Set Works Analyses Music

Transcription

1 GCSE Set Works Analyses Music For use with the revised GCSE Music specification (for first teaching from September 2009) 201

2 Contents Page Introduction: Purpose of the Guidance 3 Core Area of Study: Repeated Patterns in Music Pachelbel: Canon in D major 6 Beethoven: Symphony No. 7 Allegretto (2 nd movement) 9 Holst: The Planets Mars 12 Jenkins: Requiem Dies Irae 15 Optional Area of Study 1: Musical Traditions in Ireland The Chieftains: Carrickfergus and Drowsy Maggie 23 De Danann: The Cuckoo s Nest medley, The Teetotaller/St Anne s 27 Miller s Hill Accordion Band: Steadfast & True 33 Ballygowan Flute Band: Le Rêve Passe 35 Ravara Pipe Band: Heights of Dargai/Battle of the Somme 37 Bill Whelan: Riverdance Reel around the Sun 40 (Corona/The Chronos Reel/Reel around the Sun), Riverdance Optional Area of Study 2: Incidental Music Mendelssohn: A Midsummer Night s Dream Overture 47 Grieg: Peer Gynt Suite Morning, In the hall of the Mountain King 51 Hans Zimmer: Pirates of the Caribbean (Dead Man s Chest) Davy Jones Theme 54 Ron Grainer: Dr Who Theme revised title theme 2005 series 57 Optional Area of Study 3: Vocal Music Handel: Messiah 63 Recitative: There were shepherds, And the Angel and And suddenly Chorus: Glory to God Aria: Why do the nations? Schubert: Die Erlkönig (The Erl King) 66 Stephen Schwartz: Wicked 69 Chorus: One Short Day Duet: What is this feeling? Snow Patrol: Final Straw - Run 73

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4 Introduction: Purpose of the Guidance This guidance is designed to support the teaching of CCEA s Specification for GCSE Music (for first teaching, September 2009). It should be read in conjunction with the specification, the scheme of work and (when they become available) the exemplar assessment materials. This and subsequent support material can be found on our subject microsite: These set work analyses provide a background, context and analysis of each work that appears in the Core and Optional Areas of Study in the specification. We have listed timecodes in reference to specific points in each of the set works. Throughout the document we have listed the timings as, for example, (1:20) which indicates 1 minute and 20 seconds into the relevant recording. These timings are based on the recordings we have suggested on our microsite. Where scores are available, we have also listed rehearsal marks or bar numbers. This material is intended as an aid to teaching, a resource to supplement teachers own research and to fill in the musical detail of the set works. Whilst these analyses are relevant and pertinent to the teaching of GCSE Music, it does of course go beyond the depth to which candidates might reasonably expect to be questioned in a Listening and Appraising paper. This material is available on the microsite as a pdf and as a Word document so that teachers may incorporate their own existing notes into this document. We hope that you find this aspect of our support useful in your teaching. Best wishes Roger Trigg Subject Officer Music rtrigg@ccea.org.uk 3

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6 Core Area of Study: Repeated Patterns in Music 5

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8 Pachelbel ( ): Canon in D major Biographical detail Johann Pachelbel was born in Nuremberg, Germany in August 1653 and became one of the great organist-composers of the Baroque era. He died in Nuremberg on March 6 th, Pachelbel is principally remembered as a composer of church and organ music, especially his chorale preludes and variations. Pachelbel is also credited with influencing the early keyboard works of Johann Sebastian Bach. It is believed that the Canon in D major was written (along with Gigue in the same key) in or around Background & Context This work was not published until the 1920 s with the first recordings emerging some twenty years later. Canon in D major has undergone hundreds of transformations in the intervening years, and has been recorded by artists as diverse as Pet Shop Boys and the Farm. It was the latter s reworking of Pachelbel s original for their 2004 hit release which became more widely recognised in its use as the theme tune of the English Euro 2004 team (All together now). Frequently used as a processional at weddings, this work has appeared in several films and also in television adverts such as, British Gas, Pure New Wool and Ambrosia. Analysis The Canon in D major was originally written for three violins and basso continuo. The original version of the Canon is rarely played today and the basso continuo (Example 1) is frequently undertaken by cello, harpsichord or organ. Example 1 The term canon to describe this work, is true in that the parts follow in strict canonic order throughout the work. The harmonic progressions heard above the ground bass (basso ostinato) also never alter. The title Canon therefore, refers to the way the three violin parts work, playing the same music (in this piece) 2 bars apart (Example 2). 7

9 Example 2 After the initial statement of the ground bass (Example 1), first violin enters with a simple descending and ascending crotchet pattern. Two bars later the second violin adds to the texture by playing in thirds with the first violin (Example 3-0:27). As the third violin enters with the descending crotchet pattern, Violin 1 has begun the next variation, this time in quavers (Example 4-0:40). Example 3 Example 4 Further progression occurs when a new scalic semiquaver variation begins. (Example 5-1:03).A more disjointed variation of the crotchet pattern exploiting octave leaps follows (1:27), followed in turn by the fastest variation featuring demisemiquaver patterns (Example 6-1:50). This variant features repeated half-bar sequences. 8

10 Example 5 Example 6 As the canon becomes increasingly dense towards the middle of the piece, other interesting variants occur when the descending crotchet pattern (Example 2) is reworked and each note is repeated in semiquavers (2:34). Arguably the most melodically memorable legato variant is heard as the texture becomes increasingly sparse with lighter scoring and less counterpoint (3:23). As the note values lengthen, the piece gradually reverts to a less complex structure and after 28 repetitions of the original ground bass (Example 1), the work ends. The chord progression used in Canon ( I V vi iii IV I IV V = D major, A major, B minor, F# minor, G major, D major, G major and A major) was to influence many composers including Handel, Haydn, Mozart and the many hundreds of contemporary musicians who have used it. The simplicity of the Canon is untypical of the Baroque era in that Pachelbel employs no complex contrapuntal devices such as augmentation, diminution, inversion etc. Performance detail It is also important to note that the fashionable very slow tempo of performance currently heard in most recordings contrasts with the much faster tempi employed by performers in the Baroque period. Many recordings also feature an accompaniment over the opening ground bass (bars 1-2). 9

11 Beethoven ( ): Symphony No. 7 in A Allegretto (2 nd movement) Work on the Symphony began in 1811 and was completed in First performance took place in Vienna in 1813 at a charity concert for soldiers wounded at the battle of Hanau with Beethoven conducting. The symphony is scored for a Classical Orchestra - 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns 2 trumpets, timpani and strings. This is unusual as Beethoven had used larger forces in previous symphonies, particularly No. 5 where he included Piccolo, double bassoon and three trombones. There are four movements. The 2 nd movement is the only one of the four which is not dance-like in character, yet it is the best known. Its main characteristic is the repeated crotchet/two quaver figure (ostinato) that continues throughout the piece not only in the bass but at other times on different instruments of the orchestra. Although it is the slow movement of the symphony, Beethoven marks it Allegretto ie a little lively. It is this contrast between the steady march-like figure in the minor key and the lightness which he expects the rhythm to be in performance that helps to give the movement its strange appeal. Analysis Theme 1 Theme 2 Theme 3 10

12 0:00 The movement opens with a chord of A minor played by the oboes, clarinets, bassoons and horns. This begins f and quickly fades to pp establishing the key of the movement. 0:05 (Bar 3) Theme 1 is stated p by the violas against a strong rhythmic pulse of a crotchet and two quavers which continues throughout the movement. The theme is 16 bars long with the second eight bars being repeated (Bar 27) The violas and cellos introduce Theme 2 while the 2 nd violins continue with Theme 1 the cellos and double basses continue the regular pulse in an octave version of the opening rhythm. Theme 2 is also 16 bars long with the second eight bars repeated. 1:32 (Bar 51) At this point the 1 st violins take Theme 1 an octave higher while the 2 nd violins play Theme 2, with the violas and cellos providing a quaver accompaniment with a modified version of the rhythm. From this point there is a gradual crescendo as the music approaches the climax of this part of the movement. 1:51 (Bar 67) The oboes and bassoons add off-beat chords 2:08 (Bar 75, Letter A) At this point we hear a full orchestral tutti ff. The Woodwind and horns play Theme 1, the 1 st violins play Theme 2 whilst the string section support with arpeggios underneath. The violas, cellos and double basses accompany with triplet figures against quaver movement in the 2 nd violins. The trumpets and timpani punctuate with loud tonic/dominant crotchets. This passage comes to an end on a long diminuendo. 2:47 (Bar 99) A two bar cadence is repeated quietly by the oboes, clarinets, bassoons and horns. A one beat silence leads directly into the second part of the movement which is in A major (Bar 101). 2:53 Theme 3 is much more lyrical and a direct contrast to music up until this point. This theme in descending and ascending crotchets is played by the clarinets and bassoons initially and then taken up by the other wind instruments. This melody is more serene and lyrical but Beethoven keeps the insistent rhythm of Theme 1 in the cellos and double basses and a running figuration in quaver triplets in the 1 st violins, maintaining the restless mood of the piece. 3:20 (Bar 117) As this part of the movement continues, the woodwind begin to take over the persistent quaver triplets in a series of sequences and imitative phrases where the clarinet and horn answer one another and the music begins to quieten again and move into C major the relative major key of the movement. 3:57 (Bar 139) Again, we hear imitative phrases this time from the flute, oboe and bassoon. Beethoven then brings the section to a close with downward scales in triplets through the orchestra, emphasising the rhythmic quaver figure ff leading directly into 4:12 (Bar 150, Letter B) a repeat of the opening themes p with the woodwind playing Theme 2, the violins and violas answering each other in semiquaver arpeggio-like figures and the cellos and double basses playing Theme 1. 11

13 4:56 (Bar 173) This section draws to a close with a ten bar tonic pedal (A minor) in the trumpet, timpani and cellos and double basses emphasising the basic pulse again. After a series of short sequences and as the music quietens down 5:12 (Bar 183) the 1 st violins begin a fugal passage based on the first bars of Theme 1 against a running semiquaver idea in the second violins. After 8 bars this is taken up by the cellos and double basses with the violas having the semiquaver figure against them, the upper strings continue with a syncopated counter-melody above. As this builds the woodwind join in and there is a sudden surge as all the strings take up the semiquavers above a pedal in the bass leading to 6:03 (Bar 214, Letter C) a full statement of the first 8 bars of Theme 1 in the tonic A minor by the strings, brass and timpani accompanied by semiquavers in the woodwind. 6:18 (Bar 222) After a one beat silence (similar to that at 2:53), there is a repeat of the lyrical Theme 3, again in the tonic major (exactly as before at 3:37). This is shorter than before and is a preparation for the coda. 6:55 (Bar 248) This begins after two repeated cadences with the familiar opening rhythm in a series of question and answer followed by the Coda proper where this idea continues to the end with cadences in C major and A minor one after the other, followed by a restatement of the Theme 1 (7:17, Bar 254) with falling antiphonal phrases. This is the tonic A minor again on the oboes, clarinets, bassoons and horns f with a quick diminuendo - exactly as the movement began. 12

14 Holst ( ): The Planets Mars Background Gustav Holst was an English composer most famous for his orchestral suite The Planets. He studied at the Royal College of Music in London and his work was influenced by Grieg, Wagner, Richard Strauss and fellow student Ralph Vaughan Williams. Through Vaughan Williams he became inspired by English folksong and the music of the French composer Ravel. His music is characterised by his use of irregular metres, pounding rhythms along with unusual haunting melodies. The Planets Seven-part suite was written between 1914 and 1917 Mars is the first movement in the suite Music is characterised by use of irregular metre, pounding rhythms, haunting melodies Analysis This is a 20 th Century Orchestral suite scored for very large orchestra including; sixteen woodwind; fifteen brass; two timpanists and three other percussionists; celesta; two harps; organ; and strings. Tempo Allegro Fast and lively Written in 5/4 time (irregular) 0:00 The chief characteristic of Mars is the incessant repeated note rhythm, an ostinato starting in the timpani, harps and strings (col legno with the wood of the bow). Two bars later a slow moving motif can be heard in unison from bassoons and horns rising a fifth gradually building up adding more instruments with a falling semitone as a feature. This is repeated and used in imitation extending upwards and also harmonised leading up to Figure I. 0:32 At Figure I, the tenor and bass trombone take over with a rising sixth motif against the ongoing ostinato figure. Twelve bars after Figure I, the first violins move away from the ostinato and play a more sustained repetitive figure against the continuing ostinato. 13

15 A two note motif in the form of an octave leap can be heard antiphonally in brass and woodwind, growing in intensity, creating a fanfare-like effect building to a huge fff full orchestra climax at Figure II. 1:15 Figure II The strings, trumpets snare drum and timpani playing the ostinato in unison against a sustained chord from woodwind, horns and trumpets. Four bars after Figure II a new dotted chordal theme can be heard in the trombones and tubas against the ostinato figure still in strings and timpani. The horns and some trumpets join in with this theme two bars later. Dotted chordal theme Eight bars before figure III a new syncopated motif appears in the upper woodwind and violins with the dotted chordal theme continuing in the brass, lower woodwind and strings. Double basses, trumpets, trombones and timpani playing the opening ostinato. 1:50 Figure III The orchestral texture thickens with the organ and trumpets playing part of the dotted chordal theme fff. From figure III the original opening ostinato theme is replaced by the dotted rhythm theme. The addition of the organ three note theme can be heard five times more ending in discords with a fff (E minor) chord two bars before figure IV. At this point the music quietens down with repeated notes on the strings alone. 2:10 Figure IV Against a steady crotchet pulse of the strings, a solo tenor tuba starts a new military calllike theme using triplet figuration. This is answered two bars later by trumpet, seven bars later by violins and flutes, and later by trumpets, horns and upper woodwind. 2:40 Figure V Once again the tenor tuba followed by the trumpet in canon play the military call-like theme against side drum taps and cymbal rolls. Five bars before figure VI all the woodwind and strings play a semiquaver motif while the tubas and trumpets play a variant of the motif heard in figure I. Semiquaver runs lead to a ff tutti chord one bar before figure VI. 3:10 Figure VI 5/2 This quiet melodic idea which starts in the bass instruments is based on the dotted chordal theme first heard four bars after figure II. There is a fragmented variation of the opening ostinato played initially on side drum, then joined by trumpets and tenor trombones. Violins, and then violas, play tremolo while horns play a sustained note with timpani rolls. The texture builds up as more instruments join in with the melodic idea leading to 14

16 4:12 Figure VII 5/4 A three bar orchestral tutti on the opening ostinato played in unison fff. This is followed by a passage based on the opening melodic motif, accompanied by the continuing ostinato throughout. 5:03 Figure VIII The ostinato theme continues in the strings with imitation between tuba and trumpets based on the military-like theme first heard at figure IV. Three bars before figure IX, the dotted theme from figure II returns, this time in oboe, clarinet and horns. 5:27 Figure IX The material from figure II is repeated with slight changes in the orchestration. 5:51 Figure X The full orchestral texture continues, reaching a ffff climax on a discord reinforced by the organ. At this point the metre changes to 5/2 and three repeated cadences occur based on the opening motif. 6:34 Fig XI The Coda begins with semiquaver figurations on strings, joined by woodwind, providing a contrast to the previous section and leads into.. 6:41 Fig XII A return of the opening ostinato figure ffff, distorted by the addition of rests and entries from the brass, percussion and strings with harsh discords. The movement concludes with a bare fifth chord on C with loud timpani rolls. 15

17 Jenkins (b. 1944): Requiem Dies Irae Biographical detail Karl Jenkins trained at Cardiff University and the Royal Academy of Music. He has enjoyed popular success as a jazz musician, playing frequently during the 1970 s with Ronnie Scott s Jazz Band. It was as a classical musician and composer that he first found longer term commercial and artistic success, beginning with the multi-million selling album Adiemus; Songs of Sanctuary. The work set the trend for Jenkins to explore world music and experiment with new orchestral and choral textures and minimalism. Contextual background Jenkins own programme note indicates that his Requiem (from which the Dies Irae comes) was dedicated to his late father whom he describes as a musician and an inspiration. A Requiem is a Mass for the souls of the dead and Jenkins has blended the traditional Latin text, for many of the traditional movements, with many influences from his travels throughout the world. In the Requiem, the addition of Japanese Haiku death poems is innovative and much in keeping with Jenkins interest in Western and Eastern texts. The Dies Irae is a medieval poem describing the day of judgement when the biblical interpretation speaks of the last trumpet sounding to summon souls before the throne of God where their eternal fate will be decided. Jenkins does not use the full text. The work is scored for SATB choir, shakuhachi (Japanese Flute), 2 horns in F, timpani, harp, strings and 3 percussion players using conventional orchestral percussion and others of ethnic origin (for example, surdo, darabuca, mark tree, rainstick, bamboo chimes). Analysis The Dies Irae is in 4/4 and begins with an ff 8 bar introduction in D minor which introduces musical elements that are developed further in the movement: The 2 bar bass ostinato theme of 8 crotchet beats (Example 1) played in the lower strings and accompanied by bass drum and tam tam. (There is a slight variation of the 8 crotchet beat pattern in the rhythmic accompaniment when the third beat is played as 2 quavers); The driving relentless (Jenkin s own performance direction) triplet upper string accompaniment; and The two-quaver horn motif which is repeated in the first entry of the chorus (Example 2). 16

18 Example 1 Example 2 0:16 (Bar 9) The chorus entry replicates the horn motif of the introduction with the first lines of the Latin text. The homophonic texture of the SATB chorus is heavily accented and sung sempre ff This 8 bar choral introduction only uses the first two lines of the text- Dies irae, dies illa. 0:33 (Bar 17) The full first stanza of the text is heard from the choir this time in unison (note D). The natural speech rhythm used here is repeated for other stanzas of the text. 0:38 (Bar 20) A recurrent three chord motif suggesting the dominant briefly interrupts the flow of the music. The rhythmic impetus then continues as before. 0:49 (Bar 25) A new bass ostinato is used as the chorus return to another 8 bar repeat of the opening choral introduction (Example 3). Both the string and percussion accompaniments remain unaltered. Harmonic ambiguity is caused by the fluctuation between Bª and B in the lower string ostinato. Example 3 0:57 (Bar 29) After 4 bars, a chromatic rising scale idea played by the horns is heard for the first time and this too is the basis of a new choral theme later on. 1:04 (Bar 33) The Tuba Mirum theme which follows (Example 4) comprises two crotchet beats a third apart rising in sequence. 17

19 Example 4 1:12 (Bar 37) The driving bass ostinato changes for the first time, as the choir sing, in harmony, a falling sequence, exploiting the interval of a third and finishing on a unison D and with a re-introduction in the accompaniment of the ostinato. 1:29 (Bar 45) The first of two sections follows where the word Dies is given syllabic rhythmic treatment and for the first time a polyphonic texture is created, comprising different layers of ostinati. The underlying instrumental bass ostinato and percussion accompaniments continue for another 8 bars, and lead to the second stanza of text (1:45, bar 53) ie. mars stupebit et naturo, sung similarly and with the same rhythmic accompaniment and one bar bridge motif from the horns. The sopranos are now one octave higher than in verse one. 2:01 (Bar 61) A return of the opening choral introduction, accompanied by the new bass ostinato, features a bass voice vocal version of the horn chromatic scale idea heard earlier (Example 5). Example 5 2:17 (Bar 69) The first key change to E minor follows as we hear an instrumental bridge section using the Tuba Mirum theme in the horns for the first time. The string triplet accompaniment and horn ornaments are noteworthy. 2:32 (Bar 77) The final section of the text used by Jenkins is heard after this instrumental bridge ( Iudex ergo ). The bass ostinato changes to a rising chromatic scale idea. 2:49 (Bar 85) The next key change (F minor) introduces the second example of syllabic treatment of the words Dies Irae. In this extended section we hear many of the rhythms Jenkins himself indicated were hip-hop influenced. A more complex rhythmic variation than the first, features greater use of syncopation and strong 18

20 accented beats, further emphasised by melodic leaps of an octave in the soprano line. 3:05 (Bar 93) The twelve bar Tuba Mirum choral theme is then used to lead to the third syllabic variation on the words Dies Irae, this time featuring changes in the soprano line. 3:28 This eight bar segment leads directly to another key change (F# minor, bar 113, 3:45), another syllabic variation given extra momentum by the frequency of the octave leaps in the soprano line and the more exciting syncopated sextuplet bass vocal part. 4:01 The addition of a syncopated horn motif eight bars later, combined with the soprano constant F# repetition and the prominent cymbals, continues the excitement and builds towards the thunderous and abrupt climax to the movement seventeen bars later featuring prominent cymbals. 19

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22 Optional Area of Study 1: Musical Traditions in Ireland 21

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24 The Chieftains: Carrickfergus and Drowsy Maggie Background famous Irish traditional group formed in 1962 recorded many albums of instrumental Irish folk music They have performed and collaborated with a number of diverse artists such as Mick Jagger, Sting, Roseanne Cash, Art Garfunkel, Madonna and Ziggy Marley which has helped promote The Chieftains as well as Irish folk music to a wider audience The Chieftains have won six Grammy awards Carrickfergus Members of the group featured in this recording: Uilleann pipes, tin whistle, button accordion, bodhrán - Paddy Moloney Flute, tin whistle - Michael Tubridy Harp - Derek Bell Fiddles - Sean Keane and Martin Fay Whistle - Sean Potts Bodhrán - Peadar Mercier Many different versions of this song have been recorded This version by The Chieftains is an instrumental, but it is often presented as a song This type of piece is known as a slow air in Irish traditional Music Analysis Form: The form within each verse is AABA (Ternary). Tonality: D major (N.B. Other versions and recordings of the song are sometimes presented in other keys). Metre/Time signature: This is in simple quadruple metre, 4/4. In this performance, The Chieftains employ rubato quite liberally which reflects the melancholia found in the text associated with the tune. Verse 1 A A B A (0:00) Irish traditional harp plays the melody, sometimes in thirds with chordal accompaniment on the left hand. It is played in a rubato, relaxed manner with some use of ornamentation. A ends with a perfect cadence. (0:17) A is repeated (0:35) Features harp with a higher middle section with more ornamentation ending with an imperfect cadence. (0:55) A returns 23

25 Verse 2 A A B A (1:14) Uilleann pipes, tin whistle and fiddle play the melody in unison with very decorative arpeggiando figuration played on the harp (note how the musicians are not always in strict time with each other). The harp accompaniment is improvisatory in nature. (1:33) repeated, but this time the whistle is changing its pitch at the end of the phrase. (1:53) the fiddle now plays the melody down an octave with the tin whistle and Uilleann pipes are playing at the same pitch as before. The harp continues with the decorative arpeggio accompaniment. (2:17) Solo fiddle with decorative arpeggio accompaniment on the harp, ending (as before) with a perfect cadence and arpeggios in D major. Carrickfergus N.B. This notated score is a close representation of the melody as presented here by The Chieftains. However, artists may vary melody and pitch to some degree. Drowsy Maggie Members of the group featured in this recording: Uilleann pipes - Paddy Moloney Flute - Michael Tubridy Fiddles - Sean Keane and Martin Fay Whistle - Sean Potts Bodhrán - Peadar Mercier this performance is not typical of this tune as it is known in Irish traditional circles the performance is similar to a theme and variations where each musician takes his turn as a soloist 24

26 Analysis Form: Tonality: Metre/Time signature: Tempo: The tune Drowsy Maggie itself is a reel in binary form (AABB) E Dorian (mode) Simple duple metre, cut-time Fast - roughly 120 minim BPM (Beats per minute) Time Bars Instrumental detail duration 0:00 2 Introduction: 2 bar bodhrán solo 0:02 32 Melody of Drowsy Maggie played through twice in unison with bodhrán accompaniment. 0:33 16 Solo: uilleann pipes play a reel. Trills and other ornaments can be heard. 0:49 16 Melody returns in unison 1:05 16 Solo: flute plays a slip jig 1:27 16 Melody returns in unison 1:43 16 Solo: fiddle plays a slip jig 2:05 16 Melody returns in unison, but the bodhrán is replaced by the bones in its first appearance. 2:20 16 Solo: tin whistle plays a reel that includes many ornaments 2:36 16 Melody returns in unison, accompanied the bones 2:52 16 Solo: fiddle plays a jig 3:20 32 The final treatment of the tune is played through twice in unison with the returning bodhrán accompaniment. 3:51 2 The music ends on a held unison trill on E (roughly for 2 bars duration, although perhaps just thought of as a pause). 25

27 Drowsy Maggie 26

28 De Danann: Cuckoo s Nest Medley and Teetotaller/St Anne s Background One of the most famous Irish traditional group released their debut album in 1975 Many former members have gone on to have successful solo careers including Maura O Connell, Mary Black and Dolores Keane Cuckoo s Nest Medley Members of the group featured in this recording: Accordion - Jackie Daly Flute, fiddle - Frankie Gavin Bouzouki, guitar - Alec Finn Banjo - Charlie Piggott Bodhrán - Johnny McDonagh Analysis Form: Tonality: Metre/Time signature: The Cuckoo s Nest is a tune in Binary form (AABB) G major (N.B. The recommended recording sounds in A major) Simple duple metre, cut-time An innovative performance that combines a hornpipe, a short linking passage and finishes with a reel to make the Medley. Time Bars Instrumental detail duration 0:00 32 The hornpipe is in a steady tempo of 84 minim BPM. There is no introduction, the banjo and bouzouki simply start playing the tune ( A repeated, followed by B repeated). 0:48 32 The whole tune is repeated with the addition of the fiddle and accordion. 1:34 4 The accordion takes a 4-bar solo passage which links the hornpipe to the reel. The tempo has immediately increased to around 120 minim BPM. 1:39 16 The reel commences with A (repeated). The reel features all the instruments and includes the addition of the bodhrán, which adds impetus to this faster tempo in the reel. The reel is essentially a variation of the main Cuckoo s Nest melody. 27

29 Time Bars Instrumental detail duration 1:56 16 In this B (repeated) section, the bodhrán moves to more of a running quaver pattern that further propels the music. 2:12 16 This B1 section, which is repeated, features a strong accented minim on the first downbeat this first minim we have heard in the melody up until this point. 2:27 16 The music returns to the start of the reel and again we hear A repeated, B repeated and B1 repeated (48 bars). 2:43 16 In the final B section the bodhrán provides added off-beat rhythms with the stick on the instrument s rim. This occurs on the second and fourth crotchets beats of the bar. 2:58 16 For the final B1 section, the bodhrán reverts to the running quaver pattern used for much of the reel. 3:14 The music ends, without any slowing down, on a unison G (sounding A ) pause. 28

30 Cuckoo s Nest Medley N.B. This notated score is a close representation of the melody as presented here by De Danann. 29

31 Teetotaller/St Anne s Reel This recording is a set of two reels. There is obvious symmetry in the music as each reel has an A and B section, each 16 bars long in both reels. Instrumentation - Fiddle, bouzouki, banjo, accordion, spoons (bones), bodhrán This music features some typical traits of Irish Traditional Music which include: binary form structure; the use of an Irish dance form ie. reel; the use of repetition; instrumentation typical of Irish Traditional Music; the use of ornamentation; and unison playing of the melodic line with chordal accompaniment. Analysis Form: Tonality: Metre/Time signature: Tempo: Both tunes are in binary form (AABB) Teetotaller Reel - G major (N.B. The recommended recording sounds in A major) St Anne s Reel - D major (N.B. The recommended recording sounds in E major) Simple duple metre, cut-time The tempo throughout is fast - for most of the music it remains at 120 minim BPM. Time Bars Instrumental detail duration 0:00 16 The music begins with the Teetotaller Reel commencing with A (repeated) which features the fiddle playing the melody and accompaniment on the bouzouki. 0:16 16 B (repeated) with the same instrumentation as above. 0:32 16 The banjo and the spoons join with the fiddle and bouzouki. The banjo is playing the melody an octave below the fiddle. 0:48 16 B (repeated) with the same instrumentation as above. 1:04 16 A (repeated), with the accordion joining here, playing the melody, but also adding occasional chords, in particular, on the first beat of every two bars. 1:20 16 B (repeated) with the same instrumentation as above. 30

32 Time Bars Instrumental detail duration 1:36 16 The music moves straight in to St Anne s Reel - there is no link or segue. This tune is in D major (sounding in E major). Moving into this tune sounds like an imperfect cadence (IV-I), and as such the modulation needs no preparation and does not jar. Here the accordion plays the melody with accompaniment on the bouzouki and bodhrán (making its first entrance). This is A (repeated) of St Anne s Reel. 1:52 16 B (repeated) with the same instrumentation as above. 2:07 16 A (repeated) - fiddle and banjo join the accordion on the melody with a slight variation to the tune. 2:23 B (repeated) with the same instrumentation as above, but the bodhrán changes its rhythmic pattern to a more running quaver rhythm. 2:39 A new faster tempo is immediately struck at this stage which adds excitement ahead of the ending. The tempo here is roughly 126 minims per bar. Teetotaller 31

33 St Anne s Reel 32

34 Miller s Hill Accordion Band: Steadfast and True (Carl Teike, ) Biographical detail Carl Teike was born in Altdamm, Germany and was the composer of 20 concert works and over 100 military marches. As such, he is often referred to as the German march king. He was the fourth of fourteen children and commenced music studies at the age of 14. At 19, he became a professional musician in the 123rd König Karls Regiment of the army of Württemberg. He left the army for the police force in 1889 after a falling out with the then musical director of his regiment over a new march Teike had written. It has been reported that the new conductor, Oelte said, after it was first played: we have enough marches throw it into the fireplace That march was later called Alte Kameraden and went on to be one of the most popular marches in Germany. Analysis Form: This does not fall in to a recognised form (A, B, C, D, E) Tonality: C major Metre/Time signature: Simple quadruple metre, 4/4 Tempo: March tempo roughly 120 crotchet BPM Time Bars Instrumental detail duration 0:00 2 A two bar introduction establishes the key, march tempo and style and introduces the instrumentation: accordions and snare. 0:03 16 A (repeated) comprises a bass-line and off-beat chords which, along with the melody, help secure the harmony. The melody is highly rhythmic and emphasises strong beats in the bar (beats one and three in a march). The rhythm of the melody is reinforced by the snare playing in rhythmic unison. 0:36 32 B features a counter-melody. Much of the counter-melody is the melody repeated an octave lower and a bar later. In this section, the snare plays mostly off-beat quavers, maintaining the pulse. 1:45 8 C (16 bars) is a new section melodically, but its material is not entirely new. It uses some of the rhythmic and melodic patterns from A in the melody. 2:03 8 Half-way through C, there is a strong new counter-melody introduced in the tenor register, well below the main theme. 33

35 Time Bars Instrumental detail duration 2:19 32 D is a 32 bar section. The first 8 bars are presented as a forte bass-solo on the dominant. Then there is a sudden drop in dynamic with a more delicate texture for 16 bars. This is followed by the returning bass-solo (3:08), again for 8 bars. Preparing for the next section with the band in unison on the dominant (including rhythmic unison on the snare). 3:26 16 E features a semiquaver arpeggiated figure on the first of every four bars of this melody. The melody is reinforced an octave lower. Steadfast and True 34

36 Ballygowan Flute Band: Le Rêve Passe (The Soldier s Dream) (Charles Helmer & Georges Krier) Biographical detail Charles Helmer & Georges Krier Le Rêve Passe (The Soldier s Dream) was written in 1906 and was also made popular by famous Irish tenor, Josef Locke. Locke performed this song all over Ireland and further afield. Contextual background The Ballygowan Flute Band was formed in 1876 by a group of local young men, with George McVeigh one of the founder members, taking responsibility for teaching and getting the band up and running. The membership of the band over the years has included fathers, sons and daughters and has strong family connections running through its history. The band is still operating today and features in civic, charity and community concerts. Over the years, the band has also enjoyed terrific contest success, winning on numerous occasions. For more information about the band visit: This is a list of the instruments used in this recording: Piccolo flute G Treble flute Alto flute C Bass flute G Bass flute* Snare drum Marching cymbals * Ballygowan Flute Band now also use Contra Bass flutes, however they do not feature in the recommended recording. Analysis Form: This does not fall in to a recognised form (A, B, C, C ) Tonality: G major Metre/Time signature: Compound duple metre, 6/8 Tempo: March tempo roughly 116 dotted crotchet BPM 35

37 Time Bars Instrumental detail duration 0:00 8 Whilst this march is in compound time, the introduction is in simple duple time. The introduction features fanfare arpeggiated figures from the upper flutes for two bars. In the next two bars they are joined by a strong bass and percussion figure. These four bars are repeated. 0:15 32 A commences in compound metre (6/8). This passage establishes the melody in the treble flutes with the piccolo flute playing intermittent fanfare figures. These fanfares occur mostly where the melody is holding a long note. This has the effect of adding interest, but not compromising the integrity of the main melody. Towards the end of A we hear a crescendo peaking with full band rhythmic unison. 0:48 16 The melody in B is played in octaves by the piccolo and treble flutes. B also includes upward scalic passages from the alto and bass flutes. 1:06 5 This is followed by a short fanfare-type interlude, reminiscent of the introduction. However, this fanfare is firmly in the compound metre. 1:11 32 A new melody, C is presented by the treble and piccolo flutes in octaves. Compared to the fanfare section, this melody is at a lower dynamic. Through this section, cymbals are only employed for two bars at a time and first enter in bars 3 and 4 of this section. 1:44 9 This is followed by another fanfare which, though slightly longer, is rhythmically reminiscent of the last fanfare. However, this fanfare differs by a momentary shift to arpeggios in the relative minor - A minor. 1:54 32 The C melody returns in a rousing fashion. This time featuring the bass and alto flutes on the melody, the alto flute sometimes harmonising, whilst the treble and piccolo play decorative, florid (often scalic) motifs high above the melody. The cymbals are now crashing on almost every beat until the end of the recording. 36

38 Ravara Pipe Band: Heights of Dargai/Battle of the Somme Background The pipe band has its origins in a Scottish military context, but the Great Highland Pipes are now played all over the world. Most commonly pipe bands are used in marches (both military and civilian) and outdoor performances. A pipe band normally consists of a section of pipers, a section of snare drummers (often referred to as 'side drummers'), several tenor drummers and a single bass drummer. The drummers are often collectively referred to as the drum corps. The majority of pipe band repertoire consists of music from the Scottish tradition, the Irish tradition and the Breton tradition. Typical pipe band forms include marches, slow airs, jigs, reels and strathspeys. The Ravara Pipe Band was formed in 1946, under Pipe Major William Dickson from Saintfield, Co. Down and began competing in indoor competitions in 1949 in the NIBA competitions in the Ulster Hall. More information on the Ravara Pipe Band can be found at: Analysis Form: Tonality: Each tune is in binary form (AABB) Heights of Dargai - A major (sounds in B ) Battle of the Somme - D major (sounds in E ) Metre/Time signature: Compound triple metre, 9/8 Tempo: March tempo roughly 116 dotted crotchet BPM Instrumentation on this recording: Great Highland Pipes snare drum It is important to note that the pipes used by the Ravara Pipe Band (Great Highland Pipes) use the notes G, A, B, C#, D, E, F#, G, A. This makes a mixolydian scale (mode) on A. However, when written for pipes, music is commonly notated as having no key or accidentals (which is how it appears in this analysis). To further complicate the issue, the pipes most commonly actually sound in the key of B, not A. The pipes also have a static drone on A, which actually sounds a B. 37

39 Time Bars Instrumental detail duration 0:00 The snare drum rolls and is then joined by the A (sounding a B ) drone from the pipes before the tune begins. 0:04 16 In Heights of Dargai, A is repeated and the arrangement exploits the entire range of the pipes - low G through to high A. On the repeat of A (0:21), the pipes play in 3rds (below) - on the repeat of A, bar 4 (0:28), we hear the Gª where the melody has a B. This establishes the tonality ie. A mixolydian (mode). The melody features a dotted 3 quaver rhythm on the first beat of every bar, it also includes many ornaments. The drone is on the tonic note (A). The snare drum is playing march-like beats to help maintain the tempo. 0:37 16 In B (repeated), the instrumentation remains the same. The melody in B also features a dotted 3 quaver rhythm, this time on the first beat and frequently also on the third beat of the bar. On the repeat of B (0:53), as in A, we hear the pipes playing in thirds. 1:06 16 The music moves straight in to Battle of the Somme. There is no link or segue between the tunes. This tune is in D major (sounding in E major) so moving from A major (sounding in B major) into this tune sounds like a perfect cadence (V-I), and as such the modulation needs no preparation and does not jar. As the key has changed, the drone is now on the fifth (A). The melody of A features a dotted 3 quaver rhythm on the first beat and occasionally also on the third beat of the bar. In both A and B of this tune the melody features bars that start with a semiquaver which feel also feel like an ornament. 1:40 16 The melody in B (repeated) is again ornamented. The music ends with a roll on the snare in the last bar ending abruptly on the second beat. 38

40 Heights of Dargai N.B. This score contains ornaments that are not all present in the recommended recording. The ornaments are at the discretion of the performer/s. Battle of the Somme N.B. This score contains ornaments that are not all present in the recommended recording. The ornaments are at the discretion of the performer/s. 39

41 Bill Whelan (b. 1950): Riverdance Reel around the Sun and Riverdance Biographical detail Bill Whelan is an Irish composer, arranger and producer born in Limerick in He had worked extensively in television, film and theatre before the commercial and artistic success that is Riverdance gained him worldwide recognition. He has worked extensively as a producer with groups U2, The Dubliners, Planxty and Stockton s Wing. Van Morrison, Davy Spillane and Kate Bush are only a handful of solo artists who have chosen to work with Whelan. He also formed a Bulgarian/Irish band called East Wind. He is a Grammy award winner (Best Musical Show album for Riverdance ) and has received lifetime achievement awards at home and abroad. Other orchestral works include Seville (written for Expo 1992) and O Riada Suites and several film scores (including Some Mother s Son ). Contextual detail When Whelan was asked to write the music for the interval act of the 1994 Eurovision Song Contest, it would be the second time that he had enjoyed the honour of such a commission. His first foray into this type of composition was with Planxty and Donal Lunny in It was, however, with Riverdance, a 7-minute Irish dance spectacular, that Whelan achieved international fame. Its success spawned a worldwide interest in celtic music and traditional and modern Irish dance. A fully staged musical production followed and encouraged Whelan s keen interest in world music. The first performance of Riverdance featured Irish Dancing Champions, Jean Butler and Michael Flatley, choral group Anúna and the RTE Concert Orchestra. Flatley was also to gain meteoric success as the principal choreographer of the Eurovision performance, the stage show and other spin-off productions ( Lord of the Dance, Feet of Flames etc.). Reel around the Sun Analysis The Reel around the Sun is a variation of an Irish suite, comprising a slow air ( Corona ) and two reels ( The Chronos Reel and Reel around the Sun ) with short orchestral links. The slow air is played in Dorian mode by solo low whistle (0:31) over a synthesised bass drone effect. The mysticism inspired by the haunting melody is particularly atmospheric for its use at the start of the Riverdance stage production. The second half of the slow air (1:42) introduces high string tone before a more definite tonal centre is established a bar later (G sus chord). This is followed by a series of metre changes and somewhat disjointed melodic segments with more frequent chord changes played by the string section but still featuring the atmospheric use of percussion and bass drone. 40

42 The introduction of a quiet bodhrán semiquaver beat (2:42) begins to change the mood and is the first link passage. As the drone continues a syncopated semiquaver rhythm is played on the gadulka (a traditional Bulgarian bowed string instrument featuring 3-4 main strings, with up to 10 other resonating strings beneath). This rhythmic ostinato (2:52) is played throughout the first reel section which follows. The Chronos Reel (3:01) is a traditional reel with repeated sections and the orchestral texture thickens as the sections repeat. The gadulka rhythm supports the melody played in the accordion and fiddle. The third and fourth repeats of the A Section of the reel (3:22) feature the addition of extra string tone and bass guitar playing a dotted rhythm. The B section of the reel (Dorian mode on A), uses the instrumentation already heard, but its repeat later on (4:24) adds a sustained string accompaniment. The gradual crescendo used on the final repeat of the B section heralds a further, and immediate quickening of the tempo and an instrumental link passage (4:44). This facilitates the departure of the company dancers and the arrival of the principal male dancer in the stage production. This orchestral link features a rising woodwind/brass motif including prominent low whistle, bodhrán, strings, guitars and percussion. As the dynamics increase, the Reel around the Sun commences (5:15), once again in a faster tempo than the previous section. Reel around the Sun (solo dance performance by Michael Flatley in the original Riverdance stage production) initially features a string melody with a strong bodhrán accompaniment. The repeats of the opening section feature added instrumentation including pipes and stronger bass guitar rhythm. The last two bars of the reel feature an interesting harmonic and melodic semiquaver motif (Example 1). Example 1 A short coda (7:01) features an inverted version of the semiquaver Reel around the Sun which is repeated three times, increasing dynamics each time and leads to a scale-like flourish, bringing the reel to a close. The return of the slow air is introduced by a scrape from the cymbals and gong (7:09). Although the original slow air melody is altered, the instrumentation, tonality and the bass drone effect remain the same. As the final notes of the low whistle melody fade, the work comes to a mystic close. NOTE: Bar numbers refer to the published score of the work Riverdance - The Music (Whelan, AMSCO Publications, 1998). Riverdance Whelan states that the inspiration for Riverdance was the life of a river. Cloudsong begins the work telling the story of the river and its journey toward the sea, nourishing the land as it flows through it. (Whelan, W.). 41

43 Analysis The work commences with an open 5 th on strings leading to a solo soprano. This opening eightbar melody, features frequent metre changes from 7/8, 6/8 to 4/4. The solo voice is then joined (0:34, bar 10) by SATB voices (featuring the choral group Anúna) singing in close harmony and also includes several metre changes These opening 16 bars are repeated (0:58, bar 18-33) with additional lower string accompaniment for the solo voice and additional full strings on the choral repeat (1:24, bar 26). An eight bar, cross-accented (syncopated) harp introduction (Example 2) (1:46, bar 34) accompanied by bass hand drums leads to a fiddle solo in 9/8 time (slip jig) (1:46) with added percussion and harp. This slip jig is danced by the Riverwoman. Example 2 The standard repeat of the A section (2:26, bar 58) introduces a thicker string accompaniment ending in the dominant minor (E minor). A 4 bar rhythmic link passage (2:50, bar 74) introduces the male principal dancer and symbolises the Earth. The section is played on bass hand drums over a long held E pedal in the upper strings. The reel which follows (2:58, bar 78) features again a syncopated melody (Example 3) with a frantic semiquaver upper string ostinato. A strong harmonic shift to the major key of D is used for the opening reel section with the contrasting B section (3:13, bar 86) in G major. Example 3 Another percussion link passage featuring the hand drums (3:30, bar 94) introduces a section featuring jig and reel rhythms (Example 4) played on the pipes. The exploitation of the 6/8 and 4/4 rhythms are key to the rhythmic drive in this section and Whelan suggests this is the uniting of River and earth. 42

44 Example 4 As each section repeats the orchestral texture thickens. The sustained E chord (2:50, bar 74) which linked into the reel section, is used again above a 12/8 bodhrán rhythm (4:36, bar 132) and introduces the finale jig, with a return to E minor (4:42, bar 136). Whelan states that now the tension is finally released The melody of the jig is substantially the same as in the 6/8-4/4 section, but is altered to fit into the 12/8 metre. The melody is played by violin, Uilleann pipes and later joined by the tin whistle. This 12/8 climax to Riverdance builds up both texturally and orchestrally with heightened rhythmic excitement created by rhythmic brass interjections (5:08, bar 251 onwards). This section was very powerfully used by the ensemble dance cast in the Eurovision spectacular. As the music frantically works to its conclusion, the work finishes on a strong statement of the tonic and dominant notes in repeated quavers, leading to a ff seven-quaver orchestral unison on E to close. 43