1. https://prezi. com/axoitgr1wq20/year-10-melody-bernstein/
Name
Class
Target
Project Grade

2. Notes placed on the weak beat
Term
Definition
sempre dim
syncopation
cross-rhythm
triplet
push-rhythm
Allegro
West Side Story
Musical
subito
arco
pizzicato
Staccato
marcato
ostinato
word painting
flattened 7th
syllabic
tritone
modulation
Gradually get quieter
Notes placed on the weak beat
Two different rhythms, with different emphasis, played at the same time
Three beats in the space of two
Where the synopcated beat is fulling emphasised
Fast
Musical based on Romeo and Juliet set in New York
Theatre piece with music, dancing and acting
Suddenly!
With a bow
Plucked
Short note
Emphasised note, but full length >
Short repeated pattern
Music which matches the mood or lyrics
Lowered pitch of the 7th note of the scale
One note per syllable
Augmented 4th – gap of 6 semitones – D to G#
Change from one key to another

3. Bernstein – Something’s Coming Listening DR CAT SMITH
Dynamics
Rhythm
Context
Articulation
Texture
Structure
Melody
Instruments
Timbres
Harmony

4. Dynamics Rhythm Context
How the dynamics change   
FIND: Pianissimo PPP
FIND: Subito
FIND: Sempre dim.
Rhythm
Time signatures
Tempo
FIND: syncopation
FIND: triplet
FIND: cross-rhythms
Context
Genre
First Performance
Production Name
Musical Fingerprints
Gradually – using crescendos and diminuendos
Bar 106
Bar 128
Bar 148
3/4 and 2/4
Fast – Allegro – 176bpm
From bar 1! (Vocals bar 13)
Bar 17
Vocals Bars 82-87
Stage Musical
1957
West Side Story
Different types of songs – solo character, duets, action songs, chorus numbers,
“Singable” melodies,
Influenced by jazz
Based on Romeo and Juliet by Shakespeare
Set in New York

5. Articulation Texture Structure Melody
FIND: pizzicato
FIND: staccato
FIND: marcato
Texture
Main Texture
DESCRIBE ACMP:
Bars 1-20
Bars 21-31
Bars
Bass
Bar 1 Bass
Vocals bar 4 (and many more)
Homophonic
syncopated anticipation notes
staccato ostinato
Starts monophonic time signature change
Loud! Change of beat emphasis
Um-cha-cha rhythm time signature change
riffs./ostinatos
Verse Chorus (ish)
Intro: bars A: bars B: bars
B1: bar A1: bars Outro: bars 158 fade
Bars 1-2 in orchestra, Bars and many more
Vocals Bar 17
Bar 22“Cannonballing”, bar 133 “humming”, bar 153 “maybe tonight”
Structure
Structure type
Overall Structure
Melody
FIND: ostinato
FIND: Flattened 7th
FIND: word painting

6. Instruments Timbres Harmony
Voice Type
Ensemble Type
Timbres
Altered Timbre
Type of drum sticks
Harmony
Home Key
Second key
Type of Tonality
FIND: 5 Modulations
FIND: Tritone
Tenor
Orchestra plus drumkit
Muted trumpet
Brushes
D major
C major
Jazz
Bar 32 , Bar 70, Bar 106, Bar 125
‘Who knows’ Bar 8 (D to G#)

7. 2 note 3 note 4 note Tremolo arco pizzicato ostinato sequence stepwise
SECTION A
The following questions are about Something’s Coming from the West Side Story by Bernstein.
Fill in the missing pitches on the score [9]
Circle three terms that accurately describe the bass line in this section: [3]
Identify the two instruments which play the rising phrases at the end of the extract [2] 1. ____________________________________ ____________________________________
What does ‘Sempre dim.’ mean? _____________________________________ [2]
Bernstein uses a particular interval called a Tritone in this piece of music. Why does he do this? [1] ____________________________________________________________________________________________________________
Add another note to create a tritone interval using the note D [1]
2 note
3 note
4 note
Tremolo
arco
pizzicato
ostinato
sequence
stepwise
/18

8. G# 2 note 3 note 4 note Tremolo arco pizzicato ostinato sequence
SECTION A
The following questions are about Something’s Coming from the West Side Story by Bernstein.
Fill in the missing pitches on the score [9]
Circle three terms that accurately describe the bass line in this section: [3]
Identify the two instruments which play the rising phrases at the end of the extract [2] 1. ________FLUTE____________________________ _____________OBOE_______________________
What does ‘Sempre dim.’ mean? _GRADUALLY [1] GET QUIETER [2]_____ [2]
Bernstein uses a particular interval called a Tritone in this piece of music. Why does he do this? [1] ___CREATE TENSION/ TELL THE LISTENER SOMETHING BAD WILL HAPPEN_______________________________________
Add another note to create a tritone interval using the note D [1] G#
2 note
3 note
4 note
Tremolo
arco
pizzicato
ostinato
sequence
stepwise
/18

9. ……………………………………………………………………………………………………………………………………………………………………………………….
SECTION B
The following questions are about Something’s Coming from the West Side Story by Bernstein.
Which Shakespeare play is the musical West Side Story based on? (1) Romeo and Juliet
Which style of music most influenced this piece? Put a cross in the correct box. (1)
A Expressionism
B Folk
C Jazz
D Minimalism
Comment on how Bernstein using the following musical elements are used in ‘Something’s Coming’. (10)
Melody
Rhythm
Structure
Harmony/Tonality
Instrumentation
Remember to use correct musical vocabulary where appropriate.
……………………………………………………………………………………………………………………………………………………………………………………….

10. ……………………………………………………………………………………………………………………………………………………………………………………….

11. Melody
Blues scale/ notes
Use of triton/ augmented 4th in melody line
Higher tessitura in second section than first ( or vice versa)
Syllabic
Short two bar phrases
Longer eight bar phrases (‘around the corner’)
Contrasted lyrical sections with longer notes
Melodic riffs used
Word painting (e.g. cannon- balling down through the sky)
Rhythm
Syncopation
Cross rhythm
‘Push’ rhythm anticipating the beat
Driving rhythms
Accents
Frequent use of short rhythmic riffs/ostinati
Some use of straight rhythms too e.g. oom-pah/oom-cha bass sections
Harmony/ Tonality
D major/ major tonality ( reject incorrect keys)
Jazz based harmony/ dissonances
Bi- tonal sections
Extended chords/ added 7th / 9th/ 11th chords
Conventional chords with added blue notes
Chromatic (b )
Uses triton / augmented 4th as part of chord ( D major with added G sharp)
Uses a neapolitan chord/ flattened supertonic chord in first inv. In bar 95
Structure
Introduction
Sections A-B
Sections B1- A1
Two main sections each with a varied repeat
Outro/ coda/ codetta/ad lib fade bar linking to the change of scene instrumental

12. Instrumentation
Large/ full orchestra/ band/ 30 players
Some players double-up on instruments
Any four of the following for 2 marks/ any two of the following for 1 mark Piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon, saxophone (soprano, alto, tenor, baritone) horns, trumpets, trombones, violins, cellos and bass, drum- kit, percussion, piano, celeste, and guitars (acoustic, electric and mandolin)
Muted trumpet/ brass
Tremolo strings
Pizzicato strings

13. Exploitation of medium
Limited 1
Basic 2
Competent 3
Good 4
Excellent 5
Development of Ideas
Minimal understanding
Little to no development of ideas
Adequate understanding
Some development. Your chord progression may be repetitive.
Some conventions. Melody fits, but not exciting. Not much development in the chords.
Good understanding. Two contrasting chord sequences in 1 key. Melody fits the chord progression and is interesting.
Imaginative and inventive. Two+ contrasting chord sequences, modulation, countermelody & bridge included.
Exploitation of medium
Limited use of resources
Misunderstandings about
Functional use of resources
Few attempts to use the full capacity of the instruments chosen.
Satisfactory use of resources
Some instruments are used and a few of their performance techniques.
Good use of resources
A wide range of instruments and some of their performance techniques and articulation possibilities are used.
Excellent and effective
Many instruments used, and to their full capacity – their full tessitura, performance techniques and articulation.
Structure
Minimal use of structure
Only one section, without any clear sense of structure.
Some attempt at structure
Sense of proportion may be compromised by the piece being too short.
Simple but clear
At two contrasting sections in a recognisable form.
Uses proportion and development
Some of the features of excellent, but not entirely successfully.
Interesting and appropriate for the genre
At least three contrasting sections including modulation
Melody
Limted
No clear sense of melody – not singable.
Functional without shape
Melodies are repeated without much variation.
Some sense of shape
Some development of melody, but too repetitive.
Well constructed
The melody fits with the chords. Melodic development included, mostly successfully.
With style and character
Some structure and development to the melody. Countermelodies included.
Harmony
Limited harmonic awareness
Random chords that don’t fit with the melody.
Basic use of chords
Primary chords only. Some misjudgements.
Simple but appropriate.
Primary and secondary chords, but only in root position. Only obvious cadences.
Good harmonic repertoire
Use of a modulation, primary and secondary chords & inversions.
Extended range of chords
Good, plus use of extended chords (sus4, 6th, 7th, sus2)
Mark scheme

14. Grade Boundries: Limited 1 Basic 2 Competent 3 Good 4 Excellent 5
Limited 1
Basic 2
Competent 3
Good 4
Excellent 5
Texture
Limted awareness
Only one type of texture used.
Adequate awareness
Some variety of texture, perhaps some misjudgements.
Generally appropriate
Build up of layers to start and some changes later on.
Clear awareness of texture
Gradual build up of textures.
Sensitive awareness of texture
Wide variety of textures present and used effectively and gradually.
Rhythm
Inappropriate tempo and boring rhythms.
Functional rhythms
Only use of quavers and crotchets – no dotted rhythms.
Appropriate
Fine choice of tempo and rhythms show some variety and interest.
Interesting
Good choice of tempo, syncopation and variety in rhythms used.
Exciting and original
Use of time signature changes, syncopation dotted rhythms. Perhaps an unusual time signature.
Dynamics
Limited use of dynamics, though mainly inappropriate.
Poor use
Dynamics are used but are only sometimes appropriate.
Some contrast
Dynamics are used to provide some contrasts in the music.
Dynamics are used to good effect throughout the composition, including gradual changes.
Careful, sensitive and appropriate, the dynamics significantly enhance the composition.
Use of Technology
Used very little, or with significant misjudgements.
Functional
Technology used without purpose or considered thought.
Some use of the music tech tools, with some misjudgements.
Some use of the tools from ‘Excellent’ throughout the composition.
Confident and imaginative use of effects, EQ, reverb, delay, panning and automation.
Grade Boundries: A* A B C D E F
28+
25-27
21-24
17-20
15-16
13-14 12

15. Name
Class
Target
Project Grade

16. Term Definition sempre dim syncopation cross-rhythm triplet
push-rhythm
Allegro
West Side Story
Musical
subito
arco
pizzicato
Staccato
marcato
ostinato
word painting
flattened 7th
syllabic
tritone
modulation

17. Bernstein – Something’s Coming Listening DR CAT SMITH
Dynamics
Rhythm
Context
Articulation
Texture
Structure
Melody
Instruments
Timbres
Harmony

18. Dynamics Rhythm Context
How the dynamics change   
FIND: Pianissimo PPP
FIND: Subito
FIND: Sempre dim.
Rhythm
Time signatures
Tempo
FIND: syncopation
FIND: triplet
FIND: cross-rhythms
Context
Genre
First Performance
Production Name
Musical Fingerprints

19. Articulation Texture Structure Melody
FIND: pizzicato
FIND: staccato
FIND: marcato
Texture
Main Texture
DESCRIBE ACMP:
Bars 1-20
Bars 21-31
Bars
Structure
Structure type
Overall Structure
Melody
FIND: ostinato
FIND: Flattened 7th
FIND: word painting

20. Instruments Timbres Harmony
Voice Type
Ensemble Type
Timbres
Altered Timbre
Type of drum sticks
Harmony
Home Key
Second key
Type of Tonality
FIND: 5 Modulations
FIND: Tritone

21. 2 note 3 note 4 note Tremolo arco pizzicato ostinato sequence stepwise
SECTION A
The following questions are about Something’s Coming from the West Side Story by Bernstein.
Fill in the missing pitches on the score [9]
Circle three terms that accurately describe the bass line in this section: [3]
Identify the two instruments which play the rising phrases at the end of the extract [2] 1. ____________________________________ ____________________________________
What does ‘Sempre dim.’ mean? _____________________________________ [2]
Bernstein uses a particular interval called a Tritone in this piece of music. Why does he do this? [1] ____________________________________________________________________________________________________________
Add another note to create a tritone interval using the note D [1]
2 note
3 note
4 note
Tremolo
arco
pizzicato
ostinato
sequence
stepwise
/18

22. ……………………………………………………………………………………………………………………………………………………………………………………….
SECTION B
The following questions are about Something’s Coming from the West Side Story by Bernstein.
Which Shakespeare play is the musical West Side Story based on? (1) Romeo and Juliet
Which style of music most influenced this piece? Put a cross in the correct box. (1)
A Expressionism
B Folk
C Jazz
D Minimalism
Comment on how Bernstein using the following musical elements are used in ‘Something’s Coming’. (10)
Melody
Rhythm
Structure
Harmony/Tonality
Instrumentation
Remember to use correct musical vocabulary where appropriate.
……………………………………………………………………………………………………………………………………………………………………………………….

23. ……………………………………………………………………………………………………………………………………………………………………………………….

24. Exploitation of medium
Limited 1
Basic 2
Competent 3
Good 4
Excellent 5
Development of Ideas
Minimal understanding
Little to no development of ideas
Adequate understanding
Some development. Your chord progression may be repetitive.
Some conventions. Melody fits, but not exciting. Not much development in the chords.
Good understanding. Two contrasting chord sequences in 1 key. Melody fits the chord progression and is interesting.
Imaginative and inventive. Two+ contrasting chord sequences, modulation, countermelody & bridge included.
Exploitation of medium
Limited use of resources
Misunderstandings about
Functional use of resources
Few attempts to use the full capacity of the instruments chosen.
Satisfactory use of resources
Some instruments are used and a few of their performance techniques.
Good use of resources
A wide range of instruments and some of their performance techniques and articulation possibilities are used.
Excellent and effective
Many instruments used, and to their full capacity – their full tessitura, performance techniques and articulation.
Structure
Minimal use of structure
Only one section, without any clear sense of structure.
Some attempt at structure
Sense of proportion may be compromised by the piece being too short.
Simple but clear
At two contrasting sections in a recognisable form.
Uses proportion and development
Some of the features of excellent, but not entirely successfully.
Interesting and appropriate for the genre
At least three contrasting sections including modulation
Melody
Limted
No clear sense of melody – not singable.
Functional without shape
Melodies are repeated without much variation.
Some sense of shape
Some development of melody, but too repetitive.
Well constructed
The melody fits with the chords. Melodic development included, mostly successfully.
With style and character
Some structure and development to the melody. Countermelodies included.
Harmony
Limited harmonic awareness
Random chords that don’t fit with the melody.
Basic use of chords
Primary chords only. Some misjudgements.
Simple but appropriate.
Primary and secondary chords, but only in root position. Only obvious cadences.
Good harmonic repertoire
Use of a modulation, primary and secondary chords & inversions.
Extended range of chords
Good, plus use of extended chords (sus4, 6th, 7th, sus2)
Mark scheme

25. Grade Boundries: Limited 1 Basic 2 Competent 3 Good 4 Excellent 5
Limited 1
Basic 2
Competent 3
Good 4
Excellent 5
Texture
Limted awareness
Only one type of texture used.
Adequate awareness
Some variety of texture, perhaps some misjudgements.
Generally appropriate
Build up of layers to start and some changes later on.
Clear awareness of texture
Gradual build up of textures.
Sensitive awareness of texture
Wide variety of textures present and used effectively and gradually.
Rhythm
Inappropriate tempo and boring rhythms.
Functional rhythms
Only use of quavers and crotchets – no dotted rhythms.
Appropriate
Fine choice of tempo and rhythms show some variety and interest.
Interesting
Good choice of tempo, syncopation and variety in rhythms used.
Exciting and original
Use of time signature changes, syncopation dotted rhythms. Perhaps an unusual time signature.
Dynamics
Limited use of dynamics, though mainly inappropriate.
Poor use
Dynamics are used but are only sometimes appropriate.
Some contrast
Dynamics are used to provide some contrasts in the music.
Dynamics are used to good effect throughout the composition, including gradual changes.
Careful, sensitive and appropriate, the dynamics significantly enhance the composition.
Use of Technology
Used very little, or with significant misjudgements.
Functional
Technology used without purpose or considered thought.
Some use of the music tech tools, with some misjudgements.
Some use of the tools from ‘Excellent’ throughout the composition.
Confident and imaginative use of effects, EQ, reverb, delay, panning and automation.
Grade Boundries: A* A B C D E F
28+
25-27
21-24
17-20
15-16
13-14 12