Romeo and Juliet Fantasy Overture (themes)
The entire work is based on 3 tunes or themes, so it seems obvious that a good starting place is with these 3 melodies. When learning the themes, start with the rhythm. Tonic Solfa is very easy to add in the Friar Lawerence theme, a little trickier in the other 2.
Learn the rhythm of the Strife theme without rests first. Then replace some of the quavers with quaver rests as below.
In 5th year learn off these themes before going on to study the work in detail. Don't do the more detailed work on the themes below until 6th year when all other work is done.
(5th yr) Friar Lawerence theme
A great place to start in the study of this work is with the 3 main themes. Learm them off!!
The entire 20 minutes of music is based on 3 these 3 tunes. Opposite is the Friar Lawerence theme which opens the work. This them is heard in various forms right through the work. It is in F# Minor, but easier to learn as if it is in A Major at the start.
Audio
The entire 20 minutes of music is based on 3 these 3 tunes. Opposite is the Friar Lawerence theme which opens the work. This them is heard in various forms right through the work. It is in F# Minor, but easier to learn as if it is in A Major at the start.
Audio
(6th yr) The Friar Lawrence theme opens the work, played on clarinets in A and bassoons. The key is F#m (F#m chords on harp), the texture is homophonic, and the dynamic is P. This theme recurs at bar 41 this time played at a higher pitch by flutes, oboes). Note the pizz. accompaniment in the strings. The key is now Fm (Fm chords on harp). After a move to Em (Em chords on the harp) the introduction approaches its end with a material from this theme (bar 86). This is the dramatic part where the dynamic is ff, tempos changes to Allegro, then molto meo mosso which leads into the strife theme.
The Friar Lawrence theme is next heard in the “development” section, in a variety of keys. It is played on the French horn 4 times at bar 280 in F#m, at 293, at bar 302 in Gm, and at bar 315 in Cm. In this section of the piece it is never the full Friar Lawrence theme that’s played, but the main motif, which alternates with material from the Strife theme. Bar 335 sees similar treatment of the Friar Lawrence theme but this time on the trumpet.
The Friar Lawrence theme is next heard in the “development” section, in a variety of keys. It is played on the French horn 4 times at bar 280 in F#m, at 293, at bar 302 in Gm, and at bar 315 in Cm. In this section of the piece it is never the full Friar Lawrence theme that’s played, but the main motif, which alternates with material from the Strife theme. Bar 335 sees similar treatment of the Friar Lawrence theme but this time on the trumpet.
(5th yr) Strife Theme
As its name suggests, this tune is a more agressive theme. It represents the strife between the feuding families,complete with sword fights etc. In B Minor, it continuously returns to the Tonic (B).
Audio
Audio
(6th yr) The Strife theme first occurs at bar 112. Note the tempo change – allegro giusto. Note the 3 main rhythmic characteristics of this theme, "lemon drops", (2 semi q and a quaver) the dotted rhythm and syncopation.
These rhythms are heard frequently throughout the “development” section. The next time the Strife theme is heard is at bar 151. Observe the differences between the last playing. This one features cymbal crashes, and a larger brass section, melody always played on the trumpet. The lead in to both versions of the Strife theme is also very different. Short motives from the Strife theme are used for dramatic effect all the way through the remainder of the piece, for example bar 160, bar 273. Even the syncopated repeated notes on strings from bar 285 to 297 can be connected to the Strife theme. The next time we hear the full Strife theme, again in Bm, is at bar 353. Again it features cymbal crashes and full brass section. Examine what precedes and follows these two versions of the full Strife theme (bar 155, and bar 353) to properly identify which is which. The next full Strife theme is at bar 446, note the different start on the piccolo, flute and violin - 1st 4 notes. Also note that there are no cymbal crashes. Bar 454 is a type of sequence using this theme. Again notice the 1st 4 notes are different. This time the key is Cm.
These rhythms are heard frequently throughout the “development” section. The next time the Strife theme is heard is at bar 151. Observe the differences between the last playing. This one features cymbal crashes, and a larger brass section, melody always played on the trumpet. The lead in to both versions of the Strife theme is also very different. Short motives from the Strife theme are used for dramatic effect all the way through the remainder of the piece, for example bar 160, bar 273. Even the syncopated repeated notes on strings from bar 285 to 297 can be connected to the Strife theme. The next time we hear the full Strife theme, again in Bm, is at bar 353. Again it features cymbal crashes and full brass section. Examine what precedes and follows these two versions of the full Strife theme (bar 155, and bar 353) to properly identify which is which. The next full Strife theme is at bar 446, note the different start on the piccolo, flute and violin - 1st 4 notes. Also note that there are no cymbal crashes. Bar 454 is a type of sequence using this theme. Again notice the 1st 4 notes are different. This time the key is Cm.
Love Theme
The Love theme is a more lyrical, melodic theme representing the love between the couple. Here it's in D Major as in the recap. Earlier in the exposition it's in Db Major.
Audio
Audio
(6th yr) The Love theme first occurs at bar 184 after a short calming link passage from the dramatic Strife theme. Here it is played by solo clarinet and violas with a soft, sparse accompaniment. This theme is repeated at bar 193 (213?) following rising semi-quaver scales on flute and oboe, again in Db maj. Note the slightly thicker texture, the higher pitch, and the French horn motif. The Love theme is heard again at bar 235, again with a thicker texture and with the addition of bass trombone.
The next time we hear the Love theme is in the Recap when it's in D, played by piccolo and full strings in octaves.
Note the triplet accompaniment in the woodwind. At bar 411 the 1st note of the Love theme is different, note the Bb. Again, the key is D. Material from this theme can be found in short motives at bar 430.
Note the sequence between horn and w.w.
Similarly short motives are found on strings at bar 436. Similar type motives can be found in the final “Funeral” section on the bassoon and viola. Two further “tunes” that warrant mention are the Hymn tune at bar 495 (funeral) and bar 193 theme featuring the tri-tone. This interval is featured throughout.
The next time we hear the Love theme is in the Recap when it's in D, played by piccolo and full strings in octaves.
Note the triplet accompaniment in the woodwind. At bar 411 the 1st note of the Love theme is different, note the Bb. Again, the key is D. Material from this theme can be found in short motives at bar 430.
Note the sequence between horn and w.w.
Similarly short motives are found on strings at bar 436. Similar type motives can be found in the final “Funeral” section on the bassoon and viola. Two further “tunes” that warrant mention are the Hymn tune at bar 495 (funeral) and bar 193 theme featuring the tri-tone. This interval is featured throughout.
The Death March theme (a very quiet rhythm on the note B on timpini) only occurs once, in the Coda at the end of the work. The full Coda is heard below. Notice the triplets in the timpani, the quotes from the love theme in the bassoon, violin and viola parts which repeat in sequence further down the page, the key signature 5 sharps and the tonic pedal in the double bass and tuba.
Audio
Audio