Jeu du rapt - Ritual of Abduction

must not forget that its a ballet

glissando

patterns so fast that sound like glissando but are actually nnot

timpani seco

sonority

b 255 violin 1 detached(nuanceed)

tremelo in woodwind and strings

timpani playing secco

figure 40 french hourne bouche

fast pizz in strings

bar 292 the horns do(pavillons en l air)

dyanmaics

loud throughout

sinister tone,sinister sonority

quiet for 1 bar (figure 42)

melody

melodies I,J,K

bar 250 - Melody I - flute,clarinet,piccollo clarinet(lithuanian melody),based in dorian A

Melody J - Figure 40 played by horns(hunting call)(D to an A)(Perfect 5) these D and S playing agaisnt Eb7

in figure 40 also you got melody I up a semitine in Dorion Bb(it is playing after melody J)

in figure 44 - melody J returns but returns A to D

in figure 46 melody I comes back in F dorian

melody K in figure 43 derived from melody I

rhythm tempo and meter

brief overview : highlihgts is the constant quaver movement and the change( 9 8 to 4 8 ) there is some quite odd markings cuz you got 9 8 and 3 4(local time sig),timpani playing 3 4 but its not polymetricism as its local to the instrument(the feel is the same,its much easy for the timpani to read 3 4 than 9 8 ) it shows skills in orchestration and nuance,its presto,relentless energetic ritualistic lost of offbeat accents it goes 3 8 to 5 8 its irregular it goes 6 8 to 7 8 to 3 4 there is this amazing subtlelty.

long held notes contrasted with tremolo quavers

constant quaver movement,relentless goes 9 8 12 8 movement

presto - very fast - relentless, energetic

offbeat displaced accents

figure 41 - 4 8 to 5 8

figure 43 - every bar goes 6 8 to 7 8,every bar it changes

structure and tonality

block structure - each figure has a different melody,going to bitonal,to polytonal to modal

figure 37 to 39 - modal,polytonal,octatonic

figure 40-41 - modal + bitonal

figure 40-41 melody j is hunting call A and D playing over Eb7

figure 42 is polytonal and octatonic

figure 43 is in f# but it has a g but it goes to f but has an F# ( tonally ambiguous)

figure 44 to 45 is F7

Figure 46 is modal

figure 47 is F maj/min ( mixture) ends on a Eb trills -

harmony

Dorian mode on A then it goes to Bb then goes to F (ritualistic,folk,pagan)

polytonal - 20th century - marriage between old + new - Cmaj,Eb7,Cm,F# maj,

Eb E F# G A Bb C C# ← these are the notes -octatonic scale in a sense yes its polytonal but it create the octatonic scale which actually makes it sounds not too polytonal, pretty much all of this movement has the octatonic scale

pandiatonicism its pandiatonic its a scale that sounds tonal but ti doesnt have any resolution

in figure 45 we have the circle of fifths

texture

homophonic texture, maximised effect,contrary motion,contrasting,accented chords