FIVE ISLANDS
 Tonal idioms
 Continuous music with
fast tempos and layered
repeated figures
 Complex metres such
as 13/8...
BASS ISLAND
 Lively and exuberant
tempo
 Arch form: ABCDCBA –
Coda
 Modal tonality to suggest
an historical link
 Ener...
IDENTIFY THE NOTES USED IN THIS
EXCERPT
MIXOLYDIAN MODE IN A

TONE-TONE-SEMITONE-TONE-TONESEMITONE-TONE
B SECTION
MIXOLYDIAN MODE IN F#
SECTION D
FOCUS QUESTIONS
1. How does this piece demonstrate the composer’s
compositional style of continuous music?
2. What is the ...
MARTIN ISLAND
 Gently flowing tempo
indication and evokes a
mood of
apprehension, loneliness and
isolation
 Tonal qualit...
FOCUS QUESTIONS
1. What musical means does the composure use to create a
mood of loneliness and isolation in the A section...
BASS ISLAND FOCUS QUESTIONS
1. The lively exuberant tempo, 13/8 rhythmic pattern that is heard thrghout
seem to make the m...
MARTIN ISLAND FOCUS QUESTIONS
1. Hypnotic repetition of the insistent quaver motive, repetition of right
hand motives at o...
Five Islands - Peterson Australian Music
Five Islands - Peterson Australian Music
Five Islands - Peterson Australian Music
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Five Islands - Peterson Australian Music

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A slideshow with score excerpts and musical excerpts. A listening activity based on John Peterson's Five Islands composition ideal for stage 5 learning under Australian Art Music in the NSW syllabus.

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Five Islands - Peterson Australian Music

  1. 1. FIVE ISLANDS  Tonal idioms  Continuous music with fast tempos and layered repeated figures  Complex metres such as 13/8  Programmatic work picturing five small islands near Port Kembla  Each piece suggests different pictures from rolling sea to bright sunshine, to solitude and loneliness
  2. 2. BASS ISLAND  Lively and exuberant tempo  Arch form: ABCDCBA – Coda  Modal tonality to suggest an historical link  Energetic rhythm, driving music forward  Underlying rhythmic pattern that is heard throughout and unifies the piece  Discordant major seconds  Modal tonality – Mixolydian modes based on A, F#, B and E  Tonic and dominant pedal notes  Sustaining pedal to add resonance  Ornamentation with quintuplets and trills  Clear articulation markings.
  3. 3. IDENTIFY THE NOTES USED IN THIS EXCERPT
  4. 4. MIXOLYDIAN MODE IN A TONE-TONE-SEMITONE-TONE-TONESEMITONE-TONE
  5. 5. B SECTION
  6. 6. MIXOLYDIAN MODE IN F#
  7. 7. SECTION D
  8. 8. FOCUS QUESTIONS 1. How does this piece demonstrate the composer’s compositional style of continuous music? 2. What is the tonality of section A and how is this established? 3. How does the melody of section B differ from that of section A? 4. What is the mood of the music? Which musical elements contribute to this mood?
  9. 9. MARTIN ISLAND  Gently flowing tempo indication and evokes a mood of apprehension, loneliness and isolation  Tonal qualities of two adjacent notes C and Db  Three sections, first two are repeated.  First section has C as a tonal centre  Second section has Db as a tonal centre  Soft dynamic markings  Built around a 5 note motive, constant repetition creates a feeling of apprehension  Other motivic ideas or chordal passages are heard against it played by the right hand  Dissonant intervals and changes of texture for variety  Legato articulation with different phrasing conceals natural accents to aid flow  Use of sustain pedal
  10. 10. FOCUS QUESTIONS 1. What musical means does the composure use to create a mood of loneliness and isolation in the A section? 2. What musical means does the composer use to achieve the change of mood? 3. How is the tonal argument resolved in the final bar?
  11. 11. BASS ISLAND FOCUS QUESTIONS 1. The lively exuberant tempo, 13/8 rhythmic pattern that is heard thrghout seem to make the music rush on continuosly 2. Mixolydian mode based on A is established with low As in bars 3,4 and 5 and a repeated A in the bass in bar 6 3. B is mostly legato, lyrical melody with a little syncopation, whereas A has a chordal type melody with repeated notes and some staccato
  12. 12. MARTIN ISLAND FOCUS QUESTIONS 1. Hypnotic repetition of the insistent quaver motive, repetition of right hand motives at original pitch and at the octave, a smooth melodic contour that rises and then falls, legato articulation, discordant intervals in the chords or between the hands mainly soft dynamics, use of the sustaining pedal. 2. Pitch rises to a tonal centre a semitone higher, use of tonal Db chord, nearly all three note chords in the right hand making the texture thicker 3. A fragment of the motive rises up to Db and then sinks back again to C with a pause above it. 4. Energetic, fast tempo, repeated driving rhythms, energetic discords, lyrical melodies

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