Tchaikovsky – Romeo and Juliet Overture

Introduction Friar Lawrence, there are four main ideas (bars 1 – 110)
Bars 1-10 Choral, modal F# minor, clarinets and bassoons
Bars 11-15 Bass motif, chromatic harmonies
Bars 15-18 Bass motif, repeated in treble, modulating towards D major
Bars 21-27 Sequential pattern, change of key signature, chain of suspensions in the woodwind, descending pattern of 3rds in the cellos, pedal Db that falls to C (modulating towards F minor)
Bars 28-37 Rising motif in flutes, sustained chords, some with rising harp arpeggios
Bars 38-40 Descending 3rds, pizzicato
Bar 41 Chorale theme in F minor: a varied repeat, more fully scored, with additional scalic accompaniment played by pizzicato strings
Bar 51 2nd motif
Bar 61 3rd motif over a pedal C that falls to B (modulating towards E minor)
Bar 68 4th idea returns, rising motif in violins not flutes
Bar 78 Change of key signature to A minor, marking of stringendo and accelerando
Bar 86 Chorale theme reappears in a modified form, leading to climax at b90 (allegro)
Bar 90 – 97 Music modulates arriving on a chord of F# minor
Bar 105 Tonic chords, played alternately by woodwind and strings over a Dominant pedal, leads to exposition
Exposition Fued (Bars 111 – 351)
Bars 112-116 A1 theme presented, syncopated
Bar 115 A2, rising scales – example of imitation and inversion in violas
Bar 118 A3 (brief) leads to repeat of A1
Bar 122 A4, minor 3rds, syncopated accompaniment (taken from A1)
Bars 126-130 A1 returns, imitations
Bar 135 A4 dominates
Bar 143 A2 punctuated

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