BARBER OF SEVILLE OVERTURE
by EVA MEADE
1. PITCH
1.1. E-MAJOR
1.1.1. GOES TO E MINOR DURING THEMES
1.2. ASCENDING MELODIES; CONCLUDED WITH SLOW DESCENTS
1.3. SMALL INTERVALS, 1-3 SEMITONES, BETWEEN NOTES
1.4. SCALE RUNS FOR DRAMATICS AND TO CONCLUDE MELODIC IDEAS
1.5. MANY OSTINATOS
2. TIMBRE
2.1. FLUTE
2.2. PICOLLO
2.3. TIMPANI
2.4. STRINGS
2.5. OBOE
2.5.1. SOLO PART
2.6. CLARINET
2.6.1. SOLO PART
2.7. BASSOON
2.8. TROMBONE
2.9. SAXOPHONE
2.10. BRIGHT TONAL QUALITY
3. STRUCTURE
3.1. LOTS OF HIGHER-PITCHED WOODWIND INSTRUMENT SOLOS INSTEAD OF VIOLINS
3.2. FAST DRAMATIC SECTION TO SLOWER SWEET SECTION
3.2.1. CONTRAST
3.3. 7 MIN LONG
3.4. DOES NOT FORESHADOW ANY OF OPERA'S MOVEMENTS; INSPIRED FROM PREVIOUS WORKS
3.5. INTRODUCTION
3.5.1. Andante sostenuto (pp. 1 – 2)
3.6. FIRST AND SECOND THEMES
3.6.1. Allegro (pp. 2 – 8)
3.7. CODA
3.7.1. Più mosso (p. 8)
4. RHYTHM
4.1. RHYTHMIC ACCOMPANIMENT DOES NOT MAKE AN IMPACT
4.1.1. QUAVER + 4 SEMI-DEMI-QUAVERS
4.1.2. QUAVER + QUAVER REST HAS LONE SIGNIFICANCE BECAUSE THE MELODY HAS A NATURAL PULSE.
4.1.3. SOMETIMES ABANDONED IN DRAMATIC SECTIONS SO THAT LOWER-RANGED INSTRUMENTS CAN DEEPEN/RIPEN TEXTURE
4.1.4. PERFORMED BY STRINGS AND USELESS TIMPANI
4.1.5. CROCHETS
4.2. FAST VARIED TEMPO
4.3. 4/4 TIME SIGNATURE
4.4. SHORT QUICK MELODIES
4.4.1. OPENING RUN
4.5. SYNCHRONISATION
4.5.1. EXCEPT FOR DOTTED QUAVER + SEMI-QUAVER, WHICH SERVES AS AN ANNOUNCEMENT FOR THE NEXT PART
4.5.2. AND STAGGERED QUAVER + REST SEQUENCE