‘And the Glory of the Lord’ Handel (1742)

And the glory is a piece from the Messiah. The Messiah is an Oratorio.

Oratorio – A musical work thqt uses text and stories from the bible.

Written in the Baroque Period 1600-1750

1. 
   Small mainly string orchestra.
   
2. 
   Use of ornaments in music.
   
3. 
   Terrassed Dynamics
   
4. 
   Basso Continuo – Continuous bassline.
   
5. 
   One mood in a piece.
   

The VOICES use three different types of texture in the piece.

1. 
   MONOPHONIC – one sound/voice.
   
2. 
   HOMOPHONIC – a melody with accompaniment. Sopranos sing the melody whilst the other voices form the chords underneath.
   
3. 
   POLYPHONIC – different voices singing 2 or more of the 4 melody lines at the same time.
   

Use of terrassed dynamics – It does not use crescendo’s or diminuendo’s. It is either loud or quiet.

Small mainly string orchestra.

No percussion instruments.

ORGAN is used not Harpsichord.

Woodwind – Oboes and Bassoon.

Harmony

Uses mainly DIATONIC harmony. Only notes from the key signature. (no chromatic notes)

The whole piece is based around 4 sections of melody.

1. 
   And the glory of the Lord
   
2. 
   Shall be revealed
   
3. 
   And all flesh shall see it together
   
4. 
   For the mouth of the Lord hath spoken it.
   

Use of SEQUENCE (same idea repeated a note lower or higher).

Whole piece built around two extracts of melody. SUBJECT 1 and SUBJECT 2.

SUBJECT 1 uses a SEQUENCE and uses a repeated 3 note idea.

SUBJECT 2 is a much more relaxed idea and a 3 note DESCENDING pattern is meant to sound like a musical sigh.

Written in the Classical Period 1750-1810

1. 
   Regular 4 and 8 bar phrases (sentences).
   
2. 
   Mainly HOMOPHONIC texture.
   
3. 
   Uses regular CADENCES (musical full stops and commas).
   
4. 
   Diatonic Harmony (no Chromatic chords).
   
5. 
   Clarinet was invented.
   

Mainly uses a HOMOPHONIC texture throughout. This is MELODY with an ACCOMPANIMENT.

Use of CRESCENDO’S and DIMINUENDO’S.

Use of DIATONIC harmony, very few Chromatic chords used.

Lots of cadences used PERFECT and IMPERFECT.

PERFECT = chords 5 – 1.

IMPERFECT = chords 1 – 5.
This piece uses lots of chord 1 and 5!

Instrumentation

STRINGS – Violin, Viola, Cello, Double Bass.

WOODWIND – Flute, Clarinet, Oboes, Bassoons.

BRASS – Horns

Melody lines are much longer so they be more expressive.

SECTION A – melody is mainly at a high pitch and is played in the right hand on the piano.

SECTION B – melody is mainly at a lower pitch and a lot of it is played with the left hand.

Use of DECORATIONS/ORNAMENTS in the melody.

Harmony & Tonality

Use of CHROMATIC harmony to create extra emotion in the piece.

Use of DISSONANCE – chords that clash.

Start in a MAJOR key then goes to MINOR but back to MAJOR for the ending.

Use of PEDAL NOTE to represent the Raindrops falling.

Instrumentation

The PIANO – Made bigger, a much bigger pitch range was no available. Pedals were added to the piano:

• 
  SOFT pedal
  
• 
  SUSTAIN Pedal
  

Written in the ROMATIC period 1810 – 1900

1. 
   Longer sustained MELODY lines.
   
2. 
   CHROMATIC harmony.
   
3. 
   Lots of changes in DYNAMICS.
   
4. 
   VIRTUOSO performers.
   

Raindrops are represented in the music by the use of a PEDAL note which plays continuously throughout the whole piece.

TEMPO RUBATO – lots of slowing down and speeding up.

Huge range in DYNAMICS to help create the emotion in the piece. Lot of use of CRESCENDO’S and DIMINUENDO’S.

Mainly uses a HOMOPHONIC texture throughout. This is MELODY with an ACCOMPANIMENT.

Very jumpy and disjointed. It can also be described as being Angular.

Uses KLANGFARBENMELODIE – the melody is passed quickly from one instrument to another to create different effects.

Harmony & Tonality

Tonality – Atonal, it has no key.

Use of HEXCAHORDS – 6 note chord.

COMPLIMENT – another chord used in the piece.

Use of CHROMATIC HARMONY.

Use of DISSONANCE.

Use of a full orchestra. Very large but at times individual instruments like the Clarinet are given solo passages.

Use of mutes in brass instruments.

Rhythm and Metre

The rhythm is very complex throughout the piece. As a result it can often sound chaotic.

Style – EXPRESSIONISM

Features of the style:

1. 
   Atonal – no key signature.
   
2. 
   Each piece has one intense emotion.
   
3. 
   Full use of the pitch range very high to very low on all instruments.
   
4. 
   Extremes of dynamics.
   
5. 
   Sound of the instruments is important – mutes, pizzicato, different combinations.
   
6. 
   Pieces are usually short.
   

Lots of LAYERS in the texture.

At times the texture is very DENSE and at others it is very SPARSE.

There are parts in the music where a HOMOPHONIC texture can be clearly heard.

Texture changes rapidly and often

Dynamics

Extreme use of dynamics. Long Crescendo’s and diminuendo’s.

At other times the volume can change very quickly.

Overall the piece uses a massive range of dynamics

The song is taken from the musical West Side Story.

West Side story is a modern day version of Romeo and Juliet.

Based around 2 gangs the Sharks and Jets.

Strong influence from jazz music in harmony and instruments used.

Texture

Lots of LAYERS in the texture, lots of independent parts in the orchestra.

Most of the song uses a Homophonic Texture – melody (voice) with accompaniment. But it does use other textures it depends which section of the music you hear.

Dynamics

Changes in volume using crescendo’s and diminuendo’s. Volume reflects the mood of the lyrics

Part of the melody is built up around extensive use of short riffs. RIFF – short repeated pattern.

Combination of short snappy phrases and long sustained notes.

Harmony & Tonality

Use of Jazz harmony and blue notes.

D major tonality makes the music sound bright and optimistic.

Use of extended chords such as 7^th chords which create chromatic harmony.

Vocals – tenor

Over 30 players in the orachestra – use of traditional and jazz instruments.

Rhythm and Metre

Extensive use of SYNCOPATION throughout the piece.

PANNING – certain guitars are made to come out of the left or right speaker on the backing track.

STYLE – Minimalism

Features

1. 
   Ostinato - Repetition
   
2. 
   Cells
   
3. 
   Layering
   
4. 
   Note Addition
   
5. 
   Note Subtraction
   
6. 
   Metamorphosis – slow rate of change
   
7. 
   Hypnotic
   

The texture is built up in LAYERS, part gradually come in and sometimes drop out.

MONOPHONIC TEXTURE – used at the start.

Use of POLYPHONIC texture – independent parts playing at the same time.

Texture remains quite constant throughout most of the piece.

Melody

Made up of lots of layers from each of the electric guitar parts.

Layers combine to produce a RESULTANT melody.

Resultant melody is when a new melody is produced when a variety of parts each play their melodies at the same time.

Resultant melody is played by the live guitar player.

Dynamics

Remains farily constant throughout the entire piece.

The piece is basically in E minor. However, it is unclear for quite a long time – this is called TONAL AMBIGUITY.

The tonality of the piece is actually MODAL.

Uses DIATONIC harmony – very few chromatic notes used.

Changes key from E minor to C minor.

Instrumentation

The piece is played by one live performer on the electric guitar. Everything else is on a backing track and is pre-recorded.

1. 
   Live Guitar – Electric
   
2. 
   4 pre-recorded electric guitars
   
3. 
   2 bass guitars
   
4. 
   3 acoustic guitars
   

1. 
   Extensive use of SYNCOPATION throughout the piece.
   
2. 
   Use of CROSS RHYTHMS.
   
3. 
   Metre starts 3/2 but changes to 12/8 and switches between the two.
   

• 
  Rhythm Section (accompaniment)
  

Piano – Bill Evans

Double Bass – Paul Chambers

Drums – Jimmy Cobb

STYLE: Modal Jazz

A style of jazz that allowed longer and freer improvisations.

Modal jazz pieces lasted for longer than others at the time.

Mainly improvised throughout the entire piece. The only section that isn’t is the ‘HEAD’ which is pre-written (fixed).

Melody uses modes (a type of early scale) to improvise their parts.

Very complex virtuoso playing during the solo sections.

Complex syncopated and cross rhythms are used by the soloists.

Soloists use chromatic notes in their improvisations

Mainly HOMOPHONIC throughout. Melody and accompaniment.

Use of the 12 bar blues chord pattern.

Use of EXTENDED chords particularly 7^th chords.

Use of Chromatic harmony which creates clashed in some parts of the solo sections.

Soloists use different modes/scales when improvising. They choose modes/scales that fit in with the chord pattern.

CHANGES – the chord pattern in a piece of jazz, they refer to the chords as changes.

Split into two parts: Frontline (melody) and Rhythm Section (accompaniment).

FRONTLINE:

Trumpet – plays the head then takes first solo(muted in the Head section).

Alto Sax – accompanies in head then solo’s.

Tenor Sax – accompanies in head then solo’s.

Double Bass – plays same riff all the way through, PIZZICATO throughout.

Drum Kit – improvised


Rhythm and Metre

Very complex rhythms used in the improvised solo’s.

Extensive use of SYNCOPATION throughout the piece. Particularly in the solo’s and drum kit parts.
Uses cross rhythms in places in the solos.
TEMPO is quiet fast and the time signature is 6/4 (6 crotchets in a bar).
Uses a SWING rhythm throughout the entire piece


Structure

The structure is a HEAD arrangement.

Intro

Head – tune, with accompaniment.

Head – tune to finish,

• 
  Uses Drones – a sustained or repeated note.
  
• 
  Powerchords – A chord which uses two notes 1^st and 5^th.
  
• 
  A real mixture of Major sections, Minor Sections and Modal sections.
  
• 
  These different tonalities and chords are used to help create different SOUNDSCAPES (moods/atmospheres) in the music.
  

• 
  Falsetto – Very high pitched singing from men.
  
• 
  Strumming – Playing several strings together. Strum a chord.
  
• 
  Picking/pizzicato – Playing individual strings. Used when doing a solo or playing a melody.
  
• 
  Slide – slide your finger from one note to another.
  

• 
  Overdub - use a multitrack recorder to layer recorded parts and add to it.
  
• 
  Delay – Repetitions of a sound after a set period of time.
  
• 
  EQ – Equalisation – electronically cutting or boosting high or low pitches.
  
• 
  Flanger – A studio effect ranging from swirling sounds to jet plane effects.
  
• 
  Electric Guitar whispers – adds an eerie effect emphasising the lyrics.
  

STYLE - Indie Rock.

In the voice throughout. Large pitch range because he uses falsetto.

Mainly syllabic but there are sections of melissma used.

Very passionate delivery of the vocals in places.

Use of improvisation in the outro on vocals.



Texture

Mainly HOMOPHONIC throughout. Melody and accompaniment.

Use of SOUNDSCAPES which change the texture (layers) and the sounds of instruments to create a certain atmosphere.

Polyphonic textures can be heard at certain times.

Use of powerchords on guitar which use the root of the chord and the 5^th note.

The guitar has been tuned down into drop D meaning that the lowest pitched string has gone from an E to a D.

Uses drones – repeated or long sustained notes often created clashes/dissonance.

A real mixture of Major sections, Minor Sections and Modal sections.
These different tonalities and chords are used to help create different SOUNDSCAPES (moods/atmospheres) in the music.
The chords used create dissonance at times in the music.

Instrumentation & Playing Techniques
Male vocals - Tenor

Electric Guitar

Acoustic guitar

Bass Guitar

Drum kit

Synthesisor – string sounds

Plucking, strumming, guitar slides

Time signature – 12/8. 12 quaver beats in a bar.

Lots of syncopation particularly in the voice and the acoustic guitar parts.


Structure

More complex than most rock songs:

Intro, verse, pre-chorus, chorus, links, middle 8 and outro. Middle 8 is an 8 bar instrumental section.

Effects used
Delay – the vocal is given an echo but it is delayed.

EQ – You can increase the bass and treble after it has been recorded.

Flanger – studio effect that can completely change the sound of an instrument.

Electric Guitar whispers – used to add an eerie effect.


Why does my heart feel so bad? Moby

This is a dance piece of music released in 1999.

• 
  Dub – in the 60’s songs started to be remixed. Musicians would use overdubbing to remove and add extra parts, often including effects into them.
  
• 
  Scratching – A record is spun by hand to create a scratching sound. It got to the point were the record deck was considered a musical instrument!
  
• 
  Chicago House – Take existing tracks and remix them. Extra things like the use of a drum machine to emphasise the ‘4 on the floor’ were also used.
  
• 
  Garage – More melodic than House – it used soul and R ‘n’ B music
  

• 
  Built around 2 vocal samples taken from a gospel choir recording done in 1953.
  
• 
  Both of the samples are in A minor.
  
• 
  Moby has chosen to harmonise one with minor chords and the other with major chords.
  

• 
  Based around 2 chord sequences which are in 8 bar blocks.
  
• 
  Intro – Verse – Chorus – Verse2 – Break – Chorus – Outro.
  

Moby develops the texture by changing the amount of instruments playing, the rhythms used as well as a number of different effects.

• 
  98 bpm. The time signature is 4/4.
  

Harmony & Tonality

Harmony is very simple in this song and only uses 6 chords.

The tonality of the song is minor (Aminor)which is reflected in the choice of the vocals.

However the second part of the chorus does change to a major tonality.

Pattern 1 – why does my heart

1	2	3	4	5	6	7	8
Am	Am	Em	Em	Gm	Gm	D	D

Pattern 2a – these open doors

1	2	3	4	5	6	7	8
C	C	Am	Am	C	C	Am	Am

Pattern 2b – these open doors

1	2	3	4	5	6	7	8
F	F	C	C	F	F	C	C

Directory: site assets -> files
files -> Darcy was born February 16, 1953 in Vancouver and played 11 years in the nhl drafted 13
files -> Version: 19 November 2015
files -> Rules of Procedure of the ospar commission
files -> Test Automator Professional experience
files -> Islamic Last Will and Testament
files -> Методические рекомендации по самостоятельной работе студентов с видеоматериалами на примере документальных фильмов
files -> Ospar convention for the Protection of the Marine Environment of the North-East Atlantic
files -> Учебное пособие может быть использовано при подготовке студентов к промежуточной и итоговой аттестации, а также в процессе их самостоятельной работы по овладению рядом общекультурных
files -> Учебно-методическое пособие для студентов специальности «Вагоны» Ростов-на-Дону 2008 Майорова Э. Е., Марченко А. Н

Download 0.52 Mb.

Share with your friends: