Scores to support WJEC AS Music Notes

Transcription

1 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

2 CONTENTS PAGE Introduction 2 J. S. Bach: Brandenburg No. 2, 1st Movement 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 Bb Op.18, No. 6, 1st Movement 7 Brahms: Clarinet Sonata in Eb Op.120, No. 2, rd 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) 8 The Beatles (Yesterday; Hey Jude) 88 2

3 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 ), Quoniam Tu Solus (pages ) and Credo (pages ). 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

4 Introduction J. S. Bach: Brandenburg Concerto No. 2, 1st Movement This set of 6 concertos were dedicated to the Duke of Brandenburg 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 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) Rit 1 Con 1 Rit 2 Con 2 Rit Con Rit 4 Con 4 F major F major F major F major C major C major C major C major 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 Bb major G minor Eb major C minor G minor G minor D minor A minor A minor F major 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 J. S. Bach: Brandenburg Concerto No. 2, 1st Movement

5 Examples of modulations: C major (dominant) bars D minor (relative minor) bars Bb major (subdominant) bars Eb major (flattened leading note) bar 65 C minor (dominant minor) bars G minor (supertonic) bars 75-8 A minor (mediant minor) bars Harmony Chords: - Diatonic - Dominant 7 th (root position) bar 51 (C7) - Dominant 7 th 4 (third inversion) bar Major triad 6 (first inversion) bar 72 Examples of composition techniques and devices - Rising sequence bars (Oboe) - Sequence bars -4 (Flute) - Sequence bars (solo Trumpet) - Falling sequence bars (Viola) - Syncopation bars 50-55; (Violin I ripieno) - Cadences: Perfect bars 8; 28; 9; 8; 9 - Imitation bars (solo Violin and Flute) - Arpeggio based bars 1-2 (Trumpet) - Reduced instrumentation bars (concertino and continuo) Instrumentation Concertino Soloists - Tromba: Trumpet (no valves in Bach s day). Written a 4 th 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

6 Score indications Tasto solo (bars ): 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 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 1-14; Flute bars 17-18; Trumpet bars ) 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 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

7 Introduction Beethoven: Symphony No. 5 in C minor, 1st Movement 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 Development Recapitulation Coda Subject 1 (1-24) Subject 2 (59-9) Codetta (94-124) Variety of keys. Using mainly 1 st subject material. Subject 1 ( ) Subject 2 (0-45) Codetta (46-7) Material derived from 1 st and 2 nd subjects. Tutti and antiphonal passages. Texture - Ranging from dense homophonic (bars ) to sparse (bars 6-82). Tonality - Home key: C minor Examples of modulations: Eb major (relative major) 2 nd subject F minor (subdominant minor) bar 10 G minor (dominant minor) bar 154 C major (tonic major) bar 195 Harmony Chords: - C minor tonic chord 5 (root position) bar Db major 6 (first inversion) bar 82 - Dominant 7 th chords bars ; Diminished 7 th chords bars 56; 00 6 Beethoven: Symphony No. 5 in C minor, 1st Movement

8 Examples of composition techniques and devices - Pedal (tonic) bars -47 (Cello & Bass) - Repetition bars (Violin I & II and Flutes) - Sequence bars (Violin I) - Cadences: Perfect bars ; Imperfect bars Pizzicato accompaniment bars (Viola, Cello, Bass) - Antiphonal answers bars ; (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 (Bb): Clarinets. Transposing instrument (written a 2 nd 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 (Eb): Horns. Transposing instrument (written a major 6 th 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 8-9) Contrabasso: String/Double Bass (sounding 8 ve lower than written) 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 1 st and 2 nd subjects of his symphonies. This movement exists entirely on the opening four note rhythmic motif (descending major rd ) 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

9 The scoring is fuller in the recapitulation, and the 2 nd 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 18 th 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 -56) ensures that the music stays in the tonic key, C minor. These bars are also identical harmonically in the recapitulation section (bars ). It is the same ambiguous diminished 7 th chord in bars 56 and 00 respectively (with necessary enharmonic alterations) which effect the abrupt transitions. 8 Beethoven: Symphony No. 5 in C minor, 1st Movement

10 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 Development Recapitulation (1-226) (226-5) (5-528) Subject 1 (1-72) Variety of keys Subject 1 (5-51) Transition (72-11) Transition (226) Transition (51-77) Subject 2 (11-210) Subject 1 (240) Subject 2 (77-459) Codetta ( ) Cadenza (299) Codetta (459-47) Coda (47 528) Cadenza (bars 299-5) 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 Tonality - Home key: E minor Examples of modulations: Exposition A minor (subdominant minor) bars G major (relative major) bar 11 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 (2 nd subject) bar 77 9 Mendelssohn: Violin Concerto, 1st Movement

11 Harmony Chords: - Dominant 7 th chords, e.g. bar Diminished 7 th chords, e.g. bar 44 Examples of composition techniques and devices - Pedal (dominant) bar (Cellos and Basses) - Pedal (tonic) bar 48 (Trumpets, Horns and Timpani) - Imitation bars (Flutes and Oboes) - Syncopated accompaniment bars (Violins II, Violas) - Decorated arpeggios bar 11 (solo Violin) - Reduced scoring bar 11 (Flutes, Clarinets and solo Violin) - Cadences: Perfect (in G major), e.g. bars (Strings) - Pizzicato accompaniment bars (Strings) - Rubato/Ad lib bars (solo Violin) - Sequence bars 59-60; (solo Violin) - Double stopping bars (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 8 ve 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 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

12 Further information SONATA FORM A PLAN OF THE FIRST MOVEMENT EXPOSITION DEVELOPMENT RECAPITULATION SUBJECT I E minor Transition Codetta Transition Codetta SUBJECT II G major VARIETY OF KEYS SUBJECT I E minor SUBJECT II E major CADENZA A minor E minor CODA E minor CONCERTO FOR THE VIOLIN AND ORCHESTRA E MINOR Opus 64 MENDELSSOHN 11 Mendelssohn: Violin Concerto, 1st Movement

13 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 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. God save the King Structure st section: Introduction (Instrumental) Zadok the Priest 2 nd section: And all the People Rejoiced rd section: God save the King Texture 1 st section: Mainly light/sparse in opening orchestral introduction. Short homophonic choral statement based on the opening harmonies of the orchestral introduction. 2 nd 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. rd 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; A major (dominant) bars 7-8; B minor (relative minor) bars 49-52; F# minor (mediant minor) bars Handel: Zadok the Priest

14 Harmony - Diatonic/Consonant - Chromatic harmonies - Mainly root position and first inversions - Tonic and dominant mainly in middle section Chords: - Tonic chord 5 (root position) bar 1 - A minor 6 (first inversion) bar - D major 6 (second inversion) bar Dominant 7th 4 (third inversion) bar 12 2 Examples of composition techniques and devices - Sequence bars (Vl II); (Sopranos); 92-9 (Altos and Tenors) - Repetition bars 4-8 (accompaniment); 6-65 (all parts) - Pedal bars 6-8; Ostinato bars 2-9; 41-45; (bass of accompaniment) - Cadences: Perfect bars 5-6; 4-44; 9-94 Imperfect bars 28-0 Plagal bars Instrumentation - 2 Oboes - 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 2-29 and Types of accompaniment: (i) Semiquaver broken chords bars 1-29 (ii) Dotted quaver and semiquaver figures bars -59 (iii) Running semiquavers in rd section bars (iv) Secco (dry) quavers bars 92 and 9 1 Handel: Zadok the Priest

15 Descending bass line in introduction and bars Orchestral bridge bars Imitative style (modulating from tonic to dominant, I V). Melismatic vocal style (many notes on one syllable Amen), e.g. bars (bass choral part). Opening chordal sequence in instrumental introduction (bars 1-8) repeated in bars 2-0 with the voices. Repetition of words, e.g. bars 4-52 Rejoiced. Further information 14 Handel: Zadok the Priest

16 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 Soprano soloist and choir (SATB) in repetition of motifs. Homophonic choral style. D major Solo trio: Bass, Tenor and Soprano. New solo motif sung in imitation. Less tension now in accompaniment of strings only. E minor (21) Choir sing in unison with orchestra stepwise chromatic progressions. E minor F# minor A major Alto soloist (first appearance) with opening theme, but no repetition from choir. Soprano soloist with theme. A major B minor 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 D major 15 Haydn: Nelson Mass

17 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 Tonic (root position) bar Dominant 7 th (root position) bar Dominant 7 th (first inversion) bars 11 1 ; 29,4 ; 41 - Diminished 7 th bars ; 4 ; 5 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; Cadences: Perfect bars 2; 50; 62; Cadential: 6 5 cadence bars 2-; 14-15; Antiphonal answers between soloist and choir bars Sequence bars (Soprano soloist) - Appoggiatura in vocal part bars 81; 84 (Tenor soloist) Instrumentation - Trumpets - Timpani - Organ - Strings - Mixed Choir - Solo Quartet (SATB) Score indications Allegro: Quick fz (forzato): forced sound p (piano): softly 16 Haydn: Nelson Mass

18 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; Haydn s arpeggaic upper instrumental writing, e.g. bars 15-18; Upward scalic semiquavers with opening of choral phrases bars ; 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 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). Choir sing a four-voice fugue, with each voice stating the subject in various keys. This choral fugue contains answers and counter subjects (see below) with orchestral support playing the vocal parts. Solo quartet returns with imitation of the stepwise motif previously used by Haydn in the Gloria (bars 16 and 78). Bass, Tenor and Alto enter in that order, whilst the Soprano has a more elaborate rococo/florid style solo passage. 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 D major D major D major D major 17 Haydn: Nelson Mass

19 Texture - Sparse with soloists - Dense with choir - Homophonic - Polyphonic - Fluid Tonality - Home key: D major Examples of modulations: B minor (relative minor) bar E minor (supertonic minor) bar 44 Harmony Chords: - Diatonic - Mainly root position bar First inversion bar Tonic (root position) bar Subdominant (root position) bar Dominant 7 th (root position) bar 9 - Dominant 7 th (first inversion) bars 5 1 ; 6 1 ; 11 1 ; Dominant 7 th (second inversion) bar 1 - Dominant 7 th (third inversion) bar 5 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; ; (orchestra) - Cadences: Perfect bars 15; 81; 82 - Cadential: 6 5 cadence bar 2,4 4 - Antiphonal answers between soloist and choir bars Syncopated accompaniment (right hand) bars Sequence bars in Soprano, Alto and orchestral accompaniment - Chromatic harmonic progressions bars Countersubject continued by Basses in bars (Amen) against fugal entry of the Tenors 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 (5 th ) and the Tenor (bar 24) on the tonic. The opening interval of a 2 nd with the Bass changing to an interval of a rd 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

20 Counter melody (subject): A new melody, not as important, played at the same time as the melody. Instrumentation - 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; 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 Orchestral unison introduction with much stepwise movement played staccato. Homophonic style. D major Canon 2 in 1 at the fifth. Using first six notes of orchestral introduction. Vocal lines are subsumed in the orchestral accompaniment, which is more polyphonic in style. Orchestral bridge passage/ interlude. Canon continues with choir, but starting now on the third beat of the bar. A major Orchestral bridge passage/ interlude. Canon 2 in 1 continues, using fragments of bars 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. 19 Haydn: Nelson Mass

21 Texture - Homophonic, e.g. bars Polyphonic, e.g. bars 1-47 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 14 - Second inversion bar Tonic (root position) bar Subdominant (root position) bar Dominant 7 th (root position) bar Dominant 7 th (first inversion) bar 77 4 Examples of composition techniques and devices - Suspensions bar 29 (9-8) - Sequence bars 51-54; (choral parts) - Auxiliary notes, passing notes and arpeggi quavers in accompaniment, e.g. bars 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 - Trumpets - Timpani - Organ - Strings - Mixed Choir Score indications Allegro con spirito: Quick with much vigour 20 Haydn: Nelson Mass

22 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 9 (accompaniment). The turn ~ bar 1 2 (accompaniment). The trill tr bar 18 1 (accompaniment). 21 Haydn: Nelson Mass

23 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 ( ) 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. Musical elements Form Ternary Structure Texture - Light - Chordal accompaniment Tonality - Home key: A minor Examples of modulations: E major (dominant) bars A major (tonic major) bars C major (relative major) bars D minor (subdominant minor) bars Harmony 5. Am Feierabend (After Work) Intro Piano Section A Voice and Piano Section B Voice and Piano Section A Voice and Piano Chords: - Diatonic arpeggaic/broken chords, e.g. bars 7-26 (right hand accompaniment) - Dominant 7 th (first inversion) bar 9 - Major & minor chords (root position and first inversion) bar 1 Coda Voice and Piano 22 Schubert: Die Schöne Müllerin

24 Examples of composition techniques and devices - Cadences: Perfect bars 14-15; 2-24; 45; 58-59; Imperfect bar 7 - Repetition bars Sequence bars Anacrusis bars 7; 7; 60 - Ostinati bars 7-8 (right hand) - Pedal bars 46-51; Tonic major to tonic minor bars 24 and 25 - Auxiliary chromatic notes bar 8 (G# voice); bar 52 (Eb voice) 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 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; Schubert s fondness of varying lengths of phrases, e.g. bars 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 9-40; 4-44; (left hand Piano). The chord of the dominant 7 th was often used by Schubert when the words refer to fatigue and disappointment (bars 28-1 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 8 ve rhythms of bars 7-26 with bars Rhythmic change in bass line rhythms (on the beat) bars Less tension in bars with recitative vocal style (family relaxing around the fire after a hard day s work). 2 Schubert: Die Schöne Müllerin

25 Further information 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. Musical elements 6. Der Neugierige (The Questioner) Structure Intro 4 bars Piano Section A Voice and Piano Section B Voice and Piano Section C ++ Voice and Piano Section B Voice and Piano Coda 4 bars Piano Texture - Light - Chordal accompaniment Tonality - Home key: B major Examples of modulations: F# major (dominant) bars 11-12; B minor (tonic minor) bars 25; 45 G major (flattened submediant) bars Schubert: Die Schöne Müllerin

26 Harmony Chords: - Diatonic arpeggaic/broken chords, e.g. bars 2- - Dominant 7 th 6 (first inversion) bar Major & minor chords, e.g. bar F# major 6 (first inversion) - Chromatic progression bar 50 (bass line) Examples of composition techniques and devices - Cadences: Perfect bars 19-20; 1-2; Repeated phrases bars 5-8; Anacrusis bars 4; 22 - Pedal bars 2-25; Lower auxiliary notes melodic line bars 5; 1 - Appoggiaturas bars 1; 9 (voice) - Accented passing notes bars -4 (voice) - Anticipatory notes bars 29-0; 1-2 (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 2-2. Change from 2 (simple duple) to (simple triple) in bar Syncopated accompaniment bars Recitative vocal style bar. Chromatic harmonic progressions bars 9-10; 46 (accompaniment, chromatic lower auxiliary note E# in the bass); Fondness for echoing the end of a vocal phrase in the accompaniment bars (voice) in augmentation bars 52-5 (Piano). Remote key modulations and rapid return to tonic bars Further information 25 Schubert: Die Schöne Müllerin

27 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 2-2) 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 -41) Yes, is the one word, the other is No. The two words together make up my entire world. B (bars 4-52) 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? Musical elements Form Strophic 4 verses Structure Intro Piano 7. Ungeduld (Frustration) /27 Verses 1, 2,, 4 Voice and Piano. 5 short phrases: bars 9-10; 11-12; 1-14; 15-16; Chorus Texture - Light and rhythmic in verses - Thicker in chorus Tonality - Home key: A major Examples of modulations: E major (dominant) bars ; 22-2 E minor (dominant minor) bars 4-5 B minor (supertonic minor) bars 10-11; Schubert: Die Schöne Müllerin

28 Harmony Chords: - Major and minor, root positions and inversions - Dominant 7 th bars 8; 24 - Diminished 7 th bars Chromatic progressions bars 12; 15 Examples of composition techniques and devices - Cadence: Perfect bars Sequence bars 2- and 5-6; 9-10 and 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 27 Schubert: Die Schöne Müllerin

29 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 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

30 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 ( ) was an Italian violinist and composer of Baroque music who wrote 48 Trio Sonatas. Musical elements Preludio Form Modified Binary Structure 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. Ends with perfect cadence. Texture - Contrapuntal, e.g. bars 9-10 Tonality - Home key: F major Examples of modulations: C major (dominant) bars 5; 1 D minor (relative minor) bar Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

31 Harmony Chords: - Diatonic - Dominant chord 5 (root position) bar 4 - Supertonic chord 6 (first inversion) bar 17 - Dominant 7 th 7 (root position) bar 21 5 Examples of composition techniques and devices - Suspensions: 7-6 bars bars Diminuition of opening motif bars Passing notes bar 9 (Cello) - Arpeggio notes bar 1 (Cello) - Cadences: Perfect bar 1 (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 root position of the chord (not always written) 6 first inversion of the chord 6 second inversion of the chord 4 # sharpen the third note of the chord 4 suspension 7 chord of the 7 th 6 first inversion of the chord of the 7 th 5 0 Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

32 Points of interest Quite a restricted melodic range for each part. Adagio tempo. Overlapping of Violin 1 & 2 bars Walking bass bars Imitation between Violin 1 & 2, using opening motif bars 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. Musical elements Allemanda Form Binary Structure 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 Tonality - Home key: F major Examples of modulations: C major bar 9 D minor bar 18 1 Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

33 Harmony Chords: - Diatonic - Tonic chord 5 (root position) bar Tonic chord 6 (first inversion) bar Second inversion 6 bar Dominant 7 th bars 8 1 ; 2 (7 th rises here) Examples of composition techniques and devices - Cadence: Perfect (in tonic) bar 5 - Sequence: descending bars (Cello) - Sequence: ascending bars Suspensions bars 25-4 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 5-7 Large leaps of 8 ve and 10 th in Violins. Echo effect/repetition at end of sections bars 12-14; 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 7 th in melody at cadence bars Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

34 Corrente Musical elements Form Binary Structure A F major Rhythmic motif in Violin 1 appears many times in all instruments. Echo effect in last 6 bars. Ends on perfect cadence. B F major Homophonic opening for 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 5 (root position) bar Tonic chord 6 (first inversion) bar 2 1 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 27-0 (Cello) - Suspension 7-6 bar 2 2- (Violin 2) Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

35 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 1-4 Bars repeated exactly in bars 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 21-2, in composing the type of dance where the triple time 12,12 creates a sensation of becoming duple 12,12,12. Musical elements Giga Form Binary Structure 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 4. 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 4 Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

36 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 (root position) bar 4 - Tonic chord 6 (first inversion) bar 2 - Tonic chord 6 (second inversion) bar Dominant 7 th bar 65 Examples of composition techniques and devices - Cadences: Perfect (in tonic) bar 10 Perfect bar 18 - Sequence bars (Violin 1) - Auxiliary notes (lower) bar 21 (Violin 1 & 2) - Passing notes in rds 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 namely one beat in the bar. 8 Tenor clef (Cello) bars 11-1; 5-6 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; Cello has more supportive role in this dance with dotted crotchet notes bars Opening Violin 1 motif repeated in imitation by Cello. 5 Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

37 Violin melody consists mainly of arpeggio and passing notes. Bars 29-4 (end of section A) repeated in bars 68-7 (end of section B). Dialogue between Violin 1 and Violin 2 & Cello bars Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

38 Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement Introduction One of the greatest revolutionary composers. Beethoven ( ) 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 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 Exposition A Development B Recapitulation A Texture - Fluid - Homophonic (2 nd subject) bars 45-47; Mainly dense bars Tonality - Home key: Bb major Examples of modulations: Exposition F major bar 44 F minor (dominant minor) bars 49; Ab (flattened leading note) bar 56 Development D major (mediant) bar 102 G minor (relative minor) bar 110 Eb major (subdominant) bar 127 Harmony Chords: - Tonic chord: Bb major (root position) bar 1 - G minor (root position) bar Dominant chord 6 (first inversion) bar 64 7 Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement

39 - Dominant 7 th (first inversion) bar 65 - Diminished 7 th bars 74; Dominant chord 6 (second inversion) bar Dominant 7 th (last inversion) bar 55 Examples of composition techniques and devices - Cadences: Perfect bars Imperfect bars Pedal bars -9 (Cello) - Sequence bars 5-56; bars (Violin 1) - Imitation bar 11 (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 (Cello, Viola & Violin 2) - Syncopated effect bars Upward scalic passages bars 2-41; Arpeggio based homophonic phrases bar 92 - Appoggiaturas played on the Viola and Violin bar 47 - Chromatic progression: F major to G minor bars (Development) - Chromatic chord in bar 101 is a French 6 th (Eb-G-A-C#) 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 C(split common time): the composition is written as 4 crotchet beats to the bar, but 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 Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement

40 Melodic interest shared amongst all players, not just Violin 1. New material in transition of recapitulation (bars ), 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 2 nd subject bars (exposition) and bars (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 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. 9 Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement

41 Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd 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 rd 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 rd Movement Theme and Variations Theme Var. 1 Var. 2 Var. Var. 4 Var. 5 Coda Musical elements Theme (bars 1-14) Structure Bars 1-4 Bars 5-8 Bars 9-10 Bars Texture - Fluid - Homophonic bars Dense in Piano bars 9-10 Tonality - Home key: Eb major Examples of modulations G minor (mediant minor) bar Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

42 Harmony Chords: - Diatonic - Tonic chord 5 (root position) bar Tonic chord 6 (first inversion) bar Dominant 7 th bars 6 6 ; 8 ; Diminished 7 th bar 1 6 Examples of composition techniques and devices - Cadences: Imperfect bars 4; 8 Plagal bar 14 - Pedal (dominant) bars Sequence bars (Piano) - Sequence bars 1- (Clarinet) - Suspension bar 8,4,5 (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 Bars -4 (Clarinet) is repeated in 7-8 (Clarinet). Cadence: Clarinet motif ends phrases bars 4, 8 and 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 8 ves 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. 41 Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

43 Variation 1 (bars 15-28) Musical elements Texture - Contrapuntal - Sparse at times, e.g. bars (Piano) Tonality - Home key: Eb major Examples of modulations G minor (mediant minor) bar 24 5 Harmony Chords: - Diatonic - Chromatic bar 25 - Diminished 7 th bar Dominant 7 th bar 25 1 Examples of composition techniques and devices - Cadences: Imperfect bar 22 Perfect bar Pedal (dominant) bar 19 - Suspension bar 22 4 (right hand Piano) - Sequence bars (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 ( rds ) in imitation with melody of Clarinet (bars 15-18), providing tension. These off-beat accents in the Piano provide main rhythmic focus in bars Piano has centre stage in bars 19-22, with re-statement of bars (not syncopated), but same simple rhythm as Clarinet previously in bar Less tension now. 42 Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

44 Cadence motif (bars 1-14) changed. Left hand Piano rhythm repeats Clarinet rhythm in bars Off beat rhythm returns in Piano bars Harmonic structure mainly the same as before in theme, although some slight harmonic differences in this variation. Musical elements Variation 2 (bars 29-42) Texture Quite dense on the whole Tonality - Home key: Eb major Examples of modulations G minor (mediant minor) bar 8 5 Harmony Chords: - Diatonic - Diminished 7 th bar 1 (right hand Piano) - Dominant 7 th bar 7 (heard in arpeggio figuration and contrary motion in Piano part) - Dominant 7 th (final inversion) bar 40 (Piano) Examples of composition techniques and devices - Cadences: Imperfect bar 2 5 Interrupted/Surprise bar 41,4 - Pedal (dominant) bar - Suspension bar 2 4,5 - Sequence (Clarinet) bars (8 ve lower than theme) - Contrary motion: 16 note arpeggi bar 7 (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 1). Different phrasing now. Some original theme note-lengths have been changed. Piano triplet semiquaver accompaniment, descending then ascending bars Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

45 Contrary motion arpeggi bar 7. Anacrusis on Clarinet 8 ve lower than before. Brahms explores lower range sonority of Clarinet. Downward leaps of minor 7 ths at opening, then back up bar 29. Clarinet keeps two note theme motifs on beats and 6 in bars 29-1, whilst Piano plays triplet arpeggi figures. Changed harmonies in bar 1 compared with bar of theme. Regular rhythmic pattern in left hand Piano, with harmonic support chords on beats 2, and 5,6 bars Clarinet and Piano reverse roles in bars -6. Piano plays melody 8 ve higher and Clarinet plays triplet arpeggi figure in reverse (ascending then descending). Clarinet plays 1 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). Musical elements Variation (bars 4-56) Texture Quite dense from bars Tonality - Home key: Eb major Examples of modulations G minor (mediant minor) bar 52 5 Harmony Chords: - Diatonic - Dominant 7 th 6 (first inversion) bar Diminished 7 th bar 49 2 Examples of composition techniques and devices - Antiphonal exchanges ( beats length) between Clarinet and right hand Piano bars Right hand Piano echoes previous beat of Clarinet bar 49 - Passing notes bar 50 (d) (Clarinet) - Chromatic passing notes bar 46 (final note) - Lower auxiliary notes (anacrusis) bab - Cadences: Imperfect bars 46 5 ; 50 5 Perfect bar 56,4 - Sequence bars (Clarinet); bar (right hand Piano) 44 Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

46 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 4. 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. Musical elements Variation 4 (bars 57-70) Texture Sparse Tonality - Home key: Eb major Harmony Chords: - Diatonic - Diminished 7 th bar Dominant 7 th 6 bar Chromatic progression bar 69 Examples of composition techniques and devices - Cadences: Imperfect bar 64 4,5 Perfect bar 70 - Tonic pedal bar 61 (left hand Piano) - Syncopation between Clarinet and Piano throughout Score indications pp (pianissimo): very soft 45 Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

47 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 7 th. 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; both hands in treble clef (Piano). Bars ; both hands in bass clef (Piano). Musical elements Variation 5 (bars 71-97) Texture Contrapuntal Tonality - Home key: Eb minor (tonic minor) Harmony Chords: - Diatonic Examples of composition techniques and devices - Cadences: Imperfect (Bb major) bars 78 1 & 86 1 Plagal (Eb major) bar 98 - Suspension: 9-8 bar Syncopated rhythms bars (right hand & left hand Piano) - Cadential overlap with next section bars Score indications Allegro: Fast ben marcato: well-marked sf (sforzando): sudden accent 46 Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

48 Points of interest Change of key to minor mode (tonic minor Eb). Phrase lengths are doubled to Tempo now changed to Allegro. Time signature is changed from compound to simple 2 4 Augmentation of cadence motif bars 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 8 ve lower from bars Cadence theme in right hand Piano (bars ) is a momentary release of tension. Musical elements Coda (bars 98-15) Texture - Contrapuntal - Florid Tonality - Home key: Eb major Harmony Chords: - Diatonic - Diminished 7 th (second inversion tonic) bars Diminished 7 th bars (Piano) - Dominant 7 th bar (Piano) - Major 5 bars 16 ; Minor 6 bar 16 1 Examples of composition techniques and devices - Cross accents of various parts of theme bars Diminution of main theme in Piano (bars 15-16), then Clarinet (bars 16-18) - Chromatic harmony in Piano and Clarinet bars and bars Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

49 - Dominant pedal bars Cadence: Imperfect bars (German 6 th -V 7 ) 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 Using cadence theme in Piano bars Bars triplets in Piano against crotchet pulse of Clarinet. Virtuosic flourishes, e.g. bars 127-1, in both instruments. Final appearance of cadence theme bars Considerable rhythmic energy and momentum in the coda. 48 Brahms: Clarinet Sonata in Eb Op. 120, No. 2, rd Movement

50 Duke Ellington Introduction Duke Ellington (Edward Kennedy, ), 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. Musical elements Black and Tan Fantasy Form 12 bar blues Structure A Bb minor. Trio for Trumpet, Piano and Trombone minor blues sequence. Same sad tonality as last 4 bars (quote from Marche Funèbre by Chopin). B Bb major. Solo Alto Sax begins over the Gb7 harmony, then major chords: Bb, Eb, (Ebm), Bb, C7, F7, Bb. Other instruments support the harmonies. B Alto Sax solo accompaniment is repeated except for bars 27-28, which ends on F9 chord (leading to Bb chord in bar 29). A Bb major. Trumpet solo improvised with generous smattering of blue notes and triplet figuration. Thin texture. Supported only by Piano and rhythm section 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 7), 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 Bb minor, echoing sombre opening tonality. Tutti ensemble. 49 Duke Ellington

51 Tonality - Home key: Bb minor - Major tonality - Minor tonality - Blue notes Examples of modulations: Bb major bar 1 Bb minor bar 87 Harmony - Tonal - Diatonic - Major - Minor Chords: - Bb minor 5 (root position) bar 12 - Eb minor 6 bar 25 - Dominant 7 th bar F9 bar 64 4 Examples of composition techniques and devices - Chromatic harmonies bars Triplets, e.g. bar 7 - 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

52 Echoes of early New Orleans minimal style with strict rigid tempi. Major to minor tonalities. Further information Musical elements Take the A-Train Form - AABA x - Standard 2 bar song form played three times Structure 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 6 ths and falling 5 ths. 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 5 ths and major 7 ths F major key. Trumpets are tacet in this section. Trombones have downward scalic countermelody bars 2-6. 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 6, A No Brass at all except solo Trumpet 4 improvisation. Homophonic chromatic countermelody in the Saxes in harmony. A Repeated section as the Trumpet break continues. Texture much lighter. More emphasis on rhythm section now. B Solo Trumpet break continues and Saxes support the harmonies with one chord per bar. Trombones tacet. 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. 51 Duke Ellington

53 A New key Eb major. bar scalic harmonised passage in Saxes. Trumpet 4 solo in bars Trumpets 1,2, and Trombones tacet. A Repeat of backing accompaniment in Saxes and rhythm section. Trumpet solo in bars B Ab major. Trombones re-enter with harmonised upward quaver motif, answered by triplet quavers Saxes in bar 91. A Back in Eb with unison Saxes and solo optional Trumpet big tutti sound. Brass homophonic accompaniment with syncopated stabbing harmonies. A Repeat of previous 8 bars (no specific changes, apart from the last two bars). Outro Over the Eb pedal, Drum fills and Trumpet solo. Whole band except Trumpet 1,2 and play harmonies based on Eb chord. Texture - Intro light - Light when backing solos - Dense with tutti - Homophonic sectional (Brass and Reeds) Tonality - Home key: C major (but ends in Eb major) Examples of modulations: Eb major bar 7 Harmony - Tonal - Diatonic Chords: - Major - Minor - Tonic 5 (root position), e.g. bar 21 - Tonic 6 (second inversion) bar 1 1,2 4 - Added 6 th, e.g. bars 11; 5 - Dominant 7 th bar Major 9 th bar 40,4 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

54 - Varied chromatic accompaniment motifs at end of A section - Elements of whole tone scale in A, with chord of D7 with flattened 5 th (bars 7-8) - Pedal bars (Brass) - Sequential bars 7-40 (Saxes) - Rising sequence bars (Saxes) - Syncopation throughout - Comparing and dovetailing main sections of the band - sections (Saxes, Trumpets, Trombones) move together - Chromatic quavers, e.g. bar 18 - Repetition bars (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 Bb Alto Sax/Baritone in Eb Tenor Sax in Bb / : repeat the previous bar / / / / : 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. 5 Duke Ellington

55 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 54 Duke Ellington

56 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. Musical elements Bohemian Rhapsody Form Through composed Structure Episode 1 Bb 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 with motif which carries on into next episode. Episode 2 Bb major & Eb major. Bars 17-4 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 1 st 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 At bar 29 onwards, the Guitar break is based initially on material from bar 25. Bar 42 prepares key change for next episode (the Db changes enharmonically to C#, the third note of the A major chord). Episode 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 Lighter homophonic texture in this episode. 55 Queen

57 Episode 4 Eb 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 8) on dominant pedal. Episode 5 Eb major. Style now changed to heavy rock. Strong dotted rhythm Guitar riff in bars Solo vocal passage using triplet rhythm of bar 8 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 7 th (Bb). Episode 6 Eb 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 Ab minor in bar 112 4, underlining the sadness of the lyrics. The motif of bars 1-2 is extended into the codetta in bars ending in F major. Texture - Mainly homophonic - Thin (at start) - Dense (middle, from bar 74 onwards) Tonality - Home key: Bb major Examples of modulations: A major bar 4 Eb major bar 25 F major bar 118 Harmony - Tonal - Chromatic - Major - Minor - Diminished Chords: - Subdominant 5 (root position) bar Tonic 6 (first inversion) bar Dominant 6 (first inversion) bar 24 1,2 - Db major 6 (second inversion) bars 49 1,2 4 - Dominant 7 th : C7 bar 2; F7 bar 1,2 ; Bb7 bar 88 1,2 - Minor 7 th : Cm7 th bar 56 Queen

58 - Minor Ab iv bar Diminished 7 ths bars 2 1 ; 119 Examples of composition techniques and devices - Backing vocals bar 8 - Cadence: Perfect bars Chromatic harmonies, e.g. bars 2; Repetition bars 10 and 11 - Enharmonic writing, e.g. at bar 56 the key is Eb major, but the bass is written as D# - Change in metre, e.g. bar 5 time 4 - Sequential vocal line bars 80 and 81 - Guitar breaks/solos bars 5-4 (based on bar 25) - Arpeggaic left hand Piano accompaniment bars Triplet crotchets against two crotchets bars Pedal bars Antiphonal vocal imitation bars 51-55; 56-61; Call and response bar 6 onwards 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 1-2, and bar 119. High tessitura vocal part sung falsetto. Minimal stepwise melodic movement in early episodes. Further information Video of live performance on 57 Queen

59 Killer Queen Musical elements Form - Verse / Chorus / Verse / Chorus / Middle 8 / Verse / Chorus - Verses and choruses are mainly strophic Structure 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 pre-chorus link or transitional sub-section. Chorus Homophonic 4 part harmony. Mixture of major and minor tonality based on key of Bb major, framing a tonicisation of the iii, D minor. 4 bar instrumental bridge. Verse 2 Vocal solo with Piano chords, then bass pedal on Guitar (bars 27-0). Backing homophonic vocals syncopated (bars 2-7) Chorus Homophonic 4 part harmony. Mixture of major and minor tonality based on key of Bb major and D minor. 5 bars fewer vocals than previous chorus because Guitar plays second part (bars 44-50). Middle 8 Guitar improvisation based on chord sequence of verse mainly bars Cm, Bb7 x2, Eb, Gm, Eb7, Ab etc. Verse Vocal solo shorter than previous 2 verses. Based on harmonies of second part of verse: G7-Cm x2, Bb-Eb, D7-Gm, F-Bb (falling cycles of 5 ths ). This section could also be considered an extension of the pre-chorus link (bars 12-14). Chorus Homophonic 4 part harmony. Mixture of major and minor tonality based on key of Bb major and D minor. Band play out to fade, based on tonic Eb major chord. Texture - Lighter in verses - More dense in choruses and backing vocals - Homophonic choruses Genre: Glam Rock Tonality - Home key: Eb major Examples of modulations: G minor bar 14 Bb major bar Queen

60 D minor bar 17,4 C major bar 18 4 Harmony - Tonal - Diatonic - Major - Minor Chords: - Root position chords 5 e.g. bars Tonic 6 (first inversion) bar Second inversion chords 6 bars 7,4 ; 9,4 4 - Third inversion chords bar 8 1,2 - Dominant 7 ths, e.g. A7 bar 17 ; G7 bar 21 1,2 - Minor triads, e.g. Bbm bar 68 1,2 ; Abm bar 9 1,2 - Diminished 7 th bar 65 4 (backing vocals) Examples of composition techniques and devices - Compound time 12 changing to 6 bars 10; 4; 58; Backing vocals bars 8-11; 1-7; and 5 part harmonies in choruses - Short stabbing vamping repeated chords bars 1-11 (Blues style) - Pedal bars 2-24; Descending chromatic bass lines bars Ostinati bass riffs bars Syncopation bars Cadences: Imperfect bar 11 Perfect bar 14 - Major tonality, e.g. bars -7 - Major-minor chords bars 8-9; 2-; (Ab major to Ab minor) - Imitation bars and Guitar breaks/solos bars Anacrusis in verses and choruses - First two verses begin with chord of Cm (relative minor) - Many examples of cycles of falling 5 ths, e.g. verse bars 61-69, derived from traditional Blues compositions Instrumentation Piano Vocals Lead Guitar Bass Guitar Drums Backing vocals 59 Queen

61 Points of interest Blues influence with falling cycles of 5 ths harmonic progression/sequential, e.g. verse bars Vocal technique glissando at bars 15,4 ; 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 60 Queen

62 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 46 th Street. The self-taught composer, Frank Loesser ( ), 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. Musical elements Runyonland 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 Episode 2 Episode Episode 4 Opening not Theme: Luck be a Db major. as rhythmic. lady (4 bars long). Same style and Interaction Syncopation built theme as previous between lower over two chords. episode, but only 6 Brass and Saxes. This lasts for 16 bars long. Unison call in bars before the The second phrase Trombones and chords of C and begins, but moves harmonic response Ab7 support a 2 bar on after only one in Saxes. quaver flourish ( rds bar of the theme. String Bass more in Violins), moving There are prominent. the music up a some rapid semitone via pivot countermelodies in chord of Ab7 upper Woodwind. (bar 46). Strong rhythmic support from Kit. Episode 1 Begins on Ab7 chord. Sprightly melodic line (above repeated crotchets) with arpeggaic figures visiting various keys. Chromatic harmonies are a characteristic of this episode. Woodwind and Percussion are prominent. Episode 5 New melodic material in Eb, although content is chromatic in nature. Use of blue notes in bars 57 (F#) and 59. Enharmonic chord (A9) in bar 66 gives jazzy feel. Series of 4 chords support downward chromatic scale ending in F (bar 70), and repeated an 8 ve lower on CD only. Texture - Light opening - Heavier with Brass - Many layers - Contrapuntal - Some homophonic sections, e.g. bars Loesser: Guys and Dolls

63 Tonality - Home key: C major Examples of modulations: Db major bar 47 Eb major bar 65 Harmony Chords: - Major - Minor - Primary - Root position bar 29 - First inversion (G7) bar 6 - Second inversion bar 4 - C major bar 29 1,2 - C minor bar 7 - Ab7 bar 46 - F9 bar 61 - A9 bar 66 - Added 6 th (Eb6) bar 25 - Bb9 bar 5 Examples of composition techniques and devices - Call and response, e.g. bars 12, Vamping jazz accompaniment bars Sequential ostinato bass rhythm bars Pedal bars Ostinato 2 note bass pattern bars Suspension bar Cadences: Perfect bars 29; 47 Imperfect bar 12 - Glissandi in Brass, e.g. bars 4; 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

64 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 times. Structure Intro D major. Tonic/dominant bass line vamping pianistic style. Clarinet prominent (Gershwinesque). Chords of the 7 th. Triplet Trumpet fanfare signalling horse race in bar. Jazzy swing feel to the music. Texture quite light in strict rhythmic tempo. Canon 1 Nicely-Nicely (Voice 1) with canon tune syncopated with dotted rhythms. Muted Trumpet accompaniment. 2 nd part of tune less rhythmic falling sequential 5 ths. Syncopated chords. 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 Canon Rusty (Voice ) 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 nd & rd Entries 2 nd entry for Voice 1 bar 26 2 nd entry for Voice 2 bar 0 2 nd entry for Voice bar 4 rd entry for Voice 1 bar 8 rd entry for Voice 2 bar 42 rd entry for Voice bar 46 Coda/Outro Tutti band with sfz stab chords (bar 50). Voices build up Bbm triad with staggered entries, then conclude with an unison statement which breaks into close harmony, before finishing on a sustained Db major chord. 6 Loesser: Guys and Dolls

65 Texture - Thin/light to begin - Building up with each vocal entry - Contrapuntal and dense throughout - Homophonic at the outro bars Tonality - Home key: Db major Harmony - Diatonic Chords: - Root position - Tonic: Db 5 (root position) bar 8 (major 7) - Db7 bar 1 1,2 - Eb7 bar 11 1,2 - Db6 bar 16 - Eb9 bar 5,4 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 5 th ) - Sequence bars Imitation bars Contrary motion final band flourish bars 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 Chromatic scale bars 9; 21 (melody and band) - Lower auxiliary notes bar 6 4 (melody) Instrumentation Typical musical Pit Orchestra Woodwind Saxes Brass Kit Percussion String Bass 64 Loesser: Guys and Dolls

66 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

67 Bernstein: West Side Story Introduction Leonard Bernstein ( ) made his mark on both classical and popular music as a composer/conductor. One of the great personalities of the 20 th 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 Musical elements Tonight (Quintet) Form Three main sections: 1) The threats and posturing of both gangs bars ) Tony looking forward to meeting Maria tonight bars ) Maria looking forward to meeting Tony, together with threats from Riff, Anita and the gangs bars Structure Riff & Bernardo Jets & Sharks Two themes New theme A (bar 7) and (C) in tonic B (bar 15). major. Intro Orchestra. Ostinati figures in Violins & Bass. A minor A minor Orchestral interlude using previous ostinati. Riff sings themes A & B in C minor. Tutti ensemble Themes are interwoven, retaining same harmonic progressions in various keys. Anita (Sharks) The two themes, A & B, now an 8 ve higher and in an uneven triplet rhythm. A minor Lyrical love theme (D), sung by Tony, is in A A 1 B A 2 form. Tonic major modulating to C major. 66 Bernstein: West Side Story

68 Texture - Dense - Multi-layered - Instrumental and vocal Tonality - Home key: A minor Examples of modulations: Tonic major bars 7; 68; 92 C major (relative major) bar 76 C minor bar 102 Eb major bar 126 F minor bar 14 Harmony Chords: - Diatonic - Dissonances, e.g. bar 1 (F ½/F#) - Cluster, e.g. bar 46 (dominant 1 th ) - G major 5 (root position) bar 12 1,2 - B minor 5 (root position) bar First inversion 6 bar 95 4 (F# minor); bar 18 (Eb minor) - F major 6 (second inversion) bar Dominant 7 th bar 75 (G7) - Fm7 th 4 bar Examples of composition techniques and devices - Time signatures 4 & 2 every other bar, e.g. bars Time signature intermittently, e.g bars 16; 19; 65; 11 until bar Cadences: Perfect bars 76; 92 - Augmentation bars (sung by the Sharks) - Countermelody (canon) in Violins, with vocal line bars Ostinato note stepwise bass figure bars 1-15; 20-29; 5-60 and ( rd higher) - Two note ostinato bass figure bars Arpeggiac ostinato figure bars Instrumental quaver ostinati in Violins bars 2-12; 22-27; Syncopated rhythms bar 68 onwards with love theme - Pedal bars 68-71; Suspensions bars 88; 95 - Enharmonic key changes bar 125 (Tony sings the 5 th and 7 th above the chord of Bb7) 67 Bernstein: West Side Story

69 - 4 note rhythmic motif (bars 12-1) tonight appears throughout in orchestra and voices, e.g. bars 45; 55; 101; 106; 117; Another interesting and musically dramatic device is the antiphonal exchange between the rival gangs bars 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 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 Bernstein: West Side Story

70 Maria Musical elements Structure A1 A2 B Vocal line melody Vocal line melody Vocal line melody (stepwise) (stepwise) (downward) doubled by doubled by doubled by orchestra. orchestra. orchestra. Major tonality. Minor tonality Minor tonality (bars 18-20). (bars 2-24). Intro Parlando/ recitativo style. Uses quaver triplet figure (main motif). Extension Vocal line melody ( note motif) doubled by orchestra. Can be viewed as an extension of B. Major tonality (bars 18-20) A2 B Melody with Vocal line melody orchestra. doubled by orchestra Vocal line broken up (cf. bars 21-25), with with Maria high extension as above. tessitura. A1 Melody with orchestra. Vocal line broken up repeated Maria motif. Coda Repeat in upper Strings of bar 10 motif. Vocal line melody ( note motif) sung softly, parlando style. Sustained chords in orchestra. Texture - Sparse bars Thicker from bar 9 onwards Tonality - Home key: Eb major (B major recitative) Harmony Chords: - Diatonic - Dominant major 5 (root position) bars 12 ; Minor (root position) bar Flattened mediant (Gb added 6 th ) bar 49 - F minor 7 th bar Eb major 7 th bar Bb major 7 th bar 17 - Dominant 6 (first inversion) bar Bernstein: West Side Story

71 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 8,4 now heard in crotchet triplets - Repeated figures bars Ostinati syncopated rhythms in bass accompaniment of orchestra from bars 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 6-9) 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 Eb major accomplished with common note (enharmonic note) to both keys, namely bar 8 (D# = Eb). Melodic lines move mainly stepwise. Operatic tessitura lines in bars 4-9. Wide range of dynamics in voice and orchestra. Importance of interval of rising augmented 4 th (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; Bernstein: West Side Story

72 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 180s. 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 This solo is sung by Eponine. Musical elements On My Own Form AABBAA Structure Intro Section A Section A Section B Section A Section A Coda D major D major Bb major F major F major F major 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 Bb bars E minor (supertonic) bars Harmony Diatonic Chords: - Triadic semiquaver broken chords bars Major and minor root positions - Added 7 th bar 17 (Am7) 71 Boublil and Schönberg: Les Miserables

73 Examples of composition techniques and devices - Pedal bars -4 (D); 12-1 (Bb) - Ostinati accompaniment bars 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; 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 Fuller orchestration/texture and increase in dynamics in final section (bars 27-4). Arpeggio/broken chord accompaniment in section A. Crotchet chordal accompaniment in section B. Cadences: Perfect bars Imperfect bars -4 Plagal bars 7-8 Accent shift change from 4 to 2 in bars 8 and Accent shift change from to 4 in bars 9-10 and Extreme and dramatic harmonic changes (Eb major to E minor) bars Boublil and Schönberg: Les Miserables

74 One Day More Musical elements Form Through composed Structure Intro Section 1 Section 2 Section A major Various keys Various keys Orchestra Theme 1 (Valjean) Theme 2 (Marius) Themes 2 & (Marius, Cosette, Eponine) Theme (Enjolras, Marcellas) Section 4 Section 5 Section 6 Section 7 A major A major Various keys C major Theme 1(Valjean) & Theme 4 (Javert) Theme 5 (Thénardiers) Theme (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: Eb major bar 2 A major bar 6 C major bar 54 Harmony Chords: - A major 5 (root position) bar 24 - F minor 5 (root position) bar 27 - Added 6 th bar 1 1 (right hand Piano) - F# minor 7 th bar Dominant 7 th bar 2 (E) - D major 7 th bar Boublil and Schönberg: Les Miserables

75 - C major 6 (first inversion) bar 26 - G# diminished 7 th bar 62 1 Examples of composition techniques and devices - Tonic pedal bars (bass of the accompaniment) - Ostinati bars 1 and 2 - Syncopated accompaniment bars Sequence bars 5-6; Sequential repetition bars 0- - Call and response bars 26- (Enjolras/Marcellas) - Antiphonal vocal writing, e.g. bars 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; Cadences: Perfect bars 8-9; Enharmonic change from Ab chord to E major bars 4-5. Accent shift from 4 to 5 to 2 in bars 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 -6. It reappears in bars 54-62, and finally in bars This opening three note motif, One day more (bars 4-5), appears throughout the song as Valjean s leitmotif (bars 12; 5-6; 9-40; 6-65) 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. 74 Boublil and Schönberg: Les Miserables

76 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 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. Musical elements Cysga di, fy mhlentyn tlws Form Strophic re-melodic content Structure Melody: 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 motif (rocking the cradle). Altos with melody. Male voices 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

77 - Tonic chord 5 (root position) bar 6 - Dominant chord 5 (root position) bar 11 - Tonic chord 6 (first inversion) bar 29 1 Examples of composition techniques and devices - Cadence: Plagal/Amen bar - Intro based on bars 6 & 8 (melody) - Imitation between opening note motif of Alto melody (bar 6) and Tenor and Bass accompaniment (bar 8) - Augmentation of same note melodic motif (Alto bar 10) in Tenor (bars 12-1) - Suspension: 7-6 bar 5 1 (Soprano/Alto) - Harmony in rds and 6 ths - 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 Open 5 ths 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

78 Wrth fynd efo Deio i Dywyn Musical elements Form - Ternary melody - Strophic 6 verse content Structure Melody: A A B A Intro Verse 1 Bridge Verse 2 Bridge Verse SATB Alto & Soprano Tenor & Bass Soprano Soprano & Tenor Alto, Tenor, then Soprano 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 (root position) bar Tonic chord 6 (first inversion) bar Tonic chord 6 (second inversion) bars 61; 6-65; 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 Tonic pedal bars (Bass) 77 Mervyn Burtch: Three Welsh Folk Songs

79 - Dominant pedal bars (Tenor); bars Descending Soprano & Tenor sequence bars Sequence bars (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 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 ; bar 77 5; bar 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 rds and 6 ths. Countermelody in Soprano bars Stretto (compacted) effect at bar 61 where end of verse and beginning of verse 4 overlap no bridge here. All other verses have short bridge (interlude) between them, except verses -4. Imitative dialogue between Soprano and Tenor at one bar interval (a tone lower) in verse 4 bars Homophonic writing bars 7-74; Extensive use made of semiquaver melodic motif (bar 9) in verse 5, e.g. bars 8-84 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 A cappella: unaccompanied singing. 78 Mervyn Burtch: Three Welsh Folk Songs

80 Dilys Elwyn-Edwards: Caneuon y Tri Aderyn Introduction Commissioned in 1961 by BBC Wales, these two songs belong to a 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. Musical elements Form Through composed Structure Y Gylfinir (The Curlew) Introduction Verse 1 Verse 2 Coda Piano Voice and Piano Voice and Piano Piano Texture - Light - Contrapuntal accompaniment Tonality - Mixolydian F with flattened leading note Eb, e.g. bars Mixolydian C with flattened leading note Bb, e.g. bars 5-57 Harmony Chords: - Diatonic triadic broken chords - Major 11 th bar 56 (right hand accompaniment) - Opening left hand ostinato based on two chords F and Eb (second inversion) bars Ostinato returns in right hand, based on two chords of the 7 th and the 9 th bars Cm7 th bars 62 6 Examples of composition techniques and devices - Anacrusis bars 9; 8 - Ostinati bars 1-15 (left hand); 8-42 (right hand) - Recurring right hand piano motif bars -5; 1-15; Alberti accompaniment/repeated broken chords Instrumentation - Female vocalist - Piano 79 Dilys Elwyn-Edwards: Caneuon y Tri Aderyn

81 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 Voice in (simple triple), but 6 (compound duple) feel to the accompaniment. 4 8 Change from to 4 in bars 26; 4; 50; 57; 60-61, with Piano (tacet partly) and voice in 4 4 accented crotchets. The final note of the voice is Eb (bars 62-6), 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 Change in left hand Piano part rhythm and style (bars 8-57). This part now has 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 27-4 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 64-7). 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. Further information 80 Dilys Elwyn-Edwards: Caneuon y Tri Aderyn

82 Musical elements Form Through composed Structure Mae Hiraeth yn y Môr (There is Longing in the Sea) Lines 1-8 of the sonnet Instrumental bridge 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 - Home key: Ab major Examples of modulations: F minor (relative minor) bars F major (submediant major) bars 27-0 Harmony Chords: - Mixture of triadic and 7 th / 9 th chords with some close voicings Examples of composition techniques and devices - Anacrusis at beginning of phrases, e.g. bars 1-4; Pedal (tonic) in vocal line bars Pedal in accompaniment, e.g. bars Ostinato rhythmic figures, e.g. bars -8, with changing harmonies - Augmentation of note left hand motif (bar 24) in bars 26-27, an 8 ve lower and in accented crotchets instead of quavers - This note motif also occurs several times in the vocal writing, e.g. bars (Ac yn y galon); 4-5 (O r gerddi agos) - Repetition of vocal line in right hand accompaniment, e.g. bar 11 (fflamau r tân), echoed in bars 12-1, and bar 22 (atgof, atgof gynt), repeated in bar 2 Instrumentation - Female vocalist - Piano 81 Dilys Elwyn-Edwards: Caneuon y Tri Aderyn

83 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 Opening vocal motif used frequently to open new lines in the song, e.g. bars 1-2; 5-6; 1-14; Haunting final accompaniment (bars 40-47), with flattened harmonies in bars 41-4, 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 2-8. Absence of left hand figures in bars 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-; 5-7. Vocal phrases mainly bars in length. Vocal range interval of 11 th (Eb-Ab). Opening repeated tonic triad in bar 1 repeated in bars Further information 82 Dilys Elwyn-Edwards: Caneuon y Tri Aderyn

84 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 Intro Verse Verse Chorus Verse Chorus Guitar Verse Chorus Guitar 1 2 Solo 4 Solo Texture - Thin: Keyboard and Bass Guitar bars Thick: addition of Synthesizer, Drum Kit, Guitar bars Guitar solo given mixed vocals backing bars Thin: Keyboard and Bass Guitar bars Thick: Drum Kit fills prominent bars 68-9 Tonality - Home key: E minor - Modal, e.g. bar 11 modal cadence with flattened leading note (D) - Other modal cadences in bars -4; Harmony Chords: - Some major root position chords bar 11 1 (C); bar 10 4 (B) - Mainly minor 7 th and 9 th chords, e.g. bar 5 4 (Em7); bar 27 4 (Am7); bar 24 1 (Em9); bar 2 1 (Am9) 8 Caryl Parry Jones

85 Examples of composition techniques and devices - Repetition of single melodic idea in introduction bars Syncopation in vocal lines bar 27 - Unison singing in Chorus and Verse 4 - Suspensions and resolutions in accompaniment, e.g. bar 1 (9-8); bar 4 (4-) - Dotted rhythm bass ostinato/riff bars Cadences: Perfect bars Imperfect bars 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 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 -4; 11-12; Harmonised female voices sing variation of bars 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 Goreuon Caryl Cyngerdd y Mileniwm CD (Tr. 5, 6) 84 Caryl Parry Jones

86 Free translation of lyrics Verse 1: Verse 2: Chorus: Verse : Verse 4: Being with you last night was a timeless experience. Being together was everything in our quest for love. Tonight, please embrace me before the curtain of reality descends. We can only hope that tonight will never end. 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. I know that merely touching you was a great mistake. We both knew from the outset that our love could never be. 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

87 Structure Intro Chorus Verse Chorus Verse Chorus Middle Chorus Texture - Thick: harmonised backing vocals bars 1-2 (Intro) - Thin: mainly two dimensional (soloists and Guitar) bars -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 12-1 G major (dominant) bars Harmony Chords: - Chromatic, e.g. bar - Use of flattened 5 th, 7 th and 9 th - Major 7 th, 9 th, 11 th and 1 th Examples of composition techniques and devices - Anacrusis (Verse and Chorus, except Middle 8) - Accented passing notes bars 4; 14 - Sequential phrases bars and Upper and lower auxiliary notes bars 17; 21 - Symmetrical phrases (Chorus 4+4) - Final radical cadence VI(Ab) I(C) 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

88 Points of interest Decorated cadential motif bar 5 Flattened mediant/blue note bar 5 in the vocal line (Eb). 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 28-0 Cluster chords bar 56 (Dm11) Chromatic descending bass line bars Acoustic Guitar accompaniment. Mood is sensitive. Further information Goreuon Caryl Cyngerdd y Mileniwm CD (Tr. 5, 6) Free translation of lyrics Chorus: Verse 1: Verse 2: Middle 8: 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. 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. 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. 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

89 The Beatles Introduction The fab four ( ), 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. Musical elements Yesterday Form Binary Structure Intro Tonic chord on acoustic Spanish Guitar (no plectrum). A Following the famous first bar motif, there is an ascending stepwise lyrical 7 bar melody (+2+2) sung by solo male voice. Accompaniment is Guitar. Bb- G chord progression is reminiscent of other Beatles songs (more often in reverse order). A Melody repeated, but string quartet adds new layer with sustained backing chords. B New balanced melodic phrase (4 bars). First two bars are repeated but end of phrase is different A Repeat with some slight changes in orchestration. B Strings again continue, but subtle string changes from first B playing. Cello line very prominent in bar 1 (Eb). A String parts have new arrangements, e.g. Violin 1 soars above the rest. Coda/Outro Vocal humming reprising last two bars of A section (bars 8-9) but changed rhythm and chords (F instead of Dm). Texture - Thin at beginning - String layer added, giving thicker texture - Homophonic texture throughout 88 The Beatles

90 Tonality - Home key: F major Examples of modulations: D minor (relative minor briefly) bars 4-5 Harmony - Tonal - Diatonic - Major - Minor Chords: - Bb major 5 (root position) bar 6 1,2 - G major 6 (first inversion) bar 25,4 - F major 6 (second inversion) bar 25 1,2 4 - A7 bar 4,4 (dominant of D minor) - Dm7 th bar Gm6 (added 6 th ) bar C7 th (dominant 7 th ) bar 6,4 Examples of composition techniques and devices - Cadences: Plagal/Amen bars 9; 26 Perfect bars 6,4-7 1,2 ; Appoggiatura motifs in section A at beginning of the bar, e.g. bars, 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 Sustained chords with string quartet very restrained scoring - The Eb bass note in bar 1 could be a passing reference to the blues. 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 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

91 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). Musical elements Hey Jude Form Binary (two main contrasting themes) Structure A Plaintive melody, again in a bow/arch shape, gradually moving upwards. Piano and vocal solo. A Repeat, but with added Rhythm Guitar and offbeat Tambourine. Harmonised backing vocals added bars Drum Kit flourish in bar 16 leading to section B. B New melodic statement with more accented quaver beat on snare and cymbal. Backing harmonised vocals mainly in descending rds. Bass Guitar plays crotchet pulse. B Repeat, but with added Codetta scat style. Singing and chord of C7 leading to restatement of section A A Return with different words. Rhythm Guitar, Bass Guitar, Percussion and backing singers still present, mainly in rds. B Repeat, but different words. With stronger backing vocals and band accompaniment. B Repeat of previous section again, leading to partial restatement of section A. A Final statement of melody (bars 1-6) before moving to the Coda. Coda/Outro 2 octave appoggiatura arpeggio bars 1-2. Scat jam session using three chords F, Bb and Eb. Thickening textures with added orchestral instruments. Texture - Sparse to begin, but gradually getting thicker (trademark of many Beatles songs). 90 The Beatles

92 Tonality - Home key: F major Examples of modulations: Bb major (subdominant) bars 18; 2 Harmony - Tonal - Diatonic - Major - Minor Chords: - Basic primary triads I, IV, V (root position) - Gm7 th (minor ii 7 th ) - Flattened leading note chord bar 4 - C7 (dominant 7 th ) bar 15 - Bb major 5 (root position), e.g. bar 5 1,2 - C major 6 (first inversion) bar 20 1 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 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 Cadences: Plagal/Amen bars 5-6 Perfect bars 7 4-8; Eb chord in bar 4 gives modal touch to outro (mixolydian) - Clever dissonance in bar 4 interval of 9 th (Eb F) 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

93 Points of interest Although the official song lasts for 7 minutes, the creative process is ended at minutes and 5 seconds, then bars -6 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 -6. Written by Paul McCartney alone and recorded in 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 1- 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