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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.