Brahms Prelims Essay Question Answer Scheme

Brahms Question:

Texture

- Monophonic

Opening of the movement where vln1, cello and piano plays 1st subject (a).

-Homophonic

Transition section : 1st vln against triplet accompaniment by vla and piano

2nd subject section: Piano RH against triplet ostinato accompaniment. Vlns and vla playing counter theme which makes the texture here denser.

Beginning of development section: 1st vln playing derived fragment of 1st subject (a) accompanied by shifting barlines accompaniment in piano. Thin texture.

Middle of Development section: 2nd subject (a) derivation played by 1st and 2nd vln, piano RH and accompanied by vla, cello and piano LH. Much denser texture.

-Polyphonic

Canonic Imitation

In the development section, the fragmented 1st subject(a) motif is imitated among the 5 instruments.

Stretto

Development section: Derived 2nd subject (a) is imitated by RH in inversion of LH with an interval of 2 beats.

Immediately after, the motif is fragmented and imitated between the strings and piano. Shorter fragment, which creates intensity of the music. Use of circle of 5ths.

Another derivation of 2nd subject (a) <longer> used in stretto between the piano and 1st vln.

Rhythm

Use of a variety of rhythms , for example, longer quavers, dotted rhythm in the closing theme, triplets in the 2nd subject theme.
Syncopation

Punctuation in the opening by the strings accompanying the piano.

Suspense building in the beginning of development section by strings excluding 1st vln in dialogue against the piano plays motif (metrical displacement).

Diminution

1st subject(b) is a diminution of the opening theme, heard in the piano.

Augmentation

Use of augmentation, found at the end of exposition where the motif of 3 quavers is augmented to 3 crotchets in the 1st vln and piano which is developed to the syncopated motif in the strings in the development section.

Hemiola

In the closing section, where the dotted rhythm of the closing theme is smoothed to quavers in 9/8 time (3 sets of 3 quavers). This was first played by the 1st vln.

The punctuated motif (strings) in the 1st subject section which accompanies the piano 1st subject(b) motif is grouped in 3/2 time from 4/4 time.

Shifting Barlines/Metrical Displacement

Beginning of the development section, where the first beat of the 4/4 meter is written on the 2nd beat.

Ostinato

Use of ostinato triplet accompaniment in the 2nd subject section, first heard in the piano LH. This returns in the development section where the 2nd subject is derived.

Cross Rhythm

Transition section and 2nd subject section, where there is a use of 2 against 3 rhythm.

In transition, the 1st vln against the piano and vla triplets.

In 2nd subject, the murmuring ostinato triplet accompaniment in piano LH is pitted against the theme in the RH and counterthemes in the upper strings.