GCSE Music - Last Minute Revision Notes

Perfect last minute revision points on all twelve set works from the Edexcel GCSE specification for Music.

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  • Created on: 16-05-11 19:27
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GCSEMusicTargets­AllSetWorks
SW1­`AndtheGloryoftheLord'byHandel
· Attheendofthepiece,theorchestradoublesthechoirparts
· `Revealed'ismelismatic,animitationandasequence
· Themelodyof`Forthemouthofthelordhathspokenit'comprisesofmainlydottedminims
andminims,aswellassmallvocalrange,repetitionandsyllabic.
· Thesenotesstandoutduetotheirlongnotevaluesandincreaseddynamics.
· Afterthefirsthomophonicsectionstating`AndtheGloryoftheLordshallberevealed'
modulatestoEmajorfromAmajor(whichisthedominant)
· Mainlyhomophonicorpolyphonicthroughoutwithlotsofvoicepartsandinstruments
doubling
· Justbeforevocalsenter,ahemiola(soundslikedifferenttimesignature)isheard
· Ritornella=alittlereturn
· `Andallfleshshallseeittogether'isintroducedbythealtosandimitatedbythetenorsa
fifthlower
· Composedin18thcentury­1742firstperformed
· `AndthegloryoftheLord'endswithaperfectcadence
· `Andallfleshshallseeittogether'aswellas`Forthemouthofthelord'endswithaplagal
cadencewhenfirstheard
· Ideafourisfirstintroducedbythetenorsandbasses
· Oftenlowervocalpartsusemoredisjunctphrases
SW2­`SymphonyNo.40inGminor'byMozart
· Readquestion­isitaskingforafeatureintheextract?
· Inrecapitulationflute,clarinetandbassoonplay1stsubjectmotif.
· PieceendsinahomophonictexturewiththeharmonybasedonchordsIandV,endingwith
aperfectcadenceinGminor.
· FirsttimesecondsubjectinBbMajor,playsF,Enat,Eflat,secondtimeplaysG,FSharp,F,
Enat,Eflat
· Endswithfouremphaticfullstopchords
· Cadenceatendoffirstsubjectisimperfect;endofsecondsubjectisperfect
· Secondsubjectinexpositionisplayedbyclarinetandbassoon.
· Pedalbassisheardaftertherepeatinthesecondsubject.
· Whenthewoodwindfirstentertheyplayinoctaves.
SW3­`RaindropPreludeinDbMajor'byChopin
· Useoftemporubato;generallyinternaryform
· AtendofBsection,righthandplaysmelody
· Romanticpianomusicincludesuseofpedals,chromaticharmonies,dynamicshading
· UseofinnerdominantpedalinsectionB;inCsharpminor(tonicminor)
· Preludesareshortintroductorypiecesthatsetthemoodtoapiece
· Waspublishedin1839,writtenbetween19358

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SW4­`Peripetie'bySchoenberg
· ThreeinstrumentsthatplaythehauptstimmeinsectionBandA1includehorn,cello,
trombone
· DynamicsatendincludecrescendotoFFFthenimmediatelytopp.
· Ambiguousmetreusedthroughout
· Timesignatureatstartis¾
· Hauptstimmeistheprincipalvoice
· Hexachord:groupofsixnotesfrom12availablesemitones­sixsemitonesnotusedarethe
complement.
· Contrapuntaltexturesusedandrangeutilisedtomaximum
· Tempostructuresthemusic
· Shortmotifs
· Klangfarbenmelodie=importanceoftimbre
SW5­`SomethingsComing'byBernstein
· Basspartison1stand3rdbeatwithC,G,C,G
· `Theairishumming...'isquieter,widerrangeofnotes,triplets,crossrhythms,highestpart
oftenorvocalrange.
· Songendswithalongnoteandalackofcadence.
· Thewordtonightissungwiththeintervalofaperfectfifth.
· Afterthisitisrepeatedbythefluteandoboe(theinterval).
· Pushrhythmsanticipatethebeat
· TheAsectionisinDmajor,whilsttheBsectionisinCmajorandsometimesbitonalwithG
major
· Structure:intro,A,B,B1,A1,Outro
· Musiccomposedin1958
· Fast­bpmis176crotchets
· `Couldbe'=perfectfourth
· Notmotif,butRIFF
SW6­`ElectricCounterpointIII'bySteveReich
· Thepartplayedbytheliveguitarististheresultantmelody
· Thebasspartsfadeawayintosilenceattheend
· KeysignatureisEminor,withCminorinthestrummedsectionsattimes
· Mostprominentintervalinbasspartsisanoctave
SW7­`AllBlues'fromalbumKindofBluebyMilesDavis
· ChordsequenceisG7,G7,G7,G7,C7,C7,G7,G7,D7sharp9,Eflat7sharp9/D7sharp9,G7,G7
· Choruses=repetitionsofthe12barblues
· Useofornamentsinsolopartsareimportanttomelody
· Orderofsolosistrumpet,altosax,tenorsax,piano
· Intheintro,Head2hasafurtherdevelopedmelodythanHead1
SW8­`Grace'byJeffBuckley
· Torturedmoodreflectedbyhighrangeofvoalsinchorus,passionate,strainedsound,as
wellasaggressivelystrummedguitarsandtremolostrings,andcymbalcrashes.…read more

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Vocalslide=glissando
· Bars13=plucking,bars47=strumming
· HarmonyofopeningvocalsismodaltoE(tonic).Dependantonchordalpattern.
· ChordisambiguousatbeginningduetoFM7ANDGM7chords,aswellasthefactitisjusta
seriesofchords.
· TheprechorusutilisesmainlyEdorian.
· BuckleyreachesthetopGofasopranorange=virtuosictechnique
· Whensayingyoulike/dislikeaneffect,stateit'seffectonthesoundofthemusic.
SW9­`Whydoesmyheartfeelsobad?'byMoby
· Theextractwheremostinstrumentsdropoutiscalledbreakdown.
· Studioeffectsincludeecho,reverb,EQ,digitaldelayandcompression.
· Weknowthedrumsareprogrammedduetoitselectronicsound/mechanicalsound.
· Asubbasshasanextremelylowsoundthatisloud.Itisfeltmorethanheard.
· Samplesfroma1953gospelchoir.
· Thisstyleofmusic,isdance,downtempoandambient.
· ChordsusedareCandAminorinfirstsectionofB(Bx).
· Thestringsandpianoplayacountermelody.
SW10­`SkyeWaulkingSong'byCapercaillie
· ChordsareCmaj,Gmaj,Emin/Cmaj,Gmaj
· Fusionduetogaelicfolkfeaturesincludingcallandresponse,pentatonicmelodiesand
relationtowaulking.
· Instrumentalpartfeaturesuilleannpipes,fiddleandaccordion.
· Thetextureisoftenheterophonic.
· Nodynamicmarkingsonscore.
· VocalpartispentatonicstartingonE.Generallyambiguous.
· ContrapuntaloftenbetweenWurlitzerpianoandbouzouki.
SW11­`RagDesh'byAnoushkaShankar(sitar),ChiranjiLalTanwar(vocal),BenjyWertheimer
(esrajandtabla)andSteveGorn(bansuri)
· V2:vocalsuseragscale,ishighlyornamentedandimprovise.
· V2:useof8beattal(keherwa).Sarodandsarangiaremainstringinstruments.
· Threesectionsofragincludealap,jhorandjhalla.
· V1:useoftintal(16)andjhaptal(10).
· V3:rupaktal(7)andektal(12).
SW12­`Yiri'byKoko
· Metreofpieceisammetricorfreetimeatbeginning.
· Drumbeatisquaver,semiquaver,semiquaverpattern.
· CrossrhythmsandpolyrhythmsarecommonlyusedinAfricanmusic.
· Balafonsplayinoctavesinopening.Large/smalltalkingdrumanddjembeaccompany.
· Heterophonictexturesarecommonlyused.
· Theperformerdecoratestheopeningnoteswithatremolo.…read more

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