Students Companion 2014 Level 2

The Level 2 Music Students Companion

By Andrew Stopps

Version 2. Copyright 2014

There are so many people out there who will tell you You cant.

What you have to do is turn around and say

Watch me!

My Homepage

About Me

Name:

Year:

House:

Email:

If Found Details

Phone No:

Address:

House Dean:

What Instrument(s) do you play?

Record How Youre Going Here:

Internal Mark/Notes

1

2

3

4

5

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Contents

Contents

My Homepage .................................................................................................................. 3

Staying on Target .............................................................................................................. 8

The Course ...................................................................................................................... 9

Score Reading External ................................................................................................... 11

Score Reading 91276 ...................................................................................................... 12

YOU MUST HAND THIS BOOKLET TO YOUR TEACHER AT THE END OF THE ALLOTTED TIME.13

YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION. ................................ 25

Score Extract A ............................................................................................................... 26

Mack the Knife ............................................................................................................... 26

As performed by Ella Fitzgerald ....................................................................................... 26

Original lyrics by Bertolt Brecht ...................................................................................... 26

English lyrics by Marc Blitzstein ...................................................................................... 26

Score Extract B ............................................................................................................... 29

Sonata, BWV 1034 .......................................................................................................... 29

4th Movement ................................................................................................................ 29

Score Extract C ............................................................................................................... 30

Hymn and Gloria, Missa Pange lingua ............................................................................. 30

Writing broken-chord accompaniments .......................................................................... 48

Transposing Instruments ................................................................................................ 51

Texture........................................................................................................................... 53

Polyphonic Texture ......................................................................................................... 56

Harmony .................................................................................................................................................. 56

Polyphonic Texture ................................................................................................................................. 56

Partner Songs .......................................................................................................................................... 57

Descants and Countermelodies .............................................................................................................. 59

Rounds and Canons ................................................................................................................................. 60

Melodic Ostinato ..................................................................................................................................... 61

Imitation .................................................................................................................................................. 61

Homophonic Texture .............................................................................................................................. 62

Melody plus Chords ................................................................................................................................ 63

Harmonic Ostinato .................................................................................................................................. 64

Pure Homophonic Texture ...................................................................................................................... 65

Practice Your Skills ......................................................................................................... 67

Time Signatures .............................................................................................................. 70

Triplets ........................................................................................................................... 71

Minor Scales ................................................................................................................... 73

Chords ............................................................................................................................ 74

Intervals Part 2 ............................................................................................................... 75

Musical Form .................................................................................................................. 76

Simple Binary Form ........................................................................................................ 76

ASYMMETRICAL AND ROUNDED BINARY FORM .................................................................................... 77

Ternary Form .................................................................................................................. 80

Theme and Variations ..................................................................................................... 81

Transposition ................................................................................................................. 83

This quick reference page contains a selection of some of the most common musical terms and

symbols along with their meanings. ................................................................................ 84

Creating ......................................................................................................................... 86

AS 91092 Compose two original pieces of music ................................................................................ 88

Course Description: ........................................................................................................ 88

Achievement Criteria .............................................................................................................................. 88

Level 2 Music composition task 1 .................................................................................... 89

Words to Life .................................................................................................................................... 89

The portfolio to be assessed could consist of any of the following: ................................................... 90

Notation refers to: ............................................................................................................................... 90

Composers Toolbox ...................................................................................................... 94

Analysis - Far Over the Misty Mountains Cold .................................................................................... 96

Explore Thorins Song .......................................................................................................................... 98

The Bookscore ....................................................................................................................................... 100

Examples ............................................................................................................................................ 100

How do I decide who to have in a group? ............................................................................................ 103

Group Progress Report................................................................................................. 106

Task Two In The Mood ....................................................................................................................... 108

RIVER AND GABRIELS OBOE from THE MISSION (ENNIO MORRICONE) ...................... 109

Group Progress Report................................................................................................. 117

Major and Perfect Intervals .......................................................................................... 118

SIMPLE MELODY WRITING .................................................................................................................... 119

Developing Compositions ............................................................................................. 122

Motive ............................................................................................................................................... 122

variety within unity............................................................................................................................ 122

Developmental Technique #1: Retain the rhythmic Structure, Change the Pitch ........................... 122

sequence ........................................................................................................................................... 122

assignment ........................................................................................................................................ 123

Use Of developmental technique #1 ................................................................................................. 125

developmental technique #2: varying the phrase Structure; extension and truncation ................. 126

Assignment ........................................................................................................................................ 127

developmental techniques ................................................................................................................ 128

Assignment ........................................................................................................................................ 131

Instrumentation ........................................................................................................... 145

Performance ................................................................................................................ 181

FOCUS QUESTIONS ............................................................................................................................ 181

BENCHMARKS .................................................................................................................................... 181

Music GOALS: SOLO Performance ..................................................................................................... 182

Music GOALS: Group Performance ................................................................................................... 182

AS91270: Solo Performance ......................................................................................... 183

NCEA Level 2: 91270. Perform two substantial pieces of music as a featured soloist .................... 184

How To Be A Better Performer ...................................................................................... 185

Practicing ..................................................................................................................... 186

FAQ .............................................................................................................................. 187

Troubleshooting ........................................................................................................... 188

AS91272: Group Performance ...................................................................................... 203

Task: We Will Rock You .................................................................................................................. 203

Important things to know about this standard ................................................................................. 204

Preparing for this standard. .............................................................................................................. 204

Unpacking the Standard... ................................................................................................................. 204

Monday: Score Reading/Musicianship | Tuesday B: Score Reading | Wednesday: Composition

Thursday: Composition | Friday: Solo Performance Masterclass

Monday April 7 Composition #1 Draft

Monday May 5 Composition #1 Realisation Due.

Mon/Tues June 16 & 17 Solo Performance Evening #1 (7pm MR 1)

Monday June 23 Instrumentation Due.

Monday June 30 Composition #2 Draft

Monday July 28 Composition #2 Realisation Due.

Mon & Tues Sept. 8 & 9 Solo Performance Evening #2 (7pm MR 1)

Sunday October 19 Group Performance Final Concert 2pm MR 1.

(group performances can be done at any time throughout the year)

Staying on Target What is the thing you love the most about music?

What makes you excited about it?

Three Areas of Musical Learning

1. Building Stage.

Identify musical task or performance.

Explore and discover ways of overcoming any obstacles or skills you need to achieve the goal.

Learn individual parts so they can be accurately performed.

Analyse the music to identify ensemble difficulties which will require concentrated.

Work as a team to overcome difficulties.

Brainstorm and workshop ideas.

Back engineer music.

2. Interpretive Stage.

Improve intonation, attack, blending and balance.

Research your task and draw comparisons.

Rehearse expression, dynamics and phrasing.

Achieve group cohesion and showing a confident ensemble performance.

Add musicality to your performance, song, arrangement or composition.

Explore further ideas of how you can improve your task or performance.

3. Performance Stage

Prepare pieces in totality for performance.

Fine tuning on stage presentation.

Add expression and fine detail to compositions or arrangements.

Publically performing works at every opportunity to polish them.

Publically perform compositions/ arrangements or rehearse them with a live ensemble (where possible)

Conduct a performance or lead a rehearsal.

Tutor or mentor younger musicians.

Identify common knowledge across performance/composition/listening/reading and research effectively.

There is no set time for each of these stages, but as a guide, divide your year from the start to when your

assessments/performances are due into three equal parts.

Some stages can be shorter or longer than others, depending on need.

Remember, be an independent learner you decide what you need!

The Course

Level 2 24 Credits AS91270 2.1

Perform two substantial pieces of music as a featured

soloist.

6 Credits CORE Internal

AS91276 2.6

Demonstrate knowledge of conventions in a range of music

scores.

4 Credits CORE External

AS91272 2.3 Demonstrate ensemble skills by performing a substantial

piece of music as a member of a group.


AS91273 2.8 Devise an instrumentation for an ensemble.


AS91271 2.4 Compose two substantial pieces of music.


AS91274 2.2 Perform a substantial piece of music as a featured soloist on

a second instrument.

3 Credits Internal OPTIONAL

Recommended Achievement Timeframe

NA A M E < less than 1 week 2 weeks 3-4 weeks 5 weeks +

Date Performance Details

All the units you will be studying are

interconnected with the others and support

each other.

It is important that you make these links.

Score Reading External

Score Reading 91276

Demonstrate knowledge of conventions in a range of music

scores

Credits 4 Assessment: External

Achievement Criteria

Achievement Achievement with Merit Achievement with Excellence

Demonstrate knowledge involves

identification, description, and

application of conventions used in a

range of music scores.

Demonstrate in-depth knowledge

includes identification, description,

explanation, and application of

conventions consistently across most

areas.

Demonstrate comprehensive knowledge

includes identification, description,

explanation, and application of conventions

consistently and accurately in all areas.

Conventions are selected from: key signatures up to four sharps and four flats, major/minor/modal tonalities

time signatures commonly used simple, compound and irregular time signatures

notation of pitch and rhythm (eg rhythmic groupings, augmented and diminished intervals)

performance directions, including terms and signs

clefs treble, bass, alto, tenor, percussion instruments and score layout

harmony (diatonic chords in root position, first and second inversion) in keys up to four sharps and four flats, using Roman

numerals (eg I, V7, IV) and jazz/rock terminology (eg C, G7, F/A). Students could be expected to realise short extracts of harmony (eg cadences)

texture

compositional devices and thematic development (eg repetition, motif, inversion, imitation, sequence, variation)

modulation to closely related keys

transposition

transposing instruments

open to closed/closed to open score

stylistic features

structure (eg rondo, 16-bar blues, theme and variations).

Level 2 Music Studies

91276 (2.6): Demonstrate knowledge of conventions in a range of music scores

Credits: Four

Check you have been supplied with the resource booklet for Music Studies 91276 (2.6).

You should answer ALL the questions in this booklet.

If you need more room for any answer, use the space provided at the back of this booklet.

Check that this booklet has pages 211 in the correct order and that none of these pages is blank.

YOU MUST HAND THIS BOOKLET TO YOUR TEACHER AT THE END OF THE ALLOTTED TIME.

SAMPLE PAPER

2

14

You are advised to spend 60 minutes answering the questions in this booklet.

QUESTION ONE

Score Extract A: Mack the Knife by Kurt Weill

Refer to pages 24 in the resource booklet to answer questions (a)(e).

Select TWO of the following instruments and describe how each uses rhythm in the piece

from the opening to bar 8.

bass

hi-hat

vbrass.

Instrument chosen:

How rhythm is used:

Instrument chosen:

How rhythm is used:

(i) Complete the table below by identifying ONE example from the score of each of the

vocal techniques. Give the bar number and the word from the lyrics for the examples

you choose. (You may use each example ONCE only.)

Vocal technique Bar number(s) Word

Vocal slide

Melisma

Word-painting

(ii) Refer to the brass part in the score. What is the minimum number of brass instruments required to perform this piece?

15

(i) The extract modulates through THREE different keys. Complete the un-shaded parts of

the table below by identifying each key, and the bar numbers of the piece in each key.

Key

Bar numbers

Beginning Ending

1 16

(ii) What effect do these key changes have on the music?

Identify the style of this piece and describe at least THREE features found in the score that

support your answer. Give the bar number(s) and instrument(s) for each feature you

describe.

Style:

Feature Bar number(s) Instrument(s)

16

Bars 78 of the brass part are printed below. These bars are written at concert pitch.

Transpose and re-write these bars in open score for two trumpets in Bb and two trombones, as the players would expect to read them. Include the appropriate key signatures and all performance directions.

17

QUESTION TWO

Score Extract B: Sonata in E minor, BWV 1034 by J. S. Bach

Refer to page 5 in the resource booklet to answer questions (a)(e).

Identify the key of this extract. Give at least TWO pieces of evidence from the score to

support your answer.

Key: Evidence: (1)

(2)

Explain the meaning of the small numbers written under the bass stave.

Look at the chords in bars 711 which are labelled 16 and highlighted on the score.

Complete the unshaded parts of the table below by identifying the chords, in relation to the

tonic key, using Roman numerals. One example has been given for you.

Bar number Chord number Chord

7 1

8

2 Ic

3

10

4

5

11 6

18

Bars 79 of the upper part of the basso continuo are printed below. In the boxes above the

stave write the jazz / rock symbol for each chord so the part could be played on a rhythm

guitar.

This work is from the Baroque period. Using musical evidence from the score, explain what

makes it representative of the music of this period.

Select any TWO musical elements from the list below, and give TWO different pieces of evidence for each.

Melody

Rhythm

Texture

Timbre

Musical element Musical evidence 1 Musical evidence 2

Use the blank staves below, if you wish to support your answer with musical evidence.

20

QUESTION THREE

Score Extract C: Hymn and Gloria, Missa Pange lingua by Josquin des Prs (c. 14451521)

Refer to pages 67 in the resource booklet to answer questions (a)(f).

(i) What voice type sings the opening Hymn?

(ii) Give a reason for your answer.

(i) What is the overall texture of the Hymn?

(ii) What musical evidence have you found to support your answer?

(iii) What is the overall texture of the Gloria?

(iv) What musical evidence have you found to support your answer?

The composer used the melody of the Hymn as a basis for the Gloria. Explain how the

composer has developed the original Hymn melody in the first eight bars of the Gloria.

21

Study the tenor and bass entries at the start of the Gloria. Compare both parts.

(i) What is the interval (eg, major 2nd) between the tenor and bass starting notes?

(ii) Explain the differences between the bass and tenor melodies.

(iii) Where else in the Gloria are these same melodic motives used? Give the bar numbers

where this occurs and name the voice(s) involved.

Bar numbers:

Voices:

Compare the rhythmic style of the Hymn with the Gloria. Describe at least TWO major

rhythmic differences between the two extracts.

(1)

(2)

This music is modal rather than written in a major or minor key. Give at least TWO pieces of

musical evidence that show this.

(1)

(2)

22

Extra space if required.

Clearly number the question (if applicable)

Question number

New Zealand Qualifications Authority, 2011

All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.

Extra space if required.

Clearly number the question (if applicable)

Question

number

24



25



Level 2 Music Studies

91276 (2.6): Demonstrate knowledge of conventions in a range of music scores

Credits: Four

RESOURCE BOOKLET

Refer to this booklet to answer the questions for Music Studies 91276 (2.6).

Check that this booklet has pages 27 in the correct order and that none of these pages is blank.

YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION.

SAMPLE RESOURCE

2

26

SCORE EXTRACT A

Mack the Knife

As performed by Ella Fitzgerald

Original lyrics by Bertolt Brecht

English lyrics by Marc Blitzstein

Kurt Weill

(19001950)

Source: 1928 Universal Edition (renewed 1956). Copyright assigned to European American Music Corporation (Alfred A. Kalmus Ltd.)

Source: transcription taken from David Bowman and Bruce Cole (eds), Sound Matters: An Anthology of Listening Material for GCSE Music

(London: Schott Publications, 1989), pp 151-155.

29

SCORE EXTRACT B

Sonata, BWV 1034

4th Movement J. S. Bach

(16851750)

1 2 3 4 5

6

30

SCORE EXTRACT C

Hymn and Gloria, Missa Pange lingua Josquin des Prs

(c. 14451521)

Hymn

31

Gloria

NCEA Level 2 Music Studies 91276 (2.6) page 32 of 210

Gloria

SAMPLE ASSESSMENT SCHEDULE

Music Studies 91276 (2.6): Demonstrate knowledge of conventions in a range of music scores

Assessment Criteria


Demonstrate knowledge involves identification, description, and application of conventions used in a range of music scores.

Demonstrate in-depth knowledge includes identification, description, explanation, and application of conventions consistently across most areas.

Demonstrate comprehensive knowledge includes identification, description, explanation, and application of conventions consistently and accurately in all areas.

Evidence Statement

Question One Expected coverage


Demonstrate knowledge of conventions in a range of scores by:

accurately describing how rhythm is used in two

instruments

accurately identifying the number of required brass

instruments

identifying the key changes with allowance for some

inaccuracy

identifying the style of the music as jazz and

describing and accurately referencing at least TWO

features

transposing the trombone parts to bass clef with

correct key signature allowing for some inaccuracies

of pitches and stem direction.

Demonstrate in-depth knowledge of conventions in a range of scores by:

identifying vocal techniques and referencing them

accurately

identifying the key changes AND providing some

explanation of their effect


explaining and accurately referencing at least TWO

features

transposing the trombone parts to bass clef with

correct key signature allowing for some inaccuracies

in stem direction.

Demonstrate comprehensive knowledge of conventions in a range of music scores by:

identifying the key changes AND providing a detailed

explanation of their effect


explaining and accurately referencing at least THREE

features

transposing the trombone and trumpet parts with

correct key signatures and stem direction.

(a)

Bass:

even crotchet pulse

walking bass.

Hi-hat:

repeated even off-beat pattern (on beats 2 and 4)

swing triplet rhythm, blues swing,

jazz triplet feel.

Brass:

syncopated rhythm

block chords punctuate the texture

fills between and accompanies the vocals

emphasises the piano chords.

(b) (i)

Vocal technique Bar number(s) Word

Vocal slide

3

7

11

27

37

dear

spread

dear

corner

bags

Melisma

6

13

14

2123

38

start

not

trace

ooz[ing]

dropping

Word-painting 2123

38

ooz[ing]

dropping

(b) (ii) Number of brass: 5

(c) (i)

Key Bar numbers

Beginning Ending

Ab major 1 16

A major 17 32

Bb major 33 40

(c) (ii) Effect of the (rising chromatic) key changes is to add tension to and/or create excitement/suspense in the music as it moves to a climax, and reinforce the impact of the lyrics. (Other responses are possible.)

(d)

Style: Jazz

Features:

syncopation piano, brass, vocals

walking bass; bass all bars except 1215

rhythm of cymbal with triplet figure on beat 2 of most bars, crochets on other

beats (ALL bars)

slides in voice bars 3, 7, 11, 27, 37; and brass bars 1516

Use of triplets for swing feel; voice bars 6, 22, 29, 34; and bass bars 13, 14, 15.

(Other responses are possible.)

(e)

Not Achieved

N No response; no relevant evidence.

N1

Attempts to identify keys, with insufficient accuracy, in (c) (i).

N2

Candidate identifies correct number of brass instruments in (b) (ii)

OR

identifies ONE key in (c) (i)

OR

attempts to transpose trumpet / trombone parts with insufficient accuracy in (e).

Achievement

A3

Candidate identifies the rhythm for ONE instrument in (a) correct number of brass instruments in (b) (ii)

OR

identifies TWO keys in (c) (i) and the genre and TWO features in (d)

OR

transposes the trombone parts to bass clef in (e) with some inaccuracies (eg wrong trombone octave) of pitch and / or stem direction.

A4

Candidate identifies the rhythm for TWO instruments described in (a) with ONE vocal technique in (b) (i)

OR

identifies THREE keys in (c) (i) and the genre and THREE features in (d)

OR

transposes the trombone parts to bass clef in (e) with correct stem direction, with some allowance for some inaccuracies of pitch.

Merit

M5

Candidate gives TWO vocal techniques in (b) (i), with genre and TWO features referenced in (d)

OR

identifies THREE keys and ONE set of bar numbers in (c) (i)

OR

correctly transposes the trombone parts, with some incorrect accidentals in (e).

M6

Candidate gives THREE vocal techniques in (b) (i) with genre and THREE features referenced in (d)

OR

identifies THREE keys, with bar numbers correctly identified in (c) (i)

OR

correctly transposes the trombone parts including accidentals in (e).

Excellence

E7

Candidate identifies THREE keys with correct bar numbers in (c) (i) and explains ONE effect in (c) (ii)

OR

explains and references genre and TWO features in (d)

OR

transposes ALL trumpet and trombone parts accurately with correct key signatures and accidentals in (e).

E8

Candidate identifies THREE keys with correct bar numbers in (c) (i) and explains ONE effect in (c) (ii)

AND

explains and references genre and THREE features in (d)

OR

transposes ALL trumpet and trombone parts accurately with correct key signatures, with allowance for incorrect accidentals, in (e).

Question Two Expected coverage



identifying the correct key and providing ONE piece

of evidence

identifying chords using Roman numerals with some

allowance for minor inaccuracies (eg, incorrect

inversions)

applying knowledge of the Baroque period to provide

appropriate musical evidence for ONE element.


identifying the correct key and providing TWO pieces

of evidence

identifying the symbols as figured bass

identifying chords using roman numerals with correct

inversions

identifying guitar chords


identifying the symbols as figured bass and

explaining that the figures represent chords or

harmony for a continuo instrument

identifying chords using roman numerals with correct

inversions

identifying the guitar chords

applying knowledge of the Baroque period to

describe appropriate musical evidence for TWO

elements.

applying knowledge of the Baroque period to explain

appropriate musical evidence for TWO elements.

(a)

Key: E minor

Evidence:

Raised 7th note.- Key signature (not name of piece)

Opening chord is E minor chord followed by B major chord (V).

(b)

The small numbers are figured bass, which indicate harmony (intervals above the bass note) for the accompanying continuo (harpsichord, organ, lute, guitar, theorbo or harp).


(c)

Bar no. Chord no. Chord

7 1 IV or IVa

8 2

Ic

3 Ib

10 4

V or Va

5 Vb

11 6 V7b

(d)

For the third chord accept F#min7 or F#min7 flat 5 or F#dim7

(e)

Response may include a selection from:

Melody:

characterised by repetition of small melodic cells / motifs

melodies are chord based (ie, key melodic notes articulate the underlying harmony)

melodies are designed to work imitatively

basso continuo / bass line is given strong / equal prominence to the treble line.

Rhythm:

characterised by repetition of small rhythmic cells / motifs

the flowing semiquaver movement throughout creates the feeling of perpetual motion and drive.

Texture:

imitative

polyphonic

characterised by imitation of rhythmic melodic cells / motifs / subjects between parts

treble and bass parts hold the main melodic interest, while the keyboard continuo part fills out the texture

basso continuo / bass line is given strong / equal prominence to the treble line.

Timbre:

solo sonata instrumentation, developed in the Baroque period

flute solo with (keyboard) continuo

bass line usually doubled by a melody instrument.

Notes:

other responses are possible

material from one response may not be repeated in another

Not Achieved


N1 Candidate attempts to identify key in (a).

N2 Candidate identifies the correct key in (a).

Achievement

A3

Candidate identifies the correct key and gives ONE piece of evidence in (a)

OR

identifies THREE Roman numeral chords without inversions in (c)

A4

Candidate identifies the correct key and gives TWO pieces of evidence in (a)

OR

identifies THREE Roman numeral chords with ONE chord inversion correct in (c)

Merit M5

Candidate identifies THREE Roman numeral chords with TWO chord inversions correct in (c) OR identifies THREE jazz / rock chords in (d)

AND

identifies ONE element in (e) with one piece of evidence

M6

Candidate identifies the correct key and gives TWO pieces of evidence in (a) and identifies OR describes figured bass in (b)

OR

identifies THREE Roman numeral chords with ALL chord inversions correct in (c) OR identifies THREE jazz / rock chords in (d)

AND

identifies TWO elements in (e) with one piece of evidence for EACH element

Excellence

E7

Candidate identifies the correct key and gives TWO pieces of evidence in (a) and identifies and describes figured bass in (b)

OR

identifies FOUR Roman numeral chords with ALL chord inversions correct in (c) AND identifies FOUR jazz / rock chords in (d)

AND

identifies TWO elements in (e) with three pieces of evidence across both elements

E8

Candidate identifies the correct key and gives TWO pieces of evidence in (a) and identifies and explains figured bass in (b)

AND

identifies FOUR Roman numeral chords with ALL chord inversions correct in (c) AND identifies FIVE jazz / rock chords in (d)

AND

identifies TWO elements in (e) with at least four pieces of evidence across both elements

Question Three Expected coverage



identifying the voice performing the music

identifying the texture of either the Hymn OR the

Gloria and providing musical evidence to support this

answer

identifying the material used from the Hymn that is

used in the Gloria

identifying the interval between the bass and tenor

melodies

identifying the different metres and providing some

description of the rhythmic differences


identifying the voice performing the music and

providing supporting evidence from the score

identifying the texture of the Hymn and the Gloria and

providing musical evidence to support this answer

describing links between the melodic or rhythmic

motives in both pieces

describing the bass part as simpler and/or less ornate

than the tenor part

explaining in some detail the differences in rhythm

identifying TWO pieces of evidence for modal rather

than major/minor.


identifying the texture of the Hymn and the Gloria and

providing comprehensive musical evidence to support

this answer

clearly explaining links between the melodic and

rhythmic motives in both pieces

explaining the use of different countermelodies in the

bass and tenor parts and identifying where the same

melodic motives are used

explaining in detail the differences in rhythm

clearly explaining why the piece is modal supported

by TWO pieces of evidence.

identifying ONE piece of valid evidence for modal

rather than major/minor.

(a)

(i) Tenor

(ii) Response may include a selection from:

The vocal tenor clef is used.

The 8 on the clef means the voice sings an octave below the pitch written which is in the tenor range.

Religious chants of this period were traditionally sung by priests or monks.

(b)

(i) Monophonic

(ii) A single line of music

(iii) Polyphonic (apart from the opening bar that is still monophonic)

(iv) Significant use of imitative entries. The vocal lines are interwoven horizontally rather than treated in a chordal homophonic manner.


(c)

The melodic material of the Gloria is based on the ten notes of the first phrase of the Hymn Pange lingua gloriosi.

In bars 18, each vocal entry follows the motive although the alto and bass parts are not as exact as the tenor and soprano.


(d)

(i) The bass entry is a perfect 5th lower than the tenor.

(ii) After two bars the bass moves into a different counter melody from the tenor; also accept bass is simpler (or slower) and less ornate.

(iii) Bars 78, the soprano and alto mirror the tenor and bass.

(e)


The rhythm of the Hymn is plainchant; it is free and non-metrical; the accents are determined by the natural flow of the words. There is no time signature.

In contrast, the Gloria is a metrical setting in 43

; the use of imitative entries helps keep the rhythm flowing seamlessly; this is maintained by considerable

quaver and semiquaver use.


(f)


uses the pitches of the Phrygian mode based on the white notes, EE

the rhythmic style of the Hymn is plainchant, this is commonly written modally

music written in the fifteenth century predates major and minor key systems

accidentals are written above the notes rather than next to them.

Not Achieved


N1 Candidate attempts the quantity of the interval in (d) (i) OR one texture in (b)

N2 Candidate provides the correct quantity of the interval in (d) (i) OR one correct texture in (b)

Achievement

A3

Candidate identifies the voice and provides ONE piece of evidence in (a); gives the quantity of the interval (d) (i) and the texture of either Hymn or Gloria (b)

OR

recognises the Gloria begins with the same notes as the Hymn in (c) AND identifies the different metres with ONE piece of evidence (e).

A4

Candidate identifies the voice and provides ONE piece of evidence in (a); gives the quantity and quality of the interval in (d) (i) and the texture of both the Hymn and Gloria (b)

OR

recognises the Gloria begins with the first ten notes of the Hymn in (c) AND identifies the different metres with TWO pieces of evidence (e).

Merit

M5

Candidate identifies the texture of both the Hymn and Gloria in (b) and gives ONE piece of evidence, and describes the links between the melodic OR rhythmic motives in both pieces in (c)

OR

describes the bass part as simpler than tenor in (d) (ii); explains the differences in some detail with ONE piece of evidence in (e), and describes, with ONE piece of valid evidence, that the music is modal in (f).

M6

Candidate identifies the texture of both the Hymn and Gloria in (b) and gives TWO pieces of evidence, and describes the links between the melodic OR rhythmic motives in both pieces in (c)

OR

describes the tenor part as having more ornamentation/decoration than the bass part in (d) (ii); explains the differences in some detail with TWO pieces of evidence in (e); and describes, with TWO pieces of valid evidence, that the music is modal in (f).

Excellence

E7

Candidate identifies the texture of both the Hymn and Gloria in (b), and explains with TWO pieces of evidence; and explains the links between the melodic AND rhythmic motives in both pieces in (c)

OR

explains the use of different countermelodies/melodic motives in (d) (ii); explains the differences in detail in (e); explains why the piece is modal, clearly supported by ONE piece of evidence, in (f).

E8

Candidate identifies the texture of both the Hymn and Gloria in (b), and explains with TWO pieces of evidence explained; explains in detail the links between the melodic AND rhythmic motives in both pieces in (c)

OR

explains the use of different countermelodies, where the same melodic motives are used, in (d) (ii); explains in detail the differences linked in ordered in (e); explains why the piece is modal, supported by TWO pieces of evidence, in (f).

The One Ring of Key Signatures

Order of the FlatSharps

Here is a reference sheet which has a diagram of all the key signatures for all the major and minor keys on it.

Remember each major key has a relative minor key.

Classical Music During the classical period (1750-1825) instrumental music became the dominant musical force as composers wrote

for new instruments, new instrumental groups and the enlarged classical orchestra. Music gradually changed from the

ornate grandeur of the late-baroque style, becoming more emotionally restrained.

The most important keyboard instrument was the piano. Although

the piano was invented in 1709 by the Italian Bartolomeo Cristofori,

it took more than half a century for it to be widely accepted and

replace the harpsichord. Improvements to the action and the

stringing, the extension of the range, the strengthening of the

frame and the addition of pedals meant that composers were now

able to write music that was more expressive. The three- or four-

movement piano sonata was the main type of keyboard composition .

The classical period has been described as the golden age of

chamber music. Although most music was written for the string

quartet with two violins, viola and cello, composers also wrote for

other combinations such as quintets and the piano triopiano, violin

and cello. Most chamber compositions used a standard four-

movement design.

Orchestras in the classical period were used in opera theatres, churches, royal palaces and concert rooms in the

homes of the aristocracy and for outdoor entertainment. Musicians were employed by patrons for whom they worked

as servants. The patrons wealth determined the number of musicians employed and thus the size of the orchestra. A

standard classical orchestra had a string section that predominated, as in the baroque period; to this were added pairs

of woodwind, including the newly developed clarinet, pairs of brass instruments and timpani . The woodwind and brass

could now fill in the chords as well as the strings, so the harpsichord was no longer needed.

The main type of classical orchestral composition was the four- movement symphony, really a sonata for orchestra

with at least one movement written in sonata form. The enlarged orchestra gave composers a new medium, with a

wealth of instrumental timbres and dynamic levels to express the contrasting ideas of sonata form.

Composition of the Classical Orchestra strings: violins I and II, violas, cellos and double basses

woodwind: two flutes, two oboes, two clarinets and two bassoons

brass: two French horns and two trumpets

percussion: two timpani

The concerto of the classical period, featuring a solo instrument combined with an orchestra, retained the three-

movement design of the baroque period (fast-slow-fast), but the forms of the movements were different. Any solo

instrument could be used, but the piano became the most popular.

Characteristics of classical Instrumental music

melodyshort, balanced four-bar phrases; two or more contrasting themes in a movement

rhythmclearly defined and regular

tonalityconflict of keys; modulation to a range of keys

texturemainly homophonic

timbrepiano, classical orchestra

dynamicsa wide range of dynamic levels; crescendos and diminuendos

formssonata form; concerto form

mediapiano sonata, string quartet, quintet, piano trio, symphony, concerto

Austrian composer Wolfgang Amadeus Mozart wrote

numerous compositions using keyboard, including 19 piano

sonatas. Wolfgang Amadeus Mozart (1756-1791) was

one of the greatest musical geniuses of all time. In his

short life he wrote many masterpieces of instrumental

and vocal music that are still enormously popular today.

These include 41 symphonies, chamber works, concertos

and operas. Some of his greatest contributions to classical

music are considered to be his 21 piano concertos and his

great operas, The Magic Flute, The Marriage of Figaro

and Don Giovanni.

Exposition First subject group in

Tonic key

Transition modulation Second subject group in

Dominant key

Codetta short rounding off passage

Development Previous material or new

material in a variety of

keys

Recapitulation First subject group tonic

key

Transition altered key leading back to tonic

Second subject group Coda

A movement in sonata form has three sections: the exposition, where the two main contrasting subject groups or

themes are presented in different keys (either tonic/dominant or minor/relative major); the development, where the

themes are expanded and/or new material is presented; and the recapitulation, where both subject groups return in

the tonic key, resolving the conflict of keys of the exposition.

His Sonata in F, K. 332, composed about 1781, has the typical classical three-movement design: fast- slow-fast. The

first movement, Allegro, is in s@nata forma musical form that explores the dramatic tension resulting from the

conflict between keys. (For a table representing sonata form, see the table.) The first subject group contains two

themesA1 and A2; and the second subject group contains three themes B1, B2 and B3. The keys of these two

subject groups are F major and C major (tonic and dominant) and represent the key conflict in this movement.

The first phrase of each theme is given below and on page 74. Play them or listen to them so that you will recognise

them when they occur.

Themes from Sonata in F

Analytical notes

BARS REMARKS

1-93 Exposition

1-22 First subject group in

A1 (bars 1-12)

(bars 12-21)

Three four-bar phrases ending with a cadence.

four-bar phrases ending with a perfect cadence repeated for two

bars. 22-40 commencing in minor, modulating at bar 29 to and ending on unison G. the of the next kev.

followed bv a rest.

41-86 Second subject group in

B1 (bars 41-55) phrases, repeated with variation including melodic elaboration, rhvthms and figures.

(bars 56-70) Left-hand triadic melody with right-hand off-beat chords moving through a of fifths in

bars 60-65 (Cm-Fm7- -E^mai7- -Dm7- )

(bars 71-86) phrase repeated with , followed by a four-bar extension endir with a cadence.

86-93 Codetta with accompaniment, ornamentation of texture (bars 90-92) ending with a

perfect cadence.

94-132 New material in (bars 94-108)two four-bar phrases repeated witf variation.

Development of (bars 109-123) modulating from to G mino at bar 114 then at bar 118.

New material (bars 123-132) ending on a chord, the dominant of

F major (bars 129-132).

133-229

133-154 First subject group.

154-176 Transition, commencing in D minor, altered to end on unison . the of F major.

177-222

222-229

subject group in F major, resolving the conflict of keys of the exposition.

Writing broken-chord accompaniments As you saw in Sonata in F, Mozart used many broken-chord patterns in the left hand. A very famous example is found

in the first four bars of his Sonata in C, K. 545, given below.

Play it or listen as it is played and work out the chords on which the left-hand patterns are based. (Note that the

chords used are I, IV, V and V7, some of which are not in root position.)

When writing broken-chord accompaniments to melodies, follow the guidelines below, all of which apply to the example

above.

Guidelines for writing broken-chord accompaniments 1. Base the broken-chord patterns on the same triads or seventh chords used for the melody.

2. Make the patterns move smoothly from one to another, the position of the chord being selected so that

there is minimum hand movement.

3. Make the contour of each pattern the same.

4. Keep the range of each pattern within an octave, as this is the largest interval that can be played

comfortably.

5. Make sure the left-hand part does not overlap the right-hand part. (Overlapping comes about when a note

in the left hand is the same pitch or higher than a right-hand note played at the same time.)

6. Keep the left-hand notes in the upper register of the bass staff as much as possible. (Notes close together

below C, second space, sound muddy.)

Note: A broken-chord accompaniment should finish on the tonic note

or root position chord on a strong beat of the bar.

Study the following example, which contains a number of errors.

Explain the errors you find according to the guidelines above.

Write broken-chord accompaniments to the following melodies, using the guidelines opposite. In the first exercise the

pattern has been given for you to copy. (Hint: It is a good idea to first write the left-hand chords in the inversions you

intend to use so that you can see whether they move smoothly from one to another.)

Score Reading Study the music of Theme from Mozarts Sonata K. 331, first movement, above, then do the following:

1. Identify the form.

2. Find a two-bar sequence in the melody line.

3. Name the type of left-hand accompaniment used in bars 9-10.

4. Give the Italian name for the small notes in the melody on beat 1 of bar 10.

5. Find a chromatic chord in the music. Give the bar number and its chord symbol.

6. Identify the cadence occurring on beat 2 of bar 12.

Transposing Instruments If you look at some orchestral scores, you will notice that some woodwind and brass instruments do not have the same

key signature. The reason for this is that they are transposing instruments and their part is written in a key different

from that of non-transposing instruments. (A transposing instrument is one on which the player produces a note at a

particular interval above or below the written note.) This section of the movement uses clarinets in B flat. This means

that when the clarinettist plays C we hear the note a tone lowerthat is, Bflat, the key of the instrument.

Therefore, if we wish to hear a clarinet part in B flat major it must be written in C major, a tone higher.

Another instrument that transposes down a tone like the clarinet is the trumpet in B flat. Additional transposing

instruments will be discussed later in the unit.

When writing for clarinet or trumpet in B flat, you must remember to use a key signature different from that used

by the non-transposing instruments. This will be the key signature for the key one tone higher. Let us suppose that

the following music in F major is played by a flute.

If we wish to hear a clarinet in B flat sounding at the same pitch, the music will have to be written a tone higher in the

key of G major, as it is below.

If the flute part contains an accidental, you will need to add an accidental to the clarinet part to make the note one

tone higher than the flute note. Study the example below.

1. The following melodies are written for oboe. Rewrite them for clarinet so that they will sound at the same

pitch.

2. The following melodies are written for clarinet. Rewrite them for flute so that they will sound at the same

pitch. (You will need to transpose each melody down a tone.)

3. Transcribe the following piano score for woodwind quartet (flute, oboe, clarinet and bassoon). Note that the

clarinet part must be written in the treble clef.

Texture

Monophonic Texture

What is Texture? Musical Texture is one of the seven Elements of Music. Texture refers to the character of the various parts of the

music which are present (called voices) and the relationships among those parts. Like texture in a piece of fabric,

musical texture is sometimes thought of as describing the vertical and horizontal character of music. It can also be

thought of as the thickness or thinness of musical sounds. In order to identify patterns in musical texture, you have to

know what to listen for.

Musical Voices

The independent lines of music that occur in a song are called "musical voices." For example, when you sing the melody

of your favorite song all by yourself, you are performing one musical voice.

Example of a single musical voice:

Don't confuse a musical voice with a singing voice, though. If a melody is played on an instrument, it still represents a

musical voice!

A musical voice consists of one melodic or harmonic part. Even when several musicians play exactly the same notes

together, there is still only one musical voice. Likewise, when a class sings a single melody together there is one musical

voice.

Melody Notes in a melody occur one after another in a line of music. A melody represents a single musical voice no matter how

many musicians perform it. It can be sung or played on an instrument. Below is an example of a melody.

Because the notes in a melody move in succession, one to the next, we say there is a "horizontal" relationship. It's

often easy to see this relationship in printed music because the notes of a melody form a line from left to right.

Monophonic Texture

A melody performed alone is the simplest pattern of musical texture. This is called "monophonic texture."

Whenever a single melodic voice is present alone, the texture is monophonic. Remember, a melody

performed by one or many musicians represents a single musical voice if the same notes are performed

by everyone.

One way to remember the term monophonic is to consider its parts:

"mono" + "phonic" = "monophonic"

"one" + "sound" = "one sound"

Some more examples of Monophonic texture: Children singing the melody of a song together without any instruments.

A solo trumpet playing a fanfare.

A family singing the melody of "Happy Birthday."

Boys and girls singing a melody in octaves.

Any time several instruments play the same melody together.

A melody performed in octaves represents monophonic texture as well. In the example below, notice that the two lines

of music contain the same notes in different octaves. This may occur when male and female voices sing a melody

together, or when different instruments play together. Since only a single melody is present, we consider this to be

monophonic texture.

Monophonic Texture

Here is another example of a melody in monophonic texture. Look at the melody excerpt below and notice

the horizontal relationship which exists from note to note.

Finally, look at the same melody performed in octaves. The printed notation looks deceptively like more

than one musical voice is

present, but in fact,

only one melody is being

performed. Notice that

the notes on both

staves have the same

letter names. Since only

a single melody is

present, we consider

this to be monophonic

texture.

Polyphonic Texture

Harmony In music, when two or more different notes are sung or played at the same time we say there is harmony. Harmony

may be created in a number of ways, but whenever different pitches occur simultaneously, harmony is present. In

printed music, notes which are aligned vertically are performed simultaneously, even if they are in different musical

voices. It is easy to see this vertical relationship:

Polyphonic Texture One of the ways harmony may be created is when two or more different melodies are performed at the same time in

different musical voices. This type of harmony is called "polyphonic texture."

One way to remember the term polyphonic is to consider its parts:

"poly" + "phonic" = "polyphonic"

"many" + "sounds" = "many sounds"

The listening example demonstrates polyphonic texture since several melodic voices occur

simultaneously.

Brandenburg Concerto No. 2, mvnt. 3 (excerpt)

Partner Songs One of the ways to produce polyphonic texture is through "Partner Songs." Partner songs are melodies which fit

together in such a way that they sound good when performed together. They are melodies performed as independent

musical voices. Because two or more melodic voices are performed at the same time, harmony is created.

The example below shows three familiar partner songs, first played separately, then together.

Below is another example which shows independent melodic voices played together.

Descants and Countermelodies Like partner songs, "descants" and "countermelodies" also produce polyphonic texture. These are

separate musical voices which are specifically intended to be performed together with another melody to

produce harmony. Typically, a descant is an added melody which rises to a higher pitch level above the

main melody. A countermelody is often quite prominent and at the same pitch level as the main melody.

Unlike partner songs,

descants and countermelodies

are generally not meant to be

performed alone.

The example below shows a

melody and two

countermelodies, first played

separately, then together.

Rounds and Canons Another type of song that can produce polyphonic texture is a "round" or "canon." These are melodies which are

written so that they can be performed by more than one musical voice, starting at different times, to produce

harmony. An example of a familiar round is "Row, Row, Row Your Boat."

Although both partner songs, and rounds/canons produce polyphonic texture, and both consist of two or more musical

voices, there is an important difference between them:

Partner songs are different melodies performed at the same time.

Rounds and canons are identical melodies starting at different times.

Here is a short excerpt from a four-part round sung by a children's choir. Notice that all four musical voices contain

the same melody, but they enter at different times.

Melodic Ostinato An "ostinato" is a repeated pattern of notes, rhythms, or movements which accompanies a melody. Like rounds,

partner songs, and countermelodies, a "melodic ostinato" produces polyphonic texture because it is a melodic voice

which is performed together with another melody. The difference is that a melodic ostinato is made up of a repeating

pattern of notes. The example below contains both a melody and a melodic ostinato.

Imitation Another characteristic which is sometimes present in polyphonic music is "imitation." Imitation occurs when each musical

voice enters with (or contains) similar patterns of pitches, but the melodies are not exactly the same. The example

below demonstrates imitation. See if you can hear the melody pattern that is notated when it occurs.

Homophonic Texture

Chords Another way to produce harmony is through the use of "chords." A chord is a group of pitches which are sung or

played together with similar rhythm.

Chordal Harmony The notes of a chord may appear in a single voice or across several voices. When chords occur, one after another,

we say there is "chordal harmony." The pitches of a chord are vertically aligned, as you can see in these examples of

chords.

Homophonic Texture When chordal harmony is present, "homophonic texture" is created. Often in homophonic texture, there is a melodic

voice and another voice or group of voices which contain chords. Whenever there is a melody plus chords, the texture

is homophonic texture.

One way to remember the term homophonic is to consider its parts:

"homo" + "phonic" = "homophonic"

"same" + "sounds" = "same sounds"

Melody plus Chords The excerpt below is an example of homophonic texture because it contains a melody and chordal accompaniment. This

selection is written for piano. Notice that the upper voice (the top staff) is melodic, while the lower voice (bottom

staff) contains chords. As you listen, try to distinguish between the voices.

Below is another example of a melody plus chords. Again, the top staff contains a melodic voice, but this time, the two

lower staves combine to represent a single chordal accompaniment voice.

Harmonic Ostinato Like a melodic ostinato, a "harmonic ostinato" is a repeated pattern intended to be performed together with melody.

But a harmonic ostinato produces homophonic texture because it contains a repeated pattern of chords. The example

below contains both a melody and a harmonic ostinato.

Here is another example of a melody plus a harmonic ostinato, producing homophonic texture. In the excerpt below,

the harmonic ostinato begins first and the melody enters later.

Listen to "Trois Gymnopedies," by Satie

Pure Homophonic Texture (Homorhythmic) Sometimes the notes in the melody voice and the chordal accompaniment voices move together with exactly the same

(or very nearly the same) rhythm. Or the notes in all of the voices may move together without a definitive melody in

any voice. When this happens, the texture is considered to be homophonic because there is chordal harmony:

The excerpt below is an example of pure homophonic texture because the voices move together in rhythm to create

chordal harmony. Note that there is a melody (in the upper-most voice), but all the voices move together as chords.

Voices which produce chordal harmony may move together with identical rhythms, as in "America" above, or the voices

may have only similar rhythms, making the chords appear less obvious in printed music. The example below shows

homophonic texture with rhythmically similar voices. Chords are produced by all four voices, and a melody is present in

the upper-most voice. Listen for the chords.

Pure Homophonic Texture When a single instrument plays pure chordal harmony, as in the piano excerpt below, it may be thought of as

comprising a single musical voice. This can lead to confusion, since chordal harmony performed by multiple instruments

or singers is most often thought of as multiple voices (as in "Down the River" at the bottom of this page).

In the example below, notice that the notes move together with the same, or similar, rhythms, producing homophonic

texture.

Here is another example in which chordal harmony produces pure homophonic texture. Remember that a chord is a

group of two or more notes which are played together. In this example, there are two voices (on the same staff)

which produce chords together.

Practice Your Skills

Describe the following piece:

What key is this piece in? ___________________________________________

What does con Ped mean?___________________________________________

What does dolce espressivo mean? ________________________________________

Identify the chords on page 2, first 5 bars:

Describe the texture of this piece in detail:

Time Signatures When you look at a piece of music you will find two numbers along with the clef and the key signature at the beginning

- these are called the time signature and they tell you several important things about how to play the piece.

The top number tells you how many beats you have in a bar. 2, 3 or 4 are the most common. The bottom number tells

you what kind of beats they are. Quaver, crotchet or minim are the most common.

3 tells you that there are 3 beats in a bar and the beats are crotchets. 4

Music is divided up into small segments by lines called bar lines. These make it easier to see how the notes add up in

each bar.

In simple time signatures the main beats are indicated by the top number. Compound time signatures also give us the

number of beats, but since the numbers are usually bigger for example

6, 9 or 12 we divide the number by three to get a more manageable figure. This means that in we have six

quavers per bar, but having divided the six by three we get two main beats which

are dotted crotchets.

Therefore both and are in two time, although one is simple time (2 crotchets per bar), and the other

is compound (2 dotted crotchets per bar).This can be seen more clearly if we look at the table below:

Now add in the barlines and time signatures below. Each starts on the 1st beat

of the bar.

Another name for two time is duple time. Three time is also known as triple time and finally four time can also be known

as quadruple time.

Triplets Triplets are three notes played in the time it usually takes you to play two notes. For example triplet crotchets are

played in the time of two crotchets as illustrated below.

Triplet quavers are played in the time of two quavers as shown below.

Triplet semiquavers are played in the time of two semiquavers.

Fill in the missing triplet signs below. You may also need to change some note

values!

Now add in the missing barlines and triplet signs to make this rhythm add up

correctly:

Minor Scales ach major scale has what is called a relative minor scale.The relative minor is found by taking the last three notes of

the major scale.

There are two types of minor scale - first lets look at harmonic minor scales. If we look at the last 3 notes of the

scale of C major - A B C, we have the first 3 notes of the scale of A minor. As you can see from the diagram below

this changes the pattern of tones and semitones that we find between the first 3 notes:

Now here is the relative minor scale of C major which is called A minor.

The other main difference with a minor scale comes with the seventh note of the scale. Can you see in the scale above

that the G has moved up another semitone and become G sharp? In a harmonic minor scale the leading note (the

seventh note) is always raised a semitone higher.

Now here is the minor scale of E minor which is the relative minor of G major. Can you write in the correct pattern of

tones and semitones underneath?

Minor keys share the same key signature as their relative major, however the accidental added to make the leading

note a semitone is never included in the key signature it is always added as an accidental. In the key signature of B

minor there is an F sharp and C sharp.The scale of D major is the relative major to B minor and shares the same F

sharp and C sharp in the key signature. However, B minor also has a raised leading (or seventh) note of A sharp but

this is not written in the key signature.

Now write in the relative minor for these keys:

Chords When we have more than two notes playing together they form what is called a chord. A chord that uses the 1st

(tonic), 3rd (mediant) and 5th (dominant) notes of a scale is called a tonic triad.

Here are some examples of common chords:

Now try to write out the tonic chords for these keys

A chord or triad can be built on every note of the scale in every key. Here are all the possible chords in C major:

So that we can recognise one chord from another chords can be numbered - in music when we number chords we

usually use roman numerals.

Now try to answer these questions: the first one is done for you as an example

In D major the chord of A (A, C sharp and E) is called: CHORD V

In F major the chord of B flat (B flat, D and F) is called

In A minor the chord of F (F, A and C) is called

In B minor the chord of E (E, G and B) is called

What are the notes in the chord II in C major?

What are the notes in chord V in F major?

Intervals Part 2 So far we have looked at the distance between notes and worked out whether they are a 2nd or a 3rd interval etc.

Now we are going to look at intervals more closely. As you know music is written in different keys called major and minor.

Intervals can also be given more specific names such as major 2nd, minor 3rd or perfect 4th.

Perfect intervals - these are found between the 4th, 5th and 8th notes. Here are the perfect intervals based on C:

The major intervals based on C are:

If

a major interval is reduced by a semitone the interval becomes minor. For example, if we take the interval of a major

third from C to E and lower the E by a semitone we get E flat. This is a minor third. Here are the minor intervals based

on C:

Draw in the notes to make the intervals named below.

Musical Form The word form in music is used to describe the structure of a piece. In the past composers were expected to follow

quite rigid rules of composition. If a composer was writing a sonata in the Classical period there were standard patterns

of how the music was expected to be developed and organised. A musician who wanted to be taken seriously needed to

know these rules and apply them to their music. Naturally composers developed these rules and created new forms and

styles through the centuries, but there was always an underlying understanding of the basic principles. However, in the

twentieth century some composers experimented with deliberately unusual patterns and many chose to abandon

traditional ideas of form seeing these rules as stifling their creativity.

You may think that understanding the musical form of a piece of music is unnecessary as you can just listen to a piece

and decide if you either like it or not! It is true up to a point, that you dont always have to know how a piece of music

was composed in order to listen to it and like it. But you will have to agree that understanding more about the reasons

why a piece of music was written and why it was written in a particular way can add a great deal to your enjoyment of

the music. Think about studying musical form as being a detective trying to use the clues given in the music to

understand and solve a case.

When trying to analyse the form of a piece there are three things to look out for:

1. Key Understanding the key relationships can often help to identify the overall structure. Listen and look out for changes of

key. Is the music in a major or minor key? Does it change or not? Where does it return to the original key?

2. Rhythmic Patterns Is a particular pattern repeated within different sections? This can help to identify a return to a particular theme.

3. Melodic Patterns The melody or tune is often referred to as a theme in music analysis. Recognising the melody lines will help you to see

where, for example, theme A or B returns.

Simple Binary Form As the name suggests, binary form is a two part form. When analysing a piece of music these two sections are usually

called A and B. Often each section is repeated. Binary form is most often used in smaller pieces or in a smaller section

of a larger work. The easiest way to think of binary form is as a musical question and answer.

In a short piece written in binary form the music may stay in the tonic key the whole way through but it is more common

for the first part to end in a related key, often the dominant. The second part B may start with a similar musical idea to

the first and gradually work its way back to the original tonic key. If the piece is in a minor key the key modulation may

be to the relative major.

A basic example of simple binary form is the English folk song Barbara Allen.

The music begins in the key of C major with Section A.

In the fourth full bar the music has moved to the key of G major which is the dominant key in C major.

It then continues with the new Section B.

By the end of the piece you can see that the music has moved back to the key of C major.

In simple binary form the two sections A and B tend to be the same length. This creates a natural balance between the

two sections. Imagine a set of balanced scales. When writing music in simple binary form this is an important

consideration. Sometimes a composer may want to develop and extend the second section a little more.This is called

asymmetrical binary form.

ASYMMETRICAL AND ROUNDED BINARY FORM Binary form is a two part form consisting of theme A and theme B. In it simplest form there are two equally balanced

sections. Sometimes the composer may develop the second theme B and make it a little longer or return to some of the

material used in the first theme A.This is called asymmetrical binary form as there is not an equally balanced number of

bars in each section. Usually the music will pass through several keys before working its way to the final cadence in the

tonic key. In very short binary pieces however, the music may not modulate.

In rounded binary form the first or second part, usually the second part, of the theme A section is brought back at the

end of section B. Again the music is not equally balanced. Most dances in the Classical period were written in rounded

binary form.

The musical term for an additional ending section is a coda. If the coda is very short it is usually called a codetta. In

binary form the two sections A and B are usually repeated. The vast majority of suites written by J.S. Bach are in

binary form.

Look at the score for the Gavotte from the Sixth French Suite by Bach. Fill in

the missing answers in the boxes below.

The piece begins with theme A in the key of ________________

before moving to the dominant key of ________________

at the first repeat sign.

Theme A is then repeated.

Theme B starts in the key of_________ and modulates through the keys

of C sharp minor and F sharp minor before returning to the tonic key

of_______ in bar ____.

This section B is then repeated. Section B has an extra _______ bars

compared to section A and echoes theme A in the middle part in the

last______ bars.

Ternary Form The easiest way to think of ternary form is as a basic musical sandwich with two slices of bread and a filling in the middle.

At first glance binary form and ternary form may appear to be very similar. In binary form you have two sections A and

B and you may have elements of the theme from section A or B reappearing at the end. The difference is that in

ternary form there is usually a complete restatement of section A in the tonic key. Sometimes the music

is varied to provide more contrast but it is always clearly derived from section A. Occasionally there is also a coda to

finish the music off. The music in section B is also completely different from section A and each section is completely

harmonically independent of the other. There is usually a linking passage from section B to the restatement of section

A. The repeat of section A is usually known as A2.

Look at the score of The Humming Song by Schumann from his Album for the Young Opus 68. This is an example of a

simple piece in ternary form. Fill in the answers in the blank spaces below after looking at the score.

Theme and Variations The form of music known as theme and variations or air and variations is one of the oldest types of composition. From

the earliest times composers have made use of the variation form as a means of extending a piece of music. Often

composers used popular songs or folk tunes that people would recognise as the basis for the air or theme. The

variations would take this basic theme and change or develop it in some way. A composer can vary a tune in all kinds of

ways. Here is a list of the most common devices used.

Decoration of the main theme with the harmony unchanged

Theme with the harmony changed, perhaps to the minor key

Melody changed but the harmony kept the same

Theme altered by a change of tempo or rhythm

Different treatment of the theme, perhaps using a canon or fugue

The theme and variations was particularly popular in England in the sixteenth century. The Fitzwilliam Virginal Book, a

large collection of English keyboard music of the period, contains many examples by composers such as Byrd, Bull,

Morley,Tallis and Dowland.

Look at the extracts from the last movement of the Fifth Keyboard Suite by Handel, also known as The Harmonious

Blacksmith. Complete the brief description of how Handel varies the main air (theme) below.

The air is written in_______________________ form with each part repeated.

The first variation, or double, as Handel called it uses a ___________________ pattern to subtly vary the

air.

The second variation moves the theme into the ___________________________of the right hand.

In the third variation Handel changes the theme more radically by disguising it within a lively pattern of semiquavers in

the___________________________ hand.

The fourth variation moves this semiquaver figure to the_______________________________.

In the final variation Handel uses the same basic chord structure but does not actually quote the air itself. Instead he

shows the performers technique with very quick ______________________________patterns.

Transposition Transposition in music simply means changing the pitch of a piece of music without altering the relation of one note to

another. If you look at the extracts below you will see that although the first one is in C major the intervals have

stayed the same when it has been transposed up a tone into D major. The major thirds in the accompaniment are still

major thirds in the transposed extract. The minor third in the melody line is still a minor third in the transposed

extract.

If you need to transpose a piece of music the most important thing to remember is that you must keep all the

intervals the same as the original. It is particularly easy to forget to add a necessary accidental. If the key signature

hadnt been transposed in the extract above it might have been easy to forget the F and C sharps.

On the empty stave below transpose the melody line of the C major extract down a tone.

Try this with the key signature written in and then without using accidentals.

On a separate piece of manuscript paper try writing out both parts a tone lower.

This quick reference page contains a selection of some

of the most common musical terms and symbols along

with their meanings.

Creating

Creating

This section is to record your process of creating music. This includes elements of music theory, compositional

devices, form, terms and signs, harmony, key signatures, time signatures, rhythm, arranging, transposition

and your notes, brainstorming and reflections on your musical creations.

The Composers Toolbox is for you to record definitions as you are taught them of compositional devices and

form including how and when to use them and for terms and signs that you encounter and their definitions and

how you can apply them to your compositions.

Group Progress Report is if you are creating your work in a group. This is a place for you to easily record

how you are going in your writing/composing group.

The Lesson Notes area is for you to complete examples given to you and also to take notes given to you in

class. The page is divided into two halves the top half is standard lined paper and the lower half is manuscript.

This way you can write notes and notation on the same page.

The Creative Notes and Brainstorm section is designed for you to write all of your ideas, problems,

questions, song lyrics, chords and anything else you need while you are developing your song, composition or

arrangement. You can also use these pages to reflect on your finished product. Its really up to you!

AS 91092 Compose two original pieces of music

6 Credits

Words to Life Course Description:

Creating a Booktrack.

More and more authors now are not only creating video trailers for their books, but also soundtracks for them

Your task is to create 2 pieces of music for a book. You may want to work with a film student to create an

original Book Trailer with its own soundtrack.

For more information see: http://booktrack.com/

Achievement Criteria Achievement Achievement with Merit Achievement with Excellence

Compose two substantial pieces of music.

Compose two effective substantial pieces of music.

Compose two convincing substantial pieces of music.

You are to compose music, the length and complexity of which should be appropriate to this level and to the

credit weighting for this Achievement Standard, and present your completed work in a portfolio. You will also

reflect on and evaluate the creative process you have undertaken in preparing and presenting your composition

work.

Once you have decided on what you wish to compose, you should liaise with your teacher to ensure that you are

undertaking an appropriate amount of work. You should discuss with your teacher strategies for helping you to

manage your time effectively and to meet the goals that you set yourself.

Level 2 Music composition task 1 : Words to Life

You are going to compose a piece of music either by yourself or in a group of up to 5 students, using the

Back Engineering techniques we have been learning this term to be based on the written song lyrics from a book or

novel.

Choose the style or genre of music you are going to work in. Remember that your piece doesnt have to be complex music and its best to work in a style you already know well.

Listen to lots of examples of this style and

Students Companion 2014 Level 2

Documents

Transcript of Students Companion 2014 Level 2