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Comment on How Schoenburg Uses the Following Music Elements in Peripetie from Five Orchestral Pieces

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Introduction

´╗┐Rore Erica Okoh 10 Sharman Music GCSE Mrs Yard Comment on How Schoenburg Uses the Following Music Elements in Peripetie from Five Orchestral Pieces: 1. Structure 2. Texture 3. Instrumentation 4. Melody Five Orchestral Pieces is an atonal Expressionist piece. The piece Peripetie is the fourth movement. Peripetie means 'a sudden change of fortune'. The piece is atonal and often with Schoenberg his music is quite dissonant, uses 12 chromatic music notes, has a rondo structure, a wide range of dynamics so a lot of extremes almost like terrace dymanics, the range is from fff to ppp and so only virtuosic could play his music and there is a overly large woodwind section. The movement falls into five sections A B A C A which is a rondo form. ...read more.

Middle

In the first few seconds of the piece the woodwind play triplets whilst the brass does a glissando and the strings are playing pizzicato. When the texture is this Schoenberg uses the ritardando effectively to slow down the sections. He uses extreme not values like demi-semi quavers and combining that with extreme ranges of pitch and dynamics only extremely advanced musicians can play this piece. Due to the ranges the piece sounds quite dissonant and unusual, there are many syncopated rhythms so it is hard to trace the beats. The piece is homophonic for the majority of the time but when melodies start to overlap each other then the parts are polyphonic. The piece is a musical kaleidoscope of constantly changing musical patterns, as it is based on small motifs that are first introduced then developed as the piece goes on, as each motif begins it opens explosively with dramatic and loud playing. ...read more.

Conclusion

and four trombones. Trombones 1 and 2 play a glissando. Motif B is for three flutes and piccolo, three oboes and cor anglais, three clarinets in B flat and one in D. he uses a lot of accidentals creating the dissonance that Schoenberg attempts to create. Six horns play loudly to introduce Motif C with triplets but this time triplet quavers. And also a dissonant interval of a 7th. The motifs are developed in the middle three sections. Imitation is used where a motif in one part is repeated in a different part overlapping the motif in the first part, Diminution aswell where the note values are halved. Schoenberg uses melodic inversion, where the melody is turned upside down. In the final section there is an orchestral tutti. The motifs are piled up on top of each other and are played in counterpoint. The motifs are heard in canon. . ...read more.

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This is a good evaluation of the extract and includes most of the important points. I would recommend that the writer structures the essay under the headings bulleted in the question.

Marked by teacher Nathan Smith 19/03/2013

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