Listening Clues Worksheet
|1.||In listening example #1, using music
terminology why is the piece considered repetitious? (Hint: Look for definitions concerning
|The piece is written in the Theme and Variations style. Each occurrence of the theme has slight alterations to the original, but the Theme itself is distinguishable throughout.|
|2.||In listening example #1, is the texture thin or thick? Support your answer.|
|The texture is thick. The multiple entrances within the ensemble create a texture which has many layers of similar and contrasting material which add depth to the music.|
|3.||Comparing listening example #1 and #2 are the textures of these pieces the same or different? Why or Why not?|
|The textures of the two examples are different. The first example uses the full orchestra to create the depth in the music. The second example consists of a solo instrument which does not create as much depth as it is limited to one performer.|
|1.||Compare these two Haydn works. Is there a common idea that can be heard recurring through the first piece? The second?|
|Symphony no. 94 has a
theme that is heard throughout the piece.
The piano sonata does have a heme that can be heard at different times in the piece, but it is not as recurring as the theme in the first one.
|2.||Is the theme from Symphony no. 94, Movement II repeated at all? Is it modified during any of those repetitions?|
|It is repeated many
times. Each time it is heard, it is modified slightly. Eventualy it is
divided into sections where the "variations" that are heard are each
very diferent from the first.
|3.||What is the form of Symphony no. 94, Movement II? (Choose from the forms discussed in class or found on the definitions page)|
|1.||In listening example #1, how many times is the first motive repeated?|
|2.||In listening example #1, is the texture of the thin or thick. Explain and support your answer?|
The piece has a thick texture
because there are several layers of sound happening at one
time. The layers occur because the motives overlap each
|3.||In listening example #2, what is the time signature this piece. Explain and support your answer?|
|The time signature is in 3/4 meter but is performed in one. This is a typical time signature of a waltz. Also to further support the time signature the word “waltz” is included in the title of the piece. In this piece the time signature suggests a dance like feel that is typical of a waltz.|
|4.||Comparing listening example #1 and #2 are the textures of these pieces the same or different?|
|The textures of these two pieces are different. Listening #1 clearly has a thicker texture than listening #2. The genres of the pieces also indicated the difference in texture because a fugue natural has a thicker texture than a waltz, which naturally has thin texture.|
|1.||Is there a common theme or motive
heard throughout "Variations on Ah vous dirais-je, Maman, K.265?" (Hint: Think about a popular piece that
sounds very similar)
|2.||What happens to the theme in "Variations on Ah vous dirais-je, Maman, K.265?"What is the form of this selection? (Choose from the forms discussed in class or found on the definitions page)|
changes each time it is heard. Theme and Variations.
|3.||Compare the number of instrumental parts involved in the "Variations" piece with that of the second. Is the texture more involved or less?|
|The "Variations" is just
piano, while the Symphony is made up of an orchestra, which has many
more parts. This creates a less invovled texture in the "Variations"
|4.||Based on what you know about how the scale of Mozart's works progressed, which selection do you think came first? (Bonus points for finding supporting information on another website. Don't forget to include the website url that you used.)|
upon question four in the mozart section of the composers worksheet,
the Variations piece would have come first. Students may look up sites
that list the dates of those two particular works to support or
contradict this information.