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sorry i have no recording available at the moment... |
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Quattuor a Cordes
| a |
We could state that the way Ravel uses the sonata form in thsi piece
is rather unusual.
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What is 'special' when looking to the keys of the first and second theme?
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What is special when looking into the 'proportions' (length of parts
of the form) within the exposition and recapitulation?
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| b |
At several spots in the piece Ravel uses a kind of mix of 'normal'
or widened tonality and octotony. We could state that in smoe cases the
octotonic scales are used within a certain key, or even within a
specific degree, and in some other cases octotony is becoming more or less
independent from tonality.
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Make clear that the octotonic scale at the beginning of the transition
is explainable within a tonal context.
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Make clear that in the development section the octotony is making tonal
perception of this part of the form more and more problematic.
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At what point of the development section does Ravel 'leave octotony', and
how?
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| c |
There is a lot of parallel harmony going on this piece as well.
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At which spots is parallel harmony most prominent?
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How are these spots related to each other?
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| d |
It is quite possible to understand the second theme as a tonal
theme. Nevertheless: the harmony is somewhat strange, and somewhat vague
too.
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Why is it that the harmony of the second theme (in exposition and recapitulation)
is - though the sounds in themselves seem quite 'possible' within a traditional
tonal context - is rather non-traditional in the use of harmony?
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Do you think the recapitulation is more 'strange' harmonically then the
exposition, or the opposite?
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