelog scale.
A predominant scale system in Indonesian music. ‘moods’ in the title represents modes to
explore the varied characteristics of Balinese music.
 A major key signature (Appears to be in A minor but the addition of c# makes It A major) No
F in the flute part supports this, appears to be based on the pelog scale.
 Ritardando is a gradual decrease in tempo, ritenuto is an immediate decrease
 Poco- little rit
 A niente to nothing
 Liberamente- freely
 Lunga- held longer than notated
 Sempre- always or same style
 Dashed line through stem of note
 1 line split into 2 [quaver]
 2 lines split into 4 [semiquaver]
 Tempo primo, first tempo
 Sim. -simile
 Pedal-funny looking thing
 Poss. [undefined]
 Rall- get quicker
 Key/Tonality
 AC# EG# A major seventh chord with an occasional D
 Form
 Bars 1-13 A section [prologue to main theme]
 Bar 15 a bridge sequence
 Bar 16 B [main theme/motif that repeats every 3 ½ beats]
 Bar 18-20 alternating between semiquavers and quavers from 20 with extra semiquavers
 Call and response/ echo out of sync and in sync with piano accompaniment
 Bar 26 +27 a variation of bar 7 extends upon this idea
 Bar 28 main theme + grace notes
 Bar 32 removes rests in main motif creates sense of driving forwards, changes to rhythm
 Bar 34 + 35 slight variation
 Bar 36-39 a repeat of 31-33
 Bar 40 increases intensity switch from grace notes to double tonguing [Virtuosic,
peak/climax of the piece]
 Symmetrical structure / Cyclical
 Quasi-cadenza written or transcribed cadenza in the liberamente
 Bar 55-end is the conclusion, repetition of the A section [introduces theme]

Poulenc Sonata
Work for solo or with accompaniment, Since 1800 with 3 movements. Second mov always slow.
French composer and pianist 1899 and 1963. Most famous works are a “gloria for soprano and
choir” hymns and religious music. Dialogues des Cararmerlites, massacre of the nuns during the
French terror. Studied with Ricardo vines a Spanish pianist and under the tutelage Eric Satie. Started
composition in his late teens, debut at the age of 19, 1917. Impressed Stravinsky who got Poulenc a
contract with a publisher. He was involved in WWI as a conscript for the French army, cognisant of
the fact that the twentieth century is a mess. Modernist period was a contrast to the lush, sweeping
nature of the Romantic period. In the 1930s he began to write religious works, glorias. Whimsical
distraction from the dumpster fire that was the world during that period. Fought in WW2. Wrote
Anti-Nazi work. Mix of serious work with lighter heartedness. Died poor of a heart attack. His music
is broadly diatonic. Simple, pleasing and emotionally expressive melodies. Used conventional
harmony. This flute sonata however does not appear to match this, with the second movement not
possessing any overall tonal centre. Style matches the ups and downs of the twentieth century.
Marks the end of many periods, end of Impressionism and late romanticism, lush tonal. Moving
away from the easy beauty of Romanticism. Atonalism, presenting the world from subjective
perspectives. Expressionism (the scream), experimentalism, post modernism, drawing from other
parts of the world. Neoclassicism, cultivated during the two world wars, return to classical period
and jazz. Many genres, opera, sonata, concertos, innovation of new instruments. Orchestras had
grown massive.

Vine

Gershwin

Satie

Stravinsky

1. Fast melancholy
 Lots of pedal with blurred semiquavers
 Leger et mordant- light and biting
 M.d main droite – right hand
 Main gauche left hand
 Dessus- over
 Surtout sans ralentir- above all without changing
 Sans changer -no changing
 A peine plus vite- tad bit faster
 Subito – suddenly
 Ceder – yield slow down
 Sans rigeur without rigour



2.Cantilena – a lullaby

 Assez lent- slow enough

 Doucement baigne de pedale – gently bathed in pedals, lightly pedalling
 En animant – with animation

3.Presto giocoso humorous + fast

 Tres mordent very biting

 Sans pedal – without pedal
 Stacatissimo- very staccato
 Subito le double lent – suddenly twice as slow
 Strictement measure et leger et mordant [Poulenc does not like rubato play as written]
 Structure
 Broadly atonal, no central key
 ABA following sonata form exposition bar 66, development
  Pein plus vite B section 73-98
 A section 99-128 recapitulation
 129-end is a coda
 4 bar motif + trill
 Melodic + rhythmic motif returns from 1st mov to 3rd mov

Baroque 1728
Vivaldi RV 436 concerto in G major written in the baroque period 1600-1750. Composer 1678-1741,
lifetime in the peak of the period. Age of 24 master of violin, composed most of his major work in
the orphanage in Venice. Father was a professional violinist. Ordained as a priest at the age of 25.

Concertos, cantatas [vocal composition, choir with instrumental accompaniment], progressive

operas (lost), oratorio [in concert, sacred Christian topics] and sacred vocal music, dance suites
[ordered set of instrumental works, don’t dance to it, solo concerto and sonata]

were his main styles he composed. Had to compose something new for every feast, explains the
amount of his work. Musical director at 1716, late 30s, two new concertos a month. Vivaldi travelled
through Europe, playing and composing. Paid for 140 concertos between 1723-1733. 1717 at the age
of 40, he became the director of voice in the North-western Italy Manjula. In his late period he was
commissioned by European nobility and royalty, known as the ‘Red’ Priest, and was knighted by
Emperor Charles the 6th. Moved to Vienna in the latter stages of his life as people lost interest in his
work which was seen as dated. He was unknown until the twentieth century when he was
rediscovered. Two forms of cataloguing, opus number or RV number. RV 436 was part of a collection
of six flute concertos published in 1728. Innovative music at the time yet currently emblematic of the
Baroque period. Added liveliness to the formal structure of concertos, had a strong influence on
J.S.Bach, who transcribed six of his concertos. Renewed interest for his work in the 20 th century.
Famous works include:

Four Seasons, a group of 4 violin concertos which provide musical expression of the seasons of the
year.

Generally written for smaller groups, 2 violins, viola and cello, basso continuo- a bass line that is
played by an organ or harpsichord, a characteristic of the baroque period, it is a harmonic structure.

Violin solo/group sonatas and concertos are what he was famous for

Flute/Oboe/Recorder concertos

Bassoon concertos

Concerto is indicative of Vivaldi’s style with the tutti section where the orchestra introduces a theme
that is elaborated by the soloist, who serves as a feature, not where the orchestra serves as an
accompaniment as reminiscent of the Orchestral period.

Baroque music characteristics:

High levels of ornamentation, trills, turns discretion for the performer for their interpretation.
Tradition of playing the repeat differently the second time.
Set in stone the idea of key signatures as opposed to modes.

Figured bass- basso continuo where bass chords were indicated by numbers

Polyphonic music

Handel

Bach

Telemann

Corelli

Henry Purchel

STRUCTURE

Movement 2

Slow and broad, g major, brief flirtation with e minor at bar 6. Bar 8 melodic section raised seventh.
Rounded ternary FORM

A Bar 1-5. B- bar 6-9. A bar 9-12

A section in g major, modulation to the relative minor in the b section, very common. 5 th dominant,
4th subdominant, relative minor/major are the key modulations. N- harmonic equivalent e.g. d major
to d minor. Fifth to the fifth or fourth to the fourth g -> C -> F P {secondary modulation}. Truncated
sections where sections are skipped are variations of the a form in bars 9-10, similar to the opening 2
bars with note removals. Rhythmic variations from hemidemisemiquavers to demisemiquavers to be
played at a slower pace, languorously. Last 3/2 bars are the same, rhythmically both section As are
the same. First part A ends on the fifth,

Movement 1

A section from bar 1-32 which ends on the fifth. Modulations to b minor in bar 33, the journey ends
on bar 65 when the A section returns till the end. Early sonata form where the b section is a
development of the A section.

Movement 3

Motif 1 in the opening section. 122, 147, variation of it in bar 94, bar 125. A section from 1-58. 59-
124 is B section. 125-end is A section. D major at bar 47, which we stay in for a while until we end up
in e minor which happens in bar 73 at the tutti till 83. At 83 we move into A minor. Back to g major at
104. Moving through modes. From 104 we remain in g major but the tonal centre shifts towards c
and f major. Bottom note of B and c becomes more dominant, but we return to the A section in 121.
Modulations generally occur in the B section, in the A section there are only flirtations to the fifth.
Piazzola
1921-1992 Born and died in Argentina. Italian immigrants to Argentina, at the age of 4 moved to
New York, returned to Argentina at the age of 15, studied in and moved to Paris in 1944, at the age
of 33. Returned to Argentina at 53, 1973 he was offered a fifteen-year contract to record his music,
continued to the rest of his life. His style as a nuevo tango, incorporating classical and jazz elements,
a virtuosic bandoneon[accordion style instrument]. Tango originated from Argentina and URUGUAY,
developing in the working-class suburbs, is now part of the ballroom tradition. Composed first tango
at the age of 11, the nuevo tango differs from the original tango through jazz elements, extended
harmonies [more complex chords], dissonance, counterpoint which uses harmonically
interdependent sections with different melodies. His music is a fusion so there are no clear
influences, passacaglia [a series of variations over an ostinato pattern which is a repeated rhythm] a
musical form that originated in early seventeenth century Spain. Similar to theme and variations.
Baroque influences and improvisation, his standard structural pattern involved a formal pattern of
fast slow fast slow coda. The piece however just has a fast slow fast structure, reflecting significant
experimentation which is a response to the political situation of the time. Composed for a variety of
instruments whilst predominantly using the tango style. Held the mindset of an 18 th century
composer, who was influenced by music across the world from his travels.

Structure

Molto marcato energico- performed with energy and emphasis

Decide- determinedly.

A section continues till the Meno mosso, a B section at the Meno mosso, the second half of the b
section serves as an embellished version of the first. The ad lib represents the improvisational
elements of the Pizzella and tango style. Passacaglia is after the repeated notes and continues till the
beginning of the Meno mosso which serves as a bridge. ABCA structure. Moves through the keys,
broadly atonal with no fixed key signature. However there is a tonal structure of an A, uses a lot of
chromaticity, as opposed to diatonic key signature.