FORCES:

- Unusual combination of instruments

- Often varies instrumentation, such as
melody switching parts in bar 29-30, and
swapping horn and trombone parts, such
as in bar 74

STRUCTURE:
- Almost in sonata form, as far as it
repeats the first section at the end
- First section is divided into two main
themes (1st being bars 1-8, 2nd is bars 921)
- Also includes a trumpet cadenza at
bar 39
- Coda from bar 85 to conclude piece

TEXTURE:
- Starts of polyphonic, with different
melodic lines in trumpet and horn
- By bar 9, it becomes homophonic
between horn and trumpet parts
- Bar 40 begins homophonic (melody and
accompaniment), with melody in horn
part
- Bar 66 is homophonic between all parts,
and by bar 73, it is trumpet and
trombone that are homophonic

RHYTHM:
- Often uses syncopation, such as
bar 9
- Frequent changes in time
signature, such as from bar 9-19
- Bar 25 is augmented
- Repeated rhythmic motif firstly in
horn part in section B
- Melody is mainly repeated
staccato quavers

MELODY:
- Very arpeggiated at the start
- Often changes octave as well to be
varied throughout sections
- Melody changes instruments in
section B, switching between trumpet
and horn
- Often uses chromatic sequences
(e.g. bar 54)
- Very chromatic in coda (i.e. in horn
and trombone part)
- Varies the melody in section A when
in bar 40, using same idea but
different rhythm
- Often uses octave displacement

SONATA FOR HORN,

TRUMPET & TROMBONE
FRANCIS POULENC

TONALITY:
- Key established as G major at
beginning
- Section B then modulates to
E major from G minor (in bar
25)
- Then modulates to B major, a
fairly remote key from G
- Then goes back to G major for
repeat of A section
- Chromaticism weakens sense
of key

HARMONY:
- Some chromatic harmony, such
as in the coda
- Often use of dischords
(neoclassical) such as bar 29 beat
1, and bar 20 beat 2
- Functional harmony, but with
some dissonances
- Spread chords in horn part (bar
26) and trombone part (bar 30)
- Uses mainly primary chords (I, IV
and V) in A section