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Berlioz - Coggle Diagram
Berlioz
performing forces
large symphony orchestra
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WL: Emilie Mayer also uses a full orchestra, creating a wide tessitura which evokes wistful emotions
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bar 17- first violins receive the instruction a punta d’arco meaning to play at the point or tip of the bow (a delicate effect).
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strings play tremolo (e.g. bar 34, violin II, violas and cellos)
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semi-staccato or portato (bar 1), legato (bar 8) and staccato (bar 17)
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create different emotions - shows both his love and anger toward harriet smithston, perhaps his inner turmoil
first subject theme (idée fixe) is directed to be played canto espressivo, expressively
singing. The second subject theme is directed to be played dolce (sweetly, bar 150)
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range of string techniques - highlights the versatility of the strings, enables them to show a range of emotions, from sweetness and love to anger and frustration. Enables different emotions and moods to be captured
Tempo, metre, rhythm
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Syncopation
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Dvorak, accompiament often uses it, throws off balance
Harmony
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uses a range of harmonic techniques- typical romantic features, creating a more dramatic and theatrical piece than his classical predecessors
Context
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It tells the story of a talented artist with a lively imagination who has poisoned himself with opium in the depths of despair because of hopeless love
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idée fixe, a recurring theme, which acts as a
structural foundation of the work
Melody
idée fixe (a recurring theme which serves as a structural device). This theme is heard in all five movements of the work
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starts on the dominant with expanding leaps of a perfect fourth, followed by a major sixth
repeated, altered down a fourth in bar 80
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WL: Emilie mayer - symphony no. 7 also uses a reoccurring theme with suspensions, sweet and flowing like idee fixe
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Ornamentation
Emilie mayer uses trills, appoggiaturas, acciaccaturas
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texture
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entire piece starts with just flutes and clarinets in octaves and they are joined by oboes, bassoons and horns to create a homophonic texture
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Structure
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Exposition - 71-167, hear the idee fixe for the first time
Development - 166- 231, first subject again with repetitive ascending melodies and a different version of the 2nd subject
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Tonality
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development section starts in G major, although this is a particularly chromatic
section of the piece, which obscures the tonality