EDEXCELGCSEMusicRevision

Howtousethisbooklet:

• SetWorkMindMapsRevisethemindmapforeachsetworktogiveyoualltheinformationyouneedtotalkaboutthemintheexam.Thesearecolourcodedforthegradeyouareaimingfor.

• MADTSHIRTKnowledgeOrganisersRevisethesetomakesureyouknowwhatvocabularythequestionisaskingforandthetypesofanswersyoucangive.Thisishowyouturnanopenquestionintoamultiplechoice

• SetWorkContextGridsThesewillgiveyouthebackgroundandcommonconventionsofthestyleofeachsetworksoyoucanmakeA04points(thewhypartoftheexamquestions)

Exam Strategies & Tips

How many marks is the question worth?

Always check how many marks the question is worth! If it is worth 2 marks, make 2 points. If it is worth more than 2 marks you need to make that number of points AND justify answer with an

A04 point (evaluate your answer – what makes you think this?)

Melody?

Does it go up or down (ascending or descending)? Does it move by small steps (conjunct) or big leaps (disjunct) Does the melody use a small range or a wide range of notes (lowest to highest)?

Dynamics?

1) How loud is it? Forte (loud), Mezzo Forte (middle), Piano (quiet) 2) How does it change? Crescendo (getting louder), Diminuendo (getting quieter),

Terraced dynamics (suddenly changes)

Tempo?

Fast (allegro), moderate (moderato), or slow (largo) Does it get faster (accel.) or get slower (rall.)

Harmony?

90% of the time it will be Consonant – the notes fit together nicely Are the notes that sound odd or crunchy? Then it has chromatic notes! Is there a long held note in the background? This is a Drone! How quickly do the chords change? This is called Harmonic rhythm

Cadence?

If in any doubt, always put Perfect Cadence! If they ask you about two cadences, put Perfect Cadence for both – it will be correct for at least one of

them!

Tonality?

90% of the time it is Major (happy) or Minor (sad) Atonal will NEVER be the correct answer! EVER! Modal is only ever used for Release by Afro Celt Sound System

Rhythm?

Is it constantly repeating or changing? Is it Straight (on the beat) or Swung (a bit jazzy)? Which note value is most common (crotchets, quavers, semiquavers)?

Metre/Time Signature?

If in doubt put the most common answer: 4/4

Texture?

If in doubt put the most common answer: Melody Dominated Homophony

Essay?

PLAN IT! The examiner will mark this and try to give you as many marks as possible! Make sure it is clear and uses the table format from class

If you are aiming for a 5 or lower use bullet points making a clear point and describe its effect If you are aiming for grade 6 or higher use PEAR: Point, Evidence, Analyse, Relate

Essay Plan? Use this format – They will mark this so be detailed and grab extra marks!

Familiar Element 1

Familiar Element 2

Unfamiliar element 1 Unfamiliar element 2

Essay Planning Document

.

Grade 1 – 5

Bullet points

A03 comment and the effect created (A04) for piece 1 A03 comment and the effect created (A04) for piece 2

Grade 6

Point (A03) A Baroque feature that Purcell uses in his text setting is word painting with the use of melismas on important words… Evidence (A03) …such as ‘wondring’ and ‘pains’.

Analysis (A04) The melisma on ‘wondring’ draws out that word, as if the person is actually taking the time to wonder how the person’s ‘pains were eas’d’. Relate The other piece, Linden Lea, is mainly syllabic in its text setting.

Grade 8+

Point (A03) A Baroque feature that Purcell uses in his text setting is word painting with the use of melismas on important words… Evidence (A03) …such as ‘wondring’ and ‘pains’.

Analysis (A04) The melisma on ‘wondring’ draws out that word, as if the person is actually taking the time to wonder how the person’s ‘pains were eas’d’. Relate Linden Lea is predominantly syllabic in its text setting. It does, however, also contain many examples of word painting.

Evidence(A03) For example, on ‘lean down low’ the melody always falls…

Analysis (A04) …which mirrors the way the branches are weighed down with apples.

Familiar Element 1 Familiar Element 2

Unfamiliar element 1 Unfamiliar element 2

Melod

y'–Kn

owledge'Organ

iser

Pitch

How$high$or$low$a$note$is

Interval

The$distance$between$any$tw

o$no

tes.$

Motif

A$fragmen

t$of$a$m

elod

y.

Range

The$diffe

rencebe

tween$the$lowest$

and$highest$n

otes

Phrase

Hoo

k/riff

A$longer$m

elod

icidea.$M

usical$“s

entences”$are$constructed$fro

m$phrases.$

A$mem

orable$re

peated

$melod

icidea$

desig

ned$to$catch$th

e$ear$o

f$the

$listen

er.$

Melod

ic'm

ovem

ent

Step

s–movem

ent$b

etween$no

tes$that$a

re$next$to$each$other$in$th

e$scale

Skips–

movem

ent$e

qualto$tw

o$step

s.$You

$“skip”$over$a

$note$in$th

e$scale

Leap

s–`any$m

ovem

entthat$is$larger$than$a$skip

Scalic–whe

na$section$of$a$m

elod

y$moves$along$usin

g$no

tes$in$scale$orde

rCh

romatic–movem

ent$u

sing$step

s$including$notes$th

at$are$not$in$th

e$key

Passing'no

te'–no

tes$w

hich$link$cho

rd$to

nes

Scale/mod

eA$grou

p$of$notes$which

a$melod

y$is$based$on

e.g.$m

ajor,$m

inor,$blues,$chrom

atic,$dorian

Coun

term

elod

yCo

mpo

sitio

nal'devices

Repe

tition–repe

at$a$m

elod

ic$idea

Sequ

ence

–repe

ata$melod

ic$idea$but$startin

g$on

$a$different$n

ote

Imita

tion–repe

at$amelod

icidea$in$ano

ther$instrument$

Varia

tion–change

the$melod

ic$idea$slightly$

Ostinato–constant$re

petition$of$a$m

elod

ic$idea$

Inversion–turn$th

e$melod

ic$idea$upside$do

wn

Retrog

rade

–play$th

e$melod

ic$idea$backw

ards

Perfe

ct'5th

Main$melod

y

Coun

term

elod

y

Articulation'–Kn

owledge'Organ

iser

ARTICU

LATIONmeans

howyou$play$or$sing$a$no

te.$It$is$a

n$im

portant$p

art$o

f$perform

ing$music$EXP

RESSIVELY.

Staccato'

Performed

$shorta

nd$brie

fly.$N

otes$

soun

dde

tached

$from

$each$othe

r.

Accent

Emph

asise

a$no

te$so

$that$it$

soun

ds$loud

er$th

an$others.$

Legato

Perfo

rm$th

e$no

tes$s

moo

thly.

Notes$so

und$conn

ected$to$each$othe

r.A$sm

ooth$articulation$be

tween$tw

o$no

tes$is$c

alled$a$SLUR.

Orche

stralStrings

Other'Articulations

Pizzicato

A'mem

orab

le're

peated

'melod

icidea'designe

d'to'catch'th

e'ear'o

f'the

'listene

r.'

Arco

Trem

olo

Vibrato'–a$slight$“wob

bling”$of$the

$pitch$of$a$note$for$

expressio

n.$Anim

portant$vocal$te

chniqu

e$as$well$as$for$

instrumen

ts.

Tong

uing

–the$techniqu

e$used

$by$brass$a

nd$wind$players.$

Faster$rh

ythm

s$ofte

n$requ

ire$th

e$techniqu

e$of$dou

ble$or$triple$

tonguing.

Bend

'–guita

rists$can$use$th

eir$fingers$to

$ben

d$the$strin

g$from

$on

e$no

te$to

$ano

ther.$B

rass$and

$wind$players$c

an$also

$do$this$

with

$differen

t$mou

th$sh

ape$and$air$p

ressure.

Sforzand

oSlides'

Glissand

o–a$dram

atic$slide$be

tween$a$widerange$of

notes.For$

exam

ple,$ru

nning$the$fin

gers$along$th

e$strin

gs$of$a$harp.

Portam

ento

–a$sm

ooth

slide

$between$tw

o$no

tes.Used$fre

quently$

by$singers.$

Perfo

rm$th

e$no

tes

by$plucking$

them

$with

$the$fin

gers.

Perfo

rm$th

e$no

tes$b

y$using$the$bo

w.

Continuo

usly$play$the

note$with

$the$bo

w$

rapidly$to$produ

cea$trem

bling$effect.

A$sforzand

ois$a$type

$of$accen

t.$Th

e$no

te$

shou

ld$be$played

$with

$a$su

dden

,$stron

g$em

phasis.

Dyna

mics'–

Know

ledge'Organ

iser

DYNAM

ICSrefer$to$ho

w$loud

$or$soft$m

usic$is$played.$It$is$an$im

portant$p

art$o

f$perform

ing$music$EXP

RESSIVELY.

Fortissimo

Forte

MezzoSfo

rte

MezzoSpiano

Pian

o

Pian

issimo

Crescend

oDiminue

ndo

VERY

'LOUD

LOUD

Fairly'Loud

Fairly$Soft

Soft

Very$Soft

Gradually$gettin

g$loud

erGradually$gettin

g$softe

r

On$a$musical$sc

ore$the$dynamic$m

arkings$a

re$always$

placed

$UNDE

RNEATH

'the$stave.

Sometim

es$co

mpo

sers$place$

extrem

e$dynamic$m

arkings$o

n$a$score$to$express$th

at$th

ey$

want$the

$music$to

$be$played

$as$

loud

$or$a

s$soft$a

s$is$h

umanly$

possible!

Texture'–Kn

owledge'Organ

iser

TEXT

URE

iswhat$w

e$call$the$diffe

rent$layers$and

$parts$of$a$m

usical$piece$and

$how

$they$fit$togethe

r.

Mon

opho

nic

A'single'm

elod

ic'voice'or'instrum

ent

Coun

terpoint

Unison

Whe

ntw

o$or$m

ore$voices$or$instrum

ents$sing

/play$

exactly

$the$same$thing$at$th

e$same$tim

e

Polyph

onic

Differen

tmusical'line

s'tha

t'interweave'with

'each'othe

r

Melod

y'an

daccompa

nimen

t'

Hom

opho

nic

A'texture'ba

sed'on

'cho

rds

Parallel'M

otion'

Exam

ples'of'T

HIN'te

xture

Exam

ples'of'T

HICK'texture

Contrary'm

otion'

Soloinstrumen

tAc

oustic'guitar'a

nd'vocal

Pian

o'an

d'cello

'

An'orche

stra

A'rock'ban

dA'samba

'ensem

ble'

Two$or$m

ore$diffe

rent$

melod

ies$p

laying$

together.

Notes$m

oving$in$th

e$same$direction$keep

ing

the$same$interval$.

Notes$m

oving$in$opp

osite

$directions;$o

ne$up,$th

e$othe

r$dow

n.

Structure'an

d'Form

'–Kn

owledge'Organ

iser

STRU

CTURE

Sthe

$differen

t$sectio

ns$of$a$piece

or$m

usic$and

$how

$they$are$ordered

.

TypicalPop

'Son

g'Structure'

Intro'–Ve

rse'1'–Ve

rse'2'–Ch

orus

–Ve

rse'3'–Middle'8/Bridge'–Ve

rse'4'–Ch

orus'–Outro'

Intro

Bina

ry'Form'

Music$th

at$has$tw

o$sections.

These$are$labe

lled$A$and$B.

AB

Ternary'Form

'

Music$th

at$has$th

ree$sections.

The$A$section$is$he

ard$again$after$B

.

AB$A

Rond

oForm

A$recurring$them

e$(A)$con

trasted$by$

diffe

rent$se

ctions.

AB$A$CA$DA$E

The$introd

uctio

n$sets$th

e$moo

d$of$

a$song.$It$is$o

ften

$instrumen

tal$but$

can$occasio

nally$start$w

ith$lyrics.

Verses

Verses$introd

uce$the$song$th

eme.

There$are$usually$new

$lyrics$for$

each$verse$which$helps$to

$develop

$the$song’s$narrative

Choruses

Them

e'&Va

riatio

n'Allthe

$cho

ruses$u

sually$have$the$

same$lyrics.$This$sectio

n$relays$th

e$main$message$of$the

$song.$

A$compo

sition$can$be

$develop

ed$usin

g$the$VA

RIAT

IONtechniqu

e.Amain$them

e$is$compo

sed$then

$the$following$sections$vary$this$them

e$in$so

me$way,$

by$alte

ring$for$e

xample:

MELODY

$–RH

YTHM

S$–CH

ORD

S$–TEMPO

$–INSTRU

MEN

TATION$–KE

Y$

Middle'8/Bridge

Thissection$adds$so

me$contrast$to

$the$verses$and

$cho

ruses$b

y$using$a$

diffe

rent$m

elod

y$and$chord$

progression.$

Instrumen

talSolo

Stroph

ic'Form

Throug

h'Co

mpo

sed

Solos$a

re$designe

d$to$sh

ow$off$an$

instrumentalists$sk

ills.$

Rock,jazz$a

nd$blues$ofte

n$feature$solos$o

n$instruments$su

ch$as$p

iano

,$sax,$guitar$a

nd$

drum

s

Whe

nall$of$the

$verses$a

re$su

ng$to

$the$same$music.

Whe

n$each$se

ction$has$d

ifferen

t$music.N

o$section$is$repe

ated

.$

Harm

ony'–Kn

owledge'Organ

iser

HARM

ONY'–ho

w$cho

rds$a

re$usedin$a$piece$of$m

usic.

Triad

Abasic

$type

$of$cho

rd$

made$up

$of$

three$no

tes

Inversion

Rearrangingthe$

order$o

f$the$$

individu

al$notes$of$a$

chord$

Power'Cho

rd

A$chord$using$on

ly$

the$1s

tand$5t

hscale$

degrees;$no$3r

d

Arpe

ggio'–playing$the$individu

al$notes$of$a$cho

rd$one

$afte

r$ano

ther

Cade

nce–a$movem

ent$b

etween$tw

o$chords$at$the

$end

$of$a$phrase

Chromatic'–music$th

at$uses$c

hords$that$a

re$not$naturally$fo

und$in$th

e$key

Diaton

ic'–music$th

at$use$only$chords$th

at$belon

g$to$th

e$key

Dominant–

the$fifth$cho

rd$(V

)$of$a$key

Harm

onic'rh

ythm

'–the$rate$at$w

hich$th

e$chords$change$in$a$piece$

Mod

ulation'–whe

n$the$harm

ony$shifts$to$a$new$key

Prim

ary'triads'–chords$I$IV$and

$V$in$a$key

Progression–a$sequ

ence$of$cho

rds$p

ut$to

gether

Seventh'–adding$th

e$7t

hde

gree$of$the

$scale$to$a$triad

Tonic–the$first$cho

rd$(I)$in$a$key

Chord'Functio

ns'in'a'Key'–Ro

man

'Num

eral'System

Build

ing'Ch

ords'Using

'Scale'Degrees

C'D

'E'F

'G'A

'B1''''''''2'''''''''3''''''''4''''''''5'''''''''6'''''''''7''

Major'Tria

d''

1''3''5'

Minor'Tria

d'1''b3''5'

Major'7

thchord

1''3''5''7'

Minor'7

thchord'

1''b3''5''b7'

Dom

inan

t'7thchord

1''3''5''b7

Perfect'C

aden

ce“The

'strongest'o

ne”

Plagal'Cad

ence

“The

'Amen

'one

”Im

perfect'C

aden

ce“The

'cliffhan

gero

ne”

Interrup

ted'Ca

dence

“The

'hidde

n'tw

ist'o

ne”

Chord'Symbo

l

Exam

ple:$M

inor$triads$are$built$using$$th

e$1$$b3$and$5$degrees$

of$a$sc

ale$so$a$C$minor$triad$contains$th

e$no

tes$C

$$EbG

Instrumen

tatio

n'(Orche

stral)'–Kn

owledge'Organ

iser

Strin

gsBrass

Woo

dwind

Percussion

Keyboa

rd'In

strumen

ts

Violin

Viola

Cello

Bass

Harp

Trum

pet

Fren

ch'horn

Trom

bone

Tuba

Flute

Clarinet

Saxoph

one

Obo

eBa

ssoo

n

Piano

Organ

Harpsichord

Timpani

Cymbals

Xyloph

one

Snare'Drum

Bass'Drum

Glockenspiel

Tambo

urine

Chim

es

Instrumen

tatio

n'(Rock'an

dPo

p)'–Kn

owledge'Organ

iser

Techno

logy'

Electric'Guitar

Acou

stic'Guitar

Strin

g'Section'

Bass'Guitar

Drum

'Kit

Brass'S

ectio

n'Piano

Lead'Vocals

Guita

r'Effects

Sampling/

Loop

ing

MIDI'Seq

uencing/Re

cording'

Software

Amplifier

Synthe

sizer'

Effects'P

rocessors

Backing'Vo

cals

Organ

Electric'Piano

Rhythm

'–Kn

owledge'Organ

iser

Whe

n$you$combine

$any$tw

o$or$m

ore$no

tes$o

r$rests$you

$create$a$RH

YTHM

.

Basic'Note'an

d'Re

st'Len

gths

Dotted'Notes'and

'Rests

Semibreve

4'Be

ats

Minim

2'Be

ats

Crotchet

1'Be

at

Qua

ver

½'Beat

Semiqua

ver

¼'Beat

A$do

tplaced$after$a

$note$or$re

st$te

lls$you

$to$

increase$th

e$no

te$or$rest$b

y$HAL

F'ITS'

ORIGINAL

'VALUE

Type

s'of'R

hythms

Ties

Triplets

Note Rest

This$bass$line

$wou

ld$be$de

scrib

ed$as$

having$a$CRO

TCHET'rh

ythm

Adjacent$

quavers$c

an$be$

joined

$together$

with

$a$BEA

M

Adjacent$

semiquavers$can$

be$joined

$together$

with

$a$BEA

M

1$Be

at

1$and$a$

half$be

ats

2Be

ats

3$Be

ats

POLYRH

YTHM

Two$or$m

ore$diffe

rent$rh

ythm

s$with

$the$same$METRE

played

$at$the

$same$

time

A$TIE'joins$two$no

tes$o

f$different$value

s$

Here$you

$wou

ld$play$the$first$note$and$

hold$it$fo

r$3$beats$(2

+1)

A$TR

IPLET'is$3$no

tes$p

layed$whe

re$th

ere$is$

usually$only$space$for$2

$

DOTTED

'MINIM

'and

$SEM

IQUAV

ERrhythm

CROSS'RHYT

HM

Two$or$m

ore$rhythm

s$played$at$th

e$same$tim

e$bu

t$with

$con

flicting$

ACCE

NTS'ofte

n$in$different$M

ETRE

S

Tempo

'–Kn

owledge'Organ

iser

TEMPO

means

how$fast$or$slow$a$piece$of$m

usic$is$–it$is$the$speed$of$m

usic

The$TEMPO

of$a$piece$of$m

usic$is$m

ost$com

mon

ly$indicated$in$tw

o$ways–

an$Italian$word$and$be

ats$p

er$m

inute$(B.P.M

.)

There$are$also$so

me$term

s$which$indicate$a$change$in$te

mpo

$during$a$piece

Italian'term

English'meaning

B.P.M.

Largo

Slow

ly$and

$broadly

40$g60

Adagio

Slow

ly$(b

utno

t$as$slow$as$largo)

60$g75

Andante

At$a$walking$pace

75g1

05

Mod

erato$

At$a$m

oderate$pace

105$g1

20

Allegro$

Quite

fast$

120$g1

55

Vivace

Quick$and

$lively$

155$g1

75

Presto$

Very$fast$

175$g2

00

Italian'term

English'meaning

Accelerand

o$Gradually$sp

eeding$up

Ritardando

/Rallentando

Gradually$slow

ing$do

wn

Ritenu

toA$sudd

enslo

wing$do

wn$

Rubato

A$highlyexpressiv

e$techniqu

e$whe

re$a$perform

er$plays$with

$flexible$te

mpo

Tempo

$markings$a

re$placed$at$th

e$start$

of$th

e$score$above$the$stave

Time'Signature'–Kn

owledge'Organ

iser

ATIME'SIGNAT

URE

gives$y

ou$inform

ation$on

$how

$the$be

ats$a

re$arranged$in$a$piece$of$m

usic.$It$is$a

lso$kno

wn$as$M

ETRE

The$top$nu

mber$tells$you$ho

w$many$beats$a

re$in$each$bar.$

In$th

is$exam

ple$there$are$three

The$bo

ttom

$num

ber$tells$you$that$each$be

at$is$worth$a$crotche

t$(a$crotchet$is$also

$know

n$as$a$quarter$note$he

nce$the$nu

mbe

r$4$used$to$den

ote$it)

Simple'Metre

Compo

und'Metre

Num

ber$2

on$th

e$bo

ttom

$=$M

INIM

S

Num

ber$4

on$th

e$bo

ttom

$=$CRO

TCHETS

Num

ber$8

on$th

e$bo

ttom

$=$QUA

VERS

The$vast$m

ajority$of$m

usic$is$written$with

$a$

4/4$tim

e$sig

nature.$

This$is$so$com

mon

$it$is$kno

wn$as$

COMMONTIME$and$can$be

$den

oted

$usin

g$a$

letter$C$instead$of$usin

g$nu

mbe

rs

IRRE

GULA

R'METRE

Sometim

es$m

usic$is$

written$in$a$m

etre

containing$odd

$num

bers$

of$betas$in$each$bar

There$are$tw

o$main$type

s$of$m

etre:$SIM

PLEand$CO

MPO

UND

Simple$tim

e$sig

natures$h

ave$be

ats$that$can$be$broken

$dow

n$into$tw

o$no

tes

Compo

und$tim

e$sig

natures$h

ave$be

ats$that$can$be$broken

$do

wn$into$th

ree$no

tes.

In$com

poun

d$tim

e$sig

natures$e

ach$be

at$is$re

presen

ted$by$a$

dotted

$crotche

t$which$can$be$broken

$dow

n$into$th

ree$qu

avers

BA

CH—

BR

AN

DEN

BU

RG

C

ON

CER

TO N

o 5

MO

VEM

ENT

3

ME

LOD

Y

Lots

of t

he m

elod

y ha

s a st

epw

ise (c

onju

nct)

mov

emen

t, al

thou

gh th

ere

are

som

e le

aps.

Ther

e ar

e ris

ing

sequ

ence

s (w

hen

a sh

ort p

hras

e is

repe

ated

goi

ng o

ne n

ote

high

er e

ach

time)

Th

ere

are

lots

of s

calic

runs

(not

es g

oing

up

and

dow

n a

scal

e)

Ther

e ar

e lo

ts o

f orn

amen

ts su

ch a

s gra

ce n

otes

(a

ppog

giat

uras

) and

trill

s

TON

ALI

TY

The

mai

n to

nalit

y fo

r the

pie

ce is

D m

ajor

The

B se

ction

is in

the

rela

tive

min

or k

ey o

f B

min

or

The

final

A se

ction

is b

ack

in D

maj

or.

The

key

mod

ulat

es o

ften

to th

e do

min

ant

(A m

ajor

) and

the

dom

inan

t of t

he

dom

inan

t (E

maj

or),

indi

cate

d by

the

ad

ditio

n of

acc

iden

tals.

HA

RM

ON

Y

The

harm

ony

uses

stan

dard

cho

rds o

f the

tim

e

The

mus

ic is

dia

toni

c (a

ll th

e no

tes/

chor

ds c

ome

from

th

e ke

y sig

natu

re)

Perf

ect c

aden

ces

anno

unce

the

ends

of s

ectio

ns, s

uch

as th

e pe

rfec

t cad

ence

in B

min

or a

t the

end

of t

he B

se

ction

. Th

e ha

rmon

y us

es st

anda

rd c

hord

s of t

he ti

me

(mai

nly

chor

ds I,

IV a

nd V

, with

occ

asio

nal u

se o

f ii a

nd v

i)

The

harm

ony

is fu

nctio

nal (

perf

ect c

aden

ces a

re u

sed

to m

ove

betw

een

clos

ely

rela

ted

key

signa

ture

s).

The

harm

ony

uses

mai

nly

root

pos

ition

and

firs

t

in

vers

ion

chor

ds.

Ther

e ar

e oc

casio

nal s

uspe

nsio

ns.

SON

OR

ITY

/IN

STR

UM

EN

TS

This

piec

e us

es a

solo

flut

e an

d vi

olin

, a h

arps

icho

rd, a

nd a

strin

g or

-ch

estr

a (in

clud

ing

viol

in, v

iola

, cel

lo a

nd d

oubl

e ba

ss)

The

grou

p of

solo

inst

rum

ents

(vio

lin, fl

ute

and

harp

sicho

rd) a

re k

now

n as

the

conc

ertin

o.

The

strin

g or

ches

tra

are

know

n as

the

ripie

no.

The

bass

/cel

lo a

nd h

arps

icho

rd so

meti

mes

act

as t

he b

asso

con

tuin

o in

th

e pi

ece.

Thi

s mea

ns th

e ba

ss in

stru

men

ts p

lay

a ba

ss li

ne, a

nd th

e ha

rpsic

hord

“re

alis

es”

the

chor

ds o

n to

p (w

hen

it is

not p

layi

ng a

solo

pa

rt)

Bach

bro

ke w

ith tr

aditi

on in

this

piec

e by

mak

ing

the

harp

sicho

rd p

art

incr

edib

ly v

irtuo

sic (d

ifficu

lt an

d im

pres

sive!

), w

ith lo

ts o

f fas

t sca

lic

runs

and

trill

s in

both

han

ds a

t onc

e.

The

baro

que

flute

is d

iffer

ent f

rom

the

mod

ern

flute

, as i

t was

mad

e of

w

ood.

TEX

TUR

E

The

text

ure

is po

lyph

onic

(mor

e th

an o

ne m

elod

y

ha

ppen

ing

at th

e sa

me

time)

Th

ere

is us

e of

imita

tion

(whe

n on

e pa

rt i

mita

tes

anot

her i

n a

call

and

resp

onse

styl

e)

The

mov

emen

t beg

ins i

n a

fuga

l sty

le. A

fugu

e is

a

co

mpl

icat

ed p

iece

whi

ch u

ses l

ots o

f im

itatio

n

th

roug

hout

. Thi

s mov

emen

t is n

ot a

n ac

tual

fugu

e, b

ut it

us

es fu

gal t

echn

ique

s, li

ke th

e st

art o

f the

ope

ning

A

secti

on.

Som

etim

es th

e so

lo fl

ute

and

viol

in p

lay

the

sam

e th

ing

in u

niso

n

Whe

n th

e flu

te a

nd v

iolin

com

e in

at t

he st

art,

they

are

pl

ayin

g in

two

part

imita

tion.

W

hen

the

harp

sicho

rd c

omes

in a

t the

star

t, it

play

s the

su

bjec

t in

the

left

hand

, the

n th

e an

swer

in th

e rig

ht.

The

harp

sicho

rd p

lays

in 2

par

t cou

nter

poin

t. O

nce

all s

olo

inst

rum

ents

are

pla

ying

, the

y ar

e pl

ayin

g in

4

part

cou

nter

poin

t. O

ccas

iona

lly th

e flu

te a

nd v

iolin

pla

y in

third

s.

At th

e st

art o

f the

B se

ction

ther

e is

a to

nic

peda

l on

B

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is pi

ece

was

writt

en in

the

Baro

que

era.

Ba

ch w

rote

a se

t of s

ix c

once

rtos

for t

he M

argr

ave

of

Bran

denb

urg

as p

art o

f a jo

b ap

plic

ation

.

This

is a

conc

erto

gro

sso.

A so

lo c

once

rto

has j

ust o

ne

solo

ist, b

ut a

con

cert

o gr

osso

has

a g

roup

of s

oloi

sts

(the

con

certi

no)

This

is th

e th

ird o

f thr

ee m

ovem

ents

in th

e co

ncer

to.

This

is ch

ambe

r mus

ic, w

ritten

for a

smal

l gro

up o

f mus

i-ci

ans r

athe

r tha

n a

full

orch

estr

a

RH

YH

M, T

EM

PO

an

d M

ETR

E

The

met

re is

2/4

. Th

e pi

ece

uses

lots

of t

riple

ts a

nd d

otted

rhyt

hms.

The

harp

sicho

rd p

art h

as lo

ts o

f fas

t sem

iqua

ver r

uns.

The

first

mel

ody

idea

(sub

ject

) sta

rts w

ith a

n an

acru

sis.

Beca

use

of th

e la

rge

num

ber o

f trip

lets

, the

pie

ce c

ould

al

so b

e no

tate

d in

6/8

tim

e.

In th

e ba

roqu

e er

a th

e do

tted

quav

er-s

emiq

uave

r gr

oupi

ng (l

ike

in th

e fir

st b

ar) w

ould

hav

e be

en

pe

rfor

med

in tr

iple

t rhy

thm

(with

the

dotte

d qu

aver

la

sting

2/3

of a

bea

t, an

d th

e se

miq

uave

r las

ting

1/3

or

a be

at.

DY

NA

MIC

S Th

ere

are

only

a fe

w d

ynam

ic

mar

king

s on

the

scor

e, a

nd th

ese

are

ther

e m

ostly

for b

alan

ce re

a-so

ns, l

ike

havi

ng th

e vi

olin

pla

y qu

iete

r so

the

flute

can

be

hear

d

Ther

e ar

e no

dyn

amic

mar

king

s fo

r the

har

psic

hord

, bec

ause

the

harp

sicho

rd u

sed

in th

is pi

ece

wou

ld n

ot h

ave

been

abl

e va

ried

dyna

mic

s, it

stay

ed a

t one

vol

ume

KEY

3

Gra

de

5 G

rade

8

Gra

de

STR

UC

TUR

E

The

piec

e is

in te

rnar

y fo

rm (A

BA)

The

open

ing

A se

ction

beg

ins i

n a

fuga

l sty

le.

The

B se

ction

is in

the

rela

tive

min

or k

ey, a

nd c

on-

tain

s a n

ew th

eme

whi

ch is

sim

ilar t

o th

e fir

st

them

e in

the

A se

ction

. The

re a

re a

lso fr

agm

ents

of

the

A se

ction

them

e in

the

B se

ction

.

A w

oode

n ba

roqu

e flu

te

Context:Bran

denb

urgCo

ncertoNo.5(m

ovem

ent3

)

Melody–Articulation–Dynamics–Tempo–Structure–Harm

ony–Instrumentation–Rhythm-Texture

Baroqu

eCo

ncertoCon

ventions

M

⇒ Mainlyusescon

junct(stepwise)movementandanydisjunctleapsareusuallyquitesmallintervals(4thsor5ths)

⇒ Scalicru

nsandse

quen

cesa

reusedregularlytoshowoffthesoloists

⇒ Melodiesareoftendecoratedwithornam

entssu

chastrillsa

ndapp

ogiaturas(gracenotes

A D

⇒ Theharpsicho

rdonlyhadonepossiblevolumesodynamicswereimpossibleontheinstrument

⇒ Terraced

dyn

amicsw

erecommonwheredynamicschangesuddenlywithoutacrescen

doordiminue

ndoleadinginto

them

⇒ Dynamicswereusedforpracticalreasons(tom

akesureeverythingcanbeheard)ratherthantocreateanyemotion

(expressioninm

usiccamem

uchlater)

T ⇒

Doesnotuseextremelyfastspeeds–m

ostBaroquem

usicshouldbeabletobedan

cedto

⇒ Tempooftennotevenm

arkedonthescoresoperform

erswouldassumethespeedfromthem

usicalstyle

S

⇒ BaroqueconcertosareusuallyinTerna

ryForm(ABA)withtheBsectionbeingm

adeupofentirelynewm

aterial

⇒ Fugu

eisacommonstructure–acomplicatedtypeofcann

onwherepartsimitateoneanotherinasystemofstrict

rules

H

⇒ Theto

nalitywillbestableandonlym

odulatetocloselyre

latedkeyssu

chasthedom

inan

t(V)orrelativ

emajor/m

inorandthesewillbem

arkedbyperfectcad

ences

⇒ Harm

onyiswrittenoutinfigu

redba

sswhichtheharpsichordthenre

alises

⇒ Usesm

ainlyprim

arychordsI,IVandV(withsomeuseofiiandvi)

⇒ Them

usicisalwaysdiatonicandtheharm

onyisfu

nctio

nal

I

⇒ Noorchestrasaswethinkofthemtoday,insteadm

ostpieceswerecha

mbe

rmusic(forasmallensembleof

musicians)

⇒ TraditionalBaroqueconcertoswouldfeatureoneortw

osoloviolin

s(ratherthanwoodwindsoloists)whichwere

accompaniedbyastringorchestra(agroupofstringplayers)andcon

tinuo

⇒ Alm

ostallBaroqueinstrumentalmusicfeaturedtheBassoCon

tinuo

whichwasm

adeupofaBassViol(providingthe

bass)andHarpsichord(whichplayedalsoplayedthebassaswellasre

alisingchordsintherighthand)

⇒ Thesoloistsweregroupedtogetherintothecon

certinoandtheaccompanim

entwerecalledtheripien

o R

⇒ Frequentlyusesdottedrhythm

sandtripletsasthiswasacommonpatternindan

cefo

rms

⇒ Re

peated

qua

versorsemiqua

versintheharpsichord–anessentialfeatureasitcannotsustainlongnotes

T⇒

Po

lyph

onicwriting(alsocalledcou

nterpo

int)wasthem

aintextureofthebaroqueperiod(lotsofinterw

eaving

melodylines)

⇒ An

tipho

naleffectsarecreatedwhentheripien

o(stringorchestra)alternateswiththecon

certino(soloists)

⇒ Fugaltexturesareheardwhenpartsim

itateoneanotherincan

on

J.S.B

achBa

ckgrou

nd

• J.S.Bachwasoneofthegreatestcomposersofthe

Baroqu

eperiod

• Hecomposedthispiecewhileemployedasa‘court

musicdirector’fortheestateofPrinceLeopold

• Bach’sbackgroundwasm

ainlyasacomposerof

churchm

usic,butLeopoldwantedse

cular(non-

religious)musictobeperform

edtoinvitedguestsand

dignitariesinthegrandroomsofhiscastle

• BachcomposedsixBrandenburgconcertosintotal

A04

ME

LOD

Y

The

mai

n th

emes

in th

e pi

ece

are

the

first

and

seco

nd

them

es, p

lus t

he si

x no

te ri

sing

idea

from

the

intr

oduc

tion.

Th

e fir

st th

eme

(or s

ubje

ct) i

s a ri

sing,

scal

ic th

eme.

Th

e se

cond

them

e (o

r sub

ject

) fea

ture

s a th

eme

whi

ch ri

ses

then

falls

, inc

ludi

ng u

se o

f orn

amen

ts.

Ther

e ar

e a

num

ber o

f sca

lic p

assa

ges i

n th

e pi

ece,

incl

udin

g th

e de

scen

ding

chr

omati

c sc

ale

at th

e en

d of

the

intr

oduc

tion.

Oth

er m

elod

ic id

eas i

nclu

de a

rpeg

gios

and

br

oken

cho

rds.

O

rnam

ents

are

an

impo

rtan

t par

t of t

he m

elod

y, in

clud

ing

acci

acca

tura

s and

mor

dent

s in

them

e 2,

and

trill

s jus

t bef

ore

the

reca

pitu

latio

n.

The

deve

lopm

ent u

ses i

deas

from

the

first

them

e in

lots

of

diffe

rent

key

s. It

use

s seq

uenc

es.

TON

ALI

TY

The

piec

e is

in th

e ke

y of

C m

inor

(as m

entio

ned

in th

e tit

le o

f the

pie

ce!)

The

mus

ic m

odul

ates

to d

iffer

ent k

eys i

n th

e

de

velo

pmen

t sec

tion

The

first

subj

ect i

s in

C m

inor

. The

seco

nd su

bjec

t sta

rts

in th

e un

expe

cted

key

of E

b m

inor

, the

n m

oves

to th

e ex

pect

ed k

ey o

f Eb

maj

or (t

he re

lativ

e m

ajor

of C

min

or)

In th

e de

velo

pmen

t the

pie

ce m

odul

ates

to m

any

di

ffere

nt k

eys,

incl

udin

g di

stan

t, un

rela

ted

keys

such

as

E m

inor

(at t

he st

art o

f the

dev

elop

men

t)

In th

e re

capi

tula

tion

the

first

subj

ect i

s bac

k in

C m

inor

. Th

e se

cond

subj

ect i

nitia

lly p

lays

in th

e un

expe

cted

key

of

F m

inor

, the

n m

oves

to th

e ex

pect

ed k

ey o

f C m

inor

(t

o m

atch

the

key

of th

e fir

st su

bjec

t)

F m

inor

is th

e su

bdom

inan

t of C

min

or.

Perf

ect c

aden

ces c

onfir

m ch

ange

s of k

ey th

roug

hout

.

HA

RM

ON

Y

The

harm

ony

is m

ainl

y di

aton

ic, a

nd m

ainl

y us

es st

anda

rd c

hord

s of t

he

time.

Th

ere

are

also

som

e m

ore

diss

onan

t, co

mpl

icat

ed c

hord

s.

Ther

e ar

e so

me

mor

e co

mpl

icat

ed, c

hrom

atic

chor

ds u

sed,

incl

udin

g a

dim

inis

hed

seve

nth

at th

e st

art o

f bar

2. T

his i

s the

mos

t dis

sona

nt

chor

d av

aila

ble

to B

eeth

oven

at t

he ti

me.

Pe

rfec

t cad

ence

s an

noun

ce th

e en

ds o

f sec

tions

and

cha

nges

of k

ey.

This

is ca

lled

func

tiona

l har

mon

y. T

here

are

big

per

fect

cad

ence

s at t

he

end

of th

e pi

ece.

Th

ere

are

peda

l not

es, l

ike

the

dom

inan

t ped

al a

t the

end

of t

he

deve

lopm

ent s

ectio

n (d

omin

ant p

repa

ratio

n).

Ther

e is

an in

terr

upte

d ca

denc

e in

the

intr

oduc

tion

at b

ar 9

The

harm

ony

uses

stan

dard

cho

rds o

f the

tim

e (m

ainl

y ch

ords

I, IV

and

V,

with

occ

asio

nal u

se o

f ii a

nd v

i) Th

e ha

rmon

y us

es m

ainl

y ro

ot p

ositi

on a

nd fi

rst i

nver

sion

chor

ds.

Ther

e ar

e do

min

ant 7

th c

hord

s at c

aden

ces.

Th

ere

are

occa

siona

l sus

pens

ions

(inc

ludi

ng 9

-8 su

spen

sions

) Th

ere

is a

circ

le o

f fifth

s pro

gres

sion

in b

ars 2

44-2

49.

Anot

her c

hrom

atic

chor

d us

ed is

the

augm

ente

d six

th c

hord

, use

d in

bar

30

.

SON

OR

ITY

/IN

STR

UM

EN

TS

This

piec

e is

writt

en fo

r the

pia

no.

Unl

ike

a ha

rpsic

hord

, the

pia

no c

an p

lay

both

loud

an

d so

ft.

Alth

ough

it is

not

writt

en in

the

scor

e, B

eeth

oven

w

ould

hav

e us

e th

e su

stai

n pe

dal f

or g

reat

er

ex

pres

sion.

Th

e pi

ano

allo

wed

Bee

thov

en to

mak

e ex

tens

ive

use

of a

ll ki

nds o

f d

ynam

ic p

ossib

ilitie

s. T

his s

onat

a ha

s lo

ts o

f cre

scen

dos,

dim

inue

ndos

and

lots

of o

ther

dy

nam

ic m

arki

ngs.

This

piec

e w

as w

ritten

for t

he fo

rtep

iano

, whi

ch

cam

e be

fore

the

mor

e m

oder

n pi

anof

orte

. It h

ad a

sm

alle

r ran

ge a

nd w

as n

ot c

apab

le o

f as m

uch

dyna

mic

con

tras

t as a

mod

ern

pian

o.

TEX

TUR

E

The

text

ure

is m

ainl

y ho

mop

honi

c

Ther

e is

a m

onop

honi

c se

ction

with

a lo

ng d

esce

ndin

g sc

ale

lead

ing

into

the

reca

pitu

latio

n Th

e rig

ht h

and

play

s in

octa

ves h

alf w

ay th

roug

h th

e

intr

oduc

tion

The

intr

o is

hom

opho

nic

with

all

the

note

s pla

ying

toge

ther

in

cho

rds.

Thi

s is k

now

n as

a h

omop

honi

c ch

orda

l tex

ture

. Th

ere

is a

two

part

text

ure

with

mel

ody

and

brok

en c

hord

s in

the

seco

nd (E

b m

ajor

) ide

a of

the

seco

nd su

bjec

t (ba

r 93

)

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is is

a pi

ece

of m

usic

from

the

clas

sical

era

. Cl

assic

al m

usic

has

cle

ar, c

atch

y m

elod

ies a

nd

ho

mop

honi

c te

xtur

es .

A pi

ano

sona

ta is

a p

iece

for s

olo

pian

o. It

has

seve

ral

mov

emen

ts—

we

are

stud

ying

mov

emen

t 1.

Beet

hove

n w

as a

forw

ard

thin

king

com

pose

r, an

d th

is pi

ece

show

s sig

ns o

f the

rom

antic

era

. Th

is pi

ece

was

com

pose

d be

twee

n 17

96 a

nd 1

799.

Rom

antic

mus

ic is

all

abou

t exp

ress

ing

emoti

ons.

It

does

this

thro

ugh

mor

e dr

amati

c us

e of

dyn

amic

s,

use

of th

e su

stai

n pe

dal o

n th

e pi

ano,

mor

e co

mpl

ex,

chro

mati

c ha

rmon

y, a

nd m

ore

com

plex

, alte

red

stru

ctur

es (l

ike

how

Bee

thov

en a

lters

sona

ta fo

rm in

th

is pi

ece)

.

RH

YH

M, T

EM

PO

an

d M

ETR

E

The

intr

oduc

tion

is gr

ave

(ver

y slo

w),

and

the

met

re is

4/4

(c

omm

on ti

me)

Th

e m

ain

tem

po fo

r the

rest

of t

he p

iece

is v

ery

fast

.

The

mai

n te

mpo

for t

he p

iece

is a

llegr

o di

mol

to e

con

brio

(v

ery

fast

with

vig

our)

, and

is w

ritten

in 2

/2 (c

ut c

omm

on

time,

also

kno

wn

as a

lla b

reve

) Th

ere

are

som

e ve

ry ra

pid

note

s (sh

ort n

ote

valu

es)

Ther

e ar

e so

me

very

rapi

d no

tes (

shor

t not

e va

lues

),

in

clud

ing

sept

uple

ts a

nd 1

/128

th n

otes

in b

ar 1

0

DY

NA

MIC

S Th

is pi

ece

has a

wid

e ra

nge

of d

ynam

ics,

from

ve

ry q

uiet

(pp)

to v

ery

loud

(ff)

Ther

e ar

e cr

esce

ndos

(getti

ng lo

uder

) and

de

cres

cend

os (g

etting

qui

eter

)

The

intr

o us

es fp

(for

tepi

ano)

mar

king

s,

m

eani

ng lo

ud th

en im

med

iate

ly so

ft).

It al

so u

ses s

f (sf

orza

ndo)

mar

king

s, m

eani

ng a

su

dden

loud

acc

ent.

Dyna

mic

s mar

king

s in

the

piec

e ar

e us

ed

ex

pres

sive

ly, s

how

ing

Beet

hove

n an

ticip

ating

ro

man

tic e

ra m

usic

STR

UC

TUR

E

The

piec

e is

in so

nata

form

So

nata

form

con

sists

of a

n in

trod

uctio

n th

en th

e m

ain

secti

ons:

ex

posi

tion,

dev

elop

men

t, an

d re

capi

tula

tion.

In

the

expo

sition

two

them

es a

re in

trod

uced

. In

the

deve

lopm

ent t

he

them

es a

re a

ltere

d by

cha

ngin

g ke

y lo

ts. T

he re

capi

tula

tion

is th

e sa

me

as th

e ex

positi

on, b

ut w

ith th

e tw

o th

emes

now

in th

e sa

me

key.

Th

e pi

ece

finish

es w

ith a

cod

a.

The

them

es in

the

expo

sition

are

link

ed b

y tr

ansiti

ons (

or b

ridge

s). T

here

is

a co

detta

at t

he e

nd o

f the

exp

ositi

on, t

hen

the

who

le e

xpos

ition

is

repe

ated

.

Beet

hove

n us

es so

me

tech

niqu

es w

hich

are

unu

sual

for s

onat

a fo

rm:

Th

e se

cond

them

e st

arts

in E

b m

inor

inst

ead

of th

e ex

pect

ed E

b m

ajor

. It

mov

es to

Eb

maj

or a

t bar

89.

The

deve

lopm

ent b

egin

s with

4 b

ars f

rom

the

intr

oduc

tion—

this

is ve

ry

unus

ual!

Whe

n th

e de

velo

pmen

t ret

urns

to th

e al

legr

o te

mpo

it is

in th

e

unre

late

d ke

y of

E m

inor

.

In th

e re

capi

tula

tion

the

seco

nd th

eme

star

ts in

the

key

of F

min

or in

stea

d of

th

e ex

pect

ed C

min

or. I

t the

n m

oves

to C

min

or.

Th

e co

da st

arts

with

4 b

ars o

f the

intr

oduc

tion

agai

n.

THEM

E O

NE

The

first

subj

ect t

hem

e in

C m

inor

(ton

ic k

ey o

f the

pi

ece)

rise

s mai

nly

scal

ical

ly a

dist

ance

of t

wo

oc

tave

s –

over

a to

nic

peda

l in

the

bass

. The

mus

ic is

m

arke

d w

ith st

acca

to –

mea

ning

det

ache

d (s

epar

ate)

no

tes.

A

seco

nd m

elod

ic id

ea b

egin

s at b

ar 2

7 an

d fe

atur

es s

forz

ando

s and

des

cend

ing

arpe

ggio

s.

A tr

ansiti

on b

ased

on

the

mai

n th

eme

– us

ing

sequ

ence

s beg

ins a

t bar

35

and

mod

ulat

es to

war

ds

the

expe

cted

key

of E

b m

ajor

thro

ugh

a do

min

ant

note

(Bb)

in th

e ba

ss (d

omin

ant p

repa

ratio

n)

THEM

E TW

O

The

seco

nd su

bjec

t beg

ins i

n th

e un

expe

cted

key

of E

b m

inor

. The

th

eme

feat

ures

a d

istinc

tive

acci

acca

tura

orn

amen

t and

ha

ndcr

ossi

ng te

chni

que,

whe

re th

e rig

ht h

and

mov

es d

own

over

th

e le

ft ha

nd to

pla

y fo

ur st

acca

to n

otes

, bef

ore

retu

rnin

g. T

he

them

e co

ntinu

es w

ith a

step

wise

des

cend

ing

phra

se fe

atur

ing

mor

dent

s. A

new

them

e be

gins

in b

ar 8

9 in

the

rela

tive

maj

or k

ey

of E

b. It

has

a n

ew b

roke

n ch

ord

text

ure.

The

re is

a c

resc

endo

whi

le

the

hand

s mov

e in

con

trar

y m

otion

.

BEE

THO

VEN—

SON

ATA

No.

8

IN C

MIN

OR

(PA

THET

IQU

E)

MO

VEM

ENT

1

KEY

3

Gra

de

5 G

rade

8

Gra

de

Context:Pa

thétique

Son

ata

Melod

y–Articulation–Dynam

ics–Tempo

–Structure–Harmon

y–Instrumen

tation

–Rhythm-Texture

ClassicalP

iano

Con

ventions

M

⇒ ClassicalP

eriodmelod

iesusua

llyfitaba

lanced

8-barphrasestructure,altho

ughlatercompo

sers(suchasBeethoven

)

wou

ldexten

dan

dstretchthesemou

ldstom

akethemusicm

oreexpressive

⇒ Scalicru

nsand

brokenchord(arpeggio)figuresareverycom

mon

⇒ Ornam

entatio

nisstillem

ployed

butnow

herenearasm

uchasinthe

Baroq

uePeriod–melod

iestend

tobe

develope

dinotherwayssuchassequ

ences

⇒ Melod

ylinesarepassedbe

tweentherightan

dlefthan

dofthe

piano

freely

A D ⇒

Th

einventionofthe

piano

,aninstrumen

twhichcou

ldperform

sub

tledyna

micsmeantthe

sebecam

everyexpressive

⇒ Crescend

osand

dim

inue

ndosbecam

eafreq

uenttoo

lforcom

posers

T ⇒

Often

veryfasttoshow

ofthe

virtuo

sityofp

layers

⇒ Descriptiv

etempo

marking

sarecommon

(i.e.allegrodim

oltocon

brio

=veryfastand

withvigour)

S

⇒ Th

efirstmovem

entofClassicalPeriodpiecesareoften

inSon

ataForm

:•

Expo

sitio

n(1

stsub

jectinton

ickey,2

ndsub

jectinacloselyrelated

key:d

ominan

torrelativeminor)

• Develop

men

t(exploresideasfrom

the

expositionan

dde

velopsthe

minavarietyofkeys)

• Re

capitulatio

n(returnto1

stsub

jectinton

ickey,followed

bysecond

sub

jectbutthistimeinthe

tonic)

• Sona

tafo

rmcan

alsoinclud

ean

introd

uctio

n,tran

sitio

nsbetweensections,and

acod

a(outro)

H

⇒ To

nality(the

keyofthe

piece)w

ouldtradition

allyfo

llowthe

rulesofSon

ataForm

(seeabo

ve)b

utsom

ecompo

sers

suchasBeethoven

wou

ldada

ptand

bemorecreativewiththism

odel

⇒ Moream

bitiou

sha

rmon

ythan

Baroq

ueperiodwithextensionchords(suchasDim

inishe

d7ths)u

sedtoadd

colou

r

⇒ Regularlym

odulates(cha

ngeskey)throu

ghthe

useofp

erfectcad

ences

I

⇒ BytheClassicalP

eriodthepian

oha

dbe

eninvented

and

rep

lacedtheHarpsicho

rdalm

osten

tirely

⇒ The

piano

allowed

com

poserstouseexpressivedyn

amicssimplybypressingthekeysharde

rorm

oresoftly(thiswas

impo

ssibleontheha

rpsichord)

R

⇒ Freq

uentuseoffastqu

averorsem

iqua

verp

assagestosho

woffthe

virtuo

sityofthe

pianist

⇒ Dottedrhythm

san

dsyncop

ationbe

comequ

itecommon

⇒ Con

trastbe

tweenstaccatoand

legatorh

ythm

sbe

comesm

orepron

ounced

T

⇒ Th

emostcommon

textureisHom

opho

nic(cho

rdalwriting)

⇒ Lotsoftexturalcha

ngesinClassicalPeriodpian

owritinginclud

ingHom

opho

ny,M

elod

yDom

inated

Hom

opho

ny,

Octaves,and

Mon

opho

ny

⇒ VerylittlePo

lyph

ony(unliketheBaroq

ueperiodwhichwasallpo

lyph

ony)

Beetho

venBa

ckgrou

nd

• Beethoven

wasavirtuo

sopianistwhichm

eanshewas

brilliantattheinstrumen

t.Heregularlyplayed

hisownmusic

forwealthypatronsinthe

irstatelyhom

es

• LaterinlifeBee

thov

enbecam

ede

af,altho

ughhe

didnot

havehearingproblem

swhe

nwritingthispiece

• APiano

Son

ataisusuallya3or4movem

entworkforsolo

pian

owhichsho

wsofdifferentaspectsofthe

instrumen

t

• Pa

thétiquetran

slatesas‘m

oving’or‘emotiona

l’

• Beethoven

’sstyledevelop

edovertime.Hisearlym

usicwas

muchmorelikeHaydn

and

Mozartwhe

reeverythingfit

neatlyintoboxes-logicalstructures,logicalkeys,logical

phrasesetc.Astimewen

tby,h

ebe

camemuchmore

expressiveand

experim

entedwithbreakingsom

eofthe

rulesofthe

ClassicalPeriod

• Th

ePa

thétiqueso

natawascom

posedatam

idpointin

Beethoven

’scareeran

dlooksbo

thbackw

ardstothe

ClassicalP

eriodaswellasforw

ardtothe

Rom

antic

Period

A04

PU

RC

ELL

- MU

SIC

FO

R A

WH

ILE

ME

LOD

Y

The

mai

n m

elod

y is

sung

by

a so

pran

o sin

ger

The

wor

d se

tting

is m

ostly

sylla

bic

(eac

h sy

llabl

e of

the

text

giv

en it

's ow

n no

te),

with

som

e m

elism

atic

secti

ons (

like

the

wor

d "e

tern

al")

. W

ord

pain

ting

is u

sed

to m

ake

the

mus

ic re

flect

the

mea

ning

of t

he

Mos

t of t

he m

elod

y no

tes m

ove

in st

eps,

with

lots

of p

assin

g no

tes (

the

note

s in

betw

een

chor

d no

tes)

Th

ere

are

lots

of u

ses o

f orn

amen

ts (c

omm

on to

Bar

oque

mus

ic) i

n th

e rig

ht h

and

of th

e ha

rpsic

hord

and

the

sopr

ano

line,

such

as t

rills,

app

og-

giat

uras

, gra

ce n

otes

and

mor

dent

s.

Som

e of

the

text

has

bee

n re

peat

ed, s

uch

as th

e w

ord

"dro

p"

Ther

e ar

e so

me

desc

endi

ng se

quen

ces,

such

as i

n ba

r 20

Rest

s are

use

d to

bre

ak u

p m

elod

ic p

hras

es

The

step

wise

mov

emen

t of t

he m

elod

y m

eans

it c

an b

e de

scrib

ed a

s a

"con

junc

t" m

elod

y TON

ALI

TY

The

mai

n to

nalit

y fo

r the

pie

ce is

A m

inor

This

refle

cts t

he so

mbr

e, sa

d na

ture

of t

he ly

rics

Durin

g th

e m

iddl

e (B

) sec

tion

the

piec

e m

odul

ates

th

roug

h se

vera

l rel

ated

key

s—E

maj

or (t

he d

omin

ant

key—

bar 1

5 &

28)

, G m

ajor

in th

e m

iddl

e of

bar

18,

C

maj

or (r

elati

ve m

ajor

—in

bar

22)

, A m

ajor

(the

toni

c m

ajor

—m

iddl

e of

bar

23)

and

fina

lly b

ack

to A

min

or

in b

ar 2

9

TEM

PO

Th

ere

is no

tem

po m

arki

ng o

n th

e sc

ore,

but

a sl

ow te

mpo

w

ould

be

appr

opria

te

HA

RM

ON

Y

The

acco

mpa

nim

ent i

s pro

vide

d by

the

grou

nd b

ass p

laye

d by

th

e ba

ss v

iol a

nd th

e le

ft ha

nd o

f the

har

psic

hord

Ch

ords

are

dia

toni

c

Ther

e ar

e pe

rfec

t cad

ence

s thr

ough

out t

he p

iece

(as t

he

grou

nd b

ass e

nds w

ith a

V c

hord

, the

n re

peat

s aga

in w

ith a

I ch

ord)

Th

ere

are

a co

uple

of d

isson

ance

s use

d fo

r wor

d pa

intin

g,

such

as t

he w

ord

"pai

ns"

Anot

her t

ype

of d

isson

ance

use

d is

a "f

alse

rela

tion"

, lik

e in

ba

r 1 w

ith th

e gr

ound

bas

s pla

ying

F sh

arp

whi

le th

e rig

ht

hand

pla

ys F

nat

ural

.

Susp

ensi

ons

are

used

ver

y oc

casi

onal

ly. F

or e

xam

ple,

ther

e is

a 4–

3 su

spen

sion

in b

ar 3

bea

t 4 1

⁄2 in

the

harp

sicho

rd

part

. Th

e rig

ht h

and

of th

e ha

rpsic

hord

pla

ys a

n el

abor

ate

real

isati

on, w

hich

has

bee

n in

terp

rete

d fr

om th

e or

igin

al

figur

ed b

ass

INST

RU

ME

NTS

Th

is pi

ece

uses

a so

pran

o sin

ger,

harp

sicho

rd a

nd b

ass v

iol.

The

harp

sicho

rd a

nd b

ass v

iol a

ct a

s the

bas

so c

ontin

uo,

prov

idin

g ac

com

pani

men

t for

the

singe

r. Th

e le

ft ha

nd o

f the

har

psic

hord

and

the

bass

vio

l pla

y th

e gr

ound

bas

s—a

repe

ating

bas

s patt

ern

that

act

s as a

n ac

-co

mpa

nim

ent.

The

right

han

d of

the

harp

sicho

rd p

lays

a

“rea

lisati

on”

(whi

ch w

ould

hav

e be

en im

prov

ised

at th

e tim

e), w

hich

fills

out

the

chor

ds o

f the

pie

ce.

TEX

TUR

E

The

text

ure

is ho

mop

honi

c - o

ne m

ain

mel

ody

and

an

acco

mpa

nim

ent.

The

acco

mpa

nim

ent i

s pro

vide

d by

the

grou

nd b

ass

The

elab

orat

e re

alisa

tion

play

ed b

y th

e rig

ht h

and

of th

e ha

rpsic

hord

mak

es th

e te

xtur

e fe

el p

olyp

honi

c at

tim

es

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is pi

ece

was

writt

en in

the

Baro

que

era.

It w

as c

om-

pose

d in

aro

und

1692

. It w

as w

ritten

for a

pla

y te

lling

th

e Gr

eek

myt

h of

Oed

ipus

.

This

is th

e se

cond

of f

our m

ovem

ents

Pur

cell

wro

te fo

r th

e pl

ay a

s “in

cide

ntal

mus

ic”

perf

orm

ed b

etw

een

the

dram

atic

part

s of t

he p

lay

RH

YH

M a

nd

ME

TRE

4/

4 m

etre

Th

e gr

ound

bas

s use

s rep

eate

d qu

aver

rhyt

hms

Ther

e ar

e a

wid

e va

riety

of r

hyth

ms,

but q

uave

rs a

nd se

miq

uave

rs

are

the

mos

t com

mon

in th

is pi

ece

Ther

e ar

e so

me

dotte

d rh

ythm

s in

the

voca

l par

t Th

ere

is oc

casio

nal s

ynco

patio

n

DY

NA

MIC

S Th

ere

are

no d

ynam

ic

mar

king

s on

the

WO

RD

PA

INTI

NG

Th

e (m

ostly

) min

or k

ey is

app

ropr

iate

for t

he se

rious

, sad

moo

d of

the

text

Th

e w

ord

"ete

rnal

" (ba

r 20)

is su

ng a

s a lo

ng m

elism

a Th

e w

ord

"dro

p" (b

ar 2

3) is

repe

ated

in a

des

cend

ing

patte

rn (g

oing

dow

n)

repr

esen

ting

the

snak

es d

ropp

ing

from

Ale

cta'

s hea

d

The

phra

se "f

ree

the

dead

" (ba

rs 1

6-17

) is s

et to

a tr

ium

phan

t sec

tion

in th

e br

ight

key

of

G m

ajor

. Th

e w

ord

"won

derin

g" (b

ar 1

0) u

ses a

wan

derin

g, d

esce

ndin

g le

gato

(sm

ooth

)

m

elis

mati

c m

elod

y Th

e ph

rase

"pai

ns w

ere

ease

d" (b

ars 1

2-13

) fea

ture

s a d

isson

ance

and

reso

lutio

n

THE

GR

OU

ND

BA

SS

The

grou

nd b

ass i

s a 3

bar

loop

It

cons

ists e

ntire

ly o

f qua

ver r

hyth

ms

It ha

s a ri

sing

patte

rn

The

first

4 se

ts o

f 4 q

uave

rs u

se a

n as

cend

ing

sequ

ence

, sta

rting

one

not

e hi

gher

eac

h tim

e At

the

end

of th

e gr

ound

bas

s the

re is

a fa

ll of

an

octa

ve

It us

es in

terv

als o

f sem

itone

s

After

4 a

nd a

hal

f rep

eats

of t

he g

roun

d ba

ss it

be

gins

to m

odul

ate

into

diff

eren

t key

s. In

the

final

A

secti

on (b

ar 2

9) it

retu

rns t

o th

e re

peati

ng

patte

rn fr

om th

e st

art o

f the

pie

ce.

A Ba

ss V

iol

KEY

3

Gra

de

5 G

rade

8

Gra

de

Context:Musicfo

raW

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y–Articulation–Dy

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calCon

ventions

M

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rnam

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racenotes,m

orde

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ogiaturastode

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emelod

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muchliketheoverlydecorated

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evelop

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llishingorornam

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entw

ithveryfewdisjunctleapsasthe

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⇒ Usesa

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encefrom

Italianop

era

⇒ Makesfreq

uentuseofw

ordpa

intin

gwhe

reth

emusicre

flectsthe

meaningofthe

text

A D

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namics–

sudd

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orq

uietwith

noprep

aration.Thisw

asbecau

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eha

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hordonlyha

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osettingsand

nothingin-between.The

reforeth

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S

⇒ Often

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ssuchasBinary(A-B)o

rTerna

ry(A

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⇒ Often

builtfrom

are

peatinggrou

ndbassw

hichdictatesthe

lengthofsectio

ns–inspire

dbydan

ceslikechacon

nes

⇒ Co

mpo

sersuseirregu

larp

hraseleng

ths–

am

oreintuitiveapp

roachthan

latercom

poserswho

preferstrictstructures

H

⇒ Th

etona

litywillbestab

leand

onlymod

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latedkeyssu

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dom

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t(V)orrelative

major/m

inorand

thesewillbemarkedbyperfectcad

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⇒ Ha

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tinfig

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bassw

hichth

eha

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enre

alises

⇒ Dissona

nceisinfreq

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usuallyre

solved

throughsuspen

sion

s⇒

TiercedePicardie(e

ndingaminorpieceonamajorcho

rd)isa

verycommon

device

I

⇒ Virtua

llyallBa

roqu

epiecesuseth

eBa

ssoCo

ntinuo

–Harpsicho

rdand

BassV

iolprovide

thechorda

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panimen

tan

dba

ssline

⇒

Arepe

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dBa

ssisoften

usedinth

elefthan

dofth

eha

rpsic

hord

⇒ Ha

rpsic

hordpartisu

suallyapartly

improvise

drealisationwhichfillsoutth

echordsand

decoratesth

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R ⇒

Freq

uentlyusesd

ottedrhythm

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rms

⇒ Re

peated

qua

versinth

eha

rpsic

hord–anessentialfeatureasitcan

notsustainlongnotes

T ⇒

Melod

ydo

minated

hom

opho

ny–m

elod

ylinewith

bassocon

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providingth

eaccompa

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t⇒

Somepo

lyph

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etweenthesin

gera

ndth

eem

bellished

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rdpart

⇒ Groun

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ssline

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rmusicisbuilton

topof

PurcellB

ackgroun

d

• He

nryPu

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tween

1659

and

169

5•

Hisfathe

rdire

cted

thechoirsatW

estm

isterA

bbeyand

asa

teen

agerHen

ryPurcellbe

cametheorganistth

eira

lso

• Pu

rcellisk

nownforcom

posin

gda

ncesuite

s,trioso

natas,as

wellaso

perasa

ndso

ngs

• He

wasparticularlyinflu

encedbyth

eStileItaliano

–th

epo

pularItalianstyleofth

eda

ywhichinclud

eddramatic

recitativ

es,d

acapa

aria

s(whe

reth

esin

gerw

ouldembe

llish

thewrittenlinean

dmakeitmorefla

mbo

yant)a

ndfreq

uent

useofdou

ble-do

tted

rhythm

s

• Almosta

llofhismusicwascom

miss

ione

dfrom

wealth

ypa

tron

sand

soitwaswritteninth

epo

pularstyleso

fthe

tim

ewhichth

eywou

ldenjoy

• Musicfo

raW

hilecom

esfrom

ase

tofp

iecestoaccompa

nya

playbased

ontheGreeklegend

ofO

edipus

• Th

emusicdep

ictsate

rrifyingGreekgod

desswith

thejobof

punishingsin

ners.She

hassn

akesin

herhair,ado

g’sh

ead,

bat’swings,and

isarm

edwith

awhip.The

musiccalmsh

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untilsh

edrop

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herhead

A04

QU

EEN

- K

ILLE

R

QU

EEN

ME

LOD

Y

The

wor

d se

tting

is m

ainl

y sy

llabi

c th

roug

hout

Th

e m

elod

y ha

s a w

ide

rang

e (g

oes v

ery

high

and

ver

y lo

w!)

The

guita

r sol

o bo

rrow

s ide

as fr

om th

e ch

orus

and

ver

se se

ction

s of t

he so

ng

The

back

ing

voca

ls us

e w

ords

and

voc

alisa

tions

(lik

e oo

hs a

nd a

ahs!

) Th

e m

elod

y is

often

con

junc

t, bu

t with

som

e w

ide

angu

lar l

eaps

, inc

ludi

ng

inte

rval

s of 6

ths a

nd o

ctav

es.

In th

e ch

orus

the

mel

ody

is ha

rder

to sp

ot o

n it’

s ow

n be

caus

e of

the

back

ing

voca

l har

mon

ies

The

voca

l par

t som

etim

es u

ses f

alse

tto.

The

voca

l par

t also

incl

udes

spok

en te

xt

The

voca

l par

t con

tain

s a sl

ide

upw

ards

(on

the

wor

d “q

ueen

”)

The

leng

th o

f the

mel

odic

phr

ases

are

ofte

n un

even

(lik

e w

hen

the

extr

a 6/

8 ba

r is

adde

d)

Wor

d pa

intin

g is

use

d on

the

wor

ds “

driv

e yo

u w

ild”.

Effe

cts a

re a

dded

to g

ive

TON

ALI

TY

The

mai

n to

nalit

y fo

r the

pie

ce is

Eb

Maj

or (t

his i

s unu

sual

be

caus

e it’

s a h

ard

key

to p

lay

in o

n th

e gu

itar!

) Th

e ke

y ch

ange

s (m

odul

ates

) dur

ing

the

song

.

The

chor

us is

in B

b m

ajor

Th

ere

are

poin

ts w

here

the

tona

lity

is no

t cle

ar (“

tona

l

am

bigu

ity”)

- lik

e in

the

first

ver

se w

hich

star

ts w

ith a

C m

inor

ch

ord,

mak

ing

the

key

signa

ture

unc

lear

.

The

chor

d se

quen

ces m

ove

quic

kly

thro

ugh

diffe

rent

key

signa

ture

s—fo

r exa

mpl

e in

the

first

hal

f of t

he c

horu

s the

ch

ord

sequ

ence

mov

es q

uick

ly th

roug

h D

min

or a

nd C

maj

or.

The

last

cho

rus e

nds i

n Bb

maj

or, s

o th

e ou

tro

feat

ures

a

repe

ated

Eb

chor

d to

rest

ablis

h th

e or

igin

al k

ey si

gnat

ure

TEM

PO

M

oder

ate

tem

po.

A do

tted

crot

chet

is m

easu

red

at 1

12 b

pm

HA

RM

ON

Y

Que

en li

ked

to u

se a

dven

turo

us c

hord

sequ

ence

s Th

e so

ng u

ses s

ever

al a

ltere

d or

ext

ende

d ch

ords

(suc

h as

7th

s and

11

ths)

Mos

t of t

he c

hord

s are

in ro

ot p

ositi

on, b

ut th

ere

are

som

e ch

ord

inve

rsio

ns.

Ther

e is

a ci

rcle

of 5

ths c

hord

pro

gres

sion

in th

e ch

orus

Th

e m

odul

ation

s to

diffe

rent

key

s are

show

n by

per

fect

cad

ence

s Th

e so

ng st

arts

with

a C

min

or c

hord

—(y

ou c

an’t

tell

that

the

piec

e is

in

Eb m

ajor

unti

l the

cho

rd is

pla

yed

half

way

thro

ugh

the

vers

e—th

is is

Som

e pa

rts o

f the

cho

rd se

quen

ce c

onta

in a

fast

er h

arm

onic

rhyt

hm

(like

one

cho

rd e

very

bea

t on

“gua

rant

eed

to b

low

you

r min

d”)

The

chor

d in

vers

ions

cre

ate

desc

endi

ng a

nd a

scen

ding

bas

sline

s (su

ch

as th

e de

scen

ding

bas

sline

dur

ing

“bui

lt in

a re

med

y”)

In th

e in

stru

men

tal b

efor

e th

e se

cond

ver

se th

ere

is a

“vam

p” b

ased

ar

ound

an

F ch

ord

Ther

e is

a pe

dal n

ote

used

in b

ars 2

7-30

INST

RU

ME

NTS

/SO

NO

RIT

Y

The

voca

l par

t is s

ung

by F

redd

ie M

ercu

ry, w

ho h

as a

hig

h te

nor v

oice

. Th

e pi

ece

uses

pia

no, e

lect

ric g

uita

r, ba

ss a

nd d

rum

kit.

Ther

e ar

e ov

erdu

bbed

bac

king

voc

als.

Th

ere

are

4 gu

itar p

arts

that

hav

e be

en o

verd

ubbe

d to

cr

eate

a ri

cher

text

ure

Ther

e is

a sli

ghtly

out

of t

une

“jan

gle”

pia

no re

cord

ed o

n to

p of

the

mai

n pi

ano

line

The

song

use

s stu

dio

effec