Leaving Cert Music
  • Welcome
    • 5th yr xmas '15
    • 5th Year Xmas test '12
  • Composition
    • Basic sight singing
    • Harmony homework
    • Melody Homework
    • Tonic Solfa and basic rhythm >
      • 4-bar pentatonic
      • 16-bar Rhythmic plan
    • 8-Bar melodies >
      • In G
      • In D
      • In A
      • In E
      • In F
      • In Bb
      • In Eb
      • In Ab
    • Form/Cadence
    • Modulation/Sequence
    • Minor - Theory and listening >
      • Minor Harmony Q.5 2012
      • Minor Tonic Solfa
    • Sample melodies >
      • 2012
      • 2008 and 2010
      • 2007 and 2009
      • Q.3 2006 and 2010
    • Rules - guidelines >
      • Scales and chords
    • Harmony Basics >
      • Harmony 2005
      • Harmony Loose ends
  • Bohemian Rhapsody
    • Form and Audio
    • Instruments
  • Romeo and Juliet
    • Themes
    • Video
    • Structure
    • Glossary of Terms and other features
    • Work sheets
    • Exam questions
  • Bach Cantata
    • 1st Movement - Chorus
    • 2nd Movement - Aria Duet
    • 3rd Movement Tenor Recitative
    • 4th Movement Tenor Aria
    • 5th Movement Bass Recitative
    • 6th Movement Bass Aria
    • 7th Movement - Chorale
    • Tonality and Form
    • Hymn
    • Important Terms
    • Comparisons
    • Test
  • Piano Quartet
    • Section by Section
    • How to remember all the sections
    • Use of Canon
    • Themes
    • Glossary of terms
    • Time Signatures
    • Exam questions
  • Traditional Irish Music
    • Listening to Traditional Irish Music >
      • listening practice
      • Trad past paper listening excerpts
    • Traditional Irish Dance Music
    • Céilí bands
    • The Irish Harp
    • Traditional Instruments >
      • Uilleann Pipes
    • Sean Nós Singing
    • The song tradition
    • Regional Styles
    • Ornamentation
    • Seán O'Riada
    • Changes/ Developments
    • Fusion
    • Michael McGlynn, Dúlamán, (fusion)
    • American folk
    • Collectors
    • Danu
    • Muireann nic Amhlaoibh
    • Organisations
    • The exam
  • Listening
    • Style
    • Listening homework
    • Texture
    • Timbre
    • Tonality
    • Form
    • Tempo, Dynamics, Articulation, Pitch
    • Q.6 Unprepared listening excerpts
    • Un-prepared "Analysis" >
      • Halleluia Chorus
      • Muse - Exogenesis symphony pt.3
      • Stravinsky L.C. '0
      • Dambusters
      • Inception - Hans Zimmer
      • timedance and iris
    • Great Music >
      • Beethoven
      • Stravinsky's Rite of Spring
      • French Impressionism
  • The Beatles
    • Sgt. Pepper album
    • George Martin's recording notes
    • Sgt. Pepper song
    • She's Leaving Home
    • When I'm 64
  • Seachanges
    • Homework
    • Introduction
    • Section 1
    • Section 2
    • Section 3
    • Section 4
    • Section 5
    • Section 6
  • Berlioz
    • Ideé Fixé
    • 2nd movement "A Ball"
    • 4th Movement "March to the scaffold"
  • Mozart
    • Themes
    • 1st Movement - Sonata Form
    • 2nd Movement - Ternary form (ABA)
    • 3rd Movement Sonata Rondo form
    • Score and Tonality
    • The piano
    • Documentary - The genius of Mozart
    • Key Listening practice
  • Course Content

 First movement

Features of theme 1
Structured in 2 4-bar sections
Begins on soh
broken chord in bar 2
Sequence a 3rd above, in bar 6
Staccato scale passage
4 chromatic notes
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Features of theme 2
This theme is never played by the piano
Based on a 6 note motif featuring repeated notes and an appogiatura (lit. "lean")
Sequences up a 4th 
Semiquavers are developments of the main idea
ends on a perfect cadence in the key of E (dominant)
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Features of theme 3
Slightly more lyrical theme (2nd subject)
again features appogiaturas, repeated notes, scales passages, chromatics and sequences
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Features of theme 4
Dotted rhythm and jump of a 4th
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Features of theme 5
In the key of E major, the dominant. Note the key signature doesn't change, D sharps are used instead.
Long note rhythm with tied notes and dotted rhythm
Begins on the 3rd beat of the bar.
Also note chord V7 (B7) in the 2nd and 3rd bars and chord IV (A) in the 4th bar, as well as the trill near the end.
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2nd movement

There are 4 themes in the 2nd movement. The 1st 3 make up section A while the 4th theme makes up section B. It's in ternary form, ABA.
Features of theme 1
Scale passages and broken chords with some wide leaps of a 6th and 7th.
Note the chord of F# minor in bar 1 and G major in bar 10 and the E# (sharpened 7th) in bar 4.
Also note the dotted rhythm, demi semi quavers and syncopation.
Solo piano, R.H. melody, L.H. block chords in accompaniment.
Good example of an imperfect cadence at bar 4. Perfect cadence at bar 12.
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Theme 2
This theme features sequences, imitation  (polyphonic) and  syncopation. Also note the featured instruments clarinet,flute and violins, imitated by bassoon (Bass clef). The texture becomes richer towards the end as more instruments join in.
The rhythm is mainly even notes.
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Theme 3
The first 5 notes (demisemiquavers) is an ornamentation ("turn") of the main note C# and is one of the main features of the section. Other melodic features include the chromatic scale passages, repeated notes and broken chords in the last few bars.
The dotted rhythm is the main rhythmic feature.
Solo piano for the first 5 bars (R.H. melody, L.H. accompaniment in block chords)
Strings join in at bar 6
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Theme 4
This theme, which the B section is built around is in A major, the relative major of F# minor.
The "turn" from the 3rd theme is present again as are the scale passages and repeated notes.
Other main features include the parallel 3rds between the flute and clarinet and later bassoon, and the broken chord accompaniment on clarinet featuring triplets (3 notes in the time of 2). Listen out also for staccato descending scales, a perfect cadence in A major just before a modulation back to F#m
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3rd movement
The 3rd movement is in A major again and 2/2 time at a very fast tempo. The form is not as clear as the other 2 movements. It's a mixture of Sonata form and Rondo form (ABACADA etc)
This is the first half of theme A, featuring a jump of a 5th and an octave followed by scale passages.
Observe the alberti bass accompaniment on the piano at the start. Also notice the terraced dynamics(sudden contrast in dynamics on repeats), a feature of this era.
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The 2nd half is based on a simple rising sequence which is imitated a half a bar later by lower strings. Also notice the dialogue between the different instrumental groups, strings to woodwind x2
Note; repetitions or simple sequences are likely "dictation" questions
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Theme B is introduced again as solo piano, no alberti bass at the start this time. Again there's ornamentation and scale passages. Notice the parallel 3rds on clarinets on the repeat. The excerpt begins several bars before the theme begins as there's an excellent example of a perfect cadence.
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The next theme is in the dominant minor, Em. (The dominant key is E major, the expected modulation.) Played by woodwind first, it is repeated in an ornamented (developed) way by piano. Again notice alberti bass.
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The key here is E major. As expected, he has modulated to the dominant. The consistent D#s means that there are 4 sharps at this point in the work. Yet again,  a rising sequence is the feature of this theme.
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Descending scale passages with rising arpeggios (broken chords) feature here. This time the key is F#m, the relative minor of A major. The regular E#s are the sharpened 7th in the key of F#m.
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This theme is in the key of D major. At this point there 2 sharps in the piece
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