SeachangesSeachanges

with Danse Macabrewith Danse Macabre

Raymond DeaneRaymond Deane

This is an excerpt from This is an excerpt from Seachanges Seachanges

What can you hear?What can you hear? Instruments are added in this order:Instruments are added in this order:

Maracas, piano, violin, guiro, cello, piccoloMaracas, piano, violin, guiro, cello, piccolo

The following instrumental techniques are heard: The following instrumental techniques are heard: Violin Violin – sul ponticello, double stopping, glissando. Cello – – sul ponticello, double stopping, glissando. Cello – strummingstrumming

The following compositional techniques are heardThe following compositional techniques are heard: : repetition and variation of danse macabre, chord clustersrepetition and variation of danse macabre, chord clusters

An instrumental technique is associated with An instrumental technique is associated with how an instrument is actually played. how an instrument is actually played. Examples include:Examples include: pizzicato, glissando, col pizzicato, glissando, col legno, sul ponticellolegno, sul ponticello

A compositional technique describes how a A compositional technique describes how a piece of music is composed. What devices piece of music is composed. What devices are used in the music? Examples include:are used in the music? Examples include:

Subtraction, note cell, pedal point, arpeggioSubtraction, note cell, pedal point, arpeggio

Listen to the Listen to the following extract following extract from Seachanges from Seachanges and note some and note some examples of the examples of the compositional and compositional and instrumental instrumental techniques used.techniques used.

Compositional Compositional TechniquesTechniques

Instrumental Instrumental TechniquesTechniques

Cell based melodyCell based melody TremolandoTremolando

ChromaticismChromaticism GlissandoGlissando

Pedal pointsPedal points Cello strummingCello strumming

What do you notice about the meter (number of beats in bars) of the piece in this section?

What is important about the three notes or tones heard repeatedly in this section of the music?

Comment briefly on the range of musical pitches used in this section.

Name and describe THREE instrumental techniques used in this section of the work:

Name and describe any ONE compositional technique used in this section of the music:

Comment on how the piano part contrasts with most of the other instrumental parts in this section of the music:

What do you notice about the meter (number of beats in bars) of the piece What do you notice about the meter (number of beats in bars) of the piece in this section? in this section? It changes until settling on 7 beats in a bar by bar 11It changes until settling on 7 beats in a bar by bar 11

What is important about the three notes or tones heard repeatedly in this What is important about the three notes or tones heard repeatedly in this section of the music? section of the music? They will become the basis of much of the musical They will become the basis of much of the musical exploration in the piece – they occur in various guises throughout the pieceexploration in the piece – they occur in various guises throughout the piece

Comment briefly on the range of musical pitches used in this section.Comment briefly on the range of musical pitches used in this section.There are extremes of range used in the opening from cello (bass clef) to There are extremes of range used in the opening from cello (bass clef) to piccolo (extremely high range in piccolo)piccolo (extremely high range in piccolo)

Name and describe THREE Name and describe THREE instrumental techniquesinstrumental techniques used in this section used in this section of the work: of the work: Sustain Pedal in piano, harmonics in violin and cello, pizzicato Sustain Pedal in piano, harmonics in violin and cello, pizzicato in celloin cello

Name and describe any ONE Name and describe any ONE compositional techniquecompositional technique used in this used in this section of the music: section of the music: Addition principle with notes of cell added one at a Addition principle with notes of cell added one at a timetime

Comment on how the piano part contrasts with most of the other Comment on how the piano part contrasts with most of the other instrumental parts in this section of the music: instrumental parts in this section of the music: The piano has a descending The piano has a descending arpeggio figure based on short note values compared to long sustained arpeggio figure based on short note values compared to long sustained notes in other instruments.notes in other instruments.

Sample QuestionSample Question Read the instructions at the start carefully. Make sure Read the instructions at the start carefully. Make sure

you know how many times you will hear the excerptsyou know how many times you will hear the excerpts Identify with highlighter pen or pencil the bars to which Identify with highlighter pen or pencil the bars to which

specific questions refer (e.g. B – (i) and (ii))specific questions refer (e.g. B – (i) and (ii)) Think about the kind of vocabulary which you will need to Think about the kind of vocabulary which you will need to

use to describe the texture, the piano music, the use to describe the texture, the piano music, the changes and the instrumental and compositional changes and the instrumental and compositional techniques (remind yourself of the points made today)techniques (remind yourself of the points made today)

Prepare yourself for any dictation by thinking about likely Prepare yourself for any dictation by thinking about likely dictation excerpts (look at the practice examples 1,2 and dictation excerpts (look at the practice examples 1,2 and 3 on the last page of the Deane section of these notes)3 on the last page of the Deane section of these notes)

Marking Scheme – 25 MarksMarking Scheme – 25 Marks

Section ASection A(i)(i) Section 4/ Dies Irae Melody – (2 Marks)Section 4/ Dies Irae Melody – (2 Marks)(ii)(ii) 1, 3, 2 – (3 x 1 Marks)1, 3, 2 – (3 x 1 Marks)(iii)(iii) The texture is thin but based on a melody and countermelody – The texture is thin but based on a melody and countermelody –

polyphonic (word and explanation required) – (1 + 2 Marks)polyphonic (word and explanation required) – (1 + 2 Marks)Section BSection B(i)(i) Flutter tonguing – (2 Marks)Flutter tonguing – (2 Marks)(ii)(ii) It is based on series of descending chord clusters – (2 Marks)It is based on series of descending chord clusters – (2 Marks)(iii)(iii) 4 quavers and 4 semiquavers – (8 x .5 Marks)4 quavers and 4 semiquavers – (8 x .5 Marks)(iv)(iv) It becomes more fragmented, The dynamics become quieter It becomes more fragmented, The dynamics become quieter

(2 Marks)(2 Marks)Section CSection C(i)(i) Subtraction Principle (3 marks)Subtraction Principle (3 marks)(ii)(ii) Sustain pedal in piano, Across bridge in cello (2 + 2 Marks)Sustain pedal in piano, Across bridge in cello (2 + 2 Marks)