First 3 notes of the A Major Chord

Moves up in step

Syllabic

Descending Sequence

Melismatic (more than one note to

syllable)

Dotted Rhythm

Repeat same pattern three times

Starts and ends on the same note

E and A = Tonic and Dominant

Firm Statement

Longer Duration

Tonic note Pedal

Solemn Chant

A Major, 3 Beats in a Bar, Violin, Viola, Cello, SATB Voices

Movement is based on contrast between homophonic textures with the contrapuntal textures often including

imitation and the combination of two different motifs.

Handel adds variety by sometimes using just one voice or various combinations of two parts or the three

lower parts without the soprano voices above

In the homophonic passages, the melody is usually in the bass

The orchestra generally doubles the voice

Homophonic: All parts moving together

Contrapuntal: Independent parts moving against each other

Imitative: All parts copying each other one after another

Monophonic: One melody or part

Hemiola: Accented beats in a bar are shifted to give the feeling of a different time signature

A Major, 3 Beats in a Bar, Violin, Viola, Cello, SATB Voices

Movement is based on contrast between homophonic textures with the contrapuntal textures often including

imitation and the combination of two different motifs.

Handel adds variety by sometimes using just one voice or various combinations of two parts or the three

lower parts without the soprano voices above

In the homophonic passages, the melody is usually in the bass

The orchestra generally doubles the voice

Homophonic: All parts moving together

Contrapuntal: Independent parts moving against each other

Imitative: All parts copying each other one after another

Monophonic: One melody or part

Hemiola: Accented beats in a bar are shifted to give the feeling of a different time signature

Exposition First Subject

Violins, descending scale

Repeated quavers accompaniment in violas

Question and answer

Opening motif 3 times then leaps up a 6th

Exposition Bridge

Full Orchestra (tutti)

Prepare for second subject/link

Lots of leaps, accompaniment: quavers

Exposition Second Subject

Violins Clarinet & Bassoon Violins

No big leaps, moves mainly in steps

Much quieter, less instruments (relaxed)

Exposition Closing Section

Clarinet Bassoon (x2)

Shorter, only uses three notes, shared

between both instruments

Homophonic Texture

G Minor, 4 Beats in a Bar, Classical Orchestra: Strings (Violin, Viola, Cello), Woodwind (Flute, Bassoon,

Clarinet, Oboe), Brass (French Horn)

Sonata Form focuses on two main features Repetition and Contrast: Exposition (Contains main themes),

Development (Develops ideas, restless and dramatic) and Recapitulation (Repeats the exposition but keeps in

the tonic key, often with coda section).

Pedal: Musical device: Low held (sustained) note as accompaniment

Sonata Form: Exposition Development Recapitulation

G Minor, 4 Beats in a Bar, Classical Orchestra: Strings (Violin, Viola, Cello), Woodwind (Flute, Bassoon,

Clarinet, Oboe), Brass (French Horn)

Sonata Form focuses on two main features Repetition and Contrast: Exposition (Contains main themes),

Development (Develops ideas, restless and dramatic) and Recapitulation (Repeats the exposition but keeps in

the tonic key, often with coda section).

Pedal: Musical device: Low held (sustained) note as accompaniment

Sonata Form: Exposition Development Recapitulation

Db Major, Four Beats in a Bar (Common Time), Solo Piano

Opening Motif: Syncopated rhythm

Pedal heard throughout most of the piece

Texture: Monophonic and Homophonic

In Ternary Form (ABA Codetta)

A: In a major key with long elegant melody heard several times, based on tonic and dominant harmony,

persistent ‘raindrop’ rhythm

B: Contrasting section in a minor key with plodding melody mainly in the bass (left hand), several loud

climaxes, uses more chordal accompaniment, no ornamentation, much more dissonance, doubled pedal:

octave, the bass melody has no clear shape

A: A shortened version of the opening

Codetta: Pedal briefly stops at the end to bring the piece to a close: lots of perfect cadence, Completely new

melody that starts on the highest note of the piece, unaccompanied for the first time (monophonic), two

perfect cadences that are used to end the prelude

Sotto Voce: ‘Under the voice’ Whisper

Smorzando: Dying Away

Slentando: Becomind broader

Main unifying features of this work is Schoenberg’s use of a Hexachord (set of six pitches that can be used as

a chord and/or melody)

Each Hexachord has the same distance/interval between each note, each starts on a different note, all create

a dissonant sound

The main ideas are developed in the first section

Overall structure can be described as Rondo: A B A1 C A2 but the lack of tonality and changes in rhythm

when ideas return means it is not like well-contrasted rondos from the classical period.

Schoenberg changes the colour of the sound by constantly changing instrumentation, using instruments in

the extreme parts of their range, and uses blocks of similar tone.

Contrapuntal texture dominates the piece

Canon used in Section 5 to emphasis the texture.

Motifs:

Motif A: Hexatonic opening fanfare

Motif B: The Hexachord heard at the end of the fanfare

Motif C: Angular triplets heard on all six horns at the end of bar 3

Motif D: Rapidly repeated Hexachords

Motif E: Quiet simple Rhythmic idea started by the horns in bar 6

Motif F: Twisting chromatic figure on low woodwind

Motif G: Longer melody consisting of wide leaps for solo clarinet

Divisi: The players in each section divide into groups, to play different notes of the chord

Pizzicato: Pluck the strings

Arco: Use the bow

Tremolo: Bow strokes rapidly (used in this piece on the cymbal)

Haupstimme: Main Melody

Nebenstimme: Secondary Voice (Second most important)

Klangfarbenmelodie: Passing the melody through different instruments

Octave displacement: One or more notes are shifted into an unexpected octave

Main unifying features of this work is Schoenberg’s use of a Hexachord (set of six pitches that can be used as

a chord and/or melody)

Each Hexachord has the same distance/interval between each note, each starts on a different note, all create

a dissonant sound

The main ideas are developed in the first section

Overall structure can be described as Rondo: A B A1 C A2 but the lack of tonality and changes in rhythm

when ideas return means it is not like well-contrasted rondos from the classical period.

Schoenberg changes the colour of the sound by constantly changing instrumentation, using instruments in

the extreme parts of their range, and uses blocks of similar tone.

Contrapuntal texture dominates the piece

Canon used in Section 5 to emphasis the texture.

Motifs:

Motif A: Hexatonic opening fanfare

Motif B: The Hexachord heard at the end of the fanfare

Motif C: Angular triplets heard on all six horns at the end of bar 3

Motif D: Rapidly repeated Hexachords

Motif E: Quiet simple Rhythmic idea started by the horns in bar 6

Motif F: Twisting chromatic figure on low woodwind

Motif G: Longer melody consisting of wide leaps for solo clarinet

Divisi: The players in each section divide into groups, to play different notes of the chord

Pizzicato: Pluck the strings

Arco: Use the bow

Tremolo: Bow strokes rapidly (used in this piece on the cymbal)

Haupstimme: Main Melody

Nebenstimme: Secondary Voice (Second most important)

Klangfarbenmelodie: Passing the melody through different instruments

Octave displacement: One or more notes are shifted into an unexpected octave

Based on Shakespeare’s Romeo and Juliet.

Two Rival Gangs (The sharks whose families came from Puerto Rico and the Jets from New York). The gangs

confront each other to menacing music and a fight breaks out, police arrive and chase the Sharks away while

the Jets plan a final show-down at a dance due to take place that evening. Tony (an ex-leader) of the Jets is

persuaded to go to the dance where he meets Maria (the sister of the leader of the Sharks), and they fall in

love, which leads a story of betrayal and violence between each gang. However, the eventual tragedy of their

love is seen as Tony is shot and dies in Maria’s arms, causing a final truce between gangs.

Script: Arthur Laurents, Lyrics: Stephen Sondheim, Music: Leonard Bernstein, Choreography: Jerome Robbins

Music influenced by Jazz.

‘Something’s coming’ written for a tenor (high male voice). Instruments used to accompany: 31 Piece band

(woodwind, brass, percussion, guitar, piano and strings)

Bernstein adds variety by changing words (never repeated exactly), altering dynamics, changes the metre and

alters lengths of some sections.

Uses cross rhythms (Melody feel s in 2, the bass feels in 3)

Accompaniment does not overpower the singer: Soft dynamics, wire brushes on the drums, mutes on

trumpets, texture homophonic.

Themes:

Theme A: Opening syncopated melody, urgency on the third note, two bar motif, uses and resolves the

tritone, alternating between the tonic and the dominant

Theme B: More forceful or punchy idea, uses 4 accented crotchets on A, very syncopated vocal line, ends on a

long sustained note, changes time signature between 2 beats in a bar and 3 beats in a bar.

Theme C: A warmer legato melody using three phrases, longer, higher and more legato than theme A.

Tritone: A Fourth made bigger by adding a sharp to one of the notes Symbol of conflict (resolved to fifth)

Marcato: Emphasised or marked – Accented Heavily

Subito: Suddenly

Sempre: Always

Melismatic: Syllable across more than one note

Syllabic: Each syllable has a different note

Based on Shakespeare’s Romeo and Juliet.

Two Rival Gangs (The sharks whose families came from Puerto Rico and the Jets from New York). The gangs

confront each other to menacing music and a fight breaks out, police arrive and chase the Sharks away while

the Jets plan a final show-down at a dance due to take place that evening. Tony (an ex-leader) of the Jets is

persuaded to go to the dance where he meets Maria (the sister of the leader of the Sharks), and they fall in

love, which leads a story of betrayal and violence between each gang. However, the eventual tragedy of their

love is seen as Tony is shot and dies in Maria’s arms, causing a final truce between gangs.

Script: Arthur Laurents, Lyrics: Stephen Sondheim, Music: Leonard Bernstein, Choreography: Jerome Robbins

Music influenced by Jazz.

‘Something’s coming’ written for a tenor (high male voice). Instruments used to accompany: 31 Piece band

(woodwind, brass, percussion, guitar, piano and strings)

Bernstein adds variety by changing words (never repeated exactly), altering dynamics, changes the metre and

alters lengths of some sections.

Uses cross rhythms (Melody feel s in 2, the bass feels in 3)

Accompaniment does not overpower the singer: Soft dynamics, wire brushes on the drums, mutes on

trumpets, texture homophonic.

Themes:

Theme A: Opening syncopated melody, urgency on the third note, two bar motif, uses and resolves the

tritone, alternating between the tonic and the dominant

Theme B: More forceful or punchy idea, uses 4 accented crotchets on A, very syncopated vocal line, ends on a

long sustained note, changes time signature between 2 beats in a bar and 3 beats in a bar.

Theme C: A warmer legato melody using three phrases, longer, higher and more legato than theme A.

Tritone: A Fourth made bigger by adding a sharp to one of the notes Symbol of conflict (resolved to fifth)

Marcato: Emphasised or marked – Accented Heavily

Subito: Suddenly

Sempre: Always

Melismatic: Syllable across more than one note

Syllabic: Each syllable has a different note

Scored for Live Guitar, accompanied by seven guitars and two bass guitars (live guitar is amplified to blend in

well with the pre-recorded accompanying guitars)

Uses cross rhythms: Different rhythms in different time signatures are heard against each other (Guitars 1-4

play one rhythm, Guitars 5-7 play another, and the bass guitars play another)

Reich uses note addition to allow the live guitar part to build into a new chord progression in the later section

of the piece using syncopated rhythms and a contrary-motion texture.

Towards the end the 5 lowest parts drop out, before a sense of climax is created by a long crescendo, before

all parts hold on their last quaver.

The ending is confusing because there is no clear cadence, and there is only two notes used which leaves the

key of the piece unsolved.

Studio effects:

Panning: Separate out the sounds (left and right)

Tape Recording: Pre-recorded Guitar parts

Minimalist Techniques:

Repetition

Short Motifs

Layering of different ostinatos

Slow Harmonic changes

Note addition – Several layers use this (add more and more notes each time it repeats)

Canons

Rhythmic Displacement

Resultant Melody

Rhythmic Transformation

Static Harmony

Gradual building of texture – Built in layers (Monophonic and Canon)

Counterpoint: Texture where two or more melodic lines are combined.

Resultant Melody: Doubling a note that one of the other guitars is playing at the same time

Diatonic: Using notes which belong to the key rather than chromatic notes which are outside the key

Canon: A melody in one part is repeated note for note in another part as the melody of the first part continues

Metrical Displacement: Entries start on different notes of the phrase so the accented notes fall in different places

Scored for Live Guitar, accompanied by seven guitars and two bass guitars (live guitar is amplified to blend in

well with the pre-recorded accompanying guitars)

Uses cross rhythms: Different rhythms in different time signatures are heard against each other (Guitars 1-4

play one rhythm, Guitars 5-7 play another, and the bass guitars play another)

Reich uses note addition to allow the live guitar part to build into a new chord progression in the later section

of the piece using syncopated rhythms and a contrary-motion texture.

Towards the end the 5 lowest parts drop out, before a sense of climax is created by a long crescendo, before

all parts hold on their last quaver.

The ending is confusing because there is no clear cadence, and there is only two notes used which leaves the

key of the piece unsolved.

Studio effects:

Panning: Separate out the sounds (left and right)

Tape Recording: Pre-recorded Guitar parts

Minimalist Techniques:

Repetition

Short Motifs

Layering of different ostinatos

Slow Harmonic changes

Note addition – Several layers use this (add more and more notes each time it repeats)

Canons

Rhythmic Displacement

Resultant Melody

Rhythmic Transformation

Static Harmony

Gradual building of texture – Built in layers (Monophonic and Canon)

Counterpoint: Texture where two or more melodic lines are combined.

Resultant Melody: Doubling a note that one of the other guitars is playing at the same time

Diatonic: Using notes which belong to the key rather than chromatic notes which are outside the key

Canon: A melody in one part is repeated note for note in another part as the melody of the first part continues

Metrical Displacement: Entries start on different notes of the phrase so the accented notes fall in different places

G Major, 6 Beats in a Bar, Instruments: Trumpet, Alto Sax, Tenor Sax, Bass, Drum Kit and Percussion

Recorded in just two sessions in 1959 in New York.

Based around the 12 bar blues chord structure, some of the chords are altered and some include the 7 th

Adds notes to the chords to make them altered or extended

Davis felt that jazz was too dependent on complex chord sequences with soloists restricted to ‘playing over

the changes’.

Structure:

Introduction: Piano, saxes, drum kit and bass, trill on piano, saxophone and bass riff

Head 1 – Chorus 1: Muted trumpet, interval of a 6th used, with mordent and step wise movement

Link 1: Opening riff (saxes) and piano trill, add a break (breathing space for soloists/our ears)

Head 2 – Chorus 2: Melody slightly changes on the repeat

Link 2: NO Piano trill, thinner texture adds contrast, drum kit adds cymbal with brushes

Solo 1: Davis: Muted trumpet, piano steady chords to match saxes, syncopated drum kit

Link 3: No saxes ready for solos, drum kit using ride cymbal and sticks (varies texture)

Solo 2: Adderley: 4 Chorus’, More leaps/shorter phrases than Davis, more chromatic notes, strong accents on

the beat

Link 4: Subtle changes to kit and piano at start, saxes overlap

Solo 3: Coltrane: 4 Chorus’, less vibrato (only at the ends of notes) harsher/thicker sound

Link 5: Same as the previous link

Solo 4: Evans: 2 Chorus’, Decorated sax riff in left hand, more chords in second half, middle register

Link 6: Evans drops out to return for the head, all others play riff

Head: largely same as the first head

Link 7: Saxophones continue the riff, piano continues trill

Head: Some minor changes but essentially the same

Link 8: Drum part focuses on cymbals, suddenly quieter

Outro: Final repeat of 12 bar chord progressions with Davis soloing above, fade out to end

Sextet:

Miles Davis

Julian ‘Canonball’ Adderley

John Coltrane

Bill Evans

Paul Chambers

Jimmy Cobb

Glissando: Moves from one note to another by sliding through the notes in between

Trill: Plays the actual note, then the one above, repeating fast between them

Mordent: Plays the actual note, the one above the actual note, and the actual note again

Turn: Plays the note above, the actual note, the note below and then the actual note again

Riff: A short pattern that is repeated again and again throughout

G Major, 6 Beats in a Bar, Instruments: Trumpet, Alto Sax, Tenor Sax, Bass, Drum Kit and Percussion

Recorded in just two sessions in 1959 in New York.

Based around the 12 bar blues chord structure, some of the chords are altered and some include the 7 th

Adds notes to the chords to make them altered or extended

Davis felt that jazz was too dependent on complex chord sequences with soloists restricted to ‘playing over

the changes’.

Structure:

Introduction: Piano, saxes, drum kit and bass, trill on piano, saxophone and bass riff

Head 1 – Chorus 1: Muted trumpet, interval of a 6th used, with mordent and step wise movement

Link 1: Opening riff (saxes) and piano trill, add a break (breathing space for soloists/our ears)

Head 2 – Chorus 2: Melody slightly changes on the repeat

Link 2: NO Piano trill, thinner texture adds contrast, drum kit adds cymbal with brushes

Solo 1: Davis: Muted trumpet, piano steady chords to match saxes, syncopated drum kit

Link 3: No saxes ready for solos, drum kit using ride cymbal and sticks (varies texture)

Solo 2: Adderley: 4 Chorus’, More leaps/shorter phrases than Davis, more chromatic notes, strong accents on

the beat

Link 4: Subtle changes to kit and piano at start, saxes overlap

Solo 3: Coltrane: 4 Chorus’, less vibrato (only at the ends of notes) harsher/thicker sound

Link 5: Same as the previous link

Solo 4: Evans: 2 Chorus’, Decorated sax riff in left hand, more chords in second half, middle register

Link 6: Evans drops out to return for the head, all others play riff

Head: largely same as the first head

Link 7: Saxophones continue the riff, piano continues trill

Head: Some minor changes but essentially the same

Link 8: Drum part focuses on cymbals, suddenly quieter

Outro: Final repeat of 12 bar chord progressions with Davis soloing above, fade out to end

Sextet:

Miles Davis

Julian ‘Canonball’ Adderley

John Coltrane

Bill Evans

Paul Chambers

Jimmy Cobb

Glissando: Moves from one note to another by sliding through the notes in between

Trill: Plays the actual note, then the one above, repeating fast between them

Mordent: Plays the actual note, the one above the actual note, and the actual note again

Turn: Plays the note above, the actual note, the note below and then the actual note again

Riff: A short pattern that is repeated again and again throughout

Title track from the album, and is a rock ballad

The lowest string of the guitar is retuned down to a D to reach lowest pitches in the song. Use of guitar

changes from verse to verse, early on: broken chords, strummed chords, plucked notes, and towards the end:

using distortion, glissandos, legato counter melody.

Vocals are mainly syllabic, and use sliding and chromatic notes

The song is verse-chorus form, with an introduction before each of the three verses, and a bridge after the

second chorus. The final verse breaks off half-way through and is followed by a Coda which is based on the

chords. The second half of each verse (pre-chorus) is different in character to the first half.

Structure:

Introduction: Tonality very unclear due to starting higher on a chord of F Minor

Verse 1: Chromatic harmony, bass line melody moves in semitones, low vocal melody moves by step, with

slides between a few descending leaps, syncopated rhythms

Pre-chorus: Higher register, Primary triads of E Minor (I, IV, V), falling pattern on vowel sound of ‘love’

(syllabic), Cross rhythms

Chorus 1: Minimal (four lines of text), dissonant B & E clash with chords below, melisma

Introduction: Same as opening section, semi tone rise from last chord of chorus (Em – Fm)

Verse 2: Changes in melody to fit words, Synthesiser effect after sorrow, High E

Pre-chorus: Strings are added

Chorus 2: Repeat of Chorus 1

Bridge: Use of equaliser (to remove lower frequency), Vocalisation to sound choir like, much higher and

mergers into falsetto for highest notes

Introduction: Strings repeatedly using Col Legno

Verse 3: Octave higher at first, longer notes, no pre-chorus

Coda: Climax of the song using F – Em – Eb Maj 7, texture builds as performers improvise more freely, flanged

guitar, and cymbal crashes

Vocalisation: Wordless singing

Falsetto: Singing above the normal register

Col Legno: ‘With the wood’ strings using the back of the bow to hit the strings

Title track from the album, and is a rock ballad

The lowest string of the guitar is retuned down to a D to reach lowest pitches in the song. Use of guitar

changes from verse to verse, early on: broken chords, strummed chords, plucked notes, and towards the end:

using distortion, glissandos, legato counter melody.

Vocals are mainly syllabic, and use sliding and chromatic notes

The song is verse-chorus form, with an introduction before each of the three verses, and a bridge after the

second chorus. The final verse breaks off half-way through and is followed by a Coda which is based on the

chords. The second half of each verse (pre-chorus) is different in character to the first half.

Structure:

Introduction: Tonality very unclear due to starting higher on a chord of F Minor

Verse 1: Chromatic harmony, bass line melody moves in semitones, low vocal melody moves by step, with

slides between a few descending leaps, syncopated rhythms

Pre-chorus: Higher register, Primary triads of E Minor (I, IV, V), falling pattern on vowel sound of ‘love’

(syllabic), Cross rhythms

Chorus 1: Minimal (four lines of text), dissonant B & E clash with chords below, melisma

Introduction: Same as opening section, semi tone rise from last chord of chorus (Em – Fm)

Verse 2: Changes in melody to fit words, Synthesiser effect after sorrow, High E

Pre-chorus: Strings are added

Chorus 2: Repeat of Chorus 1

Bridge: Use of equaliser (to remove lower frequency), Vocalisation to sound choir like, much higher and

mergers into falsetto for highest notes

Introduction: Strings repeatedly using Col Legno

Verse 3: Octave higher at first, longer notes, no pre-chorus

Coda: Climax of the song using F – Em – Eb Maj 7, texture builds as performers improvise more freely, flanged

guitar, and cymbal crashes

Vocalisation: Wordless singing

Falsetto: Singing above the normal register

Col Legno: ‘With the wood’ strings using the back of the bow to hit the strings

Work consists of loops built up in layers, samples taken from song ‘King Jesus Will Roll All Burdens Away’

written in 1947, samples have vintage quality because Moby doesn’t remove the surface noise

4 Beats in a bar, 98 beats per minute

Sample A: Male voice (some backing vocals), taken from the start of verse 1, manipulated meaning, lyrics:

Why does my heart feel so bad? Harmony: falling harmonic sequence, Am, Em, G, D

Sample B: Female voice, taken from the middle of the chorus, not manipulated in the same way as Sample A,

but doesn’t match the original, acts as a type of improvised response typically found in gospel music, lyrics:

These open door. Harmony: two chord progressions – C – Am (BX) and F – C (BY)

Moby started with the chosen samples, added new chords and rhythms, and built up the track in layers using

cubase software. Next added the drum part (Roland TR-909 Drum Machine), and then overlayed the drum

part with a sampled and looped break-beat (drum solo) taken form a hip hip track. He also used the snare

drum to emphasise the backbeats, a clave pattern that plays off the beat throughout, and a shaker playing

semiquavers.

Tonality: Modal (Dorian Mode transposed into A), most of B sections are in C Major but not clear (Hexatonic)

and Diatonic

Texture builds throughout with instruments entering one by one from the start, Broken chords in the piano,

no clear pulse until the percussion enters

Break down towards the end – instruments stop with ghostly echoes in.

Technology effects:

Panning – Separate the sound

Reverb – Sounds like bouncing off walls/ceiling etc.

Delay/Echo – repeated sound heard after the original

Synthesiser – String sounds

Equaliser – Ghostly vocal echoes created using digital delay

Sequencer – Trigger Sampler and synthesisers

Sample: A digitally recorded fragment of sound

Sampler: A device that can process a sound and play it back

Looping: Where a short sample is repeated over and over again

Work consists of loops built up in layers, samples taken from song ‘King Jesus Will Roll All Burdens Away’

written in 1947, samples have vintage quality because Moby doesn’t remove the surface noise

4 Beats in a bar, 98 beats per minute

Sample A: Male voice (some backing vocals), taken from the start of verse 1, manipulated meaning, lyrics:

Why does my heart feel so bad? Harmony: falling harmonic sequence, Am, Em, G, D

Sample B: Female voice, taken from the middle of the chorus, not manipulated in the same way as Sample A,

but doesn’t match the original, acts as a type of improvised response typically found in gospel music, lyrics:

These open door. Harmony: two chord progressions – C – Am (BX) and F – C (BY)

Moby started with the chosen samples, added new chords and rhythms, and built up the track in layers using

cubase software. Next added the drum part (Roland TR-909 Drum Machine), and then overlayed the drum

part with a sampled and looped break-beat (drum solo) taken form a hip hip track. He also used the snare

drum to emphasise the backbeats, a clave pattern that plays off the beat throughout, and a shaker playing

semiquavers.

Tonality: Modal (Dorian Mode transposed into A), most of B sections are in C Major but not clear (Hexatonic)

and Diatonic

Texture builds throughout with instruments entering one by one from the start, Broken chords in the piano,

no clear pulse until the percussion enters

Break down towards the end – instruments stop with ghostly echoes in.

Technology effects:

Panning – Separate the sound

Reverb – Sounds like bouncing off walls/ceiling etc.

Delay/Echo – repeated sound heard after the original

Synthesiser – String sounds

Equaliser – Ghostly vocal echoes created using digital delay

Sequencer – Trigger Sampler and synthesisers

Sample: A digitally recorded fragment of sound

Sampler: A device that can process a sound and play it back

Looping: Where a short sample is repeated over and over again

Capercaillie: Scottish folk band formed in 1983, Oban High School, recorded their debut album in 1984 and by

2008 had produced 14 studio albums. Sung in gaelic, Skye Waulking Song is from the album Nadurra released

in September 2000.

Mixture of folk instruments (Fiddle, Accordian Uilean pipes and Bouzouki) and modern instruments

(synthesiser, Bass guitar, Drum kit, Wurlitzer piano)

4 Beats in a Bar but 12/8, tempo = very slow, sung by low alto

Vocal melody is Pentatonic; accompaniment uses all the notes belonging to the G Major scale.

Song is Diatonic

Vocal melody is based on a pair of phrases that each has their own refrain, Phrase 1 and Refrain 1 (o hi a bbo

ro hu o ho – oh hee), Phrase 2 and Refrain 2 (Hi ri hu rai bbi o ho – He ree), the setting of these lines of text is

mainly syllabic

Song is a ‘lament’ (a woman for her dead husband, son of an Irish chieftain, with whom she had been forced

to wander the world, Irish legend)’: Often Minor/modal, sad mood/lyrics, gentle voice, slow tempo

In traditional performances the solo singer decorates the melody

Structure:

First section: Eight bar instrumental followed by refrain 2, entry of each phrase/refrain, a vocal echo at the

end of the refrain with an instrumental

Second section: Light accompaniment, alternating between phrases and refrains

Third section: Includes type of middle 8 instrumental with vocal echoes at the end of refrain 1

Coda: Vocal echoes to the end of refrain 1, refrain 2 and then instruments fade out.

Diatonic: All the notes belong to the key or scale of the piece

The classical music of north Indian is traditionally presented by a few highly skilled performers to a small and

attentive audience. Musicians use skill through apprenticeships and music is performed from memory.

Music is improvised but keeps to an outline that is well understood by listeners and performers

Usually at least three performers

A soloist – usually played by the Sitar or Bansuri (Indian Flute), A percussionist – Tabla, A Musician who plays a

repetitive drone-like accompaniment – Tambura

Melody lines are based on rags, and rhythm is based on cycles of beats called tal

Alap – Slow/free time, soloist explores notes of the rag, drone accompaniment and improvisations

Jor – Steady/regular pulse, improvisations are more rhythmic and more elaborate, tempo increases

Jhalla – Fast pulse, more complex rhythms, virtuoso advanced playing techniques

Gat – Fast pace, tala rhythms, improvisations around fixed composition, dialogue between instruments/drummer

Tabla (dayon = right, tuned to home note, and bayan = left), finger/hand strokes, different strengths of stroke and

different parts of the drum used.

Version 1 – Anoushka Shankar (Sitar) Tintal (16 beats 4+4+4+4) Jhaptal (10 beats 2+3+2+3)

Alap – Unaccompanied Sitar outlines notes of the rag and establishes mood, no regular pulse

Gat 1 – Tabla plays Jhaptal Tala, while sitar/tabla alternate short melodic/rhythmic improvisations around a fixed

composition. Ti-Hai marks the end of the improvisation, before the Sitar uses triplet phrasing before continuing

with 4 notes, with a Ti-Hai to signal the end of the solo

Gat 2 – Tabla into Tintal tala, drut gat (fast gat), Drone strings strummed to give added rhythmic effect: Jhalla

Version 2 – Mhara Janam Maran (Voice) Keherwa (8 beats 2+2+2+2)

A Bhajan (hindu devotional song), Accompanied by Sarod and sarangi, as well as Indian cymbals, packhawaj and

the tabla

Notes of the rag revealed first by sirangi, and then by chorus line

First song sung again but in tempo

Short improvised Sarod interlude, followed by Sirangi Solo

Then continues in verses that end with a refrain and are followed by short instrumental interludes

No real build up but the singer adds ornaments, melissmas and rapid tans.

Version 3 – Bansuri, Esraj and Tabla Rupak tal (7 beats 3+2+2) Ektal (12 beats 2+2+2+2+2+2)

1) Alap – Drone notes (Sa & Pa – I & V), Zither in background while bansuri and esraj improvise

2) Slow Gat – Rupak Tal (7 beats 3+2+2), short unaccompanied flute and short tabla flourish and fixed composition,

the flute improvises then repeats the Gat as tabla improvises. Flute then takes over improvisation, Ti-Hai finish.

3) Fast Gat – Ektal (12 beats 2+2+2+2+2+2), Ti-Hai to start, tabla enters with Ektal, flute plays the fast gat and

flourishing passages before a Ti-Hai to finish the piece

The classical music of north Indian is traditionally presented by a few highly skilled performers to a small and

attentive audience. Musicians use skill through apprenticeships and music is performed from memory.

Music is improvised but keeps to an outline that is well understood by listeners and performers

Usually at least three performers

A soloist – usually played by the Sitar or Bansuri (Indian Flute), A percussionist – Tabla, A Musician who plays a

repetitive drone-like accompaniment – Tambura

Melody lines are based on rags, and rhythm is based on cycles of beats called tal

Alap – Slow/free time, soloist explores notes of the rag, drone accompaniment and improvisations

Jor – Steady/regular pulse, improvisations are more rhythmic and more elaborate, tempo increases

Jhalla – Fast pulse, more complex rhythms, virtuoso advanced playing techniques

Gat – Fast pace, tala rhythms, improvisations around fixed composition, dialogue between instruments/drummer

Tabla (dayon = right, tuned to home note, and bayan = left), finger/hand strokes, different strengths of stroke and

different parts of the drum used.

Version 1 – Anoushka Shankar (Sitar) Tintal (16 beats 4+4+4+4) Jhaptal (10 beats 2+3+2+3)

Alap – Unaccompanied Sitar outlines notes of the rag and establishes mood, no regular pulse

Gat 1 – Tabla plays Jhaptal Tala, while sitar/tabla alternate short melodic/rhythmic improvisations around a fixed

composition. Ti-Hai marks the end of the improvisation, before the Sitar uses triplet phrasing before continuing

with 4 notes, with a Ti-Hai to signal the end of the solo

Gat 2 – Tabla into Tintal tala, drut gat (fast gat), Drone strings strummed to give added rhythmic effect: Jhalla

Version 2 – Mhara Janam Maran (Voice) Keherwa (8 beats 2+2+2+2)

A Bhajan (hindu devotional song), Accompanied by Sarod and sarangi, as well as Indian cymbals, packhawaj and

the tabla

Notes of the rag revealed first by sirangi, and then by chorus line

First song sung again but in tempo

Short improvised Sarod interlude, followed by Sirangi Solo

Then continues in verses that end with a refrain and are followed by short instrumental interludes

No real build up but the singer adds ornaments, melissmas and rapid tans.

Version 3 – Bansuri, Esraj and Tabla Rupak tal (7 beats 3+2+2) Ektal (12 beats 2+2+2+2+2+2)

1) Alap – Drone notes (Sa & Pa – I & V), Zither in background while bansuri and esraj improvise

2) Slow Gat – Rupak Tal (7 beats 3+2+2), short unaccompanied flute and short tabla flourish and fixed composition,

the flute improvises then repeats the Gat as tabla improvises. Flute then takes over improvisation, Ti-Hai finish.

3) Fast Gat – Ektal (12 beats 2+2+2+2+2+2), Ti-Hai to start, tabla enters with Ektal, flute plays the fast gat and

flourishing passages before a Ti-Hai to finish the piece

From West Africa, Burkina Faso. Yiri means wood (important for its use making instruments)

Balafon – Up to 21 tuned wooden bars hung in a frame played using padded beaters

Djembe – Goatskin head, high tension, can make different sounds

Talking drum – Different names and forms

Dun Dun – Similar to djembe but cylindrical shape

Bara – Small drum, warm tone, used with balafons

Introduction: Free time with a monophonic texture. Balafon uses tremolo and acciaccaturas (grace notes).

There then becomes a clear 4/4 time signature with a clear pulse. The balafon uses a 2 bar phrase before a

second balafon joins playing in parallel octaves. The drums then enter before the balafon part becomes an

ostinato with more complex syncopated rhythms

Chorus A: Voices in unison and balafon echoes with the ends of the phrases

Balafon Solo 1: Drum accompaniment with syncopated rhythms, melody shape = high to low

Repeat of Chorus A

Balafon Solo 2: Lower register and emphasises Gb as the home note

Vocal Solo: Melody uses 2 short notes and a long note before falling phrases. The balafons play an ostinato

along with drum fills, while the choir echo final phrase with call and response. Balafons then play using

syncopated lively cross rhythms

Balafon Solo 3: End of the section is signalled by one bar of 3/4

Chorus B: Essentially the same as A repeated

Balafon Solo 4: Emphasises Gb and performs fast virtuoso rhythms to reach the climax of the piece

Chorus A & Balafon Solo 5

Coda: New melodic idea on balafons repeated twice, third repeat interrupted by a small bell to signal the end

of the piece

Series of chords followed by solo for 1 or 2 balafon players, with central vocal solo that includes chordal

responses

Hexatonic uses, sounds modal rather than Gb Major (even though it has a strong sense of Gb Major!)

Rhythmic Devices used: Syncopation, Cross Rhythms, Polyrhythms & Rhythmic Ostinatos

Melody – High to low, using small cells of notes

Texture – 3 Main elements (Balafons, Drums, Vocals) which each have a clear role to form a layer (often

contrapuntal) texture

Tempo/Dynamics – No variation in tempo, and hardly any dynamic contrasts

From West Africa, Burkina Faso. Yiri means wood (important for its use making instruments)

Balafon – Up to 21 tuned wooden bars hung in a frame played using padded beaters

Djembe – Goatskin head, high tension, can make different sounds

Talking drum – Different names and forms

Dun Dun – Similar to djembe but cylindrical shape

Bara – Small drum, warm tone, used with balafons

Introduction: Free time with a monophonic texture. Balafon uses tremolo and acciaccaturas (grace notes).

There then becomes a clear 4/4 time signature with a clear pulse. The balafon uses a 2 bar phrase before a

second balafon joins playing in parallel octaves. The drums then enter before the balafon part becomes an

ostinato with more complex syncopated rhythms

Chorus A: Voices in unison and balafon echoes with the ends of the phrases

Balafon Solo 1: Drum accompaniment with syncopated rhythms, melody shape = high to low

Repeat of Chorus A

Balafon Solo 2: Lower register and emphasises Gb as the home note

Vocal Solo: Melody uses 2 short notes and a long note before falling phrases. The balafons play an ostinato

along with drum fills, while the choir echo final phrase with call and response. Balafons then play using

syncopated lively cross rhythms

Balafon Solo 3: End of the section is signalled by one bar of 3/4

Chorus B: Essentially the same as A repeated

Balafon Solo 4: Emphasises Gb and performs fast virtuoso rhythms to reach the climax of the piece

Chorus A & Balafon Solo 5

Coda: New melodic idea on balafons repeated twice, third repeat interrupted by a small bell to signal the end

of the piece

Series of chords followed by solo for 1 or 2 balafon players, with central vocal solo that includes chordal

responses

Hexatonic uses, sounds modal rather than Gb Major (even though it has a strong sense of Gb Major!)

Rhythmic Devices used: Syncopation, Cross Rhythms, Polyrhythms & Rhythmic Ostinatos

Melody – High to low, using small cells of notes

Texture – 3 Main elements (Balafons, Drums, Vocals) which each have a clear role to form a layer (often

contrapuntal) texture

Tempo/Dynamics – No variation in tempo, and hardly any dynamic contrasts