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Lesson 1
To be able to define some of the compositional techniques used
in Peripetie.
(Knowledge – Grade D)
To be able to explain the context of Peripetie and the
Expressionist movement.
(Understanding – Grade C)
To be able to analyse the music and give examples of where
specific compositional techniques are used.
(Analysis – Grade B)
1. Chromaticism?
2. Atonal?
3. Klangfarbenmelodie?
4. Hexachord?
5. Compliment?
6. Principal Voice?
7. Secondary Voice?
1. Chromaticism: Music based on the chromatic scale; notes not
belonging to the key.
2. Atonal: the music has no key.
3. Klangfarbenmelodie: Means ‘tone colour melody’ and is
a word used to describe how timbre contributes to melody in
addition to pitch and rhythm.
4. Hexachord: A six-note chord made up from the 12 available
pitches of the chromatic scale.
5. Compliment: The six remaining notes which have not been used
in the hexachord.
6. Principal Voice: The main melodic line.
7. Secondary Voice: The next most important melodic line after
the principal voice.
I can define some of the compositional techniques used in
Peripetie
(Knowledge – Grade D)
I can explain the context of Peripetie and the Expressionist
movement
(Understanding – Grade C)
I can analyse the music and give examples of where specific
compositional techniques are used
(Analysis – Grade B)
The expressionist movement was strongest in Germany after the
First World War. The movement came about by the feelings
people felt about the restrictions imposed on them by the Treaty
of Versailles. As works were often related to these feelings, the
expressionist style can make us feel a little uncomfortable and
can generate strong reactions in their audience.
Expressionist composers sought to move away from what
composers such as Wagner had been writing in the Romantic
period. Expressionist music is atonal meaning that the music has
no key. It also places as much emphasis on timbre as it does on
melody.
Extremes of dynamics and the pitch range of
instruments are also common”.
I can define some of the compositional techniques used in
Peripetie
(Knowledge – Grade D)
I can explain the context of Peripetie and the Expressionist
movement?
(Understanding – Grade C)
I can analyse the music and give examples of where specific
compositional techniques are used
(Analysis – Grade A/B)
Listen through Peripetie with an anthology open in front of you.
Try to find examples of the following and quote specific bars
and parts where they happen.
1.
2.
3.
4.
5.
6.
7.
8.
9.
Sehr Rasch (means ‘very quick’)
Hexachord
fff
Ruhiger (means ‘calmer’)
Heftig (means ‘passionate’)
Tremolo
Klangfarbenmelodie
Principal Voice (marked with a H-like symbol)
Secondary Voice (marked with an N-like symbol)
1.
Sehr Rasch; This is a tempo marking meaning ‘very quick’, and is found at
the very beginning of the piece.
2.
Hexachord; Bar 1 in clarinet parts, bar 3 in flute parts.
3.
fff; This is a dynamic marking meaning very loud and can be seen at bar 5
beat 3.
4.
Ruhiger; This is an expression marking and means ‘calmer’ and can be seen
in the section between bars 44-58.
5.
Heftig; This is an expression marking and means ‘passionate’ and can be
seen in the section between bars 44-58.
6.
Tremolo; This is an instrumental technique which means to play a pitch
repeatedly and very rapidly. An example of this can be seen at the end of
the piece in the double bass part.
7.
Klangfarbenmelodie; This means ‘tone colour melody’ and is to do with the
idea of timbre being as important as the melody. An example of this can be
seen in bars 24-28 in the brass.
8.
Principal Voice; Marked first in the horn part near the very
beginning of the piece (see H-like symbol).
9.
Secondary Voice; Bar 28 beat 2 to bar 31 in trumpet 1 and bar
29 in the flutes, piccolo and clarinet.