1. TIMBRE
1.1. FLUTE
1.2. PICOLLO
1.3. TIMPANI
1.4. STRINGS
1.5. OBOE
1.5.1. SOLO PART
1.6. CLARINET
1.6.1. SOLO PART
1.7. BASSOON
1.8. TROMBONE
1.9. SAXOPHONE
1.10. BRIGHT TONAL QUALITY
2. PITCH
2.1. E-MAJOR
2.1.1. GOES TO E MINOR DURING THEMES
2.2. ASCENDING MELODIES; CONCLUDED WITH SLOW DESCENTS
2.3. SMALL INTERVALS, 1-3 SEMITONES, BETWEEN NOTES
2.3.1. SLIDES UP IN SEMITONES
2.4. SCALE RUNS FOR DRAMATICS AND TO CONCLUDE MELODIC IDEAS
2.5. MANY OSTINATOS
2.6. INTRODUCED WITH TONIC CHORD
2.7. SIMPLE 3RDS BY WOODWINDS
2.8. FINISHES E MAJOR SECTION WITH DOMINANT CHORD
2.9. ADDITION OF D# IN E MINOR SECTION FOR INTEREST
2.9.1. MARKS QUICK KEY CHANGE TO D MAJOR
2.10. Eb ff + KEY CHANGE TO Eb MINOR FOR DRAMATICS
2.10.1. RETURN TO E MAJOR DOMINANT
2.11. FAST +DRAMATIC RUNS
2.11.1. INSPIRED FROM ITALIAN FOLK MUSIC; TARANTELLA
2.12. BROKEN CHORDS IN DRAMATIC PART NEAR END
2.12.1. MODULATION TO C MAJOR FOR 2 BARS
2.13. INVERSIONS OF TONIC AT END
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 TEMPO
4.2.1. INCREASED TEMPO IN BAR 227
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