Poulenc week 20 bars 1 to 22

Poulenc week 20 bars 1 to 22

Analysis and explanation of key features

Aims and Objectives

Objectives

1 To explore the movement up to the end of Bar 22

2 Identify and explain particular harmonic devices used

Neapolitan Relationship

Clarification on the use of "Neapolitan Relationship"

Chief Examiner (eduqas)

I would say that "Neapolitan Relationship" can be used in two ways- as a specific 1st inversion chord on the flattened supertonic (though it does not have to be in 1st inversion) but also in a broader context, where it can be used to describe a more general chromatic harmonic movement involving major chords on flattened supertonics of prevailing key centre, or indeed, as a description of a key change related by a semitone (as was the case in a Debussy Nuages question this year).

Bars 1 -4

The movement begins firmly in B flat major (with appropriate key signature) with a 4-bar phrase,

all over a tonic pedal, which ends with a perfect cadence (bars 3-4) in the tonic key of Bb.

Multiple Choice

What is a tonic pedal?

• A sustained tonic note, typically in the bass, during which at least one foreign (i.e. dissonant) harmony is sounded in the other parts.

• A sustained tonic note, typically in the bass, with static harmony sounded in the other parts

Multiple Choice

How does the pedal contribute to the analysis of the harmony?

• It is included in the analysis

• It is excluded from the analysis

Perfect cadence

As you know , a perfect cadence is a V(7) to I chord progression that acts as a kind of full stop to a phrase . There is a perfect cadence at bar 3 and 4, can you analyse the chords that have been used?

Analyzing harmony

Firstly, establish the harmonic rhythm, so that you know where the chords are. Next look for what can be left out (the pedal). Now work out what the chords are by identifying the individual pitches

Bars 5 to 8

A second phrase (bars 5-8) on bassoon introduces a complementary 4-bar melody that tonicises the dominant – a typically Classical gesture – the opening tonic pedal being resolved.

Bars 9 to 12

The next (4-bar) phrase (bars 9-12) begins a quaver early with the insertion of a 3/8 bar

Multiple Choice

What is this insertion of a new time signature typical of in this style of music?

• Its neoclassicism

• Its Impressionism

• A serial gesture

• Dodecophany

Harmonic features of bar 13

Look at the harmony in Bar 13 and see if you can work out what harmonic feature is being used?

Multiple Choice

Bar 13 is using what type of harmonic progression?

• A cadential 6/4

• A Neapolitan 6th

• A German 6th

• A diminished 7th

Bars 12 to 15

Poulenc introduces another new melodic which is answered by a new 2-bar phrase (bars 13-14).The music quickly moves away from B flat, with brief tonicisations of E flat major (bar 11) and D flat major (bar 12) cadencing in A flat major in bar 14. There are some effective harmonic touches here, with the chord in bar 13.1 acting as a pivot chord to produce the tonicisation of A flat from D flat.

Modal Mixture?

Modal mixture (also called modal borrowing) refers to the use of chords belonging to a parallel key—for example, a passage in F major incorporating one or more chords from F minor. Note that, like with the use of applied chords, this does not necessarily constitute modulation.

Bar 17

The 2-flat key signature disappears at bar 17 and never

reappears.

Bar 19

The oboe presents yet another new 2-bar melody in bars 19-20, though for the most part it copies the rhythms of the bassoon’s previous two bars (17-18), and reaches an imperfect cadence in B major/minor in bars 20-21. There is an interesting harmonic feature in bar 21, one that is intensified in later stages in the movement. Though the C major chord over an F sharp could be thought of as a Neapolitan chord over a dominant pedal, it is best analysed as an octatonic element.

Octatonic elements?

Octatonic scales are also called diminished scales. They are made up of scales that built on tone, semitone intervals. An octatonic scale contains two diminished seventh chords and has a very chromatic sound.

Where Poulenc uses a C major broken chord over an F# this could be seen as part of an octatonic scale (see next slide)

Octatonic scale from C

Notes: C, Db, Eb, E, Gb, G, A, Bb, C

Here we can see how the F# in the bass is part of this octatonic scale as well as the C,C,G and C of the C major broken chord.

Bar 22 is octatonic also

At the start of bar 22, a dominant 7" chord on F# prepares the way for the move to B minor at bar 23. However, this dominant 7* chord is decorated with a descending octatonic scale (piano right hand), creating further subtle

chromaticism and dissonance.

Bar 22 is octatonic also

At the start of bar 22, a dominant 7" chord on F# prepares the way for the move to B minor at bar 23. However, this dominant 7* chord is decorated with a descending octatonic scale (piano right hand), creating further subtle

chromaticism and dissonance.

What to do now

• Make a list of each of the key "events" up to bar 22. these should include:

• Key centers

• Melodic elements

• Harmonic features such as dominant, diminished and Neapolitan chords

• The use of certain scales

• Changes in time signature