The Augurs of Spring

sonority

fig 13 - 8 part string chord,non divisi double stopped(bold sound),and a down bow staccato

8 horns doubling the strings,horns 1 and 2 are sense sord

(very nuanced,very detailed-this is bassically the point for sonorit)

figure 14 : goes from very heavy instrumentations(figure 13,texture) to a sudden change to a light texture,instrumentations.

cor ainglais solo,basoon,pizz cellos

muted trumpted in figure 16 but it plays forte

con legno(in viola) - figure 24

strings also doing strings and cellos(lot of things going up)(basically about spring waking up)

in figure 28 - the colour and timbre is maximised - clarinet and basson trilling,trombone is doing ostinato driving force

second flute plays the melody and the viola plays descending scales

in figure 29 we have the triangle and antique cymbal, glissando on a horn

texture

travels through a variety of textures

every figure is a texture change

figure 13 - homorhythm(strings and horn), horn stabs(homoyrthmic as well)

figure 14 - ostinato layer by the cor anglais

figure 15 - melody dominated homophony, still got homonymic strings,still got ostionati,but also got trumpet melody

figure 16-17 - polyphony,triplets in the viola,chordal blasts in the trumpet,melodic fragments in the woodwind

figure 18 - go back to the homorhythm

within 30 seconds he gives us this increadibly detailed textural changes

in figure 19 we got melody dominated homophony with bassoon melody + homorythm

figure 20-21 we got more melody demonitad homophony,theres also cannon - trombone,basson,oboe

figure 22 texture becomes more spares,ostinato

figure 24 the layers build up again,ostinato,trilled pedal notes con legno

figure 25 - mel dom hom with horn solo

fiure 26 more mel don hom with trobone and trumpet playing antiphonal

figure 27 theres an alto flute melody,the normal flute echoes,ostinto in horn,violin 1 does variation of ostinato

figure 28 climax,loads of texture,polyphony

figure 29 percussion horn blast

figure 30 still multiple layers but beggining to become more sparser,we countinue to have these melodic fragmentsf

from 32 the layers build again,the ostinato,the chord blast,the melodic fragment,everything going on

rythm tempo and meter

in 2 4 duple time,almost nearly constant quavers throughout

asymetric accents and chord stabs

tempo gristo(means very strict time)(no rubato)

(figure 22 theres a pause the only interruption of the relentlessness)

in figure 28 theres two bars of 3/4

crossy rythms and syncopation - eg figure 15 quaver ostinato agaisnt triplets

dynamics

f-ff ,sfz,sp,sf

melody

E-H through composed(As in melody E,F,G,H)

ostinato weaves it way through,in and out of parts

Melody E - Figure 15,in the trumpet,fragmentory,repetitive,chromatic,

Melody F - Figure 19 . Bassoon,asymetric not chromatic

Figure 25 - Melody G in Horn which is folk like - diatonic, has accicaturas,russian - he resues this melody - fragments of it keep coming back,

Melody G in figure 27 is detached and then displaced an octave

Melody H - Figure 28 - Parallel second inversion 7th chords

structure and tonality

blocks of sound

figure 13 and 14 (Bitonal) Eb7 with FbMaj

Figure 14 is polytonal : 4 different tonalities at once

Bar 88 goes back to bitonal

Figure 15 is bitonal - Melody E

figure 16 and 17 is bitonal - Fragments of melody E

figure 18 to 21 is bitonal - Melody F

pause

figure 22-24 it is bitonal but theres is a tonal center of C(C pedal) - Con legno C Pedal viola,gradually moves towards modal

25-26 C mixolydian - melody is in G mixolydian

27 melody G in Eb mix

28 to 30 - (Melody G in Ebmix) expanded to include Gb

Figure 31 is D Dorian but with Ab and F#(Point is that its modal,thats whats important)

Figure 32 - C min 3rd

no resolution,goes straight to jeux de raptx

harmony

figure 13 violin 2 and viola play Eb7 chord,cello and double bass plays Fb,and horns 1 to 4 Eb,horns 5 to 8 play Fb - bitonal but harmonically static

figure 14 we have polytonality - cor anglais is playing Eb7,basoon2 E min,Basson 1 playing C major,cello playing E maj - poytonality (maj/minor ambiguity),in bar 101 the trumpets play quintel harmony

1 bar before figure 18 - quartal harmony

paralel second inversion 7th chords