Instrumental Set Works

Haydn Symphony No. 26 in D minor, Lamentatione: movement I

Holborne Pavane The image of melancholy and Galliard Ecce quam bonum
Brahms Piano Quintet in F minor, Op. 34: movement III
J. S. Bach Partita No. 4 in D, BWV 828: Sarabande and Gigue
Shostakovich Prelude and Fugue in A, Op. 87 No. 7
Duke Ellington and his Orchestra Black and Tan Fantasy
Miles Davis Quintet Four (opening)

Haydn Symphony No. 26 in D minor,

Lamentatione: movement I
Background

Influential in creating the symphony.

Sturm und Dang style
o Minor key at the start
o Tense and sometimes chromatic harmony
o Rhythmic aspects e.g. cross rhythms

Forces

Strings
o Violin I often more active and II but sometimes double each other
o Violin I is higher and they sometimes use double stopping bar 21
Oboes and Bassoon
o When violins double, oboe normally does too
o Where violins play faster, oboe plays long sustained notes.
o Bassoon plays where oboe does and doubles the bass line.
Horns
o Natural horns were used and crooks were used to make other notes availalbe.
o Horns only play where their notes fit
Cembalo
o Continuo part played by a harpsichord

Dynamics

Few dynamics, some on the score are editorial

No crescendos or diminuendos
Terraced dynamics

Texture

Mostly homophonic although a few bars of homorhythm

Number of instrumental lines normally exceeds the number of parts
Mostly two-part texture

Structure

Sonata form which progressed from binary form. (Sect A = Expo Sect B = Develop and Recap)
Bars 1-44 - Exposition
o Begins in Dm and moves to relative major
Bars 45-133 - Development and Recapitulation
o Development begins in Dm and explores related keys
o Recapitulation begins in Dm and ends in tonic major
Haydn repeats the first section only

Tonality

Functional tonality

 Modulations are very predictable except for where the first subject appears in the tonic major at
the end of the recapitulation

Harmony

Very functional harmony

Dominance of Chord I and V seen in bars 9-12 - I-Vb repeated four times
Circle of fifths at bar 57-63
Diminished 7th chords - e.g. bar 4
Dissonances created through suspensions, e.g. bar 25

Melody

Principal melody most played by violin I, but plainsong melody in subject 2 is heard from the
violin II
The plainsong is very stepwise with a few small leaps
The main melody of first subject (bars 1-8 ) is more varied with syncopation and a rising leap of
a 6th
Chromatic melody in bar 69
Broken chord shapes
Periodic phrasing is also heard ( bars 1-16 )
Plainsong is more irregular

Rhythm and Metre

Syncopation heard in the opening and similar passages

Simple quadruple time.
Rests used as articulation

Features of Classical Period

Sonata Form
Functional Harmony
Mostly root and first inversion chords
Suspensions/ prepared dissonances
Typical classical orchestra
Mainly diatonic
Periodic phrasing
Modulations only to related keys
Sturm und Drang
Melody Dominated Homophony
Use of Terraced Dynamics

Holborne Pavane The image of melancholy

and Galliard Ecce quam bonum
Background

Consort music
Published in 1599
Pavans and Galliards were court dances

Forces

Unbroken consort of five instruments

o Seemed very suited to viols
Viols were fretted instruments, held downwards, normally had 6 strings and had flat backs.
Almost certainly written for amateur performers
Narrow ranges
All players constantly active

Texture

Consistently five part

Texture is layered as there is rarely crossing of parts
Second section of galliard is homophonic
Rest of the music is contrapuntal with occasional imitation

Structure

Tripartite structure AABBCC

Each piece has three strains that are each repeated
Usual of pavane and Galliards. Lengths of strains divisible by four suit dancing such as the
Galliard with all 8 bar sections

Tonality

Pavane
o Section 1: D major with hints of A major and G major
o Section 2: Touch of E minor, perfect cadence in A major to end
o Section 3: D major with hints of A major and G major
Galliard
o Section 1: D minor with a Tierce de Picardie at the end
o Section 2: A minor and ends with a Phrygian cadence in D minor
o Section 3: F major, D minor and ends with a Tierce de Picardie

Harmony

Harmony is largely consonant with mostly root position chords

Passing notes are common
Suspensions are used (P B1)
Perfect cadences to end every section in the Pavane
Some false relations (P B13)

Melody

In the pavane there is conjunct movement no leaps greater than a perfect fifth
All parts of similar importance although top part does have the melody most
Some imitation bar 3 beat 1
Writing is very vocal in style
Pavane B48 chromatic decoration

Rhythm and Metre

Pavane in duple time and Galliard in triple

Rhythmic patterns rarely repeated from one bar to the next
Bar 13 of Galliard there is a homorhythm
Hemiola in bars 6-7
Syncopation (G B4)
Frequent dotted rhythms in Galliard

Renaissance Features

Use of Dorian mode in Galliard

Use of Phrygian cadence (IVb-V) at b. 15 Galliard
Written for a consort
Tripartite structure (3 'strains') in each piece
Use of Elizabethan 'grief' motif at very beginning of Pavane (top part)
Use of hemiola (b. 10-11 Galliard)
Suspensions prepared and resolved properly (b. 4 Pavane top part)
Use of false relation in b. 11 Pavane between middle and top parts.
Melodies are mainly conjunct and if they are not, the gap is filled in immediately afterwards
(bb. 24-25 Pavane)
Use of simple, functional, harmony with root position and first inversion chords.
Use of Tierce de Picardie at the end of the first and third strains of the Galliard
Lack of performance directions in the score
Syncopation used in the Galliard b.7

Brahms Piano Quintet in F minor, Op. 34:

movement III
Background

Composed in 1864.
Brahms central figure of 19th century Romanticism
Studies of Baroque of Classical composeres lead him to use forms like sonata and even fugal
forms seen by some as too academic and unemotional at the time
Performed in small concert hall

Forces

Piano part is technically demanding lots of chords

6 note chords with typical octave bass line at bar 22.
Full range of piano, low at b53, high at bar 174.
Strings have large range
Cello pizzicato on lowest note possible
Violin I pizzicato double stopping bars 18-20

Texture

Wide variety
Pedal at start with violin and viola in octaves
Free imitation between strings and piano bar 5
Third theme is homophonic bar 22
Central section of scherzo in fugal style contrapuntal
Fugato section builds up to 5 part texture at the stretto bar 93
Main theme in trio Is melody dominated homophony

Structure

Scherzo and trio form

A Scherzo
A
B
A
Three
Fugato
Themes
themes
Leads
in diff
are
into the
order
heard
next A
and
12312
with a
keys
stretto
2312
section

A
Lyrical
theme
in C
major

B - Trio
B
More
aggressive
and
contrapunta
l theme

A
First
theme
from trio
in tonic
major

A - Scherzo
A
B
A
Same as the first

Tonality
Tonic key of C minor
Modulates almost constantly
Related keys (dominant, b57) are used although distant keys occur more often
Remote key of B major b206
Tonic major key
Pedals reinforce the key tonic pedal at start of scherzo and end of trio
Long dominant pedal 225
Keys established by cadences

Harmony

Chromatic
German augmented 6th at bar 5
Half diminished 7th b223
Diminished 7ths 232
Some diatonic harmony b22
Rare perfect cadences more imperfect cadences b12-13
Plagal cadences at ends of main sections
o One at 191-92 has a tierce de Picardie

Melody

1st theme rising broken chords

2nd theme repeated note pattern with semiquaver turn
Melodies are motivic
Falling minor 2nd important feature. Repeated at end of scherzo
Chromatic passages are frequent

Rhythm and Metre

Duple time throughout. varies from compound duple to simple duple

Time sig changes to accommodate different tunes
Syncopation
2nd theme march rhythm
Off beat accents bar 26

J. S. Bach Partita No. 4 in D, BWV 828:

Sarabande and Gigue
Background

Partita means suite (a set of stylized dance movements in binary or rounded binary form,
preceded by a prelude or some other type of non-dance piece)
The Sarabande of this Partita is the 5th of 7 movements and the gigue as usual was last
Aspects of these pieces that are typical of Baroque period:
o Use of Sarabande and Gigue originated in baroque period, and suites of several
dance movements are typical of baroque.
o Harpsichord
o Simple and rounded binary forms
o Continuous short note value note movement rather than periodic phrasing
o Fugal writing in parts of Gigue

Instrumentation

No instrument specified however partitas regularly played on harpsichord

Single manual harpsichord wouldve sufficed. No dynamic markings that would need a two
manual harpsichord
Except for low A in penultimate bar of Sarabande, couldve been played on Clavichord

Texture

Sarabande
o Almost entirely two-part
o Melody Dominated Homophony - RH has melody LH supporting part
o Bar 2 = monophonic
o Beginning and end of each section has more parts
Gigue
o Mainly three part with some fugal textures
o Opening 6 bars are monophonic
o The second fugal entry (the answer starting on dominant) produces two-part texture
o Occasionally chords against rapidly moving melody
o Bar 49 (second section) begins monophonically
o Texture builds to three parts

Structure

Sarabande

o
o
o
o
o
Gigue
o
o
o
o
o

Rounded binary form

Two main sections each repeated
A ends in dominant
B section returns to tonic with reference to A section (bar 29) this makes it rounded
Rhyming ends of A and B
Ordinary binary form
Fugal elements but not regular fugue
A ends in dominant key
B returns to tonic
Rhyming endings A was rising, B is descending

Tonality

Major-minor tonality
Modulations to closely related keys
Functional
Each movement begins in tonic D major and modulates to dominant
Return to tonic towards end of B section
The return is via related keys B minor (relative minor) and E minor

Harmony

Functional harmony
Both sections of Sarabande and Gigue end with perfect cadences
Largely diatonic based on triads
Chords frequently broken or arpeggiated
Some dissonance to create tension
7th chords are common Sarabande B8
Diminished 7th with suspension over tonic pedal in A before final chord of A of Sarabande
Suspensions Gigue B75 and 77
Appoggiaturas (leading note to tonic) Gigue B41
Some chromaticism
Faster harmonic rhythm leadings up to cadences

Melody

Mostly conjunct
Broken chord movement too
Frequent sequences
Fortspinnung

Rhythm & Metre

Sarabande
o Simple triple
o Emphasis on second beat
o Steady continuous quavers in left hand, RH usually has shorter notes
o Some syncopation
Gigue
o Compound triple
o Almost constant semiquaver movement

Baroque Features

Use of Sarbande and gigue

Harpsichord
Rounded binary
Fugal writing
Functional harmony
Mainly diatonic harmony and melody
Conjunct or triadic melodies
Lack of performance directions
Mainly root or 1st inversion chords
Functional tonality

Shostakovich Prelude and Fugue in A, Op. 87

No. 7
Background

Shostakovichs career was spent under the Soviet (communist) regime which restricted
freedoms
This piece is Neo-classical
o Use of fugue as structure
o Objective rather than expressive
o Prelude is similar to Bachs two part inventions
Composed following a visit to Leipzig to commemorate Bachs death
Shostakovich 1906-1975

Texture

Prelude
o
o
o
o
o
o
o
o
Fugue
o
o
o
o

Similar to two part invention

Generally contrapuntal
Homophony in bar 21-22 not typical of invention
Sometimes more than two notes
Two separate textural strands
Pedal accompanies more active line
Semiquaver motif switched between hands no overlapping so therefore no imitation
Bar 21-22 homorhythmic
Contrapuntal throughout
3 parts
textural variety where restricted to two parts b29-50
At pedal points 3 parts sound but only two are active

Structure
Prelude

5 short sections each is longer than the previous one

tonal scheme looks in three part structure

B1-12 A1-A3 - A, 12-23 A4-A5 Ambiguous, B23-end A
Each section ends when LH and RH have been active

o
o
o
o

Exposition where each part plays the main melodic idea for the first time
Codetta short passage in exposition where the subject is absent b9-10
Episode passage outside exposition where subject is absent B15-20
CS first enters in dominant

o
Fugue

Tonality

Piece in A
Key sig of A major
Begins and ends in A major
Shostakovich generally avoids straightforward cadence patterns
Areas of tonal ambiguity P B18 and in F
Very abrupt modulations
Defined by pedals

Harmony
Fugue
o
o
o
o
o

No non triadic notes and therefore no dissonance

Harmonic rhythm is very slow
Very clear harmony
Shostakovich makes it clear whether major or minor
In two part a full chord cant be sounded so implies full chords by arpeggiating and
ensuring the third is heard regularly
Episodes have faster harmonic rhythm B15-16 V-IV-V-IV and B20 I-V-I-V
Dominant pedal at B62

o
o
Prelude
o Dissonance
Lower auxiliary B1
Suspension F# at B5-6
o All long notes are pedals
o Harmonic rhythm is variable

Melody

Prelude
o
o
o
Fugue
o
o
o
o
o

Semiquaver Idea variations include movement upwards

Followed by quavers with large leaps
Dotted Crotchet Idea - stepwise
Subject, Countersubject 1 & 2
Most melodic intervals are leaps
Triadic and arpeggio shapes
Both ascending and descending movement
Repetition

Rhythm & Metre

Prelude
o Compound quadruple (12/8) except for two 9/8 bars
o However, (9/8) is implied from the start dotted crotched idea appears after 9 beats
o Based on opposition of rhythms
o Syncopation not a feature until b18
Fugue
o Cut Common
o Subject rhythmically varied
o CS1 is very different involves syncopation
o CS2 begins syncopated but thats it
o Fugue is less adventurous rhythmically
o No notes shorter than quavers

Duke Ellington and his Orchestra Black and

Tan Fantasy
Background

Began by playing in dance bands before moving to new York

Many of his pieces were stages at the cotton club
This piece is an example of Ellingtons, Jungle style created to accompany African
Culture floor shows at the cotton club
The title refers to the meeting of races in the Cotton Club, a process that Ellington
suppportered although a quotation at the end of this piece reveals some pessimism about
the speed of racial integration in the USA

Forces

Piano (Duke), 2 Trumpets, Trombone, Saxophones, Banjo, Bass and Drums

Jungle style features heavy drums, low saxophone textures and the growling sound of Bubber
Mileys trumpet.

Texture

Mainly MDH
Opening and closing feature trumpet and trombone playing mostly in parallel sixths
Low sustained chordal accompaniments by Saxophones b13-28
Choruses 1,2, 5, and 6 feature a simple melody dominated homophony
Piano texture in chorus 4 shows Stride piano

Structure

Head arrangements same chord sequence

 12 bar blues played 6 times in total first and second being separated by an independent 16
bar section in Bb major
Piece concludes with a Coda in Bb minor
Final chorus incomplete as interrupted by coda
Head Alto interlude Trumpet Solo Piano Solo Trombone Trumpet (10 bars)
Coda

Tonality

Begins and ends in Bb minor, but from bar 13-Coda (87) in Bb major

Harmony

12 Bar blues
Changes are diatonic and functional
More advanced chromatic harmony
Harmony includes seventh chords and substitution chords
Cycle of 5ths 19-20
Parallel harmonic movement 27-28
Substitution chords replace harmonies in standard 12 bar sequence
Piano solo wider range of harmonies Dim 7s B58
Plagal cadence at the end

Melody

Head melody based on ballad, the Holy City with an augmented rhythm and moved from
major to minor
Saxophone interlude melody is more optimistic major key but begins with a whole tone scale
and later some chromaticism
Mileys first solo more bluesy approach
Blue notes
Chromoatic writing B54
Improvisation
Ellingtons solo is mostly diatonic
Trombone solo is high in range horse whinny effect
Coda quotes the Funeral March

Rhythm and Metre

Quadruple time throughout

Medium Slow tempo steady swing
Seriousness of opening underlined by accented crotched accompanying chords
Sax interlude use of triplets and by syncopated swung quavers
Mileys solo more complex rhythms
Swung rhythm abandoned for the coda

Miles Davis Quintet Four (opening)

Background

Miles davis (1926-91)

Developed Bebop

Forces

Rhythm section piano bass and drums with a lead of trumpet and sometimes sax
Fast walking bass
Comping
Drummer keeps tempo with rapid rhythm on ride cymbal
Miles Davis
o Highly virtuosic
o Very high registers
o Fall offs
o Ghost
o Pitch bend

Texture

In head, trumpet and tenor play in octaves over comping MDH

Monophonic break before first solo
High tessatura for trumpet and double bass

Structure

Head Arrangement 32 bar tune after drum intro

 Series of improvised choruses

Same changes
Head itself contains a 16 bar theme repeated with altered ending leading to a solo break

Tonality

Whole piece in Eb major

Tonality not always evident due to chromaticism
Melody of head very diatonic

Harmony

Underlying chord progression very straightforward

Chromatic harmony examples
Tritone subs
Standard ii-V-1
Complex and dissonant

Melody

Short three note scalic passages repeated and inverted

First four bar phrase repeated in a seuqnece down a perf 5 th
More leaps at end of head
Relatively narrow range in head
Much wider in solos
* talk about individual solo techniques

Rhythm and Metre

Groups of quavers
Fast walking bass
Longer notes kept for when Davis is using special techniques
Head is very syncopated
Pushed rhythms
Triplets in choruses