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William Tell Overture (Section 2 (Music (10-bar pattern repeated twice…
William Tell Overture
Section 2
Storm, preparing the storm later in the opera
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Music
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- Semiquavers in 2nd violins and violas alternating two notes and partial ascending and descending scales
- C#7 chord in clarinet and bassoon -b50
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- b78 – storm builds
- continuous string semiquavers
- held notes in bassoons and horns
- crotchet raindrops in every bar on the offbeats
- timpani roll on the dominant
- b86 – dynamic builds
- Thicker orchestration
- Semiquavers played together
- Upper woodwind plays offbeat crotchets
- Dominant 9th chord
- Dominant pedal in timpani, cellos, basses
- b92 – climax of the storm
- Whole orchestra plays together for the first time
- Descending chromatic scales in upper woodwind, strings
- Answered by ascending scales in bassoons, trombones, lower strings
- b96 – repetition of b92
- higher piccolo, flute and violins
- repeated from b96, b100, b104, b108, b112
- some instruments playing higher each time
- b116
- same melodic material
- one bar phrases
- descend and descending sequence
- circle of fifths
- b123-130 – descending chromatic pattern
- b127 – played by half the orchestra
- b131
- storm begins to die away
- dominant pedal
- dissonance
- b148
- single drops of rain on the offbeat
- b155 – chromatic scales have become smoothed out in the bassoons and cellos
- legato minims
- imitated by clarinets and violas
- b159 – repeated octave lower
- b160
- flute: rising shapes from the dominant chord
- pianissimo accompaniment
- dominant pedal
- b171 – other instruments cut out, flute left to finish the section ending on a B
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Section 1
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Begins in E Minor, Andante
Music
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five bars I-V, five bars V7-1
Appoggiaturas, falling diminished intervals
=> music very expressive
- b17
- turns to E major
- more legato
- extended melody in 1st cello
- pizzicato acc. in cellos and basses
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- b24-27
- 5th cello, Cellos and basses have a dominant pedal
- 1st and 2nd cello play in imitation
- 1st cello a fifth higher b27
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- b36 – return to start
- rising arpeggio in 1st cello joined by other cellos
- timpani roll
- b41 – perfect cadene
- final bars in tonic harmony
Expressive 3-5th cellos
- chromatic lines - b40-42
- playing in thirds - b41
- playing in sixths - b42
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Section 3
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Music
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- b176 – Cor Anglais plays a lilting 5-bar melody over 3 tonic and one dominant chord
- b181
- flute repeats it an octave higher
- same harmonic accompaniment but played by clarinets and bassoons instead of bassoons and horns
- 186
- cor Anglais plays the melody
- flute repeats an octave higher
- different orchestration
- b196
- cor Anglais plays extended melody
- flute plays ornamental countermelody a bar later
- includes repeated notes, broken chords, scale passages
- evokes birdsong
- enter triangle – plays on the first beat of each bar
- b202 – begins as a repetition of b196
- b205 – move to relative minor – E minor
- ends on dominant in b206-207 (B)
- b209
- moves straight back to G major
- melody played from start of section
- added flute decoration from before
- ends with a cadential two-bar phrase played twice
- extended the second time over the repeated tonic chord
- flute decorates with G major broken chords
Section 4
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Music
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A1 – b243-251
Theme played first by clarinets, bassoons and strings at pp
–> soldiers are in the distance
Timpani and lower strings play tonic and dominant notes, theme harmonised with tonic and dominant chords
8 bars long w. imperfect cadence in the middle, perfect cadence at the end
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B1 – b259-267
Similar theme to A, especially rhythms
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Link-1
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Clarinets and 3rd, 4th horns play four-bar fanfare
–> repeated and joined by oboes
Bassoons, cellos and basses play a rising E major scale from dominant to dominant
Trumpets and then 1st, 2nd horns emphasise the two semiquavers - quaver rhythm
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C1 299-315
Loud, forceful theme introduced in the tonic
–> lasts 16 bars, imperfect cadence after 8 bars, perfect cadence at end
Whole orchestra playing
–> most instruments play detached quavers
–> violins play a decorated version in semiquavers
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D b315-343
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Decrease in dynamics to pp, reduction in orchestration
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Other instruments play much more calmly
–> detached quavers in lower strings
–> held chords in woodwind and brass
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B3, B4 – b359-367, b367-375
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A6
Theme A repeated with whole orchestra
–> piccolo playing an octave higher
–> bass drum added – playing on every crotchet
CODA b399-477
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Full percussion section plays throughout
–> timpani, triangle, cymbals and bass drum
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b447 – first two bars of A played by woodwind, horns
–> repeated and joined by strings
–> followed by three repetitions of the 2nd bar of A
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