GCSE Music 2010 Revision Guide

8/10/2019 GCSE Music 2010 Revision Guide

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GCSE music Edexcelpaper 3

Understanding 12 different pieces

This is a first attempt at a guide to help you think about the pieces that we are studying for GCSE. This version is designed to give

some key pieces of information about each work. You wont need to know all of the information. Ive put in bold the information

that I think is most important.

If you have any suggestions about how this can be made better, please email [email protected]

I think that this is a helpful musical dictionary:

http://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/index.asp

If you dont know a word use the index go to the letter it starts with. There are recorded examples to illustrate the meanings.

Have a bit on how to make a chordand a cadence

Have a bit on functional - and non-functional harmony
mailto:[email protected]:[email protected]:[email protected]://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/index.asphttp://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/index.asphttp://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/index.aspmailto:[email protected]


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HandelAnd the glory of the Lord from Messiah- 1742

http://www.youtube.com/watch?v=LqMxwjs9RB0an Australian choir, with orchestra and organ and a woman conductor (go girls!

Conducting isnt just for men!). A very joyful performance.

http://www.youtube.com/watch?v=C6yIgN54R7k&feature=relateda different choirno organbetter photography and better

recordedbut a slightly slower paceperhaps a bit stick-in-the-mud?

http://www.youtube.com/watch?v=xOqzE9e4gG4a short cover version for two guitars.

The Messiah is an oratorio (a piece which tells a story from the bible). Oratorios have many short pieces (movements) within them

(solos, choruses, duets etc.) This is a chorus.

Handel was commissioned to write this piece by a Dublin charity. Most music was commissioned by royalty and the church at this time

so this is quite unusual.

A baroquepieceThe baroque era is 1600-1750

There are many more baroque featuresIve mentioned them below.

Some of the

important features

of baroque music

in this piece are:

The use of the basso continuo (a

bass and chordal part that plays

throughout). In this case the

chordal part is played by an organ

(its church music)and the bass

part is played by a cello.

The fact that the piece uses major

keys(earlier music, much music

from other countries and some

modern music dont use the

major/minor system). The fact

that it changes between keys

(called modulation) and that it

uses diatonic chords (chords which

The fact that it is accompanied by

strings(there were other instruments

in a baroque orchestra, but the strings

dominated).

The fact that there is only one mood

(joyful) which pervades throughout
http://www.youtube.com/watch?v=LqMxwjs9RB0http://www.youtube.com/watch?v=LqMxwjs9RB0http://www.youtube.com/watch?v=C6yIgN54R7k&feature=relatedhttp://www.youtube.com/watch?v=C6yIgN54R7k&feature=relatedhttp://www.youtube.com/watch?v=xOqzE9e4gG4http://www.youtube.com/watch?v=xOqzE9e4gG4http://www.youtube.com/watch?v=xOqzE9e4gG4http://www.youtube.com/watch?v=C6yIgN54R7k&feature=relatedhttp://www.youtube.com/watch?v=LqMxwjs9RB0


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belong to the key). the whole of the piece.

Some important features:

Tempo(speed),

rhythm and metre

(time signature)

Allegro(fast)do you think this

helps to create the joyful mood?

The whole movement ends with a

short Adagio(slow) section on

hath spoken it adds

seriousness?

3 beats in a bar.

(The slower Youtube version is

conducted very clearly in three

the Australian version is faster so

the conductor only beats on beat 1

for every bar). Dont be confused

by this. Its still in three.

Typically baroque use of a

hemiola*(feels like it goes into 2)

at some of the perfect cadences

(e.g. end of the introduction)

Some dotted rhythms(e.g. glory).

And the glory always starts on beat 2.

Syncopation (emphasises parts of the

bar that would normally not be

stressed) used to create a rhythmic

kick from time to time (e.g. whennotes are tied over bar lines0:30 on

the Australian versionaltos)

Performing forces A choirsoprano(highest female

voice), alto (lower female voice),

tenor(high male voice),bass(low

male voice).

(see below for melismatic and

syllabic word setting)

A baroque orchestra.Notice that

this orchestra only hasstrings

(violins play the highest two lines,

violas, cellos, double basses).

Quite often the strings double the

choral parts.

Supported by the basso continuo

(bass line and chordal instrument

cello and organin this case). Ahso

strings and organ then

Tonality Tonal(that is to sayit belongs to

the major/minor system) as

opposed to modal like some folk

music or atonal (no sense of key)

In A major but it modulates (changes key) to closely related keys*

(see below)E major(the section from 30-45 secs in

Australian version) and B major(1:101:27)(both very

brightgoing up the circle of fifths), both major. All adds


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like some modern music. to thejoyful feel.

Harmony Diatonic(the chords used

belong to the keyi.e. notchromatic)

The chords are mostly simple

chords I, II, IV, V and VI.

They behave in a fairly

predictable way (e.g. V usually

goes to I)this is called

functionalharmony.

Frequent cadences confirm the key

that the music is in. Cadences aremusical punctuation. They come at the

end of phrases. Perfect cadences(V I)

are most frequent e.g. at the end of

the introduction. But there are also

prominentplagal cadences(IV I)

e.g. at the end of the whole piece and

imperfect cadences (any chord V)

they dont sound finished and the music

is propelled forward. E.g. bar 82-83

together (1:25 Australian version).

Also occasional suspensionsused to

create a dissonance (clash) whichresolves to a complete chord. There

are several in the introduction.

Theres an example on the online

dictionary below (right at the end of

the example extract)

Occasional use of a seventh e.g.

V7(this means that an extra note has

been added to the usual three-note

chord).

Melody Word setting.Some of the words

are set with one note per syllable

e.g.And the Glorycalled syllabic.

Some are set with several notes to

one syllable Revealed called

melismatic.

Various melodies repeat throughout the piece

1) And the Glory -syllabicand based on an arpeggio

2) Shall be revealed melismatic and based on a descending sequence

(bar 18 is a note lower than bar 17)

3) And all flesh shall see it together repeatsthe same notes three times.

The notes are a descendingscale covering the interval of a fourth.

4) For the mouth of the Lord hath spoken it. Based on only 2 notes with

the first one acting as a pedal.


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Texture A wide variety of different textures

but the imitationis typical of this

Baroque style.(Imitation is

overlapping entries of the same

musical idea e.g. on Shall be

revealed.

Imitation always fits under the

umbrella of a polyphonic /contrapuntal texture(where

several distinct lines combine)

Also

Homophonywhere all the

performers play or sing the

same rhythme.g. at the very

end hath spoken it and also

bar 33-38.

Also

Monophonyjust a single line but itself

11-13 (the first entry of And the Glory

He also combines idease.g. And the

glory combines with Shall be revealed at

110-113. Another polyphonic /

contrapuntal texture.

Dynamics There arent many dynamics written in the score, and where they do, they are either written as p (piano = quiet)

orf(forte = loud). This sudden change from one dynamic to another is called terraced dynamics and is a

typically baroque feature.

Mood Joyful throughout. The idea of having

a single mood throughout was typical

of the era and was known as oneaffect.

The joyousness is created bythe major keys, the fast tempo, some of

the jaunty rhythmic featuresthe hemiola, the dotted rhythms and the

fact that the main tune And the Glory starts on the second beat of thebar.


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Further Baroque listening:

Ive only chosen these pieces because I think theyre brilliant. Flick through and see if anything takes your fancy. Or maybe investigate

and discover some Baroque pieces for yourself.

http://www.youtube.com/watch?v=GVWgsNHoc_U- slow movt from Bachs double violin concerto. I used to play this with my

brother.

http://www.youtube.com/watch?v=__xJTE6hm88&feature=fvst- Vivaldi 4 seasons with Nigel Kennedy. When I first heard this I

thought it was the most exciting music I ever heard. Theyre all wearing sun glasses because its summer. (Obviously!)

http://www.youtube.com/watch?v=VAYnKIttobs&feature=related- first movement from Bachs keyboard concerto in D minor.

http://www.youtube.com/watch?v=r83ImAtVz1o- Crucifixus from Bachs Mass in B minor.

Famous tunes:

http://www.youtube.com/watch?v=k-C5BztAbqw&feature=fvstHandelArrival of the Queen of Sheba. Here she comes

http://www.youtube.com/watch?v=cmpDOWdsvWAHandelHallelujah Chorus from the Messiah. Whoop!!

http://www.youtube.com/watch?v=0MYzkBiJn5YBachAir on a G string. One of the calmest and most beautiful tunes ever.

http://www.youtube.com/watch?v=ipzR9bhei_o&feature=relatedBach? Toccata and Fuguevery famous and very dramatic

http://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/sosy.asp
http://www.youtube.com/watch?v=GVWgsNHoc_Uhttp://www.youtube.com/watch?v=GVWgsNHoc_Uhttp://www.youtube.com/watch?v=__xJTE6hm88&feature=fvsthttp://www.youtube.com/watch?v=__xJTE6hm88&feature=fvsthttp://www.youtube.com/watch?v=VAYnKIttobs&feature=relatedhttp://www.youtube.com/watch?v=VAYnKIttobs&feature=relatedhttp://www.youtube.com/watch?v=r83ImAtVz1ohttp://www.youtube.com/watch?v=r83ImAtVz1ohttp://www.youtube.com/watch?v=k-C5BztAbqw&feature=fvsthttp://www.youtube.com/watch?v=k-C5BztAbqw&feature=fvsthttp://www.youtube.com/watch?v=cmpDOWdsvWAhttp://www.youtube.com/watch?v=cmpDOWdsvWAhttp://www.youtube.com/watch?v=0MYzkBiJn5Yhttp://www.youtube.com/watch?v=0MYzkBiJn5Yhttp://www.youtube.com/watch?v=ipzR9bhei_o&feature=relatedhttp://www.youtube.com/watch?v=ipzR9bhei_o&feature=relatedhttp://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/sosy.asphttp://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/sosy.asphttp://www.ltscotland.org.uk/nq/resources/learnlisteningonline/atozdictionary/sosy.asphttp://www.youtube.com/watch?v=ipzR9bhei_o&feature=relatedhttp://www.youtube.com/watch?v=0MYzkBiJn5Yhttp://www.youtube.com/watch?v=cmpDOWdsvWAhttp://www.youtube.com/watch?v=k-C5BztAbqw&feature=fvsthttp://www.youtube.com/watch?v=r83ImAtVz1ohttp://www.youtube.com/watch?v=VAYnKIttobs&feature=relatedhttp://www.youtube.com/watch?v=__xJTE6hm88&feature=fvsthttp://www.youtube.com/watch?v=GVWgsNHoc_U


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Mozarts 40th

Symphony1st

movtMolto Allegro (very fast) - 1788

A version conducted by Leonard Bernstein is here:http://www.youtube.com/watch?v=0FLRcNJYSZE

Heres a much faster version:http://www.youtube.com/watch?v=l45DAuXYSIs&feature=relatedWhich version do you prefer?

A symphonyis a piece (usually with four movements) written for orchestra. The first movement of symphonies are usually fast, the

second slow, the third is often fast and in 3 beats in a bar, the fourth is often fast.

This is the first movement of a symphony.

Most classical symphonies were commissioned by royal or aristocratic households. Mozart actually wrote this one without a

commission (unusual!!).

A piece written in the classical eraThe classical era is approx. 1750-1800

Some of the

important

features of

classical

music are:

The use of sonata form. This

form enables Mozart to contrast

different moods the two main

themes (or subjectsas they are

called) are in different keys.

Melodies which haveeven

phrases, often in a call and

responsestructure.

A classical orchestrathe strings are

still important but there are more

woodwind and brass instruments:

flute, oboes, clarinets, bassoons, and

horns. Sometimes the wind

instruments take the lead.

Like the Baroque period, the piece is

tonal. This piece uses major and minor

keys(the first subject is in G minor, the

second subject is in B flat majorbut it

also modulates to other keys). It uses

diatonic chords (chords which belong to

the key)sometimes the melodyabovethe chords has chromatic notes.
http://www.youtube.com/watch?v=0FLRcNJYSZEhttp://www.youtube.com/watch?v=0FLRcNJYSZEhttp://www.youtube.com/watch?v=0FLRcNJYSZEhttp://www.youtube.com/watch?v=l45DAuXYSIs&feature=relatedhttp://www.youtube.com/watch?v=l45DAuXYSIs&feature=relatedhttp://www.youtube.com/watch?v=l45DAuXYSIs&feature=relatedhttp://www.youtube.com/watch?v=l45DAuXYSIs&feature=relatedhttp://www.youtube.com/watch?v=0FLRcNJYSZE


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Some other important features:

Rhythm,

metre and

tempo

Marked Molto

Allegro: very fast

In 4/4. This means 4 crotchet

beats in a bar. Because it is so

fast, conductors often conduct

it in 2.

Lots of different rhythms in this piece. The first subject

makes use of quavers and crotchetsa lot. The second

subject has a slightly more laid back feel and starts with a

dotted minim.

Performing

Forces

A classical orchestra

the strings are still

important but there are

more woodwind and

brass instruments: flute,

oboes, clarinets,bassoons, and horns.

Sometimes the wind

instruments take the

lead.

There are two French Horns. One is in B flat. One is in G. At this

time brass instruments could only play a few notes (like a bugle).

http://www.youtube.com/watch?v=vAMmYJVwa2c&feature=related

(this is a short extract from a Mozart horn concerto. You can see that

there are no valves on the horn so hes making all the different notes

by changing his lips, the air pressure and the position of his handinside the bell of the horn).

Having horns in several keys means that Mozart could have more

notes played.http://en.wikipedia.org/wiki/Natural_horn

Clarinets are a

new addition to

the orchestra.

Structure and Tonality

Tonality Tonal(uses major/minor system) as

opposed to modal like some folk musicor atonal (no sense of key) like some

modern music.

In G minor .But it modulates to other places. Very importantly

it modulates to B flat major for the second subject(bar 44). Carry on reading

Structure This is insonata form Sonata form has 3 main sections: the exposition (the ideas are heard for the

first time), the development (the ideas are explored) and the recapitulation

(the ideas from the exposition are heard again).
http://www.youtube.com/watch?v=vAMmYJVwa2c&feature=relatedhttp://www.youtube.com/watch?v=vAMmYJVwa2c&feature=relatedhttp://en.wikipedia.org/wiki/Natural_hornhttp://en.wikipedia.org/wiki/Natural_hornhttp://en.wikipedia.org/wiki/Natural_hornhttp://en.wikipedia.org/wiki/Natural_hornhttp://www.youtube.com/watch?v=vAMmYJVwa2c&feature=related


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Tonality

related to

structure

Exposition (repeated) Development Recapitulation

Sub-

ject 1

Bridge

(24b

ars)

Subject 2 Codetta Mostly explores material from

the start of the first subject

Sub.

1

Bridge

(51

bars)

Sub. 2 Coda

G minor B flat major

the codetta

consists of severalperfect cadences

[V-I]

Many keysstarts in F sharp

minor which is a long way from

G minor (see closely related

keys grid below),later itmodulates through a circle of

fifths(keys a fifth apart see

the closely related keysgrid

below) (e minor, a minor, d

minor, g minor, C major, F

major, B flat major)

G minor

the bridge passage

is longer than itwas in the

exposition. Mozart

uses it to develop

material

G minor

the coda is more

developed than it wasin the exposition but

still ends with los of

perfect cadences

The fact that the second subject stays in G minorin the recapitulation (the tonic key) is an important feature of sonata form. It

reflects the classical ideals of order and balance.


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Harmony Diatonic(the chords

used belong to the keyi.e. not chromatic).

but there are one or

two chromatic chords

(chords with notes outside

the key) e.g. diminished

7th

(G sharp B D F)

second chord in bar 101.

Functional(chords are used in predictable ways and help to move the music on or

establish the key). Proof of this:

Regular cadences(V-I perfect cadence at the end). The exposition ends on V7 (an

imperfect cadence).

Frequent use of pedals(repeated notes whilst the chords change over the top). Pedals

are either dominant(built on the fifth note of the scalethere are quite a lot in the

development section and quite a long one at the end of the development section), or

tonic(built on the home note of the scale). The pedals in this piece are all dominant

(they help to push the music on).

Melody Two very distinct melodies make up thefirst and second subjects.

The first subject (G minorheard right at the start)is

characterised by a repeated falling semitone (a musical idea

which plays a significant role in a piece is called a motif). The

firstphrase lasts for 4 bars and is then repeated a tone

down(this is called adescending sequence). This theme also has

scales and leaps in it.

During the codetta passage the falling semitone idea is heardwith much longer note values in the string parts this is called

augmentation (at 1:11 in the fast version). This is a rhythmic

and a melodic feature.

The second subject (B flat major - starts at 0:42 in

the fast youtube version) is characterised by a

descending chromatic scale. In the first phrase the

scale lasts for only three notes, but then it is

immediately heard again with the scale lasting for

6 notes. It is played legato(smoothly).

There are a lot of sequences(music which repeats but a step higher or lower each time) in this piece. (Listen to the

developmentfrom about 3:20)


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Texture There are lots of different textures in this piece.

At the start it is melody

and accompaniment.

The violins play the

melodyin octaves, the

divided violas play a figure

which outlines the chords

and the cello and double

bass play atonic pedal on

the first beat of each bar

for 6 bars.

Classical music tends to

have a lot of melody and

accompaniment texture.

Another important texture is polyphony

also known as counterpoint.

In the developmentsection from bar 114

(3:32 in the fast version) the first subject

is heard at the same time as a melody

made up of quaver arpeggios and scales.

This is known as a countermelody.

When they are heard together the

texture is described as polyphonic or

contrapuntal. This countermelody is

staccato (the notes are short and

detached).

Sometimes the music isin octaves:

from 1:05 on the fast recording (bar 66-72)

there is anascending chromatic scale in

octavesfollowed byhomophonic (everyone

has the same rhythms but there are a

variety of notes)chords. This is followed by a

descending scalein octavesat 1:09.

Sometimes the melody is shared between

the instruments: (the strings and the

woodwind in the second subject) this iscalledantiphonal exchange.

Dynamics There are a lot more dynamics indicated in

this piece than in the Handel. These help to

create the contrasting moods.

It starts very quietly(piano indicated byp) but

there are passages which are loud(forte

indicated byf).

Unlike the Handel,

sometimes a

crescendo (gradual

increase in volume) is

marked in.

There are also marks calledsfwhich stands

forsforzando (this is an accent).

mfpalso occurs. This means play moderately

loudmfbut then immediately cut down to

quietp. This also acts as a kind of accent.

Mood The two themes enable Mozart to explore two different

moods. The first subject is rather anxious and stormy

created by the semitonerepeated motif and the minor key.

The second theme is more relaxedcreated by the

legato(smooth) articulation, the major tonalityand

the longer note values.


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Further classical listening:

http://www.youtube.com/watch?v=tcIqZoxV0sA&feature=relatedThe first part of Mozarts requiem.

http://www.youtube.com/watch?v=rRgXUFnfKIYThe first movement of Beethovens fifth symphony.

http://www.youtube.com/watch?v=HtNqCI1Elx0&feature=relatedThe last movement of Haydns surprise symphony.

http://www.youtube.com/watch?v=Q5RHDwdaanQExtracts from Haydns Creation (another oratorio). Its in German. Right at the

start theres the bit about let there be light. A pretty good moment. Worth looking at the whole way through. All the woodwind

and brass instruments are like those which would have been played at the time (original instruments).
http://www.youtube.com/watch?v=tcIqZoxV0sA&feature=relatedhttp://www.youtube.com/watch?v=tcIqZoxV0sA&feature=relatedhttp://www.youtube.com/watch?v=rRgXUFnfKIYhttp://www.youtube.com/watch?v=rRgXUFnfKIYhttp://www.youtube.com/watch?v=HtNqCI1Elx0&feature=relatedhttp://www.youtube.com/watch?v=HtNqCI1Elx0&feature=relatedhttp://www.youtube.com/watch?v=Q5RHDwdaanQhttp://www.youtube.com/watch?v=Q5RHDwdaanQhttp://www.youtube.com/watch?v=Q5RHDwdaanQhttp://www.youtube.com/watch?v=HtNqCI1Elx0&feature=relatedhttp://www.youtube.com/watch?v=rRgXUFnfKIYhttp://www.youtube.com/watch?v=tcIqZoxV0sA&feature=related


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ChopinRaindrop prelude (1838)

http://www.youtube.com/watch?v=zhBx3_O9e9cthis is a hideous, tinnyversionbut it does show you how much that pedal A flat

(G sharp) occursand also how many different octaves it is heard in. When it gets quite powerful in the middle section you can seethe pedal being played in several different octaves at once. Listen to it once (as far as you can before your ears explode) and then,

never again. Important moments: the very opening. 1:32: the beginning of the second section. 1:54 when the pedal is played in

octaves. 2:09 when the pedal changes (very briefly) to B. 4:00 where the A section comes back. Now listen to Horowitz

http://www.youtube.com/watch?v=TzYvoeQFVJw&feature=relatedAgain, not brilliantsound (but better than the last one). This is

good to watch though, because you can see the pianists hands. You can see how the A flat/G sharp pedal is played. You can see

the way that the range of notes used is larger in the middle section.

http://www.youtube.com/watch?v=Sh03YXzvDF4&feature=relatedThis is a good one! Played by Vladimir Horowitz (which is the

right kind of name for a virtuoso pianistWikipedia say that he is widely considered one of the greatest pianists of the twentieth

century. They also have a rather dashing photograph of him. This is probably a recording from 1973). Really nicely played (very

good attention to dynamics Mr Horowitz, A*). Also, if you like, you can follow the score as he plays and check out the A flat at the

start and the way at 1:33 it changes to G sharp (same soundspelt differently)! Rock n Roll!

This is a prelude. A prelude means something that comes before something else. In the romantic period, however, composers

wrote lots or preludes without anything after them at all. This is prelude no. 15 out of 24 (each in a different key and with each

depicting a particular idea or emotion). Essentially they were short, one movement pieces that were full of character. This one is

sub-titled Raindrop (that repeating A flat/G sharp pedal has a lot to do with the title).

Chopin was Polish who travelled around Europe during his career and spent much of his time in France. (He wrote this during astorm in Majorca on one of his trips.) He was a very clever pianist (a virtuoso) who was famous as a performer as well as a

composer. He wrote almost all of his pieces for piano. He died at the age of 39 (1810-49).

Chopin was a freelance composer(he wasnt employed by a single prince or a church but could make his money by composing for

and teaching a variety of different people). He became quite wealthy. He preferred to give performances to small audiences in his

rooms.
http://www.youtube.com/watch?v=zhBx3_O9e9chttp://www.youtube.com/watch?v=zhBx3_O9e9chttp://www.youtube.com/watch?v=TzYvoeQFVJw&feature=relatedhttp://www.youtube.com/watch?v=TzYvoeQFVJw&feature=relatedhttp://www.youtube.com/watch?v=Sh03YXzvDF4&feature=relatedhttp://www.youtube.com/watch?v=Sh03YXzvDF4&feature=relatedhttp://www.youtube.com/watch?v=TzYvoeQFVJw&feature=relatedhttp://www.youtube.com/watch?v=zhBx3_O9e9c


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A piece written in the romantic period (approx. 1800-1900)

The romantic era was mostly concerned with high emotion feelings, drama, the natural world, the supernatural, magic, mystery

Romantic features:

Long, lyrical

melodic lines.

Freedom in form

this is in ternary

form [ABA]

but the return to A

at the end is

relatively short

Dissonanceand chromatic notes.

Lots of new chords(an extended vocabulary of

chords).

For example they might take a normal chord and add

lots of extra notes Heres a posh sounding one

dominant 13th

(normally chords just have a first, third

and a fifth).

Another new type of chord would be one which uses

notes from outside the key (a chromatic chord) e.g.

(another posh sounding one) an augmented 6th

chord.

(Neither of these chords actually are in this workthis is

known as background information!!)

Strong and dramatic dynamic

contrasts.

The fact it has an element

of the natural worlda

story-telling(programmatic) element.

He wrote this during a

storm in Majorca.

Lots of romantic music is hard to play

virtuosic

this piece isnt that hard but virtuosity is

a general feature of music from this time

All of the careful attention paid to tempo

and dynamics are typical of the era.

A more sophisticated

piano(with more notes

and a greater capacityfor dynamic extremes).

On a different note (heh!), the

romantic orchestra was much

larger than the classicalorchestra.

(Again, background

information!)


15/60

Some specifics:

Tempo, rhythm

and metre

Perhaps the most important thing about

the tempo is the fact that it is performed

with rubato.

not strictly in time, with small alterations of

tempo to give a more expressive

performance

This is typical of romantic music. The

Horowitz version is full of subtle rubato.

Pianists normally play this piece quite

slowly.

The marking at the top of the score is

Sostenutowhich means sustained.

This implies that the music should be

played legato (smoothly) so that the

melody can sound like a leisurely

song.

The piece has 4 crotchet

beats in a bar.

This time signature is

marked asCin the score.

The C stands for common

as in most music is in

4/4

The repeatingpedalA

flat/G sharp is played

in a constant quaver

rhythm.

This repetition helps to

create the raindrop

feel.

Very occasionally (e.g. bar 4) there is a

section with quite a lot of notes squeezed

into a crotchet beat.This feels improvisatory

(freely made up) especially when played

with rubato (0:14 of Horowitz version

there a seven notes here this is called a

septuplet).

The music slows down at the end.

9 bars before the end there is a

marking, slentando, this means that

the tempo should slow down. In the

last two bars there is a marking,

Ritenuto. This means that the tempo

should be held backeven more.

Structure This piece is in

ternaryform

(A B A)

What is typically romantic about this ternary form is how unbalanced it isthe middle section

is much longer than the outer sections.

A (27 bars) B (47 bars) A (6

bars)

8 bar

codetta

D flat major C sharp minor (tonic minor) D flat major

Melancholy and lyrical Stormy, dark Melancholy and lyrical


16/60

Instrumental

forces

The piano had been invented in

the classical erabut the

romantic piano was larger

(therefore louder), had more

notes and had sustaining and

soft pedals.

It became an ideal romantic instrument

capable of extremes of dynamics.

NB the melody is in the right hand forthe A section. For mostof the B section

it is in the left hand.(Changes towards

the end).

Notice that this piece often calls

for the Ped. this enables the

notes to continue to vibrate once

the key has been lifted. It helps

to create the legatofeel.

Dynamics The dynamics are important in the

creation of the moodand cover a

widerange (frompp(right at the

very end) to ff(in the middle of the

B section).

The crescendo from quiet to ff in

the middle section helps to create

a menacing and stormy feel.

The quieter dynamics in the outer

sections add to the feeling of

melancholy.

The dynamics change very frequently.

These are sometimes indicated by

hairpins. This pair of hairpins makes

the music get louder (crescendoor

cresc.), and then get quieter

(diminuendoordim.).

There

are also accents in the B section.

These help to emphasise some of the

notes.

Other dynamic markings include

sotto voceat the start of the B

section.

Sotto voce means beneath the

voice. This means that the pianistshould play quieter than before.

This hushed tone should provide a

contrast and therefore draw

attention to itself.

Smorzandomeans dying away

(used when A returns at the end)

Melody The A melody is sad and lyrical

it starts with a descending major

arpeggio(falling raindrops and

sadness)- then slowly rises in a

long,lyrical (song-like) phrase.

The A melody is played by the

right hand (the higher notes).

The B melody is more threatening and

stormy. It is minor and mostly played in the

low register of the piano and in the left hand.

It starts with a 3 note rising scale which

becomes part of an ascending sequence.

Both A and B melodies are played legato

(smoothly).

Ornamented melody

e.g. the septuplet in bar 4

and the acciaccatura

(crushed note) just before

it.

Near the end there are 10

notessquashed into the

place of a crotchet.


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Harmony Quite a variety

of different

chordsboth

simple (at the

start) and more

adventurous (in

the middle

section)

Starts with

simple,

diatonic

harmony

(mostly V7

and I) making

use of

perfect

cadences

Later it has a typically romantic approach to harmonywith added

chromatic notes

e.g. in bar 73 there is a C sharp minor chord with an added sharp 6th

(dontpanic you dont need to know that for the exam) 3:53 in the Horowitz

version

andabrupt modulations(changes of key)particularly at the end of the B

section.

There are suspensionse.g. in bars 61-62 (3:15) (nice crunchy dissonances

that resolve beautifully) and also quite a lot of chromatic notes to add

colour. (This is all in the juicy bit at the end of the B section.)

The A flat/G sharp pedalis a harmonic device.Traditionally they are used to help establish the key this one has

two effects it helps establish the key and creates the rainy feel.

Given that the piece is in D f lat/C sharpthe pedal notes are the fifth note of each keytherefore they are

called dominant pedals.

If a pedal is at the top of the texture it is called an inverted pedal. If is in the middle it is called an inner pedal. If

it is at the bottom it is simply called a pedal.

Tonality The most important tonality point is the relationship between the key of the A section and the B section.

The A section is in D flat major. The B section is in C sharp

minor.

D flat and C sharp sound the same (are the same black note

on the piano). This relationship is called enharmonic.

The middle section is therefore in the tonic minor.

The music changes key (modulates) to other

related keys. E.g. in the A section there is a

passage in B flat minor. In the B section there is a

passage in G sharp minor and a brief trip to F

sharp minor.


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Texture By far the most significant texture

in this homophonyor to be

precisemelody-dominated

homophony.

This is because the lyrical tune is

prominent throughout and Chopin

doesnt draw attention away from

it by adding any other

countermelodies etc.

In the A section the melody is primarily

in the right hand. In the B section the

melody is primarily in the left hand (until

the end of the B section).

The only other texture of note is the

monophonic soloin bars 81 to 83 which

starts on the highest note of the piece

which breaks off the previous music and

leads to the ending codetta.

The B section, whilst still

homophonic (melody-

dominated), does have a

thicker texture(helping to

create the stormy feel).

There are chordsin the left

hand (and sometimes in the

right). Alsooctaves are used

in both hands. All of this adds

to a sense of climax.

Mood As this is a romantic piece themood is very important.

The opening section is rather

melancholy(despite the major

tonality).

This is created by the falling

arpeggio, the repeating A flat, the

slowtempo, the generally quiet

dynamics and the lyrical melody.

The B section is more stormy.The change to the minorkey is

important to change the mood. The very

hushed start is rather dark and ominous.

This crescendos to ffwhich adds to the

stormy feel.

The generally low pitchincluding the

melody and chords in the left handand

the thickening of the texturealso adds

to this.

The repeating pedal sounds a bit like a

bell tolling.

Make sure that you are clearabout how the repeatingA flat

/ G sharp pedal adds to the

raindrop feel.

The repetition of the same

note is important, as is the

short note value (quaver).

Raindrops are over quickly!

You could also mention the

falling figureat the start(falling raindrops) and the

stormy (slightly thundery?)

feel of the minormiddle

section.


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Other romantic pieces:

http://www.youtube.com/watch?v=iCEDfZgDPS8Night on a Bald Mountain by Mussorgsky - massive orchestra, lots of chromatic

notes, enormous dynamic range and its all about witches!http://www.youtube.com/watch?v=ph3h2IJAsgkSwan Lake ballet music by Tchaikovsky

http://www.youtube.com/watch?v=bJJfEfP9JVk&feature=relatedMa Vlast (My Country) by Smetana. An example of nationalism.

Smetana was a Czech composer. He wrote this piece to represent the river (Moldauin German) that flows through Prague.

http://www.youtube.com/watch?v=GyobDmGPhKI&feature=relatedMorning by Grieg

http://www.youtube.com/watch?v=tvm2ZsRv3C8&feature=relatedFantasie impromptu by Chopin (very virtuosic and emotional)

http://www.youtube.com/watch?v=tmq5JBpFf9wGrand Galop Chromatique by Liszt (very virtuosic and silly?).

http://www.youtube.com/watch?v=1aKAH_t0aXAWagnerThe ride of Valkyriesa famous bit of operahttp://www.youtube.com/watch?v=WLaY2VcIEqo&feature=relatedMadame Butterflyanother famous bit of opera.

http://www.youtube.com/watch?v=mVERlJgghOY&feature=relatedThe slow movement from Dvoraks New World Symphony

(about America)

http://www.youtube.com/watch?v=L5C99JyP2ns&feature=relatedElgars Cello concerto movt.1. Written in 1919 but still a

romantic work.

http://www.youtube.com/watch?v=yEzdZ9G5q_0Violin sonata by Franck. Very good example of imitation at the start! The violin

copies the piano a bar afterwards. This type of imitation is called canon.

http://www.youtube.com/watch?v=OLtJmOHRJIQand thenhttp://www.youtube.com/watch?v=GFNsTlsDCro&feature=related

Schuberts String Quintet in C - slow movement (yum!)
http://www.youtube.com/watch?v=iCEDfZgDPS8http://www.youtube.com/watch?v=iCEDfZgDPS8http://www.youtube.com/watch?v=ph3h2IJAsgkhttp://www.youtube.com/watch?v=ph3h2IJAsgkhttp://www.youtube.com/watch?v=bJJfEfP9JVk&feature=relatedhttp://www.youtube.com/watch?v=bJJfEfP9JVk&feature=relatedhttp://www.youtube.com/watch?v=GyobDmGPhKI&feature=relatedhttp://www.youtube.com/watch?v=GyobDmGPhKI&feature=relatedhttp://www.youtube.com/watch?v=tvm2ZsRv3C8&feature=relatedhttp://www.youtube.com/watch?v=tvm2ZsRv3C8&feature=relatedhttp://www.youtube.com/watch?v=tmq5JBpFf9whttp://www.youtube.com/watch?v=tmq5JBpFf9whttp://www.youtube.com/watch?v=1aKAH_t0aXAhttp://www.youtube.com/watch?v=1aKAH_t0aXAhttp://www.youtube.com/watch?v=WLaY2VcIEqo&feature=relatedhttp://www.youtube.com/watch?v=WLaY2VcIEqo&feature=relatedhttp://www.youtube.com/watch?v=mVERlJgghOY&feature=relatedhttp://www.youtube.com/watch?v=mVERlJgghOY&feature=relatedhttp://www.youtube.com/watch?v=L5C99JyP2ns&feature=relatedhttp://www.youtube.com/watch?v=L5C99JyP2ns&feature=relatedhttp://www.youtube.com/watch?v=yEzdZ9G5q_0http://www.youtube.com/watch?v=yEzdZ9G5q_0http://www.youtube.com/watch?v=OLtJmOHRJIQhttp://www.youtube.com/watch?v=OLtJmOHRJIQhttp://www.youtube.com/watch?v=GFNsTlsDCro&feature=relatedhttp://www.youtube.com/watch?v=GFNsTlsDCro&feature=relatedhttp://www.youtube.com/watch?v=GFNsTlsDCro&feature=relatedhttp://www.youtube.com/watch?v=GFNsTlsDCro&feature=relatedhttp://www.youtube.com/watch?v=OLtJmOHRJIQhttp://www.youtube.com/watch?v=yEzdZ9G5q_0http://www.youtube.com/watch?v=L5C99JyP2ns&feature=relatedhttp://www.youtube.com/watch?v=mVERlJgghOY&feature=relatedhttp://www.youtube.com/watch?v=WLaY2VcIEqo&feature=relatedhttp://www.youtube.com/watch?v=1aKAH_t0aXAhttp://www.youtube.com/watch?v=tmq5JBpFf9whttp://www.youtube.com/watch?v=tvm2ZsRv3C8&feature=relatedhttp://www.youtube.com/watch?v=GyobDmGPhKI&feature=relatedhttp://www.youtube.com/watch?v=bJJfEfP9JVk&feature=relatedhttp://www.youtube.com/watch?v=ph3h2IJAsgkhttp://www.youtube.com/watch?v=iCEDfZgDPS8


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Closely related keys(we had a lesson on chords that work well near to one another) this is exactly the same grid(it

works for keys and chords)

You absolutely dont need to know this off by heart but it might help when you are composing

Key sig. This column can be ignored but it tells you about the

keys of some of the pieces you study.

6 sharps F sharp major D sharp minor

5 sharps B major* G sharp minor In And the Glory:B major is the dominant of the

dominant.

4 sharps E major* C sharp minor In And the Glory:E major is the dominant (fifth note) of

A major.

The middle of Raindrop prelude is in C sharp majorit

modulates to G sharp minor and F sharp minor.

3 sharps A major** F sharp minor And the Glory is in A major

Mozarts 40th

development starts in F sharp minor.

2 sharps D major B minor

1 sharp G major E minor


21/60

0 sharps/flats C major A minor

1 flat F major D minor

2 flats B flat major G minor Mozarts 40th

symphony movt. 1 is in these keysfirst

subject G minor, second subject B flat major. A bit in the

development goes EmAmDmGmCmajF maj

B flat maj!! Notice how closely related they are! (Apart

from the bit in F sharp minor).

3 flats E flat major C minor

4 flats A flat major F minor

5 flats D flat major B flat minor The outer section of the raindrop prelude is in D flat

majorand there is a modulation to B flat minor.

6 flats/6 sharps G flat major/ F

sharp major

E flat minor / D

sharp major

(point of interest)G flat and F sharp are the same note

(enharmonicequivalents) and so it goes round and

round and round (parklife!)


22/60

Area of Study 2: Music in the Twentieth Century

Schoenberg: Peripetie from Five Orchestral Pieces (1909)

http://www.youtube.com/watch?v=QNCIz-_QFrsThis is a recording of it, accompanied by lots of expressionist paintings.

This is an example of expressionism. Expressionism came about in the early decades of the

Twentieth Century.

It was a movement in art, poetry and music and was designed to express intense inner emotions.

Often not very comfortable to listen to/look at.

Although our extract was written before

World War I, a lot of expressionist art

responded to the horrors of the fighting.

Whilst expressionism was a way that composers dealt with their

feelings about their world (and also their inner world of intense

emotion) it was also a response to the way that music had been

developing over time.

During the romantic era it had become very chromatic and had

increasingly used more and more dissonance. Expressionism took

this trend and did it to extremes. If the romantic period was about

large contrasts and powerful emotion, then expressionism is about

extreme contrasts and overpowering emotion.

The evening glints with the sound

Of deadly weapons, the forests, the golden plains

And the blue lakes, over which the sun

Darkly rolls.

Night encompasses

Fallen warriors; the wild muttering

Of their broken mouths.

Now silently gathers in the grazing lands

A red cloud, the dwelling of an angry god

Ingested with the blood.

A cool moon and

Under it the roads run to putrid blackness.
http://www.youtube.com/watch?v=QNCIz-_QFrshttp://www.youtube.com/watch?v=QNCIz-_QFrshttp://www.youtube.com/watch?v=QNCIz-_QFrs


23/60


24/60

More detail:

Performing forces This is written for an

enormous orchestra. Thereare, for example, 6 french

horns. The tuba (very low

brass instrument) is also of

note. There is quadruple

woodwindthis means that

each woodwind instrument

has four distinct parts e.g.

there are 3 oboe parts and

a cor anglais part (the coranglais is a lower oboe). A

piccolo is a higher flute, a

contrabassoon is a lower

bassoon and a clarinet in D

is a higher clarinet. Theres

also a percussion section

including a tam tam (big

gong) and a bass drum.

Timbre (sound quality) is very important.

Things to remember: the use of muted brass,divided (divisi) stringsso that the cellos, for

example, play a chord rather than a single line,

strings sometimes play pizzicato (plucked) the

trumpets are asked at one point to play with

their bells up (to be more prominent). At the

start the trombones have to play a glissando

(gliss. - sliding). At one point the cymbal is

played with a cello bow. One really good

example is right at the end where the doublebasses are asked to play divisi(a chord), with

mutes on(to be quiet), tremolo(special

technique to sound like shimmering) and with

their bows on the bridge(a special part of the

string which means that the sound will be

quieter than usual). So, you can see how

seriously Schoenberg takes sound.

Another point which also

links to timbre (soundquality), is the fact that

he writes music which is

often at the extremes of

the instruments range.

The first notes that the

cello and double basses

play are very highfor

their instrumentand so

sound unusual. The lasttwo notes that the tuba

plays go from a very low

note, to a very high note.

Schoenberg often writes

lines which leap across a

wide rangeso they are

very hard to play!

Melody Angular melodieswith large leaps.

The soundthat the melody is played

with (the timbre) is as important as

the notes used.

Large pitchrange

The melody often switches betweeninstrumentsso that it is constantly playing

but carried by different sounds. The word

Klangfarbenmelodie (tone-colour melody)

describes the way that different instrumental

colours contribute to a melody.


25/60

Tempo, rhythm

and metre

Tempo is used to

heighten the

expression

passionate (faster),

calmer (slower).

Quite often note

values shorten in the

faster sections (giving

an even greater

impression of speed).

The notes lengthen in

the slower sections.

Tempo also helps to structure the piece

as it works by alternating between speeds.

Sehr rasch means very quick. At bar 7 itis marked etwas ruhiger which means

somewhat calmer so the piece slows

down. Throughout the piece the tempo

changes back and forth fast (tempo or

heftig meaning passionate) calmer

(ruhiger) fast etc.

The clarinet solo is played with some

rubato (expressive playingnot strictly in

time)

There are occasional changes in

time signature (between 3/4 and

4/4) but the rhythms themselves

are very complicated.

You would be forgiven for thinking,

on first listening, that they are

random. But they are completely

not. Do avoid describing them as

randomcomplex is a much better

worddeliberately so, this isnt

music designed to make you feel

comfortable. Some rhythmic ideas

come back.

Texture Complex polyphonic / contrapuntal

texture(a texture where there are lots

of different thingsall fighting for

attentiongoing on at once).

In the score Schoenberg marks which

part is most important (he marks this

with an H) and second most important

(N).

Sometimesthere is a very sparse

texturewith only a few

instruments playing. Sometimes

the full orchestra plays. The last

8 bars build from a monophonic

texture (just a clarinet) to full

orchestra before ending with a

quiet chord and a thin texture.

Sometimes the

instruments have an

extended melodic line

e.g. the clarinet solo from

bar 10. Sometimes they

just add a single note or a

very short phrase to the

texture.

Dynamics The dynamics are extremeand described in

great detail. They are an important part of

the creation of the mood.

They sometimes change dramaticallyin a single phrase

towards the beginning theres a string part that goes from

fff (very, very loud) to pp (very quiet).


26/60

Structure Structured in 5 sectionsbroadly

described as rondo (A B A1C A

2) but

the A section is very different when it

comes back each time. It isnt really

recognisable as the same musicbut it

has a similar mood and orchestral

sound.

The underlying unifying principle is the use of the hexachords

(described above). One hexachord that is used and

manipulated a lot (to form melodies and chords) is heard in

the horns from bar 8C, B flat, E, F, C sharp and A.

Tonality This music is atonal(no sense of key)therefore no cadences, pedals, familiar-sounding melodies etc.

The atonality also means that Schoenberg needs the hexachords to help organise his music.

Harmony Very dissonant(clashing)

Further expressionist music:

http://www.youtube.com/watch?v=u6LyYdSQQAQ&feature=relatedNacht from Pierrot Lunaire also by Schoenberg. This is

nicely odd. Good example of Sprechstimme (speech songtypical of vocal expressionism)

http://www.youtube.com/watch?v=rGWai0SEpUQ&feature=relatedVery movinga description of a survivor from Warsaw

about World War II. By Schoenberg. A very clear example of how expressionism is used to explore deep inner feelings.

http://www.youtube.com/watch?v=u5dOI2MtvbAA very short documentary about serialism. Good, I thinkalthough it does

use some big words toward the start! Ignore them if you dont know what they meanthe general info is good.

http://musictheory.net/utilities/html/id98_en.htmlThis is a way of working out a note row (that will only make sense if youve

watched the video above). Students have often found serialism a good method of composing. Its very structured.

http://www.youtube.com/watch?v=I0aRDarh9_0&feature=relatedA very short piece by Webern in the Serialism style. Check

out all of those dynamic contrasts and the fact that there isnt a prolonged melody. Probably best listened to as tiny moments

in timebut there are rhythms that keep coming back.

http://www.youtube.com/watch?v=Tr3oKxNGCnE&feature=relatedA more lyrical piece. Still short.
http://www.youtube.com/watch?v=u6LyYdSQQAQ&feature=relatedhttp://www.youtube.com/watch?v=u6LyYdSQQAQ&feature=relatedhttp://www.youtube.com/watch?v=rGWai0SEpUQ&feature=relatedhttp://www.youtube.com/watch?v=rGWai0SEpUQ&feature=relatedhttp://www.youtube.com/watch?v=u5dOI2MtvbAhttp://www.youtube.com/watch?v=u5dOI2MtvbAhttp://musictheory.net/utilities/html/id98_en.htmlhttp://musictheory.net/utilities/html/id98_en.htmlhttp://www.youtube.com/watch?v=I0aRDarh9_0&feature=relatedhttp://www.youtube.com/watch?v=I0aRDarh9_0&feature=relatedhttp://www.youtube.com/watch?v=Tr3oKxNGCnE&feature=relatedhttp://www.youtube.com/watch?v=Tr3oKxNGCnE&feature=relatedhttp://www.youtube.com/watch?v=Tr3oKxNGCnE&feature=relatedhttp://www.youtube.com/watch?v=I0aRDarh9_0&feature=relatedhttp://musictheory.net/utilities/html/id98_en.htmlhttp://www.youtube.com/watch?v=u5dOI2MtvbAhttp://www.youtube.com/watch?v=rGWai0SEpUQ&feature=relatedhttp://www.youtube.com/watch?v=u6LyYdSQQAQ&feature=related


27/60

http://www.youtube.com/watch?v=gNwDRFD6kUoThis is talking about expressionism and serialism. He goes through several

important pointsbut hes not the most exciting speaker.
http://www.youtube.com/watch?v=gNwDRFD6kUohttp://www.youtube.com/watch?v=gNwDRFD6kUohttp://www.youtube.com/watch?v=gNwDRFD6kUo


28/60

Leonard Bernstein: Somethings Coming from West Side Story (1958)

http://www.youtube.com/watch?v=xu7sRdRrm_wA version from a film in 1961.

http://www.youtube.com/watch?v=DoELFSc_dmU&feature=relatedA studio take with Bernstein conducting. He gets a bit cross

with the singer (hes a famous opera singer).

http://www.youtube.com/watch?v=_TtUORAJhV4&feature=relatedA jazz trio version.

http://www.youtube.com/watch?v=HUBzYsaRBMwBeautifully cheesy versionwith nice xylophone action!

This is from a musical. Whilst musicals emerged in the Twentieth Century, there is a long tradition of singing and dancing on stage.

The predecessors of modern music theatre were called Vaudeville, burlesque, opera-bouffe and operetta (light opera).

Musicals are written in many stylesclassical, jazz, rock.

This is influenced by classical music and jazz- particularly from latin America (the rhythms). Also influenced by a fast and dissonant

form of jazz called bebop. This sophisticated combination of jazz and classical, as well as the dark focus on social problems in

America (poverty and gang warfare), made this cutting edge stuff.

Musicals have various sectionssolos, duets, trios, choruses, dance numbers. Somethings coming is a vocal solo.

West Side Story is a reworking of Romeo and Julietbut set in the gang culture of New York. One gang is made of Latin Americans

and the other of white Americans. This is sung by Tony (Romeo), just before he meets Maria (Juliet) for the first time. Hes

anticipating a fight with the rival gang but he thinks something good might be coming too.
http://www.youtube.com/watch?v=xu7sRdRrm_whttp://www.youtube.com/watch?v=xu7sRdRrm_whttp://www.youtube.com/watch?v=DoELFSc_dmU&feature=relatedhttp://www.youtube.com/watch?v=DoELFSc_dmU&feature=relatedhttp://www.youtube.com/watch?v=_TtUORAJhV4&feature=relatedhttp://www.youtube.com/watch?v=_TtUORAJhV4&feature=relatedhttp://www.youtube.com/watch?v=HUBzYsaRBMwhttp://www.youtube.com/watch?v=HUBzYsaRBMwhttp://www.youtube.com/watch?v=HUBzYsaRBMwhttp://www.youtube.com/watch?v=_TtUORAJhV4&feature=relatedhttp://www.youtube.com/watch?v=DoELFSc_dmU&feature=relatedhttp://www.youtube.com/watch?v=xu7sRdRrm_w


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Important features in this music (and the whole musical) include:

Jazz-based harmonyadded

notes in chords forming

dissonances e.g. 9ths, 11ths.

Also blue notese.g. flat 7 (see

below)

Syncopated rhythmsgives a jazzy feel

(puts a kick on parts of the beat that

arent usually emphasised) and pushes the

music forward. If you listen to the studio

version (above) youll hear Jose Carreras

not coping very well with the syncopation.

The interval of a tri-toneused throughout the

musical to represent dark moods. A tri-tone is an

interval such as F sharp to C. It sounds very

uncomfortable. In this piece it occurs in the tune all

over the place. After hes sung could be the

next line who knows stretches down from C to F

sharp before he slides up to G.

Extensive use of short

riffs. Theres somethingdue, any day etc. (0:45 in

film version). This riff is

heard in the

accompaniment and then

forms an important part

of the tune.

Cross-rhythms(which feel like we are in

two different time signatures at the sametime)the middle section (around the

corner 1:50) uses long note values often

in triplets against the 2 time backing. The

syncopation in the opening main riff

against the straight 3 in the bass also feels

like a 2 against 3 cross-rhythm.

Polyphonic textureslots of

different layers to theaccompaniment texture

many of the parts work

independentlye.g. the bass

ostinatoat the start is

rhythmically very different to

the rest of the accompaniment

Long sustained notes in

the tune(sometimes),against short, snappy

phrases in the

accompaniment.(For

examplehis long note

on knows against the

opening riff).


30/60

More details:

Performing

Forces

Written for a

male singerthe

higher of the

broken voices

a tenor.The speed

and the

syncopation make

this very hard to

sing (as you can

see on the

recorded version)

The accompaniment is played by a band/orchestra that would play in the pit (under the

stage). This is a relatively large pit band. It consists of 5 woodwind players (each player would

play several instruments each e.g. flute, clarinet and alto saxophone), 2 horns, 3 trumpets, 2

trombones, 7 violins, 4 cellos, 2 double basses, a drum kit, extra percussionists, piano and

guitar.

The double basses play the three note ostinato at the beginning pizzicatothe bass clarinet

also plays this staccato.

The air is humming (2:25) is illustrated by the violins playing tremolo(when they make very

small shimmering movements with their bows).

Often the brass are muted.

Tempo,

rhythm and

metre

The tempo (176

beats per

minute) is very

fastand adds to

the excitement.

There are 3 beats in a bar

at the start but the fast

tempo makes it feel like

theres only one.

The time signature changes from 3 into 2at It may come

cannon-balling down through the sky. The change of time

signature gives the music a rhythmic jolt which suits the lyrics.

The middle section could it be? Yes it could is in 2.

It returns to 3 beats in a bar at the end.

Syncopationadds to the

excitement; typical of jazz.

Oftenaccentson syncopated notes which

emphasise the exciting jazzy rhythms even more.

2 against 3 cross-rhythmsadds

to the rhythmic complexity.

In the middle section marked warmly

Around the corner longer note values

add to the warm, more romantic, feel.

Occasionally there are straight crotchet rhythms in the melody e.g.

Somethings coming. This gives the music a feeling of confidence

and certainty (something is coming!)


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Structure Ternary form

Not structured like

a normal verse chorus song.

Intro

ACould be section starts in 3/4 briefly goes into 2/4 it may come cannon-balling then

repeats the whole section for verse 2. (0:401:18)BCould it be? Yes it could includes the warm lyrical Around the corner 40-105 (1:18 -

B1Will it be? Yes it will (shorter version of B) 2:10 2:35)

A1Who knows? Its only just out of reach shorter version of A (2:353:04)

Melody Heavy use of tri-

toneinterval

throughout

(representing darkthemes) both in

this piece and the

whole musical

Several different melodies with different characters are included in this piece.

Two are based on a short repetitive riff theres something due any day and could it be? Yes

it could. Both make use of detached notes (staccato) and are full of excitement.

Two start on an insistent repeating noteIt may come cannon-balling and SomethingsComing I dont know both are accented(marcatomeans with emphasis). These melodies

are strong and confident.

One is much more warm and lyrical Around the corner. It starts with a rising interval of a 5th

(rising intervals often signify hope), has much longer note values, and triplets. This is legato

and is full of hope for romance.

Tonality The A section is in D major.

The B section starts in C major

but modulates (changes key)

back to Dfor the lyrical Around

the corner section.

The piece ends in D major.

The tonality is undermined(we arent sure about the key) at various points by

adding notes or chords which are unusual or dont belong to the key:

In the first chord there is a G sharp which does not belong to the D major

tonality (D to G sharp forms a tri-tone). There are lots of examples of dissonant

notes like this.

The three note bass ostinato at the start is on D, A and E. Whilst the D and the A

would traditionally the used to outline D major, the E feels dissonant.


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Harmony Dissonanceis

frequently used

e.g. added Gsharp to the D

major chord at

the start

Use of blue notes. Blue notes belong to jazz harmony and

include:

flat 7(in C major the 7

th

note is B, flat 7 is therefore B flatlike inbar 47-8 if I can wait). There are quite a lot of these in the piece

they add a jazzy feel and a sense of dissonance. The whole piece

ends with the melody on a flat 7 this gives a sense of uncertainty.

flat 5(a tri-tone)

Added-note jazz

harmonies

in the first two bars thereis a chord with an added

tri-tone, one with an

added 11th

and one with

an added 9th

There are some chromatic chordsused in the lyrical Around the corner for example in bar 95 there is an E flat

major chord even though we are in the key of D major.

The chromatic shifts at the end of the A section comin to me!-------- long note. The bass ostinato implies C major

but the chords slide onto F sharps at times (there arent F sharps in C major).

Texture A very busytexture. The vocal melody

dominates but the accompaniment is rather

complexusually several rhythmic strands

are heard at the same time. Repetitive riffs

and ostinatosoften combine in the

accompaniment. So, melody with a

polyphonic accompaniment.

At one point it is monophonic(just the voice) at it may come

cannon-balling immediately after that the accompaniment is

homophonicbar 23-26 (0:52). These are staccato, syncopated

chords. They help to emphasise the words. The rest of the piece is

melody with the complex polyphonic accompaniment.

The lyrical section has a chromatic line which is very prominent.

Dynamics andarticulation

A big range of dynamicswhich enhance the mood.

It starts pp (pianissimo very quiet) which adds to the

feeling of anticipation.

It crescendos to f (forte) on It may come cannon-

balling. Adding to the sense of confident excitement.

Dynamics for the staccato, riff based sectionstend to be very quiet (ppp at 107 (will it be? Yes

it will). The legato lyrical section has a variety

of dynamics suiting the feeling of warmth and,

perhaps, day-dreamy feel. But Somethings

coming is loud, confident and accented.

There isa fade

outat

the

end.


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Mood Exciting: quiet dynamics,

staccato, syncopated, very

fast, use of ostinato.

Some confident sections loud, sometimes with

straight (as opposed to

syncopated), rhythms.

Sense of impending darkness/uncertainty:

the use of the tri-tone, the melody ends on a

flat 7 blue note.

Romantic and dreamy middle

sectionlonger note values, legato

(smooth). A bit of word painting

the very high tremolo strings at theair is humming.

Further listening:

http://www.youtube.com/watch?v=VpdB6CN7jwwMariafamous song from West Side Story. When he sings the chorusthe

interval between the first two notes of Maria is also a tri-tone.

http://www.youtube.com/watch?v=09BB1pci8_oAn example of be-bop jazz (an influence on thischeck out the speed!)

http://www.youtube.com/watch?v=hPtnx1RejX0A clip which demonstrates some jazz harmonydont try to understand it in detail

but the general gist islook at all those added notes in the chords.

http://www.youtube.com/watch?v=vJpAIOFN5WQ&feature=fvst- back to Chopinsome good examples of cross rhythms in here.

The accompaniment is mostly in groups of three but the tune often divides into two.

http://www.youtube.com/watch?v=XN4zVfOkNzA&feature=relatedA religious piece by BernsteinThe Chichester Psalmsyou can

hear his interest in dissonance and unusual rhythms.

Other musicals:

http://www.youtube.com/watch?v=x8iTeDl_WugSeasons of Love from Rent

http://www.youtube.com/watch?v=liSrzc_OdDwWell did you evah? From High Society

http://www.youtube.com/watch?v=o7kzsZreG0o&feature=relatedA gospel influenced track from Guys n Dolls

http://www.youtube.com/watch?v=-Qq4bJvoQJMThe worst pies in LondonSweeney Todd

http://www.youtube.com/watch?v=klZLfHAWfxEPinball Wizard - Tommy
http://www.youtube.com/watch?v=VpdB6CN7jwwhttp://www.youtube.com/watch?v=VpdB6CN7jwwhttp://www.youtube.com/watch?v=09BB1pci8_ohttp://www.youtube.com/watch?v=09BB1pci8_ohttp://www.youtube.com/watch?v=hPtnx1RejX0http://www.youtube.com/watch?v=hPtnx1RejX0http://www.youtube.com/watch?v=vJpAIOFN5WQ&feature=fvsthttp://www.youtube.com/watch?v=vJpAIOFN5WQ&feature=fvsthttp://www.youtube.com/watch?v=XN4zVfOkNzA&feature=relatedhttp://www.youtube.com/watch?v=XN4zVfOkNzA&feature=relatedhttp://www.youtube.com/watch?v=x8iTeDl_Wughttp://www.youtube.com/watch?v=x8iTeDl_Wughttp://www.youtube.com/watch?v=liSrzc_OdDwhttp://www.youtube.com/watch?v=liSrzc_OdDwhttp://www.youtube.com/watch?v=o7kzsZreG0o&feature=relatedhttp://www.youtube.com/watch?v=o7kzsZreG0o&feature=relatedhttp://www.youtube.com/watch?v=-Qq4bJvoQJMhttp://www.youtube.com/watch?v=-Qq4bJvoQJMhttp://www.youtube.com/watch?v=klZLfHAWfxEhttp://www.youtube.com/watch?v=klZLfHAWfxEhttp://www.youtube.com/watch?v=klZLfHAWfxEhttp://www.youtube.com/watch?v=-Qq4bJvoQJMhttp://www.youtube.com/watch?v=o7kzsZreG0o&feature=relatedhttp://www.youtube.com/watch?v=liSrzc_OdDwhttp://www.youtube.com/watch?v=x8iTeDl_Wughttp://www.youtube.com/watch?v=XN4zVfOkNzA&feature=relatedhttp://www.youtube.com/watch?v=vJpAIOFN5WQ&feature=fvsthttp://www.youtube.com/watch?v=hPtnx1RejX0http://www.youtube.com/watch?v=09BB1pci8_ohttp://www.youtube.com/watch?v=VpdB6CN7jww


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http://www.youtube.com/watch?v=8RuTt4iqcKw&feature=relatedWe Will Rock You

http://www.youtube.com/watch?v=JY7Hh5PzELoAnything you can do Annie Get Your Gun

http://www.youtube.com/watch?v=F-fG8c-CMoUThe Song That Goes Like ThisSpamalot

This is from a musical. Whilst musicals emerged in the Twentieth Century, there is a long tradition of singing and dancing on stage. The predecessors of

modern music theatre were called Vaudevillehttp://www.youtube.com/watch?v=sgTrigy7UKkburlesque, opera-bouffe and operetta (light opera).

http://www.youtube.com/watch?v=Ov4RMQQRRnw&feature=related

In America there were Extravaganzas which were variety shows. There were also minstrel shows. These were, essentially, racist shows in which white people

would black up. There were also melodramas which were plays with some incidental music.

The home of American musicals is Broadway. The home of British musicals is The West End in London. Some famous musical composers are Rogers and

Hammerstein (America 1940s and 50s they wrote The Sound of Music) and Andrew Lloyd Webber (Britain from the late 60s to now Phantom of the Opera

etc.).
http://www.youtube.com/watch?v=8RuTt4iqcKw&feature=relatedhttp://www.youtube.com/watch?v=8RuTt4iqcKw&feature=relatedhttp://www.youtube.com/watch?v=JY7Hh5PzELohttp://www.youtube.com/watch?v=JY7Hh5PzELohttp://www.youtube.com/watch?v=F-fG8c-CMoUhttp://www.youtube.com/watch?v=F-fG8c-CMoUhttp://www.youtube.com/watch?v=sgTrigy7UKkhttp://www.youtube.com/watch?v=sgTrigy7UKkhttp://www.youtube.com/watch?v=sgTrigy7UKkhttp://www.youtube.com/watch?v=Ov4RMQQRRnw&feature=relatedhttp://www.youtube.com/watch?v=Ov4RMQQRRnw&feature=relatedhttp://www.youtube.com/watch?v=Ov4RMQQRRnw&feature=relatedhttp://www.youtube.com/watch?v=sgTrigy7UKkhttp://www.youtube.com/watch?v=F-fG8c-CMoUhttp://www.youtube.com/watch?v=JY7Hh5PzELohttp://www.youtube.com/watch?v=8RuTt4iqcKw&feature=related


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Electric CounterpointSteve Reich (movement IIIfast) 1987

http://www.youtube.com/watch?v=1ynOtr8X-ksThis man multi-tracked all the parts and then did some nifty video work!

http://www.youtube.com/watch?v=l34m_bXONVs&feature=relatedHeres someone performing it to a backing track.

http://www.youtube.com/watch?v=jIEDFEgZy8g&feature=relatedA cover version in a dance style by Royksopp

This is an example of minimalismhere are some important characteristics of minimalism music:

Very repetitive Gradual changes Relaxing, hypnotic

These are some important techniques that composers use to create minimalism pieces (not all used in this piece):

Repetition of small musical cells(ostinatos)

Layeringthe ostinatos combine and form

a complex texture

Drones

Static harmonysometimes there is only

one chord the whole way through a piece

or the chords change so slowly that you

dont get a sense of a chord sequence

Non-functional harmonychords change

but they dont follow the same patterns

(tonic, subdominant, dominant) as classical

music

The piece changes over time. It might do so in the following ways:

Melodic/rhythmic transformation (metamorphosis)the

pitches/rhythmgradually change

Rhythmic displacementan ostinato is repeated but gradually alters

which part of the bar it begins on (as a result, a different part of the

ostinato will be emphasised)

Phase shifting(gradually separating parts from an opening rhythmic

unisonseehttp://www.youtube.com/watch?v=eu-

tRXgOrdg&feature=relatedyou can see how two players can get out of

phase and then, gradually, back into phase) Addition/Subtraction(making a phrasemore/less complex byadding

notes/taking them away)

Augmentationnote values are made longer

Diminutionnote values are made shorter

Changes in texture(adding/taking away parts)
http://www.youtube.com/watch?v=1ynOtr8X-kshttp://www.youtube.com/watch?v=1ynOtr8X-kshttp://www.youtube.com/watch?v=l34m_bXONVs&feature=relatedhttp://www.youtube.com/watch?v=l34m_bXONVs&feature=relatedhttp://www.youtube.com/watch?v=jIEDFEgZy8g&feature=relatedhttp://www.youtube.com/watch?v=jIEDFEgZy8g&feature=relatedhttp://www.youtube.com/watch?v=eu-tRXgOrdg&feature=relatedhttp://www.youtube.com/watch?v=eu-tRXgOrdg&feature=relatedhttp://www.youtube.com/watch?v=eu-tRXgOrdg&feature=relatedhttp://www.youtube.com/watch?v=eu-tRXgOrdg&feature=relatedhttp://www.youtube.com/watch?v=eu-tRXgOrdg&feature=relatedhttp://www.youtube.com/watch?v=eu-tRXgOrdg&feature=relatedhttp://www.youtube.com/watch?v=jIEDFEgZy8g&feature=relatedhttp://www.youtube.com/watch?v=l34m_bXONVs&feature=relatedhttp://www.youtube.com/watch?v=1ynOtr8X-ks


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Changes in dynamics

A bit of context:After the extreme dissonance of expressionism and serialism composers developed music in various different ways,

some wrote music that continued to push the boundaries of what instruments were capable ofand did things like hit instruments

rather than strum them, or put nuts and bolts inside a piano. This was called experimental music.

Other composers reacted by creating music which was experimental in a different way. They were fascinated by repetition.

Because it was so interested in tiny sections which repeated and repeated and changed, the music they wrote was called

minimalism.

Some minimalist composers:

Steve Reich, Terry Riley, John Adams, La Monte Young. Dance music has influenced dance music composers (check out The Orb)

Steve Reich was influenced by: tape loops (especially getting tape loops to go out of sync), the repetition in African drumming,

Balinese Gamelan music and Hebrew chanting.

Important facts about Electric counterpoint:

Performing forces

and technology:

Composed for a soloist to

play along with a pre-

recorded multi-tracked tape.

The soloist would record the backing-track

before the performance and layer up all the

parts in a recording studio. Everything comes

from the solo performer.

This was composed specifically

for a jazz guitarist called Pat

Metheney.

The solo performer has various different roles within the performance:

At the start the soloist joins in with the main ostinatoa few notes at a time (note addition)

Sometimes the guitar plays a resultant melody. This is a melody that happens when various ostinatos

are combined.

The solo guitarist is the first to play the strummed chords.

In total, the backing track consists of 12 guitar The backing track is recorded in Its very hard to get it


37/60

parts and 2 bass guitar parts. In the movement we

are studying, however, there are 7 guitar parts and

2 bass parts.

stereoso that certain sounds

come from the left/right. The

two bass guitars are panned to

the left and right.

all in time.

Minimalism

techniques used

in this piece:

The piece consists of combinations of different ostinatoswhichinterlockand

form a complex layered textureand create very interesting rhythms and

harmonies (e.g. the strummed chords are introduced by three different

guitars. Each guitar plays a slightly different chord sequence at a slightly

different place within the bar. As the strummed parts enter one by one

(gradual build up of texture), the resulting rhythms and chords become

increasingly complex.

Rhythmic displacementis

used. E.g. guitar 2 comes in in

bar 7 playing the first ostinato,

but one crotchet later.

Another 2 guitars enterwith

the same ostinato but with

each one displaced by a

different amountthe overall

effect isfour-part canon.Sometimes the guitar plays a resultant melodythis is a melody that arises

from combining several ostinatos at once.

The solo guitar part starts by using the note addition technique. (The soloist starts by playing just a few notes

from the ostinatobut then adding notes until the full ostinato is heardonce it has been built up a backing

track guitar then takes over that part and the soloist moves on to other things). Note addition is usedthroughout the pieceanother noticeable time is when the bass ostinato is introducedthe ostinato is

gradually built up.

Tempo, rhythm

and metre:

The

movement is

marked

The piece is in 3/2which means that there are three minim

beats per bar. Sometimes the solo part is marked 12/8 which

means that there are four dotted crotchet beats per bar. 3/2

The ostinatos are syncopated

and have rests in themthis

means that they form


38/60

fast.(There

are other

movements

in thecomplete

pieceat

different

tempos.

and 12/8 have the same number of quavers per bar (12), the

only difference is which part of the bar is emphasised. When

the two time signatures are marked simultaneously cross

rhythmsoccur.

interesting rhythmic

counterpoint when they are

combined.

Towards the end of the piece, the 12/8, 3/2 time change

happens every 4 bars.

Ostinatos are rhythmically displacedat the startthis means that as the various guitars come in, the pattern

starts on a different part of the bar. This builds the music up into a canon.

Melody The solo guitar part builds up using note

addition

The solo guitar sometimes plays a resultant melody (the

melody which occurs by combining several ostinatos atonce)

Tonality The key is deliberately vague (tonally ambiguous) at the start. It takes a while before the E tonality becomes

clear (not until the bass guitars come in). The piece is actually modal (it has D naturals rather than D sharps in it

D sharps would imply E minor)

The piece starts in E minor (although this

is not made clear at the start).

It changes key to C minor at bar

74 and then back to E minor.

These are not closely related keys

and the change between the keysis abrupt.

Towards the end there are

frequent changes in tonality

from C minor to E minor. This

helps to build up the tension.

Structure Highly repetitive -

based on ostinatos

Forms into two large sections and a coda. Section A 1-73. Section B is 74-113 (this is

where the key changes start). Coda is 114-140 (this is the section where the texture

returns to the four-part texture).


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The texture helps to define the structure of the piecesections are marked out by the addition of partse.g.

when the bass enters and when the strumming begins.

Harmony Non-functional harmonynocadences etc.

Consonant harmony. The strummed chords, when they come in, are simple(C, B minor, E minor, D and E5A chord with only E and B in it).

As the various chords combine (they are heard at the same time)more

complex harmonies occur.

Dynamics The dynamics are marked in the score. The backing guitars are

marked mf (moderately loud) at the start. The soloist is marked f

so that it is a little louder. There are crescendos (getting louder)

and diminuendos (getting quieter) marked at various points in the

piece.

The solo

guitar part

fades in and

out of the

texture.

The dynamics are also

dependent on texture

thinner textures tend to

be quieter (e.g. at the

start and when thetexture thins at the end)

The whole piece ends on a big crescendo.

Texture The combination of different ostinatos forms a complex polyphonic texture.

The texture builds up slowly. A single guitar at the start.

Then the soloist comes inbuilding up a line which is

taken over by a backing guitar. Gradually 4 backing

guitars enter with the solo guitar using note addition

techniques to introduce two of the backing guitar parts.

At bar 20 the solo guitar plays a constant line over the 4

guitar backingthis is a melody which picks out notes

being played by the interlocking ostinatos (being played

by the backing guitars)this is called the resultant

The texture helps

to define the

structure of the

piecesections

are marked out by

the addition of

partse.g. when

the bass enters and

when the

The texture thins back down at

the endback to the texture

heard near the start (a four-

part guitar canon with the

soloist playing the resultant

melody over the top)


40/60

melody. strumming begins.

Some other things about minimalism:

According to a website I foundBjork once said in these busy times, the bravest thing is to be simple. Minimalism responds to thecomplexity in technology and society. It encourages us to find beauty in simplicity and to look carefully. Less is more.

Some Art and Sculpture:

James Turrell The Inner Way Sol LeWitt Corner piece No. 2 John McCracken Song


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Art music minimalism:

Wheelbarrow Walk by Michael Nyman:http://www.youtube.com/watch?v=YwyhRTPxGnI&feature=related

Ludovico EinaudiLe Onde (The Waves)very popular:http://www.youtube.com/watch?v=Gr4FN_DOpSk&feature=related

Different Trains by Steve Reich (a documaentary)uses speech, samplers. Music about travelling on trainthe trains to the death camps of the

holocaust and trains between divorced parents:http://www.youtube.com/watch?v=BhQfggqNuYM

John AdamsGrand Pianola Music:http://www.youtube.com/watch?v=B6vo4xTpHdA

George Winstona piece of music based on a simple, repeated chord sequence:http://www.youtube.com/watch?v=cDq0HqHXuq0

George WinstonCloud burstbased on the technique of addition:http://www.youtube.com/watch?v=0Dy_apBWeis

Philip GlassEinstein on the beachvery interestingcounting, simple background, somebody talking:

http://www.youtube.com/watch?v=WmX_GgozpQs&feature=related

Philip GlassMad Rush for pianohttp://www.youtube.com/watch?v=A1vMpkIRAjo&feature=related

Arvo Partchoral spiritual minimalism:http://www.youtube.com/watch?v=WoUKV5khjTA

Terry RileyA Rainbow in Curved Air:http://www.youtube.com/watch?v=apxuRKWmEJsAmongst other things, this is on the record sleeve:

National flags were sewn together into brightly colored circus tents under which politicians were allowed to perform harmless theatrical games

/ The concept of work was forgotten

Also political: The Death of Klinghofferby John Adams:http://www.youtube.com/watch?v=0RAE3fsDz0I

Pop music minimalism:

SpiritualizedLadies and Gentlemen We Are Floating In Space:http://www.youtube.com/watch?v=EOL1291ryKM

The OrbLittle Fluffy Clouds:http://www.youtube.com/watch?v=FHixChYgGRI

Brian EnoBy This River:http://www.youtube.com/watch?v=mUyZgXN6DBQ

Autechre - Bike:http://www.youtube.com/watch?v=wE_P5S1Hb6I&feature=related

The BeatlesTomorrow Never Knows (based entirely around a drone with lots of tape loops, distortion etc.so no verse/chorus structures) -
http://www.youtube.com/watch?v=YwyhRTPxGnI&feature=relatedhttp://www.youtube.com/watch?v=YwyhRTPxGnI&feature=relatedhttp://www.youtube.com/watch?v=YwyhRTPxGnI&feature=relatedhttp://www.youtube.com/watch?v=Gr4FN_DOpSk&feature=relatedhttp://www.youtube.com/watch?v=Gr4FN_DOpSk&feature=relatedhttp://www.youtube.com/watch?v=Gr4FN_DOpSk&feature=relatedhttp://www.youtube.com/watch?v=BhQfggqNuYMhttp://www.youtube.com/watch?v=BhQfggqNuYMhttp://www.youtube.com/watch?v=BhQfggqNuYMhttp://www.youtube.com/watch?v=B6vo4xTpHdAhttp://www.youtube.com/watch?v=B6vo4xTpHdAhttp://www.youtube.com/watch?v=B6vo4xTpHdAhttp://www.youtube.com/watch?v=cDq0HqHXuq0http://www.youtube.com/watch?v=cDq0HqHXuq0http://www.youtube.com/watch?v=cDq0HqHXuq0http://www.youtube.com/watch?v=0Dy_apBWeishttp://www.youtube.com/watch?v=0Dy_apBWeishttp://www.youtube.com/watch?v=0Dy_apBWeishttp://www.youtube.com/watch?v=WmX_GgozpQs&feature=relatedhttp://www.youtube.com/watch?v=WmX_GgozpQs&feature=relatedhttp://www.youtube.com/watch?v=A1vMpkIRAjo&feature=relatedhttp://www.youtube.com/watch?v=A1vMpkIRAjo&feature=relatedhttp://www.youtube.com/watch?v=A1vMpkIRAjo&feature=relatedhttp://www.youtube.com/watch?v=WoUKV5khjTAhttp://www.youtube.com/watch?v=WoUKV5khjTAhttp://www.youtube.com/watch?v=WoUKV5khjTAhttp://www.youtube.com/watch?v=apxuRKWmEJshttp://www.youtube.com/watch?v=apxuRKWmEJshttp://www.youtube.com/watch?v=apxuRKWmEJshttp://www.youtube.com/watch?v=0RAE3fsDz0Ihttp://www.youtube.com/watch?v=0RAE3fsDz0Ihttp://www.youtube.com/watch?v=0RAE3fsDz0Ihttp://www.youtube.com/watch?v=EOL1291ryKMhttp://www.youtube.com/watch?v=EOL1291ryKMhttp://www.youtube.com/watch?v=EOL1291ryKMhttp://www.youtube.com/watch?v=FHixChYgGRIhttp://www.youtube.com/watch?v=FHixChYgGRIhttp://www.youtube.com/watch?v=FHixChYgGRIhttp://www.youtube.com/watch?v=mUyZgXN6DBQhttp://www.youtube.com/watch?v=mUyZgXN6DBQhttp://www.youtube.com/watch?v=mUyZgXN6DBQhttp://www.youtube.com/watch?v=wE_P5S1Hb6I&feature=relatedhttp://www.youtube.com/watch?v=wE_P5S1Hb6I&feature=relatedhttp://www.youtube.com/watch?v=wE_P5S1Hb6I&feature=relatedhttp://www.youtube.com/watch?v=wE_P5S1Hb6I&feature=relatedhttp://www.youtube.com/watch?v=mUyZgXN6DBQhttp://www.youtube.com/watch?v=FHixChYgGRIhttp://www.youtube.com/watch?v=EOL1291ryKMhttp://www.youtube.com/watch?v=0RAE3fsDz0Ihttp://www.youtube.com/watch?v=apxuRKWmEJshttp://www.youtube.com/watch?v=WoUKV5khjTAhttp://www.youtube.com/watch?v=A1vMpkIRAjo&feature=relatedhttp://www.youtube.com/watch?v=WmX_GgozpQs&feature=relatedhttp://www.youtube.com/watch?v=0Dy_apBWeishttp://www.youtube.com/watch?v=cDq0HqHXuq0http://www.youtube.com/watch?v=B6vo4xTpHdAhttp://www.youtube.com/watch?v=BhQfggqNuYMhttp://www.youtube.com/watch?v=Gr4FN_DOpSk&feature=relatedhttp://www.youtube.com/watch?v=YwyhRTPxGnI&feature=related


42/60

http://www.youtube.com/watch?v=6a3NcwfOBzQ

Miles Davis: All Blues from the Album Kind of Blue

The album version:http://www.youtube.com/watch?v=EW8UnTuy0pA&feature=fvw

A live version played by Miles Davis:http://www.youtube.com/watch?v=vFTp2O0ywyw&feature=related

Stevie Wonder on harmonica getting everyone to clap along:http://www.youtube.com/watch?v=0e5Q9jT3z9w

Buddy Rich Trio (Buddy Rich is a jazz drummer)http://www.youtube.com/watch?v=0e5Q9jT3z9w

George Benson (legendary jazz guitarist)http://www.youtube.com/watch?v=vaV-IdFK8DE

Doug Munro (another guitaristnice bass and drum solo)http://www.youtube.com/watch?v=Fa1R-lSzCaU

This is ajazzpiecerecorded in 1959

Typicaljazz instruments used in this piece:

Rhythmsection:

Piano

Drum kit (often with brushes

Upright bass (double bass)plucked (pizzicato)

Front lineinstruments:

Trumpet

Saxophone (theres an alto and a tenorsaxophone in this recording).

The strong influence ofthe blues. This is based on

the 12 bar blues chord

sequence.The chord

sequence in jazz music is

know as thechanges

Important features

of jazz are:
http://www.youtube.com/watch?v=6a3NcwfOBzQhttp://www.youtube.com/watch?v=6a3NcwfOBzQhttp://www.youtube.com/watch?v=EW8UnTuy0pA&feature=fvwhttp://www.youtube.com/watch?v=EW8UnTuy0pA&feature=fvwhttp://www.youtube.com/watch?v=EW8UnTuy0pA&feature=fvwhttp://www.youtube.com/watch?v=vFTp2O0ywyw&feature=relatedhttp://www.youtube.com/watch?v=vFTp2O0ywyw&feature=relatedhttp://www.youtube.com/watch?v=vFTp2O0ywyw&feature=relatedhttp://www.youtube.com/watch?v=0e5Q9jT3z9whttp://www.youtube.com/watch?v=0e5Q9jT3z9whttp://www.youtube.com/watch?v=0e5Q9jT3z9whttp://www.yo

Documents

GCSE Music 2010 Revision Guide