1
Q
“Release” Context
A
- Released in 1999
- Fusion - West African, Irish and EDM
- Features guests e.g Sinead O’connor
2
Q
“Release” instruments
A
African:
* Kora, talking drum
Celtic
* Hurdy gurdy, uillean pipes, bodhrán
EDM
* Drum machine, electric piano, synth
* Looping (central to song)
3
Q
“Release” melody
A
Melodic features from each group
* African - Spoken samples, repetitive
* Celtic - Solos
* EDM - Repetitive, simple
4
Q
“Release” Harmony
A
- Slow harmonic rhythm (EDM)
- Simple chord progression (Celtic)
- Drone (Celtic)
5
Q
“Release” Texture
A
- Mainly Homophonic
- Rapid texture change from loops coming in and out
- Has a polyphonic feel
6
Q
Brandenurg Context
A
- Baroque
- Concerto grosso (group of soloists)
- Chamber music
7
Q
Brandenburg Melody
A
- Scalic
- Conjunct
- Rising
- Very Ornamenated
8
Q
Brandenburg Harmony
A
- Mostly standard chords of time
- Diatonic
- Functional cadences
9
Q
Brandenburg Tonality
A
- A sections in D maj
- B sections in B minor
10
Q
Brandenburg Texture
A
- Polyphonic
- Imitation
- Fugal techniques
11
Q
Brandenburg Instruments
A
- Violin, Flute, Harpsichord (Concertino)
- String orchestra (Ripieno)
- Harpsichord/Cello plays Basso Continuo
12
Q
Brandenburg Rhythm
A
- Fast semiquaver runs
- Triplets and dotted rythms
13
Q
Wicked Context
A
- About living without limits and defying rules
- By Stephen Schwartz
- Finale of first act
14
Q
Wicked Instruments
A
- Duet
- Glinda is a soprano, Elphie is a mezzo
- Full orchestra (use effects of brass, string etc. if needed)
15
Q
Wicked Texture
A
- Homophonic
- Stab chords
- Sparse texture for talking
16
Q
Wicked Rhythm
A
- Lots of change
- Syncopation
- Dramatic rallentandos e.g end
17
Q
Wicked Tonality
A
- Mainly D maj
- Lots of change
- Tonality amibigous for parts - uncertainty
- Dissonance - danger/bad
18
Q
Wicked Melody
A
- Syllabic
- Stepwise and big leaps combined for drama
- Vocalisation at end
19
Q
Purcell Context
A
- Baroque
- Incidental music
- Play of Oedipus
20
Q
Purcell Instruments
A
- Soprano, Harpsichord, Bass viol
- Basso Continuo and Ground Bass
21
Q
Purcell Melody
A
- Descending sequences
- Word painting
- Syllabic with some mellisma
22
Q
Purcell Harmony
A
- Ground bass (rising for rising dead)
- Diatonic chords
- Some false relations give an unsettling feel
23
Q
Purcell Texture
A
- Homophonic
- Somtimes feel polyphonic due to realisation
24
Q
KQ Context
A
- Glam Rock
- Unlike traditional rock it sounds theatrical and varying harmony and structure
25
KQ instruments
Studio effects
* Multi tracking
* Distortion
* Reverb
* Panning
Standard Rock instruments
26
KQ Rhythm
* Regular danceable beat
* Some swung rhythms
27
KQ Melody
* Range of techniques (Falsetto, spoken)
* Syllabic
* Very wide range
28
KQ Harmony
* Adventorous chord sequences
* Altered and extended chords
29
KQ Texture
* Homophonic
* Builds over time
30
Star Wars Context
* Written in 1977
* Features Luke Skywalkers leitmotif/main theme
31
Star Wars Rhythm
* Fast tempo - Battle and action
* 4/4 steady - Marchlike shows military
32
Star Wars Tonality
* Starts in Bb Major
* Tonality is unclear during action
* Dissonance during chase
33
Star Wars Instruments
* Full symphony orchestra
34
Star Wars Melody
* Fanfaric - Heroic
* Leitmotif features ascending leaps (famous 5th)
* B theme contrasts A theme (B is descending ,chromatic)
35
Star Wars Harmony
* Quartal Harmony
* Complicated and almost A tonal harmony at times
36
Star Wars Texture
* Very thick texture
* Homophonic
37
Beethoven Context
* Classical piece
* Has romantic elements
* Sturm und Drag movement
38
Beethoven Structure
* Sonata form
* Differences from expected Sonata form (romantic elements)
* Two main themes go through modulation
39
Beethoven Melody
* Theme one- rising and scalic
* Theme two - rising and falling, ornamented
40
Beethoven Dynamics
* Wide dynamic range
* Many crescendos and descresendos
* Expressive - romantic era
41
Beethoven Harmony
* Mainly diatonic, standard chords
* Some dissonance
* Functional harmony (cadences used to signal sections)
* Unusual for Sonata form, unusual chord progressions
42
Beethoven Tonality
* C Minor
* Modulations due to structure
* Differences (romantic), recapitulation not in expected key
* 2nd Subject in Eb min, unexpected
43
Beethoven Rhythm
* Allegro di molto con brio (very fast with vigour)
* Unusually the beggining in grave
44
Beethoven Texture
* Mainly homophonic
* Octaves in introduction theme
45
Beethoven Instruments
* Written for fortepiano (less dynamic range)
* Beethoven makes use of difference in dynamics
* Sustain pedal used for emotion
46
Samba em Context
* Bossa Nova - Created in Brazil with fusion of American Jazz and Samba
* Has elements of both
* Original written in 1962, Spaldings version in 2008
47
Samba em Instrumentation
* Female voice - very low alto
* Acoustic Bass Guitar - Harmonics, double stopping
* Acoustic guitar - solo, very samba
48
Samba em Rhythm
* 4/4
* Syncopation (Jazz)
* Rubato/free tempo (Jazz)
* Clavé rhythms (Samba)
49
Samba em Texture
* Monophonic intro
* Homophonic mostly
50
Samba em Tonality
* B minor
* Typical of Bossa Nova
51
Samba em Harmony
* Altered/extended chords, 7ths + 9ths (Jazz)
* Diminished and b5th chords (Jazz)
52
Samba em Melody
* 2 main melodies - Verse 1 and 2
* Portuguese (Samba)
* Very low down to low E
* Range of Minor 10th
GCSE Music
flashcards
Decks in class (11)
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