All Set Exam Pieces - Revision Cards

.Released - 1959   Structure: Intro (8 bars long) Head (32 bars long) Improvised Solo Sections (Trumpet,Alto,Tenor Saxophone all 48 bars) Piano (24 bars) Head, Outro    I7 I7 I7 I7 Im7 Im7 I7 I7 V7#9 Vlb7#9 V7#9 I7 I7 Texture: Homophonic   Pitch/ Melody: Modified Blues chords (added sevenths, and an augmented 9th) Harmony/ Tonality: G Major | Modified 12 bar blues Instrumentation: Trumpet | Tenor & Alto Saxophone | Piano | Double Bass | Brushed Snare Rhythm/ Tempo: 6/4 | Rhythm played by Double Bass, Snare & Piano Dynamics: Front line instruments play louder than backing instruments

. Written 1741 Structure: Three main parts | 1st- Prophecies about Jesus' birth, 2nd Persecution of Jesus, 3rd Ressurection | 4 Motifs on lyrics 'And the glory of the Lord' 'Shall be revealed' 'All flesh shall see it together' 'For the mouth of the Lord hath spoken' Texture: Different lyric layers | 4 part-choir SATB | Strings accompaniment | Mainly Homophonic | Sometimes Polyphonic Pitch/ Melody: Syllabic | Sometimes Melismatic Harmony/ Tonality: A Major | Modulates twice to E Major and once to B Major | Major uplifting, joyful Instrumentation: Full Baroque Orchestra | 4 Vocal Parts - SATB Rhythm/ Tempo: 3/4 | Hemiola - Feels as if its in 2/4 | Allegro - fast,waltz Dynamics: Terraced Dynamics - Quick changes from loud to quiet or quiet to loud without gradual crescendo or dimuendo

Structure: Call & Response | Short intro, Main section, Choruses, Bell (last instrument to play) | Texture: Layered | Occasionally heterophonic (balafons) Pitch/ Melody: Repeated | Improvised phrases Harmony/ Tonality: G-flat Major | Emphasis on tonic G-flat & dominant D- flat Instrumentation: Two balafons (different pitches) | Djembe | Talking Drum | Dhoun Dhoun Rhythm/ Tempo: 4/4 | Triplets - Vocal Solo | Drums - Ostinato (Play same rhythm) | Balafons - Play Polyrhythms (independent of eachother) Dynamics: Little variation throughout

Structure:  2 sections - 1st E minor - 2nd G major Texture: Layered | Polyrhythmic- Many rhythms same time Pitch/ Melody: Descending melody line | Short Motifs | Countermelodies Harmony/ Tonality: E- minor | G-Major, Pentatonic Voice (5 pitches) Instrumentation: Wurlitzer Piano, Uillean Pipes, Bazouki (Lute), Violins, Bass Guitar, Guitar, Drum Kit, Whistle, Accordian, Keyboard Rhythm/ Tempo: 6/8 Compound time | Frequent Syncopation | Strong Rhythm  

.Popular in 1990's Structure: Verse - Chors Form   Texture: Homophonic Pitch/ Melody: Moslty Syllabic | Mellismatic on some words |Vocal phrases fall - Feels melancholy | Vocals have an improvised quality - range over 2 octaves Harmony/ Tonality: E minor | Chromatic - Parallel Motion | Dissonant Harmonies in Chorus Instrumentation: Guitars | Bass Guitar | Synthesiser | Strings | Drum Kit Rythm/ Tempo: 4/4 | Compound  - 4 dotted crotchets | Cross Rhythms Dynamics: Drop D Tuning | Falsetto | Use of Technology: Modulation on Synth at start | Distortion + Flanging on guitars | Overdubbing - For thicker sound | EQ - removed lower frequencies of voice

Structure: The 'Alap' - large improvisation, slow, flowing pulse | The 'Jhor' - steady beat, speeds up slightly | The 'Jhala'  - loads faster, improvisations aroudn the melody | The 'Gat' or 'Bandish' - really takes off, tabla comes in, pre-composed| Texture: Homophonic - It has a melody and accompaniment  Pitch/ Melody: Melody is played by the Bansuri & Esraj (kind of like a counter melody) Harmony/ Tonality: Tambura drone normally 'Sa' to 'Pa' - This is a western musical feature moving from the tonic to the dominant however it is used in Indian music in this way on the Rag Desh scale | Bansuri & Esraj improvise with notes from the Rag Desh scale Instrumentation: Tabla (double-drum) | Tambura (plays drone) | Bansuri (normally improvised however has a structured melody in the 'Gat' | Esraj (string instrument with frets) ||| 2nd Version - 'Anoushka Shankar' - Sitar; 2 Tablas; Tambura (drone)  ||||  3rd Version - 'Mewar Re Mira'  Male singer; Sitar; Tambura; Sarangi  Rhythm/ Tempo: 'Alap' - slow, flowing / no clear pulse | 'Jhor' - Steady beat, faster than  Alap | 'Jhala' Lots faster, players improvise around melody | 'Gat'  Tabla plays, pre-composed section, fastest of sections Dynamics: in 'Mewar Re Mira' singer uses trills, portamentos & vibrato

Structure: Sonata Form - Exposition (1-100) Development (101 - 164) Recapitulation (164 - 299) Texture: Homophonic | Some Counterpointing | Octave Doubling | Conversation between woodwinds & Strings Pitch/ Melody: 4 & 8 bar phrases | Sounds like Question and Answer | Ascends & Descends Chromatically Harmony/ Tonality: First subject = G Major | Second subject = B flat Major | Diatonic - based on Major + Minor chords Instrumentation: Classical Orchestra (NO PERCUSSION/ TRUMPETS) | Clarinets added to later version | Strings play all the time | Rhythm/ Tempo: 3/4 | Molto Allegro | Some Dotted Rhythms | Occasional Syncopation | Repeated rhythmic ideas Dynamics: First section = Quiet | Transition between subjects = Loud | Second subject starts quieter then grows louder  

.Written for Jazz guitarist 1987 Structure: 140 bars long | 4 1/2 minutes | 2 canons | Ostinato - Lots of repeated short riffs and patterns | Multitracking - different recordings over one another Texture: Polyphonic | Repeated strummed chords sequence | Loops | Layers | Solo part Pitch/ Melody: Note addition (additive melody) - The riff grows Harmony/ Tonality: Changes between E- minor and C minor | Aeolian mode - 1, 2, 3b, 4, 5, 6b, 7b | 2 modes  - E & C Instrumentation: 7 electric guitars | 2 electric bass guitars (whole piece played by single guitarist) Rhythm/ Tempo: From 3/2 to 12/8 and back to 3/2 | 3 movements at different tempos - bpm -192 bpm - 96  - bpm - 192 Dynamics: Looping

.From the album Play 1999 Structure - .Verse-Chorus Form  - Piano intro, verse starts ( sample played 4 times), Chorus, Verse, 1-bar bridge (pedal-point), Chorus, finishes with verse sample. Texture - Solo piano then vocals then the hip-hop drumbeat, sub bass + synthesized strings are gradually added in. Synth strings play long notes, piano switched to playing rhythmic chords.  Pitch/ Melody: Verse: Am, Am, Em, Em, G, G, D, D, | Chorus: C, C, Am, Am, C, C, Am, Am - then F, F, C, C, F, F, C, C - Basically the 8 bar verse, uses 4 chords that last two bars each.   Harmony/ Tonality: Vocal samples are in A minor (however they are harmonised differently) Instrumentation: Synthesised Organ, Synthesised Strings, Drum Machine, Sub Bass, Sample from Gospel Choir Rhythm/ Tempo: 4/4 - Typical dance beat Dynamics: Background noise from sample left in | Looping | EQ | Ghosting | Reverb | Echo

KEYWORDS: Expressionist Piece! | Klangfarbenmelodie - German for 'Tone Colour Melody' | Inner fears/obsession  Structure: Short 66 bars long | 'Haupstimmer' means Principal Part (Main Idea) | 'Nebenstimmer' Secondary part (neben is german for next) | Bar 37 - use of Hexachord also on the first two bars Texture: Counterpoint | Independent layers| Tremolo - bars 62-63  Pitch/ Melody: Wide Range| Hexachord - 6 pitches | Octave Displacement (or simply 'jumps octaves') | Klangfarbenmelodie | Big leaps in pitch Harmony/ Tonality: Atonal Instrumentation: Huge Orchestra | Lots of Percussion | 3 bassoons same note | Strings at start are divided (divisi) | Trumpets use Bell - This makes the sound louder and brassier | Cello bow is used on cymbal! | 1 solo | Ends with a clarinet against the Hexachord Rhythm/ Tempo: Uses sextuplets - 6 notes that usually fit into the time of 4 | Sehr rasch - german for 'very fast' Dynamics/ Articulation: Extremes | Contrasts | Sudden changes | Moves from pp to fff | Instructions for playing include: heftig (passionate) and ruhiger (calmer) 

KEYWORDS: Cantabile Legato - Singing style | Rubato - used to pull back or speed up (flexible tempo)  Structure: Ternary Form (ABA) Piece finishes with a Coda (Bars 81-89) Texture: Homophonic Pitch/ Melody: Lyrical | Decoration/ Ornamentation through use of Septuplets - a group of seven notes to be performed in the time 4 or 6 ( in this case 4) | Acciacatura - an ornament that's played as quickly as possible before the written noteHarmony/ Tonality: Diatonic Harmonies | Sometimes uses chromaticism | D-flat Major in Section A | Modulates to enharmonic tonic C sharp minor | Sections end in Imperfect Cadence | Piece ends in Perfect Cadence Instrumentation: Solo Piano Rhythm/ Tempo: 4/4 | Rubato - flexible tempo | Repeated quavers (not in Coda - come back when dominant note is played) | Cantabile Legato | Dotted Rhythm in Section ADynamics: Pedal is constantly being used | Piano - p | Crescendos & Dimuendos used (Crescendo to Fortissimo - ff bar 36-39)

KEYWORDS: Tritones  Structure: Solo | Ostinati - lots of repeated short patterns & riffs | Imitation - between instruments Texture: Homophonic - Accompaniment & Melody Pitch/ Melody: Use of Tritones- a.k.a 'the devils chord' - this appears several times, giving the sense that something bad is going to happen Harmony/ Tonality: D-Major | Major key reflects joy and hopefullness | Use of dissonant chords | Male Tenor Singer Instrumentation: Big Orchestra | Lots of Percussion Rhythm/ Tempo: Its in 3/4 but it feels like 6/8 | Cross Rhythms | Accented off-beats 'Could be' and 'Who knows?' - give a feel of anticipation | bpm - 176 Dynamics: Start singing is pianissimo (pp) | Syncopation (why it feels like 6/8)