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As Music > Set Works (Voice) > Flashcards

Set Works (Voice) Flashcards

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1
Q

What instruments are used in Dowland’s Flow My Tears?

A

Solo voice, lute, bass viol

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2
Q

What can the form of Dowland’s Flow My Tears be described as?
(3)

A
  • Tripartite
  • 3 strains
  • Each repeated (AABBCC)
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3
Q

How is the texture od Dowland’s Flow My Tears described?

2

A
  • 3 part counterpoint thickened by chords

* Imitation between instruments and voice

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4
Q

What is the tonality of Dowland’s Flow My Tears?

A

Modal- Aeolian/ A minor

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5
Q

Describe the harmony in Dowland’s Flow My Tears.

7

A
  • Diatonic
  • Modal features- tierce de Picardie, Phrygian cadence, false relations
  • Suspensions
  • Passing 7ths at cadences
  • Some inverted cadences
  • Mainly root and first inversion chords
  • Modal progressions (I- III)
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6
Q

Describe the melody in Dowland’s Flow My Tears.

3

A
  • Stepwise, conjunct
  • Tear motif- descending 4 note motif
  • Melodic decoration at cadences
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7
Q

How id rhythm used in Dowland’s Flow My Tears?

3

A
  • Flexible, following the rhythm of the words
  • Syncopation and some anticipation
  • Word setting is mostly syllabic
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8
Q

When was Dowland’s Flow My Tears written?

A

Late Renaissance

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9
Q

When was Bruckner’s Locus Iste written and what for?

A

Romantic period for a SATB choir to be sung in a cathedral

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10
Q

What form is Bruckner’s Locus Iste in?

A

Ternary

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11
Q

How can the texture of Bruckner’s Locus Iste be described?

4

A
  • The ‘A’ section is homophonic
  • The ‘B’ section uses imitation
  • Contrapuntal
  • Sometimes monophonic
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12
Q

What is the tonality of Bruckner’s Locus Iste?

2

A
  • C major

* Modal overtones- Phrygian cadence

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13
Q

Describe the harmony of Bruckner’s Locus Iste.

3

A
  • Section ‘A’ is diatonic and in C major
  • The middle is chromatic
  • There are several sequential repetitions
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14
Q

How is melody used in Bruckner’s Locus Iste?

4

A
  • The word setting is mainly syllabic
  • It is expressive and uses accented passing notes, appoggiaturas and suspensions and sometimes has wide leaps
  • The melody is diatonic in the ‘A’ section and chromatic in the ‘B’ section
  • There are sequential repetitions
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15
Q

How is rhythm used in Bruckner’s Locus Iste?

3

A
  • Simple to allow the voice to be heard
  • General pause near the end
  • Last notes of phrases are shorter to let the disperse
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16
Q

When was Gershwin’s Summertime written and what was it for?

A

I20th century for the opera Porgy and Bess

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17
Q

What instrumentation is used for Gershwin’s Summertime?

A

Solo Soprano, women’s chorus and symphony orchestra

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18
Q

How is the form of Gershwin’s Summertime described?

A

Strophic (continuous- linked with song before and after)

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19
Q

How is the texture of Gershwin’s Summertime best described?

A

Melody dominated homophony

20
Q

What key is Gershwin’s Summertime in?

A

B minor

21
Q

Describe the harmony found in Gershwin’s Summertime.

4

A
  • Extended chords (dom 11ths and 13ths)
  • Modal cadences
  • References to whole tone scales
  • Augmented 6th chords
22
Q

What is the melody like in Gershwin’s Summertime?

4

A
  • Diatonic and pentatonic melody
  • Some blues influences in counter melodies
  • Falling glissando on final notes of verse
  • Acciaccatura on last note of both verses
23
Q

Describe the rhythm in Gershwin’s Summertime.

3

A
  • Syncopation in melody
  • Dotted rhythms in melody like swung quavers
  • Cross rhythms
24
Q

When was Jimmy Cliff’s You can get it if you really want composed?

A

Jamaican pop song composed in the late 20th century

25
Q

What is the instrumentation for Jimmy Cliff’s You can get it if you really want?

A

Brass(2 trumpets), reeds (tenor and baritone sax), guitars (lead, rhythm and bass, electronic organ, drum kit, tambourine, backing vocals

26
Q

What is the form of Jimmy Cliff’s You can get it if you really want?
(2)

A
  • Verse chorus structure with contrasting bridge

* 4 bar intro and fade out in coda

27
Q

How is the texture of Jimmy Cliff’s you can get it if you really want best described?

A

Melody dominated homophony

28
Q

What is the tonality of Jimmy Cliff’s You can get it if you really want?

A

Db major but the vocal and instrumental writing is mostly pentatonic

29
Q

Describe the harmony in Jimmy Cliff’s You can get it if you really want.
(5)

A
  • Diatonic, root and dom 7th chords
  • Chorus based on I, IV and V7 (at end) chords
  • Link is I and IV chords
  • Verse introduced Fm
  • Bridge (Db, E, Gb, Ab), (Ab, Gb, E, D (B) whole tone)
30
Q

What is the melody like in Jimmy Cliff’s You can get I if you really want?
(3)

A
  • Few notes, motivic
  • Hook
  • Pentatonic
31
Q

Describe the rhythm in Jimmy Cliff’s You can get it if you really want.
(2)

A
  • Syncopation and backbeat

* Accompaniment riffs

32
Q

What is the form of Berio’s Sequenza III?

3

A
  • Through composed
  • Climax 2/3 of the way through
  • Organised into 10 second timings
33
Q

How can the texture and tonality of Berio’s Sequenza III be described?
(4)

A
  • Atonal
  • Some relative pitch
  • Monophonic so there’s no harmony
  • Hints of tonal centres (B, Bb, G)
34
Q

Describe the melody in Berio’s Sequenza III.

6

A
  • Fragmented, no repetition
  • Frequent interjections of vocal techniques
  • Some sustained pitches
  • Sudden flourishes/ scales
  • Different vowel sounds
  • Angular
35
Q

What rhythms and metre are found in Berio’s Sequenza III?

2

A
  • Approximate rhythms, unmeasured (10 second units)

* No metre

36
Q

Describe the text setting found in Berio’s Sequenza III.

4

A
  • Said/sung words
  • Syllabic and melismatic
  • Short words repeated fast
  • Phonetic sounds broken by non-verbal sounds
37
Q

What vocal techniques are used in Berio’s Sequenza III?

7

A
  • Dental tremolo
  • Muttering
  • Clicking
  • Cough
  • Laughter
  • Hand mute
  • Whispering
38
Q

What resources are used in Oasis’ Don’t Look Back in Anger?

6

A
  • Vocalist
  • Lead, rhythm, bass guitar
  • Piano
  • Drum kit
  • Tambourine
  • Synthesised orchestral strings
39
Q

What form is used in Oasis’ Don’t Look Back in Anger?

3

A
  • Verse-chorus structure (two verses)
  • Intro and outro
  • Distinct pre chorus
40
Q

What is the texture and tonality like in Oasis’ Don’t Look Back in Anger?
(3)

A
  • Melody-dominated homophony
  • Chromatic decorated bass
  • Quaver rocking piano chords
  • Diatonic (C major)
41
Q

What is the harmony like in Oasis’ Don’t Look Back in Anger?

3

A
  • Diatonic
  • Chromatic chords from passing notes in bass
  • Simple chords in verse and chorus. Contrasting in pre chorus and instrumental
42
Q

Describe the melody in Oasis’ Don’t Look Back in Anger.

8

A
  • Pentatonic (guitar/ vocal)
  • Vocal melody- falling phrases
  • Guitar melody- appoggiaturas
  • Vocal melody is only made up of a few notes
  • Hook in chorus
  • Countermelodies/ fills in guitar
  • Lead guitar solo- improvised nature
  • Pick-up to chorus
43
Q

What technique is used in the last chorus of Oasis’ Don’t Look Back in Anger?

A

Multi tracking

44
Q

What is the rhythm an metre in Oasis’ Don’t Look Back in Anger?
(3)

A
  • Common time
  • Syncopated melody
  • Anticipations in vocal melody
45
Q

Describe the text setting in Oasis’ Don’t Look Back in Anger.
(2)

A
  • Syllabic

* Ornamentation and falling melisma on final words of phrases

As Music (2 decks)

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