| 153 |
|
What does FF mean? Is this an indication of decibel loudness or some compensation for timbre. |
Here it is a compensation for Pizz timbre in order to balance the ensuing orchestration cell |
|
| 154-155 |
|
Look at the phrases at (158-159,163-64 & 167-168) and (156-157, 160-161, 164-165, 168-169) |
Discuss Orchestral Cells |
Show block architecture
|
| 154 |
RH |
Voicing of Winds in the Cell |
Discuss avoidance of Jumping in various instruments: Only really necessary in top voice |
Show on board
wind voicing
|
| 8 |
|
Voicing of strings in the cell |
Discuss voice xing in Viola to sustain the A
Follow each voicing on the board. |
|
| 157 |
|
Voicing of Tenor Sustained D and Bass E-A |
In order to maintain the movement of the lines in the strings its given to the horns and Bsns + Pizz Bass respectively |
Horns and Bsns thus become their own cell with Strings |
| 157 |
Dynamics |
Is this an orchestrational cresc/dim or simply dynamic |
When in a cell, in order to preserve the integrity of the cell you will often just do it with dynamics and not with orchestra |
|
| pg. 10 b170 |
|
Piano has Fore and back ground. How can we create a middle ground? |
Sop & Alto verbatim octaves in V1+2
Vc & Bass take pickup and 1+2
2+ - 3 derived as new middleground +8vb winds
|
Write pno version and show derivation of new line
Notice the continuity of the derivation to H |
| b173 |
|
Introduce completely new figuration in winds |
|
|
| b172-173 |
|
Cresc-Dim |
written for all inst. + added single horn |
|
| 176 |
|
Cresc brings out the foreground |
Now adds 3rd octave foreground in viola |
|
| 182 |
Letter H |
Horns note the pedal
otherwise similar as before. |
notice the octave shifts give texture and interest to the player but rarely effect the sound significantly. |
Keep the players happy and engaged. |
| 186 |
|
Fp in tuba half notes |
set up the stringendo and brings attendion to the descending dotted dsuaters. |
also note the dovetail over lap on the downbeat makes the phrase end at the fp |
| 187 |
Stringendo |
stringendo is getting faster and louder the indication in the piano is to really bring it to the climax |
Fore ground now has V1,2,vla & Vc playing in 3 octaves with 2x in winds |
Trumpet is added at cresc |
a. Piano version contains Fore & Back only
b. by giving octave left hand to 4 winds, in weak registers, and isolating their timbre, Tschaikovsky clarifies this element to a middle ground status.
c. He contrives a background figure between the bass, vc, and vla who all play derivations of the notes in the LH.
d. at the cresc/dim he adds just one horn playing an outline of the harmony which fills in the harmony of the singlular bass notes.
e. Note the mixted string texture pizz bass arco uppers
f. note the text marking molto cantabile ed espres.
g. Letter H in score note French Horn pedal on concert A
H. 186 Tschaikovsky makes an event with Fp to set up stringendo
i. AT Stringendo notice he does not really change the orchestration and although he adds instrumentation through the crescendo it is not a dramatic addition. This is more of a dynamic crescendo that orchestral one. However he does now add the celli in the melody 3rd octave below and switches the flutes and eventually clarients to playing not the middle ground but the foreground. He does hold out on the trombones...
b194 Tempo I Climax.
a. Trombones enter for first time at climax with fanfare
b. Trumpets drop to provide contrast at 196
