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Hemiola bar 27
•
Diatonic/conjunct/triadic melodies
•
Melodies based around first few bars
•
Use of sequences
•
Suspensions, eg double suspension bar 29
•
Functional harmony with cadences
•
1 chord per beat
•
Modulates to closely related keys
•
Binary form
•
Polarised/Imitative/fugue-like/contrapuntal texture
•
Stretto entries
•
Use of basso continuo
•
Ornaments
•
Some chromatic melodies
•
Periodic phrasing
•
Sudden dynamic changes
•
Sequences
•
Diatonic harmonies
•
One chord per bar
•
Cadential 6/4 bar 97
•
Use of pedals
•
Use of alberti bass
•
Modulates to closely related keys
•
Sonata form, with slow introduction
•
Melody dominated homophony texture
•
Chromaticism bar 55/56
•
Solo viola, was uncommon before romantic period
•
Woodwind family is prominent in melody
•
Con sord., ppp, extremes in dynamics
•
Use of idee fixe
•
Diminished 7ths in harmony
•
Use of harmonics in harp
•
Use of crooked horns, wouldn't have been crooked if composed later
•
Unusual choice of instruments, piccolo, harp, cor anglais
•
Programmatic nature
•
Wide range of rhythms - syncopation, running semiquavers, constant triplet quavers
•
Extreme tempo changes in no 11
•
Periodic phrasing
•
Chromaticism in no 11
•
Diminished 7ths in no 1
•
Little/no modulations
•
Rounded binary/rondo form common in romantic period
•
Miniatures/character pieces
•
Use of secondary dominant (dominant of the dominant) in no 11
•
Hemiola bar 27
•
Diatonic/conjunct/triadic melodies
•
Melodies based around first few bars
•
Use of sequences
•
Suspensions, eg double suspension bar 29
•
Functional harmony with cadences
•
1 chord per beat
•
Modulates to closely related keys
•
Binary form
•
Polarised/Imitative/fugue-like/contrapuntal texture
•
Stretto entries
•
Use of basso continuo
•
Ornaments
•
Some chromatic melodies
•
Periodic phrasing
•
Sudden dynamic changes
•
Sequences
•
Diatonic harmonies
•
One chord per bar
•
Cadential 6/4 bar 97
•
Use of pedals
•
Use of alberti bass
•
Modulates to closely related keys
•
Sonata form, with slow introduction
•
Melody dominated homophony texture
•
Chromaticism bar 55/56
•
Solo viola, was uncommon before romantic period
•
Woodwind family is prominent in melody
•
Con sord., ppp, extremes in dynamics
•
Use of idee fixe
•
Diminished 7ths in harmony
•
Use of harmonics in harp
•
Use of crooked horns, wouldn't have been crooked if composed later
•
Unusual choice of instruments, piccolo, harp, cor anglais
•
Programmatic nature
•
Wide range of rhythms - syncopation, running semiquavers, constant triplet quavers
•
Extreme tempo changes in no 11
•
Periodic phrasing
•
Chromaticism in no 11
•
Diminished 7ths in no 1
•
Little/no modulations
•
Rounded binary/rondo form common in romantic period
•
Miniatures/character pieces
•
Use of secondary dominant (dominant of the dominant) in no 11
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