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MADE FOR 2015 EXAM Section A: Unprepared Western Repertoire [16 marks] Extracts from two works which may be instrumental and/or vocal selected from the Baroque, Classical and Romantic periods and the Twentieth Century. In addition to questions on the areas listed above, candidates may also be required to identify the period and/or suggest a possible composer. Section B: World Music [22 marks] Extracts from three pieces of music. Two of the pieces (6 marks each) will be selected from Latin American, Chinese, Indian, Indonesian and Japanese traditions. In addition to questions on the areas listed above, candidates will also be required to identify the possible continent/country of origin. The third piece (10 marks) will be taken from the World Focus prescribed each year from the non-Western music traditions. World Focus for examination in 2015: Arab Music and the Music of Africa Candidates are expected to identify the principal instruments of the region, but will not need to distinguish between similar sounding instruments – the list below makes this clear. They will be expected to identify the textures and structure of the music, but will not need to identify specific scales or rhythmic cycles. The recordings used in the examination will be unprepared, but all questions will be based on the information given in the source text. Candidates must be able to identify following instruments: mbira (equal credit will be given for ubo, sansa and likembe), kora, rabab , ‘ud , qanun , nay, drums, talking drums, un-tuned percussion, xylophone, voice. Candidates should be aware of the texture and structure of the music – the importance of rhythm, and the use of song structures such as ‘call-and-response’. Candidates should understand and be able to use the terms maqam, ajan, ıqa, but will not be expected to identify specific types of each. Section C: Skeleton Score [16 marks] A single extract with skeleton score. In addition to questions on the areas listed above, candidates will be expected to undertake simple rhythmic and/or melodic dictation. They will also be required to identify the period of the music and/or to suggest the name of a likely composer. Section D: Set Work [16 marks] Candidates are expected to have prepared one Set Work.For their chosen work, candidates will hear two extracts (played twice). A skeleton score of the extracts will be provided in the question paper. Candidates will be expected to answer questions on any aspect of the music in the extract (whether or not it is shown in the skeleton score); there may also be questions on the music which comes before or after the extract itself. Arab Music and Music of Africa –World Focus (2015) Arabian Music Tuned Instruments: Rabāb: Bowed string (lute) Instrument ‘Ūd: Plucked String Instrument with plectrum Qānūn: Plucked String Instruments. Sounds like a harp. No pitch bending Nāy: Flute (blown) // Technique: bilabial blowing Untuned Percussion instruments: Doumbec (aka darbuka, derbeki or tabla): drum struck by hands or fingers Finger Cymbals (aka sagat or zills) : sound produced by striking cymbals together Tar: (aka wooden frame drum or duff) : Struck with fingers or full hand Tambourine (aka daff or riqq): Wooden with 5 sets of cymbals Arabian Music Features: microtonal or quarter notes (shown using half flat sign or half-sharp sign , lack of harmony, short repeating motifs, ornamentation, pitch bending, heterophony, rhythmic cycles, highly rhythmic, narrow pitch range, callresponse, small range of notes Keywords Īqā- rhythmic cycles maqām- equivalent of western scale (Arab Scale consist of two octaves) ajān – diwan (each octave), that is divided into half-octaves (ajāns), melodies usually composed using only one ajān. Music of Africa African Instruments: Mbria: Thumb Piano (Sound produced by Plucking metal pieces and vibrations) Kora: Plucking strings (type of harp) Talking Drums: Sounds like a drum that talks (A* right there), pitches change by changing the tension of strings Xylophone: Played by striking mallets onto wood Voice: Usually has solo with ensemble (call and response) Technique: Ululate (howling /wailing) Un-tuned Percussion: Djembe (played with hands- slap/tone/bass. Damp: placing hand on drum Dundun: played with stick Gourd (Shekere/Shaker): covered with beads, played by shaking or hitting Kagan: Played with sticks African Music Features: Voices sing in harmony (usually A Capella), Above percussion/drum part, There is a solo voice singing independently, call and response (a song structure that is repeated many times – for both drum ensembles and singing) , based on rhythmic cycle (where certain notes are accented), polyrhythm, cross-rhythm, syncopation, close harmony, use of percussion, master drummer (sets tempo, cues other drummers, signals new sections, keeps tempo) .Sometimes use pentatonic scale. **Call and Response: Often improvised and spontaneous Unprepared Listening Rudiments Standard European staff notation including: Dynamic: Volume of Sound From Loudest to softest: Fortissimo (ff) Forte(f) , Mezzo Forte (mf), Mezzo Piano (mp), Piano (p), Pianissimo (pp) Tempo: Speed of piece From Quickest to Slowest: Presto, Vivace, Allegro, Allegreto, Moderato, Andante, Largo Expression markings: Rallentando, Ritando, Accelerando, Rubato, Crescendo, Diminuendo Simple ornaments: Trills: Playing note and note above alternatively Mordent: Note Written Note Above(Upper), Below(Lower) Note Written (CDC/ CBC) // With Line = Lower Mordent Turn: Note above, Note Written, Note Below, Note Written DCBC/BCDC Acciaccatura: Crush note, played as fast as possible (Grace Notes) Appoggiatura: leans on main note (takes part of value) (Grace Notes) Articulation signs : Staccato, Tenuto, Tie, Slur, Marcato , Fermata Clefs: Treble, Bass and Alto **Alto Clef – Middle C is in third line Key Signature: up to 4 sharps and 4 flats in major and minor keys Time Signature: to indicate metre (e.g. 3/4 , 4/4, 6/8) Intervals: major, minor and perfect intervals (Perfect 4th or 5th) Melody and Rhythm Scales: Major, Minor –flattened third (natural/harmonic/melodic), Chromatic (12 note scale including all semitones),Whole Tone (Intervals separated by a whole tone) Pentatonic (5 notes) Melodic movement :ascending or descending by step (notes next to each other) or leap(notes that have and interval of a third or more) Phrasing: grouping of music notes Call and Response: usually used in African music where there are two distinct phrases played by different groups- the secondary phrase is usually a response or an echo. In African Music: it could be seen as the master drummer (solo) playing the first phrase and the other people playing the second. Metre: Duple: 2/4 (Simple), 6/8 (Compound) Triple: 3/4 (Simple), 9/8 (Compound) Irregular: 5/8 , 5/4, 7/8 , 7/4 Rhythmic Devices: Syncopation: notes played off beat Swing (rhythm): Style of Jazz usually for dance bands. (Long Short, Long Short) See left for image Polyrhythm: two or more rhythms with differences pulses are heard together (2 against 3) Harmony Primary chords: I, IV, and V(7) In key of C I: C,E,G IV:F,A,C V(7) :G,B,D,F Secondary chords: II and VI. Cadences: Perfect: V to I Imperfect: Anything to V (Unfinished) Plagal: IV to I (A-men/Hymns) Interrupted cadences: V to VI Modulations to related keys: Modulation: Changing Key dominant (5th e.g. from C to G) subdominant (4th e.g. from C to F) relative minor (e.g. C major to A minor) major (e.g. A minor to C major) Difference between relative minor and relative major: 4 semitones apart (counting both original note and ending note e.g. A, A♯, B, C – and vice versa Ensembles and instruments/voices Western ensembles and Instruments Orchestras: Strings, Woodwinds, Brass, Percussion (** you need to know nearly ALL common orchestra instruments) Strings: Violin, Viola, Cello, Double Bass, Harp Woodwinds: Piccolo, Flute, Oboe, Clarinet, Saxophone, Saxophone Brass: Cornet, Trumpet, Horn, Trombone, Tuba Percussion: Timpani (aka Kettle Drums) , Xylophone (or Marimba), Glockenspiel, Triangle, Cymbals, Suspended Cymbals, Snare Drum, Triangle, Tambourine, Maracas, Chimes, Gongs, Tubular Bells, Wood Block etcetc. ** When reading orchestral scores – each section is separated with { and its arranged from highest to lowest. Jazz bands: consist of melody section(trumpet, trombone, clarinet, saxophone) and rhythm section (piano, banjo, (double) bass or tuba and drums) Other Jazz Instruments: Cornet, Guitar, Conga Choirs: group of singers. Voices: highest to lowest - Soprano, Alto, Tenor, Bass Chamber ensembles: classical music composed for small group of instruments (usually only strings) Keyboard Instruments: Piano (strings are struck- classical on wards), harpsichord (strings are plucked -baroque), organ (wind keyboard instrument – Baroque) Gamelan (ensemble) from Indonesia: ** note you don’t need to know these instruments Saron (metallaphone), Gender (bronze key xylophone), Gambang (xylophone), Rebab (Fiddle), Kendang (Drum), Suling (bamboo flute) Sounds really metallic, Lots of repetition, Variations in tempo, 4 beats a bar, heterophony texture Arabic and African: Features and Instruments: See Above Indian Music: bansuri (bamboo flute) sitar (Indian guitar), sārangī (bowed string instrument), tablā (Indian drums) Features: Lots of ornaments, Drone, Meend = Sliding/Bending, Bhangra Chinese Music: Chi’in (sounds relatively low), dizi (bamboo flute) erh-hu (bowed violin) Japanese Music: Shakuhachi (bamboo flute), Koto (Chinese Chi’in –sounds higher),Shō (reed instrument with bamboo pipe, sound produced by vibrations and air blown into mouthpiece) Features: Through Composed (no repetition of sections), small number of instruments, no percussion, melody plus flowing accompaniment, pentatonic scale often used Latin America: Bandoneon (Accordian), Panpipes (sliding - Pentatonic), Charango (Higher and smaller than guitar- sounds like ukulele), Guitar Features: Guitars, Melody Doubled(in thirds) , Repeated Phrases, Lively Tempo, Mariachi Music, use of staccato, melody gets quicker Syncopation, Ostinato, Polyrhythm Un-tuned percussion instruments ** just for reference (don’t need to know) Latin America: Guiro, Congas, Bongos, Cabasa, Maracas, Claves, Timbales, Agogo Bells Africa: Gourd (Shaker), Djembe Gamelan: Kendang Japanese: Taiko/Kakko Chinese: Luo (gongs), Bo (Cymbals), Dagu (Big Drum), Muyu (Temple Block), Bangzi (Woodblock), Yun Luo (Cloud Gongs) ** Just for reference – you don’t need to know them Instrumental Effects and/or vocal effects: Arco: played on stringed instrument using bow Pizzicato: plucking of strings with finger Glissando: a continuous slide (upward or downward) between two notes. Tremolo: quick repetition of a note Harmonics: an overtone accompanying a fundamental tone at a fixed interval Double stopping: the sounding of two strings at once on a violin or similar bowed instrument Strumming: playing notes sweeping across strings Pitch bending: aka Portamento, Pitch Sliding Mute: muffling the sound Roll: sustained, rapid alternation of single or double strokes of each stick. Melisma: a group of notes sung to one syllable of text (pic on left) Structure: Binary: AB, usually contrasting, in relative modulations Ternary: ABA1 (Second A section has variation). Minuet and Trio is both in ternary form. Rondo: Theme – Contrasting episode- theme contrasting episode….theme. Baroque composers wrote in Ritornellos Theme and Variations: Theme with variations following. Possible Variations: Adding Notes to melody, Changing rhythm etc. Ground Bass: Repeated bass part with variations built on top. Passacaglia (Baroque) / Chaconne: repeated chord patterned bass. Compositional Devices Repetition: repeating passage/note/sequence Imitation: imitation of a phrase/melody usually in another part at different pitch Sequence: repetition of phrase/melody at higher or lower pitch Canon: piece where same melody starts at different points, imitations will overlap Inversion: triad inversion: root, first, second or inversion of a phrase (upside down) Ostinato: continuous repeated phrase or rhythm Drone: continuous sustained music note of a low pitch Alberti bass: Broken Chord Accompaniment Figure used in mainly Classical Music Pedal: Sustained note usually by a bass part. Either tonic or dominant. Tonic (Note of Key : e.g. in C major: C) Dominant (5th note: e.g. in C major: G) Contrary motion: Movement of two melody lines in opposite direction Texture Melody and Accompaniment: Homophonic Homophonic: Clear Melodic line with accompaniment Polyphonic: aka Contrapuntal, Polyphony, Counterpoint…More than one melody at the same time. Monophonic: Single melody line no harmony. Can only have rhythmic accompaniment (unturned) Heterphonic: Different versions of same melody that is decorated Parallel Motion: two parts move in same direction with the same interval. Style: Baroque (1600-1700) Features: Harpsichord, basso continuo, cello, organ, polyphonic texture, balanced phrases, clear rhythm and constant tempo and metre Compositional Devices: repetition, sequence, imitation Composers: Bach, Handel, Purcell, Vivaldi Classical (1750-1830) Features: Regular Phrases, Simple Harmony, Scalic Passages, Relatively small orchestra, usually homophonic texture, string-based orchestra, small woodwind section, use of only timpani (in percussion section), diatonic harmony (clear cadences) Composers: Mozart, Haydn, Clementi Romantic (1815-1910) Features: Large/symphony orchestra with varied percussion, long sweeping/expressive melodies, use of chromaticism, rubato/fluctuations in the tempo, use of brass, melodic material shared around the orchestra, lots of modulation and tempo changes Composers: Tchaikovsky ,Beethoven, Chopin, Schubert, Brahms 20th Century (1900-2000) Impressionism: (SOUNDS NICER! ) Features: Whole-tone scale, chromaticism, pentatonic scales, modes, abrupt modulations, unclear melodies (creating sense and atmosphere), blurred harmonies Composers: Debussy, Ravel Neo-Classism: (Neo: New) Features: Basic forms and ideals of Classical Period, Ostinato, Tonal Progressions, Traditional Harmonic, Dissonant Chords, Polyrhythms, Step-wise and angular melodies, older forms and dance styles Composers: Stravinsky, Hindemith, Ravel, Prokofiev Jazz: Features: Sad mood, slow tempo, AAB Structure, 12 bar blue chord sequence, 7th chords, blue notes, sliding/bending Syncopation, Use of blue notes/scales, Triplets Composers: Gershwin/Louis Armstrong/Duke Ellington Minimalism: Repetitive Patterns that change gradually Features: Layers of ostinato, Diatonic Harmony (notes belonging to key), steady beat, single rhythm (use same rhythm throughout), polyrhythm, static instrumentation and harmony, phasing (two instruments playing same part at different tempos), additive process, looping (where sound is repeated throughout the song, broken chords Genre: Opera: a dramatic work in one or more acts set to music for singers and instrumentalists. Oratorio: a large-scale, usually narrative musical work for orchestra and voices, typically on a sacred theme, performed without costume, scenery, or action Recitative: sung in the rhythm of ordinary speech with many words on the same note (speech like) Aria: a long accompanied song for a solo voice, typically one in an opera or oratorio. Chorus: large group of singers performs with an orchestra or opera company. Musical: a play or film in which singing and dancing play an essential part. Musicals developed from light opera in the early 20th century. Dialogue Symphony: an elaborate musical composition for full orchestra, typically in four movements, at least one of which is traditionally in sonata form. Typically in Classical or Romantic Period Concerto: a musical composition for a solo instrument or instruments accompanied by an orchestra, especially one conceived on a relatively large scale. String Quartet: a chamber music ensemble consisting of first and second violins, viola, and cello. Sonata a composition for an instrumental soloist, often with a piano accompaniment, typically in several movements with one or more in sonata form. March: 4/4 time signature, clear/strong beat, lively tempo, regular phrase length, repetition of themes, use of brass, fan-fare like Waltz: 3/4 time signature, strong first beat, fast tempo, 1 in a bar, strong lyrical melody, oom cha cha style accompaniment, regular phrases, strong first beat, distinct sections with new melodies. Minuet and Trio: 3/4 time signature, moderate tempo, ternary (ABA) structure, final Da Capo section, contrasting trio section