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The Rite Of Spring
The study of new directions
| Question | Answer |
|---|---|
| What is the context of "The Rite Of Spring"? (Who-What-Where-How-Why-When) | WHO: Igor Stravinsky WHAT: Russian Ballet WHERE: Paris HOW: Large "Korsakov" stylistic orchestra WHY: Sergei Diaghilev's Ballet Russes WHEN: 1913 |
| Describe the melody of "Introduction" [4] | Bassoon solo (opening bars, figure 12) Cor anglais idea with distinct rising perfect fourth (figure 2) Oboe phrase with distinct rising fifths (figure 5) Clarinet in D idea at a high pitch (after figure 9) |
| Describe the harmony of "Introduction" [4] | Bassoon solo uses only five pitches (opening bars, figure 12) Oboe phrase with distinct rising fifths (figure 5) Polychordal meaning the combination of chords belonging to different key signatures (figure 11) Constant use of harsh dissonance |
| Describe the tonality of "Introduction" [3] | Polyscalarity with single melodies featuring in two different keys (figure 6) Tonality together with register and timbre make distinct layers (figure 6) Element of asserting tonality by simple stressing of a single key note |
| Describe the rhythm of "Introduction" [4] | Rubato meaning free rhythm (opening bars, figure 12) Polyrhythm (figure 11.3) Innovative use of silence (figure 12) No dotted rhythms |
| Describe the texture of "Introduction" [6] | Monophonic (opening bars, figure 12) Additive (during opening bars) Balance of polyphony affected by dynamics (figure 4) Parallel motion (figure 7) Main solo strands with polyphony (figure 10) Breaks into several families (figure 11.2) |
| Describe the instrumentation of "Introduction" [4] | Bassoon solo in high register (opening bars, figure 12) Flutter tonguing in flutes (bar 60) Harmonics and glissando harmonics (figure 11, figure 10) Horizontal positioning in top flutes in D harmonic (figure 6) |
| Describe the melody of "Augurs Of Spring" [5] | Cor anglias four note ostinato (figure 14) Diatonic horn solo with acciaccatura ornament (figure 25) Alto flute variation of diatonic horn solo (figure 27) Conjunct bassoon idea (figure 19) Triplet repeated note idea (figure 15, figure 26) |
| Describe the harmony of "Augurs Of Spring" [3] | Augurs chord is an inversion of dominant 13th and uses notes from octatonic scale (figure 13) Chromatic scales in woodwind (figure 17) Four trumpets together produce parallel 7th chords (figure 28) |
| Describe the tonality of "Augurs Of Spring" [3] | Bitonality with Augurs chord (figure 13) Chromatic scale passages (figure 15, figure 17) Mixture of modal or melodic and minor scales (figure 28) |
| Describe the rhythm of "Augurs Of Spring" [4] | Innovative use of silence (before figure 22) Two against three cross rhythms (figure 15) Syncopation at the realm (figure 31) Repeating ostanati with blocks of rhythm drive the music forward (figure 13) |
| Describe the texture of "Augurs Of Spring" [4] | Rapid rate of change (figure 13) False ending (before figure 13) Multiple ostinato fragments, with countermelody in trumpets and cellos (figure 29) Ostinato figures adding to the texture (figure 30) |
| Describe the instrumentation of "Augurs Of Spring" [3] | Augurs chord reinforced by eight horns (figure 13) Prominence in timpani and bass drum (before figure 22) Flamboyant alto flute echoing diatonic horn solo (figure 27) |
| Describe the melody of "Ritual Of Abduction" [4] | Diatonic melody in woodwind (figure 37) Horn figure with two notes a fifth apart (figure 40, figure 44) Conjunct quaver idea played homorhythmically (figure 43) Conjunct quaver idea played homorhythmically returns a third lower (figure 46) |
| Describe the harmony of "Ritual Of Abduction" [4] | Trumpets hold a loud chord of Eb7 or the notes of the cor anglias idea (figure 37) Flattened 7th C in D major scale Dissonant chromatic scales in consecutive seconds (figure 39) Loud dissonant chords punctuate the texture (figure 47) |
| Describe the tonality of "Ritual Of Abduction" [3] | New diatonic melody from mixolydian scale in woodwind (figure 37) Mixolydian idea returns up a semitone (figure 40) Conjunct quaver idea played homorhythmically returns a third lower (figure 46) |
| Describe the rhythm of "Ritual Of Abduction" [3] | Frequent and unusual time signature changes (figure 47) Compound triple time signature (figure 37) Polyrhythmic bass effect in 4 and 5 with strings playing in 9/8 (figure 41) |
| Describe the texture of "Ritual Of Abduction" [4] | Horn figure with two notes a fifth apart (figure 40, figure 44) Crescendo to homorhythm (figure 42) Loud chords punctuate the dense texture (figure 47) Dissonant thick accompaniment (figure 40) |
| Describe the instrumentation of "Ritual Of Abduction" [3] | Sustained flute trills (final bars) Prominent percussion (figure 37) Upbeat glissando played in high tessitura (figure 45) |
| What are the transpositions for each instrument in the orchestra for "The Rite Of Spring"? [11] | Piccolo octave up D bass octave down D bassoon octave down G Al flute p4 down F c anglias p5 down F horn p5 down D clarinet m2 up D trumpet m2 up Bb clarinet m2 down A clarinet m3 down Bb bass clarinet m9 down |
| Wider Listening: " | |
| Wider Listening: "Night Music" from "Snow White And The Seven Dwarfs" by Eleanor Alberga [6] | Melody: Chromatic alternations between two notes Harmony: Minor chord with chromaticism Tonality: F minor with an ambiguous cadence Rhythm: Sustained note values Texture: Ominous tonic bass note Sonority: Ethereal bells with low strings |
| Wider Listening: "Chez Le Marié" from "Les Noces" by Igor Stravinsky [6] | Melody: Conjunct with minor third leap Harmony: Clashing chordal chromaticism Tonality: Implied modal D minor Rhythm: Compound quintuple with downbeat accents Texture: Unexpected contrasts marked by voices Sonority: Militaristic snare |
| Wider Listening: "Wicked Witch" from "Wild Swans" by Elena Kats-Chernin [6] | Melody: |
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