Set Works AnalysesMusic

GCSE

For use with the revised GCSE Music specification(for first teaching from September 2009)

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Contents Page

Introduction: Purpose of the Guidance 3 Core Area of Study: Repeated Patterns in Music Pachelbel: Canon in D major 6 Beethoven: Symphony No. 7 – ‘Allegretto‟ (2nd movement) 9 Holst: The Planets – „Mars‟ 12 Jenkins: Requiem – „Dies Irae‟ 15 Optional Area of Study 1: Musical Traditions in Ireland The Chieftains: Carrickfergus and Drowsy Maggie 23 De Danann: The Cuckoo’s Nest medley, The Teetotaller/St Anne’s 27 Miller‟s Hill Accordion Band: Steadfast & True 33 Ballygowan Flute Band: Le Rêve Passe 35 Ravara Pipe Band: Heights of Dargai/Battle of the Somme 37 Bill Whelan: Riverdance – ‘Reel around the Sun’ 40 (Corona/The Chronos Reel/Reel around the Sun), ‘Riverdance’ Optional Area of Study 2: Incidental Music Mendelssohn: A Midsummer Night’s Dream – „Overture‟ 47 Grieg: Peer Gynt Suite – ‘Morning‟, „In the hall of the Mountain King‟ 51 Hans Zimmer: Pirates of the Caribbean (Dead Man’s Chest) – „Davy Jones Theme‟ 54 Ron Grainer: Dr Who Theme – revised title theme 2005 series 57 Optional Area of Study 3: Vocal Music Handel: Messiah 63 Recitative: „There were shepherds‟, „And the Angel‟ and „And suddenly‟ Chorus: „Glory to God‟ Aria: „Why do the nations?‟ Schubert: Die Erlkönig (The Erl King) 66 Stephen Schwartz: Wicked 69 Chorus: „One Short Day‟ Duet: „What is this feeling?‟ Snow Patrol: Final Straw - „Run‟ 73

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Introduction: Purpose of the Guidance This guidance is designed to support the teaching of CCEA‟s Specification for GCSE Music (for first teaching, September 2009). It should be read in conjunction with the specification, the scheme of work and (when they become available) the exemplar assessment materials. This and subsequent support material can be found on our subject microsite: www.ccea.org.uk/music. These set work analyses provide a background, context and analysis of each work that appears in the Core and Optional Areas of Study in the specification. We have listed timecodes in reference to specific points in each of the set works. Throughout the document we have listed the timings as, for example, (1:20) – which indicates 1 minute and 20 seconds into the relevant recording. These timings are based on the recordings we have suggested on our microsite. Where scores are available, we have also listed rehearsal marks or bar numbers. This material is intended as an aid to teaching, a resource to supplement teachers‟ own research and to fill in the musical detail of the set works. Whilst these analyses are relevant and pertinent to the teaching of GCSE Music, it does of course go beyond the depth to which candidates might reasonably expect to be questioned in a Listening and Appraising paper. This material is available on the microsite as a pdf and as a Word document so that teachers may incorporate their own existing notes into this document. We hope that you find this aspect of our support useful in your teaching. Best wishes Roger Trigg Subject Officer Music Email: rtrigg@ccea.org.uk

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Core Area of Study: Repeated Patterns in Music

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Pachelbel (1653-1706): Canon in D major Biographical detail Johann Pachelbel was born in Nuremberg, Germany in August 1653 and became one of the great organist-composers of the Baroque era. He died in Nuremberg on March 6th, 1706. Pachelbel is principally remembered as a composer of church and organ music, especially his chorale preludes and variations. Pachelbel is also credited with influencing the early keyboard works of Johann Sebastian Bach. It is believed that the Canon in D major was written (along with Gigue in the same key) in or around 1680. Background & Context This work was not published until the 1920‟s with the first recordings emerging some twenty years later. Canon in D major has undergone hundreds of transformations in the intervening years, and has been recorded by artists as diverse as Pet Shop Boys and the Farm. It was the latter‟s re-working of Pachelbel‟s original for their 2004 hit release which became more widely recognised in its use as the theme tune of the English Euro 2004 team (All together now). Frequently used as a processional at weddings, this work has appeared in several films and also in television adverts such as, British Gas, Pure New Wool and Ambrosia. Analysis The Canon in D major was originally written for three violins and basso continuo. The original version of the Canon is rarely played today and the basso continuo (Example 1) is frequently undertaken by cello, harpsichord or organ. Example 1

The term „canon‟ to describe this work, is true in that the parts follow in strict canonic order throughout the work. The harmonic progressions heard above the ground bass (basso ostinato) also never alter. The title Canon therefore, refers to the way the three violin parts work, playing the same music (in this piece) 2 bars apart (Example 2).

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Example 2

After the initial statement of the ground bass (Example 1), first violin enters with a simple descending and ascending crotchet pattern. Two bars later the second violin adds to the texture by playing in thirds with the first violin (Example 3 - 0:27). As the third violin enters with the descending crotchet pattern, Violin 1 has begun the next variation, this time in quavers (Example 4 - 0:40). Example 3

Example 4

Further progression occurs when a new scalic semiquaver variation begins. (Example 5 - 1:03) .A more disjointed variation of the crotchet pattern exploiting octave leaps follows (1:27), followed in turn by the fastest variation featuring demisemiquaver patterns (Example 6 - 1:50). This variant features repeated half-bar sequences.

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Example 5

Example 6

As the canon becomes increasingly dense towards the middle of the piece, other interesting variants occur when the descending crotchet pattern (Example 2) is reworked and each note is repeated in semiquavers (2:34). Arguably the most melodically memorable legato variant is heard as the texture becomes increasingly sparse with lighter scoring and less counterpoint (3:23). As the note values lengthen, the piece gradually reverts to a less complex structure and after 28 repetitions of the original ground bass (Example 1), the work ends. The chord progression used in Canon ( I V vi iii IV I IV V = D major, A major, B minor, F# minor, G major, D major, G major and A major) was to influence many composers including Handel, Haydn, Mozart and the many hundreds of contemporary musicians who have used it. The simplicity of the Canon is untypical of the Baroque era in that Pachelbel employs no complex contrapuntal devices such as augmentation, diminution, inversion etc. Performance detail It is also important to note that the fashionable very slow tempo of performance currently heard in most recordings contrasts with the much faster tempi employed by performers in the Baroque period. Many recordings also feature an accompaniment over the opening ground bass (bars 1-2).

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Beethoven (1770-1827): Symphony No. 7 in A – „Allegretto‟ (2nd movement)

Work on the Symphony began in 1811 and was completed in 1812. First performance took place in Vienna in 1813 at a charity concert for soldiers wounded at

the battle of Hanau with Beethoven conducting. The symphony is scored for a “Classical Orchestra” - 2 flutes, 2 oboes, 2 clarinets, 2

bassoons, 2 horns 2 trumpets, timpani and strings. This is unusual as Beethoven had used larger forces in previous symphonies, particularly No. 5 where he included Piccolo, double bassoon and three trombones.

There are four movements. The 2nd movement is the only one of the four which is not dance-like in character, yet it is

the best known. Its main characteristic is the repeated crotchet/two quaver figure (ostinato) that continues

throughout the piece – not only in the bass but at other times on different instruments of the orchestra.

Although it is the “slow” movement of the symphony, Beethoven marks it “Allegretto” – ie “a little lively”. It is this contrast between the steady march-like figure in the minor key and the lightness which he expects the rhythm to be in performance that helps to give the movement its strange appeal.

Analysis Theme 1

Theme 2

Theme 3

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0:00 The movement opens with a chord of A minor played by the oboes, clarinets, bassoons and horns. This begins f and quickly fades to pp establishing the key of the movement.

0:05 (Bar 3) Theme 1 is stated p by the violas against a strong rhythmic pulse of a crotchet and

two quavers which continues throughout the movement. The theme is 16 bars long with the second eight bars being repeated.

0.46 (Bar 27) The violas and cellos introduce Theme 2 while the 2nd violins continue with

Theme 1 – the cellos and double basses continue the regular pulse in an octave version of the opening rhythm. Theme 2 is also 16 bars long with the second eight bars repeated.

1:32 (Bar 51) At this point the 1st violins take Theme 1 an octave higher while the 2nd violins

play Theme 2, with the violas and cellos providing a quaver accompaniment with a modified version of the rhythm. From this point there is a gradual crescendo as the music approaches the climax of this part of the movement.

1:51 (Bar 67) The oboes and bassoons add off-beat chords 2:08 (Bar 75, Letter A) At this point we hear a full orchestral tutti ff. The Woodwind and

horns play Theme 1, the 1st violins play Theme 2 whilst the string section support with arpeggios underneath. The violas, cellos and double basses accompany with triplet figures against quaver movement in the 2nd violins. The trumpets and timpani punctuate with loud tonic/dominant crotchets. This passage comes to an end on a long diminuendo.

2:47 (Bar 99) A two bar cadence is repeated quietly by the oboes, clarinets, bassoons and

horns. A one beat silence leads directly into the second part of the movement which is in A major (Bar 101).

2:53 Theme 3 is much more lyrical and a direct contrast to music up until this point. This

theme in descending and ascending crotchets is played by the clarinets and bassoons initially and then taken up by the other wind instruments. This melody is more serene and lyrical but Beethoven keeps the insistent rhythm of Theme 1 in the cellos and double basses and a running figuration in quaver triplets in the 1st violins, maintaining the restless mood of the piece.

3:20 (Bar 117) As this part of the movement continues, the woodwind begin to take over the

persistent quaver triplets in a series of sequences and imitative phrases where the clarinet and horn answer one another and the music begins to quieten again and move into C major the relative major key of the movement.

3:57 (Bar 139) Again, we hear imitative phrases this time from the flute, oboe and bassoon.

Beethoven then brings the section to a close with downward scales in triplets through the orchestra, emphasising the rhythmic quaver figure ff leading directly into

4:12 (Bar 150, Letter B) a repeat of the opening themes p with the woodwind playing Theme

2, the violins and violas answering each other in semiquaver arpeggio-like figures and the cellos and double basses playing Theme 1.

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4:56 (Bar 173) This section draws to a close with a ten bar tonic pedal (A minor) in the trumpet, timpani and cellos and double basses emphasising the basic pulse again. After a series of short sequences and as the music quietens down…

5:12 (Bar 183) the 1st violins begin a fugal passage based on the first bars of Theme 1 against a

running semiquaver idea in the second violins. After 8 bars this is taken up by the cellos and double basses with the violas having the semiquaver figure against them, the upper strings continue with a syncopated counter-melody above. As this builds the woodwind join in and there is a sudden surge as all the strings take up the semiquavers above a pedal in the bass leading to…

6:03 (Bar 214, Letter C) a full statement of the first 8 bars of Theme 1 in the tonic A minor by

the strings, brass and timpani accompanied by semiquavers in the woodwind. 6:18 (Bar 222) After a one beat silence (similar to that at 2:53), there is a repeat of the lyrical

Theme 3, again in the tonic major (exactly as before at 3:37). This is shorter than before and is a preparation for the coda.

6:55 (Bar 248) This begins after two repeated cadences with the familiar opening rhythm in a

series of “question and answer” followed by the Coda proper where this idea continues to the end with cadences in C major and A minor one after the other, followed by a restatement of the Theme 1 (7:17, Bar 254) with falling antiphonal phrases. This is the tonic A minor again – on the oboes, clarinets, bassoons and horns f with a quick diminuendo - exactly as the movement began.

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Holst (1874-1934): The Planets – „Mars‟ Background Gustav Holst was an English composer most famous for his orchestral suite The Planets. He studied at the Royal College of Music in London and his work was influenced by Grieg, Wagner, Richard Strauss and fellow student Ralph Vaughan Williams. Through Vaughan Williams he became inspired by English folksong and the music of the French composer Ravel. His music is characterised by his use of irregular metres, pounding rhythms along with unusual haunting melodies. The Planets Seven-part suite was written between 1914 and 1917 Mars is the first movement in the suite Music is characterised by use of irregular metre, pounding rhythms, haunting melodies

Analysis This is a 20th Century Orchestral suite scored for very large orchestra including; sixteen woodwind; fifteen brass; two timpanists and three other percussionists; celesta; two harps; organ; and strings. Tempo – Allegro – Fast and lively Written in 5/4 time (irregular) 0:00 The chief characteristic of Mars is the incessant repeated note rhythm, an ostinato starting in the timpani, harps and strings (col legno – with the wood of the bow).

Two bars later a slow moving motif can be heard in unison from bassoons and horns rising a fifth gradually building up adding more instruments with a falling semitone as a feature.

This is repeated and used in imitation extending upwards and also harmonised leading up to Figure I.

0:32 At Figure I, the tenor and bass trombone take over with a rising sixth motif against the

ongoing ostinato figure.

Twelve bars after Figure I, the first violins move away from the ostinato and play a more sustained repetitive figure against the continuing ostinato.

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A two note motif in the form of an octave leap can be heard antiphonally in brass and woodwind, growing in intensity, creating a fanfare-like effect building to a huge fff full orchestra climax at Figure II.

1:15 Figure II

The strings, trumpets snare drum and timpani playing the ostinato in unison against a sustained chord from woodwind, horns and trumpets. Four bars after Figure II a new dotted chordal theme can be heard in the trombones and tubas against the ostinato figure still in strings and timpani. The horns and some trumpets join in with this theme two bars later. Dotted chordal theme

Eight bars before figure III a new syncopated motif appears in the upper woodwind and violins with the dotted chordal theme continuing in the brass, lower woodwind and strings. Double basses, trumpets, trombones and timpani playing the opening ostinato.

1:50 Figure III

The orchestral texture thickens with the organ and trumpets playing part of the dotted chordal theme fff. From figure III the original opening ostinato theme is replaced by the dotted rhythm theme. The addition of the organ three note theme can be heard five times more ending in discords with a fff (E¨ minor) chord two bars before figure IV. At this point the music quietens down with repeated notes on the strings alone.

2:10 Figure IV

Against a steady crotchet pulse of the strings, a solo tenor tuba starts a new military call-like theme using triplet figuration. This is answered two bars later by trumpet, seven bars later by violins and flutes, and later by trumpets, horns and upper woodwind.

2:40 Figure V

Once again the tenor tuba followed by the trumpet in canon play the military call-like theme against side drum taps and cymbal rolls.

Five bars before figure VI all the woodwind and strings play a semiquaver motif while the tubas and trumpets play a variant of the motif heard in figure I. Semiquaver runs lead to a ff tutti chord one bar before figure VI.

3:10 Figure VI 5/2

This quiet melodic idea which starts in the bass instruments is based on the dotted chordal theme first heard four bars after figure II. There is a fragmented variation of the opening ostinato played initially on side drum, then joined by trumpets and tenor trombones. Violins, and then violas, play tremolo while horns play a sustained note with timpani rolls. The texture builds up as more instruments join in with the melodic idea leading to…

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4:12 Figure VII 5/4 A three bar orchestral tutti on the opening ostinato played in unison fff. This is followed by a passage based on the opening melodic motif, accompanied by the continuing ostinato throughout.

5:03 Figure VIII

The ostinato theme continues in the strings with imitation between tuba and trumpets based on the military-like theme first heard at figure IV. Three bars before figure IX, the dotted theme from figure II returns, this time in oboe, clarinet and horns.

5:27 Figure IX The material from figure II is repeated with slight changes in the orchestration. 5:51 Figure X

The full orchestral texture continues, reaching a ffff climax on a discord reinforced by the organ. At this point the metre changes to 5/2 and three repeated cadences occur based on the opening motif.

6:34 Fig XI

The Coda begins with semiquaver figurations on strings, joined by woodwind, providing a contrast to the previous section and leads into …..

6:41 Fig XII

A return of the opening ostinato figure ffff, distorted by the addition of rests and entries from the brass, percussion and strings with harsh discords. The movement concludes with a bare fifth chord on C with loud timpani rolls.

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Jenkins (b. 1944): Requiem – „Dies Irae‟ Biographical detail Karl Jenkins trained at Cardiff University and the Royal Academy of Music. He has enjoyed popular success as a jazz musician, playing frequently during the 1970‟s with Ronnie Scott‟s Jazz Band. It was as a classical musician and composer that he first found longer term commercial and artistic success, beginning with the multi-million selling album Adiemus; Songs of Sanctuary. The work set the trend for Jenkins to explore world music and experiment with new orchestral and choral textures and minimalism. Contextual background Jenkins‟ own programme note indicates that his Requiem (from which the „Dies Irae‟ comes) was dedicated to his late father whom he describes as „a musician and an inspiration‟. A Requiem is a Mass for the souls of the dead and Jenkins has blended the traditional Latin text, for many of the traditional movements, with many influences from his travels throughout the world. In the Requiem, the addition of Japanese Haiku „death‟ poems is innovative and much in keeping with Jenkins‟ interest in Western and Eastern texts.

The „Dies Irae‟ is a medieval poem describing the day of judgement when the biblical interpretation speaks of the last trumpet sounding to summon souls before the throne of God where their eternal fate will be decided. Jenkins does not use the full text.

The work is scored for SATB choir, shakuhachi (Japanese Flute), 2 horns in F, timpani, harp, strings and 3 percussion players using conventional orchestral percussion and others of ethnic origin (for example, surdo, darabuca, mark tree, rainstick, bamboo chimes).

Analysis The „Dies Irae‟ is in 4/4 and begins with an ff 8 bar introduction in D minor which introduces musical elements that are developed further in the movement:

The 2 bar bass ostinato theme of 8 crotchet beats (Example 1) played in the lower strings and accompanied by bass drum and tam tam. (There is a slight variation of the 8 crotchet beat pattern in the rhythmic accompaniment when the third beat is played as 2 quavers);

The driving „relentless‟ (Jenkin‟s own performance direction) triplet upper string accompaniment; and

The two-quaver horn motif which is repeated in the first entry of the chorus (Example 2).

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Example 1

Example 2

0:16 (Bar 9) The chorus entry replicates the horn motif of the introduction with the first lines of the Latin text. The homophonic texture of the SATB chorus is heavily accented and sung sempre ff This 8 bar choral introduction only uses the first two lines of the text- „Dies irae, dies illa‟.

0:33 (Bar 17) The full first stanza of the text is heard from the choir this time in unison (note D). The natural speech rhythm used here is repeated for other stanzas of the text.

0:38 (Bar 20) A recurrent three chord motif suggesting the dominant briefly interrupts the flow of the music. The rhythmic impetus then continues as before.

0:49 (Bar 25) A new bass ostinato is used as the chorus return to another 8 bar repeat of the

opening choral introduction (Example 3). Both the string and percussion accompaniments remain unaltered. Harmonic ambiguity is caused by the fluctuation between Bª and B¨ in the lower string ostinato.

Example 3

0:57 (Bar 29) After 4 bars, a chromatic rising scale idea played by the horns is heard for the first time and this too is the basis of a new choral theme later on.

1:04 (Bar 33) The „Tuba Mirum‟ theme which follows (Example 4) comprises two crotchet

beats a third apart rising in sequence.

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Example 4

1:12 (Bar 37) The driving bass ostinato changes for the first time, as the choir sing, in harmony, a falling sequence, exploiting the interval of a third and finishing on a unison D and with a re-introduction in the accompaniment of the ostinato.

1:29 (Bar 45) The first of two sections follows where the word „Dies‟ is given syllabic

rhythmic treatment and for the first time a polyphonic texture is created, comprising different layers of ostinati.

The underlying instrumental bass ostinato and percussion accompaniments continue for another 8 bars, and lead to the second stanza of text (1:45, bar 53) ie. „mars stupebit et naturo‟, sung similarly and with the same rhythmic accompaniment and one bar bridge motif from the horns. The sopranos are now one octave higher than in verse one.

2:01 (Bar 61) A return of the opening choral introduction, accompanied by the new bass

ostinato, features a bass voice vocal version of the horn chromatic scale idea heard earlier (Example 5).

Example 5

2:17 (Bar 69) The first key change to E minor follows as we hear an instrumental bridge section using the „Tuba Mirum‟ theme in the horns for the first time. The string triplet accompaniment and horn ornaments are noteworthy.

2:32 (Bar 77) The final section of the text used by Jenkins is heard after this instrumental

bridge („Iudex ergo‟). The bass ostinato changes to a rising chromatic scale idea.

2:49 (Bar 85) The next key change (F minor) introduces the second example of syllabic treatment of the words „Dies Irae‟. In this extended section we hear many of the rhythms Jenkins himself indicated were „hip-hop influenced‟. A more complex rhythmic variation than the first, features greater use of syncopation and strong

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accented beats, further emphasised by melodic leaps of an octave in the soprano line.

3:05 (Bar 93) The twelve bar „Tuba Mirum‟ choral theme is then used to lead to the third syllabic variation on the words „Dies Irae‟, this time featuring changes in the soprano line.

3:28 This eight bar segment leads directly to another key change (F# minor, bar 113, 3:45), another syllabic variation given extra momentum by the frequency of the octave leaps in the soprano line and the more exciting syncopated sextuplet bass vocal part.

4:01 The addition of a syncopated horn motif eight bars later, combined with the soprano

constant F# repetition and the prominent cymbals, continues the excitement and builds towards the thunderous and abrupt climax to the movement seventeen bars later featuring prominent cymbals.

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Optional Area of Study 1: Musical Traditions in Ireland

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The Chieftains: Carrickfergus and Drowsy Maggie Background famous Irish traditional group formed in 1962 recorded many albums of instrumental Irish folk music They have performed and collaborated with a number of diverse artists such as Mick Jagger,

Sting, Roseanne Cash, Art Garfunkel, Madonna and Ziggy Marley which has helped promote The Chieftains as well as Irish folk music to a wider audience

The Chieftains have won six Grammy awards Carrickfergus Members of the group featured in this recording:

Uilleann pipes, tin whistle, button accordion, bodhrán - Paddy Moloney Flute, tin whistle - Michael Tubridy Harp - Derek Bell Fiddles - Sean Keane and Martin Fay Whistle - Sean Potts Bodhrán - Peadar Mercier

Many different versions of this song have been recorded This version by The Chieftains is an instrumental, but it is often presented as a song This type of piece is known as a slow air in Irish traditional Music

Analysis Form: The form within each verse is AABA (Ternary). Tonality: D major (N.B. Other versions and recordings of the song are

sometimes presented in other keys). Metre/Time signature: This is in simple quadruple metre, 4/4. In this performance, The Chieftains employ rubato quite liberally which reflects the melancholia found in the text associated with the tune.

Verse 1

A (0:00) Irish traditional harp plays the melody, sometimes in thirds with chordal accompaniment on the left hand. It is played in a rubato, relaxed manner with some use of ornamentation. „A‟ ends with a perfect cadence.

A (0:17) „A‟ is repeated B (0:35) Features harp with a higher middle section with more ornamentation

ending with an imperfect cadence. A (0:55) „A‟ returns

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Verse 2 A (1:14) Uilleann pipes, tin whistle and fiddle play the melody in unison with very

decorative arpeggiando figuration played on the harp (note how the musicians are not always in strict time with each other). The harp accompaniment is improvisatory in nature.

A (1:33) repeated, but this time the whistle is changing its pitch at the end of the phrase.

B (1:53) the fiddle now plays the melody down an octave with the tin whistle and Uilleann pipes are playing at the same pitch as before. The harp continues with the decorative arpeggio accompaniment.

A (2:17) Solo fiddle with decorative arpeggio accompaniment on the harp, ending (as before) with a perfect cadence and arpeggios in D major.

Carrickfergus

N.B. This notated score is a close representation of the melody as presented here by The Chieftains.

However, artists may vary melody and pitch to some degree.

Drowsy Maggie Members of the group featured in this recording:

Uilleann pipes - Paddy Moloney Flute - Michael Tubridy Fiddles - Sean Keane and Martin Fay Whistle - Sean Potts Bodhrán - Peadar Mercier

this performance is not typical of this tune as it is known in Irish traditional circles the performance is similar to a theme and variations where each musician takes his turn as a

soloist

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Analysis

Form: The tune Drowsy Maggie itself is a reel in binary form (AABB)

Tonality: E Dorian (mode) Metre/Time signature: Simple duple metre, cut-time Tempo: Fast - roughly 120 minim BPM (Beats per minute)

Time Bars duration

Instrumental detail

0:00 2 Introduction: 2 bar bodhrán solo

0:02 32 Melody of Drowsy Maggie played through twice in unison with bodhrán accompaniment.

0:33 16 Solo: uilleann pipes play a reel. Trills and other ornaments can be heard.

0:49 16 Melody returns in unison

1:05 16 Solo: flute plays a slip jig

1:27 16 Melody returns in unison

1:43 16 Solo: fiddle plays a slip jig

2:05 16 Melody returns in unison, but the bodhrán is replaced by the bones in its first appearance.

2:20 16 Solo: tin whistle plays a reel that includes many ornaments

2:36 16 Melody returns in unison, accompanied the bones

2:52 16 Solo: fiddle plays a jig

3:20 32 The final treatment of the tune is played through twice in unison with the returning bodhrán accompaniment.

3:51 2 The music ends on a held unison trill on E (roughly for 2 bars duration, although perhaps just thought of as a pause).

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Drowsy Maggie

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De Danann: Cuckoo‟s Nest Medley and Teetotaller/St Anne‟s Background One of the most famous Irish traditional group released their debut album in 1975 Many former members have gone on to have successful solo careers including Maura

O‟Connell, Mary Black and Dolores Keane Cuckoo‟s Nest Medley Members of the group featured in this recording:

Accordion - Jackie Daly Flute, fiddle - Frankie Gavin Bouzouki, guitar - Alec Finn Banjo - Charlie Piggott Bodhrán - Johnny McDonagh

Analysis Form: „The Cuckoo‟s Nest‟ is a tune in Binary form (AABB)

Tonality: G major (N.B. The recommended recording sounds in A¨ major)

Metre/Time signature: Simple duple metre, cut-time An innovative performance that combines a hornpipe, a short linking passage and finishes

with a reel to make the „Medley‟.

Time Bars duration

Instrumental detail

0:00 32 The hornpipe is in a steady tempo of 84 minim BPM. There is no introduction, the banjo and bouzouki simply start playing the tune („A‟ repeated, followed by „B‟ repeated).

0:48 32 The whole tune is repeated with the addition of the fiddle and accordion.

1:34 4 The accordion takes a 4-bar solo passage which links the hornpipe to the reel. The tempo has immediately increased to around 120 minim BPM.

1:39 16 The reel commences with „A‟ (repeated). The reel features all the instruments and includes the addition of the bodhrán, which adds impetus to this faster tempo in the reel. The reel is essentially a variation of the main Cuckoo‟s Nest melody.

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Time Bars duration

Instrumental detail

1:56 16 In this „B‟ (repeated) section, the bodhrán moves to more of a running quaver pattern that further propels the music.

2:12 16 This „B1‟ section, which is repeated, features a strong accented minim on the first downbeat – this first minim we have heard in the melody up until this point.

2:27 16 The music returns to the start of the reel and again we hear „A‟ repeated, „B‟ repeated and „B1‟ repeated (48 bars).

2:43 16 In the final „B‟ section the bodhrán provides added off-beat rhythms with the stick on the instrument‟s rim. This occurs on the second and fourth crotchets beats of the bar.

2:58 16 For the final „B1‟ section, the bodhrán reverts to the running quaver pattern used for much of the reel.

3:14 The music ends, without any slowing down, on a unison G (sounding A¨) pause.

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Cuckoo’s Nest Medley

N.B. This notated score is a close representation of the melody as presented here by De Danann.

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Teetotaller/St Anne‟s Reel This recording is a set of two reels. There is obvious symmetry in the music as each reel has an „A‟ and „B‟ section, each 16 bars

long in both reels. Instrumentation - Fiddle, bouzouki, banjo, accordion, spoons (bones), bodhrán

This music features some typical traits of Irish Traditional Music which include:

binary form structure; the use of an Irish dance form ie. reel; the use of repetition; instrumentation typical of Irish Traditional Music; the use of ornamentation; and unison playing of the melodic line with chordal accompaniment.

Analysis Form: Both tunes are in binary form (AABB)

Tonality: Teetotaller Reel - G major (N.B. The recommended recording sounds in A¨ major)

St Anne’s Reel - D major (N.B. The recommended recording sounds in E¨ major)

Metre/Time signature: Simple duple metre, cut-time Tempo: The tempo throughout is fast - for most of the music it

remains at 120 minim BPM.

Time Bars duration

Instrumental detail

0:00 16 The music begins with the Teetotaller Reel commencing with „A‟ (repeated) which features the fiddle playing the melody and accompaniment on the bouzouki.

0:16 16 „B‟ (repeated) with the same instrumentation as above.

0:32 16 The banjo and the spoons join with the fiddle and bouzouki. The banjo is playing the melody an octave below the fiddle.

0:48 16 „B‟ (repeated) with the same instrumentation as above.

1:04 16 „A‟ (repeated), with the accordion joining here, playing the melody, but also adding occasional chords, in particular, on the first beat of every two bars.

1:20 16 „B‟ (repeated) with the same instrumentation as above.

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Time Bars duration

Instrumental detail

1:36 16 The music moves straight in to St Anne’s Reel - there is no link or segue. This tune is in D major (sounding in E¨ major). Moving into this tune sounds like an imperfect cadence (IV-I), and as such the modulation needs no preparation and does not jar. Here the accordion plays the melody with accompaniment on the bouzouki and bodhrán (making its first entrance). This is „A‟ (repeated) of St Anne’s Reel.

1:52 16 „B‟ (repeated) with the same instrumentation as above.

2:07 16 „A‟ (repeated) - fiddle and banjo join the accordion on the melody with a slight variation to the tune.

2:23 „B‟ (repeated) with the same instrumentation as above, but the bodhrán changes its rhythmic pattern to a more running quaver rhythm.

2:39 A new faster tempo is immediately struck at this stage which adds excitement ahead of the ending. The tempo here is roughly 126 minims per bar.

Teetotaller

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St Anne’s Reel

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Miller‟s Hill Accordion Band: Steadfast and True (Carl Teike, 1864-1922)

Biographical detail Carl Teike was born in Altdamm, Germany and was the composer of 20 concert works and over 100 military marches. As such, he is often referred to as the German march king. He was the fourth of fourteen children and commenced music studies at the age of 14. At 19, he became a professional musician in the 123rd König Karls Regiment of the army of Württemberg. He left the army for the police force in 1889 after a falling out with the then musical director of his regiment over a new march Teike had written. It has been reported that the new conductor, Oelte said, after it was first played: “…we have enough marches throw it into the fireplace…” That march was later called Alte Kameraden and went on to be one of the most popular marches in Germany.

Analysis

Form: This does not fall in to a recognised form (A, B, C, D, E) Tonality: C major Metre/Time signature: Simple quadruple metre, 4/4 Tempo: March tempo – roughly 120 crotchet BPM

Time Bars duration

Instrumental detail

0:00 2 A two bar introduction establishes the key, march tempo and style and introduces the instrumentation: accordions and snare.

0:03 16 „A‟ (repeated) comprises a bass-line and off-beat chords which, along with the melody, help secure the harmony. The melody is highly rhythmic and emphasises strong beats in the bar (beats one and three in a march). The rhythm of the melody is reinforced by the snare playing in rhythmic unison.

0:36 32 „B‟ features a counter-melody. Much of the counter-melody is the melody repeated an octave lower and a bar later. In this section, the snare plays mostly off-beat quavers, maintaining the pulse.

1:45 8 „C‟ (16 bars) is a new section melodically, but its material is not entirely new. It uses some of the rhythmic and melodic patterns from „A‟ in the melody.

2:03 8 Half-way through „C‟, there is a strong new counter-melody introduced in the tenor register, well below the main theme.

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Time Bars duration

Instrumental detail

2:19 32 „D‟ is a 32 bar section. The first 8 bars are presented as a forte bass-solo on the dominant. Then there is a sudden drop in dynamic with a more delicate texture for 16 bars. This is followed by the returning „bass-solo‟ (3:08), again for 8 bars. Preparing for the next section with the band in unison on the dominant (including rhythmic unison on the snare).

3:26 16 „E‟ features a semiquaver arpeggiated figure on the first of every four bars of this melody. The melody is reinforced an octave lower.

Steadfast and True

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Ballygowan Flute Band: Le Rêve Passe (The Soldier‟s Dream) (Charles Helmer & Georges Krier) Biographical detail Charles Helmer & Georges Krier Le Rêve Passe (The Soldier’s Dream) was written in 1906 and was also made popular by famous Irish tenor, Josef Locke. Locke performed this song all over Ireland and further afield. Contextual background The Ballygowan Flute Band was formed in 1876 by a group of local young men, with George McVeigh one of the founder members, taking responsibility for teaching and getting the band up and running. The membership of the band over the years has included fathers, sons and daughters and has strong family connections running through its history. The band is still operating today and features in civic, charity and community concerts. Over the years, the band has also enjoyed terrific contest success, winning on numerous occasions. For more information about the band visit: www.ballygowanfluteband.com

This is a list of the instruments used in this recording:

Piccolo flute G Treble flute Alto flute C Bass flute G Bass flute* Snare drum Marching cymbals

* Ballygowan Flute Band now also use Contra Bass flutes, however they do not feature in the recommended recording.

Analysis

Form: This does not fall in to a recognised form (A, B, C, C‟) Tonality: G major Metre/Time signature: Compound duple metre, 6/8 Tempo: March tempo – roughly 116 dotted crotchet BPM

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Time Bars

duration Instrumental detail

0:00 8 Whilst this march is in compound time, the introduction is in simple duple time. The introduction features fanfare arpeggiated figures from the upper flutes for two bars. In the next two bars they are joined by a strong bass and percussion figure. These four bars are repeated.

0:15 32 „A‟ commences in compound metre (6/8). This passage establishes the melody in the treble flutes with the piccolo flute playing intermittent fanfare figures. These fanfares occur mostly where the melody is holding a long note. This has the effect of adding interest, but not compromising the integrity of the main melody. Towards the end of „A‟ we hear a crescendo peaking with full band rhythmic unison.

0:48 16 The melody in „B‟ is played in octaves by the piccolo and treble flutes. „B‟ also includes upward scalic passages from the alto and bass flutes.

1:06 5 This is followed by a short fanfare-type interlude, reminiscent of the introduction. However, this fanfare is firmly in the compound metre.

1:11 32 A new melody, „C‟ is presented by the treble and piccolo flutes in octaves. Compared to the fanfare section, this melody is at a lower dynamic. Through this section, cymbals are only employed for two bars at a time and first enter in bars 3 and 4 of this section.

1:44 9 This is followed by another fanfare which, though slightly longer, is rhythmically reminiscent of the last fanfare. However, this fanfare differs by a momentary shift to arpeggios in the relative minor - A minor.

1:54 32 The „C‟ melody returns in a rousing fashion. This time featuring the bass and alto flutes on the melody, the alto flute sometimes harmonising, whilst the treble and piccolo play decorative, florid (often scalic) motifs high above the melody. The cymbals are now crashing on almost every beat until the end of the recording.

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Ravara Pipe Band: Heights of Dargai/Battle of the Somme Background The pipe band has its origins in a Scottish military context, but the Great Highland Pipes are now played all over the world. Most commonly pipe bands are used in marches (both military and civilian) and outdoor performances. A pipe band normally consists of a section of pipers, a section of snare drummers (often referred to as 'side drummers'), several tenor drummers and a single bass drummer. The drummers are often collectively referred to as the drum corps. The majority of pipe band repertoire consists of music from the Scottish tradition, the Irish tradition and the Breton tradition. Typical pipe band forms include marches, slow airs, jigs, reels and strathspeys. The Ravara Pipe Band was formed in 1946, under Pipe Major William Dickson from Saintfield, Co. Down and began competing in indoor competitions in 1949 in the NIBA competitions in the Ulster Hall. More information on the Ravara Pipe Band can be found at: www.ravara.org

Analysis

Form: Each tune is in binary form (AABB) Tonality: Heights of Dargai - A major (sounds in B¨)

Battle of the Somme - D major (sounds in E¨) Metre/Time signature: Compound triple metre, 9/8 Tempo: March tempo – roughly 116 dotted crotchet BPM

Instrumentation on this recording:

Great Highland Pipes snare drum

It is important to note that the pipes used by the Ravara Pipe Band (Great Highland Pipes) use the notes G, A, B, C#, D, E, F#, G, A‟. This makes a mixolydian scale (mode) on A. However, when written for pipes, music is commonly notated as having no key or accidentals (which is how it appears in this analysis). To further complicate the issue, the pipes most commonly actually sound in the key of B¨, not A. The pipes also have a static drone on A, which actually sounds a B¨.

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Time Bars

duration Instrumental detail

0:00 The snare drum rolls and is then joined by the A (sounding a B¨) drone from the pipes before the tune begins.

0:04 16 In Heights of Dargai, „A‟ is repeated and the arrangement exploits the entire range of the pipes - low G through to high A. On the repeat of „A‟ (0:21), the pipes play in 3rds (below) - on the repeat of „A‟, bar 4 (0:28), we hear the Gª where the melody has a B. This establishes the tonality ie. A mixolydian (mode). The melody features a dotted 3 quaver rhythm on the first beat of every bar, it also includes many ornaments. The drone is on the tonic note (A). The snare drum is playing march-like beats to help maintain the tempo.

0:37 16 In „B‟ (repeated), the instrumentation remains the same. The melody in „B‟ also features a dotted 3 quaver rhythm, this time on the first beat and frequently also on the third beat of the bar. On the repeat of „B‟ (0:53), as in „A‟, we hear the pipes playing in thirds.

1:06 16 The music moves straight in to Battle of the Somme. There is no link or segue between the tunes. This tune is in D major (sounding in E¨ major) so moving from A major (sounding in B¨ major) into this tune sounds like a perfect cadence (V-I), and as such the modulation needs no preparation and does not jar. As the key has changed, the drone is now on the fifth (A). The melody of „A‟ features a dotted 3 quaver rhythm on the first beat and occasionally also on the third beat of the bar. In both „A‟ and „B‟ of this tune the melody features bars that start with a semiquaver which feel also feel like an ornament.

1:40 16 The melody in „B‟ (repeated) is again ornamented. The music ends with a roll on the snare in the last bar ending abruptly on the second beat.

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Heights of Dargai

N.B. This score contains ornaments that are not all present in the recommended recording. The ornaments are at the discretion of the performer/s.

Battle of the Somme

N.B. This score contains ornaments that are not all present in the recommended recording. The ornaments are at the discretion of the performer/s.

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Bill Whelan (b. 1950): Riverdance – „Reel around the Sun‟ and „Riverdance‟ Biographical detail Bill Whelan is an Irish composer, arranger and producer born in Limerick in 1950. He had worked extensively in television, film and theatre before the commercial and artistic success that is „Riverdance’ gained him worldwide recognition. He has worked extensively as a producer with groups U2, The Dubliners, Planxty and Stockton‟s Wing. Van Morrison, Davy Spillane and Kate Bush are only a handful of solo artists who have chosen to work with Whelan. He also formed a Bulgarian/Irish band called „East Wind‟. He is a Grammy award winner (Best Musical Show album for „Riverdance‟) and has received lifetime achievement awards at home and abroad. Other orchestral works include ‘Seville’ (written for Expo 1992) and „O‟Riada‟ Suites and several film scores (including ‘Some Mother’s Son’). Contextual detail When Whelan was asked to write the music for the interval act of the 1994 Eurovision Song Contest, it would be the second time that he had enjoyed the honour of such a commission. His first foray into this type of composition was with Planxty and Donal Lunny in 1981. It was, however, with ‘Riverdance’, a 7-minute Irish dance spectacular, that Whelan achieved international fame. Its success spawned a worldwide interest in celtic music and traditional and modern Irish dance. A fully staged musical production followed and encouraged Whelan‟s keen interest in world music. The first performance of ‘Riverdance’ featured Irish Dancing Champions, Jean Butler and Michael Flatley, choral group Anúna and the RTE Concert Orchestra. Flatley was also to gain meteoric success as the principal choreographer of the Eurovision performance, the stage show and other „spin-off‟ productions („Lord of the Dance‟, „Feet of Flames‟ etc.). „Reel around the Sun‟ Analysis The „Reel around the Sun‟ is a variation of an Irish suite, comprising a slow air („Corona„) and two reels („The Chronos Reel‟ and „Reel around the Sun‟) with short orchestral links. The slow air is played in Dorian mode by solo low whistle (0:31) over a synthesised bass drone effect. The mysticism inspired by the haunting melody is particularly atmospheric for its use at the start of the ‘Riverdance’ stage production. The second half of the slow air (1:42) introduces high string tone before a more definite tonal centre is established a bar later (G sus chord). This is followed by a series of metre changes and somewhat disjointed melodic segments with more frequent chord changes played by the string section but still featuring the atmospheric use of percussion and bass drone.

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The introduction of a quiet bodhrán semiquaver beat (2:42) begins to change the mood and is the first „link passage‟. As the drone continues a syncopated semiquaver rhythm is played on the gadulka (a traditional Bulgarian bowed string instrument featuring 3-4 main strings, with up to 10 other resonating strings beneath). This rhythmic ostinato (2:52) is played throughout the first reel section which follows. The „Chronos Reel‟ (3:01) is a traditional reel with repeated sections and the orchestral texture thickens as the sections repeat. The gadulka rhythm supports the melody played in the accordion and fiddle. The third and fourth repeats of the „A‟ Section of the reel (3:22) feature the addition of extra string tone and bass guitar playing a dotted rhythm. The „B‟ section of the reel (Dorian mode on A), uses the instrumentation already heard, but its repeat later on (4:24) adds a sustained string accompaniment. The gradual crescendo used on the final repeat of the „B‟ section‟ heralds a further, and immediate quickening of the tempo and an instrumental link passage (4:44). This facilitates the departure of the company dancers and the arrival of the principal male dancer in the stage production. This orchestral link features a rising woodwind/brass motif including prominent low whistle, bodhrán, strings, guitars and percussion. As the dynamics increase, the „Reel around the Sun‟ commences (5:15), once again in a faster tempo than the previous section. „Reel around the Sun‟ (solo dance performance by Michael Flatley in the original Riverdance stage production) initially features a string melody with a strong bodhrán accompaniment. The repeats of the opening section feature added instrumentation including pipes and stronger bass guitar rhythm. The last two bars of the reel feature an interesting harmonic and melodic semiquaver motif (Example 1). Example 1

A short coda (7:01) features an inverted version of the semiquaver „Reel around the Sun‟ which is repeated three times, increasing dynamics each time and leads to a scale-like flourish, bringing the reel to a close. The return of the slow air is introduced by a scrape from the cymbals and gong (7:09). Although the original slow air melody is altered, the instrumentation, tonality and the bass drone effect remain the same. As the final notes of the low whistle melody fade, the work comes to a mystic close. NOTE: Bar numbers refer to the published score of the work “Riverdance - The Music” (Whelan, AMSCO Publications, 1998).

„Riverdance‟ Whelan states that the “…inspiration for Riverdance was the life of a river.” „Cloudsong‟ begins the work telling the story of the river and its journey toward the sea, “…nourishing the land as it flows through it.” (Whelan, W.).

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Analysis The work commences with an open 5th on strings leading to a solo soprano. This opening eight-bar melody, features frequent metre changes from 7/8, 6/8 to 4/4. The solo voice is then joined (0:34, bar 10) by SATB voices (featuring the choral group Anúna) singing in close harmony and also includes several metre changes These opening 16 bars are repeated (0:58, bar 18-33) with additional lower string accompaniment for the solo voice and additional full strings on the choral repeat (1:24, bar 26). An eight bar, cross-accented (syncopated) harp introduction (Example 2) (1:46, bar 34) accompanied by bass hand drums leads to a fiddle solo in 9/8 time (slip jig) (1:46) with added percussion and harp. This slip jig is danced by the Riverwoman. Example 2

The standard repeat of the A section (2:26, bar 58) introduces a thicker string accompaniment ending in the dominant minor (E minor). A 4 bar rhythmic link passage (2:50, bar 74) introduces the male principal dancer and symbolises the Earth. The section is played on bass hand drums over a long held E pedal in the upper strings. The reel which follows (2:58, bar 78) features again a syncopated melody (Example 3) with a frantic semiquaver upper string ostinato. A strong harmonic shift to the major key of D is used for the opening reel section with the contrasting B section (3:13, bar 86) in G major. Example 3

Another percussion link passage featuring the hand drums (3:30, bar 94) introduces a section featuring jig and reel rhythms (Example 4) played on the pipes. The exploitation of the 6/8 and 4/4 rhythms are key to the rhythmic drive in this section and Whelan suggests this is the uniting of River and earth.

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Example 4

As each section repeats the orchestral texture thickens. The sustained E chord (2:50, bar 74) which linked into the reel section, is used again above a 12/8 bodhrán rhythm (4:36, bar 132) and introduces the finale jig, with a return to E minor (4:42, bar 136). Whelan states that now the „…tension is finally released…‟ The melody of the jig is substantially the same as in the 6/8 - 4/4 section, but is altered to fit into the 12/8 metre. The melody is played by violin, Uilleann pipes and later joined by the tin whistle. This 12/8 climax to „Riverdance‟ builds up both texturally and orchestrally with heightened rhythmic excitement created by rhythmic brass interjections (5:08, bar 251 onwards). This section was very powerfully used by the ensemble dance cast in the Eurovision spectacular. As the music frantically works to its conclusion, the work finishes on a strong statement of the tonic and dominant notes in repeated quavers, leading to a ff seven-quaver orchestral unison on E to close.

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Optional Area of Study 2: Incidental Music

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Mendelssohn (1809 – 1847): A Midsummer Night‟s Dream – „Overture‟ Background Mendelssohn was a German composer, pianist, organist and conductor of the early

Romantic period. His work includes symphonies, concerti, oratorios, piano and chamber music Inspired to write this overture after reading the play “ A Midsummer Night‟s Dream” by

William Shakespeare Written originally (at the age of 17) as a piano duet in 1826. It was rescored with extra music

added to be performed as incidental music for performances of a new dramatic production (by Ludwig Tieck) of Shakespeare's A Midsummer Night's Dream, in 1843.

Overture An overture is an instrumental composition written as an introduction to a work such as an

opera or oratorio, or as an independent piece to be performed in the concert hall This is an example of an 19th century „Concert overture‟ which is an independent piece of

music complete in itself composed with concert performance in mind Context It is important to recognise how Mendelssohn interprets themes from the original play and presents them through a variety of ways using Sonata form structure in this orchestral overture. The main ideas presented are the fairy/court theme, the love theme, the characterisation of the comic figure „Bottom‟ disguised as a donkey, and the overall magical atmosphere created by the subtle changes in orchestration throughout the piece. Analysis Structure: Sonata Form Instrumentation - two flutes, two oboes, two clarinets, two bassoons, two trumpets, timpani, strings and ophicleide (the lowest instrument of the keyed bugle family). 0:00 – 1:06 Bars 1-61

The piece begins softly with four sustained woodwind chords. At bar 6 the upper strings change tonality from E major to E minor to introduce the evocative flurry of the fairy theme (1st subject) remaining in the key of E minor before the tonality starts to change with the introduction of pizzicato violas at this point. The momentum of the rushing quaver movement is interrupted at Bar 39 (0:46) with a diminished 7th chord in the woodwind.

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0:33 Bars 24-40 are then repeated with the viola part now played by the second violins. The

strings continue until it reaches a perfect cadence at bars 61-62. 1:06 Bars 62-98

There is an immediate shift back to the tonic chord of E major played ff by the full orchestra, including the ophichleide and punctuated by the timpani, introducing a new stately court theme (second half of the first subject). At bar 96 the music is modulating from the tonic key of E major towards the dominant key of B major at bar 98.

1:38 Bar 98 The fairy theme continues in the strings becoming more developed by use of a rising sequence in preparation for the new key of B major.

2:06 Bar 130

The second subject is now presented in the clarinets in the key of B major. It is very lyrical in character representing the love theme of the work. This theme continues for some time with increasing orchestral density before being continued by the strings at Bar 138 (2:14) over a tonic pedal in the cellos and basses. This theme is repeated and at Bar 162 (2:37) the violins play a two bar repeated figure taken from bars 140-141. Woodwind, brass and timpani interject with a small fanfare which is repeated (probably used to represent royalty). The love theme grows in intensity until it ends with a descending scale at bar 192-194 reaching the second section of the second subject.

3:06 Bar 194

This section of the music is played by the full orchestra and represents the group of workmen who rehearse a play to perform in front of the Duke. „Bottom‟, one of these characters, is transformed into a donkey during the course of the action, hence the use of falling ninths and tenths in violins and clarinets (Bars 199 – 205, 214 - 221), which suggests the braying of a donkey. The cellos, basses, horns, ophecleide and timpani accompany with a repeated tonic pedal. At bar 196 an F# is played by oboes, bassoons, and violas to create bare fifths in a drone like manner.

3:32 Bar 222

This section comes to a perfect cadence in the dominant. At bar 222 we hear brass fanfares which are later imitated between brass and strings (Bar 238) bringing the exposition to a close at Bars 249-250 with a short codetta based on the hunting call from the court music. By the end of the exposition all the character themes from the play have been introduced and the music has revealed many contrasting themes illustrating the diversity of the play.

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3:58 Bar 250 This is the beginning of the development section. The tonality changes suddenly to B minor with the violins playing the first subject fairy theme with soft woodwind interjections. Gradually the lower strings are added at bar 264 while the bassoons and flutes sustain a long chord. At bar 270, arpeggios are added by the woodwind section and at bar 284 the rhythm changes to the fanfare idea first heard at bar 166.

4:35 Bar 294 The sudden ff single note in the horn rapidly dies away against a pp timpani roll. The woodwind play the fanfare motif rising in pitch, against part of the fairy theme quaver movement in the violins over a tonic pedal in the cellos.

This material continues for some time and all the instruments apart from the ophicleide play at some point in the development. The hushed pp dynamics contrasted with the ff notes in the horn help to create the magical suspense.

4:51 Bar 306

Features a rising bass line reaching a perfect cadence in D major at bar 316. At bar 324 the cellos and double basses develop the first subject against sustained chords on woodwind and brass ending at bar 334 in C# minor. At this point violins play a reiterated C with descending pizzicato crotchets on cellos and Basses reaching a perfect cadence in bar 341 in D major. A pedal note D can be heard at bar 342 and this continues on flutes with the strings playing a descending crotchet scale movement. At bar 376 there is a reference to the end part of the love theme and gradually the music quietens down on a repeated chord of C# minor bringing the development section to an end at bar 393.

6:19 Bar 394

Recapitulation begins with the opening fairy horn calls although this time it is extended with three extra bars, the orchestration has changed and the key has subtly moved into E major. The fairy theme is as before with the addition of long held notes added to the texture along with interjections in various instruments including the ophicleide. A soft timpani roll is also added to give effect. However there is no reference to the previous court-like theme therefore making this section shorter.

7:17 The transition is also much shorter and leads to the love theme at bar 450. The 1st

section of the second subject is in the tonic key of E major and this (apart from the key) is identical to the exposition. The dance-like theme which is the second section of the second subject is also the same as before.

The descending wind scales which were first heard preceding the second subject appear again with an added timpani roll. The scale passages are developed and modulate briefly before returning to E major.

9:20 A perfect cadence in E major at bar 586 brings back the descending scale passage of bar 231 which is a short reference to the court theme. The second part of the court theme, the hunting call (first heard at 70 and also at 238) follows at 594. Accented plagal cadences occur from 594 leading to the end of the recapitulation in the tonic key at bar 619.

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9:50 Bar 620 The coda starts with the fairy theme in quavers in E minor, similar to the opening of the development section. Parts of other motifs used in the development section can also be heard. The momentum of the piece suddenly comes to a pause at bar 643 (10:10). This chord first heard at bar 31 resolves into a series of semibreve chords which gradually get softer until at bar 657 clarinets and bassoons are the only remaining instruments playing a soft reference to the opening court theme. The strings take over the court theme in augmentation. A tonic pedal in the cello starting at bar 675 heralds the end of the piece and a sustained E major tonic chord in the strings is followed by the original fairy horn call to finish the work.

Recommended score: Eulenberg no. 613, ISBN: 0975768152

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Grieg (1843-1907): Peer Gynt Suite – „Morning‟, „In the hall of the Mountain King‟ Biographical background Grieg is a „Nationalist‟ Composer – one who uses or reflects the folk music of his country in

his compositions. He is known to have used folk melodies from Bergen which is on the western shores of

Norway. His music inspired other composers such as Percy Grainger, an Australian Composer, to

emulate his research by looking into his own country‟s music. Grieg was writing for the common people and due, in part, to his music being tuneful and

easily understood, helped make him a hero of his own country.

Peer Gynt Henrik Ibsen (the author of the play) invited Grieg to write incidental music for it. Not only

for “between scenes” but also to accompany the action. It was first performed in 1876 and although a success at the time, because of its huge length

and complex plot, it is not performed very frequently today. The music proved so popular that Grieg arranged two suites for concert performance, and

these have remained popular ever since.

„Morning‟ In the play, this music is the introduction to a scene on the North African coast. However it

seems Grieg‟s inspiration was a little closer to home and he referred to it as – the sun rising over the forests and fjords on a clear Norwegian morning.

Although based loosely in E Major it has a decidedly “pentatonic” flavour which gives it a close link to folk music.

Analysis Main theme:

The movement is scored for an orchestra of double woodwind, horns, trumpets, timpani and strings. 0:00 It begins Allegretto pastorale with a rising and falling motif of four bars by the flute which

is then imitated (0:12, bar 5) by the harder sound of the oboe an octave lower modulating towards G# major.

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0:22 (Bar 9) The flute answers the oboe with the original motif in the new key for a further

four bars, and the oboe responds an octave lower again (0:32, bar 13) modulating to the dominant (B major).

0:42 (Bar 17) The two instruments play the second bar of the theme answering each other and

then, as the music crescendos, echo one another with two downward dominant arpeggios which lead into a full statement of the first four bars of the theme (0:52, bar 21) by the whole orchestra leading with an ascending sequence (1:06, bar 30) where semiquaver arpeggios lead to a short theme on the cellos. An upward trumpet figure leads to a repeat of the cello theme in F major and then into D major (1:19, bar 37).

2:02 (Bar 49) The semiquaver arpeggios return in the woodwind and the horn plays the

opening four bars again followed by two chords on the upper strings. At 2:17 (Bar 56) the oboes and bassoons restate the original theme for four bars back in the tonic key, repeating the final notes to extend the music leading into the…

Coda at 2:38 (Bar 62) where, after three sustained horn notes the violins repeat the opening phrase, completed by the clarinets with flute trills, perhaps imitative of birdsong, then at 2:54 (Bar 68) the horns enter with an altered version using just three notes and then repeating it as a two bar phrase with the clarinets and flutes three times. At 3:19 (Bar 78) the horns usher in the final bars where the flute repeats the opening 2 bars of the piece and the bassoons echo it two octaves lower. Three long sustained chords end the piece quietly with a plagal cadence.

„In the Hall of the Mountain King‟ Theme:

In the play, Peer has found himself inside the mountain kingdom of the Trolls. The music

accompanies the scene describing his quiet footsteps and the chase by the trolls when he is discovered.

At the end of the piece, the King appears just as Peer escapes the mountain as it collapses killing all those within it.

A general translation of the original chorus parts is as follows:

Kill him! He has bewitched the Mountain King’s daughter! Hack off his fingers! Tear out his hair! Boil him up into soup! Roast him on a spit over the fire!

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The piece is scored for a full orchestra: piccolo; double woodwind; four horns; two trumpets; three trombones; tuba; timpani; cymbals; bass drum; and strings. Analysis 0:00 The piece begins with a quiet unison F# (the dominant of the home key, B Minor). 0:05 (Bar 2) Immediately the first four bars of the theme are played staccato by the cellos and

double basses and repeated by the bassoons. 0:19 (Bar 10) The second four bars of the theme are played by the lower strings and once

again repeated by the bassoons with the fourth bar altered to end in the tonic key. 0:32 (Bar 18) Cello and basses repeat the first four bars of the theme again echoed by the

bassoons as before, with the fourth bar altered to end in the tonic key. 0:46 (Letter A, bar 26) The upper strings pizzicato have the theme echoed by the woodwind

in the same pattern as the first section – by now the music is beginning to gather momentum.

0:58 (Bar 34) The upper strings and woodwind continue with the second four bars of the

theme and as the speed increases so too does the volume. 1:21 (Letter B, bar 50) The full orchestra now take up the theme ff with the brass joining in

the repeats. 1:31 The orchestra continues with the second four bars - the piece now much faster and

louder and the pitch an octave higher. 1:40 (Letter C, bar 65) We have the final full repeat of the theme at a very fast tempo. 1:49 (Letter D, bar 73) The music stops abruptly with crashing off-beat chords interrupting its

flow for eight bars before the coda. 1:57 (Bar 81) The chords are repeated and emphasised eight times before one silent half bar

which is followed by a timpani roll in crescendo on the tonic (B). The bass instruments of the orchestra give a ff tonic B, followed by a thunderous, full orchestral ff tonic B minor off-beat chord which closes the movement.

Note: When the piece is performed in its original form the chorus parts begin at (Bar 50) 1:21. The recommended recording of this suite does not include these choral parts. Recommended score: Eulenberg no. 1318, ISBN 9783795761097

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Hans Zimmer: Pirates of the Caribbean (Dead Man‟s Chest) – „Davy Jones Theme‟ Biographical detail

Hans Zimmer was born in Germany on September 12, 1957 but moved to England as a teenager. His career in writing music for films began even before his move to the United States, where his score for the film Rain Man truly launched his career. Since 1988, Zimmer has worked on over 100 film scores and won seven Academy awards („Oscars‟) including best musical score for the Gladiator, The Lion King , The Thin Red Line and The Preacher’s Wife. Other film scores like those for Pearl Harbor, The Last Samurai, Da Vinci Code and Frost/Nixon have won Golden Globe awards.

Presently, Zimmer is the head of the Film Music division at DreamWorks studios, and collaborates with other composers through the company which he founded, Remote Control Productions. His film scores are most notable for combining electronic music sounds with traditional orchestral arrangements.

Contextual detail The first film in the Pirates of the Caribbean trilogy was released in 2003 and featured a score produced by Hans Zimmer but including insufficient original material by him to be credited as composer. The sacking of legendary Disney composer Alan Silvestri had given rise to a hastily put together score by composer Klaus Badelt and the team from Media Ventures. Media Ventures (now called Remote Control Productions) had won a reputation for their electronically-enhanced orchestral scoring used in film soundtracks. When Zimmer assumed the role of soundtrack composer for Dead Man’s Chest, the second film in the trilogy, the result was a score which developed some of the musical themes from the original, but brought new orchestral and choral textures to the fore, while still relying on the bass-heavy, electronically-aided music which was a Hans Zimmer hallmark. The score features new „character-related‟ themes and a wider range of rock styles, musical dance forms (i.e. jigs and waltzes), orchestral and non-orchestral sounds. This score and other „swash-buckling‟ action film music from Zimmer and his contemporaries, has continued the tradition introduced by composers like Erich Korngold and developed by others like John Williams and John Debney. Analysis A soft music box in D minor begins the „Davy Jones‟ theme. The 16 bar melody in 3/4 time gently rises by step and is heard over a tonic dominant ostinato for the first four bars (Example 1).

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Example 1

The use of a diminished 7th chord in the 11th bar (0:24) continues the harmonic interest. The melody comes to a close in a perfect cadence in the tonic key, however the dominant chord includes a modal Cª. The strings join (0:36), with added interest provided by the oboe repeating the opening theme, along with the continuing music box. The lower strings and the bass serve to give a mystifying „darkness‟ to the tone which is very much in keeping with the Davy Jones character in the film. Bass-heavy tones are a recognisable trait of Zimmer‟s film music (especially, however, in action sequences). A sudden change to a moderately fast tempo, introduces a pulsing organ ostinato (1:14) (Example 2). This organ sound is another departure for Zimmer who did not include it in the previous Pirates of the Caribbean score. It is accompanied by a thundering bass drum rhythmic ostinato (heavy first and second beats, echoing the opening accompaniment rhythm) which continues throughout this section. The main theme is also played by the organ and can be clearly heard over the ostinato (which emphasizes the dominant, A) and its accompaniment. Example 2

The orchestral texture thickens in the next repeat (1:39) to now include the organ ostinato, added percussion and synthesised/organ brass tones playing the music box theme, all in a new key of B minor. A choral unison version of the music box theme is also heard, whilst the quaver accompaniment figure in quavers continues. As the dynamics increase once again, another key shift to G# (2:01) further heightens the tension and drama. Heavier percussion, including dramatic cymbal crashes, combine with a much heavier bass line, the organ ostinato, choral lines and the music box theme (again played by brass).

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This final repeat of the Davy Jones theme is brought to a sudden halt (2:23) as only the heavily accented pulse on the bass drum and very quiet organ pedal note and lower strings remain. The return of the opening tempo also sees a return of the actual music box in B minor to announce the theme. This time sustained upper strings accompany with an inverted (new) tonic pedal and as the melody progresses, these rise up an octave (2:45) and eventually die away (3.00) just as the lower strings take over the sustained note and decrescendo for the next four bars. The work comes to a peaceful end leaving only the music box to play the closing notes of the theme.

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Ron Grainer (1922-1981): Dr Who Theme – revised title theme 2005 series Biographical detail

Ron Grainer was born on 11th August 1922 in Queensland, Australia and he studied music at the Sydney Conservatorium, but it was not until his move to Britain in the 1950‟s that his talents first came to prominence. He collaborated with the newly formed BBC Radiophonic Workshop on a number of television series themes and in 1963 wrote the theme music for Dr Who. He was very impressed with Delia Derbyshire from the workshop and her electronic realisation of his theme remained the standard version of the series for 18 years. Grainer and Derbyshire were initially refused credits for the music, since the BBC had wanted to keep the members of their Radiophonic Workshop team anonymous.

Grainer did not repeat the immense artistic or commercial success of Dr Who, but other television themes like Tales of the Unexpected survive. He died in Sussex, at the age of 58.

Digital Manipulation Techniques An analogue recording of a single plucked string was the source of the manipulation of Grainer‟s music by Derbyshire and her Radiophonic Workshop team. Sophisticated alteration of the tempo combined with white noise and harmonic wave-forms of test-tone oscillators, resulted in the unique sounds first heard in the 1963 version of the theme. Murray Gold‟s arrangement of theme for the re-launch of the 2005 series, featured samples from the 1963 original with additional orchestral sounds including strings, percussion and horns. It was the addition of the Dalek ray-gun and Tardis materialisation sound effects which so grabbed the attention of the Sci-Fi followers of the television show. Analysis The re-launched series of Dr Who featured the signature tune of the original and brought many of Ron Grainer‟s iconic melodies and rhythms to a new generation. The theme music for the 2005 series (and those since) comprises the following:

1. A four-bar rhythmic ostinato in the bass instruments (Example 1)* 2. A triplet quaver layer added to this ostinato 3. The first melodic theme (Example 2) featuring a rising 9th at the start 4. The modal tonality (E Aeolian) used at the beginning of the music 5. A second melodic theme (Example 3) this time in the major key 6. The use of digital sound effects and sound manipulation techniques

(Throughout these notes, reference is made to the purely orchestral sounds made in the recording. Many of these will have been digitally enhanced, altered and combined with other sound manipulation techniques in the studio mix.)

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The music opens with a descending glissando „whistle‟ sound effect which leads into the introductory music (0:04), comprising detached percussive minor chords accompanied by a frequently changing snare, bass ostinato (Example 1), bass drum and timpani. The harmonic content of this introductory section is predominantly minor and the interval of a minor third is fully exploited. The sustained brass chords heard also emphasise the minor tonality. Theme 1 is written in the mode of E Aeolian (Example 2). Throughout the score, this appears as E minor with accidentals (where necessary) for the altered modal notes. Example 1

Example 2

Theme 1 (0:16) is heard accompanied by the triplet motif which is also reinforced by a rhythmic upper string countermelody. Strong rhythmic accompaniment from the snare, bass and timpani drums adds to the forward drive of the piece. Theme 1 is then repeated (0:35), although the second half is now played by the upper strings. The triplet motif and rhythmic accompaniment remain as before and as a crescendo occurs and the brass instruments form a major chord, a second theme is heard. Theme 2 (Example 3) features a synthesised tone and the brass section, in particular the trumpets and horns (0:54) which also features a change in rhythmic accompaniment, with the notable absence of the snare drum. There is a much stronger timpani and brass texture throughout this section. Another short crescendo leads to the return of Theme 1. Example 3

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The relentless drive of the piece continues with this repeat of Theme 1 (1:08) and there is a much more dense texture, mainly involving the brass instruments to which the melody and the triplet motif have been transferred. A whirring sound effect (1:29) announces the return to Theme 1 (1:40) and continues to feature the bass ostinato, triplet motif and percussive accompaniment. The same chordal build up acts as a link from Theme 1 to Theme 2. The return of Theme 2 (2:00) features a similar change of rhythmic accompaniment as occurred in its first presentation. Similarly there is again a greater emphasis on the timpani rhythms. As the piece moves to its dramatic end, the triplet motif returns to the brass section (2:14) and the opening three notes of Theme 1 are frequently repeated, building a crescendo and leading to the final ff orchestral E minor chord ending with 3 accented triplet quavers starting on beat four.

Note: * Examples feature the music originally written by Ron Grainer

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Optional Area of Study 3: Vocal Music

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Handel (1685-1759): Messiah Recitative: „There were shepherds‟, „And the Angel‟ and „And suddenly‟ Chorus: „Glory to God‟ Aria: „Why do the nations?‟

Biographical background Composer: George Frederic Handel, 1685-1759 A German-English Baroque composer Famous for his operas, oratorios and concerti grossi Born in Germany died in England Works include Messiah, Water Music and Music for the Royal Fireworks

Background to Work Messiah is an oratorio Most famous of all Handel‟s works Based on a libretto by Charles Jennens Composed in Summer of 1741 First performance in Dublin in 1742 Libretto is in three parts Part 1 - prophecies from the Old testament Part 2 - concerns Christ‟s suffering and death Part 3 - relates to the second coming of Christ

The original version of Messiah is scored for SATB soloists, SATB chorus, 2 oboes, bassoon, 2 trumpets, strings, timpani, and basso continuo (there are also orchestrations by Mozart and Goosens). Analysis 0:00 – 0:14 There were Shepherds abiding in the field

This is number 14 from the part 1 of the work. Key - C Major. This is recitativo secco (dry recitative) where the accompaniment provided by the continuo is very sparse with only two chords. It is performed by a soprano and goes straight into…

0:14 – 0:32 And Lo the Angel of the Lord Came Upon them

This begins with a short introduction on upper strings playing semiquaver arpeggios against quaver movement in the lower strings in the key of F major. It is recitativo stromentato (accompanied recitative) where the accompaniment is fuller and in a definite and rhythmically steady metre. This short recitative ends with a perfect cadence in F major.

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0:33 – 1:06 And the angel said unto them The third recitative follows on immediately and again is performed by a soprano, accompanied by the continuo. It starts in the key of A major and is a recitativo secco. A perfect cadence can be heard on the words „great joy‟ with modulation to the key of E major and a perfect cadence at the word „people‟. The music continues to modulate until it reaches a perfect cadence in the key of F# minor on the last two chords.

1:07 – 1:25 And suddenly there was with the Angel

This recitative begins with a short introduction in semiquavers in the upper strings in the key of D major against a tonic pedal in the lower strings. The soprano enters at the anacrusis to the fourth bar. This is a recitative stromentato. It ends with a perfect cadence in the key of A major (the dominant) leading straight into the chorus.

The change from one type of recitative ie. the declamatory to the lyrical, was a common feature of the late Baroque era. The emphasis on this style of singing is to move the text forward in preparation for what comes next.

Glory to God This is scored for strings, trumpets and timpani, and is based on three main thematic ideas each associated with their own words.

(a) 0:00 Glory to God (b) 0:10 And peace on earth (c) 0:40 Goodwill towards men

This is performed by the full SATB choir. The choir begins homophonically in D major with the (a) motif easily recognised by its characteristic dotted rhythm. This is performed by the three upper parts of the choir and is accompanied by lightly scored semiquaver passages in the orchestra without bass instruments. Motif (b) appears in the tenor and bass parts - note the octave drop in the bass part contrasting with the preceding material. Motif (a) returns again (Fig A on the score) with the same accompaniment as before followed by motif (b) again in the tenors and basses although this time on the tonic note. The third motif (c) is introduced fugally (Fig B) in the order of bass, tenor, alto and soprano. This contrapuntal texture only lasts for six bars before returning to the previous homophonic texture. At Fig D, motif (c) is extended and treated sequentially to create a final climax ending with a perfect cadence in the key of D major. This is followed by an eight bar orchestral passage, lightly scored with no bass instruments, gradually getting softer and ending pp with a perfect cadence in the tonic key. Throughout the chorus the harmony remains diatonic. Many of the typical Baroque features are present i.e. diatonic harmony, dotted rhythms, semiquaver orchestral passages, cadential points, contrast of homophonic textures with polyphonic textures. Sudden contrasts of dynamics, use of ornamentation etc. The use of the three main thematic ideas is a good example of Handel‟s skill in developing melodic ideas through fragmentation and extension.

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Why do the nations so furiously rage together? This is a Bass Aria taken from Part 2 of the work. It opens with the full orchestra playing with the upper strings playing fast and furious semiquavers and the basso continuo underpinning the basic diatonic harmonic structure. The tonality is enforced with a tonic pedal in C followed by brief modulations to the sub-dominant in bars 5-6, the dominant in bars 6-7 and returns to the tonic in bars 9-10 ending the introduction with a perfect cadence in the key of C major as the bass soloist enters. The bass part starts with an ascending arpeggio in the tonic followed by a descending scale passage. This figuration along with the coloratura triplet passage that follows provides the main musical material for this aria. In keeping with the nature of the text, the music modulates frequently, i.e. at the first statement of „…a vain thing…‟ it reaches the key of D major. Word painting, a commonly used feature of this era can be heard on the word „rage‟ (0:36) where the composer uses triplet figuration in a descending sequence to emphasise the word. The words „…so furiously together…‟ are invariably set to a descending figure. On the phrase „…why do the people imagine…‟ the music starts to modulate again going to G major, ending the coloratura phrase on a perfect cadence in G. This phrase shows examples of sequence and repetition, devices commonly used in the Baroque period. The phrase, „…why do the people…‟ is treated sequentially and ends with a perfect cadence again in the tonic key. Another repeat of this phrase follows starting in the key of C major but ending once again in the key of G major where it remains until near the end of this section when it modulates back to the key of C major (Fig D on the score). A six bar orchestral interlude follows based on material taken from the opening ritornello. „…The kings of the earth rise up…‟ starts the final section of the movement. It is in the key of A minor. Note the use of word painting on the phrase „rise up‟. Once again a triplet coloratura figure is used on the word „counsel‟ beginning with a descending sequence ending this phrase with a perfect cadence in A minor. The music begins to modulate and finally rests on a perfect cadence in E minor.

Recommended score: Novello (Editor: Ebenezer Prout)

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Schubert (1797-1828): Die Erlkönig (The Erl King)

Schubert is a composer of the Classical/Romantic Period He composed over 600 Lieder Lied is the German word for „song‟ and in Schubert‟s time became associated with art

songs in German which had piano accompaniment The songs were usually settings of poems, some by distinguished poets, and the

accompaniments added colour and reflected the mood and content of the poetry. Schubert was followed by Schumann, Loewe, Wolf and others who all wrote lieder in the

19th Century. The Erl king is a setting of a poem by the famous German poet Goethe and Schubert set

the poem in 1815 when he was only 18. The song is „through composed‟ and is a very difficult work for both singer and pianist

to perform. The pianist has to sustain, for most of the song, octave triplets in the right hand at a very

fast speed. This momentum continues through the whole song up to the dramatic pause at the end before the final cadence.

The singer alters his voice to help interpret the role of the narrator, the child, the father and the Erl King – it is a very dramatic song.

The image above is of the first page of an original manuscript from Die Erlkönig.

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Analysis

This lied (song) is set in a fast common time (4/4) metre in the key of G minor. 0:00 The song begins with the piano setting the scene – the galloping horse suggested

by the thundering octaves in the right hand, given a sense of urgency by the rising scalic triplet figure in the bass which recurs as a motif throughout the piece. This urgent triplet figure continues in octaves or chords throughout the song until the father and child reach their home and the dramatic announcement that the child is dead.

0:27 (Bar 15) The Narrator sets the scene describing the night-ride with the father

riding home clutching his child closely to him. The minor tonality is established by the time we hear the first line of text reflecting the ride in the „nacht‟ (night) and „wind‟ (wind). In the second line of text („Father is holding his child‟), the Father is painted heroically by the music modulating (0:35-0:40, bars 21-24) to the relative major, B¨.

1:00 (Bar 36) The Father notices the child has become white with fear. 1:08 (Bar 41) The Child tells him that he can see the Erl King wearing a crown and

shroud. In bars 43 (1:12) and 47 (1:17), the Erl King is introduced and each time the text is accompanied by a diminished chord which perhaps emphasises the child‟s fear.

1:24 (Bar 51) The Father tries to reassure him that it‟s only a „Nebelstreif‟ (strip of

fog) that he sees. On „nebelstreif‟, as if to reassure the child, the music has again moved to the relative (B¨) major.

1:34 (Bar 57) The Erl King is tempting the boy to come with him, to play games in a

land of blossoming flowers and rich clothes. This is reflected with the major key and a pp dynamic. A more playful mood is also established with the altered right-hand accompaniment. This section is more like a lullaby or children‟s song than what has preceded.

1:59 (Bar 72) The Child becomes terrified and tells the Father that the Erl King has

spoken to him. Here the music moves back to the minor again. 2:11 (Bar 80) The Father tries to reassure him again that it‟s only his imagination. As

if to perhaps suggest the child is gradually being convinced, there is a modulatory passage through all of the Father‟s text: from B minor (2:11, bar 81) to G major at bar 85 (2:18).

2:22 (Bar 86) The Erl King tries again to tempt the boy, describing his beautiful

daughter who will dance with him (here Schubert subtly changes the bass line to give the impression that the rhythm is more dance like). To reflect the mood of the text again, this section is set at ppp and in C major, a more remote key, perhaps suggesting an even more dream-like atmosphere.

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2:40 (Bar 97) The Child becomes even more afraid and tells the Father he can see the Erl King‟s daughter in front of them.

2:53 (Bar 105) The Father once again soothes him by saying it is only a tree that he

sees. However, the music accompanying the Father‟s text here ends in G minor (3:02, bar 112) which may suggest he cannot convince the child or alter the child‟s ultimate destiny.

3:10 (Bar 116) The Erl King makes a final attempt to lure the boy away and threatens

him to seize him by force if he doesn‟t obey. The music for the Erl King‟s text starts gently, as before, in a major key (E¨ major). However, as the mood in the second line of text changes the music moves to a fff chord on G minor – the first minor cadence in the Erl King‟s text, exhibiting his more sinister intentions.

3:22 (Bar 123) The Child is now hysterical and calls for the Father to hold him tightly

as the Erl King has seized him with his hands. 3:39 (Bar 135) At this point the tempo begins to quicken as the Narrator describes

the final race to their home, the Father holding the child tightly in his arms. As they reach the courtyard the tempo slows and stops.

4:00 (Bar 146) On a quiet chord on the piano, the narrator describes (in recitative, A¨

major) the child in the Father‟s arms - interrupted by another chord followed by a short pause and the final words “was dead!” and a loud and deliberate (Andante) perfect cadence in G minor.

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Stephen Schwartz (b. 1948): Wicked Chorus: „One Short Day‟ Duet: „What is this feeling?‟ Biographical detail

Wicked was written by Stephen Schwartz who was born on March 6, 1948. He is an American musical theatre lyricist and composer. In a career already spanning over four decades, Schwartz has written many successful musicals such as Godspell (1971), Pippin (1972) and Wicked (2003). He has collaborated with Disney composer and lyricist Alan Menken and has also contributed lyrics for a number of successful films including Pocahontas (1995), The Hunchback of Notre Dame (1996), The Prince of Egypt (1998; music and lyrics) and Enchanted (2007). Schwartz has won the Drama Desk Award for Outstanding Lyrics, three Grammy Awards, and three Academy Awards and has been nominated for six Tony Awards.

Schwartz won one of his Grammy Awards for his work as composer and lyricist and producer of cast recording for Wicked.

Context Based on Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire, a novel which re-imagined the stories and characters created by L. Frank Baum in The Wonderful Wizard of Oz, Wicked tells the untold story of an unlikely but very deep friendship between two girls who first meet as sorcery students. The plot traces their extraordinary adventures in Oz and the genesis of their alter-egos: Glinda the Good (Glinda, the Good witch of the North); and Elphaba, the Wicked Witch of the West. The name Elphaba derives from the initials of L. Frank Baum.

The premise of this musical is that the audience has never been told the whole story about the Land of Oz. It encourages the listener/viewer to look at things very differently by exploring the themes of friendship, trust, tolerance, bullying, the use of propaganda and the manipulation of public opinion.

“What is this feeling” is regarded by Stephen Schwartz as the „roommate song‟. It is the fourth song in Act 1 and is the first time we see the future friends, Galinda and Elphaba, as enemies. This initial loathing turns to a deep bond of friendship later on. „One short day‟ is performed as Elphaba sets out to meet the Wizard, who she is hoping will help her to make Oz a better place. Both she and Galinda enjoy a day of sightseeing in the Emerald City and even take in a „Wizomania‟ musical performance. Analysis - “What is this feeling?” The song opens with Galinda and Elphaba verbalising letters they have written to their families about their first experiences at college. The unison melody in C major is accompanied by sustained chords in lower woodwind instruments with harp, glockenspiel and triangle for added colour (0:05 - 0:38)

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A short recitative, comprising only two notes is sung by Galinda (0:28), accompanied by strings, and leads directly to the song proper (0:39). The „rock-style‟ instrumentation includes full electric ensemble (electric, rhythm and bass guitars and synthesizers) with added acoustic strings, woodwind (including saxophones) and brass accompaniment. As „…What is this feeling, so sudden and new?...‟ is sung, kit percussion featuring particularly the closed hi-hat is prominent in the seven bars that follow, highlighting the off–beat accented chords on the last quaver beat of the bar. More rhythmic percussion accompanies both performers for the text “What is this feeling, fervid as a flame” (0:58). A four bar pedal on the note C, (preparing us for a C7 chord) that leads to the „Loathing‟ theme („Loathing! Unadulterated loathing‟) – a syncopated melody comprising leaping 4ths in the key of F major (1:13, Example 1) accompanied by punctuated chords. This theme continues with two interesting musical ideas; first a rhythmic motif stated first (1:21) in the instrumental line, (Example 1) then in thirds by vocals and instrumentally repeated an octave higher; the second a sequential motif on the words “ev‟ry little trait”, repeated for the words “makes my very flesh” a third lower. This is accompanied by much stronger guitar instrumentation and continues with a very rhythmic quaver ostinato featuring strongly accented syncopated beats (1:31). Example 1

A sudden change of key heralds a short homophonic a cappella section by the mixed voices (of the students) (1:56), with a rallentando into a short melismatic section by Galinda (2:08) followed by a build up of the choral texture. This announces a return to familiar material. The students now accompany Galinda in singing the recitative sung at the beginning to the words „What is this feeling?‟(2:27). Against this, Elphaba sings the „Loathing‟ theme. The texture at this point is much more dense and the close harmonies of the students (chorus) add extra colour. The crisp rhythmic quaver ostinato (originally heard 1:31) gives strong forward movement to the song. A key change (up a tone) to G major adds more excitement accompanied by a heavier rock beat. Elphaba and Galinda sing together with choral interjections as the song reaches its conclusion. The opening „leaping 4ths‟ motif is heard for the last time, in augmented note values (“and I will be loathing, for forever loathing”) elongating the melody. The song is brought to an end by the two characters singing together accompanied by the full orchestra quaver ostinato and a series of syncopated chords, followed by a sudden break of one all but silent bar where we hear the two characters scream „Boo!‟ and „Aah!‟. This is followed by the final sforzando tonic chord of G major.

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Analysis - “One Short Day” A spoken cue from Elphaba (encouraging Galinda to join her in the Emerald city), introduces the unison chorus on the opening theme - a bright upbeat syncopated melody in F# major. The rising bass of these opening three chords is a feature replicated in other songs in the show. Another spoken cue, this time from Galinda (0:09), introduces a varied repeat of the opening theme over the same harmonic progression. The introduction of a triplet crotchet 2/4 bar on the world „Emerald‟ leads to a surprising end to the phrase exploiting the rising perfect 5th first heard at the beginning of the theme (Example 2). Example 2

As the chorus hold this C#, the tempo quickens to the „joyfully bouncy‟ tempo (as per score instruction), there is a gradual crescendo and the accompaniment thickens in texture as the guitars, keyboard, kit percussion (especially closed hi-hat) and sustained upper strings lead into the main theme (0:26, bar 12). This is sung by the chorus in unison and features a stronger snare drum rhythmic accompaniment. A two bar link ending to a IV - V- I cadence in the tonic key, heralds an unexpected new key of D major for the first of Elphaba‟s solo lines (0:46, bar 22), before quickly moving into the key of F (0:50, bar 24). The chorus rests in this section so the main character‟s solos are easily heard. This second theme is repeated four bars later as a sequence („…wonders like I‟ve never seen..‟) with an altered ending as both characters extol the virtues of the Emerald City. Elphaba & Galinda sing together in parallel thirds (1:01) briefly before reverting to solo lines as the second section comes to a close with a rising chord sequence above a C pedal. Another unusual key change (back to F# major, 1:17, bar 37) heralds the return of the chorus with the opening „One short day‟ theme, this time with the chorus singing in parts instead of unison. This section concludes with the two characters in unison. A rallentando, followed by another vocal cue (warning that the „Wizomania‟ musical production is „about to begin‟), heralds a pastiche of a standard Broadway musical dance number in G major. The unison staccato choral (1:44) singing at the opening of „Wizomania‟ theme is accompanied first by detached woodwind and brass chords, but eventually by a much faster quaver beat drum rhythm and scurrying upper strings. The addition of swanee whistle (1:56) adds colour and gives the impression of a „pantomime‟ performance. The close harmonies of the chorus are particularly noticeable in the glissando „oohs‟ heard at 2:03.

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A return of the „One short day‟ theme (2:09, Example 3), this time with much less syncopation and augmented note values, introduces a section of choral counterpoint. As the male singers sing in unison the „Wizomania‟ theme, the females have the altered „One short day‟ theme. The counterpoint is accompanied by a new 2 bar rhythmic motif played by brass, woodwind and the rhythm section (Example 4). Example 3

Example 4

The repeat of the altered „One short day‟ theme (2:22) sees the chorus revert to unison („…What a way to be seeing the city…‟) and a ritardando announces the concluding bars of the song. As the tempo reduces significantly and short vocal phrases are given instrumental repeats, the rhythmic drum accompaniment stops and we hear the predominant upper strings (2.30). As the dramatic and powerful shift from enemy to friend unfolds in these closing bars, the tempo decreases further and the girls declare they are not only „good‟, but „best‟ friends. This is achieved musically by rhythmic augmentation in the bar which gives added emphasis to the word „best‟ which indicates its textual significance. No sooner have the words been sung by Elphaba and Galinda, than a sudden return to the lively tempo brings the song rushing to an end, incorporating the chorus singing in parts. The final spoken cue, „…the Wizard will see you now…‟ leads to the final flourish in G major. Recommended score: Hal Leonard: Piano/Vocal selections (112 pages) ISBN-10: 0634078828

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Snow Patrol: Final Straw - „Run‟ Biographical background Northern Ireland students Gary Lightbody, Michael Morrison and Mark McClelland originally formed an alternative rock/indie band „Shrug‟ when they were students at the University of Dundee in 1994. Early performances at University gigs, on the local club circuit and even record deals failed to bring them commercial success. The departure of Michael Morrison, a second (and third!) band renaming and the arrival of Jonny Quinn as permanent drummer, saw the band re-launch as „Snow Patrol‟. The band has undergone many changes in its line up in the intervening years and now comprise five members: Gary Lightbody (lead vocals, rhythm guitar and piano), Nathan Connolly (lead guitar and backing vocals), Paul Wilson (bass guitar and backing vocals), Jonny Quinn (drums and percussion) and Tom Simpson (keyboards and samples). Context The commercial failure of Snow Patrol‟s first two albums on the Jeepster label saw the band dropped from that label in 2001. This move saw major labels beginning to take an interest in the band, but it was Fiction Records who were to sign up the disillusioned performers. This resulted in the production of the album „Final Straw‟ which was to bring meteoric success. The band have never looked back from those early days, enjoying world wide commercial and artistic success and completing sell out tours. The song „Run‟ from the 2003 album Final Straw is said by Lightbody to have been a response to his life being saved by his fellow band member Jonny Quinn. Lightbody writes, “The words 'Light up, light up' gave this sense of a beacon. There had to be a light at the end of a tunnel." The song „Run‟ was covered in 2008 by Leona Lewis and gained further worldwide acclaim for the band. Analysis The song is in a steady 4/4 metre and the opening four bar introduction features electric guitar strumming of eight quaver beats per bar. It is joined (0:13) by bass guitar, drum-kit percussion and a lead guitar melodic riff which is also to recur several times. A simple chord sequence (A minor - Fmaj7/A - Gsus) forms the harmonic basis of much of the song. This sequence of chords is frequently repeated in the verses of the song and undergoes several variations with added 7ths and suspensions adding colour. The vocal cue used for the first vocal entry (0:24) uses two of the opening three chords from the introduction (A minor and Gsus4). A small vocal range is used for the verses of the song (a fifth, A – E, see Example 1).

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Example 1

A lead guitar solo line is heard again above the repeated quaver chords of the existing guitar line (0:46). This melodic riff is heard frequently and leads directly to the second verse (0:51), once again featuring the same three chords from the opening bars. The addition of a thicker string tone from the keyboards accompanies verse 2 of the song. The solo guitar riff (first heard at 0:13) leads to the chorus (1:17). The chorus features much heavier distorted guitar tones and keyboard string pads. There is a much stronger major tonality (moving to the relative C major) and the driving repeated guitar quaver chords maintain the momentum. There is also a much wider vocal pitch range for the chorus – almost an octave higher than the majority of notes in the verse (Example 2). A short triadic guitar build up links the two sections of the chorus. Example 2

A four bar link played by keyboard, featuring the lead guitar motif and the opening chord progression (2:09) leads directly to the third verse. This verse features the same instrumentation as the first verse, but unlike the first verse, is followed by the chorus. The four bar link featured after the first chorus, does not recur after the chorus which follows the third verse. Instead, the song moves to a third and fourth repeat of the chorus. The chord progression of the chorus continues for this new instrumental section which features a lead guitar solo line in octaves above the repeated quaver chords (4:30). This scale-like motif is played over the same chord sequence as the chorus and on its repeat features a strong complimentary string tone overlay (4:56) On the final repeat of the chorus (5:22) the instrumentation changes with the heavy distorted guitar omitted. The feeling here is more subdued with a noticeable dynamic change. The instrumentation accompanying the vocal now consists of string pad sound (sustained semibreves), bass guitar, clean (non-distorted) rhythm guitar and percussion. The song comes to a close with a plagal (IV - I) cadence.

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