As A Level Revision Grid

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CONTEXT
Historical, social & cultural context
ORGANISATION OF PITCH
Melody & harmony
(Harmonic change, cadences, and melodic and harmonic
devices)
TONALITY
Which keys are used and how a piece goes from one key to
another (modulations)
STRUCTURE
Form/ organisation of musical material
How music is organised
SONORITY
= Timbre (instruments/ vocals)
Combinations of vocal timbres and instrumental techniques
TEXTURE
Combinations of musical lines (parts); i.e. homophony,
polyphony, fugue, imitation
TEMPO, METRE & RHYTHM
How music is organised in time: speed, time-signature &
duration of notes
Metrical and rhythmic devices
DYNAMICS
Use of dynamics (volume)
Expressive devices
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DR (C) SMITTTH
DYNAMICS
how loud (forte) or quiet (piano) the music is. How the piece/excerpt starts and
ends.
crescendo, diminuendo. Be able to discuss how the dynamics change.
RHYTHM / METRE
RHYTHM: syncopation, anacrusis, cross-rhythms, polyrhythms, dotted, ostinato,
swung, triplets,
METRE: simple time (2/4, 1/4, 4/4) & compound time (6/8, 9/8, 12/8), irregular
(5/4, 7/8)
CONTEXT
composer, era, date, place, venue, purpose, intention, musical genre & style
STRUCTURE / FORM
sonata form (large-scale ternary), ternary, rondo, binary, strophic, minuet and trio
(ternary), theme and variations, verse/chorus, head, fill
MELODY
conjunct, disjunct, diatonic, chromatic, pentatonic, scalic, legato, phrase lengths
(regular/ irregular), sequence, fragmented, ornamentation (trills, appoggiatura),
melisma/ syllabic, range, blue notes (flat 7th, 5th, 3rd), counter-melody
INSTRUMENTATION
instruments (including voice) and HOW they are used.
TEMPO
fast/slow (adagio, moderato, allegro), ritenuto (getting slower), accelerando
(getting faster), rubato (free time)
TONALITY
KEY (major/ minor), modulation (change of key; i.e. to dominant or relative minor),
tonal, modal, atonal
TEXTURE
how many lines. homophonic, polyphonic, imitation, heterophonic, monophonic,
layered, unison, octaves, (thickness/thinness)
HARMONY
CHORDS & CADENCES consonant, dissonant, diatonic, chromatic, pedal notes,
cadences (perfect, imperfect, plagal, interrupted)), chord progressions
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Set Works:
Vocal Music
● J. S. Bach, Cantata, Ein feste Burg
● Mozart, The Magic Flute
● A2: Vaughan Williams, On Wenlock Edge
Instrumental Music
● Vivaldi, Concerto in D minor, Op. 3 No. 11
● Clara Wieck-Schumann, Piano Trio in G minor, Op. 17
● A2: Berlioz, Symphonie Fantastique
Music for Film

● Danny Elfman, Batman Returns
● Rachel Portman, The Duchess
● A2: Bernard Herrmann, Psycho
Popular Music and Jazz

● Courtney Pine, Back in the Day
● Kate Bush, Hounds of Love
● A2: Beatles, Revolver
Fusions
● Debussy, Estampes
● Familia Valera Miranda, Caña Quema
● A2: Anoushka Shankar, Breathing Under Water
New Directions
● Cage, Three Dances for Two Prepared Pianos
● Kaija Saariaho, Petals for Violoncello and Live Electronics
● A2: Stravinsky, The Rite of Spring
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COMPOSER/ WORK: J. S. Bach, Cantata, Ein feste Burg, BWV 80: ‘Movement 1’
ELEMENT MUSICAL FEATURES EFFECT/ CONTEXT WIDER LISTENING
CONTEXT Background : -Cantata BWV No. 48,
1.Bach = one of the greatest composers of 3rd & 4th movements,
Baroque era (1600-1750) by Bach (BWV 48) =
2.Church = one of the major employers for chorale cantata
composers
3.Bach = worked as Cantor of St Thomas Church, -Messiah ‘Amen’ (final
Leipzig for 27 years. Had to compose a cantata for movement) by Handel
every Sunday and festivals = oratorio (= like a
4.Cantata = vocal composition with instrumental cantata, but performed
accompaniment and comprises many movements. as a concert ; not as
Sometimes secular (Bach composed a Cantata part of liturgy, and
about coffee !), but usually religious. based on Biblical text or
= Linked to Lutheran church = Protestant church stories).
established by Martin Luther. Would be linked to
the sermon. -Cantata BWV No.78,
5. Ein feste Burg = chorale cantata = based on a 2nd & 7th Mvt, Bach
Lutheran hymn (melody), in this case composed by (BWV 78)
Luther.
= uses a cantus firmus = ‘fixed song’ = pre- -Cantata BWV No.182
existing melody (here part of Luther’s hymn) (= chorale fantasia), 7th
forming the basis of a polyphonic composition Mvt, Bach (BWV 182)
= this cantata based bars 1–2 of Luther’s hymn
tune..
= composed for Reformation Day (the day Luther
‘reformed’ the church by breaking away from the
Catholic church), celebrated on 31st October.
Composed either 1723 or between 1728-1731
(late-Baroque).
6. This cantata has 8 movements, with recitatives, 6. Bach BWV 182 : also
arias, duets, and chorale for the congregation to in 8 movements
join in.
6. Performing forces :
- four vocal soloists (soprano, alto, tenor and bass)
- a four-part SATB choir
- three oboes, including a taille ( = tenor oboe/ cor
anglais)
- violin 1 and 2.
- Unusually, there are two basso continuo
(chordal and bass-line parts) : ‘Violoncello e
cembalo’ (cello & harpsichord) and ‘Violone e
organo’ (kind of double-bass & organ)
(In this recording, a sackbut (kind of trombone)
strengthens the lower part.)
- J.S. Bach’s son Wilhelm Friedemann Bach later
added trumpet parts to give an additional sense
of grandeur.
What are the features that show this cantata in its

context ?
-Use of relatively small vocal and instrumental
ensemble.
-Setting of Luther’s text.
-Cantata formatin several movements.
-Use of cantus firmus.
-Use of aria and chorale, as well as chorus.
-The chorale is a specifically Lutheran tradition,
best exemplified by Bach. The melodies of Bach’s
chorales are not composed by him but are pre-
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existing hymn tunes. In this case, both the words

and music of the hymn were composed by Luther
in 1529.
-Imitative entries and rich counterpoint in the
opening chorus.
-Modulations to related keys.
-Functional harmony.
-Obbligato oboe part in the duet is a typical
Baroque feature.
Movement 1 : The text is that of God as a citadel

standing between us and our enemies Bach BWV 182, 7th
= chorale fantasia = music based on a chorale, Mvt = chorale fantasia
with extended and elaborated melodies in a Motet-style of
polyphonic texture polyphonic choral writing
It demonstrates the
interest that Bach clearly
had of using the chorale
melodies as the basis
for much longer and
more intricate pieces.
MELODY 1.Luther’s melody is 1.= chorale cantata = 1. Bach BWV 182, 7th
closely followed, with based on a Mvt: also based on
addition of passing notes cantus firmus from a cantus firmus. Soprano
chorale = common sings the cantus firmus,
practice in Baroque, while the other voices
Lutheran religious interpret the words, for
choral music example by fast
movement on "Freude"
(joy).
2.Melody starts with 2.Closely follows 2. Bach BWV 78 also

repeated tonic note, falls cantus firmus. has repeated notes =
to dominant note, then Repeated notes = declamatory
back to tonic note. declarations 3.Handel Messiah:
3. Predominantly 3. theme is also used as
conjunct with only small the subject for a fugue
leaps of a 4th or 5th.
4. Transposed down a 4.In fugual writing, the 4.
fourth to provide an subject’s second entry
answer to the subject. is called the answer ;
There is also the whilst there is a
countersubject (new countersubject (new
melodic material) heard melodic material)
against the answer. underneath
5. Some ascending 5. 5.Handel Messiah:
sequences some ascending
sequences
6.Mainly diatonic but with 6. Chromaticism could 6. Bach BWV 48, 3rd
some chromaticism be to express the Mvt: Use of
‘ancient wicked chromaticism to express
enemy’ the pain described in the
text
7. Extended melismas 7. Characteristic of 7.Handel Messiah:
Baroque religous highly melismatic
chorale works. passages on ‘A’ of
6
Emphasise important ‘Amen’ = devotion,

words (word-setting) praise
8. Countersubject = 8. = gives the piece 8.

based on 2nd phrase of cohesion
Luther’s hymn 9. Bach BWV 182, 7th
9.The unembelisshed 9. The technique Mvt: the cantus firmus is
cantus firmus is played at whereby the notes of played before the
the end by oboe (in some of the chorale soprano entry
canon with 2nd continuo) phrases are introduced
in their proper note
values preceding the
soprano statements, is
also a motet feature.
General point :
Structures in 3
movements = follow
chorale melody
1.Each phrase is in turn 1.Fugue = highly 1. Bach BWV 182, 7th
& presented as a fugue complex contrunptal Mvt = choral fugue The
form. Bach was a chorale is arranged as a
master of the fugue chorale fantasia.
STRUCTURE / M: also a fugue
FORM
2.Finishes with canonic 2.= final flourish

version for oboes &
violone (i.e. double-bass)
and organ based on
unembellished cantus
firmus
3. 3.
4. 4.
1.Cut common time, but 1. 1.
hee = 4 minims/bar 2.
2. Rhythms vary from 2.Handel Messiah: also
semibreves through to uses minims to quavers.
quavers.
3. Melismatic passages = 3. 3. Handel Messiah:
continuous quavers Melismatic passages =
quavers
4.Tied notes in the main 4.= forward drive to 4.
theme music = importance,
grandeur
RHYTHM / METRE 5.Occasional dotted 5. = regal 5.Handel Messiah:
rhythms. dotted rhythms
6. The rhythm of the 6. = more fluid writing,
original cantus firmus has more adapted as the
some alterations. subject for a fugue
7. Direct statement of the 7. = final statement/

cantus firmus in for reference to Lutheran
canonic final instrumental chorale. More stately ?
section
TEMPO 1.No tempo written, as 1.

performers were
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expected to rely on time-

signatures & general
character
2.Here cut common time 2.
in 4 minims implies brisk
pace
3. 3.
4. 4.
1.In key D major 1.Bright key (open 1.Handel Messiah: also

(=chorale key) strings on string in D major.
instruments)
2.For variety, other 2.Usually a movement 2.Handel Messiah: also
related keys : in Baroque era would goes to A major, and G
- E minor (rel. minor of remain in one major. Remains in major
TONALITY IV) ‘affection’ (mood), so = praise. Bach uses
- B minor ((rel. minor) the use of contrrasting more contrast between
- F# minor (rel. minor of minor keys = hightens major & minor. For
V) the drama & example, BWV 48, 4th
- A major (V) importance of this Mvt, although it is in Eb
cantata major, as well as Bb
major (V) it visits C
minor & F minor.
1.Contrapuntal = 1.& 2. Bach was a 1. Bach BWV 182, 7th
polyphonic, more master of the fugue Mvt:Every line is first
complex and exploited its prepared in the lower
textural with creativity voices, then the soprano
and beauty. Motet- sing cantus firmus.
style of polyphonic Handel Messiah: also
choral writing motet-style
2.Fugual style. Fugue =
complex polyphony with 2.
subject, its ‘answer’ (in
i.e. dominant key), and
countersubject (under
answer)
3. The start = fugal
entries = layered from T, 3.= as if rising from 3.Handel Messiah: also
TEXTURE below
A, S and B. layered entries from B to
S = ascending praise
4. canon between the 4.Intricate polyphonic 4.
oboes and the second writing. polyphony =
continuo part (violone important feature of
(double-bass-type Baroque writing
instrument) & organ)
5.Complex contruptal 5. The busy movement 5.Bach BWV 182, 7th
writing of the three lower Mvt & Handel Messiah:
voices doubtless complex fugual texture.
suggests the ecstasy Bach starts his work
that accompanies with a complex fugue;
thoughts of salvation whilst in BWV 182 &
Handel Messiah the
works are finished with
fugue
DYNAMICS 1.No dynamics indicated 1.Contrasts in Handel Messiah:
in score, as per usual dynamics achieved by contrast in dynamics
Baroque era contrasts in texture also achieved by
2.Terraced dynamics = 2. contrast in textures
no gradual cresc. or dim.
3. 3.
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4. 4.
1.General points : 1.All points = typical 1. (All w/l will follow

harmonic content is Baroque harmony standard Baroque
indicated by figured writing (as you know harmonic language
bass (numbers above from Bach chorale below.)
bass-line indicating rules !). Bach is the
chords to be played) master of Baroque
harmony (chorale
writing) : whilst
adhering to its strict
rules, he does it with
beauty giving the
harmonic language
great richness.
2. Diatonic (i.e. chords
are in the key/ no added 2. 2.
chromatic notes in
chords)
HARMONY
3.Functional harmonic
writing (i.e. based on 3. 3.
harmony rules)
4. Clearly defined
cadences. Used to 4. 4.
confirm a new key.
5. Long tonic pedal note 5. = majestic & solemn 5. Handel Messiah:
for 4 bars at the end of also has tonic pedal
the first movement. 6. = much used 6.
6.Suspensions Baroque harmonic
device
7. Secondary and 7. = more interest 7.Handel Messiah:
dominant sevenths secondary V & V7
8. Chords in root position 8. = chorale writing
or first inversion,
although second
inversions are used.
SONORITY 1. SATB choir 1. 1.&2. Bach BWV 182,

2. Tutti (the whole) 2. 7th Mvt: instruments
orchestra doubling the voices.
3.Violins & viola = double 3. & 4. = characteristic Handel Messiah :
SAT Baroque instrumental Handel also uses
writing in religious trumpets = adds
piece. The doubling of magnificience to the
4.Cello = shadows B, the vocal parts with movement. Instruments
sometimes elaborating = instruments harks mainly double voices
creating heterophony back to the traditional
German motet.
5. Two basso continuo : 5. Unusual to have two
violone (type of double- basso continuo =
bass) & organ and cello magnifience and
& harpsichord importance of the
ocasion
6. Recording has an 6. The violone would
added sackbut (ancient not be strong enough
trombone) to strengthen for the bass-line to he
the bass-line heard over the organ.
An added brass also
adds to the richness of
the performance
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7. This recording uses 7. It is now the norm to

‘period’ (i.e. Baroque) aim to perform music
instruments and as it would have been
instrumentation, as well performed at its time =
as playing ( historical
performance : smaller
ensembles, ‘period’
(i.e. Baroque)
instruments, strings :
period bows, little
vibrato
CONTEXT 1.General points as above 1.
2. This aria = duet for soprano and bass with string 2.
accompaniment and solo oboe.
3. It is effectively an aria for bass (challenging part) 3.
with the soprano singing an elaborated version of
the chorale (doubled by oboe)
4. The text is about how the belief in God and 4.
Jesus gives strength and victory = praise
5. The bass lyrics are taken from a poem by 5. Bach BWV182: text
Salomo Franck also by S. Frank
6. The soprano is from Luther’s chorale
1. Soprano soloist sings 1.Gives cohesion to 1. Bach BWV 78, 2nd

an ornamented version of the cantata. Mvt: also based on
the chorale melody cantus firmus
2. Much of the soloists’ 2. 2. Bach BWV 78, 2nd
lines are scalic, although Mvt: lines are scalic,
there are some more with some leaps
angular moments
3. The bass line is highly 3. = main part, 3. Bach BWV 78, 2nd
scalic & melismatic = Mvt: solo lines are
considerably more ornate melismatic
MELODY than soprano
4.Trills in soprano & oboe 4.Baroque melodies =
highly ornamented
5. Elaborate melisma on 5. Highlighs the
the word ‘Macht’ (power) importance of the word
6. Emphatic melisma on 6. = he is speaking on
‘Alles’ (all) behalf of the listeners
(i.e. believers).
7. More elaborate than 7. Typical of solo lines

Mvt 1 (not choral lines).
STRUCTURE / 1.Ritornello = the 1.Type of rondo form 1. Bach BWV 48, Mvt
FORM instrumental theme 4: oboe ritornello
recurrs at various points Bach BWV 78, 2nd Mvt:
throughout the cello ritornello moto
movement. perpetuo
2.Over the poet Frank’s 2.The two texts have a
text in bass, the soprano similar message.
states the chorale Soprano =
reinforcement of praise
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and belief
3. 3.
4. 4.
1.Simple quadruple time 1. 1. Bach BWV 78, 2nd
Mvt: in 4/4
2. Moto perpetuo 2.Gives this passage 2. Bach BWV 78, 2nd
semiquavers in the drive Mvt: Moto perpetuo
opening.(= ‘perpetual cello obbligato (here its
motion’ of a running rocking quavers)
quaver or semiquaver
passage; it gives a sense
of never-ending
RHYTHM / METRE movement) 3.
3. Bass = semiquavers 3.Highly complex for
singer 4. Bach BWV 78, 2nd
4. Intricate decoration = 4. = typical feature of Mvt: busy semiquaver
demisemiquavers, dotted Baroque melodies = passages
rhythms ornamentation &
complexity
5. Syncopations.
1. 1.
2. 2.
TEMPO
3. 3.
4. 4.
1.D major 1.
2.Modulations to closely 2.
related keys : 3.
TONALITY - A mojor(V) 4.
- B minor (rel. minor)
3.
4.
1. Orchestral sections = 1.= joy & energy of text 1.

melody-dominated
homophony : upper
strings play a semiquaver
triadic line ; lower strings
accompany with quaver
offbeat leaps ; walking
bass.
2. When soprano & bass 2. Texts compliment 2. Bach BWV 48, Mvt
TEXTURE parts enter = highly one another 4:
contrapuntal 3 part (independent
lines) texture =
polyphonic: alto, oboe
3.Soprano = variation of 3.Cohesion, whilst obbligato & continuo
the cantus firmus and the giving some variety
bass singing an ornate
melody.
4. Soprano & oboe = 4. = adds to the
heterophonic complexity of the piece
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
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1. 1.
2. 2.
HARMONY
3. 3.
4. 4.
1.Soprano 1. = the chorale 1. Bach BWV 78, 2nd

melody but with Mvt: a duet for soprano
additional & alto
ornamentation
2.Bass 2. = sings an almost
independent aria. 2.
3.Solo oboe 3. = doubles the
soprano line 3.
SONORITY (sometimes in
heterophony)
4.Vlns 1, 2 & violas =
4.Strings obbligato line in 4. Bach BWV 48, Mvt 4
unison (= prominent & has oboe obbligato.
essential independent Bach BWV 78, 2nd Mvt:
melody) has cello obbligato
5. Basso continuo
CONTEXT 1.The text is about how God gives strength & his All Bach cantatas finish
‘kingdon shall remain ours’. with a rendition of the
2.= Final movement of the chorale. Brings the chorale = back to its
magnificient cantata back to its core core and message. The
3.The congregation would have been able to join congregation could join
in, as they would have been familiar with the in the soprano part.
Lutheran chorale melody
4.
1.Entirely syllabic 1.The congregation 1. Bach BWV 48, Mvt

would have joined in 3: also based on chorale
melody & syllabic
2. Some 2-note melismas 2.The soprano = 2.
for lower parts but not for chorale melody, which
the soprano the congregation could
MELODY
have sung
3. Conjunct and diatonic, 3. The melody = most 3. Bach BWV 48, Mvt
= typical of a hymn tune, resemblance to that of 3: conjunct
with only very occasional Luther’s original hymn
small leaps tune.
4. 4.
1.9-line chorale, with 1.

repetitions 2.
STRUCTURE /
2.Bars 1-4 = 2-bar phrase 3.
FORM
repeated 4.
3.Bars 5-12 : 5 phrases
4.
RHYTHM / METRE 1.Simple quadruple time 1. 1. Bach BWV 48, Mvt
3: 4/4
2.Starts with anacrusis 2. 2.
12
3.Predominantly 3. 3. Bach BWV 48, Mvt

crotchets, with quavers 3: same rhythms
as passing notes
4. 4.
1. Pauses at the end of 1. = typical of chorale. 1. Bach BWV 48, Mvt

every phrase Halts the tempo 3: also uses pauses
TEMPO 2. 2.
3. 3.
4. 4.
1.D Major 1. 1.
2.Modulations to : A 2.= Bach’s ingenuity, 2.
major (V key) & E minor as the chorale could
TONALITY
(rel. minor of IV) have remained in D
3. 3.
4. 4.
1. Chordal homophony 1. = typical chorale

throughout writing
TEXTURE 2. 2.
3. 3.
4. 4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1. Perfect cadences are 1.Bach’s mastery of 1. Bach BWV 48, Mvt 3:

frequent and are often chorale the harmonic language
used to confirm the harmonisation ; how is more chromatic to
modulation to a new key. he follows the reflect the sadness of
prescribed rules and the text
yet creates such Bach BWV 78, 7th Mvt:
beauty and harmonic also ends the cantata =
HARMONY richness, reflecting the simple statement after
text word-painting of
previous movements
2. There is a rare 2.
example of an imperfect 3.
cadence 4.
3.
4.
1. Four-part SATB choir 1. 1. Bach BWV 48, Mvt

3: SATB choir
2. Orchestral 2. = grand statement 2. Bach BWV 48, Mvt 3
accompaniment = exactly of chorale. Back to its & Bach BWV 78 Mvt 7:
SONORITY doubles vocal lines: core instruments also double
3. Taille (indicated with 3. voices
the tenor part) is a tenor
oboe.
4. The continuo follows 4.
the bass line.
COMPOSER/ WORK: Mozart, The Magic Flute: Act I no. 4: ‘O Zittre Nicht’ Aria
CONTEXT 1. Classical-period opera (1750-1820) Mozart: ’Der Hölle
13
2.Singspiel = vernacular language ; spoken Rache’ from The

passages Magic Flute (MF)
3. Ideals 18th Century : Enlightenment & Synopsis: Giving her a
Freemasonry knife, the Queen of the
4. Characters : Night tells Pamina to kill
- Queen of Night = powerful ruler/ (high) soprano Sarastro in order to get
coloratura the Shield of the Sun
- Tamino = young prince/ tenor from him.
- Papageno = bird-catcher/ baritone
- Three Ladies = soprano Gluck: ‘Che faro senza
5.Classical opera = variation of mood within arias. Euridice’ from Orfeo
6.Duets & larger ensembles = essential ingredient ed Euridice (early
of Classical style Classical era) by C.W.
7. Mozart = one of the first to write in vernacular Gluck = Enlightment.
(local language) = more accessible to the people (OeE) Music = simple
(Enlightenment ideal) yet beautiful. Emphasis
8.Singspiel : performed to middle class (not like = drama of the opera
opera, which was for nobility) : Synopsis: Orfeo has
-simple ballads & songs been allowed to bring
-vernacular language back his wife from
-magic and comedy Hades as long as he
9. The Magic Flute : does not look upon her
Freemasonry ideals : face until they are back
-magic & rituals on earth. However,
-exaggerated sense of good and evil urged by Euridice, he
-mirrors the complex initiation ceremony turns around and looks
-masonic number 3 : 3 Ladies, 3 Spirits, 3 trials for at her and she
Tamino, 3 chords, Eb major immediately dies. Grief-
10. What was Enlightenment ? stricken, he wonders
-the faculty of reason = the path towards human what he will ever do
improvement that would ultimately bring freedom, without his love.
knowledge, and happiness
-Mozart and his librettist, Emanuel Schikaneder,
explored aspects of Enlightenment thought: the Beethoven:
nature of true knowledge, the development ‘Abscheulicher!’ by L.
of character, and the highest ideals of humanity v. Beethoven (late
11. What was Freemasonry ? Classical) (F) Also
- A fraternal organization whose members are Freemason
committed to ideals of morality, justice, Synopsis: Leonora
and reason (= Enlightenment) overhears Pizarro
- Exploration of the nature of man and talking to Rocco about
society and a quasi-religious ritual and mysticism. killing a prisoner whom
she believes is her
12 . Context of this movement : husband, Florestan.
Before this aria, the Queen of the Night’s three She wonders how he
ladies in waiting show Tamino a portrait of the can be so cruel, but
Queen’s daughter, Pamina, with whom he falls in soon decides that love
love. The Queen makes her first appearance. She will help her overcome
seems to be grief-stricken and explains to Tamino his evil plans) from
that her daughter is being held by a villain, the High Fidelio
Priest Sarastro. She tells Tamino that if he rescues
her daughter, Pamina will be his forever. Cherubini : ‘Dei tuoi
figli la madre tu vedi’
from Médèe (early
Romantic era) by
Cherubini ; also
Singspiel
Synopsis : Setting: the
royal court of Créon at
Corinth, ancient Greece
14
Médée has arrived in

Corinth to find Jason
and plead with him to
take her back. She is
sure that the love he
has for her is still
stronger than the love
he has for his new
fiancee Dircé. Although
she has never begged
before, she now begs
for him to take her back,
calling him cruel. (She
later kills her two
sons…)
1. word-painting 1. 1.All w/l songs have

word-painting
2. coloratura & high 2. shows anger/ 2.Mozart: ’Der Hölle
tessitura/ large vocal hysteria/ high Rache’ (MF):
power tessitura& range = aggressive coloratura =
power unleashed fury
Cherubini : ‘Dei tuoi
(Médée)= coloratura,
large range covered &
leaps= evil power of
character
Beethoven:
‘Abscheulicher!’ (F):
also high tessitura as
the character is
distressed
3. recitative = syllabic 3. more controlled/ 3.Beethoven:
relates her pain ‘Abscheulicher!’ (F):
MELODY
starts with a recitative as
she expresses her
sorrow
4.aria : ornamentation & 4. seething anger 4.Mozart: ‘Der Hölle
arpeggios/ some Rache’ (MF): = highly
chromaticism/ rapid melismatic = power, fury
scales Allegro moderato Beethoven:
highly melismatic ‘Abscheulicher!’ (F):
elaborate scales.
Cherubini: ‘Dei tuoi
(Médée) : some
semiquavers = passion,
imploring
5. chromatic descent 5. = pathos, drama 5. Cherubini: ‘Dei tuoi
(Médée): use of
chromaticism = drama/
dark mood
WORD SETTING 1.Syllabic in the recitative (follows the rhythm of

speech).
2.The ‘trembling’ that the Queen describes in bars
36-43 are accompanied by off-beat semiquavers in
15
a word-painting figure.
3.Other examples of word-painting include the
rising phrases and diminished 7th chord on ‘Ach
helft’ (help) at bars 47-48.
4.The word-setting is simple in the larghetto
section, in keeping with the melody.
5.The sustained F at bars 34-5 on ‘Bösewicht’
show her anger and the importance of the word.
6.The text is set in a much more melismatic style in
the allegro moderato section, as the Queen
commands Tamino to rescue her daughter.
7.German nouns always start with a capital letter. It
is essential to understand the meaning of the text.
1. accompanied recitative 1. 1.Beethoven:

2.aria in 2 sections : 2. relfects developing ‘Abscheulicher!’ (F):
STRUCTURE / Larghetto & Allegro drama also recitative followed
FORM moderato 3. by aria in two parts:
3. 4. recitative sets the mood
4. and the aria expresses
her feelings of hope
1. recitative in 4/4. 1. 1.
2. aria : Larghetto 3/4/ 2. 2.Beethoven:
Allegro moderato in 4/4 ‘Abscheulicher!’ (F):
contrast of slower &
faster tempo reflect
moods
3. trembling quavers 3.=anger 3.Mozart: ‘Der Hölle
Rache’ (MF): = fury
Cherubini: ‘Dei tuoi
(Médée) : trembling
semiquavers as she
becomes more
distressed
Beethoven:
‘Abscheulicher!’ (F):
much use of tremolo in
strings for tension,
RHYTHM / METRE
anguish
4. recitative : syncopation 4. = unsettling, sense 4. Beethoven:
of urgency ‘Abscheulicher!’ (F):
use of syncopation in
strings = tension
5. dotted rhythms 5. = command 5.Mozart: ‘Der Hölle
Rache’ (MF):longer
dotted rhythms =
authority
Cherubini :‘Dei tuoi
(Médée) : dotted
rhythms
6. rapid dramatic 6. = anger, passion 6.Cherubini : ‘Dei tuoi
flourishes semiquavers = figli la madre tu vedi’
virtuosic (Médée) : some
semiquavers = passion,
imploring
TEMPO 1. recitative = free tempo 1.=Queen explains 1.Beethoven:

with control ‘Abscheulicher!’ (F):
16
2.Allegro maestoso – 2.=passion takes over increase in tempo as

Larghetto – Allegro 3. character becomes
moderato 4. more agitated
3.
1. Both in Bb major/ 1. related keys = 1. Gluck: ‘Che faro

modulate to related keys Classical feature = senza Euridice’ (OeE)
change of mood = many key changes for
more dramatic feel. Also
in major key, although
dramatic/ mournful aria
2. Related keys : Gm, 2. 2.
Cm, F, Dm, Eb
3.diatonic 3. 3.
TONALITY
4. Gm Larghetto 4. = contrast of mood 4.Mozart: ‘Der Hölle
Rache’ (MF): minor key
= drama
(Médée) : also starts in
major (F), but then
modulates to F minor as
she pleads
unsuccesfully
1. Melod-dominated 1. Classical era feature 1.Gluck: ‘Che faro
homophony = clarity of vocal line senza Euridice’ (OeE)
= Gluck kept
accompaniment simple
to emphasise melodic
line
TEXTURE figli la madre tu vedi’
(Médée) : melody-
dominated homophony
2.Larghetto opening brief 2. 2. Cherubini : ‘Dei tuoi
polyphony figli la madre tu vedi’
(Médée) : some brief
moments of polyphony
in orchestra as the
tension rises
1. The dynamics of this 1.=Classical era : not 1. Beethoven:
movement range from excessive range ‘Abscheulicher!’ (F):
piano to forte, with some similar dynamics also
fp (fortepiano) and sf with use of sf that
(sforzando). suddenly goes to p.
DYNAMICS 2.Crescendos are used 2. to increase tension Beethoven uses same
(for example in the range of dynamics, but
orchestral introduction. with more drama &
(These indications are, contrast
however, all in the
orchestra.)
HARMONY 1.functional, clear 1.= Classical feature 1.Gluck: ‘Che faro

cadences senza Euridice’ (OeE)
= clear cadences =
clarity & balance
2. diatonic, with some 2. = creates tension 2. Cherubini :‘Dei tuoi
chromaticism figli la madre tu vedi’
(Médée) : use of
chromatic chords,
17
including dim7th and

pause on unprepared
7th. More use of
chromatic chords with
added notes for more
dramatic harmonic
language
3. Neaplotan 6ths, V7ths 3. 3.
4.Dim 7ths 4. = moments of 4. Beethoven:
anguish ‘Abscheulicher!’ (F):
dim7th for tension
5. Tonic pedal opening 5. = establishes the 5.Cherubini : ‘Dei tuoi
key figli la madre tu vedi’
(Médée) : use of V
pedal before climatic top
note.
1. orchestra (strings & 2 1.= quite dark 1.Cherubini: ‘Dei tuoi
oboes, 2 bassoons, 2 instrumentation (no figli la madre tu vedi’
horns) flutes) (Médée) : also dark
orchestration (clarinets,
horns & strings)
SONORITY
2. Coloratura soprano : 2.= extreme range 2.Cherubini: ‘Dei tuoi
high range above the shows the Queen’s figli la madre tu vedi’
orchestra troubled & distressed (Médée) : starts
mind standard range, but
goes higher as she
pleads more.
COMPOSER/ WORK: Mozart, The Magic Flute: Act I no. 5: ‘Hm! Hm! Hm! Hm!’ Quintet
CONTEXT 1. Context of this movement : - Mozart: Terzetto ‘Cosa
After the Queen of the night’s exit, Tamino briefly sento !’ for Basilio, the
wonders whether what he saw was real (in spoken Count & Susanna ; from
text) Marriage of Figaro opera
2. = comical moments buffa (comedy opera)
1786
Synopsis : When Basilio
(tenor, late 40s or early
50s, singing teacher of
Susanna) starts to gossip
about Cherubino's
(mezzo-soprano, 12-13, a
love-obsessed young
page in Almaviva’s castle;
the Countess’s godson)
obvious attraction to the
Countess, the Count
(baritone, about 26,
immensely wealthy, easily
jealous) angrily leaps
from his hiding place.
Susanna is soprano, 19,
chambermaid and
confidante to the
Countess
- Bizet : Quintet “Quand

il s’agit de tromperie”
18
from Carmen, 1875 (late-

Romantic era). It is an
‘opéra-comique (= French
version of Singspiel) that
was ground-breaking for
its realism. (Carmen)
Synopsis : The quintet is
from Act II, when Carmen
(mezzo-soprano), her
friends meet with the
smugglers); who are
planning to a smuggling
operation. However,
Carmen will not join them
and announces that she
is loves a soldier who was
sent to prison because of
her.
MELODY 1.Opening = simple 1.=ask for help/ 1. Mozart: ‘Der Hölle
diatonic phrase in Bb/ insistence Rache’ (MF): repeated
repeated notes & leaps notes at top = insistence
2.Short phrases at start 2.= helplessness in
dialogue Mozart: ‘Terzetto’
3.Short descending 3.=magic (Figaro)
scales oboe, then violins - The Count’s simmering
4.Chromaticism 4. = shows P’s fear anger is revealed in the
5. Andante chromaticism 5. = anguish of rhythmic rising three-note
at end separation motif
-Short phrases for
Susanna show her
anxiety when faced with
the Count
- Susanna’s wailing is at
the top of the orchestra,
with descending dim 5th &
7ths
-There is a more lyrical
melody when the two men
try to console Susanna
Bizet: ‘Quintet’
(Carmen)::
-A lot of chromaticism,
portraying the scheming
and shiftiness of the
characters.
-Chromatic ascending
scale is a recurring
feature: the excitement
when planning their
smuggling.
•Word-painting: Repeated
syllabic notes when an
order or persistent
questioning: “la raison” &
“et bien?”
- Word-painting: when the
smugglers express
surprise and contempt for
Carmen’s love, there is a
19
descending interval of a
9th.
1.Almost entirely syllabic.

2.The setting of the text ‘Silberglöckchen,
Zauberflöten’ is staccato chords, sung sotto voce,
creating a magical effect (bars 184-187).
3.The separation of the quavers at bars 217-219
highlights the importance of the text at this point.
4.Papageno’s music is simple and less smooth
than that of Tamino in the opening dialogue.
WORD SETTING
5.The 3 ladies are often treated as speaking with 1
voice, when they sing in homophonic chordal
texture.
6.The characters are grouped into 2 and 3 for
much of the piece but do come together on
occasions (e.g. bars 111-117).
7.The slight chromaticism at the end expresses the
pain of parting at the start of the journey.
1. through-composed, 1.=reflects the course Mozart: ‘Terzetto’
STRUCTURE / with clear sections (Look of the action (Figaro) = in sonata form
FORM at revision guide) 2.
2 Bizet: ‘Quintet’ (Carmen)
= in ternary form
1. ‘Cut common time’ (in 1. Mozart: ‘Terzetto’
mimims) then 4/4 (Figaro)
2.Rests within melody of 2.=breathing/ less -Rapidly repeating
Andante animated, busy semiquavers describing
3. The rhythms and note 3. the urgency of the
values are generally very 4. moment
RHYTHM / METRE simple (mainly crotchets -Use of rests when Count
and quavers), to appears angrily and asks
emphasise the questions.
comic nature and the - A ‘beating heart’ is
simplicity of Papageno represented by stabbing
4. crotchets in the voices
and staccato quavers in
the violins,
1.Allegro – Andante 1. 1 Mozart: ‘Terzetto’
2. 2. Allegro assai (very lively)
TEMPO
3. 3.
4. 4.
TONALITY 1.Starts Bb. Move to F 1.= uplifting of mood Mozart: ‘Terzetto’

(dominant) 3 ladies help (Figaro)
2.Stern G minor ‘truth’ 2.= importance -Also starts in Bb. A key
Freemasonry message Mozart seems to use for
3.F then back to Bb 3. comical numbers!
4.Eb (IV key) 4.= Ladies try to calm -Sudden move to the tonic
P/ more subdued minor shows Susanna’a
5.Bb apprehension
Bizet: ‘Quintet’ (Carmen)

also in major, minor keys
used as the smugglers
make their sly plans. Use
of more distant keys
(more Romantic
language)
20
1. 2-part counterpoint in 1.= conversation 2 Mozart: ‘Terzetto’

dialogue at start characters (Figaro)
-melody-dominated
2. 2-part homophony 3 2.= unity (magical homophony
ladies number 3)/ dignified - intricate contrapuntal
3. 5-part homophony 3. texture when 3 characters
repeat their lines
-In the ‘development’ the
4. unison/octaves ‘truth’ 4. emphasise the unity voices engage in some
and importance of rhythmically distinct three-
message part counterpoint –
5. imitation 1st & 3rd Susanna’s anxiously
Ladies dotted rhythms, the
Count’s unnervingly
syncopated and Basilio’s
laughing quavers
(Carmen): -Melody-
dominated homophony
when there are solo
TEXTURE
sections with orchestra
-Homophonic (&
homorhythmic) when the
quintet sings together
-Range of vocal
combinations: solo/
contrast of women and
men or solo and quartet
-Antiphony between vocal
parts: men v women in
“n’êtes-vous pas de cet
avis?”
-Unisson/ 8ves in
commands
-The orchestra expresses
the words underneath:
scheming triplet chromatic
ascending motif against
homophonic staccato
vocal part
DYNAMICS 1. sotto voce 1.= warning 1.

2.forte passage about 2. = message 2.
telling truth Freemasonry
3. loud/quiet contrasts 3.= emphasises 3.Mozart: ‘Der Hölle
drama/ words Rache’ (MF): forte
punctuating chords =
emphatic moment
Gluck: ‘Che faro senza
Euridice’ (OeE) = use of
contrasting dynamics to
4.music fades away at 4. highlight drama
end
Mozart: ‘Terzetto’
(Figaro)
-Use of dynamics for word
21
setting and underlying

tension:
-Forte orchestra as the
Count bursts on stage
-Contrasts with the more
quiet, lyrical theme (2nd
subject) representing the
2 men’s concern for
Susanna
-There are sfp to show
anxiety
Coda starts pp before
final build-up
(Carmen):
-Dramatic use of
dynamics, going from ppp
to ff.
-The conspirators
crescendo from ppp to ff
in a phrase and drop back
to pp again for another
crescendo as they make
their plans – menacing
and shows their
excitement
The range of dynamics
reflect the volatile and
passionate characters
HARMONY 1.’Feminine’ cadences 1.= elegance/ Mozart: ‘Terzetto’

(cadential 6/4) Classical feature (Figaro)
2.standard perfect 2. - Progression of V-I
cadences, usually with harmonies in Bb major
V7 which aptly conveys the
3.Aug 6th chords 3. = drama importance and energy of
4.Andante : alt. Root-1st 4. = smooth harmonic the Count’s first
inversion progression for appearance on stage
mellower/calmer - Diatonic harmonic: use
section of 7ths for Count = more e
of dominant pedal
throughout to underline
the tension
-Ends with 6 perfect
cadences

-Starts with a secondary
dominant chord seventh
chord= unstable &
menacing
-Tonic pedal notes (in F
minor) & inner tonic pedal
(Db) “Il est toujours bon” =
repetitive and insistent
-Diminished 7ths « Et
sans elles » = menacing
22
1.As above + clarinets in 1.A new mood/ 1. Mozart: ‘Terzetto’

last Andante section/ mellower (Figaro) uses the whole
dolce orchestra except flutes,
trumpets and timpani:
2.Bass-line in this section 2.=ethereal/ magical 2.

= violins pizz.
3.Orchestra takes various 3. 3. Beethoven:

roles : accompaniment/ ‘Abscheulicher!’ (F):
doubling/ independent orchestra supports &
melodies provides contrast
4.Playful instrumental 4.=keeps mood light & 4.
responses entertaining
5.Vocal quintet 5.
Mozart: ‘Terzetto’
(Figaro)
- The Count’s
declamatory utterances
are reinforced by stabbing
chords from the full
orchestra, whilst the
violins double Basilio’s
unctuous falling phrases
-Orchestra often have
SONORITY countermelodies to the
vocal parts; although they
at times also double
(strengthen) voices
-The orchestra depicts the
feelings of the characters;
for example legato ‘caring’
theme on violins or
stabbing quavers in
violins for beating,
anxious heart.
-When Susanna is
pleading use of bassoon,
horns, then oboe.

-Strings play at times
pizzicato
-5 soloists: 1 soprano; 2
mezzo-sopranos; 1 tenor;
1 baritone
-Use of portamento (slight
gliding from one note to
another) “nous l’a-vons”
-Accents: “oui!” to
emphasise points
-Staccato conspiracy
section contrasts with
legato sly section
A2 COMPOSER/ WORK: Vaughan Williams, On Wenlock Edge: No.1 ‘On Wenlock
Edge’
23
CONTEXT 1.= early-mid 20th century English composer Examples English

2. He sought to break away from the German Folk :
Romantic style of previous century -‘Scarborough Fair’
3. The influences he looked towards to replace (Dorian mode),
German Romanticism included: ‘Greensleeves’ (Dorian
-English folk song : VW travelled around the or Aeolina, depending
countryside writing down the words and notation of on version)
these songs Modality particularly influenced his
musical language. Example Tudor
-The English choral tradition, especially Tudor English song :
church music (Thomas Tallis & William Byrd). Also -Dowland : ‘Flow My
modal. Tears’
-French ‘impressionist’ composers : VW had just
returned from Paris when he composed these Example of Tudor
songs. (i.e. colouristic sonorities, whole-tone church music :
scale/harmonies & parallel harmonies) Byrd ‘Prevent us O Lord’
4.On Wenlock Edge : -mainly syllabic
-written in 1909 (quite early) -in English
-A group of six songs setting poems from A -modal inflections
Shropshire Lad by A.E. Housman, written in 1896. -mainly stepwise
-The poems describe rural life and convey a movement
nostalgic sense of lost innocence.
5. Characteristics of 20th century English music Examples of (relevant)
- Use of English folk song and material, including Impressionist music :
early English music and dance -Debussy : ‘The
- Influences from early English composers Submerged Catherdral’
- Use of English literature and legends (Also refer to Debussy in
- Pastoral scenes [idealised country life] & AoS Fusion)
importance of the countryside -Ravel : String Quartet
6. Characteristics of English Folk song in F major,
- English folk music is often strophic in structure ‘Third Movement’
and makes use of modes. -Ravel Miroirs No.5 ‘The
- Texts usually come from traditional folk poetry or Valley of the Bells’
are versified forms of popular tales.
- Text setting is generally syllabic, with a few small Other (relevant) 20th
melismas. Century English
- All folk songs are modal, and the most frequently composers :
used modes are Dorian, Mixolydian, and Ionian. -Butterworth : ‘Bredon
- A large number of folk songs are remarkable for Hill’
their large range, with large intervals, including -Finzi : ‘My Spirit Sang
frequent octave leaps All Day’
- Folk singers used some ornamentation in their -Walton : ‘A Lyke-Wake
melodies, including slides, mordents, trills, and Song’
appoggiaturas to add a personal touch and -Britten : ‘On a Poet’s
highlight important words or parts of the phrase. Lips I Slept’
However, English folk singers were very
conservative in their approach, preferring their
melodies to be as pure as possible.
- The form of a folk song is generally simple ABA,
General Points :
6.Notation :
VW allowed for performance of accompaniment on
piano alone, providing alternative part in small type
8.Vocal style
-The music for tenor soloist is not particularly
virtuosic & mainly within tenor range.
- The vocal music is mainly syllabic (one note to a
syllable). There are only occasional melismas.
- The accentuation of the syllables is masterfully
24
done. There is frequent use of an anacrusis to fit

the iambic (= a rhythm used in poetry, in which -=English folk song
each short syllable that is not stressed is followed
by a long or stressed syllable ; i.e. away, above)
nature of much of the poetry.
8. Features of Tudor music (English Renaissance -‘Flow My Tears’

Music late-1400s to early-1600s) : (Dowland) : mainly
-Church of England favoured simplicity, English- syllabic. Dowland is
language texts & insisted the words were clearly inventive with rhythm so
intelligible that it suits the stresses
-Composers : Tallis, Taverner, Dowland & Byrd of the English language.
-Secular lute song melancholic love & longing. -‘Prevent us O Lord’
Dowland famous for his exquisitely sad music (Byrd) : also mainly
-The English madrigals (=through-composed song) syllabic. Much
used word-painting (i.e. dissonance for ‘death’) homophony (for clarity
- Music still based on modes of text). Modal.
- As VW’s songs below,
9.No.1 ‘On Wenlock Edge’ ‘Flow My Tears’ has
Wenlock Edge is a limestone escarpment in the modal inflections
Shropshire Hills covered by deciduous woodland.
The poet imagines gales beating the trees on
Wenlock Edge, and realises that these are the
same storms that were experienced in the Roman
times. The gales represent the struggles of man,
which will soon pass.
Uricon is another name for the city of Viroconium,
which was a Roman town in Shropshire. A small
corner of it is now occupied by the small village of
Wroxeter.
MELODY 1.Word-setting = mainly 1.Clarity of text 1.See above. Applicable

(& WORD SETTING) syllabic to all 3 songs.
‘Bredon Hill’
(Butterworth) : is
syllabic
‘A Lyke-Walk’
(Walton): syllabic
2 exceptions are slurred 2.Emphasises the 2. ‘On a Poet’s Lips I
notes on ‘Wrekin’ & three words Slept’ (Britten) : mainly
slurred notes on ‘heavy’ syllabic with melismas to
& ‘gale’ emphasise words :
‘immortality’
3. Tenor top of the 3.=stress, angst 3.
register emphasise the
stress and turmoil of the
poem
4. The melody of the 4.=modal & 4. ‘The Submerged
opening of the two Impressionism Catherdral’ (Debussy)=
stanzas is mainly pemtatonic
pentatonic
5. Towards the end of the 5. Brings the listener 5.
stanzas, there is to a more melancholy
chromatic descent place, before the
interludes throw us
back into the poet’s
stress and turmoil.
Adds drama to the
storm
6.The final phrase of the 6. 6.
25
song does not have such

a chromatic descent.
7. At bar 63, when the 7. Confirmation of the 7.
tenor sings: ‘‘twill soon be statement being sung.
gone’, the melody falls
from a D to a G, bringing
the melody to its home
note
8.Monotone (repeated 8. = power of the gale 8.
note) on ‘gale’
9. Dim 5th leap (‘ashes 9. = harsh interval for 9. ‘On a Poet’s Lips I
under Unicorn’) dark, bleak lyrics Slept’ (Britten) : uses
dim 5th = uncomfortable
10. Instruments have 10. feeling
recurring figure
11.The opening vocal line 11. The modal style of
has a very restricted note the folk song-
range. influenced melodic
writing is immediately
apparent in the first
song
12. Whole-tone figuration 12.= Impressionism
piano
1. This song is in strophic 1.Mainy English folk 1. ‘Scarborough Fair’,

form in three pairs of songs are strophic. All ‘Greensleeves’
verses, with the final pair three songs are Butterworth & Finzi:
being a variation on the strophic also strophic songs
first two
2.Introduces new 2. 2.
STRUCTURE /
material & fuses the
FORM
various thematic
elements
3. The structure can be 3. 3.
described as AABBA,
though the last verse
combines elements of A
and B
26
RHYTHM / METRE One of the most ‘My Spirit Sang All

important rhythmic Day’ (Finzi) rhythms
features of the three flow directly from the
songs is the careful natural speech patterns
attention Vaughan of the English language
Williams gives to the
accentuation of
syllables and an
attempt to reach as
closely as possible
the natural rhythms
of speech
1.Simple quadruple 1.English folk song 1.
2. Triplets and sextuplets 2.- 4.=stormy 2. ‘On a Poet’s Lips I
are heard from the atmosphere Slept’ (Britten) : has a
beginning triplet motif = light
3.The sextuplet breathing of a sleeper
semiquavers at bar 3
produce a cross-rhythm
with the semiquavers in
the piano left hand.
4. From bar 31 there are
rippling
hemidemisemiquavers in
the piano part.
5.Dotted rhythms where 5. = sense of urgency
dot = rest
6.
27
1.Allegro moderato 1.
2.agitato 2.= gale
TEMPO
3.tranquillo 3.=subsiding of gale
4. 4.
1. The tonality of most 1.= heightens tension 1. ‘Bredon Hill’

of the movement is (Butterworth) : also
ambiguous, though it tonally ambiguous
suggests more of a G
minor pentatonic
TONALITY
2.Visit to Eb & bitonal Ab 2.Blurring of tonality =
against G minor unsure, feeling lost,
intensities movement
3. 3.
4. 4.
In all three songs, VW = clarity of text 1. ‘My Spirit Sang All

constantly varies the Day’ (Finzi) : entirely
textures, although it is homophonic, but with
mainly homophonic 1.Impressionism variations
1.parallel 1st inversion
chords at start, where
piano doubles upper-
strings
2. The left hand 2.
occasionally doubles the
cello line
3. Long trills in the inner 3.= the poet’s uneasy
string parts state of mind, as he
reflects on the gales of
life. = Impressionistic
TEXTURE
‘colouring’ of sound
4. Constant movement 4. = contributes to the
throughout the texture turbulence of the
movement
5. From bar 7 : ostinato 5. Dramatic, unsettling
sextuplets in the piano
RH, unison trills in
second violin and viola, &
cello and piano LH
double the voice part two
octaves below.
6. Reduced texture 6. Feeling of

towards the end ; ends hopelessness
with solo piano
1. Plenty of crescendos 1. = rise and fall of

and diminuendos storm
2. Sudden fp and fz 2.Contributes to drama
DYNAMICS
3. Dynamics vary from 3.
pp to f. 4.
4.
HARMONY 1. Mainly diatonic chords 1. 1.

2.Starts with series of 2.= parallel motion, 2.
first inversion chords typical of
Impressionism
3. False relations 3.= Common in Tutor 3. ‘Flow My Tears’
28
(having two same pitches music (Dowland) : false

but a semitone’s relations to heighten
difference at the same melancholy
time ; i.e. Cb & C bar 2)
4. Quartal harmony 4.Neither major nor 4.’The Valley of the
(harmony based on 4ths minor. Gives it a modal Bells’ (Ravel) : parallel
(instead of a 3rd)) in character fourths
instrumental intro
5. Dissonance at times 5. On ‘gale’ = word 5. ‘A Lyke-Walk’
painting (Walton): also uses
chromatic harmonies
6. Chromatic chordal 6. On ‘heaving hill’
movement (chords going
down by semitone)
1.String quartet & piano 1.For colouristic 1. ‘On a Poet’s Lips I

with voice = unusual purposes : timbres and Slept’ (Britten): for
(usually just piano instrumental effects to tenor & 7 instruments
quintet, no vocals) ‘colour’ the lyrics (here obbligato =
indispensable) : flute,
cor anglais, clarinet,
bassoon, harp, French
horn, timpani (unusual
2.Tenor mainly standard 2. =folk song indeed !)
range & non-virtuosic - to cut through texture
- high range at times. at dramatic points
-mainly syllabic -English folk song&
Tudor music
-modal style of writing -as above
3.Piano = demanding but 3.

not virtuoistic :
SONORITY - rippling RH - suggests gale
- flourishes of - dramatic effect
demisemiquavers in
interludes
- tremolo chords at end, -as the gale passes
with cresc. & dim. (within
piano dynamic)
4.Strings = reminiscent of 4.’Colouristic’ &
Ravel & Debussy’s string impressionist
quartet writing :
- tremolo strings -represent the storm &
stress
-long trills (over piano -contribute to the Impressionism use of
sextuplet ripples) stress of the storm. strings:
Contributes to String Quartet,
atmosphere of turmoil ‘3rd Movement’
-sul ponticello (‘over the (Ravel)
bridge’) = creates a -tremolo
tense, harsh tone
29
COMPOSER/ WORK: Vaughan Williams, On Wenlock Edge: No.3 ‘Is my team

ploughing?’
CONTEXT 1. This poem is a conversation between a dead ‘’A Lyke-Wak’
man and his living friend. At first the dead man is (Walton): a grisly poem
assured that his girlfriend no longer grieves and is told by a dead man,
has moved on. However, in the final stanza, it is long buried, as he
implied that his girlfriend is now with his living welcomes a female
friend – a devastating realisation. neighbor in the adjacent
2. grave (= similar setting)
3.
4.
1.Recitative-style at start 1.Dorian mode 1.

2. As in the first song, a 2.Contrast of gentle 2.
simple diatonic modal English-folk style of
beginning leads to a melody with more
more chromatic style. dramatic chromaticism
3. The beginning of the 3. 3. ‘A Lyke-Walk’
song is mainly conjunct, (Walton): simple
but later there are larger melodic phrases =
leaps folksong
4. The melody of the 4.= like a question
dead man’s voice = the
middle of the tenor’s
tessitura, rising at the
end
5. The register of the 5. = feeling uneasy,
MELODY living man’s voice = tense
(& WORD SETTING) generally much higher
6. Last stanza, the living 6.=devastating answer
man’s response is
particularly high
7. ‘dead man’s’ = 7. = stress
particularly high register
to deliver fateful news
8. Predominantly syllabic,
a part from a few 2-
slurred notes (‘used to’,
‘hard to’, ‘thin and’) 8. = underlying tension
8. The ‘reply’ has a more
complex melodic shape
(leaps) & chromaticism
1. Modfified strophic with 1.= English folk song -‘A Lyke-Walk’

three pairs of verses : (Walton): also strophic
- AB AB pairs of verses
STRUCTURE /
- AB
FORM
- A’B’ (= variation)
2. 2.
3. 3.
4. 4.
30
1.Free rhythm over static 1.Eery, sets the scene 1.

chords in recitative
section
2. The changes in metre 2.Depicts characters’ 2.
are based on the two feelings :
voices :
-dead man : 4/4 -sad calmness
-living man : beat initially -unease, inner turmoil
divided in triplets
3.Dead man changes of 3.=shows his distress 3.
RHYTHM / METRE metre & impatience
4.Final response in 3/4 4.= resolute as living 4.
man gives the final
blow
5. Lengthening of note- 5. = end of 5. ‘Flow My Tears’
values at end of phrases sentence/question ; as (Dowland): longer note
in speech values for greater weight
on words of stronger
6.Triplet quavers piano 6.=inner turmoil meaning
7. Quintuplets & 7. = usease
septuplets
TEMPO 1. The changes in tempo 1.Depicts characters’

are based on the two feelings :
voices :
-dead man = slow - sad calmness
-living man’s responses = -unease, inner turmoil
faster
2.poco più mosso 2.= distress
3.allargando ‘dead man’s 3.= devastating effect
sweet-heart’
31
4.Additional terms 4.Adds to the drama

highlight the drama :
misterioso, quasi da
lontano (as from a
distance), agitato,
affretando (hurrying)
1.D dorian minor at start 1.Folk/ Tudor 1.’Scarborough Fair’ =

& end dorian
2.more Romantic 2.=drama, word-
TONALITY chromatic language painting
clouding the key 3.
3. 4.
4.
1.At beginning, all all 1. 1.

instrumental parts move
homorhythmically (same
rhythm)
2.Then chordal texture in 2.Enables the voice to 2.
strings sing freely
3. Block chords 3.Easier to follow the 3.
accompany cello and singer
voice from the animando
at bar 9.
4. fortissimo tutti at bar 4.=drama 4.
50
5. Contrast of textures for 5. Word painting 5.
each character :
-dead man : -=quite morbid ; still
accompanied by long (dead)
TEXTURE
sustained triads in the
strings
-living man : initially
repeated chords on the -anguish, (alive, heart-
piano and a cello melody beat)
6. Final stanza : the 6.= final, tragic 6. ‘My Spirit Sang All
string quartet and the moment Day’ (Finzi) :
piano join the voice culmination in
homophonic
declamation of the most
important part of the
7. Cello plays melody 7. Adds drama & phrase
with living man tension
8. Unison strings & voice 8. = impact & clarity of
‘dead man’s words
DYNAMICS 1. Extremes of dynamics 1. = contributes to the 1. Impressionism

(pp to ff) as well as dramatic atmosphere (examples above)
crescendos and ‘My Spirit Sang All
decrescendos Day’ (Finzi) : also has
2. Pianissimo at the 2.= ghostly subtle dynamic shifts
opening of the
movement, & muted
string sound,
3.Dead man’s stanzas 3.
are softer than the living
man’s, a part from…
4….the final stanza, 4.= agitated state of
32
where the dead man’s mind

final question is forte
1.Dorian harmony is 1.Folk/ Tudor 1.’Scarborough Fair’ =

heard at the beginning dorian
String Quartet,
‘3rd Movement’
(Ravel) = dorian &
aeolian modes
2. Root & 1st inversion 2. = gentle harmonic 2. ‘Flow My Tears’
chords in introduction, language of English (Dowland) : uses root &
features some parallelism Renaissance & 1st inversions
parallelism of
HARMONY Impressionism
3. D minor and G major 3.=mystery 3. ‘On a Poet’s Lips I
placed chords one after Slept’ (Britten):
the other conflicting chords =
untroubled & troubled
sleep
4. Dead man’s stanzas: 4.= lifeless, ‘mono- 4.
chords = diatonic colour’
5. Living man’s stanzas : 5.= inner drama, 5. ‘A Lyke-Walk’
chords = more emotions (Walton): chromatic
dissonance chords at times
1.Con sordino (with 1.= ghostly, distant Impressionism use of

mute) strings strings:
2.Mutes removed final 2.= impact & adds String Quartet,
section drama ‘3rd Movement’
3.Solo cello (without 3.= adds drama & (Ravel)
mute) with voice of living tension -con sordino
man -tremolo
4.Final stanza : tutti 4.= devastating -pizzicato
strings with violin top moment -contrast between
register accents muted & unmuted
SONORITY 5. Unison strings & voice 5. = impact & clarity of
‘dead man’s words
6. String techniques : 6. Word painting &
- pizz. cello only colouring of
- con sordino instrumental timbres
- tremolo
7. Piano techniques : 7.
- triplet chords - = Romantic language
- tremolo
- una corda (soft pedal) in
solo piano version
COMPOSER/ WORK: Vaughan Williams, On Wenlock Edge: No. 5 ‘Bredon Hill’

33

CONTEXT 1. Bredon Hill is a poem that tells of a love that is -Butterworth : ‘Bredon
overcome by death. Bredon Hill is on the border Hill’ based on same
between Worcestershire and Gloucestershire (so poem
not Shropshire).
2.Lovers lie on Bredon Hill ignoring bells calling
them to church. They will go when the bells call
them for their wedding. But the girl dies in winter
and goes to church alone, summoned by a single
tolling bell.
3.VW’s debt to Ravel is obvious in this song, in
particular with piano sonorities, reminiscent of
Ravel’s Miroirs No. 5 (‘La vallée des Cloches’ ;
‘The Valley of the Bells’)
4.
1.Melisma on ‘happy’, 1.= special emphasis 1.
‘pray’
2.Mixolydian mode 2.= English folk 2. ‘Submerged
Catherdral’ (Debussy):
Mixolydian & Aeolian
inflections
3.Middle of the song is 3.= drama 3.
more chromatic 4.
4.Vocal line = mainly 4.
stepwise & syllabic
5.High tessitura at times 5. Highest registers of 5.
(i.e. bar 128 summoning the voice for moments
of the bells) of drama and distress
6. Range of melody 6. Tragic sadness 6.
narrow for the funeral
MELODY
music
(& WORD SETTING)
7. Descending triplets 7. = distraught 7.
piano & strings in as the
reaction to ‘noisy bells’
8. Stanzas 1 and 2 8. = tranquillity, bliss 8.
revolves around a G
(home note)
9. Afterwards the music 9. = tension increases 9.
departs from home note
10. Final stanza: single 10. = stark ending 10. ‘Bredon Hill’
repeated G melody on ‘I (Butterworth) :also
will come’ ends on repeated G =
death knell tolling
11. Syllabic word setting 11. ‘Bredon Hill’
(Butterworth) : is
syllabic
1.Strophic (based on 1. ‘Bredon Hill’

poem’s stanzas) 2. (Butterworth) : also
STRUCTURE / 2. The seven verse 3. strophic. Based on
FORM structure is: Intro–A–A– 4. same poem
B–B’–C–D–A’-postlude.
3.
4.
34
RHYTHM / METRE 1.Starts with anacrusis 1.To follow iambic 1.

poetry
2.Tied semibreve chords 2.= bells 2. ‘Bredon Hill’
(Butterworth) : long-
3. Simple duple metre 3. = calm and resigned held chords
(2/2), turning into 4/4 ; tone to the song 3.
with at times 2/4 & 3/2
metres
4.Various rhythmic 4.The use of rhythm 4. ’The Valley of the
ideas : increases the drama in Bells’ (Ravel)
this song
- long sustained chords - = bells -’The Valley of the
at start Bells’ (Ravel) : long
- dotted minim followed -=funeral march sustained chords for
by crotchet bells
-triplets
-= sets the song in -’The Valley of the
motion Bells’ (Ravel) : triplets
= rocking motion
5.Accompaniment moves 5. = chaos & confusion 5.
through triples & of the ‘noisy bells’
semiquavers, whilst voice
ist to be ‘sung quite freely
– irrespective of
accompaniment’
6. Bar 129 : cascading 6. = Church bells & 6. ‘Bredon Hill’
quavers in piano, adds drama (Butterworth) :
35
becoming semiquavers constant quaver figures

= suggestive of bells
ringing
1. Free tempo at the end, 1. 1.

as long as the singer
finishes before end of
TEMPO instrumental
2. Slow tempo 2. = calm and resigned 2. ’The Valley of the
3. tone to the song Bells’ (Ravel) : =slow
4. 3. tempo Très calme
4.
1.Tonality is largely in/on 1. = modal inflections 1.English folk songs &
G with varying modal Tudor music
inflections & avoidence ‘Submerged
TONALITY on cadential harmony : G Catherdral’ (Debussy):
pentatonic, mixolydian & pentatonic mode with
aeolian mixolydian & aeolian
modes
1. Solemn sustained 1.= sound of the tolling 1. ’The Valley of the

chords of bells Bells’ (Ravel) : 8ve
chords = bells
‘Bredon Hill’
(Butterworth) : opens
with triads to suggest
2. Melody-dominated 2.= recitative-like bells
homophony freedom
TEXTURE
3. Bare, chordal textures 3. = Debussy (‘La
in intro Cathédrale Engloutie’ ;
‘The Submerged
Cathedral)
4. Monophonic vocal line 4. = devastating
at the very end ending to the song
5. Double-stopping 5. = more dense
strings at start
1. Extremes of dynamics 1.= represents 1. ’The Valley of the

are used frequently in different emotions from Bells’ (Ravel) : ppp =
DYNAMICS
this movement, right happiness and bliss, to atmospheric
down to pppp devastating ending
HARMONY 1. At the beginning : 1.= Impressionism : 1. String Quartet,

series of long held minor parallel harmonic ‘3rd Movement’
seventh chords in root language (Ravel) : minor 7ths
position.
2. Seventh chords 2.= adds colour 2. ‘Submerged
dominate this song Catherdral’ (Debussy):
7th chords
‘A Lyke-Walk’
(Walton): use of 7ths at
start
3. Sevenths become 3.Extended chords = 3. String Quartet,
elevenths (b.52) common feature in ‘3rd Movement’
Impressionism (Ravel) = extended
chords
‘A Lyke-Walk’
(Walton): extended
4. Occasional second 4.= harmonic fluidity chords (9ths)
inversion seventh chords 4. ’The Valley of the
36
Bells’ (Ravel) : has

5. This number = least 5. = use of chords for inverted 7th chords
traditional of all three in colouristic effect & 5. ‘Submerged
terms of harmony = debt avoidance of functional Catherdral’ (Debussy):
to Ravel & Debussy harmony lack of cadences
6. At times static or slow 6. To support the voice

moving progressions 6. ‘Submerged
= static chords
‘A Lyke-Walk’
7. Parallel chords with 7. = bells (Walton): one-chord/bar
octaves, 4ths & 5ths 7. ‘Submerged
starts with parallel
chords with open 5ths
String Quartet,
‘3rd Movement’
(Ravel) = parallel chords
1.Pianissimo, muted 1.= creates open, 1.

strings at start & double- gentle scene
stopping in upper strings
2.Combination of 2.= suggest the sound 2. ‘Submerged
pizzicato & arco (with of the bells Catherdral’ (Debussy):
bow) low ringing of church
bells
3.Open harmonics 3.= another bell effect 3. Impressionism use of
(sounds an octave higher strings:
SONORITY & bright, pure tone) at String Quartet,
end of song ‘3rd Movement’
4.sul D & sul G (to play 4.VW wants specific (Ravel)
on D/ & G string) ‘colour’ to the -tremolo
harmonics played -pizzicato
5. Sustain pedal piano & 5. Debussy technique, -double-stopping
use of una corda blurring of harmonies -contrast between
simultaneously and scene muted & unmuted
6.Tremolo strings 6. = agitated -open harmonics
7. Repeated down bows 7. = more forceful
tone.
37
COMPOSER/ WORK: Vivaldi, Concerto in D minor, Op. 3 No. 11, 1st Mvt
CONTEXT 1.Vivaldi = leading Italian composer of the Baroque Other examples
period. This piece composed 1711 Concerto Grosso
2.Other important Baroque composers : J.S.Bach, -Corelli Christmas
Handel (German), Corelli (Italian) Concerto Grosso
3.Vivaldi = virtuoso violinist (for his time). Vivaldi op.6/8 Mvts 1-6
introduced the genre for which he would (Corelli) composed
become well known: the instrumental concerto. around 1690
4.Concerto grosso : standard = trio sonata (two
upper melodic instruments (often violins) & basso - Bach Brandenburg
continuo) group with string orchestra and continuo. Concerto No.2, Mvts 1-
5. Bass continuo = chordal instrument 3 (Bach) composed
(harpsichord or organ) & bass instrument (cello or 1721
bassoon). The chordal instrument reads figured
bass : a bass line (played by the bass instrument &
LH of keyboard player) with numbers that indicated
which chords/intervals to play (i.e. 5 = root position,
6 = 1st inversion, 6/4 = 2nd inversion). The
keyboard player would improvise over these
chords.
7.Concerto in D minor : could have two
harpsichords : one for the solo group
(concertino) ; the other for the orchestral string
group (ripieno). Often the same player would be
used for both.
- Vivaldi began to write more demanding music for
soloists than his predecessors, as well as lending Brandenburg
more weight to the solo first violin, giving it more Concerto No.2, Mvts 1-
solo passages than in a typical concerto grosso. 3 (Bach) : demanding
- The opus 3 set was given the name L’Estro part for trumpet
Armonico (Harmonic Inspiration). It helped
establish the new idea of the solo violin concerto.
8. Features of instrumentation in this piece

include :
- violins I and II = the soloists, and III and IV = the
ripieno. - Christmas Concerto
- violas I and II play the same thing throughout Op.6/8, (Corelli): same
- solo cello is scored above the continuo line. instrumentation
- at times tasto solo, = no chords should be
playing. - Bach Brandenburg
-The instruments are bowed throughout. Concerto No.2 : more
-Contrast of forces = essential throughout unusual scoring :
concertino: clarino
9. Typical Baroque features of the score : (natural trumpet) in F,
- Figured bass recorder, oboe, violin
- Dynamics are ‘terraced’ : no cresc. or dim. ; but ripieno : two violins,
contrasts. viola, violone, and basso
- Dynamics are mid-range (not extreme) continuo
- Italian indications of performance indications ; i.e.
spiccato
10. Features of Baroque musical language :

- long flowing melodic lines often using
ornamentation (trills, turns)
- melody based on one idea
- contrast between loud and soft, solo and
ensemble
- a contrapuntal (polyphonic) texture
38
- terraced dynamics
- the use of harpsichord continuo
- orchestra = based on strings
- continuous rhythmic drive
- clear major/minor tonalities & modulations to
related keys. Often a movement would have one
‘affection’ (mood).
11. Evolution of Concerto Grosso :

The set work & w/l examples show evolution of
Concerto Grosso in Baroque era :
-Corelli (early-Baroque) = created standard

concerto grosso : concertino & ripieno use the
same material (w/l around 1690). Very short and
numerous movements.
-Vivaldi (mid-Baroque) = develops concerto

grosso : instruments in concertino have some solo
moments that are more technically difficult (set
work 1711). Movements slightly longer & fewer.
-Bach (end-Baroque) = extends concerto grosso :

concertino instruments have extensive solo
sections that are virtuosic and clearly set them a
part from the ripieno (set work 1721). Starts to
establish the 3 movements of solo concerto form.
1. Starts = broken chords 1. 1. Christmas Concerto

(triadic) & scalic Op.6/8, 3rd Mvt
(Corelli): also starts
2. Decorated melody (i.e. 2.Baroque melodic triadic melody
changing notes (up then lines = ornamented 2.
down 3rd)
MELODY 3. Sequences = defining 3. 3. Christmas Concerto
characteristic of Vivaldi’s Op.6/8, 2nd Mvt
music : b.20 cello (Corelli): sequences
sequence over circle of Brandenburg
5ths (=Vivaldi writing) Concerto No.2, 1st Mvt
4. 4. (Bach) : sequences
1.Bar 1-20 : Introductory 1.

section for two
unaccompanied solo
violins, featuring canon
(close imitation) and tonic
STRUCTURE /
pedals.
FORM
2.Bar 20 – end : solo 2.
cello and continuo, with 3.
descending and 4.
ascending sequences
3.
4.
RHYTHM / METRE 1. Continuous quavers 1.Gives the music 1. Christmas Concerto
(start) & semiquavers drive, ‘motor’ rhythms Op.6/8, 2nd Mvt
(solo cello) = typical = momentum (Corelli):cello =
Vivaldi writing continuous quavers
(moto perpetuo)
Brandenburg
39
Concerto No.2, 1st Mvt

(Bach) :continuous
semiquaver/quaver
2. Simple triple time (3/4). 2. movement thoughout
3. 3.
4. 4.
1.Allegro 1.
2. 2.
TEMPO
3. 3.
4. 4.
1. D minor and most of 1.In Baroque era, a 1.Christmas Concerto

the music remains in the movement would have Op.6/8, 1st Mvt
tonic key. one ‘affection’ (mood) ; (Corelli):remains in
contrasts within a tonic key (G minor)
movement only
TONALITY
emerged in Classical
era.
2. 2.
3. 3.
4. 4.
1. Begins with two-part 1.Polyphony =

canon for the two solo Baroque feature
violins. = unaccompanied 2.
and & tonic pedal D 3.
TEXTURE 2.Cello & harpsichord 4.
section = melody
and accompaniment
3.
4.
1.No dynamics written 1.= Baroque feature 1.Applicable to w/l with

2.To be played with 2. very little dynamucs &
DYNAMICS energy & force 3. all mid-range
3. 4.
4.
1.Functional, with strong 1.-3. = Baroque 1.All w/l uses functional

drive to cadences features harmony
2.Root position chords, 2.Mixture of root & 2. Brandenburg
1st inversions & 7th inversion = smoother Concerto No.2, 1st Mvt
chords (Bach) : V7th root, 3rd
HARMONY
inversion & 1st inversion
triads
3.Cello solo section over 3. 3. Brandenburg
circle of 5ths 4. Concerto No.2, 1st Mvt
4. (Bach) : circle of 5ths
SONORITY 1.Cello part has virtuoso 1.Cello = breaking 1. Brandenburg

(technically difficult) solo away from its basso Concerto No.2, Mvts 1-
music, breaking away continuo function to 3 (Bach) : more
from continuo line (end of have its own virtuosic parts for
1st section) independent line concertino
Brandenburg
(Bach) :running bass-
line = device often used
by Bach
40
2. Unusually the two solo 2. 2. Brandenburg

violins play Concerto No.2, 1st Mvt
unaccompanied at the (Bach) : tasto solo
beginning of the piece.
3. Resonant exploitation 3.
of open strings at the 4.
start
COMPOSER/ WORK: Vivaldi, Concerto in D minor, Op. 3 No. 11, 2nd Mvt
CONTEXT 1.
2.
3.
4.
1. Chromatic melody 1. 1.
Adagio
2.Conjunct music at the 2. 2.
beginning of the fugue,
followed by a series of
disjunct leaps outlining
the circle of fifths.
3.Rising scales in the 3. 3.
bass line at bar 37
MELODY
4.. 2nd section = fugual 4.Fuge = Baroque 4. Brandenburg
(not quite a ‘strict’ fugue, texture. In ‘Melody’ Concerto No.2, 3rd Mvt
but with features) : - discuss only the (Bach) : fugal-ritornello.
subject (answer) & subject or
countersubject 1 (which contersubject
has repeated notes) & melodies ; not have
countersubject 2 they are put together
(quaver leaps then (=texture)
descending semiquavers)
1.Section 1 : Adagio = 1. 1.

introudction
2.Section 2 : Allegro = 2. 2. Brandenburg
STRUCTURE /
fugal & contrasting tutti- Concerto No.2, 3rd Mvt
FORM
solo passages (Bach) : the concertino
play the fugue ; whilst the
ripieno play simple
harmonic support
1. Simple quadruple time 1. 1.
2.’Motor’ rhythms in fugal 2.= sense of 2. Brandenburg
passage momentum Concerto No.2, 1st Mvt
(Bach) :similar ‘motor’
rhythms (quaver/
semiquavers)
RHYTHM / METRE
3. Occasional 3. 3. Christmas Concerto
syncopation Op.6/8, 1st Mvt (Corelli):
2nd section also has
syncopations
4.Simple quavers with
minim in Adagio 4. 4
41
1.Adagio e spiccato 1.
2.Allegro 2.
TEMPO
3. 3.
4. 4.
1.1st section : D minor 1. 1.

2.2nd section : D minor ; 2.Functional tonality 2. Christmas Concerto
answer in A minor (V), Op.6/8, 2nd Mvt (Corelli):
back to D minor also I (G minor) to V (D
TONALITY minor)
Brandenburg Concerto
No.2, 1st Mvt (Bach) : F
major modulates to C
major (V), D minor
(relative minor)
1.Adagio : Homophonic 1.= attracts attention of 1.Christmas Concerto
and homorhythmic audience. Contrasts Op.6/8, 1st Mvt (Corelli):
(chordal) with the fugal entries starts with
to come homophony/homorhythmic
that is also followed by…
2.Allegro : fugual writing 2.Fugue = Baroque 2. …fugual section
- starts with a subject in polyphonic writing
the basses. (Bach was the master
- violas have the answer, of fugues)
TEXTURE while the cellos continue
with the first of two
countersubjects.
3. There is four-part 3. 3.
texture.
4. Alternation of tutti 4. Contrasting textures 4. Brandenburg
sections (ritornello) and for dynamic contrast = Concerto No.2, 1st Mvt
the solo concertino Baroque feature (Bach) : also ritornello
(episodes) (tutti) & episodes
(concertino)
1. Dynamics are 1. 1. Brandenburg

generally absent a= Concerto No.2, 1st Mvt
generated by changes in (Bach) : contrast
texture. dynamics with texture
DYNAMICS
2. From bar 59 to the 2. The terraced
end : alternation between dynamic effect (=
f and p. typical for the Baroque
period.
HARMONY 1.Adagio : 1. 1.
- almost entirely seventh
chords, all in root position
- circle of fifths
- ‘Spiced up’ by a - Colouring of
descending chromatic functional harmony =
melody, as well as the Vivaldi fingerprint
Neapolitan 6th in bar
3.
- ends on V7th
2.Fugal section : 2.
occasional 7th chords in
first inversion : 6/5 & third
inversion : 4/2
3. Long V pedal and
shorter I pedal at the end 3.
42
of the fugue
4.Suspension b.50
4.= typical Baroque
harmonic writing
1. The adagio of the 1. 1.
second movement is for
tutti (all the players).
2. The adagio is marked 2. 2. Christmas Concerto
spiccato = bouncing the Op.6/8, 1st Mvt (Corelli):
bow off the string starts spiccato
(although normally it’s in
fast passages)
SONORITY
3. A ritornello-type (a 3. 3. Brandenburg
short instrumental refrain/ Concerto No.2, 1st Mvt
recurring passage) (Bach) : ritornello with
instrumentation in the insturmental solo
fugal (contrapuntal) episodes
section in the second
movement.
COMPOSER/ WORK: Vivaldi, Concerto in D minor, Op. 3 No. 11, 3rd Mvt
CONTEXT 1.Siciliano : a dance that was slow and in
compound time, with lilting dotted rhythms.Often
used to depict pastoral scenes, although not the
case here.
2.
3.
4.
1. Tutti opens with 1. 1.

stepwise movement
2. Solo combines the 2. 2.
stepwise movement with
leaps in the slower-
moving rhythms,
including sevenths and
diminished fifths
3. There are a number of 3. 3.
chromatic notes
4. Decoration (trills) 4. 4. Christmas Concerto
Op.6/8, 4th Mvt
MELODY (Corelli): trills
Brandenburg
Concerto No.2, 2nd
Mvt (Bach) : trills
5.Lyrical violin solo 5. Brandenburg
melody Concerto No.2, 2nd
Mvt (Bach) : Lyrical,
slow movement. A slow,
lyrical section will
become the standard
middle movement in the
solo concerto
43
1. b.1-3 : tutti 1.
2. b.3-17 Violin I solo 2.V goes away from
accompanied by violins the norm by giving the
STRUCTURE / 1st violin a prominent
FORM II, III and IV and violas
part. = percursor of the
solo concerto
3.b.17-20 : tutti 3.
4.= Ternary form (A-B-A) 4.
1.Siciliano rhythm : 1. 1.
dotted, rocking
2. Compound quadruple 2.= Siciliano dance 2. Christmas Concerto
RHYTHM / METRE time (12/8) Op.6/8, 6th Mvt
(Corelli): lilting
pastorale (but not
Siciliano)
1.Largo e spiccato 1.= Siciliano dance

2. 2.
TEMPO
3. 3.
4. 4.
1.Section A (tutti) : D 1. 1.
minor
2.Section B (solo violin) : 2.F minor = key of 2. Brandenburg
starts in D minor, goes to mediante = distant key Concerto No.2, 1st Mvt
G minor (IV) & F minor (= = unusual (evolution of (Bach) : in F major with
TONALITY
more remote key) tonal language from section in C minor (Vm)
Corelli) & G minor (IIm)=
exploration of even
more remote keys =
development of tonal
language further
1.Tutti = homophonic 1. 1. Christmas Concerto
Op.6/8, 4th Mvt
(Corelli): homophony
TEXTURE
2.Solo violin = melody- 2.= melody can be 2. Christmas Concerto
dominated homophony clearly heard Op.6/8, 4th Mvt
(Corelli): cello there is
also a solo violin section
1.Sparce, but clear it 1.
should be soft due to the
nature of the piece
2. Accompaniment to be 2.
DYNAMICS
pp when the solo violin
begins = melody line can
sing out over the rest of
the ensemble
1. 1st bar : a few 1. = colours harmony 1.

diminished 7th chords
2. Typical root position 2. 2. Christmas Concerto
HARMONY and first-inversion chords Op.6/8, (Corelli):also
3. Neapolitan chords 3. = colours harmony uses root & 1st inversion
chords throughout, with
occational 7ths in root &
1st inversion
SONORITY 1.The solo sections in the 1. 1.
central third movement
leave out the solo cello
entirely, and there is no
44
continuo music.
2 The bass line is played 2. 2.
by a viola (this happens
in episodes of the last
movement as well).
3. Only the first solo violin 3. = precursor of solo 3. Christmas Concerto
has an important solo (violin) concerto Op.6/8, 4th Mvt
role in the siciliano (Corelli): cello there is a
short solo violin section
Brandenburg
Concerto No.2,(Bach) :
several extensive solo
(virtuosic) sections
COMPOSER/ WORK: Vivaldi, Concerto in D minor, Op. 3 No. 11, 4th Mvt
CONTEXT 1.
2
3.
4.
1. Repetition of melodies 1. = Baroque feature 1. Brandenburg

and key themes occurs Concerto No.2, 1st Mvt
throughout this (Bach) : more motivic
movement ideas (= development of
concerto grosso). The
solo instruments play
2. Imitation or alternation 2. new material (also
MELODY of the same phrase development)
between two instruments
or groups of instruments
3.Main melody separated 3. = Vivaldi fingerprinit
by repeated semiquavers 4.
on same note (b.35-43)
4.Chromatically
descending bass-line
1.= loose ritornello form 1.See ‘evolution of 1.Brandenburg

(with repeated tutti concerto grosso’ in Concerto No.2, 1st Mvt
STRUCTURE /
section) with alternating context (Bach) : ritornello with
FORM
solo & tutti passages & insturmental solo
epidsodes (= new episodes
material)
1.4/4 1. 1.
2.Begins on anacrusis 2. 2. Brandenburg
(Bach) :starts with
anacrusis
3.Lively rhythms 3. = drive, momentum 3.
RHYTHM / METRE 4.Relentless moto 4.= more virtuosic 4. Christmas Concerto
perpetuo (fast-moving playing Op.6/8, 2nd Mvt
instrumental music (Corelli): cello =
consisting mainly of continuous quavers
notes of equal length) (moto perpetuo)
semiquavers (especially
Vln I)
45
1.Allegro 1.
2. 2.
TEMPO
3. 3.
4. 4.
1.D minor 1. 1.
2. Modulations to G 2.=functional tonality 2. Christmas Concerto
TONALITY minor (IV) & A minor (V) 3. Op.6/8, 6th Mvt
3. 4. (Corelli):Siciliano
4.
1. Solo violins sometimes 1. 1. Christmas Concerto

play in 3rds Op.6/8, 4th Mvt
(Corelli):solo violins in
3rds
2.Vivaldi creates 2. 2.
contrasting textures : - Brandenburg
- imitation between solo Concerto No.2, 1st Mvt
violins (Bach) : imitation solo
TEXTURE trompet & oboe
- solo violins play in
harmony
-melody-and-
accompaniment
3.Contrasts between 3.Texture provides 3. Christmas Concerto
concertino & ripieno contrasts in dynamics Op.6/8, 2nd & 4th Mvts
(Baroque feature) (Corelli):also contrasts
ripieno & concertino
1. Where passages are 1. = to reflect the

repeated with different change in instrumental
DYNAMICS combinations of forces
instruments, Vivaldi
specifies his dynamics
1. 3rd last chord = 1. = colours chord 1.

secondary dominant in
1st inversion
2. Chain of suspensions 2. = typical Baroque/ 2. Christmas Concerto
in the final tutti passage Vivaldi = creates Op.6/8, 1st & 2nd Mvts
harmonic tension (Corelli):chain of
HARMONY suspensions (Corelli
fingerprint)
Brandenburg
Concerto No.2, 3rd Mvt
(Bach) : sequence of
suspensions in violin
under trumpet & oboe
solo
1.Concertino returns to 1.
the fore
2. Writing = idiomatic 2.Supremacy of string
SONORITY
(natural/ well-suited for instruments in
the instrument) exploiting Baroque era.
their capabilities and Vivaldi = virtuoso
timbres. violinist
COMPOSER/ WORK: Clara Wieck-Schumann, Piano Trio in G minor, Op. 17:
‘Movement 1’
CONTEXT 1.Clara Wieck Schumann = mid- late Romantic era -Mozart String Quartet
46
(2nd ½ 19th century) composer & concert pianist. in D minor, K. 421, ‘1st
Married to the composer Robert Schumann Movement’ (Mozart)
2.Clara Wieck Schumann worked with the leading composed 1783 =
soloists of her times, including the violonist Joseph example of Classical era
Joachim, who led the Joachim Quartet, one of the chamber music (M)
finest in 19th Century. She, and her husband, also
took under their wing the (younger) composer - Mendelssohn: String
Johannes Brahms. Quartet No. 5
3.Music scene in 19th Century in E flat, Op. 44/3, ‘1st
-The 19th century saw the growth of amateur movement’
performance societies that sponsored numerous (Mendelssohn)
musical groups, gave house concerts, compiled composed in 1838 (just
music lending libraries, and encouraged music before CWS’s)
making.
-The ascendency of professional conductors, -R. Schumann : Piano
soloists, and chamber music groups that toured the Quintet, op. 44, ‘1st
major cities raised the overall standard of music Movement’, 1842.
performance and the public’s awareness of music Husband of Clara. First
as an art form. piece of music written
4.War of the Romantics : for piano and string
Different philosophical ideals on music emerged quartet. It revolutionised
around 1860 that questioned traditional and new the instrumentation and
music forms : musical character of the
-One group, led by Richard Wagner and Franz piano quintet and
Liszt felt that “absolute” music (Classical era) had established it as a
ended and a more programmatic format (i.e. based quintessentially
on myths and telling a story) was necessary to Romantic genre. Its
advance music. They broke rules for bigger, larger, technical demands
more extreme compositions. place it in into the public
-The other group led by Johannes Brahms and concert hall ; rather than
Clara Schumann espoused absolute music and the salon. = more
excluded extra-musical associations. Supporters of Romantic as it
absolute music advocated chamber music as a represents the
pure music form. They remained more restrained composer’s inner
and linked to the Classical era. struggles and two
5.Romanitc Chamber Music : ‘personalities’ :
-Chamber music is music composed for a small Florestan = impetuous &
group of musicians (2-8) sensitive Eusebius.
-It was intended to be played in a small room
(‘chamber’), but during Romantic era chamber -Brahms: Clarinet Trio
groups were formed of professional musicians in A minor, Op. 114,
(Clara Wieck, Joachim), who performed in public. ‘1st movement’
-The best-known chamber music of the Romantic (Brahms) composed in
period therefore tends to be that by composers 1891 (late-Romantic,
who were more ‘Classical’ in their tastes, being quite a few decades
interested in structure and melodic development. after CWS’s)
Mendlessohn, Schumann, Brahms, Dvorˇák and
Tchaikovsky fall into this category.
-The main mediums of chamber music in the
period were string-based ensembles (string
quartets, quintets, sextets and octets),
combinations of piano and strings (piano trios,
quartets and quintets, as well as duos for a
stringed or wind instrument and piano) and mixed
ensembles (for instance clarinet quintet, clarinet
trio and horn trio).
6. Piano Trio in G minor, Op. 17
- The Piano Trio (piano, violin and cello) =one of
the most important forms of chamber music from
the late 18th to well into the 19th century
47
-It is in four movements

-mid-Romantic work (1846)
Classical & Romantic era characteristics :
7.Classical music characteristics :
-An emphasis on elegance and balance
-Short well-balanced melodies and clear-cut
question and answer phrases
-Mainly simple diatonic harmony
-Mainly homophonic textures (melody plus
accompaniment) but with some use of counterpoint
-Use of contrasting moods
-Clear musical structures.
-Development & importance of sonata-form
8.Romantic music characteristics :
-Freedom of form and design. It was more personal
and emotional.
-Song-like melodies (lyrical), as well as many
chromatic harmonies and discords.
-Dramatic contrasts of dynamics and pitch.
-Big orchestras, due mainly to brass and the
invention of the valve.
-Wide variety of pieces (i.e. songs up to five hour
Wagner operas)
-Programme music (music that tells a story)
-Shape was brought to work through the use of
recurring themes.
-Great technical virtuosity.
-Nationalism (a reaction against German influence)
MELODY 1.Balanced phrases 1.= Classical String Quartet in D
minor, ‘1st Mvt’
(Mozart) :
2. Melodic contrast 2.= Classical -balanced phrases
-contrast between 2
themes
-1st theme has leap 8ve,
3.1st subject:(1a 1b) 3. Mix of Classical & balanced, diatonic
-balanced Romantic features
-diatonic -balanced, diatonic, String Quartet No. 5
-rising sequence sequences = Classical in E flat, ‘1st Mvt’
-leaps (octave) -leaps, appoggiatura, (Mendelssohn) :
-lyrical lyrical melody = -subjects also divided in
Romantic motifs (as CWS) that
expressiveness motifs has a distinctive
4.=Romantic language rhythm and melodic
4.2nd subject (2a 2b) shape
-descending stepwise -sequences
-appogiatura -balanced phrases
-dim 7th (question & answer)
-chromaticism -predominantly stepwise
4.In development, with leaps for more
chromaticism drama
Both CWS &
Mendelssohn the
melody tends to move
back within the leap,
which is a trait of music
of the Classical period
Piano Quintet, op. 44,

‘1st Movement’ (R.
48
Schumann)
-1st theme = disjunct,
strong, upwards,
balanced = heroic
-Transition = lyrical,
starts leap of 7th then
downwards and
upwards stepwise
movement with use of
ascending chromaticism
= expansive, singing
-2nd theme = ‘pastoral’,
lyrical, balanced
phrase ; leap down 5th
and then rises back up
by step ; answered by
inversion
-both themes developed
in development
-Recapotulation use of
ascending sequences of
theme 1 = heroic,
positive feel.
Clarinet Trio in A
minor, Op. 114,‘1st
Mvt’ (Brahms) :
-Lyrical melodies
-Expressive leaps
-Rapid arpeggios &
scales
-Triadic
-Ascending arpeggios
-Some chromatic lines
STRUCTURE / 1.Sonata form : 1.=Classical form (not String Quartet in D

FORM - exposition (two programme music of minor, ‘1st Mvt’
subjects) Wagner or Liszt) (Mozart) : in sonata
-development (based form also
mainly on 1st subject) -development also
-recapitulation (both based on 1st subject ; &
subjects) semiquavers from 2nd
2. 2. This movement subject
3. follows the traditional
4. structure of a sonata String Quartet No. 5
form. However, Clara in E flat, ‘1st Mvt’
Schumann stretches (Mendelssohn) :
the tonal scheme in -Also follows standard
some unusual ways, sonata-form, although
through a systematic there is further
use of chromatic development in the
mediant relationships, recapitulation
to break the shell of
the old-fashioned Piano Quintet, op. 44,
sonata form ‘1st Movement’ (R.
established in the Schumann) :
Classical Period. -Sonata form, with some
3. variation.
4. -Contrast between
heroic 1st theme
49
(=Florestan) & lyrical 2nd

theme (=Eusebius)
-Extended transition
section that goes to Gb
major (bIII) = remote
and unusual. Dramatic
section
-2nd theme in V key (Bb)
= Classical norm
-Development = conflict
between 1st ‘heroic’
theme & 2nd ‘pastoral’
theme
-Development : explores
distant keys ;
development of both
themes (characters) as
a conflict between two
forces. Very instense.
- Recapitulation = in
home, major key (=
Classical standard) =
heroic feel after the
‘disorientated’ and
tumultous development
-The Recapitulation
finishes with a final
startement of the 1st,
assertive theme =
Romantic, positive,
heroic
Clarinet Trio in A
Mvt’ (Brahms) :
- The movement is in
sonata form.
-Develops themes
particularly important
-Went a step further by
deriving bass lines &
harmonies, tonal
schemes from the motifs
-Exposition : there are 3
main themes (=unusual)
-Development : Themes
used 1a & 1b (as
-Recapitulation : 3
themes reappear,
although with some
variation & in different
order
This shows how
Brahms’ use of structure
is more ‘Romantic’
50
RHYTHM / METRE 1. 4/4 metre, but often 1. String Quartet in D

feels more like 2/2 minor, ‘1st Mvt’
2.Themes have (Mozart) : themes have
distinctive rhythmic 2. distinctive rhythms. Here
features : 1st subject is dotted ;
-1st subject : starts with whilst 2nd subject is
anacrusis, dotted rhythm more lyrical
-2nd subject : syncopated
3.Ties over bar-lines String Quartet No. 5
4.Lively rhythms & 3.= more lyrical in E flat, ‘1st Mvt’
quaver passage work 4.= drive, momentum (Mendelssohn) :
5.Syncopations (but not -subjects have
extreme 5. distinctive rhythms with
dotted rhythms,
anacrusis and
contrasting longer note
values

‘1st Movement’ R.
Schumann)
-1st theme is minims &
crotchets = strong,
heroic, assertive
-followed by quavers =
strong, rhythmic drive
-Transition: starts
minims, but then has a
dotted minim and
smooth crotchets =
more gentle
-2nd Theme: minim,
dotted crotchet, quaver
and crotchets = similar
51
to Transition, but with

staccato = more joyful.
Crotchet chords in piano
with 3rd beat rest = lilting
-Development: use of
syncopation = metrical
displacement = inner
struggle
-Quaver-movement in
development in piano
R.H. = energy
-Hemidemi semiquaver
triplets strings & piano in
homophony & dotted
crotchet= agitated
Clarinet Trio in A
Mvt’ (Brahms) :
-Much use of triplets
(Brahms fingerprint)
-Tied notes over bar-
lines
-Dotted rhythms (also
very Brahms)
-Anacrusis
-Themes have
distinctive rhythmical
features
-Themes are
rhythmically modified
(augmentation or
diminution) = more
‘Romantic’
-Also has a feel of 2/2
TEMPO 1. Allegro moderato 1.=standard 1st movt String Quartet in D
2. There is a short poco 2. minor, ‘1st Mvt’
rit. in the second subject 3. (Mozart) : Allegro
group, but otherwise the 4.
tempo is unchanged. String Quartet No. 5
3. in E flat, ‘1st Mvt’
4. (Mendelssohn) :
Allegro vivace

Schumann) : Allegro
brillante = sparkling,
energetic, with
brilliance ; heroic
(=Romantic
temperament). Rubato
with certain lyrical
passages slightly
slower ; con fuoco
(=with fire) passage,
Clarinet Trio in A
52
Mvt’ (Brahms) :
Allegro
TONALITY 1.Mainly modulates to 1.=Classical tonal String Quartet in D
related keys language minor, ‘1st Mvt’
(Mozart) : standard
related keys for sonata
2.Home key= G minor 2. form
3. Sonata form is partly 3. = Classical -Exposition :
about key contrast principles in terms of 1st subj. D minor
the keys used in the 2nd subj. F major (rel
three main sections of Major)
the movement -Development :
4.Exposition : 4.= standard Classical Starts Eb major = distant
-1st subject : G m key (unusual) & moves
-2nd subject : Bb (rel M) from minor to major
5.Development : 5. Mainly functional (plaintive to sweet)
a flowing set of tonality, related keys = -Recapitulation :
modulations including Classical. Both subjects in home
E♭(IV rel M) , F minor (V Development is meant key (D minor) =
rel M),G minor (i), C to be tonally standard
minor (iv), F minor (more ambigious, as going
distant) on a journey before String Quartet No. 5
reaching home in in E flat, ‘1st Mvt’
Recapitulation (Mendelssohn) :
-A ‘Romantic’ feature of
6.Recapitulation: 6. = back home tonality is the use of
-1st subject: Gm (home) progressions that
-2nd subject (G major) undermine the main key
-coda: Gm by moving temporarily to
Starts standard Classical remoter keys (=CWS)
sonata form, but 2nd -Whilst Mendelssohn
subject in tonic major = follows the standard
Romantic language ; but tonal modulations of
returns to G minor sonata form (here Expo
1st theme being in M
7. Somc brief passing 7. = Romantic goes to V M; and at
modulations (D & B language recap remains in home
major) key); he passes through
8. Modulations are 8. = Classical with hint more distant keys
conventionally prepared, of Romantic
with perfect cadences, Piano Quintet, op. 44,
although the return to the ‘1st Movement’ (R.
home key is sometimes Schumann)
rather abrupt -1st theme in Eb major
9. Tonic and dominant 9. Firmly ‘grounded’ -Transition in distant key
pedals strengthen the Gb major (IIIb) =
sense of tonality contrast, Romantic more
10. This movement expressive use of
follows the traditional tonality where it
structure of a sonata becomes a ‘colour’ a
form. However, Clara feeling ; not just a
Schumann stretches structural device.
the tonal scheme in -2nd theme at last arrives
some unusual ways, at V key (Bb) = makes it
through a systematic sound all the brighter,
use of chromatic happier
mediant relationships, -Development passes
to break the shell of through several distant
the old-fashioned keys = unsettling (Gb
sonata form minor, C minor, F
53
established in the minor…)

Classical Period. -Recapitulation in tonic
Eb major key = heroic,
as if assertive character
of Florestan has
overcome the insecure
Eusebius = represents
Schumann’s inner
mental struggles
Clarinet Trio in A
Mvt’ (Brahms) :
- Brahms’s use of
tonality is unusual,
having three different
keys in the exposition
-His tonal language is
more ambiguous than
CWS’s, often shifting
from minot to major
-The development
explores more distant,
transcient keys, and the
recapitulation whilst
finishing in the home
key of A minor, hints
also at A major.
TEXTURE 1. Violin and cello use 1. String Quartet in D
double-stopping, fills in minor, ‘1st Mvt’
texture in quieter (Mozart) :
moments -mainly melody-
2. Chamber music = like 2.In this piece, all dominated homophony
a discussion between instruments are equal - with some moments of
instruments, so textures polyphony (imitation)
change often -offbeat chords in viola/
3.Beginning 1st subject = 3. = clarity of Classical vln 2
homophonic era
4.When 1st subject is 4.Adds lyrical element String Quartet No. 5
repeated = in E flat, ‘1st Mvt’
polyphonically (Mendelssohn) :
animated homophony -Mainly homophonic,
(countermelodies) melody-dominated
5. Piece is mainly 5. homophony
homophonic, but there -Close imitation at times
are moments of - There is a significant
polyphony in amount of textural
development with variety across the
passages of close movement
imitation -Double (and triple)
6. Dialogue between 6. stopping
violin & piano
7.V pedal textures 7. Piano Quintet, op. 44,
8. Doubled octaves 8. Thicker, denser ‘1st Movement’ (R.
texture = Romantic Schumann)
9.Block chords -1st theme =
10.Rising & falling 9. Dramatic homophonic/
arpeggios 10. = Romantic : homorhythmic = strong,
(Moonlight Sonata, assertive
54
11.Rocking quavers Beethovern) -Transition = h melody in

12. Offbeat chords 11. piano and dialogue with
12. = drive strings, off-beat rocking
quaver accompaniment
L.H. piano = more
intimate & lyrical
-2nd theme = call-and
response melody
between cello and viola,
with chordal
accompaniment piano =
melody-dominated
homophony = more
singing-like (cantabile)
-Use of imitation of 1st
theme in Development
-Development has
polyphonically animated
homophony = animated
soul, inner conflict
-Rhythmic agumentation
& diminution of themes
in development
Clarinet Trio in A
Mvt’ (Brahms)
- The texture is
generally homophonic
but with much
contrapuntal interest
-Chordal
-Imitation
-Pedal textures
-Doubled octaves
-Arpeggio triplets
- The piano textures are
generally quite
restrained for Brahms,
allowing the cello and
clarinet to be clearly
heard.
The piano often has
gaps in the middle
register for the cello and
clarinet to occupy.
(=CWS)
DYNAMICS 1.Ranges between ff & p 1.= not extreme String Quartet in D

2. Frequent cresc. & dim 2.= Romantic minor, ‘1st Mvt’
3.Some sf 3. (Mozart) : dynamics
4. 4. mid-range, with some
cresc. & dim. &
occasional sf
String Quartet No. 5

in E flat, ‘1st Mvt’
(Mendelssohn) :
ranges from p to ff.
55
Quite a few sf & many

cresc. & dim.

Schumann)
-Quite a wide and
dramatic range of
dynamics
-Starts f with accents
-Use of sf
-Transition starts p
-Much use of cresc. &
dim.
-Use of hairpins for a
few beats
-The dynamics are
related to the character
of the themes
-Expressive (and quite
detailed) use of
dynamics
Clarinet Trio in A
Mvt’ (Brahms)
- Range from pp to ff
HARMONY 1. Predominantly tonal 1.= Classical String Quartet in D
and diatonic, using minor, ‘1st Mvt’
functional progressions (Mozart) :
2. Major and minor 2. = Classical -clear cadences
chords, mostly in root -diatonic
position and first -a surprising dim chord
inversion in development
3. Frequent cadence 3. = Classical.
points Establishes/ confrims String Quartet No. 5
the key. in E flat, ‘1st Mvt’
4.Traditional (Mendelssohn) :
progressions used (Ic-V- 4.Ic-V-I = standard -Mendelssohn uses
I) cadence of Classical functional harmony
5. More complex chords era sharing many features
are used using chromatic 5. = Romantic style with that of the Classical
harmony : period, but with an
-dim 7ths (to replace V) added richness typical
-aug 6ths (approach to V) of early Romanticism.
-=Classical resolution. -Conventional ‘Classical
(Wagner broke that period’ features include:
rule by not resolving Clear cadence points
the aug 6th in ‘Tristan Resolution of
- dissonant extensions & Isolde’) dissonances
-many suspensions - Mostly the same palette
-=Classical of chords (major and
Whilst some chords minor triads, dominant
are ‘Romantic’, CWS 7ths, diminished 7ths)
does follow the - The ‘added richness’
Classical era’s comes through several
tension-and-resolution features that began to
in her use of aug 6ths be developed by
6.Seconday V & suspensions Romantic composers for
56
7.Cycle of 5ths 6.=more adventurous greater expression:

8. Progressions that 7.= functional harmony More use of diminished
follow a chromatic bass 8. = Romantic, more 7th chords
line downwards drama Expressive
appoggiaturas which
often create temporary
major or minor 9th
chords
Chromatic movement
creating expressive
dissonance
Augmented chords
Pedal notes with rich,
changing harmonies

Schumann)
-bass pedal point at the
start = stresses the tonic
= strong theme.
-use of perfect cadence
for 1st theme = assured
‘character’
-diminished 7th chord
against tonic pedal =
striking
-use of colourful chords:
i.e. half-diminished in
3rd inversion; augmented
6th, extended chords (9th)
- 2nd theme = contrast as
it is mainly diatonic,
slower harmonic rhythm
-Use of distant,
chromatic chords in
development (Eb7 with
minor 9th; minor
subdominant Ab) =
creates ominous feeling,
dark mood
-Ascending progression
of 5ths in development
-Neapolitan 6th in
development (resolving
to V)
Clarinet Trio in A
Mvt’ (Brahmns) :
-Although Brahms uses
cadences, they are
more clouded and at
times unusual (such as
VI-ib), creating ‘weak’
cadences
-Rich and chromatic use
of harmony, although
Brahms does use circle
57
of 5ths & pedal notes;

as well as aug 6ths, dim
chords & suspensions
1. The instruments are 1. String Quartet in D
given fairly equal roles in minor, ‘1st Mvt’
this movement (Mozart) :
2. None of the parts here 2.Growth of amateur -idiomatic string writing
are particularly virtuosic, musicians & music -not virtuosic
perhaps being intended societies. (Selling the
for performance by music to amateur String Quartet No. 5
capable amateurs, as musicians would have in E flat, ‘1st Mvt’
well as by professional been an extra source (Mendelssohn) :
musicians. of income for CWS, - all of the instrumental
who was the bread- parts have similar
winner of the family). musical interest
3. Violin and cello use 3. -not virtuosic music
double-stopping, both at 4. -all instruments whilst
loud dramatic moments using a wide range, do
4.Ranges are well within not go to extremes
each instrument’s -double & triple-stopping
capabilities. -arpeggios
5.Instrumental writing =
conventional & idiomatic Piano Quintet, op. 44,
(suits the instrument) ‘1st Movement’ (R.
6.Limited use of pizz. in Schumann)
cello -Piano quintet with string
7. Few piano pedalling quartet = new.
indications. -The role of the piano
8.CWS is sensitive to the alternates between
SONORITY
balance of instruments, musical substance and
so that the piano does virtuosity.
not obscure the strings. -Piano carries most of
melodic material, strings
acting as a distinct
separate group.
-Schumann conceived
the piano as a
counterbalance to the
four strings.
-The writing and concept
= nearly symphonic.
Clarinet Trio in A
Mvt’ (Brahms) :
- The writing for clarinet
melodic and lyrical, and
not particularly virtuosic
-Written comfortably
within range of the
instruments
-Double & triple stopping
on cello
-Uses a lower register
on piano
-Spread chords in piano
58
A2 COMPOSER/ WORK: Berlioz, Symphonie Fantastique: ‘Movement I’

CONTEXT 1. Hector Berlioz (1803–69) = French composer -Beethoven Symphony
highly influential in the development of Romantic No 6, ‘Mvt 4 Thunder-
music. storm’ & ‘Mvt 5
-He wrote on a large scale, increasing the size of Shepherd’s song.
the orchestra but showing innovative methods of Grateful thanks to the
orchestration as well as through his melodic and Almighty after the storm’
harmonic ideas. Beethoven’s Pastoral
-Beethoven’s influence on Berlioz was huge, symphony, = Classical
particularly on his symphonic works. but represents much of
-Berlioz was a ‘revolutionary’ Romantic ; like what the Romantic
59
Wagner and Lizst (not like Schumann or Brahms) movement sought to

uphold: programmatic,
2.Symphonie Fantastique vastly expressive,
-Symphonie Fantasique was first composed in unconventional and
1830 (but later revised) and is an example of emotion-provoking..
programme music. It tells the story of a talented The symphony is in 5
artist with a lively imagination who has poisoned movements (=unusual)
himself with opium in the depths of despair & portrays the
because of hopeless love. (It’s based on himself !) composer’s love of
-The Symphonie Fantastique is a highly original nature.
work of its time : its treatment of melody, rhythms He said the symphony
and harmony & ability to express moods and was and « expression of
drama through music. feelings rather than
-The symphony shows unity through the use of an depiction » of nature.
idée fixe, a recurring theme, which acts as a Berlioz was particularly
structural foundation of the work. inspired by the 4th Mvt.
-There are five movements, instead of the usual Composed in 1808 (just
four movements, & they have descriptive titles before Romantic era)
6. Mvt 1 : ‘Rêveries – Passions’ (Reveries –
Passions) -Liszt A Faust
Symphony, ‘1st
3. Symphonie Fantastique : Symphonic Revolution Movement : Faust’
-This symphonie marks a departure from the It is a monumental work
abstract and strict forms of the Classical period and where each of the three
embraces Romantic ideals: the composer’s ability movements is an epic
to express his or her individuality, and the depiction and conjuring
existence of a narrative or scene in music. of one of the characters
-Idée Fixe : the recurring theme that represents his from the defining work of
love and obsession for Harriet Smithson (poor German Romanticism:
woman !). The theme recurs throughout the work, Faust, Gretchen, and
often adapted to suit the mood and key of the Mephistopheles.
music (like Wagner would go on to treat his Some critics think the
leitmotifs). 1st mvt is partly auto-
-It is programmatic (i.e. tells a story, in this case biographical. Once
autobiographical) again, it is about
-The use of extended orchestra (see ‘sonority’) describing emotions &
- Use of special effects in other movements psychology of the
-Innovative approach to structure (see ‘structure’) characters ; rather than
events.
Composed in 1857, mid-
Romantic era
-R. Strauss Death and

Transformation (Tod
und Verklärung)
It is about a man who
lies dying. Thoughts of
his life pass through his
head: his childhood
innocence, the struggles
of his manhood, the
attainment of his worldly
goals; and at the end,
he receives the longed-
for transformation "from
the infinite reaches of
heaven". There are four
sections played without
a pause. Once again,
could be a metaphor for
60
the composer’s own

struggles as an artist..
Composed in 1889 –
late Romantic era ; at
dawn of Modernism
Idée fixe
(‘1st subject’)of Symphonie Fantastique
‘2nd Subject’ : see the similarities
MELODY 1.1st ‘subject’ idée fixe : 1. Beethoven Symphony

-idée fixe (a recurring No 6, ‘Mvt 4 & Mvt 5’
theme which serves as a Thuderstorm
structural device) = -scalic & very chromatic
central to melodic writing = sense of panic
- It starts on the dominant -tremolo scales &
with expanding leaps of a arpeggios = tension
perfect 4th, followed by a -chromatic slides 1st
major 6th. violins
-Then descends in a -staccato scalic quavers
conjunct manner = ‘sigh’- = raindrops
like musical motif -short, ascending
-‘sigh’ motif in an -= levels of tension arpeggio figures
ascending sequence increase =lightning flash
-leaps (incl dim 5th) =
2. 2nd ‘Suject’ (based on 2. anguish, threatening
idée fixe) -‘raindrops’ motif is
-Shares similarities with turned into a hymn-like
idée fixe : long-held note, theme
leap of a perfect Shepherd’s song
4th & then a 6th ; before -The clarinet’s
descending with two-note introduction and the
‘sigh’ effects often using thematic melody of the
semitones. first violins, recur
throughout the entire
3. How idée fixe is used: 3. movement. It is triadic.
-Repeated ascending 4th -Melodic ideas are
- Part of the idée fixe = introduced, repeated,
ascending sequence altered, developed and
- It is chromatically -=anguish reiterated (a bit like idée
altered fixe)
-Some extreme leaps -=turmoil inner soul -repeated quaver motif =
-Ostinato 1st four notes simplicity
-trills
4.Other melodic features: - shepherds' song of
- Melodies sometimes thanksgiving =
contain repetition (triplets -=obsession symetrical 8-bar phrase
at start) - in coda, first violins
-Lyrical, stepwise -=melancholic play very rapid dotted
melodies semi-quavers at the top
-Scalic passages (incl. -Chromatic ascending of their range
chromatic) = rise in tension
-Some ornamentation: Liszt Faust Symphony,
acciaccatura & trill ‘1st Mvt Faust’
-Irregular phrase lengths -=unease -6 themes representing
-new melodic line, heard -=tormented soul different emotions
61
in counterpoint, appears -augmented 4th =

in oboe Faust’s dark character
-chromatic descending
melody pp = magic
-long trills in high w/w
-major 3rd interval =
represents heavenly
perfection
-falling major seventh =
love theme
-upwards 7th =
triumphant 6th theme
R. Strauss Death and
Transformation (Tod
und Verklärung)
I.
-repeated note,
syncopated quavers =
dying heartbeat
-motif with large leaps =
anguish
-arched melody in w/w
solos = sad smile &
thoughts of youth
II.
- Harsh blows of the
brass on repeated note=
struggle with death
-=based on dying motif
at start
-rising motif = fight with
death
-descending chromatic
motif repeated =
struggle with death
III.
-leap of 8ve followed by
descending stepwise
mvt = innocence of
childhood
-descending then
ascending staccato
theme with some leaps
= joy & energy of young
adulthood
IV.
-transformation =
ascending motif with
some leaps & finished
with descending second
-General point: as Liszt,
Strauss makes use of
‘melodic tranformations’,
which unify the work
whilst depicting the
changes of emotions
STRUCTURE / 1. Loosely based on 1.= precursor of Beethoven Symphony
FORM sonata form ; with slow Wagner’s 'leitmotif’ No 6, ‘Mvt 4 & Mvt 5’
introduction ; the -There is no pause
62
Symphonie fantastique is between the 2

unified by Berlioz’s use of movements
an idée fixe. -Mvt 4 depicts the
2.The exposition is 2.=Berlioz’s emotions felt at the
repeated & there is ingeniousness passing of a storm;
standard modulation from there is no standard
tonic to dominant ; form (= Romantic)
however, the is such - has no specific
freedom that a structural design; it
convetional recapitulation consists in a series 13
is not easy to locate sections, many of which
3.Slow introduction 3.It was not unusual are recurrences of those
(Largo) :sets the for Classical that went before.
melancholic mood. In two symphonies to start -Mvt 5 = sonata rondo
sections the 1st Mvt with a slow form (when theme is
introduction reiterated in
development in home
4. The structure of this 4.=Berlioz innovation key).
first movement stretches --the exttended coda
the conventions of sonata (=Berlioz) quietly and
form and weaves the gradually builds to an
idée fixe, and other ecstatic culmination for
ideas, to convey the the full orchestra (minus
artist’s dreams and "storm instruments")
passions
Liszt Faust Symphony,
5. Long coda = influence 5. = Berlioz further ‘1st Mvt Faust’
from Beeethoven, who developing - loose sonata-form with
liked having long codas Beethoven’s a short central
in his symphonies to innovations & his use development and a
center back into the of coda protracted recapitulation
home key. -it is based on 6 themes
However, this coda does, that are transformed:
feels a little bit like ‘thematic transformation’
a development section,
since fragments of R. Strauss Death and
melodies from the Transformation (Tod
movements are und Verklärung)
developed and imitated. -In four sections, without
a pause, each
corresponding to a
particular section of the
poem :
I.Largo (The sick man,
near death)
II.Allegro molto agitato
(The battle between life
and death offers no
respite to the man)
III.Meno mosso (The
dying man's life passes
before him)
IV.Moderato (The
sought-after
transformation)
-the whole piece is in
modified sonata form,
with lengthy introduction
and coda.
Some unusual aspects :
63
-goes from minor to its V

major (not standard
relative I major)
-the recapitulation is
brief
-coda is important &
distinctive unit
(transformation)
Slow Introduction: Largo
Bars The wind section starts with triplet-dominant notes followed by a chromatic scale leading
1–63 into a C minor chord. The strings then take the melody fragmented by rests and pauses. At
bar 17 the key of C major is established as the violins play a lively sextuplet scalic melody.
‘Sighing’ phrase (falling and rising octave) at bar 11 gives the feeling of the ‘rêveries’ from
the title.
Bars Link. Homophonic and reinforcing the key of C major. The two-quaver motif which will later
64–71 become an important accompanimental figure is introduced. (heartbeat)
The ‘passions’ begin as the rhythmic idea is brought in (like an excited heartbeat),
introducing what will accompany the idée fixe in the following bars.
Modified Sonata Form: Allegro
Exposition The first subject (the idée fixe) is introduced in the key of C major.
(repeated) At bar 111 vibrant ascending scale and descending broken chords appear.
Bars 714–167 Bar 133: transition passage contains chords and triplet crotchet melodies.
The brief second subject appears at bar 150.
Development The first subject appears in the lower strings. A rising passage follows with repetitive
Bars 166 ascending melodies. A version of the second subject is presented in the woodwind
(second time section (bar 191).
bar)–231 At bar 198 there are ascending crescendo and descending diminuendo chromatic
scales. A large crescendo leads to nearly four bars of silence to end this dramatic
section.
Recapitulatio The recapitulation = a series of development sections or codas, playing with former
n material. (Not a conventional recapitulation!)
Bars 232–end A dominant pedal in the third horn starts this section as repeated rising fourths
appear in the violins. The idée fixe is heard in the woodwind in the key of G major,
breaking with the traditions of sonata form, as the strings accompany with
continuous leaping quavers. This theme is developed and becomes even more
chromatic. At bar 291 excited
descending appoggiatura scales appear in the strings. At bar 311 the second
subject appears in the cello and is passed in imitation through the strings. Further
development of the theme continues.
Coda: barsRepeated descending arpeggios, with accented off-beats.

475– end After a moment of calm the final statement of the idée fixe appears over a C major
chord and becomes monophonic (bar 503). The Religiosamente section with three
plagal cadences and concludes on a paused C major chord.
The final section gives a feeling of symmetry to the movement, balancing with the
Largo in the opening section.
Plagal cadences to suggest religion and church. Homophonic and homorhythmic
texture to
create a contrasting ending to the artist’s dreams and passions.
RHYTHM / METRE 1. Largo = 4/4 (‘common 1.= dreamy, the artist Beethoven Symphony
time’) falling asleep No 6, ‘‘Mvt 4 & Mvt 5’
Although in 4/4, the Thunderstorm
triplets = sense of slow -common time
compound time -cross-rhythm (four
64
2.Triplets, sextuplets 2.=unease, unsettling semiquavers against

become simple five) figures in the lower
semiquavers strings generally being
3. Changes to 2/2 (‘cut 3. supported by either
common time’) quaver ‘sf’ chords
4. The opening rhythms 4.= anxious heartbeat, (lightning flash) or very
in bar 64 (2 quavers, passion. Pulsates sustained chords in the
crotchet rest) are under idée fixe, other instruments
repeated and extended becoming more -triplet figures = unease
throughout the movement persistent -staccato quavers =
5. Syncopations 5= unsettling raindrops
6.Contrast between 6. ‘Shepherd’s Song’
melodies = long note -lilting 6/8
values ; and moving -semiquaver rocking
rhythms underneat violins
7. Dotted rhythm of idée 7. = distinctive. Sense -repeated quavers
fixe of urgency -repeated semiquavers
8. Idée fixe starts with 8.= energy ? in strings against
anacrusis sustained longer notes
9. Cross-rhythms 9. = unsettling, in winds
nightmare-like -3rd theme is
10.Moto perpetuo 10.=tensiion impassioned with
11. Mvt concludes with 11.= sense of inner syncopation and
longer durations calm accents

‘1st Mvt Faust’
- the second section has
semiqauver notes,
triplets, as well as
continuous syncopations
- The meter changes
from 4/4 and 3/4 to 2/4.
-Huge range of rhythms,
from long & sustained to
semiquavers, &
sextuplets & triplets
-Much use of rests
Transformation (Tod
und Verklärung)
I.
- The irregular,
syncopated rhythms of
the opening = the dying
man’s halting breaths
and heart-beat
-long,sustained notes =
dying man
II.
-quavers followed by
tied triplet quavers =
angst, desperation in
struggle
-cross-rhythms =
agitatation
-crotchet rests =
punctuate, as if gasping
for breath
65
III.
-long-held notes, minims
= innocent childhood
-march-like triplets &
dotted quavers = joy of
young adulthood
IV.
-crotchet chords =
‘transformation’
1.Fluctuations of tempo, 1. Beethoven Symphony
written in French : No 6, ‘‘Mvt 4 & Mvt 5’
animez, retenu -Mvt 4 = Allegro
2.Largo at start 2. = became more -Mvt 5 = Allegretto
frequent in the late -the ‘hymn’ is often
Classical symphony played at a slightly
3.Followed by much 3. slower pace
faster Allegro agitato e 4.
appassionatao assai Liszt Faust Symphony,
(very allegro and ‘1st Mvt Faust’
passionate) -starts Lento assai
4. -Many changes of
tempo, such as
Affettuoso, poco
andante; Allegro con
fuoco; Grandioso;
strigendo...=state of
mind & different,
TEMPO contradicting emotions
Transformation (Tod
und Verklärung)
I.Largo (The sick man,
near death)
II.Allegro molto agitato
(The battle between life
and death offers no
respite to the man)
III.Meno mosso (The
dying man's life passes
before him)
IV.Moderato (The
sought-after
transformation)
-Some tempo variations
within the movements
TONALITY 1. Starts in C minor. 1. Beethoven Symphony

2. Quickly changes to the 2.=mixture of No 6, ‘‘Mvt 4 & Mvt 5’
tonic major, C major, emotions ; melancholy Thunderstorm
then returning to C minor -tonal modulations while
3.The tonality is 3.=late Romantic generally being in F
frequently obscured by language minor key
chromaticism in the ‘Shepherd’s Song’
melody and harmony. -brings us back to the
4.Modulation to A♭ major 4.= distant keys, pastoral nature of the
& Ab pedal, with passing Romantic language = first movement. In the
modulations (Db, E, journey key of F major.
C#m, G#m…) - After a series of rapid
5. Allegro starts in C 5. = full of hope & modulations, finishes
66
major ; although melodic anguish ? with a triumphant perfect

line = chromatic cadence in F major.
6. 2nd subject = G major 6. = standard sonata-
form modulation Liszt Faust Symphony,
7. Development : 7. The chromaticism & ‘1st Mvt Faust’
chromatic music but semitone mvt obscure -starts in C minor
tonally quite limited. The the tonality = torment -atonality
music is still rooted in the -F minor in 2nd section
C-G tonality. -Eb major for 4th theme
8. Recapitulation : largely 8. Unconventional, as -music then goes from
in G major. the standard sonata- atonal, A minor, C
form would return to minor, E flat major and
9. Coda : returns to home key finally to E major
original tonic major key of 9.= as with Beethoven, -recapitulation in C#m,
C major. coda = root the mvt to C major = mirrors C
back in its home key minor at start
Transformation (Tod
und Verklärung)
I.-III. Starts in C minor.
Goes to G major for 2nd
section (=remote and
shows the dichotomy
between bleak death &
happy memories of
childhood). Many
remote keys visited
during development until
section IV.
-tonally very ambiguous,
nearly atonal, due to
dissonance of chords &
extended use of
chromaticism
IV. finishes in ‘banal’ key
of C major & diatonic =
transcending all the
preceding anquish &
struggles
TEXTURE 1. The texture is highly 1. Beethoven Symphony
varied throughout and No 6, ‘‘Mvt 4 & Mvt 5’
changes frequently. Thunderstorm
2. Mainly melody 2.Importance of idée -starts in monophony,
dominated homophony fixe some polyphony
3.Monophonic texture 1st 3.= draws the listener’s between different
statement of idée fixe attention themes
4.Unison : idée fixe 4. - sudden contrast for
presented in the flute and outburst of storm
first violins compared in
5.Octaves 5. homophonic chords
6.Dialogue/exchanges in 6. -sudden homophonic
abundancee quavers against
7.Melody-dominated 7.= tension, passion monophonic motifs =
homophony. The strings storm
accompany the melody Shepherd’s Song
with repeated quaver -begins with a pedal
chords on beats 1 and 3. chord in the violas and
8.Homorhythmic 8. = creates tension or then the cellos =a drone
moments release -mainly homophonic
67
9.A homophonic chordal 9. = Bach chorale -imitation & dialogue

texture is presented in between instruments
the Religiosamente -contrast in texture (from
ending monophonic melody
with drone, to tutti)
-intensification of texture
with semiquavers violins
- The texture is
generally full throughout
= feeling of joy
-contrary motion
-some counterpoint
-pulsating chords in
winds

‘1st Mvt Faust’
-muted strings in unison
at start
-2nd theme = double
octaves enharmonic G#-
Ab = distance earth &
heaven
-dialogue between solo
low/ high instruments in
4th ‘love’ theme:
dialogue between Faust
& Gretchen
-goes from monophonic,
solo instruments, to full
orchestration: huge
contrast
-mainly homophonic, but
with several polyphonic
passages with imitation
and different themes at
the same time
Transformation (Tod
und Verklärung)
-huge range of textures,
from monophonic start
to majestic chords at the
end
- melody-dominated
homophony with solo
instruments against
arpeggiated harp in
section I
-homophony &
homorhythmic chords:
pulsating heart & final
‘transformation’ section
-section II polyphonic
moments & busier
texture = battle with
death.
-much use of
instruments playing in
68
unison & octaves

(thicker sound for
dramatic moments)
-homophonic &
homorhythmic chords at
end = hymn-like
DYNAMICS 1.Extremely detailed 1. A lot of these Beethoven Symphony

dynamics in score sudden changes No 6, ‘‘Mvt 4 & Mvt 5’
reflect the mental Thunderstorm s
tumult -starts ff and dim to pp
2. Range from ppp to ff = as storm dies away.
quite extensive range 2.= represent the Swells of cresc. & dim. =
3. Plenty of crescendos range of passionate dramatic portrayal of
and diminuendos emotions storm
4. Mainy sudden sf 3.= waves of passion - sf chords = lightening =
markings & feelings emotion of fear
4.= ‘stabs’ of -change of dynamics at
heartache times abrupt =
frightening unpredictable
storm
Shepherd’ Song
-gentler dynamics =
pastoral scece
-in coda, the prayer is,
marked by Beethoven
"pianissimo, sotto voce"

‘1st Mvt Faust’
-quick & sudden
dynamics from pp to ff =
tumoultuous soul
-chromatic descending
melody pp = magic
-accents are many
-huge variation=
conflcting emotions
Transformation (Tod
und Verklärung)
I.
-starts gentle dynamic =
dying man.
-swells of cresc. & dim.
= angst
II.
-loud brass accents =
struggle
-accents, sfz
-huge ranges of
dynamics from ppp to fff
in sudden swells =
emotional journey
III.
-begins quietly & builds
up to depict man’s
maturation to young
adulthood
69
-range of dynamics =
chaos
IV.
-begins quietly,
peacefulness at end =
deliverance &
transformation
HARMONY 1. Chords are often 1. Like Berlioz’s Beethoven Symphony
diatonic and functional tonality, much of his No 6, ‘Mvts 4 & 5’
but with emphasis on harmony is functional - harmonically simple,
chromatic harmony (i.e. with some moments of mainly chords I, IV, V =
dim 7th chords) chromaticism to create rustic, pastoral feel.
tension. ‘Thunderstorm’
2. Perfect cadences are 2. -with chromatic lines,
frequent = confirm the harmonies obscured
modulation to a new key. --There is no final
3. Tonic pedal note in Ab 3. cadence at the end of
Major Mvt 4
4.Dissonance is used 4. = conventional ‘Shepherd’s Song’
occasionally with a 4-3 -tonic drone 5th
suspension -long, sustained
5. V7th chords 5. harmonies
6.The exposition section 6. -I & V pedals used
ends with a V7 in C major Ic-V-I cadence
7. The movement ends 7.’Amen’ cadences = --‘modal’ feel from
with a series of IV–I church like ending parallel minor = pastoral
plagal cadences. -Mvt 5 ends with perfect
8. 8. Berlioz’s music is cadences & prolonged I
harmonically quite
simple, but the Liszt Faust Symphony,
chromatic inflections ‘1st Mvt Faust’
and harmonies create -avoidance of cadences
tension and bring the - unresolved harmonies
music well into the show his dissatisfaction
19th century and frustration
-1st theme: descending
augmented triads in
arpeggio = dissonant in
their quality, depicts
Faust’s frustrations.
Precursor of Serialism,
as it goes through all 12
chromatic pitches.
-dissonant chords =
Faust’s mental disturbed
state
-diminished minor 7ths
lower strings = hell
(tritone)
-a lot of the music is
chromatic; until 4th
theme = diatonic =
longing for love
Transformation (Tod
und Verklärung)
-Sections I.-III.
= highly chromatic &
dissonant = struggle
70
with death
-Section IV.
= diatonic = trascending
all the preceding
anguish = liberation of
the soul.
-use of plagal cadences
= religious, majestic
ending
SONORITY 1. The orchestration is 1.Berlioz wrote a Beethoven Symphony
imaginative for its time famous treatise about No 6, ‘1st Mvt’
and gives much orchestration : its use Instrumentation:
independence to the wind is one of his greatest Piccolo (= panic storm)
section. For example, the innovations 2 Flutes
entire piece starts with 2 Oboes
just flutes and clarinets in 2 B-flat Clarinets
octaves and they are 2 Bassoons
joined by oboes, 2 Horns in F and B-flat
bassoons and horns to 2 Trumpets in C and Eb
create a homophonic 2 Trombones, alto and
texture tenor
2. The Symphonie 2.= ‘grandeur’ of Timpani
Fantastique requires a Berlioz’s imagination & Full Strings
large symphony colourings of "Rural instrumentation"
orchestra, which was instrumentations to helps to depict recurring
groundbreaking for its express himself ideas of nature and the
time (1830), and countryside
numerous instrumental ‘Thunderstorm’
additions to that of the Tremolo strings in
standard orchestra. thunderstorm
3. He specifies the size of 3. -tremolo scales &
his string section, as well arpeggios = tension
as the number of -chromatic slides 1st
instruments in other violins
sections : -staccato quaver-figure
STRINGS The large sections scales = raindrops
- Violin 1 (at least 15) allow for denser -timpani rolls = thunder
- Violin 2 (at least 15) textures as Berlioz is ‘Shepherd’s song’
- Viola (at least 10) able to divide each -interchanging between
- Celli (at least 11) section (divisi) into two different instruments
-Dblebasses (at least 9) lines, creating more
notes within chords. Liszt Faust Symphony,
‘1st Mvt Faust’
WOODWIND - Piccolo, two flutes, two
-Two flutes with the Piccolo = brighter oboes, two clarinets, two
second flautist changing sound, cut through bassoons, four French
to piccolo . thick texture horns, three trumpets,
-Two oboes three trombones, tuba,
- Two clarinets in B♭ timpani, cymbals,
- Four (!) bassoons = unusual triangle, organ, harp,
and strings. A tenor
BRASS soloist and male TTB
-Four horns: horns I and choir (3rd mvt only) are
II in E♭ & horns III and IV also employed.
in C It’s a very large
- Two trumpets in C orchestra!
-Two cornets à pistons in = unusual to add -muted strings at start
G (an early type of ‘cornets’ on top of -timpani rolls
cornet) trumpets -extreme ranges
instruments
71
PERCUSSION -pizzicato strings

-Two timpani tuned to C -tremolo strings rising up
(I) and G (V) and down = sense of
- The type of beater Faust’s urgency
changes between soft -requires virtuoso
and hard playing
-contrasts of timbres
4.Transposing 4. (i.e. fanfare trumpets
instruments : beware that against agitated strings)
transposing instruments -accents, staccato
are written at a pitch that -many indications in
is different to concert German in score= very
pitch (i.e. ‘proper’ notes) prescriptive &
= different key-signatures descriptive
5.Instrumental R. Strauss Death and

techniques : Transformation (Tod
- At the start strings = und Verklärung)
con sordino (with mute) - The work is scored for
- Then senza sordino a large orchestra
(remove mute). - 3 flutes, 2 oboes,
- Violins a punta d’arco = English horn, 2
play at tip of the bow (a clarinets in B-flat, bass
delicate effect). clarinet, 2 bassoons,
- Pizzicato & arco contrabassoon, 4
- Double corde = double horns in F, 3 trumpets
stopping in F and C, 3
-Tremolo (trembling) trombones, tuba,
- Divisi (dividing the string timpani, tam-tam, and
desks) with a fast strings: 2 harps, violins
tremolo = produce different i, ii, violas, cellos,
- The timpani player uses effects double basses
both baguettes de bois -divisi strings throughout
recouvert en peau -muted strings for
(wooden sticks covered section I
in leather) & baguettes -extreme ranges of
d’éponge (sponge- instruments used in
headed drum sticks) contrast
- Timpani drum rolls -tremolo pp strings =
tension & tremolo fff at
6. Performance the majestic end
instructions: = this contributes to -section II un-muted
- They are detailed with the narrative he was strings
numerous examples of intending to create -marcato accents
semi-staccato or portato, within the work -pizz. strings
legato, and staccato -harp plays arpeggiated
- The first subject (idée figures
fixe) = canto espressivo, -the tam-tam starts the
(expressively singing). final section
-The second subject -some performance
theme = dolce (sweetly) = adds to drama of instructions ; i.e.
7. Ranges Berlioz uses of Romantic music. espressivo, più calando
instruments = huge = more extreme in its (end), sotto marcato
instrumental colour &
emotions than the
preceding Classical
works
8. = novel, as in
8. Instruments gain much Classical w/w often
more independence from subservient to strings
72
each other, particularly = Berlioz exploits the

the woodwind and brass sonorities of these
instruments instruments, giving
them melodies and
countermelodies to
reflect his rêveries and
passions
COMPOSER/ WORK: Danny Elfman, Batman Returns

‘Birth of a Penguin Part 1’, ‘Birth of a Penguin Part 2’, ‘Batman vs the Circus’, ‘The
Rise and Fall from Grace’
CONTEXT What is film music? -K. Badelt Pirates
It’s about atmosphere, mood, character, place, time, emotion of the Caribbean :
and period. The Curse of the
It is key to enhancing what’s happening on screen and bringing Black Pearl :
the whole film to life. ‘Medallion Calls’,
Characterisation is shown through the film music.. ‘Blood Ritual’ ‘Sword
Fight’, ‘He’s a Pirate’,
Batman ‘One Last Shot’
•The Batman films are based on the comic book characters Story :
•Batman Returns directed by Tim Burton A tale of adventure
•Danny Elfman (b. 1953) also writes music for ‘The Simpsons’ set during the 17th
•Much of the orchestration was undertaken by Steve Bartek Century in the
and Mark McKenzie Caribbean Sea. For
•Elfman is a self-taught composer and unusually has a parallel the roguish yet
career as a rock musician charming Captain
•Elfman uses a leitmotif system – clearly defined tunes for Jack Sparrow, the
each character : crystalline waters of
73
O Each of the three main characters – Batman, Catwoman and the Caribbean, like
Penguin – has their own theme. the high seas the
O The Catwoman and Penguin themes are very similar and it world over, present a
could be argued that they are a variation of each other. vast playground
However, they have very different orchestration. For where adventure and
Catwoman, Elfman uses a ‘1960s slinky, bending style of mystery abound.
strings’, as well as high string glissandi and dissonant clusters.
The Penguin theme is given a more ‘theatrical’ orchestration -J. Williams :
using a choir as well as pipe organ and full orchestra. ‘Imperial March’ from
O For Batman, as in the original film, brass is used to identify Star Wars : The
the theme. Empire Strikes
Back
The Characters :
-Batman - A dark, and brooding specter, Batman sees himself -J. Goldsmith :
as the protector of Gotham City. He aims to clean up the city's Planet of the Apes :
crime and corruption while he brings its criminals to justice by ‘The Hunt’ (Opening)
any means necessary. - Film tells the story
of American
-Penguin - He is a deformed man who was abandoned and astronauts who land
raised in the sewers as a baby. Penguin carries deadly on a remote planet
weapon- concealed umbrellas, His horrible past has turned him and are captured by
into a bitter and ruthless sociopath. gorillas
- The music of the
Batman Returns the Story : film is written in a
It portrays a grim and dark Gotham City. The plot pits Batman modernist style, but
against an evil tycoon Max Shreck (Christopher Walken), who Goldsmith reserves
seeks to enrich himself by monopolizing the city’s power using the full
supply ; the pathetic, deformed and inwardly mutated Penguin orchestra for the
who harbors unresolved anger for being abandoned by his most dramatic
parents ; and lastly the schizophrenic and mercurial scenes (such as this
Catwoman. one)
- Goldsmith liked to
Elfman’s Musical Cues : (may not exactly start/stop as in use a full symphony
Edexcel scrore) : orchestra where
-Birth of a Penguin/Main Title possible, often in
Birth of a Penguin I 2:27 conjunction with
0:00: Logos (organ, Batman theme) ethnic and electronic
0:11: During a snowy evening, Oswald Cobblepot is born to instruments which
his parents' horror (Penguin motif in female choir/violins, can be seen here
organ/brass, developed on strings, organ solo). ‘The Hunt’ :
0:43: Oswald is kept in a cage (Penguin theme in strings with In the hunt scene of
celeste ornaments, rising/falling accents). the film, armed apes
1:04: Oswald captures and eats a cat (Variations in low on horseback are
winds/celeste/brass, low brass/timpani, etc.) chasing a group of
1:24: The Cobblepots take Oswald to the zoo and then dump stranded
him into the river (Penguin theme variations in humans.
choir/sleighbells, etc). -Goldsmith uses a
1:53: His baby carriage floats into the darkness (slow variety of devices to
processional march with choir/strings, celeste, ending with emphasise a sense
Penguin motif in harp). of terror, including:
• Unconventional
Birth Of A Penguin II 3:09 instruments and
0:00: Credits as Oswald's carriage floats into a cavernous techniques;
tunnel (harp arpeggios/rhythmic strings/choir accents/low wind prominent use of
ostinati, Batman theme joins). percussion
0:38: Main title as bats fly towards the viewer (full Batman instruments
march and theme). • Dissonance
1:28: The carriage continues floating through various sewer • Avoidance of
tunnels (soft texture with choir accents featured). traditional tonality;
2:26: It finally ends up at the foot of some giant emperor suggestions of
74
penguins (joined by hand percussion/low wind ostinati). Cut to serialist chromatic

Gotham 33 years later (harp/flutter-tongued flutes into gong music
crash). • Harsh driving, often
syncopated rhythms
“Batman vs. Circus” 2:34 All these features are
0:00: The Batsignal is lit and Bruce Wayne sees it (Batman in frequently found in
low brass/strings/organ/harp). 20th Century music
0:31: The Red Triangle Gang causes chaos in the streets (2nd as a whole.
time). Batman intervenes (gothic Circus action music intercut
with Batman theme fanfares). What do these films
have in common?
-Fall From Grace -Anti-hero : Batman
The Rise And Fall From Grace I 1:40 & Jack Sparrow
0:00: Max visits Oswald and notices his circus friends (low (Pirates) have dark
pizz. figures, Penguin motif, Penguin theme, calliope, etc). He and good sides
lures Oswald downstairs with some fish (low wind figures). At Darth Vader is just
the bottom of the stairs he is greeted by a crowd of election evil…
supporters (brass fanfare). -Futuristic/
supernatural
The Rise And Fall From Grace II 4:08 (fantasy) world :
0:00: Bruce opens the entrance to the Batcave from Wayne Batman & Planet of
Manor (an iron maiden) (string accents/vibraphone, Batman the Apes
theme, tremolo strings/bass/harp, etc). -Action film : all w/l
0:49: Oswald makes a speech (grand fanfares). Bruce hijacks are action films with
the signal and exposes Oswald for the criminal he is (muted chases, battles,
brass/vibraphone/strings/harp/timpani rolls, string and brass stunts…
dialogues). The crowd turns against him (celeste, low brass). -Leitmotif : Batman,
2:46: Oswald opens fire on the crowd and runs to the zoo with Pirates & Starwars
police in pursuit (brass accents, swirling figures, Penguin are based on
theme in choir). He jumps into the river and then pilots a duck leitmotifs
back to his lair. After he arrives, he greets his faithful penguins
and some of his gang (Penguin theme over string march
ending in harp ornaments).
MELODY  Use of leitmotif – individual themes for the three main Badelt Pirates of
characters. Only two of them feature in the Caribbean :
the pieces chosen. Each theme is developed in various ways. -The same leitmotif is
 Batman – mainly brass = ascending, but with a semitone fall always played when
= flawed hero (anti-hero) Jack is introduced in
the films.
-‘He’s a Pirate’ also
makes use of
ascending minor 3rd
& is mainly conjunct.
 Penguin – theatrical, use of organ = small intervals of semi- The faster tempo
tone/tone = small-minded, scheming, obsessive makes the leitmotif
sound more playful,
less brooding, than
Batman’s leitmotif
Williams Star Wars

This often appears in the developed version below ‘Imperial March’
-Williams also uses
leitmotifs in Star
Wars. This is Darth
Vader’s theme.
-The melodic shape
 Idea 1 (BoaP 1 bar 34) breaks down into five
short ideas (some of
which are repeated)
as shown below.
75
•First idea:
 Idea 2 (BoaP 2 bar 55) – minor 3rd = child-like but also The repeated
depressing descending
major/minor 3rd =
negativity, ominous.
(like Batman)
•Second idea:
 Idea 3 – Circus motif (BvtC – bar 13) = grotesque the melody rises
higher than its
original starting point,
which allows it to fall
from a greater height
and give it more
 Idea 4 (BvtC – bar 26) = feeling of anticipation impact
•Third idea:
we get an even
higher note (the
highest note in the
melody) that takes
 Fragmentary melodic lines in ‘Batman v Circus’ (=Stravinsky
much longer to fall,
use of fragmented melodies)
gradually making its
way down
•Fourth idea:
Keeps descending…
Firth idea:
fifth idea takes the
melody back up to
repeat the final three
ideas = obsessive,
frightening.
•Melodically, the
theme is constantly
moving in the
downward direction,
suggesting the heavy
hand of the Empire
literally bearing down
on the Rebels.
Goldsmith Planet
Apes: ‘The Hunt’
-The piece is built up
from a number of
short, fragmentary
ideas.
• The opening motif
consists of 5 notes
only. Note the
importance of the
rising semitone
and then a leap.
Repetition is
important - the
phrase is played no
fewer than 6 times in
the first 7 bars.
-The second motif in
the piano, bar 4, is
derived from the
main theme of the
76
film. The
motif combines wide
leaps with
semitones.
-•Fragmented
melodies =
unsettling, panic
•Disjunct melodic
lines = sense of
panic
•Chromaticism
•Serial/12-tone
approach
‘He’s a Pirate’:
‘Imperial March’
‘The Hunt’: 1st 5 notes (repeated):
‘The Hunt’: 2nd motif
STRUCTUR • Mostly through composed 1. Badelt Pirates of

E / FORM • Uses leitmotifs to depict the 2.Leitmotif = conveys the Caribbean:
characters on screen as and when the the character’s mood, -Use of leitmotifs
action on screen requires personailty, feelings
• Tonality is not structurally to the audience Goldsmith Planet
related/significant 3. Apes ‘The Hunt’
77
4. -Music follows the

action
- The motifs of the
main theme give the
piece a sense of
structure.
RHYTHM / .• Use of triplets in the Batman theme 1.= action Badelt Pirates of
METRE and its accompaniment ‘B of a P II’ bar the Caribbean:
25 onwards -Use of ostinato:
• Almost constant quaver movement in 2.= action
‘Batman v the Circus’ = perpetuo moto
• Rhythmic augmentation in ‘B of a P 3. is exciting, gives a
II’ bar 65 drive, and is like a
• Use of diminution (BoaP2 bar 27) palpitating heart.
• Constant changing of time signature 4. = unexpected & -‘Medallion Calls’
(BvtC bars 22-25) exciting has a jaunty oom-
• Use of ostinati (BoaP 2 – bar 14) 5. = action, drive, pah rhythm (see
• Cross-rhythms (BoaP2 bar 16) thrilling notation below
• Syncopation (BvtC – bars 4–5) ‘harmony’), which
• Sextuplets (BvtC – bar 69) whilst dark as it is in
• Rhythmic displacement (BvtC – bars minor, gives an
92–93). element of humour,
to represent Jack’s
playful, as well as
dark, side
-Crotchet striking
beat on bass drum =
exciting
-Cross-rhythms: 3/4
is divided in 2 X 3
quavers in a tense
section = sword-fight
scene = build-up of
tension (see score
below harmony)
-Compound time:
‘He’s a Pirate’ =
12/8 = jaunty &
dance like as the
tune misses beats
-‘He’s a Pirate’
starts with an
anacrusis
Goldsmith Star
Wars ‘Imperial
March’:
-Starts with a march-
like ostinato rhythm
which gives the
impression of
acceleration as there
are more triplet
semiquavers towards
the end of each bar =
rhythmic motion.
Combined with the
rhythm’s militaristic
sound through the
triplets and the
78
emphasis on strong
beats, the overall
effect is one of
forward drive,
suggesting a
powerful and
aggressive force that
doesn’t let up until it
gets what it wants.
-The melody further
enhances the military
feel of the march by
emphasising the
strong beats and
using dotted rhythms
-The use of 3
consecutive
crotchets at the start
gives the march a
sure-footed character
that wonderfully
depicts Vader’s
unwavering
confidence.
•Rhythmically, the
march projects a
strong, confident,
and forward-driving
tone
Goldsmith Planet
Apes: ‘The Hunt’:
- The piece starts in
3/4.
- The time signature
changes to 5/4. This
is used to mark the
end of the section.
- The Conga Drum
creates syncopation
= rhythmic drive
-There are cross-
rhythms between the
Wind and String
instruments =
unsettling
-There are three
ostinato-like motifs in
the final section =
primitive to represent
the apes
-Tension arising from
conflicting metres
‘Imperial March’ introduction ostinato rhythm:

79
‘Imperial March’ melody rhythm:
• Metronome marks clearly indicate 1.The tempo will suit Badelt Pirates of
tempi markings and changes the personality and the Caribbean:
• Most of these cues are moderate in the situation in which -Range of tempi
pace although ‘Batman vs the Circus’ they are depending on the
moves from slow to very fast 2. cue: ‘He’s a Pirate’
3. is fast and exciting;
4. whilst ‘Blood Ritual’
= slow and solemn
TEMPO
Williams Star Wars
‘Imperial March’:
-Moderate, stately =
march of doom
Goldsmith Planet
Apes: ‘The Hunt’:
-Fast paced =
running
TONALITY • Tonality is not structurally 1. Badelt Pirates of
related/significant the Carribean:
• ‘B of a P I’ opens in Bb minor and 2.= dark -Pieces in 3/4 are in
closes in D minor D minor = it gives a
• ‘B of a P II’ opens in D minor and 3.= distant key/ haunting tone
finishes in C# minor distant world ? -Many modulations,
• ‘Batman vs the Circus’ opens in B 4. for example in
minor and closes in E minor ‘Blood Ritual’ goes
• ‘Rise and Fall from Grace’ anchors 5.=ambiguous from D minor to A
on C – between major and minor minor (although it
tonality sounds modal as
• Key changes occur abruptly 6. = unsettling place there is no G#). This
• Use of mostly minor keys throughout 7. = dark, foreboding creates interest, and
• Unprepared modulations of keys 8.= sudden surprises also shows that there
• Sense of key occasionally weakened 9.= fantasy, other- is an oscillation of
by use of whole-tone structures – wordly moods within the
‘Rise andf Fall from Grace’ b. 50-52 pirates.
Goldsmith Star
Wars ‘Imperial
March’:
-In G minor, but
seems to shift
80
between minor and

major as the leitmotif
is based around tonic
minor chord & major
submediant (VI)
chord = evil &
powerful. The #iv (C#
minor) chord creates
uncertain tonality.
Goldsmith Planet
Apes ‘The Hunt’
-The piece is not
atonal but based
around articulated
pedal C – the C is
used like an anchor.
- The tonality
switches more to G
when the piano riff
moves from being
based around C to
G.
-C is used as an
anchor note at the
start in the Timpani
and piano.
Pirates of the Caribbean: ‘Blood Ritual’
‘Imperial March’
81
TEXTURE • Textures are generally homophonic 1. For a leitmotif to Badelt Pirates of

• Points of reference are: become recognisable the Caribbean:
O ‘Birth of a Penguin’ – chordal writing to the listener, it is -Mainly homophonic
bar 14 important that the or melody-dominated
O Melody dominated homophony – melody can be clearly homophony =
‘Birth of a Penguin II’ bar 27 the heard represents folk/pirate
Batman motif 2. style song/music
O Layering of ostinati – ‘B of a P II’ 3. -Counterpoint is rare,
opening 4. but can be heard in
O Octave writing ‘B of a P II’ bars 22 – the countermelody of
25 the strings in ‘One
O High pitched string clusters – ‘The Last Shot’.
Rise and Fall from Grace’ bars 7-8
O Pedal textures ‘B of a P’II bars 85 Williams Star Wars
-92 ‘Imperial March’:
Homophonic and at
times homorhythmic:
all marching at the
same time
Goldsmith Planet
Apes ‘The Hunt’:
-There is a
homophonic texture
at the start.
- The texture is then
82
monophonic when
the piano at bar 4
plays the main
theme.
-The Horns are in
unison creating a
sound like a
bellowing Ram’s
Horn = primitif
- Later the bassoon,
double-bassoon,
Trombone, cello and
double-bass playing
very low to make a
droning noise =
ominous & primeval
- The texture
thickens when more
instruments are
being played with the
added use of side
rum rolls. This
increases the tension
which signifies the
music moving to the
next section.
1. the first two appearances of the 1. Badelt Pirates of
Penguin motif (bars 2 - 6) are 2. the Caribbean:
powerful, fortissimo 3. dynamics vary from
2. 4. mf & f
3.
4. Williams Star Wars
DYNAMICS ‘Imperial March’:
loud dynamcs =
assertive
Goldsmith Planet
Apes ‘The Hunt’:
loud for dramatic
scene
HARMONY • Functional 1. Badelt Pirates of
• Lots of cadences 2. the Caribbean :
• Tonic pedals – ‘ B of a P II’ bars 1 – 3.=anchor - “The Medallion
8 Calls” is based upon
• Diminished triads – ‘ B of a P I’ bar 4.dim, aug, ext, the I-V7 chords of D
34 chords = dark, minor. This is the
• Diminished 7ths chords ‘ B of a P I’ disquieting main motif that
bar 37 represents Captain
• Augmented triads – ‘Rise and Fall Jack Sparrow. = Use
from Grace’ b51 of cadences.
• False relations ‘ B of a P II’ 93 – 96 5. = dark/light -Use of tonic D pedal
• Added 6th chords – ‘ Batman vs the for the ostinato
Circus’ bar 5 rhythm in snare &
• Whole tone chords ‘Rise and Fall 6. = fantasy bass.
from Grace’ bar 50 – 52 -Functional and use
• Use of open chords/bare fifths (BoaP 7.=uncertain of cadences (like
1 – bar 47) Batman)
• Dominant seventh (BoaP 1 – bar 45)
• Chromatic shifts 8. = unsettling Williams Star Wars
• Parallel chords ‘Imperial March’
83
• Tertiary relationship between keys -Before the melody

and chords (BvtC – bars 10–11) starts, there is the
• Plagal cadence (BoaP1 – bars 2-3) chord of Eb-F#-Bb,
• Tritone/augmented fourth (BvtC – bar 9. = ‘devil’s interval which sounds as Eb-
74). Gb-Bb = minor =
dark
-In underlying
ostinato :use of
dissonance in some
chords, at times of
minor 2nd (A against
Bb), which produces
a gritty and biting
dissonance. This
dissonance evokes
the harshness and
terror of Vader’s and
the Empire’s ways.
- The progression I-
IV-V-I is used, but
changed to i–#iv–#v–
i in G minor. The use
of #iv & #v ‘distorts’
the progression to
make it sound evil.
•Harmonically, it
focuses on the dark
sound of minor
chords and presents
distorted versions of
what would
otherwise be normal
progressions &
makes use of
dissonance to give a
fearful sound
Goldsmith Planet
Apes‘The Hunt’
-The harmony
throughout contains
a lot of dissonance.
This helps to create
panic which is what
the audience would
be feeling as they
see the humans
being hunted by
apes.
-Non-functional
harmony
Pirates :
‘Medallion Calls’ :
84
‘Imperial March’ : chords iv#-v# under melody (instead of iv-V) :
SONORITY • Elfman uses the full orchestral 1.Colouristic use of Badelt Pirates of
palette for colour – a full symphony orchestra the Caribbean:
orchestra. (=Stravinsky & w/l) Cursed Pearl
• With additional forces: -Standard
O Organ 2. Choice of orchestration
O A children’s choir instrumentation set -Rhythmic figures
O Synthesiser the place & time. often given to lower-
O Celeste Here it sounds pitched instruments
O Piano supernatural, (=drive)
O Accordion futuristic with use of - Sampled drum
O Huge percussion section techniques & beats including tom-
• He uses the following techniques: inclusion of toms and various
O Arco synthesizer sounds cymbals are used
O Pizzicato -Louder sections are
O Use of tremolando bowing played by low brass
O Glissandi (smooth slides) between and low strings while
notes quieter sections are
O Con sordino (strings with mute) played only by
O Oboe extreme vibrato strings.
O Horns stopped -Nearly all of the
O Trumpet extreme lip trill score's louder
O Cymbal and timpani roll sections feature the
O Flutter-tonging horns on the melody,
O Snare drum with snares off frequently doubled
O Percussion rolls. by string instruments.
Williams Star Wars

‘Imperial March’:
- All the pitched
instruments playing
the ostinato opening
rhythm—the strings,
horns, and timpani—
are at or near the
very bottom of their
range. The result is a
very dark color to the
sound.
- The melody
continues the dark
orchestral colour of
85
the opening ostinato.

It is sounded by
trumpets and
trombones in a mid
to low register.
- The use of brass
instruments in the
melody gives the
sense of
considerable military
might.
•Orchestrally, it
emphasizes the
powerful brass
instruments and the
menacing sound of
the instruments’ low
registers
Goldsmith Planet
Apes ‘The Hunt’
-Large symphony
orchestra with a
number of additions.
-Triple woodwind
(double cor anglais &
piccolo at times)
including bass
clarinet and double
bassoon.
- Standard brass
section of 4 horns, 3
trumpets and 3
trombones, but no
tuba
-Unconventional
additional ethnic
instruments include a
ram’s horn and a
Tibetan
horn – both used to
suggest
primitive/other-
worldly aspects of
the apes.
-Percussion includes
‘ethnic’ instruments,
including boo-bams,
bar 10.
-Electronic
instruments include
an electric harp –
essentially a normal
harp using a
microphone. There is
also an electric bass
clarinet
-Standard strings
Violins have articial
harmonics = high
86
pitched & eerie

-The piano is one of
the most important of
all the instruments,
with its own solo
motif
in bar 4, as well as
having driving
ostinatos based on
the same figure
- Brass use a variety
of mutes:
o wood mute for horn
o straight mutes for
trombones & plunger
mutes for trumpets
-Percussion
instruments are
particularly
important:
o They reinforce the
sense of terror
o Timpani used on
1st beat of bar at
beginning,
doubled by piano to
give powerful
rhythmic impetus.
o Ethnic instruments
very useful to convey
sense of strangeness
of the apes, e.g. boo
bams
o Unusual
instruments e.g.
vibra slap
o Piano used for
ostinatos/
o Fragmentary
xylophone motifs
o Side drum roll
crescendos to build
climax
COMPOSER/ WORK: Rachel Portman, The Duchess: ‘The Duchess and End titles’,
‘Mistake of Your Life’, ‘Six Years Later’ and ‘Never See Your Children Again’ ‘The
Duchess’ and End titles
CONTEXT 1. The Duchess was a 2008 film, directed by Saul Classical era piano :
Gibb, starring Kiera Knightley Mozart: Piano Sonata
2. It was based on the eventful and controversial in B-flat K333, ‘1st
life of Georgiana Cavendish, Duchess of Movement’, 1783 (late
Devonshire. 18th Century = The
3. Set in the late eighteenth century, the score Duchess)
includes movements by contemporary composers
Beethoven and Haydn, as well as Portman’s own English Folk Music :
music. Moll o’ the Wood =
4. Portman’s scores avoid electronic and English jig
synthesised sound effects. Greensleeves =
5. Portman avoids Classical pastiche (i.e. piece traditional English song
that imitates the features of an earlier style), but
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instead composes a delicate underscore with some Period Films in late

features of Classical era music. Georgian (1714-1830)-
6.’Mistake of Your Life’ & ‘Never See Your Children Regency (1811-1820)
Again’ = create a bleakder mood. England :
7. Portman’s music = lush string writing Emma, music by R.
augmented by soft woodwinds, a generally light Portman
and romantic tone, a slightly upbeat bounce in the -‘Main Title’
tempo, and an overall sense of florid ‘Englishness’. =similar to The
Duchess ; sets mood,
8. Classical music characteristics = time : time & place (England)
-An emphasis on elegance and balance Synopsis : Emma
-Short well-balanced melodies and clear-cut takes place in the
question and answer phrases fictional village of
-Mainly simple diatonic harmony Highbury explores the
-Mainly homophonic textures (melody plus concerns and difficulties
accompaniment) but with some use of counterpoint of genteel women living
-Use of contrasting moods in Georgian–Regency
-Clear musical structures. England.
-Development & importance of sonata-form
Sense and Sensibility,
9. English folk music features = place : music by P. Doyle
- All English folk songs are modal, and the most -‘My Father’s
frequently used modes are Dorian, Mixolydian, and Favourite’
Ionian. = more imitative of
-English folk music has produced or contributed to Mozart/ Classical era;
several important musical genres, including sea sets the period
shanties, jigs, hornpipes and dance music Synopsis : Sense and
-Melodies are simple and easy to remember Sensibility is set in
southwest England,
10. The Duchess London and Kent
"The Duchess" is the story of an extraordinary between 1792 and
woman who rose to fame by staying true to her 1797. Patrick Doyle said
passions in a world of protocol, gossip and social that the music had to be
rules--and paid the price. It is set in late Georgian suppressed to match the
England, in an aristocratic environment. character’s restricted
feelings. He called this
11. Musical cues : the “middle-class
‘The Duchess’ : English motif”.
-An elegant piece, featuring an attractive solo cello
as the lead instrument. It reappears in later cues Pride and Prejudice,
such as “Six Years Later” and in the “End Titles”. music by D. Marianelli
-Beyond this main title piece, a lot of the rest the -‘The Living
score is dark Sculptures of
Pemberley’
“Mistake of Your Life” & “Never See Your Children =imitates late-Classical
Again” : era, but has a more
-Moody and evocative, occasionally bordering on Romantic nuances ; sets
the tragic. These cues make especially prominent the mood. Some modal
use of the lower tones of the string section – inflections. = Liz’s
basses, cellos, violas –which adds a sense of romantic feelings for
tension and uncertainty to the music. Darcy…
Synopsis : Pride and
‘Mistake of Your Life’ : This music reflects the Prejudice is set in
Duchess’s loneliness and the state of her failing Hertfordshire in
marriage. Regency era. In this
cue, Liz realises that
she admires, and loves,
‘’Six Years Later’ : Sets a more optimistic tone with Darcy. Marianelli said
the waltz theme setting the scene after a time that he ‘abondoned
lapse of 6 years. historical correctness for
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a more intimate and

‘Never See Your Children Again’ : This reflects the emotional treatment of
scene where the Duke has discovered Georgiana’s the story.’
affair with Charles Grey and threatens to prevent
her having any contact with her children.
MELODY 1. Melodies here are 1. = Classical era Mozart: Piano Sonata
mostly built from two-, feature in B-flat
four- or eight-bar units, -balanced phrases
with predictable and clear -diatonic
phrase endings. -appoggiaturas and
2. Some modality; i.e. 2. = sounds in the past accented passing notes
‘Opening’ = D major with & English folk - some chromatic notes
mixolydian inflections (C - mainly conjunct, large
natural) leaps are rare
3.Frequence step - scalic passages
movement ; sometimes 3. = gentle & delicate - broken chords (triadic)
with leaps of 3rd, 4th, 6th melodic shape,
4.Minor 6ths in ‘Mistake English folk English Folk Music
of Your Life’ 4. = ‘love’ interval -diatonic
5.Use of : 5.= Classical era -balanced phrases
-appogiaturas features -simple melody
-auxiliary notes -Moll o’ the Wood = D
-sequences Mixolydian mode
-triadic melody -Greensleeves = Dorian
or Aeolian (depending
on version)
-Greensleeaves = gentle
melody, mainly by step
with some small leaps
Emma, Portman
-‘Main Titles’
-conjunct mainly with
some leaps
-diatonic (G major)
-balanced phrasing
-gentle arch-shape,
legato
-modal inflections due to
alternate G/ Em chords
underneath
P. Doyle : My Father’s
Favourite’ :
-diatonic
-balanced phrases
-much use of
appogiaturas, turns &
auxiliary notes
-conjunct but with more
leaps than Portman’s
-Major melody in Ab
major section A
-Some chromaticism in
middle F minor section
B
Pride and Prejudice,

D. Marianelli :‘The
Living Scultpures of
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Pemberley’ :
-broken minor 3rds
-stepwise melody with
leap of 3rd that ascends,
descends and ascends
by step = Liz’s uncertain
feelings
-goes between minor 3rd
to major 3rd interval =
shifting feelings of the
character, Liz
(abhorrence or
admiration?)
-melody becomes more
assertive as Liz
becomes more certain
of her feelings & rises in
pitch
-melody shifts between
minor and major (-
indecision)
-modal inflections
(Aeolian & Phrygian)
-some chromaticism
(more than Portman) =
romantic & Romantic
era language
STRUCTURE / 1.This score is less 1.= atmospheric Mozart: Piano Sonata
FORM concerned with matching (mood, period, in B-flat
specific images ; than the location, emotions) -balanced structure
creation of an expressive music rather than (here the sonata form)
underscore (music that descriptive of action
plays in the background (i.e. the action). English Folk:
of a film scene.) -both w/l are binary
2.There are clear traces 2. = Classical era
of formal musical (form & balance) Emma, Portman
organisation & symmetry 3. -‘Main Titles’
3.’The Opening’ = three 4. Ternary section (ABA’
separate themes, without (shortened A)) Remains
development in same modal inflected
4. ‘End Credits’ extends G major/ E minor
end of 3rd theme from Aeolian key
‘The Opening’
5. ‘Mistake of Your Life’ = Sense and Sensibility,
introduction followed by P. Doyle : My Father’s
two themes heard in Favourite’ :
alteration. These themes Ternay section:
resemble the ‘Opening’ Section A in Ab major
(= cohesion) Section B in F minor
6.’Six Years Later’ : in Shortened A section
two sections (binary) :
‘waltz’ & reprise from Pride and Prejudice,
Opening D. Marianelli :‘The
7. ‘Never See Your Living Scultpures of
Children Again’ : through- Pemberley’ :
composed -Unfolding of a melody
throughout
Section A : = hesitant,
snippet of a melody
Seciton B : = more
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expansive
Section C = definite
melody
RHYTHM / METRE 1.4/4 for ‘Opening’, ‘End’ 1. Mozart: Piano Sonata
& 2nd part of ‘Six Years’ in B-flat
2.6/8 for first part of ‘Six 2.It could be argued -4/4 time
Years’ (=two bars of 3/8 that as it is in 6/8, it -mainly based on
oom-pah-pah) resembles more a jig, continuous quavers &
a traditional English semiquavers
folk dance -some syncopation
3.3/4 for ‘Mistake’ & 3.
‘Never See’ English Folk Music :
4.Coninuous quavers in 4.= gently rocking feel -Moll o’ the Wood = jig in
both fast & slow 6/8 = English dance
movements -Greensleeves= 6/8
5.Syncopation in the (with 3/4 feel)
Opening 5.
6.Ominous timpani Emma, Portman
pattern in ‘Mistake of 6. = darker mood -‘Main Titles’
Your Life’ & ‘Never See 3/4 Andante section:
Your Children Again’ -quite free (not a strong
7.Long sustained notes in sense of metre)
‘Never See’ 7. = bleak -quaver accompaniment
-simple rhythm melody
(crotchet, dotted-
crotchet, quavers)
-long, sustained notes in
strings
6/8 brisk section: mainly
quavers & dotted
crotchet. Quaver
accompaniment

Favourite’ :
Section A:
- use of quavers in
accompaniment
-melody uses more
complex rhythms than
Portman, although it
isn’t virtuosic or complex
-some syncopation
Section B:
-longer-held notes

Pemberley’ :
-Use of alternating
quavers
-Simple quavers,
crotchets & longer-held
notes
-Metre changes: 4/4,
5/4, 7/8, 5/8, 2/4 and
finishes in 3/4 =more
modern writing. = Liz’s
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shifting feelings for

Darcy
1.Moderately fast for ‘The 1.-3. = suits the mood Mozart: Piano Sonata
Opening’ & ‘End Titles’ of the scenes in B-flat
2.Brisk ‘waltz ‘ ‘Six Years -Allegro
Later’
3.Slow ‘Mistake’ & ‘Never English Folk Music
See’ -Moll o’ the Woods =
4. brisk jig
-Greensleeves = gentle,
moderate pace
Emma, Portman
-‘Main Titles’
3/4 section = moderate
TEMPO
(Andante ?), free tempo
6/8 jig section = brisk

Favourite’ :
-Andante

Pemberley’ :
-Andante, lilting. Slightly
quickens in second 1/2
TONALITY 1.Use of modes : 1.=English traditional Mozart: Piano Sonata
‘Opening’, ‘Six Years’ & folk music (place) in B-flat
‘End’ = D mixopydian 2. -Functional tonality
mode 3. -Modulates to closely
2.’Mistake’ = G minor 4. related keys
with modal inflections
3.’Mistake’ : brief English Folk Music:
excusions to A minor -Moll o’ the Woods: D
4.’Never See’ = D minor Mixolydian mode
with Aeolian inflections -Greenslieeves: Dorian
Its dissonant and or Aeolian mode
unresolved final chord (depending on version)
leaves tonality in doubt.
Emma, Portman
-‘Main Titles’
-Goes between G/ Em,
which gives the music a
modal (Aeolian) feel

Favourite’ :
-clearly major/minor (not
modal)
-Section A: Ab major
-Section B: F minor
(relative minor)
-diatonic
-some dissonance in
Section B
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Pemberley’ :
-Starts in G minor with
Aeolian inflection (no
raised 7th).
-Alternates between
minor and major from
one bar ot the next =
Liz’s unsure feelings
-Middle = more assertive
G major
-Then hovers around F
minor/ C minor
(ambiguous)
-Modulates to Eb minor
(vi of G = distant key)
with flattened ii =
Phrygian feel
TEXTURE 1.Melody-dominated 1. = Classical era & Mozart: Piano Sonata
homophony English folk song in B-flat :
2. Ostinato textures used: 2. - Melody dominated
o Quaver fifth = gentle, Classical homophony
accompaniment in ‘The style playing -Alberti bass texture
Duchess’. 3. -Dominant pedal texture
o Timpani texture at 4.
opening of ‘Mistake of English Folk Music :
Your Life’. -traditionally either
3. Pedal textures – tonic monophonic, or melody-
bass pedal in ‘The dominated homophony
Duchess’. Also Tonic D
pedal throughout ‘Never Emma, Portman
see your children again’ -‘Main Titles’
-Jig section solo violin
with countermelody on
2nd violin
-Lighter texture in Jig,
with only string quartet
playing
-Homophonic/ melody-
dominated in section A
-Long, sustained notes
in strings
-Use of tonic pedal
texture
-Doubling of clarinet
solo by violins
-=lush, romantic texture

Favourite’ :
-Melody-dominated
homophony
-Quaver accompaniment
figures
-Piano = prominent role
in Section A
-Strings & woodwind
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sometimes play in
unison (=lush sound)
-Long,held notes in
strings under piano &
clarinet solos
-Short monophonic
cadenza-like piano
section before return of
Section A

Pemberley’ :
-solo piano start : lilting
quavers under melody
-sustained strings
-solo clarinet
-strings in homophony/
homorhythm
-melody-dominated
homophony
-monophonic transitions
- continuous oscilating
quavers (ostinato)
-tonic pedal texture in
middle
1.Mid-range, gentle 1. Mozart: Piano Sonata
dynamics 2. in B-flat
2. 3. -subtle dynamics
3. 4. (nothing extreme)
4.
Emma, Portman
-‘Main Titles’
-gentle, mid-range

DYNAMICS
Favourite’ :
-subtle, mid-range

Pemberley’ :
-quiet, gentle. Slight
crescendo towards
middle.
HARMONY 1. Predominantly tonal, 1.&2. = English Mozart: Piano Sonata
but the presence of traditional folk in B-flat
modal elements - Functional harmony
2. The avoidance of -Imperfect & perfect
conventional functional cadences for balanced
progressions = non- phrasing
funtional - Cadential 6/4 (Ic-V-I)
3. Little or no use of
conventional cadence English Folk Music :
progressions 3. -Moll o’ the Woods :
4. Frequent use of the Non-functional
progression I(i)–v (minor -IV-I cadences
94
dominant) : D-Am ‘The 4.= sad, nostalgic feel

Duchess’ & ‘Six Years’/ Emma, Portman
Gm-Dm in ‘Mistake’ -‘Main Titles’
5. Relatively small -Alternate G & E minor
number of chords used in chords at start (I-vi),
all cues 5. = simplicty, English gives the music a modal
6. Darker’ cues use more folk (Aeolian) feel
dissonant material -Diatonic
o Opening of ‘Mistake of 6. -The Jig goes from
Your Life’ uses dissonant chords I-IV in G
minor 9ths & 11ths -Small number of chords
o Simultaneous 2nds and used.
3rds in opening idea of -Slow harmonic rhythm
‘Never See Your Children (1 chord/ bar in Section
Again’ A ; 2 chords/bar in
o The ending of ‘Never Section B)
See Your Children Again’
uses descending =ominous, depressing Sense and Sensibility,
harmonies, over a tonic P. Doyle : My Father’s
pedal, finishing on chord Favourite’ :
that combines a D pedal -Functional harmony
with a G minor triad and -Clear cadences
a dissonant D♭. -Use of cadential 6/4
6. Most chords are three-
note triads (major and Pride and Prejudice,
minor). 6. = Classical, folk D. Marianelli :‘The
7. One or two minor Living Scultpures of
seventh chords Pemberley’ :
8.Unstable 2nd inversion 7. -Oscillation between
for final cadence minor to major chord =
‘Mistake’ 8. = unsettling Liz’s shifting feelings
9.Augmented chords towards Darcy.
used for colour in the link -Non-funtional harmony
section of ‘Six Years 9. -Unresolved cadence at
Later’ end
10. = mainly diatonic -Use of augmented,
language (=pleasant diminished & chromatic
for place & time), but chords to express
with some conflicting feelings
dissonances (=mood) -Pedal tonic in middle
SONORITY 1.Relatively small 1.Small orchestra = Mozart: Piano Sonata
orchestra : strings, Classical era ; in B-flat
woodwind, horns, harp & although there would -Not virtuosic
timpani not be a harp or piano -Narrow pitch range
2.Conventional use of 2. -Features Alberti bass
instruments (incl. pizz. in -Elegant piano writing
‘Six Years’)
3.Violin solo ‘The 3.= traditional and English Folk Music
Duchess’ Classical era -At ball dances there
instrument could have been the
4.Effective use of solo 4. = ominous mood pianoforte & small
timpani ‘Mistake’ ensemble of strings,
5.Dominance of string with violin (‘fiddle’)
section. Woodwind used 5. = more like Baroque playing the main
for filling harmonies orchestra melody.
6.Prominent role piano in
‘Mistake’ 6. = aristocratic Emma, Portman
7. Restrained, non- instrument -‘Main Titles’
virtuosic writing 7. = restrained -Similar to The Duchess
characters ; Classical with small orchestra,
95
era elegance. harp, but no piano or

timpani.
-Here strings provide
harmonic filling
-Solos for clarinet & flute
-Violin solo in jig
-Harp quaver figurations
& prominent at start
-Non-virtuosic writing
-Lush string writing

Favourite’ :
-Chamber orchestra, no
percussion & prominent
piano part
-Restrained writing
-Lush string sound

Pemberley’ :
-chamber orchestra with
prominent piano part (no
percussion)
-restrained, non-
virtuosic playing
-lush string writing
-solos for clarinet, oboe,
French horn
A2 COMPOSER/ WORK: Bernard Herrmann, Psycho: ‘Prelude’, ‘The City’, ‘Marion’,

‘The Murder (Shower Scene)’, ‘The Toys’, ‘The Cellar’, ‘Discovery’, ‘Finale’
CONTEXT 1. Composer M. Steiner : King Kong,
- Bernard Herrmann (1911-75) was an American 1933 : ‘Main Title’
composer and conductor best known for his film -Steiner = classically and
scores and collaborations with Alfred Hitchcock. European trained
- Born in New York and studied at the Julliard School musician of the late
so he had much more modernist influences. nineteenth and early
- Early career as a classical composer twentieth centuries,
- Always orchestrated own scores Steiner fell under the
- Echoes of Debussy, Bartok and Stravinsky in influence of composer
Psycho. Richard Wagner.
- Herrmann’s response to Hitchcock’s disturbing, - The film became a
violent masterpiece was to match the stark, cold, landmark of film scoring :
black and white images of the film with music ‘in black it was the first important
and white’, by using only the string section of the symphonic film score of
orchestra in his score. the sound era.
- Herrmann created tense, cold, ruthless music, Synopsis : The film tells
evoking madness at times, but also with occasional of a huge, ape-like
moments of tenderness creature dubbed Kong
who perishes in an
2. Herrmann, Hitchcock and Psycho attempt to possess a
- Psycho was their 6th collaboration beautiful young woman.
- Hitchcock said '33% of the effect of Psycho is due to
96
the music'
- Dissonant and sometimes atonal style with ostinati B. Herrmann : Taxi
and some leitmotifs Driver, 1976, ‘Prelude’
- Herrmann employs
3.What was novel about Herrmann’s style ? predominantly low ranges
-Using a dissonant and sometimes atonal musical and dissonance in
style, Herrmann ‘broke the mould’ of previous film order to elicit a sense of
score styles by his widespread use of ostinati, while foreboding in Taxi Driver.
achieving musical unity by the use of leitmotifs. The film's overall sound
-These leitmotifs sometimes appear within other and novelty is due to its
motifs ; i.e. a Madness Motif appears in the ‘Finale’ = jazz influence = connotes
gives score & psychological drama cohesion. seedy urban nightlife to
-The use of only a string section was also original. the listener/viewer.
- Like the film itself, Herrmann’s score was widely Synopsis : Taxi Driver
imitated; its anxious, repetitive themes punctuated by centres on Travis Bickle,
shocking cues at moments of violence became the a lonely cab driver who
prototype for music in the emerging “slasher” genre of commutes through the
horror films (=a horror film depicting such a criminal New York streets at night,
and featuring gory special effects). perceiving filth 'and
depravity wherever he
4.Psycho goes. A Vietnam veteran,
-Released in 1960 Travis sees himself as
-Made on a low budget in black and white, but above the "scum" he
achieved critical acclaim & success encounters during his
- It is a psychologial horror film that centers on an work and as the film
encounter between a secretary, Marion Crane progresses he becomes
(Leigh), who ends up at a secluded motel after increasingly more
stealing money from her employer, and the motel's disturbed.
disturbed owner-manager, Norman Bates (Perkins),
and its aftermath… J. Goldsmith, The
Omen, 1976 “Broken
5. Musical Cues : Vows” & “The Killer
‘Prelude’ Storm”
“Prelude” supports the roll of the film’s credits and is - Academy Award-winning
today recognized today as one of the greatest to ever score
open a film, a masterpiece of conception and - Goldsmith (Planet of the
expression. The music unfolds as Saul Bass’ Apes) penned a handful
horizontal gray lines slash across the black screen of Latin phrases that
and give form to the credits. Herrmann unleashes a pervert those of the
testament for the ages with a torrent of violence born Catholic mass, gave 'em
by strings agitato emoting multiple reoccurring and to an evil choir and
ever shifting ostinati di terrore. seeded them underneath
‘The City’ screeching, tension-filled
“The City” supports a panorama of Phoenix (Arizona) sautillé strings and brass
fanfares.
‘Marion’ - The score combines
We see Marion and Sam, her boyfriend. She truly incidental scene-setting
wants a life together, which Herrmann supports with music, classic horror and
the warm strings romantico of the Romantic Motif. Yet suspense motifs (Bernard
the melody is plaintive, born by repeating descending Herrmann's wild violins à
phrases, which never culminate, thus informing us la Psycho are a probable
that this is a love that will never be realized. influence), and -- most
notably -- forms of the
‘The Murder (Shower Scene)’ requiem mass as they
“The Murder” is a stunning score highlight, which have been interpreted
earns Herrmann immortality. Hitchcock’s original over the centuries.
vision was to have the scene play without music. Synposis : The Omen
Herrmann realised how unaffected the film played concerns a young child
without music and so created his masterpiece cue, replaced at birth by
which impressed Hitchcock and earned his praise. American Ambassador
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Marion is having a shower; we see the bathroom door Robert Thorn

open and a ‘female’ silhouette. As the curtain is unbeknownst to his wife,
ripped open she begins striking Marion with savage after their own son was
downward slicing stabs. Herrmann used sharp murdered at the hospital,
shrieking violins that mirror the savage rending knife enabling the son of Satan
slices to sow blind terror. The first violins strikes are to grow up with wealth
in the upper register, countered by the second violins and power. They are
and violas in the mid register. As we see her life ebb, surrounded by mysterious
the slashing strings descend in register, slow, and and ominous deaths,
finally pulse, mimicking her fading heartbeat, until we unaware that the child,
at last see her life pass in the swirling now bloodless Damien, is the Antichrist.
drain waters.
‘The Toys’
Lila, Marion’s sister, enters Norman’s ; the owner of
the motel, who after murdering his domineering
mother develops a split personality based on her and
commits murders under the "Mother" personality ;
room in “The Toys”. There is a bass pizzicato pulse
and violins play full of sadness. She sees his small
slept-in bed, and the room of a boy, full of toys, not a
man’s room. We shift scenes to the office where Sam
has made Norman uncomfortable and angry, and the
cue ends darkly.
‘The Cellar’
In “The Cellar” an angry Norman has knocked Sam in
the head and rushes to the house, fearful that Lila
has entered to discover his secrets. She hides in the
cellar stairwell as he enters and ascends to the
bedrooms. Rather than flee, her curiosity impels her
to enter the cellar. A tempest of shifting tremolos
unnerve us as we see Norman ascend the stairs and
Lila enter the cellar.
‘Discovery’
Lila discovers a woman sitting in a chair in a light-bulb
lit room, with her back to her. When she does not
respond, Lila touches her shoulder and the figure
slowly turns to reveal a horrific embalmed and
desiccated corpse. Lila screams and her hand strikes
the light bulb, which swings back and forth creating a
strobe effect. Norman swings open the door, dressed
as the mother, and runs towards her with the knife.
‘Finale’
“Finale” offers a score highlight and a perfect
confluence of film and music. It reveals Norman
incarcerated in a holding cell. The psychiatrist
advises Lila, Sam and the Sherriff that Norman
suffers from severe multiple personality disorder. He
informs them that the Mother personality was now
dominant, and that the Son identity has been
completely destroyed. A change of scene to the
holding cell reveals Norman-Mother speaking from
her mind as Norman sits motionless. She relates
without pity, that she had to turn in her bad son, lest
she suffer the blame for his crimes. Herrmann
supports the scene with a sad and pathetic variant of
the Norman Motif, which slowly loses cohesion. We
98
hear his motif dissipate into the grotesque and

dissonant atonality of the surviving Mother Motif,
which closes darkly and with finality upon the
Madness Motif.
MELODY 1. Motifs used throughout, with sequence, repetition M. Steiner : King Kong
and development - ‘Main Title’= made of 3
-use of short motifs = Stravinsky motifs
- The “Main Title” music
2. ‘Prelude’ is based on three short motifs, and one opens with King Kong’s
extended melody : three note motive; heard
-Motif 1 = opening “hammered” chords throughout the entire
score in many sections
and guises, but always
identifying King Kong
himself. King Kong’s
leitmotiv is usually
descending but
-Motif 2 (bars 5-6) = triplet figure, supported by sometimes rising (or a
semitonal ostinato combination where the
-Motif 3 (bars 21-22) = dotted rhythm & sequential three notes descend but
repetition are repeated in a rising
-The upwards semitone in bar 3 = used many times in sequence, for example,
film = duality of Norman’s mind (son & mother). as King Kong
approaches).
3. ‘The City’ consists of four 3-bar phrases : opening The three notes give the
descnt answered by a loose inversion. audience the expectation
of what is to come in both
scope and terror.
-The second motive
represents the jungle
dance seen on Skull
Island when the main
characters first land.
- The music continues
with the “Stolen Love”
4.’Marion’ = diatonic C major:
theme of the movie’s
-descending sequence of 3-note figure
heroine, which refers not
-perfect 5ths
only to her love for her
boyfried, but also to her
5.’Shower scene’ = no discernible melody
relationship with King
Kong. It descends
6. ‘The Toys’ = brief cue & diatonic
chromatically, there is a
-descending conjunt line
descending diminished 5th,
-three 3-bar phrases
rising minor 3rd and
descending 2nd = romantic
7. ‘The Cellar’ = more chromatic throughout
-Steiner’s constantly
-pitch outline bars 1-4: C-A-Ab = anticipates
evolving use of these
chromaticism of the fugal subject at bar 5
motives not only
-subject = initially moves by semtonal step
dramatically underscores
-then it expands to major & minor 3rds, dim 5th &
the action, it also reveals
minor 6ths
aspects of the
protagonists the viewer
8. ‘Discovery’ = highly chromatic with semitones,
may not realise (for
tritones & perfect 4ths
example, the sympathetic
-it relates to ‘The Cellar’ as its first three notes =
nature of King Kong when
retrograde (backwards) of the opening motif
his leitmotif returns in a
-It has sequential repetition & octave shifts
more lush, romantic
fasion).
9. ‘Finale’ = chromatic
-angular intervals: aug 4th/dim 5th = tritone
B. Herrmann : Taxi
-3-note motif F-Eb-D = Madness Motif
99
Driver, 1976, ‘Prelude’

- two distinct musical
ideas = two facets of
Travis' personality that are
intrinsically linked; that of
his troubled mind and that
of his need for love to
save him from his private
torture
- The "Loneliness" motif,
is a chromatic figure that
descends the interval of a
minor 2nd
-"Loneliness" is
developed subsequently
in the film's score
depending on Travis's
mood or behaviour during
the scene concerned and
also supplies material for
the second musical
idea to be discussed
subsequently,
"Romance."
- In bar 23 of "Prelude"
the second musical idea,
the "Romance" theme, is
heard on saxophone =
instrument associated
with sensuality. The
saxophone connotes
Travis' erotic drive, which
is ultimately shown in the
film to be a source of his
undoing.
- The saxophone melody
of "Romance" begins on
'A' and 'G' (the notes of
the upper voices in the
chords of "Loneliness" as
illustrated in Fig. 11) and
continues in a whimsical,
semi-improvised
style.
-In Taxi Driver, Herrmann
recycles the "Madhouse"
motif (Fig. 12).
"Madhouse" is comprised
of 3 notes that have the
highly dissonant
relationship of a
minor 7th interval with
each other.
- Heard in the dark timbre
of the low register
woodwinds and strings on
'F'- 'Eb' -D, Hermann
varies the motif slightly by
descending further,
adding a 'F#' and 'C'
100
which forms the interval of

a tritone.
Goldsmith, The Omen,

1976 “Broken Vows” &
“The Killer Storm”
‘Broken Vows’
-highly chromatic
-use of glissandi
-repeated, obsessive
notes
-short motifs (=Stravinsky)
-very low to very high
pitch = scary, unnatural
-Satanic version of
Gregorian chant
-Latin
‘The Killer Storm’
-starts with ascending 2nd
in basses
-joined by descending
minor 2nd tritone in female
voices = as a sigh, ghostly
-repeated notes trumpets
in sequence = pulsating
-high glissandi strings =
screeching
-highly chromatic
-based on ostinatos
-glissandi in voices
-short motifs in brass
-ostinati choir in Latin in
angular intervals shouting
‘Satani’ (men singing in
very high register, with
sopranos = unnatural)
-ascending motifs in
flutes/ violins
-angular melody in
trumpets
-cacophony by the end
M. Steiner : King Kong 3 motifs in ‘Main Title’
101
B. Herrmann’s Taxi Driver:
STRUCTURE / 1. Leitmotif technique is 1. M. Steiner : King Kong

FORM used to unify the film -Use of leitmotifs
-complex use of leitmoif as throughout the film that
it is not just based on gradually reveals the
melody, but also harmony, nature and feelings of the
texture, rhythm characters.
-Herrmann incorporates -=reflects -‘Main Title’ is In three
certain motifs within several psychological drama of sections: King Kong,
cues the film Jungle, Ann Darrow =
2. These leitmotifs include 2. introduces the main
harmony, texture, rhythm 3. themes & characters of
and melody: 4. the film
O 'Prelude' motif is -Contrast between very
associated with characters masculine King Kong
escaping in cars (used in 6 theme, to very feminine
cues) Ann Darrow/Stolen Love
O 'The City' motif is theme
associated with characters
in mundane situations (used B. Herrmann : Taxi
in 6 cues) Driver, 1976, ‘Prelude’
O 'The Murder' motif is -Uses leitmotifs where a
associated with the act or motif may morph into
result of murder (used four another one (as is the
times) case here).
3. 3-note melodic motif -Two main themes :
102
associated with Norman Loneliness & Romance,

Bates' madness is a more with Madness theme
typical melodic leitmotif. It setting the ominous tone.
appears in the ‘Finale’. -As with Steiner’s King
Kong ‘Main Title’, there is
a juxtaposition of two
. opposing, although linked,
themes.

-based on short motifs &
ostinati
‘Broken Vows’
-There is a slow complex
multi-faceted percussive
build-up, accented with
pizzicato & col legno
strings, and a swelling
pulse, which becomes
ever more distressed and
harsh.
-Choir joins in – Silence
-Atonal section with choir,
swirling trumpets, high-
pitched melody in violins

-Dark chanting chorus
with wailing = portend his
doom. Fluttertonguing
flute, glissandi trombones
-Horrific screeching
strings amplify the rising
terror, which is further
empowered by pulsing
trumpets.
-A horrific cacophony
explodes with the
chanting voices now
deafening.
-A fierce string ostinato
launches ‘Ave Satani’
chanting, which rises in a
truly horrific crescendo.
Prelude – played under the opening credits.
- Built up of four ideas, assembled into a flowing, driving whole:
1. Bars 1–3 ‘stabbed’, syncopated ‘Hitchcock’ chords (see harmony).
2. Bars 3–20 busy, obsessive ideas made up of short ostinato.
3. Bars 21–24 repeated dotted rhythm block chords answered by an off-beat low bass pizzicato.
4. Bars 37–48 a more conventional melodic line, moving stepwise.
- These ideas are played in various orders = unpredictability
- All ideas undergo some variation, either of idea or by transposition.
The City – played as the camera pans over Phoenix and down to the hotel room.
- Based on varied repetitions of the opening three bars
- Bars 4 and 5 reverse the music of bars 1 and 2 in a literal retrograde.
Marion – played during Marion and Sam’s clandestine meeting in the hotel.
103
- Simple AABA structure, based on four-bar phrases.

- Rounded off with a paused ‘Hitchcock’ chord: a minor major-seventh in which there are two major
thirds and one minor:
‘The simultaneous minor/major chord, immediately throws the viewer/listener off the rationalised center
of normal Western tonality into a more irrational, mythic domain in which oppositions have no
implications that will be resolved by the passing of time but exist only as two equal poles of the same
unity.’ = the dual personality of Norman (son/mother; motel owner/killer)
The Murder – played during the shower scene.

-The famous ‘slashing’ chords build up over eight bars.
-These are repeated, with glissandi up to each note.
-The rest of the cue consists of repeated two-bar phrases before a more sporadic final five bars
The Toys – played as Lila (Marion’s sister) explores Bates’ bedroom.

-Descending parallel chords over an ostinato double pedal – three-bar phrases in the upper strings.
The Cellar – played as Marion descends the cellar stairs.

-Builds up a fugal texture from eight-bar units, beginning at bar 5.
-Four (related) contrapuntal ideas eventually combine.
The Discovery – played as the figure in the chair is revealed to be Bates’ dead mother.
-Repetitive highly rhythmic idea in homophony and homorhythm (bars 1–18) then disturbed by cross-
rhythms in the cellos and bass.
-Descending chords followed by a final chordal gesture.
Finale – played at the end of the film as Bates sits in the police station, with his mother’s voice heard
on the soundtrack.
-Recaps material from the ‘Madhouse’ cue (not part of this study).
-Makes prominent use of the ‘Madness’ motif – F–E♭–D in the last four bars.
RHYTHM / 1.Prelude 1. M. Steiner : King Kong

METRE - 2/4. ‘Main Title’:
- Relentless quaver = strong rhythmic drive -King King Motif = long
movement. notes = large, heavy
- Interrupted by the = suspense creature
syncopated rhythm of the -Ann Darrow’s/ Stolen
‘Hitchcock’ chord. Love Motif = mainly equal
- Nervous triplet semiquaver = unsettling note values with a dotted
figure quaver-semiquaver =
- Contrasting dotted romantic
quaver/semiquaver figure -Jungle Motif = ostinato
always concluded by a quavers, moto perpetuo =
syncopated pizzicato accent primitive dance; use of
in the bass. syncopation = tension
2.City 2. B. Herrmann : Taxi

- 4/4 Driver, 1976, ‘Prelude’
- Equal note values = pulse -4/4
104
throughout -Freer sense of metre in

‘Romance’ : sounds more
3.Marion 3. improvised
- 4/4 -In ‘Loneliness’ there is an
- Syncopated rhythm, with incessant, aggressive
an anacrusic start. rhythm in the snare drum
(Fig. 10).96
4.Murder 4. -The function of the snare
- 3/2 drum here is to connote
- Down-bow accents = vicious pulse Travis' background in the
- From bar 17 onwards the = horror, suspense, army (given its use in
regular upper string chords scary… military bands) as well as
are counterpointed by the to hint at his rapidly
rhythmically displaced deteriorating mental state.
bass/cello notes. -The improvisational
sounding rhythm on the
5.Toys 5. side drum grows in
- 4/4 volume as well as in
- Three slow phrases (an speed and climaxes on
augmentation of the rhythm the second chord of
of Marion) "Loneliness" = gives a
- Heard against a sense of Travis’ mental
‘throbbing’ viola/cello/bass state.
crotchet pulse.
6.Cellar 6. 1976 “Broken Vows” &
- 2/4. “The Killer Storm”
- The contrapuntal ideas = builds-up tension -much use of rhythmic
here maintain a moto ostinati
perpetuo stream of -syncopations
continuous This excitement -cross-rhythms
is heightened by the use of -polyrhythmic
tremolandi. -changes of time-
-Rests are inserted signatures
- Much longer note values -=settles end of cue, -accents off-beat
in the concluding bars dissipates tension -dramatic rest in ‘Broken
Vows’
7. Discovery =horror, tension =
-Opens in 2/4 frightening
-Driven forward by off-beat -Stravinsky-esque
accents and rests
- 3/8 (feel of 1 in a bar)
- Rushing semiquaver
figures against two-bar bass
notes.
8. Finale
- 3/4 and 4/4.
- ‘Bleak’ and rather
‘directionless’ rhythms,
avoiding a sense of metre.
- Syncopated viola idea
- Madness motive heard
three times, with the third
statement rhythmically
displaced to begin on the
third beat.
- ‘Heavy’, slow, off-beat
chords in the last two bars –
perhaps referring to the
105
opening bars of Prelude.

1. Four cues are broadly 1.& 2. The tempi are M. Steiner : King Kong
fast in tempo : chosen to match the ‘Main Title’:
Prelude, Murder, Cellar, mood/ psychological -Starts slowly (King Kong
Discovery. intentions of the scene theme), gradually
2.Four cuse are in slow concerned quickens to a brisk pace
tempi : for Jungle theme and then
The City, Marion, Toys, slows down for Stolen
Finale. Love theme
B. Herrmann : Taxi
-Moderate = doomed
TEMPO march-like for ‘Loneliness’
-Rubato, freer for
‘Romance’ theme

‘Broken Vows’
-Moderate, plodding,
sense of doom
-build up of tempo from
deathly to frighteningly
brisk = panic
1. Avoids traditional tonal 1. M. Steiner : King Kong
centres and key schemes 2. ‘Main Title’
2. Sometimes basically 3. -Wagnerian use of
tonal (Marion) 4. tonality: use of
3. Sometimes atonal chromaticism, distant
(Murder, Finale) keys, non-funtional
tonality
- rich tonal language for
Stolen Love theme
-open 5ths for tribal
Jungle theme
B. Herrmann : Taxi
TONALITY
-‘Loneliness’ = chromatic,
atonal = desperate &
troubled state-of-mind
-‘Romance’ = more tonal,
Bluesy = sensual drive

-At times atonal, even
cacophony in ‘The Killer
Storm’
-Highly dissonant
TEXTURE 1. Monophonic ‘Finale’ b. 1- 1. M. Steiner : King Kong
2 2. ‘Main Title’
2. Homophonic ‘Prelude’ b. 3. -Starts in low octaves
37-48 4. (King Kong theme)
3. Homorhythmic b. 1-3 -Chordal
‘Prelude’ -Thick orchestral sound
106
4. Polyphonic : -Low, sustained notes

- fugal textures b. 5-46 ‘The under moto perpetuo
Cellar’ -Melody-dominated with
- 3-part polyphony in b. 1-17 lush strings & harp
of ‘Finale’ arpeggios for Stolen Love
5. Layered ostinati - b 27-34 theme
of ‘Prelude’
6. Interesting string textures B. Herrmann : Taxi
(see Sonority) Driver, 1976, ‘Prelude’
-‘Loneliness’ = chordal,
sustained chords =
ominous sounding
-‘Romance’ = melody-
dominated homophony,
emerging from
‘Loneliness’, much thinner
texture. Short arpeggiated
figures on piano
-When ‘Romance’ returns,
the ‘Loneliness’ chords
ominously creep in and
take over.
-Solo, ominous snare roll

‘Broken Vows’
-monophony : pedal note
in low strings
-layering : gradual build-
up of instruments
-chordal : ostinati in brass
-several motifs at the
same time (=Stravinsky)
-unison strings in their
respective motifs
- choral chanting
-Contrary motion between
ascending male singing &
descending female
singing
-Complex layering of
motifs
-homophonic/
homorhythmic ostinati
orchestra
-antiphony male & female
voices in ‘Satani’
DYNAMICS 1.Full range of dynamics 1. M. Steiner : King Kong
from ppp in ‘The Toys’ to 2. ‘Main Title’
unmuted sffz at opening of 3. Starts ff = startle the
shower scene 4. audience. Loud dynamic
for Jungle; softer for the
more feminine Stolen
Love theme.
B. Herrmann : Taxi
107
-The "swell and fall"

created by the crescendo
and subsequent
decrescendo after the
resolution in
"Loneliness" also
suggests the violent urges
as they surge through
Travis' psyche and his
attempts to repress them.
-‘Romance’ theme =
quieter, more subdued

-full range of dynamics
with some very loud
moments
-accents
1. Non-functional = avoids 1. In Psycho, chords M. Steiner : King Kong
cadences are used for their ‘Main Title’
sound, rather than for -Utilising primitive rhythms
their role in the and parallel fourths and
prevailing tonality fifths for the natives and
(tonic, dominant). their dances
2. Much of the - Open-interval harmonies
2. Chromatic harmony here is and dissonant chords,
3. Dissonant chromatic, dissonant tritone motifs, or such
4. Chord clusters (‘Murder’ or atonal, avoiding devices as the chromatic
b. 1-16) conventional triads for scale in parallel, minor
5. Augmented 4ths the most part seconds = late-Romantic,
(‘Murder’ b. 18) Expressionist harmony
6. Extension chords
(‘Prelude’ b. 21) 7. = unstable sound B. Herrmann : Taxi
7. ‘Hitchcock chord’ in that does not develop Driver, 1976, ‘Prelude’
‘Prelude’ : minor triad with or lead anywhere -“Loneliness" comprises
an added major seventh of a 'G' minor 7th chord
8. More conventional resolving to a 'C' 9th. This
HARMONY
harmony is occasionally prolonged resolution,
used: exaggerated by the
- Harmony based on a suspension
falling chromatic scale, but from the 6th ('A') to the
basically still tonal (‘Marion’ 5th ('G') in the upper
bars 1–4). -=Impressionist, voice, causes tension as
- ‘Impressionistic’ use of colouring the listener waits for the
diminished seventh and resolution to occur.
half-diminished chords -‘Romance’ = Jazz
(‘The City’) extended chords & Blues
-Parallel chord movement notes
by step (‘Toys’)
-Juxtapositions of chords a Goldsmith, The Omen,
semitone apart – (‘Prelude’) 1976 “Broken Vows” &
-Highly dissonant
-Very chromatic
-Chord clusters (including
glissando in vocals)
- At times cacophony
SONORITY 1. Strings only = unusual 1.=black & white M. Steiner : King Kong
108
- there are 14 1st violins, 12 images. ‘Main Title’

2n violins, 10 violas, 8 -Scored for 46 musicians
cellos & 6 double-basses with lots of doubling – six
-mics were placed close to - = harsher, bleaker woodwinds played up to
the instruments timbre four instruments per cue,
violins doubled on viola
2. Con sordino throughout, 2.= creates and one violist also
except the shower scene surpressed, eerie tone. covered the celeste
= highly effective when -Scored in full brass and
mutes taken off in low strings King Kong’s
‘Murder’ scene ominous three notes give
3.Wide variety of string 3. the audience the
textures : expectation of what is to
-double-stopping (‘Prelude’) -= thicker texture come in both scope and
-repeated down-bows -strong, like a blow terror.
(‘Prelude’ & ‘Murder’)
-combinations of arco & B. Herrmann : Taxi
pizz (‘Prelude’ & ‘Murder’) Driver, 1976, ‘Prelude’
-glissandi (‘Murder’) -=shriek - The heavy use of brass,
-tremolando on divisi strings -divisi = thicker texture percussion and the sultry
(‘The Cellar’) tone of the saxophone =
-high pitched (‘Finale’) -=unpleasant, seedy, urban life
hysterical -Use of muted brass in
‘Loneliness’ (=suppressed
4. Much use of pizzicato (b. 4. violent personality)
5-14 ‘Prelude’) -Snare-drum = link to
5.Arco writing in ‘The City’ 5. army, Travis’ past as a
6.Tremolando b. 5-46 of 6. = suspense, build- soldier in Vietnam war
‘The Cellar’ up ot tension -Frightening use of
7. Sul ponticello (play near 7. = creates cymbal rolls
bridge of instrument) in b. unpleasant, harsh tone -For ‘Romance’ use of
47 of ‘The Cellar’ saxophone, vibraphone
8.Break-down of string and double bass = Jazzy,
textures : 8. = Herrmann’s urban, sensual
-‘Prelude’ : ‘hammered’ inventiveness & - ‘Madhouse’ theme heard
chords creativeness on dark timbre of the low
-‘The City’ : lush strings register woodwinds and
-‘Marion’ : more strings
conventional string writing.
Importance of dynamics Goldsmith, The Omen,
-‘The Murder’ : ‘shrieking’ 1976 “Broken Vows” &
high-notes, sffz & senza “The Killer Storm”
sordini (without mutes) for -Use of large orchestra &
maximum impact prominence of
-‘The Toys’ : divisi violins & percussion, as well as
ostinato double pedal in choir (=Satanic nature of
lower strings film)
-‘The Cellar’ : 8ve-doubled -quite a lot of reverb
trills, range of techniques : (=church, gothic ?)
tremolando, sul ponticello, ‘Broken Vows’
arco normale (=normal -starts with low double-
playing) bass
-‘Discovery’ : aggressive, -starts with tolling bell
dissonant chordal playing -much use of percussion
strengthened by pizz -percussive use of piano
-‘Finale’ : ‘Bleak’ string & strings/woodwind
texture beginning with a -=viola has a (stabbing notes)
lone viola line, joined by supressed, closed -Pizz strings
high violins in a chromatic, tone -Col legno strings
polyphonic texture ; Viola -Use of strings
109
introduces three-note reminiscent of Stravinsky

‘Madness’ motif. Rite of Spring
-High-pitched violins
-Choir
- Glissando trombone
-High-pitched piccolo
-Swirling brass section
-Low-pitched bass
chanting with bell tolls
-Higher voices later added
-Fluttertonguing
-Glissandi (descending)
trombones &
strings(ascending)
-Fanfare trumpets =
bellicose
-Rhythmic/percussive use
of instruments =
Stravinsky
-Voices glissando =
avant-guarde
-Percussion
COMPOSER/ WORK: Courtney Pine, Back in the Day: ‘Inner state (of mind)’
CONTEXT General information - 3 O’Clock Blues
1. = Jazz musician modern era performed by B.B.
2.Fusion of pop styles with American modern jazz King
3.Influences : Miles Davis, John Coltrane & Sonny = Blues
Rollins (Bepop & Cool Jazz ; 1940s)
4.Parents from Jamaica : reggae, hip-hop - ‘Hotter Than That’ by
influences Louis Armstrong
5.Multi-instrumentalist : tenor & soprano sax, flute = New Orleans style
& bass clarinet ; worked as a DJ (1930s)
6.Common feature of modern jazz = use covers of =inventive trumpet
well-know popular songs (‘Love & Affection’) player
=syncopation
Features of Blues Music : =12-bar Blues & blue
-This music was a result of the combination of notes
African (slaves) and Western cultures in the =improvisation
Southern part of America. =virtuosic playing &
-Banjo and piano were the early instruments in this techniques
music type.
-Tonality : Major (although the melody has minor -‘So What’ by Miles
inlfections) Davis
-Harmony : 12-bar Blues The harmony of blues = Cool Jazz (1940s)
music mainly focuses on the first, fourth and fifth = Incorporates elements
chords : I I I I/ IV IV I I/ V(7) IV I I(V) of classical music –
-Melody : emphasis on the flattened third, fifth and Debussy
seventh notes of a major scale. It consists of 6
110
pitches which are the notes of the minor pentatonic Contemporary Jazz
scale, plus one additional note which is the artists :
diminished 5th. -‘Turnaround’ by
-Rhythm : syncopations, polyrhythms Joshua Redman
-Tempo : moderate/ steady
-Lyrics : about hardship, sadness, feeling ‘blue’ -‘Staphangin’ by
-Sonority : The earliest style of blues music was Michael Brecker
country blues, and was usually performed by a
singer accompanied by a guitar, banjo, or piano, -‘Fencewalk’ from Nu
and sometimes with added harmonica or drums. Blaxploitation by Don
Note bending - guitarists can do this by pushing the Byron & Existential
strings sideways = vocal cry. Instruments ‘sing’ as Dred
a vocalist.
-Structure : verses are AAB. There is also call-and-
response between the singer and lead instrument
(=dialogue)
Features of Contemporary Jazz :

1.=fusion with rock, pop, funk
2. from 1980s – now
3. highly chromatic harmonies (impressionism)
4. groove (riff)-based chords
5. instruments used in experimental ways :
virtuosic, percussive, harmonics…
6. instruments never used before in jazz
It is a fusion of :
- traditional jazz elements (i.e. blue notes,
syncopation, 12-bar blues, extended chords,
improvisation);
- with contemporary classical music
(Impressionism (parallel chords) & Serialism
(chromaticism);
- pop music (riffs, rap, hip-hop, funky groove);
- and the virtuosic and at times experimental
instrumental playing.
‘Inner State of Mind’ :

1.Hip-hop influence : rap & turntable
2.Original composition by Pine
3.Eclectic influences : rap, sampling, turntable
4.Vocal solo = jazz singer Eska Mtungwezi =
tribute to Gershwin’s classic ‘Summertime’.
5. Initial minor 3rd = from the song
6. Changed lyrics to ‘ain’t easy’ (from ‘is easy’)
7. Pair of chords in ‘horns’ (i.e. brass) = from Miles
Davis’ ‘So What’.
8. Blue notes (flattened 3rd, 5th & 7th) = blues
influence
MELODY 1.Pentatonicism 1.=Jazz 1. ‘Staphangin’ by
Michael Brecker
pentatonic scales
2.Blue notes 2.=Blues 2.All jazz pieces. Comes
from Blues (re ‘3
O’Clock Blues’)
3.Chromaticism 3. 3. Staphangin’ by
Michael Brecker
chromatic passages
4.Borrowing of 4. 4.
111
‘Summertime’ by
Gershwin
5. Scat singing 5. Feature of jazz 5. ‘Hotter than That’ by
singing. Voice = Louis Armstrong:
improvised imitation of Armstrong was a
instrument sounds pioneer of scat singing
6.’3 O’Clock Blues by
6.Repetition of short 6.&7. = Cool Jazz B.B. King’ = based on
figures short, repeated phrases
7. Ornamented chromatic
descent
1.Free evovling 1.=Cool Jazz 1. ‘Fencewalk’ from Nu

Blaxploitation by Don
Byron & Existential
2.Recurring ‘inner State’ 2. Dred): follows rapper
motif 2.
STRUCTURE / 3. instrumentals 3. 3.
FORM 4. alternating verse 4.&5. = fusion Jazz & 4. ‘So What’ by Miles
(supported by riff) Pop Davis: riff-based
5.rap 5. ‘Fencewalk’ from Nu
Byron & Existential
Dred): uses rap in freer
time
1.Syncopation 1.=Jazz/Blues 1. All jazz & blues
pieces use syncopation!
‘Staphangin’ by
Michael Brecker: funk-
based rhythms (fusion)
‘‘Fencewalk’ from Nu
Byron & Existential
Dred: very complicated
rhythms, syncopated to
RHYTHM / METRE
the point where it’s free
- ’3 O’Clock Blues’ by
B.B. King: syncopations
2.
2.Dotted rhythms 2. 3.
3.Scotch snap 3. 4.‘Fencewalk’ from Nu
4.Irregular groupings 4.=Free/Modern Jazz Blaxploitation by Don
Byron & Existential
Dred: irregular
groupings of rhythms
1.Brisk quadruple metre 1. 1. ‘Fencewalk’ from Nu

2. 2. Blaxploitation by Don
TEMPO
3. 3. Byron & Existential
4. 4. Dred : :brisk tempo
1.C minor with modal (2 1. 1. ‘So What’ by Miles

flats) key signature Davis: modal
TONALITY
2. 2. Blaxploitation by Don
3. 3. Byron & Existential
4. 4. Dred :: modal
TEXTURE 1.Homophony : voices, 1. 1.‘Fencewalk’ from Nu

112
horns & sax Blaxploitation by Don

Byron & Existential
Dred: homophonic&
homorhythmic horn
sections & backing
vocals
2.Melody-dominated 2. 2. ‘3 O’Clock Blues’ by
homophony : sax & piano B.B. King : melody-
dominated guitar solo &
organ
3.Rap & accompaniment 3. Fusion pop culture 3. ‘‘Fencewalk’ from
Nu Blaxploitation by
Don Byron &
Existential Dred ::rap
accompaniment
4.Broken chords 4. 4.
(arpeggios)
5. Riff 5. = Pop 5. ‘‘Fencewalk’ from
Nu Blaxploitation by
Don Byron &
Existential Dred: funky-
riff
6. Free counterpoint 6. 6. ‘Hotter than That’ by
Louis Armstrong:
clarinet counter-melody
- ‘Fencewalk’ from Nu
Byron & Existential
Dred : free counterpoint
between lead-guitar &
horn section
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1.Some quartal harmony 1.=sounds modal ; 1. ‘So What’ by Miles

(based on 4ths instead of neither major or minos Davis: uses quartal
3rds) = Free/Modern Jazz chords
2.False relations 2. 2. ‘Staphangin’ by
Michael Brecker: false
HARMONY relations in chords
3.Half-diminished chords 3. 3.
4.’So What’ chords 4.=Cool Jazz 4.‘Fencewalk’ from Nu
Byron & Existential
Dred : ‘Yeah!’ chords
responses
SONORITY 1.Draws heavily on jazz 1. 1. ’3 O’Clock Blues’
‘horns’ : which doens’t B.B.King: vocals &
have horns ( !), but guitar; organ, drum-kit;
saxophone, trumpet & horn section
trombone
2.Vocals 2. 2.
3.Rap 3.=Fusion 3. ‘Fencewalk’ from Nu
Byron & Existential
Dred: free-style hip hop
4.Guitars : distortion 4.=more Modern 4. ‘3 O’Clock Blues’ by
113
sound Louis Armstrong:

5.Random background 5. = Experimenatl (see distorted, ‘gritty’ sound
noise Beatles & of lead guitar
6. Dubbed voices Stockhausen) ‘Fencewalk’ from Nu
7.’ Drum programme’ 6.&7. = Pop/ Blaxploitation by Don
Contemporary Jazz Byron & Existential
Dred : lead guitar solo
COMPOSER/ WORK: Courtney Pine, Back in the Day: ‘Lady Day and (John Coltrane)’
CONTEXT 1.= tribute to female vocalist Billie Holiday & tenor
saxophonist John Coltrane
2.No relation to the musicians of the title
3. = connected to blues & soul
4.Use of 12-bar blues, but faster tempo & chord
sequences at the end of the verse = more complex
& jazz influenced
1.Blue notes 1. = Blues 1.’3 O’Clock Blues’ by
Louis Armstrong:
blues notes
2.Narrow-range lines 2. 2.
3.Frequent 3. = imitate Blues 3. ’3 O’Clock Blues’ by
ornamentations : guitar techniques ; for Louis Armstrong:
-acciaccaturas example B.B.King many ornamentations :
-controlled vibrato (bending notes ; trills, acciaccaturas,
-bending of notes harmonics) appogiaturas, pitch
-fall-offs bend, hamonics,
-sliding to pitch ‘butterfly’ vibrato, slides
-glissandos ‘So What’ by Miles
Davis: Miles Davis uses
a number of special
MELODY techniques in his
(trumpet) playing:
o highly virtuosic
o High, sometimes very
high registers are a
distinct feature
o Fall offs
o Ghost note
o Pitch bend
o Half valving
‘Staphangin’ (MB):
acciaccaturas,
harmonics, bending
‘Nu Blaxploitation’ (B):
Byron’s virtuosic and
experimental playing
STRUCTURE / 1. Modified 12-bar blues 1.=Blues 1.’3 O’Clock Blues’by
FORM B.B. King = standard
12-bar Blues
2. intro 2. 2.
3. extended coda 3.shows Pine’s 3. ‘Hotter than That’ by
virtuosity. Influenced Louis Armstrong::
by previous virtuosic Armstrong pushed the
jazz players limits of the lengths of
solo passages. His
solos became the most
important feature of his
tracks; as with Pine
114
4.Call-and-reponse 4.Call-and-response = 4. ‘3 O’Clock Blues’ by

vocals & saxophone riff Blues B.B. King: call-and-
response between
vocals & guitar, although
guitar part is just as
important (if not more)
than the vocals
1.Dotted rhythm 1. 1.
2.Scotch snap 2. 2.
3.Triplets 3. 3. ‘Turnaround’ by
Johsua Redman ::
RHYTHM / METRE triplets
‘Staphangin’ by
Michael Brecker semi-
quaver triplets
4.Long, sustained notes 4.
1.Fast quadruple 1. 1.
2.Slower rubato at close 2. 2. ‘Hotter than That’by
Louis Armstrong:: also
TEMPO
features rubato in his
3. 3. playing
4. 4.
1.C minor 1.
2. 2.
TONALITY
3. 3.
4. 4.
1.Close harmony 1.
2.Melody-dominated 2.
TEXTURE homophony
3.Riff 3.=Pop
4. 4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
HARMONY 1.12-bar Blues 1.Links back to roots 1. ’3 O’Clock Blues’ by

of jazz B.B. King = 12-bar
blues chords
‘Hotter than That’ by
Louis Armstrong: use
of Blues harmony
2.7th chords 2. 2.
3.7ths with #9ths = false 3.=Jazz extended 3. ‘Staphangin’ by
relations chords Michael Brecker also
has 7ths with #9ths
4.9th chords 4. 4.‘Staphangin’ by
Michael Brecker
extended chords
‘Fencewalk’ from Nu
Byron & Existential
Dred : extended chords
5.13th chords 5. 5.
6.Augmented chords 6. 6.
7.Parallel harmony 7. = influenced by 7. ‘So What’ by Miles
115
Debussy/ Modern era Davis: use of parallel

8.Change of harmonic classical music chords
rhythm (final section)
1.Vocals 1. 1.
2.Piano 2. 2.
3.Guitars 3. 3.
4.Saxophone : extended 4.=tradition in Jazz of 4. ’3 O’Clock Blues’ by
performance techniques virtuosity & interest in B.B. King: pitch-
(multiphonics & key Modern experimental bending, ‘butterfly’
clicks) – see ‘Melody’ music vibrato, harmonics,
grace notes (see
5. Dubbed voices 5.&6. = Pop Melody) – B.B. King’s
6. ‘Drum programme’ virtuosic playing
‘Hotter than That’ by
Louis Armstrong:
virtuosic trumpeter with
wide range and
SONORITY
techniques
‘Turnaround’ by
Joshua Redman: =
virtuosic playing
techniques on
saxophone
‘Staphangin’ by
Michael Brecker::
virtuosic playing
‘Fencewalk’ from Nu
Byron & Existential
Dred : virtuosic playing
on clarinet, lead guitar &
trumpet
COMPOSER/ WORK: Courtney Pine, Back in the Day: ‘Love and Affection’
CONTEXT 1. Common feature of modern jazz = use covers of
well-know popular songs
2.Original song = hit single in 1970s
composed/performed by Joan Armatrading
3.Original song had jazz influence, with sax solo &
some complex harmony
4.Courtney’s cover = singer Kele Le Roc (at
original pitch), guitar, synth strings.
5.Backing vocals = London Community Gospel
Choir : unison female voices & sometimes male
voices an octave lower
6..Guitar sounds = distorted (very different from
acoustic guitar in original)
7..Bass clarinet = very unusual for a rock song.
Used for chromatic scale passages, low register. =
links between sections
4.
1.Pentatonicism 1.= Modern Jazz
2.Chromaticism in bass 2. = Modern Jazz
clarinet
MELODY
3.Melismas 3.
4.Conjunct lines 4.
STRUCTURE / 1.Free evolving structure 1. = Free Jazz 1. ‘Turnaround’ by

FORM Joshua Redman: free
116
structure based around

a riff
2. intro 2. 2.
3. riff-based song 3. = Pop 3. ‘Turnaround’ by
4. prominent refrain 4. Joshua Redman :
based on short riff
‘Staphangin’ by
Michael Brecker:: funk
riff-based
Byron & Existential
Dred : funk riff based
1.Triplets 1. = Jazz (Swing) 1.
2.Irregular groupings 2. = Modern Jazz 2.
3.Off-beat chords 3.Feature of jazz 3.’Hotter than That’ by
Louis Armstrong:
‘comping’ (or ‘vamping)
RHYTHM / METRE chords on piano
‘Staphangin’ by
Michael Brecker::: also
vamping chords
4. ‘Turnaround’ by
4.Cross-rhythms 4. = Modern Jazz Joshua Redman:
polyrhythms
1.Opens with rubato 1. =as if singing
quadruple
TEMPO 2.Up-beat strict tempo 2.
3. 3.
4. 4.
1.C# minor 1.
2.Continues in E major 2.
TONALITY
3. 3.
4. 4.
1.Melody-dominated 1.
homophony
TEXTURE 2.Riff 2.=Pop
3.Free counterpoint 3.
4. 4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1.Use of basic (non- 1.=Free Jazz 1. ‘So What’ by Miles

extended) chords Davis:: has mainly
simple harmony so that
the focus is on the solo
HARMONY
2.Chromatic side- 2. improvisations
stepping 3.
3. 4.
4.
SONORITY 1.Vocal : variation of 1.

timbres 2.
2.Backing vocals : gospel
choir 3.
117
3.Guitar : distorted 4.Unusual for a Jazz

4.Bass clarinet song
5.Tenor sax
6.Strings
1.Courtney’s cover =
singer Kele Le Roc (at
original pitch), guitar,
synth strings.
2.Backing vocals =
London Community
Gospel Choir : unison
female voices &
sometimes male voices
an octave lower
3..Guitar sounds =
distorted (very different
from acoustic guitar in
original)
4..Bass clarinet = very
unusual for a rock song.
Used for chromatic scale
passages, low register. =
links between sections
COMPOSER/ WORK: Kate Bush, Hounds of Love: ‘Cloudbusting’

CONTEXT 1.Kate Bush’s songs Her songs are often inspired -Beatles ‘Eleanor
by literary or historical sources Rigby’ (see Bealtes set
2. Inspired by progressive rock, folk, ethnic styles, work), from Revolver,
electronica and classical forms. She also received 1966
training in dance and mime.
3. Hounds of Love = a concept album (a rock -Pink Floyd ‘Money’
album featuring a cycle of songs expressing a from The Dark Side of
particular theme or idea), 1985 = performer, the Mood, 1973
composer & producer = gave her complete control
& artistic freedom -Annie Lennox ‘Here
4. Kate sings lead vocals and plays piano and Comes the Rain Again’
Fairlight CMI (Computer Musical Instrument – an from Touch, 1983
early sampler/sequencer/synthesiser). Her brother
Paddy plays violin, balalaika (Russian string -Peter Gabriel
plucked instrument) and sings harmony vocals on ‘Sledgehammer’ from
‘Under Ice’. There are also bass, guitar & drums. So, 1986
.5. The album = wide range of additional
instruments and performers – bouzouki (Greek -Tori Amos ‘Precious
stringed, plucked instrument), whistles (folk flute), Things’ from Little
uillean pipes (small bagpipes), the Medici String Earthquakes, 1992
Sextet, the Richard Hickox Singers and classical
guitarist John Williams. -Bjork ‘Jóga’ from
6. Vinyl albums have two sides. Here side 1 = up- Homogenic, 1997
tempo ‘poppy’ songs/ side 2 = ‘arty’-related songs
called Ninth Wave
Performing forces in all three songs : Folk-infused & use of
118
-Kate Bush’s distinctive voice : huge range, rich strings

and emotive voice that has a dark, weighty timbre. Beatles
Head voice is bright & flexible. Very versatile !
- The use of cutting-edge music technology, in the Prog Rock :
form of the Fairlight CMI. This instrument could Pink Floyd
not only sample and reproduce sounds, but could
also act as a sequencer and synthesiser as well. Use of Fairlight CMI
7.Features of Prog Rock : Peter Gabriel
Although Bush is not a Prog Rock artist, she was
inspired by some of its features : Female singer-
- developed in the late 1960s and early 1970s as songwriters similar to
part of a "mostly British attempt to elevate rock Kate Bush
music to new levels of artistic credibility." =folk infused &
-Form: progressive,
-Avoids common popular music song structures of experimental
verse-chorus-bridge, or blurs the formal distinctions Annie Lennox
by extending sections or inserting musical Tori Amos
interludes, often with exaggerated dynamics to Bjork
heighten contrast between sections.
-Often has extended instrumental passages,
marrying the classical solo tradition with the
improvisational traditions of jazz and psychedelic
rock.
-May last longer than twenty minutes and are
usually not "songs" per se, but musical works that
have are a musical concept.
Timbre :
-Add instruments more typical of jazz or folk &
used electronic keyboards, synthesizers, and
electronic effects units (i.e. Moog synthesizer, the
Mellotron and the Hammond organ)
Metre & Tempo:
- Drawing on their classical, jazz, folk and
experimental influences, progressive rock artists
are more likely to explore time signatures other
than 4/4 and tempo changes.
Melody and harmony :
-Jazz and classical influences (not Blues)
- Melodies are more likely to be modal (not
pentatonic) & are longer (not short & catchy)
-Chords and chord progressions may be
augmented with 6th, 7th, 9th, and compound
intervals (not standard I-IV-V)
-Some have used atonal or dissonant harmonies
Texture and imagery :
-Ambient soundscapes and theatrical elements
Technology :
-The analog synthesizer is the instrument best
associated with progressive rock
-The modular Moog, mellotron, and others…
Concept albums :
-Collections of songs unified by an elaborate,
overarching theme or story
Lyrical themes :
-Themes found in classical literature, fantasy,
folklore, social commentary (not typical love
subject)
Presentation :
-Some bands became as well known for the art
direction of their albums as for their sound (i.e. The
119
Beatles' Sgt. Pepper's Lonely Hearts Club Band

album)
Stage theatrics :
-Elaborate & flamboyant stage theatrics to act out
the lyrical narrative of the songs
8. Cloudbusting : From Side 1

-‘= extra-musical inspiration, being based on the
relationship between the psychoanalyst/inventor
Wilhelm Reich, and his son, Peter. His theories on
the capturing of a mysterious energy, called
Orgone, led him to believe that he could cure
humanity’s ills, and also create rain (using
machines called Cloudbusters). His attempt to
market and publicise his inventions led to his
imprisonment for two years for fraud in 1956.
1.Bush’s vocals : 1. 1.
- Range of a tenth
–Mostly in mid-range
-Syllabic setting of the -=English folk
words
- Opens with leaps, then
narrows in range
-Portamento
2.Modal, based in C# 2. = folk-infused 2. -Beatles ‘Eleanor
aeolian ; occasional B Rigby’ = Aeolian
MELODY major scale melody
3. Violin narrow-range 3.
motif ; some 4.
chromaticism
4.Violin countermelody
with step-wise descent
5.Additional melody in
keyboard 2
5.Backing vocals on
nonsense workd (leap
minor 7th)
1.= 5 minutes (long !) 1.Prog rock songs 1. = Pink Floyd

were long ‘Money’ & Annie
Lennox ‘Here Comes
the Rain Again’ = 5
minutes
2. Extended conventional 2. 2.
song structure. 3.
STRUCTURE /
3. No introduction 3.
FORM
4. Long outro/coda = 4.=Prog rock 4. = Tori Amos
improvisatory feel ‘Precious Things’ :
improvisatory feel in
bridge
5. After the instrumental, = Pink Floyd ‘Money’ =
goes into chorus long bridge section
3.
4.
RHYTHM / METRE 1. Metre = simple 1.Different time- 1. = Tori Amos
quadruple in verse and signatures = Prog ‘Precious Things’ :
chorus, but with bars of Rock changes of metre =
120
6/4 used to extend unsettling

phrases.
2. Bridge uses 3/2 metre 2. 2.
for variety
3. ♫♩ rhythm used 3.== mechanical to 3.= Tori Amos
extensively (violin) suit song’s subject ‘Precious Things’ :
mechanical, repeated
4. Chorus hook 4. rhythms
syncopated before beat &
rapid repeated notes
5. Accompanying string 5. = builds tension
rhythms = more active
towards the end
6. Violin countermelody =
loger note values
1. Fast medium tempo 1.

throughout (♩=112), with 2.
strong sense of pulse. 3.
TEMPO 4.
2.
3.
4.
1.In modal C# 1.
2.No modulations 2.
TONALITY
3. 3.
4. 4.
1.Melody-dominated 1. 1.
homophony mainly
2. Homorhythmic string 2.= persistent 2-Beatles ‘Eleanor
chords crotchet pulse = Rigby’ :
obsessive nature ? string quartet texture (8
players, parts doubled)
3. String countermelody 3. 3. = Annie Lennox
doubled in octaves ‘Here Comes the Rain
Again’ :
countermelodies strings
=Bjork ‘Jóga’ : string
TEXTURE countermelodies
4. Vocal sample idea 4. = Prog rock
added to texture 4. Annie Lennox ‘Here
Comes the Rain
Again’ : vocal doubled
5. More polyphonic feel in extra texture
chorus
6. Silence used for
impact twice
7. Outro/Coda features
polyphonic interplay of
three lines
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
HARMONY 1.General Point for all 3 1. 1.

sings :
121
- self-taught = does not

follow functional harmony
(i.e. use of chords I, IV,
V) or cadences
-much use of repeated
chord-sequences
-Uses use of added note
and extension chords,
sus chords (=4th), and
slash chords
(=inversions)
2.Frequent use of limited 2.= mechanical feel 2. = Peter Gabriel
number of dissonant ‘Sledgehammer’:
added-note chords (7th, mainly based around D
9th chords) & C9th, with also 7th
chords
3.Harmonic rhythm = 3.
varied 4.
4.
SONORITY 1. A classical string 1. 1.= Beatles ‘Eleanor

sextet Rigby’ = string quartet
- Short staccato chords = strong crotchet pulse (8 players, parts
- Violin riff signals the doubled)
start of the chorus each = Annie Lennox ‘Here
time Comes the Rain
- Violin countermelody Again’ : string
orchestra : pizz. riff &
arco countermelodies
=Bjork ‘Jóga’ : string
quartet from the start
2. Most conventional use 2.= more ‘pop’ sound
of instruments, however : than rock. 2.
- No bass guitar
- No electric guitar
- Restrained use of
drums/percussion
Keyboard-triggered
3. Fairlight CMI samples: 3.=Prog Rock 3. Peter Gabriel
-Treated vocal sample ‘Sledgehammer’ =
=backing ostinato much use of Fairlight
- Two sampled tracks = CMI (shakuhachi &
melody and piano)
accompanying chords
- Sampled steam engine. = Beatles’ use of = Pink Floyd ‘Money’
musique concrète (see used sampled coins &
Beatles) cash-machine =
soundscape
= Annie Lennox ‘Here
Comes the Rain Again’
uses Juno 60
4. Bush’s vocals feature 4. synthesizer
throughout:
5.Wordless backing 5. 5. Peter Gabriel
singers = sing in ‘Sledgehammer’:
counterpoint backing vocals “yeah”
6.Drums/Percussion 6. 6. =Bjork ‘Jóga’ :
used sparingly drums are not prominent
- ‘military’ snare drum (background)
part towards the end
122
7.Brief balalaika line 7. = folk instrument
COMPOSER/ WORK: Kate Bush, Hounds of Love: ‘And Dream of Sheep’

CONTEXT 1. The Ninth Wave : Side 2
= evokes the feelings and experiences of an
individual drifting alone on the sea at night
- And Dream of Sheep’ –drifting in the sea,
awaiting rescue
2.
3.
4.
1. Word-painting on ‘they 1.
take me deeper’ with
descending vocal line
2. Verse opens with two 2.
rising fifths
MELODY 3. Refrain features 3.
oscillating minor third
4.Repeated notes 4.
5.Word setting mainly 5
syllabic, with brief
melismas
1.Loosely strophic with 1.= folk 1. -Beatles ‘Eleanor

verses & refrain 2. Rigby’ = loosely
STRUCTURE /
2.No intro 3. strophic
FORM
3.Instrumental & coda = 4.= Prog Rock
longer
4.
1. Mostly Simple 1. 1.
quadruple metre
2. 2/4 bars = extend 2. 2.
phrases
3.5/4 bar = dramatic 3. 3.
effect
4. Syncopation in verse & 4. 4. =Tori Amos
refrain ‘Precious Things’ :
RHYTHM / METRE
syncopated in chorus
5. Vocal material often 5. = Tori Amos
starts after the first beat ‘Precious Things’ :
of the bar often starts after 1st
6..Outro/coda has beat
triplets, Scotch snap
(Lombardic rhythm),
ties
1. Slow ballad tempo 1.

(♩=80).
TEMPO 2.Rubato & pause 2.
3. 3.
4. 4.
TONALITY 1. Verses in modal C♯ 1.=folk

minor.
2. Refrain and bridge in E 2.
major (relative major). 3.
3. Ends (a little 4.
123
inconclusively) in E
major.
1. Melody-dominated 1. 1.
homophony (focus vocal 2.
like). 3.
2. Piano = 4. 2.= Annie Lennox
- verses : arpeggios and ‘Here Comes the Rain
some doubling of the Again’ : Juno 60
TEXTURE vocals. arpeggio figures
- Refrain and bridge =
mid-range block chords.
- Tonic bass pedal (E)
2.
3.
4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1. Refrain = conventional 1.
I–II–V–I progression over 2.
a tonic bass pedal. 3.
HARMONY 2. Otherwise, modal 4.
sequence
3.
4.
1. Irish folk whistle 1.Bush’s Irish roots 1. Peter Gabriel

-note bend ‘Sledgehammer’ =
ethnic instruments i.e
shakuhachi (Japanese
wooden flute)
2. Dominated by the 2.=Bush’s ealy ballads.
voice and piano textures Most convetional pop 2.
music timbre
3.=though Greek, often
3. Bouzouki used in modern Irish 3.
folk music
SONORITY
4. The piano style : 4. 4.
- More dramatic and
‘involved’ during the
verse
-Vamped (off-beat)
chords in bridge
5. spoken vocal sample = 5. = atmospheric/ 5. = Pink Floyd
radio shipping forecast musique concrète ‘Money’ uses spoken
6. comments at end of
song
6. = Bjork ‘Jóga’ =
similar bleak video
COMPOSER/ WORK: Kate Bush, Hounds of Love: ‘Under Ice’

CONTEXT 1. 1. The Ninth Wave : Side 2
= evokes the feelings and experiences of an
individual drifting alone on the sea at night
- ‘Under Ice’ – in a dream-like state the narrator is
124
skating on ice, alone. In a doppelganger-like (an

apparition or double of a living person) moment
she sees herself under the ice.
2.
3.
4.
1. Vocal range limited to 1. = bleak, sad 1.

a perfect fifth
2.Except on ‘cry' 2.= desperation 2.
3. The lead vocal is 3. 3.
mainly syllabic, but there
are melismas
4.Some word-painting : A 4.= final statement 4. = Tori Amos
higher register phrase before sinking ‘Precious Things’ :
ombines a melisma with portamento at end =
a portamento downwards desperation
MELODY
to the final note
5. Many short phrases, 5. = feeling of 5. = Tori Amos
often featuring repeated entrapment ‘Precious Things’ :
notes or small, stepwise short phrases
movements
6.Short, staccato refrain-
like ideas
7.Quasi-penatonic
8.
1.Through-composed, 1.=Prog Rock

with alternating 2.
fragmentary melodic 3.
motifs 4.
2. Quite short, at 2′21″.
3. Least conventional in
structure, melodically,
STRUCTURE /
although it is based on
FORM
repetition of ideas
4. Unusually, this
structure is not defined
by the melody, but by the
accompaniment figures
and by the changes of
time signature and
rhythm
RHYTHM / METRE 1. Obsessive’ crotchet 1. = Lurking danger, 1.
pulse articulated depth sea ?
constantly in the bass
2. Uses a repeated ten- 2. 2. = Pink Floyd
bar rhythmic unit : ‘Money’ irregular
4/4 x2 3/4 x 5 4/4 x3. phrasing 3+5+3+3
3. Accompaniment 3. = unease &
ostinato ♫♩ rhythm, unsettling
repeated and
rhythmically displaced, to
create a 3+3+2 cross-
rhythm across two bars
of 4/4.
4. Vocal refrain uses the 4.
♫♩ of the ostinato
accompaniment = unifies
125
the song
1. Begins very slowly at 1.

♩=65, but accelerates to
♩=100 and then to 108.
TEMPO 2. Last four bars slow
down again. 2.
3. 3.
4. 4.
1. Modal A minor 1.=folk 1.= Bjork ‘Jóga’ : modal

2. Finishes on an 2.
ambiguous Asus2 chord 3.
TONALITY
(i.e. 2nd replaces the 3rd) 4.
3.
4.
1. Articulated bass pedal 1.

2. Ostinato open fifth 2.
textures 3.
TEXTURE 3. Dialogue between lead 4.
and backing vocals in
coda
4. Homorhythmic vocal
parts in refrain
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1. Repeated chord 1. = weak, unstable

sequence up & down by
thirds
2.Unconventional 2.
HARMONY
chords : major 7th with 3.
aug. 4th, minor 9th, sus2 4.
3.
4.
SONORITY 1. All accompaniment 1.= bleaker, colder 1. = Tori Amos

here is synthesised/ sound than live sounds ‘Precious Things’ :
sampled sound produced synthesized sounds =
through the Fairlight CMI. bleak
= Bjork ‘Jóga’ =
2. Lead vocal uses a low 2.= bleak, depressing electronic, filtered beats
tessitura throughout
3. Lead vocals are 3.= eerie
harmonised by a lower,
quieter male voice during
the refrain
4. The last sound heard 4.= primitive sound
is a sustained vocal
sample, with a moving
filter frequency = effect
similar to the vocal
harmonics of Mongolian
throat singers
5. Portamento from high 5. = sinking, dying
register to lower, final
note
126
6. = atmospheric 6. = Bjork ‘Jóga’ : use

soundscape of technology to create
bleak Icelandic
atmosphere
A2 COMPOSER/ WORK: Beatles, Revolver: ‘Eleanor Rigby’

ELEMENT MUSICAL FEATURES EFFECT/ CONTEXT WIDER
LISTENING
CONTEXT 1. The Beatles = British rock band who changed the face of -Beach Boys ‘God
pop music in the 1960s. Only Knows’ from
-The Beatles’ influences were both musical and non-musical and Pet Sounds, 1966
they were interested in Indian culture, they experimented with
hallucinogenic drugs. -Beatles
3.Revolver ‘Stawberry Fields
-Released in 1966 Forever’ (single),
- Has elements of Indian and classical music, as well as the 1967
psychedelic rock styles of the second half of the decade.
Twentieth-century avant-garde techniques also occasionally -Beatles ‘Lucy in
featured – notably musique concrète : the use of manipulated the Sky with
tape loops. Diamonds’ from
-Their producer George Martin was a crucial element in their Sgt. Pepper’s
success. His classical training resulted in the kind of Lonely Heart Club
instrumentation we find in ‘Eleanor Rigby’ and other songs. (=concept album),
-The studio techniques used in the album were groundbreaking : 1967
o automatic double-tracking =gives impression two parts
are involved -Beatles ‘Within
o variable tape speeds You, Without
o use of tape loops You ‘from Sgt.
o ‘backmasking’ = playing recorded sounds backwards Pepper’s Lonely
o Dubbed sound effects = add sounds Heart Club
4. Musique Concrète (=concept album),
-Experimental technique of musical composition using recorded 1967
sounds as raw material, developed in France in late 1940s-50s
(Pierre Schaeffer = founder)
-Assemblage of various natural sounds recorded on tape are
used to produce a montage of sound.
-Some of the technology used :
o Shellac record players: could read a sound
normally and in reverse mode, & change speed
127
o Mixing desk: would permit several sources

to be mixed together with an independent control of
the gain or volume of the sound.
o Mechanical reverberation: created the
Reverberation effect to fuse sounds
o Filters: allow the elimination or
enhancement of selected frequencies.
o Microphones: essential tool for capturing
sound.
-Some of the techniques used :
o Sound transposition: reading a sound at a
different speed than the one at which it was recorded.
o Sound looping: a loop within a recorded
sound.
o Sound-sample extraction: select a small
section of a recording.
o Filtering: keepsome trace of the original
sound but without making it recognisable.
o Microphone: used as a tool for capturing
sounds, but also used as a magnifying tool to listen to the
scarcely audible.
Main musical trends in mid-1960s :
4.West-Coast Scene
-From California = surf, life on beach
-Instrumental styles : heavily reverbed lead guitars
-studio approach became more complicated (influenced Beatles)
-Beach Boys’ trademark = Barbershop-style close-harmony
singing
-Their album Pet Sounds = new ground in pop music
composition :
o Use of guitars but also other instruments ; such as
harpsichord, orchestral instruments, vibraphones,
bongos, empy Coke bottles, harmonicas & electro-
theremin (=electronic version of theremin = eery sound)
o Falsetto singing
o Mainly homophonic with some polyphony
o Ostinatos
o A cappella
o Close-harmony singing
5.Psychedelic Rock
6. ‘Eleanor Rigby’
-The lyrics of the song have very different subject matter from
what was found in the usual love songs of the time. They
discuss issues of loneliness and aging.
-Written by Paul McCartney
MELODY 1. It is diatonic & modally 1. 1.

128
ambiguous :
- in the Dorian mode, but backing
vocal music Is Aeolian in character.
2. The melody of the verse = 2. 2.
conjunct
3. The refrain has an 8ve leap, which 3. = word painting, 3.
& is extended later to a rising 10th despair
(‘where do they all belong?’).
4. Beatles ‘Within
4..Descending chromatic line 4.= sadness You, Without
You’ : descending
line on ‘they pass
away’ = word-
painting
1. Eight-bar intro 1. 1.
2. A series of three verses consisting 2.= modified strophic 2. Beach Boys
of main section (1+3+1 bars) & 8-bar form ‘God Only Knows’
refrain (4+4 bars) = unusual structure = modified strophic
with verses &
STRUCTUR refrain
E / FORM Beatles
‘Stawberry Fields
Forever’ : verses
=irregular bars ;
3.Outro : 4-bar phrases : 3 vocals + 1 3. refrain = regular
instrumental fill 4. 4+4
4.
1. Repeated crotchets in the strings 1.= insistent, doom
is distinctive. 2.
2. Sustained semibreves in the 3.
RHYTHM / refrain 4.
METRE 3. The vocal phrases have
continuous quaver movement with
syncopation
4.Quadruple time
1.Fast : 136 = BPM 1.

2.Mainly strict time until slight rit. at 2.
TEMPO end 3.
3. 4.
4.
1.E minor, with modal inflections in 1.

melody 2.
TONALITY 2.No modulations 3.
3. 4.
4.
TEXTURE 1.Predominantely homophonic 1. 1.

2.Repeated staccato chords contrast 2. 2.
with sustained notes in other parts 3.
3.Cellos : repeated or sustained 4. 3.
notes
4.Cellos double voice on ‘wiping the 4.
dirt from his hands’
5. Descending chromatic line viola in 5. Beatles ‘Within
chorus You, Without
You’ :
6.Strings play occasional fills countermelody in
129
between vocal lines violins

7.String ‘quartet’ consists of 2 6.
players/ part = thicker texture.
Sometimes they play divisi and there 7.
are also double-stops
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1. Just two chords are C and E minor 1.

(except one Am)
2.Harmonic rhythm = slow 2.=contrasts with songs
fast pace
HARMONY
3.The chromatically descending viola 3.
line = creates dissonance 4.
4.Use of appogiatura in vocal line =
dissonance
1. ‘classical’ approach, and arranged 1.= not usual pop song 1. Beach Boys
George Martin it for double string instruments ‘God Only
quartet =George Martin Knows’ : 60s pop
-divisi strings at times influence by Herrmann’s performance
-double-stopping Psycho score standards, with
guitar, bass and
drums, but also
2. Mechanical staccato figures 2. including several
SONORITY 3. Performed non-vibrato & with close 3. = studio technology orchestral
mics instruments –
orchestral strings,
french horn,
percussion, piano
and harpsichord.
Beatles ‘Within
You, Without
You’ : also uses
strings
COMPOSER/ WORK: Beatles, Revolver: ‘Here, There and Everywhere’

CONTEXT 1. Written by Paul McCartney.
2. He was influenced by Beach Boys’ song ‘God
Only Knows’
3. This romantic love song is harmonically complex
and rarely settles in one tonal area
4.It also features close-harmony backing vocals in
true Beach Boys’ style.
MELODY 1. The vocal line 1. 1.= Beach Boys ‘God

frequently has a high Only Knows’ : falsetto
tessitura (pitch range) singing
falsetto, a distinctive
feature of Paul
McCartney’s singing
style.
2.His vocal line varies 2. 2. .= Beach Boys ‘God
130
from monotone to Only Knows’ : variety of

conjunct & leaps. Often conjunct & leaps
triadic.
3. Also uses
suspensions, 3. 3.
appoggiaturas and
anticipations.
4. The backing vocals are
in close harmony and 4. 4. = Beach Boys ‘God
tend to either rise or fall, Only Knows’ : close
often in stepwise motion harmony & high
5.Unusual phrase length : tessitura
1+2+2+3
1. Altered version of the 1.

standard 32-bar AABA 2.
structure, reduced to 28 3.
bars by using a 4.
STRUCTURE /
shortened B section
FORM
2. There is an unusual
three bar intro & short
outro
3.
4.
1.Quadruple time, with a 1. 1.
bar 7/8 intro
2.Flexible speech- 2. 2. = Beach Boys ‘God
rhythms = gentle Only Knows’ flexible,
RHYTHM / METRE
syncopations & scotch free with syncopations &
snaps crotchet triplets
3. 3.
4. 4.
1.Moderate 84BPM 1.
2.Intro = rubato 2.
TEMPO
3. 3.
4. 4.
1.Section A : G major, 1.

(but with hint of E minor 2.
1st time) 3.
TONALITY 2.Section B : Bb major 4.
(=remote key)
3.
4.
1.Melody-dominated 1. 1.
throughout
2.Close barbershop 2. 2. = Beach Boys
TEXTURE harmony singingin 3.
backing vocals 4.
3.
4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
HARMONY 1. Four-chord 1. 1.
131
progressions
2.Section A : rising 2. 2.
parallel root position
chords moving up the
scale: G–Am–Bm–C.
3.Section B : four-chord 3. 3.
progression, starting in
Bb major and moving to
G minor, I–vi–ii–III7/V7
in G minor and creates a
perfect cadence to the
next section, in G major
4.Some dissonances : 4. 4.
appogiatura, brief false
relation
5. Harmonically complex 5. = Beach Boys ‘God
and rarely settles in one Only Knows’ : the
tonal area wandering nature of the
progression = sounds
restless, insecure, and
looking for a direction =
suits lyrics
1. The instrumentation is 1. 1.
much reduced from what
might be found in a
standard pop song of the
period :
-drums used rarely and
no lead guitar
2.Backing guitar = 2. 2.
emphasis on beats 2 & 4
3.Backing vocals = in 3. 3. = Beach Boys’ style of
style of American singing
Barbershop close
harmony 4. 4.
SONORITY
4.Spread-chords guitar at
beginning
5. Mandolin sound in the
chromatic guitar phrase 5. = studio technology 5.
in the B section,
produced by using a
Leslie cabinet (=a sound
modification device) in
the studio.
6. The vocal line = high
tessitura a distinctive 6. = Beach Boys’ style
feature of Paul
McCartney’s singing
style.
A2 COMPOSER/ WORK: Beatles, Revolver: ‘I want to Tell You’

CONTEXT 1. This song was written and sung by George
Harrison, the group’s guitarist.
2.Harrison was particularly influenced by Eastern
philosophy and musical styles and was beginning
to study the sitar.
3.Indian influences :
- The song ends with melismatic chant almost like
132
a call to prayer.
- The extreme dissonance of the minor ninth F♮
against an E7 chord (bar 10) may also reflect his
understanding of Indian musical style.
-The lyrics, for instance ‘maybe next time around’
reflect Hindu philosophy.
4.He was also starting to experiment with the drug
LSD and some of the lyrics may be influenced
by this.
4.It is a song about the difficulties of expressing
emotions through words = dissonant harmony
1. Harrison’s lead vocal is 1. 1. Beatles ‘Within You,

very narrow and stepwise Without You : also
composed & performed
by Harrison
2. The phrase lengths are 2.
MELODY very irregular
3.Melisma at end 3. = Indian influence
4.Guitar riff = flattened 4. = typical of The Who
7th is prominent style of guitar riff
5. Fragmentary melody 5.= underlines
desperation of lyrics
1. There are two verses, 1.= modified strophic

a bridge section, another = interesting use fade
verse, another bridge, in = studio technology
STRUCTURE / and then a final verse,
FORM bookended by a fade-in
intro and a fade-out
2. 2.
3. 3.
4. 4.
1.Quadruple time 1. 1.
2.Crotchet triples in guitar 2. 2.
RHYTHM / METRE riff 3.
3. 4.
4.
1.Brisk 124 BPM 1.

2. 2.
TEMPO
3. 3.
4. 4.
1.Remains in A major 1.
2. 2.
TONALITY
3. 3.
4. 4.
1.Melody-dominate 1.
homophony throughout 2.
TEXTURE 2. 3.
3. 4.
4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
133
1.Verses : A, B7 and E7, 1. 1. Beatles ‘Within You,

with a hint of a Without You’ : some
suspended D chord in the complex chords
guitar riff including G#sus4 &
2. In bridge the chords 2. = static and A#m7
are more unexpected – dissonant
Bm, B diminished, A and accompaniment to
B7 words about confusion
3. The intro and outro are 3. = Indian drone ?
HARMONY
played over a tonic pedal
4. Dissonance is a 4.= difficulty &
feature of much of the frustrations of
song, with many of the transmitting thoughts
incessant repeated
piano chords coloured by
chromatic acciaccaturas
(eg bar 5) or minor 9th
appoggiaturas (eg bar
10).
1. = more conventional 1.
for a pop song of the
period, with more
prominent drums.
2. Piano = block chords 2.
3. George Harrison’s 3.Through Leslie
guitar provides the intro speaker
music
4. Close harmony vocals 4.= Beach Boys
SONORITY & high tessitura
5. Harrison’s vocal line 5.
has a narrow range
6. Recording techniques 6. = studio techniques
include fade in and fade
out.
7. There are also 7. Use of mutli-tracking
maracas, bass, (McCartney played
tambourine & hand-claps bass & piano) &
different sounds
(hand-clap = prayer ?)
A2 COMPOSER/ WORK: Beatles, Revolver: ‘Tomorrow Never Knows’

CONTEXT 1. Mainly written by John Lennon
2. The lyrics derived partly from a book called The
Psychedelic Experience: A Manual Based on The
Tibetan Book of the Dead.
3. Lennon wrote the song under the influence of
the hallucinatory drug LSD : ‘Turn off your mind,
relax and float downstream’ and other parts of the
lyrics refer to the effect of the drug, as well as
meditation and the awarenss of the moment.
4. It caused significant ripples in the music world,
as it heralded the beginning of experimentation and
the avant-garde in popular music.
MELODY 1. Vocal melody = 1.=modal, Indian 1. Beatles ‘Stawberry

Mixolydian mode & is in 2 effect Fields Forever’ = Indian
fairly equal phrases of swarmandal melody
Beatles ‘Within You,
134
Without You’ :
Mixolydian mode
2. Beatles ‘Stawberry
2. The guitar solo (pre- 2.=studio effects Fields Forever’ =
recorded and played flattened 7th in lead
backwards) uses a blues guitar
scale on C = a variation
of a pentatonic scale
(flattened 7th). 3.
3.Flattened 3rds can be 3.
heard in tape loops =
pentatonic Blues scale 4. Beatles ‘Lucy in the
4.Lyrics about LSD 4. Sky with Diamonds’ :
effects drugs-oriented lyrics
1. The song is strophic 1. 1. Beatles ‘Stawberry

2. Fields Forever’ : verse
3. & refrain = modified
2. There is also an 4. strophic form
STRUCTURE / instrumental intro, an
FORM instrumental between the
third and fourth verses,
and a coda/outro.
2.
3.
4.
1. Continuous rock 1. 1.
rhythm on the drums in
common time
2. Vocal line produces a 2. 2.
number of cross-rhythms
in its performance
RHYTHM / METRE 3.Instrumental solo has : 3. = feeling of chaos 3.
-syncopation 4.
-off-beat entries
-Scotch snap (Lombardic
rhythm)
4.Triplets in guitar loop 4. Beatles ‘Stawberry
Fields Forever’ : triplets
in cellos
1.Tempo of vocal part = 1.
moderate 2.
TEMPO 2. 3.
3. 4.
4.
1.C major with prominent 1.

flattened 7th 2.
TONALITY 2. 3.
3. 4.
4.
TEXTURE 1.Solo voice supported 1.= Eastern chanting 1. Beatles ‘Lucy in the
by continuous drone C Sky with Diamonds’ :
with bass riff from bar 3 tambura drone
Without You’ : tambura
drone
2.Drums throughout 2. 2.
3.Web of tape loops = 3. 3. Beatles ‘Stawberry
135
electronic soundscape & Fields Forever’ : outro

textures has background textural
sampled effects
4. 4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1.An implied tonic C 1. One-key-one-chord 1. Beatles ‘Lucy in the

chord continues approach = new. = Sky with Diamonds’ :
throughout most of the Harrison’s interest in also based on tonic
music Indian music = dreamy chord
mood Beatles ‘Within You,
Without You’ : C#
drone throughout
HARMONY
2.B flat chords heard in 2.
bars 11-12 and the coda, 3.
above tonic pedal on 4.
tambura & sitar drones &
bass riff (with flattened
7th Bb)
3.
SONORITY 1. This shows the most 1. 1. = Beatles

direct influence of Indian ‘Stawberry Fields
music of any of the four Forever’ uses
selected songs. swarmandal (Indian
zither)
Without You’ : heavily
influenced by Indian
music with several
Indian instruments :
sitar, tambura,
swarmandal & dilruba
136
(stringed-bowed
instrument) & tablas
2. There is a tambura 2.= Indian drone 2. Beatles ‘Lucy in the
drone throughout. stringed-instrument Sky with Diamonds’ :
tambura drone
3. The music also uses a 3.Harrison was 3. Beatles ‘Lucy in the
sitar = used particulalry learning the sitar Sky with Diamonds’ :
as a pre-recorded fill sitar
between verses. Beatles ‘Within You,
Without You : Harrison
plays sitar & tambura
4. The drum track 4. 4. Beatles ‘Stawberry
continues unchanged Fields Forever’ :
throughout & is reverse cymbals
prominent. Altered studio
effects include ‘reverse’
cymbals
5. Bass guitar riff remains 5. 5. Beatles ‘Lucy in the
unchanged Sky with Diamonds’ :
bass riff
6. Electric guitar solo is
distorted using tape 6. 6.
techniques, including
being played in reverse.
7.Music technology :
-16 short tapes used at 7. = Influence of 7. Beatles ‘Stawberry
various points in the song musique concrète Fields Forever’ : outro
as tape loops, has background
continuously repeating sampled effects
- Manipulated tape Beatles ‘Within You,
techniques including Without You’ : recorded
speeding up and laughter at end
reversing, as well as
superimposing
various different short
recordings on top of each
other.
- Tape effects include
natural sounds such as
laughing – the tape of
laughing is
played at double speed
to produce the ‘seagull’
sound.
8. Vocal style includes 8. 8. Beatles ‘Stawberry
the then new technique Fields Forever’ :
of artificial double Lennon’s voice = heavily
tracking: Lennon’s voice distorted & double-
was first recorded and tracked in refrains
then added to the mix Beatles ‘Lucy in the
slightly later, as well as Sky with Diamonds’ :
being altered in other Lennon’s voice at times
ways, including speed ‘pure’ at times with ADT
and frequency (automatic double
manipulation. tracking)
9. = Tibetan 9.
9. Lennon wanted to
sound like a hundred
Tibetan monks chanting.
An artificial way of
137
producing something like

the effect he wanted was
to use the ‘Leslie cabinet’
to alter the vocal sounds
in the studio.
10. Hammond organ and
mellotron – a relatively 10.= Beatles
new instrument that ‘Stawberry Fields
played tape samples of Forever’ has mellotron
different sounds: to sound like flutes
flutes and strings were Beatles ‘Lucy in the
used on this track. Sky with Diamonds’ :
Lowrey organ= sounds
11. Also bass & ‘honky- like celeste/ harpsichord
tonky’ piano 11.
138
COMPOSER/ WORK: Debussy, Estampes: No 1 ‘Pagodes’

CONTEXT 1.Estampes (‘prints’)= 1903 - Gnossienne No.1 by
2.Impressionistic = describe ‘impressions’, E. Satie, 1890
espeically of nature
3.Debussy = break from 19th Century -‘Laideronette’ from
Romanticism : Ma Mère L’Oye by M.
- brevity : short pieces & short melodies Ravel, 1910
- descriptive : descriptive titles, but music is more
suggestive than too descriptive -‘Rondo’ from
- pentatonic & modal melodies (Eastern & Western Concerto pour Deux
folk) Pianos, by F. Poulenc,
- tonal scheme avoids I & V chords and traditional 1932
modulations ; however remains diatonic
- parallel chords (break from rules of trad. -Prince of the Pagodas
Harmony) by B. Britten, 1957
- sustain pedal = blurring of harmonies/ misty,
watery effects --G.Ligeti : ‘Galamb
4.Fascination for Far East (i.e. Gamelan) = search Borong’ (=’Fake
for new language & exoticism Indonesian) from 2nd
5. Compositions = miniatures book of Etudes for
6. Other break from Germanic Romanticism of 19th Piano, 1994
Century = using French expression markings
‘Pagodes’
1.Influence of Javanese Gamelan (heard inter.
exhibition 1899).
2. Oriental style created by :
- opening gong-like open 5ths
- chords with added notes & not triads = gamelan
harmonies (neither major nor minor)
- melodies pentatonic scale = Javanese slendro
scale
- melodic ostinatos
- variation of speeds
MELODY 1.Pentatonic scale 1.Javanses slendro 1. Laideronette’
scale (Ravel) & ‘Rondo’
(Poulenc): use
pentatonic scale
‘P. of Pagodas’
(Britten): also uses
gamelan scale, the
pelog, also pentatonic
melodies
2.Gamelan based on 2. ‘Gnossienne’ (Satie)
2.Melodic ostinatos (2- melodic ostinatos & ‘Rondo’ (Poulenc) &
bar phrases) ‘P. of Pagodas’
(Britten): melodic
repetitions, ostinatos
3.Impressionism & 3. ‘P. of Pagodas’
3.Whole-tone scale gamelan (Britten): much use of
major second passages
‘Galamb Borong’
(Ligeti) : uses whole-
tone scale – each hand
has its own version to
139
re-create Balinese ‘out

of tune’ pitch quality
(Balinese music sounds
‘out-of-tune’ because
the instruments are
tuned slightly
differently)
4.Use of high tessitura for 4.=high metallophones 4. ‘Rondo’ (Poulenc):
ornamentation in gamelan high tessitura used
‘P. of Pagodas’
(Britten): also uses high
tessitura on piano
‘Galamb Borong’
(Ligeti) :high tessitura
Balinese Gamelan
5. Use for low tessitura 5. = low gongs 5. ‘P. of Pagodas’
for gong (Britten): low gong like
effect on piano
‘Galamb Borong’
(Ligeti) :low, sustained
notes in low register
piano
1.Ternary form with coda 1.European form
STRUCTURE / (See revision guide) 2.
FORM 3. 3.
4. 4.
RHYTHM / METRE 1.Time-signature : simple 1. 1.

quadruple with 2-bars 2/4
2.Syncopation 2. 2. Laideronette’
(Ravel): 2nd motive
based on syncopated
rhythms
‘Galamb Borong’
(Ligeti) : syncopations
3.Tied-notes over bar- 3. = no strong sense of 3. ‘Gnossienne’
lines 1st beat (Satie): lack of bar lines
= abstract pulse
‘Galamb Borong’
(Ligeti) : bar-lines are
not there for metrical
reasons. Notes beamed
across bar-lines
4.Triplets & quadruplets 4. 4.&5. ‘Rondo’
5. Cross-rhythms (2s 5. = gamelan, (Poulenc): complex
against 3s) juxtaposition of cross-rhythms &
rhythms polyrhythmic
‘Galamb Borong’
(Ligeti) : rhythmically
very complex. Much
polyrhythms & cross-
rhythms
6. Long notes 6. = gongs 6. ‘Galamb Borong’
(Ligeti) :long notes for
gong-like notes
7. ostinatos (triplet- 7. ‘Rondo’ (Poulenc):
ostinato) built on rhythmic
ostinatos
‘Galamb Borong’
(Ligeti) : continuous
140
semiquavers throughout
1.Speeds vary 1. = gamelan music 1.
2.Moderately quick, with 2. 2. ‘Galamb Borong’
TEMPO requent rits. 3. (Ligeti) :moderately
3. 4. quick
4.
1.Five sharps suggests B 1.Gamelan & 1. ‘Gnossienne

major or G# minor = use Impressionism = use (Satie)’: tonality also
of black keys. Neither key of modes, pentatonic & ambiguous around F
properly established whole-tone scales ; minor
keep major/minor ‘Galamb Borong’
TONALITY
unclear (Ligeti) :two different
key-signatures for each
2.B = tonal feature 2. hand : C# & C whole-
3. 3. tone; therefore no sense
4. 4. of tonality.
1.Layered textures 1.Layered textures = 1. ‘P. of Pagodas’

gamelan (although (Britten): ‘Prelude’ is
gamelan is more layered
heterophonic) ‘Galamb Borong’
(Ligeti) : = layered : 2-4
layres
2.
2.Melody-dominated 2.double pedal = drone
homophony with double (gamelan)
pedal 3. Laideronette’
3.Two-part counterpoint 3.Shows Debussy’s (Ravel) : imitation
mastery of harmony ‘Galamb Borong’
(Ligeti) : very
polyphonic
TEXTURE
4. ‘Galamb Borong’
4.L.H. chords with high, 4.Imitate (Ligeti) : high-R.H.
bell-like R.H. metallophones of ringing notes
gamelan 5. ‘Gnossienne 1
5. Rapid, ornamental 5. = layering of (Satie)’: use of
R.H. figuration, melody in gamelan instruments ornaments
mid-range, long bass from low to high, with
notes higher metallophones
ornamenting main
melody (heterophony) 6.‘Rondo’ (Poulenc):
6. Gong-like open fifths = 6. Gongs = part of long-held long notes in
pedal in low tessitura gamelan/ drone-like low tessitura
‘Galamb Borong’
(Ligeti) : low, sustained
gong-like notes
1.Large range of 1.= Gamelan, which 1. ‘Gnossienne 1’
dynamics from delicate to has sudden dynamic (Ravel)’: sudden
fortissimo at climax fluctuations & ‘colours’ changes of dynamics =
DYNAMICS 2. of Impressionism frequent
3. 2. ‘Galamb Borong’
4. 3. (Ligeti) : huge range of
4. dynamics from pppp to
ffff & accents
HARMONY 1.Added notes, avoiding 1.Gives a modal feels 1.-7. ‘Gnossienne 1’
triads, chords with 4ths & (Satie): use of dissonant
open 5ths chords used for colour &
mood/
2.Static quality 2.All features linked to ‘Laideronette’ (Ravel) :
141
3.Slow harmonic rhythm gamelan & clashing chords to mark

4.Changing impressionism end
harmonisations of same
melody
6. Ext. chords, dim triad,
colouristic major 2nd
7. Pentatonic
harmonisation with
paraellism & open 5hts
1.sustain pedal = 1.= blurring of 1. ‘Galamb Borong’

essential harmonies = (Ligeti) : much use of
shimmering sustain pedal
sounds/harmonies of
Gamelan
2. ‘2 ped’ = sustain & una 2. una corda pedal 2. ‘Galamb Borong’
corda (soft pedal) at the contributes to (Ligeti) : Use of una
same time chracteristic timbre of corda
‘Pagodes’
3.Both pieces use full 3. (Ligeti) : full range of
SONORITY range of piano piano used
4.Use of black keys of 4. (Ligeti) : black keys
piano for pentatonic used in whole-tone
effect scale
5. ‘Gnossienne 1’
5. wide dynamic range 5. = gamelan feature & (Satie): also uses wide
Impressionism dynamic range of piano
descriptive language ‘Galamb Borong’
(Ligeti) : extensive
dynamic range
6. Piano = percussive on 6. Gamelan = ‘Galamb Borong’
steel strings percussive on (Ligeti) : piano used
metallophones ‘percussively’
COMPOSER/ WORK: Debussy, Estampes: No 2 ‘La soirée dans Grenade’

CONTEXT 1.Search for a new language & exoticism = -Habanera by
Spanish music Chabrier, 1885
2.Habanera = Cuban dance = simple duple time, -‘Habanera’ from

distinctive rhythm of dotted quaver, semiquaver Carmen by G. Bizet,
and two 1875
quavers. Staccato = essential characteristic of the
style. -Pièce en Forme de
Habanera, M. Ravel,
3.Guitar sounds = instrument of Southern Spain. 1907
Flamenco dance. Spread chords.
-‘Habanera’ in
4.Moorish song : lament (very sad), dissonance, Rapsodie Espagnole,
augmented 2nd (distinctive), conjunct melody, fluid M. Ravel, 1907/1908
rhythm = improvisation style, acciaccatura
ornaments = Andalusian (Arabic influence)
5. Impressionism features : parallel chords, added

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notes & chords based on 4ths & open 5ths,

frequent changes of tempo, whole-tone scale, tonal
character, cross-hand techniques on piano
Theme 1 :
1.Oriental Andalusian- 1.Spanish exoticism ; 1. ‘Habanera’ (Bizet):
Arabic melody as if vocal melisma use of chromaticism =
Andalusian exoticism
‘Pièce Habanera’
(Ravel): melismatic-like
melody
2.Augmented 2nd 2.=Andalusian-Arabic 2.
3.Acciaccatura 3. = Andalusian 3. ‘Pièce Habanera’
inflection (Ravel):
acciacaturas
4.A limited range 4. = folk song 4.
5. Avoidance of balanced 5. = improvisation 5. ‘Pièce Habanera’
MELODY phrasing (Ravel): melody floats
over rhythm
Theme 2 :
6.Balanced 2-bar 6. 6. ‘Pièce Habanera’
phrases (Ravel): balanced 4-bar
phrases
7. Repeated notes 7. = Moorish song 7. ‘Pièce Habanera’
(Ravel): repeated notes
Theme 3 :
8. whole-tone 8. = Impressionism 8.
Theme 4 :
9. major mode, 9. 9. ‘Habanera’ (Bizet):
descending descending melody
1.A succession of 1.Impressionistic

STRUCTURE / different themes/ sections musical description
FORM (see revision guide) 2.
3. 3.
4. 4.
1.Habanera rhythm = 1. 1. ‘Habanera’ (Bizet):
distinguishing feature also established from
the start; as well as
(Ravel):
2.Duple time with sudden 2. 2. ‘Habanera’
switches to 3/4 (Bizet):duple time. Also
uses habanera rhythm
(Ravel): also switches
from duple to triple time
RHYTHM / METRE 3.Rubato & tempo guisto 3. = freedom of a 3. ‘Pièce Habanera’
(strict time) Moorish song v (Ravel): also has rubato
habanera dance
4.Triplets 4. 4. ‘Habanera’ (Bizet):
Carmen sings strutting
triplets
(Ravel): triplet rhythms
5. Scotch snaps 5. Spanish rhythm ‘Habanera’ (Chabrier):
6. Cross-rhythms use of triplets
143
1.Mvt of habanera 1. = Spanish flavour 1.

TEMPO 2.Start slowly & gracefuly 2. = nonchalant, 2. ‘Pièce Habanera’
tranquil evening in (Ravel):
Grenada Slow tempo
1.Most keys related to 1.European tonality 1. ‘Habanera’ (Bizet): in
the tonic of F# minor minor key
2.Tonic major 2. ‘Rhapsodie’ (Ravel):
also switches between
F# minor & F# major
TONALITY
3.Keys reinforced with 3.
pedal points
4.3/4 contrast : C 4.Modal, folk Spanish
mixolydian & A feel
mixolydian
1.Various types of 1.
homophony, often
layered
2.Monophony : melody in 2.
L.H. & inverted pedal in
TEXTURE R.H.
3.Chords with sustained-
bass 3.
4.Three layers : melody
middle, chords above, 4.
habanera underneath
1. From ppp to ff 1.dynamic colouring 1. ‘Pièce Habanera’

2. 2. (Ravel): ranges from
DYNAMICS
3. 3. ppp to f
4. 4.
1.Pedal points 1., 2., 3. =

2.Paralelle 7th chords Impressionism
3.Whole-tone
HARMONY harmonisations
4.False relations 4.
5. Open 5ths 5. = guitar chords
6. Parallel trias 6. = Impressionism
1.Staccato & spread 1. = guitar-like

chords articulation strumming
2. Cross-hand techniques 2.
SONORITY
3.Extreme ranges of 3.Pianist techniques
piano used 4.
4.Sustained bass-notes
under chords
144
COMPOSER/ WORK: Familia Valera Miranda, Caña Quema: ‘Alla vá Candela’

CONTEXT 1.Cuba = fusion European (Spanish) & Latin Bolero :
American (African) ‘Lágrimas Negras’ by
2.Spanish = guitars, cuatro, double-bass/ functional Trio Matamoros
harmony
3.Afro-Cuban = percussion (maracas, bongos, ‘Dos Gardenias’ by
claves)/ syncopated/ layered rhythms Ibrahim Ferrer
4.Songs from early 20th Century
5. Songs about East Cuba & life Son :
‘No He Visto e Caridad’
6. Son by El Septeto
= The Son originated in the Eastern region of Santiaguero
Cuba, known as the Oriente Provence, among the
country folk. This was probably due to the influence ‘Pal’Monte’ by Sierra
of the freed African slaves that arrived shortly after Maestra
their emancipation. It is a fusion of Spanish &
African music/ Originally purely vocal call-and-
response form, but when used for dances chordal
accompaniment on instruments added. The clave
rhythm can be traced back to West African
(Yoruba) drumming patterns, and is played on the
‘clave’ (a pair of hard wooden sticks struck
together). The claves are the key to keeping the
rhythm of the Cuban Son, and they also direct the
dancers footsteps. The form of the Son is not
complicated. It consists of the repetition of a chorus
sung in response to a soloist.
Cuban boleero :
7. ‘Alla candelá’ = about joys of life. Starts as
Cuban bolero with tempo increasing to son
8. Cuban bolero = is a slow, duple metre song that
has freer rhythms and follows the prosody of the
lyrics. The bolero has been described as the first
great Afro-Hispanic vocal synthesis (fusiion). There
is an emphasis on the vocality of the performer
who becomes the focal point for audience
identification. Love in its multiple variations, both
affirmative and negative, is the predominant
(although not the only) theme of the bolero.
General Points :
1.Fusion of Spanish & Afro-Cuban music.
2.Dance music = steady tempo, simple harmonies,
set rhythmical feaure (clave)
3.Clave can mean a rhythmic pattern (3 :2/ 2 :3) as
well as an instrument (two small wooden blocks). It
means ‘key’.
4.Son = symbol of Cuba. 2-parts : improvised
pregón & coro (chorus)
5. As the rhythm drives thd music, the melody &
harmony are usually quite simple.
MELODY 1.Syllabic 1.Simple, folk songs The above songs are
tend to be syllabic = also syllabic.
145
2.Wider vocal range for story telling

lead (12th in bolero) ; but 2.
more restrained in son 3.
3.Cuatro has short, 4.
repeated melodic
pattern : guajeo =
syncopated & arpeggiaic
melody = ostinato
4.Falling 5ths at end of
phrases
5. Rapidly repeated notes 5. = feverishinly
beating heart
6. Cuatro solo : triadic
shapes, stepwise motion,
larger leaps, chromatic
inflections
1.Cuban Bolero = slow 1.Call-and-response ‘Lágrimas Negras’

to moderate tempo/ in 2/4 vocals = African (Trio Matamoros) &
or 4/4 metre influence ‘Dos Gardenias’
STRUCTURE /
Ibrahim Ferrer): also
FORM
2.son = faster 2. bolero
3.call-and-response 3.
4. 4 Call-and-response in all
songs above
1.Guitar = syncopated 1.Rhythm a strong 1.All songs above have
block chords feature in son due to the same features
2.Afro-Cuban feature : its African influence
continuous quavers on 2. 2.
maracas & improvised 3.
bongo patterns 4. 3.
3.clave : (mostly) 2 :3
pattern 4.
4.Anacrusis in vocal part 5.
5. Dotted rhythms 6. All songs above
6. Syncopations (i.e. heavily syncopated ‘Pal
cuatro) Monte’ (Sierra
Maestra)
RHYTHM / METRE
has syncopated cuatro
at start
7. Bass-line : ‘square’ on 7.See bolero w/l
the beat in bolero & examples
syncopated in son 8. ‘Lágrimas Negras’
8. Vocal lines syncopated (Trio Matamoros)
throughout/ Some polyrhythmic effect from
complex cross-rhythms guitar
9. Cuatro solo = most
complicated rhythmic
language with
syncopation, triplets,
hemios & rapid quavers
1.Bolero = moderate, 1.Remember it’s 1. Lágrimas Negras’

slower tempo originally dance (Trio Matamoros) &
2.Accelerando music ; so steady and ‘Dos Gardenias’
TEMPO 3.Son = brisker similar tempo for all (Ibrahim Ferrer) are
4. sons boleros (slow, moderate
2. tempo)
3.
4.
146
1.E major 1.
2.Diatonic 2.
TONALITY
3.No modulation 3.
4. 4.
1.Cuatro strumming in 1.Contrast between All songs are

8ves = thicker texture. soloist & chorus (call homophonic/ melody-
Brightness of top strongs and response) = dominated homophony
2.Melody-dominated African influence
TEXTURE
homophony (both songs) 2.All melody-
3.Monophony (cuatro) at dominated homophony
start of both songs or homophonic
4. 3.
4.
1.Quite loud 1.Needs to be heard
2. when people are
3. dancing or at a village
DYNAMICS 4. festival (not performed
at a concert hall !)
2.
3.
4.
1. bolero : wider range of 1.Simple, functional All songs use functional,
chords : E & B7 (I & V) harmony = Spanish simple chord
are varied with A & F#7 influence. progressions; especially
(IV & V/V) and with E7 2. based around V-I
(I7) 3.
2.son : simple I-V7 4.
HARMONY
3.Cuatro section :
expands harmony with
chromatic inflections in
melody = chord
extensions
4.
SONORITY 1.Lead vocals : pregón : 1.Mixture of Spanish ‘No He Visto e Caridad’

improvises verses instruments (guitars) & (El Septeto
African percussion. Santiaguero) : interplay
Sometimes other between lead vocalist &
European instruments chorus/ All male
added (i.e. trumpet) ‘Pal’Monte’ (Sierra
2.Chorus vocals : all 2. Maestra) : lead vocal &
male coro : refrains are 3. chorus male
fixed 4.
3.Guitar : chordal,
accompaniment
4.Cuatro = 8-string
instrument related to
guitar, strings tuned in
pairs : G-C-E-A/ Plays
solo melodic lines &
strummed chords./
Cuatro solos = more
adventurous (slides,
chords, individual notes)
5. maracas, bongos,
claves
147
6. Double-bass : plucked
(V-I notes)
COMPOSER/ WORK: Familia Valera Miranda, Caña Quema: ‘Se Quema la

Chumbambà’
ELEMENT MUSICAL FEATURES WIDER LISTENING EFFECT/ CONTEXT
CONTEXT 1.About a family incident 1. ‘Pal’ Monte’ Sierra
when land caught fire. 2. Maestra is also son
2.son montuno 3. montuno
(‘mountain song’) = 4.
improvisation section All songs from ‘Alla va’
end ? are applicable below
3.
4.
1.Limited vocal range 1.

2.Intro ‘riff’ = 2 2.
sequentially related 3.
phrases : rising & falling 4.
3rd
3.Balanced 2- & 4-bar
MELODY phrases in vocals
4.’Improvised’ pregón :
starts on dominant note
5. Cuatro : intro = broken
chord patterns/
Chromatic elements &
bigger leaps in solo
1.4-bar cuatro intro = 1.

guajeo used throughout 2.
song 3.
2.8-bar pregón ‘verses’ & 4.
8-bar (mostly) unvaried
STRUCTURE /
coro ‘refrains’
FORM
3.Sometimes varied by
pregón singing coro
4.Lenghty cuatro solo (&
bongo impro) = variety
5. Short coda, based on
refrain
1.Clave : 3 :2 rhythm 1.
2.Brisk duple time 2.
3.Constant quavers 3.
bongo 4.
4.Syncopation (i.e cuatro
RHYTHM / METRE solo)
5. Triplets in cuatro solo
6. Bass-line anticipates
beat
7. Vocal lines start on 2nd
beat
1. 1.
2. 2.
TEMPO
3. 3.
4. 4.
148
1.G minor 1.
2.No key contrast or 2.
TONALITY modulation 3.
3. 4.
4.
1. 1.
2. 2.
TEXTURE
3. 3.
4. 4.
1. 1.
2. 2.
DYNAMICS
3. 3.
4. 4.
1.Limited chords : I & V7 1.

in 4-bar phrases 2.
2. I-V7-V7-I 3.
3.Use of Eb over D7 = 4.
HARMONY richer harmony
4.Cuatro section : wider
range of chords : sliding
parallel progressions/
major IV
1. 1.
2. 2.
SONORITY
3. 3.
4. 4.
149
A2 COMPOSER/ WORK: Anoushka Shankar, Breathing Under Water: ‘Burn’

CONTEXT 1.Main features of Indian music - Beatles ‘Within You,
- Raga Without You’ George
•All Indian classical music is based around a Harrison (see Beatles
specific raga. w/l) ; as well as other
•Ragas are scales and there are hundreds of them. Beatles songs that have
•Named after different times of day/seasons and Indian influences
only played at these times – creates an
atmosphere. - Tabla Beat Science:
•Melodies are improvised during the performance, ‘Devotional’
based on the raga
-Tala - Tabla Beat Science:
•A metric cycle with a specific number of beats— ‘Triangular Objects’
from 3 to 128—that recur in the same pattern
throughout a musical performance. - A.R. Rahman:
•Usually played on the tabla ‘Afreen’
-Structure
1.The Alap - Nusrat Fateh Ali
•The sitar player introduces the raga and Khan ‘Mustt Mustt’
improvises freely.
•No beat or pulse. Wider listening
•Tambura drone accompanies. discussed in grids
below set work.
2.The Jhor
•Music speeds up a bit & becomes more rhythmic.
•Still sitar & tambura only.
•More steady feel.
3.The Jhala
•A lot faster & feels more exciting.
•Both tambura & sitar improvise around the
melody.
4.The Gat (instruments only) or Bandish (with

vocals)
•The music really takes off.
•Tabla comes in.
•The ensemble now plays a pre-prepared piece.
•Improvisations turn into Q&A.
-Textures
Indian music has three layers :
1. Melody : improvises on raga
2. Drone : usually tambura/tanpura
3. Rhythm section : tabla (plays the tala)
2.Anoushka Shankar
-sitar player & composer
-is daughter of legendary Ravi Shankar (with whom
George Harrison has sitar lessons)
- collaboration in 2007 with Karsh Kale on
Breathing Under Water which took her further into
the fusion of Indian music with electronica.
150
3.Karsh Kale
- producer and songwriter who has spent his
career developing fusions of Indian music with
mainstream pop and electronica, and he is also a
proficient tabla player (particularly electronic tabla)
- a sought-after Bollywood film composer
-co-founder of Tabla Beat Science
4. Breathing Under Water

- fifth album, and her second of original fusion
music
- Her main collaborator was Utkarsha (Karsh) Kale
- Kale contributes dance music textures and
technical expertise, as well as playing tabla,
drums and guitar on the album
-Shankar plays the sitar
5. How are Indian & Western pop

fused succesfully ?
Indian
-Indian melodic instruments : have solo roles, or
are in dialogue with the vocals.
-Indian percussion : integrated into the overall
rhythmic texture, whether programmed or
recorded.
Western
-The Western rhythm section instruments – bass
guitar, drum kit, electric guitar – are not used
prominently on the set tracks.
-Live string sections feature on two out of three set
tracks.
FEATURES OF ALL THREE TRACKS
Instrumentation:
-Traditional Indian instruments and vocal styles are combined with Western instruments such as
strings, synthesisers and percussion, and Western vocal styles.
-A key feature is the use of samples along with programmed rhythmic sounds.
-Indian instruments tend to carry most of the solo material, but samples are of both Indian and Western
instruments.
Music Technology:
-A key part of this album is the programming and manipulation of samples spearheaded by Karsh Kale,
and the use of synthesisers.
-Additionally, effects such as reverb are used, particularly on vocal parts such as those in the title track.
Texture:
-Melody-dominated homophony is the most common texture.
-There is a lot of layering which gets progressively more complex, with melodies and countermelodies
and a lot of dialogue between instruments.
-The important traditional textures of Indian music – melodic part, drone and percussion – are often
heard.
Structure:
-All three tracks use Western song structures, employing verses and choruses with bridge
sections, instrumentals, intros and outros.
-There are some Indian structural aspects, such as the free-time alap heard at the start of ‘Burn’.
Melody:
-Melodic features depend on who or what has the melody.
-Indian instruments tend to employ Indian features such as ornaments, embellishment, improvisation
151
and patterns of notes akin to Indian raga.

-Western instruments and voices use narrower ranges and are more repetitive in melodic structure, and
there are soul, R&B, Bollywood and pop influences.
Tonality:
-Tonality is quite static and rarely functional.
-There are strong modal aspects and a dependence on tonal centres (such as drones) rather than
actual keys.
-There are very few modulations but a lot of flexibility in the tonality.
Harmony
-Harmony tends to be Western, using chord progressions, but there are few cadences.
-Where the harmony is static, added or extended chords are often used.
-There is a lot of gentle dissonance.
Rhythm:
-Rhythm is entirely Western-influenced with a strong sense of common time in all three
pieces.
-The rhythm programming is often highly intricate, with many rhythms interweaving, but there
is almost always a strong sense of regular pulse, apart from in free-time intro sections.
6. ‘Burn’
- Features the Indian melody instruments sitar and
sarangi and Indian finger-cymbals called manjira.
- The Western instruments are orchestral strings
and synthesisers – specifically analogue ones
providing bass and lead lines, and complex dance
rhythms programmed by Kale.
-The track is topped off with beautiful vocals
provided by American R&B singer Noa
Lembersky
-The lyrics : the mystery of love as reflected in the
moon, sun and stars and expressed in the dance.
MELODY 1. Contrast between the 1.=contrast
melodies of the Indian Indian/Western
instruments, highly
ornamented and
improvisatory, and the
more repetitive Western
vocal melodies.
2. In the introduction, the
sitar explores the notes 2.=Western scale but
of the scale C# minor Indian improvised-style
rising from low in its alap sitar over drone
register to high.
3. Lembersky’s vocal
melody is often 3.
descending, syllabic and
features three-note
sequences.
4. The C sharp minor
tonality is underlined by 4.
repeated B sharps in
both the sitar and sarangi
parts.
5.The strings ‘borrow’ the
vocal sequential idea and 5.
develop it.
6.Ornamentations on
sitar feature : 6. = Indian sitar
-microtones techniques
152
-grace notes (kan)

-mordents/trills (gamak)
-slides (meend)
1. long introduction, = 1.= Indian
‘alap’ introduces 2.
Shankar’s sitar. 3.
In the latter part of the 4.
introduction, percussion
and synth bass join.
2. Verse and chorus
structure
3. Bridge passages
STRUCTURE / before and after verse 2,
FORM where sarangi and sitar
have solos.
4. A breakdown which
leads into a fully textured,
busy and exciting final
chorus.
5.Outro – featuring cello
solo.
6. String material heard
in the introduction
reappears during verse 2.
1. ‘Burn’ is in a straight, 1.
Western-influenced 4/4 2.
metre 3.
2.The sitar adds many 4.
triplets and syncopations.
3.The strings and sarangi
use syncopations as well.
4.There is a strong sense
of backbeat (mainly
provided by a snare drum
RHYTHM / METRE sound)
5.the manjira adds a lot
of rhythmic and tonal
colour.
6.The rhythmic
excitement comes from
the intricate drum
programming, which
includes semiquavers
and demisemiquavers,
also found in the lead
synth part.
1. Tempo is medium- 1.
TEMPO paced. 2.
2. 3.
3. 4.
TONALITY 1. There’s a sense of C 1.
sharp minor provided by 2.
the bass synth and the 3.
raised 7ths (B sharp) in 4.
the sitar and sarangi
melodies.
2. Though there is a
sense of key, it’s hard to
pin down a strong pull of
tonality in this song – and
153
most certainly
the tonality plays little
part in the structure.
1. Mainly homophonic 1.=Indian music
with a sense of ‘drone’
from the synth bass.
2.Clear melodic lines with 2.
accompaniment, though
there is some polyphonic
texture, for example
when the sarangi plays.
3.Countermelodies are 3.= heterophony of
TEXTURE common and add to the Indian music
complexity of texture.
4.There is a breakdown 4.
where the texture is
reduced to just sitar and
strings, in dialogue.
5.The final chorus has a 5.=layering in Indian
multilayered texture music
before a more laid-back
outro featuring solo cello.
1.Dynamics relatively soft 1.

2.There are crescendos 2.
DYNAMICS
into the start of new 3.
sections
3.Climax is ff
1. Though Western-style 1.
chords are predominantly
used, most are extended
with 4ths, major 7ths and
9ths.
2.There are lots of 2.=Indian
HARMONY
dissonances, not always
resolved.
3.In some parts the 3.=Indian
harmony is static, but 4.
there are functional
progressions
SONORITY 1. Sitar (Shankar) – has a 1.

long solo at the start (= 2.
‘alap’), and features 3.
prominently in dialogue 4.
with Lembersky’s vocals.
2. Sarangi (like violin)–
heard particularly after
the first chorus.
3. Female vocal – narrow
range and mainly
syllabic, with vocal
harmonies in the chorus
and second verse.
4. Strings – sometimes
providing chords
(supported by synth pad),
sometimes playing
melodic lines and
sometimes in dialogue
154
with the sitar. There is a

cello solo at the end.
5. Bass synth (providing
a pedal or drone C sharp
with portamentos), and
prominent analogue lead
synth parts in the chorus
and bridge sections.
6.Programmed
percussion – sometimes
fairly ‘straight’ and
conventional, and at
other times very intricate.
7.Manjira – Indian finger
cymbals.
A2 COMPOSER/ WORK: Anoushka Shankar, Breathing Under Water: ‘Breathing Under

Water’
CONTEXT 1. Shankar plays sitar melodies closely based on
the vocal melody of ‘Sea Dreamer’ (which comes
next, sung by Sting).
2.The sitar is the main instrument, supported by
keyboards and live strings which play very simple
pads (slow-moving chords).
3.The Bollywood singer Sunidhi Chauhan vocalises
(sings without words) to add colour to this very
atmospheric track.
4.The number is largely instrumental with
intermittent vocalisation
1. Sitar melodies are 1.
embellished paraphrases 2.
of the melodies of ‘Sea 3.
Dreamer’. 4.
2.Sitar embellishments
are common
-microtones
-grace notes (kan)
-mordents/trills (gamak)
MELODY -slides (meend)
-vibrato (andolan)
3.Sitar melodies are often
conjunct with anacrusic
starts, just as in ‘Sea
Dreamer’.
4.Vocal melodies are
also conjunct, but not as
highly ornamented.
5.Melodic line = modal
inflections
STRUCTURE / 1. = extended 1.
FORM instrumental introduction 2.
for the next track, ‘Sea 3.
Dreamer’. 4.
2. It has a verse and
chorus structure, with an
extended bridge section
in between chorus 1 and
verse 2, and an outro
155
after chorus 3.
1. Clear, regular metre 1.

2.The melody is 2.
characterised by 3.
anacrusic rhythms. 4.
3.The strings play very
slow-moving, regular
notes
RHYTHM / METRE
4.the sitar has a lot of
rhythmic complexity
including triplets, Scotch
snaps, quintuplets and
syncopations.
5.It feels very ‘loose’,
rhythmically.
1. A reasonably fast 1.
TEMPO tempo (120 bpm). 2.
2.
1. Like ‘Burn’, this has a 1.

tonal centre of C sharp, 2.
though it is better thought 3.
TONALITY
of as being in D flat major 4.
2.The bridge section is
centered around the note
A Lydian mode
1. There are three clear 1.
textural sections.
2.First, the sitar plays a 2.
melody accompanied by 3.
homophonic chords in 4.
the strings and
TEXTURE keyboards.
3.Then sitar and vocal
have a brief dialogue.
4. Finally, sitar plays the
melody with vocal
countermelody. Strings
have a slightly more
melodic part.
1.Soft throughout 1.
2.mp/p on sitar & strings 2.
DYNAMICS at start 3.
3.pp for female voice 4.
4.
1. Most chords have 1.

added notes, such as
major and minor 7ths and
sus 4ths.
2.There are diminished 2.
HARMONY chords and inversions.
3.There are not a lot of 3.= cadence common
cadences, but in the in pop songs
outro a repeated IVm-I
plagal cadence is
noticeable.
4.Slow harmonic rhythm 4.
156
1. The sitar uses a 1.

variety of playing 2.
techniques, including 3.
slides (meend), trills 4.
(gamak), acciaccaturas
(kan) and vibrato
(andolan). It uses its full
tessitura.
2.The wordless vocals
act as a harmony line
SONORITY most of the time, and add
colour and texture. They
are also used to link
sections and provide a
countermelody to the
sitar.
3.Strings and keyboards
provide slow-moving
chords, known as pads,
though they have some
more melodic lines later
in the track.
A2 COMPOSER/ WORK: Anoushka Shankar, Breathing Under Water: ‘Easy’

CONTEXT 1. This is in many ways the most conventionally
structured song of the three.
2. The sitar plays a prominent role in this song
3.There is dialogue between Shankar’s sitar and
her half-sister Norah Jones’s vocal.
4.Jones was already very established
and successful at the time of this recording, and
her singing is in her trademark relaxed, jazz-meets-
R&B style.
5.She co-wrote this song with Shankar, and also
plays piano on the track.
6.The lyrics tell that as we get older, love is not
everything : ‘it’s only love and feeling is easy’ ( !)
1. As in ‘Breathing Under 1.
Water’, the sitar melodies 2.
are more ornamented 3.
than the vocal ones. 4.
2.There is a strong sense
of Mixolydian mode in the
melodies
3.There is repetition in
both sitar and vocal
MELODY melodies.
4.The sitar melody at the
start is regularly phrased
and repeats with slight
changes.
5.The vocal melody is
quite narrow in range and
has pentatonic features.
6. The vocals are mainly
syllabic, with some
melismas
157
1. A verse structure, 1.= more strophic

without a returning
chorus.
2. There are three verses 2.
with a sitar instrumental 3.
and a bridge section 4.
STRUCTURE /
between verses 2 and 3.
FORM
3. Verse 3 is different
melodically to the other
verses and has dialogue
between voice and sitar.
4. There is an intro and
an outro which feature
the sitar.
1. a strong and regular 1.
metrical framework 2.
2.There are syncopations 3.
in the accompaniment 4.
and in the vocal part.
RHYTHM / METRE 3.The sitar part is more
rhythmically complex and
flexible (there is a
septuplet)
4. Metre = 4/4 except one
bar of 3/4
1.Medium pace 1.
TEMPO
2. 2.
1. This is in D flat major, 1.= Raga

but the flattened 7th (C 2.
TONALITY flat) gives it Mixolydian 3.
features. 4.
2.There are no
modulations.
1. Melody-dominated 1.
homophony, with an 2.
emphasis on Jones’s 3.
vocal line. 4.
2.The guitar, piano and
synth bass parts are
often riff-like, and piano
and synth drop in and out
TEXTURE to fill out the texture. The
guitar is relatively
constant.
3.The dialogue between
vocal and guitar in the
bridge section is more
texturally interesting
4.There are some vocal
harmonies on the words
‘I know’.
1.p at start 1.
DYNAMICS 2.cresc. then mp 2.
3. Some accents 3.
4 4.
HARMONY 1. The song is based 1.Limited chord choice
around a IVb – bVII – I = Western pop
chord progression, with
158
inverted and added

chords common. (bVII
replaces chord V)
2.There are dissonances 2.
provided in the form of
sus chords – mainly sus2
and sus4.
1. Shankar’s sitar and 1.

Jones’s piano and vocal 2.
are the standout features 3.
on this song. 4.
2. Jones’s singing is
effortless and beautiful,
mostly syllabic but with
melismas on certain
words and at a relatively
low tessitura.
3. Jones’ piano playing is
subtle and adds colour
and decoration, with
chords and occasional
arpeggio figures.
4.The sitar plays at the
SONORITY
start, engages in
dialogue with the voice
and plays a solo in the
middle. It also provides
some drone-like
harmony.
5.Other instruments are
Western: guitar plays
finger-style riffs,
supported at times by a
synth bass, and there are
programmed drums from
Kale and some live
percussion such as
shaker and manjira (hand
cymbals)
Tabla Beat Science: ‘Devotional’ (more Indian influenced)

Elements Indian influences Western Influences
1.Vocalisations on vocals
2.Improvisations on sarangi
MELODY
3.Based on raga
4.Much ornamentation similar
to Shankar
1.Starts with short ‘alap’
STRUCTURE / FORM 2.Improvisation sections given
to sarangi with breaks from
vocals & tabla
1.Tala 1.Western pop beat from the
RHYTHM / METRE
2.Complex rhythms (& virtuosic middle of song
playing) on tabla
TEMPO 1. Moderate
159
TONALITY 1.Modal, based on raga
TEXTURE 1.Layered
DYNAMICS 1.mf
1.No harmony for most of the

HARMONY
song, as only drone
2.At times chord-riff in piano
1.Sarangi 1.Electronic beat
SONORITY 2.Tabla 2.Use of music technology;
3.Dhol such as reverb
4.Tambura 3.Piano
Tabla Beat Science: ‘Triangular Objects’ (more Western pop influenced = house music)
MELODY 1.All music technology samples
1.Building-up of sounds over

STRUCTURE / FORM
constant beat = house-music,
hynotique feel
1.Tabla rhythms, fast & 1.Western pop beat in the style
RHYTHM / METRE complex of house music (syncopations,
missed beats, constant drive)
2.Dance feel
TEMPO 1. Fast
TONALITY N/a (beat-based)
TEXTURE 1.Layered
DYNAMICS 1.mf
HARMONY 1.House-beat, so no hamony
1.Tabla 1.Electronic beat

2.Much use of sampling &
SONORITY music technology sounds
3. = like modern DJ club remix
4.Drum-kit, prominence of
cymbals in middle section
A.R. Rahman: ‘Afreen’ (film score for A Hundred Foot Journey)

1.Use of some ornamentations 1.Minor melodic scale
MELODY in vocals & melismas 2.Strings play simple
descending/ascending lines
3.Bass-riff
1.Song structure: 2 choruses &
STRUCTURE / FORM
a verse in middle (Ternary)
with instrumental breaks
1.Electronic beat 1.Dhol-rhythm
RHYTHM / METRE 2.Bass-line groove 2.Sustained notes on strings
3.Dance beat
TEMPO 1. Moderate
TONALITY 1.Minor
160
1.Homophonic throughout,
although sometimes strings
TEXTURE
give countermelody
2.Break where drums drop-out
and leaves strings
DYNAMICS 1.mf
1. Based on chord sequences

HARMONY
2. Diatonic
1.Sitar 1.Strings
2.Sarod (plucked, fretless) 2.Bass-guitar
3.Santoor (zither) 3.Music technology samples
SONORITY
4.Vocals in Urdu & Hindi 4.Electronic beat
5.Dhols? (large drums often 5.Electric guitar
used in Punjabi music) 6.Drum-kit
6.Tabla
Nusrat Fateh Ali Khan ‘Mustt Mustt’

Elements Pakistani influences Western Influences
1.Melodic improvisations 1.Funky riffs on guitar & bass
(vocalisations) based on
Pakistani Qawwali singing
(devotional Sufi prayers)
2.Very melismatic
MELODY
3.Large range in vocals: often
rises to higher tessitura for
passionate climax
4.Phrases often repeated
(hynotique, devotional feel)
5.Based on Raga
1.Call-and-response
STRUCTURE / FORM
(devotional singing)
2.Sections of improvisation
1.Syncopations 1.Funky-techno beat
RHYTHM / METRE 2.Lead vocals goes from long 2.Ostinato guitar & bass riffs
sustained to fast rhythmic
passages
TEMPO 1. Moderate
TONALITY 1.Modal
1.Homophonic
2.Ali Khan vocalises over male
TEXTURE
backing singers & riffs
3.Harmonium sometimes in
heterophony with vocals
DYNAMICS 1.mf
HARMONY 1.Simple (implied) chord

sequence
1.Vocals by Ali Khan with 1. Electronic programmed
improvisations & beats
SONORITY ornamentations 2.Electric guitar creates
2.Tabla 3.Loop-based samples
3.Harmonium (Indian reed- 4.Synthesizer
organ) 5.Bass guitar
161
COMPOSER/ WORK: Cage, Three Dances for Two Prepared Pianos: No. 1
CONTEXT 1. John Cage = one of the leading American -Messiaen :
experimental composers of the twentieth century. Turangalîla symphony,
2. Many composers of the first half of the century 1st Mvt ‘Introduction’
were exploring new ways of organising musical 1948
material after what they saw as the death of
traditional tonality and harmony : -G.Ligeti : ‘Galamb
-Shoenberg & Serialism = 12-note chromatic row Borong’ (=’Fake
-Cage = base his structures on new rhythmic Indonesian) from 2nd
directions & timbre possibilities book of Etudes for
3.Cage was influenced by oriental music (like Piano, 1994
Debussy) :
-Javanese/ Balinese Gamelan = percussive sounds -John Adams : ‘Rag
-Indian tala = rhythmic structures the Bone’ from
4.Ballet : several of Cage’s pieces were written for John's Book of Alleged
ballet Dances (1994) is a
5. Three Dances for Two Prepared Pianos composition by John
- composed 1944 ; premiered in 1945, for Adams for string quartet
choreographer Merce Cunningham. and recorded prepared
-The dance = African emphasis. piano.
- Cage ‘prepared’ the (available) piano to produce John Adams has said
the ethnic quality required that the dances are
-The score has instructions for preparing the alleged because, "the
instrument for performance steps for them had yet
6. Writing for dance to be invented." The
-The prime importance of tempo (remain constant composition is
& clear) & rhythm (including accents) approximately 25
-Metre is also paramount, as dancers count their minutes in length and is
steps composed of ten
-Having clear sections in the structure for different humorously titled
parts of the dance "dances" that may be
played in any order.
7.Minimalism devices : John's Book of Alleged
‘Cells’ : the process of minimalist music is the Dances have been set
simple repetition and changing or these cells by a number of
through the piece of music. choreographers,
-‘Phasing’ : the gradual merging and separation of including Paul Taylor.
these ‘Cells’ through repetition.
-Ostinati/repeated patterns
-Note addition/diminution : adding/taking away a
note
-Layering
-Short motifs
-Texture gradually builds as layers are added
MELODY 1.Move away from 1. 1. ‘Rag the Bone’

traditional Western 2. (Adams) based on
concepts of melody and 3. ostinato & Minimalism
harmony ; therefore a 4. techniques of note
sense of melody and addition & substraction.
harmony is mostly Phrases are short &
missing repeated.
2.Ostinato = most
importnat melodic feature
3.Sometimes there is a
sense of pitch
4.Use of note addition &
note substraction (=
adding or taking away a
162
note)
5.Not a big range used :
some higher notes, but
not lower range
1.Piece is for ballet 1. 1.
2. The structure is based 2 2. ‘Galamb Borong’
on tempo and rhythm (Ligeti) : rhythm
3. Each main section 3. structures the piece : it
lasts for exactly 30 bars. is based on the whole-
4. There are eight 4. number multiples of 3-
sections, with the semiquavers (for
last being repeated, example Bar12 : 3-3-2-
making nine sections of 3-4-3-3-2-3-4-3-3-2-3-3)
30 bars in total.
5. The end of each 5. Turangalîla symphony,
section is shown by a 1st Mvt (Messiaen) : is
double bar line. structured around 2
STRUCTURE /
6. The sections are 6.= mathematical talas.
FORM
broken up into smaller approach to Messiaen layers 3
units of bars= shown by a composition cyclical rhythmic
figure above the bar patterns into different
7. The number of bars in 7. = Indian tala is groups of orchestra :
each section is : grouped in a series ; w/w, upper strings &
2–5–2; 2–6–2; 2–7–2. although it’s beats side-drum. It is
rather than bars structured as two large
8. The contents of each 8. ‘blocks’ of contrasting
section are always textures & timbres
different – apart from the
ninth section, which is a
repeat of the eighth
9.Some ideas do return 9. = gives cohesion/
(i.e. note G above stave) sense of unity to piece
RHYTHM / METRE 1. Rhythm is the most 1.=dance music 1. ‘Galamb Borong’
important feature of the (Ligeti) : rhythm
music (closely followed structures the piece : it
by timbre). is based on the whole-
number multiples of
semiquavers
-Turangalîla
symphony, 1st Mvt
(Messiaen): rhythm is
based on 3 Indian talas
arranged in cycles
‘turanga’ means speed,
tempo, time; and ‘lîla’
means ‘the force of life’
= shows the prime
importance of rhythm &
tempo
Messaien uses the
following rhythmic
techniques:
‘Additive rhythms’: beats
are all equal (no
stresses): rhythms are a
succession of durations
‘Palindromic rhythms’:
rhtyhms that are the
same forwards &
163
backwards.
‘Augmentation’ &
‘Diminution’: rhythms
are added or taken
away.
2. There is polyrhythm & 2. 2. ‘Galamb Borong’
cross-rhythms : (Ligeti) :polyrhythms &
sometimes quavers are cross-rhythms
grouped across bar-lines Turangalîla symphony,
1st Mvt (Messiaen) :
complex interlocking
rhythms with much poly-
& cross-rhtyhms
3.It is in simple duple 3. 3.
time (2/2)
4.Cage uses accents to 4.= dance 4. ‘Galamb Borong’
emphasise certain beats (Ligeti) :frequent off-
(on or off) beat rhythms & on
longer notes.
5. Note values consist 5. 5.
almost entirely of just
crotchets and quavers. 6.
Longer notes or rests are
often used to mark the
end of a section or group
6.Ornamental groups of 6. 6.
notes occasionally :
septuplets
7.Feeling of moto 7. = continuous 7. ‘Galamb Borong’
perpetuo with constant musical drive (Ligeti) : continious
quavers motion in semiquavers :
rhythmic flow
uninterrupted until end
8.Metrical shift : 8. 8. ‘Galamb Borong’

sometimes phrases are (Ligeti) : does not use
repeated at different bar-lines in traditional
positions in the bar manner, but instead the
piece has a strucutre of
metrical pulsations.
Notes beamed over bar-
lines. Poly-metric
accentuations
John's Book of
Alleged Dances
(Adams) :
-The recorded prepared-
piano loops function like
a ‘pop’ rhythm track,
with occasional fills &
solos.
-Adams frees the
quartet from the beat, so
much so that the beat
becomes ambiguous,
yet at the same time
retains rhythmic
sharpness.
-Often the meter seems
164
to fluctuate between
triple and duple time,
which transforms the
rhythmic emphases of
the loops. This is to
imitate polyrhythmic feel
of African music
-Much polyrhythm &
cross-rhythms, dotted
rhythms and use of rests
& syncopations.
1. The tempo is 88 minim 1.Steady & precise 1. Turangalîla
beats per minute. This tempo = important for symphony, 1st Mvt
determines the lengths of dancers (Messiaen): steady
the sections. 2. tempo
2. 3. ‘Rag the Bone’
TEMPO
3. 4. (Adams) = brisk tempo
4. All w/l works keep a
steady tempo.
Especially important for
‘Rag the Bone’ as it is
for dance.
1.There is no sense of 1. 1‘Galamb Borong’
tonality (no exact pitches) 2. (Ligeti) : no tonality
2. 3.
3. 4. ‘Rag the Bone’
TONALITY
4. (Adams) : the recorded
prepared piano has no
tonal role, as it is used
as a percussive
instrument.
TEXTURE 1.Occasional ‘chords’, in 1. 1. ‘Galamb Borong’
that pitches sound at the (Ligeti) : chords for
same time ; but no textural, timbre qualities
harmonic value Turangalîla symphony,
(=homorhythmic) 1st Mvt (Messiaen) :
the ‘statute’ contrasts
‘horizonatal lines’
(chords of ‘statue’ theme
with ‘vertical lines’
(linear ‘flower’ theme)
2.Mainly contrapuntal : 2.= heterophonic 2. ‘Galamb Borong’

each piano works sounds of Gamelan (Ligeti) :two hands are
independently independent (performers
are given the advice to
practise each hand
separately !)
3. Galamb Borong’
(Ligeti) : 2-4 part
3.Two-part texture for 3. textures
each piano 4. Turangalîla symphony,
4.Some monophony 5. 1st Mvt (Messiaen) :
5.Sometimes three-part very complex textures
texture with multiple layers
6.Occasional silences 6. = for impact based on Balinese
Gamelan, creating a
web of heterophony
‘Rag the Bone’
(Adams) : Minimalist
165
technique of layering
short phrases given to
the string quartet over
the constant prepared-
piano rhythms. It can
range from a few
instruments with many
rests for a thinner
texture (in the middle
section) ; to a fuller 4-
part texture. Contrast of
texture is important in
this piece.
1.Dynamics are important 1. 1. ‘Galamb Borong’
in this piece (Ligeti) dynamics are
also important & hige
range : from pppp to
fffff.
2.Preparations means 2. 2.’Rag the Bone’
that dynamics sound (Adams) : most
much quieter (although dynamics are loud, a
the pianos are amplified part from the middle
section which is quieter
3.Accented 3. ‘Galamb Borong’
3.Numerous accent movements for (Ligeti) : longer note
DYNAMICS marks dancers ? values have to be
accented
‘Rag the Bone’
(Adams) : numerous
accents, often off-beat,
to reflect ‘rag’ dance
style
4.Extended sections 4. 4.
have no dynamic
changes
5. Sudden dynamic 5.Emphasise sections 5. ‘Galamb Borong’
surprises ; i.e. sudden ff of the dance ? (Ligeti) : sudden
after pp passage & ff dynamic changes
after pp & rests
1.No harmony (no pitch) 1. 1. ‘Galamb Borong’
2. 2. (Ligeti) : although there
HARMONY 3. 3. is pitch, there is no
4. 4. harmony and music is
linear ; similar to
Balinese Gamelan
SONORITY 1.Sonority & timbre 1. 1.
depend on the
preparations
2.Very precise 2.=Using the piano as 2. Galamb Borong’
instructions : some a percussion (Ligeti) : performers are
sounds will retain a instrument ; rather given precise
sense of pitch ; others than string instrument instructions regarding
not (=entirely percussive) the performance of the
depending on the piece
preparation
3.Items used (screws, 3.Different items 3.
rubbers, coins, bolts, produce a different
pieces of plastic and a timbre (from gong-like
‘weather strip’) placed to ‘dead’) = Gamelan
between specific strings, influence
166
at a certain distance from

bridge & damper 4. Una & tre corda
4.Una corda shifts the 4.= for sonority/timbre instructions given
hammers, soi t produces purposes (not
a certain sound as dynamics)
hammer hits just one
string (instead 2-3)
5. Each piano is prepared
differently
6. Pianos are amplified Turangalîla symphony,
1st Mvt (Messiaen) is
for :
-Solo piano, ondes
Martenot, celesta;
-Woodwind, brass &
strings
-8 - 11 percussionists:
vibraphone, keyed or
mallet glockenspiels,
triangle, temple blocks
and wood block,
cymbals, tam tam,
tambourine, maracas,
snare drum, Provençal
tabor, bass drum, and
tubular bells
-Instrumentation is
‘colouristic’ and to
create specific timbres
(as Cage does with the
piano): the percussion &
piano section forms an
orchestra within an
orchestra, and bears a
likeness to the Balinese
gamelan.
- Messiaen mimics the
timbre of the Gamelan.
Celesta, glockenspiel,
vibraphone, and right-
hand solo piano play in
unison to seemingly
create a sound that is as
"metallic" as possible
‘Rag the Bone’ John's

Book of Alleged
Dances
-loops of recorded
prepared-piano. The
loops function as like a
pop rhythm track
-string quartet
employing a variety of
techniques: double-
stopping, bariolages
(going across strings),
harmonics, pizzicato
COMPOSER/ WORK: Kaija Saariaho, Petals for Violoncello and Live Electronics
167
CONTEXT 1. Kaija Saariaho (born 1952) -K. Stockhausen

-Finnish composer who studied at IRCAM in Paris Gesang der
-Her interests are computer-based sound spectrum Jünglinge (‘Song of
analysis, electronic music, music combining live the Youths’),
performance and electronics and the use of computers in 1955/56, for tape and
the actual composition of music. a boy’s voice.
-She experimented not only in the contrasts between -Described as "the
instrumental and electronic/recorded sound, but also with first masterpiece of
the expansion of the sounds possible from conventional electronic music’.
instruments so that instrumental sounds could sound like -Stockhausen was
electronics. interested in ways of
blending sung tones
2.IRCAM : with electronic ones.
- a French institute for science about music and sound and - To obtain pure
avant garde electro-acoustical art music. speech timbres, he
- Many of the techniques associated with spectralism were decided to record a
made practical by technological contributions at IRCAM. 12-year old boy
For instance, researchers at IRCAM have developed a chorister, Josef
special microphone capable of isolating each of the cello's Protschka, singing
four strings for separate amplification or electronic fragments derived
treatment. from the apocryphal
3. Spectralism : Bible text "Song of
-Originated in Paris and around the IRCAM the Three Youths in
-Pitch = fundamental note & its harmonics/ partials the Fiery Furnace"
Harnonic series from note C (=’pedal’ note in this piece) : -It is still considered
a masterpiece of
electroacoustic
music
- Perhaps the most
surprising legacy of
Gesang is the speed
with which the world
of popular music
embraced certain of
its techniques ; such
as the Beatles (i.e.
-These harmonics determine the tone quality or timbre of a set work & w/l)
sound.
-By using computers to analyse the harmonics in a sound, -L. Berio :
the structure of the sound can be ‘converted’ into a ‘chord’, Sequenza No. 1 for
which can then be used as the basis for musical solo flute, 1958. He
composition. is noted for his
- = a compositional technique developed in the 1970s, experimental work
using computer analysis of the quality of timbre in acoustic and also for his
music or artificial timbres derived from synthesis. pioneering work in
electronic music.
4.Petals Sequenza no. 1 is
-Written in 1988 the first in a series of
-Petals is based on ideas from Nympheas (Jardin Secret fourteen Sequenze,
III) (1987), a piece for string quartet and electronics, with each for a different
material derived from the spectral analysis of complex cello solo instrument (or
sounds. voice), the last
-In Petals the cello is combined with live electronics ; rather composed in 2002.
than pre-recorded electronics. - In 1958 score, the
-Petals = the opposition of ‘fragile colouristic passages’ to beamed notes are to
‘more energetic events with clear rhythmic and melodic be played in a
character’ ; which in turn are subjected to a number of connected fashion,
transformations. while unbeamed
notes are to be
5. Notation : played separately
168
-There are no bars ; instead each of the 30 lines is -In 1992, Berio
numbered. published a revised
-At some points, the notation = aleatoric (indeterminae) score for the piece
with regards to melody & rhythm that uses traditional
Indications for reverb & harmoniser = placed under each notation. This version
‘stave’ makes use of
-Notatiion is expanded by addition of various symbols for extremely complex
specific effects not covered by traditional notation : rhythms to ensure
 Horzontal arrow = gradual change from one sound/ that performers play
way of playing to another the correct rhythms.
 Dim. Hairpin with small zero = dim. to silence
 Cresc. starting with small zero = cres. From
silence
 Arrow-head upwards = highest note possible
 Filled-in black cres. = add bow pressure so that
sound is replaced by noise (vice versa for dim.
sign)
 Other signs in Anthology for quater-tones &
different types of glissando
1. Use of micro-intervals– 1.= the harmonic series Stockhausen
specifically quarter-tones ; i.e. where there are micro- Gesang der
energico passage b.4 differences in intervals Jünglinge : In
2.Melodic content in faster 2. Gesang, several
passages (slow = ‘colouristic’) series were devised
3.Glisssando 3. to organize pitch.
4.Stave 10 : more convionally 4. Stockhausen has
melodic with defined intervals ; said that he used six
often angular (use aug 4th, maj types of scales in his
7th) piece: harmonic,
5.Repeated note figuration 5. subharmonic,
(stave 11) chromatic, and three
6. Short descending figures 6. other scales that
(stave 11) The highest note were a mixture of
rises each time (=sort of these.
sequence)
7. Ornamentation (i.e. Berio Sequenza
7. Ornamentation trills) used a a textural No.1:
device to create a more -Sequenza No. 1
MELODY dense sound uses all twelve tones
8. in a manner that
8.Poco impetuoso = agitated hints at serialism but
figures 9. is not a serial work.
9. Stave 23 : glissandi over The primary use of
‘pedal’ low C 10. pitch is to explore the
10. Gliss. to highest note melodic and textural
possible stave 27 = climax 11. potential of 2nds,
11. Chromaticism 12. Saariaho treats pitch 7ths, and their
(and its harmonic series) transposed
as a timbre; more than equivalents.
as a melodic device. -The alterations
include the repetition
of introduced pitch
material.
-As with Saariaho,
the pitch content is
less important than
the texture it creates
and the density of the
four dimensions.
169
1.One continuous movement 1. Stockhausen

2.Some short-term repetition of 2. Gesang der
motifs Jünglinge :
3.Alteration between : 3.=contrast between The piece is an
-‘fragile colouristic passages’ ‘clean’ & ‘noise’ ; a bit example of total
(Type A) like contrast of two serialism, a
-‘more energetic events with themes technique
clear rhythmic and melodic Stockhausen
character’ (Type B). pioneered, where all
aspects of the music
(pitch, volume,
duration) are
serialised (i.e. put in
a set series). As far
as form is concerned,
the piece exists in six
sections, all given a
specific duration (for
example Section I is
0’00” – 1’02”),
Berio Sequenza No.

STRUCTURE /
1:
FORM
-Sequenza No. 1 is
organized according
to levels of density
on a high/ medium/
low scale. This scale
is applied to four
dimensions: pitch,
temporal, dynamic,
and morphological
(how the flute
produces sound).
-Two of these
dimensions are at
their maximum at any
given time in the
performance of the
piece.
-Thus there are
moments of
extreme agitation
and moments of
silence.
170
1. The lento sections are 1. Stockhausen

pulseless, the instruction being Gesang der
given that each stave in this Jünglinge : time is
tempo should last ‘at least 20 organised not in
seconds’. metre or traditional
2. In the electronic version the 2. rhythm; but rhythms
reverberation adds to the sense of speech that are
of ‘free timelessness’ by manipulated and time
blurring and overlapping the as set in seconds &
beginnings of notes. minutes (rather than
3.There is tension between the 3. quavers/crotchets) =
sections where pulse is evident, ‘fusion’ of acoustic
and those in which it is not. sound with
4.There is a large range of 4.Requires virtuosic electronics makes
rhythmic devices in metrical playing : demanding for timing important. It
passage: the player (in the also reflects
O Rapid dectuplets of staves 4– tradition of Bach or Stockhausen’s
7. Paganini : composers spatial approach to
O Agitated rhythms of staves have stretched sound.
10–13, often involving performers’ techniques
RHYTHM /
syncopations within septuplets/ in new ways across the Berio Sequenza No.
METRE
quintuplets ages) 1:
O Passages where the notes -Sequenza No. 1
are as fast as possible (‘grace was the first piece to
note’ notations staves 21–22). be written by Berio in
3. The rhythms become less proportional notation.
defined during the course of the It does not have a
piece (from stave 22) notated meter and
4.There is no metre in terms of the rhythms are
time-signatures & bars. indicated by their
placement upon
the page.
-The piece opens
with flourishes of
rhythmic activity in
which the note
values gradually
lengthen.
-Moments of great
activity are followed
by relative calm.
-
TEMPO 1. The sections with a notated 1. Stockhausen
tempo are all slow, with a range Gesang der
171
from around 54 beats per Jünglinge : also

minute to 66. gives the amount of
2.These tempi are varied during 2.=expressive use of time each section
the course of phrases by tempo (not like for must last, rather than
accelerandi and by ritenuti. dance, where it is a tempo.
functional)
3.Lento passages have to be at 3. Berio Sequenza
least 20 seconds long. No.1 :
4. 4. -The tempo is
indicated by marked
sections of the score
approximately one-
inch apart.
1.Tonality is scarely relevant 1.

due to absence of functional
harmony. It is atonal (no
tonaliry).
TONALITY 2.The persistent use of C pedal 2.
(open string) = tonal anchor
3.The piece is primarily 3.
colouristic.
4. 4.
1. Monophonic textures – 1.Different shades of Stockhausen

staves 1–3. A thicker sound is monophony : thicker or Gesang der
produced by use of trills, thinner within one sound Jünglinge:
increased bow noise, reverb. Stockhausen used
2. Two-part textures – sections 2. used serial technique
3, 5 and 7. For example where in the same way that
open C ringing while material is Bach, centuries
played on higher strings earlier had
3. Pedal/Drone textures – 3. used counterpoint: as
sections 3 and 5 a means to profound
4.Double-stopping in stave 11 & 4. expressive and
used to create harmonics in spiritual ends
staves 14-16 (Stockhausen was a
5. Colouristic block-sounds 5. Noise become devout Catholic).
TEXTURE from scratchy bowing passages music…
with harmoniser. Berio Sequenza No.
6.Texture here = densities of 6.=novel (and 1:
sound interesting) approach to - Multiphonics (when
texture several notes are
7. Saariaho treats sound produced at once on
as the colour white seen an instrument that is
through a prism = she normally
uses all the ‘colours’ that monophonic) add
make a timbre, which density to very long
we’re not aware of, and rhythmic values
with this creates - Berio creates a
different textures & counterpoint of
timbres densities with sound
(as Saariaho).
DYNAMICS 1.Extreme range : from silence, 1.Is silence a dynamic ? Berio Sequenza
through pppp to ffff No.1
2.Saariaho wants ‘clear and 2.=contrast -When the rhythm
rich, close sound’ = mics should accelerates, there is
be placed as close as possible an increase in
to cello = loud, but ‘not painfully dynamics. The longer
172
so’ note values

3. 3. are held at a lower
4. 4. dynamic.
1.No sense of harmonic 1. Berio Sequenza

progression No.1:
2.Pedal C = harmonic device 2. - This piece is not
3.High F#s stave 23 = tritonal 3. about melody or an
dominant from C (found in implied harmony; but
Hermann’s Psycho) about the ways in
4.Use of harmonic series : 4. Saariaho regards which Berio creates a
HARMONY Spectral analysis of cello ‘timbre as vertical counterpoint of
sounds = the harmonics of a [harmonic series] … and densities.
sound, normally experienced harmony as horizontal
simultaneously as a timbre, are [spreading the harmonic
heard successively, as melodic series horizonatally ?]’.
entities. The passage from
staves 17–27 is a good
example of this.
SONORITY 1.Petals can be performed 1. Stockhausen

either as a purely solo piece, or Gesang der
with electronic amplification and Jünglinge :
signal processing. - integrates electronic
2.The work blends traditional 2.Even without sounds with the
cello timbres with extended electronic amplification, human voice by
techniques ; and various Saariaho, like John means of matching
degrees of electronic distortion Cage in his pieces for voice resonances
prepared piano, with pitch and
transforms a traditional creating sounds of
instrument into a multi- phonemes
timbral synthesiser, electronically
elevating timbre, and - Spoken and sung
changes of timbre, into a sounds
structural principle, - Through his
equivalent perhaps to studies of phonetics
that of tonality in earlier and spectral
musical styles. analysis
3. Contrast between ‘clean’ & 3. = similar to Stockhausen knew
‘noisy’ sounds (which consonance & that sung vowels, in
electronics just amplify) dissonance their overtone
structures, most
4.Acoustic (cello) 4. resemble pure tones,
-Virtuosic writing = outrageous -composers have whereas “plosive”
demands on performer searched to extend consonants
-‘Normal’ bowed playing performance practice (b,p,t,d,k, and g)
-Pizzicato and left-hand (i.e. Bach or Paganin) resemble noises.
pizzicato Consonants like n,
 Placement of the bow sul which are voiced, fall
ponticello or sul tasto somewhere in
-tremolando bowing (quick, between the two
‘trembling’ bow) poles.
-flautando bowing (play over -Using contemporary
finger-board on one hair of bow studio resources,
= ‘flute’-like sound) Stockhausen
-heavy bow pressure to generated sine wave
produce a scratching sound, complexes to imitate
replacing an audible pitch with vowel-like sounds
noise and filtered
-Smooth transitions between all electronically
173
of the above generated noise to

-Glissandi (smooth slides) arrive at consonant-
-Playing with normal, like sounds.
exaggerated, or without, vibrato -To maintain
-Use of natural (open string) maximum control
and artificial harmonics over vocal timbres,
-Gradual change of left-hand Stockhausen used
pressure to move from normal only one voice for
to harmonic note (and vice this composition, the
versa) voice of a single
-Trills and mordents twelve-year-old boy.
-Double stops The multiple
-Use of micro-intervals – in this recordings made of
case quarter-tones the boy’s singing
-Frequent use of both subtle were then
and exaggerated dynamic transposed,
change combined, and
-Simultaneous use of more than otherwise altered in
one of the above is common. accordance with
Gesang’s
5.Electronics compositional plan.
-enhances and clarifies some of 5. Saariaho’s use of -The composer
the desired effects on solo cello both effects is musical: subjects material
-Amplification (a fairly close -Harmoniser coincides drawn from the
microphone is suggested) often with increases in biblical verses to
brings out some of the timbral the amount of ‘noise’ numerous
detail in the quieter sounds brought about by permutations
- Reverberation (Ravel) can increased bow pressure which take place on
give an effect not unlike that of -Reverb is used most several levels: word,
a sustaining pedal on a piano, often to support the syllable, and
making some of the slowest quieter, lighter sounds, phoneme.
music easier to sustain as a and to smooth over -He developed a
performer changes in slow qualitative scale of
- Harmoniser (H) effect is used passages of double- comprehensibility,
at times, ‘detuning’ the input stops. ranging from 1
pitch by adding pitches a (incomprehensible)
quarter tone above and below to 7 ( the most
simultaneously. comprehensible).
-The score gives exact -He contrasts the
instructions for the use of these seven degrees of
effects, using ‘conventional’ ‘verbal
dynamic ‘hairpins’ to indicate comprehensibility’
increases or decreases in the with ‘swarms of
amount of effect fed back impulses’ and
through the system, expressed ‘coloured noise
as a percentage of the bands’.
maximum. - Gesang made
history as the first
electronic piece to
serialise the
projection of music in
space.
Berio Sequenza
No.1:
-Sequenza No. 1 is
an exploration of the
modern virtuoso
flautist‘s technique.
-Sequenza No. 1 is
174
one of the first

pieces to require
multiphonics on the
flute.
-In addition to this
technique, other
technical demands
are placed upon the
performer in the form
of flutter-tonguing
and key clicks.
-The piece opens
with an open flute
sound without any
alterations.
-As the piece
progresses,
alterations such as
flutter tonguing and
key clicks are
introduced.
-The flutter tonguing
technique is used in
conjunction with
increased rhythmic
activity and
heightened
dynamics.
-It is also used to
make connections
between differing
sections of dynamic
and rhythmic activity.
-Key clicks act as a
connector to the pitch
and dynamics. -The
pitches at a higher
dynamic level are
accented with key
clicks while the
pitches at a lower
dynamic level are
played as normal,
without any clicks.
-The final playing
technique used is
multiphonics. The
multiphonics appears
after an extremely
agitated section
of high rhythmic
activity, increased
dynamics, and flutter
tonguing which
constitute the climax
of the piece.
A2 COMPOSER/ WORK: Stravinsky, The Rite of Spring: ‘Introduction’, ‘The Augurs of

Spring’ and ‘Ritual of Abduction’
175

CONTEXT 1. Beginning of the ‘Modern Era’ Debussy : Prélude à
- The Rite of Spring was an eruption in Western l'après-midi d'un
classical music = a seismic shift in musical world faune, 1894
- Debussy’s Prélude à l’après-midi d’un faune - inspired by the
(1894) had already shocked the world with its fluid Symbolist poetry of
harmonies and dream-like logic. Stéphane Mallarmé
- The birth pangs of modernism were being felt - The poem describes a
from the 1880s onwards in the world of the arts faun, alone in a forest,
and ideas, from painting and sculpture through to playing on his pan-
literature, theatre and philosophy. pipes. Passing
-Stravinsky was interested in the new musical nymphs and naiads
trends arouse him and he
- The Rite, performed in 1913, is regarded as one pursues them. He is
of the great turning points in music. unsuccessful in his
pursuit, falls asleep and
2.The Russian ‘style’ has vivid dreams.
- Stravinsky had his first formal composing tuition - 18 years later it was
from Rimsky-Korsakov, a master in colourful adapted into a ballet,
storytelling. His book Principles of Orchestration is when Vaslav Nijinsky
studied to this day by composers : he was a master danced to it in
at orchestrating, using a rich tonal palette and Diaghilev’s Ballets
combinations of instruments. Russes production in
- Russian composers of the late 19th century Paris.
aimed to include Russian folklore and traditional - This piece was a big
music (and distance themselves from German turning point in music.
Romantic tradition). Where possible, their work Debussy stretched the
would draw on folksong and dance, either by traditional system of
quoting it directly or imitating its shape and flow. keys and tonalities to
-Russian Romantic composers orchestrated in their limits.
colourful and glittering tones, with the use of - The work is considered
glockenspiel, tambourine, triangle and harp in the a quintessential
score, along with thrilling writing for the brass example of musical
section. Impressionism
- The Rite is said to belong to his ‘Russian Period’,
inasmuch as it overtly draws on Russian folksong Prokofiev : Scythian
and dance and is coloured with the lavish Russian Suite, Movements 3 &
orchestral palette.However, he uses Russian 4, 1915
features as a platform for bold new thinking ; as a - Movement III. Night -
means to a novel musical ‘vocabulary’ ; and not as the Evil God harms Ala;
something that solely defines the piece. the Moon Maidens
-In general terms the Russian national style descend to console her
differed from German Romantics by - Movement IV. The
 Varied repetition ; rather than motivic Glorious Departure of
development Lolli and the Cortège of
 Structures composed of contrasting blocks the Sun - Lolli, the hero,
of sound comes to save Ala; the
 Changing backgrounds : harmonic & Sun God assists him
orchestral in defeating the Evil
 Vivid colouristic effects (especially in God. They are
orchestration) victorious, and the suite
ends with a musical
3.Features of Eastern European Music : (there are picture of the sunrise.
generalisations) -Orchestral Suite in 4
- Melodies based on a variety of modes, as well as movements that was
pentatonic scale originally written for a
- Asymmetrical meters : irregular meters (i.e. 7/8) & ballet
meters that change within a song -Written in 1915 by
-Non-pulsative : there is no sense of beat Russian composer
- Repetitive dance rhythms : propulsive rhythms Sergey Prokofiev
176
-Rhythmic & melodic ostinatos - Prokofiev wasvery

- Strong accents much under the
- Bright timbres : women sing with rich, brassy influence of The Rite of
tones Spring,
-Based on epic stories -The music is based on
-Heterophonic/polyphonic approach to choral a theme centered on a
writing prehistoric tribe of
-Drones (often in 4ths & 5ths) barbarians, the
Scythians, known to
4. Diaghilev drink blood and engage
- The great Russian ballet impresario (=producer, in other similarly
organiser) Diaghilev invited the young composer to gruesome practices.
write a piece for his Ballets Russes company who - The music is primitive,
were then about to perform in Paris, which resulted or neo-nationalist,
in the piece Firebird in 1910. Then came exotically elaborating
Petrushka and in 1913 Rite of Spring (Sacre du the intonations of folk
Printemps). (folkish) music, but
Prokofiev turns out to be
5.The Rite and the scandal less radical than
- The piece caused a scandal, partly because the Stravinsky.
audience found the music too dissonant and violent -Compositional
and partly because they were offended by characteristics of
Nijinsky’s choreography. Prokofiev:
- It’s the story of a virgin dancing herself to death, •Tonal ambiguity and
urged on by savage elders in a pagan rite. disjunct melody, often
Shocking even for today ! using chromatic lines &
- The choreography, in its attempt to capture a dissonant intervals
pagan, primeval world, deliberately negated (2nds & 7ths)
principles of French classical ballet. With sharp •Sharp dynamic contrast
elbows, in-turned feet and ‘knock-kneed lolitas’,
everything was in opposition to classical first Satie, Parade
position.
-The crowd went mad more because of the Bartók The Miraculous
choreography than the music, as ‘the orchestra Mandarin, 1918/19
was drowned out by the ruckus in the auditorium.’ piano four-hands &
-Pierre Monteux, the conductor, who carried on orchestrated 1923/34
regardless, not dropping a single beat. Stravinsky -Bartók : Hungarian
later commented that he was ‘as nerveless as a composer (1881-1945).
crocodile’. The professionalism on display here He traveled throughout
was impressive, particularly given that Monteux the backroads of
had his own doubts about the score. (My great- Hungary, Slovakia,
aunt, Yvonne, knew Pierre Monteux...apparently he Romania and Bulgaria
was a very nice man, but that’s another story...) (Easter Europe),
-This proved to be great publicity for the ballet : a recording and notating
production was repeated weeks later to distinctive and ancient
a more understanding, accepting audience, and sounds heard in folk
was hailed a complete success. Stravinsky’s music and song. He
genius was recognised by the public. incorporated the modes
6.Features of Modern music in 1915s : and assymetrical metres
-Composers felt it necessary to find new ways to as well as rhythms in his
say new things compositions.
-Notation and dynamic directions are increasingly -= Bartók’s
specific ’Expressionist’ phase =
-Counterpoint is again significant a high level of
-New chord patterns & sequences (i.e. parallel dissonance, extreme
7ths) contrasts of dynamics,
- Bitonality & polytonality (several tonalities used constant changing of
simultaneously); atonality (no tonality) textures, "distorted"
-Serialism & tone-row technique (based 12 melodies and
chromatic notes) harmonies, and angular
177
- Polyrhythms melodies with wide

- Primitivism leaps
- Mixed-meters -He was influenced by
- Dissonance Stravinsky’s The Rite of
- Mode Spring
- Variation principle, where a melody is varied -The Miraculous
(rather than motives being developed) Mandarin is a
- Short themes pantomime (acting is
- Angular & wide intervals more important than
- Sund blocks dancing) based on on
- Percussiveness the story by Melchior
- Complex rhythms Lengyel. Premiered
All of the above are present in the set (& w/l) November 27, 1926 in
work(s) Cologne, Germany, it
caused a scandal and
was subsequently
banned on moral ground
-It’s a gruesome story
about thugs who exploit
the seductive powers of
a young woman to lure
men to rob them and at
the end savagely kill a
wealthy Mandarin
(Chinese man). Horrible
story !
-Whilst Stravinsky and
Prokofiev depicted the
primitivism of (ancient)
pagans ; Bartók depicts
the primitivism of
mechanised modern life.
-
MELODY 1. A number of the 1.=Eastern European Debussy Prélude à
melodies derived from folk (Paganism l'après-midi d'un faune
Russian and other persisted longer in - Revolutionary opening
Eastern European folk Lithuania than in flute theme: the opening
song. The opening Russia) two bars are a chromatic
bassoon melody is combination of tones
derived from a piece in and semitones
an anthology of -Debussy reacted
Lithuanian folk songs. against the Romantic
2. Ostinato dominates the 2. .=Eastern European German tradition of
whole work. folk motivic development;
3. Melody is fragmentary and created a new kind
and repetitive 3. .=Eastern European of melodic composition:
folk melodic evolution, with
4. Repeated notes and 4. variations of a melody
chromaticism (solo = search from
trumpet fragment at Stravinsky & Debussy
figure 15) before him for a new
5. Solo horn at figure 25 : 5. acciaccatura = approach to melodic
typically short, Eastern European folk writing.
surprisingly diatonic & - Persistent C#s in the
use of acciaccatura (also opening melody = pagan
in bassoon solo) feel
6. Stravinsky also -Hints of pentatonicism
detaches short motifs & Dorian mode =
from longer melodies and primeval feel
re-orders these units.
178
7. Other Eastern Prokofiev : Scythian

European features : Suite, Mvts 3 & 4
-grace notes -Chromaticism: for
-hexatonic scale example semiquaver
(bassoon solo) sextuplets in opening =
-limited range atmospheric &
8.Modern melodic mysterious
writing : -Mvt.3:
-chromatic lines •Based on two themes
-wide leaps (Fig. 8 flute) •1st theme is a
-angular lines involving succession of
4ths & 5ths (Fig. 9) descending notes
[almost
scales/chromatic]
•2nd theme is a series of
broken chord outlines
[modulatory and highly
chromatic]
•Much chromaticism
-Mvt 4:
•Based almost entirely
on one theme
(=melodic variation)
•Melody is highly
disjunct and passed
through sonorities and
timbre
•Melody is accented
•Fast chromatic scalic
passages strings =
panic
•Fragmented melodies
(=Stravinsky) = sense of
urgency & panic, savage
•High tessitura violins
end Mvt 4
Bartók The Miraculous

Mandarin :
-Use of repeated notes
(Vivace section trumpets
-Descending minor 3rd
in trombones & tuba =
menacing (cf. Elfman’s
use minor 3rd for
sinister character of
Penguin)
-Use of short melodic
motifs = mosaic-like
melodic construction of
Stravinsky
-wild scales violins
reaching an aug 8ve at
start = frightening
- Eastern European folk
modal melody scattered
around the score
-Use of pentatonic scale
for the Mandarin (=
Chinese)
179
-Grace notes
(acciacaturas) = Eastern
European
-Use of glissandi
between notes in
orchestration (see
‘Sonority’)
-Much use of chromatic
scales, trills & arpeggios
as well as angular
discordant intervals (i.e.
tritone)
-Highly chromatic &
dissonant
-Use of ¼ tones in
violins (=exotic)
-Melodic ostinati
(=Modernism)
Introduction
-Each section or dance in The Rite focuses on different rhythmic and harmonic
STRUCTURE /
ideas.
FORM
-The music is organised in blocks of sound, and internally as a mosaic of short
contrasting sections.
(see revision guide)
STRUCTURE Wider Listening Structure :
Debussy Prélude à l'après-midi d'un faune
-Some analysts quite reasonably consider this
work to be a Tone Poem (=Symphonic Poem) as
it is a depiction of the Faun’s afternoon.
-The Prélude is essentially a Ternary Form piece
with a Coda.
Prokofiev : Scythian Suite

-Mvt. 3 :
written in a free three part form [slow-aggressive-
slow] {the Evil God harms Ala; the Moon Maidens
descend to console her} = follows the story
-Mvt. 4 :
Based on one melodic motive [the hero, comes to
save; sunrise]
Constant reoccurring rhythmic pattern links the Mvt
Bartók The Miraculous Mandarin :

-Follows the story-line = through-composed
- Introduction - The Chaotic City
- Curtain - The Girl and the Three Tramps
- The First Seductive Dance
- The Shabby Old Rake
- The Second Seductive Dance
- The Shy Young Man
- The Third Seductive Dance
- The Mandarin enters the room
- The girl begins a hesitant dance
- She shudders at his embrace and he chases her
- The three tramps leap out, seize the Mandarin
and tear him away from the girl
- Suddenly the Mandarin's head appears between
the pillows and he looks longingly at the girl
- The terrified tramps discuss how they are to get
180
rid of the Mandarin

- The body of the Mandarin begins to glow with a
greenish blue light (eek !)
- She resists no longer – they embrace
RHYTHM / METRE 1.’Introduction’ : 1.Rhythm & pulse Debussy Prélude à
-In a work that is (metre) = very l'après-midi d'un faune
principally about rhythm, important to - The opening theme,
the awakening of spring Stravinsky, who said : with its long notes,
takes the form of the birth Stravinsky put it: semiquavers and triplet
of pulse and pace as the ‘Where there is rhythm semiquavers, is
music moves from there is music, just as designed to create a
freedom (an ad lib (= where there is pulse sense of freedom and
Rubato) bassoon solo) to there is life.’ rhythmic flexibility. Was
metre (pulsing quavers). -Pulselessness = Stravinsky inspired by
Other instruments play Eastern European folk Debussy’s idea?
colla parte, i.e. with the music - Metre
soloist 2.Strong rhythms & • The opening metre is
- accents with irregular compound triple.
2.’Augurs of Spring’ : metre = Eastern • Frequent changes of
-The first dance, ‘The European = tribal metre are present.
Augurs of Spring’ is 3. - Rhythm
about sticking to a • Triplets
machine-like pulse and • Quintuplets, duplets,
strict 2/4 throughout quadruplets
(apart from two rogue • Cross rhythms
bars of 3/4). The tension • Syncopation
is mainly supplied by = sounds primeval
relentless repetitions of
the same chord and Prokofiev : Scythian
unexpected off-beat Suite, Mvts 3 & 4
stabs in the brass, -=Stravinsky : incessant
making it thrilling. rhythmic drive & use of
-After the fluidity of spring rhythmic ostinati
awakening, this dance is -Mvt.3 :
driven by the tribal •4/4 [2 metrical changes]
rhythms of the pagan •cross-rhythms : 4
society and seems to be quaver against sextuplet
about their imposing of semiquaver ostinati
patterns and structure on •juxtaposition of fast,
the world around them. threatening rhythms
3.’Ritual of Abduction’ : over long-held notes
-The following ‘Ritual of •faster “harm” section is
Abduction’ flows in in 6/4 and speeds up
compound time to slightly. Unsettling
provide hunting music. metre : 4/4 against 6/4
-The main rhythmic •Underlying triplet 16’s
principle is to explore an are important in this
additive approach, movement
building ideas that •Complex rhythms in
expand and contract middle section
using combinations of •rhythmic ostinati
twos and threes. It helps -Mvt 4 :
give a sense of •4/4 tempestoso [3
breathlessness, wrong- meter changes]
footing the listener by • steady background
taking away a strong triplets then 16uplets
down-beat. •off-beat chords =
4.General Points : 4. unsettling
-Triplets, quintuplets etc. -= chaos of awakening •disjunct rhythmic
are found everywhere passing of elements
181
-Polyrhythm : climax of •syncopation

the introduction & ‘Ritual =barbaric, savage
of Abduction’ (4/8 & 5/8)
-Two against three cross- Bartók The Miraculous
rhythms (Fig. 15) Mandarin:
-Time signature changes -Compound (6/8),
-Unusual time signatures -=Eastern European. = irregular (5/4), waltz
(5/8, 2/8, 4/8) Pagan, tribal (3/4) and changes of
-Syncopation is at the metre (i.e. from 6/8 to
heart of this piece -=chaos 9/8 to 5/8 back to 6/8)
-Powerful off-beat string -Sustained, long notes =
and horn chords appear -=thrilling sound ominous
randomly at the -Off-beat accents &
beginning of the Augurs. placed at different beats
-Scotch snap (fig. 9 = unsettling
piccolo clarinet) -Septuplets (start
-Rite is celebrated for its violins) & dotted rhythms
rhythmic complexity -Cross-rhythms. Notes
beamed over barlines
-Rhythmic ostinati =
mechanised, primitive
urban world
-Strong rhythmic drive
-Complex rhythms
(clarinet solo in 2nd
dance)
TEMPO 1.’Introduction’ = slow 1.=Expressionist use Debussy Prélude à

rubato tempo ; which of tempo = descriptive l'après-midi d'un faune
contrasts with the of scenes & precise - Très modéré =
remaining prescribed indications allegretto
passages -The tempo fluctuates
2. ‘Augurs of Spring’: during the piece.
tempo giusto (=strict -The opening is rubato =
time) dreamlike; awakening
3.Frequent changes of (like Stravinsky’s spring)
tempo : poco
accelerando, più mosso Prokofiev : Scythian
4. Suite
-Mvt 3 :
Andantino
Faster section in middle
(=more tension)
-Mvt 4 :
Tempestoso = very
agitated

Mandarin :
-Range of
tempi :allegro, lento,
vivace
-Rubato for seductive
dance
-Precise indications in
score
-Constant changes of
tempo (meno mosso,
accelerando, agitato)
182
-Sudden changes of
tempI : from allargando
suddenly to vivo
TONALITY 1.Avoidance of functional 1.= There is never any Debussy Prélude à

tonality. clear sense of key = l'après-midi d'un faune
Modernism - Tonality in this piece
2. Multiple conflicting 2. becomes a very faint
tonal elements can be feeling, this is due to the
heard at the height of the non-traditional ways of
chaos at the end of the identifying keys.
introduction from fig. 11 -The sense of tonality is
3. Suggestions of 3. undermined by:
bitonality at the beginning •Chromaticism
of the ‘Augurs of Spring’ •Whole tone writing
3. Polytonality (=more •Unresolved dissonance
than 2 keys) in ‘Ritual of - Moments of tonal
Abduction’ clarity, when they occur,
4.Folk music are more 4. = Eastern European are vitally important to
modal : the structure (i.e. ending
-opening bassoon in E major)
melody is diatonic in - The opening of the
Aeolian mode piece, with a chromatic
-Fig. 25 folk-like melody = melody (outlining a
C mixolydian tritone)
provides no sense of
key.
- The feeling of tonal flux
totally in sympathy with
the Faun’s dreamlike
state.
Prokofiev : Scythian
Suite, Mvts 3 & 4
-Although more tonal
that Stravinsky’s use of
tonality, Prokofiev
expands tonality
-Mvt 3 = Aeolian mode =
archaic sound
-Mvt 4 = Mixolydian
-Mix of modality &
chromaticism = Eastern
European with
Modernism

Mandarin:
-Although highly
dissonant, there is still a
sense of modality
(=Eastern European)
-Bartók joins notes from
different modes together
= polymodal
-Tonal ambiguity suits
such a grotesque
subject
-There are no key-
signatures in score :
183
accidentals are added in

the score
-Music at times sounds
atonal
-2nds often replace 3rd
of a triad, therefore
leaving the key (major or
minor) uncertain
TEXTURE 1. Polyphony is the 1.= Eastern European Debussy Prélude à
overriding texture of the heterophony/ l'après-midi d'un faune
piece, with frequent use polyphonic choral - Most of the music
of simultaneous singing consists of various types
fragmentary melodies of melody-dominated
(climax of Introduction) homophony.
2.’Introduction’ 2. -Some textural
-monophonic opening, exceptions and points of
then 2-parts interest are as follows:-
-Layered textures • The opening flute solo
-homorhythmic fig.6 is monophonic
-Climax = polyphonic with =chaos • Doubling of
fragmentary melodies instruments is common
3.’The Augurs of 3. • Pedals (=drone effect)
Spring’ • Homorhythm
-homorhythmic chords
-ostinato broken chord Prokofiev : Scythian
-Melody-dominated Suite
homophony with melodic -Mvt 3 :
fragments (fig. 15) Starts with a single
-Cross-rhythmic layers of melodic line
ostinato rhythms, chordal (monophonic) on flute,
blasts & brief melodies doubled harps & piano
-Melody-dominated -Homophonic/
homophony with mutli- homorhythmic w/w
layered accompaniment -Layering of various
(fig.25) melodic/ rhythmic
-Fig. 29 complex -Polyphonic layering of ostinati = unsettling
polyphony = multiple mutliple ostinati = -Melody-dominated over
ostinato fragments & Modernism arpeggio figures harp &
countermelody strings
4. ‘Ritual of Abduction’ -Middle section =
-Homorhythmic used in polyphony of different
climaxes melodic ideas at same
time (=Stravinsky)
-Mvt 4.
-Starts in homophony/
homorhythm. Contrasts
with start of 3rd Mvt, as
it is very dense.
-Strking contrasts of
texture between dense
and busy blocks with
lighter passages
-Full orchestra playing
middle section

Mandarin:
-Heavy, dense texture,
especially as many
sections are divis
184
-Stark contrasts in
texture : after the
frenetic introduction and
intense tutti, there is a
sudden change to
strings only (over
timpani roll)
-Monophony : celli solo
in Movement I or solo
clarinet in 1st dance
-Melody-dominated
moments, such as oboe
solo
-Short melodic
fragments are passed
across the instruments
-Strings playing melody
in octaves = reinforces
the melody
-Wild fugato (like a
fugue) section for the
chase = counterpoint
-Homophony : fanfares
(=when announcing
someone/something
important) on trumpets
& trombones and at
climatic moments
-Accented chords
-Parallel tritones
- Polyphonic build-up of
ostinati & off-beat
chords = reminiscent of
The Rite of Spring
1.From pp to ff 1.The rest of The Rite Debussy Prélude à

uses even more l'après-midi d'un faune
extreme dynamics -Sensitive & subtle
2.No dynamic given to 2. contrasts = dreamlike
bassoon solo world (as ‘Introduction’)
Prokofiev : Scythian
Suite, Mvts 3 & 4
-Great use of dynamics,
DYNAMICS as Stravinsky

Mandarin:
-huge range of
dynamics
-different kinds of
accents
-sudden changes (from
pp to f suddenly)
HARMONY 1. Constant use of harsh 1.=Modernism Prélude à l'après-midi

dissonance. d'un faune
2.Non-functional 2. - Debussy uses chords
3.Drones 3.=Eastern European in a non-functional way
folk -His harmonies =
185
4.Slow harmonic change 4. colouristic, a totally

– times when it doesn’t original concept at the
move time
5.Parellelism : 5. = Impressionism - Much use of 7th
-4ths & 7ths chords
6.Whole-tone chords 5.&6. = continuation of - Use of chord
clouded by chromatic Impressionism extensions; 9th, 11th
movement (Fig.8) and 13th notes
7.Bitonal structures : fig. - Chromatic harmony
13 Fb major in bass & = ‘Impressionistic’,
V7th of Ab in treble 7.& 8. =Modern vague, dreamlike world.
8.Polytonal structures harmonic language =Stravinsky influenced
(fig. 14 chords E major, E by Impressionistic non-
minor, C major & V7of functional use of
Ab !) harmony
9.Superimposed 5ths 9. = Sounds tribal
chords (fig. 16) & 4ths Prokofiev : Scythian
chords (up-beat fig. 18) Suite, Mvts 3 & 4
10.Parallel 2nd inversion 10. = Impressionism -Uses added notes,
7th chords (fig. 28) & chromatic inflections,
parallel 7ths enriched dominants and
11. Dissonances dominant substitutes
involving 9th chords (i.e. chord vii) = adds
dissonance
-Parallel 4ths, 5ths, &
7ths mvt 4)

Mandarin:
-Dissonant chords : use
of tritone, augmented &
diminishes intervals,
chromatic notes,
extended chords
-Chords replace 3rd with
2nds or 4ths that are
unresolved = tonaly
ambiguous & clash
-Modal and pentatonic
flavour
-Bitonal chords stacked :
G#7 against A
SONORITY 1. Stravinsky used one of 1. Debussy Prélude à
the largest orchestras l'après-midi d'un faune
ever assembled for his -Full complement of
score strings; ten
2. Quintuple woodwind : 2.Orchestration = rich woodwind (not least the
- Three flutes, piccolo, (Russian inheritence) solo flute representing
alto flute (‘Fl. 3 muta in & colouristic the Faun’s pipe); four
Fl. Picc 2’, i.e. Flute 3 (Impressionism) & horns and two
changes to piccolo 2) dramatic harps. One unusual
- Four oboes, cor anglais (Expressionism) addition is antique
(it is normal to have two cymbals (tuned at
oboes). perfect 5th)
- Three clarinets, clarinet - Strings use mutes for
in D, bass clarinet. extended periods.
- Four bassoons, double - All string parts apart
bassoon from Double Bass are
- The music opens with a frequently divided.
famous passage for - Tremolo is used in
186
unaccompanied bassoon, strings.

playing in a very high -Pizzicato
register -Harp glissandi create
-Trills clarinets & shimmering effects.
bassoon fig. 28-29 -Harmonics on the harp
- The upper woodwind -Woodwind are often
instruments are given independent solo
sometimes required to lines which focus on
use flutter-tonguing (flttz.) their individual
technique (bar 60). timbres (flute, oboe and
3. Extra-large brass clarinet are often
section isolated in this way).
- eight horns, five -Sometimes doubling is
trumpets, three used to create powerful
trombones, two tubas effects in the upper wind
- Muted trumpet -Clarinets use tremolo
- Some very high writing technique as well as
for trumpet in D strings.
- Horns are used to • Horn 1 is instructed to
double and reinforce play a note bouché
some of the string chords (stopped)
in the Augurs section.
-Horn glissandi (fig. 36) Prokofiev : Scythian
-Horns play bouché Suite
(hand-stopped) accented - The music is scored for
notes fig. 40 a very large orchestra
4. Large percussion consisting of :
section Woodwind :
- Two timpani players piccolo, 3 flutes (3rd
and parts for tuned doubling alto flute), 3
cymbals, tam-tam (large oboes, English horn, 3
orchestral gong) and clarinets (3rd doubling
guiro, etc. E-flat clarinet), bass
5.String section clarinet, 3 bassoons,
-Standard contrabassoon
- String techniques -glissando clarinet 4th
include repeated down Mvt
bows and double- Brass :
stopped chords (‘Augurs’) 8 horns, 4 (optionally 5)
- The introduction trumpets (3rd doubling
features harmonics in the E-flat trumpet), 4
double bass trombones, tuba
- Pizzicato technique Vln Percussion :
2 figure 4. timpani, glockenspiel,
-Violin trill fig. 6 xylophone, 2 cymbals,
- Strings are frequently tamtam, triangle, bass
divided. At one point in drum, snare drum,
the introduction there are tambourine
six separate solo double Others :
bass parts (fig.10). 2 harps, celesta, piano
- Violas play glissando -Mvt 4 : glissando piano
harmonics figure 11. & harps
- Con sordino, in the cello Strings
figure 10 - col legno
-Col legno (hit with the - sul ponticello
wood of the bow) in the - pizzicato
viola figure 24. -tremolo
-Tremolo harmonics vln 1 -trills
(figs. 33-34) = descriptive devices
6. Transposing -Prokofiev’s
187
instruments : orchestration = vivid &

 Piccolo – sounds an colourful (=Russian
octave higher than style)
written. =similar instruments to
 Double bass and Stravinsky (Prokofiev
double bassoon – sound adds harps, piano &
an octave lower than celesta)
written. -Colorful orchestration,
 Alto flute in G – sounds exaggerated orchestral
a perfect fourth lower sonorities
than written. -Mvt 4:
 Cor anglais in F (corno •harsh instrumental
inglese) and Horn in F – combinations
sound a perfect fifth •brass, metallic
lower than written. sounding- [dramatic and
 Clarinet in D, Trumpet grotesque effects]
in D – sound a major •Extremely high-pitched
second higher than brass [rising of the sun]
written.
 Clarinet in B♭ – sounds Bartók The Miraculous
a major second lower Mandarin :
than written. Woodwind:
 Clarinet in A – sounds 3 flutes (2nd and 3rd
minor third lower than doubling piccolo), 3
written. oboes (3rd doubling
 Bass clarinet in B♭ – English horn), 3
sounds major ninth lower clarinets, (2nd doubling
than written. E-flat clarinet and 3rd
doubling bass clarinet),
3 bassoons (2nd and
3rd doubling
contrabassoon)
Brass:
4 horns (2nd and 4th
doubling Wagner tuba),
3 trumpets in C, 3
trombones, bass tuba
Percussion:
timpani, snare drum,
tenor drum, bass drum,
cymbals, triangle, tam-
tam, xylophone
Chordal/ keyboard
celesta, harp, piano,
organ, choir
Strings
- Bartók employs many

colourful techniques:
•Woodwinds - chromatic
scales, trills and
tremolos; fluttertonguing
in the flutes
•Brass - glissandi in the
horns, trombones and
tuba; muting the brass
• Chordal/keyboard -
cluster chords and
tremolos on the piano;
scales and arpeggios on
188
the piano, harp and

celeste
•Strings - scales,
double stops, trills,
tremolos, and glissandi
in the strings; muting
strings
harmonics; col legno
and sul ponticello;
scordatura in the cellos;
(tuned differently) and,
at one point, quarter-
tones in the violins
•Percussion - a cymbal
roll a deux (a cymbal
crash followed by
scraping the plates
together); playing the
bass drum with the
wooden part of a timpani
mallet; a roll on the
gong; rolled timpani
glissandi
-Bartók further develops
the ‘colouristic’ use of
instruments in novel
wasy
-Much use of divisi
across the sections,
hence busier, denser &
more complex scoring

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What are some musical elements discussed in the document?

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What composers and works are mentioned?

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1

Music for Film

Popular Music and Jazz

What are the features that show this cantata in its

existing hymn tunes. In this case, both the words

Movement 1 : The text is that of God as a citadel

2.Melody starts with 2.Closely follows 2. Bach BWV 78 also

Emphasise important ‘Amen’ = devotion,

8. Countersubject = 8. = gives the piece 8.

2.Finishes with canonic 2.= final flourish

7. Direct statement of the 7. = final statement/

TEMPO 1.No tempo written, as 1.

expected to rely on time-

1.In key D major 1.Bright key (open 1.Handel Messiah: also

1.General points : 1.All points = typical 1. (All w/l will follow

SONORITY 1. SATB choir 1. 1.&2. Bach BWV 182,

7. This recording uses 7. It is now the norm to

1. Soprano soloist sings 1.Gives cohesion to 1. Bach BWV 78, 2nd

7. More elaborate than 7. Typical of solo lines

1. Orchestral sections = 1.= joy & energy of text 1.

1.Soprano 1. = the chorale 1. Bach BWV 78, 2nd

1.Entirely syllabic 1.The congregation 1. Bach BWV 48, Mvt

1.9-line chorale, with 1.

3.Predominantly 3. 3. Bach BWV 48, Mvt

1. Pauses at the end of 1. = typical of chorale. 1. Bach BWV 48, Mvt

1. Chordal homophony 1. = typical chorale

1. Perfect cadences are 1.Bach’s mastery of 1. Bach BWV 48, Mvt 3:

1. Four-part SATB choir 1. 1. Bach BWV 48, Mvt

2.Singspiel = vernacular language ; spoken Rache’ from The

Médée has arrived in

1. word-painting 1. 1.All w/l songs have

WORD SETTING 1.Syllabic in the recitative (follows the rhythm of

1. accompanied recitative 1. 1.Beethoven:

TEMPO 1. recitative = free tempo 1.=Queen explains 1.Beethoven:

2.Allegro maestoso – 2.=passion takes over increase in tempo as

1. Both in Bb major/ 1. related keys = 1. Gluck: ‘Che faro

HARMONY 1.functional, clear 1.= Classical feature 1.Gluck: ‘Che faro

including dim7th and

- Bizet : Quintet “Quand

from Carmen, 1875 (late-

1.Almost entirely syllabic.

TONALITY 1.Starts Bb. Move to F 1.= uplifting of mood Mozart: ‘Terzetto’

Bizet: ‘Quintet’ (Carmen)

1. 2-part counterpoint in 1.= conversation 2 Mozart: ‘Terzetto’

DYNAMICS 1. sotto voce 1.= warning 1.

setting and underlying

HARMONY 1.’Feminine’ cadences 1.= elegance/ Mozart: ‘Terzetto’

Bizet: ‘Quintet’ (Carmen)

1.As above + clarinets in 1.A new mood/ 1. Mozart: ‘Terzetto’

2.Bass-line in this section 2.=ethereal/ magical 2.

3.Orchestra takes various 3. 3. Beethoven:

Bizet: ‘Quintet’ (Carmen)

CONTEXT 1.= early-mid 20th century English composer Examples English

done. There is frequent use of an anacrusis to fit

8. Features of Tudor music (English Renaissance -‘Flow My Tears’