BEETHOVEN 1 On the Classical-Romantic border…. LEARNING OBJECTIVES To revise the background and instrumentation of the Septet To revise the background.

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Presentation transcript:

BEETHOVEN 1 On the Classical-Romantic border…

LEARNING OBJECTIVES To revise the background and instrumentation of the Septet To revise the background and instrumentation of the Septet To analyse the introduction in detail To analyse the introduction in detail

BACKGROUND Septet: movements (like a Mozart Serenade e.g. Eine kleine Nachtmusik) Chamber music

INSTRUMENTATION Septet (rare; no standard set) Septet (rare; no standard set) Clarinet in B b Clarinet in B b Bassoon Bassoon Horn in E b (what is it usually in?) Horn in E b (what is it usually in?) Violin Violin Viola Viola Cello Cello Double Bass (why is this unusual?) Double Bass (why is this unusual?) Bass-heavy Clarinet as important as violin, shares melody Comment on relationship between Vc & Db How many distinct notes are played by the horn? Why might this be relevant?

MATCH UP MATCH UP find example bar numbers Clarinet Clarinet Bassoon Bassoon Horn Horn Violin Violin Viola Viola Cello Cello Double Bass Double Bass Main melody Harmonic backup Bass part Arpeggio accompaniment

INSTRUMENTATION 3 Effects worth knowing about: Effects worth knowing about: Double/triple/quadruple stopping (find examples of each) Double/triple/quadruple stopping (find examples of each) Use of extremely high violin range (above ) rare – but find an example Use of extremely high violin range (above ) rare – but find an example NO use of pizzicato NO use of pizzicato Articulation and dynamics – detailed (typical of LvB, atypical of earlier Classical) Articulation and dynamics – detailed (typical of LvB, atypical of earlier Classical)

INTRODUCTION Adagio Adagio Not repeated Not repeated Ideas introduced (when do we see them again?) Ideas introduced (when do we see them again?) MELODY MELODY Long chords (1, 3) Long chords (1, 3) Acciaccaturas (2) Acciaccaturas (2) Rising arpeggio (3) Rising arpeggio (3) Falling scale (3) Falling scale (3) TEXTURE: Antiphony, Homophony, Monophony TEXTURE: Antiphony, Homophony, Monophony

INTRODUCTION 2 HARMONY HARMONY Analyse chords 1-8 (BEWARE transposing instruments,  ) Analyse chords 1-8 (BEWARE transposing instruments,  ) Chord bar Chord bar , difference? 8-10, difference? TEXTURE TEXTURE Dramatic contrasts (very Beethoven) Dramatic contrasts (very Beethoven) Describe how the texture varies in 3 sentences Describe how the texture varies in 3 sentences RHYTHM RHYTHM Demisemiquavers bar 12 – briefly against triplet bar 14 Demisemiquavers bar 12 – briefly against triplet bar 14 Bar 17 very clarinetty Bar 17 very clarinetty

STRUCTURE CHECKUP Make sure you have these marked in Make sure you have these marked in INTRODUCTION bar 1 INTRODUCTION bar 1 EXPOSITION bar 19 EXPOSITION bar 19 1 st Subject 19 1 st Subject 19 Transition 40 Transition 40 2 nd Subject 53 2 nd Subject 53 Codetta 99 Codetta 99 DEVELOPMENT bar 112 RECAPITULATION bar st Subject 154 Transition nd Subject 188 CODA bar 233 Extension Look through the development section and find the perfect cadences. Make a list of bar numbers and keys

PLENARY The septet is a string quartet plus 3 wind instruments The first chord is a funky E b 6/9 The movement is a typical example of Classical music E b major is chosen because it is an easy key for the strings