Essay

Question 1

classical

Answer 1

M: “Father of String Quartet”, “Papa” Haydn - “Fifths” simple + conjunct (falling ‘fifths’ motif)
H+T: diatonic, root + 1st inv chords, conventional cadences (functional harmony), some chromaticism/dissonance
I: V1 dominates
S: 4 mvts, binary, ternary, sonata, “Fifths”- sonata, ternary, minuet + trio, sonata also M1 Allegro
R: regular + irregular, simple metres, some compound - Mozart’s String Quartet No.15 in D minor - 3/4 + 6/8

Question 2

romantic

Answer 2

M: elaborate - ‘Death’ + ‘Maiden’ dialogue Schubert’s “Death and the Maiden” - triplet + chorale motifs developed
H+T: chromaticism - M4 “D+M”
I: more equal, V1 still dominates - “D+M” variation 2 M2 cello theme, M3 V1 theme also playing techniques - M4 “D+M” bow reverse direction accent off beats in dotted sections
S: Schubert developed Scherzo
R: more compound, complex - Brahms’s String Quartet No.51 in C minor M2 triplets against duplets

Question 3

20th/21st Century

Answer 3

M: DSCH + derivatives + quotations in Shostakovich’s String Quartet No.8
H+T: non-functional harmony, dissonance, Expressionism - tone row, hexachords + compliments - Schoenberg’s String Quartet No.2 atonal, tonal ambiguity - M1 SSQ8
I: equal - M1 SSQ8 DSCH cello, viola, V2, V1, Carters String Quartet No.2 + Stockhausen’s Helikopter Streichquartett , playing techniques - Schoenberg’ SQ4Op37 col legno trotto, trem, double stop and M3+M4 litany in his SQ2 + Webern’s SQOp28 dynamics + pitch, pizz back of bow
S: new - M1 SSQ8 “arch-type” ternary + Largo, 5 mvts - SSQ8
R: metre + time sig change, complex - SSQ8 cross rhythms M2