MANDATORY: Discuss the 5th movement of Berlioz Fantastic S m!hon in terms of the !

ro"ram# form# themes an$ colours% Briefl $escri&e the !ro"ram% 'n other (or$s# (hat e)tra musical i$eas "ive sha!e to this music* Discuss the form of the 5th movement% +o( are the im!ortant musical themes use$ (ithin the form an$ ho( $o the relate to the !ro"ram* ,hat is the i$-e fi)e an$ ho( is it transforme$ in the 5th movement* ,hat uni.ue instruments an$/or effects are use$ to conve a moo$ or tell the stor * +ector sees himself at a (itches Sa&&ath# in the mi$st of monsters of ever 0in$ "atherin" for his funeral% +ector uses a num&er of instruments in (a s the haven1t &een use$ &efore% These effects also fit the !ro"ram an$ content% +ector uses tu&ular &ells# 0nell tolls (hich is suita&le for the stor &ein" tol$# as this is his funeral% These "ive an eerie# ominous feelin"# the Trum!ets in (hich are the callin" of the (itches# trum!ets !la in" the Dies 'rae to re!resent a $ance theme of the (itches# mute$ &rass instruments in such a (a % The (a in (hich he uses these techni.ues fits (ith ho( the stor is &ein" tol$# almost as ou can envision (hat is ha!!enin" (ithout seein" (hat is "oin" on% The i$ee fi)e is a melo$ that 0ee!s rea!!earin"% This melo$ re!resents his o&session (ith +arriet Smithson% The recurrin" theme im!lies ho( +ector sa( +arriet ever (here aroun$ him% 'n the 5th movement the i$ee fi)e transforms from a 2no&le an$ timi$3 moo$ to a vul"ar transformation# (hich re!resents +arriet comin" to 4oin the Sa&&ath% +ector also use$ counter!oint to "ive a feelin" of tumult an$ or"iastic confusion% '$entif one !erio$ of music histor that a!!eals to ou as a listener an$ e)!lain (h ou fin$ it a!!ealin"% Discuss the st les an$ si"nificant "enres uni.ue to that !erio$% 5ite three e)am!les from the listenin" list% The one !erio$ of music that a!!eals to me the most is the classical era% 't a!!eals to me more than an other era mainl $ue to it1s form an$ use of tonalit % The form the s m!hon "ives me as a listener# the o!!ortunit to follo( ho( the melo$ melo$ an$ music# $evelo!s an$ transforms from one moo$ to another% Beethovens 5th s m!hon is a !rime e)am!le of ho( the main theme is use$ in man (a s% Throu"hout the !iece his fra"mentations# $evelo!ments an$ uses ornamentation to create various e)!ressions from one# four note melo$ $emonstrates ho( one sim!l theme can &e use$ in man (a s% The tonal centre usuall a$$resses the moo$# usin" the minor mo$e for a more fierce or sa$ emotional state% These are moo$s that (ere e)!erimente$ (ith throu"hout !ieces in the classical era% The !iece (oul$ start in the minor 0e # transition into the ma4or 0e # an$ &ac0 a"ain% This ma0es !ieces more interestin" for me# e)!eriencin" several emotional states# &ut (ith the same musical i$ea% The s m!hon (as the main "enre of the classical era% 6ven thou"h it (as first create$ in the Baro.ue era# the $evelo!ment an$ transformation in the 5lassical era "ave it a uni.ue .ualit % The s m!hon normall consiste$ of four movements# each (ith $ifferent tem!os an$ forms% The chan"e in tem!o (as a $istinctive chan"e from the &aro.ue era% No( that music (asn1t inten$e$ for $ance !ur!oses# com!osers &e"an to e)!eriment (ith faster an$ slo(er tem!os "ivin" more e)!ression an$ emotion to the music% The concerto involve$ a soloist instrument an$ the orchestra% This ha$ also evolve$ from the &aro.ue era% The form (as im!rove$ & Mozart% Mozart intro$uce$ the $ou&le e)!osition as the volume from the orchestra can over!o(er the soloist instrument% The $ou&le e)!osition no( "ave the soloist a chan"e to sho( their su!erior talents% You can see this in Mozarts 7iano concnerto#

No%89 in A# (here the orchestra ta0es the lea$ (ith the e)!osition an$ is then !asse$ to the 7iano for their solo e)!osition% This is a classic e)am!le of a concerto% Outline the t !ical four:movement !lan of the classical s m!hon % Refer to tem!os an$ forms% ;sin" "ra!hic illustrations an$ !rose# $escri&e the sonata form in full $etail% Discuss the minuet an$ trio form# an$ the ron$o form an$ "ive letter $ia"rams for each of these t(o forms% 5ite three e)am!les from the (or0s in the listenin" list% The classical !erio$ consists of several movements# (hich contrast in tem!o an$ are com!ose$ in $ifferent musical forms% The first movement# the o!enin" movement# has a fast to mo$erate tem!o an$ is (ritten in sonata form% The secon$ movement# the slo( movement# is (ritten in a slo( or ver slo( tem!o% The form for this movement (as (ritten freel from sonata to ron$o an$ others% The thir$ movement is the minuet an$ trio% This is similar to the Baro.ue minuet# &ut in the classical era com!osers (oul$ re!eat e!iso$es an$ ma0e variations on them% This can also &e 0no(n as ternar form# to in$icate the chan"es of sections %

The sonata form (as ne(l $evelo!e$ in the classical era% The sonata form t !icall consiste$ of an 6)!osition# $evelo!ment# reca!itulation an$ a co$a to finish% The e)!osition (oul$ to !resent the &asic material of the movement% This (oul$ &e"in in the tonic 0e # !la in" the main theme of the movement% Then the &ri$"e (oul$ mo$ulate into the secon$ 0e an$ !ro$uce the secon$ theme an$ ca$ence theme (hich (oul$ lea$ to the $evelo!ment% 'n the $evelo!ment there (oul$ &e mo$ulations (hich (oul$ &uil$ u! tension# then the re:transition (oul$ lea$ the music &ac0 to the tonic 0e to the reca!itulation# (hich (oul$ !la the same themes as the e)!osition &ut it the tonic 0e % The minuet form is consi$ere$ a st lize$ $ance# in a mo$erate tem!o in tri!le meter% +a $ns s m!hon no% <5# movement 9 is a "oo$ e)am!le of a minuet an$ trio% Minuet A Ron$o form $ates &ac0 to the Baro.ue era% Ron$o form ten$s to &e for closin" movements% The intention of Ron$o form is to 0ee! returnin" to a main theme# (hich ma contain variations throu"hout the movement% Ron$o forms contains a re!eatin" theme (hich is contraste$ & several e!iso$es%