1. GCSE Music Revision 2014

2. Exam Overview 90 minutes Based on the 12 set works Divided into 2 sections: A and B Section A (8 questions. 68 Marks in total) Section B (1 question. 12 Marks in total)

3. Section A – You will be required to identify: Major, minor, modal, chromatic and pentatonic scales /tonalities Context of composition Time signatures Instruments Differences between extracts Musical Elements Pitch Duration Dynamics Tempo Timbre Texture Structure Melodic Devices Ornamentation Ostinato Riffs Use of Imitation Pedal Point Sequences Rhythmic Devices Syncopation Swung rhythms Dotted Rhythms Triplets

4. Section A – You will be required to: Describe the historic & stylistic background to the actual set work Relate a given extract to the context of Music History Justify opinions on music hard using appropriate vocabulary (e.g. I dislike this music due to the lack of melody & irregular rhythms) Complete short exercises of melody and/or rhythm

5. Section B (12 Marks) You will choose one question from a choice of two Section B is based on one set work You will first be asked to place the set work in a wider context, for example: In which country was this piece of music composed? What style is this piece of music written in?

6. Section B (12 Marks) You will then be asked a question which encourages you to demonstrate a more in- depth knowledge of the set work’s musical features, including: Structure Tonality Texture Instrumentation Dynamics Tempo Melody Rhythm Technology

7. Set Works Summary 2014

8. Area of Study 1: Handel: Chorus: And the Glory of the Lord from the Messiah Organ can be heard on the first note. There is no harpsichord. Textures – monophony, Imitation, Homophonic ending Vocal writing – use of melodies, counterpoint Voice types – SATB “Doctrine of Affection” – it’s a joyful piece, one mood throughout Dynamics – terraced – they build up Baroque – historical placement and basic features. Oratorio – definition Type of instrumental ensemble (small orchestral group with strings at the heart)

9. Area of Study 1: Mozart: 1 st Movement from Symphony No. 40 in G Major Symphony – definition, placement of the extract Orchestra – which instrument is missing? Instrumentation Sonata form in some detail – identify sections aurally Key/tonality/harmony – know the importance, not necessarily be able to identify Textures Dynamics Classical – historical placement and basic features Notation question Cadences – all four

10. Area of Study 1: Chopin: Prelude No. 15 in D Flat Major, Op. 28 Importance of piano writing in the romantic period Techniques eg. pedal, sostenuto/cantabile writing Romantic - historical placement and basic features Rubato Virtuosity Pedal note Why “raindrop” – refer to features in the music Key/tonality of the section heard in the exam mood Pitch/dynamic range

11. Area of Study 2: A Schoenberg: Peripetie from Five Orchestral Pieces, Op 16 Hexachords – a 6 note idea which can be used horizontally or vertically Klangfarbenmelodie – melodic line snakes through the parts Hauptestimme – principal voice and Nebenstimme – secondary voice Transformation of the hexachord Texture/timbre – contrasts and combinations, spot families of instruments 20 th Century orchestra Structure – not aurally obvious, but initial horn theme comes back Elements of music Background to serialism to give context Expressionism

12. Area of Study 2: L Bernstein: Something’s Coming from Westside Story Song from a musical Based on Romeo and Juliet This song is sung by Tony Mood of anticipation and optimism –how is this created? Orchestra Use of rhythm - syncopation Jazz/Latin influence – WCM orchestra Use of tritone Structure (could fill in the blanks) Possible melodic dictation Ostinato/bass riff Changing meter Blue notes

13. Area of Study 2: S Reich: 3 rd Movement (fast) from Electric Counterpoint Minimalism techniques – note addition, layering, resultant melody (you hear something not really played), ostinatos, phasing (not really in this piece – more of a canon.) Why “Electric Counterpoint” ? Instrumentation Texture Tonality – diatonic, quite static, ambiguous at the start Gmajor ? E minor?? E minor when the bass starts, moves to C minor and back to E minor. Time signature.

14. Area of Study 3: M Davis: All Blues from the album Kind of Blue Meter – 6/4 (there will be a multiple choice question) Drums played with brushes Chord sequence – 12 bar blues with links, altered chord in 3 rd line 7 #9 has major and minor 3 rd simultaneously. Texture Riff in bass and piano Spot the instrument Use of trumpet mute Improvisation Structure Tonality – modal Head arrangement C7 could be described as Gm7 ambiguous Vocab – head, changes, front line. rhythm section, improvisation General question about 5 elements of music, and development from blues Where might you hear this? Where has it come from? Influences? Piano style – comping/vamping, not accompanying

15. Area of Study 3: J Buckley: Grace from the album Grace Meter 6/8 Structure Use of effects Drop D tuning allows easier power chords (bar over bottom 3 strings). Just tune bottom string down to D rather than the usual E Alternative rock Use of power chords with deliberate dissonance from upper 3 strings, goes with the chorus lyric “wait in fire” Guitar techniques – pull-offs, string bending, slurs, hammer-ons, string bending, slides. Repeated riff – up 2 frets followed by a power chord

16. Area of Study 3: Moby: Why Does My Heart Feel So Bad? From the album Play Use of effects – Reverb (used to create distance), compression, EQ, delay Structure - breakdown Texture (opening, build up, end) Use of samples – not cleaned up, background noise adds to emotion Chord sequence

17. Area of Study 4: Capercaillie: Skye Waulking Song Folk/pop fusion Instruments – names and how played (eg blown, plucked) How does instrumentation change through the structure Vocals – Gaelic – type of voice What is a Waulking song? Traditionally has call and response telling story/gossip/news. Not allowed to repeat more than 1 line, so nonsense syllables give time to think. Use of nonsense syllables Legend/story Structure - Intro, verses, solo, fade Complete chord sequence for a question Tonality – ambiguous at start, major with modal feel Texture – heterophonic, v slight differences, starts v. thin with gradual build as instruments join Purpose of song – how does the music fit this? Describe the tempo Instrumental techniques eg violin at start identify meter – multiple choice Mood – sad

18. Area of Study 4: Rag Desh Instrumentation – sarod (plucked), sarangi (bowed), tabla, cymbals, Pakhanaj (double headed drum). Vocal style – ornamented, bending notes Different sections – recognise chracteristics Rag desh is the tonality Tal Order of instrumental entries Use of drone Contextual placement Comparison of 3 rags (section A question)

19. Area of Study 4: Koko: Yiri Texture – compare the introduction to the rest Instrumentation – spot the instrument Possible spot the rhythm questions Oral tradition/master drummer Repetition/ostinato (probably a sentence completion question) Purpose Melody Call and response What is Balfan doing at the start ? = Improvising Rhythmic devices – polyrhythms, syncopation