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Symphonie Fantastique
March to the Scaffold
By Hector Berlioz
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Rhythm and Form
The rhythm throughout the piece is rather simple and is great to use for active listening in the classroom. The first theme, theme A, consists of only three elementary rhythms; half, quarter and eighth notes. This theme returns many times throughout the piece to provide smoothness during transitions and to give the piece a sense of continuity. The second theme, theme B, is a little more complex with the addition of the rhythm dotted eighth followed by a sixteenth. The theme is also found many times throughout the piece. Of course there are other rhythms contained in the movement, but for the purpose of teaching in the classroom these two themes are plenty. In addition, the movement is in cut time therefore teaching augmentation and diminution would be easy and beneficial.
The form is somewhat similar to that of a classical sonata combined with a theme and variations. The beginning of the movement starts with an introduction. During the introduction there is a long timpani solo and a layering effect of instruments which all build up to the A theme. From this A theme there are a series of variations that stem from this theme. Next, Variation four leads to a transition section that could serve as a short variation five except that it leads directly to the stately theme B. Theme B is comprised of a stately brass fanfare which really grabs the audience's attention. In addition, this theme is hard to forget because of the contrasting nature of the theme. This theme returns many times throughout the movement. The B theme is stated and then repeated. Next, the theme leads directly into the interlude which, in turn, leads to the development section. After the A theme is developed, the B theme develops and is repeated. Again, the B theme leads to an interlude which returns to development A, and then to the recapitualization. At this point in a traditional four movement symphony the symphony would end, however Berlioz wrote a transition and a coda. The coda, actually, could be called a transition into the fifth movement since it does not provide the closure that a traditional symphony would have. The Fifth and final movement is "The Dream Of The Witches Sabbath."
Melody
The melody consists of two contrasting themes. The first theme begins with the strings playing an octave leap upwards followed by descending minor scale downwards and then repeating again. This melody then transfers from the strings and to the other instruments in the orchestra. During Variation 4 there is a bassoon solo which encompasses the theme. Theme B is a brass fanfare section with a very quick rhythmic passage. These two themes contrast greatly, the first is a more orchestral sound and the second is a more symphonic sound.
The Composer
and Some of His Works
One of the contributions Hector Berlioz made to the nineteenth century was his expansion of the romantic orchestra. The romantic orchestra was already full, but he was a radical and expanded the brass and percussion sections to his liking. He had a wild imagination which also helped lead to his radical styles. Berlioz is known for writing programatic compositions.
Berlioz wrote five symphonies including: the Symphony Fantastique, and Lelio, ou le Retour a la Vie, a sequel to the Symphony Fantastique. The Symphonie Fantastique is his most popular programatic symphony. Berlioz tries, throughout the symphony, to portray a dream of a poet crossed in love who has taken poison. This was written in reference to his love to Henrietta Smithson. The first movement, slow and in sonata form, is titled Dreams and passions. The second movement is called the Ball, and the third movement is called the Scene in the Fields. The fourth movement is the March is the Scaffold where having murdered his beloved, is being led to an execution. The fifth and final movement is the Dream of a Witches Sabbath. Here he dreams that he is present at a witches riveland surrounded by spirits. The symphony is then ended with a burlesque parody of the Dies Irae sung by the witches. Berlioz used large instrumentation including an expanded brass section, full percussion and string sections, and four bassoons. Another characteristic about the symphony is that it was meant to be program music, but is also as effective as absolute music. Later on he composed the symphonies Hector at Italy, Romeo and Juliette, and Symphonie Funebre et Triumphale.
Berlioz also wrote choral music, two in particular, the Requiem Mass and the Te Deum Mass. The Te Deum is a gigantic work for chorus and orchestra. The Requiem mass uses a large chorus, a large orchestra. Berlioz also added four brass bands to the four corners of the room to give a more powerful effect of his mass. Latin was the chosen language for the text, and the text portrayed a doomsday scripture. Both there masses were written in commemoration of those who died in the French Revolution.
Harmony and Expressive Elements
The introduction begins with low strings and low woodwinds to add accompaniment to a double timpani solo. As the piece progresses the tympani crescendos (little by little) and more instruments start playing, creating a layering effect of instruments. This introduction climaxes at the first theme, theme A. At theme all instruments are playing at fortissimo and crescendo and decrescendo as the melodic line rises and falls. The softest part of theme A comes during the fourth variation during the bassoon solo. This is quickly reversed with a two bar crescendo and sixteenth notes that lead into the B theme. The B theme is loud throughout the whole theme.
Tension is built up from the opening statement. Theme A serves as a climax and also a release of that tension. Theme B is just plain fun! The rhythms are bouncy and the brass plays it like a triumphant fanfare. Next, the A theme is developed. During this section the strings accompany the melodies as usual, but the speed is twice as fast. There are other slight changes but mostly more notes. The ending is very chordal and full of brass overtop of the whole orchestra. The ending actually serves as a transition to the fifth movement.
Call Chart
Call Number Measure Number Description
**Please Click on any of the Descriptions to hear that section of music.
In order for the sound file to work you must have Voyager CDlink installed.
CDlink may be downloaded at the following internet address:
http://www.worthpublishers.com/kerman/cdlink.html
Click here to hear a MIDI file of theme's A and B
Click here to take a Test on Symphonie Fantastique
Here is an Active Listening Lesson Plan
Concepts taught
:
form, echo clapping, body percussion, listening skills, rhythm, syncopation, rhythmic score reading, melody, turning the phrase, movement with steady beat.
National Standards:
Content Standard: Performing on instruments, alone and with others, a varied repertoire of music
Achievement Standard: Perform on at least on instrument/accurately and independently, alone in small and large ensembles with good posture, good playing position, and good breath, bow, or stick control.
Play by ear simple melodies on a melodic instrument and simple accompaniments on a harmonic instrument
Behavioral Objectives:
Students will be able to perform body percussion to themes A and B
Students will be able to perform movement while performing body percussion
Students will be able to perform body percussion in canon
Students will be able to perform rhythm to themes A andB on percussion instruments
Students will be able to perform hand signs to the melody of themes A and B
Students will be able to sing melody with solfege syllables
Students will be able to perform on melody bells the melody of themes A and B
Students will be able to perform melody in a round
Students will be able to identify phrase endings by turning the phrase
Students will be able to perform rhythm in the feet
Activity Outline
1. Echo clapping and body percussion to theme B
2. Steady beat in feet while scattering about throughout the room
3. Perform movement and body percussion with the recording
4. Turn the phrase
5. Transfer body percussion to rhythm instruments
6. Review body percussion
7. Divide class in half; half plays instruments other half performs body percussion
Activities for form
:
1. Call Chart
2. Turning the Phrase
3. Changing the beat in the feet for different themes
4. Divided class - one part plays until the turn of the phrase, another part plays at start of the turn of the phrase
5. Spiral phrase
6. Canon/round
Rhythmic Activities
Echo Clapping
Teacher will clap two beat pattern using body percussion(rhythm of theme B)
Students will repeat
Teacher will continue teaching using two bar phrases
Students will perform body percussion
Rhythm in hands and feet
Students walk steady beat
Students perform body percussion while walking the steady beat
Students will turn the phrase
Students put rhythm in the feet and steady beat in the hands
Rhythm Instruments
Teacher passes out instruments
Students play instrument to rhythm taught in echo clapping
Canon
Teacher divides class into groups: instruments and movement with body percussion
Melodic Activities
Hand Signs
Teacher plays starting pitch (every time before performing hand signs)
Teacher performs hand signs
Repeat
Students perform hand signs
Teacher signs and sings
Students sign and sing
Floor patterns and melody bells
Teacher demonstrates hand placement on body while saying the letter name
Students sing note names and place hands in appropriate place on the body
Teacher passes out instruments
Teacher demonstrates melody by touching finger to the bells
Students play melody using fingers
Students play melody using opposite end on mallets
Students play melody using correct end of mallets
Round
Teacher divides class and tells Students to play as around
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