EDEXCELGCSEMusicRevision

Howtousethisbooklet:

• SetWorkMindMapsRevisethemindmapforeachsetworktogiveyoualltheinformationyouneedtotalkaboutthemintheexam.Thesearecolourcodedforthegradeyouareaimingfor.

• MADTSHIRTKnowledgeOrganisersRevisethesetomakesureyouknowwhatvocabularythequestionisaskingforandthetypesofanswersyoucangive.Thisishowyouturnanopenquestionintoamultiplechoice

• SetWorkContextGridsThesewillgiveyouthebackgroundandcommonconventionsofthestyleofeachsetworksoyoucanmakeA04points(thewhypartoftheexamquestions)

Exam Strategies & Tips

How many marks is the question worth?

x Always check how many marks the question is worth! x If it is worth 2 marks, make 2 points. x If it is worth more than 2 marks you need to make that number of points AND justify answer with an

A04 point (evaluate your answer – what makes you think this?)

Melody?

x Does it go up or down (ascending or descending)? x Does it move by small steps (conjunct) or big leaps (disjunct) x Does the melody use a small range or a wide range of notes (lowest to highest)?

Dynamics?

x 1) How loud is it? Forte (loud), Mezzo Forte (middle), Piano (quiet) x 2) How does it change? Crescendo (getting louder), Diminuendo (getting quieter),

Terraced dynamics (suddenly changes)

Tempo?

x Fast (allegro), moderate (moderato), or slow (largo) x Does it get faster (accel.) or get slower (rall.)

Harmony?

x 90% of the time it will be Consonant – the notes fit together nicely x Are the notes that sound odd or crunchy? Then it has chromatic notes! x Is there a long held note in the background? This is a Drone! x How quickly do the chords change? This is called Harmonic rhythm

Cadence?

x If in any doubt, always put Perfect Cadence! x If they ask you about two cadences, put Perfect Cadence for both – it will be correct for at least one of

them!

Tonality?

x 90% of the time it is Major (happy) or Minor (sad) x Atonal will NEVER be the correct answer! EVER! x Modal is only ever used for Release by Afro Celt Sound System

Rhythm?

x Is it constantly repeating or changing? x Is it Straight (on the beat) or Swung (a bit jazzy)? x Which note value is most common (crotchets, quavers, semiquavers)?

Metre/Time Signature?

x If in doubt put the most common answer: 4/4

Texture?

x If in doubt put the most common answer: Melody Dominated Homophony

Essay?

x PLAN IT! The examiner will mark this and try to give you as many marks as possible! Make sure it is clear and uses the table format from class

x If you are aiming for a 5 or lower use bullet points making a clear point and describe its effect x If you are aiming for grade 6 or higher use PEAR: Point, Evidence, Analyse, Relate

Essay Plan? Use this format – They will mark this so be detailed and grab extra marks!

Familiar Element 1

Familiar Element 2

Unfamiliar element 1 Unfamiliar element 2

Essay Planning Document

.

Grade 1 – 5

Bullet points

x A03 comment and the effect created (A04) for piece 1

x A03 comment and the effect created (A04) for piece 2

Grade 6

Point (A03) A Baroque feature that Purcell uses in his text setting is word painting with the use of melismas on important words…

Evidence (A03) …such as ‘wondring’ and ‘pains’.

Analysis (A04) The melisma on ‘wondring’ draws out that word, as if the person is actually taking the time to wonder how the person’s ‘pains were eas’d’.

Relate The other piece, Linden Lea, is mainly syllabic in its text setting.

Grade 8+

Point (A03) A Baroque feature that Purcell uses in his text setting is word painting with the use of melismas on important words…

Evidence (A03) …such as ‘wondring’ and ‘pains’.

Analysis (A04) The melisma on ‘wondring’ draws out that word, as if the person is actually taking the time to wonder how the person’s ‘pains were eas’d’.

Relate Linden Lea is predominantly syllabic in its text setting. It does, however, also contain many examples of word painting.

Evidence(A03) For example, on ‘lean down low’ the melody always falls…

Analysis (A04) …which mirrors the way the branches are weighed down with apples.

Familiar Element 1 Familiar Element 2

Unfamiliar element 1 Unfamiliar element 2

Melod

y'–Kn

owledge'Organ

iser

Pitch

How$high$or$low$a$note$is

Interval

The$distance$between$any$tw

o$no

tes.$

Motif

A$fragmen

t$of$a$m

elod

y.

Range

The$diffe

rencebe

tween$the$lowest$

and$highest$n

otes

Phrase

Hoo

k/riff

A$longer$m

elod

icidea.$M

usical$“s

entences”$are$constructed$fro

m$phrases.$

A$mem

orable$re

peated

$melod

icidea$

desig

ned$to$catch$th

e$ear$o

f$the

$listen

er.$

Melod

ic'm

ovem

ent

Step

s–movem

ent$b

etween$no

tes$that$a

re$next$to$each$other$in$th

e$scale

Skips–

movem

ent$e

qualto$tw

o$step

s.$You

$“skip”$over$a

$note$in$th

e$scale

Leap

s–`any$m

ovem

entthat$is$larger$than$a$skip

Scalic–whe

na$section$of$a$m

elod

y$moves$along$usin

g$no

tes$in$scale$orde

rCh

romatic–movem

ent$u

sing$step

s$including$notes$th

at$are$not$in$th

e$key

Passing'no

te'–no

tes$w

hich$link$cho

rd$to

nes

Scale/mod

eA$grou

p$of$notes$which

a$melod

y$is$based$on

e.g.$m

ajor,$m

inor,$blues,$chrom

atic,$dorian

Coun

term

elod

yCo

mpo

sitio

nal'devices

Repe

tition–repe

at$a$m

elod

ic$idea

Sequ

ence

–repe

ata$melod

ic$idea$but$startin

g$on

$a$different$n

ote

Imita

tion–repe

at$amelod

icidea$in$ano

ther$instrument$

Varia

tion–change

the$melod

ic$idea$slightly$

Ostinato–constant$re

petition$of$a$m

elod

ic$idea$

Inversion–turn$th

e$melod

ic$idea$upside$do

wn

Retrog

rade

–play$th

e$melod

ic$idea$backw

ards

Perfe

ct'5th

Main$melod

y

Coun

term

elod

y

Articulation'–Kn

owledge'Organ

iser

ARTICU

LATIONmeans

howyou$play$or$sing$a$no

te.$It$is$a

n$im

portant$p

art$o

f$perform

ing$music$EXP

RESSIVELY.

Staccato'

Performed

$shorta

nd$brie

fly.$N

otes$

soun

dde

tached

$from

$each$othe

r.

Accent

Emph

asise

a$no

te$so

$that$it$

soun

ds$loud

er$th

an$others.$

Legato

Perfo

rm$th

e$no

tes$s

moo

thly.

Notes$so

und$conn

ected$to$each$othe

r.A$sm

ooth$articulation$be

tween$tw

o$no

tes$is$c

alled$a$SLUR.

Orche

stralStrings

Other'Articulations

Pizzicato

A'mem

orab

le're

peated

'melod

icidea'designe

d'to'catch'th

e'ear'o

f'the

'listene

r.'

Arco

Trem

olo

Vibrato'–a$slight$“wob

bling”$of$the

$pitch$of$a$note$for$

expressio

n.$Anim

portant$vocal$te

chniqu

e$as$well$as$for$

instrumen

ts.

Tong

uing

–the$techniqu

e$used

$by$brass$a

nd$wind$players.$

Faster$rh

ythm

s$ofte

n$requ

ire$th

e$techniqu

e$of$dou

ble$or$triple$

tonguing.

Bend

'–guita

rists$can$use$th

eir$fingers$to

$ben

d$the$strin

g$from

$on

e$no

te$to

$ano

ther.$B

rass$and

$wind$players$c

an$also

$do$this$

with

$differen

t$mou

th$sh

ape$and$air$p

ressure.

Sforzand

oSlides'

Glissand

o–a$dram

atic$slide$be

tween$a$widerange$of

notes.For$

exam

ple,$ru

nning$the$fin

gers$along$th

e$strin

gs$of$a$harp.

Portam

ento

–a$sm

ooth

slide

$between$tw

o$no

tes.Used$fre

quently$

by$singers.$

Perfo

rm$th

e$no

tes

by$plucking$

them

$with

$the$fin

gers.

Perfo

rm$th

e$no

tes$b

y$using$the$bo

w.

Continuo

usly$play$the

note$with

$the$bo

w$

rapidly$to$produ

cea$trem

bling$effect.

A$sforzand

ois$a$type

$of$accen

t.$Th

e$no

te$

shou

ld$be$played

$with

$a$su

dden

,$stron

g$em

phasis.

Dyna

mics'–

Know

ledge'Organ

iser

DYNAM

ICSrefer$to$ho

w$loud

$or$soft$m

usic$is$played.$It$is$an$im

portant$p

art$o

f$perform

ing$music$EXP

RESSIVELY.

Fortissimo

Forte

MezzoSfo

rte

MezzoSpiano

Pian

o

Pian

issimo

Crescend

oDiminue

ndo

VERY

'LOUD

LOUD

Fairly'Loud

Fairly$Soft

Soft

Very$Soft

Gradually$gettin

g$loud

erGradually$gettin

g$softe

r

On$a$musical$sc

ore$the$dynamic$m

arkings$a

re$always$

placed

$UNDE

RNEATH

'the$stave.

Sometim

es$co

mpo

sers$place$

extrem

e$dynamic$m

arkings$o

n$a$score$to$express$th

at$th

ey$

want$the

$music$to

$be$played

$as$

loud

$or$a

s$soft$a

s$is$h

umanly$

possible!

Texture'–Kn

owledge'Organ

iser

TEXT

URE

iswhat$w

e$call$the$diffe

rent$layers$and

$parts$of$a$m

usical$piece$and

$how

$they$fit$togethe

r.

Mon

opho

nic

A'single'm

elod

ic'voice'or'instrum

ent

Coun

terpoint

Unison

Whe

ntw

o$or$m

ore$voices$or$instrum

ents$sing

/play$

exactly

$the$same$thing$at$th

e$same$tim

e

Polyph

onic

Differen

tmusical'line

s'tha

t'interweave'with

'each'othe

r

Melod

y'an

daccompa

nimen

t'

Hom

opho

nic

A'texture'ba

sed'on

'cho

rds

Parallel'M

otion'

Exam

ples'of'T

HIN'te

xture

Exam

ples'of'T

HICK'texture

Contrary'm

otion'

Soloinstrumen

tAc

oustic'guitar'a

nd'vocal

Pian

o'an

d'cello

'

An'orche

stra

A'rock'ban

dA'samba

'ensem

ble'

Two$or$m

ore$diffe

rent$

melod

ies$p

laying$

together.

Notes$m

oving$in$th

e$same$direction$keep

ing

the$same$interval$.

Notes$m

oving$in$opp

osite

$directions;$o

ne$up,$th

e$othe

r$dow

n.

Structure'an

d'Form

'–Kn

owledge'Organ

iser

STRU

CTURE

Sthe

$differen

t$sectio

ns$of$a$piece

or$m

usic$and

$how

$they$are$ordered

.

TypicalPop

'Son

g'Structure'

Intro'–Ve

rse'1'–Ve

rse'2'–Ch

orus

–Ve

rse'3'–Middle'8/Bridge'–Ve

rse'4'–Ch

orus'–Outro'

Intro

Bina

ry'Form'

Music$th

at$has$tw

o$sections.

These$are$labe

lled$A$and$B.

AB

Ternary'Form

'

Music$th

at$has$th

ree$sections.

The$A$section$is$he

ard$again$after$B

.

AB$A

Rond

oForm

A$recurring$them

e$(A)$con

trasted$by$

diffe

rent$se

ctions.

AB$A$CA$DA$E

The$introd

uctio

n$sets$th

e$moo

d$of$

a$song.$It$is$o

ften

$instrumen

tal$but$

can$occasio

nally$start$w

ith$lyrics.

Verses

Verses$introd

uce$the$song$th

eme.

There$are$usually$new

$lyrics$for$

each$verse$which$helps$to

$develop

$the$song’s$narrative

Choruses

Them

e'&Va

riatio

n'Allthe

$cho

ruses$u

sually$have$the$

same$lyrics.$This$sectio

n$relays$th

e$main$message$of$the

$song.$

A$compo

sition$can$be

$develop

ed$usin

g$the$VA

RIAT

IONtechniqu

e.Amain$them

e$is$compo

sed$then

$the$following$sections$vary$this$them

e$in$so

me$way,$

by$alte

ring$for$e

xample:

MELODY

$–RH

YTHM

S$–CH

ORD

S$–TEMPO

$–INSTRU

MEN

TATION$–KE

Y$

Middle'8/Bridge

Thissection$adds$so

me$contrast$to

$the$verses$and

$cho

ruses$b

y$using$a$

diffe

rent$m

elod

y$and$chord$

progression.$

Instrumen

talSolo

Stroph

ic'Form

Throug

h'Co

mpo

sed

Solos$a

re$designe

d$to$sh

ow$off$an$

instrumentalists$sk

ills.$

Rock,jazz$a

nd$blues$ofte

n$feature$solos$o

n$instruments$su

ch$as$p

iano

,$sax,$guitar$a

nd$

drum

s

Whe

nall$of$the

$verses$a

re$su

ng$to

$the$same$music.

Whe

n$each$se

ction$has$d

ifferen

t$music.N

o$section$is$repe

ated

.$

Harm

ony'–Kn

owledge'Organ

iser

HARM

ONY'–ho

w$cho

rds$a

re$usedin$a$piece$of$m

usic.

Triad

Abasic

$type

$of$cho

rd$

made$up

$of$

three$no

tes

Inversion

Rearrangingthe$

order$o

f$the$$

individu

al$notes$of$a$

chord$

Power'Cho

rd

A$chord$using$on

ly$

the$1s

tand$5t

hscale$

degrees;$no$3r

d

Arpe

ggio'–playing$the$individu

al$notes$of$a$cho

rd$one

$afte

r$ano

ther

Cade

nce–a$movem

ent$b

etween$tw

o$chords$at$the

$end

$of$a$phrase

Chromatic'–music$th

at$uses$c

hords$that$a

re$not$naturally$fo

und$in$th

e$key

Diaton

ic'–music$th

at$use$only$chords$th

at$belon

g$to$th

e$key

Dominant–

the$fifth$cho

rd$(V

)$of$a$key

Harm

onic'rh

ythm

'–the$rate$at$w

hich$th

e$chords$change$in$a$piece$

Mod

ulation'–whe

n$the$harm

ony$shifts$to$a$new$key

Prim

ary'triads'–chords$I$IV$and

$V$in$a$key

Progression–a$sequ

ence$of$cho

rds$p

ut$to

gether

Seventh'–adding$th

e$7t

hde

gree$of$the

$scale$to$a$triad

Tonic–the$first$cho

rd$(I)$in$a$key

Chord'Functio

ns'in'a'Key'–Ro

man

'Num

eral'System

Build

ing'Ch

ords'Using

'Scale'Degrees

C'D

'E'F

'G'A

'B1''''''''2'''''''''3''''''''4''''''''5'''''''''6'''''''''7''

Major'Tria

d''

1''3''5'

Minor'Tria

d'1''b3''5'

Major'7

thchord

1''3''5''7'

Minor'7

thchord'

1''b3''5''b7'

Dom

inan

t'7thchord

1''3''5''b7

Perfect'C

aden

ce“The

'strongest'o

ne”

Plagal'Cad

ence

“The

'Amen

'one

”Im

perfect'C

aden

ce“The

'cliffhan

gero

ne”

Interrup

ted'Ca

dence

“The

'hidde

n'tw

ist'o

ne”

Chord'Symbo

l

Exam

ple:$M

inor$triads$are$built$using$$th

e$1$$b3$and$5$degrees$

of$a$sc

ale$so$a$C$minor$triad$contains$th

e$no

tes$C

$$EbG

Instrumen

tatio

n'(Orche

stral)'–Kn

owledge'Organ

iser

Strin

gsBrass

Woo

dwind

Percussion

Keyboa

rd'In

strumen

ts

Violin

Viola

Cello

Bass

Harp

Trum

pet

Fren

ch'horn

Trom

bone

Tuba

Flute

Clarinet

Saxoph

one

Obo

eBa

ssoo

n

Piano

Organ

Harpsichord

Timpani

Cymbals

Xyloph

one

Snare'Drum

Bass'Drum

Glockenspiel

Tambo

urine

Chim

es

Instrumen

tatio

n'(Rock'an

dPo

p)'–Kn

owledge'Organ

iser

Techno

logy'

Electric'Guitar

Acou

stic'Guitar

Strin

g'Section'

Bass'Guitar

Drum

'Kit

Brass'S

ectio

n'Piano

Lead'Vocals

Guita

r'Effects

Sampling/

Loop

ing

MIDI'Seq

uencing/Re

cording'

Software

Amplifier

Synthe

sizer'

Effects'P

rocessors

Backing'Vo

cals

Organ

Electric'Piano

Rhythm

'–Kn

owledge'Organ

iser

Whe

n$you$combine

$any$tw

o$or$m

ore$no

tes$o

r$rests$you

$create$a$RH

YTHM

.

Basic'Note'an

d'Re

st'Len

gths

Dotted'Notes'and

'Rests

Semibreve

4'Be

ats

Minim

2'Be

ats

Crotchet

1'Be

at

Qua

ver

½'Beat

Semiqua

ver

¼'Beat

A$do

tplaced$after$a

$note$or$re

st$te

lls$you

$to$

increase$th

e$no

te$or$rest$b

y$HAL

F'ITS'

ORIGINAL

'VALUE

Type

s'of'R

hythms

Ties

Triplets

Note Rest

This$bass$line

$wou

ld$be$de

scrib

ed$as$

having$a$CRO

TCHET'rh

ythm

Adjacent$

quavers$c

an$be$

joined

$together$

with

$a$BEA

M

Adjacent$

semiquavers$can$

be$joined

$together$

with

$a$BEA

M

1$Be

at

1$and$a$

half$be

ats

2Be

ats

3$Be

ats

POLYRH

YTHM

Two$or$m

ore$diffe

rent$rh

ythm

s$with

$the$same$METRE

played

$at$the

$same$

time

A$TIE'joins$two$no

tes$o

f$different$value

s$

Here$you

$wou

ld$play$the$first$note$and$

hold$it$fo

r$3$beats$(2

+1)

A$TR

IPLET'is$3$no

tes$p

layed$whe

re$th

ere$is$

usually$only$space$for$2

$

DOTTED

'MINIM

'and

$SEM

IQUAV

ERrhythm

CROSS'RHYT

HM

Two$or$m

ore$rhythm

s$played$at$th

e$same$tim

e$bu

t$with

$con

flicting$

ACCE

NTS'ofte

n$in$different$M

ETRE

S

Tempo

'–Kn

owledge'Organ

iser

TEMPO

means

how$fast$or$slow$a$piece$of$m

usic$is$–it$is$the$speed$of$m

usic

The$TEMPO

of$a$piece$of$m

usic$is$m

ost$com

mon

ly$indicated$in$tw

o$ways–

an$Italian$word$and$be

ats$p

er$m

inute$(B.P.M

.)

There$are$also$so

me$term

s$which$indicate$a$change$in$te

mpo

$during$a$piece

Italian'term

English'meaning

B.P.M.

Largo

Slow

ly$and

$broadly

40$g60

Adagio

Slow

ly$(b

utno

t$as$slow$as$largo)

60$g75

Andante

At$a$walking$pace

75g1

05

Mod

erato$

At$a$m

oderate$pace

105$g1

20

Allegro$

Quite

fast$

120$g1

55

Vivace

Quick$and

$lively$

155$g1

75

Presto$

Very$fast$

175$g2

00

Italian'term

English'meaning

Accelerand

o$Gradually$sp

eeding$up

Ritardando

/Rallentando

Gradually$slow

ing$do

wn

Ritenu

toA$sudd

enslo

wing$do

wn$

Rubato

A$highlyexpressiv

e$techniqu

e$whe

re$a$perform

er$plays$with

$flexible$te

mpo

Tempo

$markings$a

re$placed$at$th

e$start$

of$th

e$score$above$the$stave

Time'Signature'–Kn

owledge'Organ

iser

ATIME'SIGNAT

URE

gives$y

ou$inform

ation$on

$how

$the$be

ats$a

re$arranged$in$a$piece$of$m

usic.$It$is$a

lso$kno

wn$as$M

ETRE

The$top$nu

mber$tells$you$ho

w$many$beats$a

re$in$each$bar.$

In$th

is$exam

ple$there$are$three

The$bo

ttom

$num

ber$tells$you$that$each$be

at$is$worth$a$crotche

t$(a$crotchet$is$also

$know

n$as$a$quarter$note$he

nce$the$nu

mbe

r$4$used$to$den

ote$it)

Simple'Metre

Compo

und'Metre

Num

ber$2

on$th

e$bo

ttom

$=$M

INIM

S

Num

ber$4

on$th

e$bo

ttom

$=$CRO

TCHETS

Num

ber$8

on$th

e$bo

ttom

$=$QUA

VERS

The$vast$m

ajority$of$m

usic$is$written$with

$a$

4/4$tim

e$sig

nature.$

This$is$so$com

mon

$it$is$kno

wn$as$

COMMONTIME$and$can$be

$den

oted

$usin

g$a$

letter$C$instead$of$usin

g$nu

mbe

rs

IRRE

GULA

R'METRE

Sometim

es$m

usic$is$

written$in$a$m

etre

containing$odd

$num

bers$

of$betas$in$each$bar

There$are$tw

o$main$type

s$of$m

etre:$SIM

PLEand$CO

MPO

UND

Simple$tim

e$sig

natures$h

ave$be

ats$that$can$be$broken

$dow

n$into$tw

o$no

tes

Compo

und$tim

e$sig

natures$h

ave$be

ats$that$can$be$broken

$do

wn$into$th

ree$no

tes.

In$com

poun

d$tim

e$sig

natures$e

ach$be

at$is$re

presen

ted$by$a$

dotted

$crotche

t$which$can$be$broken

$dow

n$into$th

ree$qu

avers

BA

CH—

BR

AN

DEN

BU

RG

C

ON

CER

TO N

o 5

MO

VEM

ENT

3

ME

LOD

Y

Lots

of t

he m

elod

y ha

s a st

epw

ise (c

onju

nct)

mov

emen

t, al

thou

gh th

ere

are

som

e le

aps.

Ther

e ar

e ris

ing

sequ

ence

s (w

hen

a sh

ort p

hras

e is

repe

ated

goi

ng o

ne n

ote

high

er e

ach

time)

Th

ere

are

lots

of s

calic

runs

(not

es g

oing

up

and

dow

n a

scal

e)

Ther

e ar

e lo

ts o

f orn

amen

ts su

ch a

s gra

ce n

otes

(a

ppog

giat

uras

) and

trill

s

TON

ALI

TY

The

mai

n to

nalit

y fo

r the

pie

ce is

D m

ajor

The

B se

ction

is in

the

rela

tive

min

or k

ey o

f B

min

or

The

final

A se

ction

is b

ack

in D

maj

or.

The

key

mod

ulat

es o

ften

to th

e do

min

ant

(A m

ajor

) and

the

dom

inan

t of t

he

dom

inan

t (E

maj

or),

indi

cate

d by

the

ad

ditio

n of

acc

iden

tals.

HA

RM

ON

Y

The

harm

ony

uses

stan

dard

cho

rds o

f the

tim

e

The

mus

ic is

dia

toni

c (a

ll th

e no

tes/

chor

ds c

ome

from

th

e ke

y sig

natu

re)

Perf

ect c

aden

ces

anno

unce

the

ends

of s

ectio

ns, s

uch

as th

e pe

rfec

t cad

ence

in B

min

or a

t the

end

of t

he B

se

ction

. Th

e ha

rmon

y us

es st

anda

rd c

hord

s of t

he ti

me

(mai

nly

chor

ds I,

IV a

nd V

, with

occ

asio

nal u

se o

f ii a

nd v

i)

The

harm

ony

is fu

nctio

nal (

perf

ect c

aden

ces a

re u

sed

to m

ove

betw

een

clos

ely

rela

ted

key

signa

ture

s).

The

harm

ony

uses

mai

nly

root

pos

ition

and

firs

t

in

vers

ion

chor

ds.

Ther

e ar

e oc

casio

nal s

uspe

nsio

ns.

SON

OR

ITY

/IN

STR

UM

EN

TS

This

piec

e us

es a

solo

flut

e an

d vi

olin

, a h

arps

icho

rd, a

nd a

strin

g or

-ch

estr

a (in

clud

ing

viol

in, v

iola

, cel

lo a

nd d

oubl

e ba

ss)

The

grou

p of

solo

inst

rum

ents

(vio

lin, fl

ute

and

harp

sicho

rd) a

re k

now

n as

the

conc

ertin

o.

The

strin

g or

ches

tra

are

know

n as

the

ripie

no.

The

bass

/cel

lo a

nd h

arps

icho

rd so

meti

mes

act

as t

he b

asso

con

tuin

o in

th

e pi

ece.

Thi

s mea

ns th

e ba

ss in

stru

men

ts p

lay

a ba

ss li

ne, a

nd th

e ha

rpsic

hord

“re

alis

es”

the

chor

ds o

n to

p (w

hen

it is

not p

layi

ng a

solo

pa

rt)

Bach

bro

ke w

ith tr

aditi

on in

this

piec

e by

mak

ing

the

harp

sicho

rd p

art

incr

edib

ly v

irtuo

sic (d

ifficu

lt an

d im

pres

sive!

), w

ith lo

ts o

f fas

t sca

lic

runs

and

trill

s in

both

han

ds a

t onc

e.

The

baro

que

flute

is d

iffer

ent f

rom

the

mod

ern

flute

, as i

t was

mad

e of

w

ood.

TEX

TUR

E

The

text

ure

is po

lyph

onic

(mor

e th

an o

ne m

elod

y

ha

ppen

ing

at th

e sa

me

time)

Th

ere

is us

e of

imita

tion

(whe

n on

e pa

rt i

mita

tes

anot

her i

n a

call

and

resp

onse

styl

e)

The

mov

emen

t beg

ins i

n a

fuga

l sty

le. A

fugu

e is

a

co

mpl

icat

ed p

iece

whi

ch u

ses l

ots o

f im

itatio

n

th

roug

hout

. Thi

s mov

emen

t is n

ot a

n ac

tual

fugu

e, b

ut it

us

es fu

gal t

echn

ique

s, li

ke th

e st

art o

f the

ope

ning

A

secti

on.

Som

etim

es th

e so

lo fl

ute

and

viol

in p

lay

the

sam

e th

ing

in u

niso

n

Whe

n th

e flu

te a

nd v

iolin

com

e in

at t

he st

art,

they

are

pl

ayin

g in

two

part

imita

tion.

W

hen

the

harp

sicho

rd c

omes

in a

t the

star

t, it

play

s the

su

bjec

t in

the

left

hand

, the

n th

e an

swer

in th

e rig

ht.

The

harp

sicho

rd p

lays

in 2

par

t cou

nter

poin

t. O

nce

all s

olo

inst

rum

ents

are

pla

ying

, the

y ar

e pl

ayin

g in

4

part

cou

nter

poin

t. O

ccas

iona

lly th

e flu

te a

nd v

iolin

pla

y in

third

s.

At th

e st

art o

f the

B se

ction

ther

e is

a to

nic

peda

l on

B

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is pi

ece

was

writt

en in

the

Baro

que

era.

Ba

ch w

rote

a se

t of s

ix c

once

rtos

for t

he M

argr

ave

of

Bran

denb

urg

as p

art o

f a jo

b ap

plic

ation

.

This

is a

conc

erto

gro

sso.

A so

lo c

once

rto

has j

ust o

ne

solo

ist, b

ut a

con

cert

o gr

osso

has

a g

roup

of s

oloi

sts

(the

con

certi

no)

This

is th

e th

ird o

f thr

ee m

ovem

ents

in th

e co

ncer

to.

This

is ch

ambe

r mus

ic, w

ritten

for a

smal

l gro

up o

f mus

i-ci

ans r

athe

r tha

n a

full

orch

estr

a

RH

YH

M, T

EM

PO

an

d M

ETR

E

The

met

re is

2/4

. Th

e pi

ece

uses

lots

of t

riple

ts a

nd d

otted

rhyt

hms.

The

harp

sicho

rd p

art h

as lo

ts o

f fas

t sem

iqua

ver r

uns.

The

first

mel

ody

idea

(sub

ject

) sta

rts w

ith a

n an

acru

sis.

Beca

use

of th

e la

rge

num

ber o

f trip

lets

, the

pie

ce c

ould

al

so b

e no

tate

d in

6/8

tim

e.

In th

e ba

roqu

e er

a th

e do

tted

quav

er-s

emiq

uave

r gr

oupi

ng (l

ike

in th

e fir

st b

ar) w

ould

hav

e be

en

pe

rfor

med

in tr

iple

t rhy

thm

(with

the

dotte

d qu

aver

la

sting

2/3

of a

bea

t, an

d th

e se

miq

uave

r las

ting

1/3

or

a be

at.

DY

NA

MIC

S Th

ere

are

only

a fe

w d

ynam

ic

mar

king

s on

the

scor

e, a

nd th

ese

are

ther

e m

ostly

for b

alan

ce re

a-so

ns, l

ike

havi

ng th

e vi

olin

pla

y qu

iete

r so

the

flute

can

be

hear

d

Ther

e ar

e no

dyn

amic

mar

king

s fo

r the

har

psic

hord

, bec

ause

the

harp

sicho

rd u

sed

in th

is pi

ece

wou

ld n

ot h

ave

been

abl

e va

ried

dyna

mic

s, it

stay

ed a

t one

vol

ume

KEY

3

Gra

de

5 G

rade

8

Gra

de

STR

UC

TUR

E

The

piec

e is

in te

rnar

y fo

rm (A

BA)

The

open

ing

A se

ction

beg

ins i

n a

fuga

l sty

le.

The

B se

ction

is in

the

rela

tive

min

or k

ey, a

nd c

on-

tain

s a n

ew th

eme

whi

ch is

sim

ilar t

o th

e fir

st

them

e in

the

A se

ction

. The

re a

re a

lso fr

agm

ents

of

the

A se

ction

them

e in

the

B se

ction

.

A w

oode

n ba

roqu

e flu

te

Context:Bran

denb

urgCo

ncertoNo.5(m

ovem

ent3

)

Melody–Articulation–Dynamics–Tempo–Structure–Harm

ony–Instrumentation–Rhythm-Texture

Baroqu

eCo

ncertoCon

ventions

M

⇒ Mainlyusescon

junct(stepwise)movementandanydisjunctleapsareusuallyquitesmallintervals(4thsor5ths)

⇒ Scalicru

nsandse

quen

cesa

reusedregularlytoshowoffthesoloists

⇒ Melodiesareoftendecoratedwithornam

entssu

chastrillsa

ndapp

ogiaturas(gracenotes

A D

⇒ Theharpsicho

rdonlyhadonepossiblevolumesodynamicswereimpossibleontheinstrument

⇒ Terraced

dyn

amicsw

erecommonwheredynamicschangesuddenlywithoutacrescen

doordiminue

ndoleadinginto

them

⇒ Dynamicswereusedforpracticalreasons(tom

akesureeverythingcanbeheard)ratherthantocreateanyemotion

(expressioninm

usiccamem

uchlater)

T

⇒ Doesnotuseextremelyfastspeeds–m

ostBaroquem

usicshouldbeabletobedan

cedto

⇒ Tempooftennotevenm

arkedonthescoresoperform

erswouldassumethespeedfromthem

usicalstyle

S

⇒ BaroqueconcertosareusuallyinTerna

ryForm(ABA)withtheBsectionbeingm

adeupofentirelynewm

aterial

⇒ Fugu

eisacommonstructure–acomplicatedtypeofcann

onwherepartsimitateoneanotherinasystemofstrict

rules

H

⇒ Theto

nalitywillbestableandonlym

odulatetocloselyre

latedkeyssu

chasthedom

inan

t(V)orrelativ

emajor/m

inorandthesewillbem

arkedbyperfectcad

ences

⇒ Harm

onyiswrittenoutinfigu

redba

sswhichtheharpsichordthenre

alises

⇒ Usesm

ainlyprim

arychordsI,IVandV(withsomeuseofiiandvi)

⇒ Them

usicisalwaysdiatonicandtheharm

onyisfu

nctio

nal

I

⇒ Noorchestrasaswethinkofthemtoday,insteadm

ostpieceswerecha

mbe

rmusic(forasmallensembleof

musicians)

⇒ TraditionalBaroqueconcertoswouldfeatureoneortw

osoloviolin

s(ratherthanwoodwindsoloists)whichwere

accompaniedbyastringorchestra(agroupofstringplayers)andcon

tinuo

⇒ Alm

ostallBaroqueinstrumentalmusicfeaturedtheBassoCon

tinuo

whichwasm

adeupofaBassViol(providingthe

bass)andHarpsichord(whichplayedalsoplayedthebassaswellasre

alisingchordsintherighthand)

⇒ Thesoloistsweregroupedtogetherintothecon

certinoandtheaccompanim

entwerecalledtheripien

o R

⇒ Frequentlyusesdottedrhythm

sandtripletsasthiswasacommonpatternindan

cefo

rms

⇒ Re

peated

qua

versorsemiqua

versintheharpsichord–anessentialfeatureasitcannotsustainlongnotes

T⇒

Po

lyph

onicwriting(alsocalledcou

nterpo

int)wasthem

aintextureofthebaroqueperiod(lotsofinterw

eaving

melodylines)

⇒ An

tipho

naleffectsarecreatedwhentheripien

o(stringorchestra)alternateswiththecon

certino(soloists)

⇒ Fugaltexturesareheardwhenpartsim

itateoneanotherincan

on

J.S.B

achBa

ckgrou

nd

• J.S.Bachwasoneofthegreatestcomposersofthe

Baroqu

eperiod

• Hecomposedthispiecewhileemployedasa‘court

musicdirector’fortheestateofPrinceLeopold

• Bach’sbackgroundwasm

ainlyasacomposerof

churchm

usic,butLeopoldwantedse

cular(non-

religious)musictobeperform

edtoinvitedguestsand

dignitariesinthegrandroomsofhiscastle

• BachcomposedsixBrandenburgconcertosintotal

A04

ME

LOD

Y

The

mai

n th

emes

in th

e pi

ece

are

the

first

and

seco

nd

them

es, p

lus t

he si

x no

te ri

sing

idea

from

the

intr

oduc

tion.

Th

e fir

st th

eme

(or s

ubje

ct) i

s a ri

sing,

scal

ic th

eme.

Th

e se

cond

them

e (o

r sub

ject

) fea

ture

s a th

eme

whi

ch ri

ses

then

falls

, inc

ludi

ng u

se o

f orn

amen

ts.

Ther

e ar

e a

num

ber o

f sca

lic p

assa

ges i

n th

e pi

ece,

incl

udin

g th

e de

scen

ding

chr

omati

c sc

ale

at th

e en

d of

the

intr

oduc

tion.

Oth

er m

elod

ic id

eas i

nclu

de a

rpeg

gios

and

br

oken

cho

rds.

O

rnam

ents

are

an

impo

rtan

t par

t of t

he m

elod

y, in

clud

ing

acci

acca

tura

s and

mor

dent

s in

them

e 2,

and

trill

s jus

t bef

ore

the

reca

pitu

latio

n.

The

deve

lopm

ent u

ses i

deas

from

the

first

them

e in

lots

of

diffe

rent

key

s. It

use

s seq

uenc

es.

TON

ALI

TY

The

piec

e is

in th

e ke

y of

C m

inor

(as m

entio

ned

in th

e tit

le o

f the

pie

ce!)

The

mus

ic m

odul

ates

to d

iffer

ent k

eys i

n th

e

de

velo

pmen

t sec

tion

The

first

subj

ect i

s in

C m

inor

. The

seco

nd su

bjec

t sta

rts

in th

e un

expe

cted

key

of E

b m

inor

, the

n m

oves

to th

e ex

pect

ed k

ey o

f Eb

maj

or (t

he re

lativ

e m

ajor

of C

min

or)

In th

e de

velo

pmen

t the

pie

ce m

odul

ates

to m

any

di

ffere

nt k

eys,

incl

udin

g di

stan

t, un

rela

ted

keys

such

as

E m

inor

(at t

he st

art o

f the

dev

elop

men

t)

In th

e re

capi

tula

tion

the

first

subj

ect i

s bac

k in

C m

inor

. Th

e se

cond

subj

ect i

nitia

lly p

lays

in th

e un

expe

cted

key

of

F m

inor

, the

n m

oves

to th

e ex

pect

ed k

ey o

f C m

inor

(t

o m

atch

the

key

of th

e fir

st su

bjec

t)

F m

inor

is th

e su

bdom

inan

t of C

min

or.

Perf

ect c

aden

ces c

onfir

m ch

ange

s of k

ey th

roug

hout

.

HA

RM

ON

Y

The

harm

ony

is m

ainl

y di

aton

ic, a

nd m

ainl

y us

es st

anda

rd c

hord

s of t

he

time.

Th

ere

are

also

som

e m

ore

diss

onan

t, co

mpl

icat

ed c

hord

s.

Ther

e ar

e so

me

mor

e co

mpl

icat

ed, c

hrom

atic

chor

ds u

sed,

incl

udin

g a

dim

inis

hed

seve

nth

at th

e st

art o

f bar

2. T

his i

s the

mos

t dis

sona

nt

chor

d av

aila

ble

to B

eeth

oven

at t

he ti

me.

Pe

rfec

t cad

ence

s an

noun

ce th

e en

ds o

f sec

tions

and

cha

nges

of k

ey.

This

is ca

lled

func

tiona

l har

mon

y. T

here

are

big

per

fect

cad

ence

s at t

he

end

of th

e pi

ece.

Th

ere

are

peda

l not

es, l

ike

the

dom

inan

t ped

al a

t the

end

of t

he

deve

lopm

ent s

ectio

n (d

omin

ant p

repa

ratio

n).

Ther

e is

an in

terr

upte

d ca

denc

e in

the

intr

oduc

tion

at b

ar 9

The

harm

ony

uses

stan

dard

cho

rds o

f the

tim

e (m

ainl

y ch

ords

I, IV

and

V,

with

occ

asio

nal u

se o

f ii a

nd v

i) Th

e ha

rmon

y us

es m

ainl

y ro

ot p

ositi

on a

nd fi

rst i

nver

sion

chor

ds.

Ther

e ar

e do

min

ant 7

th c

hord

s at c

aden

ces.

Th

ere

are

occa

siona

l sus

pens

ions

(inc

ludi

ng 9

-8 su

spen

sions

) Th

ere

is a

circ

le o

f fifth

s pro

gres

sion

in b

ars 2

44-2

49.

Anot

her c

hrom

atic

chor

d us

ed is

the

augm

ente

d six

th c

hord

, use

d in

bar

30

.

SON

OR

ITY

/IN

STR

UM

EN

TS

This

piec

e is

writt

en fo

r the

pia

no.

Unl

ike

a ha

rpsic

hord

, the

pia

no c

an p

lay

both

loud

an

d so

ft.

Alth

ough

it is

not

writt

en in

the

scor

e, B

eeth

oven

w

ould

hav

e us

e th

e su

stai

n pe

dal f

or g

reat

er

ex

pres

sion.

Th

e pi

ano

allo

wed

Bee

thov

en to

mak

e ex

tens

ive

use

of a

ll ki

nds o

f d

ynam

ic p

ossib

ilitie

s. T

his s

onat

a ha

s lo

ts o

f cre

scen

dos,

dim

inue

ndos

and

lots

of o

ther

dy

nam

ic m

arki

ngs.

This

piec

e w

as w

ritten

for t

he fo

rtep

iano

, whi

ch

cam

e be

fore

the

mor

e m

oder

n pi

anof

orte

. It h

ad a

sm

alle

r ran

ge a

nd w

as n

ot c

apab

le o

f as m

uch

dyna

mic

con

tras

t as a

mod

ern

pian

o.

TEX

TUR

E

The

text

ure

is m

ainl

y ho

mop

honi

c

Ther

e is

a m

onop

honi

c se

ction

with

a lo

ng d

esce

ndin

g sc

ale

lead

ing

into

the

reca

pitu

latio

n Th

e rig

ht h

and

play

s in

octa

ves h

alf w

ay th

roug

h th

e

intr

oduc

tion

The

intr

o is

hom

opho

nic

with

all

the

note

s pla

ying

toge

ther

in

cho

rds.

Thi

s is k

now

n as

a h

omop

honi

c ch

orda

l tex

ture

. Th

ere

is a

two

part

text

ure

with

mel

ody

and

brok

en c

hord

s in

the

seco

nd (E

b m

ajor

) ide

a of

the

seco

nd su

bjec

t (ba

r 93

)

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is is

a pi

ece

of m

usic

from

the

clas

sical

era

. Cl

assic

al m

usic

has

cle

ar, c

atch

y m

elod

ies a

nd

ho

mop

honi

c te

xtur

es .

A pi

ano

sona

ta is

a p

iece

for s

olo

pian

o. It

has

seve

ral

mov

emen

ts—

we

are

stud

ying

mov

emen

t 1.

Beet

hove

n w

as a

forw

ard

thin

king

com

pose

r, an

d th

is pi

ece

show

s sig

ns o

f the

rom

antic

era

. Th

is pi

ece

was

com

pose

d be

twee

n 17

96 a

nd 1

799.

Rom

antic

mus

ic is

all

abou

t exp

ress

ing

emoti

ons.

It

does

this

thro

ugh

mor

e dr

amati

c us

e of

dyn

amic

s,

use

of th

e su

stai

n pe

dal o

n th

e pi

ano,

mor

e co

mpl

ex,

chro

mati

c ha

rmon

y, a

nd m

ore

com

plex

, alte

red

stru

ctur

es (l

ike

how

Bee

thov

en a

lters

sona

ta fo

rm in

th

is pi

ece)

.

RH

YH

M, T

EM

PO

an

d M

ETR

E

The

intr

oduc

tion

is gr

ave

(ver

y slo

w),

and

the

met

re is

4/4

(c

omm

on ti

me)

Th

e m

ain

tem

po fo

r the

rest

of t

he p

iece

is v

ery

fast

.

The

mai

n te

mpo

for t

he p

iece

is a

llegr

o di

mol

to e

con

brio

(v

ery

fast

with

vig

our)

, and

is w

ritten

in 2

/2 (c

ut c

omm

on

time,

also

kno

wn

as a

lla b

reve

) Th

ere

are

som

e ve

ry ra

pid

note

s (sh

ort n

ote

valu

es)

Ther

e ar

e so

me

very

rapi

d no

tes (

shor

t not

e va

lues

),

in

clud

ing

sept

uple

ts a

nd 1

/128

th n

otes

in b

ar 1

0

DY

NA

MIC

S Th

is pi

ece

has a

wid

e ra

nge

of d

ynam

ics,

from

ve

ry q

uiet

(pp)

to v

ery

loud

(ff)

Ther

e ar

e cr

esce

ndos

(getti

ng lo

uder

) and

de

cres

cend

os (g

etting

qui

eter

)

The

intr

o us

es fp

(for

tepi

ano)

mar

king

s,

m

eani

ng lo

ud th

en im

med

iate

ly so

ft).

It al

so u

ses s

f (sf

orza

ndo)

mar

king

s, m

eani

ng a

su

dden

loud

acc

ent.

Dyna

mic

s mar

king

s in

the

piec

e ar

e us

ed

ex

pres

sive

ly, s

how

ing

Beet

hove

n an

ticip

ating

ro

man

tic e

ra m

usic

STR

UC

TUR

E

The

piec

e is

in so

nata

form

So

nata

form

con

sists

of a

n in

trod

uctio

n th

en th

e m

ain

secti

ons:

ex

posi

tion,

dev

elop

men

t, an

d re

capi

tula

tion.

In

the

expo

sition

two

them

es a

re in

trod

uced

. In

the

deve

lopm

ent t

he

them

es a

re a

ltere

d by

cha

ngin

g ke

y lo

ts. T

he re

capi

tula

tion

is th

e sa

me

as th

e ex

positi

on, b

ut w

ith th

e tw

o th

emes

now

in th

e sa

me

key.

Th

e pi

ece

finish

es w

ith a

cod

a.

The

them

es in

the

expo

sition

are

link

ed b

y tr

ansiti

ons (

or b

ridge

s). T

here

is

a co

detta

at t

he e

nd o

f the

exp

ositi

on, t

hen

the

who

le e

xpos

ition

is

repe

ated

.

Beet

hove

n us

es so

me

tech

niqu

es w

hich

are

unu

sual

for s

onat

a fo

rm:

Th

e se

cond

them

e st

arts

in E

b m

inor

inst

ead

of th

e ex

pect

ed E

b m

ajor

. It

mov

es to

Eb

maj

or a

t bar

89.

The

deve

lopm

ent b

egin

s with

4 b

ars f

rom

the

intr

oduc

tion—

this

is ve

ry

unus

ual!

Whe

n th

e de

velo

pmen

t ret

urns

to th

e al

legr

o te

mpo

it is

in th

e

unre

late

d ke

y of

E m

inor

.

In th

e re

capi

tula

tion

the

seco

nd th

eme

star

ts in

the

key

of F

min

or in

stea

d of

th

e ex

pect

ed C

min

or. I

t the

n m

oves

to C

min

or.

Th

e co

da st

arts

with

4 b

ars o

f the

intr

oduc

tion

agai

n.

THEM

E O

NE

The

first

subj

ect t

hem

e in

C m

inor

(ton

ic k

ey o

f the

pi

ece)

rise

s mai

nly

scal

ical

ly a

dist

ance

of t

wo

oc

tave

s –

over

a to

nic

peda

l in

the

bass

. The

mus

ic is

m

arke

d w

ith st

acca

to –

mea

ning

det

ache

d (s

epar

ate)

no

tes.

A

seco

nd m

elod

ic id

ea b

egin

s at b

ar 2

7 an

d fe

atur

es s

forz

ando

s and

des

cend

ing

arpe

ggio

s.

A tr

ansiti

on b

ased

on

the

mai

n th

eme

– us

ing

sequ

ence

s beg

ins a

t bar

35

and

mod

ulat

es to

war

ds

the

expe

cted

key

of E

b m

ajor

thro

ugh

a do

min

ant

note

(Bb)

in th

e ba

ss (d

omin

ant p

repa

ratio

n)

THEM

E TW

O

The

seco

nd su

bjec

t beg

ins i

n th

e un

expe

cted

key

of E

b m

inor

. The

th

eme

feat

ures

a d

istinc

tive

acci

acca

tura

orn

amen

t and

ha

ndcr

ossi

ng te

chni

que,

whe

re th

e rig

ht h

and

mov

es d

own

over

th

e le

ft ha

nd to

pla

y fo

ur st

acca

to n

otes

, bef

ore

retu

rnin

g. T

he

them

e co

ntinu

es w

ith a

step

wise

des

cend

ing

phra

se fe

atur

ing

mor

dent

s. A

new

them

e be

gins

in b

ar 8

9 in

the

rela

tive

maj

or k

ey

of E

b. It

has

a n

ew b

roke

n ch

ord

text

ure.

The

re is

a c

resc

endo

whi

le

the

hand

s mov

e in

con

trar

y m

otion

.

BEE

THO

VEN—

SON

ATA

No.

8

IN C

MIN

OR

(PA

THET

IQU

E)

MO

VEM

ENT

1

KEY

3

Gra

de

5 G

rade

8

Gra

de

Context:Pa

thétique

Son

ata

Melod

y–Articulation–Dynam

ics–Tempo

–Structure–Harmon

y–Instrumen

tation

–Rhythm-Texture

ClassicalP

iano

Con

ventions

M

⇒ ClassicalP

eriodmelod

iesusua

llyfitaba

lanced

8-barphrasestructure,altho

ughlatercompo

sers(suchasBeethoven

)

wou

ldexten

dan

dstretchthesemou

ldstom

akethemusicm

oreexpressive

⇒ Scalicru

nsand

brokenchord(arpeggio)figuresareverycom

mon

⇒ Ornam

entatio

nisstillem

ployed

butnow

herenearasm

uchasinthe

Baroq

uePeriod–melod

iestend

tobe

develope

dinotherwayssuchassequ

ences

⇒ Melod

ylinesarepassedbe

tweentherightan

dlefthan

dofthe

piano

freely

A D

⇒ Th

einventionofthe

piano

,aninstrumen

twhichcou

ldperform

sub

tledyna

micsmeantthe

sebecam

everyexpressive

⇒ Crescend

osand

dim

inue

ndosbecam

eafreq

uenttoo

lforcom

posers

T

⇒ Often

veryfasttoshow

ofthe

virtuo

sityofp

layers

⇒ Descriptiv

etempo

marking

sarecommon

(i.e.allegrodim

oltocon

brio

=veryfastand

withvigour)

S

⇒ Th

efirstmovem

entofClassicalPeriodpiecesareoften

inSon

ataForm

:•

Expo

sitio

n(1

stsub

jectinton

ickey,2

ndsub

jectinacloselyrelated

key:d

ominan

torrelativeminor)

• Develop

men

t(exploresideasfrom

the

expositionan

dde

velopsthe

minavarietyofkeys)

• Re

capitulatio

n(returnto1

stsub

jectinton

ickey,followed

bysecond

sub

jectbutthistimeinthe

tonic)

• Sona

tafo

rmcan

alsoinclud

ean

introd

uctio

n,tran

sitio

nsbetweensections,and

acod

a(outro)

H

⇒ To

nality(the

keyofthe

piece)w

ouldtradition

allyfo

llowthe

rulesofSon

ataForm

(seeabo

ve)b

utsom

ecompo

sers

suchasBeethoven

wou

ldada

ptand

bemorecreativewiththism

odel

⇒ Moream

bitiou

sha

rmon

ythan

Baroq

ueperiodwithextensionchords(suchasDim

inishe

d7ths)u

sedtoadd

colou

r

⇒ Regularlym

odulates(cha

ngeskey)throu

ghthe

useofp

erfectcad

ences

I

⇒ BytheClassicalP

eriodthepian

oha

dbe

eninvented

and

rep

lacedtheHarpsicho

rdalm

osten

tirely

⇒ The

piano

allowed

com

poserstouseexpressivedyn

amicssimplybypressingthekeysharde

rorm

oresoftly(thiswas

impo

ssibleontheha

rpsichord)

R

⇒ Freq

uentuseoffastqu

averorsem

iqua

verp

assagestosho

woffthe

virtuo

sityofthe

pianist

⇒ Dottedrhythm

san

dsyncop

ationbe

comequ

itecommon

⇒ Con

trastbe

tweenstaccatoand

legatorh

ythm

sbe

comesm

orepron

ounced

T

⇒ Th

emostcommon

textureisHom

opho

nic(cho

rdalwriting)

⇒ Lotsoftexturalcha

ngesinClassicalPeriodpian

owritinginclud

ingHom

opho

ny,M

elod

yDom

inated

Hom

opho

ny,

Octaves,and

Mon

opho

ny

⇒ VerylittlePo

lyph

ony(unliketheBaroq

ueperiodwhichwasallpo

lyph

ony)

Beetho

venBa

ckgrou

nd

• Beethoven

wasavirtuo

sopianistwhichm

eanshewas

brilliantattheinstrumen

t.Heregularlyplayed

hisownmusic

forwealthypatronsinthe

irstatelyhom

es

• LaterinlifeBee

thov

enbecam

ede

af,altho

ughhe

didnot

havehearingproblem

swhe

nwritingthispiece

• APiano

Son

ataisusuallya3or4movem

entworkforsolo

pian

owhichsho

wsofdifferentaspectsofthe

instrumen

t

• Pa

thétiquetran

slatesas‘m

oving’or‘emotiona

l’

• Beethoven

’sstyledevelop

edovertime.Hisearlym

usicwas

muchmorelikeHaydn

and

Mozartwhe

reeverythingfit

neatlyintoboxes-logicalstructures,logicalkeys,logical

phrasesetc.Astimewen

tby,h

ebe

camemuchmore

expressiveand

experim

entedwithbreakingsom

eofthe

rulesofthe

ClassicalPeriod

• Th

ePa

thétiqueso

natawascom

posedatam

idpointin

Beethoven

’scareeran

dlooksbo

thbackw

ardstothe

ClassicalP

eriodaswellasforw

ardtothe

Rom

antic

Period

A04

PU

RC

ELL

- MU

SIC

FO

R A

WH

ILE

ME

LOD

Y

The

mai

n m

elod

y is

sung

by

a so

pran

o sin

ger

The

wor

d se

tting

is m

ostly

sylla

bic

(eac

h sy

llabl

e of

the

text

giv

en it

's ow

n no

te),

with

som

e m

elism

atic

secti

ons (

like

the

wor

d "e

tern

al")

. W

ord

pain

ting

is u

sed

to m

ake

the

mus

ic re

flect

the

mea

ning

of t

he

Mos

t of t

he m

elod

y no

tes m

ove

in st

eps,

with

lots

of p

assin

g no

tes (

the

note

s in

betw

een

chor

d no

tes)

Th

ere

are

lots

of u

ses o

f orn

amen

ts (c

omm

on to

Bar

oque

mus

ic) i

n th

e rig

ht h

and

of th

e ha

rpsic

hord

and

the

sopr

ano

line,

such

as t

rills,

app

og-

giat

uras

, gra

ce n

otes

and

mor

dent

s.

Som

e of

the

text

has

bee

n re

peat

ed, s

uch

as th

e w

ord

"dro

p"

Ther

e ar

e so

me

desc

endi

ng se

quen

ces,

such

as i

n ba

r 20

Rest

s are

use

d to

bre

ak u

p m

elod

ic p

hras

es

The

step

wise

mov

emen

t of t

he m

elod

y m

eans

it c

an b

e de

scrib

ed a

s a

"con

junc

t" m

elod

y TON

ALI

TY

The

mai

n to

nalit

y fo

r the

pie

ce is

A m

inor

This

refle

cts t

he so

mbr

e, sa

d na

ture

of t

he ly

rics

Durin

g th

e m

iddl

e (B

) sec

tion

the

piec

e m

odul

ates

th

roug

h se

vera

l rel

ated

key

s—E

maj

or (t

he d

omin

ant

key—

bar 1

5 &

28)

, G m

ajor

in th

e m

iddl

e of

bar

18,

C

maj

or (r

elati

ve m

ajor

—in

bar

22)

, A m

ajor

(the

toni

c m

ajor

—m

iddl

e of

bar

23)

and

fina

lly b

ack

to A

min

or

in b

ar 2

9

TEM

PO

Th

ere

is no

tem

po m

arki

ng o

n th

e sc

ore,

but

a sl

ow te

mpo

w

ould

be

appr

opria

te

HA

RM

ON

Y

The

acco

mpa

nim

ent i

s pro

vide

d by

the

grou

nd b

ass p

laye

d by

th

e ba

ss v

iol a

nd th

e le

ft ha

nd o

f the

har

psic

hord

Ch

ords

are

dia

toni

c

Ther

e ar

e pe

rfec

t cad

ence

s thr

ough

out t

he p

iece

(as t

he

grou

nd b

ass e

nds w

ith a

V c

hord

, the

n re

peat

s aga

in w

ith a

I ch

ord)

Th

ere

are

a co

uple

of d

isson

ance

s use

d fo

r wor

d pa

intin

g,

such

as t

he w

ord

"pai

ns"

Anot

her t

ype

of d

isson

ance

use

d is

a "f

alse

rela

tion"

, lik

e in

ba

r 1 w

ith th

e gr

ound

bas

s pla

ying

F sh

arp

whi

le th

e rig

ht

hand

pla

ys F

nat

ural

.

Susp

ensi

ons

are

used

ver

y oc

casi

onal

ly. F

or e

xam

ple,

ther

e is

a 4–

3 su

spen

sion

in b

ar 3

bea

t 4 1

⁄2 in

the

harp

sicho

rd

part

. Th

e rig

ht h

and

of th

e ha

rpsic

hord

pla

ys a

n el

abor

ate

real

isati

on, w

hich

has

bee

n in

terp

rete

d fr

om th

e or

igin

al

figur

ed b

ass

INST

RU

ME

NTS

Th

is pi

ece

uses

a so

pran

o sin

ger,

harp

sicho

rd a

nd b

ass v

iol.

The

harp

sicho

rd a

nd b

ass v

iol a

ct a

s the

bas

so c

ontin

uo,

prov

idin

g ac

com

pani

men

t for

the

singe

r. Th

e le

ft ha

nd o

f the

har

psic

hord

and

the

bass

vio

l pla

y th

e gr

ound

bas

s—a

repe

ating

bas

s patt

ern

that

act

s as a

n ac

-co

mpa

nim

ent.

The

right

han

d of

the

harp

sicho

rd p

lays

a

“rea

lisati

on”

(whi

ch w

ould

hav

e be

en im

prov

ised

at th

e tim

e), w

hich

fills

out

the

chor

ds o

f the

pie

ce.

TEX

TUR

E

The

text

ure

is ho

mop

honi

c - o

ne m

ain

mel

ody

and

an

acco

mpa

nim

ent.

The

acco

mpa

nim

ent i

s pro

vide

d by

the

grou

nd b

ass

The

elab

orat

e re

alisa

tion

play

ed b

y th

e rig

ht h

and

of th

e ha

rpsic

hord

mak

es th

e te

xtur

e fe

el p

olyp

honi

c at

tim

es

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is pi

ece

was

writt

en in

the

Baro

que

era.

It w

as c

om-

pose

d in

aro

und

1692

. It w

as w

ritten

for a

pla

y te

lling

th

e Gr

eek

myt

h of

Oed

ipus

.

This

is th

e se

cond

of f

our m

ovem

ents

Pur

cell

wro

te fo

r th

e pl

ay a

s “in

cide

ntal

mus

ic”

perf

orm

ed b

etw

een

the

dram

atic

part

s of t

he p

lay

RH

YH

M a

nd

ME

TRE

4/

4 m

etre

Th

e gr

ound

bas

s use

s rep

eate

d qu

aver

rhyt

hms

Ther

e ar

e a

wid

e va

riety

of r

hyth

ms,

but q

uave

rs a

nd se

miq

uave

rs

are

the

mos

t com

mon

in th

is pi

ece

Ther

e ar

e so

me

dotte

d rh

ythm

s in

the

voca

l par

t Th

ere

is oc

casio

nal s

ynco

patio

n

DY

NA

MIC

S Th

ere

are

no d

ynam

ic

mar

king

s on

the

WO

RD

PA

INTI

NG

Th

e (m

ostly

) min

or k

ey is

app

ropr

iate

for t

he se

rious

, sad

moo

d of

the

text

Th

e w

ord

"ete

rnal

" (ba

r 20)

is su

ng a

s a lo

ng m

elism

a Th

e w

ord

"dro

p" (b

ar 2

3) is

repe

ated

in a

des

cend

ing

patte

rn (g

oing

dow

n)

repr

esen

ting

the

snak

es d

ropp

ing

from

Ale

cta'

s hea

d

The

phra

se "f

ree

the

dead

" (ba

rs 1

6-17

) is s

et to

a tr

ium

phan

t sec

tion

in th

e br

ight

key

of

G m

ajor

. Th

e w

ord

"won

derin

g" (b

ar 1

0) u

ses a

wan

derin

g, d

esce

ndin

g le

gato

(sm

ooth

)

m

elis

mati

c m

elod

y Th

e ph

rase

"pai

ns w

ere

ease

d" (b

ars 1

2-13

) fea

ture

s a d

isson

ance

and

reso

lutio

n

THE

GR

OU

ND

BA

SS

The

grou

nd b

ass i

s a 3

bar

loop

It

cons

ists e

ntire

ly o

f qua

ver r

hyth

ms

It ha

s a ri

sing

patte

rn

The

first

4 se

ts o

f 4 q

uave

rs u

se a

n as

cend

ing

sequ

ence

, sta

rting

one

not

e hi

gher

eac

h tim

e At

the

end

of th

e gr

ound

bas

s the

re is

a fa

ll of

an

octa

ve

It us

es in

terv

als o

f sem

itone

s

After

4 a

nd a

hal

f rep

eats

of t

he g

roun

d ba

ss it

be

gins

to m

odul

ate

into

diff

eren

t key

s. In

the

final

A

secti

on (b

ar 2

9) it

retu

rns t

o th

e re

peati

ng

patte

rn fr

om th

e st

art o

f the

pie

ce.

A Ba

ss V

iol

KEY

3

Gra

de

5 G

rade

8

Gra

de

Context:Musicfo

raW

hile

Melod

y–Articulation–Dy

namics–

Tem

po–Structure–Harmon

y–Instrumen

tatio

n–Rh

ythm

-Texture

Baroqu

eVo

calCon

ventions

M

⇒ Freq

uentuseofo

rnam

entatio

nsuchasg

racenotes,m

orde

nts,trills,and

app

ogiaturastode

corateth

emelod

y–

muchliketheoverlydecorated

baroq

uearchitecturean

dfashion

⇒ Melod

iesa

rere

gulard

evelop

eduseofseq

uences,ano

therfo

rmofe

mbe

llishingorornam

entin

gtheline

⇒ Mainlyusesstep

wiseconjuctm

ovem

entw

ithveryfewdisjunctleapsasthe

musicwasm

oresubd

uedan

dless

virtuo

sic

⇒ Usesa

mixtureofsyllabican

dmelismaticvocalline

swhichisaninflu

encefrom

Italianop

era

⇒ Makesfreq

uentuseofw

ordpa

intin

gwhe

reth

emusicre

flectsthe

meaningofthe

text

A D

⇒ Usesterraceddy

namics–

sudd

enlyloud

orq

uietwith

noprep

aration.Thisw

asbecau

seth

eha

rpsic

hordonlyha

dtw

osettingsand

nothingin-between.The

reforeth

ereareno

crescen

doso

rdim

inue

ndosinBaroq

uevocalm

usic

⇒ Often

notsp

ecified

onthescoresoth

epe

rformerwou

ldfo

llowth

eshap

eofth

emusicto

decideitsdynam

ics

T

⇒ Do

esnotuseextremelyfastsp

eeds–m

ostB

aroq

uem

usicsh

ouldbeab

leto

beda

nced

to

⇒ Tempo

often

notevenmarkedon

thescoresoperform

ersw

ouldassum

ethespeedfrom

themusicalstyle

S

⇒ Often

insimpleform

ssuchasBinary(A-B)o

rTerna

ry(A

-B-A)forms

⇒ Often

builtfrom

are

peatinggrou

ndbassw

hichdictatesthe

lengthofsectio

ns–inspire

dbydan

ceslikechacon

nes

⇒ Co

mpo

sersuseirregu

larp

hraseleng

ths–

am

oreintuitiveapp

roachthan

latercom

poserswho

preferstrictstructures

H

⇒ Th

etona

litywillbestab

leand

onlymod

ulatetocloselyre

latedkeyssu

chasthe

dom

inan

t(V)orrelative

major/m

inorand

thesewillbemarkedbyperfectcad

ences

⇒ Ha

rmon

yiswrittenou

tinfig

ured

bassw

hichth

eha

rpsic

hordth

enre

alises

⇒ Dissona

nceisinfreq

uentand

usuallyre

solved

throughsuspen

sion

s⇒

TiercedePicardie(e

ndingaminorpieceonamajorcho

rd)isa

verycommon

device

I

⇒ Virtua

llyallBa

roqu

epiecesuseth

eBa

ssoCo

ntinuo

–Harpsicho

rdand

BassV

iolprovide

thechorda

laccom

panimen

tan

dba

ssline

⇒

Arepe

atingGroun

dBa

ssisoften

usedinth

elefthan

dofth

eha

rpsic

hord

⇒ Ha

rpsic

hordpartisu

suallyapartly

improvise

drealisationwhichfillsoutth

echordsand

decoratesth

emusic

R

⇒ Freq

uentlyusesd

ottedrhythm

sasthisw

asacom

mon

patternindan

cefo

rms

⇒ Re

peated

qua

versinth

eha

rpsic

hord–anessentialfeatureasitcan

notsustainlongnotes

T

⇒ Melod

ydo

minated

hom

opho

ny–m

elod

ylinewith

bassocon

tinuo

providingth

eaccompa

nimen

t⇒

Somepo

lyph

onycanoccurb

etweenthesin

gera

ndth

eem

bellished

harpsicho

rdpart

⇒ Groun

dba

ss–acon

stan

tlyre

peatingba

ssline

whichth

eothe

rmusicisbuilton

topof

PurcellB

ackgroun

d

• He

nryPu

rcellw

asanEn

glishcompo

serw

holivedbe

tween

1659

and

169

5•

Hisfathe

rdire

cted

thechoirsatW

estm

isterA

bbeyand

asa

teen

agerHen

ryPurcellbe

cametheorganistth

eira

lso

• Pu

rcellisk

nownforcom

posin

gda

ncesuite

s,trioso

natas,as

wellaso

perasa

ndso

ngs

• He

wasparticularlyinflu

encedbyth

eStileItaliano

–th

epo

pularItalianstyleofth

eda

ywhichinclud

eddramatic

recitativ

es,d

acapa

aria

s(whe

reth

esin

gerw

ouldembe

llish

thewrittenlinean

dmakeitmorefla

mbo

yant)a

ndfreq

uent

useofdou

ble-do

tted

rhythm

s

• Almosta

llofhismusicwascom

miss

ione

dfrom

wealth

ypa

tron

sand

soitwaswritteninth

epo

pularstyleso

fthe

tim

ewhichth

eywou

ldenjoy

• Musicfo

raW

hilecom

esfrom

ase

tofp

iecestoaccompa

nya

playbased

ontheGreeklegend

ofO

edipus

• Th

emusicdep

ictsate

rrifyingGreekgod

desswith

thejobof

punishingsin

ners.She

hassn

akesin

herhair,ado

g’sh

ead,

bat’swings,and

isarm

edwith

awhip.The

musiccalmsh

er

untilsh

edrop

sherwhipan

dthesnakesfa

llfrom

herhead

A04

QU

EEN

- K

ILLE

R

QU

EEN

ME

LOD

Y

The

wor

d se

tting

is m

ainl

y sy

llabi

c th

roug

hout

Th

e m

elod

y ha

s a w

ide

rang

e (g

oes v

ery

high

and

ver

y lo

w!)

The

guita

r sol

o bo

rrow

s ide

as fr

om th

e ch

orus

and

ver

se se

ction

s of t

he so

ng

The

back

ing

voca

ls us

e w

ords

and

voc

alisa

tions

(lik

e oo

hs a

nd a

ahs!

) Th

e m

elod

y is

often

con

junc

t, bu

t with

som

e w

ide

angu

lar l

eaps

, inc

ludi

ng

inte

rval

s of 6

ths a

nd o

ctav

es.

In th

e ch

orus

the

mel

ody

is ha

rder

to sp

ot o

n it’

s ow

n be

caus

e of

the

back

ing

voca

l har

mon

ies

The

voca

l par

t som

etim

es u

ses f

alse

tto.

The

voca

l par

t also

incl

udes

spok

en te

xt

The

voca

l par

t con

tain

s a sl

ide

upw

ards

(on

the

wor

d “q

ueen

”)

The

leng

th o

f the

mel

odic

phr

ases

are

ofte

n un

even

(lik

e w

hen

the

extr

a 6/

8 ba

r is

adde

d)

Wor

d pa

intin

g is

use

d on

the

wor

ds “

driv

e yo

u w

ild”.

Effe

cts a

re a

dded

to g

ive

TON

ALI

TY

The

mai

n to

nalit

y fo

r the

pie

ce is

Eb

Maj

or (t

his i

s unu

sual

be

caus

e it’

s a h

ard

key

to p

lay

in o

n th

e gu

itar!

) Th

e ke

y ch

ange

s (m

odul

ates

) dur

ing

the

song

.

The

chor

us is

in B

b m

ajor

Th

ere

are

poin

ts w

here

the

tona

lity

is no

t cle

ar (“

tona

l

am

bigu

ity”)

- lik

e in

the

first

ver

se w

hich

star

ts w

ith a

C m

inor

ch

ord,

mak

ing

the

key

signa

ture

unc

lear

.

The

chor

d se

quen

ces m

ove

quic

kly

thro

ugh

diffe

rent

key

signa

ture

s—fo

r exa

mpl

e in

the

first

hal

f of t

he c

horu

s the

ch

ord

sequ

ence

mov

es q

uick

ly th

roug

h D

min

or a

nd C

maj

or.

The

last

cho

rus e

nds i

n Bb

maj

or, s

o th

e ou

tro

feat

ures

a

repe

ated

Eb

chor

d to

rest

ablis

h th

e or

igin

al k

ey si

gnat

ure

TEM

PO

M

oder

ate

tem

po.

A do

tted

crot

chet

is m

easu

red

at 1

12 b

pm

HA

RM

ON

Y

Que

en li

ked

to u

se a

dven

turo

us c

hord

sequ

ence

s Th

e so

ng u

ses s

ever

al a

ltere

d or

ext

ende

d ch

ords

(suc

h as

7th

s and

11

ths)

Mos

t of t

he c

hord

s are

in ro

ot p

ositi

on, b

ut th

ere

are

som

e ch

ord

inve

rsio

ns.

Ther

e is

a ci

rcle

of 5

ths c

hord

pro

gres

sion

in th

e ch

orus

Th

e m

odul

ation

s to

diffe

rent

key

s are

show

n by

per

fect

cad

ence

s Th

e so

ng st

arts

with

a C

min

or c

hord

—(y

ou c

an’t

tell

that

the

piec

e is

in

Eb m

ajor

unti

l the

cho

rd is

pla

yed

half

way

thro

ugh

the

vers

e—th

is is

Som

e pa

rts o

f the

cho

rd se

quen

ce c

onta

in a

fast

er h

arm

onic

rhyt

hm

(like

one

cho

rd e

very

bea

t on

“gua

rant

eed

to b

low

you

r min

d”)

The

chor

d in

vers

ions

cre

ate

desc

endi

ng a

nd a

scen

ding

bas

sline

s (su

ch

as th

e de

scen

ding

bas

sline

dur

ing

“bui

lt in

a re

med

y”)

In th

e in

stru

men

tal b

efor

e th

e se

cond

ver

se th

ere

is a

“vam

p” b

ased

ar

ound

an

F ch

ord

Ther

e is

a pe

dal n

ote

used

in b

ars 2

7-30

INST

RU

ME

NTS

/SO

NO

RIT

Y

The

voca

l par

t is s

ung

by F

redd

ie M

ercu

ry, w

ho h

as a

hig

h te

nor v

oice

. Th

e pi

ece

uses

pia

no, e

lect

ric g

uita

r, ba

ss a

nd d

rum

kit.

Ther

e ar

e ov

erdu

bbed

bac

king

voc

als.

Th

ere

are

4 gu

itar p

arts

that

hav

e be

en o

verd

ubbe

d to

cr

eate

a ri

cher

text

ure

Ther

e is

a sli

ghtly

out

of t

une

“jan

gle”

pia

no re

cord

ed o

n to

p of

the

mai

n pi

ano

line

The

song

use

s stu

dio

effec

ts li

ke m

ulti

trac

k re

cord

ing,

EQ

, fla

nger

, dis

torti

on, r

ever

b, w

ah-w

ah a

nd p

anni

ng.

The

guita

r par

t use

s slid

es, b

ends

, pul

l-offs

and

vib

rato

TEX

TUR

E

The

mai

n te

xtur

e of

the

piec

e is

hom

opho

nic.

Th

e te

xtur

e bu

ilds u

p gr

adua

lly a

t the

star

t of t

he so

ng

with

eac

h in

stru

men

t ent

erin

g on

e at

a ti

me.

The

guita

r sol

o us

es a

thre

e pa

rt te

xtur

e.

Soun

ds a

re sp

read

out

usin

g pa

nnin

g

The

inte

rwea

ving

gui

tar a

nd v

ocal

s par

ts fr

om th

e

se

cond

ver

se g

ive

the

piec

e a

poly

phon

ic fe

el a

t tim

es

The

guita

r sol

o us

es im

itatio

n Th

e us

e of

pan

ning

in th

e ba

ckin

g vo

cals

crea

tes a

n

antip

hona

l fee

l

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is is

a Gl

am R

ock

song

from

the

band

’s th

ird

albu

m.

It w

as re

leas

ed in

197

4

Que

en’s

soun

d is

unlik

e m

any

“sta

ndar

d” ro

ck

band

s as t

hey

use

adve

ntur

ous h

arm

onie

s and

st

ruct

ures

, and

a th

eatr

ical

styl

e in

fluen

ced

by

mus

ical

thea

tre

and

oper

a. T

hey

also

cre

ate

com

plic

ated

arr

ange

men

ts o

f lay

ered

gui

tar p

arts

an

d ba

ckin

g vo

cals

in th

e re

cord

ing

stud

io u

sing

m

ultit

rack

reco

rdin

g.

R

HY

HM

an

d M

ETR

E

The

time

signa

ture

is m

ainl

y in

12/

8 tim

e Th

is gi

ves t

he p

iece

a sw

ung

feel

. (it

uses

swun

g rh

ythm

s)

Ther

e is

a re

gula

r, da

ncea

ble

beat

with

a st

eady

tem

po.

Ther

e is

sync

opati

on u

sed

thro

ugho

ut

Ever

y ve

rse

and

chor

us st

art w

ith a

n an

acru

sis (u

pbea

t)

Ther

e ar

e oc

casio

nal e

xtra

bar

s of 6

/8 ti

me

to e

xten

d ph

rase

le

ngth

s Th

ere

are

som

e us

e of

trip

lets

(bar

18)

STR

UC

TUR

E

The

piec

e ha

s a v

erse

-cho

rus s

truc

ture

The

full

stru

ctur

e is:

In

tro

(clic

ks),

vers

e 1,

cho

rus,

ins

trum

enta

l, ve

rse

2,

chor

us, g

uita

r sol

o, v

erse

3, c

horu

s, o

utro

KEY

3

Gra

de

5 G

rade

8

Gra

de

Context:KillerQue

en

Melod

y–Articulation–Dy

namics–

Tem

po–Structure–Harmon

y–Instrumen

tatio

n–Rh

ythm

-Texture

RockMusicCon

ventions

M

⇒ Melod

yisgiventoth

esolovocalist,usua

llyahighmalevoice

⇒ An

othe

rmelod

yisoftenhe

ardinanelectricguitarsolo

⇒ Melod

iesu

suallyhavea4or8barphraseleng

ths

⇒ Th

emelod

iesa

reusuallysh

aped

bythelyric

s⇒

Po

werful,accented

articulationused

toemph

asise

impo

rtan

twordsorclim

axesinth

emusic

⇒ Ca

tchy

hoo

ksinth

emelod

y(especiallyatthe

cho

rus)to

stickinyou

rhead

A D

⇒ Gen

erallyfo

rtetofitw

ithth

eam

plified

soun

dofaro

ckban

d⇒

Loud

estp

ointisalm

osta

lwaysthe

cho

rus

⇒ Th

ebridgese

ctionwilloften

show

con

trasta

ndbeataquieterdynam

ic

T

⇒ Usuallyata

nup

beattem

posu

itableford

ancingto

⇒

Ve

ryra

reto

cha

ngespeedwith

inaro

ckso

ng

S

⇒ Verse-Cho

rusForm

meaningitwillusuallyhavean

intro,verses,cho

ruses,abrid

ge,o

ften

aso

lo,and

anou

tro

⇒ Th

egreatestcon

trastisc

reated

inth

ebridge

⇒ Ro

ckso

ngsa

redom

inated

byan

alte

rnationofversesa

ndcho

ruses

H

⇒ Usuallyuseso

nly4or5cho

rds,with

aparticularfo

cuso

nchordsI,IV

,and

V

⇒ Extensionchordssu

chas7

thsa

reoften

add

edto

add

interestto

thesoun

d⇒

Usuallystaysinone

keythrou

ghou

t,althou

ghifaro

ckso

ngdoe

scha

ngekeyitwillusuallyrisebyatone

orsem

itone

⇒

Th

ereisoftenadiffe

renceinharmon

icrhy

thm(h

owquicklycho

rdsc

hange)betweentheversesand

cho

ruses

I

⇒ Trad

ition

alro

ckban

dlineup

is:V

ocalist,ElectricGuitar(lead

–playsriffs

and

solos),Electric

Guitar(rhythm

–plays

chords),BassGuitar,Drums

⇒ Otherinstrumen

tswhicharelesscom

mon

butdoap

pearoccasiona

llyarepiano

/keybo

ard,backingvocalso

rahorn

section(trumpe

t,trom

bone

sand

saxoph

one)

R

⇒ Almosta

lwaysin4/4

⇒ Driven

byriffs,sh

orta

ndcatchymelod

ylinesusuallyplayedbyth

eguita

r⇒

Freq

uentuseofcon

stan

tqu

averstogiveitadriv

ingfeel

T

⇒ Mostly

melod

ydo

minated

hom

opho

ny,w

ithth

evocalisttakingthetune

⇒

Usuallystartsthinan

dbu

ildsintexturetoth

efin

alcho

rusw

hereeveryon

eisplaying

⇒ Often

usesb

reakdo

wnswhe

rem

ostinstrum

entssu

dden

lydropou

t

p

Que

enBackgroun

d

•

Que

enareaBritish

rockban

dfrom

the19

70sa

nd

1980

s•

Theywereknow

nforh

owth

eyexpan

dedthe

rockgen

rewith

bigorche

stratio

ns(b

acking

vocals,extrainstrumen

tsetc.)

• Th

eywerealsokno

wnforthe

iruseofeffe

cts,

with

lotsofo

verdub

bing

(recording

thesamepa

rt

multip

letimes),an

dgu

itare

ffects(suchas

distortio

nan

dfla

nger)a

ppliedtoth

emusic

• Th

eywereespe

ciallykno

wnforh

aving4pa

rt

closeha

rmon

yvocalson

lotsofthe

irtracks

• KillerQ

ueenwasre

leased

in197

4an

disab

outa

high

classprostitu

tewho

enjoysd

rinking

Moë

tan

dCh

ando

ncham

pagn

ean

deatin

gcaviar

• Be

causeofth

isthem

eitisqu

iteoverthe

topan

dfla

mbo

yant

A04

DEF

YIN

G G

RA

VIT

Y FR

OM

“WIC

KED

” M

ELO

DY

Th

e w

ord

setti

ng is

sylla

bic

thro

ugho

ut

The

mel

ody

has a

wid

e ra

nge

(fairl

y hi

gh a

nd lo

w!)

The

mel

ody

star

ts w

ith st

epw

ise m

ovem

ent (

conj

unct

) Th

e ve

rse

and

chor

us c

ombi

ne st

epw

ise m

ovem

ent a

nd b

ig le

aps

(disj

unct

)

The

sylla

bic

wor

d se

tting

and

nat

ural

spee

ch-li

ke rh

ythm

s m

ake

the

wor

ds c

lear

ly u

nder

stan

dabl

e Th

ere

is vo

calis

ation

at t

he v

ery

end

of th

e so

ng (“

aah”

)

Leap

s ofte

n fe

atur

e a

risin

g pe

rfec

t fifth

(e.g

. bar

34

“has

cha

nged

”).

Ther

e ar

e so

me

exce

ption

ally

larg

e le

aps s

uch

as a

com

poun

d pe

rfec

t fift

h (1

3 w

hole

not

es!-

e.g.

bar

s 140

“to

ld m

e la

tely

eve

ryon

e de

-se

rves

..”).

Thes

e bi

g le

aps c

ould

be

desc

ribed

as a

ngul

ar.

Ofte

n th

e m

elod

y is

lega

to (“

you

can

still

be w

ith th

e w

izard

”)

Bars

6 a

nd 7

show

an

asce

ndin

g se

quen

ce (“

hurt

you

r cau

se fo

reve

r, I

hope

you

thin

k yo

u’re

cle

ver”

)

TON

ALI

TY

The

piec

e is

mai

nly

in D

maj

or

At th

e st

art t

he to

nalit

y is

ambi

guou

s. It

use

s unr

elat

ed c

hord

se-

quen

ces a

nd c

hrom

atic

mov

emen

t.

Durin

g th

e in

tro

the

piec

e m

odul

ates

brie

fly to

B m

ajor

at b

ar 2

0, F

m

ajor

at b

ar 2

2, a

nd fi

nally

get

s to

the

toni

c D

maj

or a

t the

star

t of t

he

vers

e.

The

“unl

imite

d” se

ction

is in

G m

ajor

, the

n it

goes

bac

k to

D m

ajor

w

hen

it re

turn

s to

the

chor

us.

The

follo

win

g an

dant

e se

ction

(“w

ell,

are

you

com

ing?

”) re

turn

s to

the

chro

mati

c m

elod

y of

the

intr

o.

It re

turn

s to

D m

ajor

for t

he fi

nal v

erse

(“so

if y

ou c

are

to fi

nd m

e”)

The

final

mae

stos

o se

ction

is in

B m

inor

, bef

ore

finish

ing

on a

D m

ajor

ch

ord

HA

RM

ON

Y

The

intr

o us

es c

hord

s tha

t are

unr

elat

ed

Mos

t cho

rds a

re in

sim

ple

root

pos

ition

Th

ere

is so

me

use

of d

isson

ance

(eg

bar 3

0 (“

I don

't w

ant i

t, no

”)

At th

e en

d th

ere

is a

peda

l not

e (b

ar 1

68)

INST

RU

ME

NTS

/SO

NO

RIT

Y

‘Def

ying

Gra

vity

’ is a

due

t for

the

char

acte

rs E

lpha

ba a

nd G

linda

. Th

e tw

o vo

cal p

arts

use

a b

ig ra

nge

(fairl

y hi

gh a

nd fa

irly

low

!) O

rigin

ally

they

wer

e pe

rfor

med

by

Idin

a M

enze

l (fr

om F

roze

n) a

nd K

ristin

Che

now

eth

(from

Gle

e, A

mer

-ic

an G

ods,

Rio)

Th

e tw

o sin

gers

eith

er sp

eak,

sing

, or p

erfo

rm th

eir l

ines

hal

f sun

g ha

lf sp

oken

. Th

e so

ng u

ses a

big

orc

hest

ra p

lus 3

key

boar

ds, d

rum

kit

and

elec

tric

gui

tars

to

crea

te a

mod

ern

soun

d

The

voca

l par

ts c

over

a ra

nge

of ju

st u

nder

2 o

ctav

es.

The

larg

e or

ches

tra

incl

udes

a w

oodw

ind

secti

on w

hich

feat

ures

add

ition

al p

icco

lo,

bass

cla

rinet

and

cor

ang

lais

. The

strin

g se

ction

incl

udes

a h

arp.

The

wid

e ra

nge

of

perc

ussio

n in

stru

men

ts in

clud

es a

dru

m k

it, tu

bula

r bel

ls an

d tim

pani

. Sy

nthe

size

rs a

nd g

lock

ensp

iels

are

use

d fo

r hig

h pi

tche

d “m

agic

al”

soun

ds, s

uch

as in

the

final

cho

rus (

also

with

“m

agic

al”

soun

ding

tubu

lar b

ells)

The

bras

s pla

ys h

omop

honi

c ch

orda

l mus

ic, l

ike

a fa

nfar

e Th

e dr

um k

it ad

ds rh

ythm

ic m

omen

tum

with

a re

peat

ed h

i hat

in th

e fir

st c

horu

s. Th

ere

is a

cym

bal r

oll m

ovin

g in

to th

e ch

orus

whi

ch a

dds e

xcite

men

t. Th

e st

rings

som

etim

es u

se tr

emol

o to

add

tens

ion

(eg

the

star

t of v

erse

1)

TEX

TUR

E

The

mai

n te

xtur

e is

hom

opho

nic

(mel

ody

and

acco

mpa

nim

ent)

The

intr

o ha

s a sp

arse

text

ure

with

cho

rd st

abs i

n th

e or

ches

tra

and

som

e m

onop

honi

c ba

rs

Elph

aba

and

Glin

da u

sual

ly si

ng se

para

tely

but

som

etim

es si

ng to

geth

er in

un

ison

(“th

ere’

s no

fight

we

cann

ot w

in”)

or i

n ha

rmon

y (t

hird

s) (“

I hop

e yo

u’re

hap

py m

y fr

iend

”)

The

outr

o is

poly

phon

ic, w

ith E

lpha

ba, G

linda

and

the

chor

us a

ll sin

ging

di

ffere

nt m

usic

al id

eas a

t the

sam

e tim

e.

Ther

e is

an o

stina

to a

ccom

pani

men

t at b

ar 8

8 So

meti

mes

the

orch

estr

a pl

ay h

omop

honi

c ch

orda

l tex

ture

s, li

ke a

t bar

132

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is is

a so

ng fr

om th

e M

usic

al “

Wic

ked”

whi

ch u

ses c

hara

cter

s an

d id

eas f

rom

“Th

e W

izar

d of

Oz”

It

was

writt

en a

nd fi

rst p

erfo

rmed

in 2

003

Mus

ic th

eatr

e us

es so

ngs,

spok

en d

ialo

gue,

acti

ng a

nd d

ance

in a

po

pula

r sty

le.

The

piec

e is

writt

en b

y St

ephe

n Sc

hwar

tz, a

n Am

eric

an c

ompo

ser

and

lyric

ist w

ho a

lso

wor

ked

on D

isne

y m

usic

als s

uch

as E

ncha

nt-

ed a

nd T

he H

unch

back

of N

otre

Dam

e

‘Def

ying

Gra

vity

’ is t

he fi

nale

song

for t

he fi

rst a

ct, w

hen

Elph

aba

disc

over

s tha

t the

Wiza

rd o

f Oz i

s not

the

hero

ic fi

gure

she

had

orig

inal

ly b

elie

ved

him

to b

e. R

ealis

ing

this,

Elp

haba

vow

s to

do

ever

ythi

ng in

her

pow

er to

figh

t the

Wiza

rd a

nd h

is sin

ister

pla

ns.

She

sings

of h

ow sh

e w

ants

to li

ve w

ithou

t lim

its, g

oing

aga

inst

the

rule

s tha

t oth

ers h

ave

set f

or h

er.

RH

YH

M, M

ETR

E a

nd

TE

MP

O

Ther

e ar

e lo

ts o

f tem

po c

hang

es th

roug

hout

the

song

and

they

are

im

port

ant t

o th

e st

ruct

ure

(see

the

stru

ctur

e se

ction

). Th

e so

ng sl

ows d

own

at th

e en

d.

Ther

e is

freq

uent

sync

opati

on th

roug

hout

.

The

intr

o st

arts

in 3

/2 ti

me,

then

cha

nges

to 2

/2 .

Whe

n ve

rse

1 st

arts

it th

en g

oes i

nto

4/4

time.

At b

ar 1

15 (“

I hop

e yo

u’re

hap

-py

”) it

goe

s bac

k to

2/2

tim

e.

Ther

e ar

e se

vera

l ral

lent

ando

s or “

ralls

” (w

hen

the

tem

po sl

ows

dow

n), p

artic

ular

ly a

t the

end

of s

ectio

ns. T

here

is a

rall

at th

e en

d of

the

who

le p

iece

. Do

tted

rhyt

hms a

re u

sed

thro

ugho

ut, l

ike

the

wor

d “g

ra-v

i-ty”

in

the

chor

us. T

here

are

also

trip

lets

.

Rhyt

hms i

n th

e vo

cal p

art a

re m

ostly

cro

tche

ts a

nd q

uave

rs, b

ut

ther

e ar

e so

me

long

er n

otes

at t

he e

nd o

f phr

ases

. Re

sts b

reak

up

phra

ses,

and

phr

ases

ofte

n st

art w

ith a

rest

.

STR

UC

TUR

E a

nd T

EM

PO

Th

ere

is a

vers

e ch

orus

form

, but

with

in th

at st

ruct

ure

ther

e ar

e m

ultip

le se

ction

s defi

ned

by c

hang

es in

tem

po a

nd

moo

d

Bars

1- 1

9 -

Free

tem

po (l

ike

a re

cita

tive)

Bars

20-

33 -

Anda

nte

(“yo

u ca

n sti

ll be

with

the

wiza

rd”)

Bars

34-

48 -

Anda

nte

- ver

se 1

(“so

met

hing

has

cha

nged

..”)

Bars

49-

87 -

Alle

gro

- Cho

rus,

ver

se 2

, cho

rus 2

Bars

88-

102

- Mod

erat

o - A

con

tras

ting

secti

on in

G m

ajor

(“

unlim

ited”

)

Bars

103

-110

- Al

legr

o - C

horu

s, b

ack

in D

maj

or.

Bars

111

-128

And

ante

- Si

mila

r to

the

intr

o

Bars

129

-161

Alle

gro

- Ver

se 3

and

cho

rus 3

. The

clim

ax o

f th

e so

ng! F

ull o

rche

stra

and

loud

dyn

amic

s.

Bars

162

- 17

7 - A

ndan

te to

Mae

stos

o - O

utro

- bu

ild u

p to

fin

ale.

KEY

3 G

rade

5

Gra

de

8 G

rade

Context:De

fyingGravity

Melod

y–Articulation–Dy

namics–

Tem

po–Structure–Harmon

y–Instrumen

tatio

n–Rh

ythm

-Texture

MusicalThe

atreCon

ventions

M

⇒ Po

psonginspire

dwith

catchyho

oksa

ndbigcho

ruses

⇒ Melod

ylinecarriedbysingersinamixtureofsolos,d

uetsand

ensem

blenu

mbe

rs

⇒ Often

usesv

erywiderang

ewith

abeltin

gvocalqua

lityforp

owerfuland

loud

highno

tes

⇒ Ca

nuseamixtureofsinging

and

talkingtocarryth

eplotfo

rward

⇒ Makesuseofv

ocalisations(“oo

hs”an

d“aah

s”)

⇒ Freq

uentuseofm

elismaatth

een

dsofp

hrasesto

show

expressionan

dem

otion

A D

⇒ Often

usesd

ynam

icextremes(p

iano

tofo

rte…

and

evenwider)

⇒ Dy

namicsu

sedtoemph

asise

thedram

ainth

elyric

s T

⇒ Tempo

sfreq

uentlycha

ngeinso

ngsa

sthe

emotiona

ldriv

eofth

echaractersingingcha

nges

⇒ Ra

lls(slowdow

ns)a

ndaccels(spe

edups)a

reusedtoadd

suspen

seand

drama

S

⇒ Songsu

sepop

son

gstructureconven

tions(verse,b

ridge,cho

rus,etc.)bu

texten

dtheseinim

aginativeways

⇒ Ve

ryflexibleand

irregu

larm

usicalstructuresto

followth

eun

foldingstorytoldbythelyric

s⇒

Musicalsa

reintw

oactsand

arebuiltfrom

ase

rieso

fnum

bers-individu

also

ngsw

hichadvan

ceth

estory

H

⇒ Usesp

opson

gchordprog

ressionsand

arebuiltfrom

mainlychordsI,IV

,Vand

vi

⇒ Mod

ulations(keycha

nges)a

reusedtobuildene

rgyan

ddram

a(especiallybygoingup

one

tone

orsem

itone

)⇒

Moremysterio

usse

ctionsuseunrelated

cho

rdstocreateam

biguity

and

atm

osph

ere

⇒ Pe

dald

rone

softenused

und

erne

athspoken

dialogueorto

linkm

usicalnum

bersorsectio

nsto

gether

I

⇒ Earlierm

usicalsu

sedan

orche

stra,b

utm

odernmusicalsa

ddro

ckin

strumen

tsto

theclassic

alone

inorderto

createa

moremod

ernsoun

d⇒

Pe

rformerso

ften

brid

geth

elinebe

tweensin

gera

ndactorth

roughspeak-sing

ing(halfspo

ken)

R

⇒ Musicalth

eatrenu

mbe

rsareusuallyrh

ythm

icallyinterestingwith

dottedrhythm

sand

tripletsusedtoadd

variety

⇒ Syncop

ationisused

freq

uentlyto

add

interestand

createapo

p-likesoun

d⇒

Timesign

aturesfreq

uentlycha

ngeinorderto

fitthe

lyric

s(storytellingisthemostimpo

rtan

taspect)

⇒ Th

erhythm

ofthe

melod

yisoftenbu

iltfrom

naturalspe

echrhythm

ssoitfe

elsc

onversationa

l

T

⇒ Mostly

usesm

elod

ydo

minated

hom

opho

ny(m

elod

yan

daccompa

nimen

t)

⇒ Lotsofinterestin

gtexturalcolou

rscreated

bycombiningdifferen

tpartsofthe

orche

straand

rockban

dline-up

⇒

Po

lyph

onicte

xturesso

metim

esoccurwhe

nmultip

lecha

racterso

rson

gsarelayeredon

topofone

ano

ther

Step

henSchw

artzBackgroun

d

•

Steven

Schwartziskno

wnasbothacompo

sera

nda

lyric

istwhichisnotalwaysthe

caseinm

usicalth

eatre.

Thismeansth

athissongsa

reverygo

odattellingthe

storyan

ddrivingtheplotfo

rward

• Schw

artzisabigfa

nofpop

/rockmusicand

usesthe

se

stylesinhismusicals

• Th

emusicalW

ickedtellsth

estoryofth

eWickedWitch

from

thefilmm

usicalTheW

izardofO

z•

‘DefyingGravity’ish

eardatthe

end

ofA

ct1whe

reth

emaincharacterd

ecidesth

ereareno

limitsto

wha

tshe

canachieve–themusicre

flectsthiside

a

A04

STA

R W

AR

S MA

IN T

ITLE

-

JOH

N W

ILLI

AM

S

ME

LOD

Y

John

Will

iam

s writ

es c

atch

y, m

emor

able

mel

odie

s, w

hich

is o

ne re

ason

why

his

film

sc

ores

hav

e be

en so

pop

ular

. Th

e pi

ece

star

ts w

ith a

fanf

are

(gra

nd a

nd h

eroi

c).

Then

the

leitm

otif i

s pla

yed

by tr

umpe

ts a

nd o

ther

bra

ss. I

t use

s int

erva

ls of

4th

s and

5t

hs a

nd lo

ts o

f 7th

s Th

en th

e B

them

e is

scal

ic a

nd p

laye

d by

the

viol

ins a

nd o

ther

strin

gs

Ther

e is

a fu

ll de

scen

ding

scal

e to

end

the

B th

eme

Then

the

A th

eme

retu

rns b

ut w

ith sm

all c

hang

es.

After

the

them

e, th

ere

are

not m

any

mai

n m

elod

y id

eas i

n th

e “r

ebel

blo

ckad

e

ru

nner

” se

ction

—ju

st a

shor

t pic

colo

mel

ody

durin

g th

e “s

tar fi

lled

sky”

secti

on

The

fanf

are-

like

intr

o us

es ra

pid

repe

ated

not

es u

sing

toni

c (B

b) tr

iple

ts—

whi

ch a

re

used

thro

ugho

ut th

e m

ain

them

e. It

also

use

s im

itatio

n (t

he m

elod

y id

eas a

re

repe

ated

by

diffe

rent

bra

ss in

stru

men

ts).

Ther

e ar

e 7t

h in

terv

als i

n th

e fa

nfar

e, li

ke

in th

e m

ain

them

e.

The

mai

n th

eme

cons

ists o

f a 4

bar

idea

whi

ch b

alan

ces s

tepw

ise m

otion

and

leap

s.

Ther

e ar

e re

peat

ed u

se o

f trip

lets

and

long

min

ims t

o cr

eate

exc

item

ent a

nd te

nsio

n Th

e B

them

e is

cont

rasti

ng to

the

A th

eme—

it fe

els l

ess f

orce

ful.

It us

es sc

alic

pa

ttern

s, b

ut d

oes c

onta

in so

me

leap

s and

trip

lets

to re

min

d us

of t

hem

e A.

At

the

end

of th

e B

them

e th

ere

is a

desc

endi

ng B

b m

inor

mel

odic

scal

e.

Both

them

es u

se a

n an

acru

sis.

The

mai

n A

them

e ca

n be

bro

ken

dow

n as

follo

ws:

Bar

1 c

onta

ins a

risin

g pe

rfec

t 5th

(t

onic

to d

omin

ant)

whi

ch c

reat

es a

her

oic

feel

. Bar

s 2 a

nd 3

are

iden

tical

, inc

ludi

ng a

le

ap o

f a m

inor

7th

. Bar

4 u

ses a

n au

xilia

ry n

ote

(not

in th

e m

ain

chor

d) to

reac

h th

e no

te C

, pre

parin

g fo

r the

repe

at o

f the

4 b

ar p

hras

e.

TON

ALI

TY

The

mai

n th

eme

is in

Bb

maj

or.

After

the

them

e fin

ishes

, dur

ing

the

rebe

l blo

ckad

e ru

nner

secti

on th

e to

nalit

y is

less

clea

r, us

ing

mor

e un

stab

le h

arm

onie

s.

From

whe

n th

e sp

aces

hips

app

ear,

ther

e is

lots

of u

se o

f

diss

onan

ce. T

he p

iece

is a

lmos

t ato

nal a

t tim

es, a

nd a

s the

actio

n sw

itche

s to

insid

e th

e cr

aft th

ere

is so

me

use

of b

itona

lity.

As th

e pl

anet

s are

reve

aled

the

piec

e sw

itche

s to

C m

ajor

(with

an

add

ed A

b) fo

r a sh

ort w

hile

. W

hen

the

spac

eshi

ps a

ppea

r the

mus

ic is

mor

e ba

sed

arou

nd

the

note

C, w

hich

is h

eard

as a

bas

s ped

al.

HA

RM

ON

Y

The

harm

ony

of th

e m

ain

them

e is

mos

tly d

iato

nic

(use

s cho

rds a

nd n

otes

that

fit w

ith

the

key

signa

ture

) Th

e m

elod

y is

acco

mpa

nied

by

mos

tly m

ajor

and

min

or c

hord

s.

Ther

e ar

e no

t man

y pe

rfec

t cad

ence

s, w

hich

we

norm

ally

exp

ect i

n th

is ki

nd o

f mus

ic.

After

the

mai

n th

eme,

the

harm

ony

is co

mpl

icat

ed a

nd o

ften

feel

s diss

onan

t and

aton

al (n

ot in

any

key

sign

atur

e)

The

harm

ony

in th

e fa

nfar

e an

d A

them

e us

es q

uart

al h

arm

ony—

chor

ds m

ade

up o

f no

tes t

hat a

re 4

step

s apa

rt.

In th

e m

ain

them

e th

e ch

ords

are

sync

opat

ed. W

hen

the

A th

eme

repe

ats,

it is

slig

htly

ch

ange

d to

cre

ate

a de

scen

ding

bas

sline

. W

hen

the

bigg

er sp

aces

hip

appe

ars t

he “

Mar

s” li

ke h

amm

ered

uni

son

chor

ds a

re

di

sson

ant (

clas

hing

). Th

is a

lso

uses

a tr

itone

(an

augm

ente

d 4t

h.. t

he d

evil’

s int

erva

l!).

The

them

e do

es u

se so

me

chor

ds n

ot in

the

key

of B

b m

ajor

, suc

h as

the

Ab m

ajor

at

the

end

of th

e fir

st A

them

e (b

efor

e th

e im

perf

ect c

aden

ce).

The

B se

ction

also

use

s a

Db m

ajor

, whi

ch is

not

in th

e ke

y of

Bb

maj

or.

In th

e in

tro

and

A th

eme

ther

e is

an in

vert

ed to

nic

peda

l pla

yed

trem

olo

in th

e vi

olin

s.

In th

e B

them

e th

ere

is a

dom

inan

t ped

al p

laye

d by

the

bras

s ins

trum

ents

. Du

ring

the

“sta

r fille

d sk

y” se

ction

, the

har

mon

ies m

ix u

nrel

ated

cho

rds t

oget

her (

like

Db m

ajor

and

C m

ajor

) to

crea

te st

rang

e, u

nsta

ble

effec

ts.

Whe

n w

e se

e th

e tw

o pl

anet

s, th

e st

rings

and

the

bras

s are

pla

ying

in tw

o di

ffere

nt

keys

.

INST

RU

ME

NTS

/SO

NO

RIT

Y

Mai

n Ti

tle/R

ebel

Blo

ckad

e Ru

nner

use

s a fu

ll sy

m-

phon

y or

ches

tra

— S

trin

gs, p

ercu

ssio

n, w

oodw

ind

and

bras

s.

The

inst

rum

ents

use

d ar

e a

full

strin

g se

ction

, plu

s:

Win

d: fl

ute,

pic

colo

, obo

e, c

larin

et, b

ass c

larin

et,

bass

oon

Bras

s: H

orn,

trum

pet,

trom

bone

, tub

a Pe

rcus

sion

: Tim

pani

, tria

ngle

, tam

tam

(gon

g),

vibr

apho

ne, g

lock

ensp

iel,

cym

bals.

Pl

us a

pia

no, c

eles

te a

nd h

arp

The

orch

estr

a is

used

in th

e st

yle

of a

trad

ition

al

rom

antic

-era

orc

hest

ra, w

ith m

uch

doub

ling

of

part

s an

octa

ve o

r mor

e ap

art.

TEX

TUR

E

The

piec

e is

mai

nly

mad

e up

of h

omop

honi

c te

xtur

es.

Ther

e ar

e on

ly a

few

solo

or l

ight

er te

xtur

es, i

t is m

ostly

ver

y

The

mai

n th

eme

is m

ostly

acc

ompa

nied

by

bloc

k ch

ords

or

arpe

ggio

s.

The

piec

e us

es p

edal

text

ures

, suc

h as

the

inve

rted

toni

c pe

dal

(rep

eate

d Bb

not

e pl

ayed

by

the

viol

ins)

dur

ing

the

intr

oduc

-tio

n an

d A

them

e, a

nd th

e do

min

ant p

edal

(rep

eate

d 5t

h no

te

play

ed b

y th

e br

ass)

in th

e B

secti

on.

At th

e en

d of

the

rebe

l blo

ckad

e ru

nner

, whe

n th

e ac

tion

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is is

a pi

ece

of m

usic

writt

en fo

r the

film

Sta

r War

s Epi

sode

IV: A

N

ew H

ope

in 1

977

It us

es a

mai

n th

eme

(whi

ch is

a le

itmoti

f for

Luk

e Sk

ywal

ker)

. Th

e “R

ebel

Blo

ckad

e Ru

nner

” se

ction

use

s mus

ic to

supp

ort t

he

RH

YH

M, T

EM

PO

an

d M

ETR

E

The

fast

tem

po m

atch

es th

e m

ood

and

feel

of t

he fi

lm—

an

exci

ting

actio

n m

ovie

! Th

e 4/

4 m

etre

, ste

ady

tem

po a

nd u

se o

f bra

ss g

ive

it a

“mar

ch”

like

feel

—w

hich

refle

cts t

he b

attle

s goi

ng o

n in

star

w

ars

Ther

e is

repe

ated

use

of t

riple

ts in

the

mel

ody

lines

Aft

er th

e m

ain

them

e, th

e pu

lse b

ecom

es h

arde

r to

follo

w.

Both

them

es u

se a

n an

acru

sis.

The

mai

n th

eme

(A) i

s acc

ompa

nied

by

sync

opat

ed b

lock

ch

ords

whi

ch c

reat

e ex

cite

men

t. W

hen

the

larg

e sp

aces

hip

appe

ars,

the

time

signa

ture

chan

ges t

o 3/

4 Th

e te

mpo

cha

nges

dur

ing

the

“reb

el b

lock

ade

runn

er”

secti

on o

f the

pie

ce to

em

phas

ize th

e ac

tion

on sc

reen

.

The

“Mar

s” li

ke c

hord

s whe

n th

e la

rge

spac

eshi

p ap

pear

s are

ho

mor

hyth

mic

(all

play

ing

the

sam

e rh

ythm

).

STR

UC

TUR

E

The

mai

n th

eme

uses

an

AABA

stru

ctur

e Aft

er th

is, th

e m

usic

follo

ws t

he a

ction

on

the

scre

en.

The

full

stru

ctur

e of

the

rebe

l blo

ckad

e ru

nner

secti

on is

: Sta

r fil

led

sky,

cam

era

pans

dow

n to

show

pla

nets

, spa

cesh

ip a

p-pe

ars,

larg

er sp

aces

hip

attac

ks, a

ction

con

tinue

s and

switc

h-

KEY

3

Gra

de

5 G

rade

8

Gra

de

Context:StarW

ars

Melod

y–Articulation–Dy

namics–

Tem

po–Structure–Harmon

y–Instrumen

tatio

n–Rh

ythm

-Texture

Film

MusicCon

ventions

M

⇒ He

rom

elod

iesu

sewidedisjun

ctleap

stoshow

pow

erand

cou

rage

⇒ Villainou

smelod

iesu

secon

junct,oftenchromaticstep

stoshow

sinisterqua

lities

⇒ Ch

aractersarere

presen

tedthroughmusicalLeitm

otifswhichevolvewith

thecharacters

⇒ Ve

ryexpressive!

⇒ Lotsofa

ccen

tsto

markpo

werfulm

elod

ies

⇒ Lotsoflegatoslurstoem

phasise

roman

ce

A D

⇒ Often

usesd

ynam

icextremes(p

iano

tofo

rte…

and

evenwider)

⇒ Freq

uentand

sudd

encha

ngesofd

ynam

ics

⇒ Tensionan

ddram

abu

iltupthroughep

iccrescen

dos

T

⇒ Fasterte

mpo

susedtosh

owdramaan

dactio

n,slow

erte

mpo

susedform

orerefle

ctivemom

ents

⇒ Tempo

soften

cha

ngequ

icklytore

presen

tsud

denchan

gesinmoo

d⇒

Ru

batousedtohelpmelod

iesfitwith

theim

agesonthescreen

S

⇒ Ve

ryflexibleand

irregu

larm

usicalstructuresto

followth

estoryun

foldingon

screen

⇒

Film

soften

startw

itham

usicalovertureofso

rtso

verthe

ope

ningcredits

⇒ Th

estructureofth

emusicisdictatedbyth

eed

itingofthe

film

H

⇒ Ha

rmon

yisoftende

scrip

tiveratherth

anfu

nctio

naland

hasnostric

t‘rules’

⇒ Ad

aptsto

suittheim

agesonscreen

whichitistryingto

dep

ict

⇒ Dissona

nceisused

freelyto

buildte

nsion

I

⇒ Ve

ryoften

forfullo

rche

stra,u

tilisingth

ediffe

rentinstrumen

talcolou

rs

⇒ Sci-fifilm

soften

useelectronicinstrumen

tsra

therth

anre

alone

s⇒

Brass=

heroics;Strin

gsand

Woo

dwinds=ro

man

ce;Pe

rcussio

n=aggressio

n

R

⇒ Often

boldan

ddram

atic

⇒ Usedtore

presen

tthe

cha

racterso

nscreen

(i.e.stron

grhythm

ssuchasfa

nfaresorm

archesre

presen

tstron

gcharacters,m

orede

licaterhythm

susedforrom

anticsc

enes)

T

⇒ Usuallyeith

erhom

opho

nic(cho

rds),o

r…

⇒ Melod

yDom

inated

Hom

opho

ny(a

ccom

panimen

twith

aleitm

otifmelod

yoverth

etop)

⇒ Lotsofinterestin

gtexturalcolou

rscreated

bycombiningdifferen

tpartsofthe

orche

stra

John

WilliamsB

ackgroun

d

•

John

Williamsiso

neofthe

mostfam

ousfilm

compo

sersofa

lltim

e•

Hehaswrittenthemusicto

lotsofh

uge

blockbusterm

oviesincluding

Indian

aJones,Harry

Potterand

thePh

ilosoph

er’sStone,Jaw

sand

JurassicPark

• John

Williamsw

ascrucialinpop

ularising

grand

orchestralfilm

scoresata

timewhe

npo

pmusic

andelectron

icinstrumen

tswerebe

comingmore

common

•

Someofhisothe

rsci-fifilm

susedelectron

ic

instrumen

tssu

chasC

loseEncou

nterso

ftheThird

Kind

,how

everfo

rStarW

arsh

eused

the

orchestratore

presen

tthe

epic,alm

osto

peratic

scaleofth

estory

A04

AFR

O C

ELT

SOU

ND

SY

STEM—

REL

EASE

ME

LOD

Y

Ther

e is

a fe

mal

e an

d m

ale

singe

r. Th

e vo

cal m

elod

y is

repe

titive

Th

ere

are

som

e sp

oken

par

ts, i

nclu

ding

voc

al sa

mpl

es

The

singe

rs so

meti

mes

sing

voc

able

s (no

nsen

se ly

rics)

like

ooo

h an

d aa

ah

The

mel

ody

lines

are

all

shor

t phr

ases

At

the

star

t (be

fore

the

first

ver

se) t

he fe

mal

e vo

cal p

art s

ound

s lik

e it

is im

pro-

visi

ng.

Solo

s are

take

n by

the

Uill

eann

pip

e, w

hist

le a

nd h

urdy

gur

dy

The

fem

ale

voca

l par

t has

a li

mite

d ra

nge

(a 6

th)

The

mal

e vo

cal p

art h

as a

big

ger r

ange

(a 1

3th)

Th

e vo

cals

use

gliss

ando

(slid

es) a

nd o

rnam

enta

tion

(acc

iacc

atur

a)

The

fiddl

e m

elod

y us

es d

oubl

e st

oppi

ng

TON

ALI

TY

The

piec

e is

in C

min

or

The

piec

e ha

s a m

odal

feel

at ti

mes

.

TEM

PO

Th

e st

art o

f the

pie

ce is

in fr

ee

time

(no

set t

empo

/met

re)

Then

whe

n th

e bo

dhra

n co

mes

in

a st

eady

tem

po is

set.

The

piec

e is

at 1

00bp

m

HA

RM

ON

Y

The

piec

e is

in a

min

or k

ey (C

min

or)

It us

es re

peati

ng c

hord

sequ

ence

s ove

r and

ove

r aga

in

Ther

e is

a dr

one

in th

is pi

ece

on th

e no

te C

The

harm

ony

is m

ostly

dia

toni

c Th

ere

are

som

e ch

rom

atic

note

s, su

ch a

s the

low

synt

h st

rings

that

pla

y an

asc

endi

ng c

hrom

atic

line

Ther

e ar

e so

me

exte

nded

cho

rds (

such

as 7

ths a

nd 9

ths)

The

harm

onic

rhyt

hm is

slow

—it

feel

s lik

e it

stay

s on

the

sam

e ch

ord

for

a lo

t of t

he p

iece

. Thi

s is c

omm

on to

dan

ce m

usic

.

INST

RU

ME

NTS

/SO

NO

RIT

Y

Afric

an in

stru

men

ts: k

ora,

talk

ing

drum

Ce

ltic

inst

rum

ents

: hur

dy-g

urdy

, uill

eann

pip

es, b

odhr

án, fi

ddle

, whi

stle

, acc

ordi

on

Elec

tron

ic D

ance

Mus

ic in

stru

men

ts: m

ale/

fem

ale

voca

ls, s

ynth

esis

ers (

incl

udin

g st

ring

pad,

soft

pad,

bel

ls, b

ass)

, bre

ath

sam

ples

, dru

m m

achi

ne, e

lect

ric p

iano

, sha

ker a

nd ta

m-

bour

ine.

The

piec

e is

mad

e fr

om lo

opin

g id

eas (

a co

mm

on d

ance

mus

ic te

chni

que)

Som

e of

the

play

ing

tech

niqu

es in

clud

e gl

issan

do (a

con

tinuo

us sl

ide

of n

otes

), or

nam

en-

tatio

n, d

oubl

e st

oppi

ng (p

layi

ng 2

strin

gs to

geth

er o

n th

e fid

dle)

, ope

n an

d cl

osed

hi-

hat.

Th

ere

is a

reve

rb e

ffect

on

the

voca

ls th

roug

h th

e w

hole

trac

k.

The

synt

hesiz

er d

rone

use

s a fi

lter (

whi

ch a

utom

atica

lly a

djus

ts th

e EQ

giv

ing

a “s

wee

ping

” so

und)

TEX

TUR

E

The

mai

n te

xtur

e of

the

piec

e is

hom

opho

nic.

Th

ere

are

lots

of l

ayer

s of l

oops

. And

the

loop

s dro

p in

an

d ou

t reg

ular

ly m

akin

g th

e te

xtur

e co

nsta

ntly

cha

nge.

At

the

star

t of t

he so

ng, t

he te

xtur

e bu

ilds u

p by

add

ing

loop

s one

at a

tim

e

The

man

y ov

erla

ppin

g lo

ops g

ive

often

the

piec

e a

poly

-ph

onic

feel

. Th

ere

is a

hete

roph

onic

text

ure

durin

g th

e ou

tro,

with

so

lo in

stru

men

ts p

layi

ng th

e sa

me

thin

g, w

ith sl

ight

var

i-ati

ons.

The

very

star

t of t

he p

iece

is m

onop

honi

c

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is is

a pi

ece

of fu

sion

mus

ic, c

ombi

ning

ele

men

ts

of A

fric

an m

usic

, Cel

tic fo

lk m

usic

and

ele

ctro

nic

danc

e m

usic

It

was

rele

ased

in 1

999

The

band

has

feat

ured

a n

umbe

r of g

uest

mus

icia

ns

over

the

year

, inc

ludi

ng S

inea

d O

’Con

nor w

ho si

ngs

on “

Rele

ase”

.

RH

YH

M a

nd

ME

TRE

Th

e tim

e sig

natu

re is

sim

ple

4/4

(com

mon

to d

ance

mus

ic)

Ther

e ar

e lo

ts o

f rep

eatin

g rh

ythm

ic ri

ffs/o

stina

to p

atter

ns in

the

song

. The

se a

re sh

ort p

hras

es th

at a

re lo

oped

(rep

eate

d ov

er a

nd

over

aga

in)

Ther

e is

sync

opati

on u

sed

thro

ugho

ut

The

repe

ating

rhyt

hms a

re m

ostly

2 a

nd 4

bar

loop

s

Trip

lets

and

sext

uple

ts a

re u

sed

in th

e pi

ece.

Th

e se

miq

uave

rs a

re sl

ight

ly sw

ung

(giv

ing

the

piec

e a

rela

xed

qual

ity)

Som

e no

tes a

re a

ccen

ted

to m

ake

them

loud

er th

an o

ther

s

STR

UC

TUR

E

The

piec

e ha

s a v

erse

form

(with

no

chor

uses

) It

cont

ains

an

intr

o, v

erse

s, br

eaks

, sol

os a

nd a

n ou

tro.

The

full

stru

ctur

e is:

In

tro,

ver

se 1

, ver

se 2

, sol

os, v

erse

3, b

uild

, out

ro

KEY

3

Gra

de

5 G

rade

8

Gra

de

Context:Re

lease

Melod

y–Articulation–Dy

namics–

Tem

po–Structure–Harmon

y–Instrumen

tatio

n–Rh

ythm

-Texture

Afric

anCon

ventions

CelticCo

nven

tions

Electron

icDan

ceCon

ventions

M

⇒ Melod

yisun

impo

rtan

t–te

xturean

drhythm

arethemainfocus

⇒ An

ylead

line

saregiven

toth

evo

ice,orto

percussion

soloists

⇒ Usesa

mixtureofsun

gan

dspok

envocals

⇒ Melod

yusua

llyheardinvocalso

rfolkfid

dle

⇒ Usesm

odalto

nality

⇒ Often

veryfree,fun

and

intuitive–nota

form

allycon

structed

melod

y⇒

Ha

sastrongim

prov

ised

feeling

⇒ Ornam

entatio

n(acciaccatura,trillse

tc.)

⇒ Melod

yinvocalline

sand

lead

synthpa

rts

⇒ Usesc

atchyho

oks

⇒ Often

usesv

ocalsam

ples(recordingsw

hich

arerepe

ated

and

edited)

⇒ Re

verbadd

edto

vocalline

s A D

⇒

⇒

⇒ Sudd

encutsintextureareem

phasise

dby

terraced

dyn

amicdrops

T

⇒ Often

hasfree

timesectionscreating

atmosph

ere

⇒ Onceestablish

ed,asteady

tempo

isusually

maintaine

dthrougho

ut

⇒ Often

hasfreetimesectionssu

chasc

aden

zas

⇒ Morecommon

lyusesa

fasterte

mpo

designe

dford

ancing

⇒ Co

nstantte

mpo

througho

ut

⇒ Upb

eat,fasterte

mpo

ford

ancingto

S

⇒ Lotsofcyclicpatternsa

ndlo

oping

⇒ Lotsofrep

etition

with

embe

llishmen

t(them

ean

dvaria

tionform

)⇒

Po

psong

structure(intro,verse,b

ridgeetc.)

⇒ Cy

clicpatternsa

ndlo

oping

H

⇒ Freq

uentuseofd

rone

s⇒

Pe

rcussio

nba

sedsoharmon

yislessim

portan

t⇒

Nochordinstrumen

ts

⇒ Drone

sareoften

usedinth

eAc

cordionor

fiddle

⇒ Mod

alto

nalitybu

iltfrom

intuition

ratherth

an

form

alru

les(folkm

usicisallmod

al)

⇒ Mainlyusesstan

dardpop

son

gchords

(I,IV

,Vand

vi)

⇒ Ch

ordprogressionsre

peated

throug

hout

I

⇒ Lotsofh

andpe

rcussio

nsuchastalking

drums

andko

ra

⇒ Mainlybu

iltfrom

drumsan

dvo

cals

⇒ Useslotso

ffolkinstrumen

tsinclud

ingHurdy

Gurdy

,Uilleanpipe

s,Bod

hrán

,whitstle

,and

accordian

⇒ Th

efolkviolin(fiddle)isespeciallyim

portan

tan

disoftengivenvirtuo

sicpa

ssages

⇒ Synthe

sisers(keybo

ardswith

artificialso

unds)

⇒ Drumm

achine

s(digitaldrums)

⇒ Melod

ygiventolead

vocalist(maleorfe

male)

⇒ Prod

uctio

neffects(i.e.EQ,filtersa

nddelay)

R

⇒ Co

nstantsteady

beat

⇒ Lotsofsyn

copa

tion

⇒ Useofrhythmicostinatos

⇒ Lotscom

poun

dmetres(6/8or12/8)

⇒ Dottedrhythm

feelto

makeitda

nce-like

⇒ Co

nstantsteady

beat

⇒ Lotsofsyn

copa

tion

⇒ Useofriffs

T

⇒ Often

polyp

honic(lo

tsofinterweavingline

s)

⇒ Often

heterop

honic(everyinstrumen

tdoing

itsownversionofth

emainline)

⇒ Lotsofloo

psand

layerin

g

⇒ Mainlymelod

yan

daccompa

nimen

t(melod

ydo

minated

hom

opho

ny)

⇒ Freq

uentte

xturalcha

ngesareth

emainthing

used

tocreateinterestasthe

harmon

yan

dmelod

yusua

llyre

mainstaticth

rougho

ut

AfroCeltS

ound

System

Ba

ckgrou

nd

• Th

eirm

usicisafu

sion

(blend

ing)ofA

frican

,Celtic

,an

dElectron

icDan

cestyles

• Re

leasecomesfrom

their

second

stud

ioalbum

released

in199

9•

Thelyric

sforReleasewere

writtenbySinéadO’Con

nor,

anIrish

singer/son

gwriter

• Th

eba

ndhavebe

en

nominated

inth

e‘Best

WorldM

usic’categoryat

theGrammyMusicAwards

A04

ESP

ERA

NZA

SPA

LDIN

G—

SAM

BA

EM

PR

ELU

DIO

ME

LOD

Y—

GE

NE

RA

L Th

ere

are

two

mai

n m

elod

ies i

n th

e so

ng—

vers

e 1

and

vers

e 2,

whi

ch a

re th

en c

ombi

ned

after

the

guita

r sol

o.

The

lyric

s are

in P

ortu

gues

e. It

is a

sad

song

ab

out l

ongi

ng fo

r a lo

st lo

ve.

The

mel

ody

line

goes

ver

y lo

w fo

r a fe

mal

e vo

cal,

goin

g do

wn

to a

low

E.

The

voca

l lin

e co

vers

the

rang

e of

a m

inor

te

nth

TON

ALI

TY

The

piec

e is

in B

min

or

Man

y Bo

ssa

Nov

as a

re in

min

or k

eys.

Desp

ite th

e co

mpl

icat

ed h

arm

ony,

the

piec

e do

esn’

t mod

ulat

e—it

stay

s in

the

sam

e ke

y

TEM

PO

Th

e st

art o

f the

pie

ce is

ver

y fr

ee ti

me,

it’s

har

d to

pi

ck o

ut th

e be

at o

f the

song

. Ve

rse

1 ha

s a sl

ow te

mpo

. Ve

rse

2 un

til th

e en

d of

the

song

has

a fa

ster

tem

po

Vers

e 1

uses

lots

of r

ubat

o (fr

eedo

m to

slow

dow

n or

sp

eed

up e

xpre

ssiv

ely)

In

the

link

befo

re v

erse

2 th

e te

mpo

alm

ost d

oubl

es

HA

RM

ON

Y

The

chor

ds u

sed

are

influ

ence

d by

jazz

—th

ey a

re q

uite

com

plic

ated

! Th

ere

are

lots

of e

xten

ded

chor

ds, w

here

ext

ra n

otes

are

“pi

led

up”

on

top

of th

e no

rmal

3 n

ote

chor

d, li

ke 7

ths,

9th

s, 1

1ths

and

13t

hs.

The

mai

n ch

ords

are

mos

tly to

nal (

from

the

key

signa

ture

) Th

e m

ain

chor

ds a

re m

ostly

bas

ed a

roun

d ch

ords

I II

IV a

nd V

. Bu

t the

re a

re so

me

occa

siona

l chr

omati

c ch

ords

(out

side

the

key

signa

-tu

re) s

uch

as C

maj

or a

nd F

maj

or.

As w

ell a

s ext

ende

d ch

ords

, the

re a

re so

me

dim

inish

ed c

hord

s and

fla

tten

ed 5

th c

hord

s.

The

chor

d pr

ogre

ssio

ns so

meti

mes

cre

ate

a de

scen

ding

chr

omati

c ba

sslin

e (b

ars 3

0-38

, in

the

mid

dle

of v

erse

2)

Cade

nces

are

not

use

d in

the

sam

e w

ay a

s in

clas

sica

l mus

ic, b

ut e

ach

secti

on te

nds t

o en

d w

ith a

per

fect

cad

ence

.

INST

RU

ME

NTS

/SO

NO

RIT

Y

The

song

use

s a fe

mal

e vo

ice,

aco

ustic

bas

s gui

tar a

nd a

cous

-tic

gui

tar

The

voca

l par

t is l

ow in

pitc

h fo

r a fe

mal

e sin

ger

The

acou

stic

guita

r onl

y jo

ins i

n at

ver

se 2

The

acou

stic

bass

use

s dou

ble

stop

ping

(pla

ying

mul

tiple

st

rings

toge

ther

) It

also

use

s har

mon

ics

The

acou

stic

bass

is tu

ned

just

like

an

elec

tric

bas

s or d

oubl

e ba

ss.

In v

erse

1 th

e ba

ss so

unds

like

it is

pla

ying

2 p

arts

, with

a b

ass

note

s and

alte

rnati

ng c

hord

s, li

ke a

ragti

me

pian

o

TEX

TUR

E

The

mai

n te

xtur

e of

the

piec

e is

hom

opho

nic.

The

intr

o is

mon

opho

nic

(just

the

bass

) exc

ept f

or a

few

do

uble

stop

s (w

hen

the

bass

pla

ys m

ore

than

one

not

e at

onc

e)

The

voic

e an

d ba

ss d

uet v

erse

is p

olyp

honi

c w

ith tw

o cl

ear m

elod

y lin

es—

vers

e 2

bein

g su

ng a

nd v

erse

1 b

e-in

g pl

ayed

on

the

bass

The

bass

par

t is c

ompl

icat

ed a

nd d

oesn

’t ju

st p

lay

the

root

s of t

he c

hord

s. S

ometi

mes

it b

egin

s to

soun

d lik

e it

is pl

ayin

g it’

s ow

n m

elod

y lin

e, g

ivin

g th

e pi

ece

a po

ly-

phon

ic fe

el

BA

CK

GR

OU

ND

INFO

RM

ATI

ON

Th

is m

usic

is in

the

styl

e of

a ty

pe o

f fus

ion

mus

ic c

alle

d Bo

ssa

Nov

a. T

his s

tyle

com

-bi

nes e

lem

ents

of J

azz a

nd B

razil

ian

Sam

ba

The

song

was

orig

inal

ly w

ritten

in 1

962.

Es

pera

nza

Spal

ding

’s v

ersio

n w

as re

leas

ed

in 2

008.

The

orig

inal

song

was

writt

en b

y Ro

bert

o Ba

den

Pow

ell,

and

the

lyric

s wer

e w

ritten

by

poe

t Vin

iciu

s de

Mor

aes,

who

wer

e bo

th

influ

entia

l Bra

zillia

n m

usic

ians

.

RH

YH

M a

nd

ME

TRE

Th

e pi

ece

is al

mos

t com

plet

ely

in 4

/4 ti

me

Ther

e ar

e lo

ts o

f syn

copa

ted

rhyt

hms

Vers

e 1

has a

lot o

f rub

ato

(free

dom

of s

low

ing

dow

n or

spee

ding

up

exp

ress

ivel

y). T

he b

ass i

s pla

ying

com

plex

rhyt

hms,

but w

e ca

n ju

st a

bout

find

the

beat

of t

he so

ng.

Vers

e 2

has a

fast

er te

mpo

, and

feat

ures

a “

stan

dard

” bo

ssa

nova

rh

ythm

pla

yed

by th

e ba

ss (l

ike

a sl

owed

dow

n sa

mba

bea

t).

Whe

n th

e gu

itar p

art c

omes

in it

add

s to

the

rhyt

hmic

inte

rest

pla

y-in

g bo

th sy

ncop

ated

and

on

the

beat

at ti

mes

.

The

voca

l par

t mos

tly k

eeps

to th

e pr

inte

d m

elod

y, b

ut v

arie

s the

rh

ythm

s usin

g ru

bato

. In

ver

se o

ne in

par

ticul

ar th

e vo

cal p

art i

s sin

ging

lots

of t

riple

ts a

nd

sem

iqua

vers

with

freq

uent

rest

s In

ver

se 2

the

voca

l par

t is s

ingi

ng lo

ts o

f lon

ger n

ote

valu

es, b

ut

thes

e ar

e oft

en sy

ncop

ated

so th

ey st

art o

ff th

e be

at

Whe

n ve

rse

1 an

d ve

rse

2 ar

e pl

ayed

toge

ther

the

rhyt

hms a

re le

ss

sync

opat

ed, t

o he

lp th

em fi

t tog

ethe

r mor

e ea

sily

STR

UC

TUR

E

The

piec

e ha

s a tw

o m

ain

voca

l sec

tions

(ver

se 1

and

ve

rse

2), p

lus

solo

s.

After

the

guita

r sol

o, E

sper

anza

sing

s ver

se 2

aga

in, b

ut

play

s the

mel

ody

of v

erse

1 o

n th

e ba

ss, l

ike

a du

et b

e-tw

een

the

bass

and

voi

ce.

The

full

stru

ctur

e is:

In

tro,

Ver

se 1

, lin

k, V

erse

2, G

uita

r sol

o, V

erse

1 a

nd 2

vo

ice

and

bass

due

t, co

da (o

utro

)

KEY

3

Gra

de

5 G

rade

8

Gra

de

ME

LOD

Y—

VE

RSE

ON

E

Vers

e on

e is

an

8 ba

r ide

a w

hich

is th

en re

peat

ed w

ith

a di

ffere

nt e

ndin

g

Man

y of

the

phra

ses u

se a

risin

g ar

pegg

io (g

oing

up

the

note

s of a

cho

rd—

like

bar 4

) Th

e fir

st o

r sec

ond

note

of e

ach

phra

se d

esce

nds d

own-

war

ds in

a lo

ng d

ownw

ard

sequ

ence

The

mel

ody

mos

tly m

oves

in le

aps o

f a th

ird o

r a se

v-en

th, w

hich

is u

nusu

al

The

mel

ody

chan

ges i

n ba

r 18,

whi

ch in

clud

es a

jazz

y fla

ttene

d 5t

h

ME

LOD

Y—

VE

RSE

TW

O

Vers

e tw

o is

ano

ther

16

bar i

dea

whi

ch is

repe

ated

like

ver

se 1

, bu

t with

a d

iffer

ent e

ndin

g

Ther

e ar

e so

me

use

of se

quen

ces,

such

as b

ars 2

3 –2

6 an

d 3

1-34

.

Unl

ike

vers

e 1,

ver

se 2

use

s alm

ost c

ompl

etel

y st

epw

ise

(con

junc

t) m

ovem

ent.

Ther

e is

anot

her j

azzy

flatt

ened

fifth

at t

he e

nd o

f the

firs

t rep

eat

Context:Samba

EmPrelúdio

Melod

y–Articulation–Dy

namics–

Tem

po–Structure–Harmon

y–Instrumen

tatio

n–Rh

ythm

-Texture

Brazilian

Sam

baCon

ventions

JazzCon

ventions

M

⇒ Notam

elod

ydriven

gen

reofm

usic–m

osto

fthe

interestcom

es

from

rhythmand

sonority

⇒ Ifthereisamelod

y,itisusuallysu

nginacarefreewaywith

an

improvise

dfeel

⇒ Iftherearevocalists,the

melod

yisoftensunginSpanish

⇒ Im

provisedm

elod

ylines

⇒ Makesuseofthe

Bluesscale(flatten

ed3

rd,5

thand

7th)-th

eseare

chromaticnotes

⇒ Lotsofa

ccentsonsyncopatedbeats

⇒ Lostofa

cciaccaturasan

dpitchbends

A

D

⇒ Ve

ryloud

(forte)a

ndvibrant

⇒

T

⇒ Upb

eatd

ancete

mpo

s⇒

Funkand

Beb

opareveryfast

⇒ Trad

ition

alJa

zzand

earlierstylesa

rem

uchmorelaidback

S

⇒ Freq

uentlyusesc

allandresponse

⇒ Often

usesthe

12barblues(IIII,IVIV

II,VIVII)

⇒ Re

turnstothehead(cho

rus)and

featuresexten

dedsolos

⇒ Ca

nbe

thou

ghto

fasa

themeand

ase

tofv

ariations

H

⇒ Simplechordprogressionsusin

glotsofII-V

-Ipa

tterns

⇒ Ha

rmon

yisno

timpo

rtan

tinSamba

music–itisth

erhythm

and

colourwhichdom

inates

⇒ Extensionchordsw

ith‘jazzh

armon

y’su

chasa

dded

6thsa

nd7ths

⇒ Mainlybu

iltfrom

cho

rdsI,IVandVand

the12-barBlues

I

⇒ Ve

ryvibrantw

ithcolourfulsou

nds(likeaBrazilian

carnival)

⇒ Samba

ban

dfeatureslotsdrums:bassd

rum(surdo),teno

rdrums

(repiniques)and

smallerd

rums(timbales),p

lusthe

distinctive

soun

dofagogôbells

⇒ Rh

ythm

section:piano,drums,doublebass

⇒ Ho

rnse

ction:trumpets(o

ften

muted

),trombones,saxophones

⇒ Re

allysh

owso

fthe

soloinstrumen

t’svirtuositywith

awiderange

andlotsoftechn

ique

ssuchaspitchbe

ndingan

dacciaccaturas

R

⇒ BosssNovasa

rein2/4timewith

highlysyncopateddotted

rhythms

⇒ Allsam

bam

usicbased

onLatin

American

dancerh

ythm

ssuchas

thetangoan

drhum

ba

⇒ Draw

sheavilyonsyncopationwhe

reth

eem

phasisfallsontheoff

beats

⇒ Usess

wingrhythmswhe

reth

efirstofe

achpa

irofqua

versis

slightly

longerth

anth

esecond

.

T

⇒ Bo

ssaNovaste

ndto

havethinne

rtexturestha

nothe

rLatin

American

styles

⇒ LotsofA

ntiphonal(callandresponse)e

xcha

nges

⇒ Mainlypolyphonicwhe

reeachpa

rtisinterestingen

oughto

be

thou

ghto

fasitsownmelod

ylineORmelodydominated

homophonywhe

reth

esoloistisaccom

panied

bytheen

semble

⇒ Often

featuresre

peatingriffsorostinatos

Espe

ranzaSpalding

Backgrou

nd

• Bo

rninth

eUSAin198

4•

Shestud

ieddoublebassperform

anceat

Berkleymusiccollegeinth

eUSA

• Sheha

swidemusicalta

stesinclud

ingJazz,

Blue

s,Fun

kan

dLatin

-American

music

• Sheisespe

ciallyinterested

inLatin-American

musicfrom

Brazilsu

chasB

ossaNovas(a

fusio

nofBrazilianSambawith

Jazz)

• Th

esongwascom

posedbyAcquino

(193

7-20

00),aBrazilian

guitarista

ndcom

poserw

ho

wrotelotsofB

ossaNovas

• Lyricsw

erebyM

oraes(19

13-198

0)afa

mou

sBrazillianpo

etwho

wasalso

verypo

litical

A04

Melody:

Conjunct/Disjunct

Range/Pitch

Ascending/Descending

Diatonic/Chromatic

Phrasing

Ostinato/Riff

Leitmotif

Improvisation

Sequence

Imitation

Syllabic/Melismatic

Word painting

Instrumentation, Sonority, Timbre

SATB

Brass: Trumpet, Trombone, Tuba

Woodwind: Flute, Clarinet, Sax, Oboe

Strings: Violin, Cello, Double Bass

Arco/Pizzicato

Keyboards: Piano, Synth, Harpsichord

Percussion (Drum fills)

Ensemble/Band

Distortion/Reverb

Articulation

Legato/Staccato

Accents

Ornamentation (Tremolo/Trill)

Grace notes

Glissando

Pitch Bend

Rhythm & Metre

Straight/Swung

Note lengths: Crochet (1/4) Quaver (1/8) Semiquaver (1/16)

Triplets

Dotted rhythms

Syncopation

Simple Time: 2/4, 3/4, 4/4

Compound Time: 6/8, 12/8

Dynamics

Terraced Dynamics

Sforzando

Crescendo

Piano (p) - Mezzo Forte (mf) - Forte (f )

Diminuendo

Tempo

Rubato

Free time

Accel.

Grave - Largo - Moderato - Allegro - Vivace

Rall.

Structure

Popular Song Form:

Verse/Chorus/Solo/ Bridge/Outro

Sonata Form:

Introduction/Exposition/ Development Section/ Recapitulation

ABA]

Theme & Variations

Harmony & Tonality

Pedal/Drone

Consonant/ Dissonant

Harmonic Rhythm

Diatonic/Chromatic

Major/Minor

Modulation (key change)

Tonic/Dominant/ Relative minor

Perfect Cadence

Imperfect Cadence

Texture Unison Octaves Monophonic Homophonic

Polyphonic Imitation Canon Melody Dominated Homophony