Stravinsky - Vivo from Pulcinella

Question 1

(Structure/Form) The form of Vivo is …………. form.

Answer 1

Rounded Binary

Question 2

(Structure/Form) There is a ……. in bar 21.

Answer 2

False start

Question 3

(Structure/Form) The final A’ section, is similar to the opening but with ……….

Answer 3

The omission of the middle section material

Question 4

(Structure/Form) There is a ….. of the main theme in the B section

Answer 4

Parallel minor key (mournful version)

Question 5

(Structure/Form) The end of the final section can be characterised as …..

Answer 5

A comical cadence phrase

Question 6

(Texture/Sonority) A full tutti is only heard on ……. occasions in bars …. and ….

Answer 6

Two brief occassions in bars 33 and 37

Question 7

(Texture/Sonority) The movement ends with a ……… group of players. The ………, …….. and ………

Answer 7

Very small group of players, just the trombone, cellos and basses.

Question 8

(Texture/Sonority) The indication of ‘du talon’ in bar 12 indicates ………..

Answer 8

The string music should be played with the heel of the bow.

Question 9

(Texture/Sonority) There is use of a ……. texture at bar 38.

Answer 9

Heterophonic, the flutes play 3 octaves higher than the bass.

Question 10

(Texture/Sonority) The most prominent textures in this movement are ….. alternating with ……….

Answer 10

Loud tutti sections with quieter mainly solo passages.

Question 11

(Harmony/Tonality) Stravinsky would take traditional diatonic harmony and use ………

Answer 11

Added note dissonances

Question 12

(Harmony/Tonality) The underlying harmonies are often …… and ……. chords, in the classical manner.

Answer 12

Root and first inversion chords

Question 13

(Harmony/Tonality) The harmonies are often quite ….. due to the ………

Answer 13

Bare, due to the accompaniment often playing root notes and solo instruments having to add the other chordal notes.

Question 14

(Harmony/Tonality) There is a presentation of the main theme in the B section in the ………

Answer 14

Parallel minor key

Question 15

(Harmony/Tonality) The A section doesn’t modulate, it’s in the key of ………….

Answer 15

F Major

Question 16

(Melody) The piece is based upon an Eighteenth Century melody by …………..

Answer 16

Giovanni Pergolesi

Question 17

(Melody) In terms of phrase structure, there is the use of a …………..

Answer 17

Simple, balanced phrase

Question 18

(Melody) The melody is embellished with …… like the 18th Century version.

Answer 18

Ornamentation

Question 19

**(Melody) **There is the use of a grace note idea in b.5 called a ……. meaning ………

Answer 19

‘Gruppetti’ meaning ‘little groups’

Question 20

(Melody) The main motivic idea in the theme is ……….

Answer 20

2 semiquavers followed by a dotted crotchet

Question 21

(Rhythm/Metre) There is a ……… pulse in this piece.

Answer 21

Clear, metrical pulse

Question 22

(Rhythm/Metre) The piece is completely in …… time.

Answer 22

2/4

Question 23

(Rhythm/Metre) There is an emphasis on …… at the beginning of motivic fragments.

Answer 23

Short note durations.

Question 24

(Rhythm/Metre) When the main theme is introduced there is more use of …..

Answer 24

Syncopation

Question 25

(Rhythm/Metre) Stravinsky often groups certain instruments to ……

Answer 25

Rhythmically support the beginning of the bar, and other instrument sections to support the end of the bar.

Question 26

(Harmony) - Use of …… harmony – in the cadence D7– G. This happens when ….

Answer 26

Overlapping; the G is anticipated in the D7 and the F# is held over into the G Major chord

Question 27

(Harmony) The piece ends on a joke-like cadence. This is emphasised with the trombone…The chords used are …. to chord I with the final chord being….

Answer 27

slides; chord iii to I with the final chord being the single pitch of F