AOS1: 1600-1899. Western Classical Music
Handle- 'And the Glory of the Lord' - The Messiah
Mozart- Symphony in G major - Kisso movement 1
Chopin- Prelude No.15 in D flat major (Op.28)
AOS2:- Music in the 20th Century
Schoenburg- 'Peripetie' - from Five Orchestral Pieces
Bernstein- 'Something's coming' - from West Side Story
Reich- 'Electric counterpoint' - movement 3
AOS3- Popular Music in Context
Miles Davis- 'All blues'
Jeff Buckley- Grace
Moby- 'Why does my heart feel so bad'
AOS4:- World Music
Capercaillie- Skye Waulking Song
Rag Desh- Indian Raga
Koko- Yiri
Slide 2
What do you need to know?
For each set work you need to know:
Name of Piece
The composer
Date it was composed
Tempo
Time Signature / Rhythm
Instruments / Timbre
Structure
Melody
Tonality
Harmony
Dynamics
Type of piece
Texture
Electronic devices (if used)
Electronic processes (if used)
You also need to be able to:
Give opions as to why you like/ dislike the pieces
Know both the century and date of when the piece was composed
Provide reasons as to why each set work refects the style it was written in
State features of the style of music
Know what section of the music is being played in the extract
Write basic notation for a part of the extract (will be featured in the slides)
Work out the rhythm being played by a certain instrument in an extract.
Slide 3
Chopin- Raindrop Prelude
The piece was written in 1839, the Romantic period, by Frederic Chopin for as a piano prelude for piano.
The time signature is 4/4 and the tempo is sostenuto
Rubato is used.
The only instrument used is the piano
The structure is ternary (ABA) form, with a coda and a basic ABA structure within section A.
The texture stays mainly homophonic through out the piece.
The symbol 'Ped' is used through out to show the musician they need to hold down the right pedal (stustaining pedal)
It was written by Steve Reich, an American composer for guitars.
It was written in 1987, during the Minimalist period.
It was written for 7 electric guitars, 2 bass guitars and 1 acoustic guitar (live and amplified)
It was written for Pat Methen, an American Jazz gutarist.
The tempo is fast.The movement's structure builds up in 3 layers:
Syncopated quaver motif
Another synopated quaver motif is introduced but on bass guitars
A sustained motif player but the live guitar
^ Layers 2 and 3 fade out at the end only leaving layer 1 forming the coda.
The time signature is 3/2 and syncopation is used a lot
There is a constant use of ostinati in the melody
The key is mostly G major but it is in Eb major towards the end.
The dynamics are constant
The texture is mainly polyphonic
Looping and multi tracking is used
Parts drop out by gradually fading away.
Near the end of the piece the texture starts to thin out.
Slide 5
Miles Davis- All Blues
Written by Miles Davis in 1959, during the Jazz period.
Its in the style of modal Jazz.
The time signature is 6/4 (jazz waltz)
Rhythic features include swug quavers and synocopation.
Its based on the twelve bar blues. 1 loop is called a chorus
The structure of the piece is known as a head arrangement
The tonality is seen as being in G major with a flattened 7th
The texture can be seen as being homophonic (although it is not specified)
Improvisation is used in the solo sections of the piece, and it was recorded with no rehersal. To ensure all the musicians knew what they were doing they were given the following iformation:
Over all structure
Basic chord sequence
Main melodic idea
The mode/scale to improvise on
Caption: : The forth part down is played by the ostinato drum and it has a rhythm of a quaver and then two semi quavers. You might be asked to write this out in yout exam so its worth learning