Poulenc Trio Flashcards

(36 cards)

1
Q

What bar does section A1 start?

A

Bar 1

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2
Q

What bar does section A2 start?

A

Bar 15

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3
Q

What bar does section B1 start?

A

Bar 23

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4
Q

What bar does section B2 start?

A

Bar 35

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5
Q

What bar does section A’ start?

A

Bar 52

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6
Q

What is the relationship between the first and second mvt?

A

Neapolitan (flattened 6th)

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7
Q

What is the key at the start of the B section?

A

B minor

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8
Q

How does B minor relate to the opening key?

A

Minor neapolitan

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9
Q

Give features of this work that is typical of neoclassicism?

A

Clear cadences (imperfect 29-30)
Use of octatonic scales (21-22, 30
Wrong note harmony (Bar 42)
Avoidance of root position chords

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10
Q

How does bar 23 fit into the form of movement?

A

could be opening of B section in ABA structure

return of A in bar 53 is in dominant unusually

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11
Q

Describe harmony in 37-45

A

series of sequential 6/3 chords (38-45)

incidental augmented chords ar 42+44

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12
Q

Where is there octatonic writing?

A

Bar 21-22
Bar 30
Bar 33-34
Bar 62-64

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13
Q

Where does the melody from bar 1 and 2 first reappear?

A

bar 41

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14
Q

How is the repeat of the opening material different to the first time?

A

Repeated sequentially in 43-44

bassoon countermelody added in 41-43

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15
Q

Discuss Poulenc’s use of scales and modes in this movement

A

whole work built on Neapolitan relationships (mvt1 in A major, mvt2 in Bb major)
modulations to unrelated keys (E minor at bar 17, C major art 41)
Use of octatonic scale (21-22, 30, 33-34, 62-64)
Bb not returned to after bar 10 except for first inversion at bar 41
central section in B+/- but tonality ambiguous bc lack of root position chords until bar 35

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16
Q

Outline the structure of the work

A

Loosely ternary form (A=bar 1, B=bar 23, A’=bar 41
New melody at 23 in B minor and recall of melody at 41 has sense of tonic
lack of contrast between A+B
End of A section should be tonic V-1 which there isn’t at 22
Recall of A isn’t in tonic
return of A at 52 is in F major and is short, more like coda

17
Q

Comment on features that make this work neoclassical

A

Immediate chromaticism in RH piano (bar 1)
Changing metres at bar 8
Wrong note harmony (bar 41-46
Simple structure- arguably in ternary form
Use of octatonic scales (bar 21-22, 30, 33-34, 62-64)

18
Q

Comment on use of instruments in this movement

A

Uses full range of each instrument (low B in oboe at figure 5
Piano has accompanying role in figure 1
Antiphony between wind (bar 12+13)
Bassoon plays countermelody (bar 41)

19
Q

What is the tonic key of the movement?

20
Q

Give one harmonic feature of the opening bars

A

Tonic pedal in LH of piano

Immediate chromaticism in RH piano

21
Q

Describe harmony in bar 3

A

Gb chord, modal harmony

22
Q

Key and cadence in bar 7-8

A

Perfect cadence in F major

23
Q

Key in bar 11

24
Q

Key in bar 12

25
Key moved to in bar 17
E minor
26
Key and cadence in bar 21-22
Imperfect cadence in Bmaj/min
27
Name the melodic feature seen in bars 26-29
Diminution
28
Describe the harmony in bar 30
Descending dom 7th and aug 6th chords
29
Where is the neapolitan 6th chord?
Bar 13
30
Where is the tierce de picardie?
Bar 35
31
Describe the melody in 41-45
Sequential | From opening melody
32
Where is the wrong note harmony in this movement?
Bar 42
33
Describe the harmony in 45-51
Entirely diatonic (45-48) More chromatic (49-51) Broken chords in LH piano Increased harmonic rhythm,
34
Key at bar 52?
F major
35
Describe the harmony from bar 52-end
tonic pedal in LH piano static harmony due to pedal Octatonic from 62-64 Plagal feel at 59-60
36
Describe the final chord
dissonant major 7th in F minor