Introduction | Subject 3 | ODESSA I

Subject 3

Jul 29

Written By ODESSA Research Team

Study of Counterpoint and Climax

Subject 3 is from Tchaikovsky’s Symphony no. 6. mov. i, mm. 284-304. The goal was to study the building of an orchestral climax and hyper-romantic counterpoint.

Example A is the Winds (no fl), horn, trumpet, trombones, tuba, timpani: harmony+ counter-subject
Example B is the Flute, violin I, violin II, viola, cello: melody alone
Example C is the Tutti
Example D is the Tutti (extended section)

Subject 3 | Example A

Subject 3 | Example B

Subject 3 | Example C1

Subject 3 | Example C2

Subject 3 | Example C3

Subject 3 | Example D1

Subject 3 | Example D2

Subject 3 | Example D3

Subject 3 | Example D4

Subject 3| Example D5

Subject 3 | Example D6

ODESSA

Project Homepage

ODESSA I — Montreal

1. Perception of Violin Section

2. Counterpoint and Energy

3. Counterpoint and Climax

• Introduction

• Practicalities

• Orchestration

4.1. Counterpoint and Strat

4.2. Study of Poetic Affect

5 Study of Contrast

6. Alternating Sections

7. Study of Percussion

8.1. Blend, Addition and Reduction

8.2. Study of Composite Lines

Introduction

ODESSA Research Team

SUBJECT 2 | Orchestration

SUBJECT 3 | Practicalities