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AHS
GCSE MUSIC
REVISION
BOOKLET
Contents:
 Test yourself Qu – get family/friends to test you with quick fire
questions complete with answers one ach AOS
 Essay Qu – Examples in bullet points for each set work.
 Terms & definitions – for each AOS plus general terms & signs.
Exam Vocab
Describe the musical device:
 sequence = pattern of notes moving higher or lower
 imitation = copying eg. Handel & Mozart
 pedal note = repeated note eg. Chopin
Name the orchestral families you hear:
 strings
 woodwind
 percussion
 brass
Describe the playing techniques:
 slide & bends eg. Indian on Sitar
 pizzicato = plucked, arco = with bow, eg violins
 mute eg trumpet
 rolls eg drums
 strummed, pick/arpegiated eg guitar
Describe the rhythmic device:
 Syncopation = off-beat rhythm
 Crossrhythm = clashing rhythm
 Polyrhythm = many rhythm
 Comping = playing chords in a rhythm
 Swing = lilting rhythm
Describe the tempo:
 Allegro = fast
 Andante = medium
 Lento = slow
Describe the tempo changes:
 Rit = slow down
 Rubato = not being in strict time to convey emotion
 Accelerando = speed up
Describe the melodic movement:
 Step = moves up or down 1 note at a time
 Scalic = all up or down
 Leap = wide leaps between notes
 Angular melody = sounds harsh eg. ‘Perepitie’ by Schoenberg
 Klangfarben melodie = tune rapidly swapping instruments eg. Schoenberg
Describe the phrasing/articulation:
 Staccato = jumpy
 Leagto = smooth
 4 bar pharses eg Mozart
Describe the dynamics (2 marks):
 Crescendo = gets louder
 Diminuendo/decrescendo = gets quieter
 Forte = loud
 Piano = Quiet
Exam Vocab
Describe the texture:
 Heterophony = almost the same eg. African & Reich (Minimalism)
 Monophony = 1 sound
 Polyphony = many sounds (counterpoint)
 Homophony = tune and accompaniment
Describe the form (structure):
 Sonata form: Exposition, Development, Recapitulation eg. Mozart
 Free rondo: ABACADA eg. Schoenberg
 Ternary: ABA Coda eg. Chopin
 Pop Song: Verse, Chorus, Middle 8, Breakdown eg. Moby & Buckley
 Symphony: large work in movements eg Mozart
 Oratorio: Religious opera eg. Handel
 Head: tune eg. Davis
 Riff: repeated pattern eg. Davis
 Alap: 1st section, slow & improvised eg. Indian
 Gat: section with tabla eg. Indian
Describe the metre:
 Time signature = how many beats per bar
 Free/unmetered = no time signature eg. African & Indian
Describe the ornamentation:
 Acciccatura = crushed note
 Trill = alternating between 2 notes
 Vibrato = wabbling between notes
 Septuplet = 7 notes quickly in the space of 4 eg. Chopin
 Turn = plays notes above and below eg. Chopin
Describe the tonality:
 Major = happy
 Minor = sad
 Atonal = neither major/minor/ sounds harsh eg. Schoenberg
 Modal = sounds foreign
Describe the voices:
 Soprano
 Alto
 Tenor
 Bass
Describe the vocal technique:
 Melisma = lots of notes for one word eg. Indian & Buckley & Handel
 Vibrato = wabbling the notes
 Glissando/Portomento = slide up or down notes
 Falsetto = very high eg. Buckley
Area Of Study 1 – Classical Music
Name the 3 composers in date in order.
Handel, Mozart, Chopin.
Describe the structure of the Mozart
Sonata form: Exposition, Development,
piece.
Recapitulation. 2 themes played in each
section. Exposition: theme 1 = minor,
theme 2 = major. Development: both
themes but mostly theme 1, played in
many different keys. Recapitulation:
Both themes now in minor.
Which keys are in the Mozart piece?
Main key = G minor, though 2nd theme is
in Bb major in Exposition section and
many different keys are briefly
experimented with in the development
section. Both themes are in Gm in the
recapitulation section.
Which era of music is Mozart from and
Classical. Fairly large orchestra with lots
why is this piece typical of this era?
of strings & woodwind. Following rules
of composing such as use of regular
length phrases (4 bar tunes) and
cadences.
Which keys are in the Chopin piece?
A section=Db major. B section=C#minor.
Which key is the Handel piece in?
A major (major = happy)
Describe the structure of the Chopin tune. Ternary: ABA coda.
Describe the structure of the Handel tune. 4 different themes that come in 1 at a
time and then overlap.
Which era of music is Handel from and
Baroque. Use of mostly strings and
why is this piece typical of this era?
organ, religious piece of music.
Which era of music is Chopin from and
Romantic. Piano solo, all about
why is this piece typical of this era?
expressing emotions rather than using the
rules of composing of the Classical era.
What is a pedal note and in which piece
A repeated note throughout the piece.
is it used?
Raindrop Prelude by Chopin.
What is an oratorio and to which piece
Oratorio = story from the bible set to
does this apply?
music. Like a religious opera with no
acting. ‘The Glory of the Lord’ - Handel.
What does melisma mean and in which
Melisma = many notes to 1 word. ‘The
piece is it used?
Glory of the Lord’ by Handel.
What does rubato mean and in which
Rubato = not in strict time (in order to
piece is it used?
help express the emotion). ‘The Raindrop
Prelude’ by Chopin.
Name the 4 vocal groups used by Handel. SATB = Soprano, Alto, Tenor, Bass
Describe the texture of the Chopin piece. Mostly homophony (tune and
accompaniment) though briefly
monophony in coda.
What cadence is used at the end of ‘The
Plagal (sounds like they are humming
Glory of the Lord’ by Handel?
‘Amen’).
What is a Basso Continuo and which
Handel piece. Basso Continuo = cello
piece in AOS 1 does it apply to?
plays bass line, organ plays chords.
What is unusual about Mozart’s orchestra No trumpets or drums.Clarinet were new.
Area of Study 2 – Modern Music.
What is a resultant melody and which
Resultant melody = melody created from
piece used it?
several other melodies overlapping.
‘Electric Counterpoint’ by Steve Reich.
Name the 3 composers in this AOS and
Reich = minimalism, Schoenberg =
their style of music.
expressionism, Bernstein = musical.
What is does klangfarbenmelodie mean
Klangfarbenmelodie = German for toneand which piece uses it?
colour-melody which means swapping
the melody between several instruments
every few notes. ‘Peripetie’ by
Schoenberg.
Describe the tonality of the Schoenberg
Atonal.
piece.
Describe the tonality of the Bernstein
Bi-tonal in certain areas (sound like
piece.
singer and instruments are in 2 different
keys). Main key is D major, though also
passes through A, G and C majors.
Describe the tonality of the Reich piece.
Modal/ambiguous. Hints at E minor.
What does Hauptstimme and
Hauptstimme = main melody.
Nebenstimme mean in English and which Nebenstimme = secondary melody. Both
piece are they from?
used in ‘Peripetie’ by Schoenberg.
Describe the instrumentation (which
Full orchestra with different instruments
instrument does what) of the Schoenberg taking it in turns to play the melody.
piece.
Percussion used rarely.
Describe the instrumentation (which
7 guitars, 2 bass guitars and 1 live guitar
instrument does what) of the Reich piece. all playing riffs (repeated patterns).
Describe the instrumentation (which
Tenor singer (high male) accompanied by
instrument does what) of the Bernstein
a jazz orchestra (uses instruments such as
piece.
saxophones and guitars which you would
not get in a traditional orchestra.
Name some characteristics of
Repeating small sections of music,
Minimalism (‘Electric Counterpoint’ by
layering parts up, gradually changing
Reich).
melody, tempo and dynamics, additive
melody (adding a note to the melody).
Which decade was the Bernstein piece
1950s (1958)
composed?
Which decade was the Reich piece
1980s (1987)
composed?
Which decade was the Schoenberg piece 1900s (1908)
composed?
What does Hexachord and compliment
Hexachord = 6 notes together.
mean and which piece are they used in?
Compliment = other 6 notes. ‘Peripetie’
by Schoenberg.
What does Peripetie mean?
Sudden changes.
Describe the melody in Peripetie.
Angluar melody (exam speak for sound
bad and jumps all over the place)
Describe the harmony in Peripetie.
Dissonant (exam speak for unpleasant
clashing sounds)
Name Bernstein’s Musical.
West Side Story.
Area Of Study 3 – Popular Music.
Name the 3 composers in this AOS and
Jeff Buckley = Pop Song, Miles Davis =
their style of music.
Jazz/Blues and Moby = Dance.
In the song ‘Grace’ by Jeff Buckley there EQ, use of equaliser to change the sound.
is a short section of distorted vocals. How
is this achieved?
What is an add chord?
Add chord = extra notes added to chords
such as 7ths and #9s in the Davis piece.
Name the 3 main sections in ‘All Blues’
Riff (repeated pattern), Head (main tune)
by Miles Davis.
and solos/improvisations.
Name the 2 different types of saxophones Alto and tenor, tenor sounds lower.
used in ‘All Blues’ by Miles Davis?
What interval (distance of notes) are the 2 3rd
saxophones playing the riff in ‘All Blues’
by Miles Davis?
What is a breakdown and which piece
Breakdown = where all/most instruments
does this happen in?
stop suddenly and then gradually build
back up again. Moby.
Jeff Buckley uses Drop D tuning and
Drop D tuning = lowest sounding E string
Power chords. What are they?
is re-tuned to D. Power chords = only use
2 notes so they are neither major or
minor.
List the instruments used in All Blues.
Piano, Double Bass, Drum Kit, Alto
Saxophone, Tenor Saxophone, Trumpet.
What time signature (how many beats per 6/4. Blues pieces are usually in 4/4.
bar) is All Blues in and why is this
unusual?
What time signature (how many beats per 12/8. Pop songs are usually in 4/4.
bar) is Grace in and why is this unusual?
When was Moby released?
1999
Which ‘instrument’ are used in ‘Why
Drum machine, sampler, synthesiser,
Does My Heart…’?
keyboard.
What is delay?
An echo type effect.
What time signature (how many beats per 4/4
bar) is the Moby piece in?
When was ‘Grace’ released?
1994
What are the order of chords in ‘All
G7, G7, G7, G7,
C7, C7, G7, G7
Blues’?
D7#9, Eb7#9 (D7#9 for ½ bar), G7, G7.
What are the order of chords in the verse Am x 2, Em x 2, G x 2, D x 2.
(‘Why does my heart’ section) in the
Moby piece.
What are the order of chords in the
1st time = C x 2, Am x 2, C x 2, Am x 2.
chorus (‘these open doors’ section) in the 2nd time = F x 2, C x 2, F x 2, C x 2.
Moby piece. There are 2 versions.
When was ‘All Blues’ recorded?
1959
List the instruments used in Grace.
Drums, Bass, Guitar x2, Voclas (main
and backing ), strings in background.
What time signatures (how many beats
Alternates between 2/4 & ¾.
per bar) are the Bernstein piece in?
Area Of Study 4 – World Music.
Name 3 Indian percussion instruments.
Tabla, Pakhawaj, finger cymbals.
Name 3 African percussion instruments
Djembe, Dun Dun, cowbell, balaphone.
used in ‘Yiri’.
Yiri uses Monophony, heterophony and
Monophony = 1 sound = balaphone solo
polyphony. What do these 3 words mean at very start.
and where are they used in ‘Yiri’.
Heterophony = several instruments
playing tunes that are almost the same,
but not quite = 2nd part of intro with
several balaphones.
Polyphony = many sounds = when all
parts play together, drums, balaphone and
voices.
What is call and response?
Call and response = 1 group or soloist
sings, another sings/plays something
different in response.
What is the Indian term for rhythm?
Tala
What is the Indian term for melody?
Raga
Name the sections of a raga and how they Alap = slow, dreamy improvised section
sound.
with no drums.
Jhor = similar to Alap but more
rhythmic, no example is set works.
Jhala = As Alap but faster, also no
example is set works.
Gat = drums and main tune finally come
in. Instrumental only.
Bandish = Like the Gat but with vocals.
‘Waulking Song’ by Capercaillie fuses 2 Folk: sung in Gaelic, fiddle, uilleann
different styles together. What are these 2 Pipes, Bouzouki, no choruses, accordion.
styles and gives examples of each style.
Western: Drum kit, electric piano,
production techniques used.
What is a bansuri?
Indian bamboo flute.
What is a Waulking Song?
Traditional song sung by workers beating
tweed to keep them in time.
When was ‘Waulking Song’ by
2000
Capercaillie released?
Describe the difference between the
They have different instruments on the
melodies in the 3 Indian set works.
melodies. Shankar piece = sitar. Mhara
Janam Maran = vocals. The Nightingale
= bansuri.
How is each vocal section separated in
‘Yiri’?
What does oral tradition mean?
What do the 3 Indian pieces have in
common?
Balophone break.
Pieces passed on via listening and playing
rather than being written down and learnt.
Raga desh = rainy season scale. Use of
improvisation. All have a Gat section and
all use a tabla.
HOW TO TACKLE DICTATION… 1. Answer all the other Qu on the page 1st. 2. 1st listening – make a basic shape or graphic score above the notes eg. Does it get higher or lower or both creating a ‘u’ shape. 3. Use the given notes at the start and end to help you work out the missing notes. Are they 1 higher, lower or the same. Is there a repeated pattern with the same notes. 4. Use the last listening to check you have got it correct. Does what you have written look right when hearing the notes. ESSAY QUESTION – PRE FLIGHT CHECK LIST: 1. Write out all 5 heading on the page before you start. 2. Answer all 5 headings. 3. Write at least 2 things for each heading. Title: … ‘And the Glory of the Lord’………….
Harmony/tonality:
Harhjgdjhsbgsdfg
 Piece ends with Plagal Cadence.
 Many other cadences including Perfect Cadences used.
 A major.
 Modulates to E & B major at certain points.
Dynamics:
 Terraced dynamics (moving up/down in volume 1 step at a time).
 Volume influenced by the amount of instruments playing at the time.
 Dramatic pause followed by suddenly loud at the end.
 Piece starts quietly.
Mood:




Happy because it’s in a major key, A major.
Happy because of the fast tempo (though slows at then end).
¾ time signature, creating a dance like feel (waltz).
Typical of Baroque music to keep in 1 key, major throughout.
Melody:
 4 themes/motifs
 1st theme outlines A major chord with 1st few notes.
 2nd theme uses melisma = lots of notes for 1 word.
 3rd theme based on 4 note falling pattern repeated.
 4th theme based on A pedal note (tonic = 1st note of A major). Long notes.
 At end theme 3 tune with theme 4 lyrics.
 Use of SATB for main melody, accompanied by strings & organ.
Texture:
 Each theme is sung for the 1st time in monophony (1 tune only).
 Themes sung at various points in homophony (1 group sings tune, others accompany as
chords).
 Imitation between parts (SATB).
 Instruments double (play the same as) voices.
 Use of polyphony (different themes at the same time).
Title: ……………Mozart – ‘40TH Symphony’…….
Harmony:
Harhjgdjhsbgsdfg
 Theme 2 = chromaticism.
 Use of cadences = ending chords.
 Diatonic = (theme 1) = using all the correct notes/chords for that scale, Gm. Not using any
accidentals.
 Lots of use of primary chords = chords 1,4,5
Tonality:
 Main key = Gm
 Exposition = theme 1 is Gm, theme 2 is Bb major.
 Development = modulates lots (changes key).
 Recapitulation = both themes in Gm.
 Theme 2 uses chromaticism (lots of semi-tones).
Structure:
 Sonata form: Exposition, Development, Recapitulation.
 Exposition = minor theme followed by major theme.
 Development = 2 themes but modified, but prefers theme 1. Lots of different keys, swapping
which instruments play the tune, changing how tune develops.
 Recapitulation = both themes now minor.
 Codetta = mini ending section.
Instrumentation:
 Theme 1 = mainly strings on tune with woodwind doing harmony.
 Theme 2 = strings & woodwind playing the tune.
 No drums or trumpets.
 Horns – playing chords between them.
 Clarinet = brand new instrument.
Texture:
 Strings do main tune.
 Woodwind has a counter melody at certain points.
 Imitation = copying.
 Homophony = tune & accompaniment.
Title: Chopin ‘Raindrop Prelude’
Structure:
Harhjgdjhsbgsdfg
 Ternary = ABA & coda
 Pedal note = repeated note Ab/G#
 A = Db major
 B = C# minor
 2nd A section is shorter than 1st
 Regular 4 bar phrases (section of melody)
Instrumentation:
 Piano solo
 Pedal note
 A = RH/treble clef = tune
 B = mostly tune in LH – chordal melody
 Use of sustain pedal
 Use of mid range of the piano
Tonality:
 Major – minor – major
 A = Db major
 B = C# minor – Enharmonically the same (different # b but sounds the same notes)
 Use of chromaticism (using all notes in order/semi-tones)
Dynamics:
 B = louder & builds up
 Use of crescendos (get louder) & diminuendos (get quieter)
 Fades at end – smorzando/slentando (die away, speed & volume)
 Swelling dynamics
Melody:
 A = melody in RH/treble clef
 B = melody mostly in LH/bass clef
 1st 3 notes of tune = triad (chord) of Db
 Ornaments = septuplet/ dixtuplet ?/ acciaccatura (crushed note)/ turn
 B = more chordal
 Pedal note
 Melodic/sustained – sounds tuneful
Title: Electric Counterpoint
Harmony/tonality:
Harhjgdjhsbgsdfg
 Modal – not major or minor (due to short repeating patterns)
 Modulates between Cm & Em
 Tonal ambiguity - due to short repeating patterns can’t tell key easily.
 Power chords – E5 (no middle note so not major or minor)
 C, Bm, E5
 C, D, Em
 C, D, Bm
Meter/rhythm:
 Time signature keeps changing from 3/2 & 12/8 (both equal 6 beats per bar)
 Syncopation – off beat rhythm
 Phase shifting – patterns coming in and out of time deliberately
 Allegro - fast
Structure:
 2 main sections (A & B) and a coda.
 Layering – Gradually building up the parts
 Main riff, chords & bass – come in 1 part at a time.
 Chord sections just based on 3 chords
 Based on small motfis which loop
 B section changes both key & time signature lots (leads to tonal ambiguity)
 Last of 3 movements
 Canon between 4 guitars (like a round)
 Abruptly ends
Melody:
 Resultant melody – melody that result from the other patterns.
 Inverted bass pattern – swaps from low to high to high to low.
 Cells/ostinato
 Metamorphosis – melody is changing
 Additive melody – starts with 3 notes then expands
 Phase shifting – patters coming out of sync.
 Counterpoint – different melodies at the same time.
 Pre-recorded parts with 1 live guitarist over the top.
 Panning – bass part s are in different speakers.
Texture:
 Layering – Gradually building up the parts
 Heterophony – similar patterns but slightly different
 Monophony – 1 tune
 Polyphony – different tunes together (bass, chords and riff all together)
 Gradually builds up, the structure for the A section
 Texture thins out towards the end.
Title: …………Peripetie……………….
Harmony/tonality:
Harhjgdjhsbgsdfg
- Atonal = not major or minor
- Dissonance = clashing harmonies
- Angular melody = unpleasant melody
- Hexachord = 6 note riff
- Chromatic = semi-tones
- Compliment = other 6 notes
Meter/rhythm:
- Changes between 2/4, ¾, 4/4.
- Changes tempo from quick to slow
- Complex rhythms
- Different rhythms against each other – contrapuntal/cross-rhythm
- Notes values varying from short to long.
Timbre:
- Klangfarben Melodie = tune swapping between instruments rapidly
- Extremes of pitch, from very high to very low
- Large orchestra – 4 of everything
- Limited use of percussion (xylophone once at very start & cymbal & bass drum used right at
the very end)
- Cymbal played with a cello bow.
- Brass alternate between muted and un-muted.
- Play as families in A section & as individual instruments in B section.
Melody:
-
Angular melody
Hauptstimme = 1st tune & Nebenstimme = 2nd tune
Hexachord = 6 note pattern, Compliment = other 6 notes
Retrograde = backwards, Inversion = moving up instead of down, Verticalism = chords
Tutti = all together
Klangfarben Melodie = tune swapping rapidly between instruments.
Fragmented melodic lines
Pitch going from high to low.
Chromaticism.
Texture:
- Monophony = 1 sound (solo)
- Polyphonic = more than 1 sound (clashing melodies)
- Homophonic = tune and accompaniment/ play as chords
- Imitation = copying
- Frequent change in texture (how many playing)
- Doubling = 1 instrument playing exactly the same as another
Title: … ‘Something’s Coming’ - Bernstein…….
Harmony/tonality:
Harhjgdjhsbgsdfg
 Bi-tonal = 2 different keys at the same time (singer has so many accidentals that it seems like he is
singing in a different key to the orchestra)
 Harmony based on short 1 bar and 4 bar riffs.
 Main key = D
 Other keys used = A, G, C.
 Tritone = 3 tones apart eg C-F (sounds slightly harsh and unpleasant)
 Use of blue notes = clashing notes
 Use of add chords = chords with extra notes such as D6
Meter/rhythm:
 Alternates between 2/4 and ¾
 Short riffs played by the orchestra emphasise the beats per bar.
 Accents and staccato also used to emphasise the beats per bar.
 Use of syncopation = off beat rhythms
 Push rhythm = tune anticipating start of the bar
 Cross-rhythms = rhythms in different parts that clash slightly.
 Fast = 176 beats per minute
 Use of triplets = 3 of something squeezed into the space of 2.
Structure:
 Not typical verse chorus structure
 Intro, A, B, B1, A1, Outro.
 A section is predominantly ¾, B section is predominantly 2/4.
 Melodies in different sections are very similar.
 A section mostly D major, B section mostly C major.
Instrumentation:
 Melody sung by tenor = high male voice
 Jazz orchestra plays accompaniment = extra instruments to traditional orchestra such as
saxophone, guitar and other percussion instruments
 Woodwind dominant in the Intro
Texture:
 Mainly homophony = tune and accompaniment
 A few occasional lines of monophony where tenor sings without orchestra
 Starts with just the orchestra at the start before the singer enters.
Title: ….’Why Does My Heart..’ - Moby……….
Harmony/tonality:
Harhjgdjhsbgsdfg
 Key of Am modulates to C.
 Verse chords: Amx2, Em x2, G x2, D x2.
 Chorus 1 chords: C, C, Am, Am, C C Am Am
 Chorus 2 chords: F F C C F F C C
 Counter melodies.
Technology: Minimal effects used.
 Drum pad & machine,
 All computerised.
 Reverb = echo effect.
 EQ on voice = equaliser.
 Sampling = 1950’s gospel choir.
 Looping
 Sequencing (quantizing = makes things in time)
Structure:
 2 sections (verse & chorus) but 3 chord sequences (chorus with 2 different sections). 8 bars
each.
 Intro, verse x4, chorus A & B, verse 2 x2, breakdown, chorus A,B,B, outro.
Samples:
 Section taken from a gospel song 1950’s.
 2 different samples, female and then male.
 Have not been ‘cleaned-up’ to remove hiss, crackle, distant etc.
 Had to fit the beat to the sample.
Texture: list some instruments
 Piano starts.
 Building up – more layers added in.
 ‘Why does my heart…’ sample enters.
 Drum machine & synth strings enter.
 Change of vocal sample to ‘These open doors..’
 Breakdown – complete change of texture to 1 or 2 instruments, then builds back up.
 Fades out at the end.
Title: ………… ‘All Blues’ – Miles Davis….
Harmony/tonality:
Harhjgdjhsbgsdfg
 Key in G major.
 Modal (some hints at minor within major).
 Added 7th & 9ths in chords.
 Riff notes 3rd apart in the 2 saxophones.
 Change of traditional chord sequence with 10th bar using chord VI instead of chord IV, aslo
uses 2 chords in this bar not 1.
 Use of chromaticism.
 Blues notes/dissonance (clashing notes).
Meter/rhythm:




Swing rhythm (long, short note values).
6/4 time signature rather than traditional 4/4.
Syncopation (off beat rhythm).
Piano comping (improvised rhythm for the chords).
Structure:
 Based on 12 bar blues pattern BUT inclusion of 7ths & bar 10 different chords.
 12 bar blues x19
 Starts & ends with HEAD. 12 BAR BLUES interspersed with 4 bar RIFF.
 5 improvisations in total.
 G7, G7, G7, G7, C7, C7, G7, G7, D7#9, Eb7#9/D7#9, G7, G7.
Melody:
 Alto & tenor saxophones play the riff.
 Head (pre-composed melody) played by muted trumpet.
 Improvised (made up on the spot) scales, mode (blues/pentatonic scale), chords.
 All instruments solo apart from drums and bass.
 Some use of chromaticism (notes next door).
Texture:
 All instruments take it in turn to improvise.
 During solo’s piano keeps playing chords, bass keeps playing bass line and drum kit keeps
playing rhythm.
 Start with just a few instruments in introduction, then builds up.
 Homophonic (tune & chords).
 Fades out at end.
 Thinner texture in riff with only saxophones.
Title: ……… ‘Grace’ – Buckley …..……….
Harmony:
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 Chords are not in major or minor as it uses power chords
 Guitar uses drop D tuning (E string is tuned to a D)
 Key is in E Minor
 No thirds used in the chords (power chords)
 Intro and bridge are in 2 sections, A uses arpeggiated chords, B uses strummed chords.
 Use of modal scales – world music influence
Instrumentation:
 Electric guitar, acoustic guitar, drums, bass guitar, strings, backing vocals, lead vocals.
 Guitar effects – slides, vibrato, clean sounds, reverb, delay
Structure:
 Intro, Verse 1, Pre-Chorus, Chorus, Bridge, Verse 2, Pre-Chorus, Chorus, Middle eight,
Bridge, Verse 3, Instrumental, Chorus, Outro
 Different to pop songs as there is a middle eight, a bridge before verse 2 and pre-choruses
 Verse/Chorus structure with pre-chorus, middle 8 and a bridge linking to verse 2
Melody:
 Uses wide range in his voice
 Starts of f in a low register and then goes high – up to top D
 Uses glissando in his voice and melisma on “fire”
 Vocal improvisation at the end in high vocal range
Texture:
 Main texture is homophony
 Instruments drop out, eg drums, bass and guitar taken out in intro
 Texture is varied throughout
 String parts are only used at times
Title:………Skye Waulking Song….
Harmony/tonality:
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 V1, 2, 3 = Em, G, Em, G
 V4, 5, 6 = C, G, Em/C, G
 V7 = Am9, Em9, Em/C, G
 V8 = C, G, Em/C, G
 Outro = C, G
 Em/G
Meter/rhythm:
 12/8 (12 quavers in groups of 3’s)
 Sounds more like 6/8 in certain areas.
 Dance folk feel – traditional.
Structure:
 Intro, V1, break, V2, V3, V4, V5, V6, Instrumental, V7, V8, Outro.
 Chord structures (se tonality).
 Each verse: line 1 = nonsense lyrics, line 2 = Gaelic, line 3 = repeat nonsense, line 4 = repeat
same line of Gaelic lyrics EXCEPT verse 6.
 Full band enters start of V4, drops out end of V6 and re-enters after line 3 V8.
Instrumentation:
 Vocals, Violin, accordion, uiellien pipes, synthesiser, bazouki, Wurlitzer piano, bass, drum
kit.
 Starts with synthesiser, then fiddle, drums and other instruments enter before vocals.
 Same instruments for other verses (see structure for full band entering).
 No chords under line 4 of V3.
Texture:
 Very briefly monophonic at start.
 Homophony with vocals (tune) and other instruments (accompanying).
 Instrumental sections = heteophony
Title: ………’Yiri’…………………….
Instrumentation:
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 Starts with balaphone in monophony in the key of Gb major
 Djembes enter in 2nd part of intro
 Voices as a chorus in unison
 Ends abruptly with agogo bell
 Call and response section with vocals
 Vocals and instrumental sections alternate
 High and low pitched balaphones and drums
 Drums = rhythm/ balaphones = ostinato/ vocals = melody
Meter/rhythm:
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4/4
Polyrhythm – many rhythms together
Cross rhythm – clashing rhythms
Syncopation – off beat rhythms
Djembe rhythmic ostinato
Rhythm = quaver, semi-quaver x2
Steady pulse (same tempo throughout)
Rests used in coda
Triplets used in vocals (3 of something in the space of 2)
Structure:
 2 parts to the intro – 1st = balaphone 2nd = balaphones & djembes
 2 different choruses A and B – A x3, B x2.
 Long call and response vocal section
 Instrumental breaks between vocal sections
 Instrumental coda with rests and agogo bell
Melody:
 2 vocal tunes A and B sections
 A section has short phrases and sung in unison
 B section has longer note values
 Vocal call and response section
 Repetitive melodic riff on the balaphones
 Balphones had higher and lower pitches – Gb major
 In call & response section, call = long notes, response = shorter notes
Texture:
 Monophony in 1st part of the intro – balophone solo
 Heterophony in 2nd part of intro – balaphones & djembes
 Polyphony when all parts including vocals are playing
 Chorus vocals sections sung in unison
Title: …Indian – ‘Rag Desh’ - Shankar……..
Texture:
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● Monophony at the start with just the sitar.
 Tabla does not play in the Alap, but just the 2 Gat sections.
Meter/rhythm:
● Very free rhythm in the Alap section (1st part with no drums).
 Tabla used in the 2 Gat sections.
 Tala = rhythm
 1st gat uses a 10 beat rhythm called Jhaptal
 2nd Gat uses a 16 beat rhythm called Teental
 Teental is a very common Indian rhythm.
Structure:
● Three sections, Alap and 2 gat sections (gat = with percussion)
 Alap consists of improvisation (making the tune up on the spot) on the sitar.
 Gat 1 = sitar plays pre-composed melody with tabla playing a rhythm in the background. Medium
speed.
 Gat 2 = faster. Sitar improvises.
Melody:
● The melody is played on the sitar.
● The melody is based around notes of the Rag Desh (Rainy season raga)
● Rag has 5 notes ascending and 7 notes descending
Instrumentation:
● Tabla plays the tala
● Sitar plays the raga
Title: …Indian- ‘Mhara janam Maran (vocals)..
Dynamics:
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● Alap is quiet
● In the bhajan the piece gets louder
● Dynamics stay the same until the end
● Dynamics fade at the end
Meter/rhythm:
● Alap begins with no sense of pulse
● The tabla is heard in the bhajan, giving a more regular rhythm
● The Keherwa Tal is used which is the 8 beat tal
Structure:
● Two main sections – alap and bhajan
● In Alap the singer is improvising in free time
● In Bhajan the tabla enters and singer singing “fixed composition”
● In Bhajan there are 3 verses
Melody:
● The melody is sung
● Sitar and voice improvises in alap
● In Bhajan the vocal and sitar become more elaborate and vocals sing “fixed composition”
● The melody is based around notes of the Rag Desh (Rainy season raga)
● Voice uses vibrato, sliding, ornamentation
● Rag has 5 notes ascending and 7 notes descending
Instrumentation:
● Tabla plays the tala
● Sarangi is accompanied
● Sarod accompanies
● Pakhawaj (double headed drum)
● Voice sings the main melody
● Cymbals accompany
Title: …Indian- ‘The Nightingale’..
Texture:
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● Homophonic with bansuri playing the tune and the tambura playing accompaniment.
 Occasional monophonic sections with just one instrument playing on its own.
 Layers up with table only playing in the gat sections.
Meter/rhythm:
● Alap begins with no sense of pulse, very slow.
● Gat 1 = slow tempo with table playing a 7 beat rhythm called Rupak
 Gat 2 = faster. 12 beat rhythm called Ektal
Structure:
● Three main sections – alap and 2 gat sections
● Alap = Bansuri play the raga (melody) which is improvised with the tambura and esraj (both
stringed instruments) accompanying.
 Gat 1 = slow. Addition of table to other instruments.
 Gat 2 = faster. With all instruments. Pre-composed melody is played in this section followed by
more improvisation.
Melody:
● The melody is played on the bansuri (bamboo flute)
● Mostly improvised.
 Pre-composed section in 2nd gat.
● The melody is based around notes of the Rag Desh (Rainy season raga)
● Rag has 5 notes ascending and 7 notes descending
Instrumentation:
● Tabla plays the tala
● Bansuri (bamboo flute) plays the raga.
 Esraj and tambura (both stringed instruments) accompany.
General terms (all AOS)
* Tempo = speed
* Dynamics = volume
* Tonality = major/minor etc.
* Major = happy
* Minor = sad
* Adagio = slow
* Vivace = very fast
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*Heterophony = Several layers that are very similar but not exactly the same
* Polyphony = many sounds
* Monophony = 1 sound
* Homophony = tune & chords
* Modulation = changes key
* Texture = how many sounds
* Andante = walking speed
* Allegretto = fast-ish
* Timbre = each instrument has own sound
* Cadence = ending chords
* Instrumentation = what instruments play
*Plagal cadence=sounds like ‘amen’
*Meter/time signature = how many beats per bar * Perfect cadence = sounds finished
* Syncopation = off beat rhythm
* Imperfect cadence = more to come
* Ostinato/sequence = repeated pattern
* Interrupted cadence = sounds sad
* Lento = very slow
* Allegro = fast
*Chromaticism = notes in a row
* Ornament = twiddly bits such as trills
AOS 1 – Classical Music
Sonata form = in 3 sections (see below), used in Mozart piece
Exposition = 1st section, 2 themes, theme 1=minor, theme 2=major
Development = 2nd section, 2 themes expanded & in lots of keys
Recapitulation = 3rd section, theme 1=minor, theme 2=also minor!
Theme = tune
Ternary = 3 sections, ABA, used in Chopin piece.
Pedal note = repeated note, Chopin piece.
Baroque = early era of music; church music, harpsichord and strings, small
orchestra, lots of ornaments. Handel. 1600-1750
Classical = middle era of music; follows rules of harmonies with cadences, 4 bar
phrases, fairly large orchestra. Mozart. 1750-1825.
Romantic = latest era of music; either very larger orchestras or solos, emotions,
breaking rules of harmonies. Chopin. 1825-1900.
Diatonic = all in 1 key. Tonic = 1st note eg C is 1st in scale of C.
Rubato = not strictly in time to express emotion. Chopin.
Cantabile = singing style on an instrument. Chopin.
Septuplet = 7 notes squeezed into space of 4. Chopin.
Acciaccatura = really quick extra note. Chopin.
Related minor = minor key with most # & b in common with a major key.
Mozart, Chopin.
Primary chords = 3 most important chords in any scale. Handel, Mozart, Chopin.
Imitation = copy. Handel, Mozart.
Oratorio = religious opera. Handel.
Melisma = Many notes to 1 word. Handel.
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AOS 2
Expressionism = style of Schoenberg. Angry emotions, sounds harsh.
Resultant melody = melody made up of other overlapping melodies. Reich.
Minimalism = repetitive style of music of Reich.
Cell/Looping = small section repeating over and over. Reich.
Dissonance = clashing notes/sounds harsh. Schoenberg.
Hauptstimme = Main melody. Scheonberg.
Nebenstimme = Secondary melody. Schoenberg.
Hexachord = 6 notes together. Compliment = other 6 notes. Schoenberg.
Tritone = distance of 3 tones, sounds harsh. Bernstein.
Angular melodies = harsh & jumpy melody. Scheonberg.
Additive = add note to melody. Subtractive = minus a note from melody. Reich
Layering = build up parts. Reich.
Atonal = not major or minor, too many notes. Scheonberg.
Static/non-functional harmony = repetitive accompaniment. Reich.
Dynamic extremes = volume extremes. Schoenberg.
Serialism = linked to expressionism but more based on patterns.
Cross rhythms = clashing rhythms. Scheonberg, Reich, Bernstein.
Klangfarben melody = tune swaps round different instruments after only a few
notes. What instruments plays is as important as what the notes are. Schoenberg.
Push rhythm = tune starts just ahead of the bar. Bernstein.
Bitonality = 2 keys at the same time. Bernstein.
< = crescendo/get louder
x = semi-quaver = ¼
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General signs (all AOS)
> = diminuendo/get quieter
e =quaver = ½
Q = crotchet = 1
AOS 3
Improvisation = make tune up on the spot, based on scale/chords. Davis
Blue note = clashing note. Davis.
Head = tune. Davis.
Riff = repeated pattern. Davis.
Add/altered chord = extra note added to basic chord eg 7th or #9. Davis.
Looping = repeated pattern, linked to technology. Moby.
Drum machine = fake drum sound to loop patterns. Moby.
Sample = section taken form another song. Moby.
Modal = different scale to major/minor. Eg blues scale, Davis.
Drop D tuning = not regular guitar tuning. Buckley.
Reverb = echo type sound. Moby.
BPM = how many Beats Per Minute. Moby.
EQ = Equaliser, changes how things sound. Buckely.
Mute = makes trumpet sound more distant. Davis.
12 bar blues = pattern of chords. Davis.
Alto Saxophone = Higher sounding saxophone.
Tenor saxophone = lower sounding saxophone.
Arpeggios = chords played as individual notes. Buckley.
h = minim = 2
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w = semi-breve = 4
AOS 4
Tabla = Pair of Indian drums.
Tala = Indian word for rhythm.
Sitar = Indian string instrument. Plays the melody.
Bansuri = Indian bamboo flute.
Pakhawaj = Indian drum (different to Tabla).
Alap = 1st section of a raga. Slow & improvised. Melody & drone only,
no drums.
Gat = Last section of raga. Drums & pre-composed tune finally come in.
Bandish = Last section of a raga with vocals, drums and pre-composed
tune.
Heterophony = all play similar parts that are very slightly different.
Balaphone = xylophone. African.
Mbira = thumb piano. African.
Dunno = talking drum, can change the pitch by squeezing it. African.
Bouzouki = like a lute. Fusion/Capercaillie.
Fusion = combines 2 different styles of music together. Folk & Western.
Master drummer = main drummer, acts like a conductor.
Call & response = 1 group sings/plays then another sings/plays
something different in reply.
Raga = means melody & scale. raga desh = Rainy season scale. Indian.
Polyrhythm = many different rhythms together. Indian, African.
Cross rhythm = clashing rhythms. African.
Unison = 1 sound.
Drone = simple repeated accompaniment. Indian.
Tambura = Indian accompaniment instrument.