Download Set works revision - Whitworth Community High School

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EDEXCEL
GCSE
MUSIC
SET WORK
SUMMARIES
REVISION
GUIDE
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SET WORK SUMMARY
“And the Glory of the Lord” from “Messiah”
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
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George Frideric Handel - born in Germany in 1685
Appointed “Kappellmeister” to the Elector of Hanover who became King George I of England
Handel became the “royal composer” to George I and lived and worked in England
Handel’s sight failed him in later years, he died in 1759 and is buried in Westminster Abbey
Related composers – J. S. Bach (1685-1750); Henry Purcell (1659-1695); Vivaldi (1678-1741)
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About the Set Work – Placing the Set Work in a Musical Context
“And the Glory of the Lord” is the first CHORUS for voices and orchestral accompaniment from Handel’s
ORATORIO – “Messiah”. Handel wrote “Messiah” in 1741 in only 24 days! The words (LIBRETTO) were taken
from the bible and tell of the birth, death and resurrection of Jesus Christ. An Oratorio (a “religious opera”)
consists of forms taken from Italian opera – RECITATIVES, ARIAS and CHORUSES. Unlike opera, oratorios
had no acting, scenery or costumes.
Music comes from the BAROQUE PERIOD (c.1600-1750) – features of Baroque music include
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ORNAMENTED melodic parts (e.g. trills)
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MAJOR/MINOR key structures (replacing “modes)
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Basso CONTINUO (figured bass) played by Harpsichord (and Cello) to “fill in harmonies”
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Different musical textures – HOMOPHONIC, POLYPHONIC
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Baroque Orchestra – violin family, harpsichord, trumpets, horns and timpani
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One “mood” set and maintained throughout the piece
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TERRACED DYNAMICS – Loud or Soft
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
Tonality
Tempo
Dynamics
A major
Lively, fast dance
tempo to match joyous
mood
Pitch (vocal range)
Allegro
Rhythm
Harmony
“Driving” regular on-beat crotchet
rhythms match “stately” mood
Use of HEMIOLA – notes grouped
in 2-beat units e.g.
Clear MAJOR harmonies – minor
avoided to match joyful words.
Uses PERFECT CADENCES (V-I)
during piece with a PLAGAL
CADENCE (IV-I) ending the
chorus.
To match joyful mood
of words - TERRACED
Texture
Alternating HOMOPHONIC and
POLYPHONIC sections. The
chorus ends with a CHORDAL
HOMOPHONIC coda.
Musical Features
IMITATION & SEQUENCE–
SYLLABIC word setting – one
word per note
MELISMATIC word setting – one
word spread over many notes e.g.
“revealed”
Melody and Form & Structure
IDEA 1 (based on triad of A major & syllabic)
IDEA 3 (repetition)
Chorus is based on 4 contrasting melodic ideas
IDEA 2 (descending sequence & melisma)
IDEA 4 (notes of long duration - repeated)
Instrumentation
Written for four voices – SOPRANO, ALTO, TENOR and BASS with Instrumental accompaniment. The original accompaniment consisted of
STRINGS (VIOLINS, VIOLAS and CELLOS) with continuo (HARPSICHORD or ORGAN) and TRUMPETS and TIMPANI. Handel went on to add
parts for OBOES and BASSOONS to double the string parts and in places the voice parts.
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SET WORK SUMMARY
First Movement from “Symphony No.40 in G minor”
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
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Wolfgang Amadeus Mozart - born 1756 in Salzburg, Austria. Learned to play piano at age 4.
Child “prodigy” encouraged by father (also a musician), toured Europe in concerts
Loved Constanze his wife, father didn’t approve, difficult financial situations, loss of children
Mozart wrote 41 symphonies, also operas, piano concertos, string quartets, concertos & masses
Related composers – Haydn (1732-1809); Beethoven (1770-1827); Schubert (1797-1828)
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About the Set Work – Placing the Set Work in a Musical Context
The piece is written for a traditional Classical orchestra (minus trumpets and timpani);
Fair range of dynamics;
Not just one fixed mood (like Handel), the mood changes slightly within each section
Sonata Form makes the movement balanced and structured
Melody and accompaniment Texture
This is the FIRST MOVEMENT of a SYMPHONY – a piece for orchestra which has 4 movements
Music comes from the CLASSICAL PERIOD (c.1750-1820) – features of Classical music include
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Balanced and Elegant melodies, shorter than Baroque with clear-cut phrases and clearly
marked cadence points
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Less complicated texture than the Baroque (more melody and accompaniment)
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Development of String Quartet, Sonata, Symphony, Concerto & Sonata Form
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Orchestra began to grow – harpsichord fell out of use, wind instruments became more
important and developed into their own section – “woodwind”, strings were the main
instruments,
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Piano - Invented as early as 1698, by Cristofori in Italy replaced Baroque harpsichord.
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
Tonality
4
4
G minor
(a key Mozart
associated with
sadness)
Rhythm
Scale passages and rising
sequences
1st Subject – crotchet and quaver
rhythm
2nd Subject – slower, legato
rhythm
Tempo
Dynamics
Pitch
Molto Allegro
Starts off p but lots
of dynamic contrast
including use of sfz
and accents.
Violins play 1 subject in octaves.
Limited pitch range.
nd
2 subject moves CHROMATICALLY
Harmony
1st Subject – G minor
2nd Subject – B flat major (relative
major) in exposition but G minor in
recapitulation
A variety of keys are explored in
the development section
Texture
Mainly “Melody and
Accompaniment” Texture –
HOMOPHONIC.
Polyphonic in development.
st
Musical Features
Pedal notes used in development
Melody and Form & Structure – SONATA FORM
Exposition
First Subject
Bridge Passage
Second Subject
Codetta
Development – based on the opening of the first subject; texture becomes more polyphonic; it explores different keys
very quickly; pedal notes are used in the development; themes are passed between instruments
Recapitulation – not a direct repeat of Exposition – starts off in G minor as expected, the linking bridge passage is
longer, second subject now in G minor too, lots of scale passages and rising SEQUENCES, ends with a CODETTA
Instrumentation
The piece is scored for a traditional Classical orchestra – 1st and 2nd Violins, Violas, Cellos, Double Basses, 2 Flutes, 2 Oboes, 2 Clarinets, 2
Bassoons and 2 Horns. Even though the Classical orchestra commonly used trumpets and timpani, Mozart does not use them in this piece.
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SET WORK SUMMARY
Prelude No.15 in D flat major Op.28 - Chopin
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
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Frédéric François Chopin - born in Poland in 1810; died in Paris 1849
Virtuoso pianist; Most of his compositions are for solo piano; Left Warsaw and settled in Paris
Related composers – Beethoven (1770-1827); Rossini (1792-1868); Tchaikovsky (1840-1893); Berlioz
(1803-1869); Franz Liszt (1811-1886)
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About the Set Work – Placing the Set Work in a Musical Context
Known as “Raindrop” prelude from a set of solo “stand alone” piano pieces called “Preludes”, each in a different major or
minor key composed between 1835 -1838. Each prelude is meant to depict a specific idea or emotion. The Preludes (24 in
total) are arranged so that the major keys for a circle of 5ths, each of which is followed by its relative minor key – C major,
A minor, G major, E minor, D major, B minor etc. Preludes vary in length – shortest only 13 bars long, while the longest runs
to 90 bars, “Raindrop” in 89 bars long. The “Raindrop” prelude was written during Chopin’s period of recuperation at the
deserted monastery in Valldemossa, Majorca. The piece was written during a storm and the title relates to the dripping of
raindrops from the roof of the monastery.
Music comes from the ROMANTIC PERIOD (c.1820-1900) – features of Romantic music include
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A freedom in form and design; a more intense personal expression of emotion in which fantasy, imagination and a quest for adventure
play an important part.
Emphasis on lyrical, songlike melodies; adventurous modulation; richer harmonies , often chromatic, with striking use of discords.
Denser, weightier textures with bold dramatic contrasts, exploring a wider range of pitch, dynamics and tone-colours.
Expansion of the orchestra, sometimes to gigantic proportions; the invention of the valve system leads to development of the brass
section whose weight and power often dominate the texture.
Rich variety of types of piece, ranging from songs and fairly short piano pieces to huge musical canvasses with lengthy time-span
structures with spectacular, dramatic, and dynamic climaxes.
Closer links with other arts lead to a keener interest in program music (programme symphony, symphonic poem, concert overture).
Shape and unity brought to lengthy works by use of recurring themes (sometimes transformed/developed): idée fixe (Berlioz), thematic
transformations (Liszt), leading motive (Wagner), motto theme.
Greater technical virtuosity – especially from pianists and violinists.
Nationalism: reaction against German influences by composers of other countries (especially Russia, Bohemia, Norway).
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
or
Tonality
D flat major
Tempo
Dynamics
Use of RUBATO (pull
back or speed up the
tempo to show
expression)
Rhythm
Texture
Distinctive “A” Rhythm
Mainly HOMOPHONIC –
melody and Accompaniment
Section B – Thick, Chordal
almost chorale-like movement
Pitch
Keyboard range is moderate and
keeps to the stave with a few ledger
line notes. The top note is B flat.
Lower pitch is used in Section B.
Wider range in
Section B
Musical Features
Careful expressive use of pedals particularly the sustaining
pedal; SOSTENUTO – sustained
ACCIACATURA – “crushing note” – melodic decoration
PEDAL NOTE – A flat (enharmonic G#)
Harmony/Melody and Form & Structure - TERNARY
Section
A (Bars 1 – 27)
Harmony/Key
D flat major
FORM
Themes
“Falling” motif to represent sadness
“Elegiac” melody in Right Hand
B (Bars 28 – 75)
C# minor (tonic minor)
Mood – Dark and Stormy – melody
in Left-hand bass of piano
A (Bars 75 – 81)
D flat major
SMORZANDO – Dying away
Codetta (Bars 81 – 89)
D flat major
Ends pianissimo with perfect cadence
Instrumentation – Solo Piano
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SET WORK SUMMARY
Peripetie from Five Orchestral Pieces, Op.16 - Schoenberg
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
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Arnold Schoenberg – Austrian, born Vienna in 1874; died 1951
Painter as well as a composer – composed and painted in Expressionist style.
Created the “twelve-note system” or serialism – new compositional technique
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Related composers – Alban Berg (1885-1935); Anton Webern (1883-1945)
About the Set Work – Placing the Set Work in a Musical Context
The term Expressionism was originally borrowed from visual art and literature. Artists created vivid
pictures, distorting colours and shapes to make unrealistic images that suggested strong emotions.
Expressionist composers poured intense emotional expression into their music exploring their
subconscious mind. Expressionist music often features:
A high level of dissonance; Extreme contrasts of dynamics; Constantly changing textures; ‘Distorted’
melodies and harmonies; Angular melodies with wide leaps
th
Music comes from the TWENTIETH CENTURY (c1900-1999) – features of 20 century music include
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Melody – likely to include wide leaps, using chromatic and dissonant intervals, angular and spiky, short
and fragmentary, glissandi, melodies based on note rows
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Harmony – extreme dissonances, more discords, note-clusters, hexachords
Rhythm – vigorous and dynamic, syncopation, irregular metres, changes of metre,
polyrhythms, ostinato, motor rhythms
Timbre – greater concern with tone-colour, strange, intriguing, exotic, striking, explosive,
contrasting; expansion of percussion section and emphasis on percussive sounds, unfamiliar
sounds from familiar instruments, extreme pitch-ranges, instruments being played in different
ways, new sounds such as those involving electronic and magnetic tape.
PART 2 – Musical Elements, Instrumentation & Musical Features
Tempo & Rhythm
A
Form & Structure – Free RONDO – A B A1 C A2
Instrumentation &
Pitch & Melody
Texture
sehr rash (very quick)
contains mostly triplets,
sextuplets and
demisemiquavers
Full Orchestra
Homophonic & Solo Sections
Use of MUTED brass for timbre
effects
Opening Motifs:
Harmony & Dynamics
Motifs based on
HEXACHORDS
Dissonant Harmony
(use of the interval of a 7th)
Opens with motif played by
Flutes, Clarinets and Bassoons
Sudden loud bursts
Ranges from fff to pp
Then a chromatic scale by
MUTED trumpets and
Trombone GLISSANDO
B
Uses different rhythms which
overlap
A1
Variation of A
C
Alternates between ruhiger
(calmer) & heftig (passionate)
Another Variation of A
Speeds up with use of triplet
motifs.
A2
Instruments play “as families”
Very THICK TEXTURE in
percussion and woodwind
Sparse texture – with solo
instruments overlapping
Builds up from clarinets &
strings to the full orchestra
(tutto) . Double bass play
TREMOLO chord in very high
register.
Starts off VERY SOFT
Return of a HEXACHORD on
the Horns
Dissonant Harmony and
extreme dynamic range
Bassoon tune, taken over by
the cello & double bass
Motifs are piled up on top of
each other and are played in
COUNTERPOINT and CANON
range from pp-fff. A few Loud
semi quaver passages
crescendos very quickly from
pp to fff dissonant chords &
immediately dies away to finish
with a pp chord
Instrumentation – Five Orchestral Pieces is written for a very large orchestra using some unusual instruments. There are
three flutes, oboes, clarinets and bassoons (instead of the normal pairs) plus piccolo, cor anglais, clarinet in D, bass clarinet and
contrabassoon. There are extra horns, trumpets and trombones plus a tuba. The percussion section includes xylophone, cymbals,
tam tam (a large gong) and bass drum. Instruments often play at the extreme of their registers. There are many performance
directions in the score. Schoenberg was looking for very specific tone colours or timbres.
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SET WORK SUMMARY
“Something’s Coming” from West Side Story
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
Leonard Bernstein – 1918 -1990 - “the godfather of the modern musical!”
Born in 1918 in Massachusetts. At 10 his aunt gave him a piano and his teacher couldn’t keep up
with him! His family were from the Ukraine and his dad didn’t want Leonard to study music. He
went to Harvard and met Aaron Copland who encourages him to be a conductor. Bernstein was
a conductor, broadcaster, pianist and composer. He was in demand as a conductor and was the
conductor of the New York Philharmonic Orchestra. He excelled in two principal forms – the ballet
and the musical.
About the Set Work – Placing the Set Work in a Musical Context
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Lyrics written by Stephen Sondheim who also wrote musicals of his own later on
Mirrors the plot of Shakespeare’s “Romeo and Juliet”
Based on a love story set in New York in the 1950’s gang culture – “turf wars” and the threat of
them creating tension in the musical from the beginning. The dark theme rooted in violence
and tragedy, the use of long, extended dance scenes to convey the drama, the mix of jazz and
classical music and the focus on social problems and tensions in contemporary America are key
features of West Side Story.
2 acts with dialogue between songs – lots of dance scenes
“Something’s Coming” is a solo character song sung by Tony early on in the story before he
meets Maria at the dance
“Something’s Coming” is an example of a song from a STAGE MUSICAL – features of musicals
include:
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Types of songs – solo character, duets, action songs, chorus numbers
“Singable” melodies – use of memorable hooks and traditional verse, chorus, middle 8 structures
Musicals written in popular music style influenced by jazz and later rock music
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Use of songs, dance and dialogue to tell stories – some musicals made into fims and some films
adapted to musicals; some musicals based on novels e.g. Oliver.
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
Tonality
Written in 3/4 but has
CROSS-RHYTHMS
and sounds like it is in
6/8
D Major
“Happy” key to reflect
the happy mood of the
song
Tempo
Fast 176bpm!
“one in a bar” feel
Rhythm
Lots of SYNCOPATION
Uses lots of rhythmic OSTINATI especially in the
orchestra
CROSS-RHYTHMS working “against” each other
PUSH-RHYTHMS anticipate the beat
Accented OFF-BEATS
Dynamics
Pitch & Melody
Tony starts singing pp
– breathless and
excited, halfwhispering, impatient
Contains lots of little ideas – SHORT
RIFFS
Combination of short phrases and long
sustained notes
Harmony
Texture
Use of the TRITONE (devil in music!) – Augmented 4th - to
create tension and something bas is about to happen
despite the love story. Gives edgy, unpredictable feeling
JAZZ HARMONY – ordinary chords have added “BLUE
NOTES”
The song has lots of
different layers in the
exciting way the music
has been arranged for
instruments
Form & Structure – not a typical verse-chorus structure
Section A
Section B
Section B1
Section A1
Bars 106-140
Bars 4-39
Bars 40-105
Bars 141-157
Intro
Bars 1-3
Uses 3-beat Ostinato to
set breathy and excited
mood. Jazz Harmonies,
Syncopated Rhythm &
Tritone
Starts off quietly with
Tony’s thoughts –
“Could be”, “Who
Knows?”, 3-beat
ostinato continues with
push rhythms. Then
fast, loud recitative-like
section with word
painting–
“cannonballing”
More “on beat” rhythm
giving strength to lyrics.
Change of time to 2/4
creates feeling of drive.
Syncopated rhythms,
blue notes, riffs,
Shortened version of
Section B.
Feels like a return to the
beginning, back to 3/4
time, orchestral riff and
Tony’s hopeful
questions – “Maybe
Tonight” base on the
tritone. Riff starts to
fade under the held
note (sempre dim.)
Outro
Bar 158 – fade out
Simple "ad lib fade” bar
taking us into the music
for a change of scene
(instrumental)
Instrumentation – solo singer (male tenor) and large orchestra with added instruments
Bernstein orchestrated the music himself and called for a large orchestra including five woodwind players, two horns, three trumpets, two
trombones, seven violins, four cellos and two double basses. In addition, he used a drum-kit, two other percussionists, piano, electric and acoustic
guitars, saxophones, a mandolin and celeste. Uses Latin-American instruments – castanets and maracas to reflect the Puerto Rican gang
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SET WORK SUMMARY
rd
3 Movement (Fast) from Electric Counterpoint - Reich
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
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Steve Reich – born in New York (1936 – present)
Started playing piano when he was young and drums when he was 14.
His music is influenced by Jazz, Gamelan and African Music
A key minimalist composer, he likes TONAL music (as opposed to Serialism which is Atonal)
Other famous works include “Different Trains”; “Clapping Music” (a phase shifting piece) and
various “taped” music using recorded samples of everyday sounds and looping them to create a
constant repeated pattern (New York Counterpoint)
Related composers – La Monte Young; Terry Riley; Philip Glass; Michael Nyman
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About the Set Work – Placing the Set Work in a Musical Context
Electric Counterpoint was written for the jazz guitarist Pat Metheny. Metheny would record all the parts
himself (12 guitars and 2 bass guitars). He would then play the recording (called a ‘backing track’ and
would play the “live” part over the top. The piece uses tape loops where each part is pre-recorded onto a
tape loop to allow overdubbing (recording over the top). The movements within Electric Counterpoint don’t
have titles, just tempo markings. The third movement (fast) is 140 bars long and lasts four and a half
minutes.
Music is an example of MINIMALISM (developed in 1960’s & 1970’s) – features of minimalist music
include:
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Builds music out of loops – constantly repeated patterns – short and simple; lack of a clear melody
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Harmonies made by layering patterns on top of each other – gradually unfolding over a long period
of time
•
A reduced style e.g. little dynamic contrast, constant tempo
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Repetition – ideas repeated several times gradually changing – gives the music a hypnotic quality
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MINIMALIST TECHNIQUES – Phasing, Additive Melody, Metamorphosis, Layering, Drones,
Ostinati/Loops, Note addition, Note Subtraction, Rhythmic Displacement, Augmentation,
Diminution, Static Harmony
Use of Music Technology – old tapes cut and pasted together, multi-track recording to layer sounds, live performances
often use recorded backing tracks to build up the layers
•
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
to
to
Rhythm & Tempo
Made up of rhythmic
LAYERED OSTINATI
which are PHASE
SHIFTED and
DISPLACED.
Constant tempo
throughout.
Tonality & Harmony
Reich uses TONAL AMBIGUITY – keeps
the listening guessing as to what key the
piece is in. The bass guitars confirm E
minor when they enter, but actually in the
AEOLIAN MODE
Changes to C minor in “B” Section for
contrast.
Piece finishes on an E5 chord giving an
“open” and “sparse” sound
Dynamics
Not many changes in dynamics – mainly
in solo part fading in and out.
Four ensemble parts playing the first riff
remain mf all the time. Other parts have
dim. finishing with a crescendo to ff for
the solo part at the end.
Pitch &
Melody
Guitar 3 uses
ADDITIVE
MELODY where 2
or 3 notes keep
being added until
the whole riff is
heard.
Texture
A multi-layered texture is achieved by each track being “multi-tracked” to allow live performance over
the top
Made up of short patterns/riffs/motifs/ostinati that are repeated. It’s repetitive making it sound hypnotic
Four of the ensemble parts play the same riff throughout the piece. Others join in one by one.
Once all the parts have been introduced, the texture remains fairly constant but with use of PANNING
(bass guitars are panned one to the left and one to the right) and INTERVIEWING RHYTHMS, the
texture always seems to be shifting.
Form & Structure
The piece is divided into TWO main sections (A) and (B) with a CODA. The main sections are then subdivided into four smaller
sections, each of which is defined by changes of key and texture.
Instrumentation - 7 electric and 2 bass guitars
The guitar parts enter in the following order: 1. Guitar 1; 2. Live Guitar; 3. Guitar 2; 4. Guitar 3; 5. Guitar 4 6. Bass Guitars 1 and 2;
7. Guitar 5; 8. Guitar 6; 9. Guitar 7
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SET WORK SUMMARY
“All Blues” by Miles Davis
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
Miles Davis, born in Illinois in 1926 to a wealthy family, began learning the trumpet
Davis performed in a number of bands before forming his own ensemble in 1948
Davis looked for a new way of playing jazz, feeling there was more to be found in the music
than the “quest for speed” forming his first album “The Birth of the Cool”, which had a more
“laid back” jazz sound.
“All Blues” is taken from the album “Kind of Blue”, recorded in three 3-hour sessions in New
York 1959, where Davis assembled an ensemble of some of the top jazz musicians of the time
(see “instrumentation” in part 2 below)
About the Set Work – Placing the Set Work in a Musical Context
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th
Jazz began as the coming together of many musical styles and cultures in the late 19 and early 20
century in New Orleans. African-Americans brought their rhythmic pentatonic work songs they
developed while in slavery (the Blues). Singers would sing about their poor situation in life in songs
giving the music its title. Blues would include CALL AND RESPONSE, IMPROVISATION and
STRONG RHYTHMIC CONTENT. The fusion of African pentatonic scales and the seven-note
Western scale produced the blues scale – with its characteristic “bending” of notes
Popular types of jazz include – RAGTIME, SWING played by BIG BANDS in the 1920’s, NEW
ORLEANS JAZZ – one of the first recognised jazz style originating in New Orleans and BEBOP – a
jazz style requiring virtuosic technique including fast tempo and complex harmonies
“All Blues” is an example of MODAL JAZZ – features of modal jazz include:
The soloist is freed from the more “restrictive” former types of jazz where they had to “stick to the
chords” and now use a scale or MODE to use, more of less ignoring the chords underneath - this led to
a longer, freer improvisations. Modal jazz songs and numbers are significantly LONGER than the
shorter songs of bebop and cool jazz allowing for EXTENDING SOLOING.
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
Marked
“Jazz Waltz”
Tonality
Texture
All Blues is an example of MODAL
JAZZ – this means that rather than
relying on complicated chord patterns
the harmony focuses on a MODE or
scale and the improvised solos are
freer. Davis improvises on the G
MIXOLYDIAN MODE
Pitch & Melody
The texture is made up of RIFFS – a
short rhythmic ostinato common in
jazz. 3 riffs are used in “All Blues” –
the first (G D ED F DED) is on the
double bass, the second where the
alto and tenor sax play in thirds (D/B,
E/C, F/D, E/C)
The main melody (HEAD) and the
solos are all played over the 12-bar
blues chord sequence (the
CHANGES) based on the notes of a
MODE. The improvisations are
ORNAMENTED and combine riffs
together.
Dynamics
Rhythm
Instrumentation
Tempo
The dynamics of “All
Blues” is mainly p
throughout although
there is a diminuendo
in the final “Head 4”
The RHYTHM SECTION provides the
harmony and rhythmic background –
drums, bass and piano. This section
provides the COMPING – or
accompanying – playing the
background chords and rhythms
FRONTLINE - Trumpet (Miles Davis),
Alto Sax (Julian ‘Cannonball
Adderley), Tenor Sax (John Coltrane),
RHYTHM - Piano (Bill Evans), Bass
(Paul Chambers) & Drums (Jimmy
Cobb)
Tempo of crotchet = 156. Although
this may seem rather fast, the bar
feels like it is split into two slow beats
(two dotted minims), so it feels like a
laid back tempo of Dotted minim =
152.
G7
C7
D7#9
G7
C7
Eb7#9/D7#9
G7
G7
G7
G7
G7
G7
Harmony
“All Blues” is based around a REPEATED 12-BAR BLUES CHORD SEQUENCE
(the CHANGES) with a FOUR-BAR LINKING RIFF between each section. The 12bar blues chord sequences is based on the following chords where each box
represents one bar. Adding extra notes to a chord (as in bars 9 and 10 above) is known as EXTENDING or ALTERING a chord – a feature used a
lot in jazz The structure of “All Blues” is based on the repeated 12-bar blues chord sequence, which is repeated 19 times in total!
Form & Structure INTRO – drums (played with brushes), bass riff, piano trill then alto and tenor sax riff in thirds
HEAD – this is where the original tune or melody is played – melody played on muted trumpet with a simple motif mainly stepwise movement
LINK SECTION – 4 bars between repetitions of the 12-bar blues chord sequence – breaks up the repetitions and provides contrast
HEAD 2 – same as the first time on muted trumpet but melody is slightly developed. LINK SECTION – ride cymbal added by the drums
IMPROVISED SOLO – first solo performed by Miles Davis, mute now removed from trumpet. Uses 4 repetitions of the 12-bar blues sequence (no
links) and uses the G Mixolydian mode to improvise. Ride cymbal now very prominent in the rhythm section. LINK SECTION –
IMPROVISED SOLO – Adderly on also sax, uses 4-repetitions of the 12-bar blues sequence, very chromatic and technical - LINK SECTION –
IMPROVISED SOLO – Coltraine on tenor sax, uses 4-repetitions of the 12-bar blues sequence, virtuosic playing. LINK SECTION –
IMPROVISED SOLO – Evans on piano, continues COMPING in left hand, uses 2-repetitions of the 12-bar blues chord sequence, right hand plays a
melody line like frontline instruments. LINK SECTION – alto and tenor sax play riff in thirds
HEAD 3 – same as Head 1, trumpet muted again LINK SECTION – alto and tenor sax play riff in thirds, trill returns in piano part
HEAD 4 – melody now developed with a more “minor” feel LINK SECTION – drums back down contributing to a diminuendo
OUTRO – Davis plays a short solo on the tonic note G over the sax riff and piano trill before the song fades out
W W W . M U S I C A L C O N T E X T S , C O . U K
G C S E
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S U M M A R I E S
S W R A 1
SET WORK SUMMARY
“Grace” from the album ‘Grace’ – Jeff Buckley
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
1966-1997 – American singer-songwriter, son of Tim Buckley, a jazz-folk musician who died in 1975, Buckley
drowned during an evening swim in the Wolf River in 1997.
Jeff formed his first covers band in 1982 and was interested in a wide variety of musical styles before
developing his love of the guitar.
The guitarist Gary Lucas was looking for a singer and recruited Buckley to his band who he worked
collaboratively with, including writing the song “Grace” together, until they parted company
Buckley’s first number 1 came posthumously in 2008 with “Hallelujah” (also used on the film “Shreck”)
About the Set Work – Placing the Set Work in a Musical Context




“Grace” is the first and only complete studio album by Jeff Buckley released on 23 August 1994
The performers on “Grace” are – Jeff Buckley: guitar, vocals; Matt Johnson: drums, Mick
Grondahl: bass; Gary Lucas: guitar

The lyrics are said to be based on a dream Buckley had about a girl crying on her boyfriend’s arm
at an airport, not wanting him to leave, but they are also clearly about death. Buckley was fascinated
with the subject of mortality, probably because of the early death of his father
“Grace” is an example of “Guitar-based” track – features of guitar-based tracks include:

An emphasis on guitar textures based on SOUNDSCAPES rather than riffs or technical
showcases

The main chord sequence of “Grace” is a POWER CHORD slid across three FRETS of the guitar
but played in different ways in each section with different textures.
Moving the same chord shape up and down the FRETBOARD and using one or more OPEN STRINGS as a DRONE
gives a harmonic richness to the sound. The bottom string of the guitar has been tuned down from E to D (drop-D tuning)
Various EFFECTS are used on electric and acoustic guitars throughout the song – whisper (saved for places where
they can be heard, adding an eerie effect to the song, emphasising the lyrics), reverb, slides, delay, “mandolin” effect (link
section) scoops on the tremolo arm, hitting the “deadened” acoustic guitar strings (end of middle 8), hitting the body of the
acoustic guitar (end of middle 8) and flange (bringing out the open, droning, discordant notes)
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
Tonality
Rhythm
Pitch & Melody
The key is not clear from the first
three chords (Fm, Gm, Em) but
arrives in D MAJOR at the end of the
introduction and end of the link
sections. The verse, pre-chorus and
chorus have a MODAL tonality with a
tonic of E.
The rhythm of the intro is highlighted
by the acoustic guitar and Hi-HAT
cymbal “driving “ 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
The vocal melody in the verse has a
limited pitch range, becoming higher
in the pre-chorus and chorus. A
“whispering” backing vocal adds
variety to the melody in the chorus.
TELEPHONE EQ EFFECT added to
vocal melody in Middle 8 giving a
harsh and distant effect.
Verse 3 sees the pitch of the vocal
melody becoming HIGHER and
extremely HIGH PITCH VOCAL
IMPROVISATIONS in the outro using
MELISMA and FALSETTO.
Tempo
Dynamics
64 bpm = dotted
crotchet
Maintains consistent
tempo throughout
The song starts p but has a f chord in
the intro.
The WHISPER effect on the Electric
Guitar uses dynamics picking the
note with the volume turned down
and then turning it up quickly
Texture
Harmony
Parts drop out from time to time to let me music breathe and
provide TEXTURAL CONTRAST. The texture in the verse
becomes thinner with the high electric guitar RIFF dropping out.
BACKING VOCALS (subtle) and STRINGS (for effect) enter in
the chorus adding to the texture. Strings play PIZZICATO in
pre-chorus 2.
Thick POLYPHONIC texture in Middle 8 – multi-track vocal
harmonies in COUNTERPOINT. Thick texture in Verse 3 and
outro as strings come to the fore.
INTRO
PRE-CHORUS 2
VERSE 1
CHORUS
The bass guitar provides a PEDAL note “D” upon which harmonies and chords
are constructed (Intro).
During the verse the electric guitar plays POWER CHORDS – the bass follows
the root of the power chord, the harmonies are MODAL with E as the tonic note
– Em, Em/F5, Em/Eb5.
The pre-chorus uses more complex chords – Em, F#dim, G6, A6, Bm, A6/9, Em
The chorus uses chords– Em/F5, Em,Eb5 - still based on the tonic E.
Complex harmonies in Middle 8 – “hummed” vocals with long sustained notes
on strings
Form & Structure
CHORUS
MIDDLE 8
LINK
Instrumentation
PRE-CHORUS 1
LINK
VERSE 3
VERSE 2
OUTRO
Main Instruments - Drum kit, Bass Guitar, Three Electric Guitars, Acoustic Guitar, Lead Vocal
Additional Instruments - Backing Vocals and Strings – used for effects or to raise tension by adding to the texture
W W W . M U S I C A L C O N T E X T S , C O . U K
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S W R A 1
SET WORK SUMMARY
“Why does my Heart Feel so Bad?” from the album ‘Play’ – Moby
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
About the Composer – Placing the Set Work in a Social and Historical Context
Moby (Richard Melville Hall) was born in 1965 in Harlem, New York and is an American DJ, singersongwriter and musician. He plays keyboard, guitar, bass guitar and drums.
Moby is a deeply religious man whose music & business dealings are strongly rooted to his moral,
ethical, environmental and spiritual beliefs. He is both a vegan and a Christian.
His music is influences by a range of styles – Blues, Classical, Gospel, Punk, Ambient, Hip-Hop,
Techno
After 8 Top 40 singles in the UK during the 1990’s, Moby released the album “Play” (his sixth studio
album), in 1999 from which the single “Why does my Heart Feel so Bad?” was also released in 1999.
About the Set Work – Placing the Set Work in a Musical Context


The song is built around 2 VOCAL SAMPLES taken from a GOSPEL RECORDING of
1953. Moby wanted his music to have a “raw, authentic” sound, so he deliberately left the
background noise on the vocal samples untouched (including echo’s and traffic noises in the
background). Although his music relies on technology, he aimed for a human element which
he felt the background noise gave it.

The song was popular (and continues to be so) due to its use of interesting samples,
catchy chord sequence and melodies, its easy to dance too and well-structured
“Why does my Heart feel so bad?” is an example of ELECTRONICA – features of ELECTRONICA
include:

Roots in CLUB DANCE MUSIC performed by night club DJ’s. There are a wide variety of
sub-genres of club dance music – dub, scratching, Chicago house, Garage and Electronica (a
popular sub-genre in the late 1990’s)

SAMPLING and SEQUENCING electronic instruments

Simple harmonies – “Why does my Heart feel so bad?” is based on only 6 chords –
selected because of the emotional response they would provoke from the listener.
Use of MUSICAL EFFECTS – Moby uses REVERB, DELAY and EQUALISATION (EQ). Also the placement of
sound within the stereo field using left and right hand speakers (PANNING).
PART 2 – Musical Elements, Instrumentation & Musical Features
Time
Signature
Tempo
consistent
throughout at 98
bpm
Tonality
Rhythm
Dynamics
Pitch & Melody
Both vocal samples are in the key of A minor
but Moby harmonises the first to make it feel
like A minor and the second to make it feel
like C major.
The intro and verse begin in A minor, though
the tonality is slightly more ambiguous in the
chorus where the common notes of the
chords hint at C major before MODULATING
to C major during Chord Sequence 3.
“Hip-Hop” drum LOOP
used throughout, also
called a BACKBEAT
The piano
accompaniment
(although sometimes
“static”) changes to a
SYNCOPATED
RHYTHM in verse 1
The dynamics of
the song begin
p and increase
in relation to the
texture
throughout the
song.
The 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.
Texture
Harmony
The texture of the song varies – instruments come in and drop out to provide TEXTURAL
CONTRAST all based around the different chord sequences.
Synthesised bass and string parts are added in verse 2 to fill out the texture with long,
sustained chords in the mid to thigh pitch range.
The texture in the outro is reduced to just vocal sample 1 accompanied by synth pad playing
STATIC CHORDS.
“Echo’s” and “Shouts” are added in the Chorus and a TELEPHONE VOICE EQ applied to
the echo in verse 2.
A complete TEXTURAL CONTRAST is achieved in the BREAK, where all that can be heard
are the dying repeats of the DELAY EFFECT on the EQed vocal echo, a quiet delay repeat
of the snare (from the drum LOOP) and the tailing off of the REVERB applied to other parts.
The harmony of this song is based around three
CHORD SEQUENCES all made up of only 6 chords
showing a LIMITED HARMONIC RANGE.
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
Sus2 and Sus4 chords are also used replacing the
third of the chord with the 2nd or 4th giving a richer
harmonic sound.
INTRO
Chord Seq. 1
Form & Structure (also showing which chord sequence each section is based on – see “Harmony” above)
VERSE 1
CHORUS
VERSE 2
BREAK
CHORUS
OUTRO
Chord Seq. 1 x 4
Chord Seq. 2 + 3
Chord Seq. 1 x 2
(one single bar)
Chord Seq.2, 3, 3
Chord Seq. 1
Instrumentation/Equipment
Yamaha SPX990 Multi-effects unit (to apply reverb and delay to tracks); Roland TR909 drum machine (sound source for drum loops), Emu
Pfoformance piano sound module (piano sound source (there are two piano sounds on the track, one from an old Yamaha synth and another
from the Emu); Roland Juno 106 (synth bass sounds); Yamaha SY22 and SY85 Synthesisers (string/synth pad sounds); Akai S3200 sampler
(sampling the vocal sounds off the original record and any subsequent editing)
W W W . M U S I C A L C O N T E X T S , C O . U K
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S W R A 1
SET WORK SUMMARY
Skye Waulking Song from the album Nàdurra - Capercaillie
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
“Waulking” is an ancient Scottish process used for making tweed fabric more flexible and windproof. A
“Waulking” song refers to a song used to make this process into a more sociable occasion. To keep
everyone IN TIME, the work was accompanied by song. There would be one person leading with lyrics,
based on a well-known story and others would join in after each line with some NONSENSE SYLLABLES,
called VOCABLES. It was considered unlucky to repeat a whole verse, so the songs often had many
verses. Technology has now replaced the need of manual “Waulking” by the hands or feet, but the tradition
still continues in some parts of Scotland and “Walking songs” are still sung by these societies and
collections of “Waulking” songs have been produced in notation and recordings.
About the Set Work – Placing the Set Work in a Musical Context
Capercaillie were formed in the early 1980’s by Donald Shaw and a few friends. Singer, Karen
Matheson joined the band in 1984. The band preserve Scottish Folk Music often singing in SCOTS
GAELIC dialect. “Skye Waulking Song” - taken from the album “Nadurra” released in September 2000.
The band is made of up 7 members, each with their INDIVIDUAL VIRTUOSITY on their own instruments
and their ability to blend together so well in an ensemble
The song lyrics tell the tale of Seathan, son of the King of Ireland. The original song (nearly 200 lines
long) was a LAMENT sung by Seathan’s wife, telling of his deeds and recollections and is a way of
grieving and sharing her feelings of loss. Only a few lines are used in this set work interspersed with
VOCABLES (nonsense syllables like “Fa-la-la”) in a CALL AND RESPONSE pattern.
The full title for the song, as recorded by Capercaillie, is 'Chuir M'Athair Mise Dhan Taigh Charraideach'
(My father sent me to a house of sorrow).
“Skye Waulking Song” is an example of FUSION FOLK MUSIC – features of FOLK MUSIC include:
“Music of the People” – performed by lower classes of a society expressing something about their way of
life, how they used to live, or about local mythology
Passed on by the ORAL TRADITION and rarely notated, often performed at INFORMAL occasions such
as jam sessions at pubs of social gatherings. Folk Music is about everyone taking part, enjoying the
music and passing on tales of life, legend and heritage. Folk Music also popular in the US where BOB
DYLAN wrote songs in a folk style but with political lyrics – PROTEST SONGS
Folk Music is traditionally played on ACOUSTIC INSTRUMENTS – accordion, bagpipes, banjo, bodhran,
bouzouki, concertina, double bass, fiddle, guitar, harmonica, hurdy-gurdy, mandolin, piano, tin/penny
whistle, uileann pipes. Electric Instruments such as the bass, keyboard and electric guitar have been used in folk music but some
purists feel this isn’t traditional. FUSION is a combining of more than one musical style or culture. Capercaillie are an example of a
band that FUSE CELTIC FOLK MUSIC with the instruments and production values of WESTERN POPULAR MUSIC
PART 2 – Musical Elements, Instrumentation & Musical Features
Time Signature
Tempo
Slow and calm
Tonality
The vocal part is sung using
the scale of E MINOR
PENTATONIC (or G major
pentatonic) throughout
Harmony
Rhythm
The harmony is very SIMPLE using only
FOUR CHORDS in the whole song. The
changes in CHORD SEQUENCE highlight
a change of section or mood.
The intro established the chord sequence
Em-G
This changes to C-G-Em-G in Verse 4
adding some harmonic interest
In verse 7, the chord sequence changes to
Am7-Em-Em-G for one verse only
returning to C-G-Em-C in verse 8 and
alternating C-G chords in the outro
The shaker and hi-hat
play every two beats
giving the rhythm a
TRIPLE feel.
The vocal part has a
characteristic LILTING
rhythm
The second and fifth
beats of the bar are
emphasised by the
accordion in the
instrumental section
Dynamics
The dynamics
build with the
texture of the
song, dropping
considerably in
verse 7 leaving
room for the
intimate vocal
sounds
A long FADE
OUT brings the
song to an end
Pitch & Melody
Melodic lines are
played in the FOLK
STYLE – instruments
IMPROVISE AROUND
A MELODY
The “Waulking” song
tradition can be heard
in the use of
VOCABLES between
each sung line and the
repetition of each line of
verse
Texture
HETEROPHONIC TEXTURE is created when instruments perform a very similar melodic line together, but in slightly different ways (Uilleann pipes
solo along with the fiddle in the Instrumental) . There are also examples of instruments weaving a complex improvised COUNTERPOINT around
the melody and scale (G major) and the vocals improvise in COUTERPOINT during the outro. Backing vocals thicken the texture when they join in
vocalising the nonsense syllables in between each line of lyrics (starting in verse 4). Contrasts in texture, such as the UNACCOMPANIED last line
of verse 3 serve as a link between sections and all instruments drop out of the last line of verse 7 similarly. The instruments tend to provide an
ACCOMPANIMENT TEXTURE to the vocal parts but instruments (such as the accordion in verse 4) provide a COUNTER MELODY to the vocals
Form & Structure
INTRO
VERSE 5
VERSE 1
VERSE 6
BREAK
INSTRUMENTAL
VERSE 2
VERSE 7
VERSE 3
VERSE 8
VERSE 4
OUTRO
Instrumentation
Donald Shaw: accordion, piano, synth; Michael McGoldrick: flutes, whistle, uilleann pipes; Karen Matheson: vocals; Ewen Vernal: acoustic and
electric bass; Charlie McKerron: fiddle; Manus Lunny: bouzouki, guitar, bodhran, vocals; James MacKintosh: drums and percussion
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SET WORK SUMMARY
Rag Desh
PART 1 - Placing the Set Work in its Musical, Social and Historical Context




Indian music has a long history, going back more that 2000 years. It is closely linked to Hinduism and religious
philosophy.
The many Hindu gods are often worshiped through performances of raga, both vocal and instrumental. In
particular, the god Shiva is associated with music and dance in Hindu philosophy and there are many pieces in
praise and honour of this particular deity.
The set work is taken from the Indian classical tradition of Northern India.
Unlike Western classical music, Indian music is not written down as conventional musical notation. Instead, it
is taught through listening and playing by ear - called the oral tradition. Indian families have a system of masterpupil teaching known as a GHARANA. However, playing styles will inevitably change as new techniques are added
by subsequent generations and so the process is a duel one of consolidation and evolution of playing skills.
About the Set Work – Placing the Set Work in a Musical Context



Rag Desh is one of a number of
Indian ragas (over 200!) – a type of
SCALE/MODE on which Indian music is
based. Like a scale, a raga ascends and
descends, but the pitches often differ in each direction and the number of notes in a raga can vary (unlike Western
classical music). Some ragas are PENTATONIC

It’s TONAL CENTRE/SYSTEM TONIC is the note C

Ragas are associated with a particular mood (RASA), feelings, emotions or certain times of the day. Rag
Desh is traditionally a NIGHT RAGA. Rag Desh (which translates as “country”), is also associated with rainy
seasons or MONSOONS

The three most common elements or strands in Indian classical raga music are:

the MELODY - made up (IMPROVISED) from notes of a particular raga (without notation). Sung by a voice or
played by an instrument such as the sitar or sarod

the DRONE - a supporting one or two notes (often the TONIC and DOMINANT notes of the chosen raga)
provided by the tambura. Its function is to keep a sense of TUNING or INTONATION as a reference point for the
melodic part and it adds to the texture of the raga as a whole.
the RHYTHM - a repetitive, cyclic rhythm pattern called a TALA, played by the tabla drums. Talas vary in number of beats
(MATRAS). In a raga performance, there is often a sense of “competition” between the instrumentalist and drummer as they attempt to
copy and “do each other’s clever and novel rhythmic ideas” whilst still keeping within the cycle of the tala – a sort of “musical duel!”
A raga performance has a STRUCTURE based on FOUR defined sections: ALAP, JOR, GAT, JHALLA. Some sections can be
omitted and raga performances vary vastly in duration – some up to five hours or more! (a raga song has a section called BHAJAN)
PART 2 – Musical Elements, Instrumentation & Musical Features
Version 1
Version 2
Version 3
Anoushka Shankar: Rag Desh from the album
“Live at Carnegie Hall”
“Mhara Janam Maran” by Chiranji Lal
Tanwar
Wertheimer & Gorn: Rag Desh, Pt 3 from
the album
“Priyagitah: The Nightingale”
Instruments
Sitar and Tabla
Voice, Sarangi, Sarod,
Pakhawaj, Cymbals and Tabla
Bansuri, Esraj, Tambura and
Tabla
Form
&
Structure
ALAP – slow and unmetred,
unaccompanied sitar explores notes of the
raga. Free rhythms sound improvisatory
due to lack of a regular pulse. Some
decoration to melody.
GAT1 – Sitar plays fixed composition
rather than improvisation, but decorated
melody with flourishes and ornaments.
Medium tempo. Tabla enters playing 10beat JHAPTAL tala (10 beats) with
decoration.
Dialogue between sitar and tabla
ALAP – short introduction as the
Sarod player, then the singer,
vocalises a melody in free time based
on the notes of the raga. This is a
version of the chorus from the song.
BHAJAN – a “fixed” composition –
song in verse form with the first line
used as a refrain (chorus)
Tabla enters playing KEHERWA tala
(8 beats).
Sarod and Sarangi play solo
passages between verses.
Dynamics and tempo increase and
the music becomes faster and more
exciting; cymbals play more
frequently. This is a Hindu devotional
song from Rajasthan telling of the
arrival of Lord Krishna in the morning.
ALAP – slow and unmetred. Drone is
established by Tambura playing the
notes C (sa) and G (pa). Bansuri
enters exploring the notes of the raga
Including:
Tempo
Pitch
Melody
Instruments
Texture
Dynamics
Rhythms
Harmony
GAT2 – Faster tempo. Tabla now
switches to TINTAL tala (16 beats)
JHALLA – Drone strings are used on the
Sitar which are strummed providing a
striking rhythmic effect. Piece ends with a
TIHAI (phrase played thrice across the
beat ending on first beat of cycle)
GAT1 – slow tempo, Bansuri plays
lyrical, unaccompanied melody and
the tabla enters playing RUPAK tala
(7 beats). Bansuri and tabla player
embellish and improvise upon their
original patterns. Instruments then
swap Bansuri improvises, Tabla
accompanies
GAT2 – Fast tempo. Tabla now uses
EKTAL tala (12 beats). Bansuri plays
an elaborate melody with wideranging pitch, fast scale passages
(tans) and slides. Several THIAIS
bring the music to a close. Drone
continues shortly after melody ends.
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S W R A 1
SET WORK SUMMARY
“Yiri” - Koko
PART 1 - Placing the Set Work in its Musical, Social and Historical Context
This set work comes from BURKINO FASO (“men of integrity”/”father’s house”) in WEST AFRICA. The themes in
the music of Burkino Faso focus on mankind’s greatest battles in life including the fight for survival, looking after the
environment, creation, community celebrations and friendships. African music is based on the ORAL TRADITION
and has no musical notation. African music is used to communicate different feelings and emotions and is nearly
always part of a social gathering. Music is often combined with speech, dance and costumes where performers
retell traditional stories through body action and mime.
About the Set Work – Placing the Set Work in a Musical Context


The four most common features of African music are REPETITION, IMPROVISATION,
POLYPHONY and CALL AND RESPONSE

Features of AFRICAN SINGING include – frequent use of CALL AND RESPONSE, short
and simple melodies repeated over and over on a LIMITED NUMBER OF PITCHES, vocal
improvisations performed at the same time as the original melody creating POLYPHONIC
TEXUTRES, often sung in ROUNDS, harmony varies but often in PARALLEL OCTAVES. Body
percussion (clapping and stamping) and VOCABLES (often loud shouting) are also used in
singing.

Features of AFRICAN INSTRUMENTAL MUSIC include – REPETITION (including
OSTIANTO), IMPROVISATION, CYCLIC STRUCTURES, POLYPHONIC TEXTURES and
INTERTWINING MELODIES

There are many different instruments in African Music, which vary from region to
regions. There are lots of drums called MEMBRAPHONES (as they have a skin) and they
are considered the most important instruments associated with communication, religious
significant and ceremony. Different African drums include – djembe, dundun and donno
(the talking drum). Drums are played with the hands (“open” and “closed” sounds), on the
edge or using sticks.

IDIOPHONES are resonant, solid instruments including – rattles, shakers, bells, Mbria
(thumb piano), xylophones, balaphones, clap sticks, slit gongs and stamping tubes

AEROPHONES are wind or blown instruments including – flutes (bamboo and horn),
ocarinas, panpipes, horns (made from animal tusks), trumpets, pipes and whistles
CHORDOPHONES are string instruments including – zithers, lutes, koras, lyres and musical bows
PART 2 – Musical Elements, Instrumentation & Musical Features
Harmony
Pitch & Melody
The harmony remains close to the tonic Gb major
throughout making frequent use of the Dominant Db
note.
When the voices enter in Chorus A1 they sing in
UNISON and all responses to the solo call continue to
be in UNISON
The opening solo balaphone melody is HIGH PITCHED and is a simple and 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”
Tonality
Tempo
Opening balaphone melody establishes the tonality of
Gb MAJOR reinforced by the Dominant Db note.
Dynamics
The piece starts off in FREE TEMPO but
continues in a MODERATE tempo
Texture
Rhythm
The piece starts off with a MONOPHONIC texture with a solo balaphone
but a second soon joins playing mainly in OCTAVES with some different
pitches creating a HETEROPHONIC texture
Texture changes considerably during the Call and Response section
with a SOLO call and CHORAL RESPONSES. This is developed in
Chorus B1 where the soloist and instrumentalists perform in dialogue.
INTRO
CHORUS
A1
BREAK
The piece opens with SOFT dynamics
which increase as the instruments are
added and the texture thickens. The
piece ends with a single “ting” on a bell
The BALAPHONE OSTINATI in combination produce a complex,
POLYPHONIC TEXTURE
The DRUM OSTINATI perform a relentless one-bar pattern starting in
the intro performed by the talking drum, small talking
drum and djembe. This ostinato is decorated with
occasional RHYTHMIC FILLS.
The balaphone performs CROSS RHYTHMS in the call and response
section which become SYNCOPATED during the coda
Form & Structure
CHORUS
BREAK
CALL &
A2
RESPONSE
Instrumentation
CHORUS
B1
CHORUS
A3
CODA
Madou Kone: (vocals, balaphone, flute); Sydou Traore: (vocals, balaphone), Jacouba Kone: (djembe ), Francois Naba: (vocals, tam-tam, dundun,
maracas), Keresse Sanou: (talking drum ), Tidiane Hema: (vocals, maracas)
W W W . M U S I C A L C O N T E X T S , C O . U K