Tchaikovsky- Am Kamin

Part of work the seasons- opus 37b. Tchaikovsky wrote one for every month. pushkin poem
Section A
Pitch
Sequential melody. Moves up 5
th
, then goes down 3
In A major. However key signature becomes ambiguous from bar 11, with a tonal centre
of E.
Melody is generally in the top of the register.
Contour of melody goes up then down.
Duration
Slow tempo due to the moderato, which means at a moderate tempo.
Use of pedal notes, which create a sustained feeling
Dynamics and Expressive Techniques
Dynamics begin softly, then gradually increase throughout each phrase, and suddenly
decrescendoing slightly at the end.
Indicated to be played moderato semplace ma espressivo, which means at a simple,
moderate tempo with expression.
Softer areas are repeatedly punctured by accented Cs.
Structure
Ternary form
4 bar phrases which call and answer using smaller 2 bar phrases. E.g. first 2 bars call, then
next two bars answer. This theme runs throughout the section
Texture
Homophonic texture, which briefly changes to polyphonic in bar 14 during an antiphony
between the two hands.
Gradually thickening texture from the use of chords and increasing dynamics throughout
section.
Tone colour
Intro is warm and soothing, due to the tonic and dominant chords used
Section 2
Pitch
Key signature changes to E minor, with modulations to A flat major in bars 37 and 52
Larger range of melody, using 5 octaves
Upward sloping melody
Large leaps in the melody, which are separated by arpeggios of different chords (eg a flat
major, e flat major). The arpeggio patterns depict sparks coming out of the fireplace.
Duration
Much shorter notes (semiquavers instead of quavers and crotchets)
There are often rests inbetween phrases, which creates a much more subdued atmosphere.
Dynamics and Expressive Techniques
Very soft section, using either pp or p.
Indicated meno mosso, which means less movement, creating a subdued and unclear
middle section.
Rubato indicated, which gives freedom of tempo to the performer
Structure
Longer phrases in this section, usually four or 5 bars long.
The climax from bars 41-44 extends a motif first introduced in bar 41 by adding glissandos
and triplets, creating tension
Texture
Much thinner texture compared to first section. This is due to the chords being broken up
into arpeggios.
Overall homophonic texture, which sometimes changes to monophonic, such as in bar 48-52,
due to the single line arpeggio runs.
Tone Colour
Subdued and unclear, from the quick runs and meno mosso
Section 3
Exactly the same as section 1. Contrast must be created by the performer, through changing accents,
different dynamics, vary the tempo (from rubato), etc.
Coda
Combines elements of both first and second sections. More dissonant overall and thicker texture,
from louder dynamics and larger and more chords. Antiphony between hands of the melody, which
moves in smaller steps and uses the middle of the register. Tonal ambiguity for the whole of the
coda, apart from the last 2 bars, where the original key of A major is re-established, and ends the
piece with a perfect cadence.