| 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 |
| 151 | … |
Tchaikovsky – Romeo and Juliet Overture
November 28, 2019