Young Peter

Question 1

Name of set work

Answer 1

Young Peter

Question 2

Who composed it ?

Answer 2

James Horner

Question 3

Key signature

Answer 3

D minor (Dorian mode)

Question 4

Time signature

Answer 4

4/4, but irregular and changing metre in the faster section

Question 5

Give three features of film music

Answer 5

• The harmonic language is basically tonal but dissonance is also included, e.g the opening bars, to create a mood of apprehension
• There are many sudden deviations to unrelated chords and modulations to remote keys
• combines conventional instruments and voices with electronically generated effects and digital samples.

Question 6

How does the composer create an otherworldly atmosphere in the opening theme? (4)

Answer 6

• The opening dissonance on high strings evolves via a glissando effect into wordless male vocals.
• These vocals continue against a background of synthesised sound
• As the electronic and vocal sounds fade in and out, a solo trumpet enters with the main melody – theme (a). This uses the quaver/2 semiquavers rhythm of the piano ostinato as passing notes between the third and root of the D minor triad
• Modal feel

Question 7

Which key does the composer shift to first in the opening section ?

Answer 7

Eb major

Question 8

When the trumpet material returns, how is it different?

Answer 8

It is a 4th higher in the Ab major tonality

Question 9

12 marker 
Instrumentation 
Melody 
Harmony 
Structure

Answer 9

Instrumentation

• Horner combines conventional orchestra with synthesised and sampled sounds and effects. The main themes are heard on Trumpet, treble voice and piano
• Other notable features are the male vocal glissando call at the opening, with use of glissando strings and cymbal rolls.
• Electronic keyboards and drums are also heard, creating a feeling of suspense. The electronic drums drive the music forward but more towards the end of the piece.

Melody

• There are 3 main thematic ideas: the opening theme in the trumpet is followed by the treble solo and piano solo. Trumpet solo contains main melody that uses the quaver/2 semiquavers rhythm of the piano ostinato as passing notes between the third and root of the D minor triad
• The treble solo theme is also triadic, alternating between d minor and a minor. This is sung at the top end of the treble range and includes dotted rhythms
• The piano solo theme is a new expressive melody but more limited in range, moving stepwise with longer note values. It spans the major third in A major, the g sharp ( raised 7th ) giving a more tonal sense. It is introduced at the end in octaves accompanied by lower strings, and remains undeveloped.

Harmony

• The harmonic language is basically tonal but dissonance is also included with overlapping ostinato parts. The piece is modal to start, in the Dorian mode, the absence of C# gives a flattened seventh.
• There are many sudden deviations to unrelated chords and modulations to remote keys. One progression which Horner uses involves moving between two unrelated triads (e.g E minor and Eb major) which have one note (G) in common.
• The chords are often added, providing a rich colour to the harmonic language. The 9ths and 13ths help to even out the progressions to more distant keys.

Structure

• The piece has a structure based on repetition of the 3 main themes, but in different keys and an irreglar time signature 4/4 and changing metre in the faster section
• The middle section contains a three-bar progression (Ab major – C minor – Cb major) used in a descending sequence while the three-note motif in the violins is developed by sequence and inversion.
• The motifs are present from the outset, with a defining new section towards the end, using prominent percussion and a faster tempo. The piece ends with a new theme, ( previously unheard) giving an irregular structure to the work