Music GCSE edexcel

Music GCSE Edexcel
LENA STEINBERG

AREA OF STUDY 1
WESTERN CLASSICAL MUSIC

And the Glory of the Lord (from
‘Messiah’) – Handel
Musical Features:
◦ Imitation
◦ Sequences
◦ Syllabic and Melismatic word setting

Melody:
◦ 4 Melodies:
◦ Melody 1 – Based on triad of A major – Syllabic – Sung by all parts, started by the Altos
◦ Melody 2 – Descending sequences – Melismattic - Sung by all parts, started by the Altos
◦ Melody 3 – Repetition, featuring sequences – Syllabic and Melismattic - Sung by all parts, started by the
Altos
◦ Melody 4 – Pedal note – repeated – syllabic – mainly sung by tenors and basses

Rhythm:
◦ Driving regular beat on crothcht rhythms – matches stately mood
◦ Use of HEMIOLA – notes grouped in 2 beats, instead of the 3 beats of the time signature

Structure:
◦ Based on four contrasting melodies (See melody slide)

Instrumentation:
◦ Written for four voices – Soprano, Alto, Tenor and Bass
◦ Featuring String orchestra (Violins, Violas and Cellos)
◦ Also Featuring Basso continuo (Harpsichord or Organ)

Dynamics:
◦ No dynamics are printed on the score
◦ However, terraced dynamics are achieved by adding and taking away parts and instruments

Harmony:
◦ Clear A major harmonies – minor is avoided
◦ Perfect cadences during the piece (V-I)
◦ Plagal cadence at end of piece (IV-I)

Tempo:
◦ ALLEGRO all the way through
◦ Apart from ADAGIO for last four bars of piece
◦ Time signature of piece is

Texture:
◦ Alternating homophonic and polyphonic sections
◦ Ends with all part playing together - Homophonic

Symphony No.40 in G minor - Mozart
Musical Features:
◦ Pedal Notes are used in the development

Melody:
◦ Two subjects
◦ Sonata Form (see structure slide)

Rhythm:
◦ Scale passages and rising sequences
◦ 1st subject – crochet and quaver rhythms
◦ 2nd subject – Slower, legato rhythms

Structure:
◦ Sonata form:
◦ Exposition:
◦ First subject ( G minor)
◦ Bridge passage
◦ Second subject ( B flat major)
◦ Codetta
◦ Development:
◦ Based on opening of first subject
◦ Texture becomes more polyphonic
◦ Explores different keys very quickly
◦ Pedal notes are used in development of themes, as they are passed between instruments
◦ Recapitulation:
◦ Not a direct repetition of exposition, as both subjects are G minor and bridge passage is longer
◦ Coda

Instrumentation:
◦ Normal orchestra
◦ Only 1 Flute
◦ No trumpets
◦ No Timps

Dynamics:
◦ Starts off p
◦ Lots of dynamic contrast
◦ Use of sfz and accents

Harmony:
Exposition Development Recapitulation Coda
1st Subject G Minor Variety of keys G Minor G Minor
2nd Subject B flat Major G Minor G Minor

Tempo:
◦ Molto Allegro
◦ Time signature

Texture:
◦ Mainly Melody with accompaniment
◦ Some homophonic sections
◦ Polyphonic in development

Prelude No.15 in D flat Major
Musical Features:
◦ Careful expressive use od pedals, particularly in the sustaining pedal
◦ SOSTENUTO – sustained
◦ ACCIACATURA – “Crushing note” – melodic decoration
◦ PEDAL NOTE – A flat in the piece

Melody:
◦ A section
◦ Falling motif to represent the sadness
◦ Elegiac melody in right hand
◦ B section
◦ Mood is dark and stormy
◦ Melody in left hand
◦ Equally balanced 4 bar phrases
◦ Falling phrases which represent rain (nicknamed “Raindrop Prelude”)

Rhythm:
◦ Repeated quavers
◦ Sustained tempo
◦ 4 beats in a bar which always stays the same
◦ Dotted rhythms in the A section
◦ Crochet Rhythms in the B section
◦ Septuplets are used
◦ Rubarto

Structure:
◦ Ternary form
◦ A section
◦ B section
◦ A section (Very short)
◦ Coda
◦ A section has it’s own ternary form

Instrumentation:
◦ Solo piano

Dynamics:
◦ Extreme dynamics
◦ A section is generally quiet
◦ B section has a very big crescendo, but ends in pp

Harmony:
◦ 7th and 9th chords are used
◦ Notes added to triad
◦ Perfect cadence
◦ D flat Major
◦ Enharmonic modulation (From D flat major in A section, to C sharp minor in B section)
◦ Dominant pedal note ( A flat in A section, G sharp in B section)

Tempo
◦ Use of rubarto
◦ Time signature is

Texture:
◦ Melody dominated homophony
◦ Homophonic
◦ Melody with accompaniment
◦ Monophonic bar in second A section

Area of Study 2
MUSIC IN THE 20TH CENTURY

Peripetie - Schoenberg
Melody:
◦ Use of hexachords
◦ Klangfarben melodie – Melody moves between parts
◦ Word painting
◦ Canon

Rhythm:
◦ Different rhythms which overlap
◦ Haubptstimme – Main melody which is symbolised in the score like this :
◦ Nebenstimme – second melody which is symbolised in the score like this:

Structure:
◦ Free rondo
◦ A
◦ B
◦ A1
◦ C
◦ A2

Instrumentation:
◦ Written for a very large orchestra
◦ Unusual instrumentation
◦ 3 flutes
◦ Cor anglais
◦ 3 bassoons
◦ Piccolos
◦ Instruments played at extremes of their registers
◦ Schoenberg is very specific with his tones and timbre
◦ Hi-hat played with cello bow
◦ Muted but playing ff
◦ Glissando
◦ Tremolo

Dynamics:
◦ Extremes
◦ Sudden changes (e.g. from fff to pp)

Harmony:
◦ Dissonant (using intervals of a 7th)
◦ Hexachords
◦ ATONAL

Tempo:
◦ Changes throughout the piece
◦ Sehr rash (very quick)
◦ Etwas rhuiger (a little slower)
◦ Heftig (Quick)

Texture:
◦ Homophonic and solo sections
◦ Polyphonic sections

Something’s coming - Bernstein
Melody:
◦ Lots of short riffs
◦ Combination of short phrases and long sustained notes

Rhythm:
◦ Lots of syncopation
◦ Ostinati
◦ Cross-rhythms
◦ Push-rhythms
◦ Accented off beats

Structure:
◦ Not a typical verse chorus structure
Intro Section A Section B
Section B1 Section A1 Outro

Instrumentation:
◦ Solo male singer (tenor)
◦ Large orchestra (however this is hidden from the score)

Dynamics:
◦ Tony starts singing pp
◦ Gradually gets louder
◦ Fades out at end

Harmony:
◦ D major
◦ Use of tritone – augmented 4th
◦ Jazz harmony – added blues notes

Tempo:
◦ Very fast – 176 bpm
◦ Push-rhythms makes the piece feel faster
◦ Some sections are
◦ Other sections are

Texture:
◦ Melody with accompaniment

Electric Counterpoint - Reich
Melody:
◦ Repeated melodies (motifs)
◦ Resultant melodies
◦ Guitar 3 uses additive melody
◦ Two or three notes are added each bar, until the whole riff can be heard

Rhythm:
◦ Layered ostinato
◦ Phase shifted
◦ Displaced
◦ Minimalist
◦ Interviewing rhythms

Structure:
◦ Divided into two main sections with a coda
◦ These two sections are further divided into four smaller sections
◦ Each of which is defined by a change in texture or key

Instrumentation:
◦ 10 guitars all together
◦ 1 live guitar
◦ 7 electric guitars
◦ 2 bass guitars
◦ Each guitar enters one after each other (cannon)

Dynamics:
◦ Not many dynamics printed
◦ Dynamics achieved by layering instruments

Harmony:
◦ Diatonic harmonies
◦ Tonal ambiguity
◦ Bass guitar confirms the key is E minor
◦ AEOLIAN MODE
◦ Changes to C minor in second section
◦ Finishes with a E5 chord (No third)

Tempo:
◦ Time signature changes
◦ From
◦ To
◦ To
◦ Constant tempo throughout

Texture:
◦ Multi-layered texture is achieved by each track being multi-tracked
◦ Made of short motifs that are repeated
◦ Counter point (polyphonic)
◦ Panning is used

AREA OF STUDY 3
POPULAR MUSIC IN CONTEXT

All Blues - Davis
Melody:
◦ The main melody (HEAD) and the solos are all played over the 12-bar-blues chord sequence (see
harmony slide)
◦ Based on the notes of the Mixolydian mode on G
◦ The improvisations are ornamented and combine riffs

All Blues - Davis
Rhythm:
◦ The rhythms section provides the harmony and rhythmic background
◦ The rhythmic section provides the COMPING playing the background chords and rhythms

All Blues - Davis
Structure:
Section Comment
INTRO Drums, bass riff, piano trill, alto and tenor sax riff in thirds
HEAD This is where the original tune is played. Played on muted trumpet with a
simple motif moving mainly by step
LINK Breaks up repetition of head and provides contrast
HEAD1 Same as first but melody is slightly more developed- ride cymbal is added
by drums
IMPROVISED SOLO (TRUMPET) First solo performed by Miles Davis. Trumpet mute is removed. 4
repetitions of the 12-bar-blues sequence. Mixolydian mode on G
IMPROVISED SOLO (ALTO SAX) 4 repetitions of the 12-bar-blues sequence. Chromatic and very technical
IMPROVISED SOLO (TENOR SAX) 4 repetitions of the 12-bar-blues sequence.
IMPROVISED SOLO (PIANO) Comping in left hand. 2 repetitions of the 12-bar-blues sequence
HEAD2 Same as first HEAD, trumpet is muted again
HEAD3 Melody developed with more of a minor feel
OUTRO Trumpet solo on the tonic G note, over the sax riff and the piano trill

All Blues - Davis
Instrumentation:
◦ Front line
◦ Trumpet
◦ Alto saxophone
◦ Tenor saxophone
◦ Rhythm section
◦ Piano
◦ Bass
◦ Drums

All Blues - Davis
Dynamics:
◦ Mainly p throughout
◦ Diminuendo in fifth HEAD

All Blues - Davis
Harmony:
◦ Based around repeated 12-bar-chord sequence, with 4 linking sections between each section
◦ Traditional sequence has been altered by extending and altering bars 9 and 10
◦ Repeated 19 times in total
◦ Modal Jazz
◦ Focuses on mixolydian mode on G
G7 G7 G7 G7
C7 C7 G7 G7
D7#9 Eb7#9 G7 G7

All Blues - Davis
Tempo:
◦ 156 bpm
◦ Feels like dotted rhythm
◦ Jazz waltz

All Blues - Davis
Texture:
◦ Made up of riffs
◦ 3 riffs are used
◦ 1st – G D ED F DED – played by double bass
◦ 2nd – D/B E/C F/D E/C – played by alto and tenor saxophones in thirds

Grace – Jeff Buckley
Melody:
◦ Vocal melody in the verse has a limited pitch range, becoming higher in the pre chorus
◦ A “whispering” backing vocal adds variety to the melody in the chorus
◦ The telephone EQ effect added to the vocal melody in the middle 8 gives a harsh and distant effect
◦ Verse 3 sees the pitch of the vocal melody becoming higher
◦ Extremely high pitched vocal (FALSETTO) improvisation in the outro including melisma

Rhythm:
◦ Rhythm of the intro is highlighted by the acoustic guitar and hi-hat cymbals, which “drive” the song
forward
◦ During the verse, more emphasis is placed on the toms of the drum kit
◦ A drum roll leads into the middle 8 section
◦ Cymbals used more prominently in verse 3
◦ The unifying rhythm of the song is a solid rock beat

Structure:
Into Verse 1 Pre-chorus 1 Chorus
Link Verse 2 Pre-chorus 2 Chorus
Middle 8 Link Verse 3 Outro

Instrumentation:
◦ Main instruments
◦ Drum kit
◦ Bass Guitar
◦ Three electric guitars
◦ Acoustic guitar
◦ Lead Vocals
◦ Additional instruments
◦ Backing vocals
◦ Strings

Dynamics:
◦ Starts p, but has a f chord in the intro
◦ Whisper effect on the electric guitar uses dynamic picking
◦ Having the volume turned down and then turning it up quickly

Harmony:
◦ Bass guitar provides pedal note “D” upon which harmonies and chords are constructed
◦ During the verse the electric guitar plays power chords
◦ The harmonies are modal, with E as the tonic note
◦ Em Em/F5 Em/Eb5
◦ The pre chorus uses more complex chords, with 9th and 6th notes added
◦ Complex harmonies in the middle 8
◦ Hummed vocals with long sustained notes on strings
◦ Key is not clear from first three chords, but arrives in D major at the end of the intro

Tempo:
◦ 64 bpm - Dotted crochet

Texture:
◦ Textural contrast is created when parts drop out
◦ Texture in verse is thinner
◦ Thick polyphonic texture in middle 8

Why does my heart feel so bad? - Moby
Melody:
◦ Piano provides an accompaniment to the vocal sample with a synthesiser pad doubling some of the
piano notes, but also takes on the role of the melody in places
◦ There are elements of call and response between the piano and vocal sample

Rhythm:
◦ Hip-hop drum loop used throughout, also called a back beat
◦ Piano accompaniment changes to syncopated rhythm in verse 1

Structure:
INTRO
Chord sequence 1
VERSE 1
Chord sequence 1 X4
CHORUS
Chord sequence 2 + 3
VERSE 2
Chord sequence 1 X2
BREAK CHORUS
Chord sequence 2,3,3
OUTRO
Chord sequence 1

Instrumentation:
◦ Multi-effect unit
◦ Drum machine
◦ Synth bass sound
◦ Piano sound
◦ String sound
◦ Vocal samples

Dynamics:
◦ Song begins p and increases in relation to the texture

Harmony:
◦ Based around chord sequences – limited harmonic range
◦ Both vocal samples are in the key on A minor
◦ Harmonised to break second feel c major
◦ Modulation
Number Chord sequence
Chord sequence 1 Am Am Em Em G G D D
Chord sequence 2 C C Am Am C C Am Am
Chord sequence 3 F F C C F F C C

Tempo:
◦ Constant throughout at 98 bpm

Texture:
◦ Instruments come in and drop out for textual contrast
◦ Sustained chords
◦ Static chords
◦ Telephone EQ effect
◦ Break
◦ Delay effect
◦ EQ
◦ Reverb

Skye Waulking song - Capercaillie
Melody:
◦ Melodic lines are played in the folk style
◦ Instruments improvise around melody
◦ Typical features of a walking song are used:
◦ Vocables
◦ Repetition of each line of the verse
◦ Slow rhythm

Rhythm:
◦ The shakers and hi-hat play every two beats giving the rhythm a triple feel
◦ The vocal part has a characteristic lilting rhythm
◦ Second and fifth beat of the bar are emphasised by the accordion

Structure:
INTRO VEERSE 1 BREAK VERSE 2
VERSE 3 VERSE 4 VERSE 5 VERSE 6
INSTRUMENTAL VERSE 7 VERSE 8 OUTRO

Instrumentation:
FOLK INSTRUMENTS POP INSTRUMENTS
Accordion Piano
Flutes Synth
Uillean pipes Acoustic guitar
Bouzouki Electric guitar
Bodhran Drum and percussion
fiddle
Vocals

Dynamics:
◦ Build up with texture
◦ Fade out at the end of the song

Harmony:
◦ Only using 4 chords – simple harmony
◦ Changes in chord sequence highlight change in mood/ section
◦ E minor pentatonic
Section Chord sequence
Intro Em G
Verse 4 C G Em G
Verse 7 Am7 Em Em G
Outro C G

Tempo:
◦ Slow and calm – typical of a lament
◦ Compound quadruple time
◦ Time signature

Texture:
◦ Heterophonic – in instruments
◦ Improvised counterpoint around melody
◦ Monophonic bar before verse
◦ Counter melody

Rag Desh – Version 1 - Anoushka Shankar
Instruments:
◦ Sitar
◦ Tabla

ALAP:
◦ Slow and unmetered
◦ Unaccompanied sitar explores the first notes of the raga
◦ Free rhythms sound improvised, due to a lack of a regular pulse
◦ Some decoration to melody

GAT 1:
◦ Sitar plays fixed composition rather than improvisation, but decorates melody with flourishes and
ornaments
◦ Medium tempo
◦ Tabla enters playing 10 beat JHAPTAL tala with decoration
◦ There is dialogue between sitar and tabla

GAT 2:
◦ Faster tempo
◦ Tabla now switches to TIN TAL tala

JHALLA:
◦ Drone strings are used on the sitar which are strummed providing a rhythmic effect
◦ Piece ends with a TIHAI
◦ Phrase which is played three times across the beat ending on the first beat of the cycle

Rag Desh – Version 2 – Chiranji Lal
Tanwar
Instruments:
◦ Voice
◦ Sarangi
◦ Sarod
◦ Pakhawaj
◦ Cymbals
◦ Tabla

Tanwar
ALAP:
◦ Short introduction as the saraod player, then the singer, vocalise the melody, based ont eh notes of the
raga
◦ Free time
◦ A version of the chorus from the song

Tanwar
BHAJAN:
◦ A fixed composition
◦ Song in verse form, with the first lines used as a refrain
◦ Tabla plays KEHERWA table
◦ Sarod and sarangi play solo passages between verses
◦ Dynamics and tempo increase
◦ Music becomes faster and more exiting, as the cymbals play more frequently

Rag Desh – Version 3 – Wertheimer &
Gorn
Instruments:
◦ Bansuri
◦ Esraj
◦ Tambura
◦ Tabla

Gorn
ALAP:
◦ Slow and unmetered
◦ Drone is established by tambura
◦ Bansuri enters exploring the notes of the raga

Gorn
GAT 1:
◦ Slow tempo
◦ Bansuri plays lyrical, unaccompanied melody
◦ The tabla enters playing RUPAK tala
◦ Bansuri and tabla players embellish and improvise upon their original patters, instruments then swap;
Bansuri improvises, table accompanies

Gorn
GAT 2:
◦ Fast tempo
◦ Tabla now uses EKTAL tala
◦ Bansuri plays an elaborate melody with wide ranging pitch, fast scale passages (tans) and slides
◦ Several THIAIs bring music to a close
◦ Drone continues shortly after melody ends

Rag Desh - talas
Tala Number of Beats Piece which it is played in
RUPAK 7 beats Version 3 – played by tabla in GAT
1
KEHERWA 8 beats Version 2 – played by tabla in
BHAJAN
JHAPTAL 10 beats Version 1 – played by tabla in GAT
1
EKTAL 12 beats Version 3 – played by tabla in GAT
2
TINTAL 16 beats Version 1 – Played by tabla in GAT
2

Yiri
Melody:
◦ The opening solo balaphone melody is high pitched and is a simple repetitive idea, using “rolls” on each
note
◦ When the second balaphone enters the melody becomes more syncopated
◦ The vocal melody is short, simple and repetitive
◦ Melodies are often varied by different instruments
◦ Contrasting melody in call and response section, long held notes and short punctuated notes on “Yiri”

Yiri
Rhythm:
◦ The balaphone ostinato in combination produces a complex polyphonic texture
◦ The drum ostinato perform a relentless one bar starting in the intro, performed by the talking drum,
small talking drum and djembe
◦ The drum ostinati are decorated with occasional rhythmic fills
◦ The balaphone performes cross-rhythms in the call and response section, which become syncopated
during the coda

Yiri
Structure:
INTRO CHORUS A1 BREAK
CHORUS A2 BREAK CALL & RESPONSE
CHORUS B1 CHORUS A3 CODA

Yiri
Instrumentation:
◦ Balaphone
◦ Flute
◦ Choir
◦ Djembe
◦ Tam-tam
◦ Dundun
◦ Maracas
◦ Talking drum
◦ Dunno

Yiri
Dynamics:
◦ Soft dynamics which are increased as instruments are added
◦ No dynamics printed on score

Yiri
Harmony:
◦ Harmony remains close to the tonic Gb major throughout, making frequent use of the dominant Db
note
◦ When the voice enters in chorus A1 they sound in unison

Yiri
Tempo:
◦ Piece starts off in free tempo but continues in moderate tampo

Yiri
Texture:
◦ Stars off with a monophonic texture with a solo balaphone
◦ When second balaphone joins in they play in octaves
◦ Heterophonic texture
◦ Call and response

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