GCSE Music - AoS 1 Set works and section Bs

I have broken down each set work in Area of Study 1 and bullet pointed the main facts you need to know about them.

I have also written and colour coded an example section B for each set work. In my examples I have covered all the features of the pieces but please note that in the exam you will only be asked to talk about certain features! It's important you only talk about the features they ask you to talk about as it will save you time.

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  • Created by: Axe Man
  • Created on: 11-03-12 13:58
Preview of GCSE Music - AoS 1 Set works and section Bs

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Handel ­ And the Glory of the
Lord (1741)
STRUCTURE
MELODY ­ based on 4 motifs
- starts with an orchestral 1) "And the glory the glory of the lord" altos
introduction (ritornello) 2) "shall be revealed" tenors
- no set form 3) "and all flesh shall see it together" altos
- based on 4 motifs 4)"for the mouth of the lord hath spoken it" tenors and basses
RHYTHM METRE AND TEMPO TONALITY AND HARMONY
- ¾ metre - A major
- Modulates to E major and B major
- Fast tempo (last three bars - The harmony is diatonic
slower) - Plagal cadence
- Use of hemiolas
TEXTURE WORD SETTING AND INSTRUMENTATION
- Alternates between - Mixture of melismatic and syllabic word settings
homophonic and - Phrases are repeated several times
- Vocals are accompanied by strings and a continuo
contrapuntal
- Orchestra doubles vocal line
- Use of imitation…read more

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Handel ­ section B
The piece starts off with an orchestral introduction called a ritornello
and is based on different combinations of 4 motifs so there is no set
form. The melody line is made up by the 4 motifs which are heard in
different parts and combined in different ways throughout the piece.
The metre of the piece is ¾ and there is use of hemiolas. It is generally
fast however the last three bars are slower to create a drawn out
ending. The harmony of the piece is diatonic and starts off in the key
of A major then modulates to two related keys, the dominant: E major
and the supertonic: B major. It alternates between homophonic and
contrapuntal textures and there is a very small part in the middle
where it is monophonic. There is a basso continuo which is played by
a cello, harpsichord or organ in order to accompany the choir. The
strings often double the vocal line and the piece ends with a plagal
cadence.…read more

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Mozart ­ Symphony #40 in
G minor (1788)
STRUCTURE AND TONALITY
MELODY
- Sonata form in the key of G minor - Made up of 4 or 8 bar phrases
- 1st subject, 2nd subject introduced in
exposition - Sound like question and answer
- Coda (perfect cadence) - Many phrases are scalic
HARMONY
- Diatonic
- Chromatic chords
- Circle of 5ths
- Pedal notes for cellos just before the 2nd subject
TEXTURE DYNAMICS AND INSTRUMENTATION
- Sudden dynamic contrast
- Mostly homophonic - Exposition, 1st subject is quiet, transition is loud, 2nd subject starts quiet
- Counterpoint and imitation - Development starts and ends quietly
- Recapitulation is similar to exposition
in the development - Two horns in different keys
- Strings play most of the time
- Octave doublings - Woodwind have more sustained notes…read more

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Mozart - section B
The structure of the piece is in sonata form. It starts off with an
exposition in which the first and second subjects are introduced.
The first subject is in the key of G minor and the second subject is in
the key of B flat major (the relative major). The melody line is made
up of 4 or 8 bar phrases which sound like questions and answers
and many of the phrases are based on scales. The metre of this
piece is 4/4 and its tempo is very fast. Mozart uses some dotted
rhythms and syncopation to create a sense of momentum and add
interest. There are also harmonic features such as pedal notes and
chromatic chords. The general harmony of this piece is diatonic.
The texture is mostly homophonic but there is some counterpoint
and imitation in the development. There are sudden dynamic
contrasts and two French horns are used, one is the key of G and the
other in the key of B flat in order to maximise the notes they can
play between them. The piece ends with a perfect cadence.…read more

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Chopin ­ Prelude No. 15 in
D major (1835)
STRUCTURE MELODY
- Ternary form - In section A the melody is in the right hand
(ABA) - Decorated with ornaments such as acciaccatura
- Coda - The melody features some dotted rhythms and chromaticism
- In section B the melody is played in the bass
RHYTHM, METRE AND TEMPO HARMONY AND TONALITY
- The time signature is 4/4 - Key of D flat major
- A septuplet is used - Mainly diatonic with occasional chromaticism
- Sostenuto (sustained) - Modulates to the enharmonic tonic minor, C#
- Legato (unhurried) minor in section B
- Rubato (flexible tempo) - Ends with a perfect cadence
TEXTURE DYNAMICS AND USE OF PIANO
- Mostly homophonic - Many crescendos and diminuendos
- Section A is quieter than section B
- Short monophonic passage - Wide range of dynamics but no sudden contrasts
in the coda - Mostly uses middle and lower ranges of piano
- Much use of sustain pedal…read more

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