1. Romeo and Juliet Fantasy Overture Peter Ilyich Tchaikovsky
Marion Leen
Romeo and Juliet Fantasy Overture Peter Ilyich Tchaikovsky
TITLE PAGE
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2. Syllabus Requirements
Marion Leen
Syllabus Requirements
Identify and Describe the range of musical features used
Study the work’s musical style and place it in its historical context
Be able to analyse and describe patterns of repetition and change within the music
Make comparative judgements about music
Evaluate interpretation and performance in light of the experience attained
Students must understand, identify and describe the range of musical features used
Study the work’s musical style and place it in its historical context
Be able to analyse and describe patterns of repetition and change within the music
Students must be able to make comparative judgements about music
Students must be able to evaluate interpretation and performance in light of the experience attained
USE ACETATE 2
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3. Syllabus Prescribed Areas for Study in Tchaikovsky
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Syllabus Prescribed Areas for Study in Tchaikovsky
Rudiments
Themes – Friar Lawrence, Strife and Love
1999 -Q.1ex2 (ii)+(iii) Q.4 (iii) 2006 –Q.3 (iv) 2011 –Q.3 (ii) 2012 –Q.2 (ii), (iii) & (iv) 2013 –Q.1 ex1(ii), Ex2(i),(iii) & ex3(i) 2017 –Q.4 (ii) & (iii)
Students must be familiar with all note and rest values and all terms signs and symbols used on the score.
Rudiments: key/tonality/time signature/metre/texture etc.
Watch in particular for sections which have changes of speed e.g. Intro and Coda – refer students to analysis template
YOU MUST KNOW YOUR THEMES!

4. Structures Sonata form Overture Programme music
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Structures
Never asked in LC……yet!!
Sonata form
Overture
Programme music
Sonata form and overture have not come up in an exam question!

5. Marion Leen
Overture: a piece of instrumental music composed as an introduction to an opera, oratorio, ballet or other dramatic work, OR as in the case of this overture intended for independent concert performance.
Programme Music: Music which expresses an extra-musical idea, whether of mood, narrative or pictorial image.
Structures Cont.

6. Melodic/rhythmic devices
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Melodic/rhythmic devices
1999 – Q.1A(ii)&(iii) 2000 – Q.4(iv)&(v) 2005 – Q.4(iii)&(iv) 2006 – Q.3(ii) 2007 – Q.4 (iii)&(iv) 2011 – Q.4 (iii)&(iv) 2012 – Q.2 (iii) 2013 – Q.1ex1(iv), Ex3(ii) & (iii) 2017 – Q.4 (ii) & (iv)
Sequences
Pedal Note
Dialogue
Canon
Dactyl figure
Ascending and Descending Scales
Chromaticism
Syncopation
Dotted Rhythms
Triplets etc.
This is the most frequent type of
exam question on Tchaikovsky
Sequences,
Pedal Note,
Dialogue,
Canon,
Dactyl figure,
Ascending and Descending scales,
Chromaticism,
Syncopation,
Dotted rhythms,
Triplets etc.
REFER STUDENTS TO GLOSSARY PAGE FOR A LIST OF COMPOSITIONAL DEVICES
In the exam paper this is the most frequent type of question on Tchaikovsky
REFER THE STUDENTS TO THE COMP. DEVICES IN THE ANALYSIS SHEET

7. Instrumental Techniques
Marion Leen
Instrumental Techniques
Pizzicato – e.g. b.38
Con sordino e.g. b.184
Arpeggiated chords on harp e.g. b.28
Divisi e.g. b.61
Tremelo e.g. b.88
2000 – Q.4 (ii) 2001 – Q.2 (iii) 2011 – Q.3 (iii) 2013 – Q.1 ex1(iv)
REFER STUDENTS TO ANALYSIS SHEET
SEE GLOSSARY PAGE FOR AN EXPLANATION OF THESE TERMS

8. Instruments featured and Performing medium
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Instruments featured and Performing medium
1999 – Q.1A(i),B(ii),C(i) 2000 – Q.4(i) 2001 – Q.2(ii)(iv) 2005 – Q.4(iv) 2006 – Q.3(ii)(iii) 2007 – Q.4 (ii) 2012 – Q.2 (ii) 2013 – Q.1ex1(ii), (iii)
Students must be able
to identify the instruments
playing the main themes
and accompaniment
Two examples are:
1. Friar Lawrence on clarinets,
accompanied by bassoons only
2. Love Theme on Viola and Cor Anglais
accompanied by French Horn, Cello + Double Bass
This is a very frequent type of question in the exam
REFER STUDENTS TO THE ANALYSIS SHEET FOR INSTRUMENTS FEATURED AND LINK WITH THE COMPARATIVE JUDGEMENT STYLE QUESTION

9. Styles and Historical Periods
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Styles and Historical Periods
Musical Features of the Romantic era
Programme features
Features of Tchaikovsky’s style
This type of question usually appears as a
3 or 4 mark question and so requires a detailed and precise answer
2000 – Q.4(v)
2005 – Q.4(v)
2012 – Q.2 (v)
Students must be familiar with the musical features of the era from which the composer comes i.e. Romantic era
Students must be familiar with the Programme features of the work as already covered in SLIDE 4
Students must be familiar with the features of Tchaikovsky’s style
This type of question usually appears as a 4 or 6 mark question and so requires a detailed and precise answer
USE ACETATE 8

10. Features of the Romantic Era 1800-1900
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Features of the Romantic Era
Greater emphasis on individual expression of emotion
Music becomes more descriptive – programme music
Expansion in the size and range of instruments in the orchestra – creates greater orchestral colour
Modulations to unrelated keys :
Db major Love Theme b.184
New harmonies
Long sensuous melodies

11. Features of Tchaikovsky’s Individual Style
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Features of Tchaikovsky’s Individual Style
Juxtaposition of different sections of the orchestra e.g.(b ), (b )
Descending chromatic figure against sequences (b ) – heightens tension and leads to climax
Sequential writing – Friar Lawrence theme heard in F# minor, F minor and E minor.

12. (see analysis template) This question will be a 4 or 6 mark question
Marion Leen
Compare and Contrast
While this does not appear as a
separate area of study, it appears
frequently on the exam paper.
Compare and Contrast all
appearances of the themes
Describe/Compare/Contrast
the music that appears immediately
before or after the excerpt given
N.B. This type of answer must always have a musical feature as its keyword
(see analysis template)
This question will be a 4 or 6 mark question
1999 – Q.1iC(iii) 2001 – Q.2(v) 2006 – Q.3(iii)(v) 2007 – Q.4 (v) 2011 – Q.3 (V) 2013 – Q.1ex2(ii) & ex3(iv) 2017 – Q.2 (v)
REFER STUDENTS TO THE ANALYSIS SHEET AND LOOK AT THEMES USED ACROSS ALL SECTIONS
While this does not appear as a separate area of study in the Syllabus, it appears frequently as a question on the exam paper.
Students must be able to compare and contrast all appearances of the themes in the overture
Students must also be able to describe/compare/contrast the music that appears immediately before or after the excerpt given
N.B. This type of answer must always have a musical feature as its keyword (see analysis sheet)
This question will be a 3/4mark question

13. What are the main Errors in Answering this Question?
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Ticking too few/too many boxes
Blank spaces in questions
Circling/underlining too many notes/words
Not attempting melodic/rhythmic dictation
Describe/Outline/Identify type questions
Musical Vocabulary
Compare and Contrast
What are the main Errors in Answering this Question?
Multiple Choice : Too many/too few boxes/not ticked at all
Melodic/Rhythmic Dictation : You must know your themes
Describe/Outline/Identify : Your answers must be appropriate to the style of question
Musical Vocabulary : Know your compositional devices and don’t mix them up e.g. answering Sequence for rhythmic Device
Compare and Contrast : Refer to BOTH SECTIONS

14. Marion Leen
Recapitulation b.367 (25m)
1999
Exposition b.184 (10m)
2000
Introduction b.38 (10m)
2001
Exposition b.112 (10m)
2005
Coda b.485 (10m)
2006
Exposition b. 213 (10m)
2007
2011
Development b.280 (10m)
2012
Coda b.485 (25m)
2013
Exposition b.125 (10m)
2017
N.B The bar numbers of where the excerpt comes in the work may or may not be given, so you must be able to identify the excerpt from listening only!
Exam questions

15. Marion Leen
Themes overview

16. analysis
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17. analysis
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18. Analysis
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19. glossary
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