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Pitch ‘And the Glory of the Lord’ from Messiah oratorio, by Handel Choir (SATB); range is wide, melody is made out of steps+leaps 1st mvt. From Symphony No.40 in Gm, by Mozart Didn’t follow structure of Classical orchestra; melody made up of steps+leaps; wide range in instruments Duration Dynamics Harmony Tempo Timbre No dynamics for voice part (assuming forte all the way); ranging from forte to piano for trumpets (basso continuo); No clashes or distorted chords, chords are always major and forte; imitation, doubling of parts and 2 ideas together give it a triumphant feeling. Allegro, which brings forth a forward motion which indicates the era. Bright and jovial (brought by the major keys) Texture Extensive use of imitation; contains all the textures. Structure 4 main ideas Keys (+modulation) A, E, A, B, A (no minor keys to show prevailing mood) Melodic features At the end, when the last phrase is sung (“hath spoken it”), the four voices sing together and it dramatically slows down, so that makes it effective. Has 4 main ideas. 4 voices (SATB), trumpets (basso continuo) Instruments Wide range of dynamics. Lots of crescendos and decrescendos. Fluctuating dynamics portray strong emotions. Quite smooth due to use of diatonic notes. Lots of uses of perfect cadences. Uses countermelodies in development section. Molto Allegro (very fast). Lack of introduction gives a sense of urgency. Helps the harmony, though not as important as melody. ‘Raindrop’ Piano prelude no.15 in D flat major Op.28, by Chopin LH melody –straight and even, RH melody-uneven Very exaggerated; ranging from pianissimo to fortissimo Clashes can be heard in the B section, when the storm is at its strongest. Sostenuto Mellow and constant, no switching of instrument constant G#/A-flats throughout the whole piece which represent raindrops. Mostly homophonic; melody is always clearly Homophonic, but the melody heard. switches from the right to left hand. Sonata form (exposition, development, Ternary form (ABA), which depicts recapitualation); no introduction, which gives a a storm gradually forming and sense of urgency. then dissipating. Gm, B-flat, Gm, Em, Am, Dm, Gm, C, F, B-flat, Dm, D-flat major, C# minor, D-flat Gm, E-flat, Fm, E-flat, Gm, E-flat, Gm major (although in the same key (development has a lot of modulation); Gm signature; but the minor key gives provides melancholy mood a sinister mood) Falling motif creates an image of someone sighing. Keyboard techniques: ‘cantabile Uses descending sequences to change between legato’ playing, tempo rubato, use instruments. Clarinets altered the sound because of pedals they were newly invented. Melody alternates between string instruments. 1 flute,2 oboes, 2 clarinets, 2 bassoons, 2 horns Piano (B-flat and G, to obtain notes G-Bflat-D and BflatD-F); no trumpets or percussion AT ALL, very different to classical orchestra. Pitch Duration Dynamics Harmony Tempo Timbre Texture ‘Peripetie’ from Five Orchestral Pieces, by Schoenberg Full pitch range of all the instruments (prominent feature of atonal music); klangfarbenmelodie~tone-colour melody. Uneven; sounds distorted to the listener; dotted Extreme dynamics (changes very quickly which gives a feeling of chaos and restlessness. Has hexachords (A, Bflat, C, C#, E, F) and compliments (B, D, Eflat, F#, G, G#) which is a key feature in this era. Has recognizable chords and harmonies but combined in original ways. Sehr rasch (very quickly) which creates a rushed and chaotic feeling Extensive use of the instruments’ timbre to give the piece it’s chaotic character (messy; distorted) Completely polyphonic; difficult to distinguish main melody from accompaniment. Structure ‘Something’s Coming’ from West Side Story, by Leonard Bernstein Demands the singer to hit a very high G, which creates the feeling of excitement. 3rd mvt. (fast) From Electric Counterpoint, by Steve Reich Fluctuates on a small scale because motif keeps getting repeated. Varying dynamics (ppp-f) create sense of expectancy and tension, as well as excitement for the future. F#s used in the harmony during C major section. Jazz based harmony in which conventional chords have added ‘blue’ notes and other dissonances. p-f Fast (crotchet=176) The timbre of the singer’s voice is used to create feelings of tension and excitement; warm, jumpy. Homophonic; voice carries the melody Rondo form (ABACA), but the A sections are so developed that they hardly become recognizable (not like classical era’s rondo) Atonal (use of serialism helps the atonality because all the 12 notes have to be used) Intro, A, B, B1, A1, Outro Melodic features Piece is quite short because if it was longer, some sort of key would’ve to be used. Instruments 1 piccolo, 3 flutes, 3 oboes, 1 cor anglais in F, 1 clarinet in D, 3 clarinets in Bflat, 1 bass clarinet, 3 bassoons, 1 contrabassoon, 6 horns, 3 trumpets, 4 trombones, 1 tuba, 1 xylophone, 1 cymbals, 1 tam tam, 1 bass drum, violin1, violin2, viola, cello, double bass. -- Syncopated rhythms permeating the music, including the ‘push’ rhythm anticipating the beat (creates expectancy and tension). Motif of the interval of the tritone that’s used throughout every movement. Extensive use of short riffs. Cross-rhythms. Layered textures of independent parts. Combination of short phrases (brings feel of excitement because he can’t control his excitement) and long sustained notes. 5 woodwind players, 2 horns, 3 trumpets, 2 trombones, 7 violins, 4 cellos, 2 double basses. Piano, guitar, drum kit, 2 percussionists. Keys (+modulation) Studio Effects D, C, G, D, C, G (fact that there is no minor key brings forth anticipation and excitement; happy mood) -- Has a resultant melody (a new melody produced when a variety of parts each play their melodies at the same time, so different/certain notes stand out) which the live guitar plays, to reinforce it. Crotchet=192, but time signature alternates between 3/2 and 12/8 Polyphonic (each guitar part has equal importance because they all contribute to the resultant melody). Build-up of texture helps to define the structure of the piece, and thins out towards the end. The texture seems to always be shifting to the listener because of panning and interweaving rhythms. Em, Cm, Em, Cm, Em (both keys have no relation, so they ‘counter’ each other). Tonal ambiguity in the beginning, until the bass guitars come in, playing the tonic note of E There isn’t actually any phasing (2 identical parts that go out of sync with each other, but eventually come back into sync after a no. of repetitions) because there are little gaps (quaver rests) so that there’s rhythmic counterpoint and the guitars stay like that throughout the piece. 1 live guitar, 7 electric guitars, 2 bass guitars (during performance, the only instrument present will be the live guitar; all the other guitar parts were pre-recorded by the musician him/herself in a studio) Stereo panning (when there’s a left and a right channel, like bass guitars on either side of the stage). Tape loops (pre-recorded loops which can be repeated seamlessly by electronics) ‘All Blues’ from Kind of Blue, by Miles Davis Pitch Dynamics Harmony ‘Grace’ from Grace, by Jeff Buckley ‘Why Does My Heart Feel So Bad’ from Play, by Moby Vocals-as high as top G of soprano (vocal virtuosity) Piano for the head; soloists are free to input their own during their solos. When the drums drop out towards the end, volume decreases. Uses the chord progressions (G7, G7, G7, G7, C7, C7, G7, G7, D7, Eflat7/D7, G7, G7) for the improvised solos Tempo Timbre Jazz waltz (swing quavers) Davis uses a Harmon mute to give the trumpet a vulnerable sound. During his solo, he removes it and this gives the trumpet a confident sound. Texture When the piano trill (from beginning) drops out as the piano switches to riff #2, this thins the texture out and the change is very prominent. Drum player hits the ride cymbal differently, therefore varying the texture. Intro, head, trumpet solo, alto sax solo, tenor sax solo, piano solo, head, coda. Structure Keys (+modulation) Melodic features G and C mixolydian modes, diminished scale over altered chords. During Davis’ solo, Cobb (drums) syncopates the rhythm on the snare drum, which creates anticipation and rhythmic interest. Instruments Trumpet, Alto Saxophone, Tenor Saxophone, Piano, Drums, Bass guitar. Studio Effects -- Uses the trick of keeping one or more open strings on the guitar as a drone, gibing harmonic richness to sound. Bottom string tuned down to D to give a deeper+darker sound. Power chord used with Em. Uses vocal counterpoint to contribute to intensity. [v1 in piano]sus2 chord: a triad with maj/min 3rd placed by 2nd degree of the scale. Sus4 chord: a triad with maj/min 3rd replaced by 4th degree of the scale. Only 6 chords used throughout the piece. Voice-[middle8] vocal line improvises melody with telephone EQ added (creates distant sound), [v3] Uses higher range of voice to produce forceful quality. [voice used to create intensity] Guitar-[intro] uses guitar whispers. [outro] plays with flanger effect which adds to intensity. Overall homophonic. Intro-tonal ambiguity; only guitar whispers can be heard (thin texture). Then full band plays a rhythm which gives forward momentum. Chorus- drums stop using toms so extensively. Outro- ends with unaccompanied vocals (monophonic). Ending has full texture. Inter, v1, pre-chorus, chorus, link, v2, pre-chorus, chorus, middle 8, link, v3, outro. Added effects change the timbre of the instruments to infuse different emotions in the listener. Em, D, Em Strings added for sound effects, rather than harmony. In middle 8, hummed harmonies follow chord pattern; contrasts harsh sounds. Ends with unaccompanied phrase, highlighting influence of qawwali music. Drums, Bass guitar, 2 electric guitars (drone [a repeated or sustained note which is played across chord changes creating a dissonance], power chords [a chord consisting of the root note and the perfect 5th], slide [playing technique performed by sliding the finger from 1 note to another]), vocals Added strings to raise the tension by adding to the texture (middle 8). Overdubs (use of multi-track recording to layer recorded parts). Flanger effect (effect which creates a whirling feeling up to jet plane effects; used in outro). Delay (repetitions of a sound after a set time interval, usually at lower volume; artificial echoes). EQ (electronically cutting or boosting specific frequencies in a sound). Reverb (reflection of sound off surfaces to give the impression of space) Homophonic. Unedited vocal samples contribute to the texture because background noise acts as another instrument. Texture developed around the 3 chord sequences. Based around 3 chord sequences arranged in 8-bar blocks: 1 Am 2 Am 3 Em 4 Em 5 Gm 6 Gm 7 D 8 D 1 C 2 C 3 Am 4 Am 5 C 6 C 7 Am 8 Am 1 2 3 4 5 6 7 8 F F C C F F C C Am, C, Am, C, Am Extensive use of vocal samples. Hint of A-dorian mode due to D chord in verse, but to the listener it’s simply Am. Has 2 main ideas. 1st idea=major, 2nd idea=minor All electronic equipment Telephone EQ in v2: makes samples sound much thinner. Delay in break: can hear dying repeats of vocal echo and snare. Reverb in break: effect applied to all other instruments except voice+drums. Delay+reverb in 2nd chorus: makes sample 2 [these open doors] sound distant and blending with strings. Dynamics Harmony “Skye Waulking Song” by Capercaillie ‘Rag Desh’ ‘Yiri’ by Koko Piano, then forte, then fade out. Used to focus listener’s attention on certain words (eg. v3: unaccompanied vocals) and used to change the mood (eg. v7: all instruments drop out, adding contrast to the drums’ build up to the last verse) Harmony is less important than melody and rhythm. Only 4 chords in the whole song, but chord changes are very noticeable because they introduce new sections and moods. Improvised Pretty much forte all the time Created by tambura playing the drone notes (usually tonic and dominant) and the sitar augments the harmony with the improvised melody. But generally, no sense of harmony because emphasis is placed on the melody (therefore a linear concept). Changes according to the different sections (slow/meditative; regular pulse established; fast pace with exciting rhythms; moderate to fast pace) Sitar has sympathetic strings that are below the main 7 strings and therefore vibrate when the 7 strings are plucked; creates a ‘twangy’ sound. Tabla has 2 drums which are made out of wood (smaller one) and metal (larger one). Sarangi has a gentler tone than sitar so is used to accompany singers/instrumentalists. Sarod has a lower range and heavier tone than sitar. Strong sense of major tonality because opening notes of melody are dominant (Dflat) to tonic (Gflat). Choir parts sung in unison; no harmony. At b.45, variation in 2nd balaphone part. Tempo Timbre Fiddle plays tremolos which create trembling effect (vulnerability) Texture Melody-dominated homophony, with a bit of heterophony as well (instrumental part). Monophonic last line of verse 3 when vocals are unaccompanied. Structure Intro (cluster chord), v1, break, v2 (fiddle becomes more prominent), v3, v4, v5 (accordion plays countermelody to voice), v6, instrumental (uillean pipes’ solo and heterophonic texture), v7, v8, outro (instruments counter each other as vocals improvise on vocables) Alap, Jhor, Jhalla, Gat/Bandish (it’s called a Gat if there’s a singer) Keys (+modulation) G/Em pentatonic scale. Sounds modal because dominant D chord isn’t used. Chord sequences: Bar number chords 1-24 Em~G 25-43 C~G~Em~G (v4) 44-48 Am7~Em~Em~G (v7) 49-52 C~G~Em~G (v8) 53-end C~G (alternating) (outro) Melody is simple and repetitive; sung in Gaelic. Has vocables (nonsense syllables) and traditions of waulking songs are portrayed by them. Background vocals emphasize vocables. Non-tonal; raga based on a rag (a ‘scale’ which varies in number of notes) Melodic features Instruments Rhythm Traditional: fiddle, bouzouki, accordion, uillean pipes, bodhrán (bohran), egg-shakers, voice Modern: electric bass, drum kit, synthesizer, Wurlitzer piano acoustic guitar, Voice punctuates the lilting rhythm, created by the 12/8 time signature (sounds like triplets in 4/4 time). V5: accordion punctuates 2nd+5th beat No melody; lead instrument (sitar) improvises on notes of the raga. Emphasis placed on the melody rather than harmony. Sitar, Tabura, Tabla, Sarod, Sarangi, Bansuri Shehnai, Harmonium A cycle based on a set number of beats (matras) that the tabla plays (can also improvise based on the beats). The cycle can also be used to create a musical duel between the instrumentalist and drummer when they try to outdo each other’s ideas in the jhalla section of the raga. unvarying Monophonic (0.00~0.18min): only high balaphon improvising a solo (Gflat major) with fast high+low rolls on every note (to give the illusion that the notes are sustained). Heterophonic (0.18~0.34min): 2nd balaphon joins the 1st, and it plays the same melody with a few different pitches (b.11-12) Pattern of voices followed by instrumental breaks; call and response structure. 2.10~2.45: solo voice enters with a call and choir responds in b.63. Bar’s rest at b.95 makes it obvious that a new section’s coming and anticipates it. Drums’ rests at b.156 builds anticipation for the ending up. 4.45~5.20: balaphon break, quite virtuosic with rapid octave leaps and semiquaver/demisemiquaver patterns. G-flat major When choir enters for the 1st time, melody sounds pentatonic because it misses the F note. Drum ostinato persists throughout the piece. Melodies are all based on original idea. 0.34~1.09: syncopated rhythms and octave repetitions on tonic and dominant notes in melody. 2.10~2.45: new melody introduced by solo featuring long notes and punctuated ones on ‘yiri’. 4.00~4.31: full choir singing with short instrumental interjections. (creates dialogue effect; extension of call&response). At b.68-70, Gflat pedal is syncopated. Vocals, 2 balaphons, flute, djembe, tam-tam, dundun, maracas, donno, bell The beat is regular and unvarying. 1.09~1.25: semiquaver-quaver-semiquaver rhythm is a feature of vocal writing. At b.57-60, introduction of triplets create a different rhythmic sub-division (variation on melody). Has polyrhythm and syncopation; different beats are accented.