GCSE Music set works

Handel - And the Glory of the Lord - Context

Religious opera, performed in church, sacred music, composed in 1741 - late baroque perios

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Handel - And the Glory of the Lord - Motives

A- and the glory the glory of the lord. B-shall be revealed. C-and all flesh shall see it together.

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Handel - And the Glory of the Lord - Instruments

String, voice SATB

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Handel - And the Glory of the Lord - Texture

Alternating section of homophonic and polyphon texture

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Handel - And the Glory of the Lord - Dynamics

Begings mf, remains fairly constand. Terraced dynamics, very few cresc. or dim., gets louder suddenly

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Handel - And the Glory of the Lord - Tempo/Rhythm

3/4 simply triple time. Sounds syncopated, Hemiola - bars 9/10

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Handel - And the Glory of the Lord - Harmony

Key chords, melody + accomp. fit together. A major. Features perfect cadence in the middle and plagal caden ce at the end

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Mozart - 1st movement Symphony no.40 - Context

Written in 1788. 1st movement so is Allegro - fast

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Mozart - 1st movement Symphony no.40 - Instruments

Strings - violin 1, violin 2, viola, cello, bass. Woodwind - one flute, oboe(1+2), clarinet (1+2), bassoon (1+2). Brass - horn (1+2)(cor)

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Mozart - 1st movement Symphony no.40 -Melody

1st subject - strings - G minor. 2nd subject - woodwind - Bb major. Contrasting matieral, moves mainly by step, balanced phrases

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Mozart - 1st movement Symphony no.40 - Rhythm

4/4 time signature. mainly crochet+quaver. Some syncopation used at cadences

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Mozart - 1st movement Symphony no.40 - Tonality

First subject in tonic (G minor). Second subject in relative major (Bb major). Modulation to closely related keys in development section - cycle of 5th from bars 114 - 138. Em - Am - Dm - Gm - C - F - Bb

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Mozart - 1st movement Symphony no.40 - Harmony

There are some chromatic passages in the second subject on the strings. Tension is created by dominate pedal - anticipates the recapitulation

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Mozart - 1st movement Symphony no.40 - Structure

Sonata form: Exposition- ideas exposed, Development- ideas developed, Recapitulation- recap main ideas

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Chopin - Raindrop Prelude No.15 Op.28 - Structure

Ternary form: A- bar 1-27. B- bar 28 - 75. A- bar 76 - 82. Coda- bar 83 - end.

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Chopin - Raindrop Prelude No.15 Op.28 - Melody

RH outer section. Top notes of LH chords in middle section. Narrow range of notes. Ornaments - appogiatures, acciaccaturas. Septuplets - musical decoration

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Chopin - Raindrop Prelude No.15 Op.28 - Rhythm

4/4 time signature. Almost continous quaver accompaniment- LH outer secion, RH middle section- raindrop note Ab/G#. Some syncapation

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Chopin - Raindrop Prelude No.15 Op.28- Tempo

The tempo is largo/adagio. Rubarto-> feature of romantic piano music

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Chopin - Raindrop Prelude No.15 Op.28 - Texture

Homophone, melody dominated, thicker texutre in section B - octaves. written like a rainstorm light/heavy/ligh

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Chopin - Raindrop Prelude No.15 Op.28 - Tonality

Outer section- Dbmajor. Middle section -C#minor. Dominate of Ab/G# used to link the sections - pivot note, pedal. Mainly diatonic(notes from key) somtimes chromtiaism

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Chopin - Raindrop Prelude No.15 Op.28 - use of piano

Sustained pedal, holds notes-warm timbre. Big range of dynamics. use of cresc. + dim.

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Schoenberg - Peripetie - Context

Composed in 1906, expressionist style.

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Schoenberg - Peripetie - Rhythm

Use of complicated fragmented rhythms. Rubato. Contrasting temp: notes durations are used to make sections seem faster particularly in section A. Use of triplets and quintuplets

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Schoenberg - Peripetie - Melody

Klangfarbenmelodie(tone colour melody). Lots of wide leaps. Use of melodic fragments. Based on Hexachords -C#, D, E, F, G, A & A, A#, B, C, E, G# - create dissonances

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Schoenberg - Peripetie - Texture

Contrasting texture. Homophonic + Polyphonic

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Schoenberg - Peripetie - Structure

Free Rondo, 5 sections - A, B, A1, C, A2

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Schoenberg - Peripetie - Tonality

Atonal, based on Hexachords

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Schoenberg - Peripetie - Harmony

Atonal - music has no sense of functional harmony in the tradional sense.

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Schoenberg - Peripetie - Instruments

3 flutes+piccolo. 3 clarinets+bass clarinet. 3 bassoons+contrabassoon. 3 oboes+cor anglais. A large section of brass with and without mutes. A large section of percussion. String

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Bernstein - Something's coming - Context

1957 - musical. Based on Romeo + Juliet

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Bernstein - Something's coming - Structure

Intro, A, B, B1, A1, Outro - B + B1 are lyrical. A is short and snappy

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Bernstein - Something's coming - Instruments

Orchestra + saxophone + drumers + guitar (A+E)

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Bernstein - Something's coming - Harmony

Extended + Altered chords. Blues notes - jazz influence. Tritone. Neopolitan chord

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Bernstein - Something's coming - Texture

Layered texutres of independent parts. Poly-rhythmic (like polyphonic - lots of different rhythms)

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Bernstein - Something's coming - Melody

Vocal, short snappy riffs contrasting with longer lyrical phrases. Bar 32 - inner melody

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Bernstein - Something's coming - Rhythm

Syncopation - push rhythm. Changes in time signature 3/4 + 2/4. Bernstein - Something's coming - Crochet = 176. Off beats highlight syncopation

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Bernstein - Something's coming - Tonality

Changes between D major and C major

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Reich - 3rd movement from Electric Counterpoint - Context

Recorded by guitarist Pat Metheny.

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Reich - 3rd movement from Electric Counterpoint - Instruments

One live guitar player + 7 pre-recorded electric guitar parts + 2 pre-recorded bass guitar parts

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Reich - 3rd movement from Electric Counterpoint - Tonality

Modal - Eminor but no D# leading note. Tonal Ambiguity - later in piece changes between E minor and C minor. No traditional cadences

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Reich - 3rd movement from Electric Counterpoint - Melody

Resultant melody played by live guitar.

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Reich - 3rd movement from Electric Counterpoint - Rhythm

Polyrhythmic. Lots of syncopation. Very quaver based. Longer not values for strummed guitar chords. Alternated between 12/8 and 3/2

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Reich - 3rd movement from Electric Counterpoint - Harmony

Consonnant - doesn't clash

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Reich - 3rd movement from Electric Counterpoint - Structure

8 sections + Coda

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Reich - 3rd movement from Electric Counterpoint - Texture

Polyrhythmic. Interlocking phrases. Builds layers - G1, Live Guitar, G2, G3, G4, B1+2, G5, G6, G7

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Miles Davis - All Blues - Context

Composed in 1959

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Miles Davis - All Blues - Instruments

Alto sax - Julian Adderly. Tenor sax - John Coltrane. Piano - Bill Evans. Drum kit - brushes - Jimmy Cobb. Trumpet - Miles Davis. Double bass - Paul Chambers

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Miles Davis - All Blues - Structure - chord sequence

Based on 12 bar blues. G7, G7, G7, G7, C7, C7, G7, G7, D7#9, Eb7#9, D7#9, G7, G7

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Miles Davis - All Blues - Structure - Order

Intro, head1, link, head2, link, trumpet, link, altosax, link, tenor sax, link, piano, link, head3, link, head4, link, outro

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Miles Davis - All Blues - Harmony/Tonality

Solos are modal. Chords - extended/altered

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Miles Davis - All Blues - Timbre

Trumpet mute during head. Little/no vi

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Miles Davis - All Blues - Texture

Head - homophonic. Solo - front line drop out - just rhythm and accompaniment.

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Miles Davis - All Blues - Rhythm

6/4 bars. crochet = 156. dotted minin = 52

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Miles Davis - All Blues - Blues notes

C, Eb, F, Gb, A, Bb, C

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Jeff Buckley - Grace - Context

Produced in 1994. Rock ballad. Scored for two guitars, bass guitar, drums + synthesiser

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Jeff Buckley - Grace - Structure

4 large section. 1. Intro - verse 1 - Pre-chorus - Chorus. 2. link - verse 2 - Pre-chorus - Chorus. 3. Middle 8. 4. link - verse 3 - Outro

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Jeff Buckley - Grace - Texture

Mainly homophonic. First part of chorus is a vocalisation.

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Jeff Buckley - Grace - Melody

Melody is simply and lyrical. word-painting. In second half of verse 1 - moves to high register, emphasises the word love by using melisma. The highest notes are sung using a vocal technique called Falsetto.

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Jeff Buckley - Grace - Instruments

Drums - Matt Johnson. Bass - Mick Grondahl. Guitar - Gary Lucas. Guitar + Vocals - Jeff Buckey. Synthesiser added after recording.

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Jeff Buckley - Grace - Rhythm

4/4 time signature. use of cross rhythms between the bass guitar and his voice.

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Jeff Buckley - Grace - Harmony

Simple chord - sound chrunchy. Drop-D tuning. Guitar effect called Flange to create a sweeping sound.

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Jeff Buckley - Grace - Chord patterns

Chorus - Em/F5 Em, Em/Eb5, Em/F5 Em, Em/Eb5, Em. Pre-chorus - Em F#dim G6 A6, Bm A6/9, Em

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Moby - Why does my heart feel so bad? - Context

Dance music. Written in 1999.

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Moby - Why does my heart feel so bad? - Structure

Intro, Verse, Chorus, Verse, Chorus, Verse

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Moby - Why does my heart feel so bad? - Harmony

Whole song based on two simple repeated chord sequences. Priano intro and verse: Am, Em, G, D. Chorus: (C, Am) x2 and (F, C) x2

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Moby - Why does my heart feel so bad? - Texture

Gradually builds throughout intro and first verse. Suddenly things out for second chorus. Fuller texture returns. Final 3rd verse texture is just one vocal sample and synth.

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Moby - Why does my heart feel so bad? - Samples

Uses two vocal samples, both from 1950s gospel choir. Neither sample has been cleaned up. The breakbeat sample was slowed down to fit the tempo

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Moby - Why does my heart feel so bad? - Technology

Minimal use of effectson track. Reverb on piano and vocal. Use of delay + EQ. Use of a filter to treat answer vocal sample. Use of drum machine and sequencer

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Capercaillie - Skye Waulking song - Context

Waulking - pounding a cloth with their feet. Fusion between Celtic fold and western pop music.

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Capercaillie - Skye Waulking song - Melody

Vocal melody, pentatonic scale G major (G,A,B,D,E), Low register, Syllabic, 1 bar Gaelic phrases,

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Capercaillie - Skye Waulking song - Phrases

Phrase 1: Call (Gaelic, starts on high D). Refrain 1: Response (vocables, starts on mid B). Phrase 2: Call (Gaelic, starts on high D)

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Capercaillie - Skye Waulking song - Harmony

G major + entirely diatonic. 3 chords - G, Em, C. Dominant D chord is avoided, gives a modal feel

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Capercaillie - Skye Waulking song - Rhythm

12/8 time signature. Vocal + Instruments both use syncopation. Hi-hat pattern cross-rhythms at the start. When full band entre hi-hat changes to tap 12/8

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Capercaillie - Skye Waulking song - Texture

Heterophonic texutre. Layered texture created

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Capercaillie - Skye Waulking song - Structure

Intro, verse 1, break, verse 2, 3, 4, 5, 6, instrumental, verse 7, 8, outro

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Capercaillie - Skye Waulking song - Instruments

Tin whistle, Bousouki, Sythesizer, Accordian, Uillean pipes, fiddle, Wurlizer piano, Flute, vocals, bass - electric + acoustic, guitar, bodhran, drum kit, percussion

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A. Shankar - Rag Desh - Instruments

Sitar, Tabla, Sarangi, Sarod, Rakwaj, Cymbals, Bansuri, Esraj, Tambura

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A. Shankar - Rag Desh - Context

The tonic is C. This is traditionall a night raga, linked to the rainy monsoon season

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A. Shankar - Rag Desh - Version 1

Sitar + Tabla. Alap - slow improvised intoduction, Gat1 - fixed tempo - Jhaptal tala, Gat2 - pre composed - Tinal tala

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A. Shankar - Rag Desh - Version 2

Voice, Sarangi, cymbals, tabla, sarod, pakhawaj. Hindu song. Alap, bandish. Tala used is kherwa. Solo sections for Sarod and Sarangi

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A. Shankar - Rag Desh - Version 3

Bansuri, esraj(melody), tambura, tabla. Alap, Gat1 - slow tempo - Rupak tala, Gat2 - fast - Ektal tala.

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Koko - Yiri - Context

Burkino Faso. Not notated - Recorded -> transcribed

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Koko - Yiri - Key Features

Repetition/ostinati. Call + Response

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Koko - Yiri - Melody

Melodies are frequently made up of improvised phrases

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Koko - Yiri - Structure

Balafon solo, both balafons, drums enter, chorus - choir enter, short balafon break, chorus A2, balafon break, solo with choral responses, Coda. All instruments stop together with a solo bell at the end

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Koko - Yiri - Tonality

Gb major, six note scale without F. Balafons play Eb + Db

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Koko - Yiri - Texture

Solo balafon - monophone. 2 balafons - hetrophonic. Textural variety when drums stop for short sections. Layered texture

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Koko - Yiri - Instruments

Balafons x2, choir, djembe, talking drums, bell

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Koko - Yiri - Tempo

Constant, regular, unvaried beat

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Koko - Yiri - Rhythm

Lots of syncopation. 4/4 time signature. Cross rhythns

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GCSE Music set works

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