Set Work Revision Guide 2012-2013

OCR AS MUSIC - SET WORK SUMMARIES

OCR

AS MUSIC

SET WORK

SUMMARIES

REVISION

GUIDE

2012-2013


Set work summary “Hotter Than That” – Louis Armstrong & ‘His Hot Five’

PART 1 – PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT About the Composer – Placing the Set Work in a Social & Historical Context

Louis Armstrong – born in New Orleans in 1901, died in 1971

Influential trumpeter, singer & composer

Pioneered scat singing – an imitative vocal style that mimics different instrument sounds through ‘nonsense’ syllables

Known as a ‘hot’ player because he swung the rhythm much more than his contemporaries.

Leader of the ‘Hot Five’ and later, the ‘Hot Seven’, including his wife Lil Hardin

Related composers – Charlie Parker (1920-1955), Duke Ellington (1899-1974), Count Basie (1904-1984), Jelly Roll Morton (1885-1941)

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

“Hotter Than That” was recorded on the 13th

December 1927 by Louis Armstrong and his ‘Hot Five’. It was recorded in Chicago for OKeh Records. It was one of the first recordings of jazz music that used the new technology of gramophone & shellac discs. The piece was recorded using the ‘hierarchical’ order from the microphone/recording horn; the soloist would have been the closest to the device (and therefore, louder), whilst the trombonist would have been the furthest away (hence, the sound quality of the trombone in the main mix). The ‘Hot Five’ had an additional member (Lonnie Johnson) who played the blues guitar and banjo on the recording, although he was never a fully-fledged member of the band. The line-up of the band changed many times throughout its’ career and eventually expanded to the ‘Hot Seven’. Many of their pieces were written by Lil Hardin and “Hotter Than That” is no exception – she based it on the jazz standard ‘Tiger Rag’. Key features of the soloists’ playing include:

DOIT

FALL-OFF

GLISSANDO/SMEAR

TERMINAL VIBRATO

TAILGATE STYLE

CLARINO RANGE

RIP

VIBRATO

STOP TIME

PART 2 – MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES Time signature

Tonality

Eb major Tempo

Prestissimo A very fast pace!

Dynamics Dynamics vary from instrument to instrument on the recording, according to closeness to the microphone.

Pitch (trumpet range)

Rhythm

Heavily swung rhythms, particularly in the solo lines.

Harmony Major harmonies throughout. The piece is mostly in Eb major with the use of chords Eb, Bb & Ab major. Microtonal inflections are used in the Duet section by the guitar (blues tuning).

Texture NEW ORLEANS POLYPHONY or COLLECTIVE IMPROVISATION (in Intro & Chorus 4). Mainly homophonic but also elements of monophonic and polyphonic.

Musical Features

Walking bass

Improvisation

Comping

Frontline

Rhythm section

Stride piano

Scat singing

32 bar song form Melody and Structure

Introduction (ensemble) Chorus 1 (trumpet) Chorus 2 (clarinet) Chorus 3 (vocals) Duet (vocal + guitar) Link (piano) Chorus 4 (trombone solo + ensemble) Coda (vocals + guitar)

Instrumentation Written for the following instruments: Trumpet – Louis Armstrong, Clarinet – Johnny Dodds, Piano – Lil Hardin, Trombone – Kid Ory, Banjo – Johnny St. Cyr, Guitar – Lonnie Johnson


Revision Questions

1. Explain why Louis Armstrong made such an impact on audiences and musicians. Use examples from Hotter Than That to illustrate your answer.

2. Why do you think Armstrong added a guitar player to the line-up of the Hot Five in this recording? What effect does it have?

3. How does the rhythm section of this piece differ from that of Duke Ellington in Koko? 4. Why do you think Armstrong chose not to use drums or any form of percussion in Hotter Than

That? 5. Explain the meaning of each of the following terms:

Smear

Comping

Rip

Collective improvisation

Tailgate style

Stop time 6. What were the “bluesy” adjustments that Lonnie Johnsons made to the music? 7. Name each of the players and their instruments. 8. Describe what scat singing is and how it came about. 9. Explain the changes in texture heard between the two halves of Chorus 4. 10. In which city was this performance recorded and which record label was it for?

Characteristics of New Orleans jazz

Collective improvisation/New Orleans polyphony Frontline = clarinet/ trumpet/ trombone/ guitar Banjo Scat singing Simple accompaniment Stride piano technique Heavy emphasis on the frontline Virtuosic players 32-bar song form 12-bar blues Instrument techniques such as smear, rip, terminal vibrato, etc Stemmed from ragtime Comping crotchets in piano & banjo

Time Structure Description

0’00” Introduction

8 bars Makes use of the final 8 bars of the chorus’ 32-bar chord pattern. The texture is typical of the New Orleans polyphony style. Short phrases in the trumpet melody. Agile clarinet countermelody (balanced much further back in the mix) – more audible in its higher register or when the trumpet rests. The trombone begins in the traditional tailgate style with glissandi up to sustained semibreves – breaks into crotchets at the end of the introduction.

0’09” Chorus 1

32 bars Clarinet & trombone drop out, leaving the rhythm section to accompany the trumpet solo. Armstrong’s solo is confident and well-shaped. Two-note syncopated upbeat at beginning of each 4-bar phrase. Accents on this to make it stand out – a strong sense of swing. The similarity of phrasing helps to keep the improvisation highly melodic. Most of the phrases extend over an octave – showing Armstrong’s ability and range. There is a rip up to the high Bb which can be clearly heard on the recording – it sounds very much like a very quick, subtle, glissando. The second half of the solo is more virtuosic and varied. There are less rests and more use of broken-chord figures and chromatic triplets. The final phrase includes a lip trill (shake) on a sustained high G.

0’45” Chorus 2

32 bars

Blues sound of Johnny Dodds’ first note – which uses a clarinet smear – makes a

striking contrast with Armstrong. The solo begins in the high clarino range of the instrument. Dodds was known for his bright, assertive tone, which is even more piercing at these registers. The fast vibrato) fashionable in the 1920s) is most obvious at the end of long notes – terminal vibrato. Emphasises the strong crotchet beats of the bar in contrast to Armstrong emphasising the upbeats. He then moves into swung quavers. Heavy use of smear


to add to the blues feel. Accompaniment in the banjo and piano only. Energetic comping by Lil Hardin but not restricted to repeated chords. Bass octaves at the beginning in the left hand alternating tonic-dominant. This then changes to movement between registers (stride piano). Use of some higher register to create variety in texture.

1’21” Chorus 3

32 bars Armstrong enters as a vocalist for the first time. The piano drops out of the accompaniment, leaving the banjo to comp. Lonnie Johnson improvises countermelodies on the guitar. The scat solos on the Hot Five recordings were very popular with the public. Armstrong gives the scat solos many of the same qualities as the earlier trumpet solo in Chorus 1 – the first 16 bars have a similar overall shape. He imitates the trumpet-style rip and uses smears, fall offs and vibrato regularly. A succession of 24-dotted crotchets occurs covering 9 bars. This creates a polyrhythmic effect against the crotchet beat of the rhythm section – a very unusual technique for its time, showing his gift for rhythmic freedom and invention.

1’56” Duet

16 bars Voice & guitar exchange two-bar phrases in a call and response style. Armstrong & Johnson give a strong blues flavour to their dialogue. The start of each phrase begins with a microtonal smear on the 3

rd of the scale (G or Gb). This exploits the

expressive flexibility of blues tuning compared to the western classical approach to intonation.

2’14” Link

4 bars Piano played by Lil Hardin. Back in the original tempo.

2’18” 2’36”

Chorus 4

16 bars 16 bars

Music returns to the original mood. Kid Ory’s trombone solo occupies the first half of the chorus. He uses the slide on the trombone to decorate the pitches of the melody with three techniques – glissando up, fall-off at the end of notes and a slide between notes. Rhythm section continues to drive on energetically. Hardin plays an elaborate countermelody in the high register of the right hand which is typical of ragtime. Armstrong leads the second half of the chorus with an unaccompanied ascending scale in straight quavers – chromatic scale rising over an octave to a high Bb. New Orleans polyphonic style. Dramatic sequence of ‘stop time’ – the accompaniment plats short staccato chords separated by silences, which build up the anticipation for the end of the piece.

2’51” Coda Avoidance of the predictable full ensemble ending that the listener expects. Instead, Armstrong uses the final two-bar break at the end of Chorus 4 to return to the idea explored during the duet section: call & response. The final diminished chord makes for an intriguing and inconclusive ending – another flavour of the blues style.


Set work summary “Koko” – Duke Ellington & ‘His Famous Orchestra'


Duke Ellington – born in Washington D.C. in 1899, died in 1974

Influential pianist and composer

Had his own style nicknamed “the Ellington effect” – a particular sound

that his band had which came from having input from the players.

Known as a ‘swing’ player because of the large numbers of players in his ensemble and the ‘Big Band’ style.

Leader of “His Famous Orchestra” including Johnny Hodges, Cootie Williams and Ben Webster.

Related composers – Benny Goodman (1909-1986), Cab Calloway (1907-1994), Billie Holiday (1915-1959).


“Koko” was recorded on the 6th

March 1940 by Duke Ellington & ‘His Famous Orchestra’. It was recorded in Chicago for RCA Victor records. It was one of many recordings of swing/Big Band music that used the new technology of multiple RCA ribbon microphones. The piece was recorded using much more sophisticated equipment compared to the recording horn; each set of instruments would have had their own microphone. ‘His Famous Orchestra’ had 15 members which was the standard for the swing era. Ensembles were much bigger as the music was made for dancing and filling huge dance halls with music. Although many of the solos were still improvised, the act of collective improvisation was no longer practical with such a large ensemble and arrangements using written notation became a necessity. The band toured extensively around America and Europe but had a residency at the Cotton Club in Harlem (1927-1931). They performed equally to both white and black audiences. It is likely that this piece was composed by Ellington on a train on the way to another gig. Key features of “the Ellington effect”:

Chords arranged for sections of reeds, trumpets or trombones – one player to each note

Unison melodies or riffs for a section

Antiphonal effects of pitting one section against another, either as call and response or as countermelodies

Solo improvisation with accompaniment from one or more contrasting sections


Tonality

Eb minor (aeolian mode)

Tempo

Vivace A fairly fast pace

Dynamics Dynamics were varied & had greater depth, partly to do with the more advanced recording technology used to record the piece.

Pitch (saxophones)

Rhythm

Key motif seen throughout the piece.

Harmony

Rich 7th chords – bluesy sounds

Texture

Mixture of homophonic & polyphonic throughout.

Musical Features Chase chorus

Shout chorus

Rich 7th chords

Motifs/ riffs

Dissonance – tritons

Walking bass

Introduction (reduced ensemble) Melody and Structure Chorus 1 (valve trombone solo) Chorus 2 (trombone solo) Chorus 3 (trombone solo) Chorus 4 (piano solo) Chorus 5 (trumpets in unison) Chorus 6 (double bass solo + ensemble) Chorus 7 (Full ensemble) Coda (reduced ensemble)

Instrumentation Written for the following instruments: Alto sax – Johnny Hodges & Otto Hardwick, Clarinet – Barney Bigard, Tenor sax – Ben Webster, Bariton Sax – Harry Carney, Trumpets – Wallace Jones, Cootie Williams & Rex Stewart, Trombones – Lawrence Brown, Joe “Tricky Sam” Nanton & Juan Tizol, Guitar – Fred Guy, Piano – Duke Ellington, Double bass – Jimmy Blanton, Drums – Sonny Greer.


Revision Questions

1. What is meant by the jungle style? 2. Why do you think the big bands became popular in the 1930s and 1940s? 3. Explain the meaning of the following terms:

Walking bass

Shout Chorus

Chase Chorus

‘Ya-ya’

Straight eights

‘Du-wah’ 4. Describe how Ellington uses harmony and tonality in Koko. 5. Ellington’s ability to create a sound that was unique to his band is often referred to as ‘the Ellington

Effect’. Give examples of how Ellington employs his signature sounds in this arrangement of Koko. 6. Name each of the players and their instruments. 7. Identify two differences between the first chorus and the second chorus. 8. In which year and city was this music recorded and for which record label? 9. How is the sound of the trombone modified in Chorus 2 and Chorus 3? 10. What is the role of the double bassist throughout? 11. How is the tonality of this piece unusual? 12. Compare Ellington’s use of brass and reeds in Chorus 6 and Chorus 7. 13. Identify the structure used for the choruses throughout. 14. Explain the differences in sound that both the plunger and pixie mutes produce. 15. How are the mute positions (open and closed) notated in sheet music?

Characteristics of Swing jazz

Music for dancing to in large ballrooms so & concert halls so ensembles were big (15+) Written arrangements used to cater for large ensembles – collective improvisation is no longer

viable so only the soloist tends to improvise Saxophones = leading solo instruments Banjos became outdated – rhythm section is now generally: bass, piano, drums, (guitar) Instrumentalists = better quipped and more ‘technically’ trained, reading music at a higher level Most big bands included: trombones, trumpets, saxophones + rhythm section Double bass replaced the tuba – walking bass style Piano players moved away from the stride piano style of ragtime Drums relied heavily on the hi-hat for swing rhythms Emphasis on the off-beat


0’00” Introduction

8 bars Brooding, jungle mood from the beginning. Dark sound of the baritone saxophone plays a low tonic pedal on Eb. Brighter sounds of the trumpets and higher reeds are not used in the introduction. Hollow sounds from the tom-tom and the crotchet beat of the bass drum makes for a distinctive African colour in the passage. The four note ‘x-motif’ is stated for the first time. Syncopated chords in the three trombones – move in parallel, descending chromatically in each phrase.

0’12” Chorus 1

12 bars Opening melody on the valve trombone. Trombone phrases are answered by close harmonies in the four saxophones, which move in parallel. Rich sounds of the 7

th

chords and the bluesy sound of having Db and D in the same chord.

Double bass plays pizzicato walking bass – stepwise motion. The drums have changed from the jungle colouring to keeping time on the hi-hat and bass drum. Repeated two-bar phrasing between the trombone and saxophones is shortened in bars 9-10 to two one-bar phrases. Piano plays a syncopated dominant pedal on Bb with a crescendo, which adds momentum towards the next chorus.

0’32” Chorus 2

12 bars Slide trombone solo across two choruses – distinctive sound incorporates three effects:

Growling ‘ya-ya’ (which Joe Nanton was well known for) using a plunger mute

Pixie (straight) mute – fixed inside the trombone to create a buzz to the sound

Style of blowing through the instrument that gives the impression of words being produced

0’51” Chorus 3

12 bars


Only a few pitches are used throughout the solo but the three specific techniques mentioned above with the addition of smears and fall-offs creates a highly expressive calling effect that suits the jungle atmosphere of the piece. Saxophones play a two-bar riff in a low unison, using the ‘x-motif’ and sustained notes. Single staccato chords on the piano emphasise the first note of the ‘x’ rhythm. Brass play a syncopated rhythm, alternating repeated notes quickly between closed and open plunger mute positions (‘du-wah’ effect). The rhythm section keeps time with a very clear walking bass. Guitar comps and drums keep time. The second half of the solo (Chorus 3) begins with higher pitches – the plunger mute is tight against the bell of the instrument, restricting the sound even further. The soloist returns to the ‘ya-ya’ style of playing to conclude the solo.

1’08” Chorus 4

12 bars Piano solo – accompanying riffs begin to move in one-bar phrases. The Aeolian mode is reinforced by the repeated Dbs on each first beat. The boldest harmonies

are created in the solo – the right hand plays a whole-tone scale in semiquavers (ascending & descending over an octave and a half). The use of the bright high register of the piano emphasises its polytonal dissonance as it clashes with the Eb minor chord in the left hand and the rest of the band. A whole-tone scale on Cb creates a similar colourful dissonance against the Ab minor chord. The solo ends with a syncopated Ebm7 chord – leaps in pairs (10

th

apart) across the range of the instrument.

1’26” Chorus 5

12 bars The riff moves to the trumpets for the first time in this chorus – reverts back to two-bar phrases. The repeated phrase is higher so that the 9

th of the chord is the most

prominent – more dissonant than the 7th

in the previous chord. The sound of the unison trumpets with plunger mutes half open gives the music a more insistent feel. Full ensemble apart from piano. Reeds & trombones play a two-note rhythm and sustained chords which each other antiphonally. Clarinet takes the highest note in the chord. The baritone sax has its own decorated figure.

1’44” Chorus 6

12 bars The ‘x-motif’ is passed around the sections of instruments within the band and each section harmonises it differently. The sections enter one after another in imitation at a distance of one minim apart. The full band then sustains the chord until an emphatic shop on two ff repeated quavers.

The double bass breaks the dramatic pause with a two-bar solo – descending scale in walking bass crotchets. The rest of the chorus continues to alternate between full band sections in imitation and solo bass in two-bar phrases – referred to as the ‘chase chorus’.

2’03” Chorus 7

12 bars The full ensemble takes over for the final climactic chorus – known as a ‘shout chorus’. Melody in unison in the saxophones with the clarinet supplying the highest note of the sustained chords in the brass section. Highly dissonant chords – the Eb

minor chord now includes an added 7th

, 9th & 11

th. Insistent E s in the saxophones,

causing a dissonant triton against the Bb in the bass. The phrase also includes whole-tone inflections, previously referred to in Ellington’s piano solo.

2’22” Coda

12 bars Concludes with a return to material from the introduction but the orchestration is now reduced to baritone sax, trombones & rhythm section. The final bars bring back the full band, section by section in ascending phrases. ‘Straight eights’ replace the swung rhythm to finish the piece.


Set work summary “Boplicity” – Miles Davis & ‘His Orchestra'


Miles Davis – born in Chicago in 1926, died in 1991

Influential trumpeter and jazz composer

Pioneered two new styles of jazz: bebop & cool

Extremely virtuosic and distinctive trumpet player – kept to a simple style of playing

Had a close working relationship with Gil Evans (1912-1988)

Related composers – Charlie Parker (1920-1955), Dizzy Gillespie (1917-1993) & Thelonious Monk (1917-1982)


“Boplicity” was written and arranged by Miles Davis and Gil Evans. It was recorded on 22nd

April 1949 in New York for Capitol Records. The piece is in a cool jazz style – during the 1950s the trend towards a softer, less dauntingly complex style of jazz was sought by musicians and critics. The album “Birth of Cool” was a reissue of 11 tracks (1949-50) that was produced on an LP in 1957. “Boplicity” was seen as one of the first recordings of music in the cool jazz style and this album is a tribute to this. The “Boplicity” track itself was originally credited to Miles Davis’ mother (Cleo Henry) for ‘business reasons’. Whilst the real reason remains unknown, it is said that this was probably due to many of Miles Davis’ melodies being stolen and produced by other composers of the time and so he was simply trying to disguise his work. The band that Miles Davis used is a nonet featuring mainly brass with just two saxophones, which was highly unusual at a time where most bands featured large numbers of saxophones. Key features of Gil Evan’s arranging style:

Unusual instrumentation, including the use of French horns and tuba

Minimal use of vibrato

Emphasis on soft, subdued sounds in low registers


Tonality

F major

Tempo

Vivace Marginally quicker than Allegro – although it has a laid back feel compared to swing music of Duke Ellington.

Dynamics Dynamics stay around the same level throughout – typical of the cool jazz style – easy listening with no sudden changes in dynamics.

Pitch (trumpet)

Rhythm

Syncopated rhythms with use of triplets and offbeat accents throughout. Swung rhythms but not as much as in the swing style.

Harmony

Begins with a Gm7 chord and use of chromatic chords throughout. Each F chord uses different extensions (7ths, 9ths, 11ths) in Chorus 1.

Texture

Unison rhythms in Chorus 1. Mainly homophonic throughout. Some use of antiphony.

Musical Features

Unusual harmonies (F major but begins with Gm7 chord)

Syncopation

Light, soft & lyrical melodies.

Melody and Structure Chorus 1 (full ensemble – no piano) Chorus 2 (bari. sax solo, full ensemble – no piano,

trumpet solo, full ensemble – no piano) Chorus 3 (trumpet solo with ensemble,

trumpet solo with rhythm section, piano solo, full ensemble – no piano)

Instrumentation Written for the following instruments: Trumpet – Miles Davis, Trombone – J.J. Johnson, French horn – Sandy Siegelstein, Tuba – John ‘Bill’ Barber, Alto Saxophone – Lee Konitz, Baritone saxophone – Gerry Mulligan, Piano – John Lewis, Double bass – Nelson Boyd, Drums – Kenny Clarke.


Revision Questions

1. What is cool jazz? How is it different from bebop? 2. Why do you think Boplicity interested musicians and critics more than the public when it was first

released? 3. Compare the arranging techniques of Duke Ellington and Gil Evans. 4. List the similarities and differences between the trumpet styles of Louis Armstrong and Miles

Davis. 5. Name the players and the instruments. 6. Describe the main features of the piano solo. 7. How did the life of a jazz musician change between the 1920s and the end of the 1940s? 8. Which city was this piece recorded and for which record company? 9. Describe the music played by the rhythm section in Chorus 2. 10. What are the key characteristics of Miles Davis’ trumpet playing?

Characteristics of Cool jazz

Relaxed form of jazz – a reaction against ‘bebop’ Originated on the West Coast of America in Los Angeles Incorporates elements of classical music – Debussy, Stravinsky, Gershwin Light & lyrical sound Gentle, flowing rhythms Whispery saxophones & muted trumpets Intricately arranged Unusual time signatures (Dave Brubeck’s “Take Five” & “Unsquare Dance” Orchestral instruments used – French horns, oboes, bassoons, bass clarinet, alto flute Controlled use of vibrato Brass dominated


0’00” Chorus 1

32 bars AABA (each section = 8 bars). There is no introduction, the opening chorus is fully written out for the full ensemble, minus the piano. The melody on the trumpet is doubled an octave lower by the baritone saxophone. The six horns (wind/brass) form a rhythmic unit that plays complex chords in close harmony. F major tonality at the beginning but begins with a Gm7 chord and chromatic chords – each F major chord uses a different extension (7ths, 9ths, 11ths). Bars 6-7 a dominant pedal of C suggests the key more clearly. First four bars = highly syncopated. The melody notes rarely coincide with the strong beat in double bass and drums. Triplet rhythms add to the flexibility of the melody – the answering phrase hits the strong beats regularly in stark contrast. Dominant pedal in the tuba and clear offbeat hits of the cymbal. The B section has more conventional phrasing and chord progressions.

0’57”

1’25”

Chorus 2

34 bars Baritone saxophone = not commonly used as a solo instrument – light, soft tone in the middle and upper registers of the instrument, using little vibrato. The solo is clear and uncomplicated. Relaxed crotchet and swung quaver movement – avoids the complex double time of many bebop solos. Melody develops in a logical, unhurried way, using silences to create a feeling of space. The rhythm section only plays the accompaniment – the chord pattern is a simpler version of the opening chorus. Section B – the rest of the frontline instruments enter in quiet low octaves (the C minor tonality darkening the mood). The brighter sound of the trumpet is left out, then descends slowly in a sequence of syncopated phrases to a sustained F, two octaves below. The extended descent lengthens this part of the bridge section by two bars. The trumpet solo begins to the accompaniment of sustained chords in the rest of the ensemble – the bass plays repeated Bbs. After the band’s mysterious and meandering descent to the low F during the six preceding bars of section B, the bright sound of the trumpet then transforms the mood. Clear sense of direction in the modulation through the circle of 5ths and in the way that the trumpet melody is shaped – this gradually reaches higher and higher until it reaches a top F two octaves above the band’s low F previously heard.

1’57”

2’25”

Chorus 3

33 bars Improvised solo – first 8 bars = a bar of double time with chords and antiphonal accompaniment, second 8 bars = use of silences with no other frontline players & rhythm section only. Section B – texture is reduced to that of a jazz piano trio – relaxed swung quaver movement and a long silence between the phrases in the piano. First 4 bars = melody


emphasises the interval of a perfect 5th

. This is briefly echoed two octaves lower in the next four bars. The piece ends with a full-band reprise of the final A section. There is no coda. Additional accents in the drums and cymbals give the final section an extra sense of swing. Quiet and contained mood continue to the end. Final three chords – fully scored but quiet. The drums have a quiet fill on the final chord. The tuba plays a tremolo between two notes before coming to rest on its sonorous low F.

OCR AS MUSIC – SET WORK SUMMARIES

Set work summary

Concerto in E minor for bassoon & orchestra, RV 484 (1

st movt.) – Vivaldi

PART 1 – PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT

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

Antonio Vivaldi – born in Italy in 1678, died in 1741.

Accomplished composer, violinist & director of operas.

Took holy orders (priest) – known as the “Red Priest”

Employed for most of his life at the Pio Ospedale della Pietà as the ‘maestro di violino’ – the post was renewed every year and Vivaldi wasn’t always re-employed.

Busy life as a musician travelling around Europe – but still tied to a

contract, providing monthly concertos for the Pietà.

Famous and in demand in his own lifetime – unusual.

Composed 500+ concertos, mostly for strings but many also for bassoon and other woodwind instruments.

He was a forward thinker – The Four Seasons (1723) was programmatic – a Romantic feature that was in constant use approx. 100 years after this.

About the Set Work – Placing the Set Work in a Musical Context The Pietà was an orphanage/convent for girls which Vivaldi ran as a music conservatoire – 1 of 4 in Vienna at the time. It was mainly for string players but Vivaldi also promoted lessons in both woodwind and brass. The orphanage was filled with illegitimate daughters of the wealthy in Venice and surrounding areas. Despite this, the Pietà had a huge reputation for musical excellence and the concerts were renowned. Concerts were used as a way of raising money for the orphanage and wealthy patrons enjoyed the “spectacle” of hearing female musicians play – even though they were mostly veiled or hidden away behind a screen. The reputation of this establishment didn’t mean that it turned out professional musicians – this was quite the opposite. Females were not allowed to work as musicians. Musicians had to be a part of the Guild of Musicians in order to work professionally and this was a male only organisation. Girls who lived at the Pietà were simply being educated for marriage. Those that didn’t marry often stayed as teachers but they were never given the role over a male if he applied for the same job. The ‘Bassoon Concerto in E minor’ was written in ritornello form (one of the first pieces to have the faster movement written in this structure). A ‘ritornello’ is a returning of the full orchestra. This concerto has memorable melodies and has a heavy use of sequence. Writing for a bassoon in this way was unusual which suggests that there was a capable bassoonist at the orphanage at the time. The bassoon is written in a very virtuosic way using the following features:

RAPID DEMISEMIQUAVER ARPEGGIOS WIDE LEAPS

TRILLS

CHROMATIC PASSAGES IN HIGH REGISTER

RAPID DESCENDING SCALE IN DEMISEMIQUAVERS PART 2 – MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES

Time signature Tonality

E minor

Tempo

Allegro poco – a little fast & lively.

Dynamics

Simple dynamics from p to f – typical

of the Baroque era.

Pitch (solo bassoon)

Rhythm Lots of demisemiquavers.

Harmony Chords mostly closely related to E minor – A minor, G major. Modulation to dominant B minor.

Texture Mainly full texture throughout. Sections with just solo bassoon & basso continuo.

Musical Features Basso continuo

‘ideas’ – not themes

Soloist

Melody and Structure Ritornello form: Ritornello 1 (0

4-13

1), Solo 1

(13-251), Ritornello 2 (24

4-28

1), Solo 2 (28

2-38

3),

Ritornello 3 (382-46

1), Solo 3 (46

2-64

1),

Ritornello 4 (64-67).

Instrumentation

Strings: Violin I, Violin II, Viola, Cello, Double Bass. Basso continuo: Harpsichord. Solo: Bassoon


Revision Questions 1. Find two recordings of Vivaldi’s Bassoon Concerto in E minor, and compare the first movement.

Listen for the following points: Ornamentation: How do the performers interpret the ornaments in the printed score?

What additional ornamentation is added by the performers? Tempo change: Can you hear the expressive use of rubato or phrasing in the solo

bassoon part? Instrumentation: Compare the sound of the instruments – can you hear a difference

between a modern-orchestral recording and one using period instruments? Continuo harmony: How does the continuo player realise the bass line? Which

instruments are used? 2. Explain what is meant by ritornello form. How does Vivaldi make use of it? 3. What is the function of the basso continuo?

4. Describe briefly your understanding of audiences and the conditions for musicians in Venice during Vivaldi’s lifetime.

5. List the characters/musicians associated with this set work. 6. In Ritornello 2, would having the melody in a major key have altered the character of the

movement?

Characteristics of the Baroque Period No firm format of the orchestra until the mid-17th century – different occasions called for

different instruments Orchestra was string dominated – mostly violins – end of the 17th century a set format for the

orchestra was established Composers such as Lully in Paris and Corelli in Rome wrote music for a large number of strings in

sections with basso continuo Pairs of woodwind or brass were used according to what was available Basso Continuo: harpsichord (sometimes organ, lute or another plucked/strummed string

instrument) + cello/double bass/bassoon; realization of figured bass through embellishment. Different realizations of the continuo could be an important point of comparison when it comes to comparing recordings

Clarinets (in A) were in their early stages and other more unusual instruments (eg. oboe d’amore. hunting horns) may have been available to some composers.

Italian violin makers eg. Stradivari and Guarneri started to manufacture violins with a brighter, more powerful tone. The gut strings were tightly strung to increase the volume. Longer bows suitable for melodic lines

French and German woodwind and brass instruments Lots of ornamentation Use of the harpsichord Use of sequence – a common way of extending & developing a melodic phrase

Analysis Bars Structure Description 1-131 Ritornello 1

E minor The main theme is in Violin 2 – this features acciaccaturas. The first violins would normally have the main theme. The main theme is known as the first idea or ‘a’. Homophonic accompaniment including bassoon (quaver chords + broken chords in Violin 1 – arpeggiando bowing). This is where you cross three strings in one bow movement. Two-bar phrase – quasi-question and answer. Both feature the Lombardic rhythm (or Scotch Snap), which was a favourite of Vivaldi’s – short-long – but whilst the appoggiaturas in bar one form a dissonance with the E minor chord beneath - the written out demisemiquavers in bars two are harmony notes. There is triple stopping in the first violins to give more emphasis to the loud E minor chord at bar 53. A secondary theme (second idea or ‘b’) is introduced – a strong chord followed by a descending scale, played staccato, in octaves – Vivaldi often writes for the orchestra in octaves. It is a strong effect that brings out the melody and rhythm very clearly, and contrasts effectively with the harmonised sections of the music.


Vivaldi contrasts the loud chord at bar 53 with the soft, staccato scale that follows – which begins in a distinctive five-note rhythm in faster note values – the rest of the scale following in even quavers. The chord and scale are played three times descending in a sequence: B minor – A minor – E minor in 1st inversion – E minor. The bass has an arpeggio figure to link the three phrases in descending sequence. This ritornello concludes with the return of the first idea and a cadential figure – a series of chords that forms a cadence.

13-251 Solo 1 The solo bassoon is accompanied by the continuo (harpsichord). The repeated quavers maintain the style of the ritornello through almost all of this solo section. The harmony changes twice a bar, on every minim beat. The first solo section uses musical ideas from the opening ritornello, focusing on the ‘a’ material. The bassoon solo opens with the demisemiquaver arpeggios stated in the accompaniment for the opening theme. The arpeggios are in a closed formation, with the notes of the triad played as a broken chord. This is easier to play on the bassoon than the wide leaps of the violin version. The violins answer the bassoon passages in bars 14-16, using the triadic pattern of arpeggios. First & second violins play in harmony together – there are no slurred bow markings. The bassoon states the opening melody for the first time at bars 144-163. This spans nearly two octaves – going down to the bassoon’s low E. There is a descending sequence in bars 17-19, moving through the circle of fifths. This pattern gives a strong bass line in the continuo and helps to drive the music forward – a sense of direction.

241-281 Ritornello 2 B minor

A very short ritornello – allowing the soloist to continue with the virtuosic solo section as soon as possible. Theme A is in Violin 2 again but now in B minor (the dominant minor).

282-383 Solo 2 Virtuosic writing for the bassoon – based on the second idea, initially. The Basso Continuo accompaniment is more varied - NO VIOLINS AT ALL. Features of the virtuosic bassoon writing:

- Wide leaps in the melody (7ths, octaves, 10ths, 2 octaves) - Descending demisemiquaver passages/sequences/scales - Ornamentation (trills and acciaccatura), auxiliary and inverted auxiliary notes

decorating the melodic line - Sustained melodic phrasing requiring breath control

382-461 Ritornello 3 A minor – B

major - E minor

The theme in Violin 2 is in A minor – the subdominant minor; modulates back to E minor. Unison material from bars 64-10 – two repetitions of the material; key alterations - B minor was being established as a key centre; by this stage in the piece, B major makes the presence of E minor more emphatic & dramatic). Cadential material in E minor leading to the next solo section.

462-641 Solo 3 This is the longest solo episode. There is the addition of new material – undulating quaver pattern. The basso continuo is the only accompaniment at first. Most of the solo in the bassoon lies in the tenor register and the bass notes act with the continuo. Broken chords in the violins introduce another circle of fifths and a second sequence in the bassoon.

64-67 Ritornello 4 E minor

There is repetition of material in bars 11-13. NO RESTATEMENT OF THE MAIN THEME. Echo in the final bars – first time loud (f), second time quiet (p).


Set work summary

Symphony no. 103 in Eb (‘Drum Roll’), 4th

movt. – Haydn



Franz Joseph Haydn – born in Austria in 1732, died in 1809.

Accomplished composer and pianist.

In service to the Eszterhazy family in Vienna – the Kappelmeister.

Felt isolated here and this forced him to experiment and become original.

Famous throughout Europe (1790s) through the publication of his music & commissions outside of the Eszterhazy family – The “Paris” Symphonies.

Wrote 100+ symphonies amongst other works; 12 symphonies were written in London – The “London” Symphonies.

Nicknamed his music – e.g. Drum Roll symphony.

Travelled to London twice between: 1791-1795 - in his sixties.

About the Set Work – Placing the Set Work in a Musical Context Haydn was brought to London from Vienna by Johann Peter Salomon – a famous violinist and leader of the Opera Concert Orchestra. There were two rival orchestras in competition in London at this time: The Opera Concert Orchestra and The Professional Concert Orchestra. The venue that both of these orchestras performed in was the Hanover Square Rooms – a purpose built hall with a raised platform for the orchestra with 500+ seats for the audience. Music was booming in London in the late 1700s due to the Industrial Revolution and the increasingly wealthy middle classes. London had become the melting-pot of cultural life and musician flocked here to earn a living. The Drum Roll symphony was created amidst Haydn’s second visit to London and was the 11

th

symphony of 12 nicknamed the “London” symphonies. The piece was written for an orchestra of 60 players and premiered at the King’s Theatre, which seated 800+ people on 2

nd March, 1795. It was well loved by the audience and continued to be played. The

Drum Roll is written in sonata-rondo form – a hybrid form that comes from Haydn’s isolation and inclination towards experimentation. The piece is also monothematic – meaning it only has one theme, altering the structure of sonata form. The piece is created using the following devices:

MOTIFS

PEDALS

IMITATION (ANTIPHONY)

REPEATING THEME


Tonality

Eb major

Tempo

Allegro con spirit – lively with spirit

Dynamics Expressive dynamics from pp to ff with sudden accents such as sfz used for expression.

Pitch

Rhythm Simple rhythms

Harmony Mixture of major/minor – modulating to various keys: dominant minor (Bb minor) & relative minor (C minor).

Texture Mixture of textures – strings with woodwind accompaniment. Winds written in groups.

Musical Features Imitation

Pedals

Motifs/Themes

Melody and Structure Sonata-rondo form: A Theme/Exposition 1

st subject – bars 1-107, B Episode/Exposition 2

nd subject – bars 107-157, Theme

A/Exposition 1st subject – bars 158-182, C Episode/Development – bars 182-263,

A Theme/Recapitulation – bars 264-316, B Episode/Coda – bars 316-386

Instrumentation

Double wind orchestra – including clarinets in Bb, full compliments of strings, 2 horns & trumpets in Eb, timpani in Eb & Bb.


Revision Questions 1. How does Haydn use tonality to structure the music of this movement? How does this compare with the

use of tonality in the first movement of Vivaldi’s Bassoon Concerto in E minor? 2. How has the orchestra, as used by Haydn, changed from the time of Vivaldi? 3. In what ways was writing for a London audience different from what Haydn was used to? 4. Compare the music before and after each appearance of the theme (bars 5-12, 45-52, 158-165, 264-271).

Describe what happens. 5. Write out the cello and viola parts in bars 73-761 in the treble clef. 6. Explain how a motif is difference from a theme. 7. Describe some of the orchestral textures that Haydn uses in this movement. 8. What is meant by the term sonata rondo form? 9. Make an analysis chart to show the differences between the tonality, themes and instrumentation of the

B and C sections of this movement. 10. Listen to performance of this movement by different orchestras and conductors. Compare a performance

from 50 years ago with a modern performance or with one that uses ‘period’ instruments. 11. List the characters/musicians associated with this set work. 12. What limitations did the brass and timpani have, particularly in the development section?

Characteristics of the Classical Period Tonic-dominant alternation Balanced phrases (question & answer/four bar phrases) Introduction of the piano Gradual phasing out of the basso continuo and the establishment of a conductor A more varied orchestra including clarinets (Bb) Prominence of melody and accompaniment Alberti bass Symphony, sonata, string quartet Graded dynamics Sonata form Fewer ornaments than Baroque music

Quick change of mood

Analysis Bars Structure

(Rondo) Structure (Sonata)

Description

1-107 A Theme Exposition – 1st subject

Eb major. The horn call plays a call to attention – after a short pause, the horn call is repeated now as an important part of the main theme. Haydn then breaks down the main theme into motifs – small sections of the melody that is recognisable. This repetition of motifs gives the movement momentum, intensity and drive. Bars 12-15 briefly passes through F minor. Haydn keeps the audience waiting until bar 73 for the full orchestra to play. Woodwind & brass are used sparingly and not as full sections – horns, clarinets, oboes and bassoons are used separately in pairs or as a solo on sustained notes. These sustained pedals create suspense. The texture is reduced at bar 65 and dynamics are decreased, creating a bigger impact at bar 73 with a full forte orchestra. Through the shift to Bb major, the theme is extended by using motifs and the texture becomes imitative – creating a rich, polyphonic texture.

107-157 B Episode Exposition – 2nd subject

Bb major. The pace of this section is less hectic. The melodic activity of the strings is replaced by repeated crotchets. The dynamics drop to p and the texture reduces to strings with the occasional woodwind. There is some use of double stopping in the violins (bars 141-142) followed by triple stopping in the next two bars – adding emphasis to the approaching cadence. The link passage in bars 146-157 brings the music back to the tonic, using a pedal Bb under shifting chromatic chords until a


dominant 7th chord is reached. 158-182 A Theme Exposition –

1st subject Eb major. The main theme returns in a shortened form (25 bars). This statement is almost identical to the first appearance of the theme at bars 5-26, with the exception of an inverted motif in the clarinet at bar 172.

182-263 C Episode Development C minor. The use of this key makes the motivic imitation more urgent and dramatic. The overlap of the exchanges of the two-bar motif makes the repeated note figure appear in almost every bar. Some of the entries of the motif are harmonised in 3rds, played by different combinations of strings and woodwind, creating a chordal string texture to the section. Note the absence of the brass and timpani here due to their limitations. There is a change of mood at bar 198 – the soft upper strings play a legato version of the motif in even crotchets. There is then a sudden tutti return of the orchestra at bar 208 – marked forzando.

264-316 A Theme Recapitulation Eb major. The recapitulation is a surprise/abrupt return to the tonic key. The first-subject material of the first 107 bars is repeated in a compressed way (53 bars) at bars 264-316. The theme is played once, in the same scoring as before, but there is no long build up this time. A brief modulation to Bb major – signified by the pedal in horns, bassoons, trumpets & timpani. The tonality reverts back to Eb major at bar 300.

316-386 B Episode/Coda Coda Eb major. The coda is brief. The violins rapidly leap in the final tutti (bar 368 onwards), hinting at the virtuosity that Haydn expected from his players. There is a high G in the violinist’s 6th position (bar 379-383) – unusual for orchestral writing of this time.


Set work summary

Concerto in D major for Violin & Orchestra, op. 61, 1st

movt. – Beethoven



Ludwig Van Beethoven – born in Germany in 1770, died in 1827.

Accomplished composer and pianist.

Arrived in Vienna in 1792 to have lessons with Haydn.

Nicknamed the “second Mozart”.

Haydn was meant to take Beethoven to London with him but this did not happen for some unknown reason.

Beethoven wrote 9 symphonies & 7 concertos amongst other works – a small amount compared to his contemporaries such as Haydn (100+ symphonies) and Vivaldi (500+ concertos).

Close friends with violinist Franz Clement.

Beethoven had a fiery nature partly due to illness.

Began to lose his hearing around 1796.

A slow composer, he composed using sketchbooks of ideas – drafting & re-drafting melodies.

About the Set Work – Placing the Set Work in a Musical Context Vienna was the largest German-speaking city and was a capital – ruled by the Hapsburg family who were imperial bureaucrats. They heavily promoted the arts, particularly music. These opportunities attracted musicians from all over Europe. Many of Beethoven’s performances and compositions were for private aristocratic society. The ‘Violin Concerto in D major’ (op. 61) was written for a charity event to raise money for Franz Clement – musicians often did this to supplement their wages and other musicians would offer their services for free for the concert. The first performance was at the Theater an der Wien on the 23rd December 1806. The performance was not a great success as, amongst other things, it was very long – 20 minutes for just the 1st movement – and it was in an unusual form (extended sonata form). There were major advances in violin technology at this time including the following:

LENGTHENED NECK

INCREASED SOUNDING LENGTH OF STRINGS MORE BETWEEN NOTES – HIGHER NOTES BECAME MORE PRACTICAL

MODERN BOW – MADE BY FRANCOIS TOURTE

MODERN BOW – BALANCED, CURVED INWARDS, MORE BOWHAIR, MORE WEIGHT AT THE BOTTOM

Beethoven’s style at this time was heading towards Romanticism with the dramatic use of dynamics (crescendos & diminuendos) and sudden accents. These trends signalled a move towards more obvious expression of feeling or emotion. The larger orchestra with additional instruments such as the piccolo allowed for more freedom of expression. The piece remained unpopular until 1844, when a violinist named Joseph Joachim performed the concerto at the age of 12 in London, with Felix Mendelssohn (a composer) as the conductor. PART 2 – MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES

Time signature

Tonality

D major

Tempo

Allegro ma non troppo – fast but

not too much.

Dynamics Expressive dynamics from pp to ff with sudden accents such as sfz used for expression.

Pitch (solo violin)

Rhythm Many triplets used – solo violin

Harmony Mysterious D#’s in bar 10 – creates a sense of unease in D major.

Texture Often scored for families of instruments – particularly the woodwind as a separate entity to the rest of the orchestra.

Musical Features - Use of pedal notes - Cello & Double bass had separate parts in places - Use of motifs & themes

Melody and Structure Sonata form: Tutti exposition – bars 1-88, Solo exposition – bars 89 – 223, Development – bars 224 – 364, Recapitulation – bars 365 – 496, Cadenza – bar 510, Coda – bars 511 – 535

Instrumentation Double wind orchestra – but only 1 flute, full compliments of strings, horns & trumpets in D, timpani in D & A, solo violin.


Revision Questions 1. Make a chart to show the different uses of the woodwind in the first movement of Beethoven’s Violin Concerto in

D major. Find an example in the score for each of the following bullet points: The flutes, oboes, clarinets and bassoons contrast in timbre with the sound of the solo violin and with the

string section. Important themes are introduced by the woodwind section. The woodwind can either play themes as a full section or play melodic lines in unison, octaves, 3rds, 6ths

accompanied by string. Woodwind instruments are used as a section in homophonic writing, reinforcing the rhythm in the full

orchestra or holding a chord while the strings play a more energetic rhythmic figure. The woodwind can be used to strengthen melodic lines by doubling the strings. The bassoon is used for expressive effect in dialogue with the solo violin in the development and in the

coda. 2. Look at how the timpani motif is used later in the movement at the following points:

Towards the end of the 1st violin solo (bars 205-223) The second half of the development (bars 300-364) The beginning of the recapitulation (bars 365-381)

3. In your Beethoven score, look at the passage bars 19-42. It begins in D major, the tonic key of the movement. There are no accidentals (sharps, flats or naturals) until bar 28, where there is a chord of Bb major. Find the notes of this chord (Bb, D and F) in the score.

4. Describe the tonality in the following places: Bars 35-39 Bars 43–46 Bars 51–54

5. Identify the chords used at the following points: Bars 691 Bars 711 Bars 721 Bars 731

6. Find all of the Italian terms in the score and write down their meanings. 7. The term ‘virtuoso’ is sometimes used to describe either players of exceptional accomplishment or music that is

particularly difficult. What are the virtuosic characteristics of the violin solo in the first movement of Beethoven’s D major concerto?

8. Listen to the performances of the work by different violinists. Note any differences you hear in their interpretations. Consider differences and similarities in tempo, phrasing, dynamics, size of the orchestra, recorded balance between the solo and accompaniment, bowing, execution of ornaments, tone and vibrato.

9. List the characters/musicians associated with this set work.

Characteristics of the Romantic Period Dramatic dynamics – pp to ff – with sudden accents – sfz Bold/dramatic contrasts – dynamics, keys, time signature, mood, themes, etc. Experimentation of form – sonata form with two expositions Expression of emotion – telling a story (programme music) Adventurous modulations/keys Chromatic harmonies Use of rubato Large orchestra – new instruments (piccolo, ophecleide)


Bars Structure Description 1-88 Exposition 1

(Tutti) D major. This first exposition is for the orchestra only. Beethoven lays out the main material for the movement in the exposition. There is a strong timpani motif – five repeated crotchets (bars 1-2). This is used in many places in this movement and helps to give a sense of unity to the music. A woodwind melody follows. In bar 10 there is an unnerving D#, which creates suspense – unrelated to the key of D major.

89-223 Exposition 2 (Solo)

D major. This exposition is for the soloist. Instead of closing the previous exposition with a perfect cadence at bar 88, there is an unresolved dominant 7th chord (A7) as the background for the entrance of the soloist. Bowing is indicated by slurs over the notes – long bows for triplets, quicker changes of bow for the pairs of semiquavers, detached bowing for the scale up to top D (bars 100-101). At bar 122, there is a change of order as the role of the orchestra reduces and the solo violin starts to dominate. The orchestra is then decreased to just strings, oboes and bassoons at bar 178. The solo part becomes more varied and challenging – changing quickly from one type of figuration to another (ascending scales to rapid semiquaver octave leaps).

224-364 Development A major – C major – B minor – G minor. Begins with the dramatic entrance of the tutti orchestra on the interrupted cadence at bar 224. The rest of the section is essentially a repeat of the tutti exposition in the dominant key. The tutti sounds forceful at bar 256 – marked sempre ff. The constant movement of pairs of semiquavers in the second violins and violas helps to retain the intensity. The chromatic A# is repeated with the enharmonic equivalent Bb (bar 263), becoming the 7th of a dominant 7th chord in F major (C7). The change in the bass from C# to C natural (bar 264) leads to a modulation to the distant key of C major for the closing theme. The repetition of the timpani motif is an important feature in the rest of the development section.

365-510 Recapitulation D major. The first theme returns with the full force of the orchestra – unlike its’ first appearance. Once the fourth solo begins, the role of the orchestra is reduced again to allow for the soloist’s semiquaver passagework to shine through. This section ends with a reprise of the long trills and scales that ended the exposition, followed by the full orchestra with a sudden Bb chord (bar 497). The music moves to a fermata (pause) on a Ic chord (bar 510) – this signals the beginning of the cadenza.

510 Cadenza D major. Draws on the themes from the movement, combined with the soloist’s own elaborations/ideas. A long trill on the penultimate note signals to the rest of the orchestra that the coda is about to begin.

511-535 Coda D major. The violin solo continues with the second subject theme, played on the G & D strings – not the preferred option for a violinist but playing it here helps to exploit the richer, darker tone of the lower strings. The movement ends with the tutti closing theme from the second subject group.

PRACTICE ESSAY QUESTIONS 1. Discuss the principle differences between the orchestras of Vivaldi

and Beethoven, and how the composers wrote for them.

2. Explain the circumstances in which either Haydn composed the

Symphony no. 103 in Eb major or Beethoven composed the Violin

Concerto in D major.

3. If you were asked to prepare a performance of one of the

prescribed orchestral works, what aspects would you need to

consider? To what extent do you think it is important to respect the

composer’s intentions?

4. Compare the way music was made available to audiences during

1920-1960 with the customs during the 18th and early 19th

centuries. Refer in your answer to the background of one of the

orchestral scores and one of the jazz recordings that you have

studied.

5. What similarities and differences were there between the working

conditions or orchestral players in the 18th and early 19th centuries,

compared to the jazz musicians in 1920-1960?

6. Compare the contributions of Louis Armstrong and Miles Davis to

the jazz recordings to you have studied.

7. Explain which musical features of either Duke Ellington’s Koko or

Miles Davis’ Boplicity would have been familiar to audiences of the

1940s and which features would have been new.

8. Describe the effect of radio and recording on the work of jazz

musicians. Consider issues such as the advance of technology,

the role of the radio and recording companies, the artistic and

business opportunities presented by radio and recording, and the

public response to broadcast and recorded performances.

9. Compare how Hadyn or Beethoven used woodwind and brass

instruments with the use of reeds and brass in one of the

prescribed jazz recordings.

10. Discuss the use of imitation in the orchestral and jazz

repertoire you have studied. Refer to examples from at least one

orchestral and one jazz piece.

11. Compare the contributions to the pieces you have studied of

Duke Ellington and Miles Davis.

12. Discuss the role of the soloist in jazz. What would be

expected of them? In what ways did the role change over time?

Refer to examples from at least two of the jazz recordings you

have studied.

13. Explain how the recordings conditions experienced by Gil

Evans and Miles Davis in 1949 contrasted with those of jazz

groups from the early twentieth century.

14. Explain the circumstances that influenced the creation and

performance of either Louis Armstrong’s Hotter Than That or

Duke Ellington’s Koko.

15. Explain the importance of recordings to the transmission of

music in the twentieth century. Refer to at least two items of

prescribed repertoire in your answer.

16. In what ways does Haydn’s use of instrumental forces in his

‘Drum Roll’ symphony, reflect the style of its time?

17. In what ways does Beethoven’s use of instrumental forces in

his Violin Concerto in D major, reflect the style of its time?

18. Compare and contrast the orchestral forces and their use in

any two of the prescribed orchestral scores that you have studied.

19. Describe some of the ways in which the limitations of early

recording technology affected the style and performance of jazz in

the early twentieth century.

20. Compare the use of brass instruments in Haydn’s ‘Drum Roll’

symphony and Miles Davis’ Boplicity, pointing out similarities and

differences.

21. Describe the approaches to improvisation in any two

examples of the prescribed work (scores and/or recordings) you

have studied.

22. Compare and contrast the approaches to the concerto in

Vivaldi’s Concerto in E for Bassoon & Orchestra and Beethoven’s

Concerto in D for violin & orchestra.

23. Explain why so many performers in the period from 1920 to 1960

were keen to secure contracts with recording companies and radio

stations.

Documents

Set Work Revision Guide 2012-2013