1 Section 2: Preparing for the Exam

Unit 2.1 Set songs Group A Page 40 An Mhaighdean Mhara (The Mermaid) Performing 1. 2-1AA

X ornamentation # j , 3 œ œ œ œ œ œ œ & 4 œ œ ™ J ™ œ œ œ ™ œ œ œ ˙ œ s, d r m f m r d tı d r d tı lı sı d r , # j œ œ j ˙ œ & œ ™ œ œ J ˙ œ œ ™ œ œ œ œ m r m f s d r m mJ r m f m f X # j , & ˙ œ œ œ ˙ œ œ œ œ J ™ œ œ ˙ œ s f m f m r d r d tı lı sı mœı fı # X , j j œ œ ™ œ œ ™ & œ œ œ œ œ œ ™ œ œ ˙ ™ sı sı ™ lı tı d r m f m r m r d

4. B in bar 12 is below mid-C. 5. Substitute B with another note or play C as a crotchet. Page 41 Listening CD 1, Track 73 1. This form of this song is A B C D. There is a total of 4 phrases in this song and each phrase is different. 2. Strophic form means that the same melody is used for each verse. 3. See music above. 4. The tempo is slow; the dynamics are soft; each of the four phrases is different (form ABCD); modal tonality (any three). 5. The language is Irish; the singer uses ornamentation. 6. The use of accompaniment. 2

Page 43 Kalinka (Russia) Listening CD 1, Track 74 1. The chorus is 16 bars in length. It consists of 4 four-bar phrases. 2. A A1 A A1 3. We call this form unitary. 4. (a) Tempo: There are changes of speed in the chorus. The verse is sung at a slower tempo. (b) Dynamics: The song starts softly and gets louder gradually. There are lots of dynamic changes throughout. (c) Texture: Varies throughout the song, but mainly homophonic. The Little Sandman Performing 2-1CC 1.

G D # 4 j œ & 4 œ ™ œ œ œ ˙ œ œ œ œ œ œ œ ˙ Œ œsı d r m r d tı d r m f m r d r sœı G D # j œ œ & œ ™ œ œ œ ˙ œ œ œ œ œ œ œ ˙ Œ œ d r m r d tı d r m f m r d r m f G D # œ œ œ œ ™ œ œ œ œ œ & œ J œ œ œ ˙ ™ Œ s m f s l s f r m f f m s r D G # j œ ™ œ œ ™ œ œ œ œ Œ & J ˙ œ œ œ œ œ œ ˙ s m r m r d r m f s d r m r d

Page 44 Composing 1. See music above. Listening CD 1, Track 75 1. There are 6 phrases in this song. The first and second phrases are the same; the third phrase has new music; the fourth phrase has new music; the third and fourth phrases are repeated. 2. It is played on piano and consists of continuous quaver movement based on broken chords played softly, creating a calm, peaceful atmosphere. The beat is steady. 3. (a) soft dynamics (b) light accompaniment (c) slow tempo (d) quiet, gentle mood 4. The song was composed by Brahms. The accompaniment plays an important part in capturing the mood. 3

Page 45 The Streets of Laredo Performing 2-1DD 1. F B F C A b b3 œ œ™ œ œ œ œ œ œ j & 4 J ™ œ œ œ œ œ s s f m f s f m r d tı sı sı F C7 F C B b j œ œ & œ™ œ œ œ œ œ œ œ ˙ d tı d r m f m r d r s F B F C A b b œ™ œ œ œ œ j & J œ œ™ œ œ œ s f m f s f m r d tı sœı œsı Dm Gm F C F B1 b j œ & œ™ œ œ œ œ œ œ œ ˙ d d d r m f s d r d Listening CD 1, Track 76 1. See music above. 2. Allow students to interpret the story. 3. (a) Speed: sung slowly to reflect the sad words. (b) Dynamics: Sung moderately soft, no change in dynamics, reflecting the sadness of the words, telling a story. Page 46 (c) Accompaniment: guitar accompaniment supports the singer, story. 59th Street Bridge Song (Feelin’ Groovy) Performing 2-1EE 1.

G D Em D G D Em D G D ## j œ j & c Œ œ œ œ ™ œ œ œ œ ˙ ‰ j œ œ œ œ œ œ œ œ Œ œ œ œ ™ œ l s s m f s m — œd l f s m s — s dı s l f s m Em D G D Em D G D Em D 3 ## œ œ w w & œ œ œ ˙ Œ œ œ œ œ œ œ œ œ ™ f s m — l l f s m s — s mı dı ______

4

Composing 1. see music above Listening CD 1, Track 77 1. Allow students to make comparisons between the original recording and this recording in the textbook. 2. Syncopation (with description). Page 47 The Wexford Carol Performing 2-1FF 1. A # j 3 j œ œ œ œ ‰ œ œ œ j j ‰ j & 4 œ œ œ œ œ™ J œ œ œ nœ œ œ œ sı d d tı d r m f s s f m d sı lı ta d ta sı

# j œ œ œ œ j j & œ œ œ œ™ œ œ ‰ œ œ œ œ œ œ œ ‰ d d tı d r m f s mJ f s m d r d d d Composing 1. G major See1-2 music 14(b) above for circled note 2. # w 1-7X & w ?# w

Page 48 Listening CD 1, Track 78 1. Peaceful, solemn mood; smooth melody line, sung slowly, the drum accompaniment suggests the birth of a king. 2. The flattened seventh, repeated final note, leap of the seventh are features of Irish songs. Spring 1. and 2. 2-1GG

# #4 œ œ œ œ ‰ j Œ œ œ œ & 4 ™ J œ œ œ œ œ œ œ œ ™ J œ œ s d l s m f m r m f r d s l s d œtı d

## œ œ œ & œ™ œ œ œ™ œ œ œ œ œ œ Œ J ı ı J œ œ œ œ s l s d t d s l s d œtı d f m r m f r 5

Page 49 Listening CD 1, Track 79 1. (a) Tonality: Section A is major; Section B is minor. (b) Mood: Section A is happy; Section B is sad. (c) Dynamics: Section A is loud; Section B is soft. 2. On the words ‘hum’ and ‘singing’. 3. An aria is a solo song, sung in an opera. ‘Spring’ is from the opera Ottone by Handel. Summer Is Icumen In Performing 1. 2-1HH

* Second part enters * Third part enters # #6 œ œ œ œ œ œ œ œ œ j j Œ ‰ j j j j & 8 J J J œ œ œ œ œ™ œ œ œ œ œ œ œ œ dı t l t dı dı t l s m m f r m d m r f m m r d

X # j # œ œ Œ ‰ œ™ œ™ œ™ Œ ‰ œ™ œ™ œ™ Œ ‰ & œ œ J œ™ m s l l s dı l dı dı lı dı

Page 50 Listening CD 1, Track 80 1. See music above. 2. No 3. (a) Words: old English (b) Texture: a canon, polyphonic (c) Accompaniment: early instruments 4. Polyphonic General questions 1. (a) ‘An Mhaighdean Mhara’ is a lament from Northern Ireland. (b) ‘Summer Is Icumen In is an example of a round. (c) ‘Spring’ is an aria from an opera. (d) ‘The Streets of Laredo’ is an American ballad. (e) ‘The Little Sandman’ is an art song. (f) ‘Kalinka’ is a Russian wedding song. (g) ‘59th Street Bridge Song (Feelin’ Groovy)’ is written in the pop style. (h) ‘The Wexford Carol’ has many features of an Irish traditional tune. 6

Page 51 2.

Popular song 59th Street Bridge Song (Feelin’ Groovy) Art song The Little Sandman Church music or carol The Wexford Carol Irish traditional song An Mhaighdean Mhara Ballad The Streets of Laredo Part song, round or canon Summer Is Icumen In Folk-song from another country Kalinka Song from an opera, operetta, stage musical, Spring cantata or oratorio 3.

Feature Name of song Syncopation 59th Street Bridge Song (Feelin’ Groovy) Sequence Spring Compound time Summer Is Icumen In Triplets The Wexford Carol or 59th Street Bridge Song (Feelin’ Groovy) Flattened seventh The Wexford Carol Change of speed Kalinka Use of a mode Kalinka or The Wexford Carol or Summer Is Icumen In Ostinato Summer Is Icumen In or 59th Street Bridge Song (Feelin’ Groovy) Ternary form Spring or The Wexford Carol 4. (a) Name of song Feature An Mhaighdean Mhara Modal, ornamentation Kalinka Modal, form: verse–chorus The Wexford Carol Modal, use of flattened seventh note, repeated final note Page 52 ) (b Title of song: The Wexford Carol Title of song: Kalinka Title of song: An Mhaighdean Mhara Crosswords 1. historical 2. mermaid 3. Ottone 4. Paul Simon 5. syncopation 6. Kalinka 7. German 8. ostinato 7

Page 53 H K ANMHAIGHDEANMHARA N L D I E SPRING BALLAD U K A M ARIA R M M R S O OPERA T D R S PAULSIMON O L S N I R G WEXFORDCAROL U U BRAHMS N E DANCE LAMENT I RUSSIAN 8

Group B Page 54 Amhrán na Cuiginne (The Churning Song) Performing 1. 2-1II A # # 6 j j œ œ j j j j & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ d d m f s s f m r d r m f r m d r m f m r d m f # # œ nœ œ œ j j œ ™ œ nœ œ œ œ ™ & œ J œ œ œ œ œ œ œ œ œ J J œ œ œ ™ s l ta l s dı s f r r d d d ™ dı s l ta l ta s m dı s # # j œ nœ j œ j j & œ œ œ œ ™ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ f m d r m f s l ta s dı s f m d f r r d d d ™

Composing 2-1II(v) 1. Three of the notes at A form the tonic (doh) triad. 2. w ?## w 3. bars 2, 5, 8, 9, 11, 16 (any two) Page 55 Listening CD 2, Track 1 1. (a) unaccompanied, sung in Irish (b) ornamentation (c) lack of dynamic variation 2. There are two main sections (verse and chorus), and each one is different. 3. (a) Love song: the words are romantic (b) Work song: it has a strong beat moderately fast tempo 9

Click Go the Shears (Australia) Performing 1. 2-1JJ

C F C G 4 œ œ ™ œ ˙ œ & 4 œ œ ™ œ œ ™ œ œ œ ™ œ œ ™ œ œ œ ˙ m m r dœ m s dı dı t l s s l s m œd r r ™ m r C F G C œ œ ™ œ œ ™ œ œ œ ™ œ ˙ & œ œ ™ œ œ ™ œ ˙ œ œ œ œ œ m m r dœ m s dı dı t l rı dı t l s f m r dœ dı dı dı G C F C G œ œ ™ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ™ & ™ ™ œ œ ˙ rı rı dı t rı dı mı dı l l t dı l l s dı m r C F G7 C & œ œ™ œ œ™ œ ˙ œ™ œ œ œ œ œ™ œ ˙ œ™ œ œ™ œ œ œ™ œ œ œ œ m m m r d m s dı dı dı t l rı dı t l s f m r d dı dı dı

2. A range of 10 notes. Page 56 Composing 1. See music above Listening CD 2, Track 2 1. strong beat; repetition; verse and chorus (verse solo, chorus suggests everyone working); upbeat tempo 2. (a) Melodic features: repeated notes, octave leaps, descending scale (b) Rhythmic feature: dotted rhythm 3. (a) Similarity: use of dotted rhythm in both: descending scale at the end of both verse and chorus (b) Difference: melody of chorus starts differently. Form of verse: A A; form of chorus B A Page 57 Wanderer’s Night Song Listening CD 2, Track 3 1. The song ends with a perfect cadence. 2. The accompaniment is played on piano. The accompaniment consists of quiet chords. 3. It is soft and still, suggesting night-time. 4. Either of the following: The composer uses pause marks to slow down the music still further. The repetition of the first phrase adds expressiveness to the words, emphasising the idea of ‘sleeping’. 10

Page 58 The Verdant Braes of Screen Performing 1. 2-1LL

3 ° j œ œ œ œ &bc œ œ œ œ œ œ œ™ œ œ œ œ œ ˙™ œ œ œ œ œ œ œ œsı d m r r d ™ tı sœı m f s s r d r m f r m f s s d r m r b Œ Œ & c Œ ˙ ˙ œ Ó ˙ ˙ œ ˙ ˙ ¢ d tı d tı tı tı œlı œsı d d X 3 ° b j œ œ œ & œ œ œ j œ™ œ œ œ œ œ œ œ œ œ œ œ ˙™ d d tı sœı ™ œsı d m r r d d tı œsı m f s r m f m r d Œ Œ &b œ Ó ˙ ˙ œ Ó ˙ ˙ ˙ ¢ d d tı d tı tı d ™ Composing 1. C F A 2-1LL(ii) 2.

w 2-1LL(iii) &b w ? b w 3. perfect Listening CD 2, Track 4 1. Sometimes the singer uses the flattened seventh, which is a feature of Irish melodies. The flattened seventh is one semibreve lower than the seventh note. 2. Triplet: three notes played to the value of two notes of the same kind. Syncopation: accenting a beat or part of a beat that is not normally accented. 11

Page 59 Yesterday Performing 1. 2-1MM F Em A 7 Dm B b C 7 #œ œ œ œ œ ™ œ ˙ ™ œ œ œ & b C ™ œ œ ˙ Œ œ nœ Œ œ œ œ r d d ™ m fi si l t dı t l l l l s f m r ? œ œ ˙ b C ™ Œ Œ ˙ ˙ ˙ ˙ ˙ F C Dm G 7 B b F b œ ™ & œ œ œ œ œ œ œ œ œ œ œ œ ˙ ™ f m m ––– r d m r — lı d m ––––– ? ˙ ™ ˙ ˙ ™ b œ ˙ œ ™

Em A 7 Dm Gm C 7 F Em A 7 œ œ œ œ œ œ ™ œ œ & b ˙ ˙ J œ w ˙ ˙ m m l t dı t l t l s l m m m ˙ ˙ ˙ ? b ˙ w ˙ ˙ ˙ ˙

Dm Gm C 7 F G 7 B b F œ œ œ œ œ œ U & b œ œ ™ œ œ œ œ œ œ œ œ œ ˙ ı J ı œ œ l t d t l t l s t d s f m d m s œlı d m — ? ˙ w ˙ ˙ ˙ b w ˙ œ ™ 2. B = fi ; C# = si Page 60 Composing 1. see music above 2. plagal Listening CD 2, Track 5 3. Have class discussion: great melodies; great rhythm; fresh, innovative approach The Lord Is My Shepherd 1. 3 # 3 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ A œ

sı lı m d tı d r m r m r d lı lı s lı 12

Composing 1. E minor 2. The psalm is modal. Page 61 Listening CD 2, Track 6 The style in the antiphon is that of a traditional Irish melody; the style in the verse is plainchant. Can’t Help Lovin’ Dat Man Performing 3. 2-1OO

##4 œ œ œ œ & 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ s s s dı – dı dı s s s — m m m l — l l œr œr œr —˙

# & # ˙ ∑ ™ s d˙ dœ œd dœ nmaœ —œ rœ wd ————— Page 62 Listening CD 2, Track 7 (a) flattened notes (melodic) (b) syncopated rhythm (rhythmic) Evening Prayer Performing 1. 2-1PP

Gretel # ° #4 œ œ & 4 œ œ œ œ ˙ œ œ œ œ œ dœ m m s l s s dı s s m m r ˙d

Hansel ##4 & 4 œ œ œ œ œ œ œ ¢ dœ dœ dœ m f f m r œd m m œd œd tœı ˙ d

Page 63 Composing 1. see music above 4. ‘London Bridge Is Falling Down’ 13

Listening CD 2, Track 8 1. A duet is a piece of music for two voices or instruments. 2. (a) soprano (b) alto 3. In the first section of the song, the texture is homophonic because the voices sing in harmony. In the second section, the texture is polyphonic because the voices sing in imitation. Page 64 General questions 1. (a) ‘Evening Prayer’ is a song from an opera. (b) ‘Yesterday’ is an example of a pop song. (c) ‘The Wanderer’s Night Song’ lies within a range of 8 notes. (d) ‘Click Go the Shears’ is in A A1 B A1 form. (e) ‘The Verdant Braes of Screen’ is a ballad from Northern Ireland. (f) ‘Can’t Help Lovin’ Dat Man’ is from the musical Porgy and Bess. (g) The verses in ‘The Lord Is My Shepherd’ are in plainchant style. (h) ‘Amhrán na Cuiginne’ is a love song and a work song. 2.

Part song, round or canon Evening Prayer Folk-song from another country Click Go the Shears Irish traditional song Amhrán na Cuiginne Song from an opera, operetta, stage musical, Can’t Help Lovin’ Dat Man cantata or oratorio Popular song Yesterday Ballad Verdant Braes of Screen Church music or carol The Lord Is My Shepherd Art song Wanderer’s Night Song 3. (a) (i) Verdant Braes of Screen (ii) Click Go the Shears (iii) Amhrán na Cuiginne (b) (i) Amhrán na Cuiginne (ii) flattened seventh and repeated final note Page 65 4. (a) Name the song on your course which was written by each of the following composers: Composer Song Jerome Kern Can’t Help Lovin’ Dat Man F. Schubert Wanderer’s Night Song Engelbert Humperdinck Evening Prayer (b) Title of song: Wanderer’s Night Song Title of song: Can’t Help Lovin’ Dat Man Title of song: Evening Prayer 14

5. Feature Name of song Syncopation Yesterday Sequence Evening Prayer Compound time Amhrán na Cuiginne Triplets Verdant Braes of Screen Flattened seventh Amhrán na Cuiginne, Verdant Braes of Screen Jazz elements Can’t Help Lovin’ Dat Man Blues notes Can’t Help Lovin’ Dat Man Modal tonality Amhrán na Cuiginne, Verdant Braes of Screen, The Lord Is My Shepherd Ternary form Yesterday, Can’t Help Lovin’ Dat Man Octave jumps Click Go the Shears

Page 66 Crosswords S A AMHRÁNNACUISINNE U U L N T S M RINGER I T P C P R E G K E H A R O G B V O L D JEROMEKERN I I T T A N A N H H T I C E E L N K S E G Y P H S P E T S E R S E BALLAD A T MODAL R Y O E P M S E R O R D A TERNARY 15

Page 67 1. psalm 2. triplet 3. Yesterday 4. Schubert 5. Showboat 6. Evening Prayer 7. snagger 8. jazz song Group C Page 68 Preab san Ól (Drinking Song) Performing 1. 2-1QQ

# 3 j œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ ™ œ sı sı sı d m s f m r lı d tı lı sı tı r d tı # ‰ j œ œ œ œ & œ œ œ œ œ œ œ œ œ œ d sı sı sı d m s f m r lı d tı lı # ‰ œ œ œ œ œ œ & œ œ œ œ ™ œ œ J œ sı tı r d tı d m f s l s r m

# œ œ œ œ œ ‰ j & œ œ œ œ œ œ œ œ œ f m r m f s r d tı lı sı sı sı sı # œ œ œ œ œ œ ‰ & œ œ œ œ œ œ œ œ ™ œ œ d m s f m r lı d tı lı sı tı r d tı d Page 69 Listening CD 2, Track 9 1. The song has four phrases: the first, second and fourth phrases are the same; the third phrase is different. Page 70 2. The same melody is used for each verse. 3. (a) strong beat (b) lively tempo (c) fairly loud dynamic level; the words are comic/funny 4. (a) unaccompanied (b) sung in Irish 16

Muss I Denn (Germany) Performing 1. and 2. 2-1RR

b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ ˙œ œ ˙ ˙ ˙ ˙ ˙œ œ ˙ ˙œ d r m m s f f l s s f m s s f m m s f f r s d ———— d ———— tı ———— d tı ———— d ———— tı ———— tı b œ œ œ œ œ œ œ œ œ œ œ & ˙ ™ œ œ ˙œ œ ˙ ˙ ˙ ˙ ˙œ œ m ——— d r m m s f f l s s f m s s f m m s d ——— d r d ———— d ––––––––– tı ––––––––– d tı ––––––––– d –––––––– j œ œ œ j œ œ œ œ œ & b ˙ ˙œ ˙ ™ œ œ œ ™ œ ˙ œ ˙œ ™ ˙ f f r s m™ –––––––– d m r ™ mJ f r m f s s s tı ––––––– tı d –––––––– d r m r ––––––––– d –––––––– m ˙œ œ ˙œ œ œ ˙ œ œ œ œ œ œ œ œ œ & b ˙ ™ œ œ ˙ ˙ ˙ ˙ l l dı t l s™ d m s s l s s dı s s f m f ––––––––– f –––––––––– tı d ––––––– d ––––––– d ––––––––––– tı –––––––––– d ––––– œ œ œ œ & b ˙ œ ˙œ œ ˙œ œ œ ˙œ ˙ s s f m m s f f m r d d™ ––––––––– tı –––––––––––––– d –––––––––––––––– d –––––––––––––– tı –––––––––––– d ––––––––– Page 71 Composing 1. (a) Speed: fairly fast, moderato (b) Instruments: brass (c) Dynamics: loud 2. slower speed; quieter dynamics; light instrumentation: guitar/strings/woodwind Listening CD 2, Track 10 1. There are four phrases. The first and second phrases are the same, and the fourth phrase is similar. The third phrase is different. 2. (a) The final two phrases, A and B, are repeated. The song now has six phrases. (b) A A B A B A 3. see music above 4. (a) simple melody, simple form (b) simple rhythm (lots of repetition) 17

5. German version Elvis version Mood Formal, march-like Romantic (love song) Melody Both melodies are similar Elvis varies the final phrase Speed (tempo) Fast Slower Words (lyrics) German English Accompaniment No instrumental accompaniment Has instrumental accompaniment Page 72 Caro Mio Ben Performing 1. 2-1SS

# #c Ó œ œ œ œ & ™ ˙ œ™ œ ˙ œ œ œ œ œ œ ı œ œ œ d t l s l s f m f m r s s d œtı d # # Ó œ œ™ fij & œ œ Ó œ™ œ ˙ œ œ œ œ œ œ œ œ m r l s f m f m™ r s dı dœ f m r

# & # Ó ∑ Ó œ œ œ ˙ œ œ œ ˙d s l t l l t dı U # œ œ œ & # ˙ œ œ #œ œ œ œ™ œ ˙ œ œ™ œ œ Œ œ œ œ t rı dı t l fi s dı t l s s l s f m s f m # U # œ œ œ œ œ œ œ & œ œ #œ œ ˙ ™ ˙ œ™ œ ˙ œ œ œ m r dı fi fi s dı t l s l s f m f m ™ r Coda # # œ™ œ œ Œ œ œ Œ œ œ & œ œ œ œ œ œ œ œ™ œ œ œ œ™ œ œ œ s dı œd f m ™ f m r ˙d l s f m l s f m dı t l

# U Ÿ # œ œ#œ œ œ Œ & ˙ ˙ œ j Ó s dı m r ™ œ d ˙d Page 73 Listening CD 2, Track 12 1. 4 bars 2. (a) Opening melody and rhythm notes are the same. (b) Dynamic levels are the same (soft). (c) Mood of introduction and first vocal phrase are similar. 18

3. (a) Similarity: both A and A1 begin with same rhythm. (b) Difference: phrase A is four bars long; phrase A1 is three bars long. 4. (a) The repetition of a short melodic phrase sung or played at a higher or lower pitch. (b) See music on the previous page. 5. The song was composed by Giordani. The accompaniment is important. The song is performed exactly as written. Page 75 Streets of London Listening CD 2, Track 13 (a) Words: the words deal with social injustice, which would have been topical in the 1960s. (b) Accompaniment: the plucking-style guitar accompaniment was popular in the 1960s. (c) Mood: serious, reflecting the words. (d) Structure: verse and chorus; simple A A B A strophic form: same tune for each verse. Page 76 This Little Light of Mine Performing 5. 2-1UU

Chorus # 4 œ œ œ œ œ j & 4 œ œ œ œ œ œ w J œ w sı lı lı d lı d ––––––––––––––––– m m m m r d ––––––––––– # œ & œ œ œ œ œ w œ œ œ œ œ œ w lı d d d r d ––––––––––––– d d d d lı sı ––––––––– # œ œ œ œ œ j j & œ œ œ œ œ œ w J œ ˙ œ œ™ sı lı lı d lı d –––––––––– m m m m r d ––––––– d d # j ˙ œ œ œ œ Œ Ó & J ™ ˙ ™ w œ m m r d r r d ––––––––––––––

Composing 2. G major Listening CD 2, Track 14 1. and 2. Allow students to interpret the song. 19

Page 77 Salve Regina (Hail, Holy Queen) Performing 1. doh ______2. 2-1VV

6 6 6 6 6 6 6 6 6 6™ 6 6 6™ Composing 1. (a) no bar-lines (b) no time signature (c) four-line stave or square note shapes 2.

# # œ œ œ œ œ œ œ & œ œ œ ˙ œ ˙

Listening CD 2, Track 15 1. ‘O Pia’: more than one note per syllable 2. (a) Gospel (b) folk (c) classical Page 79 Oh I Got Plenty O’ Nuttin’ Composing 1. G A B D 2-1WW(ix) 2. G B D ?# 3. w

4. (a) sharp (b) raises the note a semitone Listening CD 2, Track 16 1. upbeat; falling sequences; syncopation; repeated notes 2. Syncopation 20

By the Waters of Babylon Performing 1.

l s f m f s f m r m f m r d r m m lı

dı dı dı dı dı t t t l l l si l

m f s l r m f s d r m f m m l

Page 80 Composing 1. See music above: any two bars adjacent to each other. 4. (a) The melody is in the minor key. (b) The tonic solfa name of the last note is lah. (c) The mood is sad. (d) The speed which best suits this mood is slow. (e) There are four phrases in the melody. (f) There is an example of a rest in the second phase. Listening CD 2, Track 17 (a) descending melody line (b) modal tonality (c) words are sung slowly General questions 1. Art song Caro Mio Ben Irish traditional song Preab san Ól Ballad Streets of London Church music or carol Salve Regina Part song, round or canon By the Waters of Babylon Popular song Yesterday Folk-song from another country Muss I Denn Song from an opera, operetta, stage musical, Oh I Got Plenty O’ Nuttin’ cantata or oratorio Page 81 2. (a) ‘Oh I Got Plenty O’ Nuttin’’ comes from an opera called Porgy and Bess. (b) ‘This Little Light of Mine’ is an example of a Gospel song. (c) ‘Streets of London’ is an example of a modern ballad. (d) The oldest form of church music is called plainchant. (e) ‘Preab san Ól’ is an Irish traditional song. (f) Elvis Presley had a hit with a pop version of ‘Muss I Denn’ in the 1960s called Wooden Heart. 21

(g) The composer of ‘Caro Mio Ben’ was Giuseppe Giordani. (h) The words of the song ‘By the Waters of Babylon’ were inspired by the first verse of Psalm 136. 3.

Feature Name of song

Syncopation This Little Light of Mine, Streets of London Sequence Caro Mio Ben, By the Waters of Babylon Strophic Streets of London, Muss I Denn Free rhythm Salve Regina Flattened seventh Oh I Got Plenty O’ Nuttin’ Repeated notes This Little Light of Mine, Oh I Got Plenty O’ Nuttin’, Preab san Ól, Click Go the Shears Slow tempo Caro Mio Ben, By the Waters of Babylon Ornamentation Caro Mio Ben, Salve Regina A A1 B A1 Streets of London, Preab san Ól 4. (a) Composer Song Ralph McTell Streets of London Giuseppi Giordani Caro Mio Ben George Gershwin Oh I Got Plenty O’ Nuttin’ Page 82 ) (b Title of song: Caro Mio Ben Title of song: Oh I Got Plenty O’ Nuttin’ Title of song: Streets of London 5. Rhythmic Melodic By the Waters of Babylon dotted rhythm sequences Muss I Denn dotted rhythm; upbeat sequences Preab san Ól 3 quaver upbeat; each phrase melody moves by step and leap; ends with dotted rhythm melody opens on notes of doh chord This Little Light of Mine syncopation repeated notes 22

Page 83 Crosswords

R G S TREESOFLNDNT O O Y H U S N AMRICAE N P C W D K E Y O A L P O P TI ALIAN S A O E O T R R G N I G SER H WI N G O Y O O B J N F R P A O B D S L Y A A A L F PREASAÓB N L A U T Y I M D L E M L L M O O Y P D RIKIN NG S ONG O A L INAP C H TAN 23

Page 84 1. Gershwin 2. Jewish 3. Ralph McTell 4. Muss I Denn 5. syncopation 6. drinking song 7. larghetto 8. plainsong

Unit 2.2 Set works Group A Water Music, G.F. Handel Hornpipe Page 86 Listening CD 2, Track 18 1. The mood is joyful/happy/exciting/lively. 2. Since Handel composed the piece for outdoor performance, he used instruments that could be carried outside and heard clearly in the open air, e.g. trumpets and horns. Minuet Page 87 Listening CD 2, Track 19 The version on this recording is shorter in length than the original version which Handel composed. Each section A and B is played on trumpets and violins and repeated. Handel indicated that sections A and B be played a second and third time, using different instruments. General questions 1. (a) Handel composed the Water Music Suite for King George I of England, who was having a party on board a boat on the River Thames in London. (b) It is a collection of dance tunes, usually all in the same key. (c) Oboes, bassoons, horns, trumpets and strings. (d) The music was intended for outdoor performance. Instruments had to be carried outside and needed to be heard clearly in the open air. 2. (a) Handel’s Hornpipe has three beats in each bar. The Irish hornpipe has four beats in each bar. (b) Listening 24

Page 88 (c) Ternary form A B A (d) No brass instruments (horns and trumpets), softer dynamics, the key is B minor, more quaver movement. 3. (a) A dance in ¾ time (three beats in a bar) (b) Binary form A B (c) Similarities The texture is homophonic Both in the key of D The instrumentation is the same There are repeated notes in both Ornamentation is used in both pieces Differences The time signatures are different The form is different There is much repetition in the Minuet There is some syncopated rhythm in the Hornpipe There is more variety of dynamics in the Hornpipe There is also variety in the tonality in the Hornpipe because the middle section is in the minor key (d) repeated notes, sequence, use of ornamental notes (any two) 4. George Frederick Handel was born in Germany in 1685. From an early age, he showed signs of musical talent. He was asked to write music for King George of England. The music was to be performed on a boat. The Suite in D Major is now popularly known as the Water Music. Handel’s most famous work is the Messiah which was first performed in Dublin in 1742. Page 89 Crossword 1. Dublin 2. sailors 3. London 4. sections 5. German 6. Irish 7. trumpet 8. lively 9. tutti 10. three Errata: clue 6 should read: The hornpipe is also an ______traditional dance. Overture to William Tell, Gioacchino Rossini Page 90 Sunrise Over the Alps Listening CD 2, Track 20 (0:00–3:07) 2. (a) The tempo/speed is slow. (b) The dynamics are very soft/quiet. (c) Five solo cellos are heard in this opening section. 25

Page 91 The Storm Listening CD 2, Track 20 (3:08–5:51) (a) The tempo/speed is very fast. (b) The section begins softly and gradually gets very loud. This depicts the full force of the storm. As it begins to die away, the music gets gradually softer. (c) The strings depict the wind rising, the drum roll suggests thunder and the raindrops are heard on the high woodwind instruments. Loud rising scales on trombones suggest the full fury of the storm, together with short motifs/figures on violins, which depict the lightning. The timpani adds to the intensity. Page 93 Shepherd on the Mountainside Listening CD 2, Track 20 (5:52–8:38) (a) The tempo is fairly slow. (b) The dynamics are soft. (c) The cor anglais suggests the alpine horn; the trills on the flute suggest birdsong; the triangle indicates the sound of cowbells. Revolution Listening CD 2, Track 20 (8:39–end) (a) The tempo is very fast. (b) The rhythm moves in quavers and semiquavers to produce an exciting gallop. (c) This section begins very loud. There are sudden changes from very loud to very soft. The section ends loudly. (d) Begins with trumpet fanfare. Strings, woodwind horns and percussion start the gallop. Some of the quieter passages are played by strings only. Page 94 General questions 1. An orchestral composition written as an introduction to an opera. 2. Music which describes a scene or tells a story. 3. (a) (i) Sunrise Over the Alps (ii) The Storm (iii) Shepherd on the Mountainside (iv) Revolution (b) Section Description Shepherd on the A flute and cor anglais share a gentle pastoral melody. Mountainside Revolution A fanfare of trumpets lead to an exciting gallop. Sunrise Over the Alps Five cellos set the mood of this section. The Storm Trombones, bass drum and timpani add to the excitement of this section. 26

4. Instrument Section Cello 1 Cor anglais 3 Trombone 2 Trumpet 4 Page 95 5. (a) Italy (b) programme (c) Seville (d) Swiss (e) crescendo (f) quadripartite (g) cor anglais (h) fanfare (i) Swiss legend 6. Instrument Section of the orchestra Cello Strings Bass drum Percussion Triangle Percussion Cor anglais Woodwind Trumpet Brass Cymbals Percussion Flute Woodwind Viola String Horn Brass Piccolo Woodwind 7. student’s choice Page 96 Crossword 1. Swiss 2. Italian 3. apple 4. cellos 5. triangle 6. cor anglais 7. trumpet 8. storm 9. crescendo 10. gallop 11. Gessler Carmina Burana, First Movement Carl Orff Page 98 Listening CD 2, Track 21 (a) Unison singing: Makes a strong, purposeful statement at the beginning of the work. (b) Part singing: The texture becomes homophonic and this intensifies the mood. (c) Changing time signatures: Add a feeling of unrest and uncertainty. (d) Dynamic changes: Increase and intensify the sense of excitement and drama. (e) The full orchestra is used with particular emphasis on the percussion section. This gives a powerful rhythmic effect and contributes greatly to the dramatic style of the work. General questions 1. A musical composition for chorus and orchestra with or without soloists. 2. (a) (three semibreves in each bar) (b) The notes are accented or stressed. 27

(c) minim rest (d) semibreve (e) It adds a feeling of drama or suspense and also of anticipation – what does the listener expect to hear next. 3. The composer presents this melodic idea in a number of different ways: • as a single-line melody – chorus sing in unison • as a melody with harmony • the melody is heard in thirds • the melody is heard at a faster speed • melody at a higher pitch (octave higher, verse 3) • the climax is reached when the sopranos sing this melody a third higher • the accompaniment varies Page 99 4. (a) The use of the breve note. The language is Latin. Use of 3/1 time. (b) Syncopated rhythm. Large orchestra with many percussion instruments. 5. A four-part choir consisting of sopranos, altos, tenors and basses. 6. Instrument Family Bass clarinet Woodwind Double bassoon Woodwind Glockenspiel Percussion Celesta Percussion Gong Percussion Piano Percussion 7. Camina Burana is a cantanta composed by Carl Orff. The words come from a medieval manuscript found in a monastery in Bavaria. The texture of the music is homophonic. An important feature of the movement is repetition. There are four changes of tempo in the movement. In Orff’s works, rhythm is an important feature. Page 100 Crossword 1. gong 2. Carl Orff 3. homophonic 4. unitary 5. cantata 6. percussion 7. piano 8. dramatic Revision questions on Set Songs and Set Works, Group A 1. (a) Gioacchino Rossini (b) cellos (c) O Fortuna (d) Water music (e) Hornpipe (f) Overture (g) glockenspiel; celesta; gong; bass drum (any one) (h) descant (decorative tune above the cor anglais) Page 101 2. student’s choice 3. (a) Swiss (b) Handel (c) S.A.T.B. (d) cellos (e) cor anglais (f) trumpets and horns (g) minuet (h) Rossini (i) a suite (j) Carl Orff 4. (a) Streets of Laredo (b) timpani or bass drum (c) ff (d) cello (e) aria (f) art (g) D.C. (h) Paul Simon (i) timpani; cymbals; triangle; bass drum (any one) (j) The Storm (k) Handel (l) folk-song/Irish traditional song/lament 28

Page 102 (m) round (n) Spring 5. (a) Russian (b) solo (c) Alpine horn (d) popular (e) The Wexford Carol (f) minuet (g) A B A (h) Italy (i) minor 6. A B William Tell This piece was written by Rossini The Little Sandman An art song Carmina Burana A cantata Kalinka A Russian folk-song The Water Music An eighteenth-century dance suite Spring A song from an opera Streets of Laredo A historical ballad Wexford Carol A traditional Irish song Group B Brandenburg Concerto No. 5 in D Major, First and Second Movements J.S. Bach First Movement: Allegro Page 104 Listening CD 2, Track 22 (a) The ritornello theme is a busy, lively theme in semiquaver rhythm. It is in the key of D and contains the chord and descending scale of D. The ritornello theme contains repeated notes. (any one) (b) In the episodes, the theme is different. There is a variety of different rhythm patterns used, e.g. quavers, triplets. In the episodes, solo flute and violin play in imitation. (any one) (c) The instrumentation is strings, harpsichord, solo violin and solo flute. (d) The cadenza is played on the harpsichord only. Different musical figures from the ritornello theme are developed. In the cadenza, the harpsichord player improvises (makes something up as s/he goes along). General questions 1. A work for a small orchestra in which a small group of soloists are contrasted with a larger group of players. 2. It was written for the military governor of Brandenburg. 3. (a) ritornello form (b) The ritornello or main theme is repeated between the different sections of the piece. 4. strings, harpsichord, solo violin and solo flute 5. (a) A solo passage which shows off the skill of the performer. (b) The larger group of instruments in a concerto grosso. (c) The group of solo instruments. (d) The continuous bass line and supporting harmonies. (e) The passage for the solo instruments. 29

Page 105 6. (a) B minor (b) flute, violin, harpsichord (c) dotted rhythm 7. Polyphonic/contrapuntal – three melodic lines are combined together. The melody is played in imitation. 8. Uses only three instruments. The instruments play in imitation all through the piece. Minor key – different key. The tempo is slower. The form is different. The mood is different. (any three) 9. Johann Sebastian Bach was born in Eisenach, Germany. He came from a long line of musicians. He was celebrated for his performances on the organ. He became Kapellmeister to Prince Leopold. The six Brandenburg Concertos were written for the orchestra. The harpsichord is very important in these concertos. At the end of the first movement there is an exciting cadenza played on this instrument. Page 106 Crossword 1. B minor 2. concerto grosso 3. canon 4. Eisenach 5. cadenza 6. ripieno 7. concertino 8. bright 9. continuo 10. harpsichord 11. German Peer Gynt Suite No. 1, First, Third and Fourth Movements Edvard Grieg Page 107 Morning Listening CD 2, Track 24 (a) Tempo is fairly fast with flowing quavers in Section A. Longer notes in the cello with a busy string part above it in semiquavers in Section B. The flowing rhythmic movement reflects the dawn rising and nature awakening. (b) The piece begins softly and gradually rises to a climax with a return to soft dynamics at the end of the piece. (c) The piece mainly features the flute, the oboe, the clarinet, the bassoon, strings and the horn. These instruments, which are effectively contrasted, help to paint a picture of early morning. Page 108 Anitra’s Dance Listening CD 2, Track 25 (a) The tempo/speed is fast in the style of a mazurka. (b) The first two sections are soft. In the final section, the piece reaches a climax before it quietens down again, finishing with a very soft chord. (c) muted strings and a triangle 30

Page 109 In the Hall of the Mountain King Listening CD 2, Track 26 (a) Tempo begins like a march and gradually the piece gets faster. At the end, the music gathers speed in a kind of frenzy. (b) Begins very softly and gradually builds up to a very loud climax. General questions 1. (a) flute; oboe (b) no, oboe is an octave lower (c) strings 2. (a) strings and triangle (b) use of muted strings and the triangle 3. (a) play with the bow (b) the strings are plucked (c) with mutes Page 110 4. The same melody is repeated eighteen times. 5.

Morning Anitra’s Dance In the Hall of the Mountain King Key E major A minor B minor Metre 2 3 4 Tempo Fairly fast Very fast March tempo Mood Peaceful Exotic Mysterious Instruments Woodwind; strings; horns Strings and triangle Full orchestra Form A B A ternary A B A ternary Variations on a melodic theme 6. Edward Grieg was born in Bergen. He was very interested in folk music. He used Norwegian folk tunes in some of his pieces. In 1876, he composed the music for Ibsen’s play Peer Gynt. Peer Gynt was a Norwegian folk character. Today this music is mainly heard in two orchestral suites. These contain the most popular pieces. ‘Morning’, ‘Anitra’s Dance’, and ‘In the Hall of the Mountain King’ all belong to Suite 1. Page 111 Crossword 1. pause 2. Ibsen 3. Solveig 4. triangle 5. Bergen 6. cymbals 7. ostinato 8. troll Hoedown from Rodeo A. Copland Page 112 Listening CD 3, Track 1 (a) The tempo of the piece is fast and energetic. (b) The piece is played loud to very loud nearly all of the time. Page 113 (c) The composer uses a large woodwind section together with the strings, brass and percussion. There are interesting percussion instruments in the piece, such as the xylophone and woodblock. 31

General questions 1. It has a lively rhythm. It is played at a fast pace. It has an exciting mood. The tunes are repeated a number of times. (any of these points) 2.

Instrument Family Cor anglais Woodwind Bass clarinet Woodwind Xylophone Percussion Snare drum Percussion Woodblock Percussion Piano Percussion (any five) 3. Copland uses a square dance called ‘Bonyparte’, which is a typical American dance. This dance tune and ‘McLeod’s Reel’ capture the spirit and atmosphere of the Saturday night rodeo dance. 4. Student’s description 5. Aaron Copland was born New York in 1900. He wanted to write music that had an American flavour, using folk music and jazz. Rodeo is the name of one of his ballets. He arranged four pieces from this work into an orchestral suite in four sections and Hoedown is one of these sections. Copland uses two dance tunes in this section, ‘Bonyparte’ and ‘McLeod’s Reel’. The mood of the music is exciting. Page 114 Crossword 1. horn 2. Rodeo 3. square dance 4. woodblock 5. banjo 6. cowgirl 7. Bonyparte Revision questions on Set Songs and Set Works, Group B 1. (a) ostinato (b) A B A ternary (c) tutti (d) woodblock; snare drum; xylophone; piano (any one) (e) Rodeo (f) Peer Gynt (g) mazurka (h) harpsichord 2. Student’s choice Page 115 3. (a) Music written for stage plays. (b) A work for a small orchestra in which a small group of soloists is contrasted with a larger group of players. (c) A group of dance tunes or a set of pieces based on music which was originally composed for a ballet or play arranged for a concert. (d) Functional dance music. 4. (a) Copland (b) Solveig (c) Hoedown (d) Grieg (e) grosso (f) ritornello (g) imitation; dotted rhythm (any one) 32

5. A B Grieg Peer Gynt Suite Fr Tom Egan The Lord Is My Shepherd Copland Hoedown Humperdinck Evening Prayer Bach Brandenburg Concerto Schubert Wanderer’s Night Song Jerome Kern Can’t Help Lovin’ Dat Man Lennon/McCartney Yesterday 6. (a) plainsong (b) Grieg (c) reel/square dance (d) ostinato (e) two (f) musical (g) solo (h) mode (i) out (j) pp (k) square Page 116 (l) Rodeo (m) A B A (n) continuo (o) tempo (p) concerto grosso (q) Goethe (r) The Beatles (s) ritornello (t) Yesterday (u) harpsichord (v) antiphon (w) folk-song; Irish traditional song; love song; work song (any one) (x) horn; trumpet; trombone; tuba (any one) (y) A A B A Group C The Four Seasons, Op. 8 No. 1, Spring (First and Second Movements) Antonio Vivaldi Page 118 Listening CD 3, Tracks 2 and 3 (a) The solo violin and two other violins imitate birdsong with trills and other decorations on the notes. (b) Flowing fast notes (semiquavers) played on the violins suggest the brooks/streams murmuring. (c) The continuous movement of the two violins and viola suggest the gentle rustling of the leaves in the second movement. General questions 1. (a) ritornello (b) The main theme returns several times between each of the contrasting themes or episodes. 2. solo violin, strings and harpsichord 3. (a) doh triad (b) soh triad (c) dotted crotchet = 1½ beats; quaver = ½ beat; semiquaver = ¼ beat (d) by a combination of step and leap Page 119 4. Only four instruments: three violins and viola; minor key; slow speed; peaceful mood; different form; soft dynamics. (any three) 33

5.

First Movement Second Movement ‘Spring has come’: Bright cheerful tune, a Barking of the dog: viola plays two very high pitch loud notes continuously

The birds trills and decorations on the high Rustling of the leaves: continuous notes played by violins semiquaver movement

Flowing stream: fast notes (semiquavers) on Peaceful scene: the music is played softly violins and in a flowing style Thunder and lightning: fast repeated low notes and rapid rising scales (any two from each movement) 6. Vivaldi was born in Venice. His father was a violinist in St Mark’s Cathedral. Vivaldi was a priest and composer who spent a number of years as a violin teacher in a girls’ orphanage. He wrote over 450 concertos, many of them contain expressive music for the violin. The Four Seasons are four solo concertos written for solo violin, string orchestra and continuo. They are a very good example of early programme music. Each piece begins with a poem describing that particular season. The first concerto describes the freshness and beauty of Spring. The slow movement of this concerto is in the minor key and is played very quietly throughout. Page 120 Crossword 1. lah chord 2. largo 3. Venice 4. harpsichord 5. cheerful 6. ritornello 7. tutti 8. violin L’Arlésienne Suite No. 2, Second and Fourth Movements Georges Bizet Second Movement: Intermezzo Page 121 Listening CD 3, Track 4 (from 1:02) (a) The opening melody in Section A is played slowly. In Section B the new melody is heard at a faster speed, but the final bars get slower. (b) The opening melody in Section A is played very loudly, with each note heavily accented. The melody in Section B is played softly. (c) The opening bars of Section A are played by strings, woodwind and horns, and in Section B by saxophone, clarinet and cornet accompanied by strings. (d) The melodies in both A and B move mainly by step. The opening melody in A is heard at a lower pitch than in B. 34

Fourth Movement: Farandole Page 122 Listening CD 3, Track 5 (a) The tempo is fast and in the style of a march in the opening Section A. In Section B, the tempo gets faster and is in dance style. (b) Begins very loud. The dance tune is introduced very quietly. Gradually, the music builds up to a very loud climax. (c) Bizet uses a large orchestra consisting of woodwind, strings, brass and percussion. The tambourine is an important instrument in the percussion section, and the composer uses the cornet in the brass section. Page 123 General questions 1. (a) A lively dance from Provence in France usually in 6/8 time. The dancers move in procession through the streets, usually led by a pipe and tabor. (b) A piece of music played between the scenes or acts of a play or an opera. (c) Music composed for a play. (d) Two or more independent melodies heard at the same time. 2.

Intermezzo Farandole Key E major D minor/D major Metre 4 4/2 Tempo Fairly slow Fast/very fast Form A B A ternary A B A + B binary Mood Solemn Lively/exciting Texture Homophonic Homophonic/polyphonic 3. (a) two (b) strings, woodwind and horns (c) played a fifth (five notes) higher 4. (a) tambourine (b) The folk version is in 6/8 time but Bizet uses 2/4 time. (c) tambourine 5. March Horn, cornet, trombone Dance Flute, oboe, clarinet, violin 35

Page 124 6.

Instrument Section of the orchestra Clarinet Woodwind Tambourine Percussion Harp Strings Saxophone Woodwind Bassoon Woodwind Viola Strings Trumpet Brass Cornet Brass Flute Woodwind Horn Brass 7. George Bizet was born in Paris in 1838. While at the Paris Conservatoire, he won the Prix de Rome which enabled him to study in Italy. He began his musical career as an opera composer. His best- known opera is Carmen. He was invited to compose incidental music for the play L’Arlésienne. He used two folk tunes from Provence to give the music a flavour of the region. Later he and a friend arranged some of the music into two suites. The ‘Intermezzo’ is played between two acts of the play. The famous ‘Farandole’ is based on an old melody from Provence which was traditionally accompanied by tabor and pipe. At the end of the piece, both tunes are heard in counterpoint. Bizet’s music matches the mood of the play. Page 125 Crossword 1. flute 2. dance 3. march 4. carol 5. accented 6. brass 7. minor 8. Provence 9. canon 10. binary 11. Intermezzo Ripples in the Rockpools, Second Movement from Granuaile Shaun Davey Page 126 Listening CD 3, Track 6 (a) The first verse and part of the third verse are sung by a solo female voice – perhaps representing Grace O’Malley. (b) The second verse is sung by male and female voices in unison. (c) The chorus is sung by voices in harmony. The homophonic texture contributes to the dramatic effect. Page 127 (d) There are many changes of time signature, which conveys the sense of restlessness and adds excitement to the rhythm. (e) Instruments from the string, woodwind and brass sections of the orchestra, percussion instruments such as conga drums and xylophone and traditional instruments such as the harp and the Uilleann pipes. (f) After the words ‘but the wind is surely rising’, there is a rising passage on the flute and clarinet. This suggests the wind rising and is an example of word painting. 36

General questions 1. (a) The repetition of a short melodic phrase sung or played at a higher pitch. (b) all the instruments (c) Sliding quickly from one note to the next up or down a scale. 2. conga drums, guitar, Uilleann pipes, harp, xylophone 3. The mixture of classical and traditional instruments. The changing time signatures. The use of 7/8 time signature. The main tune is based on only four notes. The Uilleann pipes play a solo based on an Irish dance tune. The use of word painting on the words ‘but the wind is surely rising’. The battle cry on woodwind and pipes. The piece ends very abruptly. A drone is used, which is associated with traditional Irish music, in particular on the Uilleann pipes. (any three) 4. repeated notes; unusual time signatures; sequence; harp glissando; modal tonality; long sustained notes (any four) 5. The uilleann pipes consist of a chanter, bellows, three regulators and three drones. The melody is played on the chanter. The bellows supply the air to the bag and this air causes the reed to vibrate. The regulators supply chords for harmony. The drones provide a continuous note under the melody. Slow airs and dance tunes can be played on the Uilleann pipes. It is a very flexible instrument, making it very easy to do instrumentation. Well-known players include Séamus Ennis, Paddy Maloney, Willie Clancy. (some of the information above) Page 128 6. Shaun Davey was born in Northern Ireland. While he was a student, he developed an interest in popular music. He composed music for TV advertisements. In his serious works, he combined traditional Irish instruments with instruments from the orchestra. His works include The Relief of Derry Symphony, The Brendan Voyage and Granuaile. In the movement ‘Ripples in the Rockpools’, the opening bars set a mood of restlessness. In the fourth section of the piece, Davey introduces an Irish dance played on the uilleann pipes. Two unusual features of the movement are its instrumentation and frequent changes of time signature. 7. Student’s own description. Page 129 Crossword 1. conga 2. drone 3. clarinet 4. Donal 5. guitar 6. glissando 7. traditional 8. modal 9. uilleann Revision questions on Set Songs and Set Works, Group C 1. (a) glissando (b) Bizet (c) ritornello (d) slow (e) movement (f) A B A’ ternary form (g) fast (h) pause sign Page 130 2. Student’s choice. 3. Spring L’Arlésienne Suite Granuaile Streets of London Continuo Dance rhythm played A lively reel played on English songwriter Solo violin suggests the on a tabor uilleann pipes It became a big hit in shepherd Towards the end two Shaun Davey 1969 Vivaldi tunes are played at the A lively accented figure Ralph McTell Spring same time imitating a battle cry French 37

Page 131 4. Vivaldi’s orchestra in ‘Spring’ uses strings only with the harpsichord. It features a solo violin. There are many more instruments in Shaun Davey’s orchestra in ‘Ripples in the Rockpools’: woodwind, brass and string instruments, including the guitar, together with traditional Irish instruments, the harp and the uilleann pipes. Davey also uses conga drums, which come from Latin America, and a xylophone. 5. (a) flute (b) art (c) reel (d) Vivaldi (e) Shaun Davey (f) drinking; Irish traditional; folk (any one) (g) violin (h) uilleann (i) Farandole 6. (a) popular song; American gospel song; spiritual (any one) (b) Bess (c) piano (d) Caro Mio Ben (e) jazz; syncopation (f) chorus (g) uilleann pipes; conga drums; guitar (any one) (h) tutti (i) glissando (j) Hail, Holy Queen (k) ballad (l) continuo (m) Wooden Heart (n) march (o) ‘let’ (p) an opera Page 132 (q) fast or allegro (r) canon (s) Granuaile (t) solo (u) By the Waters of Babylon (v) reel (w) trill (x) largo (y) art 38 Section 2: Preparing for the Exam

Unit 2.3 Irish music Page 133 The harp and harpers 1. (a) A harper was a professional musician who performed in castles and big houses. He composed pieces for special occasions for his patrons. These pieces were often called planxties, and often bore the name of the patron. (b) O’Carolan lived in the seventeenth century and was the best known of the Irish harpers. He travelled around the country and was treated as an honoured guest wherever he went. He composed harp tunes for his hosts called planxties and was influenced by Italian music which was fashionable at that time. His most famous piece is called Carolan’s Concerto. (c) His tunes have been published in collections and are frequently played today. (d) 1792 (e) To preserve, promote and encourage the harping tradition. (f) Denis Hempson (g) The harp tunes were written down by Edward Bunting and preserved for future generations in his collections. He also made notes on the playing techniques and lifestyle of the harpers. (h) Coins, government correspondence, Irish souvenirs The collectors 2. (a) Edward Bunting (b) Traditional musicians were recorded in America and these recordings were sent back to Ireland. Different interpretations of tunes by different musicians could be heard. Recordings sent from America influenced younger players who copied their style. Because of this regional styles became less obvious. Page 134 (c) Collectors such as Bunting and Petrie wrote down the outline of the tunes. Modern recording techniques can record the performance of the tune allowing for different interpretations from individual performers. (d) Any collector: Bunting: Collector at the Belfast Harp Festival. Petrie: His collection Ancient Music of Ireland gives details of where each tune was found. F. O’Neill: Important collector of dance music. Anglo-Irish Music 3. (a) Moore was an Anglo-Irish poet of the eighteenth and nineteenth centuries. He set his own poems to the harp melodies collected at the Belfast Harp Festival. (b) Any two songs of Thomas Moore. Irish Traditional Music CD 3, Track 7 4. Melody played on traditional instrument Solo performance: No accompaniment 39

Drone in the background is traditional Ornamentation of the melody by adding grace notes CD 3, Track 8 5. Any four of the following: Solo performance No accompaniment Use of ornamentation Nasal quality in the voice No dynamics 6. Any traditional sean-nós singer Page 135 7. Any three of the following: Traditional Non-traditional Fiddle Bouzouki Uilleann pipes Mandolin Flute Harpsichord Tin whistle Guitar Concertina Keyboard Harp 8. Any well-known performer of each instrument, e.g. Uilleann pipes: Paddy Moloney, Liam Ó Floinn Fiddle: Eileen Ivers, Paddy Glacken Flute: Matt Molloy, Niall Keegan Tin whistle: Andrea Corr, Mary Bergin Accordion: Joe Burke, Sharon Shannon Bodhrán: Mel Mercier, Conn Murphy 9. Melody Harmony Percussion Fiddle Harp Bodhrán Uilleann pipes Guitar Bones Flute Banjo Spoons Tin whistle Bouzouki Any other instruments which are suitable. 10. (a) Collector: Francis O’Neill (b) Harper: Turlough O’Carolan (c) Fiddle: Eileen Ivers (d) Ballad group of the 1960s: The Clancy Brothers (e) Composer: Bill Whelan (f) Vocal group of the 1970s: Clannad (g) Sean-nós singer: Nóirín Ní Riain (h) Piper: Liam Ó Floinn 40

(i) Accordion/Concertina: Sharon Shannon (j) Modern-day traditional group: Cruinniú Page 136 CD 3, Track 10 11. (a) (b) A A B B CD 3, Track 12 12. Fiddle, Flute, Bodhrán CD 3, Track 21 13. (a) Irish dance tune – reel (b) Concertina (c) Traditional: Use of ornamentation (d) Fast (e) (f) A A B B: 8-bar phrases 14. Any group of student’s choice. Page 137 15. Any piece of student’s choice. 16. Any piece of student’s choice which fuses traditional music with music of another style. 17. Any group of student’s choice. Opportunity for student’s own research. Page 138 18. Brief description of any four traditional Irish instruments. Page 139 19. (a) Comhaltas Ceoltóirí Éireann: Promotes Irish music, song and dancing. Branches established all over Ireland, England, America and other countries. Organises teaching facilities and competitions. Targets young people. Many well-known players began in a Comhaltas branch. Holds an annual All-Ireland Fleadh Cheoil. (b) RTÉ: Promotes traditional music and song by broadcasting programmes on Irish music both on radio and television, e.g. The Long Note; Céilí House; Bringing It All Back Home. Radio programme: A Job of Journeywork. TV series: Come West Along the Road. (c) TG4: Developed a variety of music programmes devoted to traditional music, e.g. Síbín – a pub- style setting which features traditional music alongside other types of music. Main sponsors of the National Traditional Music Awards. 20. Any three pieces of student’s choice with a reason for the choice. Page 140 Crossword 1. oral 2. Riada 3. television 4. Chieftains 5. harper 6. dance 7. harp 8. anach 9. Clannad 10. Whelan Show: Riverdance 41

Page 141 Wordsearch

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Page 142 1. harp 2. Petrie 3. embellishment 4. Thomas Moore 5. Edward Bunting 6. Green 7. Neale 8. English 9. Hempson 10. nasal 11. laments 12. sean-nós 13. solo Page 143 1. flute 2. bodhrán 3. banjo 4. mandolin 5. harpsichord 6. concertina 7. fiddle 8. Matt Molloy 9. uilleann pipes 10. piano 11. Donal Lunny

Unit 2.4 Melodic and rhythmic dictation Page 144 1. Add stems – note values: semibreve, minim, crotchet, quavers. (a) (b) (c) (d) 2. Melody and rhythm combined. Note values as in Q 1. Pitch d r m f s only. Step movement. 3. Melodies based on complete scale. Notes should move by step. 42

Page 145 4. (a) (b) (c) (d) Introducing the doh chord. 5. Introducing dotted crotchet/quaver rhythm. Outline of melody given. Page 146 6. Four-bar melodies which contain some or all elements of the above. Bar-lines given. Page 147 7. Four-bar melodies – students to add 10 notes to complete the melody. Rhythm should contain a dotted crotchet/quaver as in Junior Certificate Q 4.

Unit 2.5 Choice songs and choice works Pages 148–152 Student’s own choice in each category.

Unit 2.6 Triads Page 153 1. (a) major (b) major (c) minor (d) major (e) major (f) minor 2. (a) (i) G B C D (ii) G major (iii) note C (iv) A minor (b) (i) A F D (ii) D minor (iii) second triad (vi) bar 4 Page 154 3. (a) D B G (b) major (c) Y (d) bars 2 and 8 4. (a) G B D (b) minor (c) 3, 4, 5, 7, 8, 10, 14 (any three) (d) Errata: Key signature should be the same as River Wisla. Answer: Y Page 155 5. (a) bass clef (b) G major (c) G D B (d) doh triad (e) bars 2, 4, 5, 6, 8, 10, 12, 13, 14, 16 (any two bars) (f) soh triad (g) compound (h) cello; bassoon (i) A A B A 6. (a) minor key (b) G minor (c) bars 1, 5, 8 (d) 6/8 43

Page 156 7. (a) G D B 2-6AA (b) G major (Errata: Delete the words ‘Three of’ in question.) w (c) ?# w w (d) bar 5 8. (a) C F G A 2-6BB (b) F major w (c) ? w w b w (d) bar 4 Unit 2.7 Composing melodies Page 157 Students choose option A, B or C as guided by their teacher.

Unit 2.8 Chord progressions Page 164 1. (a) AWAITING AUTHORS’ ANSWER (b) AWAITING AUTHORS’ ANSWER Students choose option A, B or C as guided by their teacher. Page 168 12. (a) F B CF

(b) GCDG

Page 169 14. (a) B E F B

(b) CFGC

15.

(a) Dm A Dm Gm A A7 Dm

(b) Dm Gm Dm A Dm

(c) Em B Em Am Em B Em 44

16. D A D G A D G A Bm G or Em A D Page 170 17. (Errata: Box missing in last two beats of bar 6)

FCF B or Gm C

F B F Dm or B B or Gm C

missing box