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A Level Music (Edexcel) > Area Of Study 1 (Vocal Music) > Flashcards

Area Of Study 1 (Vocal Music) Flashcards

Includes "Ein Feste Burg", "The Magic Flute" & "On Wenlock Edge" + WL

1
Q

What is the context of “Ein Feste Berg”?

A 
Who: Johann Sebastian Bach
What: Church cantata
Where: Leipzig
How: SATB choir with soloists and strings
Why: For church services
When: 1727
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2
Q

Describe the melody of “Ein Feste Berg”

Ein Feste Berg

A

Cantas firmus at 1 with soprano theme at 16

New thematic material becomes conjunct at 60

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3
Q

Describe the harmony of “Ein Feste Berg”

Ein Feste Berg

A

Tonics at 1 and 27 with scales at 16

Perf 5th leap at 60 then chromatic climax at 97

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4
Q

Describe the tonality of “Ein Feste Berg”

Ein Feste Berg

A 
Dominant mod at 1 then subdominant at 12
Glimpses of (sub)dominant at 39 then F#/E/B min at 73
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5
Q

Describe the rhythm of “Ein Feste Berg”

Ein Feste Berg

A

Semiquavers to quavers in quadruple meter with ties

Melismatic cont quavers at 22 then dotted rhythms at 33

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6
Q

Describe the texture of “Ein Feste Berg”

Ein Feste Berg

A

Highly contrapuntal in a fugal style

Layers from tenor to bass at 1 then tenor counter at 4

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7
Q

Describe the sonority of “Ein Feste Berg”

Ein Feste Berg

A

Scored for SATB choir and tutti orchestra

Vocal lines closely doubled by orchestra

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8
Q

Describe the melody of “Alles Was Von Gott”

Ein Feste Berg

A

Melismatic scalic bass with angular moments at 51

Continuo descent at 19 before soprano trills at 26

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9
Q

Describe the harmony of “Alles Was Von Gott”

Ein Feste Berg

A

Scalic semiquavers at 9 then chromatic bass at 60

Secondary dom and dom 7ths occur frequently

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10
Q

Describe the tonality of “Alles Was Von Gott”

Ein Feste Berg

A

Dom mod through to subdom at 1 then dom mod at 12

B min at 53 before F# min at 60

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11
Q

Describe the rhythm of “Alles Was Von Gott”

Ein Feste Berg

A

Predominant semiquaver bass is moto perpetuo at 1

Common time with decorative dotted rhythms at 66

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12
Q

Describe the texture of “Alles Was Von Gott”

Ein Feste Berg

A

Melody dominated homophony at 1

Heterophonic sop and oboe at 12 after contrapuntal at 9

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13
Q

Describe the sonority of “Alles Was Von Gott”

Ein Feste Berg

A

Independent aria solo bass with oboe doubling soprano

Oboe and soprano trills at 26

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14
Q

Describe the melody of “Das Wort Sie Stollen”

Ein Feste Berg

A

Conjunct and diatonic with small leaps

Repeated two bar phrases from 1

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15
Q

Describe the harmony of “Das Wort Sie Stollen”

Ein Feste Berg

A

Diatonic functional chords

Imperf cadence at 10

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16
Q

Describe the tonality of “Das Wort Sie Stollen”

Ein Feste Berg

A

Dominant modulation at 2

Subdominant movement to reach relative min at 9

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17
Q

Describe the rhythm of “Das Wort Sie Stollen”

Ein Feste Berg

A

Common time with anacrusis

Cadential pauses with pass notes between crotchets

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18
Q

Describe the texture of “Das Wort Sie Stollen”

Ein Feste Berg

A

Chordal throughout

Homophonic throughout

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19
Q

Describe the sonority of “Das Wort Sie Stollen”

Ein Feste Berg

A

SATB choir with orchestral accomp and congregation

Soprano and alto are in range of an octave

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20
Q

WL: “Die Vertel Etwas” by Robert Schumann

Adventlied

A

Syncopation with accents weighted on dotted rhythms

Fortissimo horns/trumpets with syllabic congregation

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21
Q

WL: “Le Deluge” by Elisabeth Jacquet

Cantates Francaises No.2

A

Unusual mod from flat note of A maj to tonic

Functional min chords with homorhythmic bass and sop

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22
Q

WL: “Pleasure Submits To Pain” by George Handel

Triumph Of Time & Truth

A

Echos on dom chord between div sop and alto

Distinct tutti contrapuntal passages with maj/min keys

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23
Q

WL: “Sanctus” by Franz Schubert

Mass In G Major No.2

A

Rhythmic unison in chorus with cross rhythms

Augmented C# leap with frequent dom 7ths

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24
Q

WL: “Offne Jesu Deine Hande” by Christoph Graupner

Gott Sei Uns Gnadig

A

Unison chorus with short violin dotted rhythms

Timpani doubles lower strings on bassline

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25
WL: "Sicut Turtur" by Isabella Leonarda | Mottetti Con Le Litanie
Perfect intervals between dominants before augmented | Organ pedal with chromatic steps in soprano
26
WL: "Komm Lass Mich" by Johann Sebastian Bach | Erschallet Ihr Leider
Melismatic alto semiquavers with trill in soprano scale | Fugal texture with alto and soprano sometimes in 3rds
27
WL: "L'amante Bugiardo" by Barbara Strozzi | Cantate Ariette E Duetti
Call and response between tiorba and turn filled sop | Tierce di Picarde tiorba with distinctive sop perf 4th
28
What is the context of "The Magic Flute"?
``` Who: Wolfgang Amadeus Mozart What: Two act opera Where: Vienna How: Four part chorus and orchestra Why: For entertainment purposes When: 1791 ```
29
Describe the melody of "O Zittre Nicht" | The Magic Flute
Recitative is syllabic at 1 before lyrically conjunct at 37 | Grace note chromatics at 51 and 76 then turns at 67
30
Describe the harmony of "O Zittre Nicht" | The Magic Flute
Chromatic steps with simple tonic and dom 7ths from 1 | Neapolitan 6th at 19 before dim 7ths harmonies at 47
31
Describe the tonality of "O Zittre Nicht" | The Magic Flute
Diatonic Bb maj becomes G min in larghetto section | Suggested subdom key at 79 with perf cadences at 101
32
Describe the rhythm of "O Zittre Nicht" | The Magic Flute
Demisemiquaver/dotted scales at 32 with shivers at 36 | Moto perpetuo semiquavers from 98 after triplets at 62
33
Describe the texture of "O Zittre Nicht" | The Magic Flute
Melody dominated homophony with bass imitation at 21 | Continuous octave quavers at 93
34
Describe the sonority of "O Zittre Nicht" | The Magic Flute
Loud orchestra at 61 with 13 vocal melismatic bars at 79 | Tremolo strings at 93
35
Describe the melody of "Hm! Hm! Hm! Hm!" | The Magic Flute
Appog in counterpoint at 21 then bass descent from 48 | Repeated diatonic descending phrases at 109
36
Describe the harmony of "Hm! Hm! Hm! Hm!" | The Magic Flute
Augmented sixth harmonies at 150 | Chromatic descending phrase at 242
37
Describe the tonality of "Hm! Hm! Hm! Hm!" | The Magic Flute
Diatonic Bb with mod to F maj at 35 | Stern G min at 61 with feminine cadences at 84
38
Describe the rhythm of "Hm! Hm! Hm! Hm!" | The Magic Flute
Allegro tempo at bar 1 | Slow andante tempo at 214
39
Describe the texture of "Hm! Hm! Hm! Hm!" | The Magic Flute
Three part homophony at 46 becomes five parts at 54 | Unison octaves at 61 with seperate polyphony at 117
40
Describe the sonority of "Hm! Hm! Hm! Hm!" | The Magic Flute
Breathy voice at 54 before oboe seperates parts at 64 | Light hearted violin fills at 149 and 151
41
WL: "O Che Orrore" by Joseph Haydn | L'anima Del Filosofo
Brass above choir with hemiola feel in strings | Conjunct string fill ins between dense orchestral chords
42
WL: "Solveig's Song" by Edvard Grieg | Peer Gynt
Sop sings above maj 7th conjunct with dotted rhythms | Eight or nine parts finish each monophonic sop line
43
WL: "Das Romische Reich" by Ignaz Holzbauer | Gunther Von Schwarzburg
Free flowing note values with disjunct male choir | Ascending dom 7th triads followed by repeated notes
44
WL: "When She Danced" by Amy Beach | Cabildo
Broken diminished triads shift away from key | Dramatic piano octaves followed by fragmented tunes
45
WL: "La Calunnia" by Gioacchino Rossini | Il Barbiere Di Siviglia
Opening grace note stabs followed by repeated notes | Repeated notes in bass with distinctive octave drop
46
WL: "Qual Temerario Core" by Francesca Caccini | La Liberazione Di Ruggiero
Bouncing alternations between tonic and medient | G min to D maj sounds folk influenced in vocals
47
WL: "Cosi Si Fa" by Wolfgang Amadeus Mozart | L'oca Del Cairo
Bass imitates soprano after A maj triads in strings | Strings and flutes double bass upwards scales
48
WL: "Je Viens Te Rendr" by Pauline Viardot | Cendrillion
Modal in soprano with octave leap doubled by piano | Tremolo strings with chromatic/diminished modulations
49
What is the context of "On Wenlock Edge"?
``` Who: Ralph Vaughan Williams What: Song cycle Where: London How: Piano, strings and tenor voice Why: For text setting of poems When: 1909 ```
50
Describe the melody of "On Wenlock Edge" | On Wenlock Edge
Repeated notes at 11 before conjunct descent at 14 | Hemidemisemiquavers at 31 with chromatic slip at 37
51
Describe the harmony of "On Wenlock Edge" | On Wenlock Edge
Eb descent to Ab min with first inversion chords from 1 | Db/D natural false relation at 3 before Ab/G clash at 11
52
Describe the tonality of "On Wenlock Edge" | On Wenlock Edge
G pentatonic harmony throughout | Added 4th C in G scale
53
Describe the rhythm of "On Wenlock Edge" | On Wenlock Edge
Beginning triplets and sextuplets | Sextuplet/straight semiquaver cross rhythms at 3
54
Describe the texture of "On Wenlock Edge" | On Wenlock Edge
Unison trills at 7 before triple pizz at 8 | Reduced to tenor and piano at 50 then octaves at 76
55
Describe the sonority of "On Wenlock Edge" | On Wenlock Edge
Syllabic writing with vibrato on tenor singing sus notes | Tremolo strings at 1 before sul ponticello at 57
56
Describe the melody of "Is My Team Ploughing" | On Wenlock Edge
Recitative style followed by cello countermelody from 5 | Larger leaps at 14 then intro idea ascends from 55
57
Describe the harmony of "Is My Team Ploughing" | On Wenlock Edge
D min to G maj chords throughout | Blocked repeated triplet chords at 9
58
Describe the tonality of "Is My Team Ploughing" | On Wenlock Edge
Dorian in modal character | Dead man's music transposed higher than before at 45
59
Describe the rhythm of "Is My Team Ploughing" | On Wenlock Edge
Meter and tempo changes are common throughout | Long free notes from 5 then sep to quintuplets at 45
60
Describe the texture of "Is My Team Ploughing" | On Wenlock Edge
Homorhythmic at 1 before chordal homophony from 5 | Fortissimo angry tutti at 50
61
Describe the sonority of "Is My Team Ploughing" | On Wenlock Edge
Sung from a distance at 5 | Tremolo strings at 37 before muted strings at 55
62
Describe the melody of "Bredon Hill" | On Wenlock Edge
Happy diatonic melody at 24 before flat 7 F at 29 | Mournful conjunct phrases from 92
63
Describe the harmony of "Bredon Hill" | On Wenlock Edge
Dominant bell like min 7th blocked chords throughout | Second inversion 7ths at 29 with elevenths from 52
64
Describe the tonality of "Bredon Hill" | On Wenlock Edge
Untransposed Mixolydian feel from 29 | Flat 7 F in G maj scale from 29
65
Describe the rhythm of "Bredon Hill" | On Wenlock Edge
Tied bell like semibreves | Anacrusis fits iambic meter at 24 then triplets at 52
66
Describe the texture of "Bredon Hill" | On Wenlock Edge
Melody dominated homophony at 24 then piano at 52 | Isolated notes from 100 with fading monophony at 145
67
Describe the sonority of "Bredon Hill" | On Wenlock Edge
Double stopping from 1 with chiming piano bells at 52 | Pizz/arco combo from 100 with open harmonics at 114
68
WL: "Swansea Town" by Gustav Holst | Six Choral Folk Songs
Stepwise motion in male tenor chorus in crotchets | Tonic note D is ground note for each phrase
69
WL: "Placet Futile" by Maurice Ravel | Three Poemes De Stephane Mallarme
Sul ponticello with bouncing clarinet figure | Beginning maj and min 7th chords with imitation
70
WL: "Withering Of The Boughs" by Peter Warlock | Curlew
Quaver triplets with polyphonic patches | English horn falling min 3rd with diminished vocals
71
WL: "Ladslove" by John Ireland | Land Of Lost Content
F9#5 with added 4th on Eb at end of piano intro | Chromatic figures in parallel thirds with vibrato vocals
72
WL: "Pale Amber Sunlight Fails" by Frederick Delius | Songs Of Sunset
Chromatic steps with blues augmented harmonies | Choir moves closely in unison with flute flurry descents
73
WL: "Shy One" by Rebecca Clarke | Two Songs
Unusual D maj chord with F/F# blues clash | Tender scalic soprano with distinctive rising perf 4th
74
WL: "Clun" by Ralph Vaughan Williams | On Wenlock Edge
Modal writing with flat 7th and repeated vocal notes | Ascending streamlike quaver triplets in piano
75
WL: "Rat Riddles" by Ruth Crawford Seeger | Three Songs
Oboe trills reaching high tessituras | Undefinable syllabic chromatic tune in soprano

A Level Music (Edexcel) (6 decks)

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