Music GCSE Edexcel
LENA STEINBERG
AREA OF STUDY 1
WESTERN CLASSICAL MUSIC
And the Glory of the Lord (from ‘Messiah’) – Handel
Musical Features:◦ Imitation◦ Sequences◦ Syllabic and Melismatic word setting
And the Glory of the Lord (from ‘Messiah’) – Handel
Melody:◦ 4 Melodies:◦ Melody 1 – Based on triad of A major – Syllabic – Sung by all parts, started by the Altos◦ Melody 2 – Descending sequences – Melismattic - Sung by all parts, started by the Altos◦ Melody 3 – Repetition, featuring sequences – Syllabic and Melismattic - Sung by all parts, started by the
Altos◦ Melody 4 – Pedal note – repeated – syllabic – mainly sung by tenors and basses
And the Glory of the Lord (from ‘Messiah’) – Handel
Rhythm:◦ Driving regular beat on crothcht rhythms – matches stately mood◦ Use of HEMIOLA – notes grouped in 2 beats, instead of the 3 beats of the time signature
And the Glory of the Lord (from ‘Messiah’) – Handel
Structure:◦ Based on four contrasting melodies (See melody slide)
And the Glory of the Lord (from ‘Messiah’) – Handel
Instrumentation:◦ Written for four voices – Soprano, Alto, Tenor and Bass◦ Featuring String orchestra (Violins, Violas and Cellos)◦ Also Featuring Basso continuo (Harpsichord or Organ)
And the Glory of the Lord (from ‘Messiah’) – Handel
Dynamics:◦ No dynamics are printed on the score◦ However, terraced dynamics are achieved by adding and taking away parts and instruments
And the Glory of the Lord (from ‘Messiah’) – Handel
Harmony:◦ Clear A major harmonies – minor is avoided◦ Perfect cadences during the piece (V-I)◦ Plagal cadence at end of piece (IV-I)
And the Glory of the Lord (from ‘Messiah’) – Handel
Tempo:◦ ALLEGRO all the way through◦ Apart from ADAGIO for last four bars of piece◦ Time signature of piece is
And the Glory of the Lord (from ‘Messiah’) – Handel
Texture:◦ Alternating homophonic and polyphonic sections◦ Ends with all part playing together - Homophonic
Symphony No.40 in G minor - Mozart
Musical Features:◦ Pedal Notes are used in the development
Symphony No.40 in G minor - Mozart
Melody:◦ Two subjects◦ Sonata Form (see structure slide)
Symphony No.40 in G minor - Mozart
Rhythm:◦ Scale passages and rising sequences◦ 1st subject – crochet and quaver rhythms◦ 2nd subject – Slower, legato rhythms
Symphony No.40 in G minor - Mozart
Structure:◦ Sonata form:◦ Exposition:
◦ First subject ( G minor)◦ Bridge passage◦ Second subject ( B flat major)◦ Codetta
◦ Development:◦ Based on opening of first subject◦ Texture becomes more polyphonic◦ Explores different keys very quickly◦ Pedal notes are used in development of themes, as they are passed between instruments
◦ Recapitulation:◦ Not a direct repetition of exposition, as both subjects are G minor and bridge passage is longer
◦ Coda
Symphony No.40 in G minor - Mozart
Instrumentation:◦ Normal orchestra◦ Only 1 Flute◦ No trumpets◦ No Timps
Symphony No.40 in G minor - Mozart
Dynamics:◦ Starts off p◦ Lots of dynamic contrast◦ Use of sfz and accents
Symphony No.40 in G minor - Mozart
Harmony:
Exposition Development Recapitulation Coda
1st Subject G Minor Variety of keys G Minor G Minor
2nd Subject B flat Major G Minor G Minor
Symphony No.40 in G minor - Mozart
Tempo:◦ Molto Allegro◦ Time signature
Symphony No.40 in G minor - Mozart
Texture:◦ Mainly Melody with accompaniment◦ Some homophonic sections◦ Polyphonic in development
Prelude No.15 in D flat Major Musical Features:
◦ Careful expressive use od pedals, particularly in the sustaining pedal◦ SOSTENUTO – sustained◦ ACCIACATURA – “Crushing note” – melodic decoration◦ PEDAL NOTE – A flat in the piece
Prelude No.15 in D flat Major Melody:
◦ A section◦ Falling motif to represent the sadness◦ Elegiac melody in right hand
◦ B section◦ Mood is dark and stormy◦ Melody in left hand
◦ Equally balanced 4 bar phrases◦ Falling phrases which represent rain (nicknamed “Raindrop Prelude”)
Prelude No.15 in D flat Major Rhythm:
◦ Repeated quavers◦ Sustained tempo◦ 4 beats in a bar which always stays the same◦ Dotted rhythms in the A section◦ Crochet Rhythms in the B section◦ Septuplets are used◦ Rubarto
Prelude No.15 in D flat Major Structure:
◦ Ternary form◦ A section◦ B section◦ A section (Very short)◦ Coda
◦ A section has it’s own ternary form
Prelude No.15 in D flat Major Instrumentation:
◦ Solo piano
Prelude No.15 in D flat Major Dynamics:
◦ Extreme dynamics◦ A section is generally quiet◦ B section has a very big crescendo, but ends in pp
Prelude No.15 in D flat Major Harmony:
◦ 7th and 9th chords are used◦ Notes added to triad◦ Perfect cadence◦ D flat Major◦ Enharmonic modulation (From D flat major in A section, to C sharp minor in B section)◦ Dominant pedal note ( A flat in A section, G sharp in B section)
Prelude No.15 in D flat Major Tempo
◦ Use of rubarto◦ Time signature is
Prelude No.15 in D flat Major Texture:
◦ Melody dominated homophony◦ Homophonic◦ Melody with accompaniment◦ Monophonic bar in second A section
Area of Study 2MUSIC IN THE 20TH CENTURY
Peripetie - Schoenberg Melody:
◦ Use of hexachords ◦ Klangfarben melodie – Melody moves between parts◦ Word painting◦ Canon
Peripetie - Schoenberg Rhythm:
◦ Different rhythms which overlap◦ Haubptstimme – Main melody which is symbolised in the score like this :◦ Nebenstimme – second melody which is symbolised in the score like this:
Peripetie - Schoenberg Structure:
◦ Free rondo◦ A◦ B◦ A1◦ C◦ A2
Peripetie - Schoenberg Instrumentation:
◦ Written for a very large orchestra◦ Unusual instrumentation
◦ 3 flutes◦ Cor anglais◦ 3 bassoons◦ Piccolos
◦ Instruments played at extremes of their registers◦ Schoenberg is very specific with his tones and timbre
◦ Hi-hat played with cello bow◦ Muted but playing ff◦ Glissando◦ Tremolo
Peripetie - Schoenberg Dynamics:
◦ Extremes◦ Sudden changes (e.g. from fff to pp)
Peripetie - Schoenberg Harmony:
◦ Dissonant (using intervals of a 7th)◦ Hexachords◦ ATONAL
Peripetie - Schoenberg Tempo:
◦ Changes throughout the piece◦ Sehr rash (very quick)◦ Etwas rhuiger (a little slower)◦ Heftig (Quick)
Peripetie - Schoenberg Texture:
◦ Homophonic and solo sections◦ Polyphonic sections
Something’s coming - Bernstein Melody:
◦ Lots of short riffs◦ Combination of short phrases and long sustained notes
Something’s coming - Bernstein Rhythm:
◦ Lots of syncopation◦ Ostinati◦ Cross-rhythms◦ Push-rhythms◦ Accented off beats
Something’s coming - Bernstein Structure:
◦ Not a typical verse chorus structure
Intro Section A Section B
Section B1 Section A1 Outro
Something’s coming - Bernstein Instrumentation:
◦ Solo male singer (tenor)◦ Large orchestra (however this is hidden from the score)
Something’s coming - Bernstein Dynamics:
◦ Tony starts singing pp◦ Gradually gets louder◦ Fades out at end
Something’s coming - Bernstein Harmony:
◦ D major◦ Use of tritone – augmented 4th ◦ Jazz harmony – added blues notes
Something’s coming - Bernstein Tempo:
◦ Very fast – 176 bpm◦ Push-rhythms makes the piece feel faster◦ Some sections are ◦ Other sections are
Something’s coming - Bernstein Texture:
◦ Melody with accompaniment
Electric Counterpoint - Reich Melody:
◦ Repeated melodies (motifs)◦ Resultant melodies◦ Guitar 3 uses additive melody
◦ Two or three notes are added each bar, until the whole riff can be heard
Electric Counterpoint - Reich Rhythm:
◦ Layered ostinato◦ Phase shifted◦ Displaced◦ Minimalist◦ Interviewing rhythms
Electric Counterpoint - Reich Structure:
◦ Divided into two main sections with a coda◦ These two sections are further divided into four smaller sections
◦ Each of which is defined by a change in texture or key
Electric Counterpoint - Reich Instrumentation:
◦ 10 guitars all together◦ 1 live guitar◦ 7 electric guitars ◦ 2 bass guitars
◦ Each guitar enters one after each other (cannon)
Electric Counterpoint - Reich Dynamics:
◦ Not many dynamics printed◦ Dynamics achieved by layering instruments
Electric Counterpoint - Reich Harmony:
◦ Diatonic harmonies◦ Tonal ambiguity◦ Bass guitar confirms the key is E minor◦ AEOLIAN MODE◦ Changes to C minor in second section◦ Finishes with a E5 chord (No third)
Electric Counterpoint - Reich Tempo:
◦ Time signature changes◦ From◦ To◦ To
◦ Constant tempo throughout
Electric Counterpoint - Reich Texture:
◦ Multi-layered texture is achieved by each track being multi-tracked◦ Made of short motifs that are repeated◦ Counter point (polyphonic)◦ Panning is used
AREA OF STUDY 3
POPULAR MUSIC IN CONTEXT
All Blues - Davis Melody:
◦ The main melody (HEAD) and the solos are all played over the 12-bar-blues chord sequence (see harmony slide)
◦ Based on the notes of the Mixolydian mode on G◦ The improvisations are ornamented and combine riffs
All Blues - Davis Rhythm:
◦ The rhythms section provides the harmony and rhythmic background◦ The rhythmic section provides the COMPING playing the background chords and rhythms
All Blues - Davis Structure:
Section CommentINTRO Drums, bass riff, piano trill, alto and tenor sax riff in thirds
HEAD This is where the original tune is played. Played on muted trumpet with a simple motif moving mainly by step
LINK Breaks up repetition of head and provides contrastHEAD1 Same as first but melody is slightly more developed- ride cymbal is added by
drumsIMPROVISED SOLO (TRUMPET) First solo performed by Miles Davis. Trumpet mute is removed. 4 repetitions
of the 12-bar-blues sequence. Mixolydian mode on GIMPROVISED SOLO (ALTO SAX) 4 repetitions of the 12-bar-blues sequence. Chromatic and very technicalIMPROVISED SOLO (TENOR SAX) 4 repetitions of the 12-bar-blues sequence.IMPROVISED SOLO (PIANO) Comping in left hand. 2 repetitions of the 12-bar-blues sequenceHEAD2 Same as first HEAD, trumpet is muted againHEAD3 Melody developed with more of a minor feelOUTRO Trumpet solo on the tonic G note, over the sax riff and the piano trill
All Blues - Davis Instrumentation:
◦ Front line◦ Trumpet◦ Alto saxophone◦ Tenor saxophone
◦ Rhythm section◦ Piano◦ Bass◦ Drums
All Blues - Davis Dynamics:
◦ Mainly p throughout◦ Diminuendo in fifth HEAD
All Blues - Davis Harmony:
◦ Based around repeated 12-bar-chord sequence, with 4 linking sections between each section◦ Traditional sequence has been altered by extending and altering bars 9 and 10◦ Repeated 19 times in total◦ Modal Jazz
◦ Focuses on mixolydian mode on G
G7 G7 G7 G7
C7 C7 G7 G7
D7#9 Eb7#9 G7 G7
All Blues - Davis Tempo:
◦ 156 bpm◦ Feels like dotted rhythm◦ Jazz waltz ◦ Time signature is
All Blues - Davis Texture:
◦ Made up of riffs◦ 3 riffs are used
◦ 1st – G D ED F DED – played by double bass◦ 2nd – D/B E/C F/D E/C – played by alto and tenor saxophones in thirds
Grace – Jeff Buckley Melody:
◦ Vocal melody in the verse has a limited pitch range, becoming higher in the pre chorus◦ A “whispering” backing vocal adds variety to the melody in the chorus◦ The telephone EQ effect added to the vocal melody in the middle 8 gives a harsh and distant effect◦ Verse 3 sees the pitch of the vocal melody becoming higher ◦ Extremely high pitched vocal (FALSETTO) improvisation in the outro including melisma
Grace – Jeff Buckley Rhythm:
◦ Rhythm of the intro is highlighted by the acoustic guitar and hi-hat cymbals, which “drive” 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
Grace – Jeff Buckley Structure:
Into Verse 1 Pre-chorus 1 Chorus
Link Verse 2 Pre-chorus 2 Chorus
Middle 8 Link Verse 3 Outro
Grace – Jeff Buckley Instrumentation:
◦ Main instruments◦ Drum kit◦ Bass Guitar◦ Three electric guitars◦ Acoustic guitar◦ Lead Vocals
◦ Additional instruments◦ Backing vocals◦ Strings
Grace – Jeff Buckley Dynamics:
◦ Starts p, but has a f chord in the intro◦ Whisper effect on the electric guitar uses dynamic picking
◦ Having the volume turned down and then turning it up quickly
Grace – Jeff Buckley Harmony:
◦ Bass guitar provides pedal note “D” upon which harmonies and chords are constructed◦ During the verse the electric guitar plays power chords
◦ The harmonies are modal, with E as the tonic note◦ Em Em/F5 Em/Eb5
◦ The pre chorus uses more complex chords, with 9th and 6th notes added◦ Complex harmonies in the middle 8
◦ Hummed vocals with long sustained notes on strings◦ Key is not clear from first three chords, but arrives in D major at the end of the intro
Grace – Jeff Buckley Tempo:
◦ 64 bpm - Dotted crochet◦ Time signature is
Grace – Jeff Buckley Texture:
◦ Textural contrast is created when parts drop out◦ Texture in verse is thinner◦ Thick polyphonic texture in middle 8
Why does my heart feel so bad? - Moby
Melody:◦ 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
Why does my heart feel so bad? - Moby
Rhythm:◦ Hip-hop drum loop used throughout, also called a back beat◦ Piano accompaniment changes to syncopated rhythm in verse 1
Why does my heart feel so bad? - Moby
Structure:
INTRO
Chord sequence 1
VERSE 1
Chord sequence 1 X4
CHORUS
Chord sequence 2 + 3
VERSE 2
Chord sequence 1 X2
BREAK CHORUS
Chord sequence 2,3,3
OUTRO
Chord sequence 1
Why does my heart feel so bad? - Moby
Instrumentation:◦ Multi-effect unit◦ Drum machine◦ Synth bass sound◦ Piano sound◦ String sound◦ Vocal samples
Why does my heart feel so bad? - Moby
Dynamics:◦ Song begins p and increases in relation to the texture
Why does my heart feel so bad? - Moby
Harmony:◦ Based around chord sequences – limited harmonic range◦ Both vocal samples are in the key on A minor◦ Harmonised to break second feel c major◦ Modulation
Number Chord sequence
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
Why does my heart feel so bad? - Moby
Tempo:◦ Constant throughout at 98 bpm◦ Time signature is
Why does my heart feel so bad? - Moby
Texture:◦ Instruments come in and drop out for textual contrast◦ Sustained chords◦ Static chords◦ Telephone EQ effect◦ Break◦ Delay effect◦ EQ◦ Reverb
AREA OF STUDY 4
WORLD MUSIC
Skye Waulking song - Capercaillie
Melody:◦ Melodic lines are played in the folk style◦ Instruments improvise around melody◦ Typical features of a walking song are used:
◦ Vocables◦ Repetition of each line of the verse◦ Slow rhythm
Skye Waulking song - Capercaillie
Rhythm:◦ The shakers and hi-hat play every two beats giving the rhythm a triple feel◦ The vocal part has a characteristic lilting rhythm◦ Second and fifth beat of the bar are emphasised by the accordion
Skye Waulking song - Capercaillie
Structure:
INTRO VEERSE 1 BREAK VERSE 2
VERSE 3 VERSE 4 VERSE 5 VERSE 6
INSTRUMENTAL VERSE 7 VERSE 8 OUTRO
Skye Waulking song - Capercaillie
Instrumentation:
FOLK INSTRUMENTS POP INSTRUMENTS
Accordion Piano
Flutes Synth
Uillean pipes Acoustic guitar
Bouzouki Electric guitar
Bodhran Drum and percussion
fiddle
Vocals
Skye Waulking song - Capercaillie
Dynamics:◦ Build up with texture◦ Fade out at the end of the song
Skye Waulking song - Capercaillie
Harmony:◦ Only using 4 chords – simple harmony◦ Changes in chord sequence highlight change in mood/ section◦ E minor pentatonic
Section Chord sequence
Intro Em G
Verse 4 C G Em G
Verse 7 Am7 Em Em G
Outro C G
Skye Waulking song - Capercaillie
Tempo:◦ Slow and calm – typical of a lament◦ Compound quadruple time◦ Time signature
Skye Waulking song - Capercaillie
Texture:◦ Heterophonic – in instruments◦ Improvised counterpoint around melody◦ Monophonic bar before verse◦ Counter melody
Rag Desh – Version 1 - Anoushka Shankar
Instruments:◦ Sitar◦ Tabla
Rag Desh – Version 1 - Anoushka Shankar
ALAP:◦ Slow and unmetered◦ Unaccompanied sitar explores the first notes of the raga◦ Free rhythms sound improvised, due to a lack of a regular pulse◦ Some decoration to melody
Rag Desh – Version 1 - Anoushka Shankar
GAT 1:◦ Sitar plays fixed composition rather than improvisation, but decorates melody with flourishes and
ornaments◦ Medium tempo◦ Tabla enters playing 10 beat JHAPTAL tala with decoration ◦ There is dialogue between sitar and tabla
Rag Desh – Version 1 - Anoushka Shankar
GAT 2:◦ Faster tempo◦ Tabla now switches to TIN TAL tala
Rag Desh – Version 1 - Anoushka Shankar
JHALLA:◦ Drone strings are used on the sitar which are strummed providing a rhythmic effect◦ Piece ends with a TIHAI
◦ Phrase which is played three times across the beat ending on the first beat of the cycle
Rag Desh – Version 2 – Chiranji Lal Tanwar
Instruments:◦ Voice◦ Sarangi◦ Sarod◦ Pakhawaj◦ Cymbals◦ Tabla
Rag Desh – Version 2 – Chiranji Lal Tanwar
ALAP:◦ Short introduction as the saraod player, then the singer, vocalise the melody, based ont eh notes of the
raga◦ Free time◦ A version of the chorus from the song
Rag Desh – Version 2 – Chiranji Lal Tanwar
BHAJAN:◦ A fixed composition◦ Song in verse form, with the first lines used as a refrain◦ Tabla plays KEHERWA table◦ Sarod and sarangi play solo passages between verses◦ Dynamics and tempo increase◦ Music becomes faster and more exiting, as the cymbals play more frequently
Rag Desh – Version 3 – Wertheimer & Gorn
Instruments:◦ Bansuri◦ Esraj◦ Tambura◦ Tabla
Rag Desh – Version 3 – Wertheimer & Gorn
ALAP:◦ Slow and unmetered◦ Drone is established by tambura◦ Bansuri enters exploring the notes of the raga
Rag Desh – Version 3 – Wertheimer & Gorn
GAT 1:◦ Slow tempo◦ Bansuri plays lyrical, unaccompanied melody◦ The tabla enters playing RUPAK tala◦ Bansuri and tabla players embellish and improvise upon their original patters, instruments then swap;
Bansuri improvises, table accompanies
Rag Desh – Version 3 – Wertheimer & Gorn
GAT 2:◦ Fast tempo◦ Tabla now uses EKTAL tala◦ Bansuri plays an elaborate melody with wide ranging pitch, fast scale passages (tans) and slides◦ Several THIAIs bring music to a close◦ Drone continues shortly after melody ends
Rag Desh - talasTala Number of Beats Piece which it is played in
RUPAK 7 beats Version 3 – played by tabla in GAT 1
KEHERWA 8 beats Version 2 – played by tabla in BHAJAN
JHAPTAL 10 beats Version 1 – played by tabla in GAT 1
EKTAL 12 beats Version 3 – played by tabla in GAT 2
TINTAL 16 beats Version 1 – Played by tabla in GAT 2
Yiri Melody:
◦ The opening solo balaphone melody is high pitched and is a simple 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”
Yiri Rhythm:
◦ The balaphone ostinato in combination produces a complex polyphonic texture◦ The drum ostinato perform a relentless one bar starting in the intro, performed by the talking drum,
small talking drum and djembe◦ The drum ostinati are decorated with occasional rhythmic fills◦ The balaphone performes cross-rhythms in the call and response section, which become syncopated
during the coda
Yiri Structure:
INTRO CHORUS A1 BREAK
CHORUS A2 BREAK CALL & RESPONSE
CHORUS B1 CHORUS A3 CODA
Yiri Instrumentation:
◦ Balaphone◦ Flute◦ Choir◦ Djembe◦ Tam-tam◦ Dundun◦ Maracas◦ Talking drum◦ Dunno
Yiri Dynamics:
◦ Soft dynamics which are increased as instruments are added◦ No dynamics printed on score
Yiri Harmony:
◦ Harmony remains close to the tonic Gb major throughout, making frequent use of the dominant Db note
◦ When the voice enters in chorus A1 they sound in unison
Yiri Tempo:
◦ Piece starts off in free tempo but continues in moderate tampo
Yiri Texture:
◦ Stars off with a monophonic texture with a solo balaphone◦ When second balaphone joins in they play in octaves◦ Heterophonic texture◦ Call and response