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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

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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
Q

WL: “Sicut Turtur” by Isabella Leonarda

Mottetti Con Le Litanie

A

Perfect intervals between dominants before augmented

Organ pedal with chromatic steps in soprano

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26
Q

WL: “Komm Lass Mich” by Johann Sebastian Bach

Erschallet Ihr Leider

A

Melismatic alto semiquavers with trill in soprano scale

Fugal texture with alto and soprano sometimes in 3rds

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27
Q

WL: “L’amante Bugiardo” by Barbara Strozzi

Cantate Ariette E Duetti

A

Call and response between tiorba and turn filled sop

Tierce di Picarde tiorba with distinctive sop perf 4th

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28
Q

What is the context of “The Magic Flute”?

A 
Who: Wolfgang Amadeus Mozart
What: Two act opera
Where: Vienna
How: Four part chorus and orchestra
Why: For entertainment purposes
When: 1791
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29
Q

Describe the melody of “O Zittre Nicht”

The Magic Flute

A

Recitative is syllabic at 1 before lyrically conjunct at 37

Grace note chromatics at 51 and 76 then turns at 67

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30
Q

Describe the harmony of “O Zittre Nicht”

The Magic Flute

A

Chromatic steps with simple tonic and dom 7ths from 1

Neapolitan 6th at 19 before dim 7ths harmonies at 47

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31
Q

Describe the tonality of “O Zittre Nicht”

The Magic Flute

A

Diatonic Bb maj becomes G min in larghetto section

Suggested subdom key at 79 with perf cadences at 101

32
Q

Describe the rhythm of “O Zittre Nicht”

The Magic Flute

A

Demisemiquaver/dotted scales at 32 with shivers at 36

Moto perpetuo semiquavers from 98 after triplets at 62

33
Q

Describe the texture of “O Zittre Nicht”

The Magic Flute

A

Melody dominated homophony with bass imitation at 21

Continuous octave quavers at 93

34
Q

Describe the sonority of “O Zittre Nicht”

The Magic Flute

A

Loud orchestra at 61 with 13 vocal melismatic bars at 79

Tremolo strings at 93

35
Q

Describe the melody of “Hm! Hm! Hm! Hm!”

The Magic Flute

A

Appog in counterpoint at 21 then bass descent from 48

Repeated diatonic descending phrases at 109

36
Q

Describe the harmony of “Hm! Hm! Hm! Hm!”

The Magic Flute

A

Augmented sixth harmonies at 150

Chromatic descending phrase at 242

37
Q

Describe the tonality of “Hm! Hm! Hm! Hm!”

The Magic Flute

A

Diatonic Bb with mod to F maj at 35

Stern G min at 61 with feminine cadences at 84

38
Q

Describe the rhythm of “Hm! Hm! Hm! Hm!”

The Magic Flute

A

Allegro tempo at bar 1

Slow andante tempo at 214

39
Q

Describe the texture of “Hm! Hm! Hm! Hm!”

The Magic Flute

A

Three part homophony at 46 becomes five parts at 54

Unison octaves at 61 with seperate polyphony at 117

40
Q

Describe the sonority of “Hm! Hm! Hm! Hm!”

The Magic Flute

A

Breathy voice at 54 before oboe seperates parts at 64

Light hearted violin fills at 149 and 151

41
Q

WL: “O Che Orrore” by Joseph Haydn

L’anima Del Filosofo

A

Brass above choir with hemiola feel in strings

Conjunct string fill ins between dense orchestral chords

42
Q

WL: “Solveig’s Song” by Edvard Grieg

Peer Gynt

A

Sop sings above maj 7th conjunct with dotted rhythms

Eight or nine parts finish each monophonic sop line

43
Q

WL: “Das Romische Reich” by Ignaz Holzbauer

Gunther Von Schwarzburg

A

Free flowing note values with disjunct male choir

Ascending dom 7th triads followed by repeated notes

44
Q

WL: “When She Danced” by Amy Beach

Cabildo

A

Broken diminished triads shift away from key

Dramatic piano octaves followed by fragmented tunes

45
Q

WL: “La Calunnia” by Gioacchino Rossini

Il Barbiere Di Siviglia

A

Opening grace note stabs followed by repeated notes

Repeated notes in bass with distinctive octave drop

46
Q

WL: “Qual Temerario Core” by Francesca Caccini

La Liberazione Di Ruggiero

A

Bouncing alternations between tonic and medient

G min to D maj sounds folk influenced in vocals

47
Q

WL: “Cosi Si Fa” by Wolfgang Amadeus Mozart

L’oca Del Cairo

A

Bass imitates soprano after A maj triads in strings

Strings and flutes double bass upwards scales

48
Q

WL: “Je Viens Te Rendr” by Pauline Viardot

Cendrillion

A

Modal in soprano with octave leap doubled by piano

Tremolo strings with chromatic/diminished modulations

49
Q

What is the context of “On Wenlock Edge”?

A 
Who: Ralph Vaughan Williams
What: Song cycle 
Where: London
How: Piano, strings and tenor voice
Why: For text setting of poems
When: 1909
50
Q

Describe the melody of “On Wenlock Edge”

On Wenlock Edge

A

Repeated notes at 11 before conjunct descent at 14

Hemidemisemiquavers at 31 with chromatic slip at 37

51
Q

Describe the harmony of “On Wenlock Edge”

On Wenlock Edge

A

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
Q

Describe the tonality of “On Wenlock Edge”

On Wenlock Edge

A

G pentatonic harmony throughout

Added 4th C in G scale

53
Q

Describe the rhythm of “On Wenlock Edge”

On Wenlock Edge

A

Beginning triplets and sextuplets

Sextuplet/straight semiquaver cross rhythms at 3

54
Q

Describe the texture of “On Wenlock Edge”

On Wenlock Edge

A

Unison trills at 7 before triple pizz at 8

Reduced to tenor and piano at 50 then octaves at 76

55
Q

Describe the sonority of “On Wenlock Edge”

On Wenlock Edge

A

Syllabic writing with vibrato on tenor singing sus notes

Tremolo strings at 1 before sul ponticello at 57

56
Q

Describe the melody of “Is My Team Ploughing”

On Wenlock Edge

A

Recitative style followed by cello countermelody from 5

Larger leaps at 14 then intro idea ascends from 55

57
Q

Describe the harmony of “Is My Team Ploughing”

On Wenlock Edge

A

D min to G maj chords throughout

Blocked repeated triplet chords at 9

58
Q

Describe the tonality of “Is My Team Ploughing”

On Wenlock Edge

A

Dorian in modal character

Dead man’s music transposed higher than before at 45

59
Q

Describe the rhythm of “Is My Team Ploughing”

On Wenlock Edge

A

Meter and tempo changes are common throughout

Long free notes from 5 then sep to quintuplets at 45

60
Q

Describe the texture of “Is My Team Ploughing”

On Wenlock Edge

A

Homorhythmic at 1 before chordal homophony from 5

Fortissimo angry tutti at 50

61
Q

Describe the sonority of “Is My Team Ploughing”

On Wenlock Edge

A

Sung from a distance at 5

Tremolo strings at 37 before muted strings at 55

62
Q

Describe the melody of “Bredon Hill”

On Wenlock Edge

A

Happy diatonic melody at 24 before flat 7 F at 29

Mournful conjunct phrases from 92

63
Q

Describe the harmony of “Bredon Hill”

On Wenlock Edge

A

Dominant bell like min 7th blocked chords throughout

Second inversion 7ths at 29 with elevenths from 52

64
Q

Describe the tonality of “Bredon Hill”

On Wenlock Edge

A

Untransposed Mixolydian feel from 29

Flat 7 F in G maj scale from 29

65
Q

Describe the rhythm of “Bredon Hill”

On Wenlock Edge

A

Tied bell like semibreves

Anacrusis fits iambic meter at 24 then triplets at 52

66
Q

Describe the texture of “Bredon Hill”

On Wenlock Edge

A

Melody dominated homophony at 24 then piano at 52

Isolated notes from 100 with fading monophony at 145

67
Q

Describe the sonority of “Bredon Hill”

On Wenlock Edge

A

Double stopping from 1 with chiming piano bells at 52

Pizz/arco combo from 100 with open harmonics at 114

68
Q

WL: “Swansea Town” by Gustav Holst

Six Choral Folk Songs

A

Stepwise motion in male tenor chorus in crotchets

Tonic note D is ground note for each phrase

69
Q

WL: “Placet Futile” by Maurice Ravel

Three Poemes De Stephane Mallarme

A

Sul ponticello with bouncing clarinet figure

Beginning maj and min 7th chords with imitation

70
Q

WL: “Withering Of The Boughs” by Peter Warlock

Curlew

A

Quaver triplets with polyphonic patches

English horn falling min 3rd with diminished vocals

71
Q

WL: “Ladslove” by John Ireland

Land Of Lost Content

A

F9#5 with added 4th on Eb at end of piano intro

Chromatic figures in parallel thirds with vibrato vocals

72
Q

WL: “Pale Amber Sunlight Fails” by Frederick Delius

Songs Of Sunset

A

Chromatic steps with blues augmented harmonies

Choir moves closely in unison with flute flurry descents

73
Q

WL: “Shy One” by Rebecca Clarke

Two Songs

A

Unusual D maj chord with F/F# blues clash

Tender scalic soprano with distinctive rising perf 4th

74
Q

WL: “Clun” by Ralph Vaughan Williams

On Wenlock Edge

A

Modal writing with flat 7th and repeated vocal notes

Ascending streamlike quaver triplets in piano

75
Q

WL: “Rat Riddles” by Ruth Crawford Seeger

Three Songs

A

Oboe trills reaching high tessituras

Undefinable syllabic chromatic tune in soprano

A Level Music (Edexcel) (6 decks)

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