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“Sicilienne”- Gabriel Faure (composed 1893)
Concept
Sub section
Your Analysis
Structure

Duration

Macro- standard
forms
Micro- analysis
within the macro

Tempo

Metre

Beat

Rhythm- note
values

Rhythm- devices

-Ternary Form (A B A)

An example
of a repeated rhythmic/melodic motif that the flute plays in the
A section
...

This piece is composed to be played at a very moderate pace
(molto moderato), which is not as quick as allegro (allegretto),
which is shown by the tempo marking Allegretto Molto Moderato
at the beginning of the piece
...

6/8 (felt/counted very much in 2)
- Compound duple metre
- Fixed metre
Regular Beat, as the first and second beat in most bars in the
melody is often slightly longer, which emphasises them
...


-There is also an upbeat before most bars in melody line, which
emphasises the first beat of each bar (gives it a strong beat)
...
)
-The sicilienne is a piece that is often characterised by dotted
rhythms, which is evident in Faure’s “Sicilienne”
...
This is a form of
rhythmic repetition, which gives unity to the section
...
Due to
the contrasting nature of these notes (their
different articulation) they can be clearly
heard and the syncopation adds to the
uneasy tone colour of this section
...
This is seen when one looks at the melodic
contour of the flute line within individual phrases, which usually
start and end in the lower register, with the rest being in the
middle register
...

The flute has a range of three registers (of three octaves), which
is utilised in this piece, as the flute part ranges from a low
register C to a high register F
...

Therefore, since both the flute and piano part ranges over
several octaves, it can be said that this piece has a very large
range
...

-There are repeated melodic motifs played by the flute,
specifically in the A section
...
There is even an instance where the
piano has a short melodic solo of four bars, which is then
repeated immediately after by the flute
...
It also only seldom actually includes full chords, as
usually the piano will play ascending/descending phrases of the
notes that make up these chords
...

-The piano also often plays rhythms that
are reminiscent of the rhythms played by
the flute in the melody, further giving the
piece a sense of unity
...

-The piano plays the notes of the G minor chord to begin the
piece, in an ostinato that repeats 3 times
...
Marking), which lengthens the notes
...

Harmony- chord
structures

In the A section, the notes of the tonic chord of G minor, are
often repeated, whilst notes of the Bb chord and D (the
dominant) chord are also played
...

Like the melody, the piano’s part (the harmony) modulates to Eb
major from G minor, which means it moves to a higher key
before returning back to the tonic when the A section is
repeated
...
This is seen
when the piano plays an Eb major chord at the end of the A
section in bar 43 and when it plays a G minor chord in the very
last bar of the piece
...
The piece begins in the
key of G minor then it modulates to Eb major, before returning
to the tonic when the A section is repeated
...
These keys are, therefore,
closely linked
...

The two obvious layers in this piece are the melodic layer
provided by the flute and the harmonic accompaniment, which
the piano plays
...
This means the
density would have been thicker
...

There are, however, parts of the piece where the piano plays the
melody briefly and the flute either has bars of rest (e
...
bar 1821) or plays consonant accompanying notes
...
g
...
This piece is also acoustic, as it
does not make use of any electronic manipulation or effects
...
This means it combines many
different sound sources, as it is composed for an ensemble and
in this case, it is arranged for a soloist with accompaniment
...
This is heard in the A
section and when this section is repeated
...

This tone colour is evident because of the descending high
register notes the flute plays in this section
...

pp, mp, p, mf, sf (many volume levels)
- There are many gradual dynamic changes in melody line (often
there is a crescendo at start of a phrase, building up to a climax
and then there is a decrescendo that
releases the tension
...
This is also an instance where the
dynamic change is more sudden than the
rest of gradual dynamic changes
...
An example of this is in bar 10, where the
flute plays softer than the piano, so that the melody can be
easily heard
...


Tempo
indication

Articulation

Ornamentation

The only tempo indication in this piece occurs at the beginning
and is Allegretto Molto Moderato, which means that the whole
piece should be played at the same tempo
...

There are staccato markings in bar 12, which creates contrast to
the majority of the flute melody line, which is slurred
...
The piano part, on the other
hand, includes more articulation, as although it also has many
slur markings, they are usually for shorter phrases than in the
flute part and there are many more staccato markings
...

-The flute often uses vibrato on longer notes in the melody
(usually the final note of a phrase), but it depends on how fast
the performer decides to play the piece
...


CONTRAST

-Since there is not a lot of ornamentation markings in
specifically the flute part, there has arguably been a lot of room
left for the performer to add their own expressive techniques
...
The B
section begins in bar 44, where the key has modulated to Eb
major, meaning these sections have contrasting tonality
...
Within this melody that
the flute plays, it can be seen that the note values are shorter

UNITY

and there is a very different repeating rhythm, which is
comprised of descending-pitched dotted quavers and
semiquavers than the in the motifs of the A section, which often
have crotchets
...

-There is an evident unity of duration in this piece, as there is a
constant tempo (Allegretto Molto Moderato), the note values are
always relatively short, the metre is fixed and the beat is regular
...

-The fact that, in this arrangement, there are no changes in the
instrumentation or the role each instrument plays in the piece,
there is a consistent tone colour to this piece, which only
changes due to a change in the tonality of each section
...
This means this arrangement has
a relatively thin density and is mainly homophonic
...




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