Edexcel Music GCSE Set Works AOS 1 + 3
I couldnt fit all of the AOSs on here so I've just done1 + 3 :) hope it's kind of helpful :) the bubbles are colour code:
red: background/context
pink: texture
brown: rhythm
blue: structure
orange: melody
yellow: harmony/tonality
green: instrumental forces
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?- Created by: AnnaSemple
- Created on: 22-03-13 17:06
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- Edexcel Music GCSE Set Works AOS 1+3
- Area of Study 1 - Western Classical
- Handel - "And the Glory of the Lord"
- Baroque music (1600-1750). First performed in Dublin 1742.
- Affection - mood or character
- Continuo - provides harmonic structure, played by organ here
- Terraced dynamics - clear contrasts between loud and soft
- Mainly mix of poly and some homophonic textures
- Handel (1685-1759) Famous for his operas. Born in Germany, moved to London. Worked for the Elector of Hanover who later became George I in 1714.
- From "The Messiah" - an oratorio - and is the first chorus of the work.
- Vocal work based on Bible so only performed in church. Features chorus, soloists and orchestra.
- Main vocal pieces: Recitative, Aria, Chorus. Words in English
- Chorus: SATB Strings: V1V2VlaCB Continuo plays cello line with figured bass
- Strings support vocal lines by doubling (sometimes in octaves).
- Bar 53 V1+2 with S+A
- Strings support vocal lines by doubling (sometimes in octaves).
- Instrumental introduction up to bar 10
- Based on four vocal motifs with melodies contrasting throughout.
- And the glory of the lord - based on A major triad, ascending stepwise movement at end
- Shall be revealed - descending melismatic sequence. Two one-bar descending sequences.
- And all flesh shall see it together - mainly conjunct with leap of 4th at beginning and end. Three statements - firm!
- For the mouth of the lord hath spoken it - mainly dotted minims on pedal (I or V). Long notes emphasize conviction. Doubled with tenors and basses
- Mostly syllabic word setting
- Imitation used (bar 17 onward)
- Coda - Adagio - Tutti
- All major - joyous affection
- Diatonic - modulates only to relative keys (functional harmony)
- Sudden modulation to B major bars 67-93 (uses V7c-I)
- Mainly perfect/ imperfect cadences. Ends on plagal cadence.
- Adagio: Plagal cadence in A major
- Bars: 1-17 A major 17-32 modulates to E 43-63 back to A 64-67 Mod to E 67-93 Sudden mod to B 94-102 Back to E 102-end Back to A
- Diatonic - modulates only to relative keys (functional harmony)
- Texture varies - mainly contrapuntal/ polyphonic and homophonic.
- One instance of monophony (bars 108-109)
- Word painting in homophonic "together" (bars 59-62 in vocal parts)
- Dynamic variation through buildup of texture
- Homophony bars 33-38
- Fast tempo and triple rhythm sets joyful affection
- Hemiola used at end of intro - popular feature used in 3/4
- Rhythm in melodies reflects natural speech rhythm
- Dramatic pause before adagio. Adagio makes ending seem final
- Baroque music (1600-1750). First performed in Dublin 1742.
- Mozart - 1st Mov. Symphony No. 40 in G minor
- Classical era (1750-1830): balanced four bar phrase, homophonic texture, woodwind, more expression - lyrical - markings, contrasting moods within movements, clarient and piano, sonata form
- Classical symphony: 3/4 movements (Fast/Slow/Minuet/Fast). First mov. in sonata form.
- Mozart (1756-91) born in Austria. Wrote prolifically - Symphony No. 40 in 1788
- Classical orchestra: Double WW (1 flute); only 2 horns (G and Bb); no perc; Strings.
- Clarinet was a new instrument. Horns could only play open notes of harmonic series (limited to tonic and dominant)
- Sonata form
- Exposition - 1st subject (tonic), bridge (modulation), 2nd subject (new key - Bb maj) - codetta (v7). Repeats
- Expos - 1st Sub in Gm; bridge in Bb (rel maj); 2nd sub also in Bb; codetta in Bb with V7c in Gm as last chord
- 1st subject based on 2 note, falling motif (creates sad feeling); diatonic
- Mainly homophonic, some polyphonic sections
- Orchestral crescendo - when added instruments create natural crescendo
- Themes shared across instruments
- Smooth sustained textures over rapid quaver movement
- Themes shared across instruments
- Orchestral crescendo - when added instruments create natural crescendo
- Mainly homophonic, some polyphonic sections
- Bridge contrasts with major tonality, rising arpeggio figure and scales
- 2nd subject more chromatic with falling semitones
- Syncopated rhythm in 2nd subject
- Allegro molto = fast
- Dramatic pause bar 43
- Allegro molto = fast
- Development uses 1st motif with imitation and staccato counter melody
- Recap. uses same melodies but different orchestration (melody in bass, counter melody in violins).
- Chromaticism, characteristic of sadness
- Syncopated rhythm in 2nd subject
- 2nd subject more chromatic with falling semitones
- Basses establish key at beginning
- Sequences used in expos. and devel.
- 1st subject based on 2 note, falling motif (creates sad feeling); diatonic
- Expos - 1st Sub in Gm; bridge in Bb (rel maj); 2nd sub also in Bb; codetta in Bb with V7c in Gm as last chord
- Development - develops themes or keys
- Recapitulation- 1st subject, bridge (Eb briefly), 2nd subject, coda (tonic)
- Recap. - 1st sub. in Gm; bridge modulates to Eb; 2nd sub in Gm; coda in gm with repeated perfect cadences at end.
- Devel. - To remote key of F#, modulates through cycle of 5ths; long dom. pedal notes
- Use of unresolved pedal notes in development
- Recapitulation- 1st subject, bridge (Eb briefly), 2nd subject, coda (tonic)
- Exposition - 1st subject (tonic), bridge (modulation), 2nd subject (new key - Bb maj) - codetta (v7). Repeats
- Classical era (1750-1830): balanced four bar phrase, homophonic texture, woodwind, more expression - lyrical - markings, contrasting moods within movements, clarient and piano, sonata form
- Chopin - Piano Prelude No. 15 in D flat major
- Published in 1839, standalone short composition or introductory piece.
- Romantic era: Longer, developed melody lines; freedom in form and structure; complex chords and harmonies; chromatic harmony; dynamic variation; technically demanding.
- Chopin (1810-1849), child prodigy, moved from Warsaw to Paris, lonely, aloof - had difficult relationship with writer George Sand. Wrote preludes in Majorca.
- Ternary form - ABA (abaccda) with a short coda
- A - Db Major, B - C# Minor, C - Db Major
- A: Perfect cadences at the end of phrases, Ab implied (9-13), Bbm (12-18); end with impefect cadence.
- B: Bar 40 ff climax (E, G#m, C#m) repeated; 64-67 perfect cadences; 71 F#m, 72 C#m.
- C: Melody repeated from A, extended perfect cadence (V, I, V, V, I)
- Mainly diatonic harmony
- Long, elegant melodies - Aa falling arpeggio, conjunct with dotted rhythms
- Ornaments used - based on turns (stylistic feature of romantic music) - also used to vary melody.
- In B section: contrast with plodding melody line in bass; loud climaxes; fuller texture towards end as RH takes over melody.
- C section contains shortened version of opening melody , coda contains short monophonic section and small part of B section melody
- In common time (4/4), slow tempo; repeated quavers continue throughout (nicknamed raindrop prelude); rhythmic decoration used (sextuplets etc); heavy use of rubato.
- Long, elegant melodies - Aa falling arpeggio, conjunct with dotted rhythms
- Use of pedal notes (Inner and inverted as well as bass)
- Extensive dynamics, wide range - coda varies from f-pp in nine bars
- Textural crescendos used, subtle crescs and decrescs
- Melody dominated homophony throughout except 2 monophonic bars (82-83) in coda.
- Pedal adds variety and octave doubling brings out melody line, extended turns and ornaments add flourish and interest.
- Melody dominated homophony throughout except 2 monophonic bars (82-83) in coda.
- Textural crescendos used, subtle crescs and decrescs
- Mainly diatonic harmony
- C: Melody repeated from A, extended perfect cadence (V, I, V, V, I)
- B: Bar 40 ff climax (E, G#m, C#m) repeated; 64-67 perfect cadences; 71 F#m, 72 C#m.
- A: Perfect cadences at the end of phrases, Ab implied (9-13), Bbm (12-18); end with impefect cadence.
- A - Db Major, B - C# Minor, C - Db Major
- Handel - "And the Glory of the Lord"
- Area of Study 3
- Jeff Buckley -Grace
- Jeff Buckley (1966-1997) - son of jazz singer, studied in Hollywood, influenced by punk reggae and qawallii.
- Eclectic style, unique voice.
- Grace (a rock ballad) from album of the same name (1994)
- Garry Lucas, co-writer/other guitarist
- Drums, bass guitar, rhythm guitar, lead guitar (drop d tuning), lead singer
- Andy Wallace - producer
- Enhanced vocals, layering (violins etc), feedback, EQ, reverb, flanger, delay.
- Verse, chorus structure
- 3 bars of introduction, 4 bar link before first verse, prechorus, chorus, link, verse etc, bridge, instrumental, verse, outro.
- Compound quadruple time (12/8), 64 dotted crotchets bpm
- Cross rhythms (bar 14)
- Mainly syllabic word setting but lots of melisma.
- Melody starts low in Buckley's range but progresses to use full range - top e.
- Mainly conjunct, large amount of ornamentation
- Virtuosic vocalisations - unaccompanied vocals at end show qawalli influence (and monophony)
- monophony in last couple of bars- contrast against full polyphonic texture of outro.
- Mostly polyphonic (almost counterpoint in some parts) with a few instances of monophony
- Guitars semi-strumming (bars 4-8), using a plectrum (final link) and col legno in strings gives harsh sound and varies texture.
- Mostly polyphonic (almost counterpoint in some parts) with a few instances of monophony
- monophony in last couple of bars- contrast against full polyphonic texture of outro.
- Virtuosic vocalisations - unaccompanied vocals at end show qawalli influence (and monophony)
- Mainly conjunct, large amount of ornamentation
- Word painting - falling melodic line on words such as "falling" and "sorrow", glissandi also used. Imitated in string parts (bars 39-40)
- Equaliser used to balance out frequencies of vocals - harsh effect (eg bar 57)
- Introduction - Fm7, Gm7, Em - tonal ambiguity, no clear key established. Link D and A7 - again not sticking to Em key signature - ascending bass riff until first verse.
- Verse establishes key of Em; uses Em, F and Eb alongside more complex harmony (B7/F#, Em/G) in the prechorus.
- Chorus - open strings on guitar create intentional discord; backing vocals double lead and whispered voice can be heard eerie). Dramatic harmony changes.
- Mandolin effect on guitar leading into second verse - more delay and slide used. In bridge string playing is more intense and more contrast between angelic backing vocals and lead.
- Build p to end uses more and more effects to build intensity and tension.
- Mandolin effect on guitar leading into second verse - more delay and slide used. In bridge string playing is more intense and more contrast between angelic backing vocals and lead.
- Chorus - open strings on guitar create intentional discord; backing vocals double lead and whispered voice can be heard eerie). Dramatic harmony changes.
- Verse establishes key of Em; uses Em, F and Eb alongside more complex harmony (B7/F#, Em/G) in the prechorus.
- Melody starts low in Buckley's range but progresses to use full range - top e.
- Andy Wallace - producer
- Drums, bass guitar, rhythm guitar, lead guitar (drop d tuning), lead singer
- Garry Lucas, co-writer/other guitarist
- Jeff Buckley (1966-1997) - son of jazz singer, studied in Hollywood, influenced by punk reggae and qawallii.
- Miles Davis -All Blues
- Miles Davis (1926-1991) - wanted to explore modal jazz - using modes or scales rather than chord sequences.
- Introduction: Two groups of four bars - piano fill and then saxophone riff.
- After introduction riff, two heads (solo, muted trumpet) with sax riff reintroduced between them.
- Solos: Trumpet, Alto sax, tenor sax and (short) piano. Each solo has the intro riff played on the piano to introduce it.
- After the solos, there is a similar structure to at the beginning: sax riff, head 3, riffs, head 4, riffs.
- The piece ends with a trumpet solo (muted) which fades out.
- The work is based on the twelve bar blues sequence with added extended chords.
- Based on G, modal - flattened 7ths
- Time signature of 6/4 - gives way to complex rhythms, syncopation and cross rhythms.
- natural dissonance caused by soloing and improvised melodies - often off chord.
- In the coda the repeated Gs reinforce the key/mode
- Intro: wash of sound created by piano fill and drum brushes. Soloists stand out easily - other instruments change dynamic accordingly.
- Based on G, modal - flattened 7ths
- The work is based on the twelve bar blues sequence with added extended chords.
- The piece ends with a trumpet solo (muted) which fades out.
- Trumpet solos/head: Starts within a relatively limited range, broadens as the solos become more virtuosic and varied. Use of ornamentation: grace notes, fall offs and ghost notes. Phrases gradually become longer.
- Alto saxophone solo: scales and arpeggios, uses wide range.
- Tenor sax solo:Away from chord notes, virtuosic, uses full range.
- Piano solo: shorter, complex rhythms, riff incorporated added chords and contrary motion triads, small range, wide dynamic range.
- Alto saxophone solo: scales and arpeggios, uses wide range.
- After the solos, there is a similar structure to at the beginning: sax riff, head 3, riffs, head 4, riffs.
- Solos: Trumpet, Alto sax, tenor sax and (short) piano. Each solo has the intro riff played on the piano to introduce it.
- After introduction riff, two heads (solo, muted trumpet) with sax riff reintroduced between them.
- Introduction: Two groups of four bars - piano fill and then saxophone riff.
- Cool jazz fusion, first performed in 1959.
- Ensemble made up of some of the best jazz musicians around at the time: Miles Davis, Julian Adderley, John Coltrane, Bill Evans among others.
- Band: Trumpet, Alto and Tenor Saxophones, Piano, Bass and Drums
- Miles Davis (1926-1991) - wanted to explore modal jazz - using modes or scales rather than chord sequences.
- Moby - Why Does my heart feel so bad?
- From the album "play" 1999. Written by Richard Hall - "Moby"
- No live instruments played - all recorded and mixed electronically. Eclectic style - techno/dance.
- Emu Performance piano module, Yamaha Synth, Akai 3200 sampler, Roland TR909 drum machine, Yamaha SY22+SY88, Roland Juno 106 synth.
- Score - a transcription from the recording, loops built up in layers (gospel motifs).
- 2 main ideas: verse (male recording), chorus (female recording).
- The first verse constitutes a small section (A) repeated several times: starts with piano only, establishes the main chord sequence; the vocal sample is then added and repeated four times (new layers are added each time to thicken texture).
- The chorus (B motifs) is made up of two main parts (x and y): The female voice takes over form the male and is then repeated; the same sample is then repeated twice again with a different chord sequence - changing the mood.
- After the first chorus, the A motif is repeated twice, with delay and heavy EQ; after this the B motif is repeated once with the first chord sequence and twice with the second. The end the piece, the male voice resumes with only static chords.
- The melody of the A motif is based on the arpeggios of the chord sequence (Am, Em, G, D)
- Both vocal samples are taken from a 1953 gospel choir recording.
- Both samples use a limited range, with A based on a hexatonic scale.
- Emotional response more important than pristine quality
- Electronic ghosting and background noise remain in the samples.
- The tonality is ambiguous although very diatonic. The First section is based on Dorian mode on A, whereas the chorus section would suggest C major.
- A - Falling harmonic sequence. B- Falling profile - emphasises sadness
- Texture is thickened with each repetition of the samples: new instruments added - creates intensity.
- The melody of the A motif is based on the arpeggios of the chord sequence (Am, Em, G, D)
- There is a constant temp throughout, with one bar of dramatic pause (at 2.56).
- A backbeat is used (on beats 2+4) throughout the song with the exceptions of the piano solo opening and the static chord accompaniment.
- Syncopation used in clave part and in piano opening
- After the first chorus, the A motif is repeated twice, with delay and heavy EQ; after this the B motif is repeated once with the first chord sequence and twice with the second. The end the piece, the male voice resumes with only static chords.
- The chorus (B motifs) is made up of two main parts (x and y): The female voice takes over form the male and is then repeated; the same sample is then repeated twice again with a different chord sequence - changing the mood.
- The first verse constitutes a small section (A) repeated several times: starts with piano only, establishes the main chord sequence; the vocal sample is then added and repeated four times (new layers are added each time to thicken texture).
- 2 main ideas: verse (male recording), chorus (female recording).
- Jeff Buckley -Grace
- Area of Study 1 - Western Classical
- natural dissonance caused by soloing and improvised melodies - often off chord.
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