Lili Boulanger - Cortège

Question 1

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(Melody) There is heavy usage of a……………../u……………. phrase lengths. This is seen in the introductory 4-bar phrases vs. the …………. phrase from 19-24.

Answer 1

There is heavy usage of asymmetrical/unbalanced phrase lengths – consider the introductory 4-bar phrases vs. the 6-bar phrase from 19-24.

Question 2

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(Melody) Boulanger uses s………… motifs and f………….. heavily within A section material, such as b.20-22, 42-3 and in C……. for b.66-70.

Answer 2

Boulanger uses sequential motifs and fragmentation heavily within A section material, such as b.20-22, 42-3 and in Coda for b.66-70.

Question 3

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(Melody) The melodic material is d…………../M……………. in the A section, but in the B section she explores L………….. mode (b.39) and W………………… scale (b.42-5)

Answer 3

The melodic material is diatonic/Mixolydian in the A section, but in the B section she explores Locrian mode (b.39) and Wholetone scale (b.42-5)

Question 4

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(Melody) There is an o………. shift of main A material in the final A section.

Answer 4

There is an octave shift of main A material in the final A section.

Question 5

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(Melody) Melody is regularly embellished with d………… s……. technique, such as bars ……….. where there is a combination of melodic and accompaniment material in the violin part.

Answer 5

Melody is regularly embellished with double stop technique, such as bars 64-65 where there is a combination of melodic and accompaniment material in the violin part.

Question 6

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(Harmony/Tonality) The music has use of clear t……….. c……… (B Major/C# Major/B Major) but is not strictly d……………

Answer 6

The music has use of clear tonal centres (B Major/C# Major/B Major) but is not strictly diatonic.

Question 7

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(Harmony/Tonality) The use of a major chord built on the flattened 7th scale degree in major is use of m……… harmony (m……………..)

Answer 7

The use of a major chord built on the flattened 7th scale degree in major is use of modal harmony (mixolydian)

Question 8

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(Harmony/Tonality) From b.42, there is a passage of harmony derived from the w………….. scale.

Answer 8

From b.42, there is a passage of harmony derived from the wholetone scale.

Question 9

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(Harmony/Tonality) E……………. harmony is used in the piece (consider the …….. chord in b.26)

Answer 9

Extended harmony is used in the piece (consider the C9 chord in b.26)

Question 10

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(Harmony/Tonality) Bar 31-32 sees the use of p…………. harmony (harmonic p……… I,bII, bIII).

Answer 10

Bar 31-32 sees the use of parallel harmony (harmonic planing I,bII, bIII).

Question 11

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(Structure/Form) The piece is in t………. f…….. with the addition of a ‘c…….’ like ending.

Answer 11

The piece is in ternary form with the addition of a ‘coda’ like ending.

Question 12

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(Structure/Form) The A Section is presented in B ……./M……. tonal centres, whereas the B section has a more …… tonal centre (M…………. higher).

Answer 12

The A Section is presented in B Major/Mixolydian tonal centres, whereas the B section has a more C# tonal centre (Major 2nd higher).

Question 13

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(Structure/Form) The B Section has different melodic material from the A Section, but several of the techniques – such as the rising a…………….. (moving from left hand to right hand) and s……………… s……………. motifs are used as ‘binding’ agents.

Answer 13

B Section has different melodic material from the A Section, but several of the techniques – such as the rising arpeggiation (moving from left hand to right hand) and sequential semiquaver motifs are used as ‘binding’ agents.

Question 14

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(Structure/Form) The p………… violin chords, used in the introduction are used in r……….. (after the motif as opposed to before it, previously) in the t…………. material from 19-34.

Answer 14

The pizzicato violin chords, used in the introduction are used in retrograde (after the motif as opposed to before it, previously) in the transition material from 19-34.

Question 15

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(Structure/Form) The c……. section begins with f………… of the original A section.

Answer 15

The coda section begins with fragments of the original A section.

Question 16

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(Rhythm/Metre) Metrical material clearly supports the ……. time signature, this is regularly obscured by c……../b………… the strong ……… of the bar.

Answer 16

Metrical material clearly supports the 2/4 time signature, this is regularly obscured by changing/blurring the strong beat of the bar.

Question 17

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(Rhythm/Metre) Boulanger uses rhythm as a way to separate the aspects of i………. in music – when she is building tension, the violin plays more s………….. motifs/patterns, when she is lessening the tension, the rhythms move to l………. d………………

Answer 17

Boulanger uses rhythm as a way to separate the aspects of intensity in music – when she is building tension, the violin plays more semiquaver motifs/patterns, when she is lessening the tension, the rhythms move to longer durations.

Question 18

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(Rhythm/Metre) From bar 15, the left and right hand switch with left hand a……………… on strong beat to weak beat c……….. a……….. in the pianos right hand.

Answer 18

From bar 15, the left and right hand switch with left hand arpeggiations on strong beat to weak beat chordal accents in the pianos right hand.

Question 19

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(Rhythm/Metre) Use of Violin q…………. in b.37 and s…………… in b.39. s…………….. in b.44.

Answer 19

Use of Violin quintuplet in b.37 and septuplet in b.39. sextuplet b.44.

Question 20

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(Rhythm/Metre) Tempo has a lot of variation with use of ritardando ‘c………’ into and leaving the B section. The final A section has a slow b…………… of speed into the final coda.

Answer 20

Tempo has a lot of variation with use of ritardando ‘cedez’ into and leaving the B section. The final A section has a slow build-up of speed into the final coda.

Question 21

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(Texture/Sonority) The piece is largely h……………, with a moment of m…………….. from the violin in b.70.

Answer 21

The piece is largely homophonic, with a moment of monophony from the violin in b.70.

Question 22

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(Texture/Sonority) P……………. t………. s………. become a fundamental part of her A section material (introduced at the start). This material v……… over the course of the piece.

Answer 22

Pizzicato triple stops become a fundamental part of her A section material (introduced at the start). This material varies over the course of the piece.

Question 23

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(Texture/Sonority) There is use of t……… string playing in bars ………. to add colour and variation to her motivic material.

Answer 23

There is use of tremolo string playing in bars 40-41 to add colour and variation to her motivic material.

Question 24

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(Texture/Sonority) There is a combination of lively t…….. and s……….. playing in the coda.

Answer 24

There is a combination of lively trills and staccato playing in the coda.

Question 25

# Dotted line = fill in the blanks **(Texture/Sonority)** The B section has a brief i................ texture between piano left hand and the violin.

Answer 25

The B section has a brief **imitative** texture between piano left hand and the violin.

Question 26

**(Harmony/Tonality)** From bars 9-12 the harmony has a partial s................ character - moving by only changing .............. at a time.

Answer 26

From bars 9-12 the harmony has a partial **sequential** character - moving by only changing **one note** at a time.

Question 27

**(Texture/Sonority)** She carefully uses the t............. of the piano to build tension – in moments of high intensity to increases the lower and higher r.......... in the piano and returns back to middle piano for moments of stability.

Answer 27

She carefully uses the **tessitura** of the piano to build tension – in moments of high intensity to increases the lower and higher **registers** in the piano and returns back to middle piano for moments of stability.