Music prescribed work compare and contrast

Melody
Elements
Memorability/
Repetition

An American in Paris
Memorability is generally achieved by
repeating an idea as many times as
possible, whilst changing aspects of it
to keep it sounding fresh. Gershwin
adheres to this principle by first basing
his melodies on repeated motives:

Petite Messe Solennelle

Like those of Gershwin, Rossinis
melodies are renowned for being
memorable and having sheer amount
of repetition:

4. Domine Deus: Pianos opening

one-bar motif is repeated 6 times in
b.1-8
A1: Main melody is mostly derived
from the opening one bar, 3 note
6. Quomiam: Frequent use of
motive (C-D-E) by strings and winds.
sequences adds to repetition,
This motive is repeated and slightly
enhancing memorability in b.190-206,
varied in each of the next five bars
where piano playing four sequential
and then at bar 12, the whole phrase
phrases rising by a semitone
is repeated, meaning by bar 17, the
11. Preludio Religioso: Frequent use
opening motive has been heard 12
of sequences adds to repetition,
times in various instruments.
enhancing memorability in b.119-125,
where piano playing seven sequential
phrases falling by a tone or semitone.
A2: Most of Gershwins melodies were
derived from short motives. 3-taxi
horn notes in b.30 are heard 12 times
up to b.59. The accented notes
makes the taxi-horns stand out more,
making the themes more memorable

A4: Opening of 2-bar motive b.119-120

by clarinets is heard 3 times before
an answering phrase by other
instruments in b.125-126 is heard,
which is then itself sounded 9 times
in b.125-135

B1: The first phrase in b.395-8 is

immediately repeated and except the
last note was altered from F to B. As
it is in many subsequent appearances
such as b.414-421 in the same key

Music prescribed work compare and contrast

Repetition and
development of longer
melodies/Thematic
development)

Melodies and motives are constantly

being related and reused. To sustain
the interest, Gershwin varies the
context in which the melodies reappear
using the techniques below:

Although Rossinis musical ideas are

melodic in nature and he tends to
construct movements by repeating
these melodies rather than developing
them motivically, he use the techniques
below to create additional interest and
Reharmonising the melody: Melody of prevent his music from becoming
theme B1 first presented by trumpet
lacking in variety:
in b.391 with the accompaniment of
pizz strings and horns in off-beat. It is Reharmonising the melody: The
in B major. Then its reharmonised
theme in 8. Credo b. 1-9 and b.
104-107 are both in E major, but their
and restated differently in b.414,
harmony is altered. The semiquavers
where sax play more complex
in b.3 by piano are oscillating in
material and addition of new
higher register compared to b.105,
instruments, still in the same key.
which contains more notes in the
oscillating chords. creating richer
Adding a countermelody: In the
harmonies. There are dotted rhythm
beginning, countermelody is played
in piano accompaniment parts in b.
by bassoons in 4/4 whilst violins and
105-107 whilst b.1-9 does not contain
oboe playing the A1 theme melody in
any, meaning the melody is being
2/4; In b.414-419, cello plays a
reharmonised.
syncopated countermelody against

the B1 theme by other strings and

winds

Reharmonising melody: Theme in 4.

Domine Deus starting from figure 10
accompanied by quaver and dotted
Changing the key: B1 theme is initially
rhythm is reharmonized with triplets in
presented in B major at b.391, but it
piano
was later changed to G major at b.
431
Changing the key: In 8.Credo b. 1-9 is
in E major. But in 10. Et Resurrexit,
Using main melody as
143-146, the same material and
countermelodies: A4 theme is used
melody developed by presenting in B
as countermelody in b.664 by horns
major
against B1 theme by most strings and
wind instruments.
Changing certain notes in melody:
The first statement credo in 8.Credo
Other points include:
starts with the note E b.3, but it was
Changing the rhythm
altered and changed into C in b.33
Rhythmic augmentation
and was modulating to another key
Rhythmic diminution

!
!

Extending musical phrase when

moving from one section to another
Recurring themes throughout the
piece e.g. credo

Music prescribed work compare and contrast

Use of imitative figures/

passages and
exchange of ideas
between instruments/
voices

Interaction between instruments are

important in orchestral pieces. Here, the
same figure is passed on to different
instruments, creating different timbres:

This work is a mass with 4-part SATB

so indeed there are numerous
sequences and imitation between
voices:

Link x: In b. 70-78, a semiquaver plus 2. Gloria: b.9 is the entrance of

two quaver (link x) was played by
soprano, its double dotted and
bass clarinets first, then passed on to
crochet figure in b.9-10 is later
oboes, flutes and strings. This transits
restated and imitated by alto in b.
the A2 taxi cab theme back to the A1
11-12; Later the entrance of solo
walking theme which was originally
sopranos in b.37 is imitated by solo
presented in the beginning.
alto and tenor in an octave lower
8. Credo: b.24-28 alto solo imitates b.
22-26 bass solo begins with the note
Before A4: In b.110, horns, 2nd violin,
and violas established a quaver plus
a perfect 5th higher
semiquaver figure, which was then
10. Et Resurrexit: Fugue: Soprano
answered and imitated by bass
begins the movement immediately by
clarinet in b.112, E.H in b.114
presenting a subject in b.155-162.
This subject is then imitated and
answered by alto in b.162, but start
A4: b. 136-141 have exchange of
ideas between 1st and 2nd violins.
on a perfect 5th lower; In b.169, tenor
The A arpeggio ascending then
took up the lead role presents
subject, the one sung by soprano
descending is first played by 1st
before but in an octave lower. Later,
violins then imitated by 2nd violins
bass answers and imitates tenor by
starting on a perfect 5th lower in b.
B1 in G minor: In figure 53, bass
176 (*In fact this movement is a
clarinet and alto sax first begins the
double fugue which two subjects are
solo passage then is followed by
presented simultaneously, the
bassoons and baritone sax. These
imitation of countersubject can also
solo imitations are accompanied by
be explained)
descending arpeggios by strings

Harmony and Tonality

Chromaticism

A2: b. 64-67 (figure 8) Dotted

ascending chromatic figure in violins,
violas and flutes
Bridge before A5: b. 239-248
descending chromatic figure in flutes
modifies the atmosphere
Bridge before B1: b.380-387
descending chromatic by two solo
violins

General features of Rossinis harmonic

vocabulary are fairly typical of the
classical and early Romantic period and
include:

11. Preludio Religioso: From b.17

onwards the passages in this piece
are filled with chromaticism, with lots
of accidentals
13. O Salutaris: b.13-19 contains two
2 bar phrases and one 4 bar phrase.
The chords of beginning of each
phrase are said to be chromatic with
dissonants. i.e. b.13,15,17 1st beat

Music prescribed work compare and contrast

Use of augmented
chords or triads

Adding harmonic interest aside from

regular chords:

b.77: B chord by winds contains a

augmented 5th, F# in 1st clarinet
strong cadences to
prepare next section/
piece

Despite complexity of harmony, there is

a very clear sense of key, often created
by strong perfect cadence: new
sections are often preceded by the
dominant of the new key:

Link A1: b. 106-110 transits from F

major to B major with perfect
cadence. Which established a new
key B major, the dominant of F
Before B1: b.388-391 transits from F
to B , the dominant. b. 391 ends
with F chord with flattened 7th
b. 561-564: Transits from G7 chord to
C, perfect cadence. New key
established
Same Key in opening
and ending

The key structure is not particularly

tight, but the beginnings and ends of
two main sections establish F major as
the tonic key of the piece, with B
major as an important subsidiary key.

F major: Section A opening and

ending
Bmajor: Section B opening
F major: Coda ending (b.644-end)

(B major is also used in section A,

being the key in which theme A4 is
first stated)
Other significant keys include E, D,
G and A, since A1 section clearly
appeared in different keys

8. Credo: In b.19 first beat. An

augmented 5th in E major chord (B#)
appears in harmonium and L.H. of
piano
Did not end on perfect cadences, but
still ends with the dominant of the new
key in next section

8. Credo: b. 128-136 Ends on E

major, dominant of the next
movement (9. Crucifixus is in A
major)
10. Et Resurrexit: b.147-154 ends in
B major, the dominant of Et
Resurrexit Fugue, which is in E
Meaning next sections are often
preceded by the dominant of the new
key.

Gloria (whole section of 6 movts):

Begins in F major, moves to A major
in Gratia, D major in Domine Deus, F
minor in Qui Tollis and A major in
Quoniam. But finally ends in F major
again in its last movement: Cum
Sancto. Moving the key back to tonic

Credo (whole section of 3 movts):

Begins in E major 8. Credo. Has been
modulated to subdominant A major
in 9. Crucifixes and many other keys
within movements, but finally ends in
E major again in its last movement:
10. Et Resurrexit. Moving the key
back to tonic

Music prescribed work compare and contrast

Varies key changes to

create harmonic
interest

To give impression of forward

movement, Gershwin tends not to stay
in any one key for too long.

1. Kyrie: acA
4. Domine Deus: DbD
5. Qui Tollis: fDF

Sideslips of a semitone, the move

from a D pedal to a D pedal in b.

7. Cum Sancto: FBF

43-44
A1 first appeared in F key in b.1, later
appeared in D in b. 166
B1 first appeared in B key in b.391,
later appeared in b. 431 in G, then b.
b.468 in A

11. Preludio Religioso:

f#c#f#F#

Rhythm
Syncopated rhythms

Heavily influenced by jazz, generating

rhythmic interest. There are several
types of syncopation rhythm:

Off-beat accompaniment figures:In

A2, b.32-35 in violins, violas and
horns; 2nd violins and violas in A5 b.
249-296; B1 b.391-400 violins, violas
and horns

Many rhythmic writings are drawn from

classical period:

4. Domine Deus: In b.1-7,

syncopations in R.H piano and dotted
rhythm in the last beat of every bar
are played against a constant pause
in quaver by L.H.

9. Crucifixus: The whole piece except

the last bar. A syncopated figure, 4
Syncopation in melody: In A3 b.98-100
played by muted horns, flutes and
quavers per bar in L.H against offbeat
E.H.; B1 b.403 by flutes; Bridge b.
crochets in R.H.
470-474 before B2, long sync passage
by solo violins; B2 b.481 to last
quaver in 482

Sync that produced by patterns that

accent every third quaver within a
duple/quadruple meter: Link x b.24-27
fast semiquavers exchanged through
strings; Bridge before A5 b.239-245 by
flutes descending chromatic sync

b.443-447: quavers by clarinets, E.H.

later imitated by saxophones and
horns

!
!

Music prescribed work compare and contrast

Repeating rhythmic
figures

Coda: b.635-638 E.H plays accented

quavers, 4 quavers per bar. Giving
out an repeating rhythmic ostinato

The example above can be one

Rossini commonly uses a constant

pulse and sets a rhythmically freer
melodic line or lines against it
7. Cum Santo Spiritu: b.26 onwards

Repeated rhythmic figures in the

accompaniment
1. Kyrie: b.2 by piano, rhythmic
ostinato in L.H
3. Gratias: b.67 onwards piano
rhythmically active
8. Credo: b.18
etc.
Rhythm combining
several different
elements

Displayed rhythmic technique used by

neoclassical composers: Temporarily
switching from duple to triple whist
maintaining strong duple/ quadruple
meter accompaniment pattern:

4. Domine Deus: In b.1-7,

syncopations in R.H piano and dotted
rhythm in the last beat of every bar
are played against a constant pause
in quaver by L.H.

b.655-660 (figure 75): 3/8 link x of

upper strings is combined with A5
idea in 2/4
b. 288-291, 346-348: Crochet and
quaver triplets are sued in places
against regular duplets
Use of triplets

Adding rhythmic drive and interest:

b. 288-291 by flutes and clarinets

b. 346-348 by flutes, oboes, E.H
b. 56-59 by flutes and clarinets

No compile rhythms and irregular

meters are found and movements are
usually in a single meter. Triplets are
occasionally used:

2. Gloria: b.62-68, triplets have

Sextuplets:
appeared in all 4 voices, piano and
harmonium, being made used by the
b.53-53 by flutes chromatic ascending
melismatic text
b. 564-571 (figure 65) consists of
mixture of sextuplets and triplets,
4. Domine Deus: Triplets in b.123 by
giving out rapid wind scales in wind
L.H. piano are against dotted rhythm
section
in R.H.
7. Cum Sancto Spiritu: b.21-23
contains 3 semiquaver triplets in both
hands of piano.
Texture

Music prescribed work compare and contrast

Imitative passages

See Use of imitative figures

A1: b.18-23 Violins, flutes trumpets
and trombones exchange the same
idea, imitating each other
Link x: b. 70-77 bass clarinets
repeated semiquaver figure passed
on to oboes at b.73, then flutes at 76,
followed by slightly imitation by
violins, bassoons, snare and cellos
A3: b.98 Trombones accented
syncopated figure imitated by flutes
trumpet and E.H, creating effect of
Brass to woodwind imitation
b.443-447: Syncopated figure by
clarinets, E.H. later imitated by
saxophones and horns

Countermelodies

A1: b.1-10 bassoons and flutes

8. Credo: In b.104, 110, harmonium
countermelody added against main
plays scales to add countermelodies
melody (walking theme) by violins
or short passages of figuration
B1 (figure 48): b.414-426 cellos
countermelody added against melody
in winds and strings

Varied texture

Texture is almost entirely melodydominated harmony. Exceptions are:

Odd bar of monophony b. 201-202

and b.515
Occasional passages in homorhythm
b.556-559

See Varied instrumentation

Music prescribed work compare and contrast

Held chords/sustained
pedalling

Held chords over which melodic

fragments are sounded are often used
in codetta-like traditional passages:

2. Kyrie: In b.2-8, sustained

harmonies played by harmonium
when the piano has faster-moving
material
b.358-390
strings
and
clarinets
held

5. Qui Tollis: In b.2-10 sustained

chord against embellishments by solo
harmonies played by harmonium
violins and solo E.H
when the piano has faster-moving
material
b.471-481 strings long note held
chords against solo violins, flutes and 10. Et Resurrexit: In b. 336-343 vocals
horns, held chords used as transition
long notes/chord, stressing on
Amen
Pedal notes also appear, often with
changing harmonies above them:

!
!

A3: b.97-105, cello pedals, with

syncopated melody by various
instruments above
b.239-248: cello pedals again with
bassoons joining, while flutes plays
descending figure with chromaticism
Homorhythmic

Occasional passages in homorhythm

b.556-559

Homorhythmic is common in choral

pieces like this:

1. Kyrie: b.17-35 (figure 2) SATB

mostly homorhythmic
8. Credo: b. 28-32
Doublings

Gershwins work is scored for

1. Kyrie: In b. 9-33 harmonium
symphony orchestra, woodwinds with
doubles and support the choir
normal doublings (find example)

In louder passages, extensive

doubling is used, creating a rich, full
sound: Figure 70-75, b.612-663
Instrumentation

Music prescribed work compare and contrast

Varied instruments

Whereas Gershwin varies

instrumentation via use of various
instruments in different section, Rossini
varies the instrumentation from
movement to movement to bring variety
across the work. There are movements
for

Chorus and accompaniment 1.Kyrie

Three solo voices and
accompaniment 3. Gratias
Two solo voices and accompaniment
5. Qui Tollis
Solo voice and accompaniment 4.
Domine Deus, 6. Quoniam, 9.
Crucifixus, 13. O Salutaris
Piano solo 11. Preludio Religioso
Chorus and soloists, unaccompanied
12. Sanctus
Alto solo, chorus and accompaniment
14. Agnus Dei
R!
Use piano to set up the theme using a fixed pattern, later varied little bit!
Harmonium helps vocal/in unison with vocal!
Vocal: unison or homorhythmic or solo or imitation or variation!
Always has rhythmic section, sustained notes/pedalling!

through-composed: modern!

!
!

form: both have introductory material, linking passage!

rhythm: both have steady rhythmic section, sustained pedalling !
oscalliating !
varied texture !
sequence!