Texture Flashcards
(57 cards)
1
Q
The texture of Ram Narayan changes at line 19 with the entry of the table to provide the pulse. What does the rest of the piece consist of texturally?
A
A fusion of three continuous elements; improvisatory strange melodic, ostinatos like tampura drove and rhythmically exciting table drum patterns.
2
Q
What is the overall texture of
Piano
Sonata in Bb: mvt I?
A
Melody-dominated homophony. Simple two-part textures abound, as at the beginning of the piece, where a melodic line in the right hand is accompanied by a broken chord in the left hand.
3
Q
Various Alberti bass textures are used in Piano Sonata in Bb: mvt I Give examples of this.
A
The F minor section (from b71) mentioned in the previous section. The Alberti bass is combined with a dominant pedal towards the end of the Exposition, at b57.
4
Q
Where, infrequently, does the right
hand play in octaves in
Piano Sonata
in Bb: mvt I?
A
Bar 43
5
Q
just wanting to find out if you have looked at these cards
A
well that answers that one
6
Q
In Piano Sonata in Bb: mvt I, there are occasional passages of monophonic music, often with scalic writing, as shown where?
A
at bar 8
7
Q
When is there a three part texture in
Piano Sonata in Bb: mvt I
?
A
Bars 45-46
8
Q
What is the textural role of the
gankoglin in
Agbekor Dance
?
A
It plays an ostinato throughout the
performance.
9
Q
After the opening monophonic gankoglin in Agbekor Dance begins, which instrument joins halfway through bar 1 creating a two-part texture?
A
the Atsimeun
10
Q
Which texture is introduced at the
arrival of the sago in bar 3 of
Agbekor Dance?
A
The highly complex, three part,
polyrhythmic texture which, with
brief variations, remains for the rest
of the piece.
11
Q
What happens texturally in b 29-30
of Agbekor Dance?
A
The atsimenu plays in rhythmic
unison with the gankoglin for two
ostinato cycles.
12
Q
There is a brief example of
harmorhythm in
Agbekor Dance
Where is this?
A
It’s very briefly present in the final
three notes of the excerpt.
13
Q
What does the opening of
Ram Narayan
consist of texturally?
A
It consists of a melody and drove
texture. The sarongi plays the
melody and the tempura the drove
14
Q
What does the sarongi do interestingly texturally in Ram Narayan ?
A
It sometimes plays two note chords (e.g. the opening notes of line 1) The resonance of the sarangi s sympathetic strings creates a fuller sounding texture.
15
Q
What is the result of Cage's skilful handling of silence in Sonatas and Interludes ?
A
A fragile world in which the spaces
between gestures are just as
important as the gestures
themselves.
16
Q
Where does Cage employ
homophonic chords?
A
In Sonata I, bar 1
17
Q
Where does Cage employ
Monophony?
A
In Sonata II, bar 1
18
Q
Where does Cage employ two-part
monorhythm?
A
In sonanta II Bar 10
19
Q
Where in Cages Sonatas and
interludes is there treble movement
over static accompaniment such as
an ostinato or pedal note?
A
Sonata II, bar 17;
Sonata III, bar 1
20
Q
Where does Cage employ layered
textures?
A
Sonata II, bar 30
21
Q
What is the texture of ‘ String Quartet No 8’
in bars 1-2?
A
Contrapuntal with imitative entries,
rising from cello to viola I, based on
the DSCH motif and transpositions of
it.
22
Q
In ‘String Quartet No 8’, the cello
enters first alone, so which term can
be used?
A
Monophony
23
Q
When does the viola enter in
String
Quartet No 8
?
A
Two bars after the cello, so at bar 2,
beat 3.
24
Q
The cello's entry plays the transposed DSCH motif (D-Eb-C-B) and the viola entry two bars later plays the DSCH motif transposed up a fifth (A-Bb-G-F#) Where is such a repetition a fifth above found?
A
In much fugal writing, but here neither the arrangement of the subsequent entries not the brevity of the contrapuntal process encourages references to fugue (or even fugato)
25
```
In 'String Quartet No 8', violin I
enters two bars behind Violin II, but
does not pair with Violin II as the
viola did with the cello. What does it
do instead?
```
It enters a fourth rather than fifth
| above (G-Ab-F-E)
26
Why, when the viola repeats its entry
on A, is it not really another
additional imitative entry in String
Quartet No 8?
```
Because it does not genuinely
overlap with the entry in violin I.
Compare how in bar 52 violin II
repeats rather than genuinely
imitates what violin I began in bar 50.
```
27
Which textures is widely used by
| Shostakovich in String Quartet No 8?
Homophonic texture.
28
Which textural device is used
occasionally in ways uncharacteristic
of pre-20th-century music by
Shostakovich?
Parallelism.
29
```
In bars 95-96 of
String Quartet No 8
the violins begin with parallel 6ths.
In bars 97-98. However, what do they
do which was forbidden in most pre-
20th century styles?
```
They move in parallel perfect fifths.
30
What is the prevailing texture of
| 'Harold in Italy': mvt III?
Melody-dominated homophomy.
31
How does the opening of 'Harold in Italy': mvt III
| begin?
```
With a drove on C and G in long
notes in 2nd oboes, clarinets and
bassoon. The violas play the same
notes with a rhythmic figure. The
main melodic material is played in
octaves by the 1st oboe and the
piccolo, and a countermelody is
played by the 1st violas. There are
minor changes within the other parts
but the bassoon maintain a C
throughout this section.
```
32
What is happening textually at the
Allegretto (b.32) of
Harold in Italy: mvt III ?
```
The strings play a homophonic
accompaniment to the cor anglais
solo/serenade theme. The violins
and cellos play pizzicato while the
violas maintain a broken chord
figure.
```
33
What do the strings do at bar 53 of
Harold in Italy
, mvt III?
They play in octaves doing a
chromatic counter melody to the
woodwind, while a third part appears
in clarinet and horn.
34
What is the texture of bars 23-27 of
String Quartet No 8
?
```
The music is partly homorhythmic
and this is one of three homophonic
statements of the DSCH motif whose
appearances help to define the
structure of the movement.
```
35
In bars 28-45 of 'String Quartet No 8',
| what is a melody in violin I accompanied by?
Extended tonic and dominant droves
in the lower parts – viola and cello
have an octave C and violin II has G.
36
The texture in bars 50-78 at String
Quartet No 8, is similar to bars 28-45
except for what?
```
From bar 52 violin II has the melody,
while from bar 53 violin I has a
countermelody apparently based on
a passage from Shostakovich's 5th
symphony.
```
37
How is parallelism used in bars 11-12 of
String Quartet No 8
?
Both the violins and the cello move in
double octaves around a G
(dominant) pedal in the viola.
38
What is unconventional about the
use of parallelism in bars 14-16 of
String Quartet No 8
?
```
Though moving in double octaves,
these octaves are between violin II
and cello, not, as is more
conventional, between neighbouring
parts. In the same place, parallel
10ths between viola and cello
combine with the octaves to create
incomplete parallel 5/3s in the three
lower parts (under the sustained B
natural in violin I)
```
39
At bar 60, what happens texturally in
| Harold in Italy : mvt III?
The two horns in C play a horn call
| version of part of Serenade theme in 3rds and 6th's.
40
*********What provides an additional textural
strand from bar 65 of
Harold in Italy: mvt III?
****the idee fixe in long notes on viola.*******
41
What happens at bar 71 of Harold in Italy: mvt III between the harp and the strings?
```
The harp takes over from the violin
pizzicato in providing a chordal
accompaniment while the strings all
play sustained chords with
semiquaver figures in the cellos.
```
42
At bars 79-80 of Harold in Italy: mvt III what happens texturally to the wind?
There is a brief dialogue between car
anglais/oboe, clarinet, flute/piccolo
and bassoons, playing in octaves.
43
In bar 166 of
Harold in Italy: mvt III,
what happens externally?
```
The main themes are layered above
the continuing ******saltarello***** rhythm, but
without the pifferi melody. Upper
strings and cello sustained chordal
with occasional supporting notes on
double bass.
```
44
In bars 202-206 of
Harold in Italy:
mvt III
, what happens texturally?
There is a monophonic statement of
the serenade theme on the solo
viola.
45
After b17, where are there further exchanges between parts in Pavana Lachrimoe ?
24 and in bars 34-
| 35.
46
What does the variation of the earlier
passage from b17 in b48-50 change
in Pavana Lachrimoe?
It is more genuinely imitative.
47
What happens texturally in bars 39-
41 of
Pavana Lachrimoe?
Pairs of parts in parallel 3rds or 6ths
engage in rapid dialogue (again there
is scarcely only audible overlap).
48
What happens to the dialogue which starts in bars 39-41 of Pavana Lachrimoe
once it gets to bars 42-45?
It subtly moves into limitation.
49
What are bars 55-60 of Pavana Lachrimoe broadly similar to?
Bars 39-44 of which they are the
| variation.
50
What happens texturally in bars 56-
| 57 of Pavana Lachrimoe?
```
The dialogue between pairs of parts
is more emphatic not least because
the bass abandons the dotted
rhythm it had in bars 40 and 41,
becoming rhythmically identical to
the tenor.
```
51
What is the texture of the opening of
| Agbekor Dance?
It consists of monophonic***** Gankogli*********
52
Mostly, how many parts play at once
| in Pavana Lachrimoe?
Most of the piece is in four parts, and
the texture is often similar to four-
part vocal writing.
53
How does the texture vary from four-
part in Pavana Lachrimoe? As in
much other keyboard music, the
number of parts is not constant.
```
Florid passages are sometimes in
three parts, for practicality in playing.
At the beginnings and ends of some
sections a fifth part provides
additional weight, but only with
tonic
chords of A (minor and, with
tierce de Picardie, major)
```
54
Which part in Pavana Lachrimoe is the melody borrowed from Dowland?
The top part.
55
For the most part, what is the texture
| of Pavana Lachrimoe?
Homophonic
56
What is the texture of bars 1-4 of
| Pavana Lachrimoe?
```
The melody is supported by the bass
in semibreves. The inner parts have
some contrapuntal interest-notably
where the higher of the who (the
alto) echoes or anticipates the
melody's descending quavers.
```
57
In bar 17 of
Pavana Lachrimoe
where the material from bars 1-4 is
varied, what happens texturally?
```
The melody is elaborated with a
figure that uses quavers and
semiquavers; this is taken up by the
bass in bar 18, before returning to
the top part in bar 19. The exchange
between these two parts is not really
imitation, which is generally
overlapping successive entries.
```
