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  • Created by: jack
  • Created on: 14-04-13 15:55
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  • music
    • new york counterpoint
      • tonality
        • written in B major but heard in A major
      • harmony
        • very static sense of harmony
        • 'imperfect cadence' repeats  between chord 4 and 5 makes up the harmony
          • chord I according to the heard key signature is A major but we don't hear this till bar 27  with all 4 parts playing a iverson of the A chord this makes chord 5 seem like it is the tonic
            • chord Ic appears
      • structure
        • contrapuntal  / counterpoint
          • consists of pure layers of the melody lines that
          • notes are added and removed slowly over time.
    • prelude  to afternoon of the faun - ddebussy
      • song to go with poem
      • tonality
        • sense of unclear tonality plays reference to the lack of clarity
          • because of chromatic  melody
        • e major (in bars 105 - 106 perfect cadence )
      • texture
        • opening flute solo is monophonic
          • doubling of instruments is common (including examples of octave doubling)
            • pedals occur (bars 106 - 110)
              • In bar 107 homorhythm is employed in  Horn and violin 1 parts
      • structure
        • Ternary
          • A B A  CODA
      • Harmony
        • use of 7 th chords  which doesn't resolve
      • melody
    • flow my tears
      • tonality
        • A minor
      • started as an instrumental then words where added later
      • vocal sung in tenor (male) , male alto
      • 3 sections
        • section 1 bars 1-8
          • ends with perfect cadence
          • section 2 bars 9-16
            • ends with imperfect cadence
            • section 3 bars 17-24
              • ends with perfect cadence
      • has false relations in bars 5
        • creates a poignant effect to reflect the sad words
      • rhythm
        • used reflexively
      • word painting used in the words ' flow my tears' - descending
        • exile is a upwards motif
      • its a strophic song
        • music doesnt fit words in  verse 2  "tears" -"feare"
        • 3 sections
          • 1st finishes with perfect cadence
          • 2nd opens in  relitive major and finishes in imperfect cadence
          • 3rd  finishes with a perfect cadence
      • happy is the highest note to show happiness (word painting)
        • the vocal range is very narrow  biggest leap is minor 6th in bar 1
    • howling wolf
      • earthy raw quality to voice
      • frequent slides and bends
      • wordless "whoos" accompany the  first part of guitar solo
        • vocalisation
      • texture
        • mostly homophonic in the verses.
        • there is dialogue between voice and lead guitar
      • structure
        • 6 choruses of the standard  12 bar blues
          • added to introduction
      • tonality
        • G major throughout
        • blues notes used
      • harnomy
        • 12 bar  blues progression
          • I - IV - I - V - IV  - ( I ) -  V
            • the last bar  (dominant) prepares the ear for the return to the tonic  in the next repitition of the sequence
      • melody
    • piano sonata
      • texture
        • melody dominated homophony
        • melody in right hand and melody in the left
        • alberti bass
          • bar 71
      • structure
        • sonata form
          • exposition
            • ends with perfect cadence
            • chages key to F major
              • could be described as coddetta
            • first subject is B flat
          • development
            • variety of keys including F major Gm   and c m
          • recapitulation
            • b flat
            • repeats exosition but alters transition of second subject now goes to tonic key
      • tonality
        • uses functional tonality
        • modulates to closely related keys
      • harmony
        • functional harmony based standard tonal progressions
        • bars 9-10 , perfect cadence
          • bars 21-2 imperfect cadence
            • bars 83-4 interupted cadence
        • 7th harmonies are used frequently
        • dominaint 7th harmonies used frequenly
    • ohime
      • new  seconda pratica
      • texture
        • 5  vocal parts
          • canto
          • quinto
          • alto
          • tenor
          • bass
        • homorhythmic
      • structure
        • through composed
          • section one : texture builds
            • section two two equal sub sections  each with same text the secound is a varied and transposed repeat
              • 5 part but with 3 part passages  involving varied repetition of a passage featuring parallel 3rds
      • tonality
        • functional tonality
        • dorian mode trransposed to G with key signiture of one flat
          • composer blurred the mode by often altering E naturals to  E flats
            • F natural to F sharps
        • number of false relations in section 3
      • fuck the rest of ohime too long
      • harmony
        • dissonants used
    • lamb
      • upper ranges are narrow
      • texture
        • homophonic
          • soprano main melodic interest with others provide melodic support
        • two part writing
          • homorhythmic
      • structure
        • strophic
        • A B Av  structure
          • each line represents a poem line
      • tonality
        • g major  verse 1 and 2
        • second, fifth, bar is bitonal  G major and E flat
          • bar 6 is a retrograde of bar 5
        • begins in G major  end in E minor
      • harmony
        • four part writing
          • built on triads and seventh chords
            • modal harmony with a perfect cadence
              • soprano and tenor have  consecutive perfect  5ths
      • melody
        • bars 1-2 are the basis for everything that follows up to bar 6 and in the soprano part thereafter
        • serialism
          • use of inversions and retrograde
        • word setting is syllabic
      • rhythm and metre
        • no time signature
          • music to be flexible
            • guided by words
    • tupelo honey
      • unusual 7 minite song
      • texture
        • homophonic
        • instrumental in bar 21 in initially polyphonic
      • structure
        • despite the apparently complexity of the transcription it works on a straightforward verse/chorus form
        • repition of chord sequences  thoughout
      • tonality
        • Bb major thoughout
      • harmony
        • diatonic harmony thoughout  in Bb major
        • uses a limited range of chords
          • I - III - IV - V
        • chord 3 is a second inversion     Dm/A
      • melody
        • rhythmically complex
        • many improvised variants on the melodic  shapes
        • melody  uses higher end of the male vocal range
        • pentatonic  shapes in Bb dominant
      • rhythm and metre
        • slow ballad 4/4 tempo allows space for improvisation
        • vocal line is syncopated contains anticipations and retardations
        • rhythmic complexity of solos section with cross rhythmic layering
        • bass uses repeated rhythmic ideas participially bars 2 and 4
  • minimalist
  • lack of clear structure
    • could be described as ternary  with 3 parts  A-B-A
      • with section B defined as the  4 part pulsating chords
  • structure
  • blues
  • 4 part writing
    • homorhythmic

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