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Area of Study 1

The History of Western Classical

Music 1600-1899

Content coverage Learning outcomes

Introduction to the musical eras: Baroque, Classical and Romantic(AoS 1)Brief overview of the musical developments 1600-1899 including historical context. References will be made to elements of the notation to reinforce previous learning.

Unit 1: Choose a solo performance piece to be recorded in the next

To develop an understanding of the chronological development of western classical music from 1600-1899 (Area of Study 1).

To understand the historical context of the music.

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6-10 weeks.

Units 1,2 and 3: Staff notation

Area of Study 1 – Set Work 1

Handel:

And the Glory of the Lord

from

Messiah Course Content Learning Outcomes

Listen to the set work, placing it in context.Relevant musical vocabulary including: oratorio, libretto, recitative, aria, chorus, perfect cadence, plagal cadence, pedal

To understand the context of the set work as part of one of the most well known and loved of all oratorios.

To understand the position and role of the set work in the overall oratorio.

To develop an understanding of the use of

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point, imitation, monophonic, homophonic, modulation, tonic and dominant.

Unit 1Record solo performance.

Baroque conventions within the set work. To recognise and be able to use relevant

musical vocabulary. To recognise the forces used in the recording

including SATB choir.

Handel – 1685-1759

Born in Germany Played the Violin, Harpsichord and Organ

Employed as court conductor for the Prince-Elector of Hanover in Germany Ambitious, devoted and very successful musician

Travelled to Italy and England Settled in England and continued to write music for the Prince-Elector who was now

King George I of Great Britain!

Homework: Visit the website DSOkids.com. List 4 other musical facts about Handel including the title of two other works composed by him:

1. ________________________________________________________________________________________________________________________

2. ________________________________________________________________________________________________________________________

3. ________________________________________________________________________________________________________________________

4. ________________________________________________________________________________________________________________________

Listen to La Rejouissance from Music for the Royal Firework Suite. Describe: The two instrumental families you can hear

____________________________________________________________________________________________________________________

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Tonality__________________________________________________________

Time signature

BAROQUE MUSIC

Key Features1 Simple, mainly diatonic harmonies2 Terraced dynamics – clear contrasts between loud and soft, rather

than gradual changes3 Ornamentation - 4 Complex contrapuntal writing in some pieces5 Orchestras made up of largely string instruments6 Use of continuo – a group of instruments that provides a bass line and

harmonic accompaniment – usually a keyboard instrument (harpsichord or organ), with one or more bass instruments (cello, bassoon or double bass).

Important composers: Bach, Handel, Purcell and Vivaldi

Wurzburg Chapel

What is an Oratorio?

An Oratorio is a large-scale composition for solo singers, choir and orchestra. It is always based on a biblical story but intended for performance in concert halls and theatres rather than in churches. They were similar in musical style to Operas but without costumes, scenery or acting.

Messiah

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Handel composed more than 20 oratorios, of which Messiah (1741) is his most famous. It took him just over three weeks to compose! The first performance was given in Dublin in 1742. This first performance was given by a small choir of no more than 16 singers and an orchestra of probably less than 10 though now it is performed with much larger forces. The orchestra would have been supported by a Baroque organ, harpsichord and a cello, this grouping of instruments is known as the continuo.

Harpsichord The harpsichord action

Listening

Compare and contrast two versions of Bach’s prelude in C major.____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Within an Oratorio you will find arias, recitatives and choruses. Aria – a solo vocal piece with instrumental accompaniment which reflects a mood

or emotion. The music is more elaborate to display the vocal qualities and expertise of the singer to the full.

Recitative – a style used in operas, oratorios and cantatas in which the text is told in the rhythm of natural speech, these are used to narrate the story.

Chorus – a movement within the Oratorio in which the whole choir sings and sums up the action at that point in the drama.

Listen to this example of one of Handel’s most famous choruses,

http://www.youtube.com/watch?v=SXh7JR9oKVEChristmas Food Court Flash Mob, Hallelujah Chorus

Note that the words are in English and not Italian which tended to be the norm during the Baroque period.

‘And the Glory of the Lord’ (1741)

Handel’s Messiah is in three parts and tells the story of the birth, death, and resurrection of Jesus Christ:

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http://www.youtube.com/artist/Chorus?feature=watch_video_title

Part 1 – the birth Part 2 - the death Part 3 - resurrection

‘And the Glory of the Lord’ is in part 1 and is the first chorus in Messiah. It consists of four different motifs. Listen to the motifs and answer the following questions:

Motif A

1. In pairs learn to play this motif.

2. What type of voices first sing this? ___________________________________________

3. Describe the rhythm in bar 2. _______________________________________________

4. The word setting in this motif is_____________________________________________

Motif B

This is first sung by the tenors in bar 17.

5. What melodic device is used on the words revealed?

_______________________________________________________________________

6. Describe the word setting in this motif. _______________________________________

Motif C

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7. What type of voice first sings this motif? ______________________________

8. What compositional device has been used in this motif?

_______________________________________________________________________

Motif D

9. Describe how motif D differs from the other 3.______________________________________________________________________________________________________________________________________________

These four motifs are heard in different parts and in combined in different ways throughout the movement.

In section B of the listening exam you will be asked to write in detail about one of the set works. You are likely to have to put your work in context, for instance by giving its date and style, or by stating where you might expect to hear it performed. Most of the marks, however, are likely to be awarded for writing about how the elements of music, such as rhythm, melody and harmony, are used in the set work. We have already focused on the melody in this set work and will now therefore look at the other elements of music and how they are used in ‘And the Glory of the Lord’.

PERFORMING FORCES

The choir is made up of sopranos, altos, tenors and basses (SATB). They are accompanied by a string orchestra and continuo (cello, and harpsichord or organ). Notice that the orchestra often doubles the vocal lines.

STRUCTURE

Fill in the missing words:

The work starts with an ________________ introduction, called a ritornello. Shortened versions of this ritornello return later in the work.

Indicate on the score where the instrumental ritornellos occur.

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There is no formal structure to this movement; it’s based on different combinations of the ____________ motifs.

As the motifs repeat and imitate between the voices they are sequenced into different pitches e.g. bars 18-23.

RHYTHM, METRE AND TEMPO

The time signature is ________ throughout which means simple triple time. The tempo is allegro which means _________________.

In which bar does the tempo change? ___________________________. What happens on the three beats prior to the change? _____________________________________________

By changing the tempo and adding in the general pause this helps to emphasise the final words ‘hath spoken it’.

The first three motifs use mostly crotchets and quavers whereas the fourth motif is characterised by long (dotted minim) repeated notes. These notes serve to emphasise ‘the Lord hath spoken it’. To strengthen the statement further he doubles the part with the tenors and ______________.

Handel creates syncopation by using what is known as a hemiola. This is a rhythmic device, often used towards a cadence point, where the music feels as if it has 2 rather than 3 beats per bar. Give an example of where this first occurs:_______________________________.

TONALITY AND HARMONY

This piece is in the key of ________________. It modulates (changes key) to two related keys: the dominant (E major) and the supertonic (B major). The piece ends with a ______________cadence.

The harmony is diatonic. What does this mean? ______________________________________________________________________________________________________________________________________________________________________________________________________________________________

TEXTURE

Handel creates contrast within this piece by contrasting both homophonic and contrapuntal/polyphonic textures. Describe what is meant by homophonic and give an example where this texture can be heard.

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______________________________________________________________________________________________________________________________________________________________________________________________________________________________

What is meant by the term contrapuntal/polyphonic and at which point does Handel first use this texture?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________There is a very short monophonic passage where the upper strings are in unison with the sopranos, can you find where this is and indicate the bar numbers below.____________________________________________________________________________________________________________________________________________________

In order to create the contrapuntal texture Handel uses imitation, this is overlapping the music by immediately copying the same melody in another part. This first happens in bars 18-25.

To further add contrast Handel varies the number of parts being played, for example he may only have the altos singing or at times two or three parts together. Give an example within the score where you can hear one voice part singing: ________________________________

In which bars can we first hear the Tenors and Basses together? _______________________

What is the texture at this point in the score and why? ______________________________________________________________________________________________________________________________________________________________________________________________________________________________

WORD SETTING

There is a mixture between melismatic and syllabic word setting throughout. Which motif is mostly syllabic? _____________________________________________

Which motif is mostly melismatic? ___________________________________________

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LISTENING EXCERCISE

Listen to the following two excerpts and write down what you hear by the headings given:

Excerpt A For unto us a Child is Born

Excerpt 24th Movt. 40th Symphony

Tonality

Tempo

Texture

Harmony

Performing Forces

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Which excerpt is from the Baroque period and why?____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Suggest a possible composer for both excerpts: ___________________________________


Mozart:

Symphony No. 40

in Gm11

First MovementContent coverage Learning outcomes

Listen to the set work, placing it in context.Relevant musical vocabulary including: symphony, sonata form, exposition, development, recapitulation, 1st and 2nd subject, bridge passage, orchestra (and sections thereof), sequence, dynamic markings, chromatic, major and minor.

Unit 2Melody writing and harmonisation

Unit 1: Choose ensemble performances to be rehearsed and recorded over the next 8-12 weeks.

To understand the context of the set work and its place in the canon as a sonata from 1st movement of a classical symphony.

To learn about the importance of structure within classical works and of the role played by tonality and key structure.

To learn about sonata form and its main elements as evidenced in the set work.

To be able to identify the elements that make this an archetypal piece of music from the classical era.

To recognise and be able to use relevant musical vocabulary.

To be able to recognise the sound of all the instruments in the classical orchestra.

Mozart – 1756-1791

Born in Austria A child prodigy (young person of exceptional talent)

Toured Europe giving performances to royalty from the age of 6 Lived in Salzburg, Paris and Vienna

Died a pauper at the age of 35 Left over 600 compositions!

Homework: Visit the website DSOkids.com. List 4 other musical facts about Mozart including the title of two other works composed by him:

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1. __________________________________________________________________________________________________________________________________________

2. __________________________________________________________________________________________________________________________________________

3. __________________________________________________________________________________________________________________________________________

4. __________________________________________________________________________________________________________________________________________

Listen to Eine Klein Nachtmusik and describe the following: The texture in the first four bars.

__________________________________________________________

Tonality__________________________________________________________

Time signature

Performing Forces: __________________________________________________

_____________________________________________________________________CLASSICAL MUSIC

Key Features1 Simple, mainly diatonic harmonies 2 Expression markings given in scores including crescendos and

diminuendos3 Balanced, repetitive and clear-cut melodies that form questions and

answers 4 Often homophonic in texture5 Increased use of wind instruments, though the melody is still mainly

in the strings. The wind instruments tend to fill out the harmonies 678

Basso continuo replaced with alberti bassHarpsichord replaced by the piano and no longer used in the orchestraClarinet invented

Important composers: Mozart, Haydn and Beethoven

Look at the picture below and compare this with the Wurzburg Chapel on page 10, what do you notice?

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Bellevue Palace in Berlin

What is a Symphony?

A symphony is a large scale orchestral work that first became popular in the Classical period. It consists of four movements:

Fast Slow Minuet and Trio Fast

All three of the composers mentioned earlier wrote symphonies, Beethoven wrote 9 while Haydn wrote over 100! Mozart composed about 50 symphonies with many being commissioned by royalty or aristocrats. The most likely place to hear a symphony would be in a concert hall.

Symphony No. 40 (first movement) (1788)

Facts..........

Key of G minor4 movementsUse of sonata form for 1st, 2nd and 4th movements3rd movement is a minuet & trioEach movement has a different tempoThe first movement is molto allegro which means _________________________No trumpets or timpani – unusual for a Classical Symphony!

Looking at the melody below, this is heard at the beginning of the extract.Fill in the missing notes in bars 3 and 4.

N.B. You will more than likely get a question like this in the first part of your listening exam.

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Look at the following signs/abbreviations. List one place where you can find them in the score and write down what they mean:

‘div.’______________________________________________________________________

__________________________________________________________________________

‘1’ _______________________________________________________________________

‘a 2’ ______________________________________________________________________

sf _______________________________________________________

tr ________________________________________________________________________

legato ____________________________________________________________________

staccato ___________________________________________________________________

crescendo __________________________________________________________________

Listen to the music and follow the score. You will notice that it is in 3 main sections, what happens in the final section? ____________________________________________________________________________________________________________________________________________________

What you have heard is a movement in Sonata Form – the most important large musical structure in the Classical period.

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STRUCTURE AND TONALITY

Complete the chart below by adding in the bar numbers:

Section Sub-section Description Key Bar

First subjectA melody characterised by

a falling motif.Played by strings first

Gm

Exposition Bridge passage

Full orchestra playing

Bb

Second A melody with descending Bb

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subject chromatic patterns, shared between strings and

woodwind

(relative major)

Codetta Reinforces the key centre Bb

DevelopmentBased on the first subject, which is developed and

fragmented

Moves through

various keys

First subject First subject is repeated with some variation

Gm

RecapitulationExtended

Bridge passage

Full orchestra playing Gm

Second subject

Second subject is repeated with some variation

Gm

CodaRepeated perfect

cadences to finish the piece.

Gm

MELODY

Most of the melodies are made up of 4 bar phrases that sound like questions and answers. Many of them are scalic. What does this mean? ____________________________________________________________________________________________________________________________________________________

HARMONY

This is a typical Classical symphony and therefore the harmony is ______________ throughout. There are however times when Mozart uses chromatic chords such as the diminished 7th and augmented 6th – mostly used in the development section where the tonality is more ambiguous.

What harmonic device does Mozart use in the opening bars? __________________________________________________________________________

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He also uses this in bars 17-20, but what is different this time?__________________________________________________________________________

A popular feature of Classical music was the use of the circle of 5ths as a chord progression. Mozart uses this in a number of places but most notably in bars 57-58 and bars 203-209. Its clever design is very helpful in composing and harmonizing melodies, building chords, and moving to different keys within a composition.


Describe the tempo and metre of this movement in two sentences:______________________________________________________________________________________________________________________________________________________________________________________________________________________________The rhythms are fairly simple though there are some use of dotted rhythms and syncopation to help create momentum and interest. Can you find one example of each within the score?

Dotted rhythm __________________________________________________________________________

Syncopation __________________________________________________________________________

TEXTURE

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http://www.dummies.com/how-to/content/the-circle-of-fifths-a-brief-history.html#glossary-chord

http://www.dummies.com/how-to/content/the-circle-of-fifths-a-brief-history.html#glossary-harmonics

http://en.wikipedia.org/wiki/File:Progresi%C3%B3n_quintas.png

As with much music from the Classical period the main texture in this piece is homophonic. He does however use dialogue between instruments. Look at the second subject in bars 44-48 – first you hear the strings which is then answered by the WW. What does Mozart do to this Q&A phrase in bars 52-55?____________________________________________________________________________________________________________________________________________________

INSTRUMENTS

As well as the clarinet and piano being invented in the Classical period the horn was also another new arrival. The type of horn used at this time was called a natural horn. It had no valves and therefore relied on the musicians lips to create different notes. The notes were limited to their harmonic range. A horn in Bb would therefore only be able to play the notes Bb D F and C. A horn in G would be able to play G B D and F. In order to maximise the number of pitches Mozart had 2 horns – one in Bb and the other in G.

A natural horn with different sizes of crooks, the crooks did the job of transposing the instrument.

DYNAMICS

Complete the chart below by filling the general dynamics for each section:

Section Sub-section Dynamics

First subject

Exposition Bridge

Second subject

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Development

First subject

Recapitulation Bridge

Second subject

20

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Mozart 1 st Movement from Symphony No. 40 in G Minor Listen to extract A twice:

1. Which theme / subject is being played?

[1]

2. This theme is shared between two instrumental families. What are they?

[2]

3. What is the key of this theme?

[1]

Listen to extract B twice:

4. Describe one difference between this extract and extract A

[1]

5. Fill in these two statements using either Exposition, Development or Recapitulation

Extract A is from the

Extract B is from the [2]

Listen to extract C twice:

6. Explain how the Development Section manipulates and alters the ideas from the exposition

[3]

7. Which instruments play a dominant pedal note towards the end of the Development Section

[1]


Chopin:

Prelude No. 15 in Db majorThe ‘Raindrop’ prelude


Listen to the set work, placing it in context.Relevant musical vocabulary including: dynamic markings, key signatures, pedal point, sustain pedal (including score markings), sostenuto, legato, cantabile, acciaccatura and rubato.

Unit 1: Rehearse and record ensemble performances.Unit 2: Input harmonised melodies into a computer package and record as composing tasks.

To understand the context of the set work as part of the romantic piano repertoire.

To learn about the development of the piano and the virtuoso musician in the context of the romantic era.

To recognise the use of romantic conventions within the set work. To recognise and be able to use relevant musical vocabulary.

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ROMANTIC MUSIC

Key Features1 Large orchestras (often including the full range of WW, brass,

percussion, strings and harp. 2 Increasing technical difficulty in some music leading to the rise of the

virtuoso3 Music is more expressive and emotional 4 More homophonic in texture5 Structures become longer 6 Pieces are given descriptive titles, programme music becomes more

common

Important composers: Chopin, Liszt and Mendelssohn

In order to gain a better understanding of this period of Romanticism it is useful to visualise the movement through architecture, art and literature.

A castle built purely on Romantic fantasy in the late 19th century

John William Waterhouse, 1888, The Lady of Shalott,

In terms of literature, the Grimm brothers were are among the best-known story tellers of European folk tales, and their work popularized such stories as Cinderella, The Frog Prince, Hansel and Gretel, Rapunzel, Rumpelstiltskin, Sleeping Beauty and Snow White. Here is an example of one of their stories written in the Romantic period.

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http://en.wikipedia.org/wiki/Snow_White

http://en.wikipedia.org/wiki/Sleeping_Beauty

http://en.wikipedia.org/wiki/Rumpelstiltskin

http://en.wikipedia.org/wiki/Rapunzel

http://en.wikipedia.org/wiki/Hansel_and_Gretel

http://en.wikipedia.org/wiki/The_Frog_Prince_(story)

http://en.wikipedia.org/wiki/Cinderella

THE OLD MAN AND HIS GRANDSON – The Grimm brothers

There was once a very old man, whose eyes had become dim, his ears dull of hearing, his knees trembled, and when he sat at table he could hardly hold the spoon, and spilt the broth upon the table-cloth or let it run out of his mouth. His son and his son’s wife were disgusted at this, so the old grandfather at last had to sit in the corner behind the stove, and they gave him his food in an earthenware bowl, and not even enough of it. And he used to look towards the table with his eyes full of tears. Once, too, his trembling hands could not hold the bowl, and it fell to the ground and broke. The young wife scolded him, but he said nothing and only sighed. Then they brought him a wooden bowl for a few half-pence, out of which he had to eat.

They were once sitting thus when the little grandson of four years old began to gather together some bits of wood upon the ground. ‘What are you doing there?’ asked the father. ‘I am making a little trough,’ answered the child, ‘for father and mother to eat out of when I am big.’

The man and his wife looked at each other for a while, and presently began to cry. Then they took the old grandfather to the table, and henceforth always let him eat with them, and likewise said nothing if he did spill a little of anything.

Listen to the following to youtube clips. They will give you some idea of historical events that took place in the 19th century that influenced composers.

http://www.youtube.com/watch?v=XV_q45Otdic&feature=related

http://www.youtube.com/watch?v=oJnTTlgjVso

Using the knowledge that you have gained listen to Chopin’s Prelude No. 15 and give three reasons as to why this is a composition from the Romantic period. ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

This prelude was given the nickname Raindrop why do you think this is?____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

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http://www.youtube.com/watch?v=oJnTTlgjVso

http://www.youtube.com/watch?v=XV_q45Otdic&feature=related

PRACTICAL TASK

Using a keyboard and a key of your choice make up a short passage of music describing rain

Try using scalic movement and short repeated patterns Decide whether you want a short jumpy (STACCATO) sound or smooth gentle

rain like Chopin’s (LEGATO) Start and finish in your main key area Perform to the class

Chopin – 1810-1849

Born in Poland Composed nearly all of his music for piano

Spent most of his career in Paris Was a piano teacher, composer and performer

Performed ‘salons’: concerts given to small, select gatherings of people In 1838 he went to Majorca and ended up staying with his lover in a deserted

monastery in a place called Valldemossa.

He composed this Prelude inspired by a heavy rainstorm that he could hear dripping on the roof of the monastery

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HOMEWORK

Chopin wrote 24 preludes, one in each of the 12 major and minor keys. Although the term prelude suggests an introduction to something else Chopin composed these as short, self contained movements. Bach however followed his preludes with a contrapuntal movement called a fugue. All of Chopin’s preludes were written for piano, with some more difficult than others. Create a power point presentation to the class about the history of the piano including a listening example of one of Chopin’s other preludes.

Prelude No. 15 in Db Op.28 (1839)

MELODY

Look at the main themes below and learn them.

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Notice the repeating quavers in the third example. This can be found throughout section B. Chopin also uses this quaver pattern in section A thus creating a unifying feature.

The main theme is in the right hand and has a dotted rhythm which gives the melody a lighter feel than in section B. In the middle section the melody is in the left hand is made up of mostly crotchets and minims which help to create a darker more menacing mood.

STRUCTURE

This piece is in Ternary form (ABA). Complete the chart below:

Key Main features Bar numbers

A Db major Lyrical melody accompanied by quavers in the bass.

B C# minor

List three ways in which Chopin creates contrast in this section:

A Db major The opening repeated but shorter.

Coda Db major Melody is now in the middle of the texture, finishes on a perfect cadence.

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PERFORMANCE MARKINGS


Definition Bar

Ped.

*

Sotto voce

Smorzando

Slentando

Acciacatura

Sostenuto


The time signature is called common time it is the same as _____________. This stays the same throughout the piece.

In bar 79 there is a dectuplet: ten notes of equal length fit into one single beat. What is a septuplet? ____________________________________________________________________________________________________________________________________________________

Find an example of this within Chopin’s prelude: __________________________________________________________________________

A key feature of solo music within the Romantic era is the use of rubato. This literally means ‘robbed time’; in essence it allows the performer to create a flexible tempo so that they can play expressively.

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Key rhythmic features in the piece include the use of repeated quavers and dotted rhythms.TONALITY AND HARMONY

Section Key Relationship Final cadence

A

B

A

A dominant pedal can be heard throughout most of the piece.

TEXTURE

Section Texture Further textural features

A HomophonicMelody in the RH

Broken chords in the LH

B HomophonicMelody in the LH

Pedal in the RH doubled in octavesMore chordal than Section A

A HomophonicMelody in the RH

Broken chords in the LH

Coda Monophonic for 2 bars then homophonic

Melody in the middle of the texture

Sustained chords in the R and LH

DYNAMICS

In contrast to the first two set works Chopin uses a wide range of dynamics but there are no sudden changes. He uses lots of crescendos and diminuendos throughout. Notice that Section A is quieter than Section B, which climaxes to ff twice.

Do remember to add any definitions to your................

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Area of Study 2

Music in the 20th century

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Area of Study 2 – Set Works 4 & 6

Schoenberg:

‘Peripetie’ from

Five Orchestral Pieces

and

Reich:

‘Electric Counterpoint’: 3rd

movementContent coverage Learning outcomes

Timbre and texture:Schoenberg: PeripetieReich: 3rd movement from Electric

To understand the very different approaches used by Schoenberg and Reich in their use of timbre and texture as evidenced in the set works.

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CounterpointListen to the set works, placing them in context.Relevant musical vocabulary including: chromaticism, atonal, klangfarbenmelodie, hexachord, principal voice, secondary voice, serialism, prime row, inversion, retrograde, retrograde inversion, enharmonic, verticalisation, repetition, ostinato, cells, loop, phasing, note addition/subtraction, augmentation, diminution, layering, metamorphosis, resultant melody, modal.

Unit 1: Choose new performance pieces for recording after the summer holidays.Unit 2: Input ternary form piece into a computer package/ rehearse piece and record as a composition task.Unit 2: Compose a piece of music using the minimalist techniques studied in set work 6

To understand the use of atonality and modality in the pieces as well as the use of the other musical elements.

To learn about the context of the set works in the 20th Century repertoire and how they represent different strands in the diversity of western classical music in the 20th Century.

To explore composition techniques using hexachords (or serial techniques) and minimalist development techniques as a method of understanding the ethos of the two styles.

To identify the difference in performance requirements for the two pieces.

Expressionism

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This is a style developed in the early 20th Century as a reaction to the late Romantic era and composers such as Brahms and Wagner. Both composers were moving further away from the more classical ways of writing music, by using more chromatics (#’s & b’s) and less cadences which signify a key. This was making the music more emotional, and full of suspense. The Expressionist movement was strongest in Germany at the end of the 1st World War. There was a strong feeling of disillusionment and discontent regarding living conditions and restrictions imposed on the country. Artist, writers and composers wanted to express their emotions through their art form as intensely as possible. Rather than trying to create life-like and realistic paintings, Expressionist artists would use unnatural colours and distortion to portray their emotions. Expressionism is often dark and moody but it can also communicate feelings of happiness and joy.

Starry Night by Vincent Van Gogh

‘Peripetie’ is the fourth of Schoenberg’s Five Orchestral Pieces. The title means ‘A sudden change’. Listen to the music and, using the following terms: rhythm; metre; tonality; melody, describe how Schoenberg creates the feeling of sudden changes._____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

What do you think of this style of music?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

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____________________________________________________________________________________________________________________________________________________

To understand this music more we need to gain a greater insight to the composer and how atonal music can be structured. Firstly some facts about Schoenberg:

Schoenberg - 1874-1951

• Born in Vienna, Austria • Founded the Second Viennese School – a group of composers who wrote

Expressionist music• Taught Berg & Webern.

• Was a Jew (but adopted Protestantism for a few years)• His music was condemned by the Nazis as being decadent

• He started writing atonal music when his wife left him for his friend an artist. • Developed a technique known as serial

We have spent a little time looking at this technique to help us understand some of the developments of tonality in the early 20th century. In order to make a piece truly tonal the composer could not have one note dominating the piece hence the invention of serialism. Every one of the 12 notes is given equal importance. Schoenberg introduced this technique some years after the Five Orchestral Pieces – this piece is atonal but is not serial.

Key features of Expressionism in Music

atonal expresses intense emotion full pitch ranges of the instruments used extreme changes in dynamics pieces are quite short as it is difficult to write a piece of considerable length without

the framework of a key structure and the use of recognisable themes timbre felt to be as important as the melody – notice the considerably larger orchestra

in Peripetie and the wider variety of percussive instruments

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Did you mention any of these features when listening to the music?

Five Orchestral Pieces: Peripetie (1909)

The Five Orchestral Pieces is a set of atonal pieces for full orchestra. They all last between one and five minutes and aren’t linked to each other.

Homework:

Write a paragraph of information about these orchestral pieces. Your work must be word processed and include details about when and where it was first played; the history behind the title of the individual pieces and why Schoenberg found it difficult to get this work performed.

PERFORMANCE MARKINGS


Definition Bar

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a2 or a3

divisi

pizz

arco

bell up

1 solo

tutti

+

INSTRUMENTATION

This work is written for a very large orchestra of about 90 players. Schoenberg changes the instrumentation rapidly throughout creating many contrasts in timbre. He felt that the combination of instrumental sounds, or ‘tone colour’ was just as important as the melody and invented the term klangfarbenmelodie which means tone-colour melody.

The instruments play at extreme their extreme ranges in terms of pitch. Look at bar 2, what do you notice about the double bass part? ________________________________________________________________Now look at the final 2 bars and you will notice that the instruments playing here are all playing at opposing pitches and at their most extreme ranges.

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How does Schoenberg create different timbres on the cymbal? __________________________________________________________________________

Describe the instruments below:

Piccolo __________________________________________________________________________

Cor anglais __________________________________________________________________________

Bass clarinet _________________________________________________________________________

Contrabassoon __________________________________________________________________________

Tam-tam __________________________________________________________________________

STRUCTURE

This piece has five sections and is in free rondo form. However, the lack of tonality and the changes in the rhythm mean that it is very different to the traditional type of rondo heard in the Classical period.

Section BarA 1-18B 18-34A’ 35-43C 44-58

A’’ 59-end

TONALITY AND HARMONY

The piece is atonal and uses a lot of dissonant harmony.The chords and melodies are often built from hexachords – a set of six pitches. This is one of the unifying features of ‘Peripetie’. We first hear them in the opening woodwind fanfare, if we write them in scale order you can see the intervals between the notes:

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Note name C# D E F G# AInterval ½ 1 ½ 1 ½ ½

Now look at the sustained chord in the horn chord in bars 8-13, Schoenberg has transposed the first hexachord to a new pitch level. It still however creates the same type of dissonant chord.

A Bb C C# E F ½ 1 ½ 1 ½ ½

He uses this same chord again in bars 37-39 in the horns.

Finally, look at the chord in the last two bars of the piece:

E F G Ab B C ½ 1 ½ 1 ½ ½

It’s the hexachord again transposed to another pitch level! This happens throughout the piece though some of the hexachords have different sets of pitches.

MELODY

There are seven different motifs that are short and fragmented. Write down the features of each of the motifs below including the following key words: disjunct; octave displacement; augmentation; triplets; sextuplet; chromatic movement.

Motif a ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Motif b ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Motif c____________________________________________________________________________________________________________________________________________________

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____________________________________________________________________________________________________________________________________________________

Motif d ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Motif e ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Motif f ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Motif g ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


The metre changes between _________________________________________________.

The tempo is Sehr rasch, what does this mean? _________________________________________________________________________

The rhythms are very complex and include triplets, syncopation, demisemiquavers, sextpulets and dotted rhythms. He changes them very quickly and often layers the different rhythm patterns on top of each other to create a complex contrapuntal texture.

TEXTURE AND DYNAMICS

The texture within this piece is mostly contrapuntal/polyphonic. There are however times where the texture becomes more sparse and is monophonic. Can you find an example of this? ____________________________________________________________________________________________________________________________________________________

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To create the contrapuntal texture Schoenberg uses imitation. In the final section you will see an example of three different canons that are all heard at the same time.

A main feature of Expressionist music is the use of extreme contrasts in dynamics. Look through the score and write down the two most extreme dynamics that Schoenberg uses:

_________________________________________________________________________

Edvard Munch (1863-1944)

Schoenberg’s Peripetie

You will hear this extract twice

a) Name the two families of instruments which are playing the main themes at the beginning of the extract

[2]

b) Name the style in which this piece was written

[1]

c) Describe the use of dynamics in this extract

[3]

d) Other than dynamics, give 4 features of the style that you can hear in this extract

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[4]

e) What is meant by the composers’ term Hauptstimme which is used in the score

[2]

f) This piece is based on manipulating a chromatic scale, give the name of the first statement of the 12 note scale

[1]

g) Give 3 ways in which the composer uses and changes this scale of notes throughout the piece

[3]

Total [16]

Minimalism

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In the 1960’s artists, sculptors, musicians and writers began reacting against this culture of expressing extreme emotions

They began producing works that were stripped down to their bare essentials, deliberately removed from self expression

Minimalism was born..........listen to It’s Gonna Rain by Steve Reich, this is the birth of drum’n’bass!!!!

Features of Minimalist Music

Drones – a continuous note or repeated note Ostinati/loop – repeated patterns (called cells) Phase Shifting – 2 mostly identical parts when repeated together they go out of sync

and gradually back into sync

Steve Reich wrote two works that use this feature – Clapping Music and Piano Phase

Metamorphosis – gradually changing ideas (e.g. changing one note at a time)

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Addition – adding in new notes Subtraction – taking away notes Augmentation – doubling the length of notes e.g. crotchet = minim Diminution – halving the length of notes e.g. crotchet = quaver Static Harmony – chords change very slowly, if at all Diatonic harmony Layering – adding new musical parts – creating a complex texture Resultant Melody – using different layers playing different melodies to create a new

melody which appears “floats” over the top

Identify on the score below where you see these features occurring:

44

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Steve Reich

• Born in New York 1936• Studied Philosophy and composition

• Performed in Terry Riley’s ensemble before creating his own• Studied African drumming in Ghana in 1970

• Studied Balinese Gamelan in 1973-4 – influenced his use of mallet instruments• Reich’s music is rhythmically complex and very repetitive

List 4 other facts about Reich’s Electric Counterpoint including who it was written for:

1. ________________________________________________________________________________________________________________________

2. ________________________________________________________________________________________________________________________

3. ________________________________________________________________________________________________________________________

4. ________________________________________________________________________________________________________________________

Name two other minimalist composers________________________________________________________________________________________________________________________

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Electric Counterpoint: third movement (1987)

Written for soloist and a pre-recorded backing track Third in a series of such works – Vermont Counterpoint (1982) for flute and New York

Counterpoint (1985) for clarinet Written in 3 movements - Fast – Slow – Fast We are studying the last movement Electric Counterpoint was written for Jazz guitarist Pat Metheny The 3rd movement has 7 guitar and 2 bass parts that are pre-recorded as a multi-

tracked backing track Solo guitar plays live over the top This is a way for a solo performer to perform as an ensemble with himself Diatonic throughout

Electric Counterpoint, like other minimalist pieces, has influenced pop musicians. Listen to the Orb’s Little Fluffy Clouds (1990); they have used an extract from this third movement in this track.

INSTRUMENTATION

How many pre-recorded guitar parts are there? ___________________________________

Who is the performing the live guitar part on this track? ____________________________

In order to blend well with the track the live guitar is amplified.

STRUCTURE

Minimalism rarely uses formal structures such as ternary or rondo form, this is due to its repetitive gradual evolution. This piece loosely falls into three main sections although they are very similar:

Section Features Bar

AEm, hexatonic, gradual addition of layers.

B

First key change to Cm.B section is signified by regular key and metre changes.

CodaReturns to ‘simple’ four part canon with no accompaniment and constant 3/2 metre.

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MELODY AND TEXTURE

In order to understand Reich’s use of the melody let’s look at the opening section. The movement opens with a one bar syncopated motif. This forms an ostinato that is heard continuously until bar 73. The motif is hexatonic – what does this mean? __________________________________________________________________________

Name the notes that he uses in this pattern: _______________________________________

The entire movement is constructed in layers, starting with a monophonic texture that gradually builds up to a four-part canon creating an imitative texture for the remainder of the piece.

Let’s break section A down:

Instrument Bar Ostinato Minimalist TechniqueGuitar 1 1 One bar motif repeated

continuouslyOstinato

Live guitar 23 notes of ostinato 1 building up to the full ostinato pattern in bar

6

Note addition

Guitar 2 7 Ostinato 1 Phase shifting

Guitar 3 10Building up ostinato 1 but with an additional note and a phase

shift of 5½ beats

Note addition andPhase shifting

Guitar 4 16 Ostinato 1 - in unison with the live guitar

Phase shifting

Live Guitar 20 New ostinato pattern built from ostinato 1

Resultant melody

All guitars combined to create static harmony

The live guitar at bar 20 reinforces the resultant melody – Reich used this technique in many of his compositions. The interweaving of the parts causes certain notes to leap out at the listener, almost like a melody but with the notes shared across the instruments. The live guitar part reinforces this by playing the notes on one instrument.


What is the tempo of this piece? _______________________________________________

The main metre of this piece is _______________________.

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Describe what happens to the metre at bar 82 and the impact that this has on the music rhythmically:________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Rhythm is an important feature, Reich’s experience of African music can clearly be heard within this piece particularly with the use of cross rhythms and syncopation.

HARMONY AND TONALITY

There is much tonal ambiguity (keeping the key uncertain) in this piece. The music is entirely diatonic, the main ‘A’ section contains only 6 notes from the G major scale. This type of scale is called a hexatonic scale because it only uses six notes:

- G A B D E F# -

However the tonal centre of this piece appears to be the bass note E. Steve Reich is using a G major scale but with an E as his root note, this concept is known as modality. This piece is therefore in E modal minor – E F# G A B D (E).

It modulates to a pentatonic (5 note) version of the Eb major pentatonic - Eb F G Bb D, but the bass guitars and chords mainly use the C minor tonality so the new key feels and sounds like C modal minor - C D Eb F G Ab Bb (C). This mode uses the notes of the Eb major scale but starts on a C.

DYNAMICS

The dynamics remain fairly constant throughout, though parts do fade out in a number of places.


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Bernstein:

West Side Story:

‘Something’s Coming’


Bernstein: ‘Something’s Coming’ Analysis of musical structures used in the song.Identifying the use of instrumentation, harmony and accompaniment.Relevant musical vocabulary including: choreography, production, melodic intervals, syllabic, tritone, 7th chords, riff, harmonics.

Unit 1: Rehearse and record solo and ensemble performances.

Unit 2: Input minimalist pieces into a computer programme.

Bernstein: To understand the context of the song as part of a musical — the placement of the song within West Side Story as a whole and the meaning of the lyrics in the context of the plot including understanding the character of Tony.

To explore the rhythmic interest in the song and the use of the orchestra to accompany the singer.

A Brief History of Musicals50

What is a musical? _____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

West Side Story: ‘Something’s Coming’ (1957)

The idea of a musical based on Shakespeare’s play Romeo and Juliet was suggested to Bernstein in 1949 by Jerome Robbins, an American choreographer. The original setting of Verona, a beautiful Italian city in the 16th century was to be transformed into the run-down, violent world of the West Side of Manhattan Island, New York in the 1950s. This appealed to Bernstein as it provided him with the opportunity to write hard hitting music inspired by the jazz and Latin-American rhythms that he had experienced on his holidays.

Romeo and Juliet West Side Story

Renaissance Italy 1950s New York

Young lovers who get together despite a running

battle between their families

Tony and Maria from rival teenage gangs, the Jets

(New York) and the Sharks (Puerto Rico)

Balcony scene Fire escape of a bleak New York apartment

Tony, who was once the leader of the Jets, sings the song ‘Something’s Coming’ it is his first solo, and in it he expresses his hopes for a better future, it establishes his optimistic character. The music in this song reflects this desire for a better future than the gang culture. How does the music do this?______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Unfortunately though his relationship with Maria, sister of the rival gang leader, is ultimately doomed; it is a love story of betrayal and violence leading to Tony’s death.

INSTRUMENTATION

‘Something’s Coming’ is written for solo tenor accompanied by a pit orchestra/band. Notice that the Tenor part is printed in the treble clef but sounds an octave lower then

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written. The pit orchestra is usually positioned in front of the stage and therefore limits the number of players that can be used.West Side Story was originally written to be performed without amplifying the voices. Write down two ways in which Bernstein ensures that the band doesn’t overpower the singer in ‘Something’s Coming’:__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Bernstein uses a variety of instrumental techniques within thispiece to help enhance key words. Look out for example the harmonics and tremolo played by the strings in the words ‘The air is humming’.

STRUCTURE AND MELODY

Listen to the performance and follow the score, there are three main themes. Write down the main features and the metre for each one of these themes:

Theme Main Features Metre

A

B

C

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The entire song is based on these three themes though they are not exactly the same when they return. Bernstein varies the themes by changing the words and the metre.

TEXTURE

The texture is melody over accompaniment (homophonic) throughout. He does however vary the accompaniment and has three main ideas:

1. A repeating riff in the bass:

2. Short, syncopated chords in bars 21-263. A fast, um-cha accompaniment in bars 32-140


To help create the feeling of anticipation and excitement Bernstein uses changes in metre, fast tempo and syncopated rhythms – notice also the use of the “push” rhythm which anticipates the beat:

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He also uses cross rhythms: two conflicting rhythms that cross the pattern of accented and unaccented beats. Here are two examples within ‘Something’s Coming’. Indicate on the music below where the accented beats are in each part:


What is the key of this piece? ________________________________________________

Does it modulate?_________________________

If so where and to which key? _____________________________________________________________________________________________________________________________________________________________________________________________________________________________

We discussed earlier how Bernstein was influenced by Jazz and Latin-American music. The jazz influences become very clear particularly within the harmonies where there is frequent

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use of 7th chords – these are known as ‘blue’ notes. He also uses the interval of a sharpened fourth that creates a tritone. Look at the example below:

What is a tritone and where else can you see one? ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

What harmonic device does Bernstein use in the last bar to create the feeling that the piece hasn’t finished?

Choose from:

Syncopation Pedal note Flattened seventh Cross rhythm

Which two options are the odd ones out and why? _____________________________________________________________________________________________________________________________________________________________________________________

H/W - West Side Story contains several types of songs other than the solo song. Listed below are a variety of songs found in this musical which include chorus numbers, duets and a quintet:

‘One Hand, One Heart’ ‘Jet Song’ ‘Tonight’

‘America’ ‘A Boy Like That’

Which one of the songs above is a quintet? __________________________________________________________________________

Two of the songs are duets, name one of them: __________________________________________________________________________

The final two songs are chorus numbers, what does this mean? ___________________________________________________________________________________________________________________________________________________________________________

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Tritone Flattened Seventh


Miles Davis:

All Blues


Group improvisation sessions using:1 Voices2 Own instruments3 Unfamiliar instruments.Introduction to 12-bar blues form.

To explore the use of the pentatonic scale and/or dorian mode and simple methods of developing a 3 or 4 note motif.

To build confidence and trust with fellow musicians.

To develop an understanding of the harmonic structure of the 12-bar blues.

Miles Davis: ‘All Blues’ (AoS 3)Brief overview of the origins of jazz and the place of Miles Davis within the canon.The use of the 12-bar blues structure within ‘All Blues’ and development of the harmonic sequence.Brief analysis of the track.Relevant musical vocabulary including: ragtime, jazz styles (inc. swing, bebop etc), blue note, changes, head, frontline, comping, chromatic, turnaround.Unit 1: Record improvisations as ‘Improvising as part of an ensemble’

To develop students’ understanding of improvising techniques in the context of jazz and blues.

To understand the context of the set work as part of a genre-changing album.

To learn about the origins of jazz with its roots in the blues.

To be able to identify the main features of ‘All Blues’ using appropriate musical vocabulary.

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Blues notes are notes which do not live in the normal triad chord, they are chromatic additions. There are 3 main Blues Notes:

The flattened 3rd, which usually moves quickly up a semitone to the major 3rd

The flattened 5th, which also usually moves up a semitone to the perfect 5 th, or down a semitone to the perfect 4th

The flattened 7th, which generally doesn’t move anywhere, it just sounds cool all by itself!

Try adding Blues notes to the chords of F major and G major, then try putting them in the order of the 12 Bar Blues Chord Sequence.

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Here’s a normal C Major Chord

This chord has a flattened 3rd Blues Note, which moves up to the normal 3rd

This chord has a flattened 5th Blues Note, which moves up to the normal 5th

This chord has an added flattened 7th (a whole tone below the root)

This chord has an added flattened 7th (in the LH) and a flattened 3rd to sound like a proper Blues chord

Miles Davis 1926-1991

STRUCTURE

In total All Blues plays the 12 Bar Blues pattern 19 times with a four bar riff in between each main section. One statement of the 12 bar blues chord progression is called a chorus. The main pre-written melody is called the Head, solo choruses are improvised over the same 12 Bar Blues chord sequence.

List the instruments you can hear below in the correct order:

Section Instruments

Intro

Head 1 x 2

Solos x 4Solo 1 – 4 choruses

Solo 2 – 4 choruses



Head 2 x 2

Outro/Coda

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Earlier we mentioned that this piece is based on the 12 bar blues chord progression. In the next diagram we can compare the blues progression we saw earlier with the one used in this piece:

12 BAR BLUES IN G ALL BLUES

All Blues uses EXTENDED CHORDS such as DOMINANT 7ths, and the last line also uses ALTERED CHORDS. Altered chords are where you substitute a more interesting chord as opposed to the normal 12 bar blues chord.

A Dominant 7th is a normal triad with the 7th note above the bass added. The dominant 7th is ALWAYS a whole tone below the root note, so the dominant 7th of the chord of C is a Bb.

Work out what these triads are, find the dominant 7th note and write it in (the 1st one is done for you)

Adding a 7th, 9th or even an 11th to a triad turns it into an EXTENDED CHORD.A #9 chord works on the same idea; you add the 9th note above the root and sharpen it (this is the same as adding a sharpened 2nd).

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C7 = C E G Bb

Bar 1 Bar 2 Bar 3 Bar 4

G G G G


C C G G


D C G G/C


G7 G7 Gm7 G7


C7 C7 G7 G7


D7 Eb7/D7 F / G F / G6

Bill Evans keeps the piano part interesting while COMPING (accompanying) by constantly changing the CHORD VOICING. Changing the voicing means simply changing the order of notes in a chord, in classical music this is known as inversions:

Changing which notes are at the top, bottom or middle, and how far they spread over the piano can dramatically change the way a chord sounds.

MELODY

The head melody is characterised by rising 6ths from D to B, and continues with simple stepwise (conjunct) movement. This is an example of Cool Jazz which is quite unlike the fast and high trumpet lines heard in Miles Davis’ bebop of the 1940s.

The accompanying riff includes the saxes playing a swaying figure in parallel thirds. It moves stepwise in a very narrow range.

Describe the technical term for the bass part: _____________________________________

Circle and label the rising 6ths in the melody and the parallel thirds/chords in the accompanying riff:

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INSTRUMENTATION

Name the instruments and the players in the rhythm section in this piece:________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Name the instruments and the players in the frontline: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


The time signature for All Blues is _______________________________

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As is typical with jazz music the quavers are swung. This means that each pair of quavers is played with the first a little longer than the second thus creating a triplet feel. There is also frequent use of syncopation.

INSTRUMENTAL TECHNIQUES

Technique Description Bar

Pizzicato

Muted

Tremolo

Comping

Wire brushes

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Jeff Buckley 1966-1997

Jeff Buckley’s song Grace has several features that are commonly found in rock music such asfour beats in a bar, the use of verse and chorus form and the instrumental line-up.

A singer-songwriter and guitarist born in California in 1966 Both father and son possessed powerful voices with great emotional depth.

He had an amazing range as a singer and often sang in falsetto Tim Buckley died of a heroin overdose at the age of 29

Jeff Buckley died in a swimming accident at the age of 30 The song 'Grace' is taken from the album with the same name

Grace (1994) was the only studio album Jeff Buckley completed Jeff Buckley co-wrote the song 'Grace' with the guitarist Gary Lucas This piece is scored for two guitars, bass guitar, drums and synthesiser

N.B. Background info is not essential for the exam

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Buckley: Grace (1994)

‘Grace’ comes from the album Grace which was released in 1994. It is a rock ballad – a slow love song accompanied by a rock band. Buckley regarded this song to be about the way that true love can make it easier for people to accept their own mortality. Here are the lyrics, what do you think?

There's the moon asking to stay Long enough for the clouds to fly me away

Though it's my time coming, I'm not afraid, afraid to die My fading voice sings of love,

But she cries to the clicking of time,Of time

Wait in the fire...

And she weeps on my arm Walking to the bright lights in sorrow

Oh drink a bit of wine we both might go tomorrow, oh my love And the rain is falling and I believe

My time has come It reminds me of the pain I might leave

Leave behind

Wait in the fire...

It reminds me of the pain I might leave leave behind...

And I feel them drown my name So easy to know and forget with this kiss

But I'm not afraid to go but it goes so slow

Wait in the fire...

Some say that the lyrics seem to anticipate his own death by drowning!

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MELODY AND WORD-SETTING

The vocal part has an improvised quality and a very wide tessitura of over two octaves. Most of the vocal phrases are falling, reflecting the melancholy mood of the song. In the example below there are two examples of glissando, circle them and mark them clearly.

Opening of verse 1

Most of the word setting is syllabic as you can see in the above example.

There are however some long melismas to emphasise certain words such as ‘love’ in the verse and ‘fire’ in the chorus:

Opening of chorus

As mentioned earlier the lyrics reflect Buckley’s bleak outlook on love. There are many examples of word painting. Listen to the piece while following the score and indicate below how Buckley highlights these words in the music.

Word Bar/Section Musical Technique

65

Die 13

Love 15

Fire 23

Leave 58

In the bridge there is a passage of vocalisation – wordless singing – in which Buckley uses falsetto. What does this mean? _________________________________________________________________________

STRUCTURE

Listen to the piece again but this time focus on the structure, it is in verse-chorus form. Complete the following structural chart:

Intro Verse 1 Intro

Bars 1-7 8-19Instrumental Vocal:

(‘There’s a Moon’)

Intro Verse 3Bars 44-

Voice(‘Wait in the

fire’)

Voice(Improvisation)

INSTRUMENTATION AND TEXTURE

Homework:The following words are all related to guitar and string playing, some of which are used in Grace. What do they mean?

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Drop-D tuning _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Flanger _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Delay_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Slide______________________________________________________________________________________________________________________________________________________________________

Vibrato______________________________________________________________________________________________________________________________________________________________________

Distortion_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Power chords _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Bending_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Guitar ‘whisper’_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Pizzicato ___________________________________________________________________________________

TECHNOLOGY/TEXTURE

To help create a thicker texture the guitar parts are overdubbed – this is the re- recording of the same guitar part and then mixed together. The extra vocal parts in the bridge section are also produced through overdubbing, this is also known as double tracking.

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EQ is used throughout but is particularly obvious towards the end of this piece in the vocal parts. EQ is basically adjusting the tone controls so therefore boosting or cutting top, mid or bass frequencies. At the end of the piece the top frequencies are boosted in the vocal parts so that they are clearly heard above the backing.

TONALITY AND HARMONY The song is in E minor, although the tonality is often ambiguous. Look at the first two bars of the introduction. Notice the use of accidentals alongside the key signature of E minor:

Although it is in E minor the song opens with two chords not normally found in this key (F minor7 and G minor7). Both chords have an added minor seventh. This gives the ambiguous feel to the tonality – it is hard to tell what key it is in. The standard I – IV – V chord progressions of rock music are avoided. Instead the chords are more chromatic and move in parallel motion.

Can you find other examples of parallel motion chords in the score?

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

By using chromatic chords the tonality is ambiguous. Dissonance is created by deliberately allowing open E strings on the guitar to sound against an F chord and an Eb chord in bar 20 and 21.


The metre is _________. 68

There is frequent use of both syncopation and cross rhythms throughout.

Indicate in the table using crosses which beat the bass and snare drum play on:

Beat 1 2 3 4

Snare drum

Bass drum

This type of beat is known as a backbeat and is characterized by: ____________________________________________________________________________________________________________________________________________________

.

Moby: Why Does My Heart Feel So Bad? (1999)

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This piece is made up of three simple chord progressions, each of which lasts for eight bars:

Section AMale singer

Am Am Em Em G G D D

Section BxFemale singer

C C Am Am C C Am Am

Section ByFemale singer

F F C C F F C C

Below is the overall structure, when you feel confident, play along to the track.

A1 A2 A3 A4 A5 Bx1 By1 A6 A7 One bar

pause

Bx2 By2 By3 A8

Intro Verse

Chorus Verse

Chorus Verse

SAMPLES AND MELODY

The song is based on two samples taken from a recording made in 1953 of a gospel choir singing King Jesus Will Roll All Burdens Away. Moby manipulates the sample to completely reverse the meanings of the words, for example he changes the original word ‘glad to ‘bad’ so that the lyrics become an expression of hurt rather than happiness. He then loops these to create a melody that is simple and repetitive. Notice that the samples have an authentic ‘vintage’ quality because Moby doesn’t remove the surface noise found on gramophone records of that period. Although his music is electronically based he is keen not to make it sound sterile.

Sample A (the verse) is sung by a male and sample B (the chorus) a female.

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STRUCTURE AND TEXTURE

As discussed earlier the song is based on a verse-chorus structure with looped samples to create both the verses and the choruses. There is one bar in the piece were everything stops for one bar – this is called a breakdown.

The texture is built up as individual tracks introduced one by one:

Theme

Description

A1 Intro piano only, no clear sense of pulse

A2 Sampled male voice

A3 The addition of drums and other percussion makes the beat clear. Call & Response between vocal sample, string synthesiser & right hand of piano.

A4 Bass and string synthesiser

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See score – p.94

A5 Syncopated piano chords

See score – p.94

Bx1 Sampled female voice

See score - B1

By1 New chord sequence. Sample is sometimes re-triggered to provide an echo effect that sounds like a canon.

A6 Male singer and second vocal line - EQ effect added – high-pass filter – sounding like listening to a voice on the telephone because the only frequencies allowed to pass through are the high frequencies

A7 A6 repeated - one bar pause with fading echoes

Bx2 Female singer, no piano or percussion

By2 Piano and percussion return

By3 By2 repeated

A8 Male singer, no piano or percussion

RHYTHM, TEMPO AND METRE

The metre of this piece is _______________________ and has a steady tempo of 98bpm.

A key rhythmic feature in this piece is Moby’s use of syncopation as mentioned earlier (A5). In order to create contrast he does vary the rhythms between the sections, for example the piano pattern changes at the end of the first verse and static chords appear in the second chorus.

The drum loop is made up of a breakbeat (a drum solo) that Moby sampled from a hip-hop track. Indicate in the table using crosses which beat the bass and snare drum play on:

Beat 1 2 3 4

Snare drum

Bass drum

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USE OF TECHNOLOGY

List below the four pieces of equipment that Moby used to produce this track:

Equipment What it does.....Synthesiser

SamplerDrum Machine

SequencerEffects Units

The use of effects is an important tool in electronic music; Moby uses a number of subtle effects within this piece. He feels that it’s more important for the music to trigger an emotional response in the listener than for it to be pristine and clinical. This is why for example his vocal samples still have the background noises intact. Within the mixing stage Moby panning;

Listen to the opening eight bars of the piano intro through headphones to hear how Moby has created a sense of movement from left to right.


The harmony is diatonic throughout and is made up of three simple chord progressions seen earlier. The verses are in the Dorian mode on A (flattened 3rd and 7th) and the choruses are in C major.

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Capercaillie

A Scottish Band Formed in 1983 at Oban High School to play for local dances called ceilidhs

First album recorded in 1984 Play Celtic Fusion music – Celtic folk music combined with elements of pop music

Much of their music is recorded in Gaelic Have also recorded music for TV and films including Rob Roy

Homework

Listen to two of the following bands and prepare a power point presentation that focuses on which styles of music have influenced their performances:

The Pogues Manau Bellowhead

Primordial Dagda Clannad

Floggin’ Molly

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Capercaillie: Skye Waulking Song (2000)

Facts..........

has a 12/8 time signature is mostly based around three chords – C, E minor and G has eight verses and an instrumental section opens with an intro and fades out with an outro is from a collection of Gaelic folk songs compiled by the folklorist Alexander

Carmichael Lead singer, Karen Mattheson, has an unusually low female alto voice combines folk and rock instruments a waulking song is a work song, sung by women workers processing cloth.

The Role of Music in the Work Place

A work song is typically a rhythmic a cappella song sung by people working on a physical and often repetitive task. The work song is probably intended to reduce feelings of boredom. Rhythms of work songs also serve to synchronize physical movement in a gang. Frequently, the usage of verses in work songs are often improvised and sung differently each time. The improvisation provided the singers with a sometimes subversive form of expression: improvised verses sung by slaves had verses about escaping; improvised verses sung by sailors had verses complaining about the captain and the work conditions. Work songs also help to create a feeling of familiarity and connection between the workers.

Work songs sung by slaves are known by many names around the world. In America, such songs were the foundation for what would eventually become the Blues. Some songs were part of a native heritage and sung to remind the slaves of home, while others were instituted by the slave masters to raise morale, keep slaves working in rhythm, or any number of other purposes. Black American slave songs might be referred to as "chain gang songs" or "spirituals" depending on the context of the song. An example of a slave work song would be “Swing Low, Sweet Chariot”.

Work songs sung by sailors during the 20th, 19th, and to a lesser extent 18th centuries are known as sea shanties. These songs were typically performed while adjusting the rigging, raising anchor, and other tasks where men would need to pull in rhythm. These songs usually have a much punctuated rhythm precisely for this reason, along with a call-and-answer format.

Listen to the extract which contains a call and response from the set work.

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Call:

Response:

What you have identified above is what is known as Phrase 1 and Refrain 1. Where else can you see these within the Skye Waulking Song?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ What do you notice about this pattern?______________________________________________________________________________________________________________________________________________________________________________________________________________________________

Are there any other repeating patterns within this set work? If so where?______________________________________________________________________________________________________________________________________________________________________________________________________________________________

STRUCTURE

What you may have noticed is that the vocal line alternates between four separate phrases, each one lasting for one bar. This is in a call and response form.

Fill in the missing notes below:

Phrase 2:

Refrain 2:

______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

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The overall structure therefore is:

Section BarIntro 1-8

Verse 1 9-11Break 12-15

Verse 2 16-20Verse 3 21-24Verse 4 25-28Verse 5 29-32Verse 6 33-36

Instrumental 37-43Verse 7 44-48Verse 8 49-52Outro 53-end

Some may even say that this piece has only two verses and would argue that the structure is as follows:

Intro 1-17Verse 1 18-33Verse 2 34-51

Outro/Fade out 52-65

INSTRUMENTATION AND TEXTURE

As mentioned earlier this is a Celtic Fusion piece that combines traditional with more modern instruments. Here are some of the more traditional instruments used in this piece:

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Label the pictures using the names given below:

Uilleann Pipes Accordian Tin Whistle Bouzouki

Bodhran Wurlitzer (electric) PianoWhat instruments can you hear that give the music a more modern feel?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

A layered texture is created throughout:

Rhythm pattern Drum kitBass line Bass guitarChords Synthesiser

Main Melody VoiceCountermelodies Other melody instruments: violin, Wurlitzer

piano, uilleann pipes and bouzouki

There is one point in the piece where the accompaniment drops out completely, where is this and how is it indicated in the score? _________________________________________________________________________________________________________________________________________________________________________________________________

At the start there is a cluster chord played by the synthesiser, this is when notes are played very close together and therefore create a dissonant sound. It is played ‘with modulation’ which means that a modulation effect is applied to the synthesiser that fluctuates the pitch slightly, like a vibrato effect (NB not to be confused with changing key).

What playing technique is being used by the fiddle at the very start of the song? Describe the sound in as much detail as you can.

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________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

The melodic lines are played in a folk style – the instruments improvise around the main melody simultaneously, sometimes playing a very similar melody in slightly different ways – heterophonic texture – and sometimes weaving a complex, improvised counterpoint around the melody and the scale.

MELODY

The vocal melody is pentatonic (G A B D and E) and uses the lower register of the voice. Karen Mattheson’s part is notated using the vocal tenor clef, which means that the voice sounds an octave lower than printed.

Is the text mainly syllabic or melismatic? __________________________________________________

What language is the song in? ________________________________________

The instrumentalists play short motifs and countermelodies mostly based on the vocal phrases.

RHTYHM AND METRE

The song is in compound quadruple time, what does this mean? _____________________

Key rhythmical features within this piece are the use of syncopation, cross rhythms and the scotch snap (lombardic rhythm).

HARMONY

In this style of music harmony is less important than the melody and rhythm. The harmony is very simple throughout the song using predominantly three chords: G, Em and C. The changes in chord sequences are infrequent but this does mean that when a change does occur

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it highlights a different section or mood within the song. The song is in G major but the distinct lack of the dominant chord gives this piece a modal feel. It is entirely diatonic throughout.

Area of Study 4 – Set Works 9 and 10

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Rag DeshAnd

‘Yiri’ Performed by Koko


Indian Music: ‘Rag Desh’ (AoS 4)Listen to the performances of ‘Rag Desh’ by Anoushka Shankar, Chiranji Lal Tanwar and Steve Gorn/Benjy Wertheimer.Make connections between the performers’ use of the Rag and the use of modes by Davis et al.

Koko: ‘Yiri’ (AoS 4)Listen to the performance of ‘Yiri’ by Koko.Relevant musical vocabulary including: ostinato, improvisation, cross-rhythm, polyrhythm, syncopation, master drummer, balaphones, mbira, vocables, djembe, donno, dundun and oral tradition.

Units 1 and 2: Rehearse for a performance of the composition/input the piece into a computer package for use as a sequenced performance.Unit 1: Re-record solo and ensemble performances as appropriate.Unit 2: Redraft compositions as appropriate.

To develop students’ understanding of improvising techniques in the context of Indian music.

To look at alternative approaches to the use of melody and harmony.

To understand the role of the drone, rag and rhythmic tala in Indian music.

To be able to compare the different realisations of the rag, understanding why the same rag can be interpreted so differently and expressing their findings using appropriate musical vocabulary.

To explore the use of rhythmic motifs and ostinati.

To learn the set work through performing it.

To develop improvising skills through the exploration of rhythmic elements.

Various: Indian music - Rag Desh

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Rag Desh is an example of North Indian classical music. It is an improvised form of music with a long history. The improvisations take place within well defined structures and conventions. The music is taught by respected teachers called gurus who pass their knowledge down through oral tradition.

North Indian or Hindustani classical music is built on two basic elements: rag (scale) and tala (rhythms). A rag is both the name of the completed piece and the pattern of notes within that piece.

The tal or tala is a repeating rhythm pattern usually played by the tabla. It usually has between six and sixteen beats. The beats are grouped into bars. The first beat of the cycle is known as sam. It marks the beginnings and ends of improvisations so it is often accented.

Tintal is the most common tal. It has the following characteristics:

sixteen beats (4 + 4 + 4 + 4) four sections beginning on the 1st, 5th, 9th and 13th beats

It is common to mark tala by hand claps and waves. In tintal the beginning of the first, second and fourth sections is marked by a clap, but the beginning of the third section is weaker and this is shown by a wave of the hand.

Beat number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16Action Clap Clap Wave Clap Vocal mnemonic

Dha Din Din Dha Ta Din Din Dha

Ta Din Din Ta Ta Din Din Dha

The actions (clap and wave) are visual indications used by the tutor to help show where you are within the Tal.The different words of the vocal mnemonics: Dha; Din; and Ta represent the type of sound that the Tabla player is trying to get out of the drums by hitting them on different parts of the skin and with different parts of the hand.

A rag is a fixed scale although it is sometimes different going up and coming down. Rags are associated with moods, e.g. loneliness, bravery, eroticism, and with particular times of day or year, or with certain ceremonial occasions.

The Rag used in these three examples is the Rag Desh, this is a late evening rag associated with the monsoon season. In Indian music a system known as sargam is used for naming the notes: Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa. The tonic, or ground note, is Sa (this is heard in the drone).

Rag Desh

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STRUCTURE

It is very important that the structure can be recognised. A typical performance of a raga is divided into four main sections:

the alap, a slow improvised introductory section which introduces the notes and mood of the rag. There’s no regular pulse and no percussion

the jor, introduces the rhythm and a melody begins to evolve the gat is faster, the tabla player establishes a clear pulse and the fixed composition

can be heard in the melody the concluding jhalla gives the piece a brilliant and fast-paced close, the music

becomes more vibrant and decorative with extensive improvisation by the tabla and melody instruments.

INSTRUMENTS

It is also very important to identify the instruments used when listening to the three set works:

Sitar

The Sitar is perhaps the most well known of the Indian instruments. Artists such as Ravi Shankar have popularized this instrument around the world. The Sitar is a long necked instrument with a varying number of strings but 17 are usual. It has three to four playing strings and three to four drone strings. These strings are plucked with a wire finger plectrum called mizrab. There are also a series of sympathetic strings lying under the frets. These strings are almost never played but they vibrate whenever the corresponding note is sounded. The main resonator is usually made of a gourd and there is sometimes an additional resonator attached to the neck.

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Sitar Tabla

Tabla

The Tabla is a pair of drums. It consists of a small right hand drum called dayan and a larger metal one called bayan. The dayan (right hand drum) is almost always made of wood and is tuned to the root note or sa of the raga. The bayan (left hand drum) is usually made of brass with a nickel or chrome plate. Undoubtedly the most striking characteristic of the tabla is the large black spot on each of the playing surfaces. These black spots are a mixture of gum, soot, and iron filings. Their function is to create the bell-like timbre that is characteristic of the instrument.

A tabla player will bend notes by increasing the skin tension with part of the hand in order to create the “twang” sound that gives the tabla its distinctive character. Tabla playing is very difficult and it can take years to master the different strokes (bols). Some strokes are open (allowed to ring) and others are closed (dampened).

Go to http://www.youtube.com/watch?v=Joyk_EMtzn0 (Ravi Shankar, Alla Rakha – Tabla Solo in Jhaptal – uploaded by ganchans)Watch at least 6 minutes of the clip.

Observe how the player changes the pitch and timbre of the 2 drums by hitting them with different parts of his hand.

What do you notice about the teaching technique which is the same as the Sitar lesson?

__ __ __________________________________________________________________________

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For the remaining instruments look at the descriptions below and match them to the pictures below:

Pakhawaj – a double barrelled drum.

Sarangi – a bowed string instrument.

Swarmandal – a zither harp that is plucked, the strings are tuned to the notes of the raag to provide an ambience of the raag.

Tambura – a stringed instrument which provides a drone. The tambura is often mistaken with the sitar. The major difference between the two is that the sitar has frets.

Sarod – a plucked string instrument; the metal fingerboard is fretless and a coconut wood plectrum is used to strike the strings

Bansuri - an Indian flute which is typically made of bamboo or reed with holes cut into it.

Shruti box – an electronic instrument that plays the drone.

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Listen to the three Rag Desh pieces and identify what instruments you can hear in each one.

Instruments

Rag Desh performed by Anoushka Shankar (2001)

Mhara janam maran performed by Chiranji Lal Tanwar (2004)

Rag Desh performed by Steve Gorn and Benjy Wertheimer

(2004)

Homework:

Write a brief paragraph about each of the performers above.

Anoushka Shankar______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Chiranji Lal Tanwar________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Steve Gorn and Benjy Wertheimer

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____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Sub-Saharan African Music

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The music from sub-Saharan Africa is extremely rich, colourful and diverse.

Key Features and Facts of African Music1 African music is

part of everyday activities; everyone joins in clapping, singing and dancing to the music

part of rites and ceremonies where it is performed by specialist master drummers and professional musicians known as griots.

not normally written down but is passed down over the generations in each griot family by word of mouth (oral tradition).

2 It came over to America with the African slaves and combined with the folk music of the European settlers to produce new styles of music such as blues, gospel and jazz. These went on to form the basis of pop music today.

3 The music is based on repetition – rhythms, harmonies and melodies are often repeated continually to form ostinatos.

4 Improvisation – melodies are frequently made up of improvised

5 Call and Response

6 Layered textures

7 Rhythm patterns interlock and overlap to form polyrhythmic patterns and exciting cross-rhythms

8 Singing often includes glissandos (slides which are sometimes known as portamento) and slurs, whistles, yodels and swoops, use of vowel sounds such as ‘eh’, ‘ah’ and ‘oh’ (vocables).

Koko: ‘Yiri’88

Koko is a group of six musicians led by the singer and balafon player Madou Kone. ‘Yiri’ is taken from their album Burkina Faso – Balafons et tambours d’Afrique” and contains just a few sleeve notes;

When we discovered Koko, we were struck by the sheer wealth of music they produce. This group occupies a very special position in the widely renowned cultural heritage of Burkina Faso. Koko draws its inspiration from the subtle mixture of living cultures that are to be found in that part of Africa. The group is led by Madou Kone, who plays the balafon and is also an exceptional singer. The themes of Koko's songs evoke some of man's greatest battles, including the fight for survival and protection of the environment, but also creation, celebration and friendship, and attachment to the earth.

Burkina Faso is a landlocked nation in West Africa.

Burkina Faso

INSTRUMENTATION

The following instruments are used Yiri (which means wood):

The Balafon – similar to a xylophone, gourds hang beneath the notes to make the sound resonate. The one used in Yiri uses a hexatonic (six note) scale.

The djembe a goblet shaped drum:

The talking drum: a drum that is played with a hooked stick and can be used to imitate speech by creating different pitches and slides.

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These instruments are also from Africa but are not in this piece.

Mbira Shekere Kora

STRUCTURE

The piece is in three sections, follow the score (this is a transcription of the performance as they would have played from memory) and list what you can hear in each section:

Section Instruments/Voices Key Features/Techniques

Intro

Main section

Coda

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MELODY, HARMONY AND TONALITY

Yiri is in the key of Gb major without the F, this leaves only six notes which means that it is based on a hexatonic scale.

The balafons play short patterns that tend to emphasise the Gb and the Db – what notes of the scale are these? _________________________________________________________________

During the choruses the group sings together in unison.

It is entirely diatonic throughout.


The main metre is ____________. There are however a few bars with other metres.

After the introduction which is free tempo the rest of the piece has a steady pulse.

There is frequent use of syncopation throughout. During the second solo voice section there is an example of cross rhythms where the balafon is playing semiquavers in groups of threes. There are also triplets being used in the solo voice part.

The drums play a rhythmic ostinato throughout.

TEXTURE AND DYNAMICS

Most of Yiri has a layered texture, but it does include monophonic texture in the introduction and occasional heterophonic textures. This final texture is created when the balafons play different versions of the same tune at the same time.

There is little dynamic variation in the piece.

Now answer this question in as much detail as possible:

Describe the music played by the three different instrumental parts in the extract:

Balafons_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

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__________________________________________________________________________

Drums_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Voices_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

AoS 1Haydn: And the Glory of the Lord

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When you have learnt the meaning of the following keywords for the above set work write them in here:

Terms Know without checking Know with checking

Oratorio

SATB

Libretto

Chorus

Falsetto

Tonic and Dominant

Perfect Cadence

Plagal Cadence

Imitation

Monophonic

Homophonic

Modulation

Melismatic

Syllabic

Ritornello

Sequential Movement

Terraced DynamicsAoS 1

Mozart: Symphony No. 40

When you have learnt the meaning of the following keywords for the above set work write them in here:


Symphony

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Sonata Form

Exposition

Development

Recapitulation

1st and 2nd Subject

Bridge Passage

Orchestra

Sequence/ Sequential movement

Chromatic movement

Major and Minor

Diminished chord

Diatonic

AoS 1

Chopin: Prelude No. 15 in Db ‘Raindrop’


Pedal note

Sostenuto

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Sustain pedal

Legato

Cantabile

Acciaccatura

Rubato

Dectuplet

Ternary Form

Sotto voce

Smorzando

Slentando

Ternary form

Coda

AoS 2Schoenberg: ‘Peripetie’


Chromaticism

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Atonal

Klangfarbenmelodie

Hexachord

Principal Voice

Secondary Voice

Serialism

Prime row

Inversion

Retrograde

Retrograde inversion

Enharmonic

Verticalisation

Dissonance

Canon

Rondo form

AoS 2Reich: ‘Electric Counterpoint’: 3rd movement


Ostinato

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Cells

Loop

Phasing

Note addition

Note subtraction

Augmentation

Diminution

Layering

Resultant melody

Modal

Polymetre

Hexatonic scale

AoS 2Bernstein: West Side Story – ‘Something’s Coming’


Choreography

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Production

Intervals

Syllabic

Tritone

7th Chords

Riff

Harmonics

Push rhythm

Tremolo

Syncopation

Cross rhythm

Flattened seventh

Word painting

AoS 3Miles Davis: All Blues


Modal Jazz

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Cool Jazz

Blue note

Changes

Head

Frontline

Comping

Chromatic

Turnaround

Riff

Parallel thirds

Harmon mute

Improvisation

Verse ChorusExtended chords

Substitute chords

12 bar blues

Pizzicato

Wire brushes

AoS 3Jeff Buckley: Grace


Ballad

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Verse Chorus Form

Tab

‘Drop-D’ Tuning

Blue notes

Flanger

Hammer-ons

Pull-offs

String bending

Slide guitar

Glissando

Melisma

Syllabic

Vocalisation

Falsetto

Overdubs

Word painting

Tessitura

Distortion

Power chords

AoS 3Moby: Why Does My Heart Feel So Bad?


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Sequencer

Sampler

EQ

Reverb

Delay

Sample

Manipulation

Breakdown

Panning

Loops

Dorian mode

Layering

Retrigger

break

AoS 4Capercaillie: Skye Waulking Song


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Waulking songs

Uilleann pipes

Fiddle

Accordian

Bouzouki

Scotch snap

Call and Response

Pentatonic

Cluster chord

Counter melody

Heterophonic texture

AoS 4Rag Desh


Raga

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Tala

Rag desh

Alap

Jor

Jhalla

Gat

Bols

Sam

Teental

Meend

Tan

Bansuri

Swarmandal

Esraj

Tambura

Tabla

Sitar

Sarangi

Sarod

Pakhawaj

Bhajan

Drone

Tihai

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AoS 4Koko: ‘Yiri’


Ostinato

Improvisation

Cross rhythm

Polyrhythm

Syncopation

Master drummer

Balaphones

Mbira

Djembe

Donno

Dundun

Vocables

Oral tradition

Griot

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