Quartet Op. 22: movement I – Revision Notes

Image © Jenny Armitage

Bars to Remember:

  1. Fortissimo Climax – Bar 22
  2. Five-Octave Leap – Bar 22
  3. Retrograde of Bars 1-5 – Bar 24-27
  4. Dissonance (Major 2nd Interval) – Bar 2

Tonality:

  1. Atonal (Every note completely equal)
  2. Relationships between tone rows transpositions mirror tonal music.

Harmony:

  1. Dissonant Throughout
  2. First chord in 2nd bar produces Major 2nd interval
  3. No consideration of Intervals (Pitch Class rather than Pitch)

Melody:

  1. Angular Melodies [Pitch-Class Melody]
  2. Klangfarbenmelodie [Split Music Between Instruments]
  3. Fragmentary Melody
  4. Pointillist (Splashes of Colour)
  5. Bar 22 (Five-Octave Leap)

Structure:

  1. Bars 1-5 Intro
  2. Bars 6-15 A (Exposition)
  3. Bars 16-23 B (Development)
  4. Bars 24-27 Link
  5. Bars 28-39 A (Recapitulation)
  6. Bars 39-43 Coda
  7. Modernized Sonata Form (Ternary + Intro + Coda)
  8. Extreme Brevity (Condensed & Short Themes)
  9. No key relationships thus modernized!
  10. Uses Tone Rows

Instrumentation:

  1. Piano, (Tenor) Saxophone, Clarinet, Violin
  2. Contrasting Timbres
  3. Wide variation of techniques (e.g. Mutes on Violin in Bar 24)
  4. Extremes of Instrument Range
  5. Piano 2 Hands Often Separate Voices
  6. Detailed Dynamic Range (Use of fp)

Texture:

  1. Small Points of Instrumental Colour) (Pointillism)
  2. Fundamentally Polyphonic and Contrapuntal
  3. Klangfarbenmelodie (Split Between)
  4. Sparse / Often Monophonic
  5. Texture fills out in Bars 20-23 (Climax)
  6. Use of Mirror Canon in Voices (Contrapuntal)

Rhythm:

  1. Rhythmic Cells frequently used
  2. Frequent Rests
  3. More continuous semi-quaver rhythm in Bar 20-23
  4. Pause Mark used before Recapitulation in Bar 28
  5. Ritardando / Calando marks (Flexible rhythm)
  6. Triple Time always (3-8, 4-8, 5-8)

-Josh

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