AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C HORROR WESTERNS HISTORY OF FILM ORCHESTRATION/INSTRUMENTATION – heavy use of Brass and MUSIC HARMONY – consonance vs. dissonance = good vs. evil. Chords often AMBIGUOUS – minor/major or CHROMATIC CHORDS (opening chords Percussion instruments – trumpet fanfares and drums with military “Silent” cinema – never ‘silent’ since music was of “Psycho”). Dissonant harmony often used using notes that are a connection. “Traditional” North American instruments – Jew’s Harp, often used to cover noisy projection machinery. Acoustic/Spanish Guitar, Harmonica, Banjo, Tin Whistle, Indian Drum, MUSICAL DIRECTORS used pre-existing music semitone apart (E flat and E natural in “slasher music” from “Psycho”) MELODY – often uses the CHROMATIC SCALE moving in SEMITONES Trumpet, Fiddle from other composers e.g. music-dramas of RHYTHM – often use SYNCOPATION in melody and accompaniment WAGNER (e.g. The Ghoul). to create “creepy” atmospheres and effects. “Sigh motif” often used – rise creating CROSS-RHYTHMS. Frequent use of repeated OSTINATO MUSIC SPOTTING – identifying opportunities and fall of a melody. RHYTHM – uses OSTINATOS for tension and suspense of off-beat patterns (horses?) often on Indian Drums. within a film when both SOUND EFFECTS and/or DURATION – contrasts of short notes against long, held notes (to show MUSIC would enhance the action or be irregular rhythms to create unease (opening chords of “Psycho”) ORCHESTRATION/INSTRUENTATION – traditional orchestral vast open North American plains) appropriate. From this process, a CUE SHEET is instruments often used but played in extreme ways to create terrifying MELODY – often features a “big theme” (played on (high pitch) strings often produced giving exact and precise timings TIMBRES (“slasher music” from “Psycho” where violin bow is “torn” accompanied by brass and woodwind) with a “folk/traditional” feel or a for the composer to work from. dance-like melody (American Square Dance) Film scores can be MONOTHEMATIC (entire across the string producing a “slashing effect”) THEMES & MOTIFS often used to represent characters or situations but TEXTURE – thick, dense orchestral sound contrasted with more score based upon a single melody e.g. David often FRAGMENTED and DISTORTED as the film progresses matching HOMOPHONIC melody and accompaniment sections Raskin’s score to “Laura”)) where music acts as the deteriorating state of the hero/heroine. HARMONY – mainly MAJOR with minor used for effect (villains), frequent an aid to the narrative. Example & Composer – Soundtrack to “Psycho” – Bernard Hermann use of SEVENTH CHORDS to create harmonic richness Later, composers experimented with the use of Often uses Q&A phrases to represent Good vs. Evil; Cowboys vs. Indians ELECTRONIC RESOURCES, often combined (a device used by association in Westerns. with traditional ORCHESTRAL RESOURCES, to THE LEITMOTIF Examples & Composers – Theme from “The Good, The Bad & The create even more dramatic effects. The LEITMOTIF is a short melodic or harmonic idea which is associated Ugly” – Ennio Morricone; Theme from “The Magnificent Seven” – Elmer NATIONALISTIC IDIOMS were achieved by using with characters, events, concepts, objects or situations (e.g. ‘Jaws’ and Bernstein; Theme from “The Big Country” – Jerome Moross instruments associated with a particular country, ‘James Bond’). These ideas can undergo considerable thematic and helping “place” the film’s location or context (e.g. harmonic transformation such as SEQUENCING – where a melodic idea Sitar = India, Balalaika = Russia) is repeated growing louder and louder and consistently rising either a tone or semitone higher during each repetition. SCI-FI/FANTASY/MAGICAL The interval of a FIFTH has often been used by film music composers of THRILLER/SPY this genre, since its “bare, open” and “sparse” sound quality creates the Thriller/Spy films often feature serious and tense atmospheres, lots of “action sequences”, FILM government and conspiracies, shadowy figures and mysterious people and underground atmosphere of the openness of “Space”. organisations. Film composers have responses to these features by using musical devices such INSTRUMENTATION – heavy use of brass (trumpet fanfares), strings as: and percussion are often used or instruments with specific TIMBRES MUSIC  MINOR, DISSONANT CHORDS to create an uneasy (e.g. the CELESTA in the ‘Harry Potter’ them) associated with Sci- atmosphere and CHROMATIC MELODIES which often have Fi/Magic and Fantasy. DISJUNCT movement (e.g. Mission Impossible Theme) to Composers often combine TRADITIONAL and ELECTRONIC create tension or CONJUNCT movement (e.g. Pink Panther instruments or sounds and use SOUND EFFECTS for additional effect. Theme) to create a creepy, mysterious atmosphere. DYNAMICS often feature CRESCENDOS (e.g. Theme from “2001: A  LOW PITCHES to sound “dark” and LONGER LOW NOTES to Space Odyssey” – ‘Also Sprach Zarathustra’) and DIMINUENDOS to build tension with DYNAMICS SUCH AS CRESCENDOS to increase or decrease tension and SFORZANDOS are often used for heighten the atmosphere. added effect.  REPEATED MOTIFS (leitmotifs e.g. James Bond & Jaws) HARMONIES often change suddenly from MAJOR to MINOR (or in the CARTOONS which are often “layered on top of each other” to create tension reverse) to create unexpected moods and increase the tension. Animated Cartoons require more music than other (e.g. “Capsule in Space” from ‘You Only live Twice’ by John Sometimes the harmony is ATONAL or BITONAL (Planet of the Apes) film genres. CLICK TRACKS (an electronic Barry) or ascend chromatically (sequencing) Examples & Composers – Theme from “2001: A Space Odyssey” (‘Also metronome) were often used for accurate Examples & Composerss– Soundtracks to many of the James Bond Sprach Zarathustra’ – Richard Strauss; “Hedwig’s Theme” from the synchronisation of music to events. Cartoons films – John Barry; Soundtrack to “Jaws” – John Williams; The Pink ‘Harry Potter’ films – John Williams (who has also written may more film developed a range of associated MUSICAL Panther Theme – Henry Mancini; Mission Impossible Theme – Lalo soundtracks and themes for this genre!) CLICHÉS – pedal notes, the “walking” motif, the Schifrin adapted by Danny Elfman “calamity” motif, cluster chords and ascending chromatic runs.

STUDENT NAME: WWW.MUSICALCONTEXTS. CO.UK

AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C HORROR WESTERNS HISTORY OF FILM Make some notes about how film music is used in horror films – chromatic and ambiguous chords and their effect; creating “creepy” atmospheres; the “sigh motif”; offbeat and irregular rhythms; Make some notes about how film music is used in Westerns – instruments and orchestration; instruments and orchestration; themes and motifs and how these can be altered and changed. syncopation, cross rhythms and ostinato; creating the effect of the “vast open North American MUSIC

plains”; “big themes”; harmony and the contrast against good vs. evil and cowboys vs. Indians. Make some notes on the History of Film Music – “Silent” Cinema,

the role of Musical Director, Music Spotting, Cue Sheets, Monothematic Film Scores, Electronic and Orchestral Resources and Nationalistic Idioms.

Example & Composer –

Examples & Composers – THE LEITMOTIF What is a Leitmotif? Give some famous examples

What is Sequencing?

SCI-FI/FANTASY/MAGICAL Make some notes about how film music is used in Sci-Fi, Fantasy and Magical films – the interval THRILLER/SPY of a fifth; instrumentation and timbres; sound effects; dynamics and harmony. Make some notes about how film music is used in Thriller/Spy films – chords; melodic movement; FILM pitch; dynamics; repeated motifs.

MUSIC

CARTOONS What is a click track? How does this assist film composers of animated cartoons?

Examples & Composers – How do cartoons use Musical Clichés? Examples & Composers –

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AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C

Keyword Meaning Understood Signatures (tick) (staff, student, parent)

Banjo

Call and Response

Chromatic(ism) Chromatically Altered Chords

Click Track

Conjunct

Consonance

Crescendo

Cross Rhythm

Cue Sheet

Diminuendo

Disjunct

Dissonance

Duration

Dynamics

STUDENT NAME: WWW.MUSICALCONTEXTS. CO.UK

AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C Keyword Meaning Understood Signatures (tick) (staff, student, parent) Electronic (sounds)

Fiddle

Fifth

Harmonica

Harmony

Indian Drum

Instrumentation Irregular/offbeat rhythms

Jew’s Harp

Layering

Leitmotif

Melodic Movement Minor- major/ambiguous chords

Monothematic

Motif

STUDENT NAME: WWW.MUSICALCONTEXTS. CO.UK

AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C Keyword Meaning Understood Signatures (tick) (staff, student, parent)

Musical Cliché

Music-Spotting

Nationalistic Idiom

Off-beat Rhythms

Ostinato

Phrase

Pitch

Pitch Range

Q&A

Repetition

Semitone

Sequencing

Seventh Chord

Sforzando

Sound Effect

STUDENT NAME: WWW.MUSICALCONTEXTS. CO.UK

AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C

Keyword Meaning Understood Signatures (tick) (staff, student, parent) Spanish/Acoustic Guitar

Syncopation

Tempo

Texture

Timbre

Timing

Tin Whistle

Tonality

Tremolo

Trumpet

Vibrato

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AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C

Learning Objectives & AQA Areas of Study I feel confident I understand I do not Signatures and understand most/some understand at (staff, student, parent) it all all Learn why music is necessary in films

Learn about the features in dramatic music of earlier periods which informed the use of music in the cinema (AoS 2, 3 & 4) Learn about some musical features used by film composers such as the leitmotif and sequencing (AoS 2, 3 & 4) Learn how music-spotting and timing is important in the composition and performance of film music and how composers use cue sheets and click-tracking as tools to assist them (AoS 4) Learn about the music used in animated cartoons, the importance of matching music to event and the use of musical clichés (AoS 2, 3 & 4) Learn about music as an aid to narrative, orchestral and electronic resources and nationalistic idioms when composing for films (AoS 2, 3 & 4) Learn how film composers use musical features and devices, orchestration and the elements of music when composing music for Westerns and Horror films to create different effects (AoS 1, 2, 3 & 4) Learn how film composers use musical features and devices, orchestration and the elements of music when composing music for Thriller/Spy and Sci-Fi/Magical/Fantasy films to create different effects (AoS 1, 2, 3 & 4)

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AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C

Grade Descriptor (Tick as Signatures appropriate) (staff, student, parent) Describe some devices used by film composers and in film music which create different moods and effects Identify possible opportunities for music to be used in different film-action sequences E Understand how composers of animated cartoons use musical clichés to describe particular on- (working screen actions towards) Can identify some basic musical features such as the use of specific instruments to create particular effects in Westerns and Horror film music soundtracks Can identify some basic musical features such as the use of specific instruments to create particular effects in Thriller/Spy and Sci-Fi/Magical/Fantasy film music soundtracks Describe and Identify how the elements of music and features such as instrumentation, tempo, dynamics, pitch, repetition, motifs and crescendos and diminuendos have been used by film composers and in film music to create different moods and effects Understand that a leitmotif is a short melodic or harmonic idea, which is associated with characters, events, concepts, objects or situations and describe how a leitmotif is used in film music. Suggest appropriate sounds, timbres and instrumentation for use in music soundtracks to different film-action sequences Distinguish between “orchestral” and “electronic” resources used in a range of different film music C examples (working Correctly identify different countries where films are set, based upon nationalistic idioms used in at) their soundtracks Can identify more complex musical devices used by film composers of Westerns and Horror film soundtracks such as Q&A phrases, syncopation, use of ostinato, ambiguous chords and the use of motifs and themes Can correctly name a Western and Horror film soundtrack and composer Can identify more complex musical devices used by film composers of Thriller/Spy and Sci- Fi/Magical/Fantasy film soundtracks such as leitmotifs, the layering of motifs and changes of texture and dynamics Can correctly name a Thriller/Spy and Sci-Fi/Magical/Fantasy film soundtrack and composer Describe how film music originated and developed using pre-written pieces as soundtracks to accompany the first films Understand how chromaticism and sequencing are used by film composers and in film music to create a particular effect. A Appreciate devices such as click-tracks and cue sheets to assist film composers and how these help (working improve accuracy in timing music to event. Understand how music aids narrative, such as the use of monothematic film scores using a particular motif beyond/ Can use correct musical vocabulary to describe how film composers of Westerns and Horror films use GAT) features such as cross rhythms, texture, consonance vs. dissonance, chromatic and minor-major chords and seventh chords Can use correct musical vocabulary to describe how film composers of Thriller/Spy and Sci- Fi/Magical/Fantasy films use features such conjunct and disjunct melodic movement, changes of harmony and the effect of rhythm and metre

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AQA GCSE MUSIC – S T R A N D 2 – POPULAR MUSIC OF THE 20TH A N D 2 1 ST CENTURIES REVISION GUIDE SUB - S T R A N D 7 – F I L M M U S I C

Grade Currently Grade Working Targets to meet: Signatures Date Working At : Towards: (staff, student and parents)

STUDENT NAME: WWW.MUSICALCONTEXTS. CO.UK