content/specification section page

MusicPart 1 to 12Content/Specification Section PagePart 1 Vivaldi 2

Part 2 Mozart 12

Part 3 Beethoven 18

Part 4 Brahms 24

Part 5 Gibbons 28

Part 6 Handel 31

Part 7 Mendelssohn 35

Part 8 Rutter 39

Part 9 Kern 44

Part 10 Rodgers & Hammerstein 47

Part 11 Bernstein 52

Part 12 Schönberg & Boublil 56

This eGuide is intended as a revision resource for students. It should be used in conjunction with the Set Work Analyses provided by CCEA. It would be very beneficial for students to have access to copies of the recommended scores and recording when using this guide.

MUSIC

pg 2

VivaldiConcerto in G major for Two Mandolins RV532, First and Second movements

• The concerto is in three movements − fast/slow/fast• The first movement is based on ritornello form; this means that there is a main

theme which recurs throughout, played by the full ensemble, interrupted by contrasting solo material.

• The slow movement is in binary form• Most of the motifs are short and are extended through the use of sequence, for

example in the following clip (AUDIO 0:22–0:32), bars 7–11• As this is a concerto, the texture changes to a reduced accompaniment to allow the

soloists to be heard. (AUDIO 0:46–1:17 FADE OUT), bars 17–31

Analysis – First Movement – Bar 1–103The opening bar is based on the G major triad with some semiquaver scalic movement:

The second and third bars feature the following rhythmic/melodic pattern:

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Bar N°s

Musical Features and Devices

Key Audio Extract

2–3 1st Violin doubles mandolin part2nd Violin generally doubles a third lower

G Major 0:05–0:14

4 Restatement of main theme 4

Bar N°s


Key Audio Extract

5–7 The material from bar 2 is developed by to inversion and repetition. Perfect cadence in D major − note the use of C# to suggest this key

Moving towards D Major

0:15–0:22

Bar N°s


Key Audio Extract

7–9 Repetition of semiquaver scales.Mandolins and Violins mostly in unison; 2nd violin often doubling a third lower

G major modulating to C major in bar 9 and D major bar 11

0:22–0:26

Bar N°s


Key Audio Extract

9–11 Previous two bars treated as an ascending sequence

Modulation to D major in bars 10/11

0:26–0:31

Bar N°s


Key Audio Extract

11–14 The next phrase ends in bar 14 with a perfect cadence in G major

G major 0:31–0:39

Score Extract Examples

Bar N°s


Key Audio Extract

16–18 Semiquaver scalic passage in 1st & 2nd violins, starting on the upbeat

Tonic minor (G) 0:39–0:46

Bar N°s


Key Audio Extract

19-21 Repetition of previous phrase. Perfect cadence half way through bar 21 − indicates end of ritornello section.

G major 0:46–0:53

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21–40 FIRST SOLO EPISODEMain features:

21–40 FIRST

21-23 Using a rhythmic fragment taken from the ritornello,1st mandolin is answered by the second mandolin repeating the same phrase. Accompanied by unison violins and violas playing continuous quavers.

G major 0:53–1:00

Bar N°s


Key Audio Extract

24-26 Mandolins play ascending arpeggio semiquaver passages.

G major 0:59–1:04

Bar N°s


Key Audio Extract

26-29 Mandolin parts play at two beats distance and imitate each other. Also features a descending sequence.

G major 1:04–1:09

Bar N°s


Key Audio Extract

29-32 Both mandolin parts playing repeated arpeggios and alternating between A major and D major. Accompanied by repetitive quaver pattern featuring descending octaves in the upper strings.

D major 1:09–1:20

Bar N°s


Key Audio Extract

33-40 Continuation of imitation between Mandolin parts featuring:(a) repetition of a short rhythmic/melodic motif(b) repetition of a single note(c) repetition of a short semiquaver motif −

doubled in thirds.

D major 1:20–1:37

Bar N°s


Key Audio Extract

41-46 Ritornello returns, although shortened: only the first three bars used here (a), followed by the same material from bars 11–13 (b)

D major 1:36–1:50


(a) (b)

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47–66 SECOND SOLO EPISODEMain features:

Bar N°s


Key Audio Extract

47-49 This whole section only features the 2 mandolins accompanied by organ.

Semiquaver scalic motif treated as an ascending sequence, imitated by 2nd mandolin.

D major 1:50–1:55


Bar N°s


Key Audio Extract

49-55 Repeated note figure and trills, forming a descending sequence

G major 1:55–2:11


Bar N°s


Key Audio Extract

56-60 Both mandolins play a simple quaver pattern featuring wide leaps

E minor (alternating B major and E minor chords)

2:10–2:22


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pg 6

Bar N°s


Key Audio Extract

60-66 Scalic and arpeggio passages doubled in thirds and in unison.

E minor (alternating B major and E minor chords)

2:22–2:36

Bar N°s


Key Audio Extract

67–70 Ritornello returns, initially in E minor for only one bar, then in G major. Taken from the opening bars of the movement.

Bar 67 − E minorBar 67–70 − G major

2:35–2:45

Bar N°s


Key Audio Extract

71–76 Continuation of ritornello material, taken from bar 16–21.

Bar 70–72 −G minorBar 73–75 - G major

2:44–2:58

753–99 THIRD SOLO EPISODEMain features:

Bar N°s


Key Audio Extract

76–79 Orchestration reduced to violins and violas accompanying the mandolins.

Both mandolins play semiquaver arpeggios, initially overlapping then playing together.

Alternating between D major and G major

2:57–3:05


Bar N°s


Key Audio Extract

80-86 (a) 80-86: Semiquaver pattern playing an ascending sequence

(b) 2nd half of bar 83–85 − strings play a pedal on D

80 – G/C major81 – A/D major82 – Bmaj/Emin83–85 – mandolins outline D7 and G chords

3:04–3:20

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Bar N°s


Key Audio Extract

85–86 Pedal continues while the mandolins alternate between G major and D7 chords.

Bar N°s


Key Audio Extract

87-95 A series of short rhythmic passages are passed between the soloists.

G major 3:20–3:43


Bar N°s


Key Audio Extract

96-100

Both mandolins play in thirds, interrupted by three perfect cadences decorated with trills.

G major 3:43–3:54

Bar N°s


Key Audio Extract

100-103

Partial return of ritornello, from bars 19–21, ending the movement.

G major 3:54–End

(a) (b)

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pg 8

Analysis – Second Movement – Bar 104–121• Binary form• E minor (relative minor of G major)• No continuo harpsichord or organ part in this movement • Orchestral accompaniment reduced to pizzicato violins and violas

Bar N°s


Key Audio Extract

104–105

Triplet, scalic semiquavers, imitated by the second mandolin

Alternates between E minor and B major

0:00–0:15


Bar N°s


Key Audio Extract

106–108

Triplet motif is treated to descending sequence in both mandolin parts

Bar 106: E minor/ A minorBar 107: D major/ G majorBar 107: C major/D7

0:15–0:30

Bar N°s


Key Audio Extract

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pg 9

Bar N°s


Key Audio Extract

108–110

Triplet motif developed slightly when paired in thirds and altered rhythmically

D major (D pedal in violin and viola)

0:29–0:48


Bar N°s


Key Audio Extract

111–112

B section: dotted rhythm introduced Modulation to A minor in bar 110 and E minor in bar 111

0:48–1:05

Bar N°s


Key Audio Extract

113–116

Triplets return on the upbeat to bar 112, treated to descending sequence, initially on the first mandolin (a) and then doubled in thirds by the second (b)

These four bars go through D major, G major and eventually lead to a perfect cadence in E minor in the middle of bar 115

1:04–1:31


(a)

(b)

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pg 10

Bar N°s


Key Audio Extract

117–121

Two bars of decorated semiquaver motifs imitated by both mandolin parts (a).The penultimate bar consists of repeated triplet paired in thirds (b), before a final perfect cadence in E minor.

E minor 1:31–End

• The pizzicato violins play a steady quaver accompaniment throughout the whole of this short movement

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pg 11

Vivaldi

Practical work

Q1 What is the form of this set work?

Q2

Q3

Identify two features of the opening melody.

Describe how the main thematic material is developed in this set work.

Q4 What changes are made to the ritornello each time it returns?

Q5 In the second movement, describe the range of texture demonstrated by the two mandolin parts.

Based on what you have read and listened to, listen to the set work again and answer the following questions:

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pg 12

EXPOSITION

Bar 1–7 – Adagio– This movement is in sonata form and begins with the tutti orchestra playing a slow

introduction.

Watch the following clip:www.youtube.com/watch?v=JR-eBWqmJEw (0:25–0:56)

Watch again and listen for the following musical features:• Tutti Eb major chords• Repeated use of dotted rhythm• Forte chords played by the entire orchestra alternating with the same piano chords

played by the woodwind and horns• Descending scales in demisemiquavers played by the violins• Modulation through F minor at bar 7

Bar 7–13Watch the following clip and listen to the following musical features:www.youtube.com/watch?v=JR-eBWqmJEw (0:53–1:26)

• Syncopation in the first violin, also featuring use of chromaticism • Dominant (Eb) pedal in the lower strings from bar 9, (sounds as a dotted rhythm due

to the use of a semiquaver rest)• The demisemiquaver scale from earlier is now shared between the first and second

violins, imitating each other• Woodwind playing sustained passages• Descending suspensions in the clarinets• Flutes playing arpeggio-like countermelody

MozartSymphony No. 39 in EB major K543

http://www.youtube.com/watch?v=JR-eBWqmJEw


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• Dominant pedal continues• Lower strings play the demisemiquaver scale but this time ascending (inverted)• This passage forms a descending sequence and modulates as follows:

• bar 14–15 – Bb7• bar 16 – Eb• bar 17 – C7• Bar 18 – F minor• Bar 19 – Eb7• Bar 20 – Ab

• Diminished seventh chord in bar 21 heralds the transition back to the tonic key of Eb major

• Descending chromatic scale leads to a Ic-V (Eb second inversion to Bb root position) imperfect cadence in bar 25

Bar 26–53 – AllegroWatch the following clip and listen to the following musical features:www.youtube.com/watch?v=JR-eBWqmJEw (2:27–3:02)

• Opening melody in first violins is based on the Eb major triad, in 3/4 time signature

• Immediately imitated by the horns• The continuation of the melody, this time on

the dominant chord of Bb, is then imitated by the bassoons

• Dialogue between parts (e.g. between double bass and cello/flute) continues until bar 46, where the violins play an ascending, chromatic scale at bar 46



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• A new descending triadic idea• Falling chromaticism at bar 58 and 60 in the strings• Bar 62 − new material featuring wide descending leaps• The music starts to modulate in bar 65 but is quickly brought back to Eb major in

bar 70–71 with a perfect cadence

Bar 71–97 – Bridge passageWatch the following clip and listen to the following musical features:www.youtube.com/watch?v=JR-eBWqmJEw (3:23–3:58)

• Three tutti chords introduce descending semiquaver scales in the violins, descending and ascending sequence (bar 72–76)

• This scalic idea is then played as an ascending sequence from bar 78–80• Bar 83–90, Mozart prepares for the arrival of the second subject in the dominant key

(Bb major) by emphasising it’s dominant (F major). Note the use of an F pedal in the lower strings at this point

• Note also the use of tremolo, in the upper strings in bar 85–88• ut for the unison texture in bar 87–89• A new idea heard in bar 89 is used in a descending sequence, leading to the

dominant key of Bb in bar 97• Listen out for the unison texture in bar 87-89• A new idea heard in bar 89 is treated to a descending sequence, leading to the

dominant key of Bb in bar 97



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pg 15

Watch the following clip and listen to the following musical features:www.youtube.com/watch?v=JR-eBWqmJEw (3:58–4:26)

• A dominant pedal (Bb) is heard from bar 98 in the double bass and horns in octaves• A new theme is shared between the violins and flutes• Repetition of these four bars• Flutes and clarinets are then heard playing a descending sequence:

• At bar 110, another new phrase is presented by the violins and violas, supported by pizzicato quavers in lower strings.

• This same phrase can then be heard in the clarinets and bassoons, with a countermelody added by the violins in octaves.

Bar 98–118 – 2nd subject

Bar 119–142 – codettaWatch the following clip and listen to the following musical features:www.youtube.com/watch?v=JR-eBWqmJEw (4:25–4:57)

• Tremolo strings begin the phrase with a descending arpeggio. • An ascending scale played in unison in bar 123–124 leads to a five bar phrase, which

is repeated once, ending in the tonic key of Bb major. • The final bars of the exposition are based on material which was first heard at bar 89.



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Bar 184–299 – Recapitulation Watch the following clip and listen to the following musical features:www.youtube.com/watch?v=JR-eBWqmJEw (8:22–11:17)

• A three bar link to the recapitulation consists of three dominant minor ninth chords• The recapitulation, starting at bar 184 presents the main thematic material with few

changes to how it was originally played.

Bar 143–179 – Development Watch the following clip and listen to the following musical features:www.youtube.com/watch?v=JR-eBWqmJEw (7:30–8:21)

• The development section begins by taking material from the end of the previous (exposition) section:

• This section initially starts in G minor (bar 143–144) and moves through Db major (bar 145–146)

• At bar 149, Mozart brings back the second subject material, previously heard in bar 110.

• Then listen out for another example of descending sequence (bar 160–166), with the melody in the first violins imitating the double basses. The material for this has been taken from the bridge passage (bar 89):

• Transitional material from bar 84 can be heard from bar 168, in C minor, ending with an imperfect cadence in C minor at bar 179.



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pg 17

Mozart

Practical work

Q1 Can you describe the difference between Mozart’s first and second subject?

Q2

Q3

Identify the string techniques used in this set work.

Find two examples of dialogue between instruments in the exposition.

Q4 Identify an example of a pedal in a bass instrument.


Q5 Describe how texture is used in this set work.

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pg 18

BeethovenSymphony No. 3 (Eroica) in Eb major Op.55, Fourth movement

BAR 1–11Bar N°s

Musical Features and Devices Audio Extract Key

1–11 – Fast, vigorous semiquaver passages in the string section– Considerable use of unison writing in the introduction– Repeated Bb7 chords in bar 6–11 prepare for the tonic key

of Eb major and the start of the main theme in bar 12

0:00–0:15 G minor

Use a copy of the score to follow each of the sections below. As you listen and follow the score, try to identify the musical features listed in each table.

Bar N°s

Musical Features and Devices Audio Extract

Key

12–43 – Beethoven introduces the bassline of the theme– Played in octaves by pizzicato strings– The structure of the theme consists of two 8-bar phrases,

each one repeated– On the repeat of each phrase, woodwind play off-beat

chords– The A section of the theme modulates to the dominant key

of Bb major in bar 28, and returns to the tonic key in bar 43.

0:15–0:51 Eb major

BAR 12–43

BAR 44–59Bar No Musical Features and Devices Audio

ExtractKey

44–59 – First variation of the theme (now in second violins)– Simple quaver accompaniment in first violins and cellos

0:50–1:25 Eb major

BAR 60–75Bar N°s


Key

60–75 – Second variation; violas now accompany the theme in the first violins

– Initially the violas, and then the rest of the strings, play a scalic, triplet figure

– Note the use of chromaticism in the cello in bar 65–66– In the B section, the music modulates to the subdominant

1:24–1:59 Eb major (A section)Ab major (bar 72–73 of B section)

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BAR 76-106Bar N°s


Key

76-106 – 76–83: Third variation – The oboe plays a new theme, (contredanse) combined with the

bass line theme played by pizzicato double bass– Horns and bassoons also play the bass line– The remaining woodwind instruments provide simple

harmonic support, in thirds and sixths– Second violins and violas play off-beat quavers– 84–91: The A section is immediately varied– First violins and violas play the theme in octaves– The off-beat quavers are transferred to the woodwind,

whilst the cellos and double basses introduce a new, scalic semiquaver idea

– 92–106– The second part of the theme is presented by the oboe, then

first violins on octaves

1:58-2:35 Eb major

Bar N°s


Key

107–116

– Transitional passage (107–116)– Ascending sequence in the semiquaver motif

2:34–2:44 Eb/G

BAR 107–116

Bar N°s


Key

117–142

– Fourth variation– Bass line theme now heard in first violins– Imitative entries in cello, clarinet and flute– The theme continues with fugal entries in the following order: First violin/second violin/viola/double bass

2:43–3:08 C minor

BAR 117–142

BAR 143–174Bar N°s


Key

143–174

– Thematic material is developed:• Inversion and fragmentation − bar 153–157• Ascending sequence − bar 159–162• Diminution − bar 164–171• This section is a good example of polyphonic texture

3:08–3:38 F minor (bar 140)Bb minor (bar 155)Ab major (bar 159)D minor (bar 169)

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pg 20

Bar N°s


Key

175–206

– The contredanse theme originally played by oboe in bar 76 is presented by the first violins in D major

– Accompanied by pizzicato lower strings on the first beat of the bar

– Off-beat chords in the second violins and violas– From bar 183, this theme is varied slightly and played

by the flutes, supported by chordal harmony in the oboe and semiquaver movement in the first violins

– From bar 191, the harmonic pattern of the B section is heard whilst the flute plays a semiquaver pattern, ending with a perfect cadence in D major in bar 197–198

– From 198, the strings section plays a descending, triplet scale in unison. This contrasts with upper woodwind chords

3:37–4:11 D major

BAR 175–206

Bar N°s


Key

207–210

– Four bar link passage– Use of dotted rhythm, acciaccaturas and semiquaver

accompaniment – Note the bass line is the same as bar 12

4:11–4:16 D major

BAR 207–210



Key

211–257

– New material featuring a dotted rhythm– Bar 227 − B section based on the bass line motif presented by

oboes, bassoons and first violins– The cadence at bar 247–248 is repeated until the section ends

in G minor in bar 254

4:15–4:54 G minor

Bar N°s


Key

258–277

– The original theme is played by the flutes and first violins in octaves

– The bass line theme is played simultaneously – Sustained G in the horns at the start of this section– The theme is passed to the second violins, this time in

C minor and subsequently to the violas and lower strings– Modulation via circle of fifths

4:54–5:16 C major to C minor

BAR 258–277

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pg 21

Bar N°s


Key

258–277

– An inverted version of the bass line motif is heard in fugue, in the following order:

Second violinViolaCello & Double BassFirst violin

– In bar 292, a syncopated variation of the main theme is heard in the flute; this is repeated in the horns in bar 303

– Descending sequence starting at bar 321– This leads to a climax on the pause at bar 348

5:16–6:27

Eb major

BAR 277–348



Key

349–380

– Another variation of the theme, in a slower tempo, featuring a double dotted rhythm, played initially by oboe, supported by clarinet and bassoon.

– This melody is passed to the strings– Diminished chord on the second beat of bar 357 and

359– Suspensions in the strings in bar 363– The semiquaver section from the B section of the

theme is heard in the first violin and oboe, in octaves.– Simultaneously, clarinets play semiquaver triplets– The thematic material is varied through the use of

chromaticism in the first violins in bar 368–369 and syncopation the oboes and clarinets in bar 373–379

6:27–8:30

Eb major

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pg 22

Bar N°s


Key

281–420

– The theme from bar 76 returns in the clarinets, bassoons and horn and lower strings.

– The triplet semiquavers from the previous section form the accompaniment, featuring arpeggios and repeated notes.

– A rising arpeggio in the woodwind in the tonic key of Eb major at bar 400 leads to a modulation to Ab major at bar 404

– Bar 420 modulation to G minor

8:30–11.23

Eb majorAb major (404)G minor (420)

BAR 381–420

BAR 420–ENDBar N°s


Key

420–END

– The G in the bass continues as a pedal until bar 431– Frequent diminished seventh chords can be heard in

this passage– Bar 431 − Coda − The G minor passage from the

opening of the movement is heard, marked Presto– Bar 435 − The key of the coda moves to Eb major– From bar 435, the bassoons and horns can be heard

playing the first two bars of the main theme as a loud fanfare version

– They are soon joined by upper woodwind.– With plenty of semiquaver embellishment, this leads

to a climax by repetition of the tonic Eb chord in the final few bars

11.23–END

G minorEb major from bar 435

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pg 23

Beethoven

Practical work

Q1 Describe the main thematic material in this movement.

Q2

Q3

Identify three examples of how a theme has been developed.

Identify use of chromaticism from bar 60–75.

Q4 Describe how musical devices are used in the set work.

Q5 Describe the instrumentation in this set work.


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pg 24

BrahmsViolin Concerto in D major Op.77, Third movement

BAR 1–56 ‒ A section Watch the following clip:www.youtube.com/watch?v=bOx0eKhD9f0 (0:04–1:24)

Watch again and listen for the following musical features:– This movement is in rondo form and begins with the soloist playing the first eight bars of

the theme, accompanied by the string section.• In the first eight bars, the soloist is heard playing double stopped thirds

(e.g. bar 1), a four note chord (bar 3) and sixths (bar7)• Modulation to B minor in bar 8

– This theme is then heard by the full orchestra, woodwind and horns play the melody, in D major

– Another modulation to B minor in bar 15–16 and A major in bar 21– Melody returns to soloist in bar 17 and modules to A major at bar 21– Bar 27 − The full orchestra (tutti) play the main theme. Listen to the change to the rhythm

of the melody in the first violins from bar 31– Bar 35 − soloist enters with fast, triplet semiquavers played in the upper register of the

violin– Descending sequence in second violins and violas in bar 43–45– The soloist plays a continuous semiquaver passage from bar 43–48, this develops into a

demisemiquaver passage from bar 52 to the end of this section. The remainder of the string section play pizzicato chords at this point.

BAR 57–93 ‒ B sectionWatch the following clip:https://www.youtube.com/watch?v=bOx0eKhD9f0 (1:24-2:12)

Watch again and listen for the following musical features:– This is the second theme of the movement and consists of the following;

– rising scale– dotted rhythm– played in octaves

– The bassoon and lower strings immediately play an inverted version of this melody– Modulation to B minor in bar 61-62 and E major in bar 65– Bar 73 - the same theme from bar 57 can be heard in the bassoons, violas and cellos

– A tonic pedal can be heard in the horns in octaves; a timpani roll and syncopated double basses can also be heard

– Another example of multiple stopping in bar 79-82 in the solo violin– Ascending sequence in the upper strings in bar 82-84– Diminished seventh chord on the second beat of bar 84– From bar 85 - repetition of the minor 3rd from the main theme in the first violin and viola

– Imitation of this motif in the woodwind and horns

http://www.youtube.com/watch?v=bOx0eKhD9f0

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pg 25

Bar 93–119 – A section (rondo theme)Watch the following clip:www.youtube.com/watch?v=bOx0eKhD9f0 (2:12–2:49)

Watch again and listen for the following musical features:– This is the return of the rondo theme, the first 11 bars here are a repeat of the

opening– After a brief ascending sequence form bar 104–106, the theme is played by the

woodwind, in G major from bar 108– The woodwind take the first part of the theme and treat it with a descending

sequence, which is passed to the violins in bar 110

Bar 120–149 – C SectionWatch the following clip:www.youtube.com/watch?v=bOx0eKhD9f0 (2:48–3:46)

Watch again and listen for the following musical features:– ‘dolce’ melody, initially in 3/4 time signature played by solo violin– Bar 124–127 − fragments of rondo theme in the strings– The oboe plays the theme from bar 120 in E major, accompanied by the solo violin– Descending sequence in bar 141–142– Bar 143–149, the scalic passages here are heard earlier in the movement, as are the

ascending dotted octaves played from bar 150

Bar 150–202 – B SectionWatch the following clip:www.youtube.com/watch?v=bOx0eKhD9f0 (3:46–4:56)

Watch again and listen for the following musical features:– This is a repeat of the B section, played a tone lower, suggesting the key of G major– At bar 175, Brahms brings back material originally from bar 85. There is also a

reference to the main theme at bar 187




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pg 26

Bar 203–266 – A Section (rondo theme)

Watch the following clip:www.youtube.com/watch?v=bOx0eKhD9f0 (4:56–6:24)

Watch again and listen for the following musical features:– Dialogue between the soloist and orchestra in bar 215–218– Particularly high register playing in the first violins form bar 217–221– Imperfect cadence in bar 221 leads to a solo passage in the violin which features

multiple stopping, ornamentation in the form of trills and demisemiquaver playing– A series of trills from bar 243 rise chromatically – The semiquaver motif from bar 1 is treated to an ascending sequence from bar 242,

as well as the flutes and clarinets in bar 245–246– Another ascending sequence in the first and second violins in bar 245–246 and

247–248– The soloist plays a descending sequence from bar 251 which leads to a dominant

pedal played by the horns and lower strings from bar 255– Pause on a dominant seventh chord (A7) in bar 265

Bar 267 – Coda – End Watch the following clip:www.youtube.com/watch?v=bOx0eKhD9f0 (6:24–8:05)

Watch again and listen for the following musical features:– A short cadenza played by the solo violin, leading into the coda– The rondo theme can be heard from bar 271 using a triplet rhythm, the repeat of

which is played one octave higher by the soloist (bar 279)– Modulation to the dominant key of A major in bar 288– Four bars of octave playing from bar 289 introduce the B-section material in bar

292, featuring imitation in the woodwind– The triplet pattern heard at bar 283 returns in bar 304 in the solo violin– A semiquaver variation of the B section material begins in bar 315– Rising chromatic scale in lower strings from bar 320– Bar 327 − triplet version of the rondo theme in the woodwind, accompanied by

descending chromatic scale in unison strings– Soloist plays a syncopated phrase in bar 333–335, whilst double and triple stopping– Demisemiquaver ascending scale finishing on a high D in bar 339– In the final 9 bars (from bar 339), the following can be heard;

– D pedal (bar 339) played by violins, horn and cello– Woodwind play descending chromatic phrase in octaves– The soloist plays fragments of the main theme, in thirds and sixths – The triplets played by the solo violin change to piano quavers in the penultimate

bars, highlighting a plagal cadence using the minor subdominant chord of G minor

– The movement finishes in D major with three forte tutti chords



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pg 27

Brahms

Practical work

Q1 Identify examples of double stopping in the solo violin in the A section.

Q2

Q3

Outline how modulations are used in the set work.

In the return of the A section from bar 203, are there any examples of dialogue between the soloist and the orchestra?

Q4 Identify and describe how melodic devices in the are used in the set work.

Q5 In the coda, identify a section where the soloist plays fragments of the main theme.


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pg 28

GibbonsThis is the Record of John

Bar 1–18Listen to the following clip from the recommended recording:(0:00–0:48)

Listen again and note the following musical features:– The introduction (Ab major) features a rising scale in quavers which is imitated by the entry of

the soloist (boy alto/countertenor) in the first line of text– Harmonisation mainly based on the three primary triads– Frequent passing notes and suspensions, e.g. bar 3 − 4/3 suspension on first beat of the bar

– from Jerusalem − ascending sequence and modulation to the dominant key of Eb major at Who art thou

– And he confessed − stepwise movement, returning to the tonic– Bar 17 − I am − melisma, descending semiquaver motif


Listen again and note the following musical features: – And he confessed and denied not − full choir enter in homophonic texture, repeating the text

from the previous phrase– Bar 21 − and said plainly − set to a new melodic motif, rising by a third or fourth depending on

the part singing it. A change in texture here due to polyphonic entries– By bar 25, the texture has changed to homophonic leading to a perfect cadence in bar 26


Listen again and note the following musical features:– The organ introduction to the next solo section features the same intervals used at the start of

the melody in bar 28 on And they asked him– Modulation to the dominant (Eb major) in bar 30

– Art thou Elias − set to a rising scale and then repeated as an ascending sequence a third higher– Modulation to the subdominant (Db major) at Art thou the prophet? This phrase is immediately

repeated a third lower– This section ends with a perfect cadence in Ab major

MUSIC

pg 29


Listen again and note the following musical features:– This section, for full chorus, starts with repetition of text from the previous solo section – Initially the texture is homophonic, briefly changing to parts imitating each other singing

And he said – The chorus returns to chordal texture in bar 49– Bar 49 − Art thou the prophet? And he answered, no is sung twice. Firstly, without trebles,

ending in Eb. Secondly, sung by all parts ending in the tonic key


Listen again and note the following musical features:– Third and final solo section − follows a similar pattern to earlier sections − the melody is briefly

introduced in the organ before the entry of the soloist– Text is sung in syllabic style– Harmony based mainly on primary triads, embellished with suspensions and modulations to

closely related keys

Bar 77–EndListen to the following clip from the recommended recording:(3:26–End)

Listen again and note the following musical features:– Final full choir passage, following a similar pattern to the previous section at bar 40 (starting

with a chordal passage leading into imitative entries, then returning to homophonic texture) – Make straight the way of the Lord − initiates entries of a motif which rises and falls in step,

perhaps representing the simplistic nature of the text– The material presented in bar 82–83 is treated as an ascending sequence in bar 84–85– On the last entry of Make straight the way of the Lord, first and second altos join in parallel

sixths as all parts join together in the lead up to the final perfect cadence in the tonic Ab major.

MUSIC

pg 30

Gibbons

Practical work

Q1 Explain the link between the organ introduction and the first line of text sung by the soloist.

Q2

Q3

Identify and describe the melodic device heard in this set work.

Describe how texture is used in the set work.

Q4 Identify a choral section where the texture changes.


MUSIC

pg 31

HandelZadok the Priest

Bar 1–22Watch the following clip:www.youtube.com/watch?v=jIFpf5JxzHA (0:00-1:22)

Watch again and listen to the following musical features:– The orchestral introduction contains the following elements: – Repeated rising arpeggios played by first violins – Repeated quaver chords in the remainder of the strings, woodwind and continuo – Sustained bass notes – Each chord only changes at the start of every bar – In terms of harmony, here are some examples of bars with particular interest:

(a more detailed analysis can be found in the Set Work Analysis) – Bar 2 – E minor over a D pedal – Bar 4 – D7 third inversion – Bar 7 beat 4 – G# diminished over an A pedal – Bar 10 – B minor over an A pedal – Bar 13 – D major first inversion


Watch again and listen to the following musical features:– The full choir enters with Zadok the priest singing in homophonic texture– Accompanied by strings and continuo, oboes, bassoons, trumpets and timpani– The trumpets feature prominently here– This section ends with an imperfect cadence on the chord of A major in preparation for the next section

http://www.youtube.com/watch?v=jIFpf5JxzHA


MUSIC

pg 32


Watch again and listen to the following musical features:– Change of time signature to 3/4– Major tonality; tonic and dominant chords used frequently– Use of dotted rhythms– Fanfare-like trumpet motifs– Homophonic texture– Use of repetition to emphasise the word rejoic’d– Ascending sequence from bar 43 to 52– Trumpet trills in bar 46 and 50– Modulation to the dominant key of A major in bar 46 and the relative minor key of B minor in bar 50– Bar 53–60 is a restatement of bar 31–38 but the music changes pace with two Adagio bars (61–62) heralding the end of this section in the dominant key of A major


Watch again and listen to the following musical features:– Bar 63 − God save the king sung in homophonic texture featuring a dotted rhythm in 4/4 metre. The short melodic phrase is repeated three times– Bar 66 − may the king live − altos sing a rising triadic figure in unison with violins and violas. For ever is set to longer note values − an example of wordpainting – Answered by tutti statements of Amen, Alleluia based on tonic/dominant chords– Modulation to A major in bar 69– The basses sing a descending sequence in a continuous semiquaver pattern accompanied by detached quaver chords in the orchestra and choir– Violins and oboes play semiquavers in parallel thirds from the upbeat to bar 73, on

the two statements of Amen, with the key returning to D major in bar 74– A brief orchestral interlude is heard, mainly in semiquavers, playing descending sequences



MUSIC

pg 33


Watch again and listen to the following musical features:– Bar 79 − God save the King − This is a restatement of earlier material, in A major – Bar 82 − Amen, Alleluia is also a restated theme, however, the semiquaver passage originally sung by the basses in bar 69 is now presented by sopranos paired in thirds– Bar 87–88 − May the King live – ascending sequence, this phrase ends with an imperfect cadence in B minor in bar 92– Bar 92 − Amen semiquavers sung by altos, tenors and basses– Bar 95 − Alleluia sung in homophonic texture whilst the violins play the semiquaver passage from bar 92; this phrase descends to a perfect cadence in B minor in bar 96– Bar 97 − slight change to the texture with the first altos singing sustained notes linking the Amen phrases, ending in F# minor in bar 101

Bar 103–EndWatch the following clip:www.youtube.com/watch?v=jIFpf5JxzHA (4:14-End)

Watch again and listen to the following musical features:– A return of the Long live the King, God save the King, in D major– The semiquavers paired in thirds can be heard in the accompaniment– Bar 106 − May the king live − ascending sequence– The remainder of the work features previously heard material– Bar 118 − The final phrase highlights a plagal cadence with alternation between tonic (D major) and subdominant (G major) chords, reinforced by a final trumpet fanfare

Baroque features heard in this work:

• Frequent use of ascending and descending sequences • Dissonances properly prepared and resolved as sequences• Harmony constructed using mainly primary chords, especially tonic and dominant • Vocal parts double in the accompaniment • Ornamentation (in this instance, trills) used throughout the melody• Modulation restricted to related keys



MUSIC

pg 34

Handel

Practical work

Q1 Identify three musical features of the orchestral introduction.

Q2

Q3

Identify the texture of the first entry of the choir.

What type of cadence is heard before the change of time signature to 3/4?

Q4

Q5

Identify one use of repetition, used to emphasise text.

Identify three Baroque features heard in this set work.


MUSIC

pg 35

MendelssohnHear my Prayer

Bar 1–33Watch the following clip:www.youtube.com/watch?v=tBYYM2B41-U (0:00–2:29)

Watch again and note the following musical features:– The work begins with an introductory three bars played on the organ featuring a

rising and falling quaver motif which briefly modulates to the dominant – The accompaniment also features a tonic pedal which continues into the first two

bars of the solo treble’s entry which initially highlights the interval of a perfect fifth– The first phrase ends with an imperfect cadence on do not hide– Chromaticism in the solo part in bar 11– Perfect cadence in G major in bar 13, immediately shifting to G minor in the same bar– The seriousness of the text − Take head to me and I mourn to thee (Eb major) is

emphasised by being set to a dotted rhythm– The organ plays the opening quaver motif in bar 11 and 13 in the accompaniment – Significant use of chromaticism in the phrase Without Thee all is dark, I have no

guide. This, along with diminished chords helps to represent the meaning of the text – Hear my prayer returns in bar 26 and this phrase ends with a perfect cadence in

bar 28– D7 chord in bar 33 with a pause on God


Watch again and note the following musical features:– The chorus enter for the first time, singing Hear my prayer in unison texture – Bar 36 − change of time signature to 3/8, tempo changes to Allegro Moderato, key

changes to E minor– Use of dotted rhythm– Each statement sung by the soloist is answered by the chorus– Bar 55 − The wicked oppress me − modulation to B minor

– And where shall I fly − example of wordpainting − sustained high F# on the word fly– Diminished seventh chords in bar 56 and 62– Bar 64 − O God hear my cry! − Soprano and alto paired in thirds, imitated by tenors

and basses also paired in thirds. This phrase also features a descending sequence – Bar 67 − O God hear my cry, perplexed… set to polyphonic texture featuring ascending

sequence – Bar 75 − Diminished seventh chord leading to a tierce de Picardie in bar 78

– The enemy shouteth − imitation between soloist and choir, in E minor

http://www.youtube.com/watch?v=tBYYM2B41-U


MUSIC

pg 36


Watch again and note the following musical features: – O God hear my cry − imitative passage from bar 61 returns

– Bar 106 − O God − rising octaves sung by the treble and soprano answered fugally by alto, tenor and bass singing rising octaves and sevenths

– Bar 111 − cry! − this is sung to a high A and a diminished seventh chord, appropriately representing the text

– The repeat of O God, hear my cry! is sung in a homophonic texture with a rising chromatic bass line

– Bar 120, the quaver motif, which featured in the accompaniment in the Allegro moderato, returns. The soloist presents the text O God, hear my cry! with the dotted rhythm from bar 36–37

– Bar 126 − the choir sing a homophonic version of O God, hear my cry! ending on an unresolved E7 chord, which the organ continues into the next phrase sung by the treble

Bar 131–145Watch the following clip:www.youtube.com/watch?v=tBYYM2B41-U (4:37–End)

Watch again and note the following musical features:– The soloist sings the phrase My heart is sorely pain’d… to an ascending E7 arpeggio,

accompanied by the same sustained chord in the organ accompaniment, in first inversion

– The E7 chord becomes a diminished seventh chord on the third beat of bar 132. Further use of these chords in bars 133, 134, 135 and 137 further illustrate the meaning of the text

– Lord, hear me call! − answered homophonically by the full chorus – With horror overwhelmed − polyphonic entries

– The final response to Lord, hear me call! is sung in unison, harmonised by an imperfect cadence in G minor to prepare for the final section.

Bar 146–172Listen to the following (audio) clip:(6:18–8:09)

Listen again and note the following musical features:– Bar 146–147 − Melody consists of scalic triplets, ascending sequence and repetition – Modulation to A minor in bar 152–153, returning to G major in bar 155– The triplet motif returns in bar 155 and is again treated as an ascending sequence

and repetition. An augmented triad can be heard in bar 156– Bar 160 − In the wilderness… − descending sequence– Bar 168 − And remain there for ever at rest − an example of wordpainting; slower

harmonic rhythm and a tonic pedal– Bar 171–172 − sustained, tied note on the word ever



MUSIC

pg 37

Bar 173–EndListen to the following (audio) clip:(8:09–End)

Listen again and note the following musical features:– Bar 173 − O for the wings is sung by the basses to a new crotchet and two-quaver

motif – This is imitated by the tenors one bar later, followed by altos and sopranos in similar

fashion, producing polyphonic texture and suspensions between the parts – Far away featuring a descending arpeggio, now in D major, is also set to polyphonic

texture due to imitative entries– Tonic pedal from bar 182–185

– In the wilderness build me a rest − descending scalic figure, imitate entries– The same phrase moves up a tone for and remain there for ever at rest – Diminished chord on bar 190– Bar 190–191, texture becomes homophonic, from 192–196 − unison – From bar 197, as the chorus sustain a unison D, the solo treble returns with O for the

wings of a dove– Bar 200 − Chorus returns to homophonic texture– The reminder of the extract mainly features repetition of earlier material – From bar 223 a tonic pedal can be heard. This, along with numerous perfect

cadences and lengthening of note values, signals an end to the piece.

MUSIC

pg 38

Mendelssohn

Practical work

Q1 Identify the harmonic features used in this set work.

Q2

Q3

Identify the melodic features used in this set work.

When the chorus enter for the first time, what is the texture of the voices?

Q4 Identify an example of tierce de Picardie in the section from bar 34–90.


Q5 Identify a pedal form bar 173 to the end of the piece.

MUSIC

pg 39

RutterA Clare Benediction andFor the Beauty of the Earth

A Clare Benediction Bar 1–39

Watch the following clip:www.youtube.com/watch?v=H-J6h-VAOrc (0:00–1:22)

Watch again and listen to the following musical features:– A solo clarinet introduces a legato melody in Eb major featuring rising arpeggios,

the second arpeggio forming a descending sequence– In bar 2, the string section adds simple harmonic support– The introduction ends with an imperfect cadence including a suspension– Sopranos and altos sing the opening phrase in unison − a significant feature of this

melody is the 2 quaver upbeat used repetitively throughout– Eb dominant 7th chord on the last beat of bar 8– Bar 12 − tenors and basses sing in unison, initially in F minor, an 8-bar phrase,

moving briefly to Db major (interrupted cadence) in bar 19– Bar 13 and 14 − the rising arpeggio from the introduction is played by the horn,

similarly by the clarinet in bar 15–16 and the oboe in bar 19–20– Bar 19 − sopranos and altos, in unison, sing a repeat of the melody, with a

modulation to G minor in bar 27– Sopranos and tenors sing the next phrase from bar 28, reaching a high F in bar

30; this, along with the pause on bar 32 indicates a sense of climax, ending on a C minor 7th chord in bar 32

– Sopranos and altos sing the next phrase featuring a falling octave in Eb– The following chords can be heard: bar 33 and 35 − seventh chord, bar 34 −

augmented, bar 36 − suspension– An instrumental link to the second verse follows, played by the strings over a tonic

pedal

http://www.youtube.com/watch?v=H-J6h-VAOrc

MUSIC

pg 40

Bar 40–68Watch the following clip:www.youtube.com/watch?v=H-J6h-VAOrc (1:22–2:23)

Watch again and listen to the following musical features:– This verse is presented by the sopranos and altos in octaves with the tenors and

basses in unison. – From bar 44, the choir sing in homophonic texture – Within this phrase, from bar 50, the ascending arpeggios can be heard in the

woodwind – Bar 56–64 − When you sleep may his angels watch over you − The male voices sing

in unison whilst the soprano and alto voices simultaneously sing a countermelody, an example of wordpainting

– Bar 64 − all parts sing in unison

Bar 68–EndWatch the following clip:www.youtube.com/watch?v=H-J6h-VAOrc (2:23–End)

Watch again and listen to the following musical features: – Then in heaven − Sopranos sing the text, the remaining voices hum

– Bar 74 − return to all parts singing in harmony, may you see is sung by sopranos and basses, immediately imitated by altos and tenors

– The end of the phrase − see his face (bar 78–79) is sung to a perfect cadence in Eb major

– The repeat of the same text ends with a plagal cadence in bar 81–82 with the opening motif played by oboe

Practical work

Q1 Describe the instrumental introduction.

Q2

Q3

Which harmonic device can be heard in the instrumental link to the second verse?

Identify the cadence at the end of this piece.


A Clare Benediction:A Clare Benediction:

www.youtube.com/watch?v=H-J6h-VAOrc

http://www.youtube.com/watch?v=H-J6h-VAOrc

MUSIC

pg 41

For the Beauty of the EarthBar 1–34

Watch the following clip:www.youtube.com/watch?v=Uk6P6RDBvuo (0:00–0:58)

Watch again and listen to the following musical features:– The introduction consists of flute and harp arpeggios played in quavers over a Bb

pedal, accompanied by tremolo strings and subtle use of glockenspiel– the tied note in the middle of each bar creates a syncopated rhythm– the arpeggios vary slightly to broken chords from bar 5

– Bar 9 − starting half way through the bar, sopranos sing the first phrase set to an ascending scale – Clarinet plays a short motif accompanying the sustained Bb on the word earth

– Bar 18–19 − our birth features a falling seventh – The music moves through G minor in bar 17 and C minor in bar 19– Bar 20–21 − over and around us lies − set to descending sequence, also featuring

syncopation due to the tied note in the middle of the bar– Decorative flute figuration is heard during this phrase

– Bar 27 − modulation to Eb major, bar 27 − the mordent heard earlier reappears – Bar 29 − This our joyful hymn − Descending, syncopated phrase leading to a perfect

cadence in bar 31, ending the first verse

Bar 32–61Watch the following clip: www.youtube.com/watch?v=Uk6P6RDBvuo (0:52–1:46)

Watch again and listen to the following musical features:– The introductory phrase briefly returns to bridge the gap between verse one and two– Drum kit, featuring the high-hat, is introduced from the upbeat to bar 35– The full choir sing in unison from bar 35 and homophonic texture from bar 39– Bar 42 − sopranos and basses sing hill and vale which is immediately imitated by

altos and tenors, creating a polyphonic phrase– Bar 46 − sun and moon and stars of light is set to imitation between the female and

male voices– Bar 50 − Lord of all… − upper and lower voices each paired in thirds and then in

sixths on the word raise– The oboe plays a syncopated motif and the harp an ascending glissando as a link to

the last phrase of this verse– Bar 55 − This our joy… sopranos and tenors sing an octave apart whilst altos and

basses sustain the word This– At the end of the phrase, the oboe plays the rising scalic motif from bar 9, answered

by the clarinet playing a syncopated phrase from bar 20–21– This passage modulates form Bb major to G major, an unrelated key

http://www.youtube.com/watch?v=Uk6P6RDBvuo


MUSIC

pg 42

Bar 61–84Watch the following clip: www.youtube.com/watch?v=Uk6P6RDBvuo (1:46–2:29)

Watch again and listen to the following musical features:– The drum kit is omitted during this verse– Tenors and basses start verse three in unison– Soprano and altos sing a descant melody in unison featuring imitation, ascending

sequence (bar 69–71), and diminution (bar 73–75)– Bar 76 − Lord of all − Tenors and basses start the phrase which is answered by the

female voices singing in parts– From bar 84, the strings play a short link to the next verse whilst modulating to B

major

Bar 84–EndWatch the following clip: www.youtube.com/watch?v=Uk6P6RDBvuo (2:29–End)

Watch again and listen to the following musical features:– Verse 4 − the drum kit returns, along with the full string section– All voices sing in unison at the start of the verse until bar 93 when the sopranos sing

a new descant part featuring syncopation and octave leaps– Bar 100 − all voices sing in homophonic texture– Bar 105 − This our joyful hymn is set to 3/8 time signature– Bar 111 features the strings playing a short melodic link to the final phrase, this

our joyful hymn of praise, sung by sopranos with the rest of the choir joining in harmony to sing the perfect cadence in B major

– Flute and harp play the quaver arpeggios from the opening to form a coda ending featuring a rallentando



MUSIC

pg 43

Rutter

Practical work


Q1 Identify how rhythmic devices are used in this set work.

Q2

Q3

Describe the instrumental accompaniment throughout the set work.

Describe the use of texture in this set work.

For the Beauty of the Earth

MUSIC

pg 44

KernOl’ Man River

Ol Man River was one of the first songs written for Showboat, in 1927. The musical portrays the difficulties African-Americans experienced as they worked on a Mississippi show boat (a show boat was a type of theatre on a riverboat that travelled through the waterways of the United States). Whilst some of the language may be very different or offensive today, it is important to study this within the context of the song and the musical.

Sung by one of the dock workers, Joe, the song contains three musical themes;1. Dere’s an old man called the Mississippi, Bar 1–8.

Watch the following clip: www.youtube.com/watch?v=eh9WayN7R-s (0:00–0:20)

a) This is sung in a very free, slow tempo, in 2/4

b) The harmony consists of mainly major and minor chords, with some extra colour provided by both minor 7th and dominant seventh chords, both of which occur at the cadence point in bar 8. (JK − 0:47–1:00)

c) Note the repetition of descending motif featuring the first three notes of the tonic C major scale.

2. Ol’ man River, Bar 9–24.

Watch the following clip: www.youtube.com/watch?v=eh9WayN7R-s (0:00–0:20)

a) The time signature changes to 4/4

b) The tempo of the song has slowed considerably

c) Note how Kern uses repetition of text and rhythm. He uses the following rhythm throughout the refrain:

d) Note also the use of syncopation in the second half of this bar

The instrumental accompaniment up to this point has been relatively simple, consisting mainly of upper woodwind and strings. Note the doubling of the melody within the instrumental accompaniment, as well as the melodic link played by the oboe and glockenspiel in the following extract. (1:01–1:26)

3. You an’ me we sweat an’ strain, Bar 25–32.

Watch the following clip: (www.youtube.com/watch?v=eh9WayN7R-s) (1:01–1:25)

a) Considerably faster featuring dotted rhythms

b) This phrase features a descending sequence − compare the phrase “you an’ me” with “tote dat barge!”

http://www.youtube.com/watch?v=eh9WayN7R-s



MUSIC

pg 45

Listen to the remaining musical features which occur in the song, most of which help portray the meaning of the text:

Bar Nos Musical Feature Text Audio Extract

20 • Use of diminished 7th chord to emphasise text

soon forgotten (JK) − 1:32–1:42

33 • Diminuendo and Pause land in jail (JK) − 2:05–2:15

34–41 Subtle development of Ol Man River theme. • Kern alters the melody by

extending the pitch to the highest note of the song in bar 38.

• Along with the strong brass accompaniment, this phrase serves as one of the climaxes of the song.

Ah gits weary an’ sick of tryin’; Ah’m tired of livin’ an’ scared

of dyin’, But ol’ man River, He jes’ keeps

rollin’alon!”

(JK) − 2:14–2:45

42–49 • Oboe and Banjo double the vocal line

Coloured folks work on the Mississippi…till

the judgment day

(JK) − 2:47–3:03

50–57 • All-male chorus join in accompanied by off-beat bass line.

• Note how the F natural forms the dominant 7th chord in bar 57

Don’t look up…until your dead

(JK) − 3:04–3:22

58–63 • Use of diminished harmony played as sustained chords and an arpeggio in the accompaniment (bar 62–63)

Let me go ‘way from the Mississippi…River

Jordan

(JK) − 3:21–3:37

67–73 • Chorus singing the main theme in homophonic texture

Ol’ man river (JK) − 3:49–4:11

83–90 • Final statement of theme featuring dissonant harmony in the choral accompaniment, due to a clash between E and D#

You an’ me…lands in jail

(JK) − 4:41–5:02

MUSIC

pg 46

Kern

Practical work

Q1 Identify and describe the three main melodies this song is based on.

Q2

Q3

How is tempo and rubato used effectively in this piece?

Can you identify which ‘added note’ chords (e.g. diminished) are used in this set work and which parts of the text do they help to emphasise?

Q4 Which instruments double the vocal line?


Q5 Describe how the Ol Man River theme is subtly developed within the song.

JK = Jerome Kern Recommended Recording

*Please note: more in depth analysis of this set work can be found in the CCEA Set Work Analyses.

MUSIC

pg 47

Rodgers & HammersteinSoliloquy from CarouselThis section is based on the recommended recording.

Bar 1–36Listen to the following clip:(0:00–1:08)

Listen again and note the following musical features:– The orchestral introduction consists of the following:

– Cellos and double basses play pizzicato crotchets on the first and fourth beats of the bar– Woodwind play a repeated pattern of crotchet rest/crotchet/minim – Alternating B minor and E9 chords - in bar 1 the C# falls to B and in bar 2 the A#

rises to a B– Billy’s entry includes repeated notes, a rising tritone in bar 7–8 and a falling

augmented second in bar 10– A brief modulation to the relative major (D major) in bar 10, returning to B minor in bar 13 – The melody here is a repeat of bar 5, although the B# (previously in bar 10) rises

chromatically to D in bar 18– Bar 21 – change of time signature to cut common and sudden increase in tempo (più

mosso)– Bar 21–23 – even though Billy is supposedly singing about his son, he is in fact singing

about himself. I’ll teach him to wrassle is set to a repetitive three-note motif and descending sequence (bar 25–28)

– At this point the music is moving forward with the help of a tonic/dominant bass line played by cellos and double basses, along with off beat chords in strings and woodwind

– The last few bars of this section contain a dominant pedal in the bass (bar 32–34) as Billy sustains a high D, with some subtle chromatic movement in the dominant seventh chord in bar 34


Listen again and note the following musical features:– Time signature change to 2/4, G major– This melody is characterised by a rising perfect fourth interval – Rising countermelody in cellos accompanies the melody – Chromaticism in the vocal line in bar 42 and 50–52– Diminished 7th chords in the accompaniment, e.g. bar 42 underneath I will, with a

trumpet fanfare idea further strengthening Billy’s intentions – Like a tree he’ll grow features repetition in the form of a descending chromatic motif

– Modulation to D major in bar 61, via a dominant ninth chord in bar 59–60– Bar 69 – descending passage in triplet crotchets leads to G major in bar 73

MUSIC

pg 48


Listen again and note the following musical features:– Change of metre to 6/8 – G major and A minor chords alternate to form an ostinato

over a tonic pedal – Here, Billy sings a monotone melody listing all the jobs his son could do– Bar 83–84 – the melody ascends chromatically as the music moves up to Bb major,

representing Billy’s growing excitement – After a perfect cadence in G major in bar 92–93, Billy continues to name the list

the jobs, accompanied by alternating G minor and A7 chords (the repeated G in the voice part is common to both chords)

– The tempo slows at bar 99 leading to a pause on a D7 chord in bar 101– The section at bar 102, set to new lyrics, is a repeat of material from bar 77– Bar 117 reprises the My boy Bill! material from bar 37

Bar 147–178Listen to the following clip:

(3:08–3:54)

Listen again and note the following musical features:– A change of time signature to cut common time although a 3+3+2 rhythmic pattern

is established – The key here is A minor with added dissonance in the form of D#– The text here becomes more serious as Billy is declaring his intentions for the type

of girl his son will not be marrying– Bar 158–160 – Billy displays the reality of the situation as he moves into a brief

conversational phrase– Bar 163 – a new moderato section begins with Billy giving his son some fatherly

advice on how to deal with girls. This is supported by an ostinato, with alternating F7 and F6 chords over a tonic/dominant bass

– The melody of this phrase is built mostly on notes from the F major triad, accompanied by a repetitive chordal pattern in the woodwind as well as pizzicato bass

– Bar 175–178 – the accompanying harmony here changes to Gb6 and Ab6, whilst the melodic contour alters to become an ascending three-note figure

MUSIC

pg 49


Listen again and note the following musical features:– Bar 179–185 − Billy makes the realisation that the child could be a girl– At bar 185 the opening music returns in A minor as an underscore to Billy’s spoken

text– A solo violin plays the melodic line at this point– Bar 192 - Billy resumes his singing voice as he realises the potential alternative to

the situation – Bar 196 - The repeat of the opening melody is sung a tone lower– Bar 203–204 - the final two bars of this phrase consist of a C pedal; the ascending

chromaticism in the voice part also occurs in the accompaniment in bar 204 (accompanied by a C7 chord) which suitably links into the next phrase

Bar 205-228Listen to the following clip:(5:05-6:15)

Listen again and note the following musical features:– As Billy is now singing about his daughter, the music conveys this through the

following:– F major tonality– Broader tempo– Sustained melodic lines– Romantic harmonisation

– Bar 205 - the four note triplet idea sung here is immediately treated to augmentation in bar 206 and an ascending sequence in bar 207

– Bar 209 - the four note motif is transposed up a perfect fifth– Bar 210 - descending sequence in dotted quaver rhythm, again augmented in the

following bar– Harmonic interest still exists in this section with the inclusion of an augmented

triad in bar 206– Bar 213 - the triplet motif from bar 205 is extended in bar 213 and transposed up a

major third at bar 217– Bar 219 - an augmented version of bar 210 is harmonised with a circle of fifths (A7,

D7, G7, C7), returning to the tonic in bar 221– Bar 221 - She has a few is a repeat of My little girl apart from the pause in bar 226

and perfect cadence in bar 228

MUSIC

pg 50

Bar 228-EndListen to the following clip:(6:15-End)

Listen again and note the following musical features:– A change of tempo and metre accompanies Billy’s spoken text as he starts to

become more agitated – Continuous quaver movement in the strings descends chromatically in contrary

motion with the rising vocal line– The uncertainty of Billy’s future is highlighted by the chord sequence from bar 232

(Cb) 233 (Eb) 234 (Bb+7th) 235 (Eb7) 236 (Bbm+2nd) 237 (Gb)– This progression ends in bar 238 on an F major chord, reinforced by a brass fanfare

and cymbal crashes (the F major exists as the dominant chord of the final phrase in Bb major)

– The final phrase She’s got to be sheltered and dressed in the best… is reinforced by dramatic tutti Bb major chords separated by rests

– Bar 245 - as the voice repeats a high F, the bass descends chromatically while the accompanying harmony creates additional dissonance by also moving chromatically

– Bar 249 - Billy’s final phrase consisting of a dotted rhythm ends with a pause on a high G, accompanied by the subdominant chord of Eb

– The final resolution is delayed by a rising scale in the brass in bar 250, and a Bb minor chord in bar 251 before resolving in a final perfect cadence in Bb major

MUSIC

pg 51

Rodgers & Hammerstein

Practical work

Q1 Describe two of the main elements of the introduction.

Q2

Q3

In the opening verse, describe the setting of I’ll teach him to wrassle.

Describe the main melodic features of the set work.

Q4 Describe the accompaniment to the melody from bar 163 onwards.

Q5 How does the music change when Billy sings about his daughter from bar 205?


MUSIC

pg 52

BernsteinTonight (Quintet) from West Side Story

Listen to the orchestral introduction and observe its main elements: (0.00–0:06)

1. Tonal ambiguity because of the use of the whole tone scale (C, E, F#, G#).

2. Semiquaver motif in the upper woodwind, trumpets, violins and snare drum, in the opening bar.

3. A three-beat ostinato pattern within the alternating 4/4 and 2/4 bars, played by lower woodwind, trombone, piano’s left hand and lower strings. This uses four notes of a whole-tone scale (C, E, F#, G#).

4. Repetitive quaver pattern played in thirds by clarinets, horns and violins

Listen to the following sections, taking note of the musical features and devices used within each one:

Bar Nos


7–37 – The quaver pattern becomes the first melody sung by Riff and the Jets

– The melody also consists of an upbeat featuring a falling fourth and a rising scale on Tonight

– Bernardo and the Sharks sing the same melody in bar 11, ending a third higher– Subtle addition of muted trumpets, horn and snare drum

can be heard at this point– Bar 15 − ostinato stops briefly for Riff’s next phrase which

features repetition and changing metre– Rising semiquavers on right (bar 20) similar to the same

motif sung on tonight (bar 9)– Bar 20 − Ostinato crotchets resume for the start of verse 2 on

the upbeat of bar 22

0:06–0:38

MUSIC

pg 53

Bar Nos


37–52 – Key change to A major and time signature change to 4/4– New bass ostinato − A/F♮– The quaver movement returns, this time in saxophones and

violins, playing whole tones instead of semitones– Jets and sharks sing in unison from bar 38, beginning with a

rising fourth – G♮and B# in the melody offer a jazz/blues feel, assisted by the

descending glissandi in the saxophones, horns and trumpets in bar 41

– The melody starting in bar 38 is repeated in bar 42, ending on the tonic in bar 44

– Brief orchestral interjection in bar 45, playing rhythmic material based on bar 8–9

– Bar 46 − Well they began it! exchanged between Jets and Sharks. Singing in unison with brass from bar 48

– This section ends with an accented fff Tonight in A minor– The orchestral interlude in bar 50–52 is similar to the

introduction with the addition of a brief glissando on the saxophones

0:38–1:02

Bar Nos


53–103 – Third verse, sung by Anita, musically the same as bar 7– Anita’s rising fourth on Tonight (bar 68) overlaps with Tony’s

rendition of the Tonight theme– Time signature changed to 2/2 with a more regular feel to the

rhythm– Syncopation in this section influenced by Latin-American

rhythm– Tonic pedal (A major) bar 68–72– Use of added-note chords, e.g. A9 bar 68 and B7 bar 69– Bar 76, key shifts into C major (the B in the solo line from bar

74 cleverly becomes a pivot note which harmonises the G major chord in bar 75)

– Melody from bar 76 doubled by violins and cellos– This melody features repetition of a three-note fragment

(C,D,E) from bar 79–82– Bar 85–88 − descending sequence, initially presented by

Tony and immediately played by the violins in canon at one bar’s distance

– Key returns to A major at bar 92. Augmented 6th and E7 chord can be heard in the previous bar

– Bar 96–97, Tony holds a high E, the orchestra plays a 3+3+2 rhythm against the 2/2 metre

– In the orchestral interlude from bar 98, the quaver motif from bar 2–3 and the semiquaver motif from bar 9 is played in parallel major triads

– The second ostinato of A/F♮ is heard in the bass at this point

1:01–2:11

MUSIC

pg 54

Bar Nos


53–103 – Bars 104–117 are a repeat of bars 7–20, albeit transposed to C minor

– Bar 118 − key change to C major for Maria’s reprise of Tonight – First example of polyphonic texture at this point as Tony

joins in bar 119 singing All right based on bar 9– Bar 118 − Riff sings So I can count on you boy based on bar

38–40– Bar 126 − Modulation to Eb major as the sharks join in singing

We’re gonna rock it tonight based on the bar 38–40– Bar 130 − the sharks sing an augmented version of the

melody from bar 38–40– New melodic material introduced by the Sharks in bar 134

and Jets in bar 136 − descending arpeggios in minims – Bar 142 − Jets and Sharks paired in thirds– Bar 147–148 − Perfect cadence in C major

2:11–End

MUSIC

pg 55

Bernstein

Practical work

Q1 Describe the main elements of the introduction.

Q2

Q3

Identify the link between the introduction and the first melody sung by Riff and the Jets.

Describe the range of vocal textures used in this piece.

Q4 In the brief orchestral interludes which are heard in between lines of text, identify if they are playing new material or are based on previously heard melodies.

Q5 From bar 104 to the end, identify which part sings an augmented version of a previously heard melody.


MUSIC

pg 56

Schönberg & BoublilOne Day More from Les Misérables

Listen to the orchestral introduction and observe its three main elements:(0.00-0:11)

1. Semiquavers played by violins, flute, glockenspiel and RH keyboards

2. Minims in left hand of keyboard, playing a descending scale

3. The following harmonic progression: Bar 1 – A6, Bar 2 – F#7, Bar 3 – D, Bar 4 – Bm/E9

Listen to the following sections, taking note of the musical features and devices used within each one:

Bar Nos


4–25 • The first phrase sung by Valjean starts on an upbeat with a characteristic 2 quaver + crotchet rhythm

• Use of repeated notes in the melody• Descending sequence − bar 6 uses the same motif as bar 5,

sung a third lower• Bar 9 − Marius interjects with I did not live until today −

featuring a dotted rhythm and triplet (bar 11)• Bar 12–13, Valjean sings the opening three notes from the

opening before Cosette joins Marius in parallel thirds, doubled by horns

• Bar 17 − Eponine continues this reworking of material taken from I dreamed a dream, answered by Cosette and Marius singing in thirds

• From bar 17 the accompaniment consists of a syncopated ostinato played by violins, violas and keyboards

• The following modulations occur• Bar 17–18: B minor• Bar 19–20: B major• Bar 21–22: A minor• Bar 23–24: A major

• This section reaches a climax with a sustained A above the chord progression in bar 24–25

0:11–1:19

MUSIC

pg 57

Bar Nos


26–53 • The One Day More theme is repeated by Enjolras, with new lyrics and in the new key of F minor (bar 26–27), F major (bar 28–29), Eb minor (bar 30–31), Eb major (bar 32–33)

• Eb pedal in bar 34–35 as chorus enter in homophonic texture with The time is now the day is here! − this is reinforced by the trumpets, snare drum and cymbals

• This phrase ends on an E7 chord in bar 35 leading into A major in bar 36

• Bar 36 − semiquaver pattern from the introduction returns. The descending crotchet scale can simultaneously be heard in the cello and bass guitar

• Bar 40 − The Thenardiers present material from Master of the house

• Bar 44 − repeat of material from bar 17 set to new text − One day to a new beginning

• Each phrase alternates between two sections of the chorus; sopranos in octaves with tenors, altos in octaves with basses

• The syncopation which accompanied this phrase from bar 17 has been replaced with dotted rhythms in woodwind and brass and a rhythmic ostinato in the snare drum

• Bar 51–52 − Marius ends this section with an ascending scale singing My place is here, I fight with you, over an A pedal

1:19–2:43

MUSIC

pg 58

Bar Nos


54–End

• The G7 chord in bar 53 prepares for the final section in C major• Each of the musical motifs are combined here, representing

the conflicting intentions of the characters• The combination of motifs are as follows:

1. Valjean − One day more − 2 quavers + crotchet

2. Cosette & Marius − I did not live until today − dotted rhythm paired in thirds

3. Javert − I will join these people’s heroes − regular quaver rhythm

4. Eponine − One more day all on my own − interval of a major third featuring repetition

• Bar 62 − Tomorrow we’ll discover − The full cast continue the semiquaver melody sung one bar earlier by Valjean

• Bar 62 − change of metre for one bar, to 5/8• Bar 63 − A minor. At the end of this bar, One more dawn is a

diminution of Valjean’s 2 quaver + crotchet motif• Bar 64 − C major second inversion − leading to the final perfect

cadence in C major in the last two bars• In the final few bars the chorus are all singing in homophonic

texture• The ending also combines three instrumental themes heard

throughout the piece:1. Repeated semiquavers in the upper strings and

woodwind

2. Descending scale in minims played by trombone, bass guitar and cello

3. Dotted rhythm of I dreamed a dream in trumpets and horns

2:43-End

MUSIC

pg 59

Schönberg & Boublil

Practical work

Q1 Describe in detail the three main elements of the introduction.

Q2 Describe the first melody, sung by Valjean.


Q3 Identify a pedal in the section from bar 26–53.

Q4 Describe the thematic material used to end the piece.

CreditsAll images Pg. 2, 3, 4, 5, 6, 7, 8, 9, 13, 15, 16, 44 © IMSLP Petrucci Music Library / Public Domain Music / http://www.imslp.org; Pg.12. © Mozart-Symphony No. 39 / Standard YouTube Licence / www.youtube.com/watch?v=JR-eBWqmJEw; Pg.24. © Brahms Violin / Standard YouTube Licence / www.youtube.com/watch?v=bOx0eKhD9f0; Pg.31. © Handel Zadok the Priest / Standard YouTube Licence / www.youtube.com/watch?v=jIFpf5JxzHA; Pg.35. © Mendelssohn Hear my prayer / Standard YouTube Licence / www.youtube.com/watch?v=tBYYM2B41-U; Pg.39. © Rutter / A Clare Benediction / www.youtube.com/watch?v=H-J6h-VAOrc; Pg.41. © Rutter / For the Beauty of the Earth / www.youtube.com/watch?v=Uk6P6RDBvuo; Pg.44. © Kern / Ol' Man River / Standard YouTube Licence / www.youtube.com/watch?v=eh9WayN7R-s



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