EdExcel GCSE Revision

8/17/2019 EdExcel GCSE Revision

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EdExcel GCSE Music

Revision Booklet of all Set works

AOS1 – Western Classical MusicAOS 2 – Music in the 20th CenturyAOS 3 – o!ular Music in Conte"t

AOS # – Worl$ Music


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What Do I Need To Know?

%or each set work& you nee$ to know the'

o Co(!oser

o )a(e of iece

o *e(!o

o *i(e Si+nature, Rhyth(

o -nstru(ents, *i(.re

o Structure

o Melo$y

o *onality

o /ar(ony

o yna(ics

o *y!e of iece

o *e"ture

o ate it was co(!ose$

o lectronic $evices

o lectronic !rocesses

ou also nee$ to .e a.le to'oive o!inions as to why you like, $islike each !iece

o4now .oth the century an$ $ate of when the !iece was co(!ose$

orovi$e reasons as to why each set work re5ects the style it was

written in e6+6 Ro(antic

oive e"a(!les of other co(!osers of that style e6+6 Bach is Baro7ue

oState features of the style of (usic


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o4now what section of the (usic is .ein+ !laye$ in the e"tract e6+6

Mo8art they coul$ !lay either the 1st or 2n$ su.9ect :so (ake sure

you know the $i;erence<

oWrite .asic notations for so(e !arts of the e"tracts6 *his coul$ .e

for any e"tract& you nee$ to .e a.le to hear the sha!e of the

(elo$y for each !iece of (usic

oWork out the rhyth( .ein+ !laye$ .y a certain instru(ent in an

e"tract

Wor$s un$erline$ are the key areas of each !iece e6+6 tonality& te"ture

ach AOS can .e seen throu+h the varyin+ colours'

Re$=AOS1 Oran+e=AOS2 Blue=AOS3 reen=AOS#


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Glossary

SATB the four voices use$ in a choir :so!rano& alto& tenor& .ass<

!ratorio a reli+ious !iece like an o!era .ut not acte$ on sta+eI"itation where one !art co!ies another#la$al Cadence a section which en$s with the chor$s # an$ 1 :su.$o(inant totonic<

Basso Continuo the cello an$ or+an in .aro7ue ti(es%e"iola +ivin+ the (usic a feel of havin+ 2 .eats rather than 3Se&uence a !attern (ovin+ u! or $own!stinato a constantly re!eate$ !attern%o"o'honic a tune with an acco(!ani(entI"itati(e when the (elo$ies co!y one another

Sy"'hony a !iece for an orchestra in # (ove(ents

)u*ato !layin+ a.out with the s!ee$ of a !iece& either slowin+ it $own or

s!ee$in+ u!

Canta*le the (elo$y is !laye$ so that is sin+s out on the !iano an$ uses a

s(ooth soun$

Sustuento slow an$ sustaine$

Synco'ation !uttin+ the e(!hasis on usually weak .eats in a !iece of (usic

Acciaccatura a crushe$ note

Enhar"onic Chan$e the sa(e note with a $i;erent na(e e6+6 A. to >

S"or+ando $yin+ away

#ianissi"o very 7uiet

#eddle Note a re!eate$ note

Sehr )asch very fast

Klan$,ar*en"elodie the tune is !asse$ aroun$ the orchestra& .etween

instru(ents

%exachords a chor$ with ? notes

Atonal no key

-ra$"ented .roken u!

%au'tsti""e !rinci!le (elo$y

Meta"or'hosis a .asic chan+e in for(

)esultant "elody a (elo$y (a$e u! fro( notes .ein+ !laye$ in $i;erentinstru(ent !arts

Metrical Dis'lace"ent !layin+ the sa(e thin+ .ut at a $i;erent ti(e& soun$s

out of sync

#oly"etre a co(.ination of $i;erent ti(e si+natures

Tritone an interval of a shar!ene$ #th

Sylla*ic one (elo$y note !er sylla.le

!cta(e dis'lace"ent (ovin+ notes fro( the (elo$y into $i;erent octaves

Tre"olo very 7uick notes& +ives a shakin+ e;ect

%ar"onics very hi+h notes#i++icato !lucke$ strin+s

Strident .i+& .ol$& con@$ent

-rontline Instru"ents the instru(ents that !lay the (elo$y lines

)hyth"ic Section the instru(ents that !lay the .ack+roun$ .ass an$ .eats


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%ead the (elo$y& an$ in A BS is followe$ .y a ri;

)i. a re!eate$ !attern

Bac/*eats accentin+ the .eats which are not usually accente$ in MOB 2#

Su*0*ass – a very low .ass :Dthu(!in+ ru(.leE<

Brea/down – one .ar of silence

#annin$ – s!rea$in+ the soun$ into a new stereo or s!eaker

Echo – a soun$ re!eate$ after it has .een hear$E1 – chan+es the fre7uency of a soun$

)e(er* – a(!lifyin+ a soun$& (akin+ it soun$ like it was recor$e$ in an echoey

s!ace

Cross rhyth"s – two $i;erent rhyth(s .ein+ !laye$ at the sa(e ti(e& the

rhyth(s usually have $i;erent ti(e si+natures

-lan$in$ – swee!in+ e;ect !ro$uce$ throu+h sli+ht $elay to co!ie$ soun$

Distortion (akin+ the soun$ rou+her an$ harsher

Word #aintin$ when the wor$ (irrors the (usical e;ect .ein+ !ut on the (usic

-alsetto notes hi+her than the nor(al (ale ran+eSe&uence when a (elo$y is re!eate$ a tone hi+her than it was !reviously

Tala a rhyth(ic !attern in -n$ian (usic

)a$a the scale or (o$e use$ in an -n$ian ra+

Ala' the @rst section of a ra+a where there is no fxed beat, it is also i(!rovise$

Drone the re!eate$ notes !laye$ on the ta(.ura or shruti .o"

)asa the (oo$ of the notes in the ra+a

Meend sli$in+ .etween notes :when sin+in+<

Gat the !re co(!ose$ instru(ental section

Tan when fast scalic !atterns are use$

#olyrhyth"ic $i;erent rhyth(s !laye$ to+ether

%etero'honic a ty!e of te"ture where a (ore co(!licate$ !art is a$$e$ on to!

of another one

2nison si+nin+ or !layin+ to+ether

Call 3 )es'onse when a lea$er !lays an$ the rest of the +rou! re!eats

#entatonic Scale scale usin+ F notes

4oca*les nonsense sylla.les

Stro'hic na(e foe a structure of 2 verseEs an$ 2 inserts

Diatonic usin+ notes in the key


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5

6

7

8

9

%andel And the Glory o, the :ord

16 *he te(!o :s!ee$< is allegro26 *he key in A major :soun$s ha!!y<

36 *he ti(e si+nature is ¾ & there are 3 crotchet .eats inevery .ar#6 *he Basso Continuo :instru(ents G or+an an$ cello


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" ! o s i t i o n K * h e ( e s a r e h e a r $ f o r t h e @ r s t t i ( e : 1 s t a n $ 2 n $ S u . 9 e c t s


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;nd Su*>ect

*he key of the 2n$ su.9ect is in Bb !ajor *he instru(ents use$ in this su.9ect are thestrings an$ (ood(ind

*he (elo$y in the 2n$ su.9ect uses so(echromatic notes& balanced phrasing is also use$ as it was in the 1st su.9ectAt the en$ of the su.9ect the iolins' bassoons an$ .utes !lay a descending staccatoscale

Cho'in )aindro' #relude

Basic -acts a*out the #iece

*he ti(e si+nature is #$# :# crotchet .eats !er .ar< *he te(!o is sostenuto an$ rubato is use$ *he only instru(ent use$ is the piano :as it is a !iano !relu$e<-n this !iece& the structure is ternary /ABA0 for(& with a coda an$ a .asic ABAstructure within section A *he te"ture is si(ilar throu+hout an$ is (ainly homophonic

*he sy(.ol is use throu+hout an$ shows the (usician that they nee$ to hol$$own the right peddle /sustaining peddle0

Section A Section BSection A and

Codetta• *he key is b !ajor

• *he (elo$y is in theright hand

• *he te"ture is!elody ominatedomophony

• %irst 3 notes are,alling /cantabiletone0 in a bro3en

chord • *he har(ony uses a

constant peddle noteon the dominant/Ab0

• *he key +oes to C4!inor in an 5nharmonic Change

• *he $yna(ics written onthe score contain lots ofcrescendos

• *he $yna(ics .uil$ u!with su$$en chan+es in(o$

•

*he (elo$y is !laye$ inthe le,t hand

• *he har(ony in this

section uses an inerted dominant peddle as

• Section A is re!eate$.ut is (uch shorter

• *hey key returns to b!ajor

• *he (elo$y here usessmor6ando

• *he te(!o is slo( an$rubato is use$

• *here is a ritt at the

en$ of the !iece• *he te"ture is .oth

monophonic an$ homophonic

• *he co$etta is - bars

Ty'ical -eatures o,)o"antic Music

• se of Ru.ato

• %re7uent chan+es of te(!o

an$ ti(e si+natures

• Bi+ ran+e of $yna(ics

• Son+ like (elo$y

• se of !e$$le notes

!ther )o"antic Co"'osers

*chaikovsky

• Wa+ner

Written in 1-78-s a piano prelude

Written $urin+ the 9omantic !erio$Written for the piano


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• Acciaccatura is alsouse$ to hel! with thehar(ony

• A secon$ the(e isintro$uce$ a$$in+variety

• Chromatic notes are

use$ to (ake thehar(ony (oreinterestin+

• By the en$ of sectionA the A. is written as> known as anenharmonic change use$ to hel! lea$ intosection B :tonality<

the !e$$le note is in theri+ht han$

• *here is an o.viouschan+e in (oo$

• *he lo(er region of theinstru(ent :!iano< isuse$

• *he te"ture in chordal

• *he > is use$ as the piot to take the !iece.ack to . Ma9or in thelast section

long :structure<

• *he !e$$le note drops out for 7 barsan$ then starts u!a+ain :har(ony<

• *he $yna(ics at theen$ are pianissimo

• *he !iece en$s on a per,ect cadence /:;10

Schoen*er$ 0 #eri'ete

Key -acts a*out the #iece

*he structure of the !iece is a ,ree rondo /ABACA0Schoen.er+ has $eci$e$ to use (any instru(ents as he uses a big orchestra& hisinstru(ents inclu$e'

• !assie woo$win$ section

• ' with no clear beats?lang,arbenmelodie throu+hout when the (elo$y is !asse$ aroun$ instru(ents6 *he (elo$y is angular an$ ,ragmented *he !iece is har$ to listen as it is in no key /atonal0 (akin+ it soun$ clashing an$ dissonantrou!s of ? notes are use$ in one chor$ /he>achords0@ide e>tremes of $yna(ics /pp;ery quiet to +,;ery loud0& with suddenchanges)o clear te"ture with quic3 changes

At $i;erent !oints in the !iece'• Melo$ic lines are di+erent

• Strin+s !lay (ore ,orce,ully at !oints

Ty'ical -eatures o,

Ex'ressionist Music

• ots of $issonance

• Contrastin+ $yna(ics

• Chan+in+ te"tures

• An+ular an$ $istorte$

(elo$ies with wi$e lea!s

!ther Ex'ressionistCo"'osers

Ber+

• We.ern

Written in 188-s written for the orchestra

Written $urin+ the 5>pressionist


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*he principal melody /hauptstimme0 is(ainly !laye$ .y the'

• /orns

• Clarinets

• Chellos

)easons to Disli/e this #iece

• )o key

• Clashin+ (elo$ies

• "tre(e yna(ics

• )o clear .eat

• ar+e ran+ of instru(ents use$


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)eich Electric Counter'oint•

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Basic -acts a*out the #iece

•

*he te(!o is ,ast

*he (ove(entEs structure .uil$s u! in 7 layersD

1E Syncopated quaer moti, fro( live +uitar2E Another synco!ate$ 7uaver (otif is intro$uce$ .ut on the bass guitars7E A sustained moti, !laye$ .y the live +uitar

• *he ti(e si+nature is 3,2 an$ lots of syncopation is use$

• Constant use of ostinati in the (elo$y

• *he key is (ostly * major .ut is in 5b major towar$s the en$'

•

• 5lectric *uitars

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•

Constant $yna(ics *he te"ture is (ainly polyphonic

•


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Written for Tony the (ale lea$ in DWest Si$e StoryE in DSo(ethin+Es Co(in+E

-t is his @rst solo in the (usical an$ shows his ,eelin$ an$ o'ti"istic character

L*ony is a tenor (oiceL

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Bernstein0So"ethin$@s Co"in$•

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• *he te(!o throu+hout is ,ast which i(itates *onyEs feelin+s

*he (etre :ti(e si+nature< chan+es fro( ¾ to 2$#

%eatures of the rhyth( inclu$e syncopation an$ cross rhythms•

• L*he fast te(!o& chan+in+ ti(e si+nature an$ synco!ation an$ cross rhyth(s:3 .ullet !oints a.ovecitement and anticipationL

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•

*he instru(entation of the !iece uses a small ariation o, the orchestraD• Woo$win$ /emphasis on clarinets0

• Brass

• ercussion

• Strin+s – use tremolo an$ harmonics to illustrate the line Hthe air ishu((in+I

• Voice also counts as an instru(ent6 *o (ake sure the orchestra $oes not oer po(er the voice& the acco(!ani(ent uses'

• uiet $yna(ics

• Soft ti(.res :muted tru(!ets& pi66icato strin+s<

• /o(o!honic te"ture• *he structure is not typical erse and chorus6 Re!eats are aried each ti(e itis !laye$6 *he structure is'

• O!enin+ = 7uiet an$ synco!ate$

• Bar 21 = lou$& stri$ent& in 2,#


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• Bar N3 = lyrical an$ slow (ovin+

• *he (elo$y ha$ long sustained notes an$ is syllabicE -t also usesaccented notes an$ short phrases

*he key is major

• -n the har(ony tritone is use$

yna(ics ary .ut starts pp

*he te"ture is (ainly homophonic•

Miles Da(is0All

Blues

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*he ti(e si+nature of the !iece is K$# /ja66 (alt60

%eatures of the rhyth( inclu$e s(ung quaers an$ syncopation

• -n the !iece the instru(ents use$ are'

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-rontline Instru"ents

)hyth"ic Section

Instru"ent

%owit is

'laye

d

Melody inthe solos

Instru"ent

%ow it is'layed

Melodyin thesolos

• *ru(!et

:Milesavis<

• Mute$ Short and

syncopated

• iano • *re(olo • Calm'

simplemelody

• Alto Sa" • @iderange o,notes andquic3

• ou.le Bass

• i88icato •

• *enor Sa" • %ast scales • ru(s • WireBrushes

are use$

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Base$ on the 12 bar blues chor$ !attern :!lays for 12 .ars thenre!eats


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• *he structure of the !iece is known as a head arrangement :white+a!s=ri;s


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B *he verse uses the @rst sample /male0

• ercussion instru(ents use$'

• Maracas

• Claves

• -n the 1st verse'

• iano !lays held chords& which acco(!any the voice

•

rums enter after voice& followe$ .y the bass• iano then !lays syncopated chor$s

*he secon$ half of the 1st verse has a di+erent tune an$ the sha!e ofthe (elo$y rises and ,alls

• *he key in the verse is'

• Am 5m * :Only # chor$s are use$ in the 1st verse<

A(a8in+ 5(ily *oes ancin+P

C • *he chorus uses the secon$ sample /,emale0

• *he key in the chorus is'

C !ajor

• *he chor$s alternate .etween'

C Am C Am an$ % C% C

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*he ti(e si+nature is #$# with a steady te(!o of 8- beats per minute/B=!0

%eatures of the rhyth(

inclu$e syncopation an$ accented bac3beats

• *he te"ture is homophonic' an$ thins out after the .reak$own

• *he snare drum is hear$ on .eats 2 and # :shown on the stave to theri+ht<

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e. Buc/ley0Grace

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*he ti(e si+nature is 12$-

Ty'ical -eatures o, -ol/-usion Music

• Jariations in te(!o an$rhyth(

• on+ section $ivi$e$ intoshort !hrases

• Short hrases can have their

Written in 188#

-s in the style of ,ol3

,usion /roc3 and ,ol30

4ey !hrase to know the


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• -n the key of 5 minor :althou+h it is a(.i+uous<

Bars 1G3 have no clear 3ey

Bars #GN are in major

*he te(!o is ,airly ,ast

• *he instru(ents use$ are'

• uitars :B SC-%-C W-*/ *< :strum aggressiely M

enhancin+ torture$ (oo$<• lectric uitars :sliding bet(een notes M

enhances the torture$ (oo$<

-n .ars 1G3 they are pluc3ed

-n .ars #GN they are strummed

Bas uitars

• Synthesisers

• Strin+s

• ru( 4it

-n the ocal per,ormance to show the torture$ (oo$ of the lyrics

ornamentation /melisma0' ,alsetto an$ ,alling patterns are use$ On the wor$s Dafrai$E DawayE D$ieE the notes are ,alling

On the wor$ DcriesE the notes ,all a :th

• On the wor$ DslowE the note is long to re5ect the reference to

slow in the lyrics

On the !hrase Dit re(in$s (e of rainE the 5L e;ect is remoed

• *he structure of the !iece is erse;chorus'

• -ntro

• Jerse 1

• Chorus 1• -ntro

• Jerse 2

• Chorus 2

• Bri$+e

• -ntro

Jerse 3 /uses 5L0

• Co$a

*he te"ture is (ainly homophonic

-n the (elo$y& there is fre7uent use of ornamentation an$ ,alling patterns

Indian )a$a0)a$ Desh

*he har(ony is un;conentional of a roc3

*here are 7 ersionsof ra+ $eshRa+ esh is

associate$ withmonsoon season or

ni ht

Ty'ical -eatures o, Indian)a$a

• ses a tal,rhyth( !attern

• %ocuse$ on the (elo$y an$

rhyth(

• ses a $rone

• Meen$ is often use$ in sun+

E


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Ala!

Qhar,Qhalla

3at

Ban$ish

:forvoice<

y!ical -n$ian Structure'

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Anoush3a

Shan3 ar

Instruments

Structure

9hythm

&ther

• Sitar :solo

instru(ent inthe ala!<

• *a.la

• Ala! :tan

use$<

• at :has a,ast clear

pulse<

• Qhalla :fast

en$in+section<

• Qha!tal – 10

.eats :at 1<

• *intal – 1?.eats :at 2<

• *al is !laye$.y the ta.la

• -n the atimproisat is use$ :notco((on of+at<

• Sitar strin+s

strummedthe en$

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• Mahara

"anamMaran #$erormed by

Chiran%i

&alTan'ar

• nstruments • tru!ture • hythm • +ther

• Saro$

• Saran9i

• akhawa9

• *a.la

• S(allCy(.als

• Joice

• Ala!

• Ban$ish :sungersion o, agat <

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• 4eherwa –

.eats• Music .eco

,aster an$e>citing nethe en$

-t is a bhaja/indudeotionalsong0

Joice usesmeend

•

Stee*ornand

Benju@ertheimer

Instrument s

Structure

9hythm

&ther

• Bansuri

• sra9

• Shruti Bo"

• Swar(an$el: pluc3edstringinstrument <

• *a.la

• Ala!

• at 1 :,ast <

• at 2 :slo(<

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• Ru!ak – N

.eats :at 1<

• ktal – 12.eats :at 2<

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• -n the atimproisati is use$ :notco((on of a

+at<• Sitar strin+s

strummedthe en$

*y!ical -n$ian

earnt throu+h&ral Tradition

• Sitar • lays the (elo$y :!lucke$ like a +uitar<

• Tabl a

• lays the .eat :ty!e of $ru(<

• Sarangi

• lays the (elo$y :.owe$ like a violin<

• Sarod

• lays the (elo$y :!lucke$ like a +uitar< .uts(aller an$ lower in !itch

• =a3ha(aj

• lays the .eat :$ou.le hea$e$ $ru(<

• Cym

bals

• lays the .eat :!ercussion<

• Bansuri

• lays the (elo$y :woo$en 5ute<

• 5sraj • lays the (elo$y :.owe$ like a violin an$frette$ like a +uitar<

• Tambura

• lays the $rone

• Shruti

Bo>

• lays the $rone


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Ko/o0iri

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Key -acts a*out the

#iece

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• *he te"ture'

• Starts o;monophonic withonly the

balaphone’s !layin+ When the 2nd balaphone

enters the te"ture .eco(esheterophonic

• -t is also polyphonic at ti(es

%eatures of the rhyth( inclu$ecross rhythms'

polyrhythms an$syncopation

• *he !iece is modal an$ uses

a pentatonic scale /:notes0 .& A.& B& .& . :Allof the .lack notes a!art fro(Bb<

*he sin+ers follow a solo voice

– call and response – as wellas sin+in+ in unison

• &stinato on the $ru(s& whichcontinue to !lay a rhythmic ostinati throu+hout

*he (etre,ti(e si+nature at the start of the !iece is ,ree$un;metered

*he ti(e si+nature is #$# When the two .ala!hones !lay at the .e+innin+ the interal .etween

the two is an octae

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Beat cycles for the tals in the ta.lea.ove' Qha!tal :2 3 2 3< *intal :# # # #<4eherwa :2 2 2 2<Ru!ak :3 2 2<

-n$ian scale !attern

*here son+ is fro(Bur3ino %aso

-t is .y ?o3o an$ iscalle$ Firi

Ty'ical -eatures o, A,rican

Music

• Call an$ res!onse

• Re!etition

• Ostinati

• se of cross rhyth(s an$

synco!ation


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*he $ru( ostinati has a rhyth( of a quaer an$ then two semi quaers6 *here the two se(i 7uavers an$ 7uaver co(e in +rou!s of 3 :fro( the (usica.ove 7 o, the same note are !laye$


20/24

5 minor and * major

• -s quiet and calm

• Main focus is on the singer

• -t is louder

• i!e solo is hetrophonic

• Bac3ing ocal are added to thehar(ony

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*he vocal line is syllabic

•

Bar s

1

2

7

#

• • C (a9or • (a9or • (inor,C(a9or

• (a9or

Bar s

:

K

"

-

• • C (a9or • (a9or • (inor,C(a9or

• C (a9or

• *he instru(ents use$ are'

• %i$$le• illeann i!es :like

.a+!i!es<

• Accor$ion• Bou8ouki

• *in Whistle

• ru( 4it• Synthesisers

• Bass uitar

Exa" #ractice 1uestions•

Area o, Study 5 Western Classical

Music

%andel•

• What are the # voicesT

• What ty!e of ca$ence $oes it@nish withT

• What is the key of the !ieceT

• )a(e 2 te"tures use$

• )a(e a rhyth(ic feature use$

• )a(e a (elo$ic feature use$

• Which !erio$ of (usical historywas the !iece co(!ose$ inT

• What year was this !iece writteninT

• What is the te(!o of this !ieceT

• ive 2 (usical features that (akeit 9oyful

• What is a !e$al an$ where is oneuse$T

• ive four features a.out Baro7ue(usic

• )a(e three other .aro7ueco(!osers

• What instru(ents $oes /an$eluseT

• What $oes A$a+io (eanT• What is a .asso continuo an$

what instru(ents !lay itT

• Which two features in the last.ars (ake it soun$ @nishe$T

•

Mo+art

•

• What key is the !iece inT

• What is the -talian te(!o (arkin+

an$ what $oes it (eanT

• )a(e two instru(ents not use$ inthe orchestraT

• What structure $oes the !iece

useT

• /ow (any su.9ects are use$ inthe e"!ositionT

• ive two ways the reca!itulationis $i;erent to the e"!ositionT

Only use of melisma in the


21/24

• What $oes the sy(.ol s (eanT

• What is a co$aT

• What te"ture is the @nal few .ars

of the co$aT

• When was this writtenT

• What is a se7uenceT

• %ro( which !erio$ is this (usicT

• ive four features fro( that!erio$T

• What is the key of the @rst

su.9ectT

• What s the key of the secon$su.9ectT

•

Cho'in

•


• What era is it fro( an$ what arefour features fro( the eraT

• What is the for( or structure ofthe workT

• What is the (ain te"tureT

• What $ie s(or8an$o (eanT

• )a(e three other ro(anticco(!osers

• What $oes ru.ato (eanT

• What $oes canta.ile (eanT

• /ow $o the $yna(ics chan+e

fro( A to BT

• What key is A in an$ what key in BinT

••

Area o, Study ; Music in the ;=th

Century•

Schoen*er$

•

• When was the !iece co(!ose$T• )a(e the co(!oser an$ titleT

• -s the (usic tonal or atonalT

• What is the .asic for( of the

!ieceT

• What is a he"achor$T

• What $oes sehr rasch (eanT

• escri.e one feature of the$yna(icsT

• escri.e a feature of the te"tureT

• What is the na(e for theense(.le that !erfor(s itT

• What is a tre(olo an$ which

fa(ily !lay itT

• ist four feature in the !iecewhich re5ect the 20th century(usic

• What style of (usic is thisT

• e@ne 4lan+far.en(elo$ieT

• )a(e two co(te!ories

:co(!osers $urin+ the ti(e< ofSchoen.er+Es

•

Bernstein

•

• What ty!e of voice is use$T

• What style is it fro(T

• When was it co(!ose$T

• Who is the co(!oserT

• Co((ent on the orchestra inwest si$e story

• What ty!es of (usic are in(usicalsT

• What is the key of the son+

• )a(e other (usicals an$ theirco(!osersT

• What $oes $iatonic (eanT

• What is *ony sin+in+ a.outT

• What is the e;ect of the

!ianissi(o at the .e+innin+T

• What key is it inT• What is a tritoneT

•


22/24

)eich

•

• What is the style of this (usicT

• ive four facts a.out the (usic

• ive four techni7ues use$ in this(usic

• /ow (any +uitars $oes the !ieceuse in totalT

• Who co(!ose$ the !ieceT

• What is the startin+ ti(esi+natureT

• What is loo!in+T

• Who was it written forT

• /ow (any (ove(ents $oes ithave an$ which are westu$yin+T

• What is the (elo$y (a$e u! ofT

• WhatEs the te"tureT

• *he 4ey chan+es .etweenU

• What are canonsT•

Area o, Study 6 #o'ular Music in

Context•

Miles Da(is•

• What instru(ents !lay the frontlineT

• What is the rhyth( sectionT

• What era is this !iece fro( an$how $oes the style of the (usicre5ect that of the eraT

• Who !lays the tru(!et in this!ieceT

• )a(e the e;ects use$ on theinstru(ents

• When was the !iece co(!ose$T

• Which sections of the !iece are

i(!rovise$T

• -s the !iece tonal or atonalT

• What chor$ se7uence is the !iece.ase$ aroun$ an$ what are thechor$sT

• *he !iece is $escri.e$ as aUUUUU66walt8

•

e. Buc/ley

•

• What is (akes the har(ony unGconventional of a rock son+T

• What is the structure of raceT

• /ow $oes Qe; Buckley convey

e(otion in the !ieceT• What electronic e;ects $oes he

useT

• What instru(ents are use$ in the!ieceT

• -s the !iece tonal or atonalT


• What vocal e;ects $oes he useT• *he ti(e si+nature of the !iece

isU

•

Mo*y

•

• What ty!e of (usic is the !ieceT

• What electronic $evices $oes heuseT

•

What electronic e;ects $oes heuseT

• ive 3 facts a.out the vocal

sections in the !iece

• What 2 chor$ !atterns are use$T

• *here is a .ar of silence in the!iece& what is the na(e +iven tothatT

• What is the ti(e si+nature of the

!ieceT

• What is the overall te"ture of the!ieceT


23/24

• ive 2 features of the rhyth( inthe !iece

•

•

Area o, Study 7 World Music )a$ Desh•

• What $o all 3 versions of the ra+start withT

• What is the (ost co((only use$strin+ instru(entT

• )a(e # strin+ instru(ents

• What is the na(e +iven to the-n$ian 5uteT

• Who !lays the sitar in the @rste"tractT

• What is the na(e +iven to a/in$u $evotional son+T

• -n the 2n$ version of the ra+& whatis a feature of the vocal!erfor(anceT

• What is the co((on structure ofra+ $eshT

• Ra+ $esh is associate$ to what 2featuresT

• )a(e -n$ian instru(ents

• What is a talT

• oes the at have a @"e$ .eatT

• Which section of an -n$ian ra+ is

i(!rovise$T

•

iri

•

• ive 3 features of the rhyth( in

this !iece

• )a(e 3 ty!es of African $ru(• What is the instru(ent si(ilar to

a "ylo!honeT

• -s this !iece he"atonic or!entatonicT

• -n the o!enin+ of this !iece whatis the te"tureT

• /ow is a !iece like this learntT

• What is the na(e +iven to !eo!le

res!on$in+ to so(ethin+ !laye$.y the lea$er of the !ieceT

• *he $ru(s !lay a UUUUUUUUthrou+ht the !iece

• What is the tonality of this !ieceT

• Where $i$ this !iece co(e fro(T

•

Ca'ercaille

•

• What is the na(e +iven to

nonsense sylla.lesT

• *his !iece is an e"a(!le of aUUUU66 son+

• What is the lan+ua+e .ein+ sun+in this !ieceT

• /ow (any sections are there inthis !ieceT

• What ty!ical folk instru(ents are

use$T

• What electric instru(ents areuse$T

• When was this !iece release$T

• What is the structure of this!ieceT

• What is the tonality of this !ieceT

•

•

Essay 1uestions

•


24/24

• Co((ent on Cho!in& Rain$ro! relu$e or Ra+ esh usin+ the followin+criteria'

•

• yna(ics

• -nstru(entation

• *onality,/ar(ony

•

Melo$y• Conte"t

•

• Co((ent on Schoen.er+ eri!etie or 4oko iri usin+ the followin+ criteria'

•

• *onality

• -nstru(entation

• Conte"t

• yna(ics

• *e(!o•

Documents

EdExcel GCSE Revision