Form (Structure)
“I cannot complain of lack of inventive power, but I have always suffered from want of skill in the management of form”. (Tchaikovsky)
To help the student become familiar with the work, it's split into 6 sections here for the initial 5th Year work. These are not the “official” sections which are dicussed further down on this page (6th Year).
Section 1 ("Introduction")
Bar 1. Friar Lawrence (or Ecclesiastical) theme.- Woodwind,(clarinet melody and Bassoons accompaniment)- Homophonic- p.
Bar 40. Pizzicato strings counter motif- Melody in octaves flute and clarinet- high pitch, p marcato.
Bar 86. Material from Fr. L. theme except end is repeated x3 - f < ff- timpani roll (tremolo) This leads on to strife theme.
Section 2. (Exposition "1st Subject")
Bar 112. Strife theme-Woodwind, horns and Timps- f- homophonic.
N.B. Rhythmic features of the strife theme appear throughout the whole work.
Bar 151. As before plus Piccolo, Trumpets, Trombones, Tuba, Bass Drum and Cymbals and Strings.
Section 3 (Exposition "2nd Subject")
Bar 184. Love theme-Cor Anglais and Viola-con sordini (with mutes)
Bar 213. Octave higher on flute and oboe. Scale lead in- Fr Horn counter melody, a 2 note ostinato.
Bar 235 Very similar to last time except no scale lead in, and goes somewhere else afterwards.
Section 4 (Development)
Bar 272-352- “Development” section,-Motives from Strife and Fr. L. used in Sequence, Modulations, variation in timbre (instrument) and pitch. Knowledge of both themes is vital here.
Section 5 Recapitulation
Bar 353 Strife theme- as before
Bar 389 Love theme without Horn motif-triplets in accomp.-
Bar 411 Love theme with a different first note.
Bar 445 Strife theme with different first note followed by a sequence a tone above.
Bar 458 Fr. Larry- Trumpet melody and Trombone-
Section 6 Coda
Bar 485 Like a death march-Repeated crotchets on bass- figure from love theme in sequences on Viola, Cello, and Bassoon- Triplets on Timps.
Bar 495 Homophonic Hymn tune.
Sonata Form: evolved in the Classical era (18th Century). It was also used by many Romantic composers but usually with great freedom. Sonata Form is a structure of 3 main sections framed by an Introduction and a Coda.
The Exposition is the first section where the main themes are presented in 1st and 2nd subject groups. The first subject is in the Tonic key and the 2nd subject is in the Dominant.
The Development is in the middle section where the composer treats motives from the themes to a variety of compositional devices. These include; sequence, imitation, inversion, modulation.
The Recapitulation is where the material from the Exposition is repeated, but this time in the Tonic key.
Note: Although Romantic composers use this ‘formula’ in loose way, it is beneficial to understand what one expects to hear in the different sections first before learning how Tchaikovsky used.
Bar 1. Friar Lawrence (or Ecclesiastical) theme.- Woodwind,(clarinet melody and Bassoons accompaniment)- Homophonic- p.
Bar 40. Pizzicato strings counter motif- Melody in octaves flute and clarinet- high pitch, p marcato.
Bar 86. Material from Fr. L. theme except end is repeated x3 - f < ff- timpani roll (tremolo) This leads on to strife theme.
Section 2. (Exposition "1st Subject")
Bar 112. Strife theme-Woodwind, horns and Timps- f- homophonic.
N.B. Rhythmic features of the strife theme appear throughout the whole work.
Bar 151. As before plus Piccolo, Trumpets, Trombones, Tuba, Bass Drum and Cymbals and Strings.
Section 3 (Exposition "2nd Subject")
Bar 184. Love theme-Cor Anglais and Viola-con sordini (with mutes)
Bar 213. Octave higher on flute and oboe. Scale lead in- Fr Horn counter melody, a 2 note ostinato.
Bar 235 Very similar to last time except no scale lead in, and goes somewhere else afterwards.
Section 4 (Development)
Bar 272-352- “Development” section,-Motives from Strife and Fr. L. used in Sequence, Modulations, variation in timbre (instrument) and pitch. Knowledge of both themes is vital here.
Section 5 Recapitulation
Bar 353 Strife theme- as before
Bar 389 Love theme without Horn motif-triplets in accomp.-
Bar 411 Love theme with a different first note.
Bar 445 Strife theme with different first note followed by a sequence a tone above.
Bar 458 Fr. Larry- Trumpet melody and Trombone-
Section 6 Coda
Bar 485 Like a death march-Repeated crotchets on bass- figure from love theme in sequences on Viola, Cello, and Bassoon- Triplets on Timps.
Bar 495 Homophonic Hymn tune.
Sonata Form: evolved in the Classical era (18th Century). It was also used by many Romantic composers but usually with great freedom. Sonata Form is a structure of 3 main sections framed by an Introduction and a Coda.
The Exposition is the first section where the main themes are presented in 1st and 2nd subject groups. The first subject is in the Tonic key and the 2nd subject is in the Dominant.
The Development is in the middle section where the composer treats motives from the themes to a variety of compositional devices. These include; sequence, imitation, inversion, modulation.
The Recapitulation is where the material from the Exposition is repeated, but this time in the Tonic key.
Note: Although Romantic composers use this ‘formula’ in loose way, it is beneficial to understand what one expects to hear in the different sections first before learning how Tchaikovsky used.
In truth Tchaikovsky’s works dictate their own form. They are not dictated by pedantic rules but by mood, melody and programme. The department of education notes suggest that the opening material up to bar 112 is an introduction in sonata form. This leads onto an exposition consisting of the strife, love and tri-tone themes. This is followed by the development from bar 273 which features the use of short motives in a variety of keys and a re-capitulation at 353, followed by a coda at 485. It is fair enough to use this form as a guideline for analysis. However, in a typically romantic way, Tchaikovsky pushes back the boundaries of this formula. Firstly the Friar Lawrence theme occurs throughout the entire work. It is used extensively in the development section and recurs in the re-capitulation. It seems to be far too important to be a mere introduction. The purposes of mood and programme always dominate. The imitative and sequential treatment of the strife theme around bar 130 is not exactly what you would expect to hear in an exposition. Also, the coda seems a strange time to introduce a new theme.
Introduction
Friar Lawerence theme on Bassons and clarinets. Very quiet in general. Only Friar Lawerence material used in this very long "introduction".
Friar Lawerence theme on Bassons and clarinets. Very quiet in general. Only Friar Lawerence material used in this very long "introduction".
Exposition (LEARN and LISTEN)
i) Strife theme followed by imitiative and sequential section more typical of what you would expect in the Development. Only strife material used here.
ii) This is followed by an brief antiphonal section which leads on to the "sword-fight" stopped cymbals, and on to the strife theme again.
iii) Next is the first Love them, thin in texture and low in pitch, which leads on to the "tritone" 2nd half of the Love theme.
iv) 2nd Love theme, where flute and oboe are added and up an octave. Still fairly thin. Note the french horn motive in the background.
v) Then straight on to the 3rd Love theme.
This is the "tritone" theme as mentioned above. The interval of a tritone (in this case a diminished 5th) is A natural to Eb. Notice the strings divide and listen to the rising sequences which follow.
i) Strife theme followed by imitiative and sequential section more typical of what you would expect in the Development. Only strife material used here.
ii) This is followed by an brief antiphonal section which leads on to the "sword-fight" stopped cymbals, and on to the strife theme again.
iii) Next is the first Love them, thin in texture and low in pitch, which leads on to the "tritone" 2nd half of the Love theme.
iv) 2nd Love theme, where flute and oboe are added and up an octave. Still fairly thin. Note the french horn motive in the background.
v) Then straight on to the 3rd Love theme.
This is the "tritone" theme as mentioned above. The interval of a tritone (in this case a diminished 5th) is A natural to Eb. Notice the strings divide and listen to the rising sequences which follow.
Development
This is an easy section to identify. loads of sequences, imitation, antiphons. Material used here is nearly full Fr. Lawerence themes against short motives based on the strife theme. Lots of syncopation.
French Horn features a lot here playing the Friar Lawerence melody
Trumpet plays melody in the loud section near the end of this section.
This is an easy section to identify. loads of sequences, imitation, antiphons. Material used here is nearly full Fr. Lawerence themes against short motives based on the strife theme. Lots of syncopation.
French Horn features a lot here playing the Friar Lawerence melody
Trumpet plays melody in the loud section near the end of this section.
Recapitulation
(Make sure you can hear the differences between the Exposition and the Recap)
i) Strife theme leads on to the Tritone section of the Love theme, and then on to the main Love theme, so the order of themes is different than in the exp. ii) This version of the Love theme is recognisable by the dramatic scale passage leading which approach it and the rich melodic sound from the full string section playing in octaves.
iii)) The next version of the Love theme starts a note above.
What follows is all very typically Romantic, Huge crescendi, large orchestra in full flow, very dramatic music as the story reaches its climax.
iv) Notice the trumpet playing the Friar L. theme rather than the Horn in the exp.
(Make sure you can hear the differences between the Exposition and the Recap)
i) Strife theme leads on to the Tritone section of the Love theme, and then on to the main Love theme, so the order of themes is different than in the exp. ii) This version of the Love theme is recognisable by the dramatic scale passage leading which approach it and the rich melodic sound from the full string section playing in octaves.
iii)) The next version of the Love theme starts a note above.
What follows is all very typically Romantic, Huge crescendi, large orchestra in full flow, very dramatic music as the story reaches its climax.
iv) Notice the trumpet playing the Friar L. theme rather than the Horn in the exp.
Coda. (See structure page)
Slow tempo (Moderato assai)
Key of B major - 5 sharps
Tonic pedal - pizzicato- on Double Bass(crotchets) and Timps (dotted) "Death march"
Quotes from the love theme on Viola, Cello and Bassoon.
Homophonic hymn tune.
More quotes from Love theme this time on violins
Big "Romantic" crescendo at the end, perfect cadence
Slow tempo (Moderato assai)
Key of B major - 5 sharps
Tonic pedal - pizzicato- on Double Bass(crotchets) and Timps (dotted) "Death march"
Quotes from the love theme on Viola, Cello and Bassoon.
Homophonic hymn tune.
More quotes from Love theme this time on violins
Big "Romantic" crescendo at the end, perfect cadence