This page was last edited on 02/03/06
This page was last edited on 02/03/06
Look at the tune and then answer the questions.
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How an idea might develop.
You need to look at the music which goes with this sheet.
1 What is the key of the piece?
2 A noticeable feature of bar 1 is the drooping semitone B - A# - B.
List all the bars which contain a drooping semitone.3 What, do you think, is the most noticeable feature of bar 2?
4 List all the bars which seem to contain that feature.
5 What is the interval between the last note of bar 1 and the 1st note of bar 2? 6 What is the interval between the last note of bar 5 and the 1st note of bar 6? 7 To what key does the music modulate in bar 6? Does it stay there?
8 Where does the idea in bar 9 come from?
9 How is bar 10 related to bar 9?
10 How has bar 2 been developed in bar 15? 11 How has bar 1 been developed in bar 21? 12 Compare the last 4 quavers of bar 1 with the 1st 4 quavers of bar 25.
13 Compare bar 26 with bar 25. 14 How are bars 29 & 30 related? 15 What is the key of bars 25 to the 1st half of 36? 16 What is the form of the piece? 17 Name three orchestral instruments which could play this tune 18 (Advanced research) Could a piccolo play this tune? 19 Bar 14 is a (transposed) inversion of bar 13. What do you think 'inversion' means.
20 What is the range of the tune?
| 1 |
What is the key of the piece? G major. |
| 2 |
A noticeable feature of bar 1 is
the drooping semitone B - A# - B. 1, 5, 11, 12, 17, 20, 21, 25, 26, 35. |
| 3 |
What, do you think, is the most noticeable feature of bar 2? The syncopation caused by the quaver-crotchet rhythm which falls a 3rd. |
| 4 |
List all the bars which seem to contain that feature. 6, 15, 18, 22, 27, 29, 30, 33, 34. (See question 10) |
| 5 | What is the interval between the last
note of bar 1 and the 1st note of bar 2?
A (perfect) 5th. |
| 6 | What is the interval between the last
note of bar 5 and the 1st note of bar 6?
A (major) 6th. |
| 7 |
To what key does the music modulate in bar 6? Does it stay there? C major. No; it is back in G major at bar 8. |
| 8 |
Where does the idea in bar 9 come from? Bar 4. |
| 9 |
How is bar 10 related to bar 9? It is a sequence of it. |
| 10 | How has bar 2 been developed in bar
15?
The 'dot' in the rhythm has been replaced by a note which returns the falling 3rd to the pitch it started on. |
| 11 | How has bar 1 been developed in bar
21?
The minim has been replaced by quavers. (G, lower auxiliary, G, then passing note) |
| 12 |
Compare the last 4 quavers of bar 1 with the 1st 4 quavers of bar 25. The last two quavers make an interval of a 3rd in bar 1 whilst in bar 25 the last 2 quavers make the interval of a 4th. |
| 13 | Compare bar 26 with bar 25.
Essentially a sequence, but note the falling 5th instead of a falling 4th. |
| 14 | How are bars 29 & 30
related?
30 is a sequence of 29. |
| 15 | What is the key of bars 25 to the 1st
half of 36?
E minor. |
| 16 | What is the form of the piece?
ABA or Ternary |
| 17 | Name three orchestral instruments
which could play this tune.
Violin, Clarinet, Trumpet. There are others. You might like to consider for which instruments is the tune suitable. This question really asks pupils to think about the written ranges of instruments. I suppose a good 'cellist good actually play it !!! |
| 18 | (Advanced research)
Could a piccolo play
this tune?
No. The lowest note of a piccolo is a D. Incidentally the flute cannot play it either as the lowest note of a flute is a C. |
| 19 |
Bar 14 is a (transposed) inversion of bar 13. What do you think 'inversion' means. Upside down. |
| 20 |
What is the range of the tune? B to top G = a 13th. |