You are on page 1of 147

THE PETERBOROUGH SCHOOL

MUSIC DEPARTMENT
BK
Name: ___________________________________
Form Tutor: _______________________________
1
KS4 Grade Descriptions
What grade are you aiming for?
A
Candidates explore the expressive potential of musical resources and conventions used in selected
genres, and traditions.
They sing and/or play music with a sense of style, command of the resources used and making
appropriate gradations of tempo, dynamics and balance.
They compose music which shows a coherent and imaginative development of musical ideas and
consistency of style and fulfils a brief.
They make critical judgements about their own and others music using an accurate and extensive
musical vocabulary.
C
Candidates sing and/or play music with control, making expressive use of phrase and dynamics
appropriate to the style and mood of the music.
They compose music which shows ability to develop musical ideas, use conventions, explore the
potential of musical structures and resources and fulfils a brief.
They make critical judgements about their own and others music using a musical vocabulary.
F
Candidates sing and/or play music with some fluency and control of the resources used.
They compose music which shows some ability to organise musical ideas and use appropriate
resources in response to a brief.
They describe musical features using a simple musical vocabulary, make improvements to their own
work and offer some justification of opinions expressed.
!
"y Targets for the #ear
"y Challenge $rade for $C%& "usic is ''''''''''''''.
(n order to achieve this ( need to)
1. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
!. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
*. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
+. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
,. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
-. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
.. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
/. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
0. ''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
11. '''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''
*
The Element o! Mu"#
Mu#h o! $our GCSE L"ten"n% &a&er '"ll re(u"re $ou to ha)e a )er$ %oo*
un*ertan*"n% o! the !ollo'"n% +e$ area, Com&lete the %r"* -elo' '"th mu"#al
)o#a-ular$ a&&ro&r"ate to ea#h e#t"on,
Element
of Music
Description
hythm
Melody
!armony and "onality
+
"empo
Structure
Dynamics
"e#ture
,
"im$re%&laying
"echni'ues%Articulation
(nstrumentation%
&erforming Forces
-
Area o! Stu*$ .
The H"tor$ o!
/etern Cla"#al Mu"#
.0112.344
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 er!ormance iece to
"e recorded in the ne#t
$%1& 'ee(s)
Units 1,* and +: Sta!! notation
o develop an understanding of the
chronological development of western
classical music from 1600-1899 !"rea of #tud$
1%.
o understand the historical context of the
music.
.
Area o! Stu*$ . 5 Set /or+ .
Han*el:
And the Glory of
the Lord
from
Messiah

Coure Content Learn"n% Out#ome
&isten to the set wor'( placing it in
context.
Relevant musical vocabular$
including) oratorio( libretto(
recitative( aria( chorus( perfect
cadence( plagal cadence( pedal
point( imitation( monophonic(
homophonic( modulation( tonic and
dominant.
Unit 1
Record solo er!ormance)
o understand the context of the set wor' as part of
one of the most well 'nown and loved of all
oratorios.
o understand the position and role of the set wor'
in the overall oratorio.
o develop an understanding of the use of Baro*ue
conventions within the set wor'.
o recognise and be able to use relevant musical
vocabular$.
o recognise the forces used in the recording
including #"B choir.
/
!andel ) *+,-.*/-0
2orn in $ermany
3layed the 4iolin, 5arpsichord and 6rgan
&mployed as court conductor for the 3rince7&lector of 5anover in $ermany
8mbitious, devoted and very successful musician
Travelled to (taly and &ngland
%ettled in &ngland and continued to write music for the 3rince7&lector who was now
9ing $eorge ( of $reat 2ritain:
!ome1or23 4isit the website ;%6kids.com. <ist + other musical facts about 5andel
including the title of two other works composed by him)
1. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
*. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
+. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
<isten to La Rejouissance from "usic for the =oyal >irework %uite. ;escribe)
The two instrumental families you can hear
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'
Tonality
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Time signature

0

4A567E M7S(C
Key Features
* Simple, mainly diatonic harmonies
8 "erraced dynamics ) clear contrasts between loud and soft, rather
than gradual changes
9 5rnamentation 7
4 Complex contrapuntal writing in some pieces
- 6rchestras made up of largely string instruments
+ ?se of continuo @ a group of instruments that provides a bass line and
harmonic accompaniment @ usually a 2ey$oard instrument
Aharpsichord or organB, with one or more $ass instruments Acello,
bassoon or double bassB.
(mportant composers) 4ach: !andel: &urcell and ;i<aldi
CurDburg Chapel
What is an 5ratorio?
8n 6ratorio is a large7scale composition for solo singers, choir and orchestra. (t 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 6peras but without costumes,
scenery or acting.
Messiah
5andel composed more than !1 oratorios, of which Messiah A1.+1B is his most famous. (t
took him just over three weeks to compose: The first performance was given in ;ublin in
1.+!. This first performance was given by a small choir of no more than 1- singers and an
orchestra of probably less than 11 though now it is performed with much larger forces. The
orchestra would have been supported by a 2aroEue organ, harpsichord and a cello, this
grouping of instruments is known as the continuo.
11

!arpsichord "he harpsichord action

=istening
Compare and contrast two versions of 2achs prelude in C major.
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Cithin an 6ratorio you will find arias, recitatives and choruses.
8ria @ a solo vocal piece with instrumental accompaniment which reflects a mood
or emotion. The music is more elaborate to display the vocal Eualities and expertise
of the singer to the full.
=ecitative @ 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 6ratorio in which the whole choir sings and sums
up the action at that point in the drama.
<isten to this example of one of 5andels most famous choruses,
http)//www.youtube.com/watchFvG%Hh.I=0o94&
Christmas >ood Court >lash "ob, 5allelujah Chorus
Jote that the words are in &nglish and not (talian which tended to be the norm during the
2aroEue period.
And the Glory of the Lord >*/4*?
5andels "essiah is in three parts and tells the story of the birth, death, and resurrection of
Iesus Christ)
3art 1 @ the birth
3art ! 7 the death
3art * 7 resurrection
K8nd the $lory of the <ord is in part 1 and is the first chorus in Messiah. (t consists of four
11
different motifs. <isten to the motifs and answer the following Euestions)
Motif A
1. (n pairs learn to play this motif.
!. Chat type of voices first sing thisF '''''''''''''''''''''''''''''''''''''''''''
*. ;escribe the rhythm in bar !. '''''''''''''''''''''''''''''''''''''''''''''''
+. The word setting in this motif is'''''''''''''''''''''''''''''''''''''''''''''
Motif 4
This is first sung by the tenors in bar 1..
,. Chat melodic device is used on the words revealedF
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
-. ;escribe the word setting in this motif. '''''''''''''''''''''''''''''''''''''''
Motif C
.. Chat type of voice first sings this motifF ''''''''''''''''''''''''''''''
/. Chat compositional device has been used in this motifF
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
1!
Motif D
0. ;escribe how motif ; differs from the other *.
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
These four motifs are heard in different parts and in combined in different ways throughout
the movement.
(n section 2 of the listening exam you will be asked to write in detail about one of the set
works. #ou 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. "ost 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. Ce 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.
&EF5M(@G F5CES
The choir is made up of sopranos: altos: tenors and $asses A%8T2B. They are accompanied
by a string orchestra and continuo Acello, and harpsichord or organB. Jotice that the
orchestra often doubles the vocal lines.
S"7C"7E
>ill in the missing words)
The work starts with an '''''''''''''''' introduction, called a ritornello. %hortened
versions of this ritornello return later in the work.
(ndicate on the score where the instrumental ritornellos occur.
There is no formal structure to this movementL its based on different combinations of the
'''''''''''' motifs.
8s the motifs repeat and imitate between the voices they are se'uenced into different
pitches e.g. bars 1/7!*.
1*
!A"!M: ME"E A@D "EM&5
The time signature is '''''''' throughout which means simple triple time.
The tempo is allegro which means '''''''''''''''''.

(n which bar does the tempo changeF '''''''''''''''''''''''''''. Chat happens on
the three beats prior to the changeF '''''''''''''''''''''''''''''''''''''''''''''
2y 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 Euavers whereas the fourth motif is
characterised by long Adotted minimB 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 ''''''''''''''.
5andel 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 ! rather than * beats
per bar. $ive an example of where this first occurs)'''''''''''''''''''''''''''''''.
"5@A=("A A@D !AM5@A
This piece is in the key of ''''''''''''''''. (t modulates Achanges keyB to two related
keys) the dominant AE maBorB and the supertonic A4 maBorB. The piece ends with a
''''''''''''''cadence.
The harmony is diatonic. Chat does this meanF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"EC"7E
5andel creates contrast within this piece by contrasting both homophonic and
contrapuntal%polyphonic textures. ;escribe what is meant by homophonic and give an
example where this texture can be heard.
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Chat is meant by the term contrapuntal%polyphonic and at which point does 5andel first
use this textureF
1+
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
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.
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
(n order to create the contrapuntal texture 5andel uses imitation, this is overlapping the
music by immediately copying the same melody in another part. This first happens in bars
1/7!,.
To further add contrast 5andel varies the number of parts being played, for example he may
only have the altos singing or at times two or three parts together. $ive an example within
the score where you can hear one voice part singing) ''''''''''''''''''''''''''''''''
(n which bars can we first hear the Tenors and 2asses togetherF '''''''''''''''''''''''
Chat is the texture at this point in the score and whyF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
W5D SE""(@G
There is a mixture between melismatic and sylla$ic word setting throughout.
Chich motif is mostly sylla$icF '''''''''''''''''''''''''''''''''''''''''''''
Chich motif is mostly melismaticF '''''''''''''''''''''''''''''''''''''''''''
1,
=(S"E@(@G ECCEC(SE
<isten to the following two excerpts and write down what you hear by the headings given)
E#cerpt A
For unto us a Child is orn
E#cerpt 8
+
th
"ovt. +1
th
%ymphony
"onality
"empo
"e#ture
!armony
&erforming Forces
1-
Chich excerpt is from the 2aroEue period and whyF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
%uggest a possible composer for both excerpts) '''''''''''''''''''''''''''''''''''
Area o! Stu*$ . 5 Set /or+ 6
Mo7art:
Symphony No. 40
in Gm
First Movement
1.
Content coverage Learning outcomes
&isten to the set wor'( placing it in context.
Relevant musical vocabular$ including)
s$mphon$( sonata form( exposition(
development( recapitulation( 1st and +nd
sub,ect( bridge passage( orchestra !and sections
thereof%( se*uence( d$namic mar'ings(
chromatic( ma,or and minor.
Unit *
,elod- 'riting and harmonisation
Unit 1: Choose ensem"le er!ormances to "e
rehearsed and recorded over the ne#t .%1*
'ee(s)
o understand the context of the set wor'
and its place in the canon as a sonata from
1st movement of a classical s$mphon$.
o learn about the importance of structure
within classical wor's and of the role
pla$ed b$ tonalit$ and 'e$ structure.
o learn about sonata form and its main
elements as evidenced in the set wor'.
o be able to identif$ the elements that
ma'e this an archet$pal piece of music
from the classical era.
o recognise and be able to use relevant
musical vocabular$.
o be able to recognise the sound of all the
instruments in the classical orchestra.
MoDart ) */-+.*/0*
2orn in 8ustria
8 child prodigy Ayoung person of exceptional talentB
Toured &urope giving performances to royalty from the age of -
<ived in %alDburg, 3aris and 4ienna
;ied a pauper at the age of *,
<eft over -11 compositions:
!ome1or23 4isit the website ;%6kids.com. <ist + other musical facts about "oDart
including the title of two other works composed by him)
1. '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!. '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
*. '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
1/
+. '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
<isten to !ine "lein #acht$usik and describe the following)
The texture in the first four bars.
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Tonality
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Time signature

3erforming >orces) ''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
C=ASS(CA= M7S(C
Key Features
* Simple, mainly diatonic harmonies
8 &xpression markings given in scores including crescendos and
diminuendos
9 4alanced: repetiti<e and clear.cut melodies that form 'uestions and
ans1ers
4 6ften homophonic in texture
- (ncreased use of 1ind instruments, though the melody is still mainly
in the strings. The wind instruments tend to fill out the harmonies
+
/
,
2asso continuo replaced with al$erti $ass
5arpsichord replaced by the piano and no longer used in the orchestra
Clarinet invented
(mportant composers) MoDart: !aydn and 4eetho<en
<ook at the picture below and compare this with the CurDburg Chapel on page 11, what do
you noticeF
2ellevue 3alace in 2erlin
10
What is a Symphony?
8 symphony is a large scale orchestral work that first became popular in the Classical
period. (t consists of four movements)
>ast
%low
"inuet and Trio
>ast
8ll three of the composers mentioned earlier wrote symphonies, 2eethoven wrote 0 while
5aydn wrote over 111: "oDart composed about ,1 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) >*/,,?
FactsEEEEEEEEEE
9ey of $ minor
+ movements
?se of sonata form for 1
st
, !
nd
and +
th
movements
*
rd
movement is a minuet M trio
&ach movement has a different tempo
The first movement is $olto alle%ro which means '''''''''''''''''''''''''
Jo trumpets or timpani @ unusual for a Classical %ymphony:
<ooking at the melody below, this is heard at the beginning of the extract.
>ill in the missing notes in bars * and +.
J.2. #ou will more than likely get a Euestion like this in the first part of your listening exam.
<ook at the following signs/abbreviations. <ist one place where you can find them in the
score and write down what they mean)
Kdiv.''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!1
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
K1 '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Ka ! ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
sf _______________________________________________________
tr __''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
legato ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
staccato '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
crescendo ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
=isten to the music and follow the score. #ou will notice that it is in * main sections, what
happens in the final sectionF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Chat you have heard is a movement in Sonata Form @ the most important large musical
structure in the Classical period.
!1
S"7C"7E A@D "5@A=("A
Complete the chart below by adding in the bar numbers)
%ection %ub7section ;escription 9ey 2ar
>irst subject
8 melody characterised by
a falling motif.
3layed by strings first

$m
E#position 2ridge
passage
>ull orchestra playing

2b
%econd 8 melody with descending 2b
!!
subject chromatic patterns, shared
between strings and
woodwind
Arelative
majorB
Codetta Reinforces the key
centre
Bb
De<elopment
2ased on the first subject,
which is developed and
fragmented
"oves
through
various keys
>irst subject >irst subject is repeated
with some variation
$m
ecapitulation
&xtended
2ridge
passage
>ull orchestra playing $m
%econd
subject
%econd subject is repeated
with some variation
$m
Coda
=epeated perfect
cadences to finish the
piece.
$m
ME=5DA
"ost of the melodies are made up of + bar phrases that sound like Euestions and answers.
"any of them are scalic. Chat does this meanF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!AM5@A
This is a typical Classical symphony and therefore the harmony is ''''''''''''''
throughout. There are however times when "oDart uses chromatic chords such as the
diminished .
th
and augmented -
th
@ mostly used in the development section where the
tonality is more ambiguous.
Chat harmonic device does "oDart use in the opening barsF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!*
5e also uses this in bars 1.7!1, but what is different this timeF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
8 popular feature of Classical music was the use of the circle of ,ths as a chord progression.
"oDart uses this in a number of places but most notably in bars ,.7,/ and bars !1*7!10. (ts
clever design is very helpful in composing and harmoniDing melodies, building chords, and
moving to different keys within a composition.
!A"!M: ME"E A@D "EM&5
;escribe 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 scoreF
;otted rhythm
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
%yncopation
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"EC"7E
!+
8s with much music from the Classical period the main texture in this piece is homophonic.
5e does however use dialogue between instruments. <ook at the second subject in bars ++7
+/ @ first you hear the strings which is then answered by the CC. Chat does "oDart do to
this 6FA phrase in bars ,!7,,F
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
(@S"7ME@"S
8s 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. (t had no
valves and therefore relied on the musicians lips to create different notes. The notes were
limited to their harmonic range. 8 horn in 2b would therefore only be able to play the notes
2b ; > and C. 8 horn in $ would be able to play $ 2 ; and >. (n order to maximise the
number of pitches "oDart had ! horns @ one in 2b and the other in $.
8 natural horn with different siDes of crooks, the crooks did the job of transposing the
instrument.
DA@AM(CS
Complete the chart below by filling the general dynamics for each section)
Section Sub-section Dynamics
First subject
Exposition Bridge
Second subject
!,
Development
First subject
Recapitulation Bridge
Second subject
!-
!.
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 ey !f this theme?
[1]
Listen to extract B twice:
". #escribe one difference between this e$tract and e$tract %
[1]
&. 'ill in these tw! statements using either Exposition, Development !r
Recapitulation
($tract % is fr!m the
($tract ) is fr!m the [2]
Listen to extract twice:
*. ($plain h!w the #e+el!pment ,ecti!n manipulates and alters the ideas fr!m
the e$p!siti!n



[3]
-. Which instruments play a d!minant pedal n!te t!wards the end !f the
#e+el!pment ,ecti!n
[1]
!/
Area o! Stu*$ . 5 Set /or+ 8
Cho&"n:
Prelude No. 15 in
! ma"or
#he $%aindrop& prelude
Content coverage Learning outcomes
&isten to the set wor'( placing it in context.
Relevant musical vocabular$ including)
d$namic mar'ings( 'e$ signatures( pedal
point( sustain pedal !including score
mar'ings%( sostenuto( legato( cantabile(
acciaccatura and rubato.
Unit 1: Rehearse and record ensem"le
er!ormances)
Unit *: Inut harmonised melodies into a
comuter ac(age and record as comosing
tas(s)
o understand the context of the set wor' as
part of the romantic piano repertoire.
o learn about the development of the piano
and the virtuoso musician in the context of
the romantic era.
o recognise the use of romantic
conventions within the set wor'. o
recognise and be able to use relevant
musical vocabular$.
!0
5MA@"(C M7S(C
Key Features
* =arge orchestras Aoften including the full range of CC, brass,
percussion, strings and harp.
8 (ncreasing technical difficulty in some music leading to the rise of the
<irtuoso
9 "usic is more e#pressi<e and emotional
4 "ore homophonic in texture
- %tructures become longer
+ 3ieces are given descripti<e titles, programme music becomes more
common
(mportant composers) Chopin: =isDt and Mendelssohn
(n order to gain a better understanding of this period of =omanticism it is useful to visualise
the movement through architecture, art and literature.
8 castle built purely on =omantic fantasy in the late 10
th
century
Iohn Cilliam Caterhouse, 1///, &he Lady of 'halott,
(n terms of literature, the $rimm brothers were are among the best7known story tellers of
&uropean folk tales, and their work populariDed such stories as Cinderella, &he Fro% (rince,
)ansel and Gretel, Rapun*el, Ru$pelstiltskin, 'leepin% eauty and 'no+ ,hite. 5ere is an
example of one of their stories written in the =omantic period.
*1
T5& 6<; "8J 8J; 5(% $=8J;%6J @ The $rimm 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 table7cloth or let it run out of his mouth. 5is son and his sons 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. 8nd he used to look towards
the table with his eyes full of tears. 6nce, 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 half7pence, 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. KChat are you doing thereF asked the father. K(
am making a little trough, answered the child, Kfor father and mother to eat out of when ( 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.
=isten to the following to youtu-e clips. They will give you some idea of historical events
that took place in the 10
th
century that influenced composers.
http)//www.youtube.com/watchFvGH4'E+,6tdicMfeatureGrelated
http)//www.youtube.com/watchFvGoInTTlgj4so
?sing the knowledge that you have gained listen to Chopins 3relude Jo. 1, and give three
reasons as to why this is a composition from the =omantic period.
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
This prelude was given the nickname Raindrop why do you think this isF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
*1
&AC"(CA= "ASK
?sing 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
;ecide whether you want a short jumpy A%T8CC8T6B sound or smooth gentle rain
like Chopins A<&$8T6B
%tart and finish in your main key area
3erform to the class
Chopin ) *,*G.*,40
2orn in 3oland
Composed nearly all of his music for piano
%pent most of his career in 3aris
Cas a piano teacher, composer and performer
3erformed Ksalons) concerts given to small, select gatherings of people
(n 1/*/ he went to "ajorca and ended up staying with his lover in a deserted
monastery in a place called 4alldemossa.
*!
5e composed this 3relude inspired by a heavy rainstorm that he could hear dripping
on the roof of the monastery
!5MEW5K
Chopin wrote !+ preludes, one in each of the 1! major and minor keys. 8lthough the term
prelude suggests an introduction to something else Chopin composed these as short, self
contained movements. 2ach however followed his preludes with a contrapuntal movement
called a fugue. 8ll of Chopins 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 Chopins other preludes.
Prelude No. ! in "# $p.%& >*,90?
ME=5DA
<ook at the main themes below and learn them.
**
Jotice the repeating Euavers in the third example. This can be found throughout section 2.
Chopin also uses this Euaver pattern in section 8 thus creating a unifying feature.
The main theme is in the right hand and has a dotted rhythm which gives the melody a
lighter feel than in section 2. (n the middle section the melody is in the left hand is made up
of mostly crotchets and minims which help to create a darker more menacing mood.
S"7C"7E
This piece is in Ternary form A828B. Complete the chart below)
Key Main features 4ar num$ers
A ;b major <yrical melody accompanied by Euavers in the bass.
<ist three ways in which Chopin creates contrast in
this section)
*+
4 CN minor
A ;b major The opening repeated but shorter.
Coda ;b major "elody is now in the middle of the texture, finishes on
a perfect cadence.
&EF5MA@CE MAK(@GS
<ook at the following signs/abbreviations. <ist one place where you can find them in the
score and write down what they mean)
Definition 4ar
3ed.
O
%otto voce
%morDando
%lentando
8cciacatura
%ostenuto
*,
!A"!M: ME"E A@D "EM&5
The time signature is called co$$on ti$e it is the same as '''''''''''''. This stays the
same throughout the piece.

(n bar .0 there is a dectuplet) ten notes of eEual length fit into one single beat.
Chat is a septupletF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
>ind an example of this within Chopins prelude)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
8 key feature of solo music within the =omantic era is the use of ru$ato. This literally
means Krobbed timeL in essence it allows the performer to create a flexible tempo so that
they can play expressively.
9ey rhythmic features in the piece include the use of repeated 'ua<ers and dotted
rhythmsE
"5@A=("A A@D !AM5@A
Section Key elationship Final cadence
A
4
A
8 dominant pedal can be heard throughout most of the piece.
"EC"7E
Section "e#ture Further te#tural features
A 5omophonic
"elody in the =5
2roken chords in the <5
4 5omophonic
"elody in the <5
3edal in the =5 doubled in octaves
"ore chordal than %ection 8
*-
A 5omophonic
"elody in the =5
2roken chords in the <5
Coda "onophonic for ! bars
then homophonic
"elody in the middle of the texture
%ustained chords in the = and <5
DA@AM(CS
(n contrast to the first two set works Chopin uses a wide range of dynamics but there are no
sudden changes. 5e uses lots of crescendos and diminuendos throughout. Jotice that %ection
8 is Euieter than %ection 2, which climaxes to ff twice.
;o remember to add any definitions to your................
Area o! Stu*$ 6
Mu"# "n the
61
th
#entur$
*.
Area o! Stu*$ 6 5 Set /or+ 9 : 0
S#hoen-er%:
$Peripetie&
!rom
Five 'r(hestral Pie(es
and
Re"#h:
*/
$)le(tri( *ounterpoint&+ ,
rd
movement
Content coverage Learning outcomes
/im"re and te#ture:
Schoen"erg: 0erietie
Reich: +rd movement !rom 1lectric
Counteroint
&isten to the set wor's( placing them in
context.
Relevant musical vocabular$ including)
chromaticism( atonal( 'langfarbenmelodie(
hexachord( principal voice( secondar$ voice(
serialism( prime row( inversion( retrograde(
retrograde inversion( enharmonic(
verticalisation( repetition( ostinato( cells(
loop( phasing( note addition-subtraction(
augmentation( diminution( la$ering(
metamorphosis( resultant melod$( modal.
Unit 1: Choose ne' er!ormance ieces
!or recording a!ter the summer holida-s)
Unit *: Inut ternar- !orm iece into a
comuter ac(age2 rehearse iece and
record as a comosition tas()
Unit *: Comose a iece o! music using the
minimalist techniques studied in set 'or(
$
o understand the ver$ different approaches
used b$ #choenberg and Reich in their use of
timbre and texture as evidenced in the set
wor's.
o understand the use of atonalit$ and
modalit$ in the pieces as well as the use of the
other musical elements.
o learn about the context of the set wor's in
the +0th .entur$ repertoire and how the$
represent different strands in the diversit$ of
western classical music in the +0th .entur$.
o explore composition techni*ues using
hexachords !or serial techni*ues% and
minimalist development techni*ues as a
method of understanding the ethos of the two
st$les.
o identif$ the difference in performance
re*uirements for the two pieces.
Expressionism
*0
This is a style developed in the early !1
th
Century as a reaction to the late =omantic era and
composers such as 2rahms and Cagner. 2oth composers were moving further away from the
more classical ways of writing music, by using more chromatics ./s 0 -s1 and less
cadences which signify a key. This was making the music more emotional, and full of
suspense. The &xpressionist movement was strongest in $ermany at the end of the 1
st
Corld
Car. There was a strong feeling of disillusionment and discontent regarding living
conditions and restrictions imposed on the country. 8rtist, writers and composers wanted to
express their emotions through their art form as intensely as possible. =ather than trying to
create life7like and realistic paintings, &xpressionist artists would use unnatural colours and
distortion to portray their emotions. &xpressionism is often dark and moody but it can also
communicate feelings of happiness and joy.
%tarry Jight by 4incent 4an $ogh
K3eripetie is the fourth of %choenbergs Five 2rchestral (ieces. The title means K8 sudden
change. <isten to the music and, using the following terms) rhythmH metreH tonalityH
melody: describe how %choenberg creates the feeling of sudden changes.
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Chat do you think of this style of musicF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
+1
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
To understand this music more we need to gain a greater insight to the composer and how
atonal music can be structured. >irstly some facts about %choenberg)
Schoen$erg . *,/4.*0-*
P 2orn in 4ienna, 8ustria
P >ounded the Second ;iennese School @ a group of composers who wrote
&xpressionist music
P Taught 2erg M Cebern.
P Cas a Iew Abut adopted 3rotestantism for a few yearsB
P 5is music was condemned by the JaDis as being decadent
P 5e started writing atonal music when his wife left him for his friend an artist.
P ;eveloped a techniEue known as serial
Serialism in Modern Music
9andinsky
%erialism was created in the 10!1 @ 10+1s by $erman composers who were trying to move
away from the traditions of Kclassical music in terms of melody, harmony and tonality.
The characteristics of %erialism are often weird and sound wrong, but they do have some
common features @ even if they sound like they dont make sense, there is a plan . . .
+1
"onality3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
7se of Melody3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
7se of &itch ange F Mo<ement3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
7se of hythm3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
7se of Dynamics3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
7se of "e#ture3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
7se of "empo3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
(nstruments and "im$res3
+!
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
%erialism abandoned the idea of major, minor or modal tonality altogether. "elodies and
harmonies were created using a mathematical principle where each note of the chromatic
scale is used democratically, in order.
The chromatic scale is)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
The composer arranges the 1! notes of the chromatic scale into a certain order known as)
"he &rime o13
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
The 3rime is then changed to get * more versions)
"he etrograde3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
+*
"he (n<ersion3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"he etrograde (n<ersion3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
5aving got the different rows, the composer can then transpose each row, 11 times.
"ranspose each o13
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
The composer now has up to +/ different 1! note rows to choose from to create the melody,
countermelody and harmony with.
5e will use the elements of music listed on the 1
st
page to create mood and contrast in the
piece.
Creating Structure and "e#ture3
Canon3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
++
(mitation3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Se'uence3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
&ointillism3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
;erticaliDation3
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
+,
+-
Ce have spent a little time looking at this techniEue to help us understand some of the
developments of tonality in the early !1
th
century. (n order to make a piece truly tonal the
composer could not have one note dominating the piece hence the invention of serialism.
&very one of the 1! notes is given eEual importance. %choenberg introduced this techniEue
some years after the >ive 6rchestral 3ieces @ this piece is atonal but is not serial.
Key features of E#pressionism in Music
atonal
expresses intense emotion
full pitch ranges of the instruments used
extreme changes in dynamics
pieces are Euite 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 3eripetie and the wider variety of percussive instruments

;id you mention any of these features when listening to the musicF
+.
'ive $r(hestr)l Pie(es* Peripetie (+0+)
The Five 2rchestral (ieces is a set of atonal pieces for full orchestra. They all last between
one and five minutes and arent linked to each other.
!ome1or23
Crite a paragraph of information about these orchestral pieces. #our work must be word
processed and include details about when and where it was first playedL the history behind
the title of the individual pieces and why %choenberg found it difficult to get this work
performed.

&EF5MA@CE MAK(@GS
<ook at the following signs/abbreviations. <ist one place where you can find them in the
score and write down what they mean)
Definition 4ar
a! or a*
divisi
piDD
arco
bell up
1 solo
tutti
+/
Q
(@S"7ME@"A"(5@
This work is written for a very large orchestra of about 0G players. %choenberg changes the
instrumentation rapidly throughout creating many contrasts in tim$re. 5e felt that the
combination of instrumental sounds, or Ktone colour was just as important as the melody
and invented the term 2langfar$enmelodie which means tone7colour melody.
The instruments play at extreme their extreme ranges in terms of pitch. <ook at bar !, what
do you notice about the double bass partF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Jow look at the final ! bars and you will notice that the instruments playing here are all
playing at opposing pitches and at their most e#treme rangesE
5ow does %choenberg create different timbres on the cymbalF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
;escribe the instruments below)
3iccolo
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Cor anglais
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
2ass clarinet
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Contrabassoon
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Tam7tam
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
+0
S"7C"7E
This piece has fi<e sections and is in free rondo form. 5owever, 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 4ar
8 171/
2 1/7*+
8 *,7+*
C ++7,/
8 ,07end
"5@A=("A A@D !AM5@A
The piece is atonal and uses a lot of dissonant harmony.
The chords and melodies are often built from he#achords @ a set of six pitches. This is one
of the unifying features of K3eripetie. Ce first hear them in the opening woodwind fanfare,
if we write them in scale order you can see the intervals between the notes)
Jote name CN ; & > $N 8
(nterval R 1 R 1 R R
Jow look at the sustained chord in the horn chord in bars /71*, %choenberg has transposed
the first hexachord to a new pitch level. (t still however creates the same type of dissonant
chord.
8 2b C CN & >
R 1 R 1 R R
5e uses this same chord again in bars *.7*0 in the horns.
>inally, look at the chord in the last two bars of the piece)
& > $ 8b 2 C
R 1 R 1 R R
(ts the hexachord again transposed to another pitch level: This happens throughout the
piece though some of the hexachords have different sets of pitches.
,1
ME=5DA
There are seven different motifs that are short and fragmented. Crite down the features of
each of the motifs below including the following key words) disjunctL octave displacementL
augmentationL tripletsL sextupletL chromatic movement.
"otif a
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"otif b
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"otif c
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"otif d
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"otif e
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"otif f
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
"otif g
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
,1
!A"!M: ME"E A@D "EM&5
The metre changes between '''''''''''''''''''''''''''''''''''''''''''''''''.
The tempo is 'ehr rasch, what does this meanF
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
The rhythms are very complex and include triplets: syncopation: demisemi'ua<ers:
se#tpulets and dotted rhythms. 5e changes them very Euickly and often layers the different
rhythm patterns on top of each other to create a complex contrapuntal texture.
"EC"7E A@D DA@AM(CS
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
thisF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
To create the contrapuntal texture %choenberg uses imitation. (n the final section you will
see an example of three different canons that are all heard at the same time.
8 main feature of &xpressionist music is the use of e#treme contrasts in dynamics. <ook
through the score and write down the two most extreme dynamics that %choenberg uses)
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
&dvard "unch A1/-*710++B
,!
Schoen$ergIs &eripetie
#ou will hear this extract twice
aB Jame the two families of instruments which are playing the main themes at the
beginning of the extract

S!T
bB Jame the style in which this piece was written
S1T
cB ;escribe the use of dynamics in this extract

S*T
dB 6ther than dynamics, give + features of the style that you can hear in this extract


S+T
eB Chat is meant by the composers term ,)uptstimme which is used in the score

S!T
fB This piece is based on manipulating a chromatic scale, give the name of the first
statement of the 1! note scale
S1T
gB $ive * ways in which the composer uses and changes this scale of notes throughout
the piece


S*T
Total S1-T
,*
Minimalism
(n the 10-1s 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
Mini$alis$ was born..........listen to 3ts Gonna Rain by %teve =eich, this is
the birth of drumnbass::::

,+
Features of Minimalist Music
4rones @ a continuous note or repeated note
2stinati5loop @ repeated patterns Acalled cellsB
(hase 'hiftin% @ ! mostly identical parts when repeated together they go out of sync
and gradually back into sync
%teve =eich wrote two works that use this feature @ Clappin% Music and (iano (hase
Meta$orphosis @ gradually changing ideas Ae.g. changing one note at a timeB
Addition @ adding in new notes
'u-traction @ taking away notes
Au%$entation @ doubling the length of notes e.g. crotchet G minim
4i$inution @ halving the length of notes e.g. crotchet G Euaver
'tatic )ar$ony @ chords change very slowly, if at all
4iatonic har$ony
Layerin% @ adding new musical parts @ creating a complex texture
Resultant Melody @ using different layers playing different melodies to create a new
melody which appears UfloatsV over the top
(dentify on the score below where you see these features occurring)
,,
,-
,.
Ste<e eich
P 2orn in Jew #ork 10*-
P %tudied 3hilosophy and composition
P 3erformed in Terry =ileys ensemble before creating his own
P %tudied 8frican drumming in $hana in 10.1
P %tudied 2alinese $amelan in 10.*7+ @ influenced his use of mallet instruments
P =eichs music is rhythmically complex and very repetitive
<ist + other facts about =eichs -le(tri( .ounterpoint including who it was written for)
1. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
*. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
+. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Jame two other minimalist composers
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
,/
/erry 0iley* 1n .
<ook at this piece and learn the different cells, prepare a class performance.
(dentify the following minimalistic techniEues and write down the cell where it takes place.
3hase shifting ''''''''''''''''''' 8ugmentation '''''''''''''''''''''''
Jote addition ''''''''''''''''''' ;iminution '''''''''''''''''''''''''
Jote subtraction ''''''''''''''''''''''
,0
-le(tri( .ounterpoint* third movement (+&2)
Critten for soloist and a pre7recorded backing track
Third in a series of such works @ 6er$ont Counterpoint A10/!B for flute and #e+ 7ork
Counterpoint A10/,B for clarinet
Critten in * movements 7 >ast @ %low @ >ast
Ce are studying the last movement
&lectric Counterpoint was written for IaDD guitarist 3at "etheny
The *
rd
movement has . guitar and ! bass parts that are pre7recorded as a multi7
tracked backing track
%olo guitar plays live over the top
This is a way for a solo performer to perform as an ensemble with himself
;iatonic throughout
!lectric Counterpoint, like other minimalist pieces, has influenced pop musicians. <isten to
the 6rbs Little Fluffy Clouds A1001BL they have used an extract from this third movement in
this track.
(@S"7ME@"A"(5@
5ow many pre7recorded guitar parts are thereF '''''''''''''''''''''''''''''''''''
Cho is the performing the live guitar part on this trackF ''''''''''''''''''''''''''''
(n order to blend well with the track the live guitar is amplified.
S"7C"7E
"inimalism 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 4ar
A
&m, hexatonic, gradual addition of layers.
4
>irst key change to Cm.
2 section is signified by regular key and metre changes.
Coda
=eturns to Ksimple four part canon with no accompaniment
and constant */! metre.
-1
ME=5DA A@D "EC"7E
(n order to understand =eichs use of the melody lets look at the opening section. The
movement opens with a one bar syncopated motif. This forms an ostinato that is heard
continuously until bar .*. The motif is he#atonic @ what does this meanF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Jame 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 imitati<e te#ture for the remainder of
the piece.
<ets break section 8 down)
(nstrument 4ar 5stinato Minimalist "echni'ue
$uitar 1 1 6ne bar motif repeated
continuously
5stinato
<ive guitar !
* notes of ostinato 1 building up
to the full ostinato pattern in bar
-
@ote addition
$uitar ! . 6stinato 1 &hase shifting
$uitar * 11
2uilding up ostinato 1 but with
an additional note and a phase
shift of ,R beats
@ote addition and
&hase shifting
$uitar + 1- 6stinato 1 7 in unison with the
live guitar
&hase shifting
<ive $uitar !1 Jew ostinato pattern built from
ostinato 1
esultant melody
All guitars com$ined to create
static harmony
The live guitar at bar !1 reinforces the resultant melody @ =eich used this techniEue 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.
!A"!M: ME"E A@D "EM&5
Chat is the tempo of this pieceF '''''''''''''''''''''''''''''''''''''''''''''''
The main metre of this piece is '''''''''''''''''''''''.
-1
;escribe what happens to the metre at bar /! and the impact that this has on the music
rhythmically)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
=hythm is an important feature, =eichs experience of 8frican music can clearly be heard
within this piece particularly with the use of cross rhythms and syncopation.
!AM5@A A@D "5@A=("A
There is much tonal am$iguity Akeeping the key uncertainB in this piece. The music is
entirely diatonic, the main K8 section contains only - notes from the $ major scale. This
type of scale is called a he#atonic scale because it only uses six notes)
7 $ 8 2 ; & >N 7
5owever the tonal centre of this piece appears to be the bass note &. %teve =eich is using a
$ major scale but with an & as his root note, this concept is known as modality. This piece
is therefore in & modal minor @ & >N $ 8 2 ; A&B.
(t modulates to a pentatonic A, noteB version of the &b major pentatonic 7 &b > $ 2b ;, but
the bass guitars and chords mainly use the C minor tonality so the new key feels and sounds
like C modal minor 7 C ; &b > $ 8b 2b ACB. This mode uses the notes of the &b major
scale but starts on a C.
DA@AM(CS
The dynamics remain fairly constant throughout, though parts do fade out in a number of
places.
-!
=istening "est
#ou will hear this extract * times
aB Chich of these riffs represents the 1
st
guitar part that you hearF
S1T
bB 6n the score for iff C, draw a circle around
i. a crotchet note ; S1T
ii. a Euaver note 2 S1T
cB &xplain what the U*7!V time signature means at the beginning of the line

S*T
dB This piece relies on repetition and development of the riff. ;escribe how the riff used
and developed throughout the piece



S,T
eB Chich term correctly describes the tonality of the riff printed aboveF Atick one boxBS1T
;ecatonic 5exatonic 3entatonic 6ctatonic
Total S1!T
-*
=iff 8
=iff 2
=iff C
=isten to both %choenbergs (eripetie and =eichs !lectric Counterpoint, compare and contrast the two
performances)
Peripetie -le(tri( .ounterpoint
"empo
"e#ture
Dynamics
"im$re
hythms
Melody
Structure
&erforming Forces
-+
Area o! Stu*$ 6 5 Set /or+ ;
Bernte"n:
-est Side Story+
$Somethin.&s *omin.&
Content coverage Learning outcomes
Bernstein: 3Something4s Coming4
"nal$sis of musical structures used in the
song.
/dentif$ing the use of instrumentation(
harmon$ and accompaniment.
Relevant musical vocabular$ including)
choreograph$( production( melodic intervals(
s$llabic( tritone( 0
th
chords( riff( harmonics.
Unit 1: Rehearse and record solo and
ensem"le er!ormances)
Unit *: Inut minimalist ieces into a
comuter rogramme)
Bernstein) o understand the context of the
song as part of a musical 1 the placement of
the song within 2est #ide #tor$ as a whole
and the meaning of the l$rics in the context
of the plot including understanding the
character of on$.
o explore the rh$thmic interest in the song
and the use of the orchestra to accompan$
the singer.
-,
A 4rief !istory of Musicals
Chat is a musicalF
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
(ncreased demand in the late 10
th
century for popular entertainment suited to ordinary
people.
Jew theatres opened on 2roadway in Jew #ork, and the Cest &nd in <ondon in
response to this demand.
4ariety shows were shown that consisted of a mixture of songs, dances, comedy acts
and short sketches.
%tory lines became included to link the items.
The music became more sophisticated with some composers drawing on the rhythms
and harmonies of !1
th
century classical music and jaDD
9ey works in the development of the musical) 'ho+ oat .89:;1 by I 9ernL (or%y
and ess .89<=1 by $ $ershwinL 2klaho$a .89><1 by = =ogers and 6 5ammerstein.
,est 'ide 'tory .89=;1 a direct descendent of these * works. 3lot includes gang
violence, ambition, humour and love.
"usicals today are more popular than ever, but none match the intensity of ,est 'ide
'tory.
!ome1or2
$o to dsokids.com and listen to the Ma$-o from the Cest %ide %tory 6verture. ;escribe
2ernsteins use of rhythm, harmony, tonality and performance forces)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Crite an article about 2ernstein and what influenced him to write ,est 'ide 'tory. >ollow
this with) a summary of the plotL where K'o$ethin%s Co$in% features within the workL the
orchestrationL when and where it was first performed. This must be word processed and
include images relevant to your work.
--
3est Side Story* Somethin4s .omin4 (+!2)
The idea of a musical based on %hakespeares play Ro$eo and ?uliet was suggested to
2ernstein in 10+0 by Ierome =obbins, an 8merican choreographer. The original setting of
4erona, a beautiful (talian city in the 1-
th
century was to be transformed into the run7down,
violent world of the Cest %ide of "anhattan (sland, Jew #ork in the 10,1s. This appealed to
2ernstein as it provided him with the opportunity to write hard hitting music inspired by the
jaDD and <atin78merican rhythms that he had experienced on his holidays.
Romeo and Juliet West Side Story
Renaissance Italy 1950s Ne !ork
!oung lo"ers ho get
together des#ite a running
battle beteen their
fa$ilies
%ony and &aria fro$ ri"al
teenage gangs' the Jets (Ne
!ork) and the Sharks (*uerto
Rico)
Balcony scene Fire esca#e of a bleak Ne
!ork a#art$ent
Tony, who was once the leader of the Iets, sings the song K'o$ethin%s Co$in% it is his first
solo, and in it he expresses his hopes for a better future, it establishes his optimistic
character. The music in this song reflects this desire for a better future than the gang culture.
5ow does the music do thisF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
?nfortunately though his relationship with "aria, sister of the rival gang leader, is ultimately
doomedL it is a love story of betrayal and violence leading to Tonys death.
(@S"7ME@"A"(5@
K'o$ethin%s Co$in% is written for solo tenor accompanied by a pit orchestra%$and.
Jotice that the Tenor part is printed in the treble clef but sounds an octave lower then
written. The pit orchestra is usually positioned in front of the stage and therefore limits the
number of players that can be used.
-.
,est 'ide 'tory was originally written to be performed without amplifying the voices. Crite
down two ways in which 2ernstein ensures that the band doesnt overpower the singer in
'o$ethin%s Co$in%)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
2ernstein uses a variety of instrumental techniEues within thispiece to help enhance key
words. <ook out for example the harmonics and tremolo played by the strings in the words
KThe air is humming.
S"7C"7E A@D ME=5DA
=isten to the performance and follow the score, there are three main themes. Crite down the
main features and the metre for each one of these themes)
"heme Main Features Metre
A
4
C
The entire song is based on these three themes though they are not exactly the same when
they return. 2ernstein varies the themes by changing the words and the metre.
-/
"EC"7E
The texture is melody o<er accompaniment >homophonic? throughout. 5e does however
vary the accompaniment and has three main ideas)
1. 8 repeating riff in the bass)
!. %hort, syncopated chords in bars !17!-
*. 8 fast: um.cha accompaniment in bars *!71+1
!A"!M: ME"E A@D "EM&5
To help create the feeling of anticipation and excitement 2ernstein uses changes in metre,
fast tempo and syncopated rhythms @ notice also the use of the JpushK rhythm which
anticipates the beat)

-0
5e also uses cross rhythms) two conflicting rhythms that cross the pattern of accented and
unaccented beats. 5ere are two examples within K'o$ethin%s Co$in%. (ndicate on the
music below where the accented beats are in each part)
!AM5@A A@D "5@A=("A
Chat is the key of this pieceF ''''''''''''''''''''''''''''''''''''''''''''''''
;oes it modulateF'''''''''''''''''''''''''
(f so where and to which keyF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Ce discussed earlier how 2ernstein was influenced by IaDD and <atin78merican music. The
jaDD influences become very clear particularly within the harmonies where there is freEuent
.1
use of /
th
chords @ these are known as L$lueI notes. 5e also uses the interval of a sharpened
fourth that creates a tritone. <ook at the example below)

Chat is a tritone and where else can you see oneF ''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Chat harmonic device does 2ernstein use in the last bar to create the feeling that the piece
hasnt finishedF
Choose from)
%yncopation 3edal note >lattened seventh Cross rhythm
Chich two options are the odd ones out and whyF '''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!%W . ,est 'ide 'tory contains several types of songs other than the solo song. <isted below
are a variety of songs found in this musical which include chorus numbers, duets and a
Euintet)
K2ne )and, 2ne )eart ?et 'on% &oni%ht
A$erica A oy Like &hat
Chich one of the songs above is a EuintetF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Two of the songs are duets, name one of them)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
The final two songs are chorus numbers, what does this meanF '''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
.1
Tritone >lattened
%eventh
=istening "est
1. <isten to the following extract of 'o$ethin%s Co$in% which will be played twice.
a. Chich section of the orchestra play the instrumental introductionF
S1T
b. 5ow does the composer create a mood of excitement and anticipation in the
music

S!T
c. (n which decade of the !1
th
Century was the musical written and setF
S1T
d. ;efine the following features which exist in this piece)
6stinato
Tritone
U2luesV Jotes S*T
e. <ook at the scores below, which show the beginning and end of this extract.
(dentify , differences between the two scores in terms of 2ey: metre: rhythm:
dynamics and any other significant musical feature3
2eginning of extract)
.!
&nd of extract)



S,T
Total /1!
.*
Area o! Stu*$ 8
Po&ular Mu"#
"n Conte<t

.+
Area o! Stu*$ 8 5 Set /or+ =
M"le Da)":
All /lues
.,
Content coverage Learning outcomes
3roup improvisation sessions using)
1 4oices
+ 5wn instruments
6 7nfamiliar instruments.
/ntroduction to 1+-bar blues form.
o explore the use of the pentatonic scale
and-or dorian mode and simple methods of
developing a 6 or 8 note motif.
o build confidence and trust with fellow
musicians.
o develop an understanding of the harmonic
structure of the 1+-bar blues.
,iles 5avis: 3All Blues4 (AoS +)
Brief overview of the origins of ,a99 and the
place of :iles ;avis within the canon.
he use of the 1+-bar blues structure within
<"ll Blues= and development of the harmonic
se*uence.
Brief anal$sis of the trac'.
Relevant musical vocabular$ including)
ragtime( ,a99 st$les !inc. swing( bebop etc%(
blue note( changes( head( frontline( comping(
chromatic( turnaround.
Unit 1: Record imrovisations as
3Imrovising as art o! an ensem"le4
o develop students= understanding of
improvising techni*ues in the context of ,a99
and blues.
o understand the context of the set wor' as
part of a genre-changing album.
o learn about the origins of ,a99 with its
roots in the blues.
o be able to identif$ the main features of
<"ll Blues= using appropriate musical
vocabular$.
,la+es. their w!r and music in /!rth %merica
The bulk of 8frican slaves in 8merica worked on large cotton and rice plantations. 8lthough
slavery was made illegal in 1/1/ it continued to exist in the southern states until president
8braham <incoln came to power and sought to abolish it.
8t the end of a civil war between the industrial northern states and the southern states where
the plantations were, slavery was abolished in 1/-,.
(n the K;eep %outh 8frican slaves were forbidden to touch any musical instruments because
their masters felt they might use them to communicate secret messages and cause rebellion.
5owever some slaves made instruments such as the banjo. This was based on 8frican
stringed instruments.
The banjo has gone on to become an instrument that is played in many different musical
contexts. (t is widely used in country M western music but it was also used in the early days
of jaDD. Today there are artists such as 2ela >leck who use the banjo in music that mixes hip7
hop, funk and jaDD, listen to his allad of ?ed Cla$pett.
'r!m /egr! spirituals t! g!spel
.-
%laves from the same ethnic groups would always be split up because the plantation owners
feared that they might plot a rebellion if they could communicate with each other. 8shanti,
#oruba and Colof were all scattered around the work forces so that there was no common
language.
5owever the slaves did manage to create a language they could all understand and they
made songs together. They did this to keep their spirits up when they were doing hard
manual labour such as picking cotton. 8 lead singer would sing a line and then a chorus
would answer. This was called call and response.
The songs that they sang together as they worked in the plantations were called Lfield
hollersI or L1or2 songsI. They became an important part of 8frican78merican culture and
there was a specific way of singing that came with them.
%ome people describe it as a Kcry. (n any case it was very different to &uropean hymn
singingL it wasnt as polished and had a very distinctive character.
The LCall and responseI singing heard on the plantations would eventually make its way
into the first black churches in 8merica. The first black church songs were called Jegro
%pirituals.
They later evolved into a more sophisticated form called gospel. 6ne of the greatest gospel
singers of all time was "ahalia Iackson. <isten to the incredible emotion she pours into this
song 3$ 2n My ,ay &o Canan.
'r!m 0!spel t! )lues
There is a great divide between gospel and blues. $ospel was music from the churchL the
blues was music from outside. 8lthough these two genres were bound by the same important
techniEue of call and response they had vastly different lyricsL gospel praised the lord
whereas the blues spoke of heartache, having sex and having no money. %ome blues songs
are rude, suggestive and funny. %ome are very sad.
6ne of the greatest blues singers of all time was 2essie %mith and she brought a larger than
life character to songs in which she often spoke of her suffering at the hands of men. 6r how
much pleasure they could give her or how fond she was of a drink.
The blues began in rural communities in the ;eep %outh in 8merica, in places such as the
"ississippi ;elta.
"any classic blues songs are sung by a musician who accompanies himself on guitar over a
verse that lasts 1! bars. This is called the *8 $ar $lues.
..
Bar 1 Bar 2 Bar 3 Bar 4
Chord I Chord I Chord I Chord I
Bar Bar ! Bar " Bar #
Chord I+ Chord I+ Chord I Chord I
Bar $ Bar 1% Bar 11 Bar 12
Chord + Chord I+ Chord I Chord I , +
2y the early twentieth century black 8mericans started playing the blues in bars and clubs
beyond the southern states. >eatures of this style of music included the use of $lue notes and
syncopated rhythmsE
'r!m )lues t! 1a22
8lthough jaDD originated in 8merica, and most of its famous players are 8merican, it has
actually been created and played all over the world since as early as the 1011s. 8lmost as
soon as it was being played by 8frican 8mericans in the streets of @e1 5rleans, jaDD was
also arriving in countries as far flung as 2ritain, Iapan, 8ustralia, and %outh 8frica.
%ometimes 8frican 8mericans brought the music with them when they travelled Aoften
trying to escape the racism of 8merica to find more tolerant places to settleB. IaDD also
arrived through recordings carried by travellers, and the music and its accompanying
lifestyle were reported on in newspapers.
IaDDs lively syncopated beats and impro<ised style caught the imagination of people all
over the world, but each time it was seen as representing something different. &ach time, it
was also reinterpreted and changed with local accents @ often mixed with the local musical
styles. 8s a result, there are now many different kinds of jaDD, here are some)
Decade MaDD Style 5ther Styles
influenced $y
4lues
"echnological De<elopments
1/,1 8ffordable pianos and cheap
printed music led to a demand for
new songs to be performed at
home
1011 =agtime $ramophone record player became
popular with the invention of the
./rpm record, holds up to *
./
minutes worth of music
10!1 %tart of public radio broadcasting
and sound movies
10*1 %wing
2ig 2and
IaDD
10+1 2e72op <3 record invented @ **rpm @
holds up to -1 minutes worth of
music
%ingles invented @ +,rpm @ holds
one song either side
10,1 Cool MaDD
Modal MaDD
=hythm and 2lues
=ock and =oll
10-1 %oul
$ood news: 8ll of the above is for information only and wont be reEuired in your exam.
Catch the clip below)
"he Mighty 4oosh) IaDD trance 7 22C comedy
http)//www.youtube.com/watchFvGb9wW'De=w&sMfeatureGfvw
4lues notes are notes which do not live in the normal triad chord, they are chromatic
additions. There are * main 2lues Jotes)
The flattened *
rd
, which usually moves Euickly up a semitone to the major *
rd
The flattened ,
th
, which also usually moves up a semitone to the perfect ,
th
, or down a
semitone to the perfect +
th
The flattened .
th
, which generally doesnt move anywhere, it just sounds cool all by
itself:
.0
Try adding 2lues notes to the chords of > major and $ major, then try putting them in
the order of the 1! 2ar 2lues Chord %eEuence.
Miles Da<is *08+.*00*
/1
5eres a normal C "ajor Chord
This chord has a flattened *
rd

2lues Jote, which moves up to
the normal *
rd

This chord has a flattened ,
th

2lues Jote, which moves up to
the normal ,
th

This chord has an added flattened
.
th
Aa whole tone below the rootB
This chord has an added flattened
.
th
Ain the <5B and a flattened *
rd

to sound like a proper 2lues chord
!ome1or2
The legacy of "iles ;avis is an unprecedented journey of music, creativity, innovation and
personal charisma. 5is career spanned nearly five decades and he had a huge influence on
how we think about jaDD and the jaDD trumpet. "iles ;avis was responsible for, or
contributed heavily to five major styles in jaDD from the 10+1s to the 10.1s)
bebop A10+1sB,
cool BaDD A10,1sB
modal BaDD A10,17-1sB
hard bop A10-1sB
fusion A10.1sB
$o to http)//www.youtube.com/watchFvG$n;wg=gp#c&MfeatureGrelated A2lue in $reen @
"iles ;avis, uploaded by syk!**1B
Jame the instruments in the order that you hear them on the recording)

Chat is "iles ;avis using to alter the sound of his trumpetF

;escribe the playing techniEue of the ;rum kit

/1
;escribe the melody played by the Tenor %ax

;escribe ! different playing techniEues used by the ;ouble 2ass

S"7C"7E
(n total All lues plays the *8 4ar 4lues pattern 10 times with a four $ar riff in between
each main section. 6ne statement of the 1! bar blues chord progression is called a chorus.
The main pre7written melody is called the !ead, solo choruses are improvised over the same
1! 2ar 2lues chord seEuence.
<ist the instruments you can hear below in the correct order)
%ection (nstruments
(ntro
!ead * # 8
Solos # 4
Solo * ) 4 choruses
Solo 8 ) 4 choruses
Solo 9 ) 4 choruses
Solo 4 ) 8 choruses
!ead 8 # 8
5utro%Coda
!AM5@A A@D "5@A=("A
/!
&arlier we mentioned that this piece is based on the 1! bar blues chord progression. (n the
next diagram we can compare the blues progression we saw earlier with the one used in this
piece)
*8 4A 4=7ES (@ G ALL 5L6-S

All lues uses EC"E@DED C!5DS such as D5M(@A@" /
ths
, and the last line also uses
A="EED C!5DSE 8ltered chords are where you substitute a more interesting chord as
opposed to the normal 1! bar blues chord.
8 Dominant /
th
is a normal triad with the .
th
note above the bass added. The dominant .
th
is
8<C8#% a whole tone below the root note, so the dominant .
th
of the chord of C is a 2b.
Cork out what these triads are, find the dominant .
th
note and write it in Athe 1
st
one is done
for youB
8dding a .
th
, 0
th
or even an 11
th
to a triad turns it into an EC"E@DED C!5DE
8 N0 chord works on the same ideaL you add the 0
th
note above the root and sharpen it Athis is
the same as adding a sharpened !
nd
B.
/*
Bar
1
Bar 2 Bar 3 Bar 4
- - - -
Bar

Bar ! Bar " Bar #
C C - -
Bar
$
Bar 1% Bar 11 Bar 12
. C - -,C
Bar 1 Bar 2 Bar 3 Bar 4
-/ -/ -$/ -/
Bar Bar ! Bar " Bar #
C/ C/ -/ -/
Bar $ Bar 1% Bar 11 Bar 12
./ 0b/,./ F , - F , -1
C. G C & $ 2b
2ill &vans keeps the piano part interesting while C5M&(@G AaccompanyingB by constantly
changing the C!5D ;5(C(@G. 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.
"as23 Try playing the All lues 1! bar blues chord progression with different chord
voicings.
Chat key do you think All lues is in and whyF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Crite down the notes of the scale used in All lues below)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Chat do you notice about the .
th
noteF Chat is this calledF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
2y flattening this note what scale has been createdF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

/+

ME=5DA
The head melody is characterised by rising +ths from ; to 2, and continues with simple
stepwise AconjunctB movement. This is an example of Cool MaDD which is Euite unlike the
fast and high trumpet lines heard in "iles ;avis bebop of the 10+1s.
The accompanying riff includes the saxes playing a swaying figure in parallel thirds. (t
moves stepwise in a very narrow range.
;escribe the technical term for the bass part) '''''''''''''''''''''''''''''''''''''
Circle and label the rising -
ths
in the melody and the parallel thirds/chords in the
accompanying riff)
(@S"7ME@"A"(5@
Jame the instruments and the players in the rhythm section in this piece)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
/,
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Jame the instruments and the players in the frontline)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
!A"!M: ME"E A@D "EM&5
The time signature for All lues is '''''''''''''''''''''''''''''''
8s is typical with jaDD music the Euavers are s1ung. This means that each pair of Euavers is
played with the first a little longer than the second thus creating a triplet feel. There is also
freEuent use of syncopation.
(@S"7ME@"A= "EC!@(67ES
"echni'ue Description 4ar
3iDDicato
"uted
Tremolo
Comping
Cire brushes
/-
Area o! Stu*$ 8 an* 9 5 Set /or+ 3> 4 an* .1
Son%'r"t"n%
Content coverage Learning outcomes
Buc(le-: 36race4 (AoS +)
,o"-: 37h- 5oes ,- 8eart 9eel So Bad4 (AoS
+)
Caercaillie: 3S(-e 7aul(ing Song4 (AoS :)
"nal$sis of musical structures used in the
songs.
/dentif$ing the use of instrumentation(
harmon$( accompaniment and production
features in the songs.
Unit 1: Record imrovisations as
3Imrovising as art o! an ensem"le4)
Unit *: 7rite a song "ased on the verse%
chorus structure)
Unit 1: Rehearse arts to record
er!ormances o! songs 'ritten "- class
mem"ers2inut arts into a comuter
ac(age to "e used as a sequenced
er!ormance2record songs using a multi%
trac( recorder as an ensem"le er!ormance
using music technolog-)
Buc(le-: o understand the context of the
song as a guitar-based trac' written in the
earl$ 1990s.
o recognise the harmonic implications of
guitar chords !stud$ing the harmon$ from the
perspective of the guitar chord shapes rather
than from a western harmon$ perspective%.
o understand the importance of production
elements in creating the overall texture.
o recognise the guitar techni*ues used.
,o"-: o understand the context of the song
as a chart-bound dance trac'.
o recognise the use of technolog$ in the
trac' including se*uencing( sampling and use
of studio effects.
o understand the importance of sampling
and its treatment in the song( ma'ing the
simple harmonies wor' in the context of the
song.
Caercaillie: o understand the context of
the song as a fusion of fol' and western
popular music. o learn some of the
bac'ground to fol' music and the
introduction of electric instruments.
o put the l$rics into the context of a
waul'ing song.
/.
o recognise the instruments used in the set
wor'.
=isten to the next three set works and complete the chart below using the key words
provided)
Celtic >usion =ock 2allad Club dance
1000 !111 100+
;rum machine $uitars ?illeann pipes
>alsetto %ampled voices <ow alto
Traditional ;istortion/flange =everb/delay
;iatonic Chromatic ;iatonic
%imple Euadruple metre Compound Euadruple metre Compound Euadruple metre
5u(7ley 8o#y .)per()illie
Style
Date Composed
(nstrumentation
;oice
//
"echnology
!armony
Metre
Chich song do you prefer and whyF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Meff 4uc2ley *0++.*00/
Ieff 2uckleys song Grace has several features that are commonly found in rock music such as
four $eats in a $ar, the use of <erse and chorus form and the instrumental line7up.
8 singer7songwriter and guitarist born in California in 10--
2oth father and son possessed powerful voices with great emotional depth.
5e had an amaDing range as a singer and often sang in falsetto
Tim 2uckley died of a heroin overdose at the age of !0
Ieff 2uckley died in a swimming accident at the age of *1
The song XGraceX is taken from the album with the same name
$race A100+B was the only studio album Ieff 2uckley completed
Ieff 2uckley co7wrote the song @Grace@ with the guitarist $ary <ucas
This piece is scored for two guitars, bass guitar, drums and synthesiser
/0
J.2. 2ackground info is not essential for the exam
!ome1or2
$o to http)//www.youtube.com/watchFvGv6o&#xt1338 AIeff 2uckley @ 5allelujah live in
Chicago 100, @ uploaded by pseudodionysisB
;escribe the style of accompaniment

;escribe the tonality

;escribe the structure

>rom the same concert go to http)//www.youtube.com/watchFvGHhd7D(mDoi( AIeff 2uckley
@ ;ream 2rother 1Y1* live in Chicago 100, @ uploaded by username=oboB
Compare this song with 5allelujah in terms of accompaniment / instruments and playing
techniEues, tonality and structure




F5=K 5CK M7S(C
Key Features and Facts
* =efers to the traditional music of a country @ the folk culture
8 6ften learned and performed $y earL songs are memorised and passed
down through generations @ oral tradition
01
9 The lyrics described peoples views on politics and cultural issues, and
were sung in a simple and direct style
4 This led to a fol2 re<i<al in the 10,1s
- 8rtists such as 4o$ Dylan and "he 4yrds combined folk with pop
and rock influences, creating the genre fol2 roc2 in the 10-1s
+ Meff 4uc2leyIs music is often described as folk rock though he was
influenced by many genres. 5is one and only album Grace is very
eclectic in style including
2uckleys own version of <eonard Cohens )allelujah and 2enjamin
2rittens setting of the Corpus Christi Carol.
/ 8lthough 2uckleys style is diverse much of his music retains the folk
tradition of using song as a vehicle for story7telling.
5u(7ley* Gr)(e (++4)
Grace comes from the album Gr)(e which was released in *004. (t is a roc2 $allad @ a
slow love song accompanied by a rock band. 2uckley regarded this song to be about the way
that true love can make it easier for people to accept their own mortality. 5ere are the lyrics,
what do you thinkF
01
ThereXs the moon asking to stay
<ong enough for the clouds to fly me away
Though itXs my time coming, (Xm not afraid, afraid to die
"y fading voice sings of love,
2ut she cries to the clicking of time,
6f time
Cait in the fire...
8nd she weeps on my arm
Calking to the bright lights in sorrow
6h drink a bit of wine we both might go tomorrow, oh my love
8nd the rain is falling and ( believe
"y time has come
(t reminds me of the pain ( might leave
<eave behind
Cait in the fire...
(t reminds me of the pain ( might leave
leave behind...
8nd ( feel them drown my name
%o easy to know and forget with this kiss
2ut (Xm not afraid to go but it goes so slow
Cait in the fire...
%ome say that the lyrics seem to anticipate his own death by drowning:
ME=5DA A@D W5D.SE""(@G
The vocal part has an impro<ised Euality and a very 1ide tessitura of over two octaves.
"ost of the vocal phrases are falling: reflecting the melancholy mood of the song. (n the
example below there are two examples of glissando, circle them and mark them clearly.
6pening of verse 1
0!
"ost of the word setting is sylla$ic as you can see in the above example.
There are however some long melismas to emphasise certain words such as Klove in the
verse and Kfire in the chorus)
6pening of chorus
8s mentioned earlier the lyrics reflect 2uckleys bleak outlook on love. There are many
examples of 1ord painting. <isten to the piece while following the score and indicate below
how 2uckley highlights these words in the music.
Word 4ar%Section Musical "echni'ue
;ie 1*
<ove 1,
>ire !*
0*
<eave ,/
(n the $ridge there is a passage of <ocalisation @ wordless singing @ in which 2uckley uses
falsetto. Chat does this meanF
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
S"7C"7E
<isten to the piece again but this time focus on the structure, it is in <erse.chorus form.
Complete the following structural chart)
(ntro ;erse * (ntro
4ars *./ ,.*0
(nstrumental 4ocal)
AKTheres a
"oonB
(ntro ;erse 9
4ars 44.
4oice
AKCait in the
fireB
4oice
A(mprovisationB
(@S"7ME@"A"(5@ A@D "EC"7E
!ome1or23
The following words are all related to guitar and string playing, some of which are used in Grace. Chat do
they meanF
;rop7; tuning
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
>langer
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
;elay
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
0+
%lide
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
4ibrato
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

;istortion
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
3ower chords
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

2ending
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
$uitar Kwhisper
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
3iDDicato
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

"EC!@5=5GA%"EC"7E
To help create a thicker texture the guitar parts are o<erdu$$ed @ this is the re7 recording of
the same guitar part and then mixed together. The extra vocal parts in the $ridge section are
also produced through overdubbing, this is also known as double tracking.
E6 is used throughout but is particularly obvious towards the end of this piece in the vocal
parts. &W is basically adjusting the tone controls so therefore boosting or cutting top, mid or
bass freEuencies. 8t the end of the piece the top freEuencies are boosted in the vocal parts so
that they are clearly heard above the backing.
"5@A=("A A@D !AM5@A

The song is in & minor, although the tonality is often ambiguous. <ook at the first two bars
of the introduction. Jotice the use of accidentals alongside the key signature of & minor)
0,
8lthough it is in & minor the song opens with two chords not normally found in this key A>
minor. and $ minor.B. 2oth 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 ( @ (4 @ 4 chord
progressions of rock music are avoided. (nstead the chords are more chromatic and move in
parallel motion.
Can you find other examples of parallel motion chords in the scoreF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
2y using chromatic chords the tonality is ambiguous. Dissonance is created by deliberately
allowing open & strings on the guitar to sound against an > chord and an &b chord in bar !1
and !1.
!A"!M: ME"E A@D "EM&5
The metre is '''''''''.
There is freEuent use of both syncopation and cross rhythms throughout.
(ndicate in the table using crosses which beat the bass and snare drum play on)
4eat * 8 9 4
%nare drum
0-
2ass drum
This type of beat is known as a backbeat and is characteriDed by)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
=istening "est
<isten to this extract of $race which will be played * times)
aB Chich section of the song do you hear firstF
Intro +erse Chorus Bridge

S1T
bB ;escribe the playing techniEue of the strings

S1T
cB ;escribe three features of the vocal line in this section

0.

S*T
dB ;escribe the guitar part at the end of this extract, including where it is first heard in
the original song



S*T
Total //
Mo$y $E*0+-
=eal name @ =ichard 5all
"ulti instrumentalist @ classical guitar, keyboard, drum kit and bass guitar.
0/
8 vegan
8ctivist 7 against the cruelty of animals
;I, composer and performer
Composer of dance and film music
AK5eat =obert de Jiro and KThe 2each <eonardo di CaprioB
,hy 4oes My )eart Feel 'o ad was composed in 100/ as part of the K3lay album
This is the fourth track.
=ecorded in his own studio
The style of the album is described as Ktechno dance $usic. 5owever this track is
better described as Kdo+nte$po A a more relaxed style often used in chill7out rooms.
!ome1or2
$o to http)//www.youtube.com/watchFvG/hfW,u(9rlw A"oby @ 2odyrock, the official video
@ uploaded by 4!=ecordsJ#CB
<ist the instruments / performance forces you can hear @ be specific Adont just write
UguitarV, describe what type and what effectB




5ow many different sections can you identify Arepeated verses / choruses / bridge etcB


Chat features of the music make it UinfectiousV for dancingF Amake at least * musical
pointsB



8o#y* 3hy "oes 8y ,e)rt 'eel So 5)d9 (+++)
This piece is made up of three simple chord progressions, each of which lasts for eight bars)
Section A
"ale
singer
8m 8m &m &m $ $ ; ;

Section
4#
C C 8m 8m C C 8m 8m
00
>emale
singer
Section
4y
>emale
singer
> > C C > > C C
2elow is the overall structure, when you feel confident, play along to the track.
81 8! 8* 8+ 8, 2x1 2y1 8- 8. 6ne
bar
pause
2x! 2y! 2y* 8/
(ntro 4erse Chorus 4erse Chorus 4erse
SAM&=ES A@D ME=5DA
The song is based on two samples taken from a recording made in *0-9 of a gospel choir
singing "in% ?esus ,ill Roll All urdens A+ay. "oby manipulates the sample to
completely reverse the meanings of the words, for example he changes the original word
Kglad to Kbad so that the lyrics become an expression of hurt rather than happiness. 5e then
loops these to create a melody that is simple and repetitive. Jotice that the samples have an
authentic Kvintage Euality because "oby doesnt remove the surface noise found on
gramophone records of that period. 8lthough his music is electronically based he is keen not
to make it sound sterile.
%ample 8 Athe verseB is sung by a male and sample 2 Athe chorusB a female.
S"7C"7E A@D "EC"7E
8s discussed earlier the song is based on a <erse.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 $rea2do1n.
The te#ture is built up as individual tracks introduced one by one)
"heme Description
A* (ntro piano only, no clear sense of pulse
111
A8 %ampled male voice
A9 The addition of drums and other percussion makes the beat clear. Call F esponse
between vocal sample, string synthesiser M right hand of piano.
A4 2ass and string synthesiser
'ee score A p.9>
A- %yncopated piano chords
'ee score A p.9>
4#* %ampled female voice
'ee score B 8
4y* Jew chord seEuence. %ample is sometimes re7triggered to provide an echo effect that
sounds like a canon.
A+ "ale singer and second vocal line 7 &W effect added @ high.pass filter @ sounding
like listening to a voice on the telephone because the only freEuencies allowed to
pass through are the high freEuencies
111
A/ 8- repeated 7 one bar pause with fading echoes
4#8 >emale singer, no piano or percussion
4y8 3iano and percussion return
4y9 2y! repeated
A, "ale singer, no piano or percussion
!A"!M: "EM&5 A@D ME"E
The metre of this piece is ''''''''''''''''''''''' and has a steady tempo of 0/bpm.
8 key rhythmic feature in this piece is "obys use of syncopation as mentioned earlier
A8,B. (n 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 $rea2$eat Aa drum soloB that "oby sampled from a hip7hop
track.
(ndicate in the table using crosses which beat the bass and snare drum play on)
4eat * 8 9 4
%nare drum
2ass drum
7SE 5F "EC!@5=5GA
<ist below the four pieces of eEuipment that "oby used to produce this track)
E'uipment What it doesEEEEE
%ynthesiser
%ampler
;rum "achine
%eEuencer
&ffects ?nits
11!
The use of effects is an important tool in electronic musicL "oby uses a number of subtle
effects within this piece. 5e feels that its 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. Cithin the mixing stage
"oby panningL
<isten to the opening eight bars of the piano intro through headphones to hear how "oby
has created a sense of movement from left to right.
!AM5@A A@D "5@A=("A
The harmony is diatonic throughout and is made up of three simple chord progressions seen
earlier. The verses are in the ;orian mode on 8 Aflattened *
rd
and .
th
B and the choruses are in
C major.
Capercaillie
11*
8 %cottish 2and
>ormed in 10/* at 6ban 5igh %chool to play for local dances called ceilidhs
>irst album recorded in 10/+
3lay Celtic >usion music @ Celtic folk music combined with elements of pop music
"uch of their music is recorded in $aelic
5ave also recorded music for T4 and films including Ro- Roy
!ome1or2
<isten to two of the following bands and prepare a power point presentation that focuses on
which styles of music have influenced their performances)
The 3ogues "anau 2ellowhead
3rimordial ;agda Clannad
>loggin "olly
.)per()illie* S7ye 3)ul7in4 Son4 (%000)
FactsEEEEEEEEEE
has a 1!// time signature
is mostly based around three chords @ C, & minor and $
has eight verses and an instrumental section
opens with an intro and fades out with an outro
is from a collection of $aelic folk songs compiled by the folklorist 8lexander
Carmichael
11+
<ead singer, 9aren "attheson, has an unusually low female alto voice
combines folk and rock instruments
a 1aul2ing song is a 1or2 song, sung by women workers processing cloth.
"he ole of Music in the Wor2 &lace
8 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.
=hythms of work songs also serve to synchroniDe physical movement in a gang. >reEuently,
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 escapingL improvised verses sung by
sailors had verses complaining about the captain and the work conditions. Cork songs also
help to create a feeling of familiarity and connection between the workers.

Cork songs sung by slaves are known by many names around the world. (n 8merica, such
songs were the foundation for what would eventually become the 2lues. %ome 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. 2lack 8merican slave songs might be referred to as Zchain gang songsZ or
ZspiritualsZ depending on the context of the song. 8n example of a slave work song would be
U%wing <ow, %weet ChariotV.
Cork songs sung by sailors during the !1th, 10th, and to a lesser extent 1/th 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 call7and7answer
format.
Cell before the 10th century, sea songs were common on rowing vessels. %uch songs were
also very rhythmic in order to keep the rowers together. 2ecause many cultures used slaves
to row, these songs might also be considered slave songs. These songs were performed with
and without the aid of a drum.
%hanties had a very slow style and were sometimes accompanied by an accordion or
concertina. AJ2 >or info only:B
11,
%ea shanties are a form of work song traditionally sung by sailors working on the rigging of
ships. There are several types, divided based on the type of work they set the rhythmic base
for.
The %kye Caulking %ong is an example of a Cork %ong, as in our women waulking the
cloth in the %cottish (sles. UCaulkingV is a process of repeatedly beating the cloth to full it
and prepare it for use. The process is called Zorain luaidhZ in $aelic.
11-

The music associated with this labour contains vivid and intimate personal poetry, mostly the
composition of women. The songs helped the women to move the cloth in time with each
other, they pounded the tweed cloth against a wooden board called the +aulkin% -oard, in
order to soften it and make it more air tight. The women would sit for many hours working
the tweed. This tradition continued in %cotland until the early 10,1s. The songs were usually
in a call and response formL the call was made by a soloist and the response by every one
else.
<isten to the extract which contains a call and response from the set work.
Call)
=esponse)
Chat you have identified above is what is known as &hrase * and efrain *. Chere else
can you see these within the 'kye ,aulkin% 'on%F
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Chat do you notice about this patternF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
8re there any other repeating patterns within this set workF (f so whereF
11.
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
S"7C"7E
Chat 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.
>ill in the missing notes below)
3hrase !)
=efrain !)
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
The overall structure therefore is)
Section 4ar
(ntro 17/
4erse 1 0711
2reak 1!71,
4erse ! 1-7!1
4erse * !17!+
4erse + !,7!/
4erse , !07*!
4erse - **7*-
(nstrumental *.7+*
4erse . ++7+/
4erse / +07,!
6utro ,*7end
%ome may even say that this piece has only two verses and would argue that the structure is
as follows)
(ntro 171.
4erse 1 1/7**
4erse ! *+7,1
11/
6utro/>ade out ,!7-,
(@S"7ME@"A"(5@ A@D "EC"7E
8s mentioned earlier this is a Celtic Fusion piece that combines traditional with more
modern instruments. 5ere are some of the more traditional instruments used in this piece)
<abel the pictures using the names given below)
?illeann 3ipes 8ccordian Tin Chistle 2ouDouki
2odhran CurlitDer AelectricB 3iano
Chat instruments can you hear that give the music a more modern feelF
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
110
8 layered te#ture is created throughout)
=hythm pattern 4ru$ kit
2ass line ass %uitar
Chords 'ynthesiser
"ain "elody 6oice
Countermelodies 2ther $elody instru$entsC violin, ,urlit*er
piano, uilleann pipes and -ou*ouki
There is one point in the piece where the accompaniment drops out completely, where is this
and how is it indicated in the scoreF '''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
8t 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. (t is played L1ith modulationI
which means that a modulation effect is applied to the synthesiser that fluctuates the pitch
slightly, like a vibrato effect AJ2 not to be confused with changing keyB.
Chat playing techniEue is being used by the fiddle at the very start of the songF ;escribe the
sound in as much detail as you can.
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
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 te#ture @ and sometimes weaving a complex, improvised counterpoint
around the melody and the scale.
ME=5DA
The vocal melody is pentatonic A$ 8 2 ; and &B and uses the lower register of the voice.
9aren "atthesons part is notated using the <ocal tenor clef, which means that the voice
sounds an octave lower than printed.
(s the text mainly syllabic or melismaticF
''''''''''''''''''''''''''''''''''''''''''''''''''
Chat language is the song inF ''''''''''''''''''''''''''''''''''''''''
The instrumentalists play short motifs and countermelodies mostly based on the vocal
phrases.
!"A!M A@D ME"E
111
The song is in compound 'uadruple time, what does this meanF '''''''''''''''''''''
9ey rhythmical features within this piece are the use of syncopation, cross rhythms and the
scotch snap >lom$ardic rhythm?.
!AM5@A
(n 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 seEuences are infreEuent but this does mean that when a change does occur
it highlights a different section or mood within the song. The song is in $ major but the
distinct lack of the dominant chord gives this piece a modal feel. (t is entirely diatonic
throughout.
ECAM 67ES"(5@
5ere is an example of an exam Euestion related to this set work)
111

The examiner would be looking for these answers)
11!
5ow many did you get rightF '''''''''''''''''''
Area o! Stu*$ 9 5 Set /or+ 4 an* .1
11*
/orl* Mu"#
Area o! Stu*$ 9 5 Set /or+ 4 an* .1
11+
Ra% Deh
An*
$0iri& Per!orme* -$ ?o+o
Content coverage Learning outcomes
Indian ,usic: 3Rag 5esh4 (AoS :)
&isten to the performances of <Rag ;esh= b$
"noush'a #han'ar( .hiran,i &al anwar and
#teve 3orn-Ben,$ 2ertheimer.
:a'e connections between the performers= use
of the Rag and the use of modes b$ ;avis et al.
;o(o: 3<iri4 (AoS :)
&isten to the performance of <>iri= b$ ?o'o.
Relevant musical vocabular$ including)
ostinato( improvisation( cross-rh$thm(
pol$rh$thm( s$ncopation( master drummer(
balaphones( mbira( vocables( d,embe( donno(
dundun and oral tradition.
Units 1 and *: Rehearse !or a er!ormance o!
the comosition2inut the iece into a
comuter ac(age !or use as a sequenced
er!ormance)
Unit 1: Re%record solo and ensem"le
er!ormances as aroriate)
Unit *: Redra!t comositions as aroriate)
o develop students= understanding of
improvising techni*ues in the context of
/ndian music.
o loo' at alternative approaches to the use
of melod$ and harmon$.
o understand the role of the drone( rag and
rh$thmic tala in /ndian music.
o be able to compare the different
realisations of the rag( understanding wh$ the
same rag can be interpreted so differentl$
and expressing their findings using
appropriate musical vocabular$.
o explore the use of rh$thmic motifs and
ostinati.
o learn the set wor' through performing it.
o develop improvising s'ills through the
exploration of rh$thmic elements.
:)rious* 1ndi)n musi( ; 0)4 "esh
11,
Ra% 4esh is an example of Jorth (ndian classical music. (t is an impro<ised form of music
with a long history. The improvisations take place within well defined structures and
conventions. The music is taught by respected teachers called %urus who pass their
knowledge down through oral tradition.
Jorth (ndian or 5industani classical music is built on two basic elements) rag AscaleB and
tala ArhythmsB. 8 rag is both the name of the completed piece and the pattern of notes within
that piece.
The tal or tala is a repeating rhythm pattern usually played by the ta$la. (t usually has
between six and sixteen beats. The beats are grouped into bars. The first beat of the cycle is
known as sam. (t marks the beginnings and ends of improvisations so it is often accented.
"intal is the most common tal. (t has the following characteristics)
sixteen beats A+ Q + Q + Q +B
four sections beginning on the 1st, ,th, 0th and 1*th beats

(t is common to mark tala by hand claps and 1a<es. (n 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 1a<e of the hand.
4eat num$er 1 ! * + , - . / 0 11 11 1! 1* 1+ 1, 1-
Action Clap Clap Cave Clap
;ocal
mnemonic
!ha #in #in #ha "a #in #in #ha "a #in #in Ta "a #in #in #ha
The actions Aclap and waveB are visual indications used by the tutor to help show where you
are within the Tal.
The different words of the vocal mnemonics) ;haL ;inL 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.
8 rag is a fixed scale although it is sometimes different going up and coming down. =ags
are associated with moods, e.g. loneliness, bravery, eroticism, and with particular times of
day or year, or with certain ceremonial occasions.
The =ag used in these three examples is the 0)4 "esh< this is a late evening rag associated
with the monsoon season. (n (ndian music a system known as sargam is used for naming the
notes) %a, =e, $a, "a, 3a, ;ha, Ji, %a. The tonic, or ground note, is %a Athis is heard in the
droneB.
ag Desh
11-
S"7C"7E
(t is very important that the structure can be recognised. 8 typical performance of a raga is
divided into four main sections)
the alap, a slo1 improvised introductory section which introduces the notes and mood
of the rag. Theres no regular pulse and no percussion
the Bor, 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 Bhalla gives the piece a brilliant and fast7paced close, the music
becomes more vibrant and decorative with extensive improvisation by the tabla and
melody instruments.

(@S"7ME@"S
(t is also very important to identify the instruments used when listening to the three set
works)
Sitar
The %itar is perhaps the most well known of the (ndian instruments. 8rtists such as =avi
%hankar have populariDed this instrument around the world. The %itar is a long necked
instrument with a varying number of strings but 1. are usual. (t has three to four playing
strings and three to four drone strings. These strings are plucked with a wire finger plectrum
called miDrab. 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.
11.

Sitar "a$la
"a$la
The Tabla is a pair of drums. (t consists of a small right hand drum called dayan and a larger
metal one called bayan. The dayan Aright hand drumB is almost always made of wood and is
tuned to the root note or sa of the raga. The bayan Aleft hand drumB is usually made of brass
with a nickel or chrome plate. ?ndoubtedly 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 bell7like timbre that is characteristic of
the instrument.
8 tabla player will bend notes by increasing the skin tension with part of the hand in order to
create the UtwangV sound that gives the tabla its distinctive character. Tabla playing is very
difficult and it can take years to master the different strokes A$olsB. %ome strokes are open
Aallowed to ringB and others are closed AdampenedB.
$o to http)//www.youtube.com/watchFvGIoyk'&"tDn1 A=avi %hankar, 8lla =akha @ Tabla
%olo in Ihaptal @ uploaded by ganchansB
Catch at least - minutes of the clip.
6bserve how the player changes the pitch and timbre of the ! drums by hitting them with
different parts of his hand.
Chat do you notice about the teaching techniEue which is the same as the %itar
lessonF
''
''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
11/
>or the remaining instruments look at the descriptions below and match them to the pictures
below)
&a2ha1aB ) a double barrelled drum.
Sarangi ) a bowed string instrument.
S1armandal ) a Dither harp that is plucked, the strings are tuned to the notes of the raag to
provide an ambience of the raag.
"am$ura @ 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 instrumentL the metal fingerboard is fretless and a coconut wood
plectrum is used to strike the strings
4ansuri . an (ndian flute which is typically made of bamboo or reed with holes cut into it.
Shruti $o# ) an electronic instrument that plays the drone.

110
=isten to the three 0)4 "esh pieces and identify what instruments you can hear in each one.
(nstruments
0)4 "esh performed by
8noushka %hankar A!111B
8h)r) =)n)m m)r)n performed by
Chiranji <al Tanwar A!11+B
0)4 "esh performed by
%teve $orn and 2enjy Certheimer
A!11+B
!ome1or23
Crite a $rief paragraph about each of the performers above.
8noushka %hankar
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Chiranji <al Tanwar
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
%teve $orn and 2enjy Certheimer
1!1
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Crite down a summary of the rhythm and structure of all three (ndian pieces)
"itle "al pattern A=hythmB Structure Key "erms
0)4 "esh
performed by
8noushka
%hankar A!111B
8eends @ pitch
bends and slides
/ih)i @ short
melody or rhythm
S)m @ the first beat
1!1
8h)r) =)n)m
m)r)n
performed by
Chiranji <al
Tanwar A!11+B
5h)=)n @ a 5indu
devotional song
8elism) @ one
syllable to many
notes
0)4 "esh
performed by
%teve $orn and
2enjy
Certheimer
A!11+B
/)ns @ fast scales
/ih)i @ short
melody or rhythm
"rone @ a
sustained note or
notes
8nswer the sample exam Euestion below)
1!!
5ere is an example of the examiners answer sheet.
1!*
5ow many did you get rightF ''''''''''''''''''''''''''''''''''''''''''''''''
Su#;S)h)r)n Afri()n 8usi(
1!+
The music from sub7%aharan 8frica is extremely rich, colourful and diverse.

Key Features and Facts of African Music
* 8frican music is
part of everyday activitiesL 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 Aoral
traditionB.
8 (t came over to 8merica with the 8frican slaves and combined with the
folk music of the &uropean settlers to produce new styles of music
such as blues, gospel and jaDD. These went on to form the basis of pop
music today.
9 The music is based on repetition @ rhythms, harmonies and melodies
are often repeated continually to form ostinatos.
4 (mpro<isation @ melodies are freEuently made up of improvised
- Call and esponse
+ =ayered te#tures
/ =hythm patterns interlock and overlap to form polyrhythmic patterns
and exciting cross.rhythms
, %inging often includes glissandos Aslides which are sometimes known
as portamentoB and slurs, whistles, yodels and swoops, use of vowel
sounds such as Keh, Kah and Koh A<oca$lesB.
!ome1or2
1!,
$o to http)//www.youtube.com/watchFvG"o%t9?2?i/( ATalaemb[, 2alafon %pectacle
%eries, ;9; !11/ @ uploaded by reggrossB
;escribe the difference between the role of the players at the start, and how it changes
after ! minutes



;escribe the use of rhythm and metre


Chy do you think the tonality and scale sounds a bit ambiguous and unusual to our
earsF


>o7o* ?iri
9oko is a group of six musicians led by the singer and balafon player "adou 9one. 7iri is
taken from their album urkina Faso A alafons et ta$-ours dAfriDueE and contains just a
few sleeve notesL
,hen +e discovered "oko, +e +ere struck -y the sheer +ealth of $usic they produce.
&his %roup occupies a very special position in the +idely reno+ned cultural herita%e of
urkina Faso. "oko dra+s its inspiration fro$ the su-tle $iFture of livin% cultures that are
to -e found in that part of Africa. &he %roup is led -y Madou "one, +ho plays the -alafon
and is also an eFceptional sin%er. &he the$es of "oko@s son%s evoke so$e of $an@s %reatest
-attles, includin% the fi%ht for survival and protection of the environ$ent, -ut also creation,
cele-ration and friendship, and attach$ent to the earth.
2urkina >aso is a landlocked nation in Cest 8frica.
4ur2ina Faso

(@S"7ME@"A"(5@
1!-
The following instruments are used 7iri Awhich means woodB)
The 4alafon @ similar to a xylophone, gourds hang beneath the notes to make the sound
resonate. The one used in 7iri uses a he#atonic Asix noteB scale.

The dBem$e a goblet shaped drum)
The tal2ing drum) a drum that is played with a hoo2ed stic2 and can be used to imitate
speech by creating different pitches and slides.
These instruments are also from 8frica but are not in this piece.
M$ira She2ere Kora

S"7C"7E
1!.
The piece is in three sections, follow the score Athis is a transcription of the performance as
they would have played from memoryB and list what you can hear in each section)
Section (nstruments%;oices Key Features%"echni'ues
(ntro
"ain section
Coda
ME=5DA: !AM5@A A@D "5@A=("A
7iri is in the key of $b major without the >, this leaves only six notes which means that it is
based on a he#atonic scale.
The $alafons play short patterns that tend to emphasise the $b and the ;b @ what notes of
the scale are theseF
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
;uring the choruses the group sings together in unison.
(t is entirely diatonic throughout.
!A"!M: ME"E A@D "EM&5
The main metre is ''''''''''''. There are however a few bars with other metres.
8fter the introduction which is free tempo the rest of the piece has a steady pulse.
There is freEuent use of syncopation throughout. ;uring the second solo voice section there
is an example of cross rhythms where the balafon is playing semiEuavers in groups of
threes. There are also triplets being used in the solo voice part.
The drums play a rhythmic ostinato throughout.
"EC"7E A@D DA@AM(CS
1!/
"ost of 7iri has a layered te#ture, but it does include monophonic te#ture in the
introduction and occasional heterophonic te#tures. 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.
Jow answer this Euestion in as much detail as possible)
;escribe the music played by the three different instrumental parts in the extract)
2alafons'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
;rums'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
4oices'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
1!0
$lossary of Terms
1*1
8o% 1
!aydn3 And the Glory of the =ord
Chen you have learnt the meaning of the following keywords for the above set work write
them in here)
"erms Definitions
6ratorio
%8T2
<ibretto
=ecitative
8ria
Chorus
>alsetto
Tonic and ;ominant
3erfect Cadence
3lagal Cadence
3edal Jote
Tonic 3edal
;ominant 3edal
(mitation
"onophonic
5omophonic
"odulation
"elismatic
%yllabic
=itornello
1*1
%eEuential "ovement
Terraced ;ynamics
;iatonic
1*!
8o% 1
MoDart3 Symphony @oE 4G
Chen you have learnt the meaning of the following keywords for the above set work write
them in here)
"erms Definitions
%ymphony
%onata >orm
&xposition
;evelopment
=ecapitulation
1
st
and !
nd
%ubject
2ridge 3assage
6rchestra
%eEuence/
%eEuential movement
Chromatic movement
"ajor and "inor
;ominant 3edal
Circle of ,ths
;iatonic
1**
8o% 1
Chopin3 &relude @oE *- in D$ 0)indrop
"erms Definitions
3edal point
%ostenuto
%ustain pedal
<egato
Cantabile
8cciaccatura
=ubato
;ectuplet
Ternary >orm
%otto voce
%morDando
%lentando
1*+
8o% !
Schoen$erg3 L&eripetieI
"erms Definitions
Chromaticism
8tonal
9langfarbenmelodie
5exachord
3rincipal 4oice
%econdary 4oice
%erialism
3rime row
(nversion
=etrograde
=etrograde inversion
&nharmonic
4erticalisation
;issonance
Canon
1*,
8o% !
eich3 LElectric CounterpointI3 9
rd
mo<ement
"erms Definitions
6stinato
Cells
<oop
3hasing
Jote addition
Jote subtraction
8ugmentation
;iminution
<ayering
=esultant melody
"odal
3olymetre
5exatonic scale
1*-
8o% !
4ernstein3 West Side Story ) LSomethingIs ComingI
"erms Definitions
Choreography
3roduction
(ntervals
%yllabic
Tritone
.
th
Chords
=iff
5armonics
3ush rhythm
Tremolo
%yncopation
Cross rhythm
>lattened seventh
1*.
8o% *
Miles Da<is3 All 4lues
"erms Definitions
=agtime
%wing
2ebop
Cool IaDD
2lue note
Changes
5ead
>rontline
Comping
Chromatic
Turnaround
=iff
3arallel thirds
5armon mute
(mprovisation
1*/
8o% *
Meff 4uc2ley3 Grace
"erms Definitions
2allad
4erse Chorus >orm
Tab
K;rop7; Tuning
2lue notes
>langer
5ammer7ons
3ull7offs
%tring bending
%lide guitar
$lissando
"elisma
%yllabic
4ocalisation
>alsetto
6verdubs
Cord painting
Tessitura
;istortion
3ower chords
1*0
8o% *
Mo$y3 Why Does My !eart Feel So 4ad?
"erms Definitions
%eEuencer
%ampler
&W
=everb
;elay
%ample
"anipulation
2reakdown
3anning
<oops
;orian mode
1+1
8o% +
Capercaillie3 S2ye Waul2ing Song
"erms Definitions
Caulking songs
?illeann pipes
>iddle
8ccordian
2ouDouki
%cotch snap
Call and =esponse
3entatonic
Cluster chord
Counter melody
5eterophonic texture
1+1
8o% +
ag Desh
"erms Definitions
=aga
Tala
=ag desh
8lap
Ior
Ihalla
$at
2ols
%am
Teental
"eend
Tan
2ansuri
%warmandal
&sraj
Tambura
Tabla
%itar
%arangi
%arod
3akhawaj
1+!
2hajan
;rone
Tihai
8o% +
Ko2o3 ?iri
"erms Definitions
6stinato
(mprovisation
Cross rhythm
3olyrhythm
%yncopation
"aster drummer
2alaphones
"bira
;jembe
;onno
;undun
4ocables
6ral tradition
$riot
1+*
*ompiled and 1ritten for #he Peter!orou.h S(hool students
!y 2elena M(3illop
-ith than4s to %upert Gardner 1ho provided !oth resour(es and
invalua!le support.
1++
INSTRUMENTAL
PERFORMANCE
DIARY

1+,
Complete this chart every time you perform. "ake sure you also include a copy of the music
in your file too.
Date (nstrument "itle of piece Composer Aour role
1+-
esources
Cikipedia
&dexcel
&dexcel $C%& =evision $uide) 8lan Charlton
&dexcel $C%& "usic %tudy $uide) 3aul Terry
&dexcel $C%& "usic) Iohn 8rkell/ Ionny "artin
&dexcel 8nthology of "usic
$C%& 2itesiDe
www.chrispettitt.com
1+.

You might also like