6916@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kate Bush's 'Hounds of Love': 'Under Ice'

Sonority (use of instruments and technology)

Fairlight cmi most prominent of all the pieces, its synthesised and sampled sounds form the entirety of the accompaniment. This gives a bleaker feel.

Samples of wind and ice cracking is used throughout the song as well as submarbgt5fv4ine radar 'pipes', as though searching for something 'under the ice'.

Gradual fade out of the downward voice gliss by use of technology, giving the illlusion of sinking into the depths

A synth drone is used throughout giving a sense of space and texture, as well as creating suspense.

The last sound is a sustained vocal sample with moving filter frequency used to create an effect similar to vocal harmonies of mongolion throat singers

Use of low tessitura throughout, effectively a tenor range (no higher than an E4) apart from the final phrase.

Lead vocals also harmonised by a lower, quieter male voice during the refrain sections until b49, where additional voices join in to make three parts.

Lead vocals are mainly syllabic but there are some melismas

Melodic range is more restricted than the other two songs. Generally limited to a range of a perfect fifth except for the last phrase which reaches a C5

Last phrase includes a sinking portamento effect, where a melisma is combined with a slide downward, to final note.

Many short, staccato refrain-like ideas. These could preharps have been intended to suggest a feeling on entrapment.

Repeated notes or small, stepwise movements often feature

Quasi pentatonic shapes are used in the more lyrical melodic sections

The lead vocal is mainly syllabic but with occasional melismas

Rhythm, metre and tempo

Begins slowly but accelerates as the piece continues. Tempo slows down at the last four bars

Obsessive' crotchet pulse artculated constantly in the bass.

Repeated ten bar rhythmic unit (change in time signature) as the basis of the piece

Accompaniment ostinato uses a two quaver and crotchet rhythm, repeated and rhythmically displaced, to create 3+3+2 cross rhythms across two bars of 4/4. Vocal refrain uses this rhythm also.

Bush uses extensive use of rhythmic motifs to add interest to her songs. Her vocal melodies while are rhythmically diverse but remain at the same pitch.

5400@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kate Bush's 'Hounds of Love': 'Under Ice'

Sonority (use of instruments and technology)

The entirety of the accompanying parts in this piece are produced and sampled tthrough the use of the Fairlight CMI, creating an effect that the instruments are cold and bleak in comparison to teh warm sounds of unsampled strings

Kate Bush sings this song at the lower end of her range in comparison to her other works

The words sung are mostly syllabic throughout apart from the occasional melissma.

During the refrain, a quieter male voice sings the accompanying backing vocals along with other parts to create three part harmony

The overtone singing effect which finishes the piece, is a sustained vocal sample, passed through a moving filter, creating a sound similar to vocal harmonics created in Eastern music

The melodic range within Under Ice is rather limited in comparison the the other songs on Hounds of Love

Lots of the ideas are refrain-like, through the way they repeat and are short in length, creating memorable melodies.

Most of the intervals in the vocal melody are narrow, with the largest being a range of a fifth

A portamento is used on the final note, which creates the feel of an abnormally large interval being used

A pentatonic-like scale is used in the more lyrical sections to create melodic motifs

Rhythm, metre and tempo

A slow ballad tempo is used with a tempo of 80 bpm

Mostly, the metre is simple quadruple time but different bar lengths are used to extend phrase lengths, including 2/4 and 5/4 for dramatic effect

The openings of the verses and refrain use syncopation

Anacruses are used to move the position of the stressed syllables in each phrase

The material of the vocal parts often begins after the first beat of the bar

5408@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kate Bush's 'Hounds of Love': 'Under Ice'

Sonority (use of instruments and technology)

All accompaniment is synthesised/sampled through the Fairlight CMI - bleaker/colder sound than live such as the synth strings vs live in cloudbusting

Kate Bush's distinct voice which uses a low tessitura throughout

Limited vocal range of only a perfect fifth (A3 - E4) except for the cry in the final phrase which goes above the E4

Quieter, lower male voice harmonising lead vocals during refrain sections, and at bar 49, additional voices join to make three parts

Lead vocal is mainly syllabic in its text setting but there are occasional melismas, such as 'trees' in bars 27-28

Use of word painting through a melisma combined with a slide downwards

The last sound heard in the song is a sustained vocal sample with a moving frequency filter used to create an effect similar to the distinct vocal harmonics of Mongolian throat singers

Restricted melodic range as a result of limited range of lead vocal

Many short phrases, often with repeated notes or small conjunct movements - perhaps suggests feeling of entrapment

Refrain-like ideas with short, staccato articulation

Quasi-pentatoonic shapes are used in the more lyrical melodies

Small range but higher in the final phrase with a sinking portamento vocal technique

Use of motifs such as the E-D descending figure, as well as the descending perfect 4ths in the accompaniment throughout

Rhythm, metre and tempo

Begins very slowly at C=65, but accelerates to C=100 then C=108, with the final four bars slowing down again

Obsessive' crotchet pulse constantly in the bass

Ten-bar rhythmic unit is repeated as a basis for the piece - 2*4/4, 5*3/4, 3*4/4

Accompaniment ostinato rhythm of two quavers and a crotchet, repeated and displaced rhythmically to create a 3+3+2 cross-rhythm across two bars of 4/4

Vocal refrain also uses the two quavers and a crotchet ostinato, giving the song a unified rhythmic language and motifs

5400@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kaija Saariaho's 'Petals' for Cello Solo and Optional Electronics

Sonority (use of instruments and technology)

Petals was written as a piece of cello music with the optional choice for electronic amplification and signal processing. This turns a traditional instrument into a multi-timbral synthesiser

Reverberation is used to give an effect that is unlike that of a sustained pedal making all types of music easy to sustain

A harmoniser is used to detune the input pitch by adding micro-tones, above and below simultaneously

The score gives instructions on how to use each effect , using traditional dynamci marker

The harmonisers sometimes coincides with the sounds of the bow creating pressure on the strings, whereas the reverb is used to support quieter, lighter sounds

Saariaho frequently uses micro-intervals throughout, giving her the ability to divide the standard range of 12 semitones into 24 quarter tones

In staves 4-7, a passage is played which is very similar to that of the model piece, Nympheas. These melodic ideas are very densely packed in a phrase which is largely chromatic.

In stave 10, an upwards idea, similar to that of one from Nympheas, is developed using augmented intervals, trills and mordents

Stave 17-19 features a gradually lengthening of a phrase which begins on low C, which leaps upwards of a mojor seventh to a trill on B-A#, finishing on a F#

Most of the melodic ideas from staves 17-27 have a centre around a C, beginning and/or ending on it

Rhythm, metre and tempo

When a notated tempo is used, it is always slow, with a tempo of around 60bpm

These different tempos vary through the use of accelerandos and ritenutos

The use of reverberation allows for a sense of freedom, overlapping and making the starts and ends of notes blurry.

There is used of dectuplets (staves 4-7), syncopation and sextuplets and quintuplets (staves 10-13), times where notes are played as fast as possible

The rhythms become less defined as the piece progresses, with the measures becoming uncertain

6938@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kaija Saariaho's 'Petals' for Cello Solo and Optional Electronics

Rhythm, metre and tempo

Unconventional notation is used on this score, specifically the non-metrical rhythmic notation (free from bar lines) therefore the piece leaves a lot of freedom to the performer regarding tempo markings, giving a feel of improvisation and individuality to each performance. Unconventional notation was common in 20th century, experimental composers such as John Cage avoid conventional staff notation completely and instead replace it with a graphic score.

Complex rhythm, such as demi-semiquaver dectuplets in long chromatic passages and highly complex, constantly changing, uneven subdivisions of the beat in the form of dotted and tied semi and demi-semiquaver tuplets of varying subdivisions. Stravinsky's 'rite of spring' similarly explores complex rhythms such as layering of tuplets and syncopations leading to dense polyrhythms and cross-rhythms

In the electronic version the reverberation adds to the sense of ‘free timelessness’ by blurring and overlapping the beginnings of notes

The lento sections are essentially pulseless, leaving alot of freedom to the performer with the simple instruction being given that each stave in this tempo should last ‘at least 20 seconds’.

In general the rhythms become less defined during the course of the piece, with less and less exactly measured material being found from stave 22 onwards.

Saariaho uses micro-intervals here – specifically quarter-tones, meaning that she can divide the octave in 24 equal steps instead of the usual 12.

Stave 10 features an upwards idea, developed sequentially and featuring augmented fourth leaps, trills/mordents to create a generally agitated character. This is almost an exact retrograde, in pitch and rhythm, of a passage from violin 2 in Nympheas.

After stave 4 there is a passage which is clearly taken from the cello part of Nympheas, here, the melodic ideas are very densely packed into chromatic scale-like phrases, often overlapping the beats, and which gradually work from the G that closes stave 3, upwards to the C that opens stave 8.

The final 10 staves have closely related ideas, all based on the same idea but with slight variation. for example staves 20-21 uses the same idea heard previouslybut this time with an added low c beneath the rising melody and glissando up to the highest note.

The final phrase slides from the high F♯ the complete compass of the recurring phrase back to the low C, while the seventh extends the range of the idea to its extreme, by sliding further up from the usual top note, to the highest note possible.

Sonority (use of instruments and technology)

The range of timbres produced by the cello alone is so wide as to suggest the use of electronics, even when not there. Like John Cage, in his pieces for prepared piano, Saariaho transforms a traditional instrument into a multi-timbral synthesiser, elevating timbre, and changes of timbre, into a structural principle, equivalent perhaps to that of tonality in earlier musical styles.

The use of Amplification brings out some of the timbral detail in the quieter sounds, and the use of Reverberation can give an effect not unlike that of a sustaining pedal on a piano, making some of the slowest music easier to sustain as a performer.

A Harmoniser effect is used at times, ‘detuning’ the input pitch by adding pitches a quarter tone above and below simultaneously.

The score gives exact instructions for the use of harmoniser, amplification and reverb effects, using ‘conventional’ dynamic ‘hairpins’ to indicate increases or decreases in the amount of effect fed back through the system.

Use of the Harmoniser coincides often with increases in the amount of ‘noise’ brought about by increased bow pressure, while reverb is used most often to support the quieter, lighter sounds, and to smooth over changes in slow passages of double-stops.

6916@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kaija Saariaho's 'Petals' for Cello Solo and Optional Electronics

Sonority (use of instruments and technology)

Wide range of timbres produced by cello alone. Saariaho transforms a traditional intrument into a multii-timbral synthesiser, changes of timbre perhaps similar to that of tonality in earlier musical styles.

Playing techniques such as, 'normal' bowing, pizz, tremolando, flautando, heavy bow pressure, gliss, vibrato, natural and artifical harmonics, trills, mordents, double stopping, micro intervals.

Contrast in playing techniques in different sections, 'clean' and 'noisy' timbres.

Although not mandatory, suggested amplification/signal processing set up does enhance and clarify some of the concerns of the solo cello version.

Amplification brings out some of the timbral detail in the quieter sounds

Use of Reverberation can give an effect not unlike that of a sustaining pedal on a piano, making some of the slowest music easier to sustain as a performer.

Harmoniser effect used at times 'detuning' the input pitch by adding a quarter tone above and below simultaneously

The score gives exact intructions for the use of these effect, using 'conventional' dynamic 'hairpins' to indicate increases or decreases in amount of effect, expressed as a percentage. Saariaho's use of both effects are musical and quirt sparing.

Use of micro intervals - specifically quarter tones means she can divide the octave into 24 equal steps instead of the usual 12.

Densely packed chromatic phrases, often overlapping the beats

Falling idea, based on repetitions and elaborations around a more or less fixed groups of pitches, rather like a mode or scale.

Passages of the cello part clearly taken from Nympheas, like the densely packed chromatic sections

An upward idea (almost exact retrograde) developed sequentially, featuring augmented foruther leaps and a general agitated character.

Rhythm, metre and tempo

Rhythmic notation is not metrical (free from barlines) but instead relies on approximate timings and tempo markings which must be interpreted by the performer, bringing an element to improvisation to each performance.

when conventional staff notation is used to communicate rhythm, it is typically incredibly complex and precise: difficult for a performer to recreate or listener to perceive precisely.

a clear lack of pulse and memorable repeating rhythmic motifs, Saariaho rhythms are unpredictable to the listener.

Sections with notated tempo are all slow, lento sections effectively pulseless

Reveberation adds to sense of 'timelessness' by blurring and overlapping the beginning of notes.

6995@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kaija Saariaho's 'Petals' for Cello Solo and Optional Electronics

Sonority (use of instruments and technology)

this piece can be performed either as a solo piece for cello, or with electronic amplification and signal processing. The range of timbres produced by the cello alone is so wide and suggests the use of electronics even if not actually present.

Saariaho creates a multi-timbral synthesiser out of a trad cello, elevating timbre into a structural principle, reminiscent of tonality in earlier musical styles

There is a contrast between ‘clean’ and ‘noisy’ sounds – from the clearest high harmonic, to the rich ‘scratching’ produced by the heaviest of bow pressures near the bridge. (In the electronic version, the harmoniser exaggerates this further by ‘detuning’ the pitches of the cello.)

wide range of playing techniques such as a combination of arco and pizzicato playing as well as a range of directions concerning placement of the bow - near the bridge or further over the fingerboard

The use of heavy bow pressure to produce a scratching sound, replacing an audible pitch with noise

Gradual change of left-hand pressure to move from normal to harmonic note

saariaho also uses a mix of natural and artificial harmonics in her piece

Amplification brings out some of the timbral detail in the quieter sounds, while the use of Reverberation can give an effect not unlike that of a sustaining pedal on a piano, making some of the slowest music easier to sustain as a performer

a Harmoniser effect is used at times, ‘detuning’ the input pitch by adding pitches a quarter tone above and below simultaneously

the Harmoniser coincides often with increases in the amount of ‘noise’ brought about by increased bow pressure, while reverb is used most often to support the quieter, lighter sounds, and to smooth over changes in slow passages of double-stops.

Saariaho uses micro-intervals – specifically quarter-tones, meaning that she can divide the octave in 24 equal steps instead of the usual 12.

Staves 4–7: in a passage which is clearly taken from the cello part of Nympheas, the melodic ideas are very densely packed into chromatic scale-like phrases, often overlapping the beats, and which gradually work from the G that closes stave 3, upwards to the C that opens stave 8. Note how the last stave of the section (7) uses glissandi, perhaps as the logical extreme of microtonal movement.

Stave 10: an upwards idea (almost an exact retrograde, in pitch and rhythm, of a passage in violin 2 from Nympheas), developed sequentially, featuring augmented fourth leaps, trills/mordents and a general agitated character.

Stave 109 /116 : a falling idea, based around repetitions and elaborations around a more or less fixed groups of pitches, rather like a mode or scale – in this case the notes (reading downwards) F♯, E♭, D, B♭, A and G♯ are the ‘core’ of this structure.

in staves 17-19 there are five gradually lengthening version of the same basic shape, beginning on a pizzicato low C, from which a major seventh interval leaps to a B–A♯ semitonal trill, and then finishing on a high F♯.

Staves 20–22 are working with basically the same idea as 17-19, but this time with a held low C beneath the climb upwards, and with a glissando to the highest note. Staves 21–22 reverse the direction to return (by more or less the same route) to a concluding low C.

Rhythm, metre and tempo

 The sections with a notated tempo are all slow, with a range from around 54 beats per minute to 66.

The tempo's are varied during the course of phrases by accelerandi and by ritenuti

The lento sections are essentially pulseless, the instruction being given that each stave in this tempo should last ‘at least 20 seconds’

In the electronic version the reverberation adds to the sense of ‘free timelessness’ by blurring and overlapping the beginnings of notes.

There is therefore tension in the work between the sections where pulse is evident, and those in which it is not.

 There is a large range of rhythmic gestures used in the metrically active sections such as the rapid dectuplets of staves 4–7

 In general the rhythms become less defined during the course of the piece, with less and less exactly measured material being found from stave 22 onwards

5387@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kaija Saariaho's 'Petals' for Cello Solo and Optional Electronics

Sonority (use of instruments and technology)

Piece can be performed with electronics or just a solo cello. When played with electronics the cello is amplified. This allows the player to play things which could not be played on an acoustic cello as they would not voice.

Many effects are achieved on the instrument via bowing techniques: Normal bowing, Pizzicato (LH and RH), Sul ponticello placement, Sul lasto placement, tremolo bowing, heavy bowing down to weak scratching with smooth transitions between them.

Other effects are created through pitch related ornamentation and techniques including: glissando, vibrato, artificial and played harmonics, trills and mordents, double stopping, micro-intervals, as well as subtle and exaggerated dynamic change.

Saariaho gives instructions ford additional electronics to enhance the cello. Reverberation is used crating a fuller more sustained not, and the harmoniser is used giving a detuned, adding pitches a quarter above and below to create a more confusing and harsher sound.

Rhythm, metre and tempo

5408@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Melody, Rhythm, metre and tempo

Kaija Saariaho's 'Petals' for Cello Solo and Optional Electronics

Sonority (use of instruments and technology)

Petals is written for solo cello with the optional use of electronics consisting of a form of amplication, reverberation, and harmoniser

Solo work for the cello, with many standard as well as extended techniques for the cellist to play including: normal bowing, pizz, sul ponticello or tasto, tremolando, flautando, heavy 'scratching', glissandi, vibrato, natural and artificial harmonics, gradual change from normal to harmonic note, trills and mordents, double stops, and micro-intervals (quarter tones)

Wide range of sounds even without electronics using changes in timbre from the aforementioned playing techniques, including a classic cello sound, a scratchy high-pressure sound, a hollow and light sound through flautando bowing, and extensive use of harmonics which have their own distinctive sound. All of these are either 'clean' or 'noisy' timbres which Saariaho uses to replace the concepts of consonance and dissonance in tonality

Electronics are used to accompany the natural sound of the cello such as using the harmoniser to increase the 'noise' already produced by the cello, and reverb being used to support quiet, lighter sounds, as well as smooth over passages consisting of double-stops

The amount of each electronic effect used is instructed through a percentage of the maximum with a rough sense of their progression through traditional 'hairpins'

Two types of section with differing rhythmic and melodic characters, with type A being a more 'fragile coloristic' sound while type B has 'more energetic events with clear rhythmic and melodic character'

Use of micro-intervals - specifically quarter-tones allowing an octave to have 24 equal steps instead of the usual 12

Very dense melodic passages with chromatic scale-like phrases

Rhythm, metre and tempo

5387@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Structure, Melody

Stravinsky's 'Le sacre du printemps': Introduction, 'Les augures printaniers' and 'Jeu du rapt'

Sonority (use of instruments and technology)

Very large orchestra - Quintuple woodwinds, Double Brass, Large Percussion.

Uses all instruments within their respectively families.

Instruments play in unusually high of low tessitura.

Varied number of instruments playing - Contrasts spare soli passages with violent tuttis.

Varied play techniques: Flutter Tonguing, Multi stopping, Division, repeated downbows.

Stravinsky uses structure to represent the themes of the music.

The intro represents awaking after winter: Slow build up of independent lines, then returns to monophonic bassoon.

Augurs opens with bitonal stamping chords with agressive syncopation.

Ostinatos are used throughout with much repetition of melodic and harmonic figures, often fragmented.

Ritual begins with a held chord in the ostinato. New important figures are introduced such as the new homorhythmic ideas, and earlier ideas return with loud piercing chords.

Melodies are often disjunct and highly chromatic.

Ostinati used throughout, often layered to create interplay and harmony.

Many melodies derive from/ influenced by Russian and Eastern European folk song.

Melodies are fragmentary and repetitive. Lots of diminution and augmentation.

Melodies feature ornamentation throughout such as trills, mordents, and accents.

Opening melody is derived from a Lithuanian folk song.

5387@tiffin.kingston.sch.uk

Tonality, Rhythm, metre and tempo, Texture

Stravinsky's 'Le sacre du printemps': Introduction, 'Les augures printaniers' and 'Jeu du rapt'

Never a clear sense of key within the piece. Tonally ambiguous with constant use of harsh dissonances.

Hints of bitonality shown at the start of the Augurs of Spring - Eb7 chord in the upper strings over an Fb chord in the cello and double bass.

Tonal confusion created later by Bassons, Strings and Cor Anglais.

Chromatic scales played by woodwind over C7 chords in the violas and E major and minor in the bassoons - Atonal effect

Folk music elements contain modal style melodies - opening basoon solo is diatonic in the Aeolian scale.

Rhythm, metre and tempo

Highly complex rhythms throughout: Wide range of tuplets, wide range of note lengths, and much use of ornaments.

Polyrhthms are created aswell as crossrhythms and a polyrhythmic texture.

Time signature changes throuhout - seen at the beginning with changes between 4/4, 3/4, and 2/4.

Unusual time signatures used throughout such as 5/8, 2/8 and 4/8 (seen in the Ritual of Abduction)

Much syncopation throughout. Free time is also used at points (Opening basson tempo)

Tempo is fairly consistent within movements, but there are changes with rits, and other tempo markings.

Stravinsky uses a wide range of textures often with sudden changes.

Extreme texture changes from soli or general pause to tutti.

Use of homophony/homorhythm in the stamping chords in Augurs nefore a shift to melody dominated homohpony for the solo trumpet entry.

Rite Chord' used in Augurs made more powerful through its homohrhythmic nature.

Complex polyphony created through use of ostinati and counter melodies.

First section builds up from monophony to two part, then four part before finally becoming a larger polyphonic texture.

5408@tiffin.kingston.sch.uk

Sonority (use of instruments and technology), Harmony, Rhythm, metre and tempo

Stravinsky's 'Le sacre du printemps': Introduction, 'Les augures printaniers' and 'Jeu du rapt'

Sonority (use of instruments and technology)

Very large orchestra - Quintuple woodwind with three flutes + piccolo + alto, four oboes + cor anglais, three clarinets + clarinet in D + bass clarinet, four bassons + double bassoon, extra-large brass, large percussion, standard string

Opens with famous passage for unaccompanied bassoon playing in very high register

String playing techniques: repeated down bows, double-stopped chords, pizz. Frequently divided string sections, glissando harmonics in viola, use of mute, col legno

Brass techniques: muted trumpet, very high trumpet writing, horns used to double and reinforce string chords in Augurs of Spring

Woodwind techniques: flutter-tonguing, rapid passages with short notes

Lack of a clear sense of key and constant use of harsh dissonance

Suggestions of bitonality in Augurs of Spring (rite chord) with Eb7 over Fb major

Combination of multiple tonal elements is heard at climactic points such as Emin+maj harmonies simultaneously with C7 broken chords

Use of chromatic scales in woodwind parts to create atonal feel despite 'tonal' writing

Folk music elements all contain modal style melodies, e.g. opening bassoon melody entirely in Aeolian style

Rhythm, metre and tempo

Rhythm dominates the style of the piece, such as free rhythm at the beginning in the bassoon part with accompanying instruments instructed to play colla parte

Tuplet rhythms, e.g. triplet, quintuplet, septuplet, etc

Frequent use of polyrhythms e.g. simultaneous triplets, septuplets and straight quavers to illustrate chaos, as well as polymetre with upper strings and cello in 9/8, and double basses in 4/8 and 5/8

Frequent time signature changes with alternating 4/4, 3/4, 2/4, at the start and unusla time signatures such as 5/8, 2/8, and 4/8

Frequent syncopation and irregular rhythms such as the 'random' chords at the beginning of Augurs of Spring

5408@tiffin.kingston.sch.uk

Stravinsky's 'Le sacre du printemps': Introduction, 'Les augures printaniers' and 'Jeu du rapt'

Lack of clear sense of tonality of no outright rejection

Suggestions of bitonality e.g. with the rite chord

Frequently conflicting tonal elements to create sense of atonality

Use of 'tonal' chromatic scales to obscure tonality and create atonal effect

Use of modal melodies such as the opening Aeolian bassoon solo, mimicking folk music

Many melodies derived from Eastern European folk song, e.g. opening bassoon melody from Lithuanian folk song

Ostinato dominates the melodic writing, with frequent repeating figures building on top of each other

Often fragmentary and repetitive writing in melodies, as well as use of repeated notes and chromaticism

Occasional distinctive solos such as the solo horn in figure 25 which is completely diatonic

Ornamentation such as acciaccatura which is important in Russian folk song

Detaching short motifs from longer melodies and re-ordering, e.g. fig 27: alto flute plays new diatonic tune, last two notes are repeated, and motif from middle of tune follows

Polyphony is dominating texture, frequent use of simultaneous fragmentary melodies

Texture of whole first section gradually builds up from monophonic bassoon solo, to two-part duet with French horn, to four-part texture, then at climax there are numerous polyphonic parts

Abrupt change to homophony for 'stamping' dance for Augurs, with melody-dominated homophony once a solo trumpet enters

Use of multiple ostinato fragments with countermelodies, e.g. in trumpets and cellos

Homorhythmic texture in climactic parts, e.g. Ritual of Abduction fig. 43