set pieces Flashcards
1
Q
Brandenburg - Performing forces and their handling
A
- Concertino (solo group) – flute, violin, single manual harpsichord
- Ripieno (string orchestra)
- Continuo – harpsichord + cello/bass
- Harpsichord virtuosic – role as basso continuo & concertino
- Figured bass
- No dynamic markings in harpsichord
- Dynamic markings in other instruments largely for balance
2
Q
Brandenburg - Structure
A
- Ternary ABA (unusual – would expect ritornello)
- A (bb.1-78) – D major with brief sections in dominant; begins in fugal style
- B (bb.79-232) – begins in B minor (relative); new theme in flute; second theme returns in A major; fragments of A-section theme appear frequently; ends with perfect cadence in B minor
- A (bb.233-end) – repeat of opening A-section, beginning with D major chord to establish return to tonic key
3
Q
Brandenburg - tonality
A
- Tonic key – D major. Used for most of both A-sections
- B-section modules to A major (dominant) and B major (relative minor)
- Diatonic
- Brief modulations to other related keys
4
Q
Brandenburg - melody
A
- Subject, answer, countersubject
- Mostly conjunct
- Some leaps
- Scalic runs (esp. harpsichord)
- Rising sequence
- Occasional ornaments: trills in harpsichord, appoggiaturas
5
Q
Brandenburg - texture
A
- 4-part counterpoint
- Begins in fugal style (NOT actual fugue),
- Violin and flute in 2-part imitation
- Harpsichord in 2-part counterpoint
- Occasional 3rds
- Flute/violin sometimes double each other in unison when ripieno is playing
- Middle section theme – bassline has tonic pedal on B
- Imitation
6
Q
Brandenburg - harmony
A
- Functional – predominantly chords I, IV and V with occasional use of II and VI
- Mainly root position and first inversion
- Dominant 7ths in various inversions
- Perfect cadences at ends of sections
- Occasional suspensions
7
Q
Piano Sonata - Performing forces and their handling
A
- Fortepiano
- Wide range of 5 8ves and wide dynamic range show development of piano
- Melody in RH, accompaniment in LH, except beginning of 2nd subject where hands cross
8
Q
Piano Sonata - Structure
A
- Slightly modified sonata form with intro
- Slow intro b.1
- Exposition (1st subject) b.11 , transition b.35, subject 2a b.51, subject 2b b.89, codetta b.131
- Link (based on slow intro) b.133
- Development b.137
- Recapitulation b.195
- Coda b.295
9
Q
Piano Sonata - Tonality
A
- Tonic key – C minor
- Modulates to Eb b.5
- 1st subject Cm
- 2nd subject (2a) Ebm – this is not a closely related key (more typical of romantic)
- Subject 2b Eb major (relative major of Cm – closely related)
- Development goes through many keys – typical of a development section
- 2nd subject recapitulation in Fm – not Cm as would expect in typical sonata form
10
Q
Piano Sonata - melody
A
- 1st subject rising
- 2nd subject ornamented with mordents
- Both 8 bar phrases
11
Q
Piano Sonata - Harmony
A
- Frequent diminished 7ths create tension –typically romantic
12
Q
Music for a While – context
A
- Henry Purcell 1659 – 1695
- Worked in highly prestigious jobs – for the Chapel Royal and Westminster Abbey where he wrote a lot of church music.
- Also wrote for the Theatre Royal – semi opera ie: plays with music and songs, a pre-cursor to opera where everything is sung.
- Music for a while is for a play by John Dryden with whom Purcell worked a lot.
- Greek mythology – Oedipus accidentally kills father and marries mother then gouges out his eyes.
- Alecto is a fury, committed to persecuting those who kill their parents. In this song a priest tries to calm Alecto to allow the ghost of Oedipus’s dead father to rise so they can reveal his murderer. Really jolly stuff!
13
Q
Music for a While – performing forces & handling
A
- Soprano & basso continuo (harpsichord & bass viol)
- Soprano range of a 9th – low E up to F
- Lots of melismatic writing – often used as a form of word painting eg: ‘eternal’
- Syllabic writing on ‘drop’ also word painting
- Bass viol plays the bass line
- Harpsichord plays chords derived from figured bass in RH & doubles the bass line in LH
- The bass line is a ground bass (ostinato) – common in the Baroque period
- Originally this would have been sung by a counter-tenor as women were not allowed to perform on stage.
14
Q
Music for a While – melody
A
- range of a 9th – low E up to F
- phrases largely in 6 bar units
- mostly moves by step
- most phrases descend – reflects trying to calm Alecto
- ‘drop’ more angular
- Lots of ornamentation – some written out eg: eternal, some by the singer
- Word painting: ‘drop’ ‘eternal’ ‘wondering’ ‘easd’
15
Q
Music for a While – structure
A
- Rounded binary (AB short return of A) – similar to ternary form
- Rounded binary a common baroque structure
- Intro 3 bars
- Link to section B at b.22
- A returns at b.29
- 6 bar phrases (twice through the ground bass)
16
Q
Music for a While – harmony and tonality
A
- A minor
- Chromatic notes in the ground bass implies mini modulations through the bass. (Purcell is well known for using chromatic notes & dissonances to reflect the texts he sets)
- Modulates to Em ‘til Alecto’
- G major on last ‘freed the dead’ (word painting!) but straight back to Am
- Two bar link to section B is in C major
- Returns to Am on ‘til’ the snakes’ but a tierce de Picardie means ‘snakes’ is actually an A major chord. This is not a modulation though – just a harmonic device.
- Use of dissonance on ‘pains’ is word painting. 9-8 suspension which only resolves several beats later on ‘easd’
- Ic V I cadences at the end of each ground bass phrase
17
Q
Music for a While – texture
A
- Melody dominated homophony
- In places the harpsichordist may improvise countermelodies eg: b6, but these are not composed by Purcell.
18
Q
Music for a While – Tempo, metre and rhythm
A
- Nothing marked in original score, but it is slow.
- Words guide decisions re: tempo and dynamics.
- 4/4 Simple quadruple time
- Constant quavers in ground bass
- Long note on ‘mu –sic’ brings out that important word
19
Q
Killer Queen - melody
A
Syllabic
Quite angular
Wide ranging
8ve leaps
Reuse of melodic patterns throughout the song
20
Q
Killer Queen - rhythm
A
12/8
Syncopation
Anticipations of the main beat throughout.
Rhythmic motifs use throughout the song
21
Q
Killer Queen - tonality
A
Eb major (3 flats)
Modulates frequently and quickly
22
Q
Killer Queen - harmony
A
Starts oscillating chord vi & V7
Circle of 5ths
Ascending modulation through notes of a Cm7 triad
Descending chromatic bass line through use of root, 1st, 2nd & 3rd inversion chords, and non-diatonic chords
Pedal notes
23
Q
Killer Queen - instrumentation
A
Vocals/ Bvox overdubbed. Chorus is Freddie Mercury singing all 4 parts. Vocal chords move in parallel motion. Gospel inspired harmonies
Piano
‘jangle’ piano these 2 pianos both recorded the same parts and so created a new sonority.
Electric guitar. Guitar parts overdubbed in instrumental to make a Big band sax sound.
Bass guitar
Drum kit and percussion
24
Q
Killer Queen - guitar techniques
A
string bends, slides, pull-offs, vibrato
25
Killer Queen -structure
Structure Phrase lengths in bars
Intro
Verse 1 4 5 3
Chorus 1 5 3
Instrumental 4
Verse 2
Chorus 2 5
Guitar solo pt 1 4 3
Guitar solo pt 2 4 5 2
Verse 3 1 1 1 3 1
Chorus 3 5 4
Outro
26
Killer Queen - texture
Homophonic opening
Bvox mostly in chorus
2nd verse more polyphonic with interweaving parts
3pt guitar chords in instrumental
Use of panning creates antiphonal feel
27
Killer Queen - Music technology
Panning bvox chorus 3
Flanger on ‘laser-beam’ is a form of word-painting. Also heard end of chorus 3 ‘wanna try’
Distortion on guitar throughout
Wah-wah start v3
Gentle reverb on all tracks to create space
Multi-track recordings and overdubbing throughout (only 4 players in the band but lots more than 4 parts)
28
Killer Queen - Context
Early 70s
Prog rock bands like Yes, Pink Floyd
Killer Queen 1974
Vaudeville-inspired
29
‘Defying Gravity’ from Wicked – melody
* Leitmotifs
* Unlimited theme based on 1st 7 pitches of ‘Somewhere over the rainbow’
* Elphaba’s theme used as accompanying motif
* Recitative-like opening: ‘I hope you’re happy’ half shouted
* Based on 4ths & 5ths
* ‘hurt your cause for ever’ repeated up a semitone: ‘I hope you think you’re clever’ creating a rising sequence
30
‘Defying Gravity’ from Wicked – rhythm
* Intro with combination of 2/2 & 3/2
* Rest in 4/4 except ‘there’s no fight we cannot win’ ¾
* Lots of syncopation in melody
* Cross rhythms between occasional triplets in melody & duplets in accompaniment
* Overall rhythmic feel alternates between: slow chordal accompaniments & driving quaver rhythms
* Heavy percussion emphasises rhythms
* Colla voce instruction to band tells them to follow the singer’s rhythm – so more flexible
31
‘Defying Gravity’ from Wicked – tonality
* Starts on D (Glinda’s key)
* Immediately subverted by chromatic chord sequence so key becomes ambiguous
* Elphaba starts on Db
* Their keys a semitone apart highlight their differences
* Perfect cadence in B end of intro
* F major 2 bars later
* Verses & choruses are major
* Coda starts minor
* Octatonic scale ‘so we’ve got to bring her down’
32
‘Defying Gravity’ from Wicked – harmony
* Chromatic opening: D / C#m / C / B
* Augmented chord under ‘clever’ b. 7 (Ab aug – Ab, C, E)
* V7 – I cadence end of intro, but instead of F# - A# – C# E, it is F# - A# - C – E. (half diminished) The flattened 5th hints at modulation to F 2 bars later.
* Diminished chord – made up of minor 3rds
* Half diminished chord – diminished tried plus minor 7th on top
* Chords built on the flattened 7th eg: the C major chord whilst in the key of D (verse – ‘Too late for second guessing’)
* Bare fifths
* Polytonal chords at end
33
‘Defying Gravity’ from Wicked – instrumentation
* Orchestrated by William Brohn
* Traditional classical combined with popular
* Flute, oboe, bass clarinet, bassoon, baritone sax, 2 horns, 2 trumpet, 2 trombone, percussion, electric drum kit, 2 electric guitars, harp, 2 violins, viola, cello, double bass, 3 keyboards.
* Keyboard patches: fast attacked strings, tremolo strings, contrabass clarinet, celeste, bass trombones
* Electric guitar E-bow
* Electric guitar effects: distortion, chorus, delay, flange, ‘seek – wah’, wah-wah
* Electric guitar playing techniques: palm-muting & extreme vibrato
* Percussion inc: pedal timps, tam-tam, tin maraca, nut rattle, crotales, suspended cymbal, shaker, chimes, bell tree, finger cymbal
34
‘Defying Gravity’ from Wicked – structure
* Extended structure
Intro - dialogue 1 – verse 1 – chorus 1 – link – verse 2 – chorus 2 – dialogue 2 – first bridge – chorus 3 – link 2 – revised intro – vamp – bridge 2 – chorus 4 – link 3 - coda
35
‘Defying Gravity’ from Wicked – texture
* Homophonic opening (orchestral chords + monophonic witches lines)
* Melody dominated homophony ‘you can still be with the wizard’
* Polyphonic choruses
36
‘Defying Gravity’ from Wicked – articulation and dynamics
* Large range pp to ff
* Some specific techniques eg: sf (sforzando ‘forced’ chords at the opening) & fp (loud then suddenly quiet)
* Marcato (marked – very accented)
* Staccato (detached)
* Legato (smooth)
37
‘Defying Gravity’ from Wicked – context
* 2003
* Based on The Wizard of Oz (1939) & the book Wicked by Gregory Maguire
* A dramatic song
38
Star Wars - melody
* Syllabic text setting
* Backing vocals use words and vocalisation
* Initially conjunct with small leaps
* Later combines conjunct motion with wide, angular leaps
* Leaps often featuring rising major 6th; some are exceptionally large
* Altered descending sequence
39
Star Wars - structure
* Verse-chorus form
* Verse 1, chorus 1
* Instrumental
* Verse 2, chorus 2
* Guitar solo
* Verse 3, chorus 3
* Outro
40
Star Wars - texture
* Mainly homophonic
* Imitation
* Layering
* 3-part texture during guitar solo
* Panning
* Some antiphony
41
Star Wars - Tempo, metre and rhythm
* Moderato, 112 dotted crotchet bpm
* Swung feel
* Time signature mainly 12/8 compound quadruple
* Occasional 6/8 bar with effect of extending phrase length
* Anacruses
* Frequent syncopation
* Triplets
42
Star Wars - Harmony and tonality
* Eb major (sometimes ambiguous)
* Many passing modulations, strengthened by perfect cadence but followed by parallel shifts into a new key
* Most chords in root position, some 1st/2nd inversion
* Dissonance
* Seventh chords; altered and extended chords
* Circle of fifths
* Pedal note
43
Afro Celt Sound System - structure
44
Afro Celt Sound System - melody
45
Afro Celt Sound System - texture
46
Afro Celt Sound System - harmony and tonality
47
Afro Celt Sound System - temo, metre & rhythm
48
Afro Celt Sound System - instrumentation - african and celtic
African - Kora, Talking Drum
Celtic - Hurdy-gurdy Uillean Pipes Bodhrán Fiddle Whistle Accordian
49
Afro Celt Sound System - instrumentation - western (EDM)
Male & female voices
Synthesizers: string pad, soft pad, bells, string bass
Breath samples
Drum machine
Electric piano
Shaker
Tambourine
50
Samba Em Preludio - Performing forces and their handling
* Female voice
* Acoustic guitar
* Acoustic bass guitar
* Vocals are low(chest register); minor 10th range
* Syllabic word setting; many leaps; complex rhythms; rubato
* Bass – virtuosic opening with double stops, wide leaps, semiquaver passages, mordent, harmonic
* Acoustic guitar accompanies with chords and small melodic passages; also has virtuosic solo
51
Samba Em Preludio - structure
* Intro
* Verse 1
* Link
* Verse 2
* Guitar solo
* Voice and bass duet
* Coda
52
Samba Em Preludio - tonality
* B minor (minor key typical of this style)
* No modulations
53
Samba Em Preludio - texture
* Intro monophonic (except double stops)
* Mostly homophonic but bass part is at times almost melodic enough to be a melody in its own right
* Polyphonic passage combines two main melodies
54
Samba Em Preludio - harmony
* Essentially tonal
* Quite complex – influence of jazz/American pop
* Movement of chord roots based around I, II, IV, V
* Frequent chord extensions
* Diminished 7th, flattened 5th
* Chromatic chords
* Ends of sections tend to land on V or V-I
* Chord progressions sometimes create descending chromatic motion in bassline
55
Samba Em Preludio - melody
* Two main melodies, first heard separately, then combined
* Idea A:
8 bars, repeated with different ending
Series of phrases all with rising arpeggio shape
Downward sequence
Mostly 3rds, some 7ths (blue notes)
Flattened 5th (blue note)
* Idea B:
16 bars, repeated with different ending
Almost entirely conjunct
Ascending sequence
Flattened 5th idea returns, in sequence
56
Samba Em Preludio - Tempo, metre and rhythm
* Almost all in 4/4 (simple quadruple)
* Very free tempo at first, difficult to hear strong pulse
* V.1 slow with much rubato; then tempo almost doubles; then free tempo returns
* V.1 – triplets; rests separate phrases; syncopation
* V.2 – mostly longer note values, starting off the beat
* Standard bossa nova – dotted crotchet and quaver pairs
* Vocal rhythms less syncopation from b.39
