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music gcse > Main Title/Rebel Blockade Runner by John Williams > Flashcards

Main Title/Rebel Blockade Runner by John Williams Flashcards

(79 cards)

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1
Q

list as many melodic features of star wars as you can

A

-arpeggio like
- anacrusis
- melody ideas repeated by different brass instruments
- leitmotif
- ostinato
- lower auxillary figure
- descending bass
- grace notes
- trills
- parallel motion
- semitone steps
- rising perfect 5th, rising 6th, minor 7th leap, falling 4th
- melodically contrasting b section
- legato
-stepwise
- scalic
- countermelody
- contrary motion
- doubling
- repeated sequential figures

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2
Q

list as many instrumentation/articulation features of star wars as you can

A
  • staccato
  • trombones and trumpets
  • tremolando violins
  • timpani roll
  • brass
  • leitmotif on high trumpets
  • lower strings, bassoons and brass
  • snare
  • pizzicato
  • upper woodwind
  • glockenspiel
  • horns
  • piano
  • oboe
  • harp
  • vibraphone
  • celeste
  • flute
  • violas
  • horns
  • glissando
  • piccolo
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3
Q

give an example of staccato in star wars

A
  • b.2 onwards; repeated triplets
  • repeat of main a theme, bar 21
  • link section: b.30-32
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4
Q

where is there free imitation between trombones and trumpets in sw?

A

bar 1-3

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5
Q

give an example of tremolando violins in sw

A

bars 1-3 and onwards

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6
Q

what is free imitation?

A
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7
Q

give an example where brass creates a march-like effect in sw

A

b1-3 combined with steady tempo

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8
Q

how is brass used in b1-3 of sw?

A

imitation: melody ideas repeated by different brass instruments and march-like

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9
Q

give an example of an arpeggio-like melody in sw

A
  • b2-3
  • transition: rapid arpeggio figures b.33-35
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10
Q

give an example of anacrusis in sw

A
  • b1
  • b11
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11
Q

what is a leitmotif

A
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12
Q

give an example of a leitmotif in sw

A

bars 4 -11on high trumpets- ba ba ba BAA BAAA ba ba ba BAAAA BAAA ba ba ba BAAA BAAA ba ba ba baaaaaaaa

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13
Q

describe the function of the lower strings, bassoons and brass in the main A theme of SW

A

play punctuating syncopated block chords

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14
Q

describe the function of the snare in the main A theme of sw

A

emphasises rhythm

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15
Q

describe the function of the upper woodwind and violins in the main a theme of sw

A

play tremolando chords and an inverted tonic pedal

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16
Q

what is a lower auxillary figure

A
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17
Q

give an example of a lower auxillary figure in sw

A

b7

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18
Q

give an example of a descending bass in sw

A

slightly in the main a theme b4-11

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19
Q

give an example of grace notes in sw

A
  • main a theme, b7, percussion, semiquaver grace notes
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20
Q

describe the run in the main a theme of sw

A

demisemiquavers, on violins; floruish builds excitement and brilliance

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21
Q

give an example of parallel motion in sw

A

main a theme, b7 and b10-11

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22
Q

give an example of semitone steps in sw

A

trill in b8 of main a theme

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23
Q

give an example of a rising perfect 5th in sw

A

main a theme, bar 4, Bb to F (inversion of a 4th; quartal harmony)

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24
Q

give an example of a minor 7th leap in sw

A

b5-6 main a theme c to d

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25
give an example of a falling 4th in sw
- a theme: b5 and 6, d to f - b section: bar 13 and 15
26
which instruments play the melodically contrasting b section in sw
all strings except double basses, so it is doubled across 3 octaves
27
describe the function of the glockenspiel in the contrasting b section
picks out important notes
28
describe the function of the horns, piano left hand, and oboe, in the contrasting b section in sw
play accompanying block chords
29
describe the function of the piano right hand, harp, and flute in the contrasting b section of sw
reinforce the harmony using triplet figures
30
describe the melody of the b section of star wars
- a 4 bar idea which is repeated and slightly altered on the second playing - more stepwise and more legato than a
31
give an example of a rising 6th in sw
b section: bar 12
32
give an example of a scalic melody in sw
- b section: bar 18, Bb minor melodic scale - repeat
33
give an example of contrary motion in sw
b section: bar 18, Bb minor melodic scale
34
give an example of a counter melody in sw
in brass, in b section bar 15 onwardsish - repeat of main a theme has 'rushing' upwards scale-like passages in woodwind
35
give an example of doubling in sw
- melody in b section doubled across 3 octaves on strings - repeat of main a theme doubled across 3 octaves in violins, violas, cellos, trumpets, horns
36
give an example of a harp glissando in sw
- repeat of main a theme, bar 29, to link to next section
37
give an example of a repeated sequential figure in sw
link section: rapidly ascending, in strings bassoons and flutes, bar 31-32
38
give an example of when the timpani is used in sw
- link section, bar 32: timpani roll - spaceship appears: bar 42-43 hammers out ominous rhythm
39
give an example of a piccolo melody in sw
star filled sky section: bar 36-39
40
give an example of when the vibraphone and celeste are used in sw
star filled sky section: bar 36-41, accompanying the piccolo melody
41
give an example of ostinato from sw
- star filled sky section: harp bars 46-41 - battle continues and inside rebel craft: strings/lower brass + woodwind play ostinato figure on C bars 51-60
42
describe the strings melody in the appearance of the planets section
scurrying upwards figures build tension, bars 39-41
43
describe the function of the woodwind and brass in the transition section
sustain strange unstable harmonies bars 33-35
44
describe the function of the bass instruments in the appearance of the spaceship section
play low c pedal ff from bars 42-43
45
describe the overall orchestration of sw
- full symphony orchestra with no electronic effects or synths; unusual but means it wont be outdates (timeless, recalls old-school heroes) - has traditional symphonic/romantic treatment ie doubling of parts
46
list as many features of the harmony and tonality of sw as you can
- tonic notes - inverted tonic pedal - 7th intervals - quartal harmony - Bb major - non-diatonic chords - unconventional cadences - block chords - Bb minor melodic scale - strange and unstable harmonies - pedal - augmented chords - arpeggios - mixing of C major and C minor - chromatic - atonal - 2 chordal figures - dissonance - cluster chords - tritones - triads - bitonality - minor 3rd, perfect 4th
47
list as many textural/structural features of sw as you can
- free imitation - regular 4 bar phrases creating an AABA shape - contrary motion - orchestral textures - lighter texture - accompaniment - thicker texture
48
list as many features of the tempo, rhythm, metre and dynamic of sw as you can
- rapid repeated triplets - quadruple time - steady tempo - fortissimo - triplet - punctuating syncopated chords - semiquaver lower auxillary figure on alternate beats - demisemiquaver run - contrasting minims and triplet quavers - mezzo forte - rhythmic unison - ritardando - syncopation - triplet semiquavers - crescendo -pianissimo - homorhythm - pause - 3/4 triple time fast tempo - 160 bpm - poco rall.
49
describe the overall texture of sw
few use of solo timbres and lighter textures; mostly thickly scored
50
give an example of triplets in sw
- introduction: rapid repeated staccato triplet tonic notes, bar 1 - introduction: arpeggio-like triplet figures, bar 2-3 - main a theme: contrasting minims and triplet quavers eg bar 4-5, create tension and excitement - contrasting b section: reinforce harmony in piano RH, harp, flute, clarinet - link: triplet semiquavers, bar 30-31
51
describe the tempo of the introduction, bar 1-3, sw
- steady tempo - poco rall before a section
52
describe the metre of the introduction, bar 1-3, sw
quadruple time
53
describe the dynamics of the introduction, bar 1-3, sw
fortissimo
54
describe the tonality of the introduction, bar 1-3, sw
Bb major
55
describe the harmony of the introduction, bar 1-3, sw
- repeated tonic notes - inverted tonic pedal on trombones and trumpets - 7th intervals - quartal harmony - mostly F, Bb, Eb, Ab used in the harmonisation
56
describe the dynamics of the Main A theme, bar 4-11, sw
- fortissimo
57
describe the rhythm of the Main A theme, bar 4-11, sw
- punctuating syncopated block chords in brass/lower strings/bassoons eg. b.4-6 - rhythm emphasised by snare eg.b.7 - inverted tonic pedal varied by semiquaver lower auxillary figure on alternate beats b.7 - demisemiquaver violin run b.7 - contrasting minims and triplet quavers eg b.4-5 - rhythmic feels supports strong quadruple pulse
58
describe the structure of the Main A theme, bar 4-11, sw
59
describe the harmony of the Main A theme, bar 4-11, sw
- upper woodwind and violins play tremolando chords and inverted tonic pedal eg. b.6 - non-diatonic chord with unconventional cadence - militaristic low pedal rhythms eg. b. 4-6 - mostly diatonic - not many perfect cadences; unconventional
60
describe the harmony of the contrasting B Section, bar 11-20, sw
- accompanying block chords in horns, piano LH and oboe - harmony reinforced by triplet figures in piano RH, harp, flute, and clarinet - non-diatonic chord Db major rises a 3rd (tertiary relationship) to F major b.15 - dominant pedal in bass instruments eg b12-13
61
describe the rhythm of the contrasting B Section, bar 11-20, sw
- rhythmic unison bar 18
62
describe the tempo of the contrasting B Section, bar 11-20, sw
- ritardando at end, bar 20
63
describe the dynamics of the contrasting B Section, bar 11-20, sw
mezzo forte fortissimo bar 18 crescendo bar 17
64
describe the rhythm of the link section, bar 30-32, sw
triplet semiquaver rhythm
65
describe the harmony of the transition Section, bar 33-35, sw
- strange unstable harmonies sustained by woodwind and brass - F minor major 7th with a D in the bass making it a D half diminished 9th bar 33: augmented and diminished chords - pedal b.33-35 - less statements of real melodic interest, more harmony, orchestral textures, and rhythms
66
describe the tonality of the transition Section, bar 33-35, sw
atonal
67
describe the rhythm of the transition Section, bar 33-35, sw
- rapid arpeggio figures in strings - rhythmic feel changes to a less obvious pulse
68
describe the harmony of the star-filled sky Section, bar 36-38, sw
- chords and arpeggios in woodwind, vibraphone, harp, celeste and violin accompany the piccolo
69
describe the tonality of the star-filled sky Section, bar 36-38, sw
- modulates to Cmaj with added Ab - C majore chords inflected by notes from C minor like Ab and Bb make it rich and vibrant
70
describe the texture of the star-filled sky Section, bar 36-38, sw
lighter
71
describe the dynamics of the star-filled sky Section, bar 36-38, sw
pianissimo at first
72
describe the harmony of the appearance of planets section, bar 39-41, sw
- block chords build up in trombones and horns - highly chromatic
73
describe the tonality of the appearance of planets section, bar 39-41, sw
strings and brass in different keys; atonality creates uncertainty and contrasts clearly tonal main theme
74
describe the harmony of the appearance of the spaceship section, bar 42-43, sw
- low c pedal - 2 different chordal figures represent imperial forces
75
describe the harmony of the appearance of the larger spaceship in pursuit section, bar 44-50, sw
- dissonant chords (C and Db, F and G) - closely spaced cluster chords eg b 45 - tritones (augmented 4th / diminished 5th) of G and Db - c pedal
76
describe the harmony of the ending section, bar 51-60, sw
- dramatic triads on brass and upper woodwind - sustained low c fades in
77
describe the tonality of the ending section, bar 51-60, sw
bitonal - Db major and Fb (E) major chords over C minor pedal
78
describe the tempo of the ending section, bar 51-60, sw
fast tempo - 160 bpm
79
describe the rhythm and metre of the appearance of the larger spaceship in pursuit section, bar 44-50, sw
- ritardando bar 47-50 - fermata bar 50 - 3/4 triple time - homorhythmic - mixes quavers, triplet quavers, crotchets and rests

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