BARBER OF SEVILLE OVERTURE

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BARBER OF SEVILLE OVERTURE by Mind Map: BARBER OF SEVILLE OVERTURE

1. RHYTHM

1.1. RHYTHMIC ACCOMPANIMENT DOES NOT MAKE AN IMPACT

1.1.1. QUAVER + 4 SEMI-DEMI-QUAVERS

1.1.2. QUAVER + QUAVER REST HAS LONE SIGNIFICANCE BECAUSE THE MELODY HAS A NATURAL PULSE.

1.1.3. SOMETIMES ABANDONED IN DRAMATIC SECTIONS SO THAT LOWER-RANGED INSTRUMENTS CAN DEEPEN/RIPEN TEXTURE

1.1.4. PERFORMED BY STRINGS AND USELESS TIMPANI

1.1.5. CROCHETS

1.2. FAST TEMPO

1.2.1. INCREASED TEMPO IN BAR 227

1.3. 4/4 TIME SIGNATURE

1.4. SHORT QUICK MELODIES

1.4.1. OPENING RUN

1.5. SYNCHRONISATION

1.5.1. EXCEPT FOR DOTTED QUAVER + SEMI-QUAVER, WHICH SERVES AS AN ANNOUNCEMENT FOR THE NEXT PART

1.5.2. AND STAGGERED QUAVER + REST SEQUENCE

1.6. TOWARDS THE END, THE BRASS AND LOWER-PITCHED WOODWIND PLAY CROCHETS ON THE 1ST AND 4TH BEAT, WHICH IS OFF-PUTTING AND UNEXPECTED, ALMOST COMEDIC IN NATURE

2. DYNAMICS/EXPRESSION

2.1. CRESCENDOS + SFORZANDO

2.2. STARTS IN FORTISSIMO

2.3. RUN GOES TO PIANISSIMO THEN MP

2.4. SAME SEQUENCE BUT WITH DIFFERENT DYNAMICS

2.5. DISPARITY OF DYNAMICS IS ALMOST COMEDIC

2.6. STRINGS PLAY TREMOLOS, PIZZ, AND TRILLS, THE LATTER TO 'ACCENT' MORE INTRICATE SECTIONS.

2.7. DRAMATIC SECTIONS ARE GENERALLY STACCATO.

2.8. SWEET SECTIONS ARE LEGATO WITH A BIT OF STACCATO FOR QUICKER PHRASES

2.9. WOODWINDS DO TRILLS, AS IF BAROQUEN.

3. PITCH

3.1. E-MAJOR

3.1.1. GOES TO E MINOR DURING THEMES

3.2. ASCENDING MELODIES; CONCLUDED WITH SLOW DESCENTS

3.3. SMALL INTERVALS, 1-3 SEMITONES, BETWEEN NOTES

3.3.1. SLIDES UP IN SEMITONES

3.4. SCALE RUNS FOR DRAMATICS AND TO CONCLUDE MELODIC IDEAS

3.5. MANY OSTINATOS

3.6. INTRODUCED WITH TONIC CHORD

3.7. SIMPLE 3RDS BY WOODWINDS

3.8. FINISHES E MAJOR SECTION WITH DOMINANT CHORD

3.9. ADDITION OF D# IN E MINOR SECTION FOR INTEREST

3.9.1. MARKS QUICK KEY CHANGE TO D MAJOR

3.10. Eb ff + KEY CHANGE TO Eb MINOR FOR DRAMATICS

3.10.1. RETURN TO E MAJOR DOMINANT

3.11. FAST +DRAMATIC RUNS

3.11.1. INSPIRED FROM ITALIAN FOLK MUSIC; TARANTELLA

3.12. BROKEN CHORDS IN DRAMATIC PART NEAR END

3.12.1. MODULATION TO C MAJOR FOR 2 BARS

3.13. INVERSIONS OF TONIC AT END

4. TIMBRE

4.1. FLUTE

4.2. PICOLLO

4.3. TIMPANI

4.4. STRINGS

4.5. OBOE

4.5.1. SOLO PART

4.6. CLARINET

4.6.1. SOLO PART

4.7. BASSOON

4.8. TROMBONE

4.9. SAXOPHONE

4.10. BRIGHT TONAL QUALITY

5. STRUCTURE

5.1. LOTS OF HIGHER-PITCHED WOODWIND INSTRUMENT SOLOS INSTEAD OF VIOLINS

5.2. FAST DRAMATIC SECTION TO SLOWER SWEET SECTION

5.2.1. CONTRAST

5.3. 7 MIN LONG

5.4. DOES NOT FORESHADOW ANY OF OPERA'S MOVEMENTS; INSPIRED FROM PREVIOUS WORKS

5.5. INTRODUCTION

5.5.1. Andante sostenuto (pp. 1 – 2)

5.6. FIRST AND SECOND THEMES

5.6.1. Allegro (pp. 2 – 8)

5.7. CODA

5.7.1. Più mosso (p. 8)

6. TEXTURE

6.1. STRINGS PLAY TOGETHER TO ADD PLEASANT SOUND

6.2. NUMBER OF INSTRUMENTS PLAYING SOMETIMES CORRESPONDS WITH DYNAMICS

6.3. THINNER-TEXTURE WOODWINDS TEND TO INTRODUCE MELODIC IDEAS, WHICH THE STRINGS ECHO

6.4. MELODY 1ST; ACCOMPANIMENT 2ND

6.5. MORE DRAMATIC=INCREASED THICKNESS

6.6. GETS THICKER AS THEMES PROGRESS