Stravinsky+-+Symphony+of+Psalms+(Maxim+Sheko)

Element - harmony:
 * recurring E minor chord (requiring most instruments)
 * opening double reed figure is based upon G and Bb dominant 7ths (this relation and slightly chromatic harmonic shift creates tension and a sense of unpredictability in terms of tonality, tritone relationship to the E minor chord)
 * flattening notes in such sequences to make the tonality even less clear
 * in the 3 bars leading up to figure 2, oboe has some dissonant clashes with piano (major and minor 2nds, tritones)
 * use of E drone (effectively the movement's tonal centre) which is fitting for the plainchant melody, both of which look back to the medieval style
 * when oboe doubles the plainchant melody 2 8ves above altos, a very cold harsh effect is created not only by the wide gap between, better the extremity of oboe's register
 * before the plainchant is officially introduced in alto, it is foreshadowed in different instruments, based on different scales/modes (piano uses Abs and Bbs which is far for the E mode), sometimes using tones instead of semitones
 * the plainchant melody itself only uses semitones (the same 2 notes)
 * open 5ths and other wide or dissonant intervals in the choir create a cold timbre and a sense of bareness
 * A later low string ostinato is introduced which uses a descending broken minor 3rds pattern, a slightly dissonant interval, especially when sequenced down a semitone
 * near the end, the vocal leaps become much wider and further chromatic notes are added that have little relationship to the general E mode being set up, which creates further tension and excitement
 * The unison (doubling ) of many parts creates a suspenseful atmosphere (eg. at figure 12 over the drone, gives impression that the end is near)

4 examples of repetition:
 * the E minor chord returns many times and acts as an interruption to phrases
 * the opening double reed figure although not exactly repeated is further developed with the notes being altered; the basic figure being augmented or diminished; or new articulations being added (sometimes a few at the one time to create a heterophonic texture, eg. slurred in one bassoon and staccato in another while being unison in terms of the notes themselves)
 * Low string ostinato repeats and is developed through the low brass to have major seconds rather than minor 2nds. The initial appearance of this idea uses a very short staccatissimo, but later the stroke becomes less short
 * the plainchant melody repeats many times, and in itself it is very repetitive as it only uses 2 notes that are a semitone apart. The figure varies later, with some notes being held longer (sometimes over a bar line) and it is placed in different meters (2/4, 4/4, 3/2)

texture:
 * many times, a heterophonic texture is exploited by doubling a particular idea but changing the articulation (as mentioned in point 2 of repetition)
 * there is a common juxtaposition of monophonic and polyphonic texture: the monophonic lines are usually doubled unison or 8ves, the polyphonic sections comprise of usually three layers, the plainchant melody (or something like it), a bass drone and the semiquaver ostinato introduced by the double reeds at the beginning (in a fragmented but repetitive form). This last idea is augmented in some of the layers which creates a heterophonic effect while also being polyphonic.

Dynamics - very wide range, sudden dynamics - typical in 20 th century music. - very detailed, abrupt changes. - not much use of crescendos and decrescendos - typically used in romantic music which stravinsky avoided.