2015 Edexcel A2 Music Applied Set Works (Apart from Gamelan)

Here are around 9 illustrated points for each applied piece (minus the Gamelan as I've decided against learning that one!)

You need to 9 illustrated points (ie with bar numbers that relate to the question) to get 13/13!

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Preview of 2015 Edexcel A2 Music Applied Set Works (Apart from Gamelan)

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APPLIED SET WORKS
Gabrieli ­ What makes it typically a piece of Venetian Renaissance music?
Typical Renaissance instruments = cornett & sackbut, continuo not a prominent
feature
Gabrieli omitted time signature = editor added it afterwards
1) Textural point = mainly contrapuntal (Venetian style) = bar 6
st
2) Root and 1 inversion chords dominate (Venetian style) = eg bar 7
3) Rhythmic point = syncopation (Venetian style) = cornett @ bar 8.
4) Also effective approached by leap such as D @ bar 11
5) Harmonic point = various suspensions = dissonance = 7-6 suspension at bar 16
6) 4-3 suspension = more common = bar 20
7) Textural point = 8-part counterpoint = bars 26-31
8) Antiphony (Venetian style) = bars 37-40
9) Melodic point = frequently conjunct movement with relatively restricted range as
large leaps are rare. However, octave leap @ bar 41
Purcell ­ Dido's state of mind?
1) Starts in Cm (befits text) = bars 1-4
2) Recitative passes through several keys (unsettled tonality), ending on 3) Phrygian
cadence in Gm = bar 4, beat 2
4) Moves to bottom of sop range as thoughts turn to death = bar 8
th
5) Expressive falling 5 `trouble' = bars 12-13
6) Resolution of suspensions create impression of sighing to enforce melancholy
mood = bars 12-13
7) Occasional chromaticisms = create uncertainty = bar 19
8) Declamatory style of `remember me' = bar 25
9) Expressive melisma `ah' = bar 30
10) Climactic upwards leap to top G `remember me' = bar 34
Goldsmith ­ What makes it effective as an accompaniment to a violent chase?
1) Characterised by driving rhythms: 3-4 to start, later 4-4, occasional 5-4 bars
2) Emphasis on first beat by timpani, reinforce sense of terror = bar 1
3) Dissonant harmony creates uncertainty eg viola's A clashes with cello's Bb = bar 1,
beat 2
4) Unusual instruments convey a sense of strangeness of the apes eg boo bams = bar
10
5) Changes in metre creates confusion = bar 10 (5-4), bar 44 (2-4)
6) Continuous semiquavers in piano increase rhythmic drive= bar 11
7) Frequent syncopation = bar 13
8) Cross-rhythms on congas increase rhythmic tension = bar 16
9) Disjunct and chromatic melodic lines = eg bar 38 , moving by leap
10) Complex rhythm = 7tuplet scales/3 crotchets/semiquavers & quaver percussion =
bar 55

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Stravinsky ­ 20th C Neoclassicism
Sinfonia:
No continuo!
Stravinsky took original tonality and `spiced it up' with frequent added note
dissonances = begins in G major, modulates to V early = bar 4
Long sustained notes against foreground music = bars 7-9
Exaggerates ornamentation to make music sound more 18th C in character:
exaggeration of stylistic effects very neoclassical = trills @ bars 7-9
Circle of 5ths = bars 7-9
Loosely imitative wind = bars 6-10
Differing time signatures = bars 10-12
Persistent syncopation =…read more

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