Stravinsky OStravinsky Octet Analysis Koopsctet Analysis Koops

Music 538b-Bob Moore
Stravinsky Octet
Stravinskys Octet is considered neoclassical while continuing to include many traits
developed in Symphonies of Wind Instruments. The piece is written in three movements, though
the second movement Tema con Variazioni leads directly into the third movement Finale without
a break. While one of Stravinskys genius ideas in the Symphonies of Wind Instruments was his
use of a moment form, the Octet balances traditional forms and moment form, partially by
following pan-tonal schemes which keep listeners guessing and wondering where the music is
going, yet bringing back familiar motivic material in an ever developing and changing pattern.
This is one of the salient aspects of Stravinskys composition style. As stated in class,
Stravinskys sense of timing is impeccably right for how often to repeat a musical idea and how
much to change it when it is repeated. The balance of chaos and order seems perfect.
In addition, Stravinskys music often contrasts linear and non-linear (or static) musical
moments. Stravinsky loves activated stasis(as we discussed in class) where the foreground has
continuous movement, but doesnt feel like it is going anywhere. In the middle-ground and
background there may or may not be linear movement. Stravinsky often does include a final
cadence in each section of music that references traditional tonality giving listeners something to
hold on to if they felt a little lost in the flowing sea during the course of the music. The chorale
at the end of the Finale definitely leads to C major.
Stravinsky uses a mixture of traditional tonal and atonal harmonic language that includes
a lot of modes and the octatonic scale. The opening movement suggests an E-flat dorian mode at
rehearsal 1, while the Tema con Varazione suggests an octatonic scale and the finale ends in a
Octet
definite C major. The instrumentation choice is also noticeably all winds, similarly to the
Symphonies of Wind Instruments and the Symphony of Psalms (plus cello, bass and voice).
The Sinfonia seems to be neoclassic both by its title and construction. Stravinsky gives a
slow introduction followed by the movement proper which is in quasi ABCBA form, as can be
seen below.
Chart 1 Sinfonia Form
m. 1-4
Reh.#1
2
3
4
5
Intro.
Flow theme; scaler materials
Intro. Theme returns
Intro. Part A
6
7
8
9
10
11
12
13
14
15
16
Theme A
A
A
A
B (with scaler cell material; Jumpy
Interlude (including triplet idea)
B- fl, cl., trbn, (arpeggio X; ostinato)
Interlude (scaler, jumpy, arpeggio X)
C
C
(D) (scaler+jump); B accompaniment;
fragments of A
Interlude (including motivic idea from 13
and clarinet triplet idea from 11)
B, C alternate
A, jump fragments; canon
A Jump in Flute; C Rhythm in trpt.
Descending chromatic in cl.
A canonic
X
A canonic
17
18
19
20
21
22
23
Intro. Part A
Intro. Part B
Palindrome
Or
Intro+
ABCBA
B flat (V/E flat)

E flat dorian
Exposition
P1
Development
P2
New theme
P3
More
development
P2
Eb (c,Bb)
Ab
Bb; D flat, A, E
D; d
d; or g?
f
Ab
C; G
D; d
e; f
d; G; chromatic; D phrygian;
E-B descents-e minor feel too
b7;E7;A; a; d; Eb
False recap
P1
Recap (like 7)
Stretto
Coda like
E, G#,(Ab),B
C#,G; Db; d0, Eb7; B
(A flat) B flat 7
C major
E flat
E flat
The Sinfonia introduction begins on B-flat and while not in B-flat major, it does end on a B-flat
major chord which suggests a dominant feel when it is followed by the E-flat at rehearsal 1.
AlexanderKoops:StravinskyOctetSinfonia
thematicmusicalexamples1,2,3,4,5,6
Octet

Example1
m.14
3
Example3 Flow
m.5
Example2
"QuasiV/Eflat" 1(m.512)
EflatDorian=minorw/Raised6th
Interestingly he begins and ends the introduction with this chorale-like section that has a definite
m.15 ReverseFlow
AlexanderKoops:StravinskyOctetSinf
6ThemeA
Ex4
linear quality leading to the B-flat and he also ends the Finale with a chorale section
that has a
linear descent to C major.
Example1
m.14
"QuasiV/Eflat"
Example2
1(m.512)
Stravinsky introduces a flowing theme that appears to go no-where, just alternating
between E-flat and F, but eventuallythematicmusicalexamples1,2,3,4,5,6
traces out an E-flat Dorian scale.
Example1
Example2
m.14
"QuasiV/Eflat" 1(m.512)
Ex.5 10ThemeB
EflatDorian
Example2
Example3
Flow
Example31(m.512)
"QuasiV/Eflat"
Flow
m.5
Ex.6
m.5
14themeC(clarinet)
m.15 Rever
m.15 ReverseFlow
Example3 m.15
Flow ReverseFlow
m.5
Ex4 6ThemeA
Ex4
6ThemeA
Ex.6but the
The surface texture continues to be very flowing
(kinetic) throughout this introduction,
Ex.5 10ThemeB
14themeC(clarinet)
harmonic movement is actually quite static. Stravinsky uses a lot of scaler ideas and arpeggios,
leaping motivic fragments, ostinatos and and pedal points, all of which prepare the listener for
Ex.6
Ex.6
Ex.5
the 10ThemeB
rest
of the Octet.
14themeC(clarinet)
AlexanderKoops:StravinskyOctetSinfoniaExamples
14themeC(clarinet)
"Compare"
ScalerMaterialHeavilyusedthroughout
cell16.1
X=rhythm
XJumpy
m.108
XArpegioCell
Gmajor
15.1
13 m.87
The
main theme begins at rehearsal 6, with a definite feeling of the B-flat seventh chord
acting as dominant to the E-flat downbeat.

16 m.112
13(m.93)
similarcells
m.46(similarto44,45)
17M.119
m.15 ReverseFlow
Example3 Flow
m.5
Octet
Example4
6ThemeA
AlexanderKoops:StravinskyOctetSinfoniaExamp
"Compare"
cell16.1
XArpegioCell
Ex.6
Gmajor
Ex.5 10ThemeB
There
is also a 3:2 tempo relationship which
Stravinsky
loves to X=rhythm
do: e=76toq =104. Theme
A
14themeC(clarinet)
is
Example2
repeated Example1
at rehearsal 9 in canonic fashion, then
at rehearsal
8 it is fragmented as it modulates
13 m.87
"QuasiV/Eflat"
m.14
1(m.512)
through D-flat major and E major and lands in D major at rehearsal 9. Stravinsky lightens the
texture and dynamics at rehearsal 8, so when the full ensemble comes in again at rehearsal 9 it is
an exciting
Additionally Stravinsky adds
an offbeat echo to the main m.15
themeReverseFlow
creating an
Example3moment.
16 m.112
Flow
m.5
exciting new twist to theme A that keeps the listener intrigued.

A d-minor scaler passage leads to theme B cantabile tranquilo at rehearsal 10 in the
Example4
first trumpet.
The bassoons have an accompaniment with obvious G major arpeggios, while
6ThemeA
trumpet two plays a motive that AlexanderKoops:StravinskyOctetSinfoniaExamples
predicts the C theme.
"Compare"
XJumpy
m.108
XArpegioCell
ScalerMaterialHeavilyusedthroughout Example6
Example5
cell16.1
7 m. 14themeC(clarinet)
10ThemeB
Gmajor
X=rhythm
15.1
13 m.87
Trpt.2
RhythmX
Rehearsal 11
acts as a brief interlude before restating the B theme in the trombone,
13(m.93) clarinet and
16 m.112
flute at 12. At 13 emphasizes the X arpeggio cell on C major all the while retaining scaler
material that is derived from the original theme A.
6
m.
similarcells
17M.119
AlexanderKoops:StravinskyOctetSinfoniaExamples
"Compare"
cell16.1
16 m.112
Octet
X=rhythm
XJumpy
m.108
XArpegioCell
13 m.87
Gmajor
15.1
Example2
16 m.112
1(m.512)
"QuasiV/Eflat"
6
m.15 ReverseFlow
At 14 Stravinsky states Theme C boldly in the clarinet,
m.51
13(m.93)
similarcells
17M.119
RhythmX
emphasizing
the X-rhythm, beginning
Trpt.2
in
a D tonal center, evolving into B-flat major arpeggios, passing through g-minor and arriving in
an E minor mode at 15. The key changes make sense in that they are following third
7
m.
relationships, but they dont follow tradition harmonic pulls. The chromatically twisting theme,
repeated at 15, is similar to the kind of chromatic themes that Bartok composes.
Example6
RhythmX
14themeC(clarinet)
Trpt.2
Rehearsal 16 does not contain theme B but it does have similar traits to rehearsal 10 and 12
including the X-arpeggio cells and ostinatos. One of the salient composition tricks Stravinsky
uses here is to take the initial descent {E,D,C,B} built from the original A theme and use it to
structure a beautiful descent over the next four measures in the bassoon and clarinet. Stravinsky
brings out the {D, C, B} descent with accents in the bassoon part. At rehearsal 17 we hear yet
again at the exact pitches, but two octaves higher. Stravinsky frequently uses this technique
which helps give great structural integrity.
Rehearsal 17 acts as another interlude including a similar figure taken from 13 shown
below as well as the triplet clarinet figure from rehearsal 11.
Gmajor
15.1
Octet
13(m.93)
similarcells
17M.119
Theme B returns at 18, alternating with theme C in a perfectly timed dialogue, segueing right
into fragments of theme A at 19, treated in canon, preparing us for the full return of theme A in
the original key at 21. Rehearsal 22 offers a quasi-stretto section following a similar patten to
what was originally set up in rehearsals 7-8. The final statement of theme A at 23 in E-flat is
perfectly timed with a canonic treatment that syncs up on a final beat after 9 glorious measures,
ending solidly on E-flat major. The alterations of meter throughout the movement offer the sense
of timeless flow that is magical and contribute to the beautiful dichotomy of kinetic and static
movement.
In the Tema con Variazione Stravinsky uses an incomplete octatonic scale, and begins
with the [0134] tetra-chord, both of which he also used extensively in Symphony of Psalms. The
form is obvious because of the theme and variations format, though each individual variation has
its own unique form.
Chart 2: Tema con Variazioni form
Reh. #
Section label
24-26
Theme
26-28
Variation A
28-31
Variation B
31-33
Variation A
33-38
Variation C (Waltz)
38-49
Variation D
49-51
Variation A
51-56
Fugato
Description-rehearsal #s- Key/tonality/centricity

Octatonic/d minor; D major
Scales following Octatonic theme; d, C,D,b,B,b lydian, D,d,f dorian
E; 29=G; 30=D, A, (A acts V/ D for return of variation A)
d
a/g; D
A 42 D.43 F,eo, Eb,c, 44- Gba mixolydian; 45-A; a; 47-A
d
A; E/C#...
Octet
The octatonic feel is strong because of the initial tetrachord, but it is interesting to note that these
notes are also contained in the D melodic minor scale. The accompaniment begins in d minor
contrasting the feel of A major in the melody (A-C#). The Tema itself can be divided into
four motivic ideas as seen above: TA,TB,TC, and TD, and an arch form ABA where the theme
is first heard in the flute and clarinet (high range voices) in D minor/A octatonic, then contrasted
with a B section in C major, trumpet 2 (middle range voice), and ending in a return to the
original key with the theme in the trombone (low range voice).
Octet
Variation A simply takes the theme and add scales above each of the given notes of the
theme. The theme is transposed so it begins on D, and the first scale played above the D root is
a D melodic minor scale. The second note is a B-flat in the theme, so Stravinsky gives us a B-flat
Lydian scale. Variation A theme begins in the trombone and follows the original theme in its
pitch organization, though the exact rhythms are changed. At rehearsal 27 the trumpets, flute,
and clarinet take over the melody. The ending coming in two measures before 28 is altered to
make a smooth transition
to variation B.
AlexanderKoops:StravinskyOctetMusicalExamplesTemaComparedtoVariationC
TB
TB
TA
TA
24Tema
24Tema
TD
TD
TC
TC
m.3rd
TTm.3rd
TT
(tonic"d"...d,f,a,c#)(octotonicscalepattern)
26RibbonsofscalesVariationA
26RibbonsofscalesVariationA
TA(transposed"T3")
TA(transposed"T3")
25Trpt.II
25Trpt.II
Change
Change
27
27
TD
TD
TD
TD
TT
TT
TT
TT m.3
m.3
m.3
m.3
TC.2
TC.2
BacktooriginalPitch
BacktooriginalPitch
*change
*change
changed(similarcontour)
changed(similarcontour)
m.3
m.3
m.3
m.3
28
28
Emajor
Emajor
Variation B offers a needed contrast in its light bouncy character. The form is basically
structured around the original Tema form. The opening two measures of accompaniment try to
hide the rhythmic pulse, so when the trumpet enters with the melody it is a nice surprise. The
theme begins clearly with the original major third head motive TA, but it is developed with new
Octet
variations, modulations and rhythmic twists. It still contains each of the core elements of the
tema including TA, TB, TC, and TD, though TD is altered.
TD
TB
TC
m.3rd
24Tema
TT
TD
TB
TA
TC
m.3rd
24Tema
TT
TA
trumpet/flute
clarinet
29 (TransposeddownaM.2nd)
28Var.B (Trpt.II)
(Transposedupafifth)
28Var.B (Trpt.II)
(QuasiDominantEmajor)
(QuasiDominantEmajor)
TA(transposed"T3")
trumpet/flute
clarinet
29 (TransposeddownaM.2nd)
(Transposedupafifth)
(Var.Bcontinued)
transposedupam.2nd
29 TumpetI
(Var.Bcontinued)
transposedupam.2nd
29 TumpetI
TD
25Trpt.II
TA(transposed"T3")
TD
TT m.3
TD
25Trpt.II
TT m.3
TC.2
TT
m.3
TD
TT
m.3
BacktooriginalPitch
TC.2
30
Trpt.
30 Trpt.
BacktooriginalPitch
HeadMotive(TritonedistancefromoriginalC#A)!
HeadMotive(TritonedistancefromoriginalC#A)!
Stravinsky shows off instruments in pairs: flute and clarinet, bassoons, trumpets, and trombones.
The bassoon ostinato at 29 and trumpets dialogue at 30 are examples of this and the creative and
masterful writing Stravinsky continually produces.
Variation A (31-33) is brought back and transitions directly into Variation C. The flute
begins a solo which is clearly related to TA, but then it flourishes around in a way that covers the
Octet
10
pitches used in TB, TC, and TD, but it is difficult to point out exact connections. The flute solo
acts as introduction that is followed at 34 with the trumpet 2 and clarinet stating the tema. The
rest of the variation follows the basic form set in the tema. At rehearsal 35 the clarinet and
bassoon 1 become static while bassoon 2 has an interesting chromatic ascent and descent which
serves as a bridge section leading to the continuation of the tema. At 37, to conclude the
variation and transition to the next variation, bassoon two has a bass descent line leading to A
major and bassoon 2 also sets some motivic and rhythmic patterns that foreshadow the upcoming
music.
TB
TC
TB
TC
TA
24Tema
TA
24Tema
TD
TD
m.3
TT
m.3
TT
Var.C TA
Var.C
Fl.33 TA
Fl.33
(7m.after34) TC
TB
Clarinet,m.273275
(7m.after34)Trpt.2(10after34)
TB
TC
Clarinet,m.273275
Trpt.2(10after34)
TD
TD
TTm.3
TTm.3
Trpt.34
Trpt.34
TA(transposed"T3")
TA(transposed"T3")
25Trpt.II
25Trpt.II
TD
TD
TT
TT
m.3
m.3
TD
TTm.3
TD
TTm.3
TC.2
TC.2
BacktooriginalPitch
2m.before 36
2m.before 36
TA
TA
TB
TB
TD
TD
BacktooriginalPitch
37
TTm.3
37
TTm.3
Stravinsky decides wisely to skip placing variation A before Variation D, upsetting the
pattern previously established, but keeping the listener from getting tired of variation A.
Octet
11
Variation D can be viewed as a passacaglia and begins with an ostinato ground-bass pattern in
the clarinet and bassoons that can be seen below.
1.1
40
1.2
41
2.1
3
bars
b4-42
42
2.2
5bars
b4-43
43
Soli
Gr-bass
3.1
44
3.2
45
Soli
Gr-bass
4.1
2.3
contd
48
Soli
Gr-bass
codetta
1.3
(or 5)
Recap
47
Development
46
Theme 2
39
Expo.
Th.1
Intro;
groundbass
Sonata
:
38
Introduction: D0, D1, D2, D3, D4, D0, D1, D0

Chromatic descent(Bssn.I)Bb-A-G#-G-F#-F-E
(Bb-E=TT)
A major -Ostinato ground-bass

established
TA in Trpt. (Ostinato exact repeat)
A major/Octatonic Tema @original

pitch level
A major/OctatonicTema @original
pitch level
(F major-Cl. D-D chromatic linear
descent)
A major- Ostinato Gr.-Bass
D7
TB Trpt +Fl (D0,D1,D2,D3, D0,D1,D2,D3)

Brilliante; (D4, D2, D3)
Brilliant 2 -fl. D0-(D maj. 7) (Augmented Syncopated
Rhythm, and extended in Cl.)
Brilliant Ending (2 measures) fl. hands off to bssn. 1. Bssn.
2 reverses rhythm from cl.@ 41
Reminiscent of TC, But chromatically altered
D0 D1 D2 D3 D4 (bssns. only)
D7;
2 after 42=cadence to F leads to next
section
F major
D0D1 D0
D0, D1, D2, D3, D4 Brilliant 3
F---------e0 Eb
Triplet plus brilliant variation
Trbns have Maj. 3rd ostinato (just like TA)
Triplet plus brilliant variation continued
D0 D2 D0---D0 D1 D2 D3 D4 ----D0D1 D2
A major----------------a minor
Cantabile Variation-solo flute, similar to 42,plus brilliant
triplets(Reminiscent of Tema; also reminiscent of 1st mvt.
Reh. #2,3,4)
D3 D4 D3 D4-__-D0 D0 D1 D3
TA (obvious quote in trpt. 1, similar to 39)
D0 D1 D2 D3 D4(cl/bssn) --D0 D1 D2 D3-trpts/trb. 1
(only time gr-bass theme not played by bssn)
D0 D1 D2 D3-(trpts/trb. 1)
D0 D1 D2 D3 D4-(end is bssns again)
Overlap of Passacalia ground bass theme; offset by
starting in the middle of the bar
F, e dim, Eb maj.
Gb, d, a mixolydian
A, a
A major and A minor
A/ Octatonic Tema @original pitch
A (sounds like dominant to D, which

is the next down beat-Variation A,
49!)
Octet
12
The form could be labeled in several ways including a mini-sonata style form, but it makes the
most sense to label it as a passacaglia variations form. Stravinsky liked revisiting forms and
characteristics from earlier music such as the passacaglia form, and that is partly why his music
is called neo-classical. Groves music defines and explains a passacaglia as follows:
In 19th- and 20th-century music, a set of ground-bass or ostinato variations, usually of a
serious character; in the earliest sources, a short, improvised ritornello between the
strophes of a song.
When 19th- and 20th-century composers returned to writing passacaglias, they found
their models in a handful of rediscovered pieces by the German masters, especially
Bachs Passacaglia for organ and perhaps also the Passacaglia from Handels Suite no.7
in G minor, works deserving of their canonic status, but atypical of the former
mainstream genre traditions (Handels passacaglia was in fact in duple metre). From
Bachs passacaglia they took what now became the defining feature: the ostinato bass.
The theme-and-variation idea, often incidental to earlier passacaglias (if present at all)
became central to the revived genres. As with Bach, the ostinato theme is usually stated at
the outset in bare form and in a low register.1
This variation does exemplify some of these features, especially obviously starting the theme at
the outset in bare form and in a low register.
As the form chart above shows, variation D
features an ostinato ground bass that is made up of 5 parts [D0, D1, D2, D3, D4] that Stravinsky
interchanges the exact order of so it doesnt always sound exactly the same, but it does have the
same texture. There is a linear chromatic descent from B-flat down to E in the initial statement
that can be heard in the first bassoon if one listens carefully, but the middle ground is quite static,
sounding A major overall. From the original tema, Stravinsky quotes TA and TB directly at 39
and 40 and TA again at the end of the variation at 47, as can be seen in the example below.
Alexander Silbiger: Passacaglia, Grove Music Online ed. L. Macy (Accessed 17 March
2005), <http://www.grovemusic.com>
Octet
13
The middle variation materials include exciting flourishes of sixteenth notes alternating with
triplet ideas. The chart also shows the harmonic motion from A major through various keys and
back to A major which finally ends as dominant to the following Variation A.
From 49 through 51 we hear Variation A for the final time, identical except for the last
measure, which is adjusted so as to prepare Variation E. This variation is a fugato based on a
subject that clearly derives from the original tema parts TA and TD, and vaguely from parts TB
and TC, as can be seen below.
TA
24Tema
TD
TB
TC
m.3rd
TT
51 VariationE."fugato"
TA
TD
symetrical!
Stravinsky is very creative not only in using octave displacement to create new sounds on the
TA(transposed"T3")
TD
TD
same old
theme, but he also is free with his use of repeating
the right
25Trpt.II
TT m.3 notes to get just TT
m.3 amount of
expectation and surprise from his listeners. He pieces together the subject in a very balanced and
TC.2
symmetrical way, switching one note here and there to create anBacktooriginalPitch
intriguing line as can be seen in
the example below.
Octet
14
The fugato is based on an octatonic theme, and Stravinsky, as a fine craftsman, tailors the end of
the initial subject to include the notes B flat, E, and G, which are included in the octatonic set
used in the real answer beginning in the clarinet. The two octatonic scales can be seen side by
side below.
Stravinsky gives us two statements of the subject and answer, each time thickening the texture by
adding more instruments and more counter point. Five measures after 53 an episode begins
which is more free and chromatic in nature, modulating and very intense in dissonance. This
builds to a climactic section at two measures before 54 and then finally leads to a statement of
the initial subject at three after 54. Some of the imitation found around rehearsal 54 is similar to
the imitations found at rehearsal 4 in the first movement, though in this fugato the harmonic
tensions are very high. The form chart below shows the development of this little fugue
variation.
Octet
15
The Finale comes right out of the end of Variation E in a brilliant and smooth transition in
the bassoons (This octet must be considered one of the ultimate pieces for bassoonists!).
Stravinsky begins with an arpeggio theme accompanied by the C major scale. What is
interesting is that he treats the scale independently of the theme, in what must be building on
renaissance principals of iso-rhythmic motets in which the melodic and rhythmic elements are
treated separately. Here the scale begins and ends at different times then the melody, but it is not
the least concern because it is independent of harmonic pulls developed in the Baroque and
classical period. The scales simply run their course in the initially set pattern repeating until the
section of music is complete. The form follows a Rondo form or might be called a Pseudo
rondo, as the chart below shows. As was seen in Symphonies of Wind Instruments, the sections
could come in another ordermoment formexcept for the final chorale is the perfect ending
and must come last!
Octet
Beginning
m. 459
(2 m. b4 58)
58 (m. 461)
59
60
61
Theme A; C scale underneath

Repeat A
62
m. 508
63
64
65
66
4 measure interlude; ostinato like Bssn. 2;

Return of Theme A
Clarinet joins as before
Continues as before, but with a change 2 before 65
Theme A in Trpt. 1
Theme C=C Phrygian scale in cl. Followed by leaps;
Ostinatos in cl. Bssn.
Theme C1.2 in trpts.; cl. = chromatic variation
Theme C1.2(reverse of 67) fl. + Cl.
Theme A
Theme C1.2 in diminution (very chromatic)
Theme A Trpt. 2
Theme C1.2 bssn
Theme A fragments
Chorale idea introduced; all rising motion in various lines
Chorale -descent to D
-related to Theme A through C major descent and arpeggios,
augmented!
Chorale ending/conclusion-descent to C-related to Theme A through C major descent and arpeggios,
augmented!
67
68
69
70
71
72
73
74
Clarinet enters with scale work

A variation
A
Transition for two measures
Theme B
16
C major
C major
C major scale; d minor at 473
DFF#A
A
F scale, C scale,F, D7d,e,d,F,
D mixolydian
C
C
C
D flat
C Phrygian
BbB nat.
B minor
c minor
e minor
D; Eb;
Eb
F7 G7
Very static feel
F; C

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Verfügbare Formate

Stravinsky OStravinsky Octet Analysis Koopsctet Analysis Koops

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Verfügbare Formate

Music 538b-Bob Moore

Music 538b-Bob Moore

Intro. Theme returns

B flat (V/E flat)

Music 538b-Bob Moore

linear descent to C major.

Stravinsky introduces a flowing theme that appears to go no-where, just alternating

acting as dominant to the E-flat downbeat.

Music 538b-Bob Moore

exciting new twist to theme A that keeps the listener intrigued.

Music 538b-Bob Moore

At 14 Stravinsky states Theme C boldly in the clarinet,

Music 538b-Bob Moore

Description-rehearsal #s- Key/tonality/centricity

Music 538b-Bob Moore

Music 538b-Bob Moore

Music 538b-Bob Moore

Music 538b-Bob Moore

Music 538b-Bob Moore

Introduction: D0, D1, D2, D3, D4, D0, D1, D0

A major -Ostinato ground-bass

TA in Trpt. (Ostinato exact repeat)

A major/Octatonic Tema @original

TB Trpt +Fl (D0,D1,D2,D3, D0,D1,D2,D3)

A/ Octatonic Tema @original pitch

A (sounds like dominant to D, which

Music 538b-Bob Moore

As the form chart above shows, variation D

Music 538b-Bob Moore

Music 538b-Bob Moore

Music 538b-Bob Moore

Music 538b-Bob Moore

Theme A; C scale underneath

4 measure interlude; ostinato like Bssn. 2;

Clarinet enters with scale work

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