Excerpt+11

1. This piece is written for a string quartet (two violins, viola and cello). There is a clear focus on melody and accompaniment throughout the excerpt. a. Discuss the melody throughout the excerpt. b. Discuss the variety of ways the melody is accompanied. media type="file" key="11 Track 11 1.m4a" align="center" width="300" height="50"
 * Track 11: Ravel: String Quartet movt. 3 (1:50)**

**﻿Mati: ** **Same here, exam style and direct from folder: ** **Notes: ** **-solo entry, 2 hits from others - twice arco and then pizz ** **-melody is long & held starting with long note values, then smaller ** **-tremolo accomp ** **-each inst gets the melody one time ** **-contrapuntal - polyphonic, between 3 voices ** **-then chordal ** **A) The melody is sustained and can be divided into two parts. The first features long-short note values, with the longs very long and the second part has more notes all of even and shorter note values. All in all the whole structure can be seen as a seperation of long held notes and then a resolution featuring more notes. The rage is fairly small and hte movement conjunct, no interval greater than a 3rd. Each instrument gets a go at it and each time it is in a different tessitura - in the viola it is low, cello is hight, violin is in the middle. The scale used is pentatonic. ** **B) At the beggining the long held notes are accompanied by groups of 2 chords from the other 3 voices, usually when the held notes grow in intensity in the melody. For the most part the first few utterances are largely monophonic, except where these short chords occur. The chords start arco, but then the 3 group is just 1 chord pizzicato. ** **When the melody is in the cello the chords use more notes nad are moving but take up the same amount of space. A tremolo accomp follows into the violin solo. This peters out to just a couple of sustained notes and some pizz's in the cello. ** **The next section features polyphony. There is counterpoint between two melodic voices and sustained bass notes from the cello. The polyphony is imitative. ** **The final section of this excerpt features chordal homophony, with sustained moving chords underneath the melody. ** //Excellent Mati - you have handled both parts of the questions very well. Also mention tone colours and effects created in the accompaniment. 9/10 //
 * A) Very sustained, use of vibrato, suggests emotion. Medium register, quite mellow sounding, small range only using 4 notes in the Minor pentatonic scale. The second time the melody repeats it starts very loud and is an octave higher, much heavier vribato; faster. Creates a much brighter sound. After the cello, the melody is then passed on to the other instruments, each in different registers. The structure of the melody is split into 2 phrases, 1 having a long sustained not then dropping down, 2 sustained shorter note and then faster note values down. after the Cello solo, the ending is varied, the melody continues to descend, taking the music in another direction. after a brief interlude of chordal tremolo the melody returns in the viola. This melody is practically the same as the original in a slightly different key, then moves into a more flowing melody, very conjunct, passes through other instruments. <span style="color: #ff0000; font-family: Tahoma,Geneva,sans-serif;">﻿ **//<span style="color: #ff0000; font-family: Tahoma,Geneva,sans-serif;">You could also describe the mood created and the character of the melody. //
 * <span style="color: #0000ff; font-family: Tahoma,Geneva,sans-serif;">B) Viola begins the solo line, then the other strings enter with two separated chord hits; Chordal accompaniment to the solo melody, this is then repeated and then at the end of the violas melody, the other strings provide a pizzicato chord. The cello then enters with the melody, the other strings now accompany the cello, this time with a varied chordal accompaniment of quavers slurred together descending and then a break, then landing on a chord as before, this is repeated like the other section as the cello solo continues. **//<span style="color: #ff0000; font-family: Tahoma,Geneva,sans-serif;">Describe the effect created by the different register and tone colour. //**<span style="color: #0000ff; font-family: Tahoma,Geneva,sans-serif;">As the melody has a varied ending, the cello holds the last note as the other strings provide a chordal tremolo accompaniment, moving conjunct in an arch. This then moves and descends down before landing on another note and the viola enters with the melody now. the strings have a sustained accompaniment for the viola underneath, then stop and play a single chord soft hit. As the viola melody progresses the cello provides ascending low pizzicato passages as the other string instruments provide two note chords. Then the music becomes much more lyrical and the melody changes and the chordal accompaniment moves faster and with the melody. **//<span style="color: #ff0000; font-family: Tahoma,Geneva,sans-serif;">Excellent Troy 9/10 //
 * <span style="color: #0000ff; font-family: Tahoma,Geneva,sans-serif;">Troy Rogan ** <span style="color: #ff0000; font-family: Tahoma,Geneva,sans-serif;">﻿The melody and accompaniment within this piece vary a great deal. With both varied melody and harmony, interest is created and the melodic ideas are not overused.

A) 1st melodic idea: Medium register beginning. Tonality is established early on because of the melodic line's frequent return to the tonal centre. Conjunct line with mostly steps and some skips. It is slow-moving and clearly legato. Following this there is a brief pause and the melodic line picks up once more an 8ve higher.

2nd melodic idea: Slightly less focus on tonic. Tonality is still clear however less steps and more skips are used and the melodic idea is slightly more complex and thus seems less repetitive. // More detail on contour, tone colour, scale, articulation, phrasing. //

B)There are quite a few accompaniment ideas used. Articulation is the primary element that aids in the variation of the accompaniment. // √ //The accompaniment line is always quite simple so as not to "drown out" the very simple legato melody. Sudden chordal strikes are first used during sustained note of melody to create tension and resolve in a cadence. Soft pizzicato accompaniment lines follow. Dissonance between the melody and harmony is created momentarily before resolving. Tremolo accompaniment ascending and descending and then stationary adds interest and movement to overall line. Towards the end of the piece, the accompaniment lines become more independent and create a kind of polyphony with the original melodic idea, dissonance is consequently achieved. Finally, sustained chordal accompaniment creates a familiar balance between melody and harmony once more.// Good. Also describe the use of different registers and tone colours. See other responses for ideas on using a bit more detail. 7/10 //

Harriet Davies

A) Throughout the excerpt the melody moves between different instruments, cello, viola and violin. -A legato melody is played by the cello, in the lower end of the cello's range, creating a rich tone colour. The melody is very sustained and slow moving, and uses a minimal range of about 4 or 5 notes and mainly skips and steps.  -A plucked chord states the change into a more building section in which the same melody is played up the octave, conveying a sense of growth and gaining strength.  -The melody moves to the viola and then later the violin. These melodies are slightly more complex and faster moving than the first melody played by the cello.  ﻿//More detail needed on specific melody aspects; contour, scale, note values, character.//

B) The way in which the melody is accompanied varies throughout the excerpt to create interest and variation. -Surging pulses of chordal accompaniment are played by the rest of the string quartet, using rests, so that the sustained melody of the cello remains, clearly distinguishing the roles of melody and accompaniment.  **√**    The accompaniment often imitates the melody ie when the cello plays up the octave so does the accompaniment.  -A sense of uncertainty is conveyed through the wavering tremelo accompaniment, surging with crescendos and decrescendos.  -The texture becomes polyphonic as another melodic line, played by the viola intertwines with the main melody in the violin. The cello has long sustained bass notes, outlining the harmony.  -Towards the end, the texture becomes homophonic, as the accompaniment moves with the melody(in the violin), creating a unified sound. // Good, can also mention the way a variety of articulations, tone colours, instrument registers used to create a variety of accompaniments and effects. // Lena

<span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">﻿a) <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the melody is first played by the cello <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-it is 3 phrases long <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the first 2 phrases identical. They are centered around one note which is held for a long time. At the end of the phrase, the melody descends a minor second then goes back to the original note <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the third phrase has a few more notes and the pitches descend a little lower however it starts and ends on the same central note heard in the first 2 phrases <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the melody is in a minor key, however this is emphasized more through the accompaniment than the pitches of the melody themselves <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the viola then plays the exact same melody, however an octave higher. As it is quite high in the viola's register, it creates quite a yearning feel <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the viola then repeats the melody again in the same octave with different accompaniment <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the viola then develops the melody to one which has a bigger range. Faster note durations are used and the intervals are in general larger than the first melody, creating a disjunct contour <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the other instruments all play relatively complex counter melodies here, making it hard to discern the main melody and adding density and thickness to the texture <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-at the end of the excerpt, the viola plays yet another melody which also has the yearning effect of the first melody due to only using 3 different notes and the slower note durations used.

<span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">b) <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the accompaniment starts very sparse: the rest of the quartet (violins x2 and viola) play 2 chords while the cello holds a long note for the first 2 phrases. In the 3rd phrase, the rest of the quartet just plays one chord, pizz. <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-when the viola takes over the melody, the rest of the quartet plays the same sort of accompaniment as when the cello played the melody, except the chords are slightly varied and they don't play a chord in the 3rd phrase <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-there is then a short tremolo interlude played by the 2 violins and cello. The viola enters into this texture playing the same melody as before and the tremolo becomes accompaniment. The use of tremolo adds tension and anticipation to the mood <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-when the viola plays the more developed melody, all of the instruments play counter melodies in different rhythms which are quite rich and when all heard together sound quite complex. This adds density and richness to this section which further builds intensity <span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">-the last melody played by the viola is accompanied by the rest of the quartet in rhythmic unison. The lessens the complexity of different rhythms previously heard, thus lessening the intensity again

<span style="color: #008080; font-family: Arial,Helvetica,sans-serif;">Emily Sheppard

<span style="color: #800080; font-family: Georgia,serif;">a) The first viola melody opens the excerpt in the viola's low register with long sustained notes. The melody is fairly simple with a slow harmonic rhythm, a small range and a descending melodic line. The viola uses smooth articulation with a abig, wide vibrato to enhance the tone colour of the melody. The cello then takes over the melody and echos the viola melody at the top of its register. The first violin takes over the melody when all of the quartet move into tremelo and the melody is passed down the string quartet before the viola takes the melody again. The last part of teh second part is a repeat of the first melody. The viola holds a long, sustained note before moving into a new section that is slow and lyrical again with a small range in the botton of the viola's register. The excerpt concludes with a disjunct melody in the top of the cello's register with a small range and use of repetition.

<span style="color: #800080; font-family: Georgia,serif;">b) The accompaniment at the start of the excerpt is block chords at the end of the viola melody. The viola begins solo with no accompaniment before the violins and cello answer the viola with two block chord while the viola holds a long, sustained note. The chords are played with a swift articulation using fas bow speed and seperation between the two chords. The second phrase of the viola's melody is accompanied by a single pizzicato chord in the violins and cello. The accompaniment moves to tremelo for the second viola solo with chordal accompaniment in tremelo underneath the viola solo. There is variation on the chordal accompaniment with two quavers preceeding the second chord. After the tremelo section the quartet moves into a polyphonic texture with the accompaniment at the same dynamic level as the viola. There are interweaving melodies in the violins and cello creating a thicker texture with each instrument interweaving their individual melodies. For the fnal cello solo the violins and viola have chordal accompaniment with very fast harmonic rhythm.

<span style="color: #800080; font-family: Georgia,serif;">Justine

<span style="color: #0010ff; font-family: 'Courier New',Courier,monospace;">Matt

<span style="color: #0010ff; font-family: 'Courier New',Courier,monospace;">I did this one like it will be in the SAC (1 playing, 2 mins silence, 2nd playing and 7 mins silence) so this is the transcription of what I wrote down in that time: <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 18pt;">Notes: <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 18pt;">Melody: -Slow, mournful, lots of vibrato heightens emotion, free rhythmically, minor key later moves to maj key, melody floats over accomp, later melody is doubled in a harmony, melody more or less stays the same with repetitive phrases. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 18pt;">Accomp: - swells in unison, very sparse, in harmony, rhythmic accomp, light texture due to silence, shifts to a trilling counter melody, moves into a new theme where all instruments with no really discernable melody part. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 18pt;">Answer: <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 18pt;">a) <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 54pt; text-indent: -18pt;">· The melody from the outset is simple and slow, quite free and open rhythmically immediately evoking a sorrowful, mournful mood and character. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 54pt; text-indent: -18pt;">· The opening melodic theme is played on the cello its rich tone colour accentuated by the emotional use of vibrato contributing to this mood. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 54pt; text-indent: -18pt;">· The tonality also dictates much of the melodies character, beginning in a minor key bringing out the sad character of the piece. However with the modulation to the major key this mood becomes more uplifting. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 54pt; text-indent: -18pt;">· In the opening section the melody seems to sit above the sparse accompaniment, almost floating played freely and expressively, on top of the sparse accompaniment. This creates a freer, open tone colour and texture. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 54pt; text-indent: -18pt;">· In the late sections of the excerpt the melody is played in harmony with the instruments and becomes less discernable with the new more dominant role of the accompaniment. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; margin-left: 54pt; text-indent: -18pt;">· For the most part the melody stays very similar, a clear theme established and maintained until the modulation later in the excerpt. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace;">b) <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; text-indent: -18pt;">· The accompaniment in the opening is very sparse and open, more rhythmic in its nature than really outlining any harmonic progression. These swells in the opening act as the accompaniment however due to the composer’s liberal use of space in these parts, the accompaniment still retains a very light texture. This light accompaniment allows the melody to feature predominantly over the top of this accompaniment, the melody clearly the musical focus. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; text-indent: -18pt;">· This then moves to a new theme, in which the accompaniment progresses to a trilling counter melody. This now becomes more harmonically focused, as well as playing more creates a thicker texture due to the more dominating role of the accompaniment in this section. <span style="color: #0010ff; font-family: 'Courier New',Courier,monospace; text-indent: -18pt;">· In the final bars of the excerpt accompaniment takes on more of a dual melodic role in which two instruments double one melody and two double another melody. Due to this counter melodic music it is difficult to discern which the primary melody is and which is the accompaniment.