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The Elements of Music

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The Elements of Music GCSE MUSIC – ELEMENTS OF MUSIC WORKBOOK THE ELEMENTS OF MUSIC WORKBOOK Page 1 of 21 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – ELEMENTS OF MUSIC WORKBOOK INTRODUCTION The different kinds of music played and sung around the world are incredibly varied, and it is very difficult to define features that all music shares; one piece might be characterised as a melody supported by an accompaniment of chords, but another might have neither melody nor harmony (chords) but still be regarded as music. When we try to get inside music and understand how it works, we usually do this by identifying different ‘elements’ that can be described separately – while remembering that in reality we hear all of these elements simultaneously. The first thing we can do in defining these elements is to distinguish the ways in which sounds are differentiated from each other from the arrangement of these different sounds in time. The ways in which sounds can be distinguished from each other are many (pitch, timbre/sonority, loudness and so on) and they need to be picked apart a little further. Pitch is defined by the frequency of vibration of a sounding body (a string, a column of air, a metal plate, etc.). Faster vibrations give rise to ‘higher’ pitches, slower vibrations to ‘lower’ pitches. The description of pitch as relatively ‘high’ or ‘low’ is reflected in the notational convention of indicating higher pitches (those involving faster vibrations) higher on a musical staff than low pitches. A succession of pitches gives rise to melody; simultaneous pitches define harmony. Most real-world sounds comprise not a single frequency of vibration but a complex mixture of frequencies, and this combination gives rise to the perception of timbre/sonority: timbre/sonority is one of the principal elements that allows us to distinguish a clarinet from a trumpet, for example, or to distinguish between the voices of two singers. Although usually considered rather lower down in the list of elements, timbre/sonority plays an essential role alongside melody and harmony in western music, and can be one of the most important elements, especially in music that uses instruments without definite pitches. Similarly, dynamic contrasts (between louder and softer sounds) are important in many kinds of music. As for the ways in which different sounds are arranged, this gives us the broad category of musical time (under which come rhythm, metre, tempo and pulse). This is also linked to other phenomena, such as melody and harmony, since they involve the arrangement of sounds in time, as noted above; melody and harmony are placed among the most important elements in western music. Finally, we must consider the ways in which different voices and instruments combine. This is partly a matter of timbre/sonority (since different combinations of instruments have distinctive timbral/sonorous characteristics) and partly of dynamics (i.e. dynamic levels and their variations), but it can also be much more than that; the ways in which different lines of the music combine together is described as its texture, which is another important aspect of music that we can investigate. This gives us the following list of musical ‘elements’ which can be grouped in related clusters, in the order in which they are discussed in the following section: • TIME: DURATION, PULSE, METRE, TEMPO, RHYTHM. • PITCH: MELODY, TONALITY, HARMONY. • TEXTURE, TIMBRE/SONORITY, DYNAMICS. Page 2 of 21 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – ELEMENTS OF MUSIC WORKBOOK TIME - DURATION PULSE METRE TEMPO AND RHYTHM The way music proceeds through time is defined in several basic ways, of which the most important are DURATION, PULSE, METRE, TEMPO AND RHYTHM. Perhaps the easiest of these concepts to grasp is DURATION: any performance of a piece of music lasts a particular length of time. A song can be short, as little as two or three minutes. An opera or a musical religious ritual can last several hours. A concerto, a symphony or an Indian raga, might last anywhere between fifteen minutes and an hour or so. There may also be sections within this overall duration: three or four movements within a concerto or symphony, verses and choruses within a song. And, of course, individual sounds also have DURATION. Most music has a PULSE, which is perceived as a series of regular beats. In some music it is obvious; in other music it is subtle. In certain kinds of music there is no pulse, or a pulse that is weak or intermittent. In most music the beats are arranged into a regularly repeating pattern, in which some beats are stressed, others unstressed. This pattern is called METRE (as in poetry). It is important to be clear about the distinction between pulse and metre. Pulse underlies the basic beat, METRE is the way those beats are arranged into patterns of stressed and unstressed. The most common metres have measures (bars, groups or cycles) of two, three or four beats (though many other groups are encountered, particularly in musical traditions of the Balkans, the Middle East and India). In western music notation, the metre is indicated by a time signature (2/4, 3/4, 4/4, 6/8 and so on), and by division of the score into bars. (The second or lower figure in a time signature refers to a particular note value, such as a crotchet (/4) or quaver (/8); the first or upper figure gives the number of these note values per bar.) The TEMPO of music is defined by the rate of pulse. Fast music is music with a fast pulse; slow music is music with a slow pulse. RHYTHM is the general term to describe how sounds are distributed over time (so pulse, metre and tempo are all aspects of rhythm in this broad sense). During a piece of music, notes or sounds will come and go in varying patterns in relation to the pulse, metre and tempo. These patterns are what is most often meant by the ‘rhythm’ of the music. The rhythm can consist of patterns of longer or shorter notes in various combinations: even or uneven, emphasising the metre and stresses or disrupting them. Patterns tend to be grouped in identifiable PHRASES, similar to the phrases of speech. Much of the character of music is determined by this detailed rhythm and its grouping into phrases, and the way they relate to pulse, metre and tempo. Page 3 of 21 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – ELEMENTS OF MUSIC WORKBOOK ACTIVITY 1 We’re going to begin exploring the ‘elements’ of music by looking at Mozart’s Piano Concerto in C minor, a piece of late eighteenth-century western art music, with a duration of about half an hour. It is divided into three sections called MOVEMENTS. We’ll begin by exploring the second movement, the ‘slow movement’ of the Concerto. Scan the QR code above and listen to the opening bars of the second movement and try to establish the METRE. How many beats do you think there are to the bar: two, three or four? Try counting the music in different ways (in twos, threes and fours) to establish what METRE you think the movement has? ACTIVITY 2 Look at the score of this passage from the second, (‘Larghetto’), movement of Mozart’s Piano Concerto in C minor, given as SCORE 1 on the following pages. In this version of the score, the orchestral parts have been reduced onto two staves, to make them easier to read. Look at the opening bars, which are for piano only. Don’t worry if you are not used to reading a score on more than one staff. All you are looking at is the number of beats in the bar – how many are there? ACTIVITY 3 Scan the QR code to the right and listen to more of Mozart’s Piano Concerto in C minor, which repeats this passage, this time continuing a little further to bar 12. As you do so, try to follow the score, given as SCORE 1 on the following pages. For most of this passage you can just concentrate on the piano part, and particularly the upper staff of the piano part, which carries the melody. You only need to follow the orchestral part in bars 5-8. Think about the rhythmic character of bars 1-12. How might you describe the rhythm of this music? Does it have clearly defined PHRASES – is it easy to break up into short chunks – or are the phrases difficult to identify? Does the rhythm have sudden contrasts, or does it flow smoothly? Does the rhythmic character of the music change during this passage? Page 4 of 21 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – ELEMENTS OF MUSIC WORKBOOK SCORE ONE Piano Concerto in C minor, K491, second movement, bars 1–23 (piano reduction) - Wolfgang Amadeus Mozart Page 5 of 21 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – ELEMENTS OF MUSIC WORKBOOK Page 6 of 21 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – ELEMENTS OF MUSIC WORKBOOK ACTIVITY 4 We’re now going to look at the opening of the first movement of Mozart’s Piano Concerto in C minor. Without looking at the score on the following pages, scan the QR code to the right and listen to the opening of the first movement. As you listen, try to establish in your mind the PULSE and METRE of this movement, as you did with the slow movement. It may take you a while to be sure, because the opening bars do not make it clear, but once the music “gets going”, try counting two, three or four against the music, and try to establish the metre Can you feel a regular pulse? If so, how fast is it? Is this movement in two-, three- or four-time? ACTIVITY 5 Now listen to this same passage again, by scanning the QR code above and try to follow the score, given as SCORE 2 on the following pages.
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