EDEXCEL GCSE MUSIC SET WORK SUMMARIES … · The words (LIBRETTO) are ... * An emphasis on ELEGANCE and BALANCE (compared with the ‘complex’ polyphonic sound of Baroque music)

G C S E E D E X C E L M U S I C – S E T W O R K S U M M A R I E S S W R A 1

W W W . M U S I C A L C O N T E X T S , C O . U K

EDEXCEL GCSE MUSIC

SET WORK SUMMARIES

REVISION GUIDE



SET WORK SUMMARY

G F Handel: “And the Glory of the Lord” from “Messiah” PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context

George Frideric Handel - born in Germany in 1685 and eventually settled in England

Appointed “Kappellmeister” to the Elector of Hanover who became King George I of England

Handel became the “royal composer” to George I and lived and worked in England

Composed Operas (50), Oratorios (23), Anthems, Chamber and Instrumental Music

Handel’s sight failed him in later years, he died in 1759 and is buried in Westminster Abbey

Related composers – J. S. Bach (1685-1750); Henry Purcell (1659-1695); Vivaldi (1678-1741)

About the Set Work – Placing the Set Work in a Musical Context “And the Glory of the Lord” is from ‘Messiah’ - an ORATORIO – a large-scale, usually narrative musical work for orchestra and voices, typically on a SACRED theme, performed without costume, scenery or acting. Oratorios haves 3 main vocal forms: ARIAS (a solo song which reflects on a mood or emotion), RECITATIVES (a half-spoken/half-sung solo with minimal accompaniment) and CHORUSES (for SATB CHOIR used to “sum up the action of the story”). The words (LIBRETTO) are taken from the Bible and were compiled by CHARLES JENNENS who presented them to Handel to set to music. Handel wrote ‘Messiah’ in 1741 in 24 days (2.5 hours of music!) “Messiah premiered in Dublin in 1741 and was made famous in England following a charity concert at The Foundling Hospital in 1750. ‘Messiah’ is unusual in the fact that although it has solos, the soloists do not assume “characters”. Unlike Italian operas, the words were in ENGLISH and based on a theme familiar to everyone. ‘Messiah’ is an oratorio in 3 parts – part 1: the prophecies and birth of Jesus Christ, part 2: his death and resurrection; part 3 – reflections following the resurrection. “And the Glory of the Lord” is the fourth MOVEMENT within part 1 and is the first CHORUS of the oratorio. The words are taken from the Old Testament book of the prophet Isaiah Chapter 40, verse 5: “And the Glory of the Lord shall be revealed. And all flesh shall see it together. For the mouth of the Lord has spoken it”. Music comes from the BAROQUE PERIOD (c.1600-1750) – features of Baroque Music include * ORNAMENTED and richly ornate melody lines parts (e.g. lots of trills etc.) * MAJOR/MINOR tonalities replaced the older “modes” * Basso CONTINUO (figured bass) played by Harpsichord or Organ and Cellos/Bassoons to “fill in harmonies”

* TERRACED DYNAMICS – one “mood” set or maintained throughout a piece or movement with contrasting loud OR soft sections (no crescendos or diminuendos) * IMITATION – musical copying/Q&A between different melodic lines or parts * HARPSICHORD main keyboard instrument, used as Continuo as well as solo instrument * CHAMBER MUSIC developed as a popular genre * POLYPHONIC TEXTURES often used created by interweaving melodies and parts resulting in thick textures of sound * BAROQUE ORCHESTRA – Violin family replaced Viols and were the main section, Harpsichord Continuo, Trumpets, Horns, Oboes, Bassoons and Timpani

PART 2 – Musical Elements, Instrumentation & Musical Features

Time Signature Tonality The piece begins and ends in

A MAJOR (3#’s) but

MODULATES to the

DOMINANT KEY of E

MAJOR (V) (e.g. bar 38) and

its Dominant - B MAJOR

(V of V) (e.g. bar 73). No

gloomy minor keys here!!

Tempo Handel marked the opening

ALLEGRO (fast) – a lively,

fast dance tempo to match the

joyous mood of the chorus.

He added ADAGIO (slow) at

bar 135 for the last 4 bars.

Dynamics Handel didn’t use any dynamic

markings on his score. Most

editors have added

TERRACED DYNAMIC

markings (contrasting loud

and soft sections) alternating

between mf (mezzo forte)

(e.g. opening), and f (forte).

Pitch (vocal range)

(highest note sung by Sopranos and lowest note sung by

Basses)

Rhythm

“Driving” regular on-beat crotchet rhythms

match “stately” mood. WALKING BASS

LINE mainly in regular crotchets.

Use of HEMIOLA – 2 bars of 3/4 treated as 3

bars of 2/4, used at cadence points for “extra

drive”e.g.

Harmony Mainly DIATONIC HARMONY

(uses mainly chords I, IV, V, II and

VI)

Clear MAJOR harmonies used to

match joyful words.

Uses PERFECT CADENCES (V-I)

during piece with a dramatic pause,

followed by a PLAGAL CADENCE

(IV-I) ending the chorus.

Texture Alternating HOMOPHONIC BLOCK

CHORDAL (e.g. bars 14-17) and

POLYPHONIC sections (e.g. bars 17-32).

Initially, each of the MOTIFS (shown below) is

presented alone before being worked into a

complex POLYPHONIC tapestry of sound.

The orchestral accompaniment “doubles” the

voice parts and the chorus ends with a

CHORDAL HOMOPHONIC coda.

MONOPHONIC TEXTURE (bars 107-110)

Musical Features IMITATION – occurs as the MOTIFS are “passed

between parts”, a form of ‘musical copying’

STRETTO – when different parts make overlapping

entries in IMITATION (e.g. Motif 2 in bar 17 first in

tenors, then basses (bar 19), then sopranos (bar 20))

SEQUENCE – see Motif 2 below

SYLLABIC word setting – one word per note (e.g. Motif

1 & 4)

MELISMATIC word setting – one word spread over

many notes (e.g. “revealed” in Motif 2) Melody and Form & Structure

Chorus is based on 4 contrasting melodic MOTIFS, each relating to a separate line of text then developed in different ways

MOTIF 1 (based on triad of A major, stepwise scale ending & syllabic) MOTIF 2 (two one-bar descending sequences & melismatic word setting)

MOTIF 3 (uses repetition and a descending fourth) MOTIF 4 (notes of long duration repeated at same pitch – tonic PEDAL)

Instrumentation

Written for an SATB CHOIR of four voice parts – SOPRANO, ALTO, TENOR and BASS with orchestral accompaniment. The original accompaniment consisted of STRINGS (1

st and 2

nd VIOLINS, VIOLAS, CELLOS and DOUBLE BASSES) with CONTINUO (HARPSICHORD or

ORGAN with CELLOS and BASSES “doubling” the bass line) and TRUMPETS and TIMPANI. Handel later went on to add parts for OBOES and BASSOONS to double the string and voice parts.



SET WORK SUMMARY

W A Mozart: First Movement from “Symphony No.40 in G minor”, K.550 PART 1 - Placing the Set Work in its Musical, Social and Historical Context


Wolfgang Amadeus Mozart - born 1756 in Salzburg, Austria, later settled in Vienna. Learned to play piano at age 4 and classed as a child “prodigy” encouraged by father (also a musician), toured Europe in concerts. Loved Constanze his wife, father didn’t approve, difficult financial situations, loss of children. Mozart wrote 41 Symphonies, also Operas, Piano Concertos & Sonatas, Chamber Music, Masses and a Requiem. Mozart wrote Symphony No. 40 in G minor in 1788 in the “Classical Style”. Related composers – Haydn (1732-1809); Beethoven (1770-1827); Schubert (1797-1828)

About the Set Work – Placing the Set Work in a Musical Context A SYMPHONY is a large-scale ORCHESTRAL WORK which became popular during the CLASSICAL PERIOD and was intended to be performed in the concert hall. Classical Symphonies had 4 movements, each with a different tempo: Fast (and in SONATA FORM), Slow, Minuet & Trio (triple-time dance-like) and Fast. Mozart used SONATA FORM for the first, second and fourth movements of Symphony No.40. It is written in the CLASSICAL STYLE (c.1750-1820), its main features include: * An emphasis on ELEGANCE and BALANCE (compared with the ‘complex’ polyphonic sound of Baroque music) * Short, WELL-BALANCED MELODIES and CLEAR-CUT QUESTION AND ANSWER PHRASES

* Simple, mainly DIATONIC HARMONIES (with only the occasional use of Chromatic Harmony) * HOMOPHONIC MELODY & ACCOMPANIMENT TEXTURE, but with some use of COUNTERPOINT where two or more melodic ideas are combined. * EXPANSION OF THE ORCHESTRA – disappearance of the Continuo part, Harpsichord fell out of use being replaced by the Piano, invented in 1698 by Cristofori in Italy; increased importance and use of WIND INSTRUMENTS (DOUBLE WOODWIND), including the newly invented CLARINET, although the melody is still mainly in the strings; * CONTRASTING MOODS (unlike Baroque/Handel with one fixed mood) shown by EXPRESSION MARKINGS on the score – cresc, dim, accents, sforzandos, slurs, staccato dots, etc..


Time Signature

4 4

Pitch & Melody Most melodies are made up of REGULAR, BALANCED 4 (or 8) BAR PHRASES that sound like QUESTION AND ANSWERS. Many melodies are SCALIC and have CONJUNCT MOVEMENT (1

st and 2

nd Subjects, the 2

nd

Subject moving CHROMATICALLY). DISJUNCT MOVEMENT is used in the Bridge Passage for contrast.

Melody of 1st Subject is performed by 1

st and 2

nd violins an

OCTAVE APART (OCTAVE DOUBLING)

Tempo

Molto Allegro

(Very Fast)

Dynamics Starts off p (unusual for a Classical Symphony – normally loud and dramatic!), but creates a dark and intense mood from the outset. Lots of dynamic contrasts later, including CRESCENDOS and use of SFORZANDO markings (sfz) and ACCENTS (<).

No Diminuendos used.

Rhythm

SIMPLE RHYTHMS are mainly used (crotchet and quavers of 1

st subject) with

occasional DOTTED RHYTHMS (2nd

subject). There are occasional uses of

SYNCOPATION to create momentum and add interest. The 1

st Subject begins on

the 4th beat of the bar – an UPBEAT or

ANACRUSIS START Texture

Mainly HOMOPHONIC MELODY AND ACCOMPANIMENT TEXTURE (e.g. opening of Exposition with melody in 1

st and 2

nd violins (OCTAVE DOUBLING)

accompanied by violas, cellos and double basses). The Second Subject features a DIALOGUE between woodwind and strings and Mozart uses a “1” in

the Clarinet part (only 1 of the 2 Clarinets plays) varying the texture. The texture becomes more CONTRAPUNTAL in the Development section

where COUNTERPOINT, IMITATION, COUNTER-MELODIES, SEQUENCES AND PEDAL NOTES all provide textural variety.

Harmony & Tonality G MINOR key signature (a key Mozart associated with sadness).

G MINOR used in 1st Subject, Start of Development, Recapitulation and Coda. B FLAT MAJOR (relative major)

used for 2nd

Subject (Exposition) and opening of Codetta (but ends on a D7 chord – “dominant preparation”). During the Development, Mozart begins in the tonic key, then modulates to an UNEXPECTED and

UNRELATED KEY – F# minor, he then modulates to seven different keys using a “CYCLE OF FOURTHS” based on a FALLING SEQUENCE – E min, A min, D min, G min, C maj, F maj, B flat maj. The harmony is

mainly DIATONIC but CHROMATIC CHORDS such as a DIMINISHED SEVENTH and AUGMENTED SIXTH are used in the Development section. PEDAL NOTES used (Cellos and Double Basses in First six bars and in

Development). PERFECT CADENCES and IMPERFECT CADENCES are used. Form & Structure – 1

st Movement from Symphony No.40 in G minor is written in SONATA FORM

Section Bars Keys Used Musical Features

EX

PO

SIT

ION

First

Subject

1-20 G minor Melody played by 1st and 2

nd Violins an OCTAVE APART

(OCTAVE DOUBLING), ANACRUSIS START, p dynamic

marking. Short repeated phrase followed by a descending

DIATONIC G MINOR SCALE. This melody is then

repeated one note lower – DESCENDING SEQUENCE.

Moves mainly by CONJUNCT MOVEMENT and answered by another 4-bar phrase (Q&A) ending with a PERFECT CADENCE. Accompanied

by VIOLAS playing quaver pattern based on G MINOR CHORD (div.) and CELLOS and DOUBLE BASSES playing a TONIC PEDAL for first six

bars. HOMOPHONIC MELODY & ACCOMANIMENT TEXTURE ending with an IMPERFECT CADENCE. Bridge

Passage 20-44 Modulates

to Bb Major Links 1

st and 2

nd Subjects together. Music MODULATES to Bb MAJOR (relative major of G minor). Melody contains more leaps, DISJUNCT

MOVEMENT (contrast to 1st subject)

Second

Subject

44-72 Bb Major Contrasts with 1st Subject in mood and character – different key, uses

CHROMATIC SCALE, giving “lyrical”, relaxed mood. THINNER TEXTURE

making more use of WOODWIND section. Notes are of LONGER

DURATION than the 1st Subject. Alternates between Clarinets and

Bassoons and Strings in a MUSICAL DIALOGUE. Begins on first beat of

bar and made up of two falling phrases, the first ends with an IMPERFECT

CADENCE, the second with a PERFECT CADENCE.

Codetta 73-

100

Bb Major

ending in G

minor

Short, closing section ending with a repeat mark (double dots, double bars) and a D7 CHORD – dominant seventh (V7) of G minor – DOMINANT

PREPARATION. Whole of the Exposition section is now repeated.

DE

VE

LO

P

ME

NT

101-164 G minor, F# minor, E

minor, A minor, D minor, G

minor, C Major, F Major,

Bb Major

Only the 1st Subject is used in the Development Section (NO 2

nd Subject material). The 1

st Subject is transformed and “developed” in different

ways including RAPID MODULATIONS (see Keys Used) avoiding any clear Cadence points, COUNTERPOINT, IMITATION, FRAGMENTING

THE MELODY (using only “snippets”). Musical SEQUENCES are heard again and again (rising and falling) along with the addition of

COUNTER-MELODIES and the use of PEDAL NOTES in the bass.

RE

CA

PIT

UL

AT

ION 1

st Subject,

Bridge Passage,

2nd

Subject 164-260 G minor 1

st Subject in Tonic Key (as in Exposition), Bridge Passage (melody now in bass parts for a time), doesn’t modulate to Bb Major (as in

Exposition), but stays in G minor. 2nd

Subject now heard in Tonic key, G minor.

Coda 260-299 G minor A closing section, ending with a repeated perfect cadence played by full orchestra marked “Tutti”.

Instrumentation The piece is scored for a traditional CLASSICAL CHAMBER ORCHESTRA of around 25 players. The STRINGS continue to form the “backbone” of the Classical Orchestra, often performing the melody, running scales, sustained notes and chords and made up of 1

ST AND 2

ND VIOLINS, VIOLAS (performing from the alto clef and sometimes “div.” (opening) where they divide into two

sections), CELLOS and DOUBLE BASSES performing the same notes as the Cellos, but sounding an octave lower. The DOUBLE WOODWIND section of the Classical Orchestra consisted of 2 FLUTES, 2 OBOES, 2 CLARINETS and 2 BASSOONS. Mozart only uses ONE FLUTE here and the Clarinet parts were added at a later date, following Mozart’s love of the newly-developed

instrument. Mozart uses a “1” on the Clarinet part score to indicate a part where only one of the two clarinets plays, varying the texture. The Woodwind do not play as much as the strings, having more sustained notes and not as many fast, scale runs. They share the start of the second subject with the strings. Only 2 “NATURAL” HORNS (in different keys) are used in Brass Section – the

parts written on two separate staves, one in the key of Bb (Bb, D, F and C notes), one in the key of G (G, B, D and F notes) – used to maximise the number of pitches. Even though the Classical

orchestra commonly used trumpets and timpani, Mozart does not use them in this piece.



SET WORK SUMMARY

Prelude No.15 in D flat major Op.28 - Chopin PART 1 - Placing the Set Work in its Musical, Social and Historical Context


Frédéric François Chopin - born in Poland in 1810; died in Paris 1849

Virtuoso pianist; Most of his compositions are for solo piano; Left Warsaw and settled in Paris

Related composers – Beethoven (1770-1827); Rossini (1792-1868); Tchaikovsky (1840-1893); Berlioz

(1803-1869); Franz Liszt (1811-1886)

About the Set Work – Placing the Set Work in a Musical Context Known as “Raindrop” prelude from a set of solo “stand alone” piano pieces called “Preludes”, each in a different major or minor key composed between 1835 -1838. Each prelude is meant to depict a specific idea or emotion. The Preludes (24 in total) are arranged so that the major keys for a circle of 5ths, each of which is followed by its relative minor key – C major, A minor, G major, E minor, D major, B minor etc. Preludes vary in length – shortest only 13 bars long, while the longest runs to 90 bars, “Raindrop” in 89 bars long. The “Raindrop” prelude was written during Chopin’s period of recuperation at the deserted monastery in Valldemossa, Majorca. The piece was written during a storm and the title relates to the dripping of raindrops from the roof of the monastery.

Music comes from the ROMANTIC PERIOD (c.1820-1900) – features of Romantic music include

• A freedom in form and design; a more intense personal expression of emotion in which fantasy, imagination and a quest for adventure

play an important part.

• Emphasis on lyrical, songlike melodies; adventurous modulation; richer harmonies , often chromatic, with striking use of discords. • Denser, weightier textures with bold dramatic contrasts, exploring a wider range of pitch, dynamics and tone-colours. • Expansion of the orchestra, sometimes to gigantic proportions; the invention of the valve system leads to development of the brass

section whose weight and power often dominate the texture. • Rich variety of types of piece, ranging from songs and fairly short piano pieces to huge musical canvasses with lengthy time-span

structures with spectacular, dramatic, and dynamic climaxes. • Closer links with other arts lead to a keener interest in program music (programme symphony, symphonic poem, concert overture). • Shape and unity brought to lengthy works by use of recurring themes (sometimes transformed/developed): idée fixe (Berlioz), thematic

transformations (Liszt), leading motive (Wagner), motto theme. • Greater technical virtuosity – especially from pianists and violinists.

• Nationalism: reaction against German influences by composers of other countries (especially Russia, Bohemia, Norway).


Time Signature

or

Tonality

D flat major

Tempo Use of RUBATO (pull

back or speed up the

tempo to show

expression)

Dynamics

Wider range in

Section B

Pitch

Keyboard range is moderate and

keeps to the stave with a few ledger

line notes. The top note is B flat.

Lower pitch is used in Section B.

Rhythm

Distinctive “A” Rhythm

Texture

Mainly HOMOPHONIC –

melody and Accompaniment

Section B – Thick, Chordal

almost chorale-like movement

Musical Features

Careful expressive use of pedals particularly the sustaining

pedal; SOSTENUTO – sustained

ACCIACATURA – “crushing note” – melodic decoration

PEDAL NOTE – A flat (enharmonic G#)

Harmony/Melody and Form & Structure - TERNARY FORM

Section Harmony/Key Themes

A (Bars 1 – 27) “Falling” motif to represent sadness

“Elegiac” melody in Right Hand

D flat major

B (Bars 28 – 75)

Mood – Dark and Stormy – melody

in Left-hand bass of piano

C# minor (tonic minor)

A (Bars 75 – 81)

SMORZANDO – Dying away

D flat major

Codetta (Bars 81 – 89) D flat major Ends pianissimo with perfect cadence

Instrumentation – Solo Piano



SET WORK SUMMARY

Peripetie from Five Orchestral Pieces, Op.16 - Schoenberg PART 1 - Placing the Set Work in its Musical, Social and Historical Context


Arnold Schoenberg – Austrian, born Vienna in 1874; died 1951

Painter as well as a composer – composed and painted in Expressionist style.

Created the “twelve-note system” or serialism – new compositional technique

Related composers – Alban Berg (1885-1935); Anton Webern (1883-1945)

About the Set Work – Placing the Set Work in a Musical Context

The term Expressionism was originally borrowed from visual art and literature. Artists created vivid

pictures, distorting colours and shapes to make unrealistic images that suggested strong emotions. Expressionist composers poured intense emotional expression into their music exploring their

subconscious mind. Expressionist music often features: A high level of dissonance; Extreme contrasts of dynamics; Constantly changing textures; ‘Distorted’ melodies and harmonies; Angular melodies with wide leaps Music comes from the TWENTIETH CENTURY (c1900-1999) – features of 20

th century music include

• Melody – likely to include wide leaps, using chromatic and dissonant intervals, angular and spiky, short and fragmentary, glissandi, melodies based on note rows

• Harmony – extreme dissonances, more discords, note-clusters, hexachords • Rhythm – vigorous and dynamic, syncopation, irregular metres, changes of metre,

polyrhythms, ostinato, motor rhythms • Timbre – greater concern with tone-colour, strange, intriguing, exotic, striking, explosive,

contrasting; expansion of percussion section and emphasis on percussive sounds, unfamiliar sounds from familiar instruments, extreme pitch-ranges, instruments being played in different ways, new sounds such as those involving electronic and magnetic tape.


Form & Structure – Free RONDO – A B A1 C A2

Tempo & Rhythm Instrumentation &

Texture

Pitch & Melody Harmony & Dynamics

A sehr rash (very quick)

contains mostly triplets,

sextuplets and

demisemiquavers

Full Orchestra

Homophonic & Solo Sections

Use of MUTED brass for timbre

effects

Opens with motif played by

Flutes, Clarinets and Bassoons

Then a chromatic scale by

MUTED trumpets and

Trombone GLISSANDO

Instruments play “as families”

Opening Motifs:

Motifs based on

HEXACHORDS

Dissonant Harmony

(use of the interval of a 7th)

Sudden loud bursts

Ranges from fff to pp

B Uses different rhythms which

overlap

Very THICK TEXTURE in

percussion and woodwind

Starts off VERY SOFT

A1 Variation of A

Return of a HEXACHORD on

the Horns

Dissonant Harmony and

extreme dynamic range

C Alternates between ruhiger

(calmer) & heftig (passionate) Sparse texture – with solo

instruments overlapping

Bassoon tune, taken over by

the cello & double bass range from pp-fff. A few Loud

semi quaver passages

A2 Another Variation of A

Speeds up with use of triplet

motifs.

Builds up from clarinets &

strings to the full orchestra

(tutto) . Double bass play

TREMOLO chord in very high

register.

Motifs are piled up on top of

each other and are played in

COUNTERPOINT and CANON

crescendos very quickly from

pp to fff dissonant chords &

immediately dies away to finish

with a pp chord

Instrumentation – Five Orchestral Pieces is written for a very large orchestra using some unusual instruments. There are

three flutes, oboes, clarinets and bassoons (instead of the normal pairs) plus piccolo, cor anglais, clarinet in D, bass clarinet and contrabassoon. There are extra horns, trumpets and trombones plus a tuba. The percussion section includes xylophone, cymbals, tam tam (a large gong) and bass drum. Instruments often play at the extreme of their registers. There are many performance directions in the score. Schoenberg was looking for very specific tone colours or timbres.



SET WORK SUMMARY

“Something’s Coming” from West Side Story PART 1 - Placing the Set Work in its Musical, Social and Historical Context


Leonard Bernstein – 1918 -1990 - “the godfather of the modern musical!”

Born in 1918 in Massachusetts. At 10 his aunt gave him a piano and his teacher couldn’t keep up

with him! His family were from the Ukraine and his dad didn’t want Leonard to study music. He

went to Harvard and met Aaron Copland who encourages him to be a conductor. Bernstein was

a conductor, broadcaster, pianist and composer. He was in demand as a conductor and was the

conductor of the New York Philharmonic Orchestra. He excelled in two principal forms – the ballet

and the musical.


Lyrics written by Stephen Sondheim who also wrote musicals of his own later on

Mirrors the plot of Shakespeare’s “Romeo and Juliet”

Based on a love story set in New York in the 1950’s gang culture – “turf wars” and the threat of

them creating tension in the musical from the beginning. The dark theme rooted in violence

and tragedy, the use of long, extended dance scenes to convey the drama, the mix of jazz and

classical music and the focus on social problems and tensions in contemporary America are

key features of West Side Story.

2 acts with dialogue between songs – lots of dance scenes

“Something’s Coming” is a solo character song sung by Tony early on in the story before he

meets Maria at the dance

“Something’s Coming” is an example of a song from a STAGE MUSICAL – features of musicals

include:

Types of songs – solo character, duets, action songs, chorus numbers

“Singable” melodies – use of memorable hooks and traditional verse, chorus, middle 8 structures

Musicals written in popular music style influenced by jazz and later rock music

Use of songs, dance and dialogue to tell stories – some musicals made into fims and some films

adapted to musicals; some musicals based on novels e.g. Oliver.


Time Signature Written in 3/4 but has

CROSS-RHYTHMS

and sounds like it is in

6/8

Tonality D Major

“Happy” key to reflect

the happy mood of the

song

Tempo

Fast 176bpm! “one in a bar” feel

Dynamics Tony starts singing pp

– breathless and

excited, half-

whispering, impatient

Pitch & Melody Contains lots of little ideas – SHORT

RIFFS

Combination of short phrases and long

sustained notes

Rhythm Lots of SYNCOPATION

Uses lots of rhythmic OSTINATI especially in the

orchestra

CROSS-RHYTHMS working “against” each other

PUSH-RHYTHMS anticipate the beat

Accented OFF-BEATS

Harmony Use of the TRITONE (devil in music!) – Augmented 4

th - to

create tension and something bas is about to happen

despite the love story. Gives edgy, unpredictable feeling

JAZZ HARMONY – ordinary chords have added “BLUE

NOTES”

Texture The song has lots of

different layers in the

exciting way the music

has been arranged for

instruments

Form & Structure – not a typical verse-chorus structure

Intro

Bars 1-3

Uses 3-beat Ostinato to

set breathy and excited

mood. Jazz Harmonies,

Syncopated Rhythm &

Tritone

Section A

Bars 4-39 Starts off quietly with

Tony’s thoughts –

“Could be”, “Who

Knows?”, 3-beat

ostinato continues with

push rhythms. Then

fast, loud recitative-like

section with word

painting–

“cannonballing”

Section B

Bars 40-105 More “on beat” rhythm

giving strength to lyrics.

Change of time to 2/4

creates feeling of drive.

Syncopated rhythms,

blue notes, riffs,

Section B1

Bars 106-140 Shortened version of

Section B.

Section A1

Bars 141-157 Feels like a return to the

beginning, back to 3/4

time, orchestral riff and

Tony’s hopeful

questions – “Maybe

Tonight” base on the

tritone. Riff starts to

fade under the held

note (sempre dim.)

Outro

Bar 158 – fade out Simple "ad lib fade” bar

taking us into the music

for a change of scene

(instrumental)

Instrumentation – solo singer (male tenor) and large orchestra with added instruments Bernstein orchestrated the music himself and called for a large orchestra including five woodwind players, two horns, three trumpets, two

trombones, seven violins, four cellos and two double basses. In addition, he used a drum-kit, two other percussionists, piano, electric and acoustic

guitars, saxophones, a mandolin and celeste. Uses Latin-American instruments – castanets and maracas to reflect the Puerto Rican gang



SET WORK SUMMARY

3rd

Movement (Fast) from Electric Counterpoint - Reich PART 1 - Placing the Set Work in its Musical, Social and Historical Context


Steve Reich – born in New York (1936 – present)

Started playing piano when he was young and drums when he was 14.

His music is influenced by Jazz, Gamelan and African Music

A key minimalist composer, he likes TONAL music (as opposed to Serialism which is Atonal)

Other famous works include “Different Trains”; “Clapping Music” (a phase shifting piece) and

various “taped” music using recorded samples of everyday sounds and looping them to create a

constant repeated pattern (New York Counterpoint)

Related composers – La Monte Young; Terry Riley; Philip Glass; Michael Nyman


Electric Counterpoint was written for the jazz guitarist Pat Metheny. Metheny would record all the parts himself (12 guitars and 2 bass guitars). He would then play the recording (called a ‘backing track’ and would play the “live” part over the top. The piece uses tape loops where each part is pre-recorded onto a tape loop to allow overdubbing (recording over the top). The movements within Electric Counterpoint don’t have titles, just tempo markings. The third movement (fast) is 140 bars long and lasts four and a half minutes. Music is an example of MINIMALISM (developed in 1960’s & 1970’s) – features of minimalist music

include: • Builds music out of loops – constantly repeated patterns – short and simple; lack of a clear melody • Harmonies made by layering patterns on top of each other – gradually unfolding over a long period

of time • A reduced style e.g. little dynamic contrast, constant tempo • Repetition – ideas repeated several times gradually changing – gives the music a hypnotic quality • MINIMALIST TECHNIQUES – Phasing, Additive Melody, Metamorphosis, Layering, Drones,

Ostinati/Loops, Note addition, Note Subtraction, Rhythmic Displacement, Augmentation, Diminution, Static Harmony

• Use of Music Technology – old tapes cut and pasted together, multi-track recording to layer sounds, live performances

often use recorded backing tracks to build up the layers


Time Signature

to to

Tonality & Harmony

Reich uses TONAL AMBIGUITY – keeps

the listening guessing as to what key the

piece is in. The bass guitars confirm E

minor when they enter, but actually in the

AEOLIAN MODE

Changes to C minor in “B” Section for

contrast.

Piece finishes on an E5 chord giving an

“open” and “sparse” sound

Dynamics

Not many changes in dynamics – mainly

in solo part fading in and out.

Four ensemble parts playing the first riff

remain mf all the time. Other parts have

dim. finishing with a crescendo to ff for

the solo part at the end.

Pitch &

Melody

Guitar 3 uses

ADDITIVE

MELODY where 2

or 3 notes keep

being added until

the whole riff is

heard.

Rhythm & Tempo

Made up of rhythmic

LAYERED OSTINATI

which are PHASE

SHIFTED and

DISPLACED.

Constant tempo

throughout.

Texture

A multi-layered texture is achieved by each track being “multi-tracked” to allow live performance over

the top

Made up of short patterns/riffs/motifs/ostinati that are repeated. It’s repetitive making it sound hypnotic

Four of the ensemble parts play the same riff throughout the piece. Others join in one by one.

Once all the parts have been introduced, the texture remains fairly constant but with use of PANNING

(bass guitars are panned one to the left and one to the right) and INTERVIEWING RHYTHMS, the

texture always seems to be shifting.

Form & Structure

The piece is divided into TWO main sections (A) and (B) with a CODA. The main sections are then subdivided into four smaller

sections, each of which is defined by changes of key and texture. Instrumentation - 7 electric and 2 bass guitars

The guitar parts enter in the following order: 1. Guitar 1; 2. Live Guitar; 3. Guitar 2; 4. Guitar 3; 5. Guitar 4 6. Bass Guitars 1 and 2;

7. Guitar 5; 8. Guitar 6; 9. Guitar 7



SET WORK SUMMARY

“All Blues” by Miles Davis PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context Miles Davis, born in Illinois in 1926 to a wealthy family, began learning the trumpet Davis performed in a number of bands before forming his own ensemble in 1948 Davis looked for a new way of playing jazz, feeling there was more to be found in the music than the “quest for speed” forming his first album “The Birth of the Cool”, which had a more “laid back” jazz sound. “All Blues” is taken from the album “Kind of Blue”, recorded in three 3-hour sessions in New York 1959, where Davis assembled an ensemble of some of the top jazz musicians of the time (see “instrumentation” in part 2 below)

About the Set Work – Placing the Set Work in a Musical Context Jazz began as the coming together of many musical styles and cultures in the late 19

th and early 20

th

century in New Orleans. African-Americans brought their rhythmic pentatonic work songs they developed while in slavery (the Blues). Singers would sing about their poor situation in life in songs giving the music its title. Blues would include CALL AND RESPONSE, IMPROVISATION and STRONG RHYTHMIC CONTENT. The fusion of African pentatonic scales and the seven-note

Western scale produced the blues scale – with its characteristic “bending” of notes Popular types of jazz include – RAGTIME, SWING played by BIG BANDS in the 1920’s, NEW ORLEANS JAZZ – one of the first recognised jazz style originating in New Orleans and BEBOP – a

jazz style requiring virtuosic technique including fast tempo and complex harmonies “All Blues” is an example of MODAL JAZZ – features of modal jazz include:

The soloist is freed from the more “restrictive” former types of jazz where they had to “stick to the chords” and now use a scale or MODE to use, more of less ignoring the chords underneath - this led to a longer, freer improvisations. Modal jazz songs and numbers are significantly LONGER than the shorter songs of bebop and cool jazz allowing for EXTENDING SOLOING.


Time Signature

Marked

“Jazz Waltz”

Tonality All Blues is an example of MODAL

JAZZ – this means that rather than

relying on complicated chord patterns

the harmony focuses on a MODE or

scale and the improvised solos are

freer. Davis improvises on the G

MIXOLYDIAN MODE

Texture The texture is made up of RIFFS – a

short rhythmic ostinato common in

jazz. 3 riffs are used in “All Blues” –

the first (G D ED F DED) is on the

double bass, the second where the

alto and tenor sax play in thirds (D/B,

E/C, F/D, E/C)

Pitch & Melody The main melody (HEAD) and the

solos are all played over the 12-bar

blues chord sequence (the

CHANGES) based on the notes of a

MODE. The improvisations are

ORNAMENTED and combine riffs

together.

Dynamics The dynamics of “All

Blues” is mainly p

throughout although

there is a diminuendo

in the final “Head 4”

Rhythm The RHYTHM SECTION provides the

harmony and rhythmic background –

drums, bass and piano. This section

provides the COMPING – or

accompanying – playing the

background chords and rhythms

Instrumentation FRONTLINE - Trumpet (Miles Davis),

Alto Sax (Julian ‘Cannonball

Adderley), Tenor Sax (John Coltrane),

RHYTHM - Piano (Bill Evans), Bass

(Paul Chambers) & Drums (Jimmy

Cobb)

Tempo Tempo of crotchet = 156. Although

this may seem rather fast, the bar

feels like it is split into two slow beats

(two dotted minims), so it feels like a

laid back tempo of Dotted minim =

152.

Harmony “All Blues” is based around a REPEATED 12-BAR BLUES CHORD SEQUENCE

(the CHANGES) with a FOUR-BAR LINKING RIFF between each section. The 12-

bar blues chord sequences is based on the following chords where each box

represents one bar. Adding extra notes to a chord (as in bars 9 and 10 above) is known as EXTENDING or ALTERING a chord – a feature used a

lot in jazz The structure of “All Blues” is based on the repeated 12-bar blues chord sequence, which is repeated 19 times in total!

G7 G7 G7 G7

C7 C7 G7 G7

D7#9 Eb7#9/D7#9 G7 G7

Form & Structure INTRO – drums (played with brushes), bass riff, piano trill then alto and tenor sax riff in thirds

HEAD – this is where the original tune or melody is played – melody played on muted trumpet with a simple motif mainly stepwise movement

LINK SECTION – 4 bars between repetitions of the 12-bar blues chord sequence – breaks up the repetitions and provides contrast

HEAD 2 – same as the first time on muted trumpet but melody is slightly developed. LINK SECTION – ride cymbal added by the drums

IMPROVISED SOLO – first solo performed by Miles Davis, mute now removed from trumpet. Uses 4 repetitions of the 12-bar blues sequence (no

links) and uses the G Mixolydian mode to improvise. Ride cymbal now very prominent in the rhythm section. LINK SECTION –

IMPROVISED SOLO – Adderly on also sax, uses 4-repetitions of the 12-bar blues sequence, very chromatic and technical - LINK SECTION –

IMPROVISED SOLO – Coltraine on tenor sax, uses 4-repetitions of the 12-bar blues sequence, virtuosic playing. LINK SECTION –

IMPROVISED SOLO – Evans on piano, continues COMPING in left hand, uses 2-repetitions of the 12-bar blues chord sequence, right hand plays a

melody line like frontline instruments. LINK SECTION – alto and tenor sax play riff in thirds

HEAD 3 – same as Head 1, trumpet muted again LINK SECTION – alto and tenor sax play riff in thirds, trill returns in piano part

HEAD 4 – melody now developed with a more “minor” feel LINK SECTION – drums back down contributing to a diminuendo

OUTRO – Davis plays a short solo on the tonic note G over the sax riff and piano trill before the song fades out



SET WORK SUMMARY

“Grace” from the album ‘Grace’ – Jeff Buckley PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context 1966-1997 – American singer-songwriter, son of Tim Buckley, a jazz-folk musician who died in 1975, Buckley drowned during an evening swim in the Wolf River in 1997. Jeff formed his first covers band in 1982 and was interested in a wide variety of musical styles before developing his love of the guitar. The guitarist Gary Lucas was looking for a singer and recruited Buckley to his band who he worked collaboratively with, including writing the song “Grace” together, until they parted company Buckley’s first number 1 came posthumously in 2008 with “Hallelujah” (also used on the film “Shreck”)

About the Set Work – Placing the Set Work in a Musical Context “Grace” is the first and only complete studio album by Jeff Buckley released on 23 August 1994

The performers on “Grace” are – Jeff Buckley: guitar, vocals; Matt Johnson: drums, Mick Grondahl: bass; Gary Lucas: guitar

The lyrics are said to be based on a dream Buckley had about a girl crying on her boyfriend’s arm at an airport, not wanting him to leave, but they are also clearly about death. Buckley was fascinated with the subject of mortality, probably because of the early death of his father

“Grace” is an example of “Guitar-based” track – features of guitar-based tracks include:

An emphasis on guitar textures based on SOUNDSCAPES rather than riffs or technical

showcases

The main chord sequence of “Grace” is a POWER CHORD slid across three FRETS of the guitar

but played in different ways in each section with different textures.

Moving the same chord shape up and down the FRETBOARD and using one or more OPEN STRINGS as a DRONE

gives a harmonic richness to the sound. The bottom string of the guitar has been tuned down from E to D (drop-D tuning)

Various EFFECTS are used on electric and acoustic guitars throughout the song – whisper (saved for places where they can be heard, adding an eerie effect to the song, emphasising the lyrics), reverb, slides, delay, “mandolin” effect (link section) scoops on the tremolo arm, hitting the “deadened” acoustic guitar strings (end of middle 8), hitting the body of the acoustic guitar (end of middle 8) and flange (bringing out the open, droning, discordant notes)


Time Signature

Tonality The key is not clear from the first

three chords (Fm, Gm, Em) but

arrives in D MAJOR at the end of the

introduction and end of the link

sections. The verse, pre-chorus and

chorus have a MODAL tonality with a

tonic of E.

Rhythm The rhythm of the intro is highlighted

by the acoustic guitar and Hi-HAT

cymbal “driving “ the song forward

During the verse more emphasis is

placed on the TOMS of the drum kit. A

DRUM ROLL leads into the Middle 8

section. Cymbals used more

prominently in verse 3.

The unifying rhythm of the song is a

solid ROCK BEAT

Pitch & Melody The vocal melody in the verse has a

limited pitch range, becoming higher

in the pre-chorus and chorus. A

“whispering” backing vocal adds

variety to the melody in the chorus.

TELEPHONE EQ EFFECT added to

vocal melody in Middle 8 giving a

harsh and distant effect.

Verse 3 sees the pitch of the vocal

melody becoming HIGHER and

extremely HIGH PITCH VOCAL

IMPROVISATIONS in the outro using

MELISMA and FALSETTO.

Tempo 64 bpm = dotted

crotchet

Maintains consistent

tempo throughout

Dynamics The song starts p but has a f chord in

the intro.

The WHISPER effect on the Electric

Guitar uses dynamics picking the

note with the volume turned down

and then turning it up quickly

Texture Parts drop out from time to time to let me music breathe and

provide TEXTURAL CONTRAST. The texture in the verse

becomes thinner with the high electric guitar RIFF dropping out.

BACKING VOCALS (subtle) and STRINGS (for effect) enter in

the chorus adding to the texture. Strings play PIZZICATO in

pre-chorus 2.

Thick POLYPHONIC texture in Middle 8 – multi-track vocal

harmonies in COUNTERPOINT. Thick texture in Verse 3 and

outro as strings come to the fore.

Harmony The bass guitar provides a PEDAL note “D” upon which harmonies and chords

are constructed (Intro).

During the verse the electric guitar plays POWER CHORDS – the bass follows

the root of the power chord, the harmonies are MODAL with E as the tonic note

– Em, Em/F5, Em/Eb5.

The pre-chorus uses more complex chords – Em, F#dim, G6, A6, Bm, A6/9, Em

The chorus uses chords– Em/F5, Em,Eb5 - still based on the tonic E.

Complex harmonies in Middle 8 – “hummed” vocals with long sustained notes

on strings

Form & Structure

INTRO VERSE 1 PRE-CHORUS 1 CHORUS LINK VERSE 2

PRE-CHORUS 2 CHORUS MIDDLE 8 LINK VERSE 3 OUTRO

Instrumentation Main Instruments - Drum kit, Bass Guitar, Three Electric Guitars, Acoustic Guitar, Lead Vocal

Additional Instruments - Backing Vocals and Strings – used for effects or to raise tension by adding to the texture



SET WORK SUMMARY

“Why does my Heart Feel so Bad?” from the album ‘Play’ – Moby PART 1 - Placing the Set Work in its Musical, Social and Historical Context

About the Composer – Placing the Set Work in a Social and Historical Context Moby (Richard Melville Hall) was born in 1965 in Harlem, New York and is an American DJ, singer-songwriter and musician. He plays keyboard, guitar, bass guitar and drums. Moby is a deeply religious man whose music & business dealings are strongly rooted to his moral, ethical, environmental and spiritual beliefs. He is both a vegan and a Christian. His music is influences by a range of styles – Blues, Classical, Gospel, Punk, Ambient, Hip-Hop, Techno

After 8 Top 40 singles in the UK during the 1990’s, Moby released the album “Play” (his sixth studio album), in 1999 from which the single “Why does my Heart Feel so Bad?” was also released in 1999.

About the Set Work – Placing the Set Work in a Musical Context The song is built around 2 VOCAL SAMPLES taken from a GOSPEL RECORDING of

1953. Moby wanted his music to have a “raw, authentic” sound, so he deliberately left the background noise on the vocal samples untouched (including echo’s and traffic noises in the background). Although his music relies on technology, he aimed for a human element which he felt the background noise gave it.

The song was popular (and continues to be so) due to its use of interesting samples, catchy chord sequence and melodies, its easy to dance too and well-structured

“Why does my Heart feel so bad?” is an example of ELECTRONICA – features of ELECTRONICA include:

Roots in CLUB DANCE MUSIC performed by night club DJ’s. There are a wide variety of

sub-genres of club dance music – dub, scratching, Chicago house, Garage and Electronica (a popular sub-genre in the late 1990’s)

SAMPLING and SEQUENCING electronic instruments

Simple harmonies – “Why does my Heart feel so bad?” is based on only 6 chords – selected because of the emotional response they would provoke from the listener.

Use of MUSICAL EFFECTS – Moby uses REVERB, DELAY and EQUALISATION (EQ). Also the placement of sound within the stereo field using left and right hand speakers (PANNING).


Time

Signature

Tonality Both vocal samples are in the key of A minor

but Moby harmonises the first to make it feel

like A minor and the second to make it feel

like C major.

The intro and verse begin in A minor, though

the tonality is slightly more ambiguous in the

chorus where the common notes of the

chords hint at C major before MODULATING

to C major during Chord Sequence 3.

Rhythm “Hip-Hop” drum LOOP

used throughout, also

called a BACKBEAT

The piano

accompaniment

(although sometimes

“static”) changes to a

SYNCOPATED

RHYTHM in verse 1

Dynamics The dynamics of

the song begin

p and increase

in relation to the

texture

throughout the

song.

Pitch & Melody The PIANO provides an

ACCOMPANIMENT to the

vocal sample with a synthesiser

pad doubling some of the piano

notes, but also takes on the role

of the melody in places.

There are elements of CALL

AND RESPONSE between the

piano and vocal sample.

Tempo consistent

throughout at 98

bpm

Texture The texture of the song varies – instruments come in and drop out to provide TEXTURAL

CONTRAST all based around the different chord sequences.

Synthesised bass and string parts are added in verse 2 to fill out the texture with long,

sustained chords in the mid to thigh pitch range.

The texture in the outro is reduced to just vocal sample 1 accompanied by synth pad playing

STATIC CHORDS.

“Echo’s” and “Shouts” are added in the Chorus and a TELEPHONE VOICE EQ applied to

the echo in verse 2.

A complete TEXTURAL CONTRAST is achieved in the BREAK, where all that can be heard

are the dying repeats of the DELAY EFFECT on the EQed vocal echo, a quiet delay repeat

of the snare (from the drum LOOP) and the tailing off of the REVERB applied to other parts.

Harmony The harmony of this song is based around three

CHORD SEQUENCES all made up of only 6 chords

showing a LIMITED HARMONIC RANGE.

Chord Sequence 1 – Am, Am, Em, Em, G, G, D, D

Chord Sequence 2 - C, C, Am, Am C,C, Am, Am

Chord Sequence 3 – F, F, C, C, F, F, C, C

Sus2 and Sus4 chords are also used replacing the

third of the chord with the 2nd

or 4th giving a richer

harmonic sound.

Form & Structure (also showing which chord sequence each section is based on – see “Harmony” above)

INTRO Chord Seq. 1

VERSE 1 Chord Seq. 1 x 4

CHORUS Chord Seq. 2 + 3

VERSE 2 Chord Seq. 1 x 2

BREAK (one single bar)

CHORUS Chord Seq.2, 3, 3

OUTRO Chord Seq. 1

Instrumentation/Equipment

Yamaha SPX990 Multi-effects unit (to apply reverb and delay to tracks); Roland TR909 drum machine (sound source for drum loops), Emu

Pfoformance piano sound module (piano sound source (there are two piano sounds on the track, one from an old Yamaha synth and another

from the Emu); Roland Juno 106 (synth bass sounds); Yamaha SY22 and SY85 Synthesisers (string/synth pad sounds); Akai S3200 sampler

(sampling the vocal sounds off the original record and any subsequent editing)



SET WORK SUMMARY

Skye Waulking Song from the album Nàdurra - Capercaillie PART 1 - Placing the Set Work in its Musical, Social and Historical Context

“Waulking” is an ancient Scottish process used for making tweed fabric more flexible and windproof. A “Waulking” song refers to a song used to make this process into a more sociable occasion. To keep everyone IN TIME, the work was accompanied by song. There would be one person leading with lyrics, based on a well-known story and others would join in after each line with some NONSENSE SYLLABLES, called VOCABLES. It was considered unlucky to repeat a whole verse, so the songs often had many

verses. Technology has now replaced the need of manual “Waulking” by the hands or feet, but the tradition still continues in some parts of Scotland and “Walking songs” are still sung by these societies and collections of “Waulking” songs have been produced in notation and recordings.

About the Set Work – Placing the Set Work in a Musical Context Capercaillie were formed in the early 1980’s by Donald Shaw and a few friends. Singer, Karen Matheson joined the band in 1984. The band preserve Scottish Folk Music often singing in SCOTS GAELIC dialect. “Skye Waulking Song” - taken from the album “Nadurra” released in September 2000. The band is made of up 7 members, each with their INDIVIDUAL VIRTUOSITY on their own instruments

and their ability to blend together so well in an ensemble The song lyrics tell the tale of Seathan, son of the King of Ireland. The original song (nearly 200 lines long) was a LAMENT sung by Seathan’s wife, telling of his deeds and recollections and is a way of

grieving and sharing her feelings of loss. Only a few lines are used in this set work interspersed with VOCABLES (nonsense syllables like “Fa-la-la”) in a CALL AND RESPONSE pattern.

The full title for the song, as recorded by Capercaillie, is 'Chuir M'Athair Mise Dhan Taigh Charraideach' (My father sent me to a house of sorrow). “Skye Waulking Song” is an example of FUSION FOLK MUSIC – features of FOLK MUSIC include:

“Music of the People” – performed by lower classes of a society expressing something about their way of life, how they used to live, or about local mythology Passed on by the ORAL TRADITION and rarely notated, often performed at INFORMAL occasions such

as jam sessions at pubs of social gatherings. Folk Music is about everyone taking part, enjoying the music and passing on tales of life, legend and heritage. Folk Music also popular in the US where BOB DYLAN wrote songs in a folk style but with political lyrics – PROTEST SONGS Folk Music is traditionally played on ACOUSTIC INSTRUMENTS – accordion, bagpipes, banjo, bodhran,

bouzouki, concertina, double bass, fiddle, guitar, harmonica, hurdy-gurdy, mandolin, piano, tin/penny whistle, uileann pipes. Electric Instruments such as the bass, keyboard and electric guitar have been used in folk music but some purists feel this isn’t traditional. FUSION is a combining of more than one musical style or culture. Capercaillie are an example of a band that FUSE CELTIC FOLK MUSIC with the instruments and production values of WESTERN POPULAR MUSIC


Time Signature

Harmony The harmony is very SIMPLE using only

FOUR CHORDS in the whole song. The

changes in CHORD SEQUENCE highlight

a change of section or mood.

The intro established the chord sequence

Em-G

This changes to C-G-Em-G in Verse 4

adding some harmonic interest

In verse 7, the chord sequence changes to

Am7-Em-Em-G for one verse only

returning to C-G-Em-C in verse 8 and

alternating C-G chords in the outro

Rhythm The shaker and hi-hat

play every two beats

giving the rhythm a

TRIPLE feel.

The vocal part has a

characteristic LILTING

rhythm

The second and fifth

beats of the bar are

emphasised by the

accordion in the

instrumental section

Dynamics The dynamics

build with the

texture of the

song, dropping

considerably in

verse 7 leaving

room for the

intimate vocal

sounds

A long FADE

OUT brings the

song to an end

Pitch & Melody Melodic lines are

played in the FOLK

STYLE – instruments

IMPROVISE AROUND

A MELODY

The “Waulking” song

tradition can be heard

in the use of

VOCABLES between

each sung line and the

repetition of each line of

verse

Tempo Slow and calm

Tonality The vocal part is sung using

the scale of E MINOR

PENTATONIC (or G major

pentatonic) throughout

Texture HETEROPHONIC TEXTURE is created when instruments perform a very similar melodic line together, but in slightly different ways (Uilleann pipes

solo along with the fiddle in the Instrumental) . There are also examples of instruments weaving a complex improvised COUNTERPOINT around

the melody and scale (G major) and the vocals improvise in COUTERPOINT during the outro. Backing vocals thicken the texture when they join in

vocalising the nonsense syllables in between each line of lyrics (starting in verse 4). Contrasts in texture, such as the UNACCOMPANIED last line

of verse 3 serve as a link between sections and all instruments drop out of the last line of verse 7 similarly. The instruments tend to provide an

ACCOMPANIMENT TEXTURE to the vocal parts but instruments (such as the accordion in verse 4) provide a COUNTER MELODY to the vocals

Form & Structure

INTRO VERSE 1 BREAK VERSE 2 VERSE 3 VERSE 4

VERSE 5 VERSE 6 INSTRUMENTAL VERSE 7 VERSE 8 OUTRO

Instrumentation

Donald Shaw: accordion, piano, synth; Michael McGoldrick: flutes, whistle, uilleann pipes; Karen Matheson: vocals; Ewen Vernal: acoustic and

electric bass; Charlie McKerron: fiddle; Manus Lunny: bouzouki, guitar, bodhran, vocals; James MacKintosh: drums and percussion



SET WORK SUMMARY

Rag Desh PART 1 - Placing the Set Work in its Musical, Social and Historical Context

Indian music has a long history, going back more that 2000 years. It is closely linked to Hinduism and religious

philosophy.

The many Hindu gods are often worshiped through performances of raga, both vocal and instrumental. In

particular, the god Shiva is associated with music and dance in Hindu philosophy and there are many pieces in

praise and honour of this particular deity.

The set work is taken from the Indian classical tradition of Northern India.

Unlike Western classical music, Indian music is not written down as conventional musical notation. Instead, it

is taught through listening and playing by ear - called the oral tradition. Indian families have a system of master-

pupil teaching known as a GHARANA. However, playing styles will inevitably change as new techniques are added

by subsequent generations and so the process is a duel one of consolidation and evolution of playing skills.


Rag Desh is one of a number of

Indian ragas (over 200!) – a type of

SCALE/MODE on which Indian music is

based. Like a scale, a raga ascends and

descends, but the pitches often differ in each direction and the number of notes in a raga can vary (unlike Western

classical music). Some ragas are PENTATONIC

It’s TONAL CENTRE/SYSTEM TONIC is the note C

Ragas are associated with a particular mood (RASA), feelings, emotions or certain times of the day. Rag

Desh is traditionally a NIGHT RAGA. Rag Desh (which translates as “country”), is also associated with rainy

seasons or MONSOONS

The three most common elements or strands in Indian classical raga music are:

the MELODY - made up (IMPROVISED) from notes of a particular raga (without notation). Sung by a voice or

played by an instrument such as the sitar or sarod

the DRONE - a supporting one or two notes (often the TONIC and DOMINANT notes of the chosen raga)

provided by the tambura. Its function is to keep a sense of TUNING or INTONATION as a reference point for the

melodic part and it adds to the texture of the raga as a whole.

the RHYTHM - a repetitive, cyclic rhythm pattern called a TALA, played by the tabla drums. Talas vary in number of beats

(MATRAS). In a raga performance, there is often a sense of “competition” between the instrumentalist and drummer as they attempt to

copy and “do each other’s clever and novel rhythmic ideas” whilst still keeping within the cycle of the tala – a sort of “musical duel!”

A raga performance has a STRUCTURE based on FOUR defined sections: ALAP, JOR, GAT, JHALLA. Some sections can be

omitted and raga performances vary vastly in duration – some up to five hours or more! (a raga song has a section called BHAJAN)


Version 1 Anoushka Shankar: Rag Desh from the album

“Live at Carnegie Hall”

Version 2 “Mhara Janam Maran” by Chiranji Lal

Tanwar

Version 3

Wertheimer & Gorn: Rag Desh, Pt 3 from

the album

“Priyagitah: The Nightingale”

Instruments Sitar and Tabla Voice, Sarangi, Sarod,

Pakhawaj, Cymbals and Tabla

Bansuri, Esraj, Tambura and

Tabla

Form

&

Structure Including:

Tempo

Pitch

Melody

Instruments

Texture

Dynamics

Rhythms

Harmony

ALAP – slow and unmetred,

unaccompanied sitar explores notes of the

raga. Free rhythms sound improvisatory

due to lack of a regular pulse. Some

decoration to melody.

ALAP – short introduction as the

Sarod player, then the singer,

vocalises a melody in free time based

on the notes of the raga. This is a

version of the chorus from the song.

ALAP – slow and unmetred. Drone is

established by Tambura playing the

notes C (sa) and G (pa). Bansuri

enters exploring the notes of the raga

GAT1 – Sitar plays fixed composition

rather than improvisation, but decorated

melody with flourishes and ornaments.

Medium tempo. Tabla enters playing 10-

beat JHAPTAL tala (10 beats) with

decoration.

Dialogue between sitar and tabla

BHAJAN – a “fixed” composition –

song in verse form with the first line

used as a refrain (chorus)

Tabla enters playing KEHERWA tala

(8 beats).

Sarod and Sarangi play solo

passages between verses.

Dynamics and tempo increase and

the music becomes faster and more

exciting; cymbals play more

frequently. This is a Hindu devotional

song from Rajasthan telling of the

arrival of Lord Krishna in the morning.

GAT1 – slow tempo, Bansuri plays

lyrical, unaccompanied melody and

the tabla enters playing RUPAK tala

(7 beats). Bansuri and tabla player

embellish and improvise upon their

original patterns. Instruments then

swap Bansuri improvises, Tabla

accompanies

GAT2 – Faster tempo. Tabla now

switches to TINTAL tala (16 beats) GAT2 – Fast tempo. Tabla now uses

EKTAL tala (12 beats). Bansuri plays

an elaborate melody with wide-

ranging pitch, fast scale passages

(tans) and slides. Several THIAIS

bring the music to a close. Drone

continues shortly after melody ends.

JHALLA – Drone strings are used on the

Sitar which are strummed providing a

striking rhythmic effect. Piece ends with a

TIHAI (phrase played thrice across the

beat ending on first beat of cycle)



SET WORK SUMMARY

“Yiri” - Koko PART 1 - Placing the Set Work in its Musical, Social and Historical Context

This set work comes from BURKINO FASO (“men of integrity”/”father’s house”) in WEST AFRICA. The themes in

the music of Burkino Faso focus on mankind’s greatest battles in life including the fight for survival, looking after the environment, creation, community celebrations and friendships. African music is based on the ORAL TRADITION

and has no musical notation. African music is used to communicate different feelings and emotions and is nearly always part of a social gathering. Music is often combined with speech, dance and costumes where performers retell traditional stories through body action and mime.

About the Set Work – Placing the Set Work in a Musical Context The four most common features of African music are REPETITION, IMPROVISATION,

POLYPHONY and CALL AND RESPONSE

Features of AFRICAN SINGING include – frequent use of CALL AND RESPONSE, short and simple melodies repeated over and over on a LIMITED NUMBER OF PITCHES, vocal improvisations performed at the same time as the original melody creating POLYPHONIC TEXUTRES, often sung in ROUNDS, harmony varies but often in PARALLEL OCTAVES. Body percussion (clapping and stamping) and VOCABLES (often loud shouting) are also used in

singing.

Features of AFRICAN INSTRUMENTAL MUSIC include – REPETITION (including OSTIANTO), IMPROVISATION, CYCLIC STRUCTURES, POLYPHONIC TEXTURES and INTERTWINING MELODIES

There are many different instruments in African Music, which vary from region to regions. There are lots of drums called MEMBRAPHONES (as they have a skin) and they

are considered the most important instruments associated with communication, religious significant and ceremony. Different African drums include – djembe, dundun and donno (the talking drum). Drums are played with the hands (“open” and “closed” sounds), on the edge or using sticks.

IDIOPHONES are resonant, solid instruments including – rattles, shakers, bells, Mbria

(thumb piano), xylophones, balaphones, clap sticks, slit gongs and stamping tubes

AEROPHONES are wind or blown instruments including – flutes (bamboo and horn), ocarinas, panpipes, horns (made from animal tusks), trumpets, pipes and whistles

CHORDOPHONES are string instruments including – zithers, lutes, koras, lyres and musical bows


Harmony The harmony remains close to the tonic Gb major

throughout making frequent use of the Dominant Db

note.

When the voices enter in Chorus A1 they sing in

UNISON and all responses to the solo call continue to

be in UNISON

Pitch & Melody The opening solo balaphone melody is HIGH PITCHED and is a simple and repetitive

idea using “rolls” on each note. When the second balaphone enters the melody

becomes more SYNCOPATED

The vocal melody is short, simple and REPETITIVE.

Melodies are often VARIED by different instruments

Contrasting melody in Call and Response section – long held notes and short

punctuated notes on “Yiri”

Tonality Opening balaphone melody establishes the tonality of

Gb MAJOR reinforced by the Dominant Db note.

Tempo The piece starts off in FREE TEMPO but

continues in a MODERATE tempo

Dynamics

The piece opens with SOFT dynamics

which increase as the instruments are

added and the texture thickens. The

piece ends with a single “ting” on a bell

Texture The piece starts off with a MONOPHONIC texture with a solo balaphone

but a second soon joins playing mainly in OCTAVES with some different

pitches creating a HETEROPHONIC texture

Texture changes considerably during the Call and Response section

with a SOLO call and CHORAL RESPONSES. This is developed in

Chorus B1 where the soloist and instrumentalists perform in dialogue.

Rhythm The BALAPHONE OSTINATI in combination produce a complex,

POLYPHONIC TEXTURE

The DRUM OSTINATI perform a relentless one-bar pattern starting in

the intro performed by the talking drum, small talking

drum and djembe. This ostinato is decorated with

occasional RHYTHMIC FILLS.

The balaphone performs CROSS RHYTHMS in the call and response

section which become SYNCOPATED during the coda

Form & Structure

INTRO CHORUS

A1

BREAK CHORUS

A2

BREAK CALL &

RESPONSE

CHORUS

B1

CHORUS

A3

CODA

Instrumentation

Madou Kone: (vocals, balaphone, flute); Sydou Traore: (vocals, balaphone), Jacouba Kone: (djembe ), Francois Naba: (vocals, tam-tam, dundun,

maracas), Keresse Sanou: (talking drum ), Tidiane Hema: (vocals, maracas)

Documents

EDEXCEL GCSE MUSIC SET WORK SUMMARIES … · The words (LIBRETTO) are ... * An emphasis on ELEGANCE and BALANCE (compared with the ‘complex’ polyphonic sound of Baroque music)