Graphic example version 1 (1st theme)
Figure 1 (m1-12): Section A - 1st theme in F major. Melody in the bass clarinet, harmony in the oboe, clarinet and saxophone and bass in the bassoon.
Graphic example version 2 (1st theme)
Figure 2 (m.1-12): Section A - 1st theme in F major. Melody in the bass clarinet, harmony in the oboe, clarinet and saxophone and bass in the bassoon. In this version I filled in the bass line.
Repetition of 1st theme
Graphic example version 1 (repetition of 1st theme)
Figure 3 (m.13-27): Section A: repetition and development of the 1st theme. The theme is repeated again in F major and right after in Ab major, but in m.21 comes back again to F major and closes the phrase with a perfect cadence (V-I), leading to the closure of the section with the combination of tension and release of the Faug - Fmaj chords.
Graphic example version 2 (repetition of 1st theme)
Figure 4 (m.13-27): Section A: repetition and development of the 1st theme. The theme is repeated again in F major and right after in Ab major, but in m.21 comes back again to F major and closes the phrase with a perfect cadence (V-I), leading to the closure of the section. This version is the same as the first one besides that I keep filling in the bass line of the bassoon.
Graphic example version 1 (B section: b theme)
Figure 5 (m.37-48): Section B: the b theme is written in F minor. The melody is written in the oboe, and the harmonic mattress is written between the bass clarinet doing the pedal bass, the bassoon doing the arpeggios and the clarinet filling in with the 3rd and 11th of the f minor chord. From bar 42, the F minor chord becomes a Faug7 with the 9th. In bars 47-48 the answer to the melody is written in the saxophone. In bars 49-51 the b theme is repeated in F major.
Graphic example version 2 (B section: b theme)
Figure 6 (m.37-48): Section B: the b theme is written in F minor. The melody is written in the oboe, and the harmonic mattress is written between the bass clarinet doing the pedal bass, the bassoon doing the arpeggios and the saxophone filling in with the 3rd and 11th of the f minor chord. From bar 42, the F minor chord becomes a Faug7 with the 9th. In bars 47-48 I write the answer to the melody in the clarinet. In bars 49-51 modulates to F major, and the clarinet takes over the accompaniment from the saxophone.
Graphic example version 1 (B section: repetition of b theme)
Figure 7 (m.57-70): Direct modulation to Db major. The melody is now written in the saxophone part, the bass clarinet is doing the arpeggio accompaniment and the clarinet fills in the 9th and 11th of the Db major chord.
Graphic example version 2 (B section: repetition of b theme)
Figure 8 (m.57-70): Direct modulation to Db major. The melody is now written in the saxophone part, the bass clarinet is doing the arpeggio accompaniment and the clarinet fills in the 9th and 11th of the Db major chord.
PIU MOSSO SECTION
Graphic example version 1 (B section: piu mosso)
Figure 9 (m.71-82): B section: piu mosso. The 1st theme comes back just for 12 bars in the key of Db major.
Graphic example version 2 (B section: piu mosso)
Figure 10 (m.71-82): B section: piu mosso. The 1st theme comes back just for 12 bars in the key of Db major.
Graphic example version 1 and 2 (B section: repetition of 1st theme in F minor and F major)
Figure 11 (m.83-98): the 1st theme comes back in F minor and it is repeated again after 8 bars in F major.
Transition to A’
Graphic example version 1 (transition to A’)
Figure 12 (m.99-116): the transition to A’ starts with a series of 8 bars of tension and release of Faug5 - Fmaj and it follows with a modulation to Db major introducing a typical flamenco gesture simulating the accompaniment of a guitar.
Graphic example version 2 (transition to A’)
Figure 13 (m.99-116): the transition to A’ starts with a series of 8 bars of tension and release of Faug5 - Fmaj and it follows with a modulation to Db major introducing a typical flamenco gesture simulating the accompaniment of a guitar.
Graphic example version 1 (section A’)
Figure 14 (m.117-132): Section A’: back to F major. This time, the melody is on the saxophone.
Graphic example version 2 (section A’)
Figure 15 (m.117-132): Section A’: back to F major. This time, the melody is on the saxophone. In this version I completed the bass line on the bassoon in order to fill in sound to make everything in balance.
Graphic example version 1 (A’ section: repetition of 1st theme)
Figure 16 (m.133-146): A’ section: repetition of 1st theme. The 1st theme is repeated and transposed for 4 bars to Ab major, and as in section A, it concludes in F major.
Graphic example version 2 (A’ section: repetition of 1st theme)
Figure 17 (m.133-146): A’ section: repetition of 1st theme. The 1st theme is repeated and transposed for 4 bars to Ab major, and as in section A, it concludes in F major. Again, in this version I added a completed bass line to help create the resonance.
CODA
Graphic example version 1 (CODA)
Figure 18 (m.147-160): CODA section. There’s again the series of tension and release of Faug5 - F major, combined with the change of dynamics. The last 3 bars are just the F major chord in the form of arpeggio.
Graphic example version 2 (CODA)
Figure 19 (m.147-160): CODA section. There’s again the series of tension and release of Faug5 - F major, combined with the change of dynamics. The last 3 bars are just the F major chord in the form of arpeggio. Again, in version 2 I added a completed bass line in order to help create the resonance, and I distributed and filled in with notes from the F major chord to give the line direction and to create a greater mass of sound.
