‘And the Glory of the Lord’ Handel (1742)
An optimistic and celebratory piece of music in the key of A MAJOR.
Written in the Baroque Period 1600 – 1750
Key characteristics of the Baroque era
1.
2.
3.
4.
5.
6.
A small, mainly string orchestra.
Use of decorations/ornaments in the music.
Terraced Dynamics (no crescendo’s or diminuendo’s).
Use of Basso Continuo – continuous bass line (organ and cello).
Diatonic Harmony – uses only notes in the scale.
One mood in a piece.
Taken from an Oratorio. Oratorio – A musical work that uses stories from the bible.
TEXTURES –
used in the vocal parts:
MONOPHONIC (one melody)
HOMOPHONIC (one melody with accompaniment)
POLYPHONIC (more than one independent melody)
MELODY 1.
2.
3.
4.
4 extracts of melody set to the words:
And the Glory of the Lord
Shall be revealed
And all flesh shall see it together
For the mouth of the lord hath spoken it.
The melody also contains SEQUENCE (the same idea repeated a note lower or a note
higher).
WORD SETTING
– Uses syllabic (one note per syllable) and melisma (several notes over
one syllable – particularly on the word revealed).
MUSICAL DEVICES
Uses a PEDAL – a sustained note or the same note played over and over again.
CADENCES
Mainly uses PERFECT and IMPERFECT but the piece finishes on a PLAGAL cadence
And the Glory of the Lord
Background Info & Style
Melody
And the glory is a piece from the Messiah. The
Messiah is an Oratorio.
The whole piece is based around 4 sections of
melody.
1. And the glory of the Lord
2. Shall be revealed
3. And all flesh shall see it together
4. For the mouth of the Lord hath spoken it.
Oratorio – A musical work thqt uses text and
stories from the bible.
Written in the Baroque Period 1600-1750
1. Small mainly string orchestra.
2. Use of ornaments in music.
3. Terrassed Dynamics
4. Basso Continuo – Continuous bassline.
5. One mood in a piece.
Use of SEQUENCE (same idea repeated a note
lower or higher).
WORD SETTING – uses SYLLABIC (one note per
syllable) and MELISMA (several notes over on
syllable) particularly on the word revealed.
Texture
The VOICES use three different types of texture
in the piece.
1. MONOPHONIC – one sound/voice.
2. HOMOPHONIC – a melody with
accompaniment. Sopranos sing the
melody whilst the other voices form the
chords underneath.
3. POLYPHONIC – different voices singing 2 or
more of the 4 melody lines at the same
time.
Dynamics
Use of terrassed dynamics – It does not use
crescendo’s or diminuendo’s. It is either loud
or quiet.
Harmony
Uses mainly DIATONIC harmony. Only notes
from the key signature. (no chromatic notes)
Uses Mainly PERFECT (musical full stop) and
IMPERFECT (musical comma) cadences.
However the piece ends with a PLAGAL
cadence.
Uses PEDAL notes – either a long sustained
note or the same note repeated over and over
again.
A BASSO CONTINUO – plays the bass line
supporting the harmony throughout the piece.
Instrumentation
Small mainly string orchestra.
No percussion instruments.
ORGAN is used not Harpsichord.
Woodwind – Oboes and Bassoon.
1st Movement from symphony no.40 – Mozart (1788)
Written in the CLASSICAL period 1750 – 1830. The piece is in G MINOR.
Features of CLASSICAL music.
1.
2.
3.
4.
5.
6.
Regular 4 or 8 bar phrases.
Homophonic Texture.
Uses regular Cadences.
Diatonic Harmony (no chromatic chords).
Harpsichord became redundant.
Woodwind – Clarinet had been invented.
INSTRUMENTATION OF SYMPHONY NO. 40
Woodwind –
1
2
2
2
flute
clarinets
oboes
bassoons
Brass –
2 horns
NO TRUMPETS
NO DRUMS!
STRUCTURE – Sonata Form
Exposition
Development
Recapitulation
1st subject (melody)
Development of both
subjects by MODULTING
(changing the key
signatures).
Recaps the 1st subject in G
minor again.
Bridge
2nd subject (melody)
1st SUBJECT
Repeated 3 note idea that uses a DESCENDING pattern. In a MINOR key (G minor).
2nd SUBJECT
Much more relaxed idea. 3 note DESCENDING figure is meant to sound like a musical sigh.
It is in a MAJOR key.
Symphony No. 40
Background Info & Style
Melody
Written in the Classical Period 1750-1810
Whole piece built around two extracts of
melody. SUBJECT 1 and SUBJECT 2.
1. Regular 4 and 8 bar phrases (sentences).
2. Mainly HOMOPHONIC texture.
3. Uses regular CADENCES (musical full stops
and commas).
4. Diatonic Harmony (no Chromatic chords).
5. Clarinet was invented.
SUBJECT 1 uses a SEQUENCE and uses a
repeated 3 note idea.
SUBJECT 2 is a much more relaxed idea and a 3
note DESCENDING pattern is meant to sound
like a musical sigh.
Texture
Mainly uses a HOMOPHONIC texture
throughout. This is MELODY with an
ACCOMPANIMENT.
Harmony
Use of DIATONIC harmony, very few Chromatic
chords used.
Dynamics
Use of CRESCENDO’S and DIMINUENDO’S.
Lots of cadences used PERFECT and
IMPERFECT.
PERFECT = chords 5 – 1.
IMPERFECT = chords 1 – 5.
Instrumentation
This piece uses lots of chord 1 and 5!
STRINGS – Violin, Viola, Cello, Double Bass.
WOODWIND – Flute, Clarinet, Oboes,
Bassoons.
BRASS – Horns
NO TRUMPETS and NO PERCUSSION
STRUCTURE
EXPOSITION
Introduces :
SUBJECT 1 & SUBJECT 2
DEVELOPMENT
Develops both subjects by
changing key (MODULATES).
RECAPITULATION
Brings back SUBJECT 1 again
and finishes with a different
ending (CODA).
Piano Prelude No. 15 ‘Raindrop’ – Chopin (1838)
Written in the Romantic era 1810 – 1900
Features of Romantic music
1. Uses a wide range of feelings and emotions.
2. Longer melody lines.
3. Chromatic harmony (lots of sharps and flats). Used to create the emotions needed
in the music.
4. Strong and varied dynamic contrasts (very quiet to very loud). Used to give
maximum emotion.
5. Much more difficult to play (virtuoso performers).
6. Much larger orchestra.
7. Development of the piano.
THE PIANO



Made bigger
More notes were added.
Pedals were added (soft pedal – played quieter. Sustain pedal – sustains the notes).
CHOPIN’S PIANISTIC STYLE
1. CANTABILE – Singing style, to be played smoothly or legato.
2. TEMPO RUBATO – can slow down and speed up.
STRUCTURE
What is a prelude?
A prelude is always followed by something else. It is a short piece used to create the mood.
Each one is meant to show or portray a particular emotion.
The ‘raindrop’ is in TERNARY FORM
Section A
Section B
Section A
Raindrop Prelude
Background Info & Style
Melody
Written in the ROMATIC period 1810 – 1900
Melody lines are much longer so they be more
expressive.
1.
2.
3.
4.
Longer sustained MELODY lines.
CHROMATIC harmony.
Lots of changes in DYNAMICS.
VIRTUOSO performers.
SECTION A – melody is mainly at a high pitch
and is played in the right hand on the piano.
Raindrops are represented in the music by the
use of a PEDAL note which plays continuously
throughout the whole piece.
Chopins piano style
CANTABLIE – to be played smoothly or legato.
TEMPO RUBATO – lots of slowing down and
speeding up.
SECTION B – melody is mainly at a lower pitch
and a lot of it is played with the left hand.
Use of DECORATIONS/ORNAMENTS in the
melody.
Harmony & Tonality
Dynamics
Use of CHROMATIC harmony to create extra
emotion in the piece.
Huge range in DYNAMICS to help create the
emotion in the piece. Lot of use of
CRESCENDO’S and DIMINUENDO’S.
Use of DISSONANCE – chords that clash.
Start in a MAJOR key then goes to MINOR but
back to MAJOR for the ending.
Instrumentation
Use of PEDAL NOTE to represent the Raindrops
falling.
The PIANO – Made bigger, a much bigger pitch
range was no available. Pedals were added to
the piano:
 SOFT pedal
 SUSTAIN Pedal
Texture
Mainly uses a HOMOPHONIC texture
throughout. This is MELODY with an
ACCOMPANIMENT.
STRUCTURE – TERNARY FORM
SECTION A
Major key. Original Idea
SECTION B
SECTION A1
Minor Key – Section is there to
create a contrast. Melody
goes lower in pitch.
Brings back Original idea again
but finishes with a different
ending (CODA).
Peripetie – Schoenberg (1909)
Peripetie is a piece of Expressionism
Features of Expressionism
1.
2.
3.
4.
5.
Atonality – No key signature (not major or minor).
Expression of one intense emotion.
Short pieces.
Full pitch range used (really, really high to really, really low).
Extreme use of expressive dynamics (very, very loud – very very quiet).
MELODY




Jumpy
Spikey
Angular
Disjointed
DYNAMICS

Massive range used from one note to the next
RHYTHM

Very complex rhythms (rests as important as notes that are written).
TONALITY

Atonal (no key signature).
HARMONY


Clashing
Chromatic
TIMBRE

The sounds of the instruments as important as the pitch.
FEATURES OF PERIPETIE
Use of HEXACHORDS – 6 notes from the chromatic scale used as a chord.
COMPLIMENT – 6 notes not used in the first Hexachord.
PRINCIPAL VOICE – The main melody.
SECONDARY VOICE – the 2nd most important melody line.
Peripetie
Background Info & Style
Melody
Style – EXPRESSIONISM
Very jumpy and disjointed. It can also be
described as being Angular.
Features of the style:
1. Atonal – no key signature.
2. Each piece has one intense emotion.
3. Full use of the pitch range very high to very
low on all instruments.
4. Extremes of dynamics.
5. Sound of the instruments is important –
mutes, pizzicato, different combinations.
6. Pieces are usually short.
Texture
Lots of LAYERS in the texture.
Uses KLANGFARBENMELODIE – the melody is
passed quickly from one instrument to another
to create different effects.
Harmony & Tonality
Tonality – Atonal, it has no key.
Use of HEXCAHORDS – 6 note chord.
COMPLIMENT – another chord used in the
piece.
Use of CHROMATIC HARMONY.
Use of DISSONANCE.
At times the texture is very DENSE and at
others it is very SPARSE.
There are parts in the music where a
HOMOPHONIC texture can be clearly heard.
Instrumentation
Texture changes rapidly and often
Use of a full orchestra. Very large but at times
individual instruments like the Clarinet are
given solo passages.
Dynamics
Use of mutes in brass instruments.
Extreme use of dynamics. Long Crescendo’s
and diminuendo’s.
Rhythm and Metre
At other times the volume can change very
quickly.
Overall the piece uses a massive range of
dynamics
The rhythm is very complex throughout the
piece. As a result it can often sound chaotic.
Something’s Coming – Bernstein (1958)
This is a song from a musical. The mood is one of optimism and excitement ‘Somethings
coming I don’t know what it is but it is gonna be great’.
Features of Musicals
1.
2.
3.
4.
5.
Contains Music, Dance and drama.
Musicals come in all different styles, rock, jazz, orchestral based.
Contains Solo’s – song for solo voice.
Contains duets – song for two voices.
Contains chorus – everyone on stage sings together.
About Something’s Coming
RHYTHM


Use of syncopated rhythms (push rhythm – anticipates the beat).
Use of cross rhythms.
HARMONY


Jazz based harmony.
Uses Blue notes.
MELODY


Made up of lots of short riffs.
Combination of snappy short phrases and long sustained notes.
TONALITY


Bitonality (uses two keys at the same time).
Major
TEXTURE


Layered Texture
Homophonic Texture – Melody (voice) and accompaniment.
Something’s Coming
Background Info & Style
Melody
The song is taken from the musical West Side
Story.
Part of the melody is built up around extensive
use of short riffs. RIFF – short repeated
pattern.
West Side story is a modern day version of
Romeo and Juliet.
Based around 2 gangs the Sharks and Jets.
Combination of short snappy phrases and long
sustained notes.
Strong influence from jazz music in harmony
and instruments used.
Harmony & Tonality
Use of Jazz harmony and blue notes.
Texture
Lots of LAYERS in the texture, lots of
independent parts in the orchestra.
Most of the song uses a Homophonic Texture –
melody (voice) with accompaniment. But it
does use other textures it depends which
section of the music you hear.
D major tonality makes the music sound bright
and optimistic.
Use of extended chords such as 7th chords
which create chromatic harmony.
Instrumentation
Vocals – tenor
Dynamics
Over 30 players in the orachestra – use of
traditional and jazz instruments.
Changes in volume using crescendo’s and
diminuendo’s. Volume reflects the mood of
the lyrics
Rhythm and Metre
Extensive use of SYNCOPATION throughout the
piece.
Use of ‘Push’ rhythms which anticipate the
beat.
Uses cross rhythms in places.
Electirc Counterpoint (3rd Movement) – Reich (1987)
This is a piece of MINIMALISM
Features of Minimalism
1.
2.
3.
4.
5.
6.
7.
8.
9.
Repetition
Use of Ostinato (repeated pattern)
Use of Drones
Use of Cells (short musical ideas)
Metamorphosis (gradual change of rhythm and melody).
Layering (parts dropping in and out).
Note Addition (notes gradually added).
Note Subtraction (notes gradually taken away).
Static diatonic harmony (use of one long chord which changes gradually if at all).
INSTRUMENTATION


7 guitars
2 bass guitars
PLAYING TECHNIQUES


Picked
Strumming
TONALITY

Modal on E
Electric Counterpoint is to be
performed by 1 live performer.
The other 8 guitars are prerecorded on the soloist plays over
the top.
STUDIO EFFECTS
PANNING – certain guitars are made
to come out of the left or right
speaker on the backing track.
MELODY


Built from cells
Forms a resultant melody (a melody that is produced when separate parts all play at
the same time).
RHYTHM & METRE (time signature – beats in a bar)




Lots of Syncopation
3/2 - 3 minims in a bar
12/8 – 12 quavers in a bar
Both time signatures are used at the same time.
TEXTURE



Use of Layering
POLYPHONIC texture
Thick texture once built up – lots to listen to.
Electric Counterpoint
Background Info & Style
Melody
STYLE – Minimalism
Made up of lots of layers from each of the
electric guitar parts.
Features
1.
2.
3.
4.
5.
6.
7.
Ostinato - Repetition
Cells
Layering
Note Addition
Note Subtraction
Metamorphosis – slow rate of change
Hypnotic
Layers combine to produce a RESULTANT
melody.
Resultant melody is when a new melody is
produced when a variety of parts each play
their melodies at the same time.
Resultant melody is played by the live guitar
player.
Texture
The texture is built up in LAYERS, part gradually
come in and sometimes drop out.
Harmony & Tonality
MONOPHONIC TEXTURE – used at the start.
The piece is basically in E minor. However, it is
unclear for quite a long time – this is called
TONAL AMBIGUITY.
Use of POLYPHONIC texture – independent
parts playing at the same time.
The tonality of the piece is actually MODAL.
Texture remains quite constant throughout
most of the piece.
Uses DIATONIC harmony – very few chromatic
notes used.
Changes key from E minor to C minor.
Dynamics
Instrumentation
Remains farily constant throughout the entire
piece.
The piece is played by one live performer on
the electric guitar. Everything else is on a
backing track and is pre-recorded.
There is a crescendo at the end of the piece.
Rhythm and Metre
1. Extensive use of SYNCOPATION throughout
the piece.
2. Use of CROSS RHYTHMS.
3. Metre starts 3/2 but changes to 12/8 and
switches between the two.
1.
2.
3.
4.
Live Guitar – Electric
4 pre-recorded electric guitars
2 bass guitars
3 acoustic guitars
All Blues - Miles Davis
All blues is a piece of ‘Cool’ Jazz which is Modal.
Features of All Blues
1. The musicians improvise all of the solos they play.
2. The soloists use modes to improvise – an early type of scale before major and minor
scales were invented.
3. It uses a swing rhythm.
4. The ‘Head’ uses riffs in the accompaniment – a short repeated extract of music.
Instrumentation

Frontline (melody Instruments)
Trumpet – Miles Davis
Alto Sax – Cannonball Adderley
Tenor Sax – John Coltrane

Rhythm Section (accompaniment)
Piano – Bill Evans
Double Bass – Paul Chambers
Drums – Jimmy Cobb
Rhythm & Metre



Uses uneven swing rhythm.
Contains lots of syncopation.
The Time signature is 6/4 (six crotchets in a bar).
Melody


Apart from the head it is all Improvised.
Uses Blue Notes (flattened 3rd and 7th).
Harmony





Uses the 12 bar blues.
Changes – The word used to describe the chord sequence in a jazz song.
Uses 7th chords.
Uses Blue notes in the melody and the chords – flattened 3rd and 7th.
Use of turnarounds – A chord pattern used at the end of a section to take it back
to the beginning.
Structure



Uses a Head arrangement – The head is simply the tune.
After the head is played the twelve bar blues changes (chord pattern) repeats over
and over again.
Linking section – this can be heard in between each solo that’s played. The linking
section uses a Riff (short repeated section of melody).
All Blues – Miles Davis 1959
Background Info & Style
Melody
STYLE: Modal Jazz
Mainly improvised throughout the entire piece.
The only section that isn’t is the ‘HEAD’ which
is pre-written (fixed).
A style of jazz that allowed longer and freer
improvisations.
Modal jazz pieces lasted for longer than others
at the time.
Melody uses modes (a type of early scale) to
improvise their parts.
Texture
Very complex virtuoso playing during the solo
sections.
Mainly HOMOPHONIC throughout. Melody
and accompaniment.
Complex syncopated and cross rhythms are
used by the soloists.
Harmony & Tonality
Soloists use chromatic notes in their
improvisations
Use of the 12 bar blues chord pattern.
Use of EXTENDED chords particularly 7th
chords.
Use of Chromatic harmony which creates
clashed in some parts of the solo sections.
Instrumentation
Split into two parts: Frontline (melody) and
Rhythm Section (accompaniment).
FRONTLINE:
Soloists use different modes/scales when
improvising. They choose modes/scales that fit
in with the chord pattern.
CHANGES – the chord pattern in a piece of jazz,
they refer to the chords as changes.
Structure
The structure is a HEAD arrangement.
Intro
Head – tune, with accompaniment.
Solo’s – all improvised.
Head – tune to finish,
Linking section – this can be heard in between
each solo that’s played. The linking section
uses a Riff (short repeated section of melody).
Trumpet – plays the head then takes first
solo(muted in the Head section).
Alto Sax – accompanies in head then solo’s.
Tenor Sax – accompanies in head then solo’s.
RHYTHM SECTION:
Piano – comps (improvised chords)
Double Bass – plays same riff all the way
through, PIZZICATO throughout.
Drum Kit – improvised
Rhythm and Metre
Very complex rhythms used in the improvised solo’s.
Extensive use of SYNCOPATION throughout the piece.
Particularly in the solo’s and drum kit parts.
Uses cross rhythms in places in the solos.
Chorus – refers to a repetition of the 12 bar
pattern. The whole piece is made up of lots of
repetitions of the 12 bar blues chord pattern.
TEMPO is quiet fast and the time signature is 6/4 (6
crotchets in a bar).
Uses a SWING rhythm throughout the entire piece
Grace – Jeff Buckley
Grace is a piece of rock/alternative/indie music. It is hard to put it in one catergory.
Jeff Buckley used SOUNDSCAPES which is when the timbre (the quality of sound) and
the texture of a piece of music is changed. This is done to create a certain
atmosphere in the music rather than have continuous musical development.
Harmony




Uses Drones – a sustained or repeated note.
Powerchords – A chord which uses two notes 1st and
5th.
A real mixture of Major sections, Minor Sections
and Modal sections.
These different tonalities and chords are used to
help create different SOUNDSCAPES
(moods/atmospheres) in the music.
Structure
Quite complex for a Rock song.
Intro – Verse 1 – Pre-chorus 1 – Chorus – Link – Verse
2 – Pre-chorus 2 – Chorus – Middle Eight – Link – Verse
3 – Outro.
Lots more than a simple structure. Each section has
new music which adds to the atmosphere of the overall
piece.
Instrumentation
Vocals – Very wide range.
Buckley uses falsetto a lot
when he sings.
Acoustic guitar
Guitar
Bass
Drums
Studio Effects




Instrumental Techniques




Falsetto – Very high pitched singing from men.
Strumming – Playing several strings together.
Strum a chord.
Picking/pizzicato – Playing individual strings. Used
when doing a solo or playing a melody.
Slide – slide your finger from one note to another.

Overdub - use a multitrack
recorder to layer recorded
parts and add to it.
Delay – Repetitions of a
sound after a set period of
time.
EQ – Equalisation –
electronically cutting or
boosting high or low
pitches.
Flanger – A studio effect
ranging from swirling sounds
to jet plane effects.
Electric Guitar whispers –
adds an eerie effect
emphasising the lyrics.
Grace – Jeff Buckley 1994
Background Info & Style
Melody
STYLE - Indie Rock.
In the voice throughout. Large pitch range
because he uses falsetto.
Harmony & Tonality
Mainly syllabic but there are sections of
melissma used.
Use of powerchords on guitar which use the
root of the chord and the 5th note.
The guitar has been tuned down into drop D
meaning that the lowest pitched string has
gone from an E to a D.
Uses drones – repeated or long sustained
notes often created clashes/dissonance.
A real mixture of Major sections, Minor
Sections and Modal sections.
These different tonalities and chords are used
to help create different SOUNDSCAPES
(moods/atmospheres) in the music.
The chords used create dissonance at times in
the music.
Rhythm and Metre
Time signature – 12/8. 12 quaver beats in a
bar.
Lots of syncopation particularly in the voice
and the acoustic guitar parts.
Effects used
Delay – the vocal is given an echo but it is
delayed.
EQ – You can increase the bass and treble
after it has been recorded.
Flanger – studio effect that can completely
change the sound of an instrument.
Electric Guitar whispers – used to add an
eerie effect.
Very passionate delivery of the vocals in
places.
Use of improvisation in the outro on vocals.
Texture
Mainly HOMOPHONIC throughout. Melody
and accompaniment.
Use of SOUNDSCAPES which change the
texture (layers) and the sounds of instruments
to create a certain atmosphere.
Polyphonic textures can be heard at certain
times.
Instrumentation & Playing Techniques
Male vocals - Tenor
Electric Guitar
Acoustic guitar
Bass Guitar
Drum kit
Synthesisor – string sounds
Falsetto – high pitched singing, vocal slides
Plucking, strumming, guitar slides
Structure
More complex than most rock songs:
Intro, verse, pre-chorus, chorus, links, middle 8
and outro. Middle 8 is an 8 bar instrumental
section.
Why does my heart feel so bad? Moby
This is a dance piece of music released in 1999.
Influences on Dance Music




Dub – in the 60’s songs started to be remixed. Musicians would use overdubbing to
remove and add extra parts, often including effects into them.
Scratching – A record is spun by hand to create a scratching sound. It got to the point
were the record deck was considered a musical instrument!
Chicago House – Take existing tracks and remix them. Extra things like the use of a
drum machine to emphasise the ‘4 on the floor’ were also used.
Garage – More melodic than House – it used soul and R ‘n’ B music
Samples in ‘Why does my heart feel so Bad?’



Built around 2 vocal samples taken from a gospel choir recording done in 1953.
Both of the samples are in A minor.
Moby has chosen to harmonise one with minor chords and the other with major chords.
Structure


Based around 2 chord sequences which are in 8 bar blocks.
Intro – Verse – Chorus – Verse2 – Break – Chorus – Outro.
Texture
Moby develops the texture by changing the amount of instruments playing, the rhythms used as well
as a number of different effects.
Tempo/Metre

98 bpm. The time signature is 4/4.
Tonality
Starts in A minor. The second half of the
chorus goes into C major.
Harmony
Very simple – only 6 chords used in the whole song.
Uses chords to trigger an emotional response.
They are used to create a certain atmosphere.
Chord sequence 1
 ‘Why does my heart feel so bad?’ – Verse –
a repeated 8 bar pattern
Chord sequence 2
 ‘These open doors – ‘Chorus’ – spilt into 2
halves. Each is 8 bars long.
Effects used




Reverb – gives the impression of space eg.
Singing in a cathedral or a small box
room.
Delay – the vocal is given an echo but it is
delayed.
EQ – You can increase the bass and
treble after it has been recorded.
Panning – music put on 1 side and then
switching to another. L-R.
Why does my Heart Feel so Bad – Moby 1999
Background Info & Style
Melody
STYLE – Dance music (remix)
The melodies come from samples taken from
an old gospel record.
Harmony & Tonality
Melody 1 – why does my heart feel so bad.
Harmony is very simple in this song and only
uses 6 chords.
The tonality of the song is minor
(Aminor)which is reflected in the choice of the
vocals.
However the second part of the chorus does
change to a major tonality.
Melody 2 – these open doors.
Pattern 1 – why does my heart
Lots of layering occurs throughout the song
particularly in the intro and break section.
1
Am
2
Am
3
Em
4
Em
5
Gm
6
Gm
7
D
8
D
6
C
7
Am
8
Am
6
F
7
C
8
C
Pattern 2a – these open doors
1
C
2
C
3
Am
4
Am
5
C
Texture
Mainly HOMOPHONIC throughout. Melody
and accompaniment.
The texture goes from monophonic (sparse) in
places to adding layers to create a more dense
texture.
Pattern 2b – these open doors
Instrumentation
1
F
2
F
3
C
4
C
5
F
Structure
Very simple structure based around two chord
patterns arranged in 8 bar blocks.
Intro – piano
Verse 1 – Why does my heart
Chorus – These open doors
Verse 2 – why does my heart
Break – instruments drop out.
Chorus – These open doors
Outro.
Rhythm and Metre
Some use of syncopation.
4/4 time signature. TEMPO 98 beats a minute,
moderate speed.
4 on the floor bass beats used.
All the instruments used are electrical and the
piece was created using computers and
musical software.
Synthesisors – string/synth pad sounds
Effects unit – to add digital effects.
Drum machine – used to create the drum
loops.
Sampler – used to get the voices off the gospel
record.
Effects used
Reverb – gives the impression of space eg.
Singing in a cathedral or a small box room.
Delay – the vocal is given an echo but it is
delayed.
EQ – You can increase the bass and treble
after it has been recorded.
Panning – music put on 1 side and then
switching to another. L-R.
‘Skye Waulking Song’ – Capercaillie
This is a piece of fusion which mingles or blends two styles of music together this piece
includes:


Folk Music – Fiddle, Uilleann pipes, bouzouki, based on a Gaelic story, Gaelic language.
Rock Music – Electric Instruments (bass guitar, synthesisor), drum kit.
Waulking Songs
A waulking song was sung when villagers would work together making tweed more flexible and
windproof. They sung a song to:
 Make it a more social occasion. To keep everyone in time.
One person would lead the song and others would join in after each line with nonsense syllables.
This would give the person leading chance to think of the next line.
Time Signature
The time signature is ambiguous at the start but settles into 12/8 – 12 quavers in a bar.
Tonality
- E minor
Harmony
Simple throughout the song there are only 4 chords in the whole song. The changes in the chord
pattern are very noticeable and change the mood of the section. Uses C – G – Em – Am7.
Melody
Instruments improvise around the melody at the same time. The vocal line uses the scale of E
minor pentatonic or G major pentatonic throughout.
Texture
Heterophonic Texture can be heard at times – two or more parts playing the same melodic line
at the same time but slightly differently to each other.
Structure
Intro – Verse 1 – Break – Verse 2- Verse 3 – Verse 4 – Verse 5 – Verse 6 – Instrumental – Verse
7 – Verse 8 Outro.
Use of call and response between the main melody and lyrics and the nonsense syllables
repeated afterwards.
Background
The words are about Seathan, son of the King of Ireland. It was originally a lament
(sad song of grief) sung by his wife. It told of his deeds, his character, and her
recollections of times spent with him. It was used as a way of grieving and sharing her
feelings to try and deal with her loss.
Rag Desh
This is from the Indian classical tradition of Northern India.
Elements of a Rag
The Rag (scale)
The Melody – Improvised from notes of a rag.
The Drone – Usually supporting notes. 1 or 2 played by
the Tambura.
The
Structure
The
Rhythm
– A repetitive, cyclic pattern played by the
Tabla.
There are over 200 and each has a
different mood. There are morning
rags, night rags, celebration rags and
seasonal rags.
The Drone accompaniment
The Rhythm – the tala.
No sense of harmony in Indian Raga music. All
emphasis is placed on the melody. The drone usually
uses the 1st and 5th notes of the rag. It is ever
present in a Raga performance.
The rhythm is organised into
repeating cycles called TALA. It
uses lots of syncopation
throughout the performance.
Section
Tempo
Metre/Rhythm
Alap
Slow and meditative.
Timeless (free time)
Jhor
Steady /Medium
A sense of pulse is added
Jhalla
Fast/lively
Gat
Moderate to fast
Fast pulse. Exciting and
complex rhythms.
Tabla drums introduce the tala
rhythmic cycle
Musical feature
Explores notes of the rag. Sets the
mood.
Music is improvised.
Becomes more rhythmic.
Tempo increases.
Becomes more elaborate.
High point of the piece.
Virtuoso playing.
Fixed composition is introduced.
Instrumentation
Sitar
The Sarangi
The Sarod
The Tambura
Tabla
Basuri
Playing
Techniques
Meend – sliding
between different
notes.
Tan – rapid scalic
flourishes.
Rag Desh – Indian Music
Background Info & Style
Melody
Different types of rag (scales) are used
depending on the time of day, the season, the
reason for the music.
Melody is based on the notes of the rag and is
mainly improvised.
Indian music has an oral tradition and is passed
down from teacher to student.
The melody is not improvised in the
Gat/Bandish section of the piece.
Melodies become more elaborate as the piece
progresses. VIRTUOSO playing.
Structure
All version of Rag Desh only contain two
sections:
Alap – first section of piece and timeless.
Gat/bandish – Fixed composition, not
improvised. Gat is in instrumental rag’s, the
bandish is used when there is a singer.
Common Structure Indian Music
Alap – Timeless – improvised.
Jhor – Beat instroduced – improvised.
Jhalla – Fast climax of the piece – improvised,
virtuoso playing.
Gat/bandish – Fixed composition – not
improvised.
Rhythm and Metre
Extensive use of Syncopation (off beat
rhythms).
Cross Rhythms – create irregular accents in the
music.
Rhythms are very complex and become even
more complex throughout the piece.
The Tabla (Indian drum) plays a repetitive
pattern calls a Tala. This is eventually
embellished.
Texture
The texture of Rag Desh is mainly
HOMOPHONIC, melody and accompaniment.
Instrumentation & Playing
Techniques
Sitar – melody instrument with a long neck.
Bansuri – An Indian Flute
Sarangi – melody instrument (played with a
bow).
Sarod – melody instrument smaller than a
sitar, more like a guitar shape.
Tambura – locked necked instrument that
plays the drone.
Tabla – a pair of Indian Drums.
Meend – Sliding between 2 different notes.
Tan – rapid scalic flourishes.
Harmony & Tonality
Uses a rag to create the melody (like an Indian
scale).
Drone Accompaniment – the Tambura plays a
drone all of the way through. Long sustained
notes 1 or 2 at a time.
Use OSTINATO
Musical pattern that is
‘Yiri’ – Koko
continuously repeated during a
African music has an oral tradition and is not written down.
section or throughout a
complete piece of music.
The performance contains a MASTER DRUMMER who leads the call & response, sets
the speeds and generally leads the performance.
Common features of African Music
Repetition – this might be just a few notes or a whole section of music.
Improvisation – music is made up on the spot.
Polyphony – a texture of two or more parts. A multi layered texture.
Call & Response – a solo followed by a group answering phrase.
Rhythm
African music contains lots of syncopation and also uses cross rhythms.
Texture
Polyphonic and polyrhythmic textures – a texture that uses many independent parts and
rhythms.
Music is very important in African
Common features of African Songs
Society. It is used on all sorts of
occasions from Weddings, religious
festivals, funerals, birthday’s and lots
Call & response
Melodies are short and simple repeated many times.
of other types of celebrations.
Performers often improvise new melodies.
Music is often sung in a round.
Harmony –sing in unison octaves and and 3rds, 4ths and 5ths.
Instrumentation
Djembe
Talking Drum
Balaphones
Yiri – African Music
Background Info & Style
Melody
Yiri is a piece of African music. It actually
comes from the country Burkino Faso.
The melody uses a pentatonic (5 note) scale.
The melodies are mainly improvised.
African music uses an oral tradition – the music
is passed on through demonstration and word
of mouth. It is rarely written down.
They are often short and simple and use lots of
repetition.
Common features of African Music are:
The melodies sung make extensive use of Call
& Response.
Repetition
Improvisation
Call and Response
Polyphonic texture
The piece also uses an OSTINATO in the drum
parts.
Texture
Yiri makes use of several different textures
throughout the piece:
MONOPHONIC – solo balaphone at the start of
the piece.
Harmony & Tonality
HETEROPHONIC – Several balaphones play the
same melody but with slight embellishments
between each part.
POLYPHONIC – independent parts playing at
the same time, balaphones, singers, and
percussion instruments
Rhythm and Metre
Extensive use of Syncopation (off beat
rhythms).
Cross Rhythms – create irregular accents in the
music.
Timeless section during Balaphone solo at the
start of the piece.
Use of an Ostinato – repetitive pattern in the
drums throughout the piece.
Instrumentation
Balaphones – xylophone type instrument.
Djembe – Goblet shaped drum.
Talking Drum – Pitches are adjustable.