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Download Key Words Area of Study 1: Western Classical Music 1600 – 1899
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Key Words Area of Study 1: Western Classical Music 1600 – 1899 KEY WORD Handel Baroque period Affection Diatonic Monophonic Homophonic Polyphonic/ Contrapuntal Oratorio Messiah Recitative Aria Chorus Hemiola Imitation / Imitative Cadence Perfect cadence Plagal cadence Sacred Secular Syllabic Melismatic (Melisma) Terraced dynamics Soprano Alto Tenor Bass Sequence Major DEFINITION HANDEL: AND THE GLORY OF THE LORD Baroque composer 1600 -1750 The mood of a piece of music. It was customary in Baroque music for a single mood to prevail in a movement Notes or chords belonging to or literally ‘of the key’ A musical texture of a single melodic line with no accompaniment A musical texture comprising a melody part and accompaniment which all have the same rhythm, so sounds like block chords A musical texture with two or more independent parts which weave in and out of each other Large scale musical setting for chorus, soloists and orchestra of a biblical (religious) text. Designed for concert performance. The oratorio which ‘And the Glory of the Lord’ is taken from A section of an opera/oratorio which sounds half sung, half spoken A section of an opera/oratorio which is a solo song, reflecting on the mood/emotion. Usually virtuosic A section of an opera/oratorio that sums up the action of the story at that particular point. ‘And the Glory of the Lord’ is a Chorus A rhythmic device where two bars of 3/4 sounds like three bars of 2/4 A melodic idea in one part is immediately copied by another part, often at a different pitch, while the first part continues with other music (copying) The last two chords of a phrase At the end of a phrase to make the music sound finished (V – I) At the end of a phrase to make it sound finished, but sounds like an Amen (IV – I) Religious work (text) – from the bible Non-religious work (text) Word setting – one syllable per note Word setting – one syllable stretched over more than one note (Glo----------------------------------ria, hosanna in excelsis) Loud (forte) and quiet (piano) only – no dynamics in between and no crescendos or diminuendos High female singing voice Low female singing voice High male singing voice Low male singing voice A pattern of notes that is repeated at a higher or lower pitch Tonality – sounds bright and happy Allegro Libretto Basso Continuo Tempo (speed) – fast The text used in an Oratorio (like this one!) or an opera ‘continuous bass’ The bass line which is played by cellos throughout the piece Ornamentation ‘Twiddly bits’ that add decoration to a melody line Trill Moving between two notes that are next to each other very quickly MOZART: 1ST MOVEMENT FROM SYMPHONY No. 40 IN G MINOR Classical period 1750 – 1830 Symphony Large scale genre for orchestra in 3 or 4 movements. Sonata form used with the first and last movements Sonata Form A structure with 3 parts – Exposition, Development and Recapitulation First subject The first theme or melody in Sonata Form Second subject The second theme or melody in Sonata Form Bridge passage A linking section used to modulate the music into the Second subject Balanced phrases 4 and 8 bar phrases Sequence A pattern of notes repeated at a higher or lower pitch Circle of 5ths A chord progression moving in the order of an interval of a 5th. Used in the second subject Molto Allegro Very fast Syncopation Off beat Dotted rhythms Long short patterns Homophonic A musical texture comprising a melody part and accompaniment which all have the same rhythm, so sounds like block chords Counterpoint 2 melody lines which weave in and out of each other Chromatic Moving in semitones Sonata Form Large scale form used in the classical period and in movements of symphonies (like this one!) Exposition The first section of Sonata Form: First subject (tonic key) – Bridge passage (modulates) – Second subject (dominant key) Development The second section of Sonata Form: Development of First subject from exposition – lots of modulations (changes of key), ideas explored and experimented with Recapitulation The third section of Sonata Form: First subject (tonic) repeated from Exposition – Bridge passage (much longer than in exposition) – Second subject (this time in the tonic key NOT the dominant) Coda Section at the end of the piece to finish it off Modulation Moving from one key to another Relative keys Modulating to the dominant (5th above), sub-dominant (4th above) or the relative minor (3 semitones down) Major/Minor The key the music is in tonality Movement A section of music that is within a bigger work, like a symphony Romantic period Chopin Ternary form Coda Prelude Programme Music Phrase marks Rubato Ritenuto Pedal note Crescendo Diminuendo Soft pedal Sustain pedal Sostenuto Sotto voce Septuplet Slentando Smorzando CHOPIN: PRELUDE IN D FLAT MAJOR, OP. 28 1830 – 1900 Polish composer, loved the piano ABA structure Section on music at the end to make it sound finished A brief ‘opening’ piece that sets a particular mood Music that depicts a scene, mood or character. ‘The Raindrop Prelude’ was written in a storm and the titles refers to the dripping of raindrops from the roof Long curved lines going over the music to outline the musical sentences Literally means ‘robbed time’ – pulling rhythms around – common Romantic rhythmic feature Slow down A repeated note Gradually getting louder Gradually getting quitter A pedal on the piano which dampens the sound A pedal on the piano which lets the notes ‘ring’ on after being played Sustained – very legato (smooth) ‘under voice’ – dramatic lowering of volume. In B section – bass part 7 semitones in the space of a crotchet Gradually decreasing in tempo ‘dying away’ – gradual slowing down and softening until nothing is heard Area of Study 2: Music in the 20th century KEY WORD Schoenberg Expressionism The Second Viennese School Berg Webern The Five Orchestra Pieces DEFINITION SCHOENBERG: ‘PERIPETIE’ Important figure in the Expressionist movement. Austrian composer Early 20th century movement in the arts to express intense feelings. Often dark Schoenberg founded the Second Viennese School – a group of composers who wrote Expressionist music Expressionist composer taught by Schoenberg Expressionist composer taught by Schoenberg Composed in 1909. Was not very well received – experiemental and requires a very large orchestra. ‘Peripetie’ is the fourth of the 5 pieces. Means ‘A sudden revsal’. Set work version a new edition of the work that Schoenberg wrote in 1922 Hauptstimme (H) Nebenstimme (N) Hexachord Complement Atonal Dissonance/Discord Klangfarbenmelodie Timbre Sehr Rasch Motif Free Rondo Dynamics Disjunct Octave displacement Inversion Augmentation Interval Principle voice – the main melodic line Secondary voice – the next most important melodic line afte the principle voice A group of six notes selected from the 12 pitches that are used as a musical motif or chord The six semitones not used in the first hexachord No key Notes that clash against each other Literally ‘tone colour melody’, a word used to describe how timbre contributes to melody in addition to pitch and rhythm The instrument sound Very quick (100 – 108bpm) A musical idea ABACA but with the returning A sections developed so much that they are barely recognisable Extremes of volume used Moving in leaps A note is an octave higher/lower than you would expect Turning the intervals of a line upside down to create a mirror image Doubling (or more) the original note length The space between two notes BERNSTEIN: ‘SOMETHING’S COMING’ FROM WEST SIDE STORY Musical Like an opera but using popular music Acts and Scenes Acts are the larger sections of the musical, scenes are the sections within the Acts Plot synopsis Based on R&J, New York, Jets (Americans) and Sharks (Puerto Ricans) Solo character song ‘Something’s Coming’ is the first time Tony sings solo in the show Jazz Harmony Use of added/extended chords Blues notes/scales Flattening notes Cross Rhythms Rhythms that cross the usual pattern of accents and unaccented beats, creating irregularity and syncopation Syncopation Off beat Push rhythm A part anticipating the beat and coming in early Riffs Repeated patterns of notes Tritone The interval created between 3 tones (C – F#) Accompaniment The band/orchestral backing to the vocal part Dynamics Volume Interval How far apart two notes are Latin-American Use of special Latin rhythm patterns from Puerto Rico rhythms STEVE REICH: 3RD MOVEMENT (FAST) FROM ELECTRIC COUNTERPOINT Minimalism Augmentation Doubling (or more) the original note length Diminution Halving the original note length Cells Short musical ideas Drone Fading Inversion Layering Loop/looping Metamorphosis Additive melody Modal Motif Multi-track recording Note addition A long continuous note (or a constantly repeated note) Bringing up or down the audio signal in recording to fade a track in or out Turning the intervals of a line upside down to create a mirror image Adding new musical parts one at a time A section of a piece of music which is edited so that it can be repeated over and over again Gradually changing from one musical idea to another, often by changing one note at a time Notes keep being added until the whole riff is heard A scale that sounds a mixture of major and minor A short musical idea Lots of different tracks used in the recording Starting off with a very simple ostinato with lots of rests and gradually adding notes over a number of repetitions Note subtraction Starting off with a complex ostinato and gradually taking notes away, leaving rests in their place Ostinato A repeated pattern of notes Panning Used in stereo recordings to control where the sound is coming from. Can be panned to the left or right, or placed in the centre. Phasing / phase shift When two or more versions of a motif are played at the same time but slightly out of synchronisation, with the two parts gradually coming back in sync after a number of repetitions Polyphonic Texture – 2 or more lines that are equally important playing at the same time Polyrhythms A texture made up of many different rhythms Repetition Repeating Resultant melody A new melody produced when a variety of parts each play their melodies at the same time Retrograde A method of developing a series of notes by playing it backwards Rhythmic Playing a musical phrase so that the accents fall in different places to displacement what you would expect Texture How parts fit together Tonal Ambiguity When the key of a piece is uncertain AREA OF STUDY 3 MILES DAVIS: ALL BLUES KEY WORD Ragtime Bebop Big Band Swing Modal Jazz Changes Head 12 Bar Blues Blue note Mixolydian mode Swing quavers Waltz Trill Mordent Chromatic Comping Frontline Rhythm section Syncopation Improvisation Intro Outro DEFINITION Music characterised by a syncopated melody line and regularly accented accompaniment A jazz style which needs virtuosic technique – has fast tempo and complex harmonies A jazz style popular in the 1920s and 30s in which the pieces were generally written for a large ensemble to play in dance halls A development of Big Band. The term also used to describe a particular type of rhythmic ‘groove’ A jazz style in which the soloists base their solos on modes instead of the chord changes The chord sequence in a jazz song The main melody of a jazz song A 12 bar structure that uses the tonic (I), subdominant (IV) and dominant (V) chords A ‘bent’ note – a note lowered by a semitone Mode starting on G: G – A – B – C – D – E – F natural – G The pair of quavers should be played with the first one slightly longer than the second A dance with 3 beats in a bar Rapidly alternating between two notes The note itself, the note above, the note itself Music in which notes are used that are not in the key of the piece An abbreviation of ‘accompanying’ – playing chords and bits of tune The solo instruments in a jazz ensemble (trumpet, alto sax, tenor sax) The accompanying instruments in a jazz ensemble (drum kit, double bass, piano) Playing on the off beat Making it up as you go along Introduction to the piece End part of the piece JEFF BUCKLEY: GRACE KEY WORD Verse – Chorus Power chords DEFINITION Structure of Grace. Uses a Pre-chorus to join the verse to the Chorus and uses a ‘Link’ to join the chorus to the Middle 8 and then to Verse 3 A chord commonly played on the guitar consisting of the root note and the 5th above Drone A note repeated or sustained across chord changes, often creating a dissonance Dissonance/Dissonant Clashing notes Delay Repetitions of a sound after a set time interval, usually at a lower volume and with less high frequency content than the original EQ Abbreviation of equalisation – electronically cutting or boosting specific frequencies in a sound Flanger A studio effect ranging from subtle ‘swirling’ sounds to ‘jet plane’ effects Pizzicato Playing a string instrument by plucking the strings Slide A playing technique on string instruments by sliding the finger from one note to another or a metal/glass device used to slide from one note to another on guitars Folk rock A genre than combines folk and rock elements Rock ballad A song that tells a story Drop ‘D tuning Tuning the lowest E string on a guitar down one tone to D Distortion An effect used on electric guitars to distort notes Overdubbing Recording two or more parts on the same instrument and then layering them up Chromatic harmony Chords that shift up and down in semitones Improvised Making it up as you go along Glissando Sliding off a note or between two notes e.g. at the ends of vocal lines Syllabic Word setting - each syllable of the vocal line has its own note Melismatic Word setting - a syllable has several notes and is stretched out Vocalisation Wordless singing Falsetto A male singing higher than normal Word painting When the music reflects the mood/words Cross-rhythms Two against three rhythms Syncopation Playing on the off beats MOBY: WHY DOES MY HEART FEEL SO BAD? KEY WORD Vocal sample Sampler Looping Pitch shifter Panning Chorus Echo/Delay Reverb DEFINITION Short bits of recorded sounds A piece of equipment that loops and plays samples Uses a computer to loop music rather than doing it by hand Plays the sample at different pitches Changes which speaker the music comes out of (left and right) Creates several layers of the sample – it sounds like there is more than one copy playing Adds echoes to the music – and even makes them in time with the beat Changes the sample to make it sound as if it’s being played in a large concert hall ( It can also take away all sound of reverb and make it Phaser EQ Distortion Verse – Chorus Syncopation sound feel flat) Makes a ‘whooshing’ sound using the sample Short for Equalization. It amplifies or removes frequencies (like bass or treble) – it can filter out frequencies above or below a certain level. Changes the sound of a sample (it distorts it) Also a guitar effect Structure of the song Playing on the off beat Area of Study 4: World Music CAPERCAILLIE: ‘SKYE WAULKING SONG’ FROM THE ALBUM NADURRA Oral tradition A tradition which is passed on by word of mouth or imitiation rather than by written means Folk music Music for the people Fusion A blending together of different musical styles Waulking songs Waulking – ancient process of making tweed fabric more flexible and windproof. Waulking songs made this more social and kept people in time Nadurra Album released in September 2000 Accordion Instrument used in Wurlitzer Piano An early electric piano Similar to bagpipes but using bellows rather than blowing. Uilleann pipes Create a quieter sweeter sound than bagpipes Folk name for a violin Fiddle Instrument using bellows and buttons/keys to alter airflow over Accordian reeds to create sound A Greek string instrument, imported to Ireland Bouzouki Scotch snap Call and Response Question/Solo and Answer/Group Pentatonic 5 notes Cluster chord Lots of notes close to each other being played Heterophonic texture When instruments play a very similar line together but in slightly different ways Parts weaving in and out of each other A second melody Made up words Language from Scotland used in Set Work Counterpoint Counter melody Nonsense syllables Gaelic Raga Rag Tala Rag desh Alap Jhor Jhalla RAG DESH Improvised music in several sections based on a series of notes from a particular rag The ‘scale’ used in a Raga The rhythm patterns used in a Rag A rag played at night and monsoon season The opening unmetered and improvised section of a raga The second section of a raga – a medium tempo with improvisation The third section of a raga – a lively tempo and virtuoso display of improvisatory skills. The climax of the whole piece Gat Bandish Bols Syncopation Sam Mantras Teental Jhaptal Keherwa Rupak Meend Tan Bansuri Esraj Tambura Tabla Sitar Sarangi Sarod Pakhawaj Bhajan Drone Tihai Ostinato Improvisation Cross rhythm Polyrhythm/polyrhythmic texture Syncopation The final section for an instrumental raga – a ‘fixed composition’ with some improvisaed embellishments The last section of a vocal raga – a ‘fixed composition’ in the form of a song In a tala, these are the independent rhythm parts that go against the main beat of the cycle creating exciting syncopations Notes accented off the beat. The weak part of the beat is often emphasised The first beat of the rhythmic cycle Individual beats in a rhythmic cycle Common 16 beat 10 beat tala 8 beat tala 7 beat tala Sliding between two notes The rapid scalic flourishes on the sitar/sarod or sarangi Indian flute without keys Bowed fretted string instrument, like a sarangi and has sympathetic drone strings like a sitar Simple 4 string instrument with a resonator, used to provide the drone Set of 2 small drums, plays the tala 7 stringed instrument, with sympathetic strings to create the ‘twangy’ sound. Plucked Smaller than the sitar, has no frets and is bowed Has two sets of strings like the sitar, but is smaller, fretless and has a metal fingerboard to slide up and down the strings Large double headed drum Hindu devotional song A note that is sustained or repeated A short repeated phrase that ends a section KOKO: ‘YIRI’ A repeated pattern of notes Making it up as you go along Rhythms that literally cross the usual pattern of accented and unaccented beats creating irregular accents and syncopated effects A texture made up of many different rhythms Playing on the off beat/weaker part of a beat Master drummer Balaphones Mbira Djembe Donno Dundun Vocables Oral tradition Call and response Monophonic Heterophonic Membranophones Lead drummer Like xylophones, made of wood Thumb piano Goblet shaped drum from West Africa Hourglass shaped ‘talking drum’ held under the arm and played with the hand Double headed drum (in several different sizes) played with sticks Effects made by the voice using vowel sounds like ‘eh’ ‘ah’ ‘oh’ Music that is learnt by listening and repeating, and passed on orally from generation to generation (without being written down in a traditional notation) Question and Answer / Solo and Group reply A musical texture of a single melodic line with no accompaniment (beginning of the music) A musical texture in which several parts play the same melodic part but with slightly differences in pitch Category of instruments tht have a drum skin (membrane)
