Beethoven | Symphony No. 5 | Ex. 1
A dramatic peak achieved by contrasting two sections of the orchestra
Beethoven | Symphony No. 8 | Ex. 4
Clean transitions with no overlap between consecutive scenes
Bizet | Carmen | Ex. 8
The color remains balanced. Only the spatial quality is contrasted.
Bizet | Carmen, 2nd Suite | Ex. 10
Dramatic dynamic contrast achieved through the recurring use of a single musical motif
Tchaikovsky | Symphony No. 4 | Ex. 12
Parallel construction of a crescendo and an echo effect
Beethoven | Symphony No. 7 | Ex. 13
Spatial sweep across the string sections, traversing all the music stands. Panning effect.
Bartok | Music for Strings, Percussion and Celesta | Ex. 14
Achieving contrast solely through spatial means while maintaining balance in all other musical parameters.
Tchaikovsky | Romeo and Juliet| Ex. 15
Alternation between woodwinds and strings in spectral balance on the same chord
Victoria | Ave Maria | Ex. 17
Example of antiphony in a polychoral work from the Renaissance.
Beethoven | Symphony No. 3 | Ex. 18
Antiphonic structure created by the alternation between winds and strings. 3rd mov., mm. 99-112
Beethoven | Symphony No. 9 | Ex. 19
Responsorial structure created by the contrast between two instrumental densities.
Beethoven | Symphony No. 4 | Ex. 20
Contrast between two instrumental densities: 2 string sections and a solo bassoon.