Nocturne

Cards (28)

  • What national characteristics are rooted in the Norwegian March?

    Rigid rhythmical structures, folk-style drones, and diatonic harmony
  • How does Grieg's Nocturne differ from the Norwegian March?

    It reveals Grieg’s expressively poetic and forward-thinking approach
  • Which 20th-century composer’s music echoes in Grieg's Nocturne?
    Debussy
  • What are the primary features of a Nocturne?

    • Slow tempo
    • Regular rhythmical flow in the left hand
    • Gentle poetic character, largely piano and pianissimo
    • Melody dominated texture with a cantabile melody in the upper voice
    • Bird-like calls in specific bars
    • Bars of silence
    • Chromatic harmony within a largely functional framework
    • Slow harmonic rhythm
  • What time signature is the Nocturne written in?

    Compound triple time (9/8)
  • How does the bass line behave in the opening section of the Nocturne?

    The bass line descends by chromatic steps on each main beat
  • What harmonic structure is sustained by the inner chords in the Nocturne?

    C major harmony
  • What is the significance of the melody beginning on the submediant note?

    It outlines the root and fifth of A minor
  • What motif is described as an important unifying device in the Nocturne?

    The falling fourth motif
  • How is the melodic phrase extended at bar 5?

    By a rising scale in contrary motion with the descending bass
  • What creates additional tension in bars 5 and 7 of the Nocturne?
    Chromatic auxiliary notes and passing notes
  • What harmonic progression is observed in the bass during bars 1 to 4?

    A descent of a 4th from tonic to dominant under sustained C major harmony
  • What type of chord progression occurs at bar 8?
    A German augmented 6th chord prepares for the dominant resolution
  • How does Grieg delay the arrival of the dominant chord?

    By repeating the phrase from bar 5 three times in fresh tonal directions
  • What does the codetta (bars 15 - 20) feature in terms of musical elements?

    Bird calls hovering above the treble staff with a syncopated accompaniment
  • What is the relationship between the bird calls in the Nocturne and Vivaldi's 'The Goldfinch'?

    They use the same pitches D and A
  • What happens to the bird call pattern in bar 17?

    It is echoed in inversion in the bass
  • How does the transition into the middle section of the piece occur?

    Through the enharmonic equivalence of the tritone D/Ab and D/G#
  • What contrasts are observed between bars 20 and 21?
    • Andante più mosso vs. faster tempo
    • 9/8 metre vs. 6/8 metre
    • Syncopated quavers vs. running semiquavers
    • Piano vs. pianissimo and una corda
    • Single line melody vs. double line melody (largely in parallel 3rds)
    • Chordal accompaniment vs. arpeggio accompaniment
  • What is the effect of the faster pace starting from bar 21?

    A greater sense of flow emanates from the music
  • What happens to the harmonic movement in bars 23 to 27?

    It is stilled with a series of chord changes
  • What is significant about the G13 chord at bar 29?

    It is made sonorous by its widely-spaced texture and bell-like effects
  • How is the melodic motif from bar 21 altered at the climax?

    It is rhythmically altered to give a sense of three beats in the bar against the prevailing 6/8 metre
  • What prepares the return of the opening music at bar 34?

    Four bars of dominant harmony followed by a half-bar of silence
  • How does the A section of the Nocturne get extended?

    By a further six bars exploring flatter tonalities in a descending melodic sequence
  • What is achieved in bars 48 to 54 regarding the descending chromatic bass line?

    The full descent of the complete scale from G to G is achieved
  • What rhythmic effect is produced by the four-note melody in the Nocturne?

    A hemiolaic effect, where two bars of 9/8 time sound as 3 bars of 2/4 time
  • What does the coda (bars 55 - end) consist of?

    • A repeat of the codetta (bars 15 - 20)
    • Bird calls starting on high A and E
    • Accompanied by the same descending chromatic bass line
    • Supported with subdominant harmony
    • Ends with a peaceful and restful conclusion