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



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

An optimistic and celebratory piece of music in the key of A MAJOR.

Written in the Baroque Period 1600 – 1750

Key characteristics of the Baroque era


  1. A small, mainly string orchestra.

  2. Use of decorations/ornaments in the music.

  3. Terraced Dynamics (no crescendo’s or diminuendo’s).

  4. Use of Basso Continuo – continuous bass line (organ and cello).

  5. Diatonic Harmony – uses only notes in the scale.

  6. One mood in a piece.

Taken from an Oratorio. Oratorio – A musical work that uses stories from the bible.

TEXTURES – used in the vocal parts:

MONOPHONIC (one melody)

HOMOPHONIC (one melody with accompaniment)

POLYPHONIC (more than one independent melody)



MELODY - 4 extracts of melody set to the words:

  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.

The melody also contains SEQUENCE (the same idea repeated a note lower or a note higher).

WORD SETTING – Uses syllabic (one note per syllable) and melisma (several notes over one syllable – particularly on the word revealed).

MUSICAL DEVICES

Uses a PEDAL – a sustained note or the same note played over and over again.



CADENCES

Mainly uses PERFECT and IMPERFECT but the piece finishes on a PLAGAL cadence



And the Glory of the Lord


Background Info & Style

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.

Texture

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.

Dynamics

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



Instrumentation

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)


Uses Mainly PERFECT (musical full stop) and IMPERFECT (musical comma) cadences.
However the piece ends with a PLAGAL cadence.
Uses PEDAL notes – either a long sustained note or the same note repeated over and over again.
A BASSO CONTINUO – plays the bass line supporting the harmony throughout the piece.

Melody

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).


WORD SETTING – uses SYLLABIC (one note per syllable) and MELISMA (several notes over on syllable) particularly on the word revealed.


1st Movement from symphony no.40 – Mozart (1788)

Written in the CLASSICAL period 1750 – 1830. The piece is in G MINOR.



Features of CLASSICAL music.

  1. Regular 4 or 8 bar phrases.

  2. Homophonic Texture.

  3. Uses regular Cadences.

  4. Diatonic Harmony (no chromatic chords).

  5. Harpsichord became redundant.

  6. Woodwind – Clarinet had been invented.

INSTRUMENTATION OF SYMPHONY NO. 40

Woodwind – 1 flute Brass – 2 horns

2 clarinets NO TRUMPETS

2 oboes


2 bassoons NO DRUMS!
STRUCTURE – Sonata Form


Exposition


Development

Recapitulation

1st subject (melody)
Bridge
2nd subject (melody)


Development of both subjects by MODULTING (changing the key signatures).

Recaps the 1st subject in G minor again.


1st SUBJECT
Repeated 3 note idea that uses a DESCENDING pattern. In a MINOR key (G minor).
2nd SUBJECT
Much more relaxed idea. 3 note DESCENDING figure is meant to sound like a musical sigh. It is in a MAJOR key.

Symphony No. 40


Melody

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.



Background Info & Style

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.

Texture

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



Dynamics

Use of CRESCENDO’S and DIMINUENDO’S.



Harmony

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


NO TRUMPETS and NO PERCUSSION

STRUCTURE

EXPOSITION


DEVELOPMENT

RECAPITULATION

Introduces :

SUBJECT 1 & SUBJECT 2




Develops both subjects by changing key (MODULATES).

Brings back SUBJECT 1 again and finishes with a different ending (CODA).




Piano Prelude No. 15 ‘Raindrop’ – Chopin (1838)
Written in the Romantic era 1810 – 1900
Features of Romantic music


  1. Uses a wide range of feelings and emotions.

  2. Longer melody lines.

  3. Chromatic harmony (lots of sharps and flats). Used to create the emotions needed in the music.

  4. Strong and varied dynamic contrasts (very quiet to very loud). Used to give maximum emotion.

  5. Much more difficult to play (virtuoso performers).

  6. Much larger orchestra.

  7. Development of the piano.


THE PIANO


  • Made bigger

  • More notes were added.

  • Pedals were added (soft pedal – played quieter. Sustain pedal – sustains the notes).


CHOPIN’S PIANISTIC STYLE


  1. CANTABILE – Singing style, to be played smoothly or legato.

  2. TEMPO RUBATO – can slow down and speed up.


STRUCTURE
What is a prelude?
A prelude is always followed by something else. It is a short piece used to create the mood. Each one is meant to show or portray a particular emotion.
The ‘raindrop’ is in TERNARY FORM

Section A



Section B


Section A




Raindrop Prelude


Melody

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

Background Info & Style

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.


Chopins piano style
CANTABLIE – to be played smoothly or legato.

TEMPO RUBATO – lots of slowing down and speeding up.



Dynamics

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



STRUCTURE – TERNARY FORM

SECTION A


SECTION B

SECTION A1

Major key. Original Idea


Minor Key – Section is there to create a contrast. Melody goes lower in pitch.

Brings back Original idea again but finishes with a different ending (CODA).



Texture

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




Peripetie – Schoenberg (1909)
Peripetie is a piece of Expressionism
Features of Expressionism


  1. Atonality – No key signature (not major or minor).

  2. Expression of one intense emotion.

  3. Short pieces.

  4. Full pitch range used (really, really high to really, really low).

  5. Extreme use of expressive dynamics (very, very loud – very very quiet).


MELODY


  • Jumpy

  • Spikey

  • Angular

  • Disjointed


DYNAMICS


  • Massive range used from one note to the next


RHYTHM


  • Very complex rhythms (rests as important as notes that are written).


TONALITY


  • Atonal (no key signature).


HARMONY


  • Clashing

  • Chromatic


TIMBRE


  • The sounds of the instruments as important as the pitch.


FEATURES OF PERIPETIE
Use of HEXACHORDS – 6 notes from the chromatic scale used as a chord.
COMPLIMENT – 6 notes not used in the first Hexachord.
PRINCIPAL VOICE – The main melody.
SECONDARY VOICE – the 2nd most important melody line.

Peripetie


Melody

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.



Instrumentation

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.



Background Info & Style

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.

Texture

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




Something’s Coming – Bernstein (1958)
This is a song from a musical. The mood is one of optimism and excitement ‘Somethings coming I don’t know what it is but it is gonna be great’.
Features of Musicals


  1. Contains Music, Dance and drama.

  2. Musicals come in all different styles, rock, jazz, orchestral based.

  3. Contains Solo’s – song for solo voice.

  4. Contains duets – song for two voices.

  5. Contains chorus – everyone on stage sings together.


About Something’s Coming
RHYTHM


  • Use of syncopated rhythms (push rhythm – anticipates the beat).

  • Use of cross rhythms.


HARMONY


  • Jazz based harmony.

  • Uses Blue notes.


MELODY


  • Made up of lots of short riffs.

  • Combination of snappy short phrases and long sustained notes.


TONALITY


  • Bitonality (uses two keys at the same time).

  • Major


TEXTURE


  • Layered Texture

  • Homophonic Texture – Melody (voice) and accompaniment.


Something’s Coming


Background Info & Style

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



Melody

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 7th chords which create chromatic harmony.



Instrumentation

Vocals – tenor

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

Rhythm and Metre

Extensive use of SYNCOPATION throughout the piece.


Use of ‘Push’ rhythms which anticipate the beat.
Uses cross rhythms in places.




Electirc Counterpoint (3rd Movement) – Reich (1987)
This is a piece of MINIMALISM
Features of Minimalism


  1. Repetition

  2. Use of Ostinato (repeated pattern)

  3. Use of Drones

  4. Use of Cells (short musical ideas)

  5. Metamorphosis (gradual change of rhythm and melody).

  6. Layering (parts dropping in and out).

  7. Note Addition (notes gradually added).

  8. Note Subtraction (notes gradually taken away).

  9. Static diatonic harmony (use of one long chord which changes gradually if at all).


INSTRUMENTATION
Electric Counterpoint is to be performed by 1 live performer. The other 8 guitars are pre- recorded on the soloist plays over the top.

STUDIO EFFECTS

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





  • 7 guitars

  • 2 bass guitars


PLAYING TECHNIQUES


  • Picked

  • Strumming


TONALITY


  • Modal on E

MELODY



  • Built from cells

  • Forms a resultant melody (a melody that is produced when separate parts all play at the same time).


RHYTHM & METRE (time signature – beats in a bar)


  • Lots of Syncopation

  • 3/2 - 3 minims in a bar

  • 12/8 – 12 quavers in a bar

  • Both time signatures are used at the same time.


TEXTURE


  • Use of Layering

  • POLYPHONIC texture

  • Thick texture once built up – lots to listen to.

Electric Counterpoint


Background Info & Style

STYLE – Minimalism

Features


  1. Ostinato - Repetition

  2. Cells

  3. Layering

  4. Note Addition

  5. Note Subtraction

  6. Metamorphosis – slow rate of change

  7. Hypnotic

Texture

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.


There is a crescendo at the end of the piece.

Harmony & Tonality

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



Rhythm and Metre

  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.




All Blues - Miles Davis

All blues is a piece of ‘Cool’ Jazz which is Modal.


Features of All Blues


  1. The musicians improvise all of the solos they play.

  2. The soloists use modes to improvise – an early type of scale before major and minor scales were invented.

  3. It uses a swing rhythm.

  4. The ‘Head’ uses riffs in the accompaniment – a short repeated extract of music.


Instrumentation


  • Rhythm Section (accompaniment)

Piano – Bill Evans

Double Bass – Paul Chambers

Drums – Jimmy Cobb





  • Frontline (melody Instruments)

Trumpet – Miles Davis

Alto Sax – Cannonball Adderley

Tenor Sax – John Coltrane


Rhythm & Metre


  • Uses uneven swing rhythm.

  • Contains lots of syncopation.

  • The Time signature is 6/4 (six crotchets in a bar).


Melody


  • Apart from the head it is all Improvised.

  • Uses Blue Notes (flattened 3rd and 7th).


Harmony


  • Uses the 12 bar blues.

  • Changes – The word used to describe the chord sequence in a jazz song.

  • Uses 7th chords.

  • Uses Blue notes in the melody and the chords – flattened 3rd and 7th.

  • Use of turnarounds – A chord pattern used at the end of a section to take it back to the beginning.


Structure


  • Uses a Head arrangement – The head is simply the tune.

  • After the head is played the twelve bar blues changes (chord pattern) repeats over and over again.

  • Linking section – this can be heard in between each solo that’s played. The linking section uses a Riff (short repeated section of melody).



All Blues – Miles Davis 1959


Background Info & Style

STYLE: Modal Jazz

A style of jazz that allowed longer and freer improvisations.

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



Melody

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





Texture

Mainly HOMOPHONIC throughout. Melody and accompaniment.



Harmony & Tonality

Use of the 12 bar blues chord pattern.

Use of EXTENDED chords particularly 7th 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.



Instrumentation

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.


RHYTHM SECTION:
Piano – comps (improvised chords)

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.



Solo’s – all improvised.

Head – tune to finish,


Linking section – this can be heard in between each solo that’s played. The linking section uses a Riff (short repeated section of melody).
Chorus – refers to a repetition of the 12 bar pattern. The whole piece is made up of lots of repetitions of the 12 bar blues chord pattern.


Grace – Jeff Buckley

Grace is a piece of rock/alternative/indie music. It is hard to put it in one catergory.

Jeff Buckley used SOUNDSCAPES which is when the timbre (the quality of sound) and the texture of a piece of music is changed. This is done to create a certain atmosphere in the music rather than have continuous musical development.

Instrumentation
Vocals – Very wide range. Buckley uses falsetto a lot when he sings.

Acoustic guitar

Guitar

Bass


Drums

Harmony

  • Uses Drones – a sustained or repeated note.

  • Powerchords – A chord which uses two notes 1st and 5th.

  • 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.




Instrumental Techniques


  • 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.



Structure
Quite complex for a Rock song.
Intro – Verse 1 – Pre-chorus 1 – Chorus – Link – Verse 2 – Pre-chorus 2 – Chorus – Middle Eight – Link – Verse 3 – Outro.
Lots more than a simple structure. Each section has new music which adds to the atmosphere of the overall piece.




Studio Effects


  • 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.





Grace – Jeff Buckley 1994


Background Info & Style

STYLE - Indie Rock.



Melody

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.



Harmony & Tonality

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


Falsetto – high pitched singing, vocal slides

Plucking, strumming, guitar slides



Rhythm and Metre

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.



Influences on Dance Music

  • 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


Samples in ‘Why does my heart feel so Bad?’

  • 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.

Structure

  • Based around 2 chord sequences which are in 8 bar blocks.

  • Intro – Verse – Chorus – Verse2 – Break – Chorus – Outro.

Texture

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




Tonality
Starts in A minor. The second half of the chorus goes into C major.



Tempo/Metre


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




Harmony
Very simple – only 6 chords used in the whole song.

Uses chords to trigger an emotional response. They are used to create a certain atmosphere.


Chord sequence 1

  • ‘Why does my heart feel so bad?’ – Verse – a repeated 8 bar pattern

Chord sequence 2

  • ‘These open doors – ‘Chorus’ – spilt into 2 halves. Each is 8 bars long.





Effects used


  • Reverb – gives the impression of space eg. Singing in a cathedral or a small box room.

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

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

  • Panning – music put on 1 side and then switching to another. L-R.




Why does my Heart Feel so Bad – Moby 1999


Background Info & Style

STYLE – Dance music (remix)



Melody

The melodies come from samples taken from an old gospel record.

Melody 1 – why does my heart feel so bad.

Melody 2 – these open doors.





Texture

Mainly HOMOPHONIC throughout. Melody and accompaniment.

Lots of layering occurs throughout the song particularly in the intro and break section.

The texture goes from monophonic (sparse) in places to adding layers to create a more dense texture.



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


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