Edexcel GCSE Music Student Workbook
February 12, 2017 | Author: Mary Lin | Category: N/A
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Download Edexcel GCSE Music Student Workbook...
Description
THE PETERBOROUGH SCHOOL MUSIC DEPARTMENT
BK
Name: ___________________________________ Form Tutor: _______________________________
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KS4 Grade Descriptions What grade are you aiming for?
A
Candidates explore the expressive potential of musical resources and conventions used in selected genres, and traditions.
They sing and/or play music with a sense of style, command of the resources used and making appropriate gradations of tempo, dynamics and balance.
They compose music which shows a coherent and imaginative development of musical ideas and consistency of style and fulfils a brief.
They make critical judgements about their own and others’ music using an accurate and extensive musical vocabulary.
C
Candidates sing and/or play music with control, making expressive use of phrase and dynamics appropriate to the style and mood of the music.
They compose music which shows ability to develop musical ideas, use conventions, explore the potential of musical structures and resources and fulfils a brief.
They make critical judgements about their own and others’ music using a musical vocabulary.
F
Candidates sing and/or play music with some fluency and control of the resources used.
They compose music which shows some ability to organise musical ideas and use appropriate resources in response to a brief.
They describe musical features using a simple musical vocabulary, make improvements to their own work and offer some justification of opinions expressed.
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My Targets for the Year My Challenge Grade for GCSE Music is ______________. In order to achieve this I need to:
1. ______________________________________________ ______________________________________________ 2. ______________________________________________ ______________________________________________ 3. ______________________________________________ ______________________________________________ 4. ______________________________________________ ______________________________________________ 5. ______________________________________________ ______________________________________________ 6. ______________________________________________ ______________________________________________ 7. ______________________________________________ ______________________________________________ 8. ______________________________________________ ______________________________________________ 9. ______________________________________________ ______________________________________________ 10. _____________________________________________ ______________________________________________
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The Elements of Music Much of your GCSE Listening paper will require you to have a very good understanding of the following key areas. Complete the grid below with musical vocabulary appropriate to each section. Element of Music
Description
Rhythm
Melody
Harmony and Tonality
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Tempo
Structure
Dynamics
Texture
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Timbre/Playing Techniques/Articulation
Instrumentation/ Performing Forces
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Area of Study 1
The History of Western Classical Music 1600-1899
Content coverage
Learning outcomes
Introduction to the musical eras: Baroque, Classical and Romantic (AoS 1) Brief overview of the musical developments 1600-1899 including historical context. References will be made to elements of the notation to reinforce previous learning.
Unit 1: Choose a solo performance piece to be recorded in the next 6-10 weeks. Units 1,2 and 3: Staff notation
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To develop an understanding of the chronological development of western classical music from 1600-1899 (Area of Study 1). To understand the historical context of the music.
Area of Study 1 – Set Work 1
Handel: And the Glory of the Lord from
Messiah Course Content
Learning Outcomes
Listen to the set work, placing it in context. Relevant musical vocabulary including: oratorio, libretto, recitative, aria, chorus, perfect cadence, plagal cadence, pedal point, imitation, monophonic, homophonic, modulation, tonic and dominant.
Unit 1 Record solo performance.
To understand the context of the set work as part of one of the most well known and loved of all oratorios. To understand the position and role of the set work in the overall oratorio. To develop an understanding of the use of Baroque conventions within the set work. To recognise and be able to use relevant musical vocabulary. To recognise the forces used in the recording including SATB choir.
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Handel – 1685-1759
Born in Germany Played the Violin, Harpsichord and Organ Employed as court conductor for the Prince-Elector of Hanover in Germany Ambitious, devoted and very successful musician Travelled to Italy and England Settled in England and continued to write music for the Prince-Elector who was now King George I of Great Britain! Homework: Visit the website DSOkids.com. List 4 other musical facts about Handel including the title of two other works composed by him:
1. ____________________________________________________________ ____________________________________________________________ 2. ____________________________________________________________ ____________________________________________________________ 3. ____________________________________________________________ ____________________________________________________________ 4. ____________________________________________________________ ____________________________________________________________ Listen to La Rejouissance from Music for the Royal Firework Suite. Describe: The two instrumental families you can hear
__________________________________________________________ _________________________________________________________ _ Tonality
__________________________________________________________ Time signature 9
BAROQUE MUSIC Key Features 1 2 3 4 5 6
Simple, mainly diatonic harmonies Terraced dynamics – clear contrasts between loud and soft, rather than gradual changes Ornamentation Complex contrapuntal writing in some pieces Orchestras made up of largely string instruments Use of continuo – a group of instruments that provides a bass line and harmonic accompaniment – usually a keyboard instrument (harpsichord or organ), with one or more bass instruments (cello, bassoon or double bass). Important composers: Bach, Handel, Purcell and Vivaldi
Wurzburg Chapel
What is an Oratorio? An Oratorio is a large-scale composition for solo singers, choir and orchestra. It is always based on a biblical story but intended for performance in concert halls and theatres rather than in churches. They were similar in musical style to Operas but without costumes, scenery or acting.
Messiah Handel composed more than 20 oratorios, of which Messiah (1741) is his most famous. It took him just over three weeks to compose! The first performance was given in Dublin in 1742. This first performance was given by a small choir of no more than 16 singers and an orchestra of probably less than 10 though now it is performed with much larger forces. The orchestra would have been supported by a Baroque organ, harpsichord and a cello, this grouping of instruments is known as the continuo. 10
Harpsichord
The harpsichord action
Listening Compare and contrast two versions of Bach’s prelude in C major. _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________
Within an Oratorio you will find arias, recitatives and choruses. Aria – a solo vocal piece with instrumental accompaniment which reflects a mood or emotion. The music is more elaborate to display the vocal qualities and expertise of the singer to the full. Recitative – a style used in operas, oratorios and cantatas in which the text is told in the rhythm of natural speech, these are used to narrate the story. Chorus – a movement within the Oratorio in which the whole choir sings and sums up the action at that point in the drama. Listen to this example of one of Handel’s most famous choruses, http://www.youtube.com/watch?v=SXh7JR9oKVE Christmas Food Court Flash Mob, Hallelujah Chorus Note that the words are in English and not Italian which tended to be the norm during the Baroque period.
‘And the Glory of the Lord’ (1741) Handel’s Messiah is in three parts and tells the story of the birth, death, and resurrection of Jesus Christ: Part 1 – the birth Part 2 - the death Part 3 - resurrection ‘And the Glory of the Lord’ is in part 1 and is the first chorus in Messiah. It consists of four 11
different motifs. Listen to the motifs and answer the following questions: Motif A
1. In pairs learn to play this motif. 2. What type of voices first sing this? ___________________________________________ 3. Describe the rhythm in bar 2. _______________________________________________ 4. The word setting in this motif is_____________________________________________ Motif B This is first sung by the tenors in bar 17.
5. What melodic device is used on the words revealed? _______________________________________________________________________ 6. Describe the word setting in this motif. _______________________________________ Motif C
7. What type of voice first sings this motif? ______________________________ 8. What compositional device has been used in this motif? _______________________________________________________________________ 12
Motif D
9. Describe how motif D differs from the other 3. _______________________________________________________________________ _______________________________________________________________________ These four motifs are heard in different parts and in combined in different ways throughout the movement. In section B of the listening exam you will be asked to write in detail about one of the set works. You are likely to have to put your work in context, for instance by giving its date and style, or by stating where you might expect to hear it performed. Most of the marks, however, are likely to be awarded for writing about how the elements of music, such as rhythm, melody and harmony, are used in the set work. We have already focused on the melody in this set work and will now therefore look at the other elements of music and how they are used in ‘And the Glory of the Lord’. PERFORMING FORCES The choir is made up of sopranos, altos, tenors and basses (SATB). They are accompanied by a string orchestra and continuo (cello, and harpsichord or organ). Notice that the orchestra often doubles the vocal lines. STRUCTURE Fill in the missing words: The work starts with an ________________ introduction, called a ritornello. Shortened versions of this ritornello return later in the work. Indicate on the score where the instrumental ritornellos occur. There is no formal structure to this movement; it’s based on different combinations of the ____________ motifs. As the motifs repeat and imitate between the voices they are sequenced into different pitches e.g. bars 18-23. 13
RHYTHM, METRE AND TEMPO The time signature is ________ throughout which means simple triple time. The tempo is allegro which means _________________. In which bar does the tempo change? ___________________________. What happens on the three beats prior to the change? _____________________________________________ By changing the tempo and adding in the general pause this helps to emphasise the final words ‘hath spoken it’. The first three motifs use mostly crotchets and quavers whereas the fourth motif is characterised by long (dotted minim) repeated notes. These notes serve to emphasise ‘the Lord hath spoken it’. To strengthen the statement further he doubles the part with the tenors and ______________. Handel creates syncopation by using what is known as a hemiola. This is a rhythmic device, often used towards a cadence point, where the music feels as if it has 2 rather than 3 beats per bar. Give an example of where this first occurs:_______________________________. TONALITY AND HARMONY This piece is in the key of ________________. It modulates (changes key) to two related keys: the dominant (E major) and the supertonic (B major). The piece ends with a ______________cadence. The harmony is diatonic. What does this mean? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ TEXTURE Handel creates contrast within this piece by contrasting both homophonic and contrapuntal/polyphonic textures. Describe what is meant by homophonic and give an example where this texture can be heard. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ What is meant by the term contrapuntal/polyphonic and at which point does Handel first use this texture? 14
__________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ There is a very short monophonic passage where the upper strings are in unison with the sopranos, can you find where this is and indicate the bar numbers below. __________________________________________________________________________ __________________________________________________________________________ In order to create the contrapuntal texture Handel uses imitation, this is overlapping the music by immediately copying the same melody in another part. This first happens in bars 18-25. To further add contrast Handel varies the number of parts being played, for example he may only have the altos singing or at times two or three parts together. Give an example within the score where you can hear one voice part singing: ________________________________ In which bars can we first hear the Tenors and Basses together? _______________________ What is the texture at this point in the score and why? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ WORD SETTING There is a mixture between melismatic and syllabic word setting throughout. Which motif is mostly syllabic? _____________________________________________ Which motif is mostly melismatic? ___________________________________________
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LISTENING EXCERCISE Listen to the following two excerpts and write down what you hear by the headings given: Excerpt A For unto us a Child is Born Tonality Tempo Texture Harmony
Performing Forces
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Excerpt 2 4 Movt. 40th Symphony th
Which excerpt is from the Baroque period and why? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
Suggest a possible composer for both excerpts: ___________________________________
Area of Study 1 – Set Work 2
Mozart: Symphony No. 40 in Gm First Movement 17
Content coverage
Learning outcomes
Listen to the set work, placing it in context. Relevant musical vocabulary including: symphony, sonata form, exposition, development, recapitulation, 1st and 2nd subject, bridge passage, orchestra (and sections thereof), sequence, dynamic markings, chromatic, major and minor.
Unit 2 Melody writing and harmonisation
Unit 1: Choose ensemble performances to be rehearsed and recorded over the next 8-12 weeks.
To understand the context of the set work and its place in the canon as a sonata from 1st movement of a classical symphony. To learn about the importance of structure within classical works and of the role played by tonality and key structure. To learn about sonata form and its main elements as evidenced in the set work. To be able to identify the elements that make this an archetypal piece of music from the classical era. To recognise and be able to use relevant musical vocabulary. To be able to recognise the sound of all the instruments in the classical orchestra.
Mozart – 1756-1791
Born in Austria A child prodigy (young person of exceptional talent) Toured Europe giving performances to royalty from the age of 6 Lived in Salzburg, Paris and Vienna Died a pauper at the age of 35 Left over 600 compositions! Homework: Visit the website DSOkids.com. List 4 other musical facts about Mozart including the title of two other works composed by him: 1. _____________________________________________________________________ _____________________________________________________________________ 2. _____________________________________________________________________ _____________________________________________________________________ 3. _____________________________________________________________________ _____________________________________________________________________ 18
4. _____________________________________________________________________ _____________________________________________________________________ Listen to Eine Klein Nachtmusik and describe the following: The texture in the first four bars.
__________________________________________________________ Tonality
__________________________________________________________ Time signature Performing Forces: __________________________________________________ _____________________________________________________________________
CLASSICAL MUSIC Key Features 1 2 3 4 5 6 7 8
Simple, mainly diatonic harmonies Expression markings given in scores including crescendos and diminuendos Balanced, repetitive and clear-cut melodies that form questions and answers Often homophonic in texture Increased use of wind instruments, though the melody is still mainly in the strings. The wind instruments tend to fill out the harmonies Basso continuo replaced with alberti bass Harpsichord replaced by the piano and no longer used in the orchestra Clarinet invented Important composers: Mozart, Haydn and Beethoven
Look at the picture below and compare this with the Wurzburg Chapel on page 10, what do you notice?
Bellevue Palace in Berlin 19
What is a Symphony? A symphony is a large scale orchestral work that first became popular in the Classical period. It consists of four movements: Fast Slow Minuet and Trio Fast All three of the composers mentioned earlier wrote symphonies, Beethoven wrote 9 while Haydn wrote over 100! Mozart composed about 50 symphonies with many being commissioned by royalty or aristocrats. The most likely place to hear a symphony would be in a concert hall.
Symphony No. 40 (first movement) (1788) Facts.......... Key of G minor 4 movements Use of sonata form for 1st, 2nd and 4th movements 3rd movement is a minuet & trio Each movement has a different tempo The first movement is molto allegro which means _________________________ No trumpets or timpani – unusual for a Classical Symphony! Looking at the melody below, this is heard at the beginning of the extract. Fill in the missing notes in bars 3 and 4. N.B. You will more than likely get a question like this in the first part of your listening exam.
Look at the following signs/abbreviations. List one place where you can find them in the score and write down what they mean: ‘div.’______________________________________________________________________ 20
__________________________________________________________________________ ‘1’ _______________________________________________________________________ ‘a 2’ ______________________________________________________________________ sf _______________________________________________________ tr ________________________________________________________________________ legato ____________________________________________________________________ staccato ___________________________________________________________________ crescendo __________________________________________________________________
Listen to the music and follow the score. You will notice that it is in 3 main sections, what happens in the final section? __________________________________________________________________________ __________________________________________________________________________ What you have heard is a movement in Sonata Form – the most important large musical structure in the Classical period.
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STRUCTURE AND TONALITY Complete the chart below by adding in the bar numbers: Section
Exposition
Sub-section
Description
Key
First subject
A melody characterised by a falling motif. Played by strings first
Gm
Bridge passage
Full orchestra playing
Bb
Second
A melody with descending
Bb
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Bar
subject
chromatic patterns, shared between strings and woodwind
(relative major)
Codetta
Reinforces the key centre
Bb
Based on the first subject, which is developed and fragmented
Moves through various keys
First subject is repeated with some variation
Gm
Extended Bridge passage
Full orchestra playing
Gm
Second subject
Second subject is repeated with some variation
Gm
Coda
Repeated perfect cadences to finish the piece.
Development
First subject
Recapitulation
Gm
MELODY Most of the melodies are made up of 4 bar phrases that sound like questions and answers. Many of them are scalic. What does this mean? __________________________________________________________________________ __________________________________________________________________________ HARMONY This is a typical Classical symphony and therefore the harmony is ______________ throughout. There are however times when Mozart uses chromatic chords such as the diminished 7th and augmented 6th – mostly used in the development section where the tonality is more ambiguous. What harmonic device does Mozart use in the opening bars? __________________________________________________________________________ 23
He also uses this in bars 17-20, but what is different this time? __________________________________________________________________________ A popular feature of Classical music was the use of the circle of 5ths as a chord progression. Mozart uses this in a number of places but most notably in bars 57-58 and bars 203-209. Its clever design is very helpful in composing and harmonizing melodies, building chords, and moving to different keys within a composition.
RHYTHM, METRE AND TEMPO Describe the tempo and metre of this movement in two sentences: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ The rhythms are fairly simple though there are some use of dotted rhythms and syncopation to help create momentum and interest. Can you find one example of each within the score? Dotted rhythm __________________________________________________________________________ Syncopation __________________________________________________________________________ TEXTURE 24
As with much music from the Classical period the main texture in this piece is homophonic. He does however use dialogue between instruments. Look at the second subject in bars 4448 – first you hear the strings which is then answered by the WW. What does Mozart do to this Q&A phrase in bars 52-55? __________________________________________________________________________ __________________________________________________________________________ INSTRUMENTS As well as the clarinet and piano being invented in the Classical period the horn was also another new arrival. The type of horn used at this time was called a natural horn. It had no valves and therefore relied on the musicians lips to create different notes. The notes were limited to their harmonic range. A horn in Bb would therefore only be able to play the notes Bb D F and C. A horn in G would be able to play G B D and F. In order to maximise the number of pitches Mozart had 2 horns – one in Bb and the other in G.
A natural horn with different sizes of crooks, the crooks did the job of transposing the instrument. DYNAMICS Complete the chart below by filling the general dynamics for each section: Section
Sub-section First subject
Exposition
Bridge Second subject 25
Dynamics
Development First subject Recapitulation
Bridge Second subject
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Mozart 1st Movement from Symphony No. 40 in G Minor Listen to extract A twice: 1. Which theme / subject is being played? [1] 2. This theme is shared between two instrumental families. What are they? [2] 3. What is the key of this theme? [1] Listen to extract B twice: 4. Describe one difference between this extract and extract A [1] 5. Fill in these two statements using either Exposition, Development or Recapitulation Extract A is from the Extract B is from the
[2]
Listen to extract C twice: 6. Explain how the Development Section manipulates and alters the ideas from the exposition
[3] 7. Which instruments play a dominant pedal note towards the end of the Development Section [1]
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Area of Study 1 – Set Work 3
Chopin: Prelude No. 15 in Db major The ‘Raindrop’ prelude Content coverage Listen to the set work, placing it in context. Relevant musical vocabulary including: dynamic markings, key signatures, pedal point, sustain pedal (including score markings), sostenuto, legato, cantabile, acciaccatura and rubato.
Learning outcomes
Unit 1: Rehearse and record ensemble performances. Unit 2: Input harmonised melodies into a computer package and record as composing tasks.
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To understand the context of the set work as part of the romantic piano repertoire. To learn about the development of the piano and the virtuoso musician in the context of the romantic era. To recognise the use of romantic conventions within the set work. To recognise and be able to use relevant musical vocabulary.
ROMANTIC MUSIC Key Features 1 2 3 4 5 6
Large orchestras (often including the full range of WW, brass, percussion, strings and harp. Increasing technical difficulty in some music leading to the rise of the virtuoso Music is more expressive and emotional More homophonic in texture Structures become longer Pieces are given descriptive titles, programme music becomes more common Important composers: Chopin, Liszt and Mendelssohn
In order to gain a better understanding of this period of Romanticism it is useful to visualise the movement through architecture, art and literature.
A castle built purely on Romantic fantasy in the late 19th century
John William Waterhouse, 1888, The Lady of Shalott, In terms of literature, the Grimm brothers were are among the best-known story tellers of European folk tales, and their work popularized such stories as Cinderella, The Frog Prince, Hansel and Gretel, Rapunzel, Rumpelstiltskin, Sleeping Beauty and Snow White. Here is an example of one of their stories written in the Romantic period. 30
THE OLD MAN AND HIS GRANDSON – The Grimm brothers There was once a very old man, whose eyes had become dim, his ears dull of hearing, his knees trembled, and when he sat at table he could hardly hold the spoon, and spilt the broth upon the table-cloth or let it run out of his mouth. His son and his son’s wife were disgusted at this, so the old grandfather at last had to sit in the corner behind the stove, and they gave him his food in an earthenware bowl, and not even enough of it. And he used to look towards the table with his eyes full of tears. Once, too, his trembling hands could not hold the bowl, and it fell to the ground and broke. The young wife scolded him, but he said nothing and only sighed. Then they brought him a wooden bowl for a few half-pence, out of which he had to eat. They were once sitting thus when the little grandson of four years old began to gather together some bits of wood upon the ground. ‘What are you doing there?’ asked the father. ‘I am making a little trough,’ answered the child, ‘for father and mother to eat out of when I am big.’ The man and his wife looked at each other for a while, and presently began to cry. Then they took the old grandfather to the table, and henceforth always let him eat with them, and likewise said nothing if he did spill a little of anything. Listen to the following to youtube clips. They will give you some idea of historical events that took place in the 19th century that influenced composers. http://www.youtube.com/watch?v=XV_q45Otdic&feature=related http://www.youtube.com/watch?v=oJnTTlgjVso
Using the knowledge that you have gained listen to Chopin’s Prelude No. 15 and give three reasons as to why this is a composition from the Romantic period. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ This prelude was given the nickname Raindrop why do you think this is? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 31
PRACTICAL TASK Using a keyboard and a key of your choice make up a short passage of music describing rain Try using scalic movement and short repeated patterns Decide whether you want a short jumpy (STACCATO) sound or smooth gentle rain like Chopin’s (LEGATO) Start and finish in your main key area Perform to the class
Chopin – 1810-1849
Born in Poland Composed nearly all of his music for piano Spent most of his career in Paris Was a piano teacher, composer and performer Performed ‘salons’: concerts given to small, select gatherings of people In 1838 he went to Majorca and ended up staying with his lover in a deserted monastery in a place called Valldemossa.
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He composed this Prelude inspired by a heavy rainstorm that he could hear dripping on the roof of the monastery HOMEWORK
Chopin wrote 24 preludes, one in each of the 12 major and minor keys. Although the term prelude suggests an introduction to something else Chopin composed these as short, self contained movements. Bach however followed his preludes with a contrapuntal movement called a fugue. All of Chopin’s preludes were written for piano, with some more difficult than others. Create a power point presentation to the class about the history of the piano including a listening example of one of Chopin’s other preludes.
Prelude No. 15 in Db Op.28 (1839) MELODY Look at the main themes below and learn them.
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Notice the repeating quavers in the third example. This can be found throughout section B. Chopin also uses this quaver pattern in section A thus creating a unifying feature. The main theme is in the right hand and has a dotted rhythm which gives the melody a lighter feel than in section B. In the middle section the melody is in the left hand is made up of mostly crotchets and minims which help to create a darker more menacing mood. STRUCTURE This piece is in Ternary form (ABA). Complete the chart below: Key A
Main features
Db major Lyrical melody accompanied by quavers in the bass. List three ways in which Chopin creates contrast in this section:
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Bar numbers
B
C# minor
A
Db major The opening repeated but shorter.
Coda Db major Melody is now in the middle of the texture, finishes on a perfect cadence.
PERFORMANCE MARKINGS Look at the following signs/abbreviations. List one place where you can find them in the score and write down what they mean: Definition Ped. * Sotto voce Smorzando Slentando Acciacatura Sostenuto 35
Bar
RHYTHM, METRE AND TEMPO The time signature is called common time it is the same as _____________. This stays the same throughout the piece. In bar 79 there is a dectuplet: ten notes of equal length fit into one single beat. What is a septuplet? __________________________________________________________________________ __________________________________________________________________________ Find an example of this within Chopin’s prelude: __________________________________________________________________________ A key feature of solo music within the Romantic era is the use of rubato. This literally means ‘robbed time’; in essence it allows the performer to create a flexible tempo so that they can play expressively. Key rhythmic features in the piece include the use of repeated quavers and dotted rhythms. TONALITY AND HARMONY Section
Key
Relationship
Final cadence
A B A A dominant pedal can be heard throughout most of the piece. TEXTURE Section
Texture
A
Homophonic
B
Further textural features Melody in the RH Broken chords in the LH Melody in the LH Pedal in the RH doubled in octaves More chordal than Section A
Homophonic 36
Melody in the RH A
Homophonic Broken chords in the LH Melody in the middle of the texture
Coda
Monophonic for 2 bars then homophonic
Sustained chords in the R and LH
DYNAMICS In contrast to the first two set works Chopin uses a wide range of dynamics but there are no sudden changes. He uses lots of crescendos and diminuendos throughout. Notice that Section A is quieter than Section B, which climaxes to ff twice. Do remember to add any definitions to your................
Area of Study 2
Music in the th 20 century 37
Area of Study 2 – Set Works 4 & 6
Schoenberg: ‘Peripetie’ from
Five Orchestral Pieces and
Reich: 38
‘Electric Counterpoint’: 3rd movement Content coverage
Learning outcomes
Timbre and texture: Schoenberg: Peripetie Reich: 3rd movement from Electric Counterpoint Listen to the set works, placing them in context. Relevant musical vocabulary including: chromaticism, atonal, klangfarbenmelodie, hexachord, principal voice, secondary voice, serialism, prime row, inversion, retrograde, retrograde inversion, enharmonic, verticalisation, repetition, ostinato, cells, loop, phasing, note addition/subtraction, augmentation, diminution, layering, metamorphosis, resultant melody, modal. Unit 1: Choose new performance pieces for recording after the summer holidays. Unit 2: Input ternary form piece into a computer package/ rehearse piece and record as a composition task. Unit 2: Compose a piece of music using the minimalist techniques studied in set work 6
To understand the very different approaches used by Schoenberg and Reich in their use of timbre and texture as evidenced in the set works. To understand the use of atonality and modality in the pieces as well as the use of the other musical elements. To learn about the context of the set works in the 20th Century repertoire and how they represent different strands in the diversity of western classical music in the 20th Century. To explore composition techniques using hexachords (or serial techniques) and minimalist development techniques as a method of understanding the ethos of the two styles. To identify the difference in performance requirements for the two pieces.
Expressionism
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This is a style developed in the early 20 th Century as a reaction to the late Romantic era and composers such as Brahms and Wagner. Both composers were moving further away from the more classical ways of writing music, by using more chromatics (#’s & b’s) and less cadences which signify a key. This was making the music more emotional, and full of suspense. The Expressionist movement was strongest in Germany at the end of the 1 st World War. There was a strong feeling of disillusionment and discontent regarding living conditions and restrictions imposed on the country. Artist, writers and composers wanted to express their emotions through their art form as intensely as possible. Rather than trying to create life-like and realistic paintings, Expressionist artists would use unnatural colours and distortion to portray their emotions. Expressionism is often dark and moody but it can also communicate feelings of happiness and joy.
Starry Night by Vincent Van Gogh ‘Peripetie’ is the fourth of Schoenberg’s Five Orchestral Pieces. The title means ‘A sudden change’. Listen to the music and, using the following terms: rhythm; metre; tonality; melody, describe how Schoenberg creates the feeling of sudden changes. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ _________________________________________________________________________
What do you think of this style of music? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 40
__________________________________________________________________________ __________________________________________________________________________ To understand this music more we need to gain a greater insight to the composer and how atonal music can be structured. Firstly some facts about Schoenberg:
Schoenberg - 1874-1951
• Born in Vienna, Austria • Founded the Second Viennese School – a group of composers who wrote Expressionist music • Taught Berg & Webern. • Was a Jew (but adopted Protestantism for a few years) • His music was condemned by the Nazis as being decadent • He started writing atonal music when his wife left him for his friend an artist. • Developed a technique known as serial
Serialism in Modern Music
Kandinsky Serialism was created in the 1920 – 1940’s by German composers who were trying to move away from the traditions of ‘classical’ music in terms of melody, harmony and tonality. The characteristics of Serialism are often weird and sound wrong, but they do have some common features – even if they sound like they don’t make sense, there is a plan . . . 41
Tonality: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Use of Melody: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Use of Pitch Range & Movement: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Use of Rhythm: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
Use of Dynamics: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Use of Texture: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Use of Tempo: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Instruments and Timbres: 42
__________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Serialism abandoned the idea of major, minor or modal tonality altogether. Melodies and harmonies were created using a mathematical principle where each note of the chromatic scale is used democratically, in order. The chromatic scale is: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
The composer arranges the 12 notes of the chromatic scale into a certain order known as:
The Prime Row: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
The Prime is then changed to get 3 more versions: The Retrograde: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
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The Inversion: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
The Retrograde Inversion: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
Having got the different rows, the composer can then transpose each row, 11 times. Transpose each Row: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ The composer now has up to 48 different 12 note rows to choose from to create the melody, countermelody and harmony with. He will use the elements of music listed on the 1st page to create mood and contrast in the piece. Creating Structure and Texture: Canon: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 44
Imitation: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
Sequence: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
Pointillism: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
Verticalization: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
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We have spent a little time looking at this technique to help us understand some of the developments of tonality in the early 20th century. In order to make a piece truly tonal the composer could not have one note dominating the piece hence the invention of serialism. Every one of the 12 notes is given equal importance. Schoenberg introduced this technique some years after the Five Orchestral Pieces – this piece is atonal but is not serial.
Key features of Expressionism in Music atonal expresses intense emotion full pitch ranges of the instruments used extreme changes in dynamics pieces are quite short as it is difficult to write a piece of considerable length without the framework of a key structure and the use of recognisable themes timbre felt to be as important as the melody – notice the considerably larger orchestra in Peripetie and the wider variety of percussive instruments
Did you mention any of these features when listening to the music?
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Five Orchestral Pieces: Peripetie (1909) The Five Orchestral Pieces is a set of atonal pieces for full orchestra. They all last between one and five minutes and aren’t linked to each other. Homework: Write a paragraph of information about these orchestral pieces. Your work must be word processed and include details about when and where it was first played; the history behind the title of the individual pieces and why Schoenberg found it difficult to get this work performed. PERFORMANCE MARKINGS Look at the following signs/abbreviations. List one place where you can find them in the score and write down what they mean: Definition
a2 or a3 divisi pizz arco bell up 1 solo tutti 48
Bar
+
INSTRUMENTATION This work is written for a very large orchestra of about 90 players. Schoenberg changes the instrumentation rapidly throughout creating many contrasts in timbre. He felt that the combination of instrumental sounds, or ‘tone colour’ was just as important as the melody and invented the term klangfarbenmelodie which means tone-colour melody. The instruments play at extreme their extreme ranges in terms of pitch. Look at bar 2, what do you notice about the double bass part? ________________________________________________________________ Now look at the final 2 bars and you will notice that the instruments playing here are all playing at opposing pitches and at their most extreme ranges. How does Schoenberg create different timbres on the cymbal? __________________________________________________________________________
Describe the instruments below: Piccolo __________________________________________________________________________ Cor anglais __________________________________________________________________________ Bass clarinet _________________________________________________________________________ Contrabassoon __________________________________________________________________________ Tam-tam __________________________________________________________________________
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STRUCTURE This piece has five sections and is in free rondo form. However, the lack of tonality and the changes in the rhythm mean that it is very different to the traditional type of rondo heard in the Classical period. Section A B A’ C A’’
Bar 1-18 18-34 35-43 44-58 59-end
TONALITY AND HARMONY The piece is atonal and uses a lot of dissonant harmony. The chords and melodies are often built from hexachords – a set of six pitches. This is one of the unifying features of ‘Peripetie’. We first hear them in the opening woodwind fanfare, if we write them in scale order you can see the intervals between the notes: Note name Interval
C#
D ½
E 1
F ½
G# 1½
A ½
Now look at the sustained chord in the horn chord in bars 8-13, Schoenberg has transposed the first hexachord to a new pitch level. It still however creates the same type of dissonant chord. A
Bb ½ 1
C
C# E F ½ 1½ ½
He uses this same chord again in bars 37-39 in the horns. Finally, look at the chord in the last two bars of the piece: E
F ½
G 1
Ab B C ½ 1½ ½
It’s the hexachord again transposed to another pitch level! This happens throughout the piece though some of the hexachords have different sets of pitches.
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MELODY There are seven different motifs that are short and fragmented. Write down the features of each of the motifs below including the following key words: disjunct; octave displacement; augmentation; triplets; sextuplet; chromatic movement. Motif a __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Motif b __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Motif c __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Motif d __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Motif e __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Motif f __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Motif g __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 51
RHYTHM, METRE AND TEMPO The metre changes between _________________________________________________. The tempo is Sehr rasch, what does this mean? _________________________________________________________________________ The rhythms are very complex and include triplets, syncopation, demisemiquavers, sextpulets and dotted rhythms. He changes them very quickly and often layers the different rhythm patterns on top of each other to create a complex contrapuntal texture. TEXTURE AND DYNAMICS The texture within this piece is mostly contrapuntal/polyphonic. There are however times where the texture becomes more sparse and is monophonic. Can you find an example of this? __________________________________________________________________________ __________________________________________________________________________ To create the contrapuntal texture Schoenberg uses imitation. In the final section you will see an example of three different canons that are all heard at the same time. A main feature of Expressionist music is the use of extreme contrasts in dynamics. Look through the score and write down the two most extreme dynamics that Schoenberg uses: _________________________________________________________________________
Edvard Munch (1863-1944)
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Schoenberg’s Peripetie You will hear this extract twice a) Name the two families of instruments which are playing the main themes at the beginning of the extract [2] b) Name the style in which this piece was written [1] c) Describe the use of dynamics in this extract [3] d) Other than dynamics, give 4 features of the style that you can hear in this extract
[4] e) What is meant by the composers’ term Hauptstimme which is used in the score
[2] f) This piece is based on manipulating a chromatic scale, give the name of the first statement of the 12 note scale [1] g) Give 3 ways in which the composer uses and changes this scale of notes throughout the piece
[3]
Total
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[16]
Minimalism
In the 1960’s artists, sculptors, musicians and writers began reacting against this culture of expressing extreme emotions They began producing works that were stripped down to their bare essentials, deliberately removed from self expression Minimalism was born..........listen to It’s Gonna Rain by Steve Reich, this is the birth of drum’n’bass!!!!
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Features of Minimalist Music Drones – a continuous note or repeated note Ostinati/loop – repeated patterns (called cells) Phase Shifting – 2 mostly identical parts when repeated together they go out of sync and gradually back into sync Steve Reich wrote two works that use this feature – Clapping Music and Piano Phase
Metamorphosis – gradually changing ideas (e.g. changing one note at a time)
Addition – adding in new notes Subtraction – taking away notes Augmentation – doubling the length of notes e.g. crotchet = minim Diminution – halving the length of notes e.g. crotchet = quaver Static Harmony – chords change very slowly, if at all Diatonic harmony Layering – adding new musical parts – creating a complex texture Resultant Melody – using different layers playing different melodies to create a new melody which appears “floats” over the top
Identify on the score below where you see these features occurring:
55
56
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Steve Reich
• Born in New York 1936 • Studied Philosophy and composition • Performed in Terry Riley’s ensemble before creating his own • Studied African drumming in Ghana in 1970 • Studied Balinese Gamelan in 1973-4 – influenced his use of mallet instruments • Reich’s music is rhythmically complex and very repetitive List 4 other facts about Reich’s Electric Counterpoint including who it was written for:
1. ____________________________________________________________ ____________________________________________________________ 2. ____________________________________________________________ ____________________________________________________________ 3. ____________________________________________________________ ____________________________________________________________ 4. ____________________________________________________________ ____________________________________________________________ Name two other minimalist composers
____________________________________________________________ ____________________________________________________________
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Terry Riley: In C Look at this piece and learn the different cells, prepare a class performance.
Identify the following minimalistic techniques and write down the cell where it takes place. Phase shifting ___________________
Augmentation _______________________
Note addition ___________________
Diminution _________________________
Note subtraction ______________________
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Electric Counterpoint: third movement (1987) Written for soloist and a pre-recorded backing track Third in a series of such works – Vermont Counterpoint (1982) for flute and New York Counterpoint (1985) for clarinet Written in 3 movements - Fast – Slow – Fast We are studying the last movement Electric Counterpoint was written for Jazz guitarist Pat Metheny The 3rd movement has 7 guitar and 2 bass parts that are pre-recorded as a multitracked backing track Solo guitar plays live over the top This is a way for a solo performer to perform as an ensemble with himself Diatonic throughout Electric Counterpoint, like other minimalist pieces, has influenced pop musicians. Listen to the Orb’s Little Fluffy Clouds (1990); they have used an extract from this third movement in this track. INSTRUMENTATION How many pre-recorded guitar parts are there? ___________________________________ Who is the performing the live guitar part on this track? ____________________________ In order to blend well with the track the live guitar is amplified. STRUCTURE Minimalism rarely uses formal structures such as ternary or rondo form, this is due to its repetitive gradual evolution. This piece loosely falls into three main sections although they are very similar: Section
Features Em, hexatonic, gradual addition of layers.
A First key change to Cm. B section is signified by regular key and metre changes. B
Coda
Returns to ‘simple’ four part canon with no accompaniment and constant 3/2 metre. 60
Bar
MELODY AND TEXTURE In order to understand Reich’s use of the melody let’s look at the opening section. The movement opens with a one bar syncopated motif. This forms an ostinato that is heard continuously until bar 73. The motif is hexatonic – what does this mean? __________________________________________________________________________ Name the notes that he uses in this pattern: _______________________________________ The entire movement is constructed in layers, starting with a monophonic texture that gradually builds up to a four-part canon creating an imitative texture for the remainder of the piece. Let’s break section A down: Instrument Guitar 1
Bar 1
Live guitar
2
Guitar 2
7
Guitar 3
10
Guitar 4
16
Live Guitar
20
Ostinato One bar motif repeated continuously 3 notes of ostinato 1 building up to the full ostinato pattern in bar 6 Ostinato 1
Minimalist Technique Ostinato
Building up ostinato 1 but with an additional note and a phase shift of 5½ beats Ostinato 1 - in unison with the live guitar New ostinato pattern built from ostinato 1
Note addition and Phase shifting
Note addition Phase shifting
Phase shifting Resultant melody All guitars combined to create static harmony
The live guitar at bar 20 reinforces the resultant melody – Reich used this technique in many of his compositions. The interweaving of the parts causes certain notes to leap out at the listener, almost like a melody but with the notes shared across the instruments. The live guitar part reinforces this by playing the notes on one instrument.
RHYTHM, METRE AND TEMPO What is the tempo of this piece? _______________________________________________ The main metre of this piece is _______________________. 61
Describe what happens to the metre at bar 82 and the impact that this has on the music rhythmically: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Rhythm is an important feature, Reich’s experience of African music can clearly be heard within this piece particularly with the use of cross rhythms and syncopation. HARMONY AND TONALITY There is much tonal ambiguity (keeping the key uncertain) in this piece. The music is entirely diatonic, the main ‘A’ section contains only 6 notes from the G major scale. This type of scale is called a hexatonic scale because it only uses six notes: - G A B D E F# However the tonal centre of this piece appears to be the bass note E. Steve Reich is using a G major scale but with an E as his root note, this concept is known as modality. This piece is therefore in E modal minor – E F# G A B D (E). It modulates to a pentatonic (5 note) version of the Eb major pentatonic - Eb F G Bb D, but the bass guitars and chords mainly use the C minor tonality so the new key feels and sounds like C modal minor - C D Eb F G Ab Bb (C). This mode uses the notes of the Eb major scale but starts on a C. DYNAMICS The dynamics remain fairly constant throughout, though parts do fade out in a number of places.
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Listening Test You will hear this extract 3 times a) Which of these riffs represents the 1st guitar part that you hear? [1] Riff A
Riff B
Riff C
b) On the score for Riff C, draw a circle around i. a crotchet note D ii. a quaver note B
[1] [1]
c) Explain what the “3-2” time signature means at the beginning of the line [3] d) This piece relies on repetition and development of the riff. Describe how the riff used and developed throughout the piece
[5] e) Which term correctly describes the tonality of the riff printed above? (tick one box)[1] Decatonic
Hexatonic
Pentatonic
Octatonic Total
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[12]
Listen to both Schoenberg’s Peripetie and Reich’s Electric Counterpoint, compare and contrast the two performances:
Peripetie Tempo
Texture
Dynamics
Timbre
Rhythms
Melody
Structure
Performing Forces
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Electric Counterpoint
Area of Study 2 – Set Work 5
Bernstein: West Side Story: ‘Something’s Coming’ Content coverage Bernstein: ‘Something’s Coming’ Analysis of musical structures used in the song. Identifying the use of instrumentation, harmony and accompaniment. Relevant musical vocabulary including: choreography, production, melodic intervals, syllabic, tritone, 7th chords, riff, harmonics.
Learning outcomes
Unit 1: Rehearse and record solo and ensemble performances. Unit 2: Input minimalist pieces into a computer programme.
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Bernstein: To understand the context of the song as part of a musical — the placement of the song within West Side Story as a whole and the meaning of the lyrics in the context of the plot including understanding the character of Tony. To explore the rhythmic interest in the song and the use of the orchestra to accompany the singer.
A Brief History of Musicals What is a musical? _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________
Increased demand in the late 19th century for popular entertainment suited to ordinary people. New theatres opened on Broadway in New York, and the West End in London in response to this demand. Variety shows were shown that consisted of a mixture of songs, dances, comedy acts and short sketches. Story lines became included to link the items. The music became more sophisticated with some composers drawing on the rhythms and harmonies of 20th century classical music and jazz Key works in the development of the musical: Show Boat (1927) by J Kern; Porgy and Bess (1935) by G Gershwin; Oklahoma (1943) by R Rogers and O Hammerstein. West Side Story (1957) a direct descendent of these 3 works. Plot includes gang violence, ambition, humour and love. Musicals today are more popular than ever, but none match the intensity of West Side Story. Homework Go to dsokids.com and listen to the Mambo from the West Side Story Overture. Describe Bernstein’s use of rhythm, harmony, tonality and performance forces: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Write an article about Bernstein and what influenced him to write West Side Story. Follow this with: a summary of the plot; where ‘Something’s Coming’ features within the work; the orchestration; when and where it was first performed. This must be word processed and include images relevant to your work. 66
West Side Story: ‘Something’s Coming’ (1957) The idea of a musical based on Shakespeare’s play Romeo and Juliet was suggested to Bernstein in 1949 by Jerome Robbins, an American choreographer. The original setting of Verona, a beautiful Italian city in the 16th century was to be transformed into the run-down, violent world of the West Side of Manhattan Island, New York in the 1950s. This appealed to Bernstein as it provided him with the opportunity to write hard hitting music inspired by the jazz and Latin-American rhythms that he had experienced on his holidays.
Romeo and Juliet
West Side Story
Renaissance Italy
1950s New York
Young lovers who get Tony and Maria from rival together despite a running teenage gangs, the Jets (New battle between their York) and the Sharks (Puerto families Rico) Balcony scene
Fire escape of a bleak New York apartment
Tony, who was once the leader of the Jets, sings the song ‘Something’s Coming’ it is his first solo, and in it he expresses his hopes for a better future, it establishes his optimistic character. The music in this song reflects this desire for a better future than the gang culture. How does the music do this? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Unfortunately though his relationship with Maria, sister of the rival gang leader, is ultimately doomed; it is a love story of betrayal and violence leading to Tony’s death. INSTRUMENTATION ‘Something’s Coming’ is written for solo tenor accompanied by a pit orchestra/band. Notice that the Tenor part is printed in the treble clef but sounds an octave lower then written. The pit orchestra is usually positioned in front of the stage and therefore limits the number of players that can be used.
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West Side Story was originally written to be performed without amplifying the voices. Write down two ways in which Bernstein ensures that the band doesn’t overpower the singer in ‘Something’s Coming’: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Bernstein uses a variety of instrumental techniques within thispiece to help enhance key words. Look out for example the harmonics and tremolo played by the strings in the words ‘The air is humming’.
STRUCTURE AND MELODY
Listen to the performance and follow the score, there are three main themes. Write down the main features and the metre for each one of these themes: Theme
Main Features
Metre
A
B
C
The entire song is based on these three themes though they are not exactly the same when they return. Bernstein varies the themes by changing the words and the metre. 68
TEXTURE The texture is melody over accompaniment (homophonic) throughout. He does however vary the accompaniment and has three main ideas: 1. A repeating riff in the bass:
2. Short, syncopated chords in bars 21-26 3. A fast, um-cha accompaniment in bars 32-140
RHYTHM, METRE AND TEMPO To help create the feeling of anticipation and excitement Bernstein uses changes in metre, fast tempo and syncopated rhythms – notice also the use of the “push” rhythm which anticipates the beat:
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He also uses cross rhythms: two conflicting rhythms that cross the pattern of accented and unaccented beats. Here are two examples within ‘Something’s Coming’. Indicate on the music below where the accented beats are in each part:
HARMONY AND TONALITY What is the key of this piece? ________________________________________________ Does it modulate?_________________________ If so where and to which key? __________________________________________________________________________ __________________________________________________________________________ _________________________________________________________________________ We discussed earlier how Bernstein was influenced by Jazz and Latin-American music. The jazz influences become very clear particularly within the harmonies where there is frequent 70
use of 7th chords – these are known as ‘blue’ notes. He also uses the interval of a sharpened fourth that creates a tritone. Look at the example below:
Tritone
Flattened Seventh
What is a tritone and where else can you see one? __________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ What harmonic device does Bernstein use in the last bar to create the feeling that the piece hasn’t finished? Choose from: Syncopation
Pedal note
Flattened seventh
Cross rhythm
Which two options are the odd ones out and why? _________________________________ __________________________________________________________________________ __________________________________________________________________________ H/W - West Side Story contains several types of songs other than the solo song. Listed below are a variety of songs found in this musical which include chorus numbers, duets and a quintet: ‘One Hand, One Heart’
‘Jet Song’ ‘America’
‘Tonight’ ‘A Boy Like That’
Which one of the songs above is a quintet? __________________________________________________________________________ Two of the songs are duets, name one of them: __________________________________________________________________________ The final two songs are chorus numbers, what does this mean? _______________________ __________________________________________________________________________ __________________________________________________________________________ 71
Listening Test 1. Listen to the following extract of Something’s Coming which will be played twice.
a. Which section of the orchestra play the instrumental introduction? [1] b. How does the composer create a mood of excitement and anticipation in the music
[2] c. In which decade of the 20th Century was the musical written and set? [1] d. Define the following features which exist in this piece: Ostinato Tritone “Blues” Notes
[3]
e. Look at the scores below, which show the beginning and end of this extract. Identify 5 differences between the two scores in terms of key, metre, rhythm, dynamics and any other significant musical feature: Beginning of extract:
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End of extract:
Total
73
[5] /12
Area of Study 3
Popular Music in Context
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Area of Study 3 – Set Work 7
Miles Davis: All Blues
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Content coverage
Learning outcomes
Group improvisation sessions using: 1 Voices 2 Own instruments 3 Unfamiliar instruments. Introduction to 12-bar blues form.
Miles Davis: ‘All Blues’ (AoS 3) Brief overview of the origins of jazz and the place of Miles Davis within the canon. The use of the 12-bar blues structure within ‘All Blues’ and development of the harmonic sequence. Brief analysis of the track. Relevant musical vocabulary including: ragtime, jazz styles (inc. swing, bebop etc), blue note, changes, head, frontline, comping, chromatic, turnaround. Unit 1: Record improvisations as ‘Improvising as part of an ensemble’
To explore the use of the pentatonic scale and/or dorian mode and simple methods of developing a 3 or 4 note motif. To build confidence and trust with fellow musicians. To develop an understanding of the harmonic structure of the 12-bar blues. To develop students’ understanding of improvising techniques in the context of jazz and blues. To understand the context of the set work as part of a genre-changing album. To learn about the origins of jazz with its roots in the blues. To be able to identify the main features of ‘All Blues’ using appropriate musical vocabulary.
Slaves: their work and music in North America The bulk of African slaves in America worked on large cotton and rice plantations. Although slavery was made illegal in 1808 it continued to exist in the southern states until president Abraham Lincoln came to power and sought to abolish it. At the end of a civil war between the industrial northern states and the southern states where the plantations were, slavery was abolished in 1865. In the ‘Deep South’ African slaves were forbidden to touch any musical instruments because their masters felt they might use them to communicate secret messages and cause rebellion. However some slaves made instruments such as the banjo. This was based on African stringed instruments. The banjo has gone on to become an instrument that is played in many different musical contexts. It is widely used in country & western music but it was also used in the early days of jazz. Today there are artists such as Bela Fleck who use the banjo in music that mixes hiphop, funk and jazz, listen to his Ballad of Jed Clampett.
From Negro spirituals to gospel
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Slaves from the same ethnic groups would always be split up because the plantation owners feared that they might plot a rebellion if they could communicate with each other. Ashanti, Yoruba and Wolof were all scattered around the work forces so that there was no common language. However the slaves did manage to create a language they could all understand and they made songs together. They did this to keep their spirits up when they were doing hard manual labour such as picking cotton. A lead singer would sing a line and then a chorus would answer. This was called call and response. The songs that they sang together as they worked in the plantations were called ‘field hollers’ or ‘work songs’. They became an important part of African-American culture and there was a specific way of singing that came with them. Some people describe it as a ‘cry’. In any case it was very different to European hymn singing; it wasn’t as polished and had a very distinctive character. The ‘Call and response’ singing heard on the plantations would eventually make its way into the first black churches in America. The first black church songs were called Negro Spirituals. They later evolved into a more sophisticated form called gospel. One of the greatest gospel singers of all time was Mahalia Jackson. Listen to the incredible emotion she pours into this song I’m On My Way To Canan.
From Gospel to Blues There is a great divide between gospel and blues. Gospel was music from the church; the blues was music from outside. Although these two genres were bound by the same important technique of call and response they had vastly different lyrics; gospel praised the lord whereas the blues spoke of heartache, having sex and having no money. Some blues songs are rude, suggestive and funny. Some are very sad. One of the greatest blues singers of all time was Bessie Smith and she brought a larger than life character to songs in which she often spoke of her suffering at the hands of men. Or how much pleasure they could give her or how fond she was of a drink. The blues began in rural communities in the Deep South in America, in places such as the Mississippi Delta. Many classic blues songs are sung by a musician who accompanies himself on guitar over a verse that lasts 12 bars. This is called the 12 bar blues. 77
Bar 1
Bar 2
Bar 3
Bar 4
Chord I
Chord I
Chord I
Chord I
Bar 5
Bar 6
Bar 7
Bar 8
Chord IV
Chord IV
Chord I
Chord I
Bar 9
Bar 10
Bar 11
Bar 12
Chord V
Chord IV
Chord I
Chord I / V
By the early twentieth century black Americans started playing the blues in bars and clubs beyond the southern states. Features of this style of music included the use of blue notes and syncopated rhythms.
From Blues to Jazz Although jazz originated in America, and most of its famous players are American, it has actually been created and played all over the world since as early as the 1910s. Almost as soon as it was being played by African Americans in the streets of New Orleans, jazz was also arriving in countries as far flung as Britain, Japan, Australia, and South Africa. Sometimes African Americans brought the music with them when they travelled (often trying to escape the racism of America to find more tolerant places to settle). Jazz also arrived through recordings carried by travellers, and the music and its accompanying lifestyle were reported on in newspapers. Jazz’s lively syncopated beats and improvised style caught the imagination of people all over the world, but each time it was seen as representing something different. Each time, it was also reinterpreted and changed with local accents – often mixed with the local musical styles. As a result, there are now many different kinds of jazz, here are some: Decade
Jazz Style
Other Styles influenced by Blues
1850
1900
Technological Developments
Affordable pianos and cheap printed music led to a demand for new songs to be performed at home Gramophone record player became popular with the invention of the 78rpm record, holds up to 3
Ragtime
78
minutes worth of music Start of public radio broadcasting and sound movies
1920 1930
1940
1950 1960
Swing Big Band Jazz Be-Bop
Cool Jazz Modal Jazz
LP record invented – 33rpm – holds up to 60 minutes worth of music Singles invented – 45rpm – holds one song either side Rhythm and Blues Rock and Roll Soul
Good news! All of the above is for information only and won’t be required in your exam.
Watch the clip below: The Mighty Boosh: Jazz trance - BBC comedy http://www.youtube.com/watch?v=bKwQ_zeRwEs&feature=fvw
Blues notes are notes which do not live in the normal triad chord, they are chromatic additions. There are 3 main Blues Notes: The flattened 3rd, which usually moves quickly up a semitone to the major 3rd The flattened 5th, which also usually moves up a semitone to the perfect 5 th, or down a semitone to the perfect 4th The flattened 7th, which generally doesn’t move anywhere, it just sounds cool all by itself!
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Here’s a normal C Major Chord
This chord has a flattened 3rd Blues Note, which moves up to the normal 3rd
This chord has a flattened 5th Blues Note, which moves up to the normal 5th
This chord has an added flattened 7th (a whole tone below the root)
This chord has an added flattened 7th (in the LH) and a flattened 3rd to sound like a proper Blues chord Try adding Blues notes to the chords of F major and G major, then try putting them in the order of the 12 Bar Blues Chord Sequence.
Miles Davis 1926-1991
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Homework The legacy of Miles Davis is an unprecedented journey of music, creativity, innovation and personal charisma. His career spanned nearly five decades and he had a huge influence on how we think about jazz and the jazz trumpet. Miles Davis was responsible for, or contributed heavily to five major styles in jazz from the 1940s to the 1970s: bebop (1940s), cool jazz (1950s) modal jazz (1950-60s) hard bop (1960s) fusion (1970s) Go to http://www.youtube.com/watch?v=GnDwgRgpYcE&feature=related (Blue in Green – Miles Davis, uploaded by syk2330) Name the instruments in the order that you hear them on the recording: What is Miles Davis using to alter the sound of his trumpet? Describe the playing technique of the Drum kit
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Describe the melody played by the Tenor Sax Describe 2 different playing techniques used by the Double Bass
STRUCTURE
In total All Blues plays the 12 Bar Blues pattern 19 times with a four bar riff in between each main section. One statement of the 12 bar blues chord progression is called a chorus. The main pre-written melody is called the Head, solo choruses are improvised over the same 12 Bar Blues chord sequence. List the instruments you can hear below in the correct order: Section
Instruments
Intro
Head 1 x 2
Solos x 4 Solo 1 – 4 choruses Solo 2 – 4 choruses Solo 3 – 4 choruses Solo 4 – 2 choruses
Head 2 x 2
Outro/Coda
HARMONY AND TONALITY
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Earlier we mentioned that this piece is based on the 12 bar blues chord progression. In the next diagram we can compare the blues progression we saw earlier with the one used in this piece: 12 BAR BLUES IN G ALL BLUES Bar 1 G Bar 5 C Bar 9 D
Bar 2 Bar 3 Bar 4 G
G
G
Bar 6 Bar 7 Bar 8 C
G
G
Bar 10 Bar 11 Bar 12 C
G
Bar 1
Bar 2
Bar 3
Bar 4
G7
G7
Gm7
G7
Bar 5
Bar 6
Bar 7
Bar 8
C7
C7
G7
G7
Bar 9
Bar 10
Bar 11
Bar 12
D7
Eb7/D7
F/G
F / G6
G/C
All Blues uses EXTENDED CHORDS such as DOMINANT 7ths, and the last line also uses ALTERED CHORDS. Altered chords are where you substitute a more interesting chord as opposed to the normal 12 bar blues chord. A Dominant 7th is a normal triad with the 7th note above the bass added. The dominant 7th is ALWAYS a whole tone below the root note, so the dominant 7th of the chord of C is a Bb. Work out what these triads are, find the dominant 7th note and write it in (the 1st one is done for you)
C7 = C E G Bb Adding a 7th, 9th or even an 11th to a triad turns it into an EXTENDED CHORD. A #9 chord works on the same idea; you add the 9th note above the root and sharpen it (this is the same as adding a sharpened 2nd).
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Bill Evans keeps the piano part interesting while COMPING (accompanying) by constantly changing the CHORD VOICING. Changing the voicing means simply changing the order of notes in a chord, in classical music this is known as inversions:
Changing which notes are at the top, bottom or middle, and how far they spread over the piano can dramatically change the way a chord sounds. Task: Try playing the All Blues 12 bar blues chord progression with different chord voicings. What key do you think All Blues is in and why? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Write down the notes of the scale used in All Blues below: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ What do you notice about the 7th note? What is this called? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ By flattening this note what scale has been created? __________________________________________________________________________
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MELODY
The head melody is characterised by rising 6ths from D to B, and continues with simple stepwise (conjunct) movement. This is an example of Cool Jazz which is quite unlike the fast and high trumpet lines heard in Miles Davis’ bebop of the 1940s. The accompanying riff includes the saxes playing a swaying figure in parallel thirds. It moves stepwise in a very narrow range. Describe the technical term for the bass part: _____________________________________ Circle and label the rising 6ths in the melody and the parallel thirds/chords in the accompanying riff:
INSTRUMENTATION Name the instruments and the players in the rhythm section in this piece: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 85
__________________________________________________________________________ Name the instruments and the players in the frontline: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ RHYTHM, METRE AND TEMPO The time signature for All Blues is _______________________________ As is typical with jazz music the quavers are swung. This means that each pair of quavers is played with the first a little longer than the second thus creating a triplet feel. There is also frequent use of syncopation. INSTRUMENTAL TECHNIQUES Technique
Description
Pizzicato
Muted
Tremolo
Comping
Wire brushes
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Bar
Area of Study 3 and 4 – Set Works 8, 9 and 10
Songwriting
Content coverage Buckley: ‘Grace’ (AoS 3) Moby: ‘Why Does My Heart Feel So Bad’ (AoS 3) Capercaillie: ‘Skye Waulking Song’ (AoS 4) Analysis of musical structures used in the songs. Identifying the use of instrumentation, harmony, accompaniment and production features in the songs.
Learning outcomes
Unit 1: Record improvisations as ‘Improvising as part of an ensemble’.
Unit 2: Write a song based on the versechorus structure.
Unit 1: Rehearse parts to record performances of songs written by class members/input parts into a computer package to be used as a sequenced performance/record songs using a multitrack recorder as an ensemble performance using music technology.
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Buckley: To understand the context of the song as a guitar-based track written in the early 1990s. To recognise the harmonic implications of guitar chords (studying the harmony from the perspective of the guitar chord shapes rather than from a western harmony perspective). To understand the importance of production elements in creating the overall texture. To recognise the guitar techniques used. Moby: To understand the context of the song as a chart-bound dance track. To recognise the use of technology in the track including sequencing, sampling and use of studio effects. To understand the importance of sampling and its treatment in the song, making the simple harmonies work in the context of the song. Capercaillie: To understand the context of the song as a fusion of folk and western popular music. To learn some of the background to folk music and the introduction of electric instruments. To put the lyrics into the context of a waulking song.
To recognise the instruments used in the set work.
Listen to the next three set works and complete the chart below using the key words provided: Celtic Fusion
Rock Ballad
Club dance
1999
2000
1994
Drum machine
Guitars
Uilleann pipes
Falsetto
Sampled voices
Traditional
Distortion/flange
Diatonic
Chromatic
Simple quadruple metre
Moby
Style
Date Composed
Instrumentation
Voice
88
Reverb/delay Diatonic
Compound quadruple metre
Buckley
Low alto
Compound quadruple metre
Capercaillie
Technology
Harmony
Metre Which song do you prefer and why? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
Jeff Buckley 1966-1997
Jeff Buckley’s song Grace has several features that are commonly found in rock music such as four beats in a bar, the use of verse and chorus form and the instrumental line-up.
A singer-songwriter and guitarist born in California in 1966 Both father and son possessed powerful voices with great emotional depth. He had an amazing range as a singer and often sang in falsetto Tim Buckley died of a heroin overdose at the age of 29 Jeff Buckley died in a swimming accident at the age of 30 The song 'Grace' is taken from the album with the same name Grace (1994) was the only studio album Jeff Buckley completed Jeff Buckley co-wrote the song 'Grace' with the guitarist Gary Lucas This piece is scored for two guitars, bass guitar, drums and synthesiser 89
N.B. Background info is not essential for the exam
Homework Go to http://www.youtube.com/watch?v=vOoEYxt0PPA (Jeff Buckley – Hallelujah live in Chicago 1995 – uploaded by pseudodionysis) Describe the style of accompaniment Describe the tonality Describe the structure From the same concert go to http://www.youtube.com/watch?v=Xhd-zImzoiI (Jeff Buckley – Dream Brother 1\13 live in Chicago 1995 – uploaded by usernameRobo) Compare this song with Hallelujah in terms of accompaniment / instruments and playing techniques, tonality and structure
FOLK ROCK MUSIC 1 2
Key Features and Facts Refers to the traditional music of a country – the folk culture Often learned and performed by ear; songs are memorised and passed down through generations – oral tradition 90
3
The lyrics described peoples’ views on politics and cultural issues, and were sung in a simple and direct style
4
This led to a folk revival in the 1950s
5
Artists such as Bob Dylan and The Byrds combined folk with pop and rock influences, creating the genre folk rock in the 1960s
6
Jeff Buckley’s music is often described as folk rock though he was influenced by many genres. His one and only album Grace is very eclectic in style including Buckley’s own version of Leonard Cohen’s Hallelujah and Benjamin Britten’s setting of the Corpus Christi Carol. Although Buckley’s style is diverse much of his music retains the folk tradition of using song as a vehicle for story-telling.
7
Buckley: Grace (1994) ‘Grace’ comes from the album Grace which was released in 1994. It is a rock ballad – a slow love song accompanied by a rock band. Buckley regarded this song to be about the way that true love can make it easier for people to accept their own mortality. Here are the lyrics, what do you think?
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There's the moon asking to stay Long enough for the clouds to fly me away Though it's my time coming, I'm not afraid, afraid to die My fading voice sings of love, But she cries to the clicking of time, Of time Wait in the fire... And she weeps on my arm Walking to the bright lights in sorrow Oh drink a bit of wine we both might go tomorrow, oh my love And the rain is falling and I believe My time has come It reminds me of the pain I might leave Leave behind Wait in the fire... It reminds me of the pain I might leave leave behind... And I feel them drown my name So easy to know and forget with this kiss But I'm not afraid to go but it goes so slow Wait in the fire...
Some say that the lyrics seem to anticipate his own death by drowning! MELODY AND WORD-SETTING The vocal part has an improvised quality and a very wide tessitura of over two octaves. Most of the vocal phrases are falling, reflecting the melancholy mood of the song. In the example below there are two examples of glissando, circle them and mark them clearly. Opening of verse 1
92
Most of the word setting is syllabic as you can see in the above example. There are however some long melismas to emphasise certain words such as ‘love’ in the verse and ‘fire’ in the chorus: Opening of chorus
As mentioned earlier the lyrics reflect Buckley’s bleak outlook on love. There are many examples of word painting. Listen to the piece while following the score and indicate below how Buckley highlights these words in the music. Word
Bar/Section
Die
13
Love
15
Fire
23
Musical Technique
93
Leave
58
In the bridge there is a passage of vocalisation – wordless singing – in which Buckley uses falsetto. What does this mean? _________________________________________________________________________ STRUCTURE Listen to the piece again but this time focus on the structure, it is in verse-chorus form. Complete the following structural chart: Intro
Verse 1
Bars 1-7 Instrumental
8-19 Vocal: (‘There’s a Moon’)
Intro
Intro Bars 44Voice (‘Wait in the fire’)
Verse 3 Voice (Improvisation)
INSTRUMENTATION AND TEXTURE Homework: The following words are all related to guitar and string playing, some of which are used in Grace. What do they mean? Drop-D tuning ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ Flanger ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ Delay ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ 94
Slide ___________________________________________________________________________________ ___________________________________________________________________________________ Vibrato ___________________________________________________________________________________ ___________________________________________________________________________________ Distortion ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ Power chords ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ Bending ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ Guitar ‘whisper’ ___________________________________________________________________________________ ___________________________________________________________________________________ ___________________________________________________________________________________ Pizzicato ___________________________________________________________________________________
TECHNOLOGY/TEXTURE To help create a thicker texture the guitar parts are overdubbed – this is the re- recording of the same guitar part and then mixed together. The extra vocal parts in the bridge section are also produced through overdubbing, this is also known as double tracking. EQ is used throughout but is particularly obvious towards the end of this piece in the vocal parts. EQ is basically adjusting the tone controls so therefore boosting or cutting top, mid or bass frequencies. At the end of the piece the top frequencies are boosted in the vocal parts so that they are clearly heard above the backing. TONALITY AND HARMONY The song is in E minor, although the tonality is often ambiguous. Look at the first two bars of the introduction. Notice the use of accidentals alongside the key signature of E minor: 95
Although it is in E minor the song opens with two chords not normally found in this key (F minor7 and G minor7). Both chords have an added minor seventh. This gives the ambiguous feel to the tonality – it is hard to tell what key it is in. The standard I – IV – V chord progressions of rock music are avoided. Instead the chords are more chromatic and move in parallel motion. Can you find other examples of parallel motion chords in the score? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ By using chromatic chords the tonality is ambiguous. Dissonance is created by deliberately allowing open E strings on the guitar to sound against an F chord and an Eb chord in bar 20 and 21. RHYTHM, METRE AND TEMPO
The metre is _________. There is frequent use of both syncopation and cross rhythms throughout. Indicate in the table using crosses which beat the bass and snare drum play on: Beat
1
2
Snare drum
96
3
4
Bass drum This type of beat is known as a backbeat and is characterized by: __________________________________________________________________________ __________________________________________________________________________
Listening Test
Listen to this extract of Grace which will be played 3 times: a) Which section of the song do you hear first? Intro
Verse
Chorus
[1] b) Describe the playing technique of the strings [1] c) Describe three features of the vocal line in this section 97
Bridge
[3] d) Describe the guitar part at the end of this extract, including where it is first heard in the original song
[3] Total
Moby b.1965
Real name – Richard Hall Multi instrumentalist – classical guitar, keyboard, drum kit and bass guitar. 98
/8
A vegan Activist - against the cruelty of animals DJ, composer and performer Composer of dance and film music (‘Heat’ Robert de Niro and ‘The Beach’ Leonardo di Caprio) ‘Why Does My Heart Feel So Bad’ was composed in 1998 as part of the ‘Play’ album This is the fourth track. Recorded in his own studio The style of the album is described as ‘techno dance music’. However this track is better described as ‘downtempo’ – a more relaxed style often used in chill-out rooms. Homework Go to http://www.youtube.com/watch?v=8hfQ5uIKrlw (Moby – Bodyrock, the official video – uploaded by V2RecordsNYC) List the instruments / performance forces you can hear – be specific (don’t just write “guitar”, describe what type and what effect)
How many different sections can you identify (repeated verses / choruses / bridge etc)
What features of the music make it “infectious” for dancing? (make at least 3 musical points)
Moby: Why Does My Heart Feel So Bad? (1999) This piece is made up of three simple chord progressions, each of which lasts for eight bars: Section A Male singer
Section Bx
Am
Am
Em
Em
G
G
D
D
C
C
Am
Am
C
C
Am
Am
99
Female singer
Section By Female singer
F
F
C
C
F
F
C
C
Below is the overall structure, when you feel confident, play along to the track. A1
Intro
A2
A3
A4 A5
Verse
Bx1
Chorus
By1
A6
Verse
A7
One bar pause
Bx2
By2 By3
Chorus
A8
Verse
SAMPLES AND MELODY The song is based on two samples taken from a recording made in 1953 of a gospel choir singing King Jesus Will Roll All Burdens Away. Moby manipulates the sample to completely reverse the meanings of the words, for example he changes the original word ‘glad to ‘bad’ so that the lyrics become an expression of hurt rather than happiness. He then loops these to create a melody that is simple and repetitive. Notice that the samples have an authentic ‘vintage’ quality because Moby doesn’t remove the surface noise found on gramophone records of that period. Although his music is electronically based he is keen not to make it sound sterile. Sample A (the verse) is sung by a male and sample B (the chorus) a female. STRUCTURE AND TEXTURE As discussed earlier the song is based on a verse-chorus structure with looped samples to create both the verses and the choruses. There is one bar in the piece were everything stops for one bar – this is called a breakdown. The texture is built up as individual tracks introduced one by one: Theme Description
A1
Intro piano only, no clear sense of pulse 100
A2
Sampled male voice
A3
The addition of drums and other percussion makes the beat clear. Call & Response between vocal sample, string synthesiser & right hand of piano.
A4
Bass and string synthesiser See score – p.94
A5
Syncopated piano chords See score – p.94
Bx1
Sampled female voice See score - B1
By1
New chord sequence. Sample is sometimes re-triggered to provide an echo effect that sounds like a canon.
A6
Male singer and second vocal line - EQ effect added – high-pass filter – sounding like listening to a voice on the telephone because the only frequencies allowed to pass through are the high frequencies 101
A7
A6 repeated - one bar pause with fading echoes
Bx2
Female singer, no piano or percussion
By2
Piano and percussion return
By3
By2 repeated
A8
Male singer, no piano or percussion
RHYTHM, TEMPO AND METRE The metre of this piece is _______________________ and has a steady tempo of 98bpm. A key rhythmic feature in this piece is Moby’s use of syncopation as mentioned earlier (A5). In order to create contrast he does vary the rhythms between the sections, for example the piano pattern changes at the end of the first verse and static chords appear in the second chorus. The drum loop is made up of a breakbeat (a drum solo) that Moby sampled from a hip-hop track. Indicate in the table using crosses which beat the bass and snare drum play on: Beat
1
2
3
Snare drum Bass drum
USE OF TECHNOLOGY List below the four pieces of equipment that Moby used to produce this track: Equipment Synthesiser Sampler Drum Machine Sequencer Effects Units
What it does.....
102
4
The use of effects is an important tool in electronic music; Moby uses a number of subtle effects within this piece. He feels that it’s more important for the music to trigger an emotional response in the listener than for it to be pristine and clinical. This is why for example his vocal samples still have the background noises intact. Within the mixing stage Moby panning; Listen to the opening eight bars of the piano intro through headphones to hear how Moby has created a sense of movement from left to right. HARMONY AND TONALITY The harmony is diatonic throughout and is made up of three simple chord progressions seen earlier. The verses are in the Dorian mode on A (flattened 3rd and 7th) and the choruses are in C major.
Capercaillie
103
A Scottish Band Formed in 1983 at Oban High School to play for local dances called ceilidhs First album recorded in 1984 Play Celtic Fusion music – Celtic folk music combined with elements of pop music Much of their music is recorded in Gaelic Have also recorded music for TV and films including Rob Roy
Homework Listen to two of the following bands and prepare a power point presentation that focuses on which styles of music have influenced their performances: The Pogues
Manau
Bellowhead
Primordial
Dagda
Clannad
Floggin’ Molly
Capercaillie: Skye Waulking Song (2000) Facts..........
has a 12/8 time signature is mostly based around three chords – C, E minor and G has eight verses and an instrumental section opens with an intro and fades out with an outro is from a collection of Gaelic folk songs compiled by the folklorist Alexander Carmichael 104
Lead singer, Karen Mattheson, has an unusually low female alto voice combines folk and rock instruments a waulking song is a work song, sung by women workers processing cloth. The Role of Music in the Work Place A work song is typically a rhythmic a cappella song sung by people working on a physical and often repetitive task. The work song is probably intended to reduce feelings of boredom. Rhythms of work songs also serve to synchronize physical movement in a gang. Frequently, the usage of verses in work songs are often improvised and sung differently each time. The improvisation provided the singers with a sometimes subversive form of expression: improvised verses sung by slaves had verses about escaping; improvised verses sung by sailors had verses complaining about the captain and the work conditions. Work songs also help to create a feeling of familiarity and connection between the workers.
Work songs sung by slaves are known by many names around the world. In America, such songs were the foundation for what would eventually become the Blues. Some songs were part of a native heritage and sung to remind the slaves of home, while others were instituted by the slave masters to raise morale, keep slaves working in rhythm, or any number of other purposes. Black American slave songs might be referred to as "chain gang songs" or "spirituals" depending on the context of the song. An example of a slave work song would be “Swing Low, Sweet Chariot”. Work songs sung by sailors during the 20th, 19th, and to a lesser extent 18th centuries are known as sea shanties. These songs were typically performed while adjusting the rigging, raising anchor, and other tasks where men would need to pull in rhythm. These songs usually have a much punctuated rhythm precisely for this reason, along with a call-and-answer format. Well before the 19th century, sea songs were common on rowing vessels. Such songs were also very rhythmic in order to keep the rowers together. Because many cultures used slaves to row, these songs might also be considered slave songs. These songs were performed with and without the aid of a drum. Shanties had a very slow style and were sometimes accompanied by an accordion or concertina. (NB For info only!)
105
Sea shanties are a form of work song traditionally sung by sailors working on the rigging of ships. There are several types, divided based on the type of work they set the rhythmic base for. The Skye Waulking Song is an example of a Work Song, as in our women waulking the cloth in the Scottish Isles. “Waulking” is a process of repeatedly beating the cloth to full it and prepare it for use. The process is called "orain luaidh" in Gaelic. 106
The music associated with this labour contains vivid and intimate personal poetry, mostly the composition of women. The songs helped the women to move the cloth in time with each other, they pounded the tweed cloth against a wooden board called the waulking board, in order to soften it and make it more air tight. The women would sit for many hours working the tweed. This tradition continued in Scotland until the early 1950s. The songs were usually in a call and response form; the call was made by a soloist and the response by every one else. Listen to the extract which contains a call and response from the set work. Call:
Response:
What you have identified above is what is known as Phrase 1 and Refrain 1. Where else can you see these within the Skye Waulking Song? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ What do you notice about this pattern? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Are there any other repeating patterns within this set work? If so where?
107
__________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ STRUCTURE What you may have noticed is that the vocal line alternates between four separate phrases, each one lasting for one bar. This is in a call and response form. Fill in the missing notes below: Phrase 2:
Refrain 2: ______________________________________________________________________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________________________________________________________________
The overall structure therefore is: Section Intro Verse 1 Break Verse 2 Verse 3 Verse 4 Verse 5 Verse 6 Instrumental Verse 7 Verse 8 Outro
Bar 1-8 9-11 12-15 16-20 21-24 25-28 29-32 33-36 37-43 44-48 49-52 53-end
Some may even say that this piece has only two verses and would argue that the structure is as follows: Intro Verse 1 Verse 2
1-17 18-33 34-51 108
Outro/Fade out
52-65
INSTRUMENTATION AND TEXTURE As mentioned earlier this is a Celtic Fusion piece that combines traditional with more modern instruments. Here are some of the more traditional instruments used in this piece:
Label the pictures using the names given below: Uilleann Pipes
Accordian
Tin Whistle
Bouzouki
Bodhran Wurlitzer (electric) Piano What instruments can you hear that give the music a more modern feel? __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ 109
A layered texture is created throughout: Rhythm pattern Bass line Chords Main Melody Countermelodies
Drum kit Bass guitar Synthesiser Voice Other melody instruments: violin, Wurlitzer piano, uilleann pipes and bouzouki
There is one point in the piece where the accompaniment drops out completely, where is this and how is it indicated in the score? _____________________________________________ __________________________________________________________________________ __________________________________________________________________________ At the start there is a cluster chord played by the synthesiser, this is when notes are played very close together and therefore create a dissonant sound. It is played ‘with modulation’ which means that a modulation effect is applied to the synthesiser that fluctuates the pitch slightly, like a vibrato effect (NB not to be confused with changing key). What playing technique is being used by the fiddle at the very start of the song? Describe the sound in as much detail as you can. __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ The melodic lines are played in a folk style – the instruments improvise around the main melody simultaneously, sometimes playing a very similar melody in slightly different ways – heterophonic texture – and sometimes weaving a complex, improvised counterpoint around the melody and the scale. MELODY The vocal melody is pentatonic (G A B D and E) and uses the lower register of the voice. Karen Mattheson’s part is notated using the vocal tenor clef, which means that the voice sounds an octave lower than printed. Is the text mainly syllabic or melismatic? __________________________________________________ What language is the song in? ________________________________________ The instrumentalists play short motifs and countermelodies mostly based on the vocal phrases. RHTYHM AND METRE 110
The song is in compound quadruple time, what does this mean? _____________________ Key rhythmical features within this piece are the use of syncopation, cross rhythms and the scotch snap (lombardic rhythm).
HARMONY In this style of music harmony is less important than the melody and rhythm. The harmony is very simple throughout the song using predominantly three chords: G, Em and C. The changes in chord sequences are infrequent but this does mean that when a change does occur it highlights a different section or mood within the song. The song is in G major but the distinct lack of the dominant chord gives this piece a modal feel. It is entirely diatonic throughout.
EXAM QUESTION Here is an example of an exam question related to this set work:
111
The examiner would be looking for these answers:
112
How many did you get right? ___________________
Area of Study 4 – Set Works 9 and 10 113
World Music
Area of Study 4 – Set Works 9 and 10 114
Rag Desh And
‘Yiri’ Performed by Koko
Content coverage
Learning outcomes
Indian Music: ‘Rag Desh’ (AoS 4) Listen to the performances of ‘Rag Desh’ by Anoushka Shankar, Chiranji Lal Tanwar and Steve Gorn/Benjy Wertheimer. Make connections between the performers’ use of the Rag and the use of modes by Davis et al.
Koko: ‘Yiri’ (AoS 4) Listen to the performance of ‘Yiri’ by Koko. Relevant musical vocabulary including: ostinato, improvisation, cross-rhythm, polyrhythm, syncopation, master drummer, balaphones, mbira, vocables, djembe, donno, dundun and oral tradition.
Units 1 and 2: Rehearse for a performance of the composition/input the piece into a computer package for use as a sequenced performance. Unit 1: Re-record solo and ensemble performances as appropriate. Unit 2: Redraft compositions as appropriate.
To develop students’ understanding of improvising techniques in the context of Indian music. To look at alternative approaches to the use of melody and harmony. To understand the role of the drone, rag and rhythmic tala in Indian music. To be able to compare the different realisations of the rag, understanding why the same rag can be interpreted so differently and expressing their findings using appropriate musical vocabulary.
To explore the use of rhythmic motifs and ostinati. To learn the set work through performing it. To develop improvising skills through the exploration of rhythmic elements.
Various: Indian music - Rag Desh 115
Rag Desh is an example of North Indian classical music. It is an improvised form of music with a long history. The improvisations take place within well defined structures and conventions. The music is taught by respected teachers called gurus who pass their knowledge down through oral tradition. North Indian or Hindustani classical music is built on two basic elements: rag (scale) and tala (rhythms). A rag is both the name of the completed piece and the pattern of notes within that piece. The tal or tala is a repeating rhythm pattern usually played by the tabla. It usually has between six and sixteen beats. The beats are grouped into bars. The first beat of the cycle is known as sam. It marks the beginnings and ends of improvisations so it is often accented. Tintal is the most common tal. It has the following characteristics: sixteen beats (4 + 4 + 4 + 4) four sections beginning on the 1st, 5th, 9th and 13th beats It is common to mark tala by hand claps and waves. In tintal the beginning of the first, second and fourth sections is marked by a clap, but the beginning of the third section is weaker and this is shown by a wave of the hand. Beat number Action Vocal mnemonic
1 Clap Dha
2 Din
3 Din
4
5
Dha
Clap Ta
6 Din
7 Din
8
9
Dha
Wave Ta
10 Din
11 Din
12
13
14
15
16
Ta
Clap Ta
Din
Din
Dha
The actions (clap and wave) are visual indications used by the tutor to help show where you are within the Tal. The different words of the vocal mnemonics: Dha; Din; and Ta represent the type of sound that the Tabla player is trying to get out of the drums by hitting them on different parts of the skin and with different parts of the hand. A rag is a fixed scale although it is sometimes different going up and coming down. Rags are associated with moods, e.g. loneliness, bravery, eroticism, and with particular times of day or year, or with certain ceremonial occasions. The Rag used in these three examples is the Rag Desh, this is a late evening rag associated with the monsoon season. In Indian music a system known as sargam is used for naming the notes: Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa. The tonic, or ground note, is Sa (this is heard in the drone).
Rag Desh 116
STRUCTURE It is very important that the structure can be recognised. A typical performance of a raga is divided into four main sections: the alap, a slow improvised introductory section which introduces the notes and mood of the rag. There’s no regular pulse and no percussion the jor, introduces the rhythm and a melody begins to evolve the gat is faster, the tabla player establishes a clear pulse and the fixed composition can be heard in the melody the concluding jhalla gives the piece a brilliant and fast-paced close, the music becomes more vibrant and decorative with extensive improvisation by the tabla and melody instruments. INSTRUMENTS It is also very important to identify the instruments used when listening to the three set works: Sitar
The Sitar is perhaps the most well known of the Indian instruments. Artists such as Ravi Shankar have popularized this instrument around the world. The Sitar is a long necked instrument with a varying number of strings but 17 are usual. It has three to four playing strings and three to four drone strings. These strings are plucked with a wire finger plectrum called mizrab. There are also a series of sympathetic strings lying under the frets. These strings are almost never played but they vibrate whenever the corresponding note is sounded. The main resonator is usually made of a gourd and there is sometimes an additional resonator attached to the neck.
117
Sitar
Tabla
Tabla The Tabla is a pair of drums. It consists of a small right hand drum called dayan and a larger metal one called bayan. The dayan (right hand drum) is almost always made of wood and is tuned to the root note or sa of the raga. The bayan (left hand drum) is usually made of brass with a nickel or chrome plate. Undoubtedly the most striking characteristic of the tabla is the large black spot on each of the playing surfaces. These black spots are a mixture of gum, soot, and iron filings. Their function is to create the bell-like timbre that is characteristic of the instrument. A tabla player will bend notes by increasing the skin tension with part of the hand in order to create the “twang” sound that gives the tabla its distinctive character. Tabla playing is very difficult and it can take years to master the different strokes (bols). Some strokes are open (allowed to ring) and others are closed (dampened). Go to http://www.youtube.com/watch?v=Joyk_EMtzn0 (Ravi Shankar, Alla Rakha – Tabla Solo in Jhaptal – uploaded by ganchans) Watch at least 6 minutes of the clip. Observe how the player changes the pitch and timbre of the 2 drums by hitting them with different parts of his hand. What do you notice about the teaching technique which is the same as the Sitar lesson? __ __ __________________________________________________________________________
118
For the remaining instruments look at the descriptions below and match them to the pictures below: Pakhawaj – a double barrelled drum. Sarangi – a bowed string instrument. Swarmandal – a zither harp that is plucked, the strings are tuned to the notes of the raag to provide an ambience of the raag. Tambura – a stringed instrument which provides a drone. The tambura is often mistaken with the sitar. The major difference between the two is that the sitar has frets. Sarod – a plucked string instrument; the metal fingerboard is fretless and a coconut wood plectrum is used to strike the strings Bansuri - an Indian flute which is typically made of bamboo or reed with holes cut into it. Shruti box – an electronic instrument that plays the drone.
119
Listen to the three Rag Desh pieces and identify what instruments you can hear in each one. Instruments
Rag Desh performed by Anoushka Shankar (2001)
Mhara janam maran performed by Chiranji Lal Tanwar (2004)
Rag Desh performed by Steve Gorn and Benjy Wertheimer (2004)
Homework: Write a brief paragraph about each of the performers above. Anoushka Shankar __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Chiranji Lal Tanwar __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Steve Gorn and Benjy Wertheimer 120
__________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Write down a summary of the rhythm and structure of all three Indian pieces: Title
Tal pattern (Rhythm)
Structure
Key Terms
Meends – pitch bends and slides Rag Desh performed by Anoushka Shankar (2001)
Tihai – short melody or rhythm
Sam – the first beat
121
Bhajan – a Hindu devotional song Mhara janam maran performed by Chiranji Lal Tanwar (2004)
Melisma – one syllable to many notes
Tans – fast scales Rag Desh performed by Steve Gorn and Benjy Wertheimer (2004)
Tihai – short melody or rhythm
Drone – a sustained note or notes
Answer the sample exam question below: 122
Here is an example of the examiners answer sheet. 123
How many did you get right? ________________________________________________
Sub-Saharan African Music 124
The music from sub-Saharan Africa is extremely rich, colourful and diverse.
1
Key Features and Facts of African Music African music is part of everyday activities; everyone joins in clapping, singing and dancing to the music part of rites and ceremonies where it is performed by specialist master drummers and professional musicians known as griots. not normally written down but is passed down over the generations in each griot family by word of mouth (oral tradition).
2
It came over to America with the African slaves and combined with the folk music of the European settlers to produce new styles of music such as blues, gospel and jazz. These went on to form the basis of pop music today.
3
The music is based on repetition – rhythms, harmonies and melodies are often repeated continually to form ostinatos.
4
Improvisation – melodies are frequently made up of improvised
5
Call and Response
6
Layered textures
7
Rhythm patterns interlock and overlap to form polyrhythmic patterns and exciting cross-rhythms
8
Singing often includes glissandos (slides which are sometimes known as portamento) and slurs, whistles, yodels and swoops, use of vowel sounds such as ‘eh’, ‘ah’ and ‘oh’ (vocables).
Homework 125
Go to http://www.youtube.com/watch?v=MoStKUBUi8I (Talaembé, Balafon Spectacle Series, DKD 2008 – uploaded by reggross) Describe the difference between the role of the players at the start, and how it changes after 2 minutes
Describe the use of rhythm and metre
Why do you think the tonality and scale sounds a bit ambiguous and unusual to our ears?
Koko: ‘Yiri’ Koko is a group of six musicians led by the singer and balafon player Madou Kone. ‘Yiri’ is taken from their album Burkina Faso – Balafons et tambours d’Afrique” and contains just a few sleeve notes; When we discovered Koko, we were struck by the sheer wealth of music they produce. This group occupies a very special position in the widely renowned cultural heritage of Burkina Faso. Koko draws its inspiration from the subtle mixture of living cultures that are to be found in that part of Africa. The group is led by Madou Kone, who plays the balafon and is also an exceptional singer. The themes of Koko's songs evoke some of man's greatest battles, including the fight for survival and protection of the environment, but also creation, celebration and friendship, and attachment to the earth. Burkina Faso is a landlocked nation in West Africa. Burkina Faso
INSTRUMENTATION 126
The following instruments are used Yiri (which means wood): The Balafon – similar to a xylophone, gourds hang beneath the notes to make the sound resonate. The one used in Yiri uses a hexatonic (six note) scale.
The djembe a goblet shaped drum: The talking drum: a drum that is played with a hooked stick and can be used to imitate speech by creating different pitches and slides.
These instruments are also from Africa but are not in this piece. Mbira
Shekere
STRUCTURE 127
Kora
The piece is in three sections, follow the score (this is a transcription of the performance as they would have played from memory) and list what you can hear in each section: Section
Instruments/Voices
Key Features/Techniques
Intro
Main section
Coda
MELODY, HARMONY AND TONALITY Yiri is in the key of Gb major without the F, this leaves only six notes which means that it is based on a hexatonic scale. The balafons play short patterns that tend to emphasise the Gb and the Db – what notes of the scale are these? _________________________________________________________________ During the choruses the group sings together in unison. It is entirely diatonic throughout. RHYTHM, METRE AND TEMPO The main metre is ____________. There are however a few bars with other metres. After the introduction which is free tempo the rest of the piece has a steady pulse. There is frequent use of syncopation throughout. During the second solo voice section there is an example of cross rhythms where the balafon is playing semiquavers in groups of threes. There are also triplets being used in the solo voice part. The drums play a rhythmic ostinato throughout. TEXTURE AND DYNAMICS 128
Most of Yiri has a layered texture, but it does include monophonic texture in the introduction and occasional heterophonic textures. This final texture is created when the balafons play different versions of the same tune at the same time. There is little dynamic variation in the piece.
Now answer this question in as much detail as possible: Describe the music played by the three different instrumental parts in the extract: Balafons___________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Drums_____________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Voices_____________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________
129
Glossary of Terms
130
AoS 1 Haydn: And the Glory of the Lord When you have learnt the meaning of the following keywords for the above set work write them in here: Terms
Definitions
Oratorio SATB Libretto Recitative Aria Chorus Falsetto Tonic and Dominant Perfect Cadence Plagal Cadence Pedal Note Tonic Pedal Dominant Pedal Imitation Monophonic Homophonic Modulation Melismatic Syllabic Ritornello 131
Sequential Movement Terraced Dynamics Diatonic
132
AoS 1 Mozart: Symphony No. 40 When you have learnt the meaning of the following keywords for the above set work write them in here: Terms
Definitions
Symphony Sonata Form Exposition Development Recapitulation 1st and 2nd Subject Bridge Passage Orchestra Sequence/ Sequential movement Chromatic movement Major and Minor Dominant Pedal Circle of 5ths Diatonic
133
AoS 1 Chopin: Prelude No. 15 in Db ‘Raindrop’ Terms
Definitions
Pedal point Sostenuto Sustain pedal Legato Cantabile Acciaccatura Rubato Dectuplet Ternary Form Sotto voce Smorzando Slentando
134
AoS 2 Schoenberg: ‘Peripetie’ Terms
Definitions
Chromaticism Atonal Klangfarbenmelodie Hexachord Principal Voice Secondary Voice Serialism Prime row Inversion Retrograde Retrograde inversion Enharmonic Verticalisation Dissonance Canon
135
AoS 2 Reich: ‘Electric Counterpoint’: 3rd movement
Terms
Definitions
Ostinato Cells Loop Phasing Note addition Note subtraction Augmentation Diminution Layering Resultant melody Modal Polymetre Hexatonic scale
136
AoS 2 Bernstein: West Side Story – ‘Something’s Coming’ Terms
Definitions
Choreography Production Intervals Syllabic Tritone 7th Chords Riff Harmonics Push rhythm Tremolo Syncopation Cross rhythm Flattened seventh
137
AoS 3 Miles Davis: All Blues Terms
Definitions
Ragtime Swing Bebop Cool Jazz Blue note Changes Head Frontline Comping Chromatic Turnaround Riff Parallel thirds Harmon mute Improvisation
138
AoS 3 Jeff Buckley: Grace Terms
Definitions
Ballad Verse Chorus Form Tab ‘Drop-D’ Tuning Blue notes Flanger Hammer-ons Pull-offs String bending Slide guitar Glissando Melisma Syllabic Vocalisation Falsetto Overdubs Word painting Tessitura Distortion Power chords
139
AoS 3 Moby: Why Does My Heart Feel So Bad?
Terms
Definitions
Sequencer Sampler EQ Reverb Delay Sample Manipulation Breakdown Panning Loops Dorian mode
140
AoS 4 Capercaillie: Skye Waulking Song
Terms
Definitions
Waulking songs Uilleann pipes Fiddle Accordian Bouzouki Scotch snap Call and Response Pentatonic Cluster chord Counter melody Heterophonic texture
141
AoS 4 Rag Desh Terms
Definitions
Raga Tala Rag desh Alap Jor Jhalla Gat Bols Sam Teental Meend Tan Bansuri Swarmandal Esraj Tambura Tabla Sitar Sarangi Sarod Pakhawaj 142
Bhajan Drone Tihai AoS 4 Koko: ‘Yiri’ Terms
Definitions
Ostinato Improvisation Cross rhythm Polyrhythm Syncopation Master drummer Balaphones Mbira Djembe Donno Dundun Vocables Oral tradition Griot
143
Compiled and written for The Peterborough School students by Helena McKillop With thanks to Rupert Gardner who provided both resources and invaluable support.
144
INSTRUMENTAL PERFORMANCE DIARY
145
Complete this chart every time you perform. Make sure you also include a copy of the music in your file too. Date
Instrument
Title of piece
146
Composer
Your role
Resources Wikipedia Edexcel Edexcel GCSE Revision Guide: Alan Charlton Edexcel GCSE Music Study Guide: Paul Terry Edexcel GCSE Music: John Arkell/ Jonny Martin Edexcel Anthology of Music GCSE Bitesize www.chrispettitt.com
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