Scores to support
WJEC AS Music
– Notes
Alun Guy
Published with the support of WJEC’s Teaching and Learning Resources Scheme
Sponsored by the Welsh Assembly Government
1
J. S. Bach: Brandenburg Concerto No. 2, 1st Movement
CONTENTS
PAGE
•
Introduction
2
•
J. S. Bach: Brandenburg No. 2, 1st Movement
3
•
Beethoven: Symphony No. 5 in C minor, 1st Movement
6
•
Mendelssohn: Violin Concerto, 1st Movement
9
•
Handel: Zadok the Priest
12
•
Haydn: Nelson Mass (Gloria; Quoniam Tu Solus; Credo)
15
•
Schubert: from Die Schöne Müllerin (Am Feierabend; Der Neugierige; Ungeduld)
22
•
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio; Allemanda; Corrente; Giga)
29
•
Beethoven: String Quartet in B Op.18, No. 6, 1st Movement
37
•
Brahms: Clarinet Sonata in E Op.120, No. 2, 3rd Movement
40
•
Duke Ellington (Black and Tan Fantasy; Take the A-Train)
49
•
Queen (Bohemian Rhapsody; Killer Queen)
55
•
Loesser: Guys and Dolls (Runyonland; Fugue for Tinhorns)
61
•
Bernstein: West Side Story (Tonight; Maria)
66
•
Boublil and Schönberg: Les Miserables (On My Own; One Day More)
71
•
Mervyn Burtch: from Three Welsh Folk Songs (Cysga di, fy mhlentyn tlws;
Wrth fynd efo Deio i Dywyn)
75
•
Dilys Elwyn-Edwards: from Caneuon y Tri Aderyn (Y Gylfinir; Mae Hiraeth yn y Môr)
79
•
Caryl Parry Jones (Pan ddaw yfory; Y Nos yng Nghaer Arianrhod)
83
•
The Beatles (Yesterday; Hey Jude)
88
b
b
2
Introduction
• This anthology is written for students currently studying for the WJEC AS level music course.
You will probably have followed the GCSE music course during years 10 and 11 and are
familiar with the vocabulary used in the examination and in A Student’s Guide to GCSE Music
(Rhinegold).
• I realise that many of you will have successfully completed the GCSE course without being au
fait with scores in staff notation. You share a love of music with us all. Don’t worry too much
about reading scores and analysing.
• These notes however will hopefully concentrate your mind on the basic forms and structures
of the music. They are not meant to be an academic treatise for musicologists!
• The simplified diagrams have been included in a bid to demystify the analytical process
(which sometimes can be confusing and a big ‘turn off ’ for some).
• The template used in these notes acts only as a guide for you: it is not an in-depth detailed
analysis bar by bar, and was never intended as such from the outset.
• These notes do not second guess examination questions. Don’t be disappointed if some
examination questions are not dealt with directly and in detail in these notes.
• The examples of chords, modulations, harmony, composition techniques and devices etc.
should be a starting point for further research. You should look for more examples of the
above in the set works and recorded extracts chosen for study.
• Remember that you are allowed to take a copy of the anthology into the examination with
you, with pencilled-in bar numbers.
• Not every score in the anthology has bar numbers. Remember when numbering bars that an
anacrusis at the beginning of a piece of music is not bar 1. Bar 1 is the first complete bar.
• The notes on the Haydn ‘Nelson Mass’ deal with three sections: Gloria (pages 104-112),
Quoniam Tu Solus (pages 119-125) and Credo (pages 126-130).
• There are references to certain aspects of instrumentation in some extracts, which can be
clearly heard on the CD, although the scores are only piano reductions in the anthology. You
are encouraged to study the works by listening carefully to them on the CD, in addition to
studying the score.
Good luck with your listening and research.
Alun Guy
2
J. S. Bach: Brandenburg Concerto No. 2, 1st Movement
Introduction
This set of 6 concertos were dedicated to the Duke of Brandenburg 1721. They are called
‘concerti grossi’ because of the accompanying ‘ripieno’ (mainly strings and continuo) combined
with a select group of soloists, the ‘concertino’. Bach loved experimenting with new sound
combinations in these three movement compositions. It is worth noting that numbers 3 and 6,
however, do not have any solo instruments.
Musical elements
❍ Form
Quasi ritornello, but no clear cut distinction between ripieno and concertino. Both sections
seem to play most of the time (tutti). Ritornello is a series of short themes reappearing
(rondo-like) in various keys, with soloists (the concertino) playing episodes in between.
❍ Structure (Rit = ritornello; Con = concertino)
1-8
9-10
11-12
13-14
15-16
17-18
19-20
21-22
Rit
1
Con
1
Rit
2
Con
2
Rit
3
Con
3
Rit
4
Con
4
F
major
F
major
F
major
F
major
C
major
C
major
C
major
C
major
23-28
29-30
31-39
40-59
60-67
68-83
84-93
94-118
Rit
5
Con
5
Rit
6
Rit
7
Con
7
Rit
8
Con
8
Rit
9/10
C
major
F
major
D
minor
D
minor
C
major
F
major
B
major
G
minor
E
major
C
minor
G
minor
G
minor
D
minor
A
minor
A
minor
F
major
b
b
❍ Texture
- Mainly dense – Bach was the master of polyphony and contrapuntal writing.
- Many examples of various motifs interacting simultaneously.
❍ Tonality
- Home key: F major
- Occasionally minor, e.g. bar 68 – C minor; bar 88 – D minor
3
J. S. Bach: Brandenburg Concerto No. 2, 1st Movement
Examples of modulations:
C major (dominant) – bars 15-28
D minor (relative minor) – bars 40-41
B major (subdominant) – bars 56-59
E major (flattened leading note) – bar 65
C minor (dominant minor) – bars 68-71
G minor (supertonic) – bars 75-83
A minor (mediant minor) – bars 94-102
b
b
❍ Harmony
Chords:
- Diatonic
- Dominant 7th (root position) – bar 51 (C7)
- Dominant 7th 4 (third inversion) – bar 52
2
- Major triad
6
3
(first inversion) – bar 72
❍ Examples of composition techniques and devices
-
Rising sequence – bars 96-97 (Oboe)
Sequence – bars 33-34 (Flute)
Sequence – bars 76-79 (solo Trumpet)
Falling sequence – bars 77-79 (Viola)
Syncopation – bars 50-55; 107-112 (Violin I – ripieno)
Cadences: Perfect – bars 8; 28; 39; 83; 93
Imitation – bars 96-98 (solo Violin and Flute)
Arpeggio based – bars 1-2 (Trumpet)
Reduced instrumentation – bars 60-67 (concertino and continuo)
❍ Instrumentation
Concertino
Soloists
- Tromba: Trumpet (no valves in Bach’s day). Written a 4th lower than the sound.
- Flauto (Flûte à bec): Recorder
- Oboe
- Violino: Violin
Ripieno
- Violin I
- Violin II
- Viola
- Cello
- Double Bass
- Harpsichord/Cembalo continuo
4
J. S. Bach: Brandenburg Concerto No. 2, 1st Movement
❍ Score indications
Tasto solo (bars 102-103): Harpsichord, play the notes without filling in harmonies
all unisono: Cello/Bass and Harpsichord play in unison
piano: softly
pianissimo: very soft
forte: loudly
Points of interest
• Scintillating and brilliant counterpoint.
• Three-part counterpoint between Flute, Viola and Continuo – bars 1-2.
• Continuous semiquaver/quaver movement throughout the movement – in one of the
solo or ripieno instruments.
• Four very different high register solo instruments contrasted in the concertino, but each
instrument’s melodic line is audible.
• Opening semiquaver motif in Continuo (bars 1-2) appears in other parts, e.g. Trumpet
– bars 19-20; Oboe – bars 40-41.
• The solo Violin introduces a new exclusive figure in bars 9-10 and all other solo
instruments play it – ripieno don’t play this motif at all.
(Oboe – bars 13-14; Flute – bars 17-18; Trumpet – bars 21-22.)
• Imitation (bars 60-67) for all 4 soloists, using this exclusive figure (Flute, Violin, Oboe and
Trumpet).
• Bach used cadence points to draw attention to new musical ideas.
• Use of 8 motifs, sometimes in concertino and sometimes in ripieno, mostly with an
anacrusis.
• This concerto is the only one of the Brandenburgs to feature a Trumpet.
• Fanfare style motif in Trumpet (bars 1-2), and Continuo (bars 5-6).
• Running bass line in Continuo – a device often used by Bach.
• Continuo given original concertino theme (bars 1-2) in bars 56-57 and bars 88-89, as a
relief from continuous quaver and semiquaver support.
• No speed or dynamic indications given on the score, but generally played Allegro and
forte.
5
J. S. Bach: Brandenburg Concerto No. 2, 1st Movement
Beethoven: Symphony No. 5 in C minor, 1st Movement
Introduction
A symphony is a large-scale work for an orchestra, usually in four movements. The opening bars
of this first movement contain one of the most famous orchestral motifs of all times. Beethoven
followed the classical tradition of Haydn and Mozart by composing this movement in sonata
form.
Musical elements
❍ Form
Sonata
❍ Structure
Exposition
1-124
Development
125-247
Recapitulation
248-373
Coda
374-502
Subject 1
(1-24)
Subject 2
(59-93)
Codetta
(94-124)
Variety of keys.
Subject 1
(248-268)
Subject 2
(303-345)
Codetta
(346-373)
Material
derived from 1st and
2nd subjects.
Tutti and antiphonal
passages.
Using mainly
1st subject
material.
❍ Texture
- Ranging from dense homophonic (bars 248-252) to sparse (bars 63-82).
❍ Tonality
- Home key: C minor
Examples of modulations:
E major (relative major) – 2nd subject
F minor (subdominant minor) – bar 130
G minor (dominant minor) – bar 154
C major (tonic major) – bar 195
b
❍ Harmony
Chords:
- C minor tonic chord
b
- D major
6
3
5
3
(root position) – bar 492
(first inversion) – bar 382
- Dominant 7th chords – bars 182-186; 292-294
- Diminished 7th chords – bars 56; 300
6
Beethoven: Symphony No. 5 in C minor, 1st Movement
❍ Examples of composition techniques and devices
-
Pedal (tonic) – bars 33-47 (Cello & Bass)
Repetition – bars 160-167 (Violin I & II and Flutes)
Sequence – bars 408-414 (Violin I)
Cadences: Perfect – bars 194-195; 501-502
Imperfect – bars 267-268
- Pizzicato accompaniment – bars 254-263 (Viola, Cello, Bass)
- Antiphonal answers – bars 196-227; 442-449 (Strings & Woodwind)
❍ Instrumentation
zu 2: both players play the same part in unison
1.: first player (principal) to play the part
Flauti: Flutes
Oboi: Oboes
Clarinetti (B ): Clarinets. Transposing instrument (written a 2nd higher than the sound)
Fagotti: Bassoons. Written in bass clef normally, but sometimes in tenor clef when bass part
goes high and uses many ledger lines (e.g. bar 102)
Corni (E ): Horns. Transposing instrument (written a major 6th higher than the sound)
Trombe (C): Trumpets
Timpani (C. G): Timpani tuned to C and G (tonic and dominant)
Violino I & II: Violin I & II
Viola: Viola (written in alto clef )
Violoncello: Cello. Written in bass clef but sometimes in tenor clef when part goes high and
uses many ledger lines (e.g. bars 83-93)
Contrabasso: String/Double Bass (sounding 8ve lower than written)
b
b
❍ Score indications
Allegro con brio: Fast and vigorous
Adagio: Slow
Minim: 108 beats per minute – tempo indication by composer or editor
dolce: sweetly
sf (sforzando): strong accent
ff (fortissimo): very loud
p (piano): soft
pp (pianissimo): very soft
cresc. (crescendo): gradually getting louder
più: more
sempre più: always more
dimin. (diminuendo): gradually getting softer
pizz. (pizzicato): pluck a string instrument
arco: resume playing with the bow
Points of interest
•
•
•
Beethoven always has strong contrasts between the 1st and 2nd subjects of his symphonies.
This movement exists entirely on the opening four note rhythmic motif (descending major
3rd) and is given many new melodic shapes, contrapuntal applications and structural
groupings by Beethoven.
The four sections of this movement – exposition, development, recapitulation and coda – are
almost identical in size and perfectly balanced musically.
7
Beethoven: Symphony No. 5 in C minor, 1st Movement
•
•
•
•
•
•
•
The scoring is fuller in the recapitulation, and the 2nd subject is eight bars longer.
Mini cadenza – bar 268 (Oboe). This is a plaintive bar in the recapitulation section which takes
the tension out of the performance.
Although the structure/architecture of the movement is conventional, it is the originality
of ideas and the brightness of energy and inspiration that mark this work out as one of the
outstanding symphonies of the classical era.
In Beethoven’s nine symphonies, the exposition in the first movement is nearly always
repeated. (Mendelssohn rejected this idea in his Violin Concerto).
Sonata form evolved in the 18th century and deals with the organisation of themes/subjects,
their development and key relationships. The form has lasted so long and produced great
masterpieces because it is so flexible and capable of great variation.
Unusually, there is no real transition passage in the exposition or the recapitulation sections
of this movement. The presence of a tonic pedal (bars 33-56) ensures that the music stays in
the tonic key, C minor. These bars are also identical harmonically in the recapitulation section
(bars 277-2961).
It is the same ambiguous diminished 7th chord in bars 56 and 300 respectively (with necessary
enharmonic alterations) which effect the abrupt ‘transitions’.
8
Beethoven: Symphony No. 5 in C minor, 1st Movement
Mendelssohn: Violin Concerto, 1st Movement
Introduction
This violin concerto was written for Ferdinand David, a close friend of the composer, and
premiered in 1845 in Leipzig.
Musical elements
❍ Form
Sonata
❍ Structure
Exposition
(1-226)
Development
(226-335)
Recapitulation
(335-528)
Subject 1 (1-72)
Transition (72-131)
Subject 2 (131-210)
Codetta (210–226)
Variety of keys
Transition (226)
Subject 1 (240)
Cadenza (299)
Subject 1 (335-351)
Transition (351-377)
Subject 2 (377-459)
Codetta (459-473)
Coda (473–528)
Cadenza (bars 299-335)
This used to be the point (at the end of a movement) in the concerto when the soloist was
given a free hand to show off amazing technique and a virtuoso unaccompanied bravura
style. Mendelssohn broke the classical tradition and wrote out his own cadenza for the soloist,
placing it before the recapitulation rather than at the end of the movement. He used the
cadenza as a bridge passage in this concerto between the development and the recapitulation
sections.
❍ Texture
- Light when accompanying soloist, but thicker with orchestral tutti when soloist is tacet,
e.g. bars 48-76
❍ Tonality
- Home key: E minor
Examples of modulations:
Exposition
A minor (subdominant minor) – bars 28-29
G major (relative major) – bar 131
Development
A minor – bar 226
G major – bar 241
E minor – bar 245
C major – bar 248
A minor – bar 251
E major (tonic major) – bar 255
B major – bar 282
E major (2nd subject) – bar 377
9
Mendelssohn: Violin Concerto, 1st Movement
❍ Harmony
Chords:
- Dominant 7th chords, e.g. bar 298
- Diminished 7th chords, e.g. bar 44
❍ Examples of composition techniques and devices
-
Pedal (dominant) – bar 33 (Cellos and Basses)
Pedal (tonic) – bar 48 (Trumpets, Horns and Timpani)
Imitation – bars 505-509 (Flutes and Oboes)
Syncopated accompaniment – bars 48-55 (Violins II, Violas)
Decorated arpeggios – bar 113 (solo Violin)
Reduced scoring – bar 131 (Flutes, Clarinets and solo Violin)
Cadences: Perfect (in G major), e.g. bars 167-168 (Strings)
Pizzicato accompaniment – bars 181-189 (Strings)
Rubato/Ad lib – bars 299-334 (solo Violin)
Sequence – bars 359-360; 4284-430 (solo Violin)
Double stopping – bars 505-510 (Violins I)
❍ Instrumentation
zu 2: both players play the same part in unison
Flauti: Flutes
Oboi: Oboes
Clarinetti in A: Clarinets. Transposing instrument
Fagotti: Bassoons
Corni in E: Horns. Transposing instrument
Trombe in E: Trumpets. Transposing instrument
Timpani in E-H: Timpani tuned to E and B (tonic and dominant)
Violino principale: solo Violin
Violino: Violin
Viola: Viola
Violoncello: Cello
Contrabasso: String/Double Bass. Transposing instrument (sounding 8ve lower than written)
❍ Score indications
Allegro molto appassionato: Fast tempo with much passion
Points of interest
•
•
•
•
•
•
•
•
•
•
•
Opening theme played by the Violin soloist is played wholly on E string, well above the stave.
All 3 movements are linked together, each one following on after the previous one.
Combined classical structure with great romantic feeling.
Soloist and orchestra begin almost together.
No repeat of exposition as in classical concerti, where there was usually an orchestral
exposition followed by a repeat of the section with the soloist, where the themes were shared.
Effective musical balance between soloist and orchestra.
Variety of emotions – passion and tranquillity – constantly changing.
Dramatic writing contrasted with proportioned lyrical melodies.
Florid, flowing melodic lines.
Focus changes constantly between soloist and orchestra.
Cadenza not wholly virtuosic, but part florid.
10
Mendelssohn: Violin Concerto, 1st Movement
1
SUBJECT I
E minor
72
Transition
131
A minor
Codetta
226
VARIETY
OF KEYS
299
CADENZA
DEVELOPMENT
335
351
SUBJECT I
E minor
Transition
377
459
SUBJECT II
E major
RECAPITULATION
CONCERTO FOR THE VIOLIN AND ORCHESTRA – E MINOR Opus 64
MENDELSSOHN
210
SUBJECT II
G major
EXPOSITION
SONATA FORM – A PLAN OF THE FIRST MOVEMENT
E minor
Codetta
473
528
CODA
E minor
❍ Further information
http://www.naxos.com/composerinfo/bio24619.htm
Mendelssohn: Violin Concerto, 1st Movement
11
Handel: Zadok the Priest
Introduction
In the Book of Chronicles (Old Testament), Solomon is anointed King upon the death of his
father, King David, by Nathan the prophet and Zadok the Priest. Handel, ‘Master of the King’s
Music’ since 1712, composed this anthem for the coronation of King George II in Westminster
Abbey in 1727. It is symbolic of King Solomon’s biblical coronation.
This English Baroque anthem was originally composed for 7 parts and an orchestra, but is often
found arranged for 4 voices (SATB).
Musical elements
❍ Form
It is in three linked sections:
1. Zadok the Priest 2. And all the People Rejoiced 3. God save the King
❍ Structure
1-30
1st section:
Introduction (Instrumental)
Zadok the Priest
31-62
2nd section:
63-121
3rd section:
And all the People Rejoiced
God save the King
❍ Texture
1st section: Mainly light/sparse in opening orchestral introduction. Short homophonic choral
statement based on the opening harmonies of the orchestral introduction.
2nd section: Homophonic, based on legato lines in the chorus with dotted rhythms in
accompaniment. Addition of 4 part choir gives wider dimension. Brass and Timpani at
cadence points thicken the texture.
3rd section: Ternary form (ABA) – interweaving of 4 linked ideas. Contrapuntal writing gives a
more dense texture.
❍ Tonality
- Home key: D major
Examples of modulations:
G major (subdominant) – bars 4-5; 40-42
A major (dominant) – bars 7-8; 78-80
B minor (relative minor) – bars 49-52; 91-94
F# minor (mediant minor) – bars 99-101
12
Handel: Zadok the Priest
❍ Harmony
-
Diatonic/Consonant
Chromatic harmonies
Mainly root position and first inversions
Tonic and dominant mainly in middle section
Chords:
- Tonic chord
5
3
(root position) – bar 1
- A minor
6
3
(first inversion) – bar 3
- D major
6
4
(second inversion) – bar 71
- Dominant 7th
4
2
(third inversion) – bar 12
❍ Examples of composition techniques and devices
-
Sequence – bars 74-75 (Vl II); 84-86 (Sopranos); 92-93 (Altos and Tenors)
Repetition – bars 34-38 (accompaniment); 63-65 (all parts)
Pedal – bars 6-8; 14-17
Ostinato – bars 32-39; 41-45; 54-60 (bass of accompaniment)
Cadences: Perfect – bars 35-36; 43-44; 93-94
Imperfect – bars 28-30
Plagal – bars 120-121
❍ Instrumentation
-
2 Oboes
3 Trumpets
Strings
Continuo (Organ/Harpsichord)
❍ Score indications
Andante maestoso: Moderately slow and majestic
Allegro: Quick and bright
Adagio: Very slow
A tempo ordinario: Ordinary or moderate time
p (piano): quiet
f (forte): loud
ff (fortissimo): very loud
cres. (crescendo): getting louder
Points of interest
• Handel’s use of block/homophonic harmony for clear enunciation of words, e.g. bars 23-29
and 63-66.
• Types of accompaniment:
(i) Semiquaver broken chords – bars 1-29
(ii) Dotted quaver and semiquaver figures – bars 33-59
(iii) Running semiquavers in 3rd section – bars 87-90
(iv) Secco (dry) quavers – bars 92 and 93
13
Handel: Zadok the Priest
• Descending bass line in introduction and bars 95-97.
• Orchestral bridge – bars 74-78. Imitative style (modulating from tonic to dominant, I–V).
• Melismatic vocal style (many notes on one syllable – Amen), e.g. bars 114-116 (bass choral
part).
• Opening chordal sequence in instrumental introduction (bars 1-8) repeated in bars 23-30
with the voices.
• Repetition of words, e.g. bars 43-52 – ‘Rejoiced’.
❍ Further information
www.naxos.com/composerinfo/George_Frideric_Handel/24403.htm
14
Handel: Zadok the Priest
Haydn: Nelson Mass
Introduction
Haydn wrote at least 12 choral masses which were influenced by Neopolitan operatic styles and
the Vienneses antiphonal choral tradition. This mass (number 9) was composed in 1798 and uses
the Latin words of the Catholic service. It is joyful and probably Haydn’s most popular mass.
There are many compositional techniques, devices, harmonies and points of interest which
naturally are common to all three choruses.
Gloria
‘Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.’
(Glory to God on the highest, and on earth, peace and good will to all men.)
Musical elements
❍ Form
Solo & Choir / Vocal trio / Chorus / Solos / Chorus / Solos / Vocal quartet / Chorus
❍ Structure
1-15
16-32
33-51
52-70
Soprano soloist and
choir (SATB)
in repetition of motifs.
Homophonic choral
style.
Solo trio:
Bass, Tenor and Soprano.
New solo motif
sung in imitation.
Less tension now
in accompaniment
of strings only.
Choir sing in unison
with orchestra
– stepwise chromatic
progressions.
Alto soloist
(first appearance)
with opening theme,
but no repetition
from choir.
Soprano soloist
with theme.
D major
E minor (21)
E minor
F# minor
A major
71-77
78-89
91-97
98-105
Choir with opening
theme
(rhythm changed
to dotted).
No Soprano soloist
this time.
Tenor & Bass soli
with motif (bar 16).
Quartet of soloists
using part of motif
(bar 16).
Choral Coda.
Mainly tonic and
dominant harmonies,
using opening
rhythmic pattern.
D major
Tonic major/minor
D minor
D major
A major
B minor
D major
15
Haydn: Nelson Mass
❍ Texture
-
Sparse with soloists
Dense with choir
Homophonic
Fluid
❍ Tonality
-
Home key: D major
Examples of modulations:
E minor (supertonic) – bar 21
A major (dominant) – bar 42
B minor (relative minor) – bar 62
D minor (tonic minor) – bar 81
❍ Harmony
Chords:
- Diatonic
- Mainly root position and first inversions
- Subdominant (root position) – bar 71
- Tonic (root position) – bar 91
- Dominant 7th (root position) – bar 201
- Dominant 7th (first inversion) – bars 111 ; 293,4; 41
- Diminished 7th – bars 333; 343; 353
❍ Examples of composition techniques and devices
-
Repetition – bars 1-4 (opening Soprano soloist motif repeated by choir); bar 16 (Bass,
repeated by the Tenor – imitative)
Pedal – bars 15-18; 21-24; 89-93
Cadences: Perfect – bars 32; 50; 62; 105
Cadential: 6 – 5 cadence – bars 2-3; 14-15; 49-50
-
Antiphonal answers between soloist and choir – bars 1-4
Sequence – bars 64-67 (Soprano soloist)
Appoggiatura in vocal part – bars 81; 84 (Tenor soloist)
4
3
❍ Instrumentation
-
3 Trumpets
Timpani
Organ
Strings
Mixed Choir
Solo Quartet (SATB)
❍ Score indications
Allegro: Quick
fz (forzato): forced sound
p (piano): softly
16
Haydn: Nelson Mass
Points of interest
•
•
•
•
•
•
•
•
Common time.
Nature of accompaniment changes (tutti) in intensity with chorus.
Lighter orchestration (strings) when soloists sing.
Use of soloists (quartet) and choir intertwining without distinct sections for soloists and choir
(as with Mozart masses).
Excellent examples of compositional symmetry, where thematic material from this section is
also used in the Quoniam.
Short orchestral bridges between soloists – bars 50-51; 54-55; 60-61; 69-70
Haydn’s arpeggaic upper instrumental writing, e.g. bars 15-18; 96-98
Upward scalic semiquavers with opening of choral phrases – bars 3; 71; 99; 100
Quoniam Tu Solus
‘Quoniam tu solus, solus sanctus.’ (For Thou alone art holy.)
‘Tu solus altissimus.’ (Only Thou art most high.)
Musical elements
❍ Form
Solo & Choir / Choral bridge / Choral fugue / Vocal quartet / Coda
❍ Structure
1-15
17-22
Soprano soloist and
choir (SATB)
in repetition of
motifs.
Homophonic
choral style.
Repetition of bars
1-15 of the Gloria,
but different words.
Choral bridge
passage
Based mainly
on tonic and
dominant chords.
Less tension now.
Accompaniment of
strings only.
First fugal entry by
choir (Bass).
D major
D major
22-61
62-77
Solo quartet
Choir sing a
returns with
four-voice fugue,
imitation of the
with each voice
stepwise motif
stating the subject in
previously used by
various keys.
Haydn in the Gloria
This choral fugue
(bars 16 and 78).
contains answers
Bass, Tenor and Alto
and counter
enter in that order,
subjects (see below)
whilst the Soprano
with orchestral
support playing the has a more elaborate
vocal parts.
rococo/florid style
solo passage.
D major
D major
77-82
Tutti Coda
Orchestral, soloists
and choral flourish
– mixture of
polyphonic and
homophonic styles.
Upward climax,
ending with brass
and timps using
typical ‘classical’
rhythmic motif
of quavers and
semiquavers
(bars 80-82).
D major
17
Haydn: Nelson Mass
❍ Texture
-
Sparse with soloists
Dense with choir
Homophonic
Polyphonic
Fluid
❍ Tonality
-
Home key: D major
Examples of modulations:
B minor (relative minor) – bar 33
E minor (supertonic minor) – bar 44
❍ Harmony
Chords:
- Diatonic
- Mainly root position – bar 611
- First inversion – bar 772
- Tonic (root position) – bar 91
- Subdominant (root position) – bar 21
- Dominant 7th (root position) – bar 93
- Dominant 7th (first inversion) – bars 51; 61; 111; 791
- Dominant 7th (second inversion) – bar 133
- Dominant 7th (third inversion) – bar 53
❍ Examples of composition techniques and devices
-
Repetition – opening Soprano soloist motif repeated by choir (bars 1-4), with minor
rhythmic changes
Tonic pedal – bars 15-20; 61-681; 71-771 (orchestra)
Cadences: Perfect – bars 15; 81; 82
Cadential: 6 – 5 cadence – bar 23,4
-
Antiphonal answers between soloist and choir – bars 1-4
Syncopated accompaniment (right hand) – bars 17-22
Sequence – bars 77-78 in Soprano, Alto and orchestral accompaniment
Chromatic harmonic progressions – bars 28-31
Countersubject continued by Basses in bars 24-25 (Amen) against fugal entry of the Tenors
4
3
Fugue: A contrapuntal composition based on a melody/subject/voice, heard in Bass, Tenor,
Alto and Soprano at the beginning (bar 22). They all pass the melodic baton from one to
the other.
The Bass (bar 22) starts on the dominant (5th) and the Tenor (bar 24) on the tonic. The
opening interval of a 2nd with the Bass changing to an interval of a 3rd with the Tenor,
similarly with the Alto (bar 26) and Soprano (bar 28). These answers by the Tenor and the
Soprano are called tonal answers (because they are not exactly note for note). When they
are exactly note for note, they are called real answers.
The orchestra parts mainly double the choral parts in the fugue.
18
Haydn: Nelson Mass
Counter melody (subject): A new melody, not as important, played at the same time as
the melody.
❍ Instrumentation
-
3 Trumpets
Timpani
Organ
Strings
Mixed Choir
Solo Quartet (SATB)
❍ Score indications
Allegro: Quick and bright
Tutti: Everyone – viz soloists and choir
Points of interest
•
•
•
•
Rococo/florid style evident in Haydn’s orchestral and choral writing.
Melismatic writing for Soprano on ‘Amen’ – bars 64-71; 77-80.
Stretto (tight/narrow) fugal entries from bar 44-61, when other voices enter with the
melody before the previous one has finished!
Orchestral accompaniment in the fugue moves mainly in ‘walking’ quavers.
Credo
‘Credo in unum Deum Patrem omnipotentum, factorem coeli et terrae.’
(I believe in one God, the Father Almighty, maker of heaven and earth.)
Musical elements
❍ Form
Intro / Chorus / Orchestral bridge / Chorus / Orchestral bridge / Chorus / Coda
❍ Structure
1-7
8-27
Orchestral
unison
introduction
with much
stepwise
movement
played
staccato.
Canon 2 in 1 at
the fifth. Using
first six notes of
orchestral
introduction.
Vocal lines are
subsumed in
the orchestral
Homophonic accompaniment,
which is more
style.
polyphonic in
style.
D major
27-31
31-47
47-50
Orchestral
Canon
Orchestral
bridge
continues
bridge
passage/ with choir, but passage/
interlude.
starting now
interlude.
on the third
beat of the
bar.
50-77
78-83
Canon 2 in 1
continues,
using fragments of
bars 8-18.
More chromatic
now with much use
of sequence.
Orchestral
accompaniment in
upper parts with
continuous quaver
movement.
Choral coda
now in SATB
harmony for
the only time
in the chorus.
A major
19
Haydn: Nelson Mass
❍ Texture
-
Homophonic, e.g. bars 77-83
Polyphonic, e.g. bars 31-47
❍ Tonality
-
Home key: D major
Examples of modulations:
A major (dominant) – bar 28
B minor (relative minor) – bar 49
❍ Harmony
-
Many chromatic harmonies in the orchestral accompaniment
Chords:
- Diatonic
- Mainly root position
- First inversion – bar 143
- Second inversion – bar 801
- Tonic (root position) – bar 781
- Subdominant (root position) – bar 91
- Dominant 7th (root position) – bar 134
- Dominant 7th (first inversion) – bar 774
❍ Examples of composition techniques and devices
-
Suspensions – bar 29 (9-8)
Sequence – bars 51-54; 644-684 (choral parts)
Auxiliary notes, passing notes and arpeggi quavers in accompaniment, e.g. bars 61-64
Canon: A compositional device in which a melody in one part is repeated note for note
in another part, while the melody of the first part continues to unfold (an overlapping of
melodies).
Canon 2 in 1: Two voices sing what could be sung by one voice. Sopranos and Tenors begin
on tonic, then Altos and Bass begin a bar later, 5 notes lower.
❍ Instrumentation
-
3 Trumpets
Timpani
Organ
Strings
Mixed Choir
❍ Score indications
Allegro con spirito: Quick with much vigour
20
Haydn: Nelson Mass
Points of interest
•
•
•
•
•
•
It begins with orchestral unison playing and ends with choral unison.
Split common time, i.e. two beats to the bar.
Haydn emphasises his belief in one God by utilising the one theme sung in unison.
The appoggiatura – bar 93 (accompaniment).
The turn ~ – bar 132 (accompaniment).
The trill tr – bar 181 (accompaniment).
21
Haydn: Nelson Mass
Schubert: Die Schöne Müllerin
(The Beautiful Maid of the Mill)
‘When poetry and music together came down to Earth they entered the soul of Franz Schubert.’
Dietrich Fischer-Dieskau (famous German lieder singer)
Introduction
Lieder is the German name for a song. Schubert (1797-1828) wrote over 600 songs, mainly
romantic and happy. This song cycle, composed when Schubert was 26 years old, consists of
20 songs. A song cycle is a group of interconnected songs performed in sequence on a central
theme, similar to Pink Floyd’s The Wall. Normally, all the poetry and music are by the same poet
and composer. This cycle is about a love triangle of a huntsman and a young happy wanderer’s
unrequited love for the Miller’s daughter, tracing the young man’s emotional journey from
happiness to despair.
5. Am Feierabend (After Work)
Musical elements
❍ Form
Ternary
❍ Structure
1-7
8-25
26-59
59-78
78-89
Intro
Piano
Section A
Voice and Piano
Section B
Voice and Piano
Section A
Voice and Piano
Coda
Voice and Piano
❍ Texture
-
Light
Chordal accompaniment
❍ Tonality
-
Home key: A minor
Examples of modulations:
E major (dominant) – bars 12-15
A major (tonic major) – bars 16-24
C major (relative major) – bars 26-40
D minor (subdominant minor) – bars 41-44
❍ Harmony
Chords:
- Diatonic arpeggaic/broken chords, e.g. bars 7-26 (right hand accompaniment)
- Dominant 7th (first inversion) – bar 9
- Major & minor chords (root position and first inversion) – bar 1
22
Schubert: Die Schöne Müllerin
❍ Examples of composition techniques and devices
-
Cadences: Perfect – bars 14-15; 23-24; 45; 58-59; 88-89
Imperfect – bar 37
Repetition – bars 16-19
Sequence – bars 37-43
Anacrusis – bars 7; 37; 60
Ostinati – bars 7-8 (right hand)
Pedal – bars 46-51; 78-87
Tonic major to tonic minor – bars 24 and 25
Auxiliary chromatic notes – bar 8 (G# – voice); bar 52 (E – voice)
b
❍ Instrumentation
-
Male vocalist/Tenor
Piano
❍ Score indications
Ziemlich geschwind: Rather quick
Etwas geschwinder: Somewhat quicker
f (forte): loud
p (piano): soft
pp (pianissimo): very soft
sf (sforzando): strongly accented
decresc. (decrescendo): growing less/becoming softer
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
The poet’s name was Wilhelm Müller.
Compound 6 time.
8
Opening homophonic chordal style of accompaniment – bars 1-4.
Beauty of flowing lyrical melody – bars 16-17.
Sensitive harmonic colours and progressions throughout.
Brief visits to related keys (see ‘Examples of modulations’).
Schubert’s independent Piano accompaniment.
Excellent keyboard contrasts to suit the mood of the poetry.
Schubert preferred the Piano to the Harpsichord because it gave more scope for colour,
dramatic intensity and dynamic effects.
Exciting semiquaver accompaniment – bars 7-25; 59-82.
Schubert’s fondness of varying lengths of phrases, e.g. bars 8-19. There are 4x4 bar
phrases, but the section ends with a 5 bar phrase (bars 20-24).
His fondness for echoing the end of a vocal phrase in the accompaniment, e.g. bars 39-40;
43-44; 85-86 (left hand Piano).
The chord of the dominant 7th was often used by Schubert when the words refer to fatigue
and disappointment (bars 28-31 – ‘How weak my arms are!’). The young wanderer so
wanted to impress the Miller’s daughter with his strength and win her love.
Middle section (bar 26 on) based on chord progressions derived from opening style of
introduction.
Compare bass line 8ve rhythms of bars 7-26 with bars 59-69.
Rhythmic change in bass line rhythms (on the beat) – bars 26-36.
Less tension in bars 46-58 with recitative vocal style (family relaxing around the fire after a
hard day’s work).
23
Schubert: Die Schöne Müllerin
❍ Further information
www.lieder.net
After Work
A (bars 8-24; 61-85)
If I had a thousand arms to move!
I could drive the wheels with a roar!
I could blow through all the copses!
I could turn all the millstones!
Then the miller’s daughter could sense my true purpose!
B (bars 26-59)
Oh, how weak my arms are! What I lift, what I carry,
What I cut, what I hammer, any fellow can do as well.
And there I sit among all the others in the quiet, cool time of rest,
And the master says to all of us: I am pleased with your work,
And the lovely maiden said ‘Goodnight’ to everyone.
6. Der Neugierige (The Questioner)
Musical elements
❍ Structure
1-4
Intro
4 bars
Piano
5-20
Section A
4+4+4+4
Voice and
Piano
23-32
Section B
4+4+2
Voice and
Piano
33-41
Section C
3+3+3
Voice and
Piano
43-52
Section B
4+4+2
Voice and
Piano
53-55
Coda
4 bars
Piano
❍ Texture
- Light
- Chordal accompaniment
❍ Tonality
- Home key: B major
Examples of modulations:
F# major (dominant) – bars 11-12; 19-20
B minor (tonic minor) – bars 25; 45
G major (flattened submediant) – bars 37-38
24
Schubert: Die Schöne Müllerin
❍ Harmony
Chords:
- Diatonic arpeggaic/broken chords, e.g. bars 23-33
- Dominant 7th 6 (first inversion) – bar 26
5
-
Major & minor chords, e.g. bar 33 – F# major
-
Chromatic progression – bar 50 (bass line)
6
3
(first inversion)
❍ Examples of composition techniques and devices
-
Cadences: Perfect – bars 19-20; 31-32; 40-41
Repeated phrases – bars 5-8; 13-16
Anacrusis – bars 4; 22
Pedal – bars 23-25; 52-55
Lower auxiliary notes – melodic line – bars 5; 13
Appoggiaturas – bars 31; 39 (voice)
Accented passing notes – bars 33-34 (voice)
Anticipatory notes – bars 29-30; 31-32 (voice)
❍ Instrumentation
-
Male vocalist/Tenor
Piano
❍ Score indications
Langsam: Slow
Sehr langsam: Very slow
Points of interest
•
•
•
•
•
•
•
•
The poet’s name was Wilhelm Müller.
Semiquaver figures creating rippling stream – bars 23-32.
Change from 2 (simple duple) to 3 (simple triple) in bar 23.
4
4
Syncopated accompaniment – bars 5-10.
Recitative vocal style – bar 33.
Chromatic harmonic progressions – bars 9-10; 46 (accompaniment, chromatic lower auxiliary
note – E# in the bass); 49-50.
Fondness for echoing the end of a vocal phrase in the accompaniment – bars 51-52 (voice) in
augmentation – bars 52-53 (Piano).
Remote key modulations and rapid return to tonic – bars 41-43.
❍ Further information
www.lieder.net
25
Schubert: Die Schöne Müllerin
The Questioner
A (bars 5-20)
I don’t ask any flower, I don’t ask any star,
None of them can tell me what I’d like to know so much.
I am not a gardener, the stars are too far above;
I’ll ask my little brook if my heart has deceived me.
B (bars 23-32)
Oh, little brook of my love, why are you so silent today?
I only want to know one thing, one word, one way or the other.
C (bars 33-41)
Yes, is the one word, the other is No.
The two words together make up my entire world.
B (bars 43-52)
Oh, little brook of my love, how strange you are!
If you won’t say anything further, tell me, little brook, does she love me?
7. Ungeduld (Frustration)
Musical elements
❍ Form
Strophic – 4 verses
❍ Structure
1-8
9-18
19-26/27
Intro
Piano
Verses 1, 2, 3, 4
Voice and Piano.
5 short phrases:
bars 9-10; 11-12;
13-14; 15-16; 17-18
Chorus
❍ Texture
- Light and rhythmic in verses
- Thicker in chorus
❍ Tonality
- Home key: A major
Examples of modulations:
E major (dominant) – bars 3; 22-23
E minor (dominant minor) – bars 4-5
B minor (supertonic minor) – bars 10-11; 15-16
26
Schubert: Die Schöne Müllerin
❍ Harmony
Chords:
- Major and minor, root positions and inversions
- Dominant 7th – bars 8; 24
- Diminished 7th – bars 21-22
- Chromatic progressions – bars 12; 15
❍ Examples of composition techniques and devices
-
Cadence: Perfect – bars 8-9
Sequence – bars 2-3 and 5-6; 9-10 and 11-12
Anacrusis – every vocal entry – bars 9-18 (upbeat to 9)
❍ Instrumentation
-
Male vocalist/Tenor
Piano
❍ Score indications
Etwas geschwind: Rather quick
fp (fortepiano): loud, then soft
fz (forzato): forced sound
ll: :ll : repeat
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
The poet’s name was Wilhelm Müller.
Simple triple time, but really 9 in performance.
8
Note how dotted rhythms in vocal line adds to character of song.
Melodic line in right hand intro – bars 1-8.
Tension increases in chorus as wanderer declares his love for the miller’s daughter – high
tessitura (pitch) of vocal line.
Much stepwise movement in melodic line of verses.
Brief flirtations with remote keys (see ‘Examples of modulations’).
Joyful and uplifting mood – the wanderer declares his love.
The rhythm of vocal line in each verse is exactly the same.
The rhythm of accompaniment in each verse follows the same pattern.
Opening left hand motif in intro repeated in sequence.
Intro right hand triplets mainly in thirds and sixths.
Texture of accompaniment thickens in bars 7-8, heralding vocal entry.
Lighter rhythmic texture with accompaniment in verses.
Homophonic closing – perfect cadence.
❍ Further information
www.lieder.net
27
Schubert: Die Schöne Müllerin
Frustration at not being noticed!
Verse 1
I’d like to carve it in the bark of every tree,
I’d etch it into every pebble,
I’d sow it in every new-tilled field,
With cress seeds that would show it quickly,
I’d gladly write it on every blank sheet of paper:
Chorus
My heart is yours and will ever remain so.
Verse 2
I’d like to raise a young starling,
To speak the words clearly and distinctly,
So that he would speak with the sound of my voice,
With all my heart’s intense longing;
Then he’d sing it through her windows:
Chorus
My heart is yours and will ever remain so.
Verse 3
I’d like to breathe it into the morning breezes,
I’d like to blow it through the stirring grove;
Oh, if it could only glow from every starry blossom!
If the scent could carry it to her from near and far!
You waves, can you only push wheels?
Chorus
My heart is yours and will ever remain so.
Verse 4
I’d swear it must show in my eyes,
Anyone could see it burning on my cheeks,
Anyone could read it on my silent lips,
Every breath proclaims it aloud,
And she doesn’t even notice my anxious yearning:
Chorus
My heart is yours and will ever remain so.
28
Schubert: Die Schöne Müllerin
Corelli: Sonata da Camera Op.2, No. 7 in F
(Preludio, Allemanda, Corrente, Giga)
Introduction
Sonata da Camera (Chamber Sonata) is a series of short pieces (suite) composed in the same key,
suitable for dancing. The sonata generally begins with a ‘Prelude’ which serves as a preparation
for the other movements, ‘Allemanda’, ‘Corrente’ and ‘Giga’.
They are known as Trio Sonatas because they are scored on three staves for Violin 1, Violin 2 and
Cello, but 4 players are needed! The Harpsichord player was taken for granted and not counted,
and would read the figured bass from the same stave as the Cello part. The Trio Sonata was the
foundation of the Concerto Grosso (see Bach’s Brandenburg).
Corelli (1653-1713) was an Italian violinist and composer of Baroque music who wrote 48 Trio
Sonatas.
Preludio
Musical elements
❍ Form
Modified Binary
❍ Structure
1-4
5-8
9-16
17-22
A1
Tonic key – F major.
Ends with imperfect
cadence.
A2
Dominant key – C.
Ends with imperfect
cadence.
B1
Descending scalic
motif from A.
Ends with perfect
cadence.
B2
Cello (bar 17)
repeats bar 3.
Ends with perfect
cadence.
❍ Texture
-
Contrapuntal, e.g. bars 9-10
❍ Tonality
-
Home key: F major
Examples of modulations:
C major (dominant) – bars 5; 13
D minor (relative minor) – bar 16
29
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
❍ Harmony
Chords:
- Diatonic
- Dominant chord
-
Supertonic chord
-
Dominant 7th
7
5
5
3
6
3
(root position) – bar 4
(first inversion) – bar 173
(root position) – bar 213
❍ Examples of composition techniques and devices
-
Suspensions: 7-6 – bars 9-10
9-8 – bars 18-19
Diminuition of opening motif – bars 18-19
Passing notes – bar 9 (Cello)
Arpeggio notes – bar 13 (Cello)
Cadences: Perfect – bar 13 (C major); bar 22 (F major)
Imperfect – bar 4 (F major)
Sequence – bar 9 (Cello)
❍ Instrumentation
Violino: Violin
Violone: Cello
Cembalo: Harpsichord
❍ Score indications
Figured Bass/Continuo: a type of musical shorthand or playing by numbers popular with
small orchestral combinations, particularly in the Baroque era. The keyboard player would fill
in the harmonies according to the figures written under the bass clef – this skill was called
‘realisation’. Here are some of the most common figures used by Corelli:
5
3
– root position of the chord (not always written)
6 – first inversion of the chord
6
4
– second inversion of the chord
# – sharpen the third note of the chord
43
– suspension
7 – chord of the 7th
6
5
– first inversion of the chord of the 7th
30
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
Points of interest
•
•
•
•
•
•
•
•
•
•
Quite a restricted melodic range for each part.
Adagio tempo.
Overlapping of Violin 1 & 2 – bars 11-12
Walking bass – bars 12-17
Imitation between Violin 1 & 2, using opening motif – bars 14-15
Hardly any dynamics in Baroque music.
No repeats in the Prelude.
Imitation and dialogue throughout.
Independence of bass continuo part.
Good range of harmonic vocabulary.
Allemanda
Musical elements
❍ Form
Binary
❍ Structure
1-14
15-27
A
F major
Opening rhythmic arpeggio motif is
repeated in imitation in Cello (bar 2).
4 bar phrases ending in perfect cadences
– bar 8 in dominant and bar 14 in the tonic.
Echo effect. Ending in perfect cadence.
B
F major
Opening rhythmic motif (Violin 2 & Cello)
is repeated tutti in imitation. The final
cadence has the same echo effect.
Cello part more prominent here
and more florid.
Ending in perfect cadence.
❍ Texture
-
Fluid
Contrapuntal – bars 20-21
❍ Tonality
-
Home key: F major
Examples of modulations:
C major – bar 9
D minor – bar 18
31
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
❍ Harmony
Chords:
- Diatonic
- Tonic chord
5
3
(root position) – bar 122
6
3
(first inversion) – bar 24
-
Tonic chord
-
Second inversion
-
Dominant 7th – bars 81; 233 (7th rises here)
6
4
– bar 193
❍ Examples of composition techniques and devices
-
Cadence: Perfect (in tonic) – bar 5
Sequence: descending – bars 10-11 (Cello)
Sequence: ascending – bars 22-23
Suspensions – bars 253-4
❍ Instrumentation
Violino: Violin
Violone: Cello
Cembalo: Harpsichord
❍ Score indications
Figured Bass/Continuo (see Prelude)
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
•
Allegro tempo.
Lively and rhythmic.
Common time – 4
4
Very few dynamics in Baroque music.
Both sections A & B repeated.
Independence of bass continuo part.
Walking bass – bars 53-7
Large leaps of 8ve and 10th in Violins.
Echo effect/repetition at end of sections – bars 12-14; 25-27
This echo effect is to be seen in Vivaldi’s concerti – he was a pupil of Corelli.
Use of tenor clef for Cello – bar 15
Overlapping of Violins – bars 8; 18
Falling interval of 7th in melody at cadence – bars 244-25
32
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
Corrente
Musical elements
❍ Form
Binary
❍ Structure
1-20
21-40
A
F major
Rhythmic motif in Violin 1 appears many
times in all 3 instruments.
Echo effect in last 6 bars.
Ends on perfect cadence.
B
F major
Homophonic opening for 3 bars,
modulating briefly to C major and
D minor.
Echo effect in last 6 bars.
Ends on perfect cadence.
❍ Texture
-
Sparse
Homophonic
❍ Tonality
-
Home key: F major
Examples of modulations:
C major (dominant) – bars 7; 11
D minor (relative minor) – bar 27
❍ Harmony
Chords:
- Diatonic
- Tonic chord
-
Tonic chord
5
3
(root position) – bar 11
6
3
(first inversion) – bar 21
❍ Examples of composition techniques and devices
-
-
Cadences: Perfect – bar 27 (D minor)
Interrupted (V-VI) – bar 17
Imperfect – bar 6
Sequences – bars 7-10 (Violin 1); bars 27-30 (Cello)
Suspension 7-6 – bar 22-3 (Violin 2)
33
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
❍ Instrumentation
Violino: Violin
Violone: Cello
Cembalo: Harpsichord
❍ Score indications
Figured Bass/Continuo (see Prelude)
Points of interest
•
•
•
•
•
•
•
•
•
Triple time.
Quite repetitive.
Opening dotted rhythm motif appears in most bars, but not always on the same beat of
the bar.
Tenor clef (Cello) – bars 31-34
Bars 143-20 repeated exactly in bars 343-40.
Both sections A & B repeated.
Numerous cadential points.
Cello part plays dotted motif and given more independent line.
Corelli often used Hemiola rhythms, e.g. bars 21-23, in composing the type of dance
where the triple time 123,123 creates a sensation of becoming duple 12,12,12.
Giga
Musical elements
❍ Form
Binary
❍ Structure
1-34
35-73
A
Lively rhythmic imitative opening
between Violin 1 and Cello.
Modulation to dominant at bar 18,
then return to perfect cadence
in F at bar 34.
B
Imitative opening before Violin 1
dominates the melodic line again.
Brief modulations to new keys.
Sequential dialogue between
Violin 1 and others.
Ends with perfect cadence in tonic key.
❍ Texture
-
Fluid
34
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
❍ Tonality
-
Home key: F major
Examples of modulations:
D minor (relative minor) – bar 45
G minor (supertonic) – bar 49
❍ Harmony
Chords:
- Diatonic
- Tonic chord
5
3
(root position) – bar 4
-
Tonic chord
6
3
(first inversion) – bar 23
-
Tonic chord
6
4
(second inversion) – bar 721
-
Dominant 7th – bar 65
❍ Examples of composition techniques and devices
-
Cadences: Perfect (in tonic) – bar 10
Perfect – bar 18
Sequence – bars 58-65 (Violin 1)
Auxiliary notes (lower) – bar 21 (Violin 1 & 2)
Passing notes in 3rds – bar 27 (Violin 1 & 2)
Passing notes (contrary motion) – bar 46 (Violin 1 & 2)
❍ Instrumentation
Violino: Violin
Violone: Cello
Cembalo: Harpsichord
❍ Score indications
Figured Bass/Continuo (see Prelude)
Points of interest
•
•
•
•
•
•
•
•
•
•
Most Baroque orchestral suites end with a Gigue (cf. J. S. Bach).
Both sections A & B repeated.
The Gigue is a lively (Allegro) dance.
This Gigue is in 3 namely one beat in the bar.
8
Tenor clef (Cello) – bars 11-13; 35-36
This is a moto perpetuo composition – i.e. non stop action using mainly notes of the same
value (quavers).
Violin 1 is the dominant part except when overlapped by Violin 2.
Overlapping of parts (Violin 1 & 2) – bars 19-24; 42-44
Cello has more supportive role in this dance with dotted crotchet notes – bars 37-57.
Opening Violin 1 motif repeated in imitation by Cello.
35
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
•
•
•
Violin melody consists mainly of arpeggio and passing notes.
Bars 29-34 (end of section A) repeated in bars 68-73 (end of section B).
Dialogue between Violin 1 and Violin 2 & Cello – bars 58-65.
36
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
b
Beethoven: String Quartet in B Op. 18, No. 6, 1st Movement
Introduction
One of the greatest revolutionary composers. Beethoven (1770-1827) wrote in many genres
including overtures, symphonies, choral works, piano sonatas and one opera. Despite his
incurable deafness, Beethoven composed almost exclusively for the string quartet during the
last three years of his life. He composed a total of 17 quartets. This quartet was composed in
1799. Although considered a ‘Classical’ composer, Beethoven was a precursor of Romanticism
and ahead of his time because of the feeling and expression portrayed in his compositions.
Musical elements
❍ Form
Sonata
❍ Structure
1-91
Exposition
A
91-174
Development
B
175-265
Recapitulation
A
❍ Texture
-
Fluid
Homophonic (2nd subject) – bars 45-47; 88-89
Mainly dense – bars 210-213
❍ Tonality
-
b
Home key: B major
Examples of modulations:
Exposition
F major – bar 44
F minor (dominant minor) – bars 49; 59-60
A (flattened leading note) – bar 56
b
Development
D major (mediant) – bar 102
G minor (relative minor) – bar 110
E major (subdominant) – bar 127
b
❍ Harmony
Chords:
- Tonic chord: B major (root position) – bar 1
- G minor (root position) – bar 248
- Dominant chord 6 (first inversion) – bar 64
b
3
37
Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement
-
Dominant 7th (first inversion) – bar 65
Diminished 7th – bars 74; 247
Dominant chord 6 (second inversion) – bar 78
4
th
Dominant 7 (last inversion) – bar 553
❍ Examples of composition techniques and devices
-
Cadences: Perfect – bars 79-80
Imperfect – bars 12-13
Pedal – bars 33-39 (Cello)
Sequence – bars 53-56; 57-602
– bars 1314-1372 (Violin 1)
Imitation – bar 113 (Cello); bar 115 (Viola); bar 117 (Violin 2)
Double stopping (2 notes played simultaneously) – bars 85 & 110 (Viola);
bar 102 (Violin 1 & 2)
Appoggiatura in bar 1 played as 4 semiquavers
Music dialogue (imitation) – bars 5-9 (Violin 1 and Cello)
Contrary motion – bar 40 (Cello and Violin 1 & 2)
Lower auxiliary notes – bars 68-69 (Cello, Viola & Violin 2)
Syncopated effect – bars 71-74
Upward scalic passages – bars 32-41; 113-139
Arpeggio based homophonic phrases – bar 92
Appoggiaturas played on the Viola and Violin – bar 47
Chromatic progression: F major to G minor – bars 100-102 (Development)
Chromatic chord in bar 101 is a French 6th (E -G-A-C#)
b
❍ Score indications
Violino I: Violin 1
Violino II: Violin 2
Viola
Violoncello: Cello
Allegro con brio: Fast with vigour
fp (fortepiano): sudden reduction of loud dynamic
cresc. (crescendo): increase volume gradually
sf: strong accent
p (piano): soft
pp (pianissimo): very soft
decresc. (decrescendo): decrease volume gradually
tr. (trill): quick repeated alternation between the note and the one above or below it, usually
a semitone or a tone
(split
common
time): the composition is written as 4 crotchet beats to the bar, but
C
the performance is played/directed in 2 minim beats to the bar
Points of interest
•
•
Subject 1 theme consists of short arpeggi phrases.
Much use made of subject 1 appoggiatura 4 note (anacrusis) phrase in development section,
e.g. bars 934-106.
Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement
38
•
•
•
•
•
•
•
•
•
Melodic interest shared amongst all players, not just Violin 1.
New material in transition of recapitulation (bars 198-205), not in exposition.
Split common time 4 – pulse is effectively two beats in the bar.
4
Viola uses alto clef (C is the third line on the stave), and tuned an octave higher than the Cello.
Return of subject 2 in recapitulation (bar 217) is in the tonic and not the dominant as in
exposition (as expected).
Major to minor fluctuation in 2nd subject – bars 44-62 (exposition) and bars 217-227
(recapitulation).
Beethoven always had repeat marks for the exposition section, and this was usual practice in
classical music.
Note the repeat marks in bar 264 instructing players to return to bar 92 (development
section) and play through again to the end.
Although there are 3 sections in this movement, the historical link with binary form is
very clear, with the repeat of both exposition (A) and the repeat of the development/
recapitulation (B) section. Nowadays, the repeat of development and recapitulation sections
are often omitted in performance.
39
Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement
b
Brahms: Clarinet Sonata in E Op. 120, No. 2, 3rd Movement
Introduction
This sonata was dedicated to the famous clarinettist, Richard Mühlfeld, and premiered in Vienna
in 1895 to critical acclaim. One critic wrote, ‘There is no more beautiful use of variations than in
the last movement of this sonata.’
For the 3rd and final movement of the sonata, Brahms has used theme and variation form as his
structure. It is a set of 5 variations on a given theme. The clarinet part on our score is written in C
and doesn’t need to be transposed.
Brahms was very fond of the variation form, and you may be familiar with his ‘St Anthony Chorale
Variations for Orchestra’. Perhaps some of you have already used theme and variation form in
your own compositions. If not, try it after studying this work.
Form of the 3rd Movement – Theme and Variations
1-14
15-28
29-42
43-56
57-70
71-97
98-153
Theme
Var. 1
Var. 2
Var. 3
Var. 4
Var. 5
Coda
Theme (bars 1-14)
Musical elements
❍ Structure
4+4+2+4
Bars
1-4
Bars
5-8
Bars
9-10
Bars
11-14
❍ Texture
-
Fluid
Homophonic – bars 2-4
Dense in Piano – bars 9-10
❍ Tonality
-
b
Home key: E major
Examples of modulations
G minor (mediant minor) – bar 103
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
40
❍ Harmony
Chords:
- Diatonic
- Tonic chord
5
3
(root position) – bar 91
6
3
(first inversion) – bar 21
-
Tonic chord
-
Dominant 7th – bars 66; 83; 106
Diminished 7th – bar 136
❍ Examples of composition techniques and devices
-
Cadences: Imperfect – bars 4; 8
Plagal – bar 14
Pedal (dominant) – bars 46-55
Sequence – bars 16 -2 (Piano)
Sequence – bars 1-3 (Clarinet)
Suspension – bar 83,4,5 (Piano)
❍ Score indications
Andante con moto: Moderate pace
poco f (forte): fairly loud
calando: getting softer and slower/dying away
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
•
Anacrusis at beginning of musical phrases.
Phrasing.
Theme is 4+4+2+4.
Bars 3-4 (Clarinet) is repeated in 7-8 (Clarinet).
Cadence: Clarinet motif ends phrases – bars 4, 8 and 13-14.
Symmetrical for first 8 bars, but carries on with 6 (2+4) bar phrase (rather than 4 or 8 bar
phrase).
A beautifully shaped melody – relaxed charm.
Piano part provides harmonic support and colour, yet is independent.
Use of consecutive 8ves in left hand Piano accompaniment.
Chordal richness of right hand Piano accompaniment.
The phrasing of the compound three quavers begins on the anacrusis and carries across
the bar line in both instruments.
Many cresc. and decresc. symbols (<>) in Brahms’ compositions, which are in keeping with
the Romantic period in which he lived.
Brahms is regarded as the bridge between Classical and Romantic music.
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
41
Variation 1 (bars 15-28)
Musical elements
❍ Texture
-
Contrapuntal
Sparse at times, e.g. bars 15-18 (Piano)
❍ Tonality
-
b
Home key: E major
Examples of modulations
G minor (mediant minor) – bar 245
❍ Harmony
Chords:
- Diatonic
- Chromatic – bar 25
- Diminished 7th – bar 246
- Dominant 7th – bar 251
❍ Examples of composition techniques and devices
-
Cadences: Imperfect – bar 22
Perfect – bar 285
Pedal (dominant) – bar 19
Suspension – bar 224 (right hand Piano)
Sequence – bars 186-195 (Piano)
❍ Score indications
dolce: sweetly
sost. (sostenuto): sustained (legato)
poco f (forte): little louder
Points of interest
•
•
•
•
•
•
•
Highly imaginative.
Original theme note-lengths have been changed, but same phrasing across the bar
maintained. Clarinet part now resembles a skeletal version of the original theme.
Anacrusis (Clarinet and Piano) not starting together.
Structure modified: 4 (Tutti) + 4 (Piano) + 2 (Clarinet) + 2 (Piano) + 2 (Clarinet).
In theme, Clarinet plays for 10 bars.
Piano plays syncopated harmonies (3rds) in imitation with melody of Clarinet (bars 15-18),
providing tension.
These off-beat accents in the Piano provide main rhythmic focus in bars 15-18.
Piano has centre stage in bars 19-22, with re-statement of bars 15-18 (not syncopated),
but same simple rhythm as Clarinet previously in bar 15-18. Less tension now.
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
42
•
•
•
•
Cadence motif (bars 13-14) changed.
Left hand Piano rhythm repeats Clarinet rhythm in bars 226-245.
Off beat rhythm returns in Piano – bars 256-28.
Harmonic structure mainly the same as before in theme, although some slight harmonic
differences in this variation.
Variation 2 (bars 29-42)
Musical elements
❍ Texture
Quite dense on the whole
❍ Tonality
-
b
Home key: E major
Examples of modulations
G minor (mediant minor) – bar 385
❍ Harmony
Chords:
- Diatonic
- Diminished 7th – bar 31 (right hand Piano)
- Dominant 7th – bar 373 (heard in arpeggio figuration and contrary motion in Piano part)
- Dominant 7th (final inversion) – bar 403 (Piano)
❍ Examples of composition techniques and devices
-
Cadences: Imperfect – bar 325
Interrupted/Surprise – bar 413,4
Pedal (dominant) – bar 33
Suspension – bar 324,5
Sequence (Clarinet) – bars 306-313 (8ve lower than theme)
Contrary motion: 16 note arpeggi – bar 37 (Piano)
❍ Score indications
molto p (piano) e dolce: very quiet and gentle
Points of interest
•
•
•
•
•
Piquant and ‘jumping for joy’.
Harmonic structure, mainly the same as before in theme, with some slight harmonic
differences (bar 31).
Different phrasing now.
Some original theme note-lengths have been changed.
Piano triplet semiquaver accompaniment, descending then ascending – bars 29-31.
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
43
•
•
•
•
•
•
•
•
•
•
Contrary motion arpeggi – bar 37.
Anacrusis on Clarinet 8ve lower than before.
Brahms explores lower range sonority of Clarinet.
Downward leaps of minor 7ths at opening, then back up – bar 29.
Clarinet keeps two note theme motifs on beats 3 and 6 in bars 29-31, whilst Piano plays
triplet arpeggi figures.
Changed harmonies in bar 31 compared with bar 3 of theme.
Regular rhythmic pattern in left hand Piano, with harmonic support chords on beats 2,3
and 5,6 – bars 29-32.
Clarinet and Piano reverse roles in bars 33-36. Piano plays melody 8ve higher and Clarinet
plays triplet arpeggi figure in reverse (ascending then descending).
Clarinet plays 13 bars and Piano accompanies the same, but Piano only plays 1 bar solo at
the end of the variation – bar 42.
This variation follows Variation 1 without a break/pause (segue).
Variation 3 (bars 43-56)
Musical elements
❍ Texture
Quite dense from bars 49-56
❍ Tonality
-
b
Home key: E major
Examples of modulations
G minor (mediant minor) – bar 525
❍ Harmony
Chords:
- Diatonic
- Dominant 7th
-
6
5
(first inversion) – bar 461
Diminished 7th – bar 492
❍ Examples of composition techniques and devices
-
Antiphonal exchanges (3 beats length) between Clarinet and right hand Piano
– bars 43-48
Right hand Piano echoes previous beat of Clarinet – bar 49
Passing notes – bar 503 (d) (Clarinet)
Chromatic passing notes – bar 46 (final note)
Lower auxiliary notes (anacrusis) – bab
Cadences: Imperfect – bars 465; 505
Perfect – bar 563,4
Sequence – bars 466-473 (Clarinet); bar 472-6 (right hand Piano)
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
44
❍ Score indications
grazioso: gracefully
fp (fortepiano): sudden diminuendo
Points of interest
•
•
•
•
•
•
•
•
•
•
•
This variation follows variation 2 without a break/pause (segue).
Anacrusis.
This is the most intense of the first three variations.
Both Clarinet and Piano play in every bar.
More emphasis on dynamic colour.
Very ornate/decorative, florid and chromatic.
Original theme note-lengths have been changed dramatically and decorated copiously.
Triplet groups now changed to demi semiquavers.
Brisk dialogue between Clarinet and Piano – bar 43.
Rhythmic intensity (moto perpetuo) from bar 50 onwards.
Music pauses at the end of this variation as if the listener and performers need to catch
their breath before the next variation.
Variation 4 (bars 57-70)
Musical elements
❍ Texture
Sparse
❍ Tonality
-
b
Home key: E major
❍ Harmony
Chords:
- Diatonic
- Diminished 7th – bar 646
- Dominant 7th 6 – bar 626
5
-
Chromatic progression – bar 69
❍ Examples of composition techniques and devices
-
Cadences: Imperfect – bar 644,5
Perfect – bar 70
Tonic pedal – bar 61 (left hand Piano)
Syncopation between Clarinet and Piano throughout
❍ Score indications
pp (pianissimo): very soft
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
45
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
•
Both Clarinet and Piano play in every bar.
This variation is melodically much simpler than the other three, but metrically quite
complicated however.
Anacrusis begins with Piano chord 7th.
Little more than the harmonic basis of the theme now remains.
Only occasional hints of the original theme.
Dreamy atmosphere, soft dynamics.
Slow languid tempo.
Right hand chords of Piano.
Repeated dominant note is a feature on Clarinet.
Melody mainly in lower range of Clarinet.
Tied notes used effectively in both instruments at beginning and end of bars.
Bars 57-60; 646–682 – both hands in treble clef (Piano).
Bars 606-645; 683-705 – both hands in bass clef (Piano).
Variation 5 (bars 71-97)
Musical elements
❍ Texture
Contrapuntal
❍ Tonality
-
b
Home key: E minor (tonic minor)
❍ Harmony
Chords:
- Diatonic
❍ Examples of composition techniques and devices
-
b
Cadences: Imperfect (B major) – bars 781 & 861
Plagal (E major) – bar 98
Suspension: 9-8 – bar 871
Syncopated rhythms – bars 87-91 (right hand & left hand Piano)
Cadential overlap with next section – bars 972-981
b
❍ Score indications
Allegro: Fast
ben marcato: well-marked
sf (sforzando): sudden accent
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
46
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
b
Change of key to minor mode (tonic minor – E ).
Phrase lengths are doubled to 8+8+4+8.
Tempo now changed to Allegro.
Time signature is changed from compound to simple 2
4
2
1
Augmentation of cadence motif – bars 84 -86 .
Anacrusis.
Predominance of semiquaver movement in right hand Piano.
The main melodic focus is in the right hand of the Piano, with minor changes from the
original theme.
Piano solo at the start of this variation, with Clarinet only playing for 2 bars (bars 74-76) in
the first phrase.
Likewise, third and fourth phrases are for solo Piano (bars 90-95), except the final 2 bars
where the Clarinet joins in just for 2 bars at the end of the variation (bars 96-97).
Clarinet echoes previous Piano theme an 8ve lower from bars 78-86.
Cadence theme in right hand Piano (bars 96-102) is a momentary release of tension.
Coda (bars 98-153)
Musical elements
❍ Texture
-
Contrapuntal
Florid
❍ Tonality
-
b
Home key: E major
❍ Harmony
Chords:
- Diatonic
- Diminished 7th (second inversion tonic) – bars 131-132
- Diminished 7th – bars 143-146 (Piano)
- Dominant 7th – bar 1142 (Piano)
- Major 5 – bars 1363; 151-153
3
-
Minor
6
3
– bar 1361
❍ Examples of composition techniques and devices
-
Cross accents of various parts of theme – bars 102-104
Diminution of main theme in Piano (bars 135-136), then Clarinet (bars 136-138)
Chromatic harmony in Piano and Clarinet – bars 115-118 and bars 135-136
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
47
-
Dominant pedal – bars 1112-119
Cadence: Imperfect – bars 106-107 (German 6th-V7)
❍ Score indications
Più tranquillo: Even calmer
espress. (espressivo): with expression/feeling
Points of interest
•
•
•
•
•
•
•
•
•
This coda (tailpiece) of the main tune moves to centre stage.
Time signature remains 2, but more use of triplets.
4
Momentary calming of mood – bar 98.
Development of cadence theme – bars 98-111.
Using cadence theme in Piano – bars 98-102.
Bars 102-1071 – triplets in Piano against crotchet pulse of Clarinet.
Virtuosic flourishes, e.g. bars 127-133, in both instruments.
Final appearance of cadence theme – bars 1472-1511.
Considerable rhythmic energy and momentum in the coda.
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
48
Duke Ellington
Introduction
Duke Ellington (Edward Kennedy, 1899-1974), the son of a White House butler, produced sensual
big-band jazz that included extended improvisations, solos and breaks. His shifting harmonies
and contrasting tonal colours, including his own piano playing, brought him everlasting fame
and worldwide recognition. Apparently, he never wrote down a single note of his compositions
– that was left to others. He loved to tinker with his arrangements and there are many versions of
his hits still in existence. His arrangement of Take the A-Train became one of the memorable hits
of wartime USA. Apart from Black and Tan Fantasy, other hits include Mood Indigo.
Black and Tan Fantasy
Musical elements
❍ Form
12 bar blues
❍ Structure
1-12
13-20
21-28
29-40
A
B minor.
Trio for Trumpet, Piano
and Trombone –
minor blues sequence.
Same sad tonality
as last 4 bars
(quote from Marche
Funèbre by Chopin).
B
B major.
Solo Alto Sax begins
over the G 7 harmony,
then major chords:
B , E , (E m), B ,
C7, F7, B .
Other instruments
support the harmonies.
B
Alto Sax solo
– accompaniment is
repeated except for
bars 27-28, which ends
on F9 chord
(leading to B chord
in bar 29).
A
B major.
Trumpet solo improvised
with generous
smattering of blue
notes and triplet
figuration.
Thin texture.
Supported only by
Piano and rhythm
section.
b
b
b
b b b
b
b
b
b
41-52
52-64
65-76
77-86
87-90
A
Repeat with same
rhythmic 4
4
backing pulse.
Piano begins solo
on final bar of
Trumpet solo.
A
Piano solo in
stride style played
by the Duke.
Chromatic bass
line and D7 chord
in bar 59.
A
Trombone solo full
of colourful effects
(bar 73), using
plunger mute,
glissandi, trills
and staccato.
A
Trumpet solo in
quavers and
semiquavers
– blue notes.
Rhythm section
backing but in
bars 64-85, tutti
accompaniment.
Outro
Quote from Marche
Funèbre by
Chopin in
B minor, echoing
sombre opening
tonality.
Tutti ensemble.
b
49
Duke Ellington
❍ Tonality
Home key: B b minor
Major tonality
Minor tonality
Blue notes
-
Examples of modulations:
B major – bar 13
B minor – bar 87
b
b
❍ Harmony
-
Tonal
Diatonic
Major
Minor
Chords:
- B minor
-
b
5 (root position) – bar 12
3
E b minor 6 – bar 25
3
3
- Dominant 7th – bar 184
- F9 – bar 644
❍ Examples of composition techniques and devices
-
Chromatic harmonies – bars 19-20
Triplets, e.g. bar 37
Syncopation – bar 60 (right hand Piano)
Piano stride, New Orleans style
Blues notes
Blues scale
Jazz quavers are not played as written but swung, e.g. Piano solo
❍ Instrumentation
Jazz Ensemble
Alto Sax
Tenor Sax
Trumpet (plunger mute)
Trombone
Piano
String Bass
Banjo
Drum Kit
Points of interest
•
•
•
•
Written in 1929 for a short film featuring Duke Ellington and his band.
Shades of Negro spiritual in this composition.
Quote from Marche Funèbre by Chopin in the last 4 bars.
Knowledge of the blues scale will help appreciate the composition.
50
Duke Ellington
• Echoes of early New Orleans minimal style with strict rigid tempi.
• Major to minor tonalities.
❍ Further information
www.youtube.com
Take the A-Train
Musical elements
❍ Form
- AABA x3
- Standard 32 bar ‘song’ form played three times
❍ Structure
1-4
5-12
13-20
21-28
29-36
Intro
The most famous
4 bar Piano intro in
big band history.
Based on 2 chords
with repeated right
hand chromatic
descending motif
(the A-Train ready
to leave New York
station!).
A
Saxes in unison
with 8 bar theme
(4+4), both angular
and syncopated.
Intervals of rising
6ths and falling 5ths.
Syncopated
harmonic
accompaniment
by Trombones and
muted Trumpets.
A
Repeated, but
the previous bar
12 is now tacet.
Effective rhythmic
interaction
between the Reeds
and the Brass
– very punchy and
stabbing rhythms
here.
B
Angular tune also
with intervals of
falling 5ths and
major 7ths –
F major key.
Trumpets are tacet
in this section.
Trombones have
downward scalic
countermelody
– bars 23-36.
A
Back in tonic –
C major.
Saxes with tune
again but Trumpets
(open) with
countermelody.
Trombones with
syncopated
harmonies in
homophonic
movement with
Trumpets.
Brass all have triplet
stepwise unison
figure – bar 363,4.
37-44
45-52
53-60
61-68
69-72
A
Solo Trumpet
playing the main
theme, with Saxes
playing the repeat
of countermelody
(bars 45-48).
Saxes with
downward triadic
blues motif.
Bridge
Brass (except
Trumpet 4) play
notes G then G#
in unison for key
change.
Antiphonal
response to 5 note
harmonised motif
in the Saxes.
A
No Brass at all
except solo
Trumpet 4
improvisation.
Homophonic
chromatic
countermelody
in the Saxes in
harmony.
A
B
Repeated section as Solo Trumpet break
the Trumpet break
continues and
continues.
Saxes support the
Texture much
harmonies with
lighter.
one chord per bar.
More emphasis
Trombones tacet.
on rhythm section
now.
51
Duke Ellington
73-80
81-88
A
New key –
E major.
3 bar scalic
harmonised
passage in
Saxes.
Trumpet 4 solo
in bars 76-80.
Trumpets 1,2,3
and Trombones
tacet.
A
Repeat of
backing
accompaniment
in Saxes and
rhythm section.
Trumpet solo in
bars 84-88.
b
89-96
97-104
B
A
A major.
Back in E with
Trombones
unison Saxes and
re-enter with
solo optional
harmonised
Trumpet – big
upward quaver
tutti sound.
motif, answered
Brass
by triplet
homophonic
quavers Saxes in accompaniment
bar 91.
with syncopated
stabbing
harmonies.
b
b
105-120
121-30
A
Repeat of
previous 8
bars
(no specific
changes,
apart from
the last two
bars).
Outro
Over the E
pedal, Drum fills
and Trumpet
solo.
Whole band
except Trumpet
1,2 and 3 play
harmonies
based on E
chord.
b
b
❍ Texture
-
Intro – light
Light when backing solos
Dense with tutti
Homophonic sectional (Brass and Reeds)
❍ Tonality
b
- Home key: C major (but ends in E major)
Examples of modulations:
E major – bar 73
b
❍ Harmony
- Tonal
- Diatonic
Chords:
- Major
- Minor
- Tonic 5 (root position), e.g. bar 21
3
- Tonic
6
4
(second inversion) – bar 11,2
- Added 6th, e.g. bars 11; 53
- Dominant 7th – bar 242
- Major 9th – bar 403,4
❍ Examples of composition techniques and devices
-
Angular themes with wide leaps
Walking bass in crotchets
Jazz quavers are not played as written, but swung
Balanced phrases of 4 bars length
Two main themes – A (bars 5-12) and B (bars 21-28) – contrasted and used throughout the
composition
52
Duke Ellington
-
Varied chromatic accompaniment motifs at end of A section
Elements of whole tone scale in A, with chord of D7 with flattened 5th (bars 7-8)
Pedal – bars 69-70 (Brass)
Sequential – bars 37-40 (Saxes)
Rising sequence – bars 70-72 (Saxes)
Syncopation throughout
Comparing and dovetailing 3 main sections of the band
3 sections (Saxes, Trumpets, Trombones) move together
Chromatic quavers, e.g. bar 18
Repetition – bars 69-71 (Saxes)
Use of closely voiced harmonies in Trombones and Trumpets
❍ Instrumentation
5 Saxes (Alto 1,2; Tenor 1,2; Baritone)
4 Trumpets
4 Trombones (bass clef )
Rhythm Guitar
Piano
String Bass
Drum Kit
❍ Score indications
Gliss. (Glissando): slide (Trombones in particular)
Rubato: rob the time
Mutes: alter timbre
Tacet: silent
Trumpets in B
Alto Sax/Baritone in E
Tenor Sax in B
•/• : repeat the previous bar
b
b
b
/
/
/
/
: strumming rhythm (crotchet) for Guitar
^
^
^
^
: accented notes
m: minor
dim: diminished
Points of interest
•
•
•
•
•
The A–Train became the signature tune of the Duke Ellington Orchestra.
The 4 bar Piano intro is Ellington’s music calling card.
Written by Billy Strayhorn, who discarded it – but Mercer Ellington, Duke’s son, rescued it!
The A train in New York went to Harlem – the D train went to the Bronx.
The Trumpet soloist on the CD is Cootie Williams, who plays the original improvisation of
Ray Nance (1941).
• His Piano part is ad lib throughout – just following chord pattern!
• He directed from the Piano, just like Count Basie.
53
Duke Ellington
• Other great band leaders also had nicknames with royal titles, e.g. Joe King Oliver,
Count Basie.
• Symmetry is important in these big band arrangements.
• Changing melodic focus constantly.
• Trumpet solo scored now, but improvised originally.
• Excellent example of big band swing.
❍ Further information
www.youtube.com
54
Duke Ellington
Queen
Introduction
This iconic band is one of the all-time greats. Their famous anthems, We Are The Champions and
We Will Rock You, brought them into world focus and helped secure the group’s induction into
the Rock and Roll Hall of Fame. The four members were Freddie Mercury (Vocals and Piano),
Brian May (Lead Guitarist), John Deacon (Bass Guitar) and Roger Taylor (Drums). Both lyrics and
music for these two songs were written by Freddie Mercury.
Bohemian Rhapsody
Musical elements
❍ Form
Through composed
❍ Structure
1-16
17-42
43-55
Episode 1
B major.
A cappella opening for 4 bars;
close chromatic harmonies
(barber-shop style).
Light Piano accompaniment
(bar 5).
Backing vocals (bar 8).
Important chromatic Piano
motif (bar 7).
Piano rhythm
follows vocal line mainly.
Bass Guitar in at bar 15.
Piano style changes in bars
15-16 with motif which
carries on into next episode.
Episode 2
B major & E major.
Bars 17-34 are repeated
(two verses).
Solo vocals.
Broken chord left hand
Piano ostinati.
The distinctive motif
(bars 15-16) in the right hand
Piano part continues in the
accompaniment.
Bass Guitar on 1st beat of every bar
up to bar 22.
Tutti band, apart from Guitar,
in at bar 24.
Modulation at bar 25.
Drums play with verse 2 and
backing vocals from bar 25.
Strong downward chromatic bass
line is a feature, e.g. bars 23-25.
At bar 29 onwards, the Guitar
break is based initially on
material from bar 25.
Bar 42 prepares key change for
next episode (the D changes
enharmonically to C#, the third
note of the A major chord).
Episode 3
A major.
Piano repeated A major
chord for 2 bars.
Chords alternate between major
and diminished.
Chromatic vocal line.
Harmony in backing group,
antiphonal responses.
A cappella in bars 51-52.
Lighter homophonic texture
in this episode.
b
b
b
b
55
Queen
56-83
84-104
105-120
Episode 4
E major modulating to
dominant in bar 61.
Material derived from previous
episode. Call and response style.
Call a cappella and choral ff
response harmonies with band
– homophonic style.
Chromatic motif returns in bar 62
(first heard in bar 7).
Change in vocal style to wide
melodic leaps in bar 65.
Chromatic harmonies
in bars 74 and 75.
Triplet quavers introduced for the
first time in Bass/Kit (bar 83) on
dominant pedal.
Episode 5
E major.
Style now changed to heavy rock.
Strong dotted rhythm Guitar riff
in bars 84-87.
Solo vocal passage using
triplet rhythm of bar 83 now in
augmentation.
High vocal line descending
stepwise.
There are two solo Guitar passages
heard in this episode.
The extended Guitar solo
heard at bar 101 is based on
opening of this episode (bars
84-87), ending on
dominant 7th (B ).
Episode 6
E major.
New semiquaver motif heralds
start of this final episode.
Tempo much slower – lead Guitar
with melody, over falling
crotchet bass.
Arpeggaic Piano accompaniment
from bar 110.
Vocal style changed again to
ballad style in minor tonality
(Cm and Gm).
Very pensive, ending with
chord of A minor
in bar 1124, underlining the
sadness of the lyrics.
The motif of bars 31-32 is
extended into the codetta in
bars 114-120 – ending in
F major.
b
b
b
b
b
❍ Texture
- Mainly homophonic
- Thin (at start)
- Dense (middle, from bar 74 onwards)
❍ Tonality
b
- Home key: B major
Examples of modulations:
A major – bar 43
E major – bar 25
F major – bar 118
b
❍ Harmony
-
Tonal
Chromatic
Major
Minor
Diminished
Chords:
- Subdominant
- Tonic
6
3
(root position) – bar 105
(first inversion) – bar 102
- Dominant
b
5
3
- D major
6
3
6
4
(first inversion) – bar 241,2
(second inversion) – bars 491,2
b
- Dominant 7th: C7 – bar 2; F7 – bar 31,2; B 7 – bar 881,2
- Minor 7th : Cm7th – bar 33
56
Queen
b
- Minor A iv – bar 1124
- Diminished 7ths – bars 321; 1193
❍ Examples of composition techniques and devices
-
Backing vocals – bar 8
Cadence: Perfect – bars 100-101
Chromatic harmonies, e.g. bars 32; 63-64
Repetition – bars 10 and 11
Enharmonic writing, e.g. at bar 56 the key is E major, but the bass is written as D#
Change in metre, e.g. bar 3 – 5 time
4
Sequential vocal line – bars 80 and 81
Guitar breaks/solos – bars 35-43 (based on bar 25)
Arpeggaic left hand Piano accompaniment – bars 110-112
Triplet crotchets against two crotchets – bars 88-89
Pedal – bars 31-32
Antiphonal vocal imitation – bars 51-55; 56-61; 63-83
Call and response – bar 63 onwards
b
❍ Instrumentation
Piano
Vocals
Lead Guitar
Bass Guitar
Drums
Backing vocals
❍ Score indications
L’istesso tempo: keep the same tempo as before but quaver beat = new crotchet beat
Points of interest
•
•
•
•
•
•
•
•
An unusual musical structure, rather disjunct, with no real chorus (which is the norm with
modern pop and rock compositions), apart from Episode 4.
The song has been subtitled as a ‘conscious nightmare’.
Recorded in 1975 for the album ‘Night at the Opera’, but also released as a single.
Contains passing musical references to five different styles/genres, i.e. barber-shop close
harmonies, operatic arias and choruses, a cappella singing, antiphonal call & response, and
heavy rock.
Mainly homophonic texture, with Freddie Mercury accompanying himself on the Piano.
Piano right hand chromatic motif first heard in bar 7 occurs elsewhere, e.g. bars 31-32, and
bar 119.
High tessitura vocal part sung falsetto.
Minimal stepwise melodic movement in early episodes.
❍ Further information
Video of live performance on www.youtube.com
57
Queen
Killer Queen
Musical elements
❍ Form
- Verse / Chorus / Verse / Chorus / Middle 8 / Verse / Chorus
- Verses and choruses are mainly strophic
❍ Structure
1-14
Verse 1
Vocal solo – Piano
accompaniment with
secco chords.
Band enters at bar 64 with strong
descending chromatic bass line.
Backing vocals in at bar 8 (Ooh).
Bars 12-14 – ‘pre-chorus link’
or transitional sub-section.
38-50
Chorus
Homophonic 4 part
harmony.
Mixture of major and
minor tonality based on
key of B major and
D minor.
5 bars – fewer vocals
than previous chorus
because Guitar plays
second part
(bars 44-50).
b
14-26
Chorus
Homophonic 4 part harmony.
Mixture of major and minor
tonality based on key of B
major, framing a tonicisation
of the iii, D minor.
4 bar instrumental bridge.
b
51-59
Middle 8
Guitar improvisation
based on chord
sequence of verse
– mainly bars 4-11.
Cm,
B 7 x2,
E ,
Gm,
E 7,
A etc.
b
b
b
b
26-38
Verse 2
Vocal solo with Piano chords,
then bass pedal on Guitar
(bars 27-30).
Backing homophonic vocals
– syncopated (bars 32-37).
61-69
Verse 3
Vocal solo –
shorter than previous
2 verses.
Based on harmonies of
second part of verse:
G7-Cm x2, B -E ,
D7-Gm, F-B
(falling cycles of 5ths).
This section could
also be considered an
extension of the
‘pre-chorus link’
(bars 12-14).
b b
b
69-79
Chorus
Homophonic 4 part
harmony.
Mixture of major and
minor tonality based on
key of B major and
D minor.
Band play out to fade,
based on tonic E major
chord.
b
b
❍ Texture
- Lighter in verses
- More dense in choruses and backing vocals
- Homophonic choruses
Genre: Glam Rock
❍ Tonality
b
- Home key: E major
Examples of modulations:
G minor – bar 143
B major – bar 151
b
58
Queen
D minor – bar 173,4
C major – bar 184
❍ Harmony
-
Tonal
Diatonic
Major
Minor
Chords:
- Root position chords
- Tonic
6
3
5
3
– e.g. bars 15-16
(first inversion) – bar 264
- Second inversion chords
-
6
4
– bars 73,4; 93,4
Third inversion chords – bar 81,2
Dominant 7ths, e.g. A7 – bar 173; G7 – bar 211,2
Minor triads, e.g. B m – bar 681,2; A m – bar 91,2
Diminished 7th – bar 654 (backing vocals)
b
b
❍ Examples of composition techniques and devices
- Compound time 12 changing to 6 – bars 10; 34; 58; 69
8
8
- Backing vocals – bars 8-11; 31-37; 63-68
- 4 and 5 part harmonies in choruses
- Short stabbing ‘vamping’ repeated chords – bars 1-11 (Blues style)
- Pedal – bars 23-24; 27-30
- Descending chromatic bass lines – bars 7-8
- Ostinati bass riffs – bars 14-18
- Syncopation – bars 21-26
- Cadences: Imperfect – bar 11
Perfect – bar 14
- Major tonality, e.g. bars 3-7
- Major-minor chords – bars 8-9; 32-33; 56-57 (A major to A minor)
- Imitation – bars 44-45 and 46-47
- Guitar breaks/solos – bars 44-61
- Anacrusis in verses and choruses
- First two verses begin with chord of Cm (relative minor)
- Many examples of cycles of falling 5ths, e.g. verse 3 – bars 61-69, derived from traditional
Blues compositions
b
b
❍ Instrumentation
Piano
Vocals
Lead Guitar
Bass Guitar
Drums
Backing vocals
59
Queen
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
Blues influence with falling cycles of 5ths harmonic progression/sequential, e.g. verse 3 – bars
61-69.
Vocal technique glissando at bars 153,4; 22-23.
Compound time 12
8
Elaborate 4 part vocal harmonies in choruses and verses.
Multi-tracked Guitar solo by Brian May.
Brian May’s solos added at a later date after recovering from illness.
Two Bass Guitars used at times.
Written in 1974 for the album ‘Sheer Heart Attack’.
Vaudville/Music Hall retro style (1940s).
The lyrics were written before the music.
Grand Piano (Freddie Mercury) used for recordings and stage, but this recording was
overdubbed with a Honky-tonk Piano to give the song a light musical quality.
Partly recorded in Wales (Rockfield Studios Monmouth).
❍ Further information
Video on www.youtube.com
60
Queen
Loesser: Guys and Dolls
Introduction
Guys and Dolls is one of the most memorable Broadway musical comedies of all time. First
produced in 1950, it ran for two and a half years on 46th Street. The self-taught composer,
Frank Loesser (1910-1969), was a native of New York. He based his musical on two short stories
by Damon Runyon – The Idyll of Miss Sarah Brown. It features tales of romance, gambling and
religious reform, set in prohibition New York against the background of a Salvation Army style
mission. Damon Runyon’s name features in the opening title, Runyonland.
Runyonland
Musical elements
❍ Style
-
Music hall/Vaudeville
No conventional form. Rather a frenetic opening to the musical, depicting the bustling
New York street scene, with various characters making cameo appearances during the
music. Each episode introduces different characters.
❍ Structure
1-12
12-28
Episode 1
Episode 2
Begins on
Opening not
as rhythmic.
A 7 chord.
Interaction
Sprightly melodic
between lower
line (above
Brass and Saxes.
repeated crotchets)
Unison call in
with arpeggaic
Trombones and
figures visiting
harmonic response
various keys.
in Saxes.
Chromatic
String Bass more
harmonies are a
prominent.
characteristic of this
episode.
Woodwind and
Percussion are
prominent.
b
29-46
Episode 3
Theme: ‘Luck be a
lady’ (4 bars long).
Syncopation built
over two chords.
This lasts for 16
bars before the
chords of C and
A 7 support a 2 bar
quaver flourish (3rds
in Violins), moving
the music up a
semitone via pivot
chord of A 7
(bar 46).
b
b
47-52
53-74
Episode 4
Episode 5
New melodic
D major.
material in E ,
Same style and
theme as previous although content is
episode, but only 6 chromatic in nature.
bars long.
Use of ‘blue
notes’ in bars
The second phrase
begins, but moves
57 (F#) and 59.
on after only one
Enharmonic chord
(A9) in bar 66
bar of the theme.
There are
gives ‘jazzy feel’.
Series of 4 chords
some rapid
countermelodies in support downward
chromatic scale
upper Woodwind.
ending in F (bar 70),
Strong rhythmic
and repeated an 8ve
support from Kit.
lower on CD only.
b
b
❍ Texture
-
Light opening
Heavier with Brass
Many layers
Contrapuntal
Some homophonic sections, e.g. bars 53-60
61
Loesser: Guys and Dolls
❍ Tonality
-
Home key: C major
Examples of modulations:
D major – bar 47
E major – bar 65
b
b
❍ Harmony
Chords:
- Major
- Minor
- Primary
- Root position – bar 29
- First inversion (G7) – bar 6
- Second inversion – bar 4
- C major – bar 291,2
- C minor – bar 7
- A 7 – bar 46
- F9 – bar 61
- A9 – bar 66
- Added 6th (E 6) – bar 25
- B 9 – bar 5
b
b
b
❍ Examples of composition techniques and devices
-
Call and response, e.g. bars 123,4-19
Vamping jazz accompaniment – bars 29-61
Sequential ostinato bass rhythm – bars 21-24
Pedal – bars 1-4
Ostinato 2 note bass pattern – bars 29-45
Suspension – bar 121
Cadences: Perfect – bars 29; 47
Imperfect – bar 12
Glissandi in Brass, e.g. bars 43; 44
❍ Instrumentation
Typical musical Pit Orchestra
Woodwind
Saxes
Brass
Kit
Percussion
String Bass
❍ Score indications
C: split common time (2 pulse to the bar)
marc. (marcato): accented
gliss. (glissando): slide
sfz (sforzando): sudden accent
62
Loesser: Guys and Dolls
Points of interest
•
•
•
•
This was not Loesser’s favourite musical.
Each episode has its own different rhythmic characteristics and scoring.
Main theme featured in this opening is ‘Luck be a lady tonight’.
Richly scored, bright and exciting.
Fugue for Tinhorns
Three characters – Nicely-Nicely, Benny and Rusty – argue about the likely winner of a horse race.
Musical elements
❍ Form
Canon, with each voice singing the main tune 3 times.
❍ Structure
1-6
Intro
D major.
Tonic/dominant bass
line – vamping pianistic
style.
Clarinet prominent
(Gershwinesque).
Chords of the 7th.
Triplet Trumpet fanfare
signalling horse race
in bar 3.
Jazzy swing feel to
the music.
Texture quite light in
strict rhythmic tempo.
6-18
Canon 1
Nicely-Nicely
(Voice 1)
with canon tune
– syncopated with
dotted rhythms.
Muted Trumpet
accompaniment.
2nd part of tune
less rhythmic
– falling sequential 5ths.
Syncopated chords.
26-50
2 & 3rd Entries
2nd entry for Voice 1 –
bar 263
nd
2 entry for Voice 2 –
bar 303
nd
2 entry for Voice 3 –
bar 343
rd
3 entry for Voice 1 –
bar 383
rd
3 entry for Voice 2 –
bar 423
3rd entry for Voice 3 –
bar 463
51-58
Coda/Outro
Tutti band with sfz stab
chords (bar 50).
Voices build up B m
triad with staggered
entries, then conclude
with an unison
statement which breaks
into close harmony,
before finishing on a
sustained D major
chord.
nd
18-22
Canon 2
Benny
(Voice 2)
with main tune exactly
repeated musically,
except for different
words.
Nicely-Nicely
(Voice 1) carries on with
second half of tune in
counterpoint with main
tune
22-26
Canon 3
Rusty
(Voice 3)
with main tune
repeated musically,
completing first round
of canonic entries.
Benny (Voice 2) carries
on with second half of
tune in counterpoint
with main tune.
b
b
63
Loesser: Guys and Dolls
❍ Texture
-
Thin/light to begin
Building up with each vocal entry
Contrapuntal and dense throughout
Homophonic at the outro – bars 52-56
❍ Tonality
-
b
Home key: D major
❍ Harmony
-
Diatonic
Chords:
- Root position
- Tonic: D 5 (root position) – bar 8 (major 7)
b3
-
b7 – bar 1
b7– bar 11
b6 – bar 16
b9 – bar 53
D
E
D
E
1,2
1,2
3,4
❍ Examples of composition techniques and devices
-
Canon – the main tune is 12 bars in length (4+4+4)
Anacrusis for every entry
This is not strictly a fugue but a canon (a fugue would have the second voice coming in at
the 5th)
Sequence – bars 104-131
Imitation – bars 124-613
Contrary motion final band flourish – bars 55-56
As voices enter, instruments play with voices and instrumental texture thickens – muted
Trumpet and Clarinet are prominent
Percussion becomes louder from bar 45 onwards
Cadence: Perfect – bar 562
Chromatic scale – bars 9; 21 (melody and band)
Lower auxiliary notes – bar 64 (melody)
❍ Instrumentation
Typical musical Pit Orchestra
Woodwind
Saxes
Brass
Kit
Percussion
String Bass
64
Loesser: Guys and Dolls
Points of interest
•
•
•
•
•
The ‘Guys’ swap racing tips in this number and have an argument over who will win
tomorrow’s race.
After second canonic entry, the main tune appears every 4 bars until bar 50.
The accompaniment uses the same chord sequences throughout.
No modulation or changes in tempi.
Off beat jazz rhythms throughout.
65
Loesser: Guys and Dolls
Bernstein: West Side Story
Introduction
Leonard Bernstein (1918-1990) made his mark on both classical and popular music as a
composer/conductor. One of the great personalities of the 20th century American music scene
– equally at home with classics and jazz. His greatest musical, West Side Story, is based on
Shakespeare’s tragedy, Romeo and Juliet. It contains Bernstein’s complete technical mastery
of form, including a fugue with a 12 note row, Latin American dance rhythms, jazz chords and
grand operatic style.
Characters
Maria and Tony – ill-fated lovers
Anita and Bernardo (Sharks) – Puerto Rico gang
Riff (Jets) – New York gang
Tonight
(Quintet)
Musical elements
❍ Form
Three main sections:
1) The threats and posturing of both gangs – bars 1-67
2) Tony looking forward to meeting Maria ‘tonight’ – bars 67-98
3) Maria looking forward to meeting Tony, together with threats from Riff, Anita and the
gangs – bars 98-151
❍ Structure
1-6
Intro
Orchestra.
Ostinati figures
in Violins & Bass.
6-37
Riff & Bernardo
Two themes –
A (bar 7) and
B (bar 15).
A minor
A minor
98-118
Orchestral
interlude using
previous ostinati.
Riff sings themes
A&B
in C minor.
118-151
Tutti ensemble
Themes are
interwoven,
retaining same
harmonic
progressions in
various keys.
37-52
Jets & Sharks
New theme
(C) in tonic
major.
52-68
Anita (Sharks)
The two themes,
A & B, now an 8ve
higher and in an
uneven triplet
rhythm.
68-98
Lyrical love
theme (D), sung
by Tony, is in
A A1 B A2 form.
Tonic major
modulating to
C major.
A minor
66
Bernstein: West Side Story
❍ Texture
- Dense
- Multi-layered
- Instrumental and vocal
❍ Tonality
- Home key: A minor
Examples of modulations:
Tonic major – bars 37; 68; 92
C major (relative major) – bar 76
C minor – bar 102
E major – bar 126
F minor – bar 134
b
❍ Harmony
Chords:
- Diatonic
- Dissonances, e.g. bar 13 (F /F#)
- Cluster, e.g. bar 46 (dominant 13th)
- G major 5 (root position) – bar 1321,2
½
3
- B minor
5
3
(root position) – bar 124
- First inversion
- F major
6
4
6
3
b
– bar 954 (F# minor); bar 138 (E minor)
(second inversion) – bar 84
- Dominant 7th – bar 75 (G7)
- Fm7th
4
2
– bar 127
❍ Examples of composition techniques and devices
- Time signatures 4 & 2 every other bar, e.g. bars 1-14
4 4
- Time signature 3 intermittently, e.g bars 16; 19; 65; 113 until bar 117
8
- Cadences: Perfect – bars 76; 92
- Augmentation – bars 130-132 (sung by the Sharks)
- Countermelody (canon) in Violins, with vocal line – bars 84-91
- Ostinato 3 note stepwise bass figure – bars 1-15; 20-29; 53-60 and 102-111 (3rd higher)
- Two note ostinato bass figure – bars 37-45
- Arpeggiac ostinato figure – bars 148-151
- Instrumental quaver ostinati in Violins – bars 2-12; 22-27; 53-59
- Syncopated rhythms – bar 68 onwards with love theme
- Pedal – bars 68-71; 118-122
- Suspensions – bars 88; 95
- Enharmonic key changes – bar 125 (Tony sings the 5th and 7th above the chord of B 7)
b
67
Bernstein: West Side Story
- 4 note rhythmic motif (bars 12-13) – ‘tonight’ appears throughout in orchestra and voices,
e.g. bars 45; 55; 101; 106; 117; 121
- Another interesting and musically dramatic device is the antiphonal exchange between
the rival gangs – bars 46-47
❍ Instrumentation
Maria: Soprano
Tony: Tenor
Anita: Mezzo-Soprano
Bernardo (Sharks): Baritone
Riff (Jets): Baritone
Orchestra
❍ Score indications
marcato: accented
marcatissimo: very well accented
molto: much
sempre: always
p sub. (subito): sudden decrease of volume
Points of interest
•
•
•
•
•
•
•
•
Anacrusis at beginning of main vocal phrases.
Theme A is in recitative style.
Both gangs (Jets & Sharks) and Anita have same rhythmic (threatening) leitmotifs.
Maria and Tony have romantic, lyrical leitmotifs.
These 5 strands are brought together in multi-dimensional texture from bars 117-151.
Fuller orchestration/texture and increase in dynamics in final section.
Contrast between gang themes and love theme.
Emphatic unison singing of theme C at bar 38.
68
Bernstein: West Side Story
Maria
Musical elements
❍ Structure
1-8
Intro
Parlando/
recitativo style.
Uses quaver
triplet figure
(main motif ).
9-14
15-20
20-25
26-28
A1
A2
B
Extension
Vocal line melody Vocal line melody Vocal line melody Vocal line melody
(stepwise)
(stepwise)
(downward)
(3 note motif )
doubled by
doubled by
doubled by
doubled by
orchestra.
orchestra.
orchestra.
orchestra.
Major tonality.
Minor tonality
Minor tonality Can be viewed as
(bars 18-20).
(bars 23-24).
an extension of B.
Major tonality
(bars 18-20).
28-33
A1
Melody with
orchestra.
Vocal line broken up
repeated ‘Maria’ motif.
34-39
A2
Melody with
orchestra.
Vocal line broken up
with ‘Maria’ – high
tessitura.
40-47
B
Vocal line melody
doubled by orchestra
(cf. bars 21-25), with
extension as above.
48-53
Coda
Repeat in upper
Strings of bar 10
motif.
Vocal line melody
(3 note motif ) sung
softly, parlando style.
Sustained chords in
orchestra.
❍ Texture
- Sparse – bars 1-8
- Thicker from bar 9 onwards
❍ Tonality
b
- Home key: E major (B major recitative)
❍ Harmony
Chords:
- Diatonic
- Dominant major
-
5
3
(root position) – bars 123; 471
Minor (root position) – bar 431
Flattened mediant (G added 6th) – bar 49
F minor 7th – bar 131
E major 7th – bar 141
B major 7th – bar 173
Dominant 6 (first inversion) – bar 112
b
b
b
3
69
Bernstein: West Side Story
❍ Examples of composition techniques and devices
- Cadence: Plagal (IV-I) – bar 25 (F major)
- Bar 10 shows augmentation of original quaver triplet motif from bar 83,4 – now heard in
crotchet triplets
- Repeated figures – bars 10-11
- Ostinati syncopated rhythms in bass accompaniment of orchestra from bars 9-46
- Change from common time (bars 1-8) to split common time/2 pulse (bar 9 onwards)
- Accented appoggiatura – bars 7-8 (voice, Strings & Woodwind)
- Chromatic harmonies – bars 7-8
❍ Instrumentation
Tony: Tenor
Orchestra
❍ Score indications
Moderato con anima: Moderate speed with spirit
dolce: sweetly
rall. (rallentando) molto: much slower
Meno mosso: Less movement
a piacere: out of tempo (ad lib)
Adagio: Slow
8va…: play octave higher than written
con sord. (sordini): with the mute
senza sord. (sordini): without the mute
Ossia: Alternative small notes (bars 36-39)
Points of interest
• Anacrusis at beginning of all vocal phrases.
• Fuller orchestration, increasingly thicker in texture, plus increase in dynamics until bar 42.
• Modulation from key of B major to E major accomplished with common note
(enharmonic note) to both keys, namely bar 8 (D# = E ).
• Melodic lines move mainly stepwise.
• Operatic tessitura lines in bars 34-39.
• Wide range of dynamics in voice and orchestra.
• Importance of interval of rising augmented 4th (tritone) in the first two notes of this
theme (also known as the ‘devil’s leap’ because of the difficulty in singing this interval). It
was avoided in early ecclesiastical composition, but is widely used in atonal melodies
today.
• Also, importance of the following two note rising semitone motif (resolution; cf. Jaws)
– first heard across the bar lines in voice and Strings (bars 9-11; 15-16), and finally in
orchestral Strings (bars 51-52).
• Same motif heard in bass of accompaniment – bars 15-17; 34-36.
b
b
70
Bernstein: West Side Story
Boublil and Schönberg: Les Miserables
Introduction
The original novel by French author, Victor Hugo, portrayed the angst suffered by his
countrymen in the 1820s and 1830s. Composer Claude-Michel Schönberg and librettist
Alain Boublil collaborated to produce one of the greatest musicals of all time, which was first
performed in Paris in 1980.
On My Own
This solo is sung by Eponine.
Musical elements
❍ Form
AABBAA
❍ Structure
1-2
3-10
3-10
11-18
19-26
27-34
35-38
Intro
Section A
Section A
Section B
Section A
Section A
Coda
D major
D major
B major
F major
F major
F major
b
❍ Texture
- Sparse at the beginning but getting thicker in section B.
❍ Tonality
- Home key: D major
Examples of modulations:
A major (dominant) – bars 5-6
B – bars 11-14
E minor (supertonic) – bars 15-17
b
❍ Harmony
Diatonic
Chords:
- Triadic semiquaver broken chords – bars 1-11
- Major and minor root positions
- Added 7th – bar 17 (Am7)
71
Boublil and Schönberg: Les Miserables
❍ Examples of composition techniques and devices
-
b
Pedal – bars 3-4 (D); 12-13 (B )
Ostinati accompaniment – bars 1-10
Syncopated accompaniment – bars 1-10 (right hand)
Sequence – bar 1 (in right hand Piano)
Syncopation in vocal line – bars 8; 10; 19; 27
❍ Instrumentation
-
Synthesised sounds/Keyboard
Symphony Orchestra
Percussion
Female vocalist – Eponine
❍ Score indications
Andante: Walking pace
p (piano): quiet
mf (mezzo forte): quite loud
f (forte): loud
ff (fortissimo): very loud
: pause
rit. (ritardando): becoming slower
Z
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
Anacrusis at the beginning of every vocal phrase.
Rhythms mainly quavers, dotted quavers and semibreves.
Descending chromatic bass line – bars 6-8; 22-23.
Three note descending motif in introduction (bars 1-2) – in the treble part of the
accompaniment.
Higher key (F major) in return of section A – bars 27-34.
Fuller orchestration/texture and increase in dynamics in final section (bars 27-34).
Arpeggio/broken chord accompaniment in section A.
Crotchet chordal accompaniment in section B.
Cadences: Perfect – bars 214-221
Imperfect – bars 33-34
Plagal – bars 37-38
Accent shift change from 4 to 2 in bars 8 and 24.
4
4
Accent shift change from 3 to 4 in bars 9-10 and 25-26.
4
4
Extreme and dramatic harmonic changes (E major to E minor) – bars 14-15.
b
72
Boublil and Schönberg: Les Miserables
One Day More
Musical elements
❍ Form
Through composed
❍ Structure
1-4
Intro
Orchestra
5-12
Section 1
A major
13-25
Section 2
Various keys
26-35
Section 3
Various keys
Theme 1 (Valjean)
Themes 2 & 3
(Marius, Cosette,
Eponine)
Theme 3
(Enjolras, Marcellas)
Theme 2 (Marius)
36-40
Section 4
A major
40-43
Section 5
A major
44-53
Section 6
Various keys
54-68
Section 7
C major
Theme 1(Valjean)
&
Theme 4 (Javert)
Theme 5
(Thénardiers)
Theme 3
(chorus groups)
Fusion of themes
(solists, ensembles,
chorus)
❍ Texture
- Sparse to begin and gradually increasing to dense by the final section.
❍ Tonality
- Home key: A major
Examples of modulations:
E major – bar 32
A major – bar 36
C major – bar 54
b
❍ Harmony
Chords:
- A major
- F minor
-
5
3
(root position) – bar 24
5
3
(root position) – bar 27
Added 6th – bar 11 (right hand Piano)
F# minor 7th – bar 101
Dominant 7th – bar 233 (E)
D major 7th – bar 382
73
Boublil and Schönberg: Les Miserables
- C major
6
3
(first inversion) – bar 263
- G# diminished 7th – bar 621
❍ Examples of composition techniques and devices
-
Tonic pedal – bars 51-52 (bass of the accompaniment)
Ostinati – bars 1 and 2
Syncopated accompaniment – bars 17-23
Sequence – bars 5-6; 28-321
Sequential repetition – bars 30-33
Call and response – bars 26-33 (Enjolras/Marcellas)
Antiphonal vocal writing, e.g. bars 17-25
❍ Instrumentation
-
Synthesised sounds/Keyboard
Symphony Orchestra
Percussion
Male soloists (5) – Valjean, Marius, Enjolras, Marcellas, Javert
Female soloists (2) – Eponine and Cosette
Chorus tutti + Thénardiers
❍ Score indications
Moderato: Steady pace
pp (pianissimo): very quiet
p (piano): quiet
ff (fortissimo): very loud
rall. (rallentando) molto: very slow and deliberate slowing down
a tempo: back to the previous speed
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
Rhythms mainly quavers, dotted quavers and semibreves.
Descending bass line – bars 1-4; 58-61.
Cadences: Perfect – bars 8-9; 65-66.
Enharmonic change from A chord to E major – bars 34-35.
Accent shift from 4 to 5 to 2 in bars 61-64.
4 8 4
Opening two bars of introduction based on broken A6 chord. This intro semiquaver motif
appears many times in the piece, e.g. bars 10; 12; 14; 16, and modified in bars 33-36. It
reappears in bars 54-62, and finally in bars 64-68.
This opening three note motif, ‘One day more’ (bars 4-5), appears throughout the song as
Valjean’s leitmotif (bars 12; 35-36; 39-40; 63-65) – sometimes modified. This is the final tutti
motif of the song.
The vocal lines are always in the orchestral accompaniment.
The seven characters have their own leitmotifs, e.g. Thénardiers – bar 40.
Vocal interaction between the characters. The themes are interwoven from various solos,
e.g. ‘I dreamed a dream.’
The final section is multi dimensional, following the operatic traditions with strong ensemble
singing based on the primary triads.
Final section is in the higher key of flattened mediant, C major, and produces a dramatic finale
with all themes interwoven skilfully.
b
74
Boublil and Schönberg: Les Miserables
Mervyn Burtch: Three Welsh Folk Songs
Introduction
A product of the South Wales valleys who has become famous for his chamber music, brass band
compositions and operas for schools. Mervyn Burtch was born in Ystrad Mynach and belongs
to the Welsh School of composers that includes Dilys Elwyn-Edwards, Alun Hoddinott, William
Mathias, David Wynne and Grace Williams.
These arrangements of Welsh folk songs were commissioned for the National Youth Choir of
Wales and first performed in 1994. Mervyn Burtch has his own unique brand of writing and
always retains a tonal basis. The main influences on his composing are Janacek and Bartok.
Cysga di, fy mhlentyn tlws
Musical elements
❍ Form
Strophic re-melodic content
❍ Structure
Melody: 4+4+2
1-5
6-15
16-19
20-29
30-33
Introduction
Verse 1
Bridge passage
Verse 2
Coda
Based on bars 6
and 8 (melody)
with staggered
entries of SAT.
Altos with
melody.
Harmonic
support from
other parts.
Male voices with Altos with melody.
motif (rocking
Male voices
the cradle).
continue style
of bridge
passage.
Soprano descant.
Based on
descending
5 note scalic
motif in SAB.
❍ Texture
- Fairly light
- Homophonic
❍ Tonality
- Aeolian F#
❍ Harmony
Chords:
- Diatonic
- Mainly based on two chords (F# and C#)
- Modal – cf. Bartok Hungarian Folk Songs
75
Mervyn Burtch: Three Welsh Folk Songs
- Tonic chord
5
3
(root position) – bar 6
- Dominant chord
- Tonic chord
6
3
5
3
(root position) – bar 11
(first inversion) – bar 291
❍ Examples of composition techniques and devices
- Cadence: Plagal/Amen – bar 33
- Intro based on bars 6 & 8 (melody)
- Imitation between opening 3 note motif of Alto melody (bar 6) and Tenor and Bass
accompaniment (bar 8)
- Augmentation of same 3 note melodic motif (Alto – bar 10) in Tenor (bars 12-13)
- Suspension: 7-6 – bar 51 (Soprano/Alto)
- Harmony in 3rds and 6ths
- Much stepwise movement in accompaniment
- Rhythm of melody is constant
❍ Instrumentation
SATB
❍ Score indications
SATB: Soprano, Alto, Tenor, Bass
Lento: Very slow
poco rit: slight slowing down
a tempo: back to original tempo
niente: fade away to silence
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
•
Aeolian mode.
Many Welsh folk tunes are very old and modal.
This melody only spans an octave.
No words for Sopranos at all, only humming contrapuntal line (descant).
Small figure 8 beneath treble clef in Tenor line indicates part to be sung an octave lower
than written.
Altos have melody for both verses.
Balanced melodic phrases.
Minimal harmonic progressions.
A cappella (unaccompanied singing).
Change of time signature from 6 to 9 in bar 5.
8 8
ths
Open 5 in Tenor and Bass accompaniment – bars 10; 11; 12
Compound time throughout.
Grace Williams used this lullaby in her ‘Fantasia on Welsh Folk Tunes’ for orchestra.
76
Mervyn Burtch: Three Welsh Folk Songs
Wrth fynd efo Deio i Dywyn
Musical elements
❍ Form
- Ternary melody
- Strophic 6 verse content
❍ Structure
Melody: _____ A _____
4
_____ A _____ _____ B _____
4
4
_____ A _____
4
1-6
7-22
23-25
26-41
42-45
46-61
Intro
Verse 1
Bridge
Verse 2
Bridge
Verse 3
SATB
Alto &
Soprano
Tenor &
Bass
Soprano
Soprano &
Tenor
Alto, Tenor,
then Soprano
61-76
77-80
81-96
96-99
100-115
116-118
Verse 4
Bridge
Verse 5
Bridge
Verse 6
Coda
Soprano
Soprano, Alto
& Bass
Soprano &
Alto
Tenor &
Bass
Tenor &
Soprano
SATB
❍ Texture
- Contrapuntal
- Homophonic
❍ Tonality
- Modal
- Dorian G
❍ Harmony
Chords:
- Diatonic
- Tonic chord
5
3
(root position) – bar 1171
- Tonic chord
6
3
(first inversion) – bar 292
- Tonic chord
6
4
(second inversion) – bars 61; 63-65; 67-68
❍ Examples of composition techniques and devices
- Imitation (semiquaver) between Alto and Tenor – bars 9; 21
- Cadences: Perfect (in tonic) – bars 10; 14; 118
Imperfect – bar 111
- Tonic pedal – bars 15-18 (Bass)
77
Mervyn Burtch: Three Welsh Folk Songs
-
Dominant pedal – bars 54-58 (Tenor); bars 69-73
Descending Soprano & Tenor sequence – bars 42-45
Sequence – bars 101-102 (Bass)
Lower auxiliary notes in ffa-la-la, e.g. bars 87; 91
❍ Instrumentation
SATB
❍ Score indications
Allegretto: Quite quick
Andante: Walking pace
poco accel. (accelerando): a little quicker
Presto: Very fast
meno mosso: less movement
Points of interest
• This popular folk song describes two people on a happy journey to Tywyn via Dolgellau
and Abergynolwyn (Lake Tal-y-Llyn).
• It is light hearted, repetitive in nature and interspersed with plenty of traditional ffa-la-las!
• Note the F#s and C#s which are used as melodic decorations only in the ffa-la-las and in
the strong perfect cadences.
• Strong influence of Dorian mode in opening 2 bars of melody, e.g. bars 81-82
• Melodic focus shared between parts in all verses except verse 4.
• Bass not given any real melodic focus, but provide essential supporting harmonic and
rhythmic role.
• Time signature simple: 2
4
• Changing time signature in bridge passages, e.g. bar 44 – 3; bar 77 – 5; bar 78 – 8
8
8
8
• Change from crotchet beat (simple) to dotted crotchet beat (compound) occurs mostly in
verse 5 (bars 81-96).
• Rhythmic change of melody in bar 90.
• Harmony in 3rds and 6ths.
• Countermelody in Soprano – bars 46-53.
• Stretto (compacted) effect at bar 61 where end of verse 3 and beginning of verse 4 overlap
– no bridge here.
• All other verses have short bridge (interlude) between them, except verses 3-4.
• Imitative dialogue between Soprano and Tenor at one bar interval (a tone lower) in verse 4
– bars 61-68.
• Homophonic writing – bars 73-74; 108-109.
• Extensive use made of semiquaver melodic motif (bar 9) in verse 5, e.g. bars 83-84 in SAT.
• Dotted rhythm first heard in bar 5 now appears in bridge (bars 77-78) to verse 5. Same
dotted rhythm also appears intermittently in Bass part – bars 88-97.
• A cappella: unaccompanied singing.
78
Mervyn Burtch: Three Welsh Folk Songs
Dilys Elwyn-Edwards: Caneuon y Tri Aderyn
Introduction
Commissioned in 1961 by BBC Wales, these two songs belong to a 3 song cycle by the doyen of
contemporary Welsh composers, Dilys Elwyn-Edwards (1918-). The common thread is birds, and
the choice of poetry by R. Williams Parry reflects her love of nature and its mystical themes.
Y Gylfinir (The Curlew)
Musical elements
❍ Form
Through composed
❍ Structure
1-9
Introduction
Piano
9-37
Verse 1
Voice and Piano
38-63
Verse 2
Voice and Piano
64-73
Coda
Piano
❍ Texture
- Light
- Contrapuntal accompaniment
❍ Tonality
b
b
- Mixolydian F with flattened leading note E , e.g. bars 1-28
- Mixolydian C with flattened leading note B , e.g. bars 53-57
❍ Harmony
Chords:
- Diatonic triadic broken chords
- Major 11th – bar 56 (right hand accompaniment)
- Opening left hand ostinato based on two chords – F and E (second inversion) – bars 1-16
- Ostinato returns in right hand, based on two chords of the 7th and the 9th – bars 38-42
- Cm7th – bars 62–63
b
❍ Examples of composition techniques and devices
-
Anacrusis – bars 9; 38
Ostinati – bars 1-15 (left hand); 38-42 (right hand)
Recurring right hand piano motif – bars 3-5; 13-15; 36-37
Alberti accompaniment/repeated broken chords
❍ Instrumentation
- Female vocalist
- Piano
79
Dilys Elwyn-Edwards: Caneuon y Tri Aderyn
❍ Score indications
Allegretto: Fairly lively
sempre leggiero: always light touch
Ped. sim. (simile): sustaining pedal
cantabile: give prominence to the melody
poco rit. (ritardando): slow down a little
a tempo: back to original tempo
poco più mosso: move the tempo on a little
dim. (diminuendo): getting softer
cresc. (crescendo): getting louder
Points of interest
• Clear, warm vocal lines, often moving stepwise.
• Use of sustaining pedal for colour and atmosphere, e.g. bars 25-28; bars 68-73.
• Voice in 3 (simple triple), but 6 (compound duple) feel to the accompaniment.
4
8
• Change from 3 to 4 in bars 26; 34; 50; 57; 60-61, with Piano (tacet partly) and voice in
4 4
accented crotchets.
• The final note of the voice is E (bars 62-63), which is the third note of a modal Cm7 chord
and a variation on the opening harmonies of the song.
• First two vocal lines (bars 9-19) repeated with subtle changes in bars 19-38.
• Change in left hand Piano part – rhythm and style (bars 38-57). This part now has
3 pizzicato quaver style, whilst the right hand has 6 ostinato.
4
8
• Both hands use treble clef, except for bass clef left hand accompaniment in bars 27-34 and
44-60, which provides contrast in colour and a wider spectrum of sound.
• Cry of the curlew heard in opening bars of left hand Piano ostinato.
• Piano paints the imagery with voice floating above.
• Vocal line moves mainly in crotchets and minims whilst momentum is maintained with
quaver movement of Piano accompaniment.
• Vocal line quite independent of Piano accompaniment.
• Piano introduction (bars 1-8) is balanced by the return of the same motifs in the coda (bars
64-73).
• Dilys Elwyn-Edwards was a Piano tutor at Bangor University and influenced by Peter
Warlock, Delius and Vaughan Williams. She studied with Herbert Howells at the Royal
Academy.
• The poetry is by R. Williams Parry from his collection, Cerddi’r Haf.
b
❍ Further information
www.wmic.org
80
Dilys Elwyn-Edwards: Caneuon y Tri Aderyn
Mae Hiraeth yn y Môr (There is Longing in the Sea)
Musical elements
❍ Form
Through composed
❍ Structure
1-24
Lines 1-8 of the sonnet
24-27
Instrumental bridge
27-45
Lines 9-14 of the sonnet
F minor – F major
Different rhythms
❍ Texture
- Moderately dense in the right hand of Piano
- Chordal/triadic texture of repeating quavers
❍ Tonality
b
- Home key: A major
Examples of modulations:
F minor (relative minor) – bars 22-26
F major (submediant major) – bars 27-30
❍ Harmony
Chords:
- Mixture of triadic and 7th/ 9th chords with some close voicings
❍ Examples of composition techniques and devices
-
Anacrusis at beginning of phrases, e.g. bars 1-4; 4-8
Pedal (tonic) in vocal line – bars 40-45
Pedal in accompaniment, e.g. bars 35-39
Ostinato rhythmic figures, e.g. bars 3-8, with changing harmonies
Augmentation of 3 note left hand motif (bar 24) in bars 26-27, an 8ve lower and in
accented crotchets instead of quavers
- This 3 note motif also occurs several times in the vocal writing, e.g. bars 21-22 (Ac yn y
galon); 34-35 (O’r gerddi agos)
- Repetition of vocal line in right hand accompaniment, e.g. bar 11 (fflamau’r tân), echoed in
bars 12-13, and bar 22 (atgof, atgof gynt), repeated in bar 23
❍ Instrumentation
- Female vocalist
- Piano
81
Dilys Elwyn-Edwards: Caneuon y Tri Aderyn
❍ Score indications
Regular common time
Moderato: Steady pace
molto sostenuto: very sustained
colla voce: give way to soloist rubato
legato: smoothly
poco accel. (accelerando): slightly quicker
Points of interest
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Mood of longing and enchantment.
The poem metre is a sonnet (14 lines, 10 syllables per line).
Vocal line independent of Piano accompaniment.
2 melodic ideas – bars 1-4 and bars 8-10.
Opening vocal motif used frequently to open new lines in the song, e.g. bars 1-2; 5-6;
13-14; 27-28.
Haunting final accompaniment (bars 40-47), with flattened harmonies in bars 41-43,
descending into silence.
Constant use of sustaining pedal for colour and atmosphere.
Note repetitive chordal quavers throughout in right hand accompaniment, except bar 26
and final 2 bars.
Sparse left hand accompaniment with wide leaps and many rests, sometimes supporting
the harmonies, e.g. bars 32-38.
Absence of left hand figures in bars 40-47.
Rhythmic change in bar 27 corresponds to new metric rhythm of second part of sonnet.
Quaver movement of vocal line occurs mainly in second half of the bar, e.g. bars 8-11;
19-22; 29-33; 35-37.
Vocal phrases mainly 3 bars in length.
Vocal range – interval of 11th (E -A ).
Opening repeated tonic triad in bar 1 repeated in bars 44-45.
b b
❍ Further information
www.wmic.org
82
Dilys Elwyn-Edwards: Caneuon y Tri Aderyn
Caryl Parry Jones
(Songs from Goreuon Caryl, Gwasg Carreg Gwalch, Llanrwst
– 17 transcriptions of her popular songs by Geraint Cynan)
Pan ddaw yfory
Introduction
This song was commissioned by BBC Radio Cymru, when road shows were held to promote
the station. New pop groups were mushrooming all over Wales and amongst them was ‘Bando’,
fronted by Caryl Parry Jones (bando: a game similar to hockey).
The two voices sing of an affair that should end – ’Pan ddaw yfory rhaid dweud ffarwel’ (When
tomorrow comes we must bid farewell). Caryl herself has spoken of the happy ending to this true
episode in her life!
Musical elements
❍ Form
Verse and Chorus
❍ Structure
1-4
Intro
5-12
Verse
1
13-20
Verse
2
20-28
Chorus
29-36
Verse
3
36-44
Chorus
45-60
Guitar
Solo
61-68
Verse
4
68-76
Chorus
77-93
Guitar
Solo
❍ Texture
-
Thin: Keyboard and Bass Guitar – bars 1-36
Thick: addition of Synthesizer, Drum Kit, Guitar – bars 36-44
Guitar solo given mixed vocals backing – bars 45-61
Thin: Keyboard and Bass Guitar – bars 61-68
Thick: Drum Kit fills prominent – bars 68-93
❍ Tonality
-
Home key: E minor
Modal, e.g. bar 11 – modal cadence with flattened leading note (D)
Other modal cadences in bars 3-4; 19-20
❍ Harmony
Chords:
- Some major root position chords – bar 111 (C); bar 104 (B)
- Mainly minor 7th and 9th chords, e.g. bar 54 (Em7); bar 274 (Am7); bar 241 (Em9);
bar 321 (Am9)
83
Caryl Parry Jones
❍ Examples of composition techniques and devices
-
Repetition of single melodic idea in introduction – bars 1-4
Syncopation in vocal lines – bar 273
Unison singing in Chorus and Verse 4
Suspensions and resolutions in accompaniment, e.g. bar 31 (9-8); bar 34 (4-3)
Dotted rhythm bass ostinato/riff – bars 5-12
Cadences: Perfect – bars 194-20
Imperfect – bars 273–28
❍ Instrumentation
-
Mezzo Soprano & Baritone
Backing male and female vocals
Lead Guitar
Bass Guitar
Keyboard
Synthesizer
Drum Kit
❍ Score indications
Gydag angerdd: With passion and conviction
Pennill: Verse
Cytgan: Chorus
Unawd Gitar (ad lib): improvised Guitar solo
Rall. (rallentando): Slow down
Points of interest
•
•
•
•
•
•
•
•
•
•
Intro motif taken from bars 11-12.
Music does not start on tonic chord, but on C major chord (submediant of home key).
Mixture of crotchets and rocking quaver motif in right hand keyboard – bars 5; 7; 9.
Modal cadences, e.g. bars 3-4; 11-12; 19-20.
Harmonised female voices sing variation of bars 75-76 in final cadence.
Stepwise, economic melodic line.
Song constructed of 2 bar phrases.
Word-setting and mood (see translation).
Instrumental band backing.
Improvised/ad lib Guitar solo.
❍ Further information
www.bbc.co.uk/wales/music/sites/history
www.carreg-gwalch.co.uk – Goreuon Caryl
www.sainwales.com – Cyngerdd y Mileniwm CD (Tr. 5, 6)
84
Caryl Parry Jones
❍ Free translation of lyrics
Verse 1:
Being with you last night
was a timeless experience.
Being together was everything
in our quest for love.
Verse 2:
Tonight, please embrace me
before the curtain of reality descends.
We can only hope that tonight
will never end.
Chorus:
But part we must when morrow breaks
and reality will return,
taking us back to our past.
God alone knows which one of us
was the most foolish.
Verse 3:
I know that merely touching you
was a great mistake.
We both knew from the outset
that our love could never be.
Verse 4:
Tonight is our final farewell,
Sadly the dawn will soon break.
Give me all your warmth and tenderness
before tomorrow’s cold light of day.
Y Nos yng Nghaer Arianrhod
Introduction
This is reputedly Caryl’s favourite song. The title comes from one of the tales of the Mabinogi
– Math son of Mathonwy. ‘Caer Arianrhod’ is literally the ‘citadel home of Arianrhod’ – one of the
characters in this magical tale, which apparently was situated near the Sain recording studios at
Dinas Dinlle in Caernarfon.
The words describe the energy-sapping process of an all-night recording session in the early
1980s (pre-digital) with Caryl’s group, ‘Bando’. This song was never performed live.
Musical elements
❍ Form
Verse and Chorus
85
Caryl Parry Jones
❍ Structure
1-2
Intro
3-10
Chorus
11-18
Verse
1
19-27
Chorus
28-35
Verse
2
36-44
Chorus
45-52
Middle
8
53-61
Chorus
❍ Texture
-
Thick: harmonised backing vocals – bars 1-2 (Intro)
Thin: mainly two dimensional (soloists and Guitar) – bars 3-6
Thicker from Middle 8 to the end, with vocal backing harmonies
❍ Tonality
-
Home key: C major
Mostly major
Brief minor visitations
Examples of modulations:
D minor (briefly) – bars 12-13
G major (dominant) – bars 17-18
❍ Harmony
Chords:
- Chromatic, e.g. bar 33
- Use of flattened 5th, 7th and 9th
- Major 7th, 9th, 11th and 13th
❍ Examples of composition techniques and devices
-
Anacrusis (Verse and Chorus, except Middle 8)
Accented passing notes – bars 4; 14
Sequential phrases – bars 11-12 and 13-14
Upper and lower auxiliary notes – bars 17; 21
Symmetrical phrases (Chorus 4+4)
Final ‘radical’ cadence – VI(A )–I(C)
b
❍ Instrumentation
-
Female vocalist – Mezzo Soprano
4 accompanying vocal parts – SATB
(Caryl Parry Jones, Myfyr Isaac, Endaf Emlyn and Rhys Dyrfal)
❍ Score indications
Yn dyner a breuddwydiol: Sensitive and dreamy
Pennill: Verse
Cytgan: Chorus
rit. (ritardando): slow down
a tempo: back to original tempo
86
Caryl Parry Jones
Points of interest
•
•
•
•
•
•
•
•
•
•
•
Decorated cadential motif – bar 35
Flattened mediant/blue note – bar 35 in the vocal line (E ). A feature of blues/pop style.
Close harmony backing progressions – bar 16
Music does not start on tonic chord, but on A minor chord (submediant of home key).
Chromatic harmonies – bars 1-2
Melodic part includes many tied notes, typical of the style.
Stepwise, compact melodic line – bars 28-30
Cluster chords – bar 56 (Dm11)
Chromatic descending bass line – bars 28-29
Acoustic Guitar accompaniment.
Mood is sensitive.
b
❍ Further information
www.bbc.co.uk/wales/music/sites/history
www.carreg-gwalch.co.uk – Goreuon Caryl
www.sainwales.com – Cyngerdd y Mileniwm CD (Tr. 5, 6)
❍ Free translation of lyrics
Chorus:
The night in Arianrhod’s home
heralds the beginning of our day – a hard day’s night.
The night in Arianrhod’s home however
doesn’t seem so long when I’m with you.
Verse 1:
The tape has spooled its final turn;
a muted recording desk, a closed door.
The singing’s over, the song is done,
our creativity is spent.
Verse 2:
Dawn’s arrival signals our day’s end,
The fingers are sore – the voices are hoarse.
The creative muse, long since departed
bequeathes only bowed bodies and bloodshot eyes.
Middle 8:
Sometimes our spirits are down,
Sometimes the stress overwhelms us,
But soon the sun appears again
and the good times return.
87
Caryl Parry Jones
The Beatles
Introduction
The ‘fab four’ (1959-1970), from Liverpool, changed the face of popular music for ever.
Beatlemania took Britain and America by storm. John Lennon, Paul McCartney, George Harrison
and Ringo Starr became household names overnight. The group were responsible for the shift
in emphasis from soloists to ensembles. They possessed a melodic and harmonic sophistication
unsurpassed by any other group in the history of pop music. The combined creative genius of
Lennon and McCartney gave us many classics, including Yesterday and Hey Jude.
Yesterday
Musical elements
❍ Form
Binary
❍ Structure
1-2
Intro
Tonic chord
on acoustic Spanish
Guitar (no plectrum).
3-9
3-9
A
A
Following the famous
Melody repeated, but
first bar motif, there
string quartet adds new
is an ascending
layer with sustained
stepwise lyrical 7 bar
backing chords.
melody (3+2+2) sung
by solo male voice.
Accompaniment is
Guitar.
B - G chord progression
is reminiscent of other
Beatles songs (more
often in reverse order).
10-17
B
New balanced melodic
phrase (4 bars).
First two bars are
repeated but end of
phrase is different.
10-17
B
Strings again continue,
but subtle string
changes from first
B playing.
Cello line very
prominent in
bar 13 (E ).
25-26
Coda/Outro
Vocal humming
reprising last two bars
of A section (bars 8-9)
but changed rhythm
and chords (F instead
of Dm).
b
18-24
A
Repeat with some
slight changes in
orchestration.
b
18-24
A
String parts have new
arrangements, e.g.
Violin 1 soars above the
rest.
❍ Texture
- Thin at beginning
- String layer added, giving thicker texture
- Homophonic texture throughout
88
The Beatles
❍ Tonality
- Home key: F major
Examples of modulations:
D minor (relative minor – briefly) – bars 4-5
❍ Harmony
-
Tonal
Diatonic
Major
Minor
Chords:
- B major
b
5
3
(root position) – bar 61,2
- G major
6
3
(first inversion) – bar 253,4
- F major
6
4
(second inversion) – bar 251,2
-
A7 – bar 43,4 (dominant of D minor)
Dm7th – bar 231
Gm6 (added 6th) – bar 121
C7th (dominant 7th) – bar 63,4
❍ Examples of composition techniques and devices
- Cadences: Plagal/Amen – bars 9; 26
Perfect – bars 63,4 -71,2 ; 16-17
- Appoggiatura motifs in section A at beginning of the bar, e.g. bars 3, 5 and 7
- Inverted pedal – bar 14 (left hand Piano: G) and bar 19 (right hand Piano: E)
- Syncopation – bars 8 and 9 (bars 22-24)
- Contrary motion between vocal line and Cello – bar 15
- Bow/arch shaped melodies
- Stepwise descending bass lines, e.g. bars 11-12
- Sustained chords with string quartet – very restrained scoring
- The E bass note in bar 13 could be a passing reference to the blues.
b
❍ Instrumentation
Spanish Guitar
String quartet
Solo male voice
Points of interest
•
•
•
•
•
•
•
The most covered pop song in history.
Lead vocal: Paul McCartney.
Recorded in Abbey Road Studios in 1965.
Belongs to the LP ‘Help’.
Unusual in mid 1960s to have solo strings backing – normally big band or orchestra.
Beatles were the first pop group to use a hybrid classic & pop mix of styles, i.e. crossover.
Music arranged by George Martin.
89
The Beatles
•
•
•
•
•
•
•
•
First Beatles number to use other performers apart from the ‘fab four’.
Slow contemplative ballad style.
Written by Lennon-McCartney, but more Paul than John!
Classical tonality compared with their blues numbers.
Beatles influenced by Elvis, Buddy Holly and Little Richard.
They liked to build up their songs in layers (texture).
Use of varied harmonic language.
Paul’s voice is mostly single tracked, except for one place (double tracked on high notes).
Hey Jude
Musical elements
❍ Form
Binary (two main contrasting themes)
❍ Structure
1-8
A
Plaintive melody, again
in a bow/arch shape,
gradually moving
upwards.
Piano and vocal solo.
9-16
A
Return with
different words.
Rhythm Guitar,
Bass Guitar,
Percussion and
backing singers
still present,
mainly in 3rds.
9-16
A
Repeat, but with added
Rhythm Guitar and
offbeat Tambourine.
Harmonised backing
vocals added –
bars 13-16.
Drum Kit flourish in bar
16 leading to section B.
17-21
B
Repeat, but
different words.
With stronger
backing vocals
and band
accompaniment.
17-21
22-28
B
B
New melodic statement Repeat, but with added
with more accented
Codetta scat style.
quaver beat on snare
Singing and chord of C7
and cymbal.
leading to restatement
Backing harmonised
of section A.
vocals mainly in
descending 3rds.
Bass Guitar plays
crotchet pulse.
22-29
B
Repeat of previous
section again,
leading to partial
restatement of
section A.
1-6
A
Final statement of
melody (bars 1-6)
before moving to
the Coda.
30-36
Coda/Outro
2 octave
appoggiatura
arpeggio –
bars 31-32.
Scat jam session
using three chords
– F, B and E .
Thickening
textures with
added orchestral
instruments.
b
b
❍ Texture
- Sparse to begin, but gradually getting thicker (trademark of many Beatles songs).
90
The Beatles
❍ Tonality
- Home key: F major
Examples of modulations:
B major (subdominant) – bars 18; 23
b
❍ Harmony
-
Tonal
Diatonic
Major
Minor
Chords:
- Basic primary triads – I, IV, V (root position)
- Gm7th (minor ii 7th)
- Flattened leading note chord – bar 34
- C7 (dominant 7th) – bar 15
- B major 5 (root position), e.g. bar 51,2
b
- C major
3
6
3
(first inversion) – bar 201
❍ Examples of composition techniques and devices
-
Anacrusis in all A sections
Mainly one chord per bar throughout song
All chords in section A are in root position
Bass line of section A keeps to the root of the chord
Walking descending bass line in section B – bars 23-251
Oscillating/rocking quaver right hand chordal Piano style in section A
Syncopation – bars 5; 25
Progressive layering techniques thickening the texture
Variations in scoring when repeating
Offbeat Percussion scoring (Tambourine in repeat of A – bar 9)
Common time 4, except for return to A sections (bar 29) which are in 2 time.
4
4
- Cadences: Plagal/Amen – bars 35-36
Perfect – bars 74-8; 15-16
- E chord in bar 34 gives modal touch to outro (mixolydian)
- Clever dissonance in bar 34 – interval of 9th (E –F)
b
b
❍ Instrumentation
Piano
Acoustic Rhythm Guitar
Bass Guitar
Drum Kit
Tambourine
Backing Vocals
* Many instruments, including Bass Clarinet and Double Bassoon, in jamming session!
91
The Beatles
Points of interest
• Although the ‘official’ song lasts for 7 minutes, the creative process is ended at 3 minutes
and 35 seconds, then bars 33-36 are repeated in a jam session style 19 times!
• The jam session is longer than the song itself!
• Scat singing in the final 4 bars – bars 33-36.
• Written by Paul McCartney alone and recorded in 1968.
• Composed for John Lennon’s son, Julian (aged 6), when the divorce between John and
Cynthia Lennon was imminent.
• Originally called Hey Jules (Julian) but Jude was easier to sing.
• Triple tracking on bars 31-33 ascending scale passage.
• Section A is 8 bars in length but section B is unusual – 11½ bars long. Bar 17 could be
considered as a linking bar between both sections.
92
The Beatles