Poulenc 5 marker plans

Melody

Section A

• 2 bar cell phrases (bar 5-6)
• standard clear melodic phrases

Section B

• conjunct melodic phrases bar 47

Section A1

• acciacatura in bar 52
• main melody from section A is now in RH piano
• melody built on octatonic scale at 63

Harmony

Section A

• inverted chords for a less secure harmony e.g bar 9^1
• chromatic baseline at bar 19
• octatonic scalic descent at bar 22 in piano

Section B

• wrong note harmony bar 42
• rate of harmonic change inreases at bar 49

Section A1

• finishes on major 9th with chromatic harmony - ambiguous ending

Tonality

Section A

• starts in Bb major
• change of key signature to E minor at bar 17

Section B

• section starts in B minor
• Tierce de Picardie (V-I cadence but in B major) at bar 33

Section A1

• formal key change to F major

Texture

Section A

• homophonic to start - just piano
• texture thickens at bar 8 as oboe and bassoon join
• bassoon and oboe are playing in unison at bar 9 and 10 octaves apart and when they split into 2 parts the texture appears to be thicker

Section B

• antiphonal texture at bar 23 - question and aswer between bassoon and oboe and again at bar 45

Rhythm and metre

Section A

• polymetre at bar 8 where time sig changes from 4/8 to 3/8
• oboe melody at bar 19 is repeating the rhythm from bar 17-18

Section B

• repeated rythmic diminuation at bar 23
• use of septuplets at bar 38 and 39 in the piano creates rhythmic interest
• more polymtre at bar 50 when time signature changes to 2/8 then to 4/8 at bar 51

Use of Instrumentation

Section A

• tonic pedals create diatonic harmony in first 6 bars of piano - not functional
• oboe and bassoon play in octaves at bar 9 building the texture more

Section B

• piano is used to increase harmonic rhythm change at bar 49
• piano creates harmonic interest with oscillating 5ths and 6ths and wromg note harmony at bar 41

section A1

• antiphonal texture again creates a thinner texture as end of movemnt in aproched