badinerie - in more detail

what does new added sharps or flats mean

re modulating that we a

characteristics of motif X (5)

- played by flute

- descending B minor arpeggio/broken chord

- characteristic quaver + semi-quaver rhythm

- begins with anacrusis

- entirely disjunct

characteristics of motif Y (5)

- played by flute

- ascending semi-quaver figure

- consists of both arpeggios/ broken chords + conjuct movement

- disjunct + conjunct

- begins with anacrusis

what happens in bar 6.2 - 8.1 and bar 8.2 - 10.1

ascending sequence

what bars have trills

8.1, 10.1, 15.2, 27.2, 30.1, 32.1

what bars have appoggiaturas

33.1 + 40.1

what bars have sequences

6.2 - 10.1, 28.2 - 32.1

bars 4.2 - 6.1

flute restates motif X

bars 6.2 - 8.1

- modified motif X in cellos -> last crotchet of motif replaced with quaver and 2 semi-quavers

- this motif moves the tonality to A maj

- this motif is initial phrase in a musical sequence

bar 8.2 - 10.1

- modified motif X in cellos -> last crotchet replaced w 4 semiquavers

- this moves tonality to F sharp minor

- this is answering phrase to a musical sequence beginning in 6.2

bars 10.2 - 12.1

- modified motif Y in flute part -> last 2 quavers replaced by 4 semiquavers

bars 12.2 - 16.1

- motif y is extended and developed

- this is motif Y1

- section A brought to close in F sharp minor

how would you describe the playing of the flute when motif Y1 is played

when flute plays Y1 it is very virtuosic

bars 16.2 - 18.1

motif X played by flute in F sharp minor

18.2 - 20.1

- modified motif X -> 2 quavers at end instead of 1 crotchet

- moves tonality to E minor

- motif divided over cello and flute (begins in 18.2 on cello and moves to flute 19.1)

- motif inverted so it ascends rather than descends

20.2-22.1

- motif X played by flute

- moves tonality to D maj (relative major)

22.2 - 24.1

- modified motif Y in flute -> last 2 quavers replaced by 4 semiquavers

- this is transposed copy of bars 10.2-12.1

24.2 - 28.1

- flute plays a transposed copy of motif Y1 from 12.2 -16.1

- key of D maj is confirmed with a perfect cadence to close

28.2 - 30.1

- modified motif X in cellos -> last crotchet replaced with a quaver + 2 semiquavers

- this motif was initially presented in 6.2 - 8.1

- this is initial phrase in a musical sequence

30.2 - 32.1

- modified motif X on cellos -> last crotchet replaced with 2 quavers

- this returns tonality to B minor

- this is answering phrase in a musical sequence beginning 28.2

32.2 - 34.1

- motif X developed further

- it becomes musical conversation between flute and violin 1

- begins in bar 32.2 of flute, then 33 of violin 1 and then 34.1