gcse set works
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GCSE Music Set WorksAnswers to most GCSE homework'sIncludes all GCSE music Y10-11 set works and answers to the homeworks, the key to pass your exams is here!TRANSCRIPT
Music GCSE Set WorksAnd the glory
Symphony No. 40
The Raindrop Prelude
Peripetie
Something’s Coming
Electric Counterpoint
All Blues
Grace
Why does my heart feel so bad?
Skye Waulking Song
Rag Desh
Yiri
And the Glory of the Lord – Handel1741
Tonality and Harmony
Texture Orchestration Melody and Word-setting Rhythm and Tempo
Dynamics
A major, modulates to E major, and
B major twice
Frequent cadences,
often perfect
Plagal cadence at
end
Changes frequently
Homophonic passages: used for
dramatic effect, usually syllabic
Polyphonic passages: polyphony created through use
of sequences and imitation
Occasional, short monophonic
passages
String orchestra
Continuo bass line – organ, cello, double
bass
Four-part choir: SATB
Four contrasting melodies of the chorus:
‘And the glory’ – A major triad at start, syllabic
‘Shall be revealed’ – melismatic, smooth descending outline
‘And all flesh’ – melismatic, repetition for
reinforcement
‘For the mouth’ – syllabic, tonic pedal, repeated long
notes to reinforce meaning of words
Allegro, ¾
Hemiola ends some
sections
Adagio after dramatic
three beats rest near end
Long notes make words seem more important
than music
Terraced dynamics
Dynamics determined by
number of instruments
playing
Piece starts quietly
Piece ends loudly
Symphony No. 40 – Mozart1788
Tonality and Harmony
Texture Structure Orchestration Melody Rhythm and Tempo
Dynamics
Exposition: 1st subject in G
minor, 2nd subject in Bb major
Development: explores different
keys
Recapitulation: both subjects in G
minor
Coda: repeated perfect cadences in
G minor
Diatonic and functional harmony
Chromatic chords
Pedal notes (end of 1st subject and end
of bridge)
Mostly homophonic
Imitation
Octave doublings
Dialogue between
woodwind and strings (start of 2nd
subject)
Sonata form:
ExpositionDevelopmentRecapitulation
And Coda
Chamber orchestra made up of strings,
woodwind and horns
No trumpets or timpani = unusual for
classical orchestra
Two horns in different keys (G and Bb) to
maximise number of notes they can play
between them
Strings: busy most of time
Woodwind: don’t play quite so much, share
start of 2nd subject with strings
Balanced, graceful melodic lines that sound like question and answers. E.g. 2nd subject starts with a four-bar phrase that ends with an imperfect
cadence (question), followed by a four-bar phrase that ends
with a perfect cadence (answer)
Many phrases are scalic
Contrasting melodies in 1st and 2nd subject:
First subject: a melody that is characterised by a falling motif
first played by strings
Second subject: a melody with descending chromatic
patterns, shared between woodwind and strings
The 1st and 2nd subjects in the recapitulation are repeated
with some variation
4/4 throughout
Molto Allegro
1st subject: two quavers
followed by a crotchet
Rhythms are fairly simple,
although some dotted rhythms
and syncopation
Most dynamic contrasts occur
suddenly
EXPOSITIONFirst subject: mainly quiet
Transition: loud
2nd subject: begins quietly, gets louder
towards end
DEVELOPMENT:starts and ends
quietly, loud section in middle
RECAPITULATION: similar dynamics to
the exposition
The Raindrop Prelude - Chopin1839
Tonality and Harmony
Texture Structure Use of piano Melody Rhythm and Tempo Dynamics
D major, modulates to C#
minor (enharmonic
minor)
Section A and B both end with
imperfect cadences, but the piece ends on a perfect cadence
Diatonic harmony with occasional chromaticism
Dominant pedal (As/G#s)
Mainly homophonic texture
Section A: melody in RH, broken chords in LH
Section B: more chordal. melody
passes to LH, with repeated quavers in
RH
Section A: back to opening texture.
Short monophonic passage in the coda
Ternary form with a short
codetta:A B A
Section A: major, lively
Section B: minor, chordal
Much of prelude uses middle and
lower ranges of the piano
Legato, singing tone
produced
Sustain pedal used
Wide dynamic range
Lyrical melody in RH at start
Ornamentation e.g.
acciaccturas, turns
Section B: melody moves
to bass
4/4
Sostenuto
Gentle ritenuto at end
Raindrop notes: G#s/Abs – repeated
quavers are a unifying rhythmic
feature throughout
Rubato = flexible tempo for expressive
effect
Unusual rhythmic features: septuplets,
dectuplets
Wide range, no sudden
contrasts
Crescendos and diminuendos
Starts p ends pp
Sotto voce b28
Section A: quieter than
section B, which climaxes to ff
twice
Peripetie – Schoenberg1909
Tonality and Harmony
Texture Structure Orchestration Melody and Word-setting
Rhythm and Tempo
Dynamics
Atonal
Dissonant harmony
Hexachords
Largely contrapuntal
Occasional monophonic and
homophonic moments
Complex textures built up through use of imitation
and inversion
Free rondo form with 5 sections:
A B A C A
Large orchestra
Instrumentation changes rapidly
Instruments required to play at extremes of pitch
ranges
Unusual effects e.g. cymbals
played with both a cello bow and a
mallet
Short, fragmented motifs
Disjunct
Octave displacement
Inversion
Starts in ¾, but metre changes between 3/4, 2/4 and 4/4
Sehr rasch (very quick)
Rhythms: complex and
varied
Rhythmic augmentation
Sudden changes of dynamics, leading to extreme contrasts
between ppp and fff
Starts loudly, ends with pp
chord
Something’s Coming – Bernstein1957
Tonality and Harmony
Texture Structure Orchestration Melody and Word-setting Rhythm and Tempo Dynamics
D major, with two contrasting
sections in C major
Tonal and Jazz influenced
harmony with blues notes e.g.
tritone and flattened 7ths (e.g. C natural against D major harmonies
at end) – note remains
unresolved and fits in well with
the sense of expectation
Homophonic Does not follow conventional verse-chorus
structure
Solo tenor accompanied by a band made up of woodwind, brass,
percussion and strings
Accompaniment: uses quiet
dynamics, soft timbre (e.g.
muted trumpets, pizz strings) =
don’t overpower the singer
Mostly syllabic
Alternation of three main themes:
1 – quiet syncopated opening theme
2 – loud, strident theme in 2/4 (b21)
3 – lyrical, slow-moving theme
A: mostly syllabic, often scalic
B: made up of repeated notes
C: made up of wider intervals
Word-setting:‘the air is humming’ – long
notes, strings use harmonics and play tremolo
‘they may come cannonballing…’ – repetition,
recitative style
Fast tempo
Frequent syncopation, push
rhythms
Metre changes between 3/4 and
2/4
Accompaniment: largely made up of
an on-beat bass part with off-beat chords
= create cross rhythms at star
Starts pp
Much contrast
B: melody louder
Many crescendos and
diminuendos
Fades out at end
Electric Counterpoint – Steve Reich1987
Tonality and Harmony
Texture Structure Instruments Melody Technology Rhythm and Tempo Dynamics
Tonality: rather ambiguous to start
with, but when bass guitar enters playing octave Es, E minor is clearly
established
Frequent changes in section B
between E minor and C minor –
these modulations are not closely
related, so sound unnatural
Diatonic and non-functional harmony
No conventional harmonic
progressions
Contrapuntal
Starts monophonically
with guitar 1, then live guitar enters
Quickly becomes contrapuntal by
bar 2
Gradually builds up layers to 10 guitars
Gradually reduced to 5 part texture at
start of coda
A, B, Coda 10 guitars in total:
1 live guitar, 7 pre-
recorded parts, 2 bass guitars
Made up of a one-bar motif
repeated continuously to
form an ostinato
Reich builds up melody using note addition
Syncopated quaver motif
introduced by live guitar and top 4
guitar parts
New syncopated quaver motif introduced in
bass guitar
More sustained motif begins in live guitar then transferred to
others
Multi-track recording
Panning: bass 1 panned fully one way, bass 2 the
other
Reverb: can be heard on
acoustic guitars
Crotchet = 192 (very fast)
Rhythmical displacement
Frequent syncopation
Very little rhythmical variety – mainly
repeating patterns of quavers
Section A: all 3/2
Section B: changes between 3/2 and 6/8
Polymetre later: 3/2 and 12/8 at the same
time
Starts mf and ends ff
Fairly constant
throughout
Some parts fade out
All Blues – Miles Davis1959
Tonality and Harmony Texture and Dynamics
Structure Instruments and Techniques
Melody Rhythm and Tempo
G major with flattened 7th = Mixolydian mode
Modal jazz
Extended and altered chords e.g. E# added to D7 chord so it becomes D7#9
Based on 12-bar blues sequence:
Homophonic texture
Frequent use of crescendos
and diminuendos
Intro: played by the rhythm
section, followed by the riff (simple
4 bar riff in parallel 3rds that separates each
section)
Head 1+2: head melody, followed
by riff, played twice
Solos: for trumpet, alto sax,
tenor sax and piano, each
followed by the riff
Head 3+4: head melody, followed
by riff, played twice
Coda: solo for muted trumpet
Frontline instruments: trumpet, alto sax,
tenor sax
Rhythm section: piano, bass, drums
Main melody - muted trumpet (Harmon
mute)
Snare drum played with wire brushes at start and switches to
sticks later on
Bass plays pizzicato throughout
Piano plays tremolo at start, but when solos
begin, piano starts comping
Ghost notes on snare drum and trumpet
Head Melody: simple, followed by 4
improvised solos:
Trumpet solo: made up of short,
syncopated motifs
Alto sax solo: quicker notes, wider range,
more virtuosic
Tenor sax: fast scales, very virtuosic
Piano solo: calmer, simple melody
6/4
Jazz waltz
Performed with swung
quavers
Frequent syncopation
1 2 3 4 5 6
G7 G7 G7 G7 Gm7 Gm7
7 8 9 10 11 12
G7 G7 D7#9 E7#9 D7#9
F G F G
Grace – Jeff Buckley1994
Tonality and Harmony
Texture Structure Instrumentation Technology Melody and Word-setting Rhythm and Tempo
Ambiguity until bar 4 when D major is established, but verse 1 – piece
then settles into E minor
Unusual harmony for rock song –
chords I, IV, V are avoided
Instead, many of the chords are chromatic and
move in parallel motion (by
semitone steps, e.g. F-Em-E in
chorus)
Some very dissonant
harmonies e.g. in chorus
No conventional cadences in E
minor
Verse 1: homophonic
Verse 2: more complex
Middle 8: multi-tracked vocals
Strings and synthesiser used to vary texture
Texture thickens towards end of song, especially in the outro and
on the words ‘drown my
name’
Song follows this verse-
chorus form:
Intro, v1, pre-chorus, chorus,
link, v2, pre-chorus, chorus, middle 8, verse
3, outro.
Intro is used as a link
Buckley is accompanied by two electric guitars, bass
guitar, acoustic guitar, synthesiser,
strings and drum kit
Drums and guitars - accompany
throughout most of song
Strings and synthesiser – less
prominent, used to vary texture
Guitar part: printed in tab
Guitars use drop D tuning
Modulation on synthesiser at start
Distortion and flanging on guitars – intensify
sound in coda
Overdubbing – creates thicker sound
EQ – in final verse, to remove lower
frequencies in Buckley’s voice
Delay in vocal track
Multi-track in middle 8 vocals
Vocal part – has an improvised quality and a very wide range (over two octaves)
Most of vocal phrases are falling, to reflect melancholy
mood of song, and uses grace notes and glissandos
Frequent ornamentation in melody line, with glissandos
Most of word setting is syllabic, although there are
some melismas to emphasise certain words: e.g. ‘love’ in
v1, ‘fire’ in chorus
Bridge – passage of vocalisation; Buckley uses
falsetto
Word painting: v1 - ‘cries’ set to falling 5th, sounds like
cryingChorus – ‘drown my name’ very thick texture build up
12/8
64 beats per minute
Bass drum: plays on beats
1 & 3
Snare drum: accents beats
2 & 4 (backbeats)
Vocal part uses triplets and
frequent syncopation
Cross rhythms created
through use of two-against-
three rhythms
Guitar uses semiquaver patterns at
start
Why does my heart feel so bad? – Moby1999
Tonality and Harmony Texture Structure Instruments and Technology
Melody Rhythm and Tempo
Verses: A minor
Choruses: C major
3 chord sequences - Verse:
Chorus:
Harmonies are diatonic
Sus2and sus4 chords used by piano when playing syncopated chords at end of V1
Start – homophonic (solo piano)
Texture builds up during verse
Texture thins out in second chorus
Fuller texture returns
Outro thins out again with just solo voice and
synthesiser
Intro, verse, chorus, verse,
breakdown, chorus, outro
Samples are looped to
create verses and choruses
Piano, synthesisers, drum machine, synth
pads, string pads
Loops: vocal samples are looped
Reverb and delay: the effects of these
can be heard in breakdown
EQ
Filtering
Technology considered old-
fashioned for 1999, but preferred by
Moby
Two vocal samples from gospel choir in
1953
Samples have not been
‘cleaned up’ – echoes and background
noises can still be heard
Verse vocal sample ‘why
does my heart’ : male
Chorus vocal sample: ‘these open doors’ :
female
4/4
Steady tempo: 98
bpm
Syncopation used by
piano, vocal and synth
string parts
Rhythms varied for contrast
Am Am Em Em G G D D
C C Am Am C C Am Am
F F C C F F C C
Skye Waulking Song – Capercaillie2000
Tonality and Harmony
Texture Structure Instrumentation and Musical Techniques
Melody Rhythm and Tempo
Beginning hints at E minor, but settles into G major at V1
Diatonic harmony
Harmony less important than melody, so only
four chords used: C, G, Em, Am9
Dominant chord (D) is avoided, allowing
a modal feel
Cluster chords at beginning
Becomes contrapuntal
Short monophonic section for voice
Heterophonic: when accordion, pipes and fiddle
improvise around melody at same time in slightly different ways
Intro, v1, break, v2-6,
instrumental, v7 + 8, outro
Vocal line alternates between 4 different
phrases in a call and
response pattern
Modulation on synthesiser and cluster chords open the
song
Followed by tremolo on fiddle – uneasy feel
Celtic fusion –
Folk:
vocals, fiddle, bouzouki, accordion, uilleann pipes
Western:
drums, bass guitar, synthesiser, Wurlitzer piano
Sung in Gaelic, an octave lower than
written
Melody is pentatonic
Mainly syllabic
Call and response:Lines 1 & 3:
vocablesLines 2 & 4: Gaelic
verse
12/8, gives lilting feel to piece
Frequent syncopation in vocal
line and instrumental
countermelodies
Start of song, hi-hat pattern creates
cross-rhythms. Full band enters, hi-hat
rhythm changes and more clearly emphasises 12/8
Rag Desh2001, 2004, 2004
Instruments Structure Texture Rhythm Melody Dynamics
Anouskha Shankar (2001)
Sitar (plucked) Tabla
Alap Gat 1Gat 2
Alap: unaccompanied sitar
Gat 1: sitar and tabla
Alap: slow, no metre
Gat 1: tabla enters with JHAPTAL (10 beats: 2+3+2 +3) Medium speed. Sitar uses chand (triplets)Ends with tihai
Gat 2: faster than Gat 1, tabla uses TEENTAL (16 beats: 4+4+4+4) Ends with tihai
Based on notes of Rag Desh
Alap: sitar uses meend (pitch bend)
Gat 1: sitar plays fixed composition, uses meend and tan
Gat 2: sitar uses drone strings, strumming
Alap: quiet
Gat 1: gets louder
Gat 2: crescendos to end
Chiranji Lal Tanwar –
Mhara Janam Maran (2004)
VoiceSarangi (bowed)Sarod (plucked)Pakhawaj CymbalsTabla
AlapBandishBhajan (devotional song)
Alap: short intro on sarangi. Continues with some improvisation by singer
Alap: voice vocalizes in free time
Bandish: tabla joins in with KEHERWA TAL (8 beats: 2+2+2+2) Music becomes fast and exciting
Piece ends with a short tihai
Based on notes of Rag Desh
Melody is ornamented with much melisma and meend
Mostly conjunct
Alap: intro on sarangi, sarod enters, then voice vocalizing in free time based on rag
Bandish: fixed composition, solos on sarod and sarangi
The rag begins very quietly
Crescendo as instruments and vocals enter
Dynamics increase when tabla and other percussion enter
Dynamics stay at similar level throughout
Benjy Wertheimer
and Steve Gorn (2004)
Bansuri (Steve Gorn)Esraj (bowed)Shruti box (same role as tambura) electronicTablaSwarmandel
AlapGat 1Gat 2
Alap: slow, drone on shruti box, bansuri enters, esraj takes over
Gat 1: unaccompanied bansuri, tabla enters
Gat 2: tabla solo
Alap: slow
Gat 1: slow tempo, tabla enters with RUPAK TAL (7 beat: 3+2+2)Ends with tihai
Gat 2: fast tempo, tabla uses EKTAL TAL (12 beat: 2+2+2+2+2+2) some syncopation
Piece ends with 3 tihais
Based on notes of Rag Desh
Alap: drone on shruti box, bansuri enters
Gat 1: unaccompanied bansuri, becomes more agitated and dramatic with improvisations
Gat 2: tabla solo, improvisation becomes more elaborate, bansuri plays tans
Quiet to start in alap, then gentle swells from shruti box copied by bansuri and then esraj. Generally, pretty much the same volume.Gat 1 and Gat 2 louder due to entry of tabla, but generally same volume after this.
Structure of a raga:
ALAPJHOR
JHALLAGAT/BANDISH
Percussioninstruments
Rag:C D F G B C Bb A G F E D C
ANOUSHKA-jumps tremendouslyCHIRANJI-kicksBENJI-rows excellently THE OLYMPIC TALS!
Yiri – Koko2002
Tonality and
Harmony
Structure Texture Instruments Melody Rhythm and Tempo Dynamics
G major (although
not originally notated)
Much use of tonic
(G) and dominant
(D) = strong
sense of key
Balafons often play in octaves and use
pedal notes of
G
Three sections:
Intro: balafon solo
Main section: music
alternates between
balafon solos and chrouses
Coda
Intro: monophonic (high balafon solo)
Layered texture
Occasional heterophonic texture,
created when two balafons play different versions of same tune at same time (balafons
usually in octaves)
Polyphonic: rest of piece until coda
Coda: heterophonic
High balafon
Low balafon
Talking drums
Djembe
Vocals – soloist & chorus
Bell (at end)
Hexatonic /Pentatonic?
Balafon solo at start uses tremolo
Call and response between solo and chorus; and between chorus
and balafons
Short repetitive motifs – so people can join in
Music alternates berween balafon solos and choruses
Balafon has solo breaks in between choruses, which are more virtuosic
Coda: short phrase for balafon played 5 times in slightly varied
versions
Bell at the end to signify the end
Free tempo at start
Rest of piece: steady pulse
4/4
Drums play a rhythmic ostinato which last
throughout the piece (quaver + two semiquavers)
Syncopated melodies throughout, especially
in vocal and balafon parts
Triplets used by solo voice and high balafon
part, which creates cross rhythms
Drum ostinato at end is interrupted by rests
Largely the same
throughout
Little variation –
makes piece easy to dance to
Typical features of West African music:-repetition
-improvisation-call and response-layered textures
Significance of drums:-accompaniment for singing,
dancing, working-means of communication
Dancing to African Music:-strong beat -same tempo -unvaried dynamics
-repetitive