Area of Study 2

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Area of Study 2: Bernstein/Reich/Schoenberg
Bernstein Reich Schoenberg
Performing Tenor Voice + Band: 1 performer but uses 8 guitars (6 Huge orchestra (quadruple ww, brass, perc +
Forces brass/woodwind/strings and drum guitars + 2 bass) strings)
kit Use of pre-recorded loops and Unusual playing techniques:
panning to help the listener i) Col Legno
ii) Mutes
iii) Extreme Registers
Melody Syllabic word setting with SNV Based on repeated hexatonic Fragmented melodic style built on short
Longer notes used at end of phrase (ostinato) contrasting motifs.
phrases Addition used to develop the phrase Angular, uses full pitch range of instruments.
Augmented 4th = imp Resultant melody played by the live Based on hexachords which can be
Repeated notes performer manipulated:
Wider range + more sustained i) Transposition
melody at bridge. ii) Inversion
iii) Retrograde
iv) Displacement
v) Altered Rhythm
Klangfarbenmelodie(main melody) used to
pass the melody around:
Time Sig 3/4 at start then 2/4 used later 3/2 used then mixed with 12/8 to create Varied
multiple metre.
Tempo Fast 176bpm Fast 192bom Varied, mainly very fast linked to mood +
Rhythmic Generally SNV SNV + syncopation in ostinato Fast sections often have SNV
Features Longer notes used at end of LNV + cross rhythm in strummed Calmer passages have use LNV
phrases chords Complex note grouping (triplets/sextuplets)
Ostinato Rhythmic displacement used to
Syncopation create guitars 2-4
Cross Rhythm

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Dynamics & Soft beg + end. Few performing instructions, mainly Extreme dynamic levels
Articulation Strong contrasts in middle. mf-ff Strong contrasts
Mainly staccato. Fades Very detailed performing instructions
Haupt and Nebenstimme (most important
(main) and accompanying)
Tonality D major with section in C Aeolian Mode on E, but without Atonal
Use of aug 4th undermines key. cadences tonality is ambiguous.
Alternation of modes
Described as Emin + Cmin
Harmony Jazz harmony Diatonic Dissonant harmony
Use of added 6th/7th/9th chords.…read more


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