Patrick WattsGCSE Set Work Revision NotesCompiled by Patrick WattsAfter doing intense research on all the set works I was able to create this revision resource. This is a collection of many different notes and resources that I have gathered with additional input of my own such as the links to video timings for different points. All timings are with reference to the set work audio on YouTube which can be found here https://www.youtube.com/watch?v=LUi0c-wsITg&list=PLC134878F04F4482D. In the comments I have also posted individual notes for each set work and the video timings are interactive so they can link you directly to the relevant playback time in the song. The YouTube comments may vary slightly from the notes in this document, but I it is better to read these notes and use the comments for the automatic links to the video timings. At the moment some of my comments have been ghost banned so they are not visible to others. I will try to sort this out but this will require me to create an additional count so may take some time. I recommend going through these notes using the GCSE Anthology of Music as this is where the most relevant scores are found and I have used their scores when referencing bar numbers and instruments etc. There are small chances that notes listed in this compilation may be incorrect or better phrased. If so please inform me so I can make the relevant changes. Last but not least, enjoy! Edit: Originally wrote this for my GCSE class but shared it with everyone because why not, also Ive changed it so anybody can comment on the document, if anybody messes around with these I will just remove this option and I can get rid of all edits anyway, so please only make comments for questions, edits, or phrase. I would thank you if you go to View > Mode > Viewing to avoid adding spaces or random, unnecessary things. To suggest things just type them into where it should go. For some reason I can only see edits not comments. http://tinyurl.com/n92ngv6 Theres the links for this document if you want to send it to someone. Thanks and happy revision =D. You can leave a message below this and I will try reply asap. I usually check the document everyday or two and Im currently writing essays for all the setworks, I can also share these with anyone who wants them.

1 - Handel And the Glory of the LordA chorus from Handel's oratorio Messiah written in 1741. From baroque period 1600-1750. Baroque Features: ornamentation, major/minor key structure, Basso continuo played by organ/harpsichord/double bass/cello, homophonic and contrapuntal textures, terraced dynamics. Marked 3/4, A major (major makes it happy/joyful). Although the use of hemiolas (notes grouped in 2) make it seem in 2/4 at times (end of the introduction bars 9-11). Allegro (fast dance tempo to match joyous mood (last 4 bars marked adagio/slow)). Dynamics mainly mf or f (terraced - means it goes up like steps, so there are no crescendos or diminuendos). Rhythm - Driving regular on beat crochet matches stately mood. Perfect cadences (V-I) in piece and ends with plagal cadence (IV-I). Instruments: SATB choir (Soprano, alto, tenor, bass), Strings-violins, violas, cellos, continuo organ or cello, trumpets, timpani. Handel later added oboes, bassoons and doubled the string parts and some places in voice parts. Texture - mixture of homophonic and contrapuntal texture throughout the piece. There is a small monophonic phrase of motif A bars 107-108 sung by sopranos. Bars 33-38 texture is homophonic. It ends with a chordal homophonic texture. Orchestra often doubles the 4 motifs. The tenor has an 8 on the bottom of the treble clef which means it sounds an octave lower than it is written.Structure is based on 4 motifsA - Outlines A major triad and syllabic (1 note per syllable) "And the glory of the Lord" ranges from low A to high A wide leaps create confidenceB - Descending sequence and melismatic (more than one note per syllable) "Shall be revealed" (melisma on revealed) C - Repetition of notes "And all flesh shall see it together" Spans from dominant E to tonic AD - Long repeated notes and syllabic "for the mouth of the Lord hath spoken it" pitch rarely varies to reflect importanceBar 1-11 is an orchestral introduction called a ritornello (little return as bits of it are played later) and it plays motif A followed by B.0:04-0:08 Violins play descending sequence bars 5-8 0:11 bar 11 Motif A sung by altos 0:14 bar 14 STB repeat motif A after the altos (this is repetition not imitation as they dont overlap)0:17 last beat of bar 17 motif B sung by tenors (hear the melisma on revealed) then imitated by other parts0:22 bar 21 modulation to E major (continuo plays a D#) this is the dominant of A major0:45 bar 43 back to A major and motif C sung by sopranos "And all flesh shall see it together" 0:54 bar 51 Motif D sung in unison by tenor and bass 1:08 bar 64 modulation to B major, this is the dominant of E major 1:35 bar 90 modulates back to E major (drops A#) 1:42-1:51 bars 96-101 3 motifs at once (great contrapuntal texture example) 1:50 bar 102 modulates back to A major (drops D# and perfect cadence on bass and continuo)1:55 bars 108-109 monophonic texture motif 1 sung by sopranos and violins play in unison2:25 last beat of bar 135 chordal homophonic texture marked adagio after 3 crochet rests (General Pause). 2:29 Plagal cadence chords IV-I (D-A)May be important to know the voices that introduce each motif: A Altos B Tenors C Sopranos D Tenor and bass (unison)

2 - Mozart Symphony No. 40 In G MinorWritten in 1788 - Classical period 1750-1820. Sonata form - Exposition, development, recapitulation. Written for traditional classical orchestra but without trumpets and timpani. 1st and (mainly sudden changes).Use of crescendos such as bar 63 but no diminuendos. Range of articulation: 2nd violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 natural horns (one in G other in Bb). Marked 4/4, molto allegro (very fast), G minor. 1st subject has anacrusis of two quavers. Some syncopation. Homophonic texture but there are examples of contrapuntal texture and imitation for part of development, frequent octave doubling. Texture is homophonic. Based on 2 subjects. The subjects are balanced 4 or 8 bar melodies that use question and answer phrasing. I.E. 2nd subject - The first part (each 4 bars) uses an imperfect cadence like a question and the next uses a perfect cadence as an answer (called periodic phrasing). Dynamics change frequently between p and f legato (lines connecting notes), staccato (dots/wedges above notes), sf - sforzando (played forcefully) bars 34-37. Diatonic harmony based on major and minor triads. Also examples of chromatic chords, pedal notes and progressions through the circle of fifths.Exposition 0:00-3:43 bars 1-100 1st subject introduced bar 1 in G minor. 1st subject is a balanced 4 bar phrase typical of classical period. Uses descending semitones and repeats rhythm of notes. Bar 28 0:32 Bridge/Transition modulates 1st subject and links it to the 2nd subject. 0:36 bar 34 marked sf which is to be played forcefully. The transition is loud and confident notes of chords played staccato. 0:45 full bar pause precedes 2nd subject in relative major Bb major bar 44, Played piano by strings. Violins play in octaves apart. Chromatic and descending. Mozart uses chords following the circle of fifths during the chromatic descent. Codetta (mini coda) ends in G minor. At 1:51 exposition is repeated. At 3:21 bar 80-84 the clarinet plays 3 notes of the 1st subject (now major) and is echoed by the oboe an octave lower. This forms a dialogue between the instruments. Codetta (small coda or little tail) reinforces Bb major key bars 88-99. Bar 100 A dominant seventh G minor chord sets the key to the tonic ready for the repeat of the Exposition. Development (develops 1st subject by using different keys and instruments) 3:43-4:53 bars 101-164 Opens in F# minor which is very distant from G minor. Development of first subject with rapid and unpredictable key changes. Agitated quavers played by violins. Bar 114 contrapuntal texture created by 1st subject on low strings and bassoon while violins play staccato countermelody. Bar 138 dynamics drop to piano and theres imitation between first violins and upper woodwind. From bar 140 Mozart uses lots of pedal notes. Bar 153 Long pedal on D (dominant of G minor) started by horns and taken over by bassoons. This is referred to as the dominant preparation and signals the nearing of the recapitulation.Recapitulation (similar to exposition) 4:53-7:31 bars 165-300 Returns to tonic G minor and full 1st subject is heard (rather than the fragments of it in development). Longer Transition passage goes through many different keys (goes through circle of fifths) quickly then returns to tonic (G minor). The bass plays the transition theme (moved to G minor) and is against violin IIs quaver counterpoint. Violin I imitates the bass part. Bar 227 2nd subject is now also in G minor (not Bb major).Coda Bar 260 6:39. Bar 281 dramatic outburst with help of the horn playing sforzando tonic pedals. Woodwind plays syncopated rising semitones against tonic pedals which creates momentary discordant clashes. Repeated perfect cadences bring the movement to a close in G minor. Random stuff: flutes and oboes often play trills e.g. bar 65 although you can't hear it. 2nd subject there is descending chromatic scale from G all the way to D. 2nd subject has legato phrases as well as staccato notes. Violas often play divisi (players divide into groups - one plays higher note and other plays lower note).

3 - Chopin Raindrop Prelude No. 15 In D Flat MajorThe piece is in ternary form (ABA1 and Codetta) and written in about 1835-38 in romantic period (1820-1900). 4/4. The tempo is rubato (the speed canbe altered for expression - sped up/down). Db major and modulates to C# minor (tonic minor) in B section. Mainly Homophonic texture. Dynamics range from pp to ff. There is a crescendo stretching over 6 bars from p to ff (bars 35-40). Piece is decorated with ornaments such as acciaccatura (or crush/grace note bar 11 and 15) and turn bar 17. Also Repetitive dominant pedal note A flat (enharmonic G# in B section). Unusual rhythmic features such as septuplets in bar 4 and 23 and similar effect in bar 79 where 10 notes has to be fit in the last beat of the bar. Piano is the only instrument (for B section mention how its played using sustaining pedal which creates a cantabile (singing) effect. Piano also plays legato (smoothly). Pedal markings show where to put the pedal on to sustain the chord while stars indicate when to release it so it doesnt blur the next chord. A section 0:00-1:36 1-27 Marked sostenuto (sustaining pedal). Starts piano with falling motif. Melody played by right hand. Accompaniment played by left mainly pedal note Ab. First 4 bars (link below) is the main theme for A section 0:00-0:13. There's a distinct rhythm that is used in the A sections (look at first 2 bars top line http://tinyurl.com/odfpvhp). B section (modulates to C# minor (tonic minor) 1:36-4:32 28-75 Dark and stormy mood. Marked sotto voce (under the voice).*Melody* now played by left hand in bass. The right hand plays G# (pedal note) every quaver for the entire B section (as well as other chords containing G#), creates the effect of raindrops.Here's that big crescendo 1:58-2:14.Thicker texture created by octave doubling in both hands (bar 40 best example). Apparently also passes through G# minor and F# minor. A section 4:32-4:46 75-81 melody back to right hand, shorter than first A section and back to Db major. Marked smorzando (dying away) bar 79. Codetta 4:46-5:43 81-89 Marked slentando (becoming broader) bar 81. Right hand plays unaccompanied descending 2 bar phrase - Monophonic texture bars 82-83 Coda 4:57-5:04. Ending is played ritenuto (immediately slower).

4 - Schoenberg PeripetieSchoenberg (Austrian) formed the Second Viennese School with Berg and Webern. Peripetie translates to a sudden reversal or a change of fortune and was written in 1909. It is the fourth piece in Five Orchestral Pieces. The piece is in free rondo form which is split up into 5 sections A B A1 C A2. Free rondo form is different to the the classical rondo form when different sections were *clearly* contrasted. Peripetie is written for a very large orchestra (90 players) with unusual additions. There are 3 flutes, oboes, clarinets and bassoons instead of 2 each. There's also a cor anglais, piccolo, clarinet in D, bass clarinet and contrabassoon. For brass there are 6 horns, 3 trumpets, 3 trombones and a tuba. The percussion includes xylophone, cymbals, tam tam (large gong), and bass drum. Instruments often play at the extreme of their registers in pitch and dynamics. The metre is mostly 3/4. Although it is 2/4 just for bar 22 and 4/4 for 5 bars in the final A2. The tempo of the piece alternates between sehr rasch (very quick) and etwas ruhiger (somewhat calmer). In the A sections, the rhythm contains many triplets, sextuplets and demisemiquavers. In the B section the rhythms overlap. The texture is largely contrapuntal with bits of monophony and homophony between. The B section has a very thick texture created by the percussion and woodwind. In the final section, A2, the full orchestra plays (tutto). The opening motifs are all based on hexachords. A hexachord is a set of 6 pitches that can be used as a chord or a melody. In A1 the hexachord is heard again this time by the horns. In the C section, the Bassoon takes the melody and then is taken over by the cello & double bass. In A2 the motifs are piled on top of each other and are playing in counterpoint and canon creating a very thick texture. The melody is split between instruments and the principal melody is called the hauptstimme while the secondary voice is the nebenstimme. The harmony is very dissonant with the use of hexachords and the 7th interval. The piece is atonal. The 12 tone row is a technique Schoenberg made which is the foundation of serialism (created after this piece), although this piece is an example of expressionism it doesnt use the 12 tone row (I think). There are sudden loud bursts and the piece's dynamics range from fff to ppp. The B section starts off very soft. In A2 there are large crescendos and diminuendos and the clarinets play a phrase ppp right after the fff phrase showing a massive dynamic contrast. The piece finishes with a chord (likely a hexachord not sure) played pp. Many of Schoenbergs melodic lines sound very angular because he uses octave displacement. Constantly changing instrumentation. Bar 62 there is a tremolo on the cymbal played with a cello bow. Bar 34 instructs the trumpet player to play bell up meaning to point the bell of the trumpet in the air to create a loud brassy sound. The + signs (called hand-stopped) on the horns in the end at bar 65 tell the horn players to put their hand further into the instrument which creates a thin, nasal sound. Brass and oddly strings have to play with mutes in several passages. (Double Bass plays tremolo on the bridge with mutes in bars 64-66). Bar 3 violins and viola play pizzicato (pluck the strings). These effects create a large variety of colour and contrasting timbre. Klangfarbenmelodie means tone colour melody which concentrates on the texture of the music and the particular sounds produced by the instruments (the colour).Using semitone = and tone = 1, a hexachord can be constructed on any note by adding - 1 - - 1 - . So C# D E F G# A or A Bb C C# E F. These create dissonant chords. If you want to understand/survive these notes use the score from the GCSE Anthology of Music. The structure is A B A1 C A2 and the entire piece is based on different motifs which can be called Motifs A-G. They are ALL presented in A1 than they get more obscure and harder to find. They have been named A-G in order of appearance so A comes first and G finishes the A section. (7 motifs). A 0:00-0:31 1-18 Motifs introduced in quick succession. Motif A and B here. First 4 seconds Bars 1-3 A hexatonic motif is motif A and motif B is basically A repeated at a higher pitch and in diminution after being separated by contrary motion (trumpets go up; trombones go down) chromatic scales played by the brass section. This brass section plays glissando (they slide through the notes) and so quick its like a smear of colour. Hexachords are heard at the end of motifs A and B on the first beat of bar 2 and on the 2nd beat of bar 3. In bar 3 beat 2 0:04 a more angular motif C is played by all 6 horns (marked a 6) is introduced. When this motif is repeated its very obscure from the original. Motif D is announced in bars 5-6 0:06 and is a rapid fire of hexachords. First the trombones play a loud jagged melody and higher strings play the descending hexachords. Motif E is bars 6-8 played by the horns (see hauptstimme mark) and ends on a long sustained hexachord. It is a quiet rhythmically simple motif and is repeated. Bar 8 0:11 low woodwind play motif F which roughly turns around G#. Bars 10-18 0:15-0:28 (this is may be the easiest thing to follow in the score) Motif G is a long clarinet solo and has wide leaps. B 0:31-1:00 19-34 Motifs developed and combined in counterpoint. Motif A and B return here and are in imitation in bar 19-21 and counterpoint is created in bar 22 with the use of the original (A) and diminished motif (B) together. Bar 27 motif C is heard on the horns starting on the last beat of the bar (marked hauptstimme as it is a principal voice like many of the other motifs). The 6 horns play together again [although they are still split into 3 groups as the played a 2 previously, they play the same notes]. 0:44. The notes are very similar although many are augmented (longer) and it is much louder (fff). Motif D can be heard at 0:34 bar 22 played by the viola and cello, this is the same time as motif A and B so dont get confused. So bar 22 is 3 motifs together, this is the height of counterpoint. Part of motif F is played using diminution bars 33-34, now uses semiquavers opposed to quavers in bar 8. (didnt put a time because its lost by the much louder parts). Bars 32-34 the first 2 notes of motif G are played by the six times in succession by the first violins and cellos in unison (0:53 you can hear the first 1 or 2 alterations before theyre lost in the battle). Bar 35-36 0:59 Motif G is used again but uses the first 3 bars rather than the first 2 notes and ends on a G instead of an F. Its played in unison by all the strings (except double bass) and has the same rhythm and notes as the original motif. A1 1:00-1:19 35-43 calmer section that develop many of the motifs in A in reverse order. Motif C now used as a short bassoon solo bar 44 1:18. C 1:19-1:50 44-58 calm section that combines new ideas with old ones. Bars 45-47 1:20 Motif F used as muted trumpet solo (marked 1 solo) played piano after the Bassoon solo.A2 1:50-2:12 59-66 Motifs combined in counterpoint creating loud climax. Bars 61-63 the trumpet plays motif D but only half the notes so it forms an augmented chord. Bars 63-64 motif A returns now on the low brass parts. However it is melodically inverted so it plunges down and is finished with a thunderous fff crash on the cymbal (hit with a mallet), bass drum and tam tam. At the same time, the trumpets play their ascending chromatic scales now a semitone higher than the beginning. The trombone doesnt play the descending scale as contrary motion is created with the trumpet and the now descending motif. This can all be heard at 1:58-2:01 and this was also used earlier a link between A1 and C and is the same thing without the percussion 0:54. This is quickly followed by a rapid attack of 3 ornaments and another hexachord played by all capable instruments 2:01. This is contrary motion again although the resultant sound seems to be ascending unlike the more balanced contrary motion by the trumpets and trombones at the start. Bar 64-65 2:03 clarinet gurgle is based off of motif C and played pp. There are 3 canons heard together before the large percussion crash. A canon is when after the melody is played by one part it is repeated exactly by another part.

5 - Bernstein Somethings ComingSomething's Coming is played near the beginning of the musical West Side Story first perform in 1957. The lyrics were written by Stephen Sondheim. The structure is not a typical verse and chorus structure but is simple and follows A, B, Bridge, B1, A1. The whole song is based on 3 themes A B and C. The melody contains many short riffs that are also used and developed in other songs of the musical. There are also accented notes (e.g. on "down, "bright" and "rose"). There is a very fast tempo of 176 bpm and the piece is full of syncopation (playing on the up beat). Tony often sings in triplets which creates cross rhythms. It has influences of jazz by the crochet bass part, fast tempo and complex cross-rhythms. The tonality is D major although it modulates to C major in the B sections. Although these arent related keys Bernstein slips into them smoothly and it plays significance as C is the flattened 7th degree of D major which is a blue note that repeats itself throughout West Side Story. The texture is homophonic throughout. The score has blue notes such as flattened sevenths (long C natural at end of vocal "soon as it shows"). Tritones (aka the devil in music/augmented fourth) creates dissonance and tension which matches the mood of the story. The first chord with D and G# is an example. The vocals vary from ppp to f and there is a crescendo and a metre change to 2/4 at bar 21 to the words "cannonballing". This is also word painting as the music is syllabic and forte. The piece is written for the character Tony a solo male tenor. Orchestra: Woodwind: 2 horns, 3 trumpets, 2 trombones. Strings: 7 violins, 4 cellos, 2 double basses. Others: drum-kit, mandolin, celeste, saxophones, electric and acoustic guitar. The castanets and maracas reflect the Puerto Rican gang (The Sharks, the American gang is The Jets). Tony sings syllabic (one note per syllable) but there is one melisma on rose. An extra point on word painting - "The air is humming", the word humming is illustrated by high violins 1:55. When looking through the score keep in mind there are repeats in a few places.Tritone are 3 tones apart if you are asked to construct one. G# D is common in the song as well as F# C. {When youre composing these shouldnt be there as they can create dissonance unless thats your goal, similar to semitone clashes like E and F on the same beat}. Below I refer to 3 different themes however, if you use these terms in the exam you must first describe what you mean by each theme by defining them. It is unlikely you will need this amount of detail but it is good to know when you are revising and for a better understanding. Cross rhythms are when two conflicting rhythms are heard together. This happens in the intro when the bass part plays 3 crochets in triple time but the syncopated melody sounds more like 6/8 which is duple time. This syncopation also causes the last beat of the bar to sound as if its played early, this creates a push rhythm. Intro - 1-3 0:00-0:06 D major - The intro introduces the descending staccato crochet ostinato by the double bass which is repeated until bar 21 when theme B appears. Clarinets and pizzicato strings play till bar 15 (pizzicato really clear at 0:00 but before 1 second, it goes duh duh pluck). Drums play with brushes throughout and use the snare and hi-hat although they can be very difficult to hear at places, play the intro 5 times and you should hear them. They play every dotted crochet which adds to the cross rhythm. A - 4-31 0:06-0:44 Tony starts singing pp. Theme A is heard best on bars 12-16 0:13-0:18 and is a 2 bar motif sung by Tony. On the first quaver/beat a tritone is created with the orchestra but it is quickly resolved on the next quaver by the singer.The last note rises the first time and falls the second time. It uses a rhythm of quaver, quaver, quaver rest, dotted crochet. The main feature is the syncopated third note which creates a feeling of urgency. Bar 17 soon as it uses crochet triplets against quavers which creates a cross rhythm. End of bar 17 0:17 sees the entrance of muted trumpets while the exit is at bar 28. There is also a tritone created by G# and D. Theme B is heard at bar 21 0:21 and the metre switches to 2/4. It is marked forte and marcato and uses accents >. There is word painting on cannonballing as it is forte, syllabic and repetitive. The time signature is back to in bar 27 and the music is repeated and starts again now with different lyrics at bar 9. Each theme ends with a long sustained note by the singer. Bar 17 the second time under a tree the drum becomes clearer Theme B the second time ends on a high E coming to me while the first time it dropped to an A on bright as a rose.B - 32-72 0:44-1:18 C major Theme A returns again but now starts on an F# and is sung piano. The metre has also subtly changed to 2/4 although the rhythm is the same for the singer except the final note is another beat longer. The drums now play the snare and hi-hat every crochet due to the metre change so they appear faster 0:46. On bar 49 there is another tritone crated with F# and C where the triplet was in the first A section although it doesnt appear this time. 0:55 bar 52 uses theme B on somethings coming but now uses crochets rather than quavers. Repeat with different lyric but there is a first and second ending. Bridge 73-105 1:18-1:40 32 bar bridge is theme C which uses longer legato notes and is sung at a higher pitch. Also uses triplets to create cross rhythms. Use of high strings. Bar 82 1:24 flute joins in on whistling. 1:55 bar 128 the violin plays tremolo on the air is humming while other plays harmonics (very high pure notes played by gently placing the finger lightly on the string and bowing).These are good examples of word painting (where the meaning of the words is reflected by instrumentation). B1 - 106-127 1:40-2:04 Return to C major and is marked ppp. This is similar to bars 41-72 with different lyrics. Bar 118 uses theme B again with a bit more movement (varying the pitches more) which prepares for the return to D major. A1 - 128-157 2:04-2:37 Bar 128 is marked subito meaning suddenly. In this case it means suddenly quieter as theme B was sung forte while theme C is sung piano. On coming and its back to 3/4 and the double bass reuses its 3 staccato ostinato. Bar 148 is marked sempre dim. which means always getting quieter. Fade out and ad lib. fade to keep on playing between applause and scene change. Maybe Tonight replaces the under a tree that we might have expected. Tonys last note is sustained starting on bar 153 and is a C natural instead of the C# that is expected. This makes it seem as if the music hasnt finished yet and something is coming

6 - Reich Electric CounterpointElectric Counterpoint has 3 movements: Fast, Slow, Fast (we study the 3rd movement). It uses minimalism and minimalist techniques such as little variety in instrumentation, chords that change very slowly, repeating patterns that gradually vary over time, rhythmic displacement/phase shifting, metamorphosis, layering, ostinati/loop, note addition, drone, augmentation & diminution. Minimalism is using limited materials in new ways. Written for Guitarist Pat Metheney in 1987. Time signature starts 3/2 but has a polymetre when mixing 3/2 with 12/8. Fast tempo 192 bpm. Instruments: Live guitar, Guitars 1-7, 2 bass guitars (panned to left and right, interlocking bass pattern). Guitars 1-4 play around opening riff while guitars 5-7 play chords. Structure - Piece is divided into two main sections, A and B, as well as a coda. Each section is further divided into 4 and defined by changes of key and/or texture. Rhythm is made up of layered ostinati which are phase shifted and displaced, interviewing rhythms (not a spelling mistake). Little rhythmic variety, mostly repeating patterns of quavers. Repetitiveness creates hypnotic effect. Multi-layered contrapuntal texture created by each track being multi-tracked to allow a live performance over the top. E5 chord at the end gives open and sparse sound. Diatonic harmony, no chromatic notes in either key. The key is not E minor as D# isnt used. Instead it is the Aeolian mode transposed to start on E. It is different in lots of text books, you can even say it is G major and Eb major. Most people believe it is E minor and C minor however which can be remembered by the name Electric Counterpoint. Either one should get you the marks although personally G and Eb make more sense as there are no sharps that should be in a minor keychoice is yours. Reich uses hexatonic scales (6 notes of the G major scale). The order of the instrument entrances are as follows: Guitar 1 Live Guitar Guitar 2 Guitar 3 Guitar 4 Bass Guitars Guitar 5 Guitar 6 Guitar 7 A 1-73 0:00-2:16 Metre is 3/2 for all A section. Guitar 1 opens with the one bar ostinato/loop, plays mf (guitars 1-4 ALWAYS play mf). This creates a monophonic texture. The live guitar then plays (in forte) and uses note addition until the whole melody is heard. The live guitars starts to fade out when guitar 2 plays the ostinato phase shifted (bar 7). The live guitar enters again in bar 10 with guitar 3 both using note addition. This creates a gradual metamorphosis through note addition. Guitar 4 comes in at bar 16 and the ensemble motif is heard for the first time where the live guitar and guitars 1-4 are playing their developed motifs. The guitars create a 4 part canon, they are playing the same thing but at different times. Each of the separate guitars sound slightly different as they have accents on different notes, this is called metrical displacement. The live guitar fades out and joins again in bar 20 with a different style, it doubles notes in other parts to create the effect of accenting the doubled notes which creates a resultant melody, it plays piano and crescendos to forte in the next bar. Reich uses tonal ambiguity but the bass guitars confirm E minor in the Aeolian Mode when they enter in bar 24 0:42 playing forte (remember they're panned). The bass guitars are introduced with note addition and play the first C note in the music (same bar) outlining an A minor triad A C E. Bar 36 1:05 the live guitar introduces descending chords. He plays: 3 C chords, Bm chord then E5 power chord. Now there is 3 conflicting pulses which creates a cross rhythm. Guitar 5 then enters bar 40 also playing these chords (minus first 2 C chords). Bar 46 live guitar plays a C chord and now a D chord. Bar 51 he plays an Em chord. Bar 52 guitar 6 takes over live guitar and plays C, D, Em chords which creates a pattern of ascending chords and creates contrary motion (melodic lines whose pitches move in opposite directions) against guitar 5s descending chords. Bar 64 guitar 7 joins and plays C D Bm-(with lower F#). Keep in mind guitar 5-7 only play chords and enter playing mf but they also fade out. (They enter p in B section). Bar 67 theres a very dense contrapuntal texture as all instruments are playing: a four part canon by G1-4, a 3 part canonic texture by G5-7, 2 bar ostinato shared by bass guitars, and the live guitars note doubling to create a resultant melody. This isnt to last as guitars 5-7 fade for the entrance of section B. B 74-113 2:16-3:31 And poof comes the B section all of sudden in C minor (wouldn't recommend that wording in the exam). Guitars 5-7 enter piano bar 74. Not going to bother with the chords they play now but it's very similar just modulated. Bar 78 bass guitars play ff and subito (suddenly). Back to E minor bar 82, at the same time there is a Metre change (polymetre) for ensemble guitars (1-4), now play in 12/8 while the other parts continue in 3/2. The metres are triple against quadruple which creates even more cross rhythms. They return to 3/2 in bar 86. Bar 90 the other guitars now play in 12/8 and it's back to C minor. Changes in key and metre continue to happen more frequently. Coda 114-140 3:31-4:26 Bar 114 bass guitars and guitars 5-7 / chords drop out for coda. Coda opens in E minor but changes keys rapidly, alternating between E and C minor. Bar 123 is C minor for only 1 bar! Bar 129 the metre is now fixed at 3/2 for ensemble parts and the key is E minor for the rest of the song. At bar 134 the live guitar plays a few notes higher and all parts repeat their 1 bar ostinato 5 times. The live guitar has a crescendo to ff and the last chord (E5) is played across the 5 guitars. The chord sounds open and sparse. 4:19. A little extra I want to add is the tab if anybody wants to play the main phrase. This is the one bar repeated throughout. Never wrote a tab before but this seems playable. There's a few quaver pauses but it's so fast that it sound like continuous playing. E 10 -- 7 -- -- -- -- -- -- -- -- -- B -- 8 -- -- 7- -- -- 10-7 - -- G -- -- -- -- -- -- 9 - -- -- -- D -- -- -- --- 9 -- -- -- -- -- -- And why not the chord that it ends on. This is a nice way to play it by yourself. Just a bunch of high E and B notes. E5 chord is power chord so it skips the middle note of the triad that would normally be E G B so it's just E B. E -- -- 12 -- B -- -- 12 -- G -- -- 9 -- D -- -- -- --

7 Miles Davis All BluesAll blues is taken from the album Kind of Blue and recorded in 1959. Uses modal jazz (jazz based on modes rather than chords) based on the mixolydian mode in G. A mode is a scale that is neither major nor minor. Although this has the same notes as C major it is different as the home note is G. The double bass also enforces this by playing a G at the start of nearly every bar. Blue notes are used as well such as the flattened seventh. 6/4 jazz waltz. Swung quavers is a rhythmic device common to jazz where when playing pairs of quavers the first is slightly longer than the second. Modal jazz is longer than bebop or cool jazz as it allows extending soloing. 156 crochet bpm. Dynamics mainly piano with a diminuendo in Head 4. Based around a repeating 12 bar blues chord sequence (referred to as the changes by jazz musicians).G7 G7 G7 G7 - Gm7 Gm7 G7 G7 - D7 E7/D7 F/G F/G6 (semi important)I I I I i i I I V VI V VII I VII I (not important - i is a minor chord)Lots of minor sevenths! This called extending or altering a chord. The last chord G6 is an added sixth chord (characteristic jazz chord) and results in G, B, D, E in the chord. The Gm7 is also special as it uses a Bb which is the blue third of G major, another blue note. Jazz sextet consisting of the frontline: Trumpet, alto sax, tenor sax and the rhythm: Piano, Bass (plays pizzicato and often "walks"), Drums. Drums played with brushes at first than switches to sticks when the solos begin. At the start the drums are marked sweep which means that a brush is dragged across the drumhead. Alto and tenor sax use effects such as glissandos and smears. Comping means accompanying. Piano plays trill at intro oscillating between G and A which is doubled at a fourth lower (many say tremolo it is actually a trill!). Syncopation (examples - Davis's improvised outro and the alto sax solo).Organised in a head arrangement which dates back to trad jazz and is a jazz performance that consists of improvised variations on a memorised (kept in the head) chord progression (this one being the 12-bar blues). Each repetition of the blues progression is known as a chorus and each improvised solo is based on 4 choruses except the piano solo which only uses 2. Links or riffs are used as a 4 break between the repetitions of the 12-bar blues chord sequence.Intro 4 bars 1-4 0:00-0:11- Waltz style established by rhythm section. Bass plays a six beat pattern starting with the tonic G and has the blue seventh F on the fourth beat. Drums have play 3 beat waltz rhythm played with wire brushes. Piano plays a tremolo-like figure that can be described as a pair of written-out trills.Link/riff always 4 bars - 5-8 0:11-0:21 - main intro riff is stepwise and played on saxophones in thirds.Head 1 12 bars - 9-20 0:21-0:53 12 bar head melody played with muted trumpet (Harmon mute). Melody used rising 6th from D to B which mirrors the falling leaps in the bass part.Link 21-24 0:53-1:03Head 2 12 bars 25-36 1:03-1:35 Repeat of Head 1Link 37-40 1:35-1:46 Davis has time to take off his mute. Ride cymbal added by the drums and sticks used instead of brushes.Trumpet imp solo 4 choruses (12 bars) 41-88 1:46-3:51 unmuted trumpet now. Miles davis improvises around the G mixolydian mode with the mute now removed. He uses a range just over two octaves but most of his improvisation is around the middle of the trumpets range. Short syncopated motifs. Piano comps and accompanies using the 12 bar blues chords rather than playing trills. Ride cymbal now very prominent in the rhythm section and Jimmy Cobb keeps time from bar 41 which means he plays a simple rhythm usually on ride cymbal while other band members can play more complex, syncopated rhythm. The dynamic range increases in this section and has more syncopation and the trumpet plays grace notes. Blue notes appear more frequently (Bb and F flattened 3rd and 7th). Bar 41 and 43 Davis plays ghost notes (marked with x note-heads) which produce a very faint tone that sounds very soft or muted. Another Davis effect is the fall off where he has a downward glissando at the end of a note (marked with diagonal line bar 52, 64 and 67).Link 89-92 3:51-4:01 Many textbooks say Davis leaves almost reluctantly to let Adderley play. What they mean by this his last two notes overlap into the link on bar 89. Played on piano between solos instead of saxophones so they dont detract from their solos that follow.Alto sax imp solo 4 choruses 93-140 4:01-6:04 Adderly on alto sax, very chromatic and technical. Starts with terse rhythmic motifs that run into a series of scales and arpeggios in semiquavers and triplets. There are few rest or long notes while most of the notes are in the alto saxophones upper range although there is a wider range than Davis.Link 141-144 6:04-6:15Tenor sax imp solo 4 choruses 145-192 6:15-8:17 Coltraine plays virtuosically on tenor sax and plays fast scales and arpeggios played across a large range of the instrument. He uses intricate rhythms like triplets within triplets. Coltraine often plays away from the chord so his notes sometimes clash with the underlying harmony. Link 193-196 8:17-8:27Piano imp solo 2 choruses 197-220 8:27-9:28 Evans on piano, continues COMPING in left hand, uses 2-repetitions of the 12-bar blues chord sequence, right hand plays a melody line like frontline instruments. His second chorus features parallel chords (a succession of identical/very similar chords moving in the same direction) strings of triads, 7th-chords and 9th chords and some use of contrary motion with the left hand.Link 221-224 9:28-9:38 Saxes return to play the link in in thirds and Evans reuses the piano tremolo/trill half way through at bar 223.Head 3 1 chorus 225-236 9:38-10:09 Same as head 1 trumpet muted again.Link 237-240 10:09-10:20Head 4 1 chorus - 241-252 10:20-10:51 melody now developed with a more minor feel. Can hear trills on the piano again.Link 253-256 10:51-11:01Coda 1 chorus 257-268 11:01-11:33 Davis plays a simple and short muted solo on the tonic and dominant and then uses the legato phrase he plays at the end of the heads over the sax riff before the song fades.

8 Jeff Buckley GraceGrace features in the album Grace released in 1994. Co-Written by Gary Lucas, guitarist. A rock ballad (love sung with a slow tempo) with folk music influence so it is FOLK ROLK. The song starts p but has a chord played f in intro. The whisper effect uses dynamics by playing a note quietly and then quickly turning the volume up. 64 dotted crochet bpm consistent throughout. 12/8 (quadruple compound time). Complex structure closest link being verse/chorus with some additions. Intro used as a link. Melody mainly sung by Jeff Buckley and covers a large register (2 octaves). Unaccompanied vocal at end shows influence of qawwali music. Mainly homophonic texture. Parts drop out for textural contrast. Thick polyphonic texture in middle 8 from multi-track vocal harmonies in counterpoint. Whisper often used in thinner textures so they can be heard. Thick texture in verse 3 and outro with strings. In intro, rhythm is driven by the acoustic guitar and the Hi-Hat. Emphasis on Toms of drum kit in verse 1. Drum roll leads into middle 8. Cymbals used more prominently in verse 3 (on beat crash cymbal). Solid rock beat is the unifying rhythm. Ambiguous key, D major at intro but becomes recognised mainly as E minor. Harmony consists of dissonance, complex chords and the use of power chords. Unusual harmony for a rock song: standard I IV V chords are avoided and many are chromatic and move in parallel motion (semitone steps like the chorus F-Em-Eb). Main chord sequence is a power chord played in different ways. Band: Vocals: Jeff Buckley, Guitars: Jeff Buckley, Gary Lucas, Drum Matt Johnson, Bass: Mick Grondahl. Electric and acoustic guitars, drum kit, bass guitar, synth, strings. Bass drum plays on 1st and 3rd beat while snare accents the backbeats on 2 and 4. Cross Rhythms with use of 2 against 3/quavers against dotted quavers. Drop D tuning on guitar (lowest E string tuned down to D). Guitar printed in tab (shows the finger position of each note: numbers represent frets and lines represent strings). Sings portamento (glissando/slides) on words away, afraid and die. Vocal has frequent ornamentation (acciaccaturas or grace/crush notes). Mainly syllabic but has frequent melismas. Long melisma emphasises love. Drums and guitars (playing rhythmic patterns and broken chords) accompany Buckley for most of the song. The synthesiser and strings are less prominent and drop in and out, they are used to add effects and vary the texture. Guitars are overdubbed which creates a thicker sound.Intro - 1-7 - 0:00-0:25 2 guitars pick the riff outlining the first chord of F minor then G minor. Modulation on synthesiser [Karims favourite for those in my class]. The band enters with a loud Em chord (tonic) (Scoops on tremolo arm on guitar here, more often called the whammy bar) and a roll on the crash cymbal leads into the instrumental 0:11. Bars 1-3 no clear key but bars 4-7 in D major and chord alternate between D and A7 (tonic and dominant of D). Strong chordal guitar riff played four times emphasis on D major by using C#. Introduction overall has ambiguous tonality.Verse 1 8-16 - 0:25-0:48 Listen to the Toms on the drum kit. Bass plays root note of power chord which moves up and down chromatically so tonality is still fairly ambiguous. Guitar plays broken chords. Whispers heard here! 0:26 0:30 0:37 for some. Buckleys melody is low in his range and has descending leaps that are sung portamento (glissando/slide) establishing the songs gloomy mood.Pre-chorus 17-19 - 0:48-1:11 Both guitars move up the fretboard with the vocalist. Buckley moves to a high register for my fading voice. Tonality finally established as E minor with the use of its three primary triads (I, IV and V chords). Buckely illustrates love with a falling melisma (sings several notes to a syllable the opposite of syllabic). The bass depicts the clicking of time by playing a cross rhythm in bars 14 and 17 (Bass plays the equivalent of 8 notes in 4/4 while Buckely sings in 12/8).Chorus 20-24 - 1:11-1:30 Ghost notes played by guitar in chords by playing and muting the 2 bottom strings (E & B). Whisdrifper heard here also. Same notes are also played openly to create an intentional dischord as they clash with the rest of the chord. Melisma over 2 bars on "fire". Still has falling melodic lines and there is a long melisma on the last fire.Link 25-31 - 1:30-1:55 Repeat of intro with slightly fuller texture.Verse 2 32-40 - 1:55-2:29 Strings added at 2:19 to add to texture. Strings play staccato and glissando bar 39. Added synthesiser effect after sorrow 2:04. Bar 37 Buckley now rises to a high E on love. Buckley also reaches the high A earlier at bar 39 compared to verse 1. Pre-chorus 41-43 - 2:29-2:41 Same as before, strings now more prominent. Bars 42-43 Buckley reaches a high B, the highest note so far which leads into the chorus.Chorus 44-48 - 2:41-3:00 Repeat of the first chorusBridge/Middle 8 49-59 - 3:00-3:41 First 4 bars are based on sustained parallel triads rising from Eb to G and then falling back chromatically to E minor 3:09. This seems to be moving towards G minor but then plunges back to E minor in semitones. Use of overdubbing (Buckley recorded his own harmony/backing vocals). This section is called the vocalisation (wordless singing often to a vowel). Long sustained notes more harmonic than melodic. From bar 53 onwards Buckley moves even higher into falsetto (false voice) bar 55 there is a top E. 3:29 - EQ effect (removes lower frequencies) in vocal melody gives harsh and distant effect. The words pain and leave are higher now than before.Link 60-66 - 3:41 - 4:07 The guitar completely mutes the strings and strumming. Strings play col legno (meaning with the wood) so they are repeatedly tapped with the back of the bow. Hitting the deadened strings and the body of the acoustic guitar may be heard here as well.Verse 3 67-72 - 4:07-4:30 Buckley sings the verse an octave higher but avoids falsetto to create the feeling of strained anguish. Emphasis on cymbals (on beat crash cymbals). The words go so slow are illustrated with longer notesOutro 73-85 - 4:30 - 5:24 This is the climax and is based on repetitions of the falling chord pattern at the start of the chorus F-Em-Ebmaj7. Melisma and Falsetto in vocal improvisations. Thick texture by the performers improvising around the riff. The weight of the flange effect and distortion on guitar and the cymbal splashes drowns the wailing lyrics which refers to verse 3s drown my name.I'll put all the times the whisper effect is used here. 0:26 0:30 0:37 0:42 0:47 1:19 Some weird stuff going on at 1:35 1:57

9 - Moby Why Does My Heart Feel So Bad?Why Does My Heart Feel So Bad by Richard Hall / Moby is the fourth track in the album Play released in 1999. It is a club dance piece with influences of Techno. Common features of club dance music include: 4/4 metre and steady tempo, prominent use of electronic sounds, strong beat emphasised by drums and bass, short phrases and repetitive looped sections. Melody consists of 2 samples from a gospel choir recording in 1953 from the song King Jesus Will Roll All Burdens Away. These samples are looped to create the melody which as a result is simple and repetitive. Samples have authentic vintage sound as Moby didnt remove surface noise (crackles made when playing a worn vinyl record). Although the music is electronically based, Moby didnt want it to sound sterile. Moby manipulates the samples to reverse the meaning of the words. For example, he changes the original lyrics from glad to bad. Both samples are manipulated to produce different lyrics. Sample B is these open doors and is sung by a female voice while sample A is male. [Moby used Steinberg Cubase sequencing software on an Apple Mac computer]. Tempo of 98 bpm with 4/4 metre. Instruments: Roland TR-909 Drum Machine, Piano chords generated by Emu Proformance piano module, Yamaha Synthesisers, Akai 3200 Sampler, String sounds made by Yamaha synths (SY22 and SY85), sub-bass line by Roland Juno 106 synth, Yamaha SPX900 is a processor Moby used for adding reverb to the piano sounds. The clave on the drum machine plays entirely off the beat. Drum beat is very similar to Grace as the backbeats (2 and 4) are accented on the snare drum. Moby added reverb (short for reverberation) to enhance the piano and vocal tracks. Sub-bass line plays notes over 2 bars which lacks the physically throbbing character usually in techno dance music. Described as a verse-chorus structure, Why Does My Heart Feel So Bad consists of the verses defined by sample A (male) and the choruses defined by sample B (female). Moby harmonises the samples using a new chord every 2 bars. Moby uses a falling harmonic sequence Am Em G D for verses. The piece in in the Dorian mode on A for the verses (A1-A8). The Dorian mode is all the white notes from D-D but has been transposed to start on A, this produces an F#. In the choruses the piece is in C major but only uses 6 of the 7 pitches so its hexatonic. Chorus Bx uses C Am C Am and chorus By uses F C F C (each chord 2 bars). Harmony is entirely diatonic. Syncopation is used by the piano, vocal and the synth strings in the song. There are electronic ghostings on Sample A when it first comes in, these are remnants of the backing singers in the original sample.Intro/A1 - 0:00- 0:19 Harmonies for samples introduced on piano establishing the sequence Am Em G D using broken chords. Can be described as being played in free time as there isnt a clear sense of pulse. Notice the panning? Listen to the offbeat quaver bass note in the middle of every bar, its panned to the right ear. Verse 1A2- 0:19-0:39 Male gospel sample A added.A3 0:39-0:58 Drums and percussion added makes the 4/4 beat clear. Countermelody for synth-strings and piano (later only piano plays this as strings play chords). The drum loop is made up of a backbeat (drum solo) sampled from a hip-hop track. Repeated semiquavers are played on the shaker. The drum beat is the EXACT same as Grace with the bass drum and snare (look at notes on Grace).A4 0:58-1:18 The texture thickens with chords for synth-strings and bass.A5 1:18-1:38 More rhythmic, syncopated version of the main chord pattern is played by piano.ChorusBx - 1:38-1:57 The 2 bar female sample B "These open doors" is played 4 times with the sequence C Am C Am. By - 1:57-2:17 The same sample is re-harmonised with chords F C F C, it is still repeated 4 times but the second appears straight after the first then has a gap between the next two. [This can be called re-triggering]. There are gospel shouts of praise in the gap and at the end [sounds like HAH!].Verse 2A6 - 2:17-2:55 Same as A5 but voice echoes are created with delay and EQ effects (low frequencies removed by passing the signal through a high-pass filter). Echoes and original sample create question and answer style.A7 2:36-2:55 Repeat of A6Break - (1 bar) 2:56-2:58 1 bar silence but you can hear the fading echo of feel so bad. This is known as a breakdown in techno dance music as the arrangement momentarily seems to break down.ChorusBx2 2:59-3:18 Female voice is now more distant and harsh due to Telephone EQ effect (removes high and low frequencies). Static chords by synth-strings and no piano/percussionBy2 3:18-3:38 Similar to the first By chorus. Drum roll leads the drums back in with the piano (syncopated chords). Voice returns to foreground (EQ and delay removed).By3- 3:38-3:57 Repeat of chorus By2.Outro/A8 - 3:57-4:26 Male sample accompanied only by static chords (string-synth). Piano and drums completely drop out.

10 - Capercaillie Skye Waulking SongFrom album Ndurra (translates to naturally). Heterophonic texture, instruments sometimes weave complex improvised counterpoint. Vocables are nonsense lyrics (oh ho), 12/8, slow and calm tempo. Released in 2000. Celtic Fusion (music that comes from Scotland, Ireland or Wales). Scottish Band sing in Gaelic. The band formed at Oban High school as a school band and they played for local folk dances known as cilidhs (pronounced kay-lees). This is a word pun on caper(kay-lee) which is also a Scottish bird. Song means "My father sent me to a house of sorrow". The lyrics are taken from a lament called Seathan (or John), Son of the King of Ireland. Spread by oral tradition. Capercaillie fuses Celtic Folk Music (accordion, flutes, whistle, uilleann pipes (pronounced ill-ann), bodhran, fiddle, bouzouki) with Western Popular Music (synth, acoustic and electric bass, guitar, Wurlitzer piano [where hammers strike small steel rods]) Other instruments: Vocals, drums and percussion). Solo (Karen Matheson) has a very low female alto voice. A traditional waulking songs usually in call and response but this adaptation uses solo voice with backing vocals. Tonality vocal based on pentatonic scale on G but the accompaniment isnt as it contains all the notes of G major including C and F#. However, it has a modal feel as the dominant chord D is avoided, the main chords are G, Em, C. Bad luck to repeat verses so they're all slightly different. A phrase is followed by a refrain and 2 of these make the structure of the song. The instruments base many of their motifs on the vocalist. The phrase is the Gaelic singing and the refrain can be heard as it is the vocables [like oh hi oho]. Phrase 1 is sung a bit higher and is short than phrase 1. They both start on the dominant D but phrase 1 is an octave higher. Frequent syncopation in vocal and instrumental countermelodies. The vocal part has a lilting rhythm. The phrases are both harmonised with a chord of G (except bar 46 where phrase 1 has Em9 but this still includes all the notes of G). The refrains are harmonised with C and/or Em (except bar 45 where there is Am9 which also still includes the same notes). It is easiest to spot the difference between 1 and 2 by listening to the refrains.

(*s are for refrain 2 when the second syllable rises to a G rather than E)Intro 1-8 0:00 Synth opens song with modulation (pitches slightly fluctuate) and uses a long dischord of an Em triad with the 2nd and 4th notes added. This is called a CLUSTER CHORD. Fiddle (folk musicians preferred name of violin which is why it is called violin in the anthology) plays tremolo on D, Bass/Drums/Wurlitzer Piano and Bouzouki join bar 3. Wurlitzer and Bouzouki (plucked string instrument of the lute family) share the melody. Bar 7 bouzouki plays acciaccaturas. Gentle cross rhythm created by the drummers high-hat cutting across the normal divisions on 12/8.Verse 1 9-11 0:33 Vocals come in, Chords alternate between Em and G for verses 1-2. Phrase 1 bar 10 0:37. Refrain 1 bar 11 0:41.Break 12-15 0:45 Short break to separate the verse and provide some instrumental. Violin returns with tremolo on D.Verse 2 16-17 1:02Verse 3 18-21 1:23Verse 4 22-24 1:40 bar 24 is unaccompanied (contrast in texture). It is marked N.C. which means No Chord.Verse 5 25-33 1:57 Bar 25 Full band plays, chords now C G Em G, backing vocals sing vocables/refrains, accordion plays counter melody to vocals. Drums play with brushes. 2:13 end of bar 28 drums play tom toms.Verse 6 34-35 2:14Instrumental 36-43 2:26 based on refrain 2 use uillean pipes, fiddle and accordionVerse 7 44-48 3:00 Dynamics drop considerably as some instruments drop out, chords change to Am9 Em9 Em G for 4 bars, in last line all instruments drop out which creates textural contrastVerse 8 49-51 3:20 bar 49 Full band chords back to C G Em GOutro 52-65 3:34 refrain 2 bar 57 and 59 and backing continues fading gradually. Alternating chords between C G. In the key of G major, these create the effect of repeated plagal cadence.

11. General Rag Desh NotesComes from Hindustani tradition (North India). Most Indian music is based on: melody, rhythm and drone. A rag is a pattern of notes. Rag Desh is traditionally an evening/night rag and performed at a medium-fast tempo. Starting on C the notes are: Sa Re Ma Pa Ni Sa(highest) Ni(flat) Dha Pa Ma Ga Re Sa. Rhythms are usually in cycles of beats called talas (or tals). The most common tala is the tintal tala (16 beats). Talas are commonly marked with claps to mark strong beats and waves to mark weaker or empty beats. A beat is called a mantra and the first beat/mantra is called the sam. Unlike western music the song finishes on the sam rather than the last beat of the tala. The rhythm is provided by the tabla which plays the tala (cycle) and is a percussion instrument with 2 drums played side by side on the floor. The right (dayan) is tuned to Sa the tonic with a high pitch. While the left (bayan) is deeper in pitch to provide a bass sound. They are played with the fingers of each hand. On the bayan the heel of the hand is pressed into the drum to change the pitch. The drone often opens the song and starts on the tonic note, Sa. Traditionally played by the tanpura, a string instrument that looks like a sitar but has no frets and has 4-6 strings. Music passed on through generations by oral tradition. In India it's known as master-pupil teaching known as Gharana. A tihai (pronounced tee-high) is a phrase played 3 times across the beat ending on the sam. An alap is a slow introductory section in free time that introduces the notes of the rag accompanied only by a drone. A gat introduces a clear pulse with a tala. A jhalla (means shower) is a more rhythmic section that uses tans (scales) and lively strumming of strings. Music is often improvised but there are fixed compositions in parts like the gat. The alap is always improvised. 11.1 Anoushka Shankar Rag DeshSitar and Tabla are main instruments in this version. Sitar is a long-necked plucked string instrument with moveable frets. 12 or more Sympathetic strings running beneath the 6-7 main strings. These sympathetic strings resonate producing a characteristic shimmering sound. Notes are frequently bent by pulling the strings (similar to pitch bend but called meend) to the side. Uses Tintal (16) and jhaptal (10) tala.Structure - Alap, Gat1, Gat2, JhallaAlap - 0:00-0:53 like an introduction, here it's slow and unmetred. It's just Anoushka on the sitar exploring the notes of the raga.Gat1 - 0:53-9:27 Played at madhyalya (at a medium speed). Sitar plays fixed composition that is repeated throughout the music, melody is decorated with ornaments, Tabla enters playing Jhaptal tala (10 beats) at 0:58. The gat ends in a series of various length tihais 3:01-3:03, 3:11-3:19, 3:27-3:34 and 3:40-3:50. 3:55 the sitar improvises using triplet phrasing called chand. 5:02 improvisations continue Sitar and tabla alternate indicating the end of each solo with a tihai.Gat2 9:27-10:10 Faster tempo (drut) and the tabla now plays the most common tala -tintal tala (16 beats).Jhalla - 10:10-11:19 Drone strings strummed on sitar for rhythmic effect. Piece ends on tihai starting on 11:11.11.2 Chiranji Lal Tanwar Rag DeshInstruments: solo voice, sarangi, sarod, pakhawaj (large double headed drum), cymbals, tabla. This is a hindu devotional song from Rajasthan and is called a Bhajan. Tells of waiting for Lord Krishna in the morning. The sarod is similar to the sitar but has no frets and is shorter than the sitar and is plucked with a wooden plectrum (oppose to metal on the sitar). The sarangi is a fretless bowed instrument that is held in the lap and has 3 main strings with as much as 36 sympathetic strings. Alap - 0:00-0:50 sarangi plays first then the vocalist sings notes of the raga. Melody is in free time. This is a chorus from the Bhajan.Bhajan (song) - 0:50-8:33 Tabla enters playing Keherwa tala (8 beats) 1:09-1:22 short sarod solo 1:22-1:31 Sarangi solo. They continue to play solo passages between verses. Verses are 0:50-1:09 solos 1:32-2:39 solos 3:04-4:26, solos 4:50-6:05 solos 6:21-8:33. Vocalist sings expressive ornaments, some rapid tans and long melismas. Ends in short tihai. 11.3 Steve Gorn and Benjy Wertheimer Rag DeshReleased 2004. Bansuri plays the melody, tabla the rhythm and shruti box the drone. Esraj (fretted bowed string instrument played on sitting on floor). There is also a swarmandel a plucked string instrument like a zither. Bansuri is a bamboo flute. Steve Gorn plays bansuri and Benjy Werheimer plays esraj and then swaps to tabla.Alap - 0:00-8:35 Slow and unmetred. Drone playing the tonic and 5th notes Sa and Pa (D and A concert pitch). Bansuri enters and explores raga notes and shares melody with the Esraj. Swarmandel can be heard gently strumming the notes of the raga.Gat1 - 8:35-13:30-slow tempo. Bansuri plays lyrical and unaccompanied melody. Tabla enters playing Rupak tala (7 beats) at 9:09. Tihais at 12:56-13:03 and 13:08-13:20.Gat2 - 13:30-16:33 Fast tempo (drut). Tabla plays Ektal tala (12 beats). Bansuri plays elaborate melody with wide ranging pitch, fast scales (tans) and slides. A chakradar tihai (a special 3 tihais in succession) brings the music to the end. Drone continues after melody ends.

12 - Koko YiriPiece is from Burkina Faso area in West Africa. Koko is a band of 6 players and Yiri (wood) is the fourth track in their album, Burkina Faso: Balafons et Tambours dAfrique (Balafons and drums of Africa) released in 2006. Piece is in Gb major and frequently emphasizes the dominant Db and tonic Gb. The vocal melody is short simple and repetitive. The voices in Chorus A1 (and probs all choruses) sing in unison. The responses to the solo call are also in unison. The dynamics start soft and increases as more instruments are added and the texture thickens but mostly loud. The piece has a layered texture with some heterophony by balafons and monophonic in intro. Balafon can be spelt balaphone but it is less common. Instrumentation: small and large talking drum (called donno but many other names as well depending on language and country), hourglass shaped and played with a hooked beater, can change pitch by altering tension of string by squeezing the drum, this has the effect of imitating speech by using different pitches and slides. 2 balafons, similar to xylophone with gourd resonators, has up to 21 wooden bars. Bell at the very end. Solo voice and response voices. Djembe goblet shaped drum with goat skin head played with the hands. Due to the fact that the score is a transcription from a recording there are frequent metre changes. Most of the time its 4/4 but theres also 6/4 (13), 3/4 and 5/4 (133). Piece is mostly hexatonic as it uses 6 pitches by avoiding F except in the introduction. No variation in tempo and little variation in dynamics. Common features of African Music include: Repetition/ostinato, Improvisation, Call and response, Layered texture. In choruses the choir sings in unison. Intro 1-27 0:00-1:09 Free tempo, Monophonic opening on balafon plays rolls (tremolo) on all notes outlines all seven pitches. 0:11 Bar 6-7 there are acciaccaturas. Bar 8 0:18 clear pulse (Moderato tempo) as balafon plays two bar phrase which is repeated and joined by another balafon 0:22 playing an octave lower but with a few different pitches creating a heterophonic texture. bar 13 0:34 drums join - large and small talking drum and djembe create a relentless 1 bar ostinato which is quaver-semiquaver-semiquaver (the djembe plays occasional fills throughout). Bars 17-20 lower balafon plays with the falling motif Db-Cb-Ab from bar 8 but it changes the rhythm frequently. Syncopation in every bar 21 onwards with a triplet in bar 22 and a quick 1 bar change to 3/4 bar 27. Chorus A1 28-33 1:09-1:25 Unison voices sing chorus A and balafon echoes similar motifs in between singing as interjections bar 28-30. Notice how the choir starts on the tonic and finishes on the dominant in the phrases (28-30) while the final phrases do the opposite and start on Db and end on Gb bar 31-33. In the final phrases the balafon plays repeated crochet notes doubled on Db.Break 34-41 1:25-1:44 balafon plays a solo (balafon break). The balafon uses a similar concept as the singing phrases before; it starts and ends its phrases with the tonic or dominant except bar 40 where it lands on a seventh, Ab. The final phrase (40-41) starts on the dominant and ends on the tonic so is similar to a perfect cadence. Most of the phrases are falling phrases.Chorus A2 42-47 1:44-2:01 Choir sings the same as chorus A1 but the balafon plays developed accompaniment with different rhythms and notes but on the same beats in between the choir. The repeated crochets are now 2 quavers and a crochet that go Db-Eb-Db so it still emphasises the dominant note.Break 48-51 2:01-2:10 Lower balafon plays solo with emphasis around Gb as the home note. Bar 49-50 there are repeated semiquavers on Gb.Vocal solo (Call & Response) 52-95 2:10-4:00 Vocal solo sings contrasting melody - Long held note Yiri and then 2 short punctuated Yiri's. He then sings falling phrases in triplets which creates cross rhythms against the simple time drums and balafons. Singer is accompanied by the high balafon and then the low joins at the end of bar 58. He is echoed by a chorus in call and response style (2:39) which is supported by the high balafon playing the same notes*. Solo comes back at 2:45. The balafon plays accented notes every 3 notes which makes it sound like its playing in triple time, this creates a cross rhythm (68-69 or 2:49). 3:28 balafon break into next chorus. Chorus B1 96-107 4:00-4:30 New chorus different words and melody but similar structure as the balafon plays interjections between the vocals. Balafon break goes into chorus B2.Chorus B2 108-127 4:30-5:20 repeat of chorus B1 and balafon break at bar 113 4:44. The balafon again emphasises Gb as the home note and plays fast, virtuoso rhythms. From bar 122 the balafon plays a variation of chorus A to anticipate its return. Chorus A3 128 5:20-6:24 same as A1 Balafon break leads into coda 5:36Coda - 6:24-6:41 The balafons play syncopated in the Coda. The riff in the coda is repeated and is separated by short dramatic rests. The riff is played five times and is like 12121 where 1 is the short version and 2 is the version with extra notes at the beginning and end (dont need to know this). The piece ends with a 'ting' played by a bell.*The balafon cannot play long sustained notes so it often plays the note rapidly in a tremolo by hitting the note with both padded beaters which is what happens here and at the intro.