GCSE Music Section B

Four Set Works Focus GCSE EDEXCEL MUSIC – SET WORK SUMMARIES SWRA1 

   

“And the Glory of the Lord” from “Messiah” PART 1 - Placing the Set Work in its Musical, Social and Historical Context About the Composer – Placing the Set Work in a Social and Historical Context x George Frideric Handel - born in Germany in 1685 x Appointed “Kappellmeister” to the Elector of Hanover who became King George I of England x Handel became the “royal composer” to George I and lived and worked in England x Handel’s sight failed him in later years, he died in 1759 and is buried in Westminster Abbey x Related composers – J. S. Bach (1685-1750); Henry Purcell (1659-1695); Vivaldi (1678-1741) About the Set Work – Placing the Set Work in a Musical Context “And the Glory of the Lord” is the first CHORUS for voices and orchestral accompaniment from Handel’s ORATORIO – “Messiah”. Handel wrote “Messiah” in 1741 in only 24 days! The words (LIBRETTO) were taken from the bible and tell of the birth, death and resurrection of Jesus Christ. An Oratorio (a “religious opera”) consists of forms taken from Italian opera – RECITATIVES, ARIAS and CHORUSES. Unlike opera, oratorios had no acting, scenery or costumes. Music comes from the BAROQUE PERIOD (c.1600-1750) – features of Baroque music include x ORNAMENTED melodic parts (e.g. trills) x MAJOR/MINOR key structures (replacing “modes) x Basso CONTINUO (figured bass) played by Harpsichord (and Cello) to “fill in harmonies” x Different musical textures – HOMOPHONIC, POLYPHONIC x Baroque Orchestra – violin family, harpsichord, trumpets, horns and timpani x One “mood” set and maintained throughout the piece x TERRACED DYNAMICS – Loud or Soft PART 2 – Musical Elements, Instrumentation & Musical Features Time Signature Tonality Tempo Dynamics Pitch (vocal range) Allegro Lively, fast dance To match joyful mood A major tempo to match joyous mood of words - TERRACED Rhythm Harmony Texture Musical Features “Driving” regular on-beat crotchet Clear MAJOR harmonies – minor Alternating HOMOPHONIC and IMITATION & SEQUENCE– rhythms match “stately” mood avoided to match joyful words. POLYPHONIC sections. The SYLLABIC word setting – one Use of HEMIOLA – notes grouped Uses PERFECT CADENCES (V-I) chorus ends with a CHORDAL word per note in 2-beat units e.g. during piece with a PLAGAL HOMOPHONIC coda. MELISMATIC word setting – one CADENCE (IV-I) ending the word spread over many notes e.g. chorus. “revealed”

Melody and Form & Structure Chorus is based on 4 contrasting melodic ideas IDEA 1 (based on triad of A major & syllabic) IDEA 2 (descending sequence & melisma)

 IDEA 3 (repetition) IDEA 4 (notes of long duration - repeated)

Instrumentation Written for four voices – SOPRANO, ALTO, TENOR and BASS with Instrumental accompaniment. The original accompaniment consisted of STRINGS (VIOLINS, VIOLAS and CELLOS) with continuo (HARPSICHORD or ORGAN) and TRUMPETS and TIMPANI. Handel went on to add parts for OBOES and BASSOONS to double the string parts and in places the voice parts.



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    “All Blues” by Miles Davis PART 1 - Placing the Set Work in its Musical, Social and Historical Context About the Composer – Placing the Set Work in a Social and Historical Context Miles Davis, born in Illinois in 1926 to a wealthy family, began learning the trumpet Davis performed in a number of bands before forming his own ensemble in 1948 Davis looked for a new way of playing jazz, feeling there was more to be found in the music than the “quest for speed” forming his first album “The Birth of the Cool”, which had a more “laid back” jazz sound. “All Blues” is taken from the album “Kind of Blue”, recorded in three 3-hour sessions in New York 1959, where Davis assembled an ensemble of some of the top jazz musicians of the time (see “instrumentation” in part 2 below) About the Set Work – Placing the Set Work in a Musical Context Jazz began as the coming together of many musical styles and cultures in the late 19th and early 20th century in New Orleans. African-Americans brought their rhythmic pentatonic work songs they developed while in slavery (the Blues). Singers would sing about their poor situation in life in songs giving the music its title. Blues would include CALL AND RESPONSE, IMPROVISATION and STRONG RHYTHMIC CONTENT. The fusion of African pentatonic scales and the seven-note Western scale produced the blues scale – with its characteristic “bending” of notes Popular types of jazz include – RAGTIME, SWING played by BIG BANDS in the 1920’s, NEW ORLEANS JAZZ – one of the first recognised jazz style originating in New Orleans and BEBOP – a jazz style requiring virtuosic technique including fast tempo and complex harmonies “All Blues” is an example of MODAL JAZZ – features of modal jazz include: The soloist is freed from the more “restrictive” former types of jazz where they had to “stick to the chords” and now use a scale or MODE to use, more of less ignoring the chords underneath - this led to a longer, freer improvisations. Modal jazz songs and numbers are significantly LONGER than the shorter songs of bebop and cool jazz allowing for EXTENDING SOLOING. PART 2 – Musical Elements, Instrumentation & Musical Features Time Signature Tonality Texture Pitch & Melody All Blues is an example of MODAL The texture is made up of RIFFS – a The main melody (HEAD) and the Marked JAZZ – this means that rather than short rhythmic ostinato common in solos are all played over the 12-bar “Jazz ” relying on complicated chord patterns jazz. 3 riffs are used in “All Blues” – blues chord sequence (the the harmony focuses on a MODE or the first (G D ED F DED) is on the CHANGES) based on the notes of a scale and the improvised solos are double bass, the second where the MODE. The improvisations are freer. Davis improvises on the G alto and tenor sax play in thirds (D/B, ORNAMENTED and combine riffs MIXOLYDIAN MODE E/C, F/D, E/C) together. Dynamics Rhythm Instrumentation Tempo The dynamics of “All The RHYTHM SECTION provides the FRONTLINE - Trumpet (Miles Davis), Tempo of crotchet = 156. Although Blues” is mainly p harmony and rhythmic background – Alto Sax (Julian ‘Cannonball this may seem rather fast, the bar throughout although drums, bass and . This section Adderley), Tenor Sax (John Coltrane), feels like it is split into two slow beats there is a diminuendo provides the COMPING – or RHYTHM - Piano (Bill Evans), Bass (two dotted minims), so it feels like a in the final “Head 4” accompanying – playing the (Paul Chambers) & Drums (Jimmy laid back tempo of Dotted minim = background chords and rhythms Cobb) 152. G7 G7 G7 G7 Harmony C7 C7 G7 G7 “All Blues” is based around a REPEATED 12-BAR BLUES CHORD SEQUENCE D7#9 Eb7#9/D7#9 G7 G7 (the CHANGES) with a FOUR-BAR LINKING RIFF between each section. The 12- bar blues chord sequences is based on the following chords where each box represents one bar. Adding extra notes to a chord (as in bars 9 and 10 above) is known as EXTENDING or ALTERING a chord – a feature used a lot in jazz The structure of “All Blues” is based on the repeated 12-bar blues chord sequence, which is repeated 19 times in total! Form & Structure INTRO – drums (played with brushes), bass riff, piano trill then alto and tenor sax riff in thirds HEAD – this is where the original tune or melody is played – melody played on muted trumpet with a simple motif mainly stepwise movement LINK SECTION – 4 bars between repetitions of the 12-bar blues chord sequence – breaks up the repetitions and provides contrast HEAD 2 – same as the first time on muted trumpet but melody is slightly developed. LINK SECTION – ride cymbal added by the drums IMPROVISED SOLO – first solo performed by Miles Davis, mute now removed from trumpet. Uses 4 repetitions of the 12-bar blues sequence (no links) and uses the G Mixolydian mode to improvise. Ride cymbal now very prominent in the rhythm section. LINK SECTION – IMPROVISED SOLO – Adderly on also sax, uses 4-repetitions of the 12-bar blues sequence, very chromatic and technical - LINK SECTION – IMPROVISED SOLO – Coltraine on tenor sax, uses 4-repetitions of the 12-bar blues sequence, virtuosic playing. LINK SECTION – IMPROVISED SOLO – Evans on piano, continues COMPING in left hand, uses 2-repetitions of the 12-bar blues chord sequence, right hand plays a melody line like frontline instruments. LINK SECTION – alto and tenor sax play riff in thirds HEAD 3 – same as Head 1, trumpet muted again LINK SECTION – alto and tenor sax play riff in thirds, trill returns in piano part HEAD 4 – melody now developed with a more “minor” feel LINK SECTION – drums back down contributing to a diminuendo OUTRO – Davis plays a short solo on the tonic note G over the sax riff and piano trill before the song fades out

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    Peripetie from Five Orchestral Pieces, Op.16 - Schoenberg PART 1 - Placing the Set Work in its Musical, Social and Historical Context About the Composer – Placing the Set Work in a Social and Historical Context x Arnold Schoenberg – Austrian, born Vienna in 1874; died 1951 x Painter as well as a composer – composed and painted in Expressionist style. x Created the “twelve-note system” or serialism – new compositional technique x Related composers – Alban Berg (1885-1935); Anton Webern (1883-1945)

About the Set Work – Placing the Set Work in a Musical Context The term Expressionism was originally borrowed from visual art and literature. Artists created vivid pictures, distorting colours and shapes to make unrealistic images that suggested strong emotions. Expressionist composers poured intense emotional expression into their music exploring their subconscious mind. Expressionist music often features: A high level of dissonance; Extreme contrasts of dynamics; Constantly changing textures; ‘Distorted’ melodies and harmonies; Angular melodies with wide leaps Music comes from the TWENTIETH CENTURY (c1900-1999) – features of 20th century music include • Melody – likely to include wide leaps, using chromatic and dissonant intervals, angular and spiky, short and fragmentary, glissandi, melodies based on note rows • Harmony – extreme dissonances, more discords, note-clusters, hexachords • Rhythm – vigorous and dynamic, syncopation, irregular metres, changes of metre, polyrhythms, ostinato, motor rhythms • Timbre – greater concern with tone-colour, strange, intriguing, exotic, striking, explosive, contrasting; expansion of percussion section and emphasis on percussive sounds, unfamiliar sounds from familiar instruments, extreme pitch-ranges, instruments being played in different ways, new sounds such as those involving electronic and magnetic tape. PART 2 – Musical Elements, Instrumentation & Musical Features Form & Structure – Free RONDO – A B A1 C A2 Tempo & Rhythm Instrumentation & Pitch & Melody Harmony & Dynamics Texture A sehr rash (very quick) Full Orchestra Opening Motifs: Motifs based on contains mostly triplets, Homophonic & Solo Sections HEXACHORDS sextuplets and Use of MUTED brass for timbre demisemiquavers effects Dissonant Harmony (use of the interval of a 7th) Opens with motif played by Flutes, Clarinets and Bassoons Sudden loud bursts Ranges from fff to pp Then a chromatic scale by MUTED trumpets and Trombone GLISSANDO

Instruments play “as families” B Uses different rhythms which Very THICK TEXTURE in Starts off VERY SOFT overlap percussion and woodwind

A1 Variation of A Return of a HEXACHORD on Dissonant Harmony and the Horns extreme dynamic range C Alternates between ruhiger Sparse texture – with solo Bassoon tune, taken over by range from pp-fff. A few Loud (calmer) & heftig (passionate) instruments overlapping the cello & double bass semi quaver passages A2 Another Variation of A Builds up from clarinets & Motifs are piled up on top of crescendos very quickly from Speeds up with use of triplet strings to the full orchestra each other and are played in pp to fff dissonant chords & motifs. (tutto) . Double bass play COUNTERPOINT and CANON immediately dies away to finish TREMOLO chord in very high with a pp chord register. Instrumentation – Five Orchestral Pieces is written for a very large orchestra using some unusual instruments. There are three flutes, oboes, clarinets and bassoons (instead of the normal pairs) plus piccolo, cor anglais, clarinet in D, bass clarinet and contrabassoon. There are extra horns, trumpets and trombones plus a tuba. The percussion section includes xylophone, cymbals, tam tam (a large gong) and . Instruments often play at the extreme of their registers. There are many performance directions in the score. Schoenberg was looking for very specific tone colours or timbres.

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Mock Question Section B GCSE EDEXCEL MUSIC – SET WORK SUMMARIES SWRA1 

    Skye Waulking Song from the album Nàdurra - Capercaillie PART 1 - Placing the Set Work in its Musical, Social and Historical Context “Waulking” is an ancient Scottish process used for making tweed fabric more flexible and windproof. A “Waulking” song refers to a song used to make this process into a more sociable occasion. To keep everyone IN TIME, the work was accompanied by song. There would be one person leading with lyrics, based on a well-known story and others would join in after each line with some NONSENSE SYLLABLES, called VOCABLES. It was considered unlucky to repeat a whole verse, so the songs often had many verses. Technology has now replaced the need of manual “Waulking” by the hands or feet, but the tradition still continues in some parts of Scotland and “Walking songs” are still sung by these societies and collections of “Waulking” songs have been produced in notation and recordings. About the Set Work – Placing the Set Work in a Musical Context Capercaillie were formed in the early 1980’s by and a few friends. Singer, joined the band in 1984. The band preserve Scottish often singing in SCOTS GAELIC dialect. “Skye Waulking Song” - taken from the album “Nadurra” released in September 2000. The band is made of up 7 members, each with their INDIVIDUAL VIRTUOSITY on their own instruments and their ability to blend together so well in an ensemble The song lyrics tell the tale of Seathan, son of the King of Ireland. The original song (nearly 200 lines long) was a LAMENT sung by Seathan’s wife, telling of his deeds and recollections and is a way of grieving and sharing her feelings of loss. Only a few lines are used in this set work interspersed with VOCABLES (nonsense syllables like “Fa-la-la”) in a CALL AND RESPONSE pattern. The full title for the song, as recorded by Capercaillie, is 'Chuir M'Athair Mise Dhan Taigh Charraideach' (My father sent me to a house of sorrow). “Skye Waulking Song” is an example of FUSION FOLK MUSIC – features of FOLK MUSIC include: “Music of the People” – performed by lower classes of a society expressing something about their way of life, how they used to live, or about local mythology Passed on by the ORAL TRADITION and rarely notated, often performed at INFORMAL occasions such as jam sessions at pubs of social gatherings. Folk Music is about everyone taking part, enjoying the music and passing on tales of life, legend and heritage. Folk Music also popular in the US where BOB DYLAN wrote songs in a folk style but with political lyrics – PROTEST SONGS Folk Music is traditionally played on ACOUSTIC INSTRUMENTS – , bagpipes, banjo, bodhran, bouzouki, concertina, double bass, , guitar, harmonica, hurdy-gurdy, mandolin, piano, tin/penny whistle, uileann pipes. Electric Instruments such as the bass, keyboard and electric guitar have been used in folk music but some purists feel this isn’t traditional. FUSION is a combining of more than one musical style or culture. Capercaillie are an example of a band that FUSE CELTIC FOLK MUSIC with the instruments and production values of WESTERN POPULAR MUSIC PART 2 – Musical Elements, Instrumentation & Musical Features Time Signature Harmony Rhythm Dynamics Pitch & Melody The harmony is very SIMPLE using only The shaker and hi-hat The dynamics Melodic lines are FOUR CHORDS in the whole song. The play every two beats build with the played in the FOLK changes in CHORD SEQUENCE highlight giving the rhythm a texture of the STYLE – instruments a change of section or mood. TRIPLE feel. song, dropping IMPROVISE AROUND The intro established the chord sequence The vocal part has a considerably in A MELODY Tempo Em-G characteristic verse 7 leaving The “Waulking” song Slow and calm This changes to C-G-Em-G in Verse 4 rhythm room for the tradition can be heard Tonality adding some harmonic interest The second and fifth intimate vocal in the use of The vocal part is sung using In verse 7, the chord sequence changes to beats of the bar are sounds VOCABLES between the scale of E MINOR Am7-Em-Em-G for one verse only emphasised by the A long FADE each sung line and the PENTATONIC (or G major returning to C-G-Em-C in verse 8 and accordion in the OUT brings the repetition of each line of pentatonic) throughout alternating C-G chords in the outro instrumental section song to an end verse Texture HETEROPHONIC TEXTURE is created when instruments perform a very similar melodic line together, but in slightly different ways (Uilleann pipes solo along with the fiddle in the Instrumental) . There are also examples of instruments weaving a complex improvised COUNTERPOINT around the melody and scale (G major) and the vocals improvise in COUTERPOINT during the outro. Backing vocals thicken the texture when they join in vocalising the nonsense syllables in between each line of lyrics (starting in verse 4). Contrasts in texture, such as the UNACCOMPANIED last line of verse 3 serve as a link between sections and all instruments drop out of the last line of verse 7 similarly. The instruments tend to provide an ACCOMPANIMENT TEXTURE to the vocal parts but instruments (such as the accordion in verse 4) provide a COUNTER MELODY to the vocals Form & Structure INTRO VERSE 1 BREAK VERSE 2 VERSE 3 VERSE 4 VERSE 5 VERSE 6 INSTRUMENTAL VERSE 7 VERSE 8 OUTRO

Instrumentation Donald Shaw: accordion, piano, synth; Michael McGoldrick: flutes, whistle, uilleann pipes; Karen Matheson: vocals; Ewen Vernal: acoustic and electric bass; Charlie McKerron: fiddle; Manus Lunny: bouzouki, guitar, bodhran, vocals; James MacKintosh: drums and percussion

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