EDEXCEL GCSE MUSIC SET WORK SUMMARIES ... MUSIC SET WORK SUMMARIES REVISION GUIDE GCSE EDEXCEL MUSIC – SET WORK SUMMARIES SWRA1 ,CO.UK SET WORK SUMMARY

G C S E E D E X C E L M U S I C – S E T W O R K S U M M A R I E S S W R A 1

W W W . M U S I C A L C O N T E X T S , C O . U K

EDEXCEL GCSE MUSIC

SET WORK SUMMARIES

REVISION GUIDE



SET WORK SUMMARY

“And the Glory of the Lord” from “Messiah” PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context x George Frideric Handel - born in Germany in 1685 x Appointed “Kappellmeister” to the Elector of Hanover who became King George I of England x Handel became the “royal composer” to George I and lived and worked in England x Handel’s sight failed him in later years, he died in 1759 and is buried in Westminster Abbey x Related composers – J. S. Bach (1685-1750); Henry Purcell (1659-1695); Vivaldi (1678-1741)

About the Set Work – Placing the Set Work in a Musical Context “And the Glory of the Lord” is the first CHORUS for voices and orchestral accompaniment from Handel’s ORATORIO – “Messiah”. Handel wrote “Messiah” in 1741 in only 24 days! The words (LIBRETTO) were taken from the bible and tell of the birth, death and resurrection of Jesus Christ. An Oratorio (a “religious opera”) consists of forms taken from Italian opera – RECITATIVES, ARIAS and CHORUSES. Unlike opera, oratorios had no acting, scenery or costumes.

Music comes from the BAROQUE PERIOD (c.1600-1750) – features of Baroque music include x ORNAMENTED melodic parts (e.g. trills) x MAJOR/MINOR key structures (replacing “modes) x Basso CONTINUO (figured bass) played by Harpsichord (and Cello) to “fill in harmonies” x Different musical textures – HOMOPHONIC, POLYPHONIC x Baroque Orchestra – violin family, harpsichord, trumpets, horns and timpani x One “mood” set and maintained throughout the piece x TERRACED DYNAMICS – Loud or Soft

PART 2 – Musical Elements, Instrumentation & Musical Features Time Signature Tonality

A major

Tempo Allegro

Lively, fast dance tempo to match joyous

mood

Dynamics

To match joyful mood

of words - TERRACED

Pitch (vocal range)

Rhythm

“Driving” regular on-beat crotchet rhythms match “stately” mood Use of HEMIOLA – notes grouped in 2-beat units e.g.

Harmony Clear MAJOR harmonies – minor avoided to match joyful words. Uses PERFECT CADENCES (V-I) during piece with a PLAGAL CADENCE (IV-I) ending the chorus.

Texture Alternating HOMOPHONIC and POLYPHONIC sections. The chorus ends with a CHORDAL HOMOPHONIC coda.

Musical Features IMITATION & SEQUENCE– SYLLABIC word setting – one word per note MELISMATIC word setting – one word spread over many notes e.g. “revealed”

Melody and Form & Structure Chorus is based on 4 contrasting melodic ideas

IDEA 1 (based on triad of A major & syllabic) IDEA 2 (descending sequence & melisma)

IDEA 3 (repetition) IDEA 4 (notes of long duration - repeated)

Instrumentation

Written for four voices – SOPRANO, ALTO, TENOR and BASS with Instrumental accompaniment. The original accompaniment consisted of STRINGS (VIOLINS, VIOLAS and CELLOS) with continuo (HARPSICHORD or ORGAN) and TRUMPETS and TIMPANI. Handel went on to add parts for OBOES and BASSOONS to double the string parts and in places the voice parts.



SET WORK SUMMARY

First Movement from “Symphony No.40 in G minor” PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context x Wolfgang Amadeus Mozart - born 1756 in Salzburg, Austria. Learned to play piano at age 4. x Child “prodigy” encouraged by father (also a musician), toured Europe in concerts x Loved Constanze his wife, father didn’t approve, difficult financial situations, loss of children x Mozart wrote 41 symphonies, also operas, piano concertos, string quartets, concertos & masses x Related composers – Haydn (1732-1809); Beethoven (1770-1827); Schubert (1797-1828)

About the Set Work – Placing the Set Work in a Musical Context The piece is written for a traditional Classical orchestra (minus trumpets and timpani); Fair range of dynamics; Not just one fixed mood (like Handel), the mood changes slightly within each section Sonata Form makes the movement balanced and structured Melody and accompaniment Texture This is the FIRST MOVEMENT of a SYMPHONY – a piece for orchestra which has 4 movements Music comes from the CLASSICAL PERIOD (c.1750-1820) – features of Classical music include

x Balanced and Elegant melodies, shorter than Baroque with clear-cut phrases and clearly marked cadence points

x Less complicated texture than the Baroque (more melody and accompaniment) x Development of String Quartet, Sonata, Symphony, Concerto & Sonata Form x Orchestra began to grow – harpsichord fell out of use, wind instruments became more

important and developed into their own section – “woodwind”, strings were the main instruments,

x Piano - Invented as early as 1698, by Cristofori in Italy replaced Baroque harpsichord.

PART 2 – Musical Elements, Instrumentation & Musical Features Time Signature

4 4

Tonality G minor

(a key Mozart associated with

sadness)

Tempo

Molto Allegro

Dynamics Starts off p but lots of dynamic contrast including use of sfz

and accents.

Pitch Violins play 1st subject in octaves.

Limited pitch range. 2nd subject moves CHROMATICALLY

Rhythm Scale passages and rising sequences 1st Subject – crotchet and quaver rhythm 2nd Subject – slower, legato rhythm

Harmony 1st Subject – G minor 2nd Subject – B flat major (relative major) in exposition but G minor in recapitulation A variety of keys are explored in the development section

Texture Mainly “Melody and Accompaniment” Texture – HOMOPHONIC. Polyphonic in development.

Musical Features Pedal notes used in development

Melody and Form & Structure – SONATA FORM Exposition First Subject Bridge Passage

Second Subject Codetta Development – based on the opening of the first subject; texture becomes more polyphonic; it explores different keys very quickly; pedal notes are used in the development; themes are passed between instruments Recapitulation – not a direct repeat of Exposition – starts off in G minor as expected, the linking bridge passage is longer, second subject now in G minor too, lots of scale passages and rising SEQUENCES, ends with a CODETTA

Instrumentation The piece is scored for a traditional Classical orchestra – 1st and 2nd Violins, Violas, Cellos, Double Basses, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons and 2 Horns. Even though the Classical orchestra commonly used trumpets and timpani, Mozart does not use them in this piece.



SET WORK SUMMARY

Prelude No.15 in D flat major Op.28 - Chopin PART 1 - Placing the Set Work in its Musical, Social and Historical Context About the Composer – Placing the Set Work in a Social and Historical Context

x Frédéric François Chopin - born in Poland in 1810; died in Paris 1849 x Virtuoso pianist; Most of his compositions are for solo piano; Left Warsaw and settled in Paris x Related composers – Beethoven (1770-1827); Rossini (1792-1868); Tchaikovsky (1840-1893); Berlioz

(1803-1869); Franz Liszt (1811-1886) About the Set Work – Placing the Set Work in a Musical Context Known as “Raindrop” prelude from a set of solo “stand alone” piano pieces called “Preludes”, each in a different major or minor key composed between 1835 -1838. Each prelude is meant to depict a specific idea or emotion. The Preludes (24 in total) are arranged so that the major keys for a circle of 5ths, each of which is followed by its relative minor key – C major, A minor, G major, E minor, D major, B minor etc. Preludes vary in length – shortest only 13 bars long, while the longest runs to 90 bars, “Raindrop” in 89 bars long. The “Raindrop” prelude was written during Chopin’s period of recuperation at the deserted monastery in Valldemossa, Majorca. The piece was written during a storm and the title relates to the dripping of raindrops from the roof of the monastery. Music comes from the ROMANTIC PERIOD (c.1820-1900) – features of Romantic music include

• A freedom in form and design; a more intense personal expression of emotion in which fantasy, imagination and a quest for adventure play an important part.

• Emphasis on lyrical, songlike melodies; adventurous modulation; richer harmonies , often chromatic, with striking use of discords. • Denser, weightier textures with bold dramatic contrasts, exploring a wider range of pitch, dynamics and tone-colours. • Expansion of the orchestra, sometimes to gigantic proportions; the invention of the valve system leads to development of the brass

section whose weight and power often dominate the texture. • Rich variety of types of piece, ranging from songs and fairly short piano pieces to huge musical canvasses with lengthy time-span

structures with spectacular, dramatic, and dynamic climaxes. • Closer links with other arts lead to a keener interest in program music (programme symphony, symphonic poem, concert overture). • Shape and unity brought to lengthy works by use of recurring themes (sometimes transformed/developed): idée fixe (Berlioz), thematic

transformations (Liszt), leading motive (Wagner), motto theme. • Greater technical virtuosity – especially from pianists and violinists. • Nationalism: reaction against German influences by composers of other countries (especially Russia, Bohemia, Norway).


or

Tonality

D flat major

Tempo Use of RUBATO (pull back or speed up the tempo to show expression)

Dynamics

Wider range in

Section B

Pitch Keyboard range is moderate and keeps to the stave with a few ledger line notes. The top note is B flat. Lower pitch is used in Section B.

Rhythm

Distinctive “A” Rhythm

Texture Mainly HOMOPHONIC – melody and Accompaniment

Section B – Thick, Chordal almost chorale-like movement

Musical Features Careful expressive use of pedals particularly the sustaining pedal; SOSTENUTO – sustained ACCIACATURA – “crushing note” – melodic decoration PEDAL NOTE – A flat (enharmonic G#)

Harmony/Melody and Form & Structure - TERNARY FORM Section Harmony/Key Themes

A (Bars 1 – 27) “Falling” motif to represent sadness “Elegiac” melody in Right Hand

D flat major

B (Bars 28 – 75)

Mood – Dark and Stormy – melody in Left-hand bass of piano

C# minor (tonic minor)

A (Bars 75 – 81)

SMORZANDO – Dying away

D flat major

Codetta (Bars 81 – 89) D flat major Ends pianissimo with perfect cadence

Instrumentation – Solo Piano

Ben Jose

Text



SET WORK SUMMARY

Peripetie from Five Orchestral Pieces, Op.16 - Schoenberg PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context x Arnold Schoenberg – Austrian, born Vienna in 1874; died 1951 x Painter as well as a composer – composed and painted in Expressionist style. x Created the “twelve-note system” or serialism – new compositional technique x Related composers – Alban Berg (1885-1935); Anton Webern (1883-1945)

About the Set Work – Placing the Set Work in a Musical Context The term Expressionism was originally borrowed from visual art and literature. Artists created vivid pictures, distorting colours and shapes to make unrealistic images that suggested strong emotions. Expressionist composers poured intense emotional expression into their music exploring their subconscious mind. Expressionist music often features: A high level of dissonance; Extreme contrasts of dynamics; Constantly changing textures; ‘Distorted’ melodies and harmonies; Angular melodies with wide leaps Music comes from the TWENTIETH CENTURY (c1900-1999) – features of 20th century music include

• Melody – likely to include wide leaps, using chromatic and dissonant intervals, angular and spiky, short and fragmentary, glissandi, melodies based on note rows

• Harmony – extreme dissonances, more discords, note-clusters, hexachords • Rhythm – vigorous and dynamic, syncopation, irregular metres, changes of metre,

polyrhythms, ostinato, motor rhythms • Timbre – greater concern with tone-colour, strange, intriguing, exotic, striking, explosive,

contrasting; expansion of percussion section and emphasis on percussive sounds, unfamiliar sounds from familiar instruments, extreme pitch-ranges, instruments being played in different ways, new sounds such as those involving electronic and magnetic tape.

PART 2 – Musical Elements, Instrumentation & Musical Features Form & Structure – Free RONDO – A B A1 C A2

Tempo & Rhythm Instrumentation & Texture

Pitch & Melody Harmony & Dynamics

A sehr rash (very quick) contains mostly triplets,

sextuplets and demisemiquavers

Full Orchestra Homophonic & Solo Sections

Use of MUTED brass for timbre effects

Opens with motif played by

Flutes, Clarinets and Bassoons

Then a chromatic scale by MUTED trumpets and

Trombone GLISSANDO

Instruments play “as families”

Opening Motifs:

Motifs based on HEXACHORDS

Dissonant Harmony

(use of the interval of a 7th)

Sudden loud bursts Ranges from fff to pp

B Uses different rhythms which overlap

Very THICK TEXTURE in percussion and woodwind

Starts off VERY SOFT

A1 Variation of A

Return of a HEXACHORD on the Horns

Dissonant Harmony and extreme dynamic range

C Alternates between ruhiger (calmer) & heftig (passionate)

Sparse texture – with solo instruments overlapping

Bassoon tune, taken over by the cello & double bass

range from pp-fff. A few Loud semi quaver passages

A2 Another Variation of A Speeds up with use of triplet

motifs.

Builds up from clarinets & strings to the full orchestra (tutto) . Double bass play

TREMOLO chord in very high register.

Motifs are piled up on top of each other and are played in

COUNTERPOINT and CANON

crescendos very quickly from pp to fff dissonant chords &

immediately dies away to finish with a pp chord

Instrumentation – Five Orchestral Pieces is written for a very large orchestra using some unusual instruments. There are three flutes, oboes, clarinets and bassoons (instead of the normal pairs) plus piccolo, cor anglais, clarinet in D, bass clarinet and contrabassoon. There are extra horns, trumpets and trombones plus a tuba. The percussion section includes xylophone, cymbals, tam tam (a large gong) and bass drum. Instruments often play at the extreme of their registers. There are many performance directions in the score. Schoenberg was looking for very specific tone colours or timbres.



SET WORK SUMMARY

“Something’s Coming” from West Side Story PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context Leonard Bernstein – 1918 -1990 - “the godfather of the modern musical!” Born in 1918 in Massachusetts. At 10 his aunt gave him a piano and his teacher couldn’t keep up with him! His family were from the Ukraine and his dad didn’t want Leonard to study music. He went to Harvard and met Aaron Copland who encourages him to be a conductor. Bernstein was a conductor, broadcaster, pianist and composer. He was in demand as a conductor and was the conductor of the New York Philharmonic Orchestra. He excelled in two principal forms – the ballet and the musical.

About the Set Work – Placing the Set Work in a Musical Context x Lyrics written by Stephen Sondheim who also wrote musicals of his own later on x Mirrors the plot of Shakespeare’s “Romeo and Juliet” x Based on a love story set in New York in the 1950’s gang culture – “turf wars” and the threat of

them creating tension in the musical from the beginning. The dark theme rooted in violence and tragedy, the use of long, extended dance scenes to convey the drama, the mix of jazz and classical music and the focus on social problems and tensions in contemporary America are key features of West Side Story.

x 2 acts with dialogue between songs – lots of dance scenes x “Something’s Coming” is a solo character song sung by Tony early on in the story before he

meets Maria at the dance

“Something’s Coming” is an example of a song from a STAGE MUSICAL – features of musicals include:

x Types of songs – solo character, duets, action songs, chorus numbers x “Singable” melodies – use of memorable hooks and traditional verse, chorus, middle 8 structures x Musicals written in popular music style influenced by jazz and later rock music x Use of songs, dance and dialogue to tell stories – some musicals made into fims and some films

adapted to musicals; some musicals based on novels e.g. Oliver. PART 2 – Musical Elements, Instrumentation & Musical Features

Time Signature Written in 3/4 but has CROSS-RHYTHMS

and sounds like it is in 6/8

Tonality D Major

“Happy” key to reflect the happy mood of the

song

Tempo Fast 176bpm! “one in a bar” feel

Dynamics Tony starts singing pp – breathless and excited, half-whispering, impatient

Pitch & Melody Contains lots of little ideas – SHORT RIFFS Combination of short phrases and long sustained notes

Rhythm Lots of SYNCOPATION Uses lots of rhythmic OSTINATI especially in the orchestra CROSS-RHYTHMS working “against” each other PUSH-RHYTHMS anticipate the beat Accented OFF-BEATS

Harmony Use of the TRITONE (devil in music!) – Augmented 4th - to create tension and something bas is about to happen despite the love story. Gives edgy, unpredictable feeling JAZZ HARMONY – ordinary chords have added “BLUE NOTES”

Texture The song has lots of different layers in the

exciting way the music has been arranged for

instruments

Form & Structure – not a typical verse-chorus structure Intro

Bars 1-3

Uses 3-beat Ostinato to set breathy and excited mood. Jazz Harmonies, Syncopated Rhythm &

Tritone

Section A Bars 4-39

Starts off quietly with Tony’s thoughts – “Could be”, “Who Knows?”, 3-beat ostinato continues with push rhythms. Then fast, loud recitative-like section with word painting–“cannonballing”

Section B Bars 40-105

More “on beat” rhythm giving strength to lyrics. Change of time to 2/4 creates feeling of drive. Syncopated rhythms, blue notes, riffs,

Section B1 Bars 106-140

Shortened version of Section B.

Section A1 Bars 141-157

Feels like a return to the beginning, back to 3/4 time, orchestral riff and Tony’s hopeful questions – “Maybe Tonight” base on the tritone. Riff starts to fade under the held note (sempre dim.)

Outro Bar 158 – fade out Simple "ad lib fade” bar taking us into the music for a change of scene (instrumental)

Instrumentation – solo singer (male tenor) and large orchestra with added instruments Bernstein orchestrated the music himself and called for a large orchestra including five woodwind players, two horns, three trumpets, two trombones, seven violins, four cellos and two double basses. In addition, he used a drum-kit, two other percussionists, piano, electric and acoustic guitars, saxophones, a mandolin and celeste. Uses Latin-American instruments – castanets and maracas to reflect the Puerto Rican gang



SET WORK SUMMARY

3rd Movement (Fast) from Electric Counterpoint - Reich PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context x Steve Reich – born in New York (1936 – present) x Started playing piano when he was young and drums when he was 14. x His music is influenced by Jazz, Gamelan and African Music x A key minimalist composer, he likes TONAL music (as opposed to Serialism which is Atonal) x Other famous works include “Different Trains”;; “Clapping Music” (a phase shifting piece) and

various “taped” music using recorded samples of everyday sounds and looping them to create a constant repeated pattern (New York Counterpoint)

x Related composers – La Monte Young; Terry Riley; Philip Glass; Michael Nyman About the Set Work – Placing the Set Work in a Musical Context Electric Counterpoint was written for the jazz guitarist Pat Metheny. Metheny would record all the parts himself (12 guitars and 2 bass guitars). He would then play the recording (called a ‘backing track’ and would play the “live” part over the top. The piece uses tape loops where each part is pre-recorded onto a tape loop to allow overdubbing (recording over the top). The movements within Electric Counterpoint don’t have titles, just tempo markings. The third movement (fast) is 140 bars long and lasts four and a half minutes. Music is an example of MINIMALISM (developed in 1960’s & 1970’s) – features of minimalist music include:

• Builds music out of loops – constantly repeated patterns – short and simple; lack of a clear melody • Harmonies made by layering patterns on top of each other – gradually unfolding over a long period

of time • A reduced style e.g. little dynamic contrast, constant tempo • Repetition – ideas repeated several times gradually changing – gives the music a hypnotic quality • MINIMALIST TECHNIQUES – Phasing, Additive Melody, Metamorphosis, Layering, Drones,

Ostinati/Loops, Note addition, Note Subtraction, Rhythmic Displacement, Augmentation, Diminution, Static Harmony

• Use of Music Technology – old tapes cut and pasted together, multi-track recording to layer sounds, live performances often use recorded backing tracks to build up the layers


to to

Tonality & Harmony Reich uses TONAL AMBIGUITY – keeps the listening guessing as to what key the piece is in. The bass guitars confirm E minor when they enter, but actually in the AEOLIAN MODE Changes to C minor in “B” Section for contrast. Piece finishes on an E5 chord giving an “open” and “sparse” sound

Dynamics Not many changes in dynamics – mainly in solo part fading in and out. Four ensemble parts playing the first riff remain mf all the time. Other parts have dim. finishing with a crescendo to ff for the solo part at the end.

Pitch & Melody

Guitar 3 uses ADDITIVE MELODY where 2 or 3 notes keep being added until the whole riff is heard.

Rhythm & Tempo Made up of rhythmic LAYERED OSTINATI which are PHASE SHIFTED and DISPLACED. Constant tempo throughout.

Texture A multi-layered texture is achieved by each track being “multi-tracked” to allow live performance over the top Made up of short patterns/riffs/motifs/ostinati that are repeated. It’s repetitive making it sound hypnotic Four of the ensemble parts play the same riff throughout the piece. Others join in one by one. Once all the parts have been introduced, the texture remains fairly constant but with use of PANNING (bass guitars are panned one to the left and one to the right) and INTERVIEWING RHYTHMS, the texture always seems to be shifting.

Form & Structure The piece is divided into TWO main sections (A) and (B) with a CODA. The main sections are then subdivided into four smaller sections, each of which is defined by changes of key and texture.

Instrumentation - 7 electric and 2 bass guitars The guitar parts enter in the following order: 1. Guitar 1; 2. Live Guitar; 3. Guitar 2; 4. Guitar 3; 5. Guitar 4 6. Bass Guitars 1 and 2; 7. Guitar 5; 8. Guitar 6; 9. Guitar 7



SET WORK SUMMARY

“All Blues” by Miles Davis PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context Miles Davis, born in Illinois in 1926 to a wealthy family, began learning the trumpet Davis performed in a number of bands before forming his own ensemble in 1948 Davis looked for a new way of playing jazz, feeling there was more to be found in the music than the “quest for speed” forming his first album “The Birth of the Cool”, which had a more “laid back” jazz sound. “All Blues” is taken from the album “Kind of Blue”, recorded in three 3-hour sessions in New York 1959, where Davis assembled an ensemble of some of the top jazz musicians of the time (see “instrumentation” in part 2 below)

About the Set Work – Placing the Set Work in a Musical Context Jazz began as the coming together of many musical styles and cultures in the late 19th and early 20th century in New Orleans. African-Americans brought their rhythmic pentatonic work songs they developed while in slavery (the Blues). Singers would sing about their poor situation in life in songs giving the music its title. Blues would include CALL AND RESPONSE, IMPROVISATION and STRONG RHYTHMIC CONTENT. The fusion of African pentatonic scales and the seven-note Western scale produced the blues scale – with its characteristic “bending” of notes Popular types of jazz include – RAGTIME, SWING played by BIG BANDS in the 1920’s, NEW ORLEANS JAZZ – one of the first recognised jazz style originating in New Orleans and BEBOP – a jazz style requiring virtuosic technique including fast tempo and complex harmonies “All Blues” is an example of MODAL JAZZ – features of modal jazz include: The soloist is freed from the more “restrictive” former types of jazz where they had to “stick to the chords” and now use a scale or MODE to use, more of less ignoring the chords underneath - this led to a longer, freer improvisations. Modal jazz songs and numbers are significantly LONGER than the shorter songs of bebop and cool jazz allowing for EXTENDING SOLOING.


Marked “Jazz Waltz”

Tonality All Blues is an example of MODAL JAZZ – this means that rather than relying on complicated chord patterns the harmony focuses on a MODE or scale and the improvised solos are freer. Davis improvises on the G MIXOLYDIAN MODE

Texture The texture is made up of RIFFS – a short rhythmic ostinato common in jazz. 3 riffs are used in “All Blues” – the first (G D ED F DED) is on the double bass, the second where the alto and tenor sax play in thirds (D/B, E/C, F/D, E/C)

Pitch & Melody The main melody (HEAD) and the solos are all played over the 12-bar blues chord sequence (the CHANGES) based on the notes of a MODE. The improvisations are ORNAMENTED and combine riffs together.

Dynamics The dynamics of “All Blues” is mainly p

throughout although there is a diminuendo in the final “Head 4”

Rhythm The RHYTHM SECTION provides the harmony and rhythmic background – drums, bass and piano. This section provides the COMPING – or accompanying – playing the background chords and rhythms

Instrumentation FRONTLINE - Trumpet (Miles Davis), Alto Sax (Julian ‘Cannonball Adderley), Tenor Sax (John Coltrane), RHYTHM - Piano (Bill Evans), Bass (Paul Chambers) & Drums (Jimmy Cobb)

Tempo Tempo of crotchet = 156. Although this may seem rather fast, the bar feels like it is split into two slow beats (two dotted minims), so it feels like a laid back tempo of Dotted minim = 152.

Harmony “All Blues” is based around a REPEATED 12-BAR BLUES CHORD SEQUENCE (the CHANGES) with a FOUR-BAR LINKING RIFF between each section. The 12-bar blues chord sequences is based on the following chords where each box

represents one bar. Adding extra notes to a chord (as in bars 9 and 10 above) is known as EXTENDING or ALTERING a chord – a feature used a lot in jazz The structure of “All Blues” is based on the repeated 12-bar blues chord sequence, which is repeated 19 times in total!

G7 G7 G7 G7 C7 C7 G7 G7

D7#9 Eb7#9/D7#9 G7 G7

Form & Structure INTRO – drums (played with brushes), bass riff, piano trill then alto and tenor sax riff in thirds HEAD – this is where the original tune or melody is played – melody played on muted trumpet with a simple motif mainly stepwise movement LINK SECTION – 4 bars between repetitions of the 12-bar blues chord sequence – breaks up the repetitions and provides contrast HEAD 2 – same as the first time on muted trumpet but melody is slightly developed. LINK SECTION – ride cymbal added by the drums IMPROVISED SOLO – first solo performed by Miles Davis, mute now removed from trumpet. Uses 4 repetitions of the 12-bar blues sequence (no links) and uses the G Mixolydian mode to improvise. Ride cymbal now very prominent in the rhythm section. LINK SECTION – IMPROVISED SOLO – Adderly on also sax, uses 4-repetitions of the 12-bar blues sequence, very chromatic and technical - LINK SECTION – IMPROVISED SOLO – Coltraine on tenor sax, uses 4-repetitions of the 12-bar blues sequence, virtuosic playing. LINK SECTION – IMPROVISED SOLO – Evans on piano, continues COMPING in left hand, uses 2-repetitions of the 12-bar blues chord sequence, right hand plays a melody line like frontline instruments. LINK SECTION – alto and tenor sax play riff in thirds HEAD 3 – same as Head 1, trumpet muted again LINK SECTION – alto and tenor sax play riff in thirds, trill returns in piano part HEAD 4 – melody now developed with a more “minor” feel LINK SECTION – drums back down contributing to a diminuendo OUTRO – Davis plays a short solo on the tonic note G over the sax riff and piano trill before the song fades out



SET WORK SUMMARY

“Grace” from the album ‘Grace’ – Jeff Buckley PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context 1966-1997 – American singer-songwriter, son of Tim Buckley, a jazz-folk musician who died in 1975, Buckley drowned during an evening swim in the Wolf River in 1997. Jeff formed his first covers band in 1982 and was interested in a wide variety of musical styles before developing his love of the guitar. The guitarist Gary Lucas was looking for a singer and recruited Buckley to his band who he worked collaboratively with, including writing the song “Grace” together, until they parted company Buckley’s first number 1 came posthumously in 2008 with “Hallelujah” (also used on the film “Shreck”) About the Set Work – Placing the Set Work in a Musical Context

x “Grace” is the first and only complete studio album by Jeff Buckley released on 23 August 1994 x The performers on “Grace” are – Jeff Buckley: guitar, vocals; Matt Johnson: drums, Mick

Grondahl: bass; Gary Lucas: guitar x The lyrics are said to be based on a dream Buckley had about a girl crying on her boyfriend’s arm

at an airport, not wanting him to leave, but they are also clearly about death. Buckley was fascinated with the subject of mortality, probably because of the early death of his father

“Grace” is an example of “Guitar-based” track – features of guitar-based tracks include: x An emphasis on guitar textures based on SOUNDSCAPES rather than riffs or technical

showcases x The main chord sequence of “Grace” is a POWER CHORD slid across three FRETS of the guitar

but played in different ways in each section with different textures. x Moving the same chord shape up and down the FRETBOARD and using one or more OPEN STRINGS as a DRONE

gives a harmonic richness to the sound. The bottom string of the guitar has been tuned down from E to D (drop-D tuning) x Various EFFECTS are used on electric and acoustic guitars throughout the song – whisper (saved for places where

they can be heard, adding an eerie effect to the song, emphasising the lyrics), reverb, slides, delay, “mandolin” effect (link section) scoops on the tremolo arm, hitting the “deadened” acoustic guitar strings (end of middle 8), hitting the body of the acoustic guitar (end of middle 8) and flange (bringing out the open, droning, discordant notes)


Tonality The key is not clear from the first three chords (Fm, Gm, Em) but arrives in D MAJOR at the end of the introduction and end of the link sections. The verse, pre-chorus and chorus have a MODAL tonality with a tonic of E.

Rhythm The rhythm of the intro is highlighted by the acoustic guitar and Hi-HAT cymbal “driving “ the song forward During the verse more emphasis is placed on the TOMS of the drum kit. A DRUM ROLL leads into the Middle 8 section. Cymbals used more prominently in verse 3. The unifying rhythm of the song is a solid ROCK BEAT

Pitch & Melody The vocal melody in the verse has a limited pitch range, becoming higher in the pre-chorus and chorus. A “whispering” backing vocal adds variety to the melody in the chorus. TELEPHONE EQ EFFECT added to vocal melody in Middle 8 giving a harsh and distant effect. Verse 3 sees the pitch of the vocal melody becoming HIGHER and extremely HIGH PITCH VOCAL IMPROVISATIONS in the outro using MELISMA and FALSETTO.

Tempo 64 bpm = dotted

crotchet Maintains consistent

tempo throughout

Dynamics The song starts p but has a f chord in the intro. The WHISPER effect on the Electric Guitar uses dynamics picking the note with the volume turned down and then turning it up quickly Texture

Parts drop out from time to time to let me music breathe and provide TEXTURAL CONTRAST. The texture in the verse becomes thinner with the high electric guitar RIFF dropping out. BACKING VOCALS (subtle) and STRINGS (for effect) enter in the chorus adding to the texture. Strings play PIZZICATO in pre-chorus 2. Thick POLYPHONIC texture in Middle 8 – multi-track vocal harmonies in COUNTERPOINT. Thick texture in Verse 3 and outro as strings come to the fore.

Harmony The bass guitar provides a PEDAL note “D” upon which harmonies and chords are constructed (Intro). During the verse the electric guitar plays POWER CHORDS – the bass follows the root of the power chord, the harmonies are MODAL with E as the tonic note – Em, Em/F5, Em/Eb5. The pre-chorus uses more complex chords – Em, F#dim, G6, A6, Bm, A6/9, Em The chorus uses chords– Em/F5, Em,Eb5 - still based on the tonic E. Complex harmonies in Middle 8 – “hummed” vocals with long sustained notes on strings

Form & Structure

INTRO VERSE 1 PRE-CHORUS 1 CHORUS LINK VERSE 2 PRE-CHORUS 2 CHORUS MIDDLE 8 LINK VERSE 3 OUTRO

Instrumentation Main Instruments - Drum kit, Bass Guitar, Three Electric Guitars, Acoustic Guitar, Lead Vocal Additional Instruments - Backing Vocals and Strings – used for effects or to raise tension by adding to the texture



SET WORK SUMMARY “Why does my Heart Feel so Bad?” from the album ‘Play’ – Moby

PART 1 - Placing the Set Work in its Musical, Social and Historical Context About the Composer – Placing the Set Work in a Social and Historical Context Moby (Richard Melville Hall) was born in 1965 in Harlem, New York and is an American DJ, singer-songwriter and musician. He plays keyboard, guitar, bass guitar and drums. Moby is a deeply religious man whose music & business dealings are strongly rooted to his moral, ethical, environmental and spiritual beliefs. He is both a vegan and a Christian. His music is influences by a range of styles – Blues, Classical, Gospel, Punk, Ambient, Hip-Hop, Techno After 8 Top 40 singles in the UK during the 1990’s, Moby released the album “Play” (his sixth studio

album), in 1999 from which the single “Why does my Heart Feel so Bad?” was also released in 1999. About the Set Work – Placing the Set Work in a Musical Context

x The song is built around 2 VOCAL SAMPLES taken from a GOSPEL RECORDING of 1953. Moby wanted his music to have a “raw, authentic” sound, so he deliberately left the background noise on the vocal samples untouched (including echo’s and traffic noises in the background). Although his music relies on technology, he aimed for a human element which he felt the background noise gave it.

x The song was popular (and continues to be so) due to its use of interesting samples, catchy chord sequence and melodies, its easy to dance too and well-structured

“Why does my Heart feel so bad?” is an example of ELECTRONICA – features of ELECTRONICA include:

x Roots in CLUB DANCE MUSIC performed by night club DJ’s. There are a wide variety of sub-genres of club dance music – dub, scratching, Chicago house, Garage and Electronica (a popular sub-genre in the late 1990’s)

x SAMPLING and SEQUENCING electronic instruments x Simple harmonies – “Why does my Heart feel so bad?” is based on only 6 chords –

selected because of the emotional response they would provoke from the listener. x Use of MUSICAL EFFECTS – Moby uses REVERB, DELAY and EQUALISATION (EQ). Also the placement of

sound within the stereo field using left and right hand speakers (PANNING). PART 2 – Musical Elements, Instrumentation & Musical Features

Time Signature

Tonality Both vocal samples are in the key of A minor but Moby harmonises the first to make it feel like A minor and the second to make it feel like C major. The intro and verse begin in A minor, though the tonality is slightly more ambiguous in the chorus where the common notes of the chords hint at C major before MODULATING to C major during Chord Sequence 3.

Rhythm “Hip-Hop” drum LOOP used throughout, also called a BACKBEAT The piano accompaniment (although sometimes “static”) changes to a SYNCOPATED RHYTHM in verse 1

Dynamics The dynamics of the song begin p and increase in relation to the texture throughout the song.

Pitch & Melody The PIANO provides an ACCOMPANIMENT to the vocal sample with a synthesiser pad doubling some of the piano notes, but also takes on the role of the melody in places. There are elements of CALL AND RESPONSE between the piano and vocal sample.

Tempo consistent

throughout at 98 bpm

Texture The texture of the song varies – instruments come in and drop out to provide TEXTURAL CONTRAST all based around the different chord sequences. Synthesised bass and string parts are added in verse 2 to fill out the texture with long, sustained chords in the mid to thigh pitch range. The texture in the outro is reduced to just vocal sample 1 accompanied by synth pad playing STATIC CHORDS. “Echo’s” and “Shouts” are added in the Chorus and a TELEPHONE VOICE EQ applied to the echo in verse 2. A complete TEXTURAL CONTRAST is achieved in the BREAK, where all that can be heard are the dying repeats of the DELAY EFFECT on the EQed vocal echo, a quiet delay repeat of the snare (from the drum LOOP) and the tailing off of the REVERB applied to other parts.

Harmony The harmony of this song is based around three CHORD SEQUENCES all made up of only 6 chords showing a LIMITED HARMONIC RANGE. Chord Sequence 1 – Am, Am, Em, Em, G, G, D, D Chord Sequence 2 - C, C, Am, Am C,C, Am, Am Chord Sequence 3 – F, F, C, C, F, F, C, C Sus2 and Sus4 chords are also used replacing the third of the chord with the 2nd or 4th giving a richer harmonic sound.

Form & Structure (also showing which chord sequence each section is based on – see “Harmony” above)

INTRO Chord Seq. 1

VERSE 1 Chord Seq. 1 x 4

CHORUS Chord Seq. 2 + 3

VERSE 2 Chord Seq. 1 x 2

BREAK (one single bar)

CHORUS Chord Seq.2, 3, 3

OUTRO Chord Seq. 1

Instrumentation/Equipment Yamaha SPX990 Multi-effects unit (to apply reverb and delay to tracks); Roland TR909 drum machine (sound source for drum loops), Emu Pfoformance piano sound module (piano sound source (there are two piano sounds on the track, one from an old Yamaha synth and another from the Emu); Roland Juno 106 (synth bass sounds); Yamaha SY22 and SY85 Synthesisers (string/synth pad sounds); Akai S3200 sampler (sampling the vocal sounds off the original record and any subsequent editing)



SET WORK SUMMARY

Skye Waulking Song from the album Nàdurra - Capercaillie PART 1 - Placing the Set Work in its Musical, Social and Historical Context

“Waulking” is an ancient Scottish process used for making tweed fabric more flexible and windproof. A “Waulking” song refers to a song used to make this process into a more sociable occasion. To keep everyone IN TIME, the work was accompanied by song. There would be one person leading with lyrics, based on a well-known story and others would join in after each line with some NONSENSE SYLLABLES, called VOCABLES. It was considered unlucky to repeat a whole verse, so the songs often had many verses. Technology has now replaced the need of manual “Waulking” by the hands or feet, but the tradition still continues in some parts of Scotland and “Walking songs” are still sung by these societies and collections of “Waulking” songs have been produced in notation and recordings.

About the Set Work – Placing the Set Work in a Musical Context Capercaillie were formed in the early 1980’s by Donald Shaw and a few friends. Singer, Karen Matheson joined the band in 1984. The band preserve Scottish Folk Music often singing in SCOTS GAELIC dialect. “Skye Waulking Song” - taken from the album “Nadurra” released in September 2000. The band is made of up 7 members, each with their INDIVIDUAL VIRTUOSITY on their own instruments and their ability to blend together so well in an ensemble The song lyrics tell the tale of Seathan, son of the King of Ireland. The original song (nearly 200 lines long) was a LAMENT sung by Seathan’s wife, telling of his deeds and recollections and is a way of grieving and sharing her feelings of loss. Only a few lines are used in this set work interspersed with VOCABLES (nonsense syllables like “Fa-la-la”) in a CALL AND RESPONSE pattern. The full title for the song, as recorded by Capercaillie, is 'Chuir M'Athair Mise Dhan Taigh Charraideach' (My father sent me to a house of sorrow). “Skye Waulking Song” is an example of FUSION FOLK MUSIC – features of FOLK MUSIC include: “Music of the People” – performed by lower classes of a society expressing something about their way of life, how they used to live, or about local mythology Passed on by the ORAL TRADITION and rarely notated, often performed at INFORMAL occasions such as jam sessions at pubs of social gatherings. Folk Music is about everyone taking part, enjoying the music and passing on tales of life, legend and heritage. Folk Music also popular in the US where BOB DYLAN wrote songs in a folk style but with political lyrics – PROTEST SONGS Folk Music is traditionally played on ACOUSTIC INSTRUMENTS – accordion, bagpipes, banjo, bodhran, bouzouki, concertina, double bass, fiddle, guitar, harmonica, hurdy-gurdy, mandolin, piano, tin/penny

whistle, uileann pipes. Electric Instruments such as the bass, keyboard and electric guitar have been used in folk music but some purists feel this isn’t traditional. FUSION is a combining of more than one musical style or culture. Capercaillie are an example of a band that FUSE CELTIC FOLK MUSIC with the instruments and production values of WESTERN POPULAR MUSIC


Harmony The harmony is very SIMPLE using only FOUR CHORDS in the whole song. The changes in CHORD SEQUENCE highlight a change of section or mood. The intro established the chord sequence Em-G This changes to C-G-Em-G in Verse 4 adding some harmonic interest In verse 7, the chord sequence changes to Am7-Em-Em-G for one verse only returning to C-G-Em-C in verse 8 and alternating C-G chords in the outro

Rhythm The shaker and hi-hat play every two beats giving the rhythm a TRIPLE feel. The vocal part has a characteristic LILTING rhythm The second and fifth beats of the bar are emphasised by the accordion in the instrumental section

Dynamics The dynamics build with the texture of the song, dropping considerably in verse 7 leaving room for the intimate vocal sounds A long FADE OUT brings the song to an end

Pitch & Melody Melodic lines are played in the FOLK STYLE – instruments IMPROVISE AROUND A MELODY The “Waulking” song tradition can be heard in the use of VOCABLES between each sung line and the repetition of each line of verse

Tempo Slow and calm

Tonality The vocal part is sung using

the scale of E MINOR PENTATONIC (or G major

pentatonic) throughout Texture

HETEROPHONIC TEXTURE is created when instruments perform a very similar melodic line together, but in slightly different ways (Uilleann pipes solo along with the fiddle in the Instrumental) . There are also examples of instruments weaving a complex improvised COUNTERPOINT around the melody and scale (G major) and the vocals improvise in COUTERPOINT during the outro. Backing vocals thicken the texture when they join in vocalising the nonsense syllables in between each line of lyrics (starting in verse 4). Contrasts in texture, such as the UNACCOMPANIED last line of verse 3 serve as a link between sections and all instruments drop out of the last line of verse 7 similarly. The instruments tend to provide an ACCOMPANIMENT TEXTURE to the vocal parts but instruments (such as the accordion in verse 4) provide a COUNTER MELODY to the vocals

Form & Structure INTRO VERSE 1 BREAK VERSE 2 VERSE 3 VERSE 4

VERSE 5 VERSE 6 INSTRUMENTAL VERSE 7 VERSE 8 OUTRO

Instrumentation Donald Shaw: accordion, piano, synth; Michael McGoldrick: flutes, whistle, uilleann pipes; Karen Matheson: vocals; Ewen Vernal: acoustic and electric bass; Charlie McKerron: fiddle; Manus Lunny: bouzouki, guitar, bodhran, vocals; James MacKintosh: drums and percussion



SET WORK SUMMARY

Rag Desh PART 1 - Placing the Set Work in its Musical, Social and Historical Context

x Indian music has a long history, going back more that 2000 years. It is closely linked to Hinduism and religious philosophy.

x The many Hindu gods are often worshiped through performances of raga, both vocal and instrumental. In particular, the god Shiva is associated with music and dance in Hindu philosophy and there are many pieces in praise and honour of this particular deity.

x The set work is taken from the Indian classical tradition of Northern India. x Unlike Western classical music, Indian music is not written down as conventional musical notation. Instead, it

is taught through listening and playing by ear - called the oral tradition. Indian families have a system of master-pupil teaching known as a GHARANA. However, playing styles will inevitably change as new techniques are added by subsequent generations and so the process is a duel one of consolidation and evolution of playing skills.

About the Set Work – Placing the Set Work in a Musical Context x Rag Desh is one of a number of

Indian ragas (over 200!) – a type of SCALE/MODE on which Indian music is based. Like a scale, a raga ascends and

descends, but the pitches often differ in each direction and the number of notes in a raga can vary (unlike Western classical music). Some ragas are PENTATONIC

x It’s TONAL CENTRE/SYSTEM TONIC is the note C x Ragas are associated with a particular mood (RASA), feelings, emotions or certain times of the day. Rag

Desh is traditionally a NIGHT RAGA. Rag Desh (which translates as “country”), is also associated with rainy seasons or MONSOONS

x The three most common elements or strands in Indian classical raga music are: x the MELODY - made up (IMPROVISED) from notes of a particular raga (without notation). Sung by a voice or

played by an instrument such as the sitar or sarod x the DRONE - a supporting one or two notes (often the TONIC and DOMINANT notes of the chosen raga)

provided by the tambura. Its function is to keep a sense of TUNING or INTONATION as a reference point for the melodic part and it adds to the texture of the raga as a whole.

x the RHYTHM - a repetitive, cyclic rhythm pattern called a TALA, played by the tabla drums. Talas vary in number of beats (MATRAS). In a raga performance, there is often a sense of “competition” between the instrumentalist and drummer as they attempt to copy and “do each other’s clever and novel rhythmic ideas” whilst still keeping within the cycle of the tala – a sort of “musical duel!”

x A raga performance has a STRUCTURE based on FOUR defined sections: ALAP, JOR, GAT, JHALLA. Some sections can be omitted and raga performances vary vastly in duration – some up to five hours or more! (a raga song has a section called BHAJAN)

PART 2 – Musical Elements, Instrumentation & Musical Features Version 1

Anoushka Shankar: Rag Desh from the album “Live at Carnegie Hall”

Version 2 “Mhara Janam Maran” by Chiranji Lal

Tanwar Version 3

Wertheimer & Gorn: Rag Desh, Pt 3 from the album

“Priyagitah: The Nightingale” Instruments Sitar and Tabla Voice, Sarangi, Sarod,

Pakhawaj, Cymbals and Tabla Bansuri, Esraj, Tambura and

Tabla Form

& Structure Including:

Tempo Pitch

Melody Instruments

Texture Dynamics Rhythms Harmony

ALAP – slow and unmetred, unaccompanied sitar explores notes of the raga. Free rhythms sound improvisatory due to lack of a regular pulse. Some decoration to melody.

ALAP – short introduction as the Sarod player, then the singer, vocalises a melody in free time based on the notes of the raga. This is a version of the chorus from the song.

ALAP – slow and unmetred. Drone is established by Tambura playing the notes C (sa) and G (pa). Bansuri enters exploring the notes of the raga

GAT1 – Sitar plays fixed composition rather than improvisation, but decorated melody with flourishes and ornaments. Medium tempo. Tabla enters playing 10-beat JHAPTAL tala (10 beats) with decoration. Dialogue between sitar and tabla

BHAJAN – a “fixed” composition – song in verse form with the first line used as a refrain (chorus) Tabla enters playing KEHERWA tala (8 beats). Sarod and Sarangi play solo passages between verses. Dynamics and tempo increase and the music becomes faster and more exciting; cymbals play more frequently. This is a Hindu devotional song from Rajasthan telling of the arrival of Lord Krishna in the morning.

GAT1 – slow tempo, Bansuri plays lyrical, unaccompanied melody and the tabla enters playing RUPAK tala (7 beats). Bansuri and tabla player embellish and improvise upon their original patterns. Instruments then swap Bansuri improvises, Tabla accompanies

GAT2 – Faster tempo. Tabla now switches to TINTAL tala (16 beats)

GAT2 – Fast tempo. Tabla now uses EKTAL tala (12 beats). Bansuri plays an elaborate melody with wide-ranging pitch, fast scale passages (tans) and slides. Several THIAIS bring the music to a close. Drone continues shortly after melody ends.

JHALLA – Drone strings are used on the Sitar which are strummed providing a striking rhythmic effect. Piece ends with a TIHAI (phrase played thrice across the beat ending on first beat of cycle)



SET WORK SUMMARY

“Yiri” - Koko PART 1 - Placing the Set Work in its Musical, Social and Historical Context

This set work comes from BURKINO FASO (“men of integrity”/”father’s house”) in WEST AFRICA. The themes in the music of Burkino Faso focus on mankind’s greatest battles in life including the fight for survival, looking after the environment, creation, community celebrations and friendships. African music is based on the ORAL TRADITION and has no musical notation. African music is used to communicate different feelings and emotions and is nearly always part of a social gathering. Music is often combined with speech, dance and costumes where performers retell traditional stories through body action and mime.

About the Set Work – Placing the Set Work in a Musical Context x The four most common features of African music are REPETITION, IMPROVISATION,

POLYPHONY and CALL AND RESPONSE x Features of AFRICAN SINGING include – frequent use of CALL AND RESPONSE, short

and simple melodies repeated over and over on a LIMITED NUMBER OF PITCHES, vocal improvisations performed at the same time as the original melody creating POLYPHONIC TEXUTRES, often sung in ROUNDS, harmony varies but often in PARALLEL OCTAVES. Body percussion (clapping and stamping) and VOCABLES (often loud shouting) are also used in singing.

x Features of AFRICAN INSTRUMENTAL MUSIC include – REPETITION (including OSTIANTO), IMPROVISATION, CYCLIC STRUCTURES, POLYPHONIC TEXTURES and INTERTWINING MELODIES x There are many different instruments in African Music, which vary from region to

regions. There are lots of drums called MEMBRAPHONES (as they have a skin) and they are considered the most important instruments associated with communication, religious significant and ceremony. Different African drums include – djembe, dundun and donno (the talking drum). Drums are played with the hands (“open” and “closed” sounds), on the edge or using sticks.

x IDIOPHONES are resonant, solid instruments including – rattles, shakers, bells, Mbria (thumb piano), xylophones, balaphones, clap sticks, slit gongs and stamping tubes

x AEROPHONES are wind or blown instruments including – flutes (bamboo and horn), ocarinas, panpipes, horns (made from animal tusks), trumpets, pipes and whistles

x CHORDOPHONES are string instruments including – zithers, lutes, koras, lyres and musical bows PART 2 – Musical Elements, Instrumentation & Musical Features Harmony

The harmony remains close to the tonic Gb major throughout making frequent use of the Dominant Db note. When the voices enter in Chorus A1 they sing in UNISON and all responses to the solo call continue to be in UNISON

Pitch & Melody The opening solo balaphone melody is HIGH PITCHED and is a simple and repetitive idea using “rolls” on each note. When the second balaphone enters the melody becomes more SYNCOPATED The vocal melody is short, simple and REPETITIVE. Melodies are often VARIED by different instruments Contrasting melody in Call and Response section – long held notes and short punctuated notes on “Yiri”

Tonality Opening balaphone melody establishes the tonality of Gb MAJOR reinforced by the Dominant Db note.

Tempo The piece starts off in FREE TEMPO but continues in a MODERATE tempo

Dynamics The piece opens with SOFT dynamics which increase as the instruments are added and the texture thickens. The piece ends with a single “ting” on a bell

Texture The piece starts off with a MONOPHONIC texture with a solo balaphone but a second soon joins playing mainly in OCTAVES with some different pitches creating a HETEROPHONIC texture Texture changes considerably during the Call and Response section with a SOLO call and CHORAL RESPONSES. This is developed in Chorus B1 where the soloist and instrumentalists perform in dialogue.

Rhythm The BALAPHONE OSTINATI in combination produce a complex, POLYPHONIC TEXTURE The DRUM OSTINATI perform a relentless one-bar pattern starting in

the intro performed by the talking drum, small talking drum and djembe. This ostinato is decorated with occasional RHYTHMIC FILLS.

The balaphone performs CROSS RHYTHMS in the call and response section which become SYNCOPATED during the coda

Form & Structure INTRO CHORUS

A1 BREAK CHORUS

A2 BREAK CALL &

RESPONSE CHORUS

B1 CHORUS

A3 CODA

Instrumentation Madou Kone: (vocals, balaphone, flute); Sydou Traore: (vocals, balaphone), Jacouba Kone: (djembe ), Francois Naba: (vocals, tam-tam, dundun, maracas), Keresse Sanou: (talking drum ), Tidiane Hema: (vocals, maracas)

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EDEXCEL GCSE MUSIC SET WORK SUMMARIES ... MUSIC SET WORK SUMMARIES REVISION GUIDE GCSE EDEXCEL MUSIC – SET WORK SUMMARIES SWRA1 ,CO.UK SET WORK SUMMARY