Prep last week…

• Complete the Fact-Finder

sheet

• A-A* grades – challenge prep

and further analysis

Today you’re going to…

Analyse the score and lyrics of GraceUnderstand how to write an extended

question

Area of Study 3

Grace

by Jeff Buckley

Word painting... The meaning of the words are reflected in

the music.

Examples...In verse 1 Buckley:

1. moves to his higher register on the words ‘my fading voice’

2. emphasises the word ‘love’ by using a melisma

3. uses cross-rhythms between the bass guitar and his voice on the words 'clicking of time’

How does this relate to the lyrics?

How to write an Extended Question

How to write an Extended Question

First, the question!

Write one point under each bubble

• Make 5 more key points, but under any bubble you want to

• You do not have to have two for each

• You must have one key point for each bubble, and then 10 points altogether

Now to write your extended question!

• Use full written prose (not bullet point)

• Use the correct punctuation, grammar and spelling

• Structure your answer for a paragraph per ‘bubble’

• As you answer each bubble, tick it off the question paper.

First paragraph - Structure

Use these sentence starters if you want to (you don’t have to)

•The structure of Jeff Buckley’s Grace is…

•It has a… and a …

•Tick it off the question paper.

Second paragraph - Melody

Use these sentence starters if you want to (you don’t have to)

•The melody of Grace uses…

Third paragraph - Harmony

Use these sentence starters if you want to (you don’t have to)

•Grace uses chords such as…

•The key of Grace is…

Fourth paragraph - Texture

Use these sentence starters if you want to (you don’t have to)

•The main texture of Grace is…

•Some parts drop out such as…

Fifth paragraph - Instrumentation

Use these sentence starters if you want to (you don’t have to)

•The instruments in Grace are…

•Guitar effects used are…

Use the Mark Scheme to mark your extended question

IMPORTANTOn Monday 15th July:

1.Trial Exam of all Set Works studied

2.Hand in a draft 2nd composition

3.Complete either one solo or one ensemble

performance

DO NOT MAKE ME CHASE YOU FOR

COURSEWORK!

Prep

• Revise for listening test Friday 5th July

• A-A* challenge: add extra score analysis

from next slides

• If not complete, complete your extended

question

Analysis of the piece – Introduction - A

• The introduction is split into two sections – A and B

• This is the same as the link – the link is a direct repeat of the introduction!

The opening begins with guitar and synthesizer (other parts enter on the 3rd bar)

The piece has not settled in a sense of key yet – we can tell this because of the accidentals, and because the first chord is an F minor 7th Chord – not found in the key of E Minor!

Accidentals

Chord of F Minor 7th

Ends on a loud chord of E Minor

Analysis – Introduction - B

The introduction is the first time we hear the whole band play.

We are now in D Major, which we can tell by the use of C#’s in the music

A clash is created by the C# in the guitar and the D in the bass

The bass guitar is playing a pedal on D – where one note is emphasised by repetition

This part is repeated several times before leading us into the verse...

A third electric guitar plays a low C# which clashes against the D pedal

The rhythms is driven by the acoustic guitar and hi-hat

Analysis - Verse 1

At this point we have changed key again, and we are in E minor, shown by the use of Bb’s in the melody

The piece uses parallel chords in the verse – all the chords are formed by moving the same hand shape up or down one fret on the guitar

The accompaniment underneath has several elements to it.• Guitar whispers played on the electric guitar• Rhythm guitar plays a pattern following the chords• The second guitar plays broken chord patterns.

The vocal line is: - in the lower register - mainly moving by step - dropping down at the end of the phrases

The sound of the plectrum hitting the strings of the acoustic guitar is used to give effect

Analysis – Pre-Chorus

Electric guitar and acoustic guitar both play chords, moving up the instrument.

The vocal range gets higher

The section is mostly in E minor, but the D naturals give us a hint of the dorian mode based around E

Analysis - Chorus

The vocal line is significantly higher than in the verse

Open strings played by the guitar are used to create a dischord – this is intentional!

Buckley uses a melisma in the last part of the chorus – this is where lots of notes are sung to one syllable

This melisma lasts for two bars.

The melody again consists of several descending phrases

Analysis – Link A and B

Think has the same melodic material as the introduction and there are only two differences between the Link and the Introduction:

1. There is a mandolin effect added on the electric guitar2. A vocal ‘Oh’ links parts A and B

When we hear the link after the mid 8, it is again the same, thought this time featuring the guitarist hitting the deadened acoustic strings.

Otherwise all the material is in your notes for the introduction!

Analysis – Verse 2 and 3

Whilst the melodic material remains the same, Buckley adds in some extra sound effects to create interest, namely:

1. Descending slide2. Slide on the strings3. Trill on the strings

At this point the strings have been written to imitate the guitar

Verse 3 demonstrates much more use of the cymbal and more special effects being added. The vocal part also becomes higher and harsher.

Analysis – Pre-chorus 2

Again this is almost the same as pre-chorus 1, the only exception being the addition of pizzicato strings (where the strings of the instrument are plucked rather than bowed)

This leads into a repeat of the chorus, followed by a drumroll lead-in to to the Mid-8 Section.

Analysis – Mid-8, Section A

Strings play long sustained notes to fill out the chords (adding in more of the harmony to the section

Multi-tracked vocal harmonies playing in counterpoint (different melodies interweaving)

The drumkit uses more snare to add intensity – this whole section is far more intense than previous sections

Analysis – Mid 8, Section B

This section is based on the chord sequence for the pre-chorus

The instrumental backing is also similar to this.

The main vocal line improvises a wordless melody

A ‘telephone’ EQ effect is applied to the vocals when the lyrics re-enter to give a harsh distant effect

Hummed harmonies follow the chord sequence, opening out into vocal ‘ahs’ at the end to give an angelic quality to contrast with the harsh vocals

Analysis - Outro

• Strings become very important

• Lots of vocal improvisations high in the singers range – use of falsetto

• An electric guitar with flanger effect is added

• The song ends with a short unnaccompanied phrase which clearly shows the influence of Qawwali (a Pakistani devotional chant)

Who was Jeff Buckley?

• http://www.youtube.com/watch?v=HZRK9qrF490 – from 11 mins

• Plus ‘Grace’ official video• http://www.youtube.com/watch?v=AfQzLtOh3so&feature=related• Mainly about how he makes the music• http://www.youtube.com/watch?v=QwiOTC2Y4Cw&feature=related• http://www.youtube.com/watch?v=LhD9wuA9oLs• First page of booklet