Webern - Quartet Op. 22 Flashcards
(26 cards)
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(Melody) Webern created the melodic material using a …………. row, which had …… semitone intervals within it
Webern created the melodic material using a 12-tone row, which had 5 semitone intervals within it
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(Melody) Webern regularly uses ………….. transposition of the semitones in his row (up or down 1 or more octaves) often creating ……. or …….. intervals.
Webern regularly uses octave transposition of the semitones in his row (up or down 1 or more octaves) often creating 7th or 9th intervals.
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(Melody) ……………….melodies are a feature throughout the movement. In b.3, there is a descending …………….. leap followed by a rising ………….
Wide angular melodies are a feature throughout the movement. In b.3, there is a descending diminished octave leap followed by a rising minor 6th.
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(Melody) The main melodic ideas within the movement involve F………. material that is separated by ………
The main melodic ideas within the movement involve fragmentary material that is separated by rests
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(Melody) Use of k………………… in the introduction, violin, piano (LH), violin, clarinet and piano (LH) of the ……………..
Use of klangfarbenmelodie in the introduction, violin, piano (LH), violin, clarinet and piano (LH) of the P10 tone row.
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(Texture/Sonority) Texture is very s…….., with only 1-3 note ideas being played in between moments of r…….
Texture is very sparse, with only 1-3 note ideas being played in between moments of rest.
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(Texture/Sonority) In the introduction, Webern uses a m……….. c……., which is a type of i…………… texture.
In the introduction, Webern uses a mirror canon, which is a type of imitative texture.
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(Texture/Sonority) Webern frequently changes a……….. in the violin, often within a single bar, between a….. and p……… material to create shifting colours.
Webern frequently changes articulation in the violin, often within a single bar, between arco and pizzicato material to create shifting colours.
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(Texture/Sonority) The piece is in many ways, both p………… and m……….. There are 5 clear distinct horizontal lines , but a lot of the material is based on singular t………. r…….. lines.
The piece is in many ways, both polyphonic and monophonic. There are 5 clear distinct horizontal lines (polyphony), but a lot of the material is based on singular tone row lines (monophonic).
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(Texture/Sonority) K…………… is used to present a tone row in many colours using the timbre of the different instruments. In the introduction, the P….. row is used.
Klangfarbenmelodie is used to present a tone row in many colours using the timbre of the different instruments. In the introduction, the P10 row is used.
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(Structure/Form) The form is loosely based upon s……. f…….. It includes an i………….., e……….., d………………, l…….., r…………………. and c……
The form is loosely based upon sonata form. It includes an introduction, exposition, development, link, recapitulation and coda.
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(Structure/Form) Due to the lack of t……. centre, Webern uses r…….. and r…………… to separate the sections of his piece.
Due to the lack of **tonal **centre, Webern uses repeats and ritenutos to separate the sections of his piece.
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(Structure/Form) The i…………… and c…… sections are m………… i……….. (reversed) of one another, starting and ending on the same pitch (C#/Db).
The introduction and coda sections are mirror images (reversed) of one another, starting and ending on the same pitch (C#/Db).
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(Structure/Form) The e……………… and r…………… sections use variations on the same t……… r……… (P0 and P6).
The exposition and recapitulation sections use variations on the same tone rows (P0 and P6).
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(Structure/Form) The d……………. section starts with the …… row in the violin. This reaches a climax on top C in b.22, leading to a r…………., creating a palindrome
The development section starts with the I9 row in the violin. This reaches a climax on top C in b.22, leading to a retrograde, creating a palindrome
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(Harmony/Tonality) No clear use of a tonal centre due to a……….., but due to the quasi-s……… f……… aspect of the piece it does begin and end on C#/Db.
No clear use of a tonal centre due to atonality, but due to the quasi-sonata form aspect of the piece it does begin and end on C#/Db. Triadic harmony
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(Harmony/Tonality) Due to the s………… notes/ideas, and p………… element to the piece, there is rarely a sense of harmony.
Due to the separated notes/ideas, and polyphonic element to the piece, there is rarely a sense of harmony.
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(Harmony/Tonality) The first ‘chord’ at the beginning of b.2 creates a d…………… clash of a m………….. interval.
The first ‘chord’ at the beginning of b.2 creates a dissonant clash of a major 2nd interval.
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(Harmony/Tonality) Harmonic ‘moments’ occur when layers of the music o………. to create dyads, triads, tetrads (4 notes). In b.12, there is use of a t………, B, Bb, A, G#. This is highly dissonant.
Harmonic ‘moments’ occur when layers of the music overlap to create dyads, triads, tetrads (4 notes). In b.12, there is use of a tetrad, B, Bb, A, G#. This is highly dissonant.
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(Harmony/Tonality) Sometimes, Webern will have 2 of the pitches from his tone row, occur at the same time, creating a d……. This is known as v……………….
Sometimes, Webern will have 2 of the pitches from his tone row, occur at the same time, creating a dyad. This is known as verticalisation.
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(Rhythm/Metre) Is mainly in t……. metre (3/8), but this is difficult to hear as the t……. s………….. change frequently. This is evident in bars 3-4 with use of …… and ……
Is mainly in triple metre (3/8), but this is difficult to hear as the time signatures change frequently. This is evident in bars 3-4 with use of 5/8 and 4/8
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(Rhythm/Metre) Frequent use of r…… make the piece very f………………, making the metre often unclear.
Frequent use of rests make the piece very fragmentary, making the metre often unclear.
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(Rhythm/Metre) The tempo is slow, notated as ‘s…… m………’ or ‘v…… m……………..’ – a common title for slow tempo.
The tempo is slow, notated as ‘sehr mässig’ or ‘very moderate’ – a common title for slow tempo.
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(Rhythm/Metre) R…………… and c………… are regularly used to shift the tempo of the music, as part of the t………… between sections.
Ritardando and calando are regularly used to shift the tempo of the music, as part of the transitions between sections.
