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Stravinsky- "Rite of spring" - Coggle Diagram
Stravinsky- "Rite of spring"
Sonority
large symphony orchestra
“Crusaders in Pskov” Prokofiev uses a wide tessitura and large orchestra with a choir
repeated down bows
Berg violin concerto
double stopped chords
introduction features harmonics in the double bass parts
pizzicato
In Schoenberg’s “verlarte de nacht op. 4 pizz, Arco, con sord and tremolo is used
Prokofiev “dance of the knights” uses pizz string accompaniment under oboe solo
“Scheherazade” Rimsky korakov uses a pizz Lower string accompaniment
divisi in strings
con sordino in cello part
Col legno (hit with the wood of the bow) in the viola
muted trumpet
horns reinforce string stabbing chords
Carter cello concerto no.3 uses percussive like stabbing chords
Prokofiev in “dance of the knights” uses heavily accented chords
Berg violin concerto uses violent orchestration when reaching climatic moments
WL: “Scheherazade” Rimsky Korakov uses accented homophonic chords
“Crusaders in Pskov” by Prokofiev uses heavily accented chords
upper woodwind use flutter tonguing
Rhythm, tempo, metre
free rhythm in bassoon solo
Copland "Appalachain spring suite"- sense of rubato at beginning
Sense of rubato in Schoenberg “verklarte de nacht op.4”
Prokofiev “dance of the knights uses a strong pulse with motoring rhythms, typical Prokofiev
WL: firebird finale also uses rubato in the French horn solo
“Scheherazade” Rimsky Korsakov uses rubato and pauses to create disjointed feeling
triplets, quintuplets
Syncopated quintuplets in Schoenberg “verklarte de nacht op.4”
polyrhythm in climax of intro illustrate the chaos of the gradual awakening of nature at the beginning of spring
2s against 3s cross rhythms
Carter cello concerto no.3 uses cross rhythms
constant time sig changes
Prokofiev "Dance of the Knights" - metre changes between 3/4 and 4/4
unusual time sigs- 5/8, 2/8 and 4/8
syncopation- lots of offbeat chords
Copland uses syncopation in “Appalachian spring”
Texture
polyphony is used mostly
Copland "Appalachian spring suite" begins contrapuntal, becomes more polyphonic as texture thickens later on
“Scheherazade” Rimsky korsakov is mostly polyphonic with countermelodies and moments of antiphonal between flute and strings also
“Iron foundry” Mosolov uses polyphonic texture
fragmented melodies
homorhythmic texture in climaxes
WL: in firebird the whole orchestra plays the ostinato at the climax
multiple ostinatos and countermelodies used to create polyphony
“Crusaders in Pskov “ Prokofiev uses imitation of a vocal line to create a thicker texture
homophonic chords for the stamping dance for the Augurs of Spring
melody-dominated homophony with the solo trumpet entry
texture of the whole first section gradually builds up from a monophonic beginning on the
solo bassoon
WL: firebird, Stravinsky finale starts with monophonic French horn line in rubato style
to a two-part texture in a duet with the French horn. At the più mosso after figure
3 there is a four-part texture
At the climax, just before figure 12 there are numerous polyphonic parts in the chaos of spring’s arrival
Melody
A number of the melodies derived from Russian and other Eastern European folk song
Copland "Appalachian spring suite" - folk influenced melody- modal
WL :Carter cello concerto no. 3 uses folk influenced melodies
opening bassoon melody is derived from a piece in an anthology of Lithuanian folk songs
Copland also creates same feeling of awakening from spring in “Appalachian spring suite” by using opening- sleepy oscillations in the clarinet and other woodwinds murmur over wide-open intervals that, consonant and clear, seem to reach for the horizon
lots of ostinatos
WL: Prokofiev "Dance of the Knights"
melodies are fragmented and repeated
repeated notes
“Crusaders in Pskov” uses a limited range of notes in the vocal line
chromaticism
short melodies
“Iron foundry” Mosolov uses short phrases
diatonic
acciaccatura ornamentation- important feature of Russian folk song and can also be found in the opening bassoon melody
WL: "Verklarte nacht op. 4"- Schonberg uses ornamentation such as trills, acciaccaturas, mordents
detaches short motifs from longer melodies and re-orders these units
Harmony and tonality
never any clear sense of key
Copland "Appalachian spring suite" -Avoids a tonal centre
a constant use of harsh dissonance
Prokofiev "Dance of the Knights"- dissonant harmonies provoke a dark and foreboding mood
“Crusaders in Pskov” Prokofiev uses some dissonance
“Iron foundry “ Mosolov uses dissonance to depict factory sounds
suggestions of bitonality at the beginning of the Augurs of Spring
Augurs of Spring, where an E♭7 chord in the upper strings is played simultaneously with an F♭ major chord in the cellos and basses
chromatic scales in some of the woodwind
parts
“Iron foundry” Mosolov uses chromatic scales
folk music elements all contain modal style melodies
opening bassoon melody is diatonic in
Aeolian
C7 broken chords in the violas
“Scheherazade” Rimsky korsakov uses an arpeggio accompoament to the main theme
Structure
The introduction can be interpreted as a musical representation of the gradual awakening of the earth after the long Russian winter
Introduction
number of melodic ideas
meandering bassoon solo
melody
texture gradually increases from the original monophonic beginning to the chaotic multi-part polyphony that gradually emerges
piercing, high-pitched idea is introduced on the clarinet in D shortly after figure 9
four-note ostinato theme in pizzicato violins anticipates the next movement
The Augurs of
Spring
bitonal stamping chords
four-note ostinato theme begins in the cor anglais
Fragments of melody are heard in the solo trumpet then the first violins
fortissimo dissonant chords and prominent timpani and bass drum
Ritual of
Abduction
new presto tempo and a compound triple time signature (9/8)
new diatonic melody in mixolydian mode in the woodwind
An important new horn figure is introduced at figure 40
tutti fortissimo at figure
43
quaver idea from the beginning of the section returns, now a third lower