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EDEXCELGCSEMusicRevision
Howtousethisbooklet:
• SetWorkMindMapsRevisethemindmapforeachsetworktogiveyoualltheinformationyouneedtotalkaboutthemintheexam.Thesearecolourcodedforthegradeyouareaimingfor.
• MADTSHIRTKnowledgeOrganisersRevisethesetomakesureyouknowwhatvocabularythequestionisaskingforandthetypesofanswersyoucangive.Thisishowyouturnanopenquestionintoamultiplechoice
• SetWorkContextGridsThesewillgiveyouthebackgroundandcommonconventionsofthestyleofeachsetworksoyoucanmakeA04points(thewhypartoftheexamquestions)
Exam Strategies & Tips
How many marks is the question worth?
x Always check how many marks the question is worth! x If it is worth 2 marks, make 2 points. x If it is worth more than 2 marks you need to make that number of points AND justify answer with an
A04 point (evaluate your answer – what makes you think this?)
Melody?
x Does it go up or down (ascending or descending)? x Does it move by small steps (conjunct) or big leaps (disjunct) x Does the melody use a small range or a wide range of notes (lowest to highest)?
Dynamics?
x 1) How loud is it? Forte (loud), Mezzo Forte (middle), Piano (quiet) x 2) How does it change? Crescendo (getting louder), Diminuendo (getting quieter),
Terraced dynamics (suddenly changes)
Tempo?
x Fast (allegro), moderate (moderato), or slow (largo) x Does it get faster (accel.) or get slower (rall.)
Harmony?
x 90% of the time it will be Consonant – the notes fit together nicely x Are the notes that sound odd or crunchy? Then it has chromatic notes! x Is there a long held note in the background? This is a Drone! x How quickly do the chords change? This is called Harmonic rhythm
Cadence?
x If in any doubt, always put Perfect Cadence! x If they ask you about two cadences, put Perfect Cadence for both – it will be correct for at least one of
them!
Tonality?
x 90% of the time it is Major (happy) or Minor (sad) x Atonal will NEVER be the correct answer! EVER! x Modal is only ever used for Release by Afro Celt Sound System
Rhythm?
x Is it constantly repeating or changing? x Is it Straight (on the beat) or Swung (a bit jazzy)? x Which note value is most common (crotchets, quavers, semiquavers)?
Metre/Time Signature?
x If in doubt put the most common answer: 4/4
Texture?
x If in doubt put the most common answer: Melody Dominated Homophony
Essay?
x PLAN IT! The examiner will mark this and try to give you as many marks as possible! Make sure it is clear and uses the table format from class
x If you are aiming for a 5 or lower use bullet points making a clear point and describe its effect x If you are aiming for grade 6 or higher use PEAR: Point, Evidence, Analyse, Relate
Essay Plan? Use this format – They will mark this so be detailed and grab extra marks!
Familiar Element 1
Familiar Element 2
Unfamiliar element 1 Unfamiliar element 2
Essay Planning Document
.
Grade 1 – 5
Bullet points
x A03 comment and the effect created (A04) for piece 1
x A03 comment and the effect created (A04) for piece 2
Grade 6
Point (A03) A Baroque feature that Purcell uses in his text setting is word painting with the use of melismas on important words…
Evidence (A03) …such as ‘wondring’ and ‘pains’.
Analysis (A04) The melisma on ‘wondring’ draws out that word, as if the person is actually taking the time to wonder how the person’s ‘pains were eas’d’.
Relate The other piece, Linden Lea, is mainly syllabic in its text setting.
Grade 8+
Point (A03) A Baroque feature that Purcell uses in his text setting is word painting with the use of melismas on important words…
Evidence (A03) …such as ‘wondring’ and ‘pains’.
Analysis (A04) The melisma on ‘wondring’ draws out that word, as if the person is actually taking the time to wonder how the person’s ‘pains were eas’d’.
Relate Linden Lea is predominantly syllabic in its text setting. It does, however, also contain many examples of word painting.
Evidence(A03) For example, on ‘lean down low’ the melody always falls…
Analysis (A04) …which mirrors the way the branches are weighed down with apples.
Familiar Element 1 Familiar Element 2
Unfamiliar element 1 Unfamiliar element 2
Melod
y'–Kn
owledge'Organ
iser
Pitch
How$high$or$low$a$note$is
Interval
The$distance$between$any$tw
o$no
tes.$
Motif
A$fragmen
t$of$a$m
elod
y.
Range
The$diffe
rencebe
tween$the$lowest$
and$highest$n
otes
Phrase
Hoo
k/riff
A$longer$m
elod
icidea.$M
usical$“s
entences”$are$constructed$fro
m$phrases.$
A$mem
orable$re
peated
$melod
icidea$
desig
ned$to$catch$th
e$ear$o
f$the
$listen
er.$
Melod
ic'm
ovem
ent
Step
s–movem
ent$b
etween$no
tes$that$a
re$next$to$each$other$in$th
e$scale
Skips–
movem
ent$e
qualto$tw
o$step
s.$You
$“skip”$over$a
$note$in$th
e$scale
Leap
s–`any$m
ovem
entthat$is$larger$than$a$skip
Scalic–whe
na$section$of$a$m
elod
y$moves$along$usin
g$no
tes$in$scale$orde
rCh
romatic–movem
ent$u
sing$step
s$including$notes$th
at$are$not$in$th
e$key
Passing'no
te'–no
tes$w
hich$link$cho
rd$to
nes
Scale/mod
eA$grou
p$of$notes$which
a$melod
y$is$based$on
e.g.$m
ajor,$m
inor,$blues,$chrom
atic,$dorian
Coun
term
elod
yCo
mpo
sitio
nal'devices
Repe
tition–repe
at$a$m
elod
ic$idea
Sequ
ence
–repe
ata$melod
ic$idea$but$startin
g$on
$a$different$n
ote
Imita
tion–repe
at$amelod
icidea$in$ano
ther$instrument$
Varia
tion–change
the$melod
ic$idea$slightly$
Ostinato–constant$re
petition$of$a$m
elod
ic$idea$
Inversion–turn$th
e$melod
ic$idea$upside$do
wn
Retrog
rade
–play$th
e$melod
ic$idea$backw
ards
Perfe
ct'5th
Main$melod
y
Coun
term
elod
y
Articulation'–Kn
owledge'Organ
iser
ARTICU
LATIONmeans
howyou$play$or$sing$a$no
te.$It$is$a
n$im
portant$p
art$o
f$perform
ing$music$EXP
RESSIVELY.
Staccato'
Performed
$shorta
nd$brie
fly.$N
otes$
soun
dde
tached
$from
$each$othe
r.
Accent
Emph
asise
a$no
te$so
$that$it$
soun
ds$loud
er$th
an$others.$
Legato
Perfo
rm$th
e$no
tes$s
moo
thly.
Notes$so
und$conn
ected$to$each$othe
r.A$sm
ooth$articulation$be
tween$tw
o$no
tes$is$c
alled$a$SLUR.
Orche
stralStrings
Other'Articulations
Pizzicato
A'mem
orab
le're
peated
'melod
icidea'designe
d'to'catch'th
e'ear'o
f'the
'listene
r.'
Arco
Trem
olo
Vibrato'–a$slight$“wob
bling”$of$the
$pitch$of$a$note$for$
expressio
n.$Anim
portant$vocal$te
chniqu
e$as$well$as$for$
instrumen
ts.
Tong
uing
–the$techniqu
e$used
$by$brass$a
nd$wind$players.$
Faster$rh
ythm
s$ofte
n$requ
ire$th
e$techniqu
e$of$dou
ble$or$triple$
tonguing.
Bend
'–guita
rists$can$use$th
eir$fingers$to
$ben
d$the$strin
g$from
$on
e$no
te$to
$ano
ther.$B
rass$and
$wind$players$c
an$also
$do$this$
with
$differen
t$mou
th$sh
ape$and$air$p
ressure.
Sforzand
oSlides'
Glissand
o–a$dram
atic$slide$be
tween$a$widerange$of
notes.For$
exam
ple,$ru
nning$the$fin
gers$along$th
e$strin
gs$of$a$harp.
Portam
ento
–a$sm
ooth
slide
$between$tw
o$no
tes.Used$fre
quently$
by$singers.$
Perfo
rm$th
e$no
tes
by$plucking$
them
$with
$the$fin
gers.
Perfo
rm$th
e$no
tes$b
y$using$the$bo
w.
Continuo
usly$play$the
note$with
$the$bo
w$
rapidly$to$produ
cea$trem
bling$effect.
A$sforzand
ois$a$type
$of$accen
t.$Th
e$no
te$
shou
ld$be$played
$with
$a$su
dden
,$stron
g$em
phasis.
Dyna
mics'–
Know
ledge'Organ
iser
DYNAM
ICSrefer$to$ho
w$loud
$or$soft$m
usic$is$played.$It$is$an$im
portant$p
art$o
f$perform
ing$music$EXP
RESSIVELY.
Fortissimo
Forte
MezzoSfo
rte
MezzoSpiano
Pian
o
Pian
issimo
Crescend
oDiminue
ndo
VERY
'LOUD
LOUD
Fairly'Loud
Fairly$Soft
Soft
Very$Soft
Gradually$gettin
g$loud
erGradually$gettin
g$softe
r
On$a$musical$sc
ore$the$dynamic$m
arkings$a
re$always$
placed
$UNDE
RNEATH
'the$stave.
Sometim
es$co
mpo
sers$place$
extrem
e$dynamic$m
arkings$o
n$a$score$to$express$th
at$th
ey$
want$the
$music$to
$be$played
$as$
loud
$or$a
s$soft$a
s$is$h
umanly$
possible!
Texture'–Kn
owledge'Organ
iser
TEXT
URE
iswhat$w
e$call$the$diffe
rent$layers$and
$parts$of$a$m
usical$piece$and
$how
$they$fit$togethe
r.
Mon
opho
nic
A'single'm
elod
ic'voice'or'instrum
ent
Coun
terpoint
Unison
Whe
ntw
o$or$m
ore$voices$or$instrum
ents$sing
/play$
exactly
$the$same$thing$at$th
e$same$tim
e
Polyph
onic
Differen
tmusical'line
s'tha
t'interweave'with
'each'othe
r
Melod
y'an
daccompa
nimen
t'
Hom
opho
nic
A'texture'ba
sed'on
'cho
rds
Parallel'M
otion'
Exam
ples'of'T
HIN'te
xture
Exam
ples'of'T
HICK'texture
Contrary'm
otion'
Soloinstrumen
tAc
oustic'guitar'a
nd'vocal
Pian
o'an
d'cello
'
An'orche
stra
A'rock'ban
dA'samba
'ensem
ble'
Two$or$m
ore$diffe
rent$
melod
ies$p
laying$
together.
Notes$m
oving$in$th
e$same$direction$keep
ing
the$same$interval$.
Notes$m
oving$in$opp
osite
$directions;$o
ne$up,$th
e$othe
r$dow
n.
Structure'an
d'Form
'–Kn
owledge'Organ
iser
STRU
CTURE
Sthe
$differen
t$sectio
ns$of$a$piece
or$m
usic$and
$how
$they$are$ordered
.
TypicalPop
'Son
g'Structure'
Intro'–Ve
rse'1'–Ve
rse'2'–Ch
orus
–Ve
rse'3'–Middle'8/Bridge'–Ve
rse'4'–Ch
orus'–Outro'
Intro
Bina
ry'Form'
Music$th
at$has$tw
o$sections.
These$are$labe
lled$A$and$B.
AB
Ternary'Form
'
Music$th
at$has$th
ree$sections.
The$A$section$is$he
ard$again$after$B
.
AB$A
Rond
oForm
A$recurring$them
e$(A)$con
trasted$by$
diffe
rent$se
ctions.
AB$A$CA$DA$E
The$introd
uctio
n$sets$th
e$moo
d$of$
a$song.$It$is$o
ften
$instrumen
tal$but$
can$occasio
nally$start$w
ith$lyrics.
Verses
Verses$introd
uce$the$song$th
eme.
There$are$usually$new
$lyrics$for$
each$verse$which$helps$to
$develop
$the$song’s$narrative
Choruses
Them
e'&Va
riatio
n'Allthe
$cho
ruses$u
sually$have$the$
same$lyrics.$This$sectio
n$relays$th
e$main$message$of$the
$song.$
A$compo
sition$can$be
$develop
ed$usin
g$the$VA
RIAT
IONtechniqu
e.Amain$them
e$is$compo
sed$then
$the$following$sections$vary$this$them
e$in$so
me$way,$
by$alte
ring$for$e
xample:
MELODY
$–RH
YTHM
S$–CH
ORD
S$–TEMPO
$–INSTRU
MEN
TATION$–KE
Y$
Middle'8/Bridge
Thissection$adds$so
me$contrast$to
$the$verses$and
$cho
ruses$b
y$using$a$
diffe
rent$m
elod
y$and$chord$
progression.$
Instrumen
talSolo
Stroph
ic'Form
Throug
h'Co
mpo
sed
Solos$a
re$designe
d$to$sh
ow$off$an$
instrumentalists$sk
ills.$
Rock,jazz$a
nd$blues$ofte
n$feature$solos$o
n$instruments$su
ch$as$p
iano
,$sax,$guitar$a
nd$
drum
s
Whe
nall$of$the
$verses$a
re$su
ng$to
$the$same$music.
Whe
n$each$se
ction$has$d
ifferen
t$music.N
o$section$is$repe
ated
.$
Harm
ony'–Kn
owledge'Organ
iser
HARM
ONY'–ho
w$cho
rds$a
re$usedin$a$piece$of$m
usic.
Triad
Abasic
$type
$of$cho
rd$
made$up
$of$
three$no
tes
Inversion
Rearrangingthe$
order$o
f$the$$
individu
al$notes$of$a$
chord$
Power'Cho
rd
A$chord$using$on
ly$
the$1s
tand$5t
hscale$
degrees;$no$3r
d
Arpe
ggio'–playing$the$individu
al$notes$of$a$cho
rd$one
$afte
r$ano
ther
Cade
nce–a$movem
ent$b
etween$tw
o$chords$at$the
$end
$of$a$phrase
Chromatic'–music$th
at$uses$c
hords$that$a
re$not$naturally$fo
und$in$th
e$key
Diaton
ic'–music$th
at$use$only$chords$th
at$belon
g$to$th
e$key
Dominant–
the$fifth$cho
rd$(V
)$of$a$key
Harm
onic'rh
ythm
'–the$rate$at$w
hich$th
e$chords$change$in$a$piece$
Mod
ulation'–whe
n$the$harm
ony$shifts$to$a$new$key
Prim
ary'triads'–chords$I$IV$and
$V$in$a$key
Progression–a$sequ
ence$of$cho
rds$p
ut$to
gether
Seventh'–adding$th
e$7t
hde
gree$of$the
$scale$to$a$triad
Tonic–the$first$cho
rd$(I)$in$a$key
Chord'Functio
ns'in'a'Key'–Ro
man
'Num
eral'System
Build
ing'Ch
ords'Using
'Scale'Degrees
C'D
'E'F
'G'A
'B1''''''''2'''''''''3''''''''4''''''''5'''''''''6'''''''''7''
Major'Tria
d''
1''3''5'
Minor'Tria
d'1''b3''5'
Major'7
thchord
1''3''5''7'
Minor'7
thchord'
1''b3''5''b7'
Dom
inan
t'7thchord
1''3''5''b7
Perfect'C
aden
ce“The
'strongest'o
ne”
Plagal'Cad
ence
“The
'Amen
'one
”Im
perfect'C
aden
ce“The
'cliffhan
gero
ne”
Interrup
ted'Ca
dence
“The
'hidde
n'tw
ist'o
ne”
Chord'Symbo
l
Exam
ple:$M
inor$triads$are$built$using$$th
e$1$$b3$and$5$degrees$
of$a$sc
ale$so$a$C$minor$triad$contains$th
e$no
tes$C
$$EbG
Instrumen
tatio
n'(Orche
stral)'–Kn
owledge'Organ
iser
Strin
gsBrass
Woo
dwind
Percussion
Keyboa
rd'In
strumen
ts
Violin
Viola
Cello
Bass
Harp
Trum
pet
Fren
ch'horn
Trom
bone
Tuba
Flute
Clarinet
Saxoph
one
Obo
eBa
ssoo
n
Piano
Organ
Harpsichord
Timpani
Cymbals
Xyloph
one
Snare'Drum
Bass'Drum
Glockenspiel
Tambo
urine
Chim
es
Instrumen
tatio
n'(Rock'an
dPo
p)'–Kn
owledge'Organ
iser
Techno
logy'
Electric'Guitar
Acou
stic'Guitar
Strin
g'Section'
Bass'Guitar
Drum
'Kit
Brass'S
ectio
n'Piano
Lead'Vocals
Guita
r'Effects
Sampling/
Loop
ing
MIDI'Seq
uencing/Re
cording'
Software
Amplifier
Synthe
sizer'
Effects'P
rocessors
Backing'Vo
cals
Organ
Electric'Piano
Rhythm
'–Kn
owledge'Organ
iser
Whe
n$you$combine
$any$tw
o$or$m
ore$no
tes$o
r$rests$you
$create$a$RH
YTHM
.
Basic'Note'an
d'Re
st'Len
gths
Dotted'Notes'and
'Rests
Semibreve
4'Be
ats
Minim
2'Be
ats
Crotchet
1'Be
at
Qua
ver
½'Beat
Semiqua
ver
¼'Beat
A$do
tplaced$after$a
$note$or$re
st$te
lls$you
$to$
increase$th
e$no
te$or$rest$b
y$HAL
F'ITS'
ORIGINAL
'VALUE
Type
s'of'R
hythms
Ties
Triplets
Note Rest
This$bass$line
$wou
ld$be$de
scrib
ed$as$
having$a$CRO
TCHET'rh
ythm
Adjacent$
quavers$c
an$be$
joined
$together$
with
$a$BEA
M
Adjacent$
semiquavers$can$
be$joined
$together$
with
$a$BEA
M
1$Be
at
1$and$a$
half$be
ats
2Be
ats
3$Be
ats
POLYRH
YTHM
Two$or$m
ore$diffe
rent$rh
ythm
s$with
$the$same$METRE
played
$at$the
$same$
time
A$TIE'joins$two$no
tes$o
f$different$value
s$
Here$you
$wou
ld$play$the$first$note$and$
hold$it$fo
r$3$beats$(2
+1)
A$TR
IPLET'is$3$no
tes$p
layed$whe
re$th
ere$is$
usually$only$space$for$2
$
DOTTED
'MINIM
'and
$SEM
IQUAV
ERrhythm
CROSS'RHYT
HM
Two$or$m
ore$rhythm
s$played$at$th
e$same$tim
e$bu
t$with
$con
flicting$
ACCE
NTS'ofte
n$in$different$M
ETRE
S
Tempo
'–Kn
owledge'Organ
iser
TEMPO
means
how$fast$or$slow$a$piece$of$m
usic$is$–it$is$the$speed$of$m
usic
The$TEMPO
of$a$piece$of$m
usic$is$m
ost$com
mon
ly$indicated$in$tw
o$ways–
an$Italian$word$and$be
ats$p
er$m
inute$(B.P.M
.)
There$are$also$so
me$term
s$which$indicate$a$change$in$te
mpo
$during$a$piece
Italian'term
English'meaning
B.P.M.
Largo
Slow
ly$and
$broadly
40$g60
Adagio
Slow
ly$(b
utno
t$as$slow$as$largo)
60$g75
Andante
At$a$walking$pace
75g1
05
Mod
erato$
At$a$m
oderate$pace
105$g1
20
Allegro$
Quite
fast$
120$g1
55
Vivace
Quick$and
$lively$
155$g1
75
Presto$
Very$fast$
175$g2
00
Italian'term
English'meaning
Accelerand
o$Gradually$sp
eeding$up
Ritardando
/Rallentando
Gradually$slow
ing$do
wn
Ritenu
toA$sudd
enslo
wing$do
wn$
Rubato
A$highlyexpressiv
e$techniqu
e$whe
re$a$perform
er$plays$with
$flexible$te
mpo
Tempo
$markings$a
re$placed$at$th
e$start$
of$th
e$score$above$the$stave
Time'Signature'–Kn
owledge'Organ
iser
ATIME'SIGNAT
URE
gives$y
ou$inform
ation$on
$how
$the$be
ats$a
re$arranged$in$a$piece$of$m
usic.$It$is$a
lso$kno
wn$as$M
ETRE
The$top$nu
mber$tells$you$ho
w$many$beats$a
re$in$each$bar.$
In$th
is$exam
ple$there$are$three
The$bo
ttom
$num
ber$tells$you$that$each$be
at$is$worth$a$crotche
t$(a$crotchet$is$also
$know
n$as$a$quarter$note$he
nce$the$nu
mbe
r$4$used$to$den
ote$it)
Simple'Metre
Compo
und'Metre
Num
ber$2
on$th
e$bo
ttom
$=$M
INIM
S
Num
ber$4
on$th
e$bo
ttom
$=$CRO
TCHETS
Num
ber$8
on$th
e$bo
ttom
$=$QUA
VERS
The$vast$m
ajority$of$m
usic$is$written$with
$a$
4/4$tim
e$sig
nature.$
This$is$so$com
mon
$it$is$kno
wn$as$
COMMONTIME$and$can$be
$den
oted
$usin
g$a$
letter$C$instead$of$usin
g$nu
mbe
rs
IRRE
GULA
R'METRE
Sometim
es$m
usic$is$
written$in$a$m
etre
containing$odd
$num
bers$
of$betas$in$each$bar
There$are$tw
o$main$type
s$of$m
etre:$SIM
PLEand$CO
MPO
UND
Simple$tim
e$sig
natures$h
ave$be
ats$that$can$be$broken
$dow
n$into$tw
o$no
tes
Compo
und$tim
e$sig
natures$h
ave$be
ats$that$can$be$broken
$do
wn$into$th
ree$no
tes.
In$com
poun
d$tim
e$sig
natures$e
ach$be
at$is$re
presen
ted$by$a$
dotted
$crotche
t$which$can$be$broken
$dow
n$into$th
ree$qu
avers
BA
CH—
BR
AN
DEN
BU
RG
C
ON
CER
TO N
o 5
MO
VEM
ENT
3
ME
LOD
Y
Lots
of t
he m
elod
y ha
s a st
epw
ise (c
onju
nct)
mov
emen
t, al
thou
gh th
ere
are
som
e le
aps.
Ther
e ar
e ris
ing
sequ
ence
s (w
hen
a sh
ort p
hras
e is
repe
ated
goi
ng o
ne n
ote
high
er e
ach
time)
Th
ere
are
lots
of s
calic
runs
(not
es g
oing
up
and
dow
n a
scal
e)
Ther
e ar
e lo
ts o
f orn
amen
ts su
ch a
s gra
ce n
otes
(a
ppog
giat
uras
) and
trill
s
TON
ALI
TY
The
mai
n to
nalit
y fo
r the
pie
ce is
D m
ajor
The
B se
ction
is in
the
rela
tive
min
or k
ey o
f B
min
or
The
final
A se
ction
is b
ack
in D
maj
or.
The
key
mod
ulat
es o
ften
to th
e do
min
ant
(A m
ajor
) and
the
dom
inan
t of t
he
dom
inan
t (E
maj
or),
indi
cate
d by
the
ad
ditio
n of
acc
iden
tals.
HA
RM
ON
Y
The
harm
ony
uses
stan
dard
cho
rds o
f the
tim
e
The
mus
ic is
dia
toni
c (a
ll th
e no
tes/
chor
ds c
ome
from
th
e ke
y sig
natu
re)
Perf
ect c
aden
ces
anno
unce
the
ends
of s
ectio
ns, s
uch
as th
e pe
rfec
t cad
ence
in B
min
or a
t the
end
of t
he B
se
ction
. Th
e ha
rmon
y us
es st
anda
rd c
hord
s of t
he ti
me
(mai
nly
chor
ds I,
IV a
nd V
, with
occ
asio
nal u
se o
f ii a
nd v
i)
The
harm
ony
is fu
nctio
nal (
perf
ect c
aden
ces a
re u
sed
to m
ove
betw
een
clos
ely
rela
ted
key
signa
ture
s).
The
harm
ony
uses
mai
nly
root
pos
ition
and
firs
t
in
vers
ion
chor
ds.
Ther
e ar
e oc
casio
nal s
uspe
nsio
ns.
SON
OR
ITY
/IN
STR
UM
EN
TS
This
piec
e us
es a
solo
flut
e an
d vi
olin
, a h
arps
icho
rd, a
nd a
strin
g or
-ch
estr
a (in
clud
ing
viol
in, v
iola
, cel
lo a
nd d
oubl
e ba
ss)
The
grou
p of
solo
inst
rum
ents
(vio
lin, fl
ute
and
harp
sicho
rd) a
re k
now
n as
the
conc
ertin
o.
The
strin
g or
ches
tra
are
know
n as
the
ripie
no.
The
bass
/cel
lo a
nd h
arps
icho
rd so
meti
mes
act
as t
he b
asso
con
tuin
o in
th
e pi
ece.
Thi
s mea
ns th
e ba
ss in
stru
men
ts p
lay
a ba
ss li
ne, a
nd th
e ha
rpsic
hord
“re
alis
es”
the
chor
ds o
n to
p (w
hen
it is
not p
layi
ng a
solo
pa
rt)
Bach
bro
ke w
ith tr
aditi
on in
this
piec
e by
mak
ing
the
harp
sicho
rd p
art
incr
edib
ly v
irtuo
sic (d
ifficu
lt an
d im
pres
sive!
), w
ith lo
ts o
f fas
t sca
lic
runs
and
trill
s in
both
han
ds a
t onc
e.
The
baro
que
flute
is d
iffer
ent f
rom
the
mod
ern
flute
, as i
t was
mad
e of
w
ood.
TEX
TUR
E
The
text
ure
is po
lyph
onic
(mor
e th
an o
ne m
elod
y
ha
ppen
ing
at th
e sa
me
time)
Th
ere
is us
e of
imita
tion
(whe
n on
e pa
rt i
mita
tes
anot
her i
n a
call
and
resp
onse
styl
e)
The
mov
emen
t beg
ins i
n a
fuga
l sty
le. A
fugu
e is
a
co
mpl
icat
ed p
iece
whi
ch u
ses l
ots o
f im
itatio
n
th
roug
hout
. Thi
s mov
emen
t is n
ot a
n ac
tual
fugu
e, b
ut it
us
es fu
gal t
echn
ique
s, li
ke th
e st
art o
f the
ope
ning
A
secti
on.
Som
etim
es th
e so
lo fl
ute
and
viol
in p
lay
the
sam
e th
ing
in u
niso
n
Whe
n th
e flu
te a
nd v
iolin
com
e in
at t
he st
art,
they
are
pl
ayin
g in
two
part
imita
tion.
W
hen
the
harp
sicho
rd c
omes
in a
t the
star
t, it
play
s the
su
bjec
t in
the
left
hand
, the
n th
e an
swer
in th
e rig
ht.
The
harp
sicho
rd p
lays
in 2
par
t cou
nter
poin
t. O
nce
all s
olo
inst
rum
ents
are
pla
ying
, the
y ar
e pl
ayin
g in
4
part
cou
nter
poin
t. O
ccas
iona
lly th
e flu
te a
nd v
iolin
pla
y in
third
s.
At th
e st
art o
f the
B se
ction
ther
e is
a to
nic
peda
l on
B
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is pi
ece
was
writt
en in
the
Baro
que
era.
Ba
ch w
rote
a se
t of s
ix c
once
rtos
for t
he M
argr
ave
of
Bran
denb
urg
as p
art o
f a jo
b ap
plic
ation
.
This
is a
conc
erto
gro
sso.
A so
lo c
once
rto
has j
ust o
ne
solo
ist, b
ut a
con
cert
o gr
osso
has
a g
roup
of s
oloi
sts
(the
con
certi
no)
This
is th
e th
ird o
f thr
ee m
ovem
ents
in th
e co
ncer
to.
This
is ch
ambe
r mus
ic, w
ritten
for a
smal
l gro
up o
f mus
i-ci
ans r
athe
r tha
n a
full
orch
estr
a
RH
YH
M, T
EM
PO
an
d M
ETR
E
The
met
re is
2/4
. Th
e pi
ece
uses
lots
of t
riple
ts a
nd d
otted
rhyt
hms.
The
harp
sicho
rd p
art h
as lo
ts o
f fas
t sem
iqua
ver r
uns.
The
first
mel
ody
idea
(sub
ject
) sta
rts w
ith a
n an
acru
sis.
Beca
use
of th
e la
rge
num
ber o
f trip
lets
, the
pie
ce c
ould
al
so b
e no
tate
d in
6/8
tim
e.
In th
e ba
roqu
e er
a th
e do
tted
quav
er-s
emiq
uave
r gr
oupi
ng (l
ike
in th
e fir
st b
ar) w
ould
hav
e be
en
pe
rfor
med
in tr
iple
t rhy
thm
(with
the
dotte
d qu
aver
la
sting
2/3
of a
bea
t, an
d th
e se
miq
uave
r las
ting
1/3
or
a be
at.
DY
NA
MIC
S Th
ere
are
only
a fe
w d
ynam
ic
mar
king
s on
the
scor
e, a
nd th
ese
are
ther
e m
ostly
for b
alan
ce re
a-so
ns, l
ike
havi
ng th
e vi
olin
pla
y qu
iete
r so
the
flute
can
be
hear
d
Ther
e ar
e no
dyn
amic
mar
king
s fo
r the
har
psic
hord
, bec
ause
the
harp
sicho
rd u
sed
in th
is pi
ece
wou
ld n
ot h
ave
been
abl
e va
ried
dyna
mic
s, it
stay
ed a
t one
vol
ume
KEY
3
Gra
de
5 G
rade
8
Gra
de
STR
UC
TUR
E
The
piec
e is
in te
rnar
y fo
rm (A
BA)
The
open
ing
A se
ction
beg
ins i
n a
fuga
l sty
le.
The
B se
ction
is in
the
rela
tive
min
or k
ey, a
nd c
on-
tain
s a n
ew th
eme
whi
ch is
sim
ilar t
o th
e fir
st
them
e in
the
A se
ction
. The
re a
re a
lso fr
agm
ents
of
the
A se
ction
them
e in
the
B se
ction
.
A w
oode
n ba
roqu
e flu
te
Context:Bran
denb
urgCo
ncertoNo.5(m
ovem
ent3
)
Melody–Articulation–Dynamics–Tempo–Structure–Harm
ony–Instrumentation–Rhythm-Texture
Baroqu
eCo
ncertoCon
ventions
M
⇒ Mainlyusescon
junct(stepwise)movementandanydisjunctleapsareusuallyquitesmallintervals(4thsor5ths)
⇒ Scalicru
nsandse
quen
cesa
reusedregularlytoshowoffthesoloists
⇒ Melodiesareoftendecoratedwithornam
entssu
chastrillsa
ndapp
ogiaturas(gracenotes
A D
⇒ Theharpsicho
rdonlyhadonepossiblevolumesodynamicswereimpossibleontheinstrument
⇒ Terraced
dyn
amicsw
erecommonwheredynamicschangesuddenlywithoutacrescen
doordiminue
ndoleadinginto
them
⇒ Dynamicswereusedforpracticalreasons(tom
akesureeverythingcanbeheard)ratherthantocreateanyemotion
(expressioninm
usiccamem
uchlater)
T
⇒ Doesnotuseextremelyfastspeeds–m
ostBaroquem
usicshouldbeabletobedan
cedto
⇒ Tempooftennotevenm
arkedonthescoresoperform
erswouldassumethespeedfromthem
usicalstyle
S
⇒ BaroqueconcertosareusuallyinTerna
ryForm(ABA)withtheBsectionbeingm
adeupofentirelynewm
aterial
⇒ Fugu
eisacommonstructure–acomplicatedtypeofcann
onwherepartsimitateoneanotherinasystemofstrict
rules
H
⇒ Theto
nalitywillbestableandonlym
odulatetocloselyre
latedkeyssu
chasthedom
inan
t(V)orrelativ
emajor/m
inorandthesewillbem
arkedbyperfectcad
ences
⇒ Harm
onyiswrittenoutinfigu
redba
sswhichtheharpsichordthenre
alises
⇒ Usesm
ainlyprim
arychordsI,IVandV(withsomeuseofiiandvi)
⇒ Them
usicisalwaysdiatonicandtheharm
onyisfu
nctio
nal
I
⇒ Noorchestrasaswethinkofthemtoday,insteadm
ostpieceswerecha
mbe
rmusic(forasmallensembleof
musicians)
⇒ TraditionalBaroqueconcertoswouldfeatureoneortw
osoloviolin
s(ratherthanwoodwindsoloists)whichwere
accompaniedbyastringorchestra(agroupofstringplayers)andcon
tinuo
⇒ Alm
ostallBaroqueinstrumentalmusicfeaturedtheBassoCon
tinuo
whichwasm
adeupofaBassViol(providingthe
bass)andHarpsichord(whichplayedalsoplayedthebassaswellasre
alisingchordsintherighthand)
⇒ Thesoloistsweregroupedtogetherintothecon
certinoandtheaccompanim
entwerecalledtheripien
o R
⇒ Frequentlyusesdottedrhythm
sandtripletsasthiswasacommonpatternindan
cefo
rms
⇒ Re
peated
qua
versorsemiqua
versintheharpsichord–anessentialfeatureasitcannotsustainlongnotes
T⇒
Po
lyph
onicwriting(alsocalledcou
nterpo
int)wasthem
aintextureofthebaroqueperiod(lotsofinterw
eaving
melodylines)
⇒ An
tipho
naleffectsarecreatedwhentheripien
o(stringorchestra)alternateswiththecon
certino(soloists)
⇒ Fugaltexturesareheardwhenpartsim
itateoneanotherincan
on
J.S.B
achBa
ckgrou
nd
• J.S.Bachwasoneofthegreatestcomposersofthe
Baroqu
eperiod
• Hecomposedthispiecewhileemployedasa‘court
musicdirector’fortheestateofPrinceLeopold
• Bach’sbackgroundwasm
ainlyasacomposerof
churchm
usic,butLeopoldwantedse
cular(non-
religious)musictobeperform
edtoinvitedguestsand
dignitariesinthegrandroomsofhiscastle
• BachcomposedsixBrandenburgconcertosintotal
A04
ME
LOD
Y
The
mai
n th
emes
in th
e pi
ece
are
the
first
and
seco
nd
them
es, p
lus t
he si
x no
te ri
sing
idea
from
the
intr
oduc
tion.
Th
e fir
st th
eme
(or s
ubje
ct) i
s a ri
sing,
scal
ic th
eme.
Th
e se
cond
them
e (o
r sub
ject
) fea
ture
s a th
eme
whi
ch ri
ses
then
falls
, inc
ludi
ng u
se o
f orn
amen
ts.
Ther
e ar
e a
num
ber o
f sca
lic p
assa
ges i
n th
e pi
ece,
incl
udin
g th
e de
scen
ding
chr
omati
c sc
ale
at th
e en
d of
the
intr
oduc
tion.
Oth
er m
elod
ic id
eas i
nclu
de a
rpeg
gios
and
br
oken
cho
rds.
O
rnam
ents
are
an
impo
rtan
t par
t of t
he m
elod
y, in
clud
ing
acci
acca
tura
s and
mor
dent
s in
them
e 2,
and
trill
s jus
t bef
ore
the
reca
pitu
latio
n.
The
deve
lopm
ent u
ses i
deas
from
the
first
them
e in
lots
of
diffe
rent
key
s. It
use
s seq
uenc
es.
TON
ALI
TY
The
piec
e is
in th
e ke
y of
C m
inor
(as m
entio
ned
in th
e tit
le o
f the
pie
ce!)
The
mus
ic m
odul
ates
to d
iffer
ent k
eys i
n th
e
de
velo
pmen
t sec
tion
The
first
subj
ect i
s in
C m
inor
. The
seco
nd su
bjec
t sta
rts
in th
e un
expe
cted
key
of E
b m
inor
, the
n m
oves
to th
e ex
pect
ed k
ey o
f Eb
maj
or (t
he re
lativ
e m
ajor
of C
min
or)
In th
e de
velo
pmen
t the
pie
ce m
odul
ates
to m
any
di
ffere
nt k
eys,
incl
udin
g di
stan
t, un
rela
ted
keys
such
as
E m
inor
(at t
he st
art o
f the
dev
elop
men
t)
In th
e re
capi
tula
tion
the
first
subj
ect i
s bac
k in
C m
inor
. Th
e se
cond
subj
ect i
nitia
lly p
lays
in th
e un
expe
cted
key
of
F m
inor
, the
n m
oves
to th
e ex
pect
ed k
ey o
f C m
inor
(t
o m
atch
the
key
of th
e fir
st su
bjec
t)
F m
inor
is th
e su
bdom
inan
t of C
min
or.
Perf
ect c
aden
ces c
onfir
m ch
ange
s of k
ey th
roug
hout
.
HA
RM
ON
Y
The
harm
ony
is m
ainl
y di
aton
ic, a
nd m
ainl
y us
es st
anda
rd c
hord
s of t
he
time.
Th
ere
are
also
som
e m
ore
diss
onan
t, co
mpl
icat
ed c
hord
s.
Ther
e ar
e so
me
mor
e co
mpl
icat
ed, c
hrom
atic
chor
ds u
sed,
incl
udin
g a
dim
inis
hed
seve
nth
at th
e st
art o
f bar
2. T
his i
s the
mos
t dis
sona
nt
chor
d av
aila
ble
to B
eeth
oven
at t
he ti
me.
Pe
rfec
t cad
ence
s an
noun
ce th
e en
ds o
f sec
tions
and
cha
nges
of k
ey.
This
is ca
lled
func
tiona
l har
mon
y. T
here
are
big
per
fect
cad
ence
s at t
he
end
of th
e pi
ece.
Th
ere
are
peda
l not
es, l
ike
the
dom
inan
t ped
al a
t the
end
of t
he
deve
lopm
ent s
ectio
n (d
omin
ant p
repa
ratio
n).
Ther
e is
an in
terr
upte
d ca
denc
e in
the
intr
oduc
tion
at b
ar 9
The
harm
ony
uses
stan
dard
cho
rds o
f the
tim
e (m
ainl
y ch
ords
I, IV
and
V,
with
occ
asio
nal u
se o
f ii a
nd v
i) Th
e ha
rmon
y us
es m
ainl
y ro
ot p
ositi
on a
nd fi
rst i
nver
sion
chor
ds.
Ther
e ar
e do
min
ant 7
th c
hord
s at c
aden
ces.
Th
ere
are
occa
siona
l sus
pens
ions
(inc
ludi
ng 9
-8 su
spen
sions
) Th
ere
is a
circ
le o
f fifth
s pro
gres
sion
in b
ars 2
44-2
49.
Anot
her c
hrom
atic
chor
d us
ed is
the
augm
ente
d six
th c
hord
, use
d in
bar
30
.
SON
OR
ITY
/IN
STR
UM
EN
TS
This
piec
e is
writt
en fo
r the
pia
no.
Unl
ike
a ha
rpsic
hord
, the
pia
no c
an p
lay
both
loud
an
d so
ft.
Alth
ough
it is
not
writt
en in
the
scor
e, B
eeth
oven
w
ould
hav
e us
e th
e su
stai
n pe
dal f
or g
reat
er
ex
pres
sion.
Th
e pi
ano
allo
wed
Bee
thov
en to
mak
e ex
tens
ive
use
of a
ll ki
nds o
f d
ynam
ic p
ossib
ilitie
s. T
his s
onat
a ha
s lo
ts o
f cre
scen
dos,
dim
inue
ndos
and
lots
of o
ther
dy
nam
ic m
arki
ngs.
This
piec
e w
as w
ritten
for t
he fo
rtep
iano
, whi
ch
cam
e be
fore
the
mor
e m
oder
n pi
anof
orte
. It h
ad a
sm
alle
r ran
ge a
nd w
as n
ot c
apab
le o
f as m
uch
dyna
mic
con
tras
t as a
mod
ern
pian
o.
TEX
TUR
E
The
text
ure
is m
ainl
y ho
mop
honi
c
Ther
e is
a m
onop
honi
c se
ction
with
a lo
ng d
esce
ndin
g sc
ale
lead
ing
into
the
reca
pitu
latio
n Th
e rig
ht h
and
play
s in
octa
ves h
alf w
ay th
roug
h th
e
intr
oduc
tion
The
intr
o is
hom
opho
nic
with
all
the
note
s pla
ying
toge
ther
in
cho
rds.
Thi
s is k
now
n as
a h
omop
honi
c ch
orda
l tex
ture
. Th
ere
is a
two
part
text
ure
with
mel
ody
and
brok
en c
hord
s in
the
seco
nd (E
b m
ajor
) ide
a of
the
seco
nd su
bjec
t (ba
r 93
)
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is is
a pi
ece
of m
usic
from
the
clas
sical
era
. Cl
assic
al m
usic
has
cle
ar, c
atch
y m
elod
ies a
nd
ho
mop
honi
c te
xtur
es .
A pi
ano
sona
ta is
a p
iece
for s
olo
pian
o. It
has
seve
ral
mov
emen
ts—
we
are
stud
ying
mov
emen
t 1.
Beet
hove
n w
as a
forw
ard
thin
king
com
pose
r, an
d th
is pi
ece
show
s sig
ns o
f the
rom
antic
era
. Th
is pi
ece
was
com
pose
d be
twee
n 17
96 a
nd 1
799.
Rom
antic
mus
ic is
all
abou
t exp
ress
ing
emoti
ons.
It
does
this
thro
ugh
mor
e dr
amati
c us
e of
dyn
amic
s,
use
of th
e su
stai
n pe
dal o
n th
e pi
ano,
mor
e co
mpl
ex,
chro
mati
c ha
rmon
y, a
nd m
ore
com
plex
, alte
red
stru
ctur
es (l
ike
how
Bee
thov
en a
lters
sona
ta fo
rm in
th
is pi
ece)
.
RH
YH
M, T
EM
PO
an
d M
ETR
E
The
intr
oduc
tion
is gr
ave
(ver
y slo
w),
and
the
met
re is
4/4
(c
omm
on ti
me)
Th
e m
ain
tem
po fo
r the
rest
of t
he p
iece
is v
ery
fast
.
The
mai
n te
mpo
for t
he p
iece
is a
llegr
o di
mol
to e
con
brio
(v
ery
fast
with
vig
our)
, and
is w
ritten
in 2
/2 (c
ut c
omm
on
time,
also
kno
wn
as a
lla b
reve
) Th
ere
are
som
e ve
ry ra
pid
note
s (sh
ort n
ote
valu
es)
Ther
e ar
e so
me
very
rapi
d no
tes (
shor
t not
e va
lues
),
in
clud
ing
sept
uple
ts a
nd 1
/128
th n
otes
in b
ar 1
0
DY
NA
MIC
S Th
is pi
ece
has a
wid
e ra
nge
of d
ynam
ics,
from
ve
ry q
uiet
(pp)
to v
ery
loud
(ff)
Ther
e ar
e cr
esce
ndos
(getti
ng lo
uder
) and
de
cres
cend
os (g
etting
qui
eter
)
The
intr
o us
es fp
(for
tepi
ano)
mar
king
s,
m
eani
ng lo
ud th
en im
med
iate
ly so
ft).
It al
so u
ses s
f (sf
orza
ndo)
mar
king
s, m
eani
ng a
su
dden
loud
acc
ent.
Dyna
mic
s mar
king
s in
the
piec
e ar
e us
ed
ex
pres
sive
ly, s
how
ing
Beet
hove
n an
ticip
ating
ro
man
tic e
ra m
usic
STR
UC
TUR
E
The
piec
e is
in so
nata
form
So
nata
form
con
sists
of a
n in
trod
uctio
n th
en th
e m
ain
secti
ons:
ex
posi
tion,
dev
elop
men
t, an
d re
capi
tula
tion.
In
the
expo
sition
two
them
es a
re in
trod
uced
. In
the
deve
lopm
ent t
he
them
es a
re a
ltere
d by
cha
ngin
g ke
y lo
ts. T
he re
capi
tula
tion
is th
e sa
me
as th
e ex
positi
on, b
ut w
ith th
e tw
o th
emes
now
in th
e sa
me
key.
Th
e pi
ece
finish
es w
ith a
cod
a.
The
them
es in
the
expo
sition
are
link
ed b
y tr
ansiti
ons (
or b
ridge
s). T
here
is
a co
detta
at t
he e
nd o
f the
exp
ositi
on, t
hen
the
who
le e
xpos
ition
is
repe
ated
.
Beet
hove
n us
es so
me
tech
niqu
es w
hich
are
unu
sual
for s
onat
a fo
rm:
Th
e se
cond
them
e st
arts
in E
b m
inor
inst
ead
of th
e ex
pect
ed E
b m
ajor
. It
mov
es to
Eb
maj
or a
t bar
89.
The
deve
lopm
ent b
egin
s with
4 b
ars f
rom
the
intr
oduc
tion—
this
is ve
ry
unus
ual!
Whe
n th
e de
velo
pmen
t ret
urns
to th
e al
legr
o te
mpo
it is
in th
e
unre
late
d ke
y of
E m
inor
.
In th
e re
capi
tula
tion
the
seco
nd th
eme
star
ts in
the
key
of F
min
or in
stea
d of
th
e ex
pect
ed C
min
or. I
t the
n m
oves
to C
min
or.
Th
e co
da st
arts
with
4 b
ars o
f the
intr
oduc
tion
agai
n.
THEM
E O
NE
The
first
subj
ect t
hem
e in
C m
inor
(ton
ic k
ey o
f the
pi
ece)
rise
s mai
nly
scal
ical
ly a
dist
ance
of t
wo
oc
tave
s –
over
a to
nic
peda
l in
the
bass
. The
mus
ic is
m
arke
d w
ith st
acca
to –
mea
ning
det
ache
d (s
epar
ate)
no
tes.
A
seco
nd m
elod
ic id
ea b
egin
s at b
ar 2
7 an
d fe
atur
es s
forz
ando
s and
des
cend
ing
arpe
ggio
s.
A tr
ansiti
on b
ased
on
the
mai
n th
eme
– us
ing
sequ
ence
s beg
ins a
t bar
35
and
mod
ulat
es to
war
ds
the
expe
cted
key
of E
b m
ajor
thro
ugh
a do
min
ant
note
(Bb)
in th
e ba
ss (d
omin
ant p
repa
ratio
n)
THEM
E TW
O
The
seco
nd su
bjec
t beg
ins i
n th
e un
expe
cted
key
of E
b m
inor
. The
th
eme
feat
ures
a d
istinc
tive
acci
acca
tura
orn
amen
t and
ha
ndcr
ossi
ng te
chni
que,
whe
re th
e rig
ht h
and
mov
es d
own
over
th
e le
ft ha
nd to
pla
y fo
ur st
acca
to n
otes
, bef
ore
retu
rnin
g. T
he
them
e co
ntinu
es w
ith a
step
wise
des
cend
ing
phra
se fe
atur
ing
mor
dent
s. A
new
them
e be
gins
in b
ar 8
9 in
the
rela
tive
maj
or k
ey
of E
b. It
has
a n
ew b
roke
n ch
ord
text
ure.
The
re is
a c
resc
endo
whi
le
the
hand
s mov
e in
con
trar
y m
otion
.
BEE
THO
VEN—
SON
ATA
No.
8
IN C
MIN
OR
(PA
THET
IQU
E)
MO
VEM
ENT
1
KEY
3
Gra
de
5 G
rade
8
Gra
de
Context:Pa
thétique
Son
ata
Melod
y–Articulation–Dynam
ics–Tempo
–Structure–Harmon
y–Instrumen
tation
–Rhythm-Texture
ClassicalP
iano
Con
ventions
M
⇒ ClassicalP
eriodmelod
iesusua
llyfitaba
lanced
8-barphrasestructure,altho
ughlatercompo
sers(suchasBeethoven
)
wou
ldexten
dan
dstretchthesemou
ldstom
akethemusicm
oreexpressive
⇒ Scalicru
nsand
brokenchord(arpeggio)figuresareverycom
mon
⇒ Ornam
entatio
nisstillem
ployed
butnow
herenearasm
uchasinthe
Baroq
uePeriod–melod
iestend
tobe
develope
dinotherwayssuchassequ
ences
⇒ Melod
ylinesarepassedbe
tweentherightan
dlefthan
dofthe
piano
freely
A D
⇒ Th
einventionofthe
piano
,aninstrumen
twhichcou
ldperform
sub
tledyna
micsmeantthe
sebecam
everyexpressive
⇒ Crescend
osand
dim
inue
ndosbecam
eafreq
uenttoo
lforcom
posers
T
⇒ Often
veryfasttoshow
ofthe
virtuo
sityofp
layers
⇒ Descriptiv
etempo
marking
sarecommon
(i.e.allegrodim
oltocon
brio
=veryfastand
withvigour)
S
⇒ Th
efirstmovem
entofClassicalPeriodpiecesareoften
inSon
ataForm
:•
Expo
sitio
n(1
stsub
jectinton
ickey,2
ndsub
jectinacloselyrelated
key:d
ominan
torrelativeminor)
• Develop
men
t(exploresideasfrom
the
expositionan
dde
velopsthe
minavarietyofkeys)
• Re
capitulatio
n(returnto1
stsub
jectinton
ickey,followed
bysecond
sub
jectbutthistimeinthe
tonic)
• Sona
tafo
rmcan
alsoinclud
ean
introd
uctio
n,tran
sitio
nsbetweensections,and
acod
a(outro)
H
⇒ To
nality(the
keyofthe
piece)w
ouldtradition
allyfo
llowthe
rulesofSon
ataForm
(seeabo
ve)b
utsom
ecompo
sers
suchasBeethoven
wou
ldada
ptand
bemorecreativewiththism
odel
⇒ Moream
bitiou
sha
rmon
ythan
Baroq
ueperiodwithextensionchords(suchasDim
inishe
d7ths)u
sedtoadd
colou
r
⇒ Regularlym
odulates(cha
ngeskey)throu
ghthe
useofp
erfectcad
ences
I
⇒ BytheClassicalP
eriodthepian
oha
dbe
eninvented
and
rep
lacedtheHarpsicho
rdalm
osten
tirely
⇒ The
piano
allowed
com
poserstouseexpressivedyn
amicssimplybypressingthekeysharde
rorm
oresoftly(thiswas
impo
ssibleontheha
rpsichord)
R
⇒ Freq
uentuseoffastqu
averorsem
iqua
verp
assagestosho
woffthe
virtuo
sityofthe
pianist
⇒ Dottedrhythm
san
dsyncop
ationbe
comequ
itecommon
⇒ Con
trastbe
tweenstaccatoand
legatorh
ythm
sbe
comesm
orepron
ounced
T
⇒ Th
emostcommon
textureisHom
opho
nic(cho
rdalwriting)
⇒ Lotsoftexturalcha
ngesinClassicalPeriodpian
owritinginclud
ingHom
opho
ny,M
elod
yDom
inated
Hom
opho
ny,
Octaves,and
Mon
opho
ny
⇒ VerylittlePo
lyph
ony(unliketheBaroq
ueperiodwhichwasallpo
lyph
ony)
Beetho
venBa
ckgrou
nd
• Beethoven
wasavirtuo
sopianistwhichm
eanshewas
brilliantattheinstrumen
t.Heregularlyplayed
hisownmusic
forwealthypatronsinthe
irstatelyhom
es
• LaterinlifeBee
thov
enbecam
ede
af,altho
ughhe
didnot
havehearingproblem
swhe
nwritingthispiece
• APiano
Son
ataisusuallya3or4movem
entworkforsolo
pian
owhichsho
wsofdifferentaspectsofthe
instrumen
t
• Pa
thétiquetran
slatesas‘m
oving’or‘emotiona
l’
• Beethoven
’sstyledevelop
edovertime.Hisearlym
usicwas
muchmorelikeHaydn
and
Mozartwhe
reeverythingfit
neatlyintoboxes-logicalstructures,logicalkeys,logical
phrasesetc.Astimewen
tby,h
ebe
camemuchmore
expressiveand
experim
entedwithbreakingsom
eofthe
rulesofthe
ClassicalPeriod
• Th
ePa
thétiqueso
natawascom
posedatam
idpointin
Beethoven
’scareeran
dlooksbo
thbackw
ardstothe
ClassicalP
eriodaswellasforw
ardtothe
Rom
antic
Period
A04
PU
RC
ELL
- MU
SIC
FO
R A
WH
ILE
ME
LOD
Y
The
mai
n m
elod
y is
sung
by
a so
pran
o sin
ger
The
wor
d se
tting
is m
ostly
sylla
bic
(eac
h sy
llabl
e of
the
text
giv
en it
's ow
n no
te),
with
som
e m
elism
atic
secti
ons (
like
the
wor
d "e
tern
al")
. W
ord
pain
ting
is u
sed
to m
ake
the
mus
ic re
flect
the
mea
ning
of t
he
Mos
t of t
he m
elod
y no
tes m
ove
in st
eps,
with
lots
of p
assin
g no
tes (
the
note
s in
betw
een
chor
d no
tes)
Th
ere
are
lots
of u
ses o
f orn
amen
ts (c
omm
on to
Bar
oque
mus
ic) i
n th
e rig
ht h
and
of th
e ha
rpsic
hord
and
the
sopr
ano
line,
such
as t
rills,
app
og-
giat
uras
, gra
ce n
otes
and
mor
dent
s.
Som
e of
the
text
has
bee
n re
peat
ed, s
uch
as th
e w
ord
"dro
p"
Ther
e ar
e so
me
desc
endi
ng se
quen
ces,
such
as i
n ba
r 20
Rest
s are
use
d to
bre
ak u
p m
elod
ic p
hras
es
The
step
wise
mov
emen
t of t
he m
elod
y m
eans
it c
an b
e de
scrib
ed a
s a
"con
junc
t" m
elod
y TON
ALI
TY
The
mai
n to
nalit
y fo
r the
pie
ce is
A m
inor
This
refle
cts t
he so
mbr
e, sa
d na
ture
of t
he ly
rics
Durin
g th
e m
iddl
e (B
) sec
tion
the
piec
e m
odul
ates
th
roug
h se
vera
l rel
ated
key
s—E
maj
or (t
he d
omin
ant
key—
bar 1
5 &
28)
, G m
ajor
in th
e m
iddl
e of
bar
18,
C
maj
or (r
elati
ve m
ajor
—in
bar
22)
, A m
ajor
(the
toni
c m
ajor
—m
iddl
e of
bar
23)
and
fina
lly b
ack
to A
min
or
in b
ar 2
9
TEM
PO
Th
ere
is no
tem
po m
arki
ng o
n th
e sc
ore,
but
a sl
ow te
mpo
w
ould
be
appr
opria
te
HA
RM
ON
Y
The
acco
mpa
nim
ent i
s pro
vide
d by
the
grou
nd b
ass p
laye
d by
th
e ba
ss v
iol a
nd th
e le
ft ha
nd o
f the
har
psic
hord
Ch
ords
are
dia
toni
c
Ther
e ar
e pe
rfec
t cad
ence
s thr
ough
out t
he p
iece
(as t
he
grou
nd b
ass e
nds w
ith a
V c
hord
, the
n re
peat
s aga
in w
ith a
I ch
ord)
Th
ere
are
a co
uple
of d
isson
ance
s use
d fo
r wor
d pa
intin
g,
such
as t
he w
ord
"pai
ns"
Anot
her t
ype
of d
isson
ance
use
d is
a "f
alse
rela
tion"
, lik
e in
ba
r 1 w
ith th
e gr
ound
bas
s pla
ying
F sh
arp
whi
le th
e rig
ht
hand
pla
ys F
nat
ural
.
Susp
ensi
ons
are
used
ver
y oc
casi
onal
ly. F
or e
xam
ple,
ther
e is
a 4–
3 su
spen
sion
in b
ar 3
bea
t 4 1
⁄2 in
the
harp
sicho
rd
part
. Th
e rig
ht h
and
of th
e ha
rpsic
hord
pla
ys a
n el
abor
ate
real
isati
on, w
hich
has
bee
n in
terp
rete
d fr
om th
e or
igin
al
figur
ed b
ass
INST
RU
ME
NTS
Th
is pi
ece
uses
a so
pran
o sin
ger,
harp
sicho
rd a
nd b
ass v
iol.
The
harp
sicho
rd a
nd b
ass v
iol a
ct a
s the
bas
so c
ontin
uo,
prov
idin
g ac
com
pani
men
t for
the
singe
r. Th
e le
ft ha
nd o
f the
har
psic
hord
and
the
bass
vio
l pla
y th
e gr
ound
bas
s—a
repe
ating
bas
s patt
ern
that
act
s as a
n ac
-co
mpa
nim
ent.
The
right
han
d of
the
harp
sicho
rd p
lays
a
“rea
lisati
on”
(whi
ch w
ould
hav
e be
en im
prov
ised
at th
e tim
e), w
hich
fills
out
the
chor
ds o
f the
pie
ce.
TEX
TUR
E
The
text
ure
is ho
mop
honi
c - o
ne m
ain
mel
ody
and
an
acco
mpa
nim
ent.
The
acco
mpa
nim
ent i
s pro
vide
d by
the
grou
nd b
ass
The
elab
orat
e re
alisa
tion
play
ed b
y th
e rig
ht h
and
of th
e ha
rpsic
hord
mak
es th
e te
xtur
e fe
el p
olyp
honi
c at
tim
es
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is pi
ece
was
writt
en in
the
Baro
que
era.
It w
as c
om-
pose
d in
aro
und
1692
. It w
as w
ritten
for a
pla
y te
lling
th
e Gr
eek
myt
h of
Oed
ipus
.
This
is th
e se
cond
of f
our m
ovem
ents
Pur
cell
wro
te fo
r th
e pl
ay a
s “in
cide
ntal
mus
ic”
perf
orm
ed b
etw
een
the
dram
atic
part
s of t
he p
lay
RH
YH
M a
nd
ME
TRE
4/
4 m
etre
Th
e gr
ound
bas
s use
s rep
eate
d qu
aver
rhyt
hms
Ther
e ar
e a
wid
e va
riety
of r
hyth
ms,
but q
uave
rs a
nd se
miq
uave
rs
are
the
mos
t com
mon
in th
is pi
ece
Ther
e ar
e so
me
dotte
d rh
ythm
s in
the
voca
l par
t Th
ere
is oc
casio
nal s
ynco
patio
n
DY
NA
MIC
S Th
ere
are
no d
ynam
ic
mar
king
s on
the
WO
RD
PA
INTI
NG
Th
e (m
ostly
) min
or k
ey is
app
ropr
iate
for t
he se
rious
, sad
moo
d of
the
text
Th
e w
ord
"ete
rnal
" (ba
r 20)
is su
ng a
s a lo
ng m
elism
a Th
e w
ord
"dro
p" (b
ar 2
3) is
repe
ated
in a
des
cend
ing
patte
rn (g
oing
dow
n)
repr
esen
ting
the
snak
es d
ropp
ing
from
Ale
cta'
s hea
d
The
phra
se "f
ree
the
dead
" (ba
rs 1
6-17
) is s
et to
a tr
ium
phan
t sec
tion
in th
e br
ight
key
of
G m
ajor
. Th
e w
ord
"won
derin
g" (b
ar 1
0) u
ses a
wan
derin
g, d
esce
ndin
g le
gato
(sm
ooth
)
m
elis
mati
c m
elod
y Th
e ph
rase
"pai
ns w
ere
ease
d" (b
ars 1
2-13
) fea
ture
s a d
isson
ance
and
reso
lutio
n
THE
GR
OU
ND
BA
SS
The
grou
nd b
ass i
s a 3
bar
loop
It
cons
ists e
ntire
ly o
f qua
ver r
hyth
ms
It ha
s a ri
sing
patte
rn
The
first
4 se
ts o
f 4 q
uave
rs u
se a
n as
cend
ing
sequ
ence
, sta
rting
one
not
e hi
gher
eac
h tim
e At
the
end
of th
e gr
ound
bas
s the
re is
a fa
ll of
an
octa
ve
It us
es in
terv
als o
f sem
itone
s
After
4 a
nd a
hal
f rep
eats
of t
he g
roun
d ba
ss it
be
gins
to m
odul
ate
into
diff
eren
t key
s. In
the
final
A
secti
on (b
ar 2
9) it
retu
rns t
o th
e re
peati
ng
patte
rn fr
om th
e st
art o
f the
pie
ce.
A Ba
ss V
iol
KEY
3
Gra
de
5 G
rade
8
Gra
de
Context:Musicfo
raW
hile
Melod
y–Articulation–Dy
namics–
Tem
po–Structure–Harmon
y–Instrumen
tatio
n–Rh
ythm
-Texture
Baroqu
eVo
calCon
ventions
M
⇒ Freq
uentuseofo
rnam
entatio
nsuchasg
racenotes,m
orde
nts,trills,and
app
ogiaturastode
corateth
emelod
y–
muchliketheoverlydecorated
baroq
uearchitecturean
dfashion
⇒ Melod
iesa
rere
gulard
evelop
eduseofseq
uences,ano
therfo
rmofe
mbe
llishingorornam
entin
gtheline
⇒ Mainlyusesstep
wiseconjuctm
ovem
entw
ithveryfewdisjunctleapsasthe
musicwasm
oresubd
uedan
dless
virtuo
sic
⇒ Usesa
mixtureofsyllabican
dmelismaticvocalline
swhichisaninflu
encefrom
Italianop
era
⇒ Makesfreq
uentuseofw
ordpa
intin
gwhe
reth
emusicre
flectsthe
meaningofthe
text
A D
⇒ Usesterraceddy
namics–
sudd
enlyloud
orq
uietwith
noprep
aration.Thisw
asbecau
seth
eha
rpsic
hordonlyha
dtw
osettingsand
nothingin-between.The
reforeth
ereareno
crescen
doso
rdim
inue
ndosinBaroq
uevocalm
usic
⇒ Often
notsp
ecified
onthescoresoth
epe
rformerwou
ldfo
llowth
eshap
eofth
emusicto
decideitsdynam
ics
T
⇒ Do
esnotuseextremelyfastsp
eeds–m
ostB
aroq
uem
usicsh
ouldbeab
leto
beda
nced
to
⇒ Tempo
often
notevenmarkedon
thescoresoperform
ersw
ouldassum
ethespeedfrom
themusicalstyle
S
⇒ Often
insimpleform
ssuchasBinary(A-B)o
rTerna
ry(A
-B-A)forms
⇒ Often
builtfrom
are
peatinggrou
ndbassw
hichdictatesthe
lengthofsectio
ns–inspire
dbydan
ceslikechacon
nes
⇒ Co
mpo
sersuseirregu
larp
hraseleng
ths–
am
oreintuitiveapp
roachthan
latercom
poserswho
preferstrictstructures
H
⇒ Th
etona
litywillbestab
leand
onlymod
ulatetocloselyre
latedkeyssu
chasthe
dom
inan
t(V)orrelative
major/m
inorand
thesewillbemarkedbyperfectcad
ences
⇒ Ha
rmon
yiswrittenou
tinfig
ured
bassw
hichth
eha
rpsic
hordth
enre
alises
⇒ Dissona
nceisinfreq
uentand
usuallyre
solved
throughsuspen
sion
s⇒
TiercedePicardie(e
ndingaminorpieceonamajorcho
rd)isa
verycommon
device
I
⇒ Virtua
llyallBa
roqu
epiecesuseth
eBa
ssoCo
ntinuo
–Harpsicho
rdand
BassV
iolprovide
thechorda
laccom
panimen
tan
dba
ssline
⇒
Arepe
atingGroun
dBa
ssisoften
usedinth
elefthan
dofth
eha
rpsic
hord
⇒ Ha
rpsic
hordpartisu
suallyapartly
improvise
drealisationwhichfillsoutth
echordsand
decoratesth
emusic
R
⇒ Freq
uentlyusesd
ottedrhythm
sasthisw
asacom
mon
patternindan
cefo
rms
⇒ Re
peated
qua
versinth
eha
rpsic
hord–anessentialfeatureasitcan
notsustainlongnotes
T
⇒ Melod
ydo
minated
hom
opho
ny–m
elod
ylinewith
bassocon
tinuo
providingth
eaccompa
nimen
t⇒
Somepo
lyph
onycanoccurb
etweenthesin
gera
ndth
eem
bellished
harpsicho
rdpart
⇒ Groun
dba
ss–acon
stan
tlyre
peatingba
ssline
whichth
eothe
rmusicisbuilton
topof
PurcellB
ackgroun
d
• He
nryPu
rcellw
asanEn
glishcompo
serw
holivedbe
tween
1659
and
169
5•
Hisfathe
rdire
cted
thechoirsatW
estm
isterA
bbeyand
asa
teen
agerHen
ryPurcellbe
cametheorganistth
eira
lso
• Pu
rcellisk
nownforcom
posin
gda
ncesuite
s,trioso
natas,as
wellaso
perasa
ndso
ngs
• He
wasparticularlyinflu
encedbyth
eStileItaliano
–th
epo
pularItalianstyleofth
eda
ywhichinclud
eddramatic
recitativ
es,d
acapa
aria
s(whe
reth
esin
gerw
ouldembe
llish
thewrittenlinean
dmakeitmorefla
mbo
yant)a
ndfreq
uent
useofdou
ble-do
tted
rhythm
s
• Almosta
llofhismusicwascom
miss
ione
dfrom
wealth
ypa
tron
sand
soitwaswritteninth
epo
pularstyleso
fthe
tim
ewhichth
eywou
ldenjoy
• Musicfo
raW
hilecom
esfrom
ase
tofp
iecestoaccompa
nya
playbased
ontheGreeklegend
ofO
edipus
• Th
emusicdep
ictsate
rrifyingGreekgod
desswith
thejobof
punishingsin
ners.She
hassn
akesin
herhair,ado
g’sh
ead,
bat’swings,and
isarm
edwith
awhip.The
musiccalmsh
er
untilsh
edrop
sherwhipan
dthesnakesfa
llfrom
herhead
A04
QU
EEN
- K
ILLE
R
QU
EEN
ME
LOD
Y
The
wor
d se
tting
is m
ainl
y sy
llabi
c th
roug
hout
Th
e m
elod
y ha
s a w
ide
rang
e (g
oes v
ery
high
and
ver
y lo
w!)
The
guita
r sol
o bo
rrow
s ide
as fr
om th
e ch
orus
and
ver
se se
ction
s of t
he so
ng
The
back
ing
voca
ls us
e w
ords
and
voc
alisa
tions
(lik
e oo
hs a
nd a
ahs!
) Th
e m
elod
y is
often
con
junc
t, bu
t with
som
e w
ide
angu
lar l
eaps
, inc
ludi
ng
inte
rval
s of 6
ths a
nd o
ctav
es.
In th
e ch
orus
the
mel
ody
is ha
rder
to sp
ot o
n it’
s ow
n be
caus
e of
the
back
ing
voca
l har
mon
ies
The
voca
l par
t som
etim
es u
ses f
alse
tto.
The
voca
l par
t also
incl
udes
spok
en te
xt
The
voca
l par
t con
tain
s a sl
ide
upw
ards
(on
the
wor
d “q
ueen
”)
The
leng
th o
f the
mel
odic
phr
ases
are
ofte
n un
even
(lik
e w
hen
the
extr
a 6/
8 ba
r is
adde
d)
Wor
d pa
intin
g is
use
d on
the
wor
ds “
driv
e yo
u w
ild”.
Effe
cts a
re a
dded
to g
ive
TON
ALI
TY
The
mai
n to
nalit
y fo
r the
pie
ce is
Eb
Maj
or (t
his i
s unu
sual
be
caus
e it’
s a h
ard
key
to p
lay
in o
n th
e gu
itar!
) Th
e ke
y ch
ange
s (m
odul
ates
) dur
ing
the
song
.
The
chor
us is
in B
b m
ajor
Th
ere
are
poin
ts w
here
the
tona
lity
is no
t cle
ar (“
tona
l
am
bigu
ity”)
- lik
e in
the
first
ver
se w
hich
star
ts w
ith a
C m
inor
ch
ord,
mak
ing
the
key
signa
ture
unc
lear
.
The
chor
d se
quen
ces m
ove
quic
kly
thro
ugh
diffe
rent
key
signa
ture
s—fo
r exa
mpl
e in
the
first
hal
f of t
he c
horu
s the
ch
ord
sequ
ence
mov
es q
uick
ly th
roug
h D
min
or a
nd C
maj
or.
The
last
cho
rus e
nds i
n Bb
maj
or, s
o th
e ou
tro
feat
ures
a
repe
ated
Eb
chor
d to
rest
ablis
h th
e or
igin
al k
ey si
gnat
ure
TEM
PO
M
oder
ate
tem
po.
A do
tted
crot
chet
is m
easu
red
at 1
12 b
pm
HA
RM
ON
Y
Que
en li
ked
to u
se a
dven
turo
us c
hord
sequ
ence
s Th
e so
ng u
ses s
ever
al a
ltere
d or
ext
ende
d ch
ords
(suc
h as
7th
s and
11
ths)
Mos
t of t
he c
hord
s are
in ro
ot p
ositi
on, b
ut th
ere
are
som
e ch
ord
inve
rsio
ns.
Ther
e is
a ci
rcle
of 5
ths c
hord
pro
gres
sion
in th
e ch
orus
Th
e m
odul
ation
s to
diffe
rent
key
s are
show
n by
per
fect
cad
ence
s Th
e so
ng st
arts
with
a C
min
or c
hord
—(y
ou c
an’t
tell
that
the
piec
e is
in
Eb m
ajor
unti
l the
cho
rd is
pla
yed
half
way
thro
ugh
the
vers
e—th
is is
Som
e pa
rts o
f the
cho
rd se
quen
ce c
onta
in a
fast
er h
arm
onic
rhyt
hm
(like
one
cho
rd e
very
bea
t on
“gua
rant
eed
to b
low
you
r min
d”)
The
chor
d in
vers
ions
cre
ate
desc
endi
ng a
nd a
scen
ding
bas
sline
s (su
ch
as th
e de
scen
ding
bas
sline
dur
ing
“bui
lt in
a re
med
y”)
In th
e in
stru
men
tal b
efor
e th
e se
cond
ver
se th
ere
is a
“vam
p” b
ased
ar
ound
an
F ch
ord
Ther
e is
a pe
dal n
ote
used
in b
ars 2
7-30
INST
RU
ME
NTS
/SO
NO
RIT
Y
The
voca
l par
t is s
ung
by F
redd
ie M
ercu
ry, w
ho h
as a
hig
h te
nor v
oice
. Th
e pi
ece
uses
pia
no, e
lect
ric g
uita
r, ba
ss a
nd d
rum
kit.
Ther
e ar
e ov
erdu
bbed
bac
king
voc
als.
Th
ere
are
4 gu
itar p
arts
that
hav
e be
en o
verd
ubbe
d to
cr
eate
a ri
cher
text
ure
Ther
e is
a sli
ghtly
out
of t
une
“jan
gle”
pia
no re
cord
ed o
n to
p of
the
mai
n pi
ano
line
The
song
use
s stu
dio
effec
ts li
ke m
ulti
trac
k re
cord
ing,
EQ
, fla
nger
, dis
torti
on, r
ever
b, w
ah-w
ah a
nd p
anni
ng.
The
guita
r par
t use
s slid
es, b
ends
, pul
l-offs
and
vib
rato
TEX
TUR
E
The
mai
n te
xtur
e of
the
piec
e is
hom
opho
nic.
Th
e te
xtur
e bu
ilds u
p gr
adua
lly a
t the
star
t of t
he so
ng
with
eac
h in
stru
men
t ent
erin
g on
e at
a ti
me.
The
guita
r sol
o us
es a
thre
e pa
rt te
xtur
e.
Soun
ds a
re sp
read
out
usin
g pa
nnin
g
The
inte
rwea
ving
gui
tar a
nd v
ocal
s par
ts fr
om th
e
se
cond
ver
se g
ive
the
piec
e a
poly
phon
ic fe
el a
t tim
es
The
guita
r sol
o us
es im
itatio
n Th
e us
e of
pan
ning
in th
e ba
ckin
g vo
cals
crea
tes a
n
antip
hona
l fee
l
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is is
a Gl
am R
ock
song
from
the
band
’s th
ird
albu
m.
It w
as re
leas
ed in
197
4
Que
en’s
soun
d is
unlik
e m
any
“sta
ndar
d” ro
ck
band
s as t
hey
use
adve
ntur
ous h
arm
onie
s and
st
ruct
ures
, and
a th
eatr
ical
styl
e in
fluen
ced
by
mus
ical
thea
tre
and
oper
a. T
hey
also
cre
ate
com
plic
ated
arr
ange
men
ts o
f lay
ered
gui
tar p
arts
an
d ba
ckin
g vo
cals
in th
e re
cord
ing
stud
io u
sing
m
ultit
rack
reco
rdin
g.
R
HY
HM
an
d M
ETR
E
The
time
signa
ture
is m
ainl
y in
12/
8 tim
e Th
is gi
ves t
he p
iece
a sw
ung
feel
. (it
uses
swun
g rh
ythm
s)
Ther
e is
a re
gula
r, da
ncea
ble
beat
with
a st
eady
tem
po.
Ther
e is
sync
opati
on u
sed
thro
ugho
ut
Ever
y ve
rse
and
chor
us st
art w
ith a
n an
acru
sis (u
pbea
t)
Ther
e ar
e oc
casio
nal e
xtra
bar
s of 6
/8 ti
me
to e
xten
d ph
rase
le
ngth
s Th
ere
are
som
e us
e of
trip
lets
(bar
18)
STR
UC
TUR
E
The
piec
e ha
s a v
erse
-cho
rus s
truc
ture
The
full
stru
ctur
e is:
In
tro
(clic
ks),
vers
e 1,
cho
rus,
ins
trum
enta
l, ve
rse
2,
chor
us, g
uita
r sol
o, v
erse
3, c
horu
s, o
utro
KEY
3
Gra
de
5 G
rade
8
Gra
de
Context:KillerQue
en
Melod
y–Articulation–Dy
namics–
Tem
po–Structure–Harmon
y–Instrumen
tatio
n–Rh
ythm
-Texture
RockMusicCon
ventions
M
⇒ Melod
yisgiventoth
esolovocalist,usua
llyahighmalevoice
⇒ An
othe
rmelod
yisoftenhe
ardinanelectricguitarsolo
⇒ Melod
iesu
suallyhavea4or8barphraseleng
ths
⇒ Th
emelod
iesa
reusuallysh
aped
bythelyric
s⇒
Po
werful,accented
articulationused
toemph
asise
impo
rtan
twordsorclim
axesinth
emusic
⇒ Ca
tchy
hoo
ksinth
emelod
y(especiallyatthe
cho
rus)to
stickinyou
rhead
A D
⇒ Gen
erallyfo
rtetofitw
ithth
eam
plified
soun
dofaro
ckban
d⇒
Loud
estp
ointisalm
osta
lwaysthe
cho
rus
⇒ Th
ebridgese
ctionwilloften
show
con
trasta
ndbeataquieterdynam
ic
T
⇒ Usuallyata
nup
beattem
posu
itableford
ancingto
⇒
Ve
ryra
reto
cha
ngespeedwith
inaro
ckso
ng
S
⇒ Verse-Cho
rusForm
meaningitwillusuallyhavean
intro,verses,cho
ruses,abrid
ge,o
ften
aso
lo,and
anou
tro
⇒ Th
egreatestcon
trastisc
reated
inth
ebridge
⇒ Ro
ckso
ngsa
redom
inated
byan
alte
rnationofversesa
ndcho
ruses
H
⇒ Usuallyuseso
nly4or5cho
rds,with
aparticularfo
cuso
nchordsI,IV
,and
V
⇒ Extensionchordssu
chas7
thsa
reoften
add
edto
add
interestto
thesoun
d⇒
Usuallystaysinone
keythrou
ghou
t,althou
ghifaro
ckso
ngdoe
scha
ngekeyitwillusuallyrisebyatone
orsem
itone
⇒
Th
ereisoftenadiffe
renceinharmon
icrhy
thm(h
owquicklycho
rdsc
hange)betweentheversesand
cho
ruses
I
⇒ Trad
ition
alro
ckban
dlineup
is:V
ocalist,ElectricGuitar(lead
–playsriffs
and
solos),Electric
Guitar(rhythm
–plays
chords),BassGuitar,Drums
⇒ Otherinstrumen
tswhicharelesscom
mon
butdoap
pearoccasiona
llyarepiano
/keybo
ard,backingvocalso
rahorn
section(trumpe
t,trom
bone
sand
saxoph
one)
R
⇒ Almosta
lwaysin4/4
⇒ Driven
byriffs,sh
orta
ndcatchymelod
ylinesusuallyplayedbyth
eguita
r⇒
Freq
uentuseofcon
stan
tqu
averstogiveitadriv
ingfeel
T
⇒ Mostly
melod
ydo
minated
hom
opho
ny,w
ithth
evocalisttakingthetune
⇒
Usuallystartsthinan
dbu
ildsintexturetoth
efin
alcho
rusw
hereeveryon
eisplaying
⇒ Often
usesb
reakdo
wnswhe
rem
ostinstrum
entssu
dden
lydropou
t
p
Que
enBackgroun
d
•
Que
enareaBritish
rockban
dfrom
the19
70sa
nd
1980
s•
Theywereknow
nforh
owth
eyexpan
dedthe
rockgen
rewith
bigorche
stratio
ns(b
acking
vocals,extrainstrumen
tsetc.)
• Th
eywerealsokno
wnforthe
iruseofeffe
cts,
with
lotsofo
verdub
bing
(recording
thesamepa
rt
multip
letimes),an
dgu
itare
ffects(suchas
distortio
nan
dfla
nger)a
ppliedtoth
emusic
• Th
eywereespe
ciallykno
wnforh
aving4pa
rt
closeha
rmon
yvocalson
lotsofthe
irtracks
• KillerQ
ueenwasre
leased
in197
4an
disab
outa
high
classprostitu
tewho
enjoysd
rinking
Moë
tan
dCh
ando
ncham
pagn
ean
deatin
gcaviar
• Be
causeofth
isthem
eitisqu
iteoverthe
topan
dfla
mbo
yant
A04
DEF
YIN
G G
RA
VIT
Y FR
OM
“WIC
KED
” M
ELO
DY
Th
e w
ord
setti
ng is
sylla
bic
thro
ugho
ut
The
mel
ody
has a
wid
e ra
nge
(fairl
y hi
gh a
nd lo
w!)
The
mel
ody
star
ts w
ith st
epw
ise m
ovem
ent (
conj
unct
) Th
e ve
rse
and
chor
us c
ombi
ne st
epw
ise m
ovem
ent a
nd b
ig le
aps
(disj
unct
)
The
sylla
bic
wor
d se
tting
and
nat
ural
spee
ch-li
ke rh
ythm
s m
ake
the
wor
ds c
lear
ly u
nder
stan
dabl
e Th
ere
is vo
calis
ation
at t
he v
ery
end
of th
e so
ng (“
aah”
)
Leap
s ofte
n fe
atur
e a
risin
g pe
rfec
t fifth
(e.g
. bar
34
“has
cha
nged
”).
Ther
e ar
e so
me
exce
ption
ally
larg
e le
aps s
uch
as a
com
poun
d pe
rfec
t fift
h (1
3 w
hole
not
es!-
e.g.
bar
s 140
“to
ld m
e la
tely
eve
ryon
e de
-se
rves
..”).
Thes
e bi
g le
aps c
ould
be
desc
ribed
as a
ngul
ar.
Ofte
n th
e m
elod
y is
lega
to (“
you
can
still
be w
ith th
e w
izard
”)
Bars
6 a
nd 7
show
an
asce
ndin
g se
quen
ce (“
hurt
you
r cau
se fo
reve
r, I
hope
you
thin
k yo
u’re
cle
ver”
)
TON
ALI
TY
The
piec
e is
mai
nly
in D
maj
or
At th
e st
art t
he to
nalit
y is
ambi
guou
s. It
use
s unr
elat
ed c
hord
se-
quen
ces a
nd c
hrom
atic
mov
emen
t.
Durin
g th
e in
tro
the
piec
e m
odul
ates
brie
fly to
B m
ajor
at b
ar 2
0, F
m
ajor
at b
ar 2
2, a
nd fi
nally
get
s to
the
toni
c D
maj
or a
t the
star
t of t
he
vers
e.
The
“unl
imite
d” se
ction
is in
G m
ajor
, the
n it
goes
bac
k to
D m
ajor
w
hen
it re
turn
s to
the
chor
us.
The
follo
win
g an
dant
e se
ction
(“w
ell,
are
you
com
ing?
”) re
turn
s to
the
chro
mati
c m
elod
y of
the
intr
o.
It re
turn
s to
D m
ajor
for t
he fi
nal v
erse
(“so
if y
ou c
are
to fi
nd m
e”)
The
final
mae
stos
o se
ction
is in
B m
inor
, bef
ore
finish
ing
on a
D m
ajor
ch
ord
HA
RM
ON
Y
The
intr
o us
es c
hord
s tha
t are
unr
elat
ed
Mos
t cho
rds a
re in
sim
ple
root
pos
ition
Th
ere
is so
me
use
of d
isson
ance
(eg
bar 3
0 (“
I don
't w
ant i
t, no
”)
At th
e en
d th
ere
is a
peda
l not
e (b
ar 1
68)
INST
RU
ME
NTS
/SO
NO
RIT
Y
‘Def
ying
Gra
vity
’ is a
due
t for
the
char
acte
rs E
lpha
ba a
nd G
linda
. Th
e tw
o vo
cal p
arts
use
a b
ig ra
nge
(fairl
y hi
gh a
nd fa
irly
low
!) O
rigin
ally
they
wer
e pe
rfor
med
by
Idin
a M
enze
l (fr
om F
roze
n) a
nd K
ristin
Che
now
eth
(from
Gle
e, A
mer
-ic
an G
ods,
Rio)
Th
e tw
o sin
gers
eith
er sp
eak,
sing
, or p
erfo
rm th
eir l
ines
hal
f sun
g ha
lf sp
oken
. Th
e so
ng u
ses a
big
orc
hest
ra p
lus 3
key
boar
ds, d
rum
kit
and
elec
tric
gui
tars
to
crea
te a
mod
ern
soun
d
The
voca
l par
ts c
over
a ra
nge
of ju
st u
nder
2 o
ctav
es.
The
larg
e or
ches
tra
incl
udes
a w
oodw
ind
secti
on w
hich
feat
ures
add
ition
al p
icco
lo,
bass
cla
rinet
and
cor
ang
lais
. The
strin
g se
ction
incl
udes
a h
arp.
The
wid
e ra
nge
of
perc
ussio
n in
stru
men
ts in
clud
es a
dru
m k
it, tu
bula
r bel
ls an
d tim
pani
. Sy
nthe
size
rs a
nd g
lock
ensp
iels
are
use
d fo
r hig
h pi
tche
d “m
agic
al”
soun
ds, s
uch
as in
the
final
cho
rus (
also
with
“m
agic
al”
soun
ding
tubu
lar b
ells)
The
bras
s pla
ys h
omop
honi
c ch
orda
l mus
ic, l
ike
a fa
nfar
e Th
e dr
um k
it ad
ds rh
ythm
ic m
omen
tum
with
a re
peat
ed h
i hat
in th
e fir
st c
horu
s. Th
ere
is a
cym
bal r
oll m
ovin
g in
to th
e ch
orus
whi
ch a
dds e
xcite
men
t. Th
e st
rings
som
etim
es u
se tr
emol
o to
add
tens
ion
(eg
the
star
t of v
erse
1)
TEX
TUR
E
The
mai
n te
xtur
e is
hom
opho
nic
(mel
ody
and
acco
mpa
nim
ent)
The
intr
o ha
s a sp
arse
text
ure
with
cho
rd st
abs i
n th
e or
ches
tra
and
som
e m
onop
honi
c ba
rs
Elph
aba
and
Glin
da u
sual
ly si
ng se
para
tely
but
som
etim
es si
ng to
geth
er in
un
ison
(“th
ere’
s no
fight
we
cann
ot w
in”)
or i
n ha
rmon
y (t
hird
s) (“
I hop
e yo
u’re
hap
py m
y fr
iend
”)
The
outr
o is
poly
phon
ic, w
ith E
lpha
ba, G
linda
and
the
chor
us a
ll sin
ging
di
ffere
nt m
usic
al id
eas a
t the
sam
e tim
e.
Ther
e is
an o
stina
to a
ccom
pani
men
t at b
ar 8
8 So
meti
mes
the
orch
estr
a pl
ay h
omop
honi
c ch
orda
l tex
ture
s, li
ke a
t bar
132
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is is
a so
ng fr
om th
e M
usic
al “
Wic
ked”
whi
ch u
ses c
hara
cter
s an
d id
eas f
rom
“Th
e W
izar
d of
Oz”
It
was
writt
en a
nd fi
rst p
erfo
rmed
in 2
003
Mus
ic th
eatr
e us
es so
ngs,
spok
en d
ialo
gue,
acti
ng a
nd d
ance
in a
po
pula
r sty
le.
The
piec
e is
writt
en b
y St
ephe
n Sc
hwar
tz, a
n Am
eric
an c
ompo
ser
and
lyric
ist w
ho a
lso
wor
ked
on D
isne
y m
usic
als s
uch
as E
ncha
nt-
ed a
nd T
he H
unch
back
of N
otre
Dam
e
‘Def
ying
Gra
vity
’ is t
he fi
nale
song
for t
he fi
rst a
ct, w
hen
Elph
aba
disc
over
s tha
t the
Wiza
rd o
f Oz i
s not
the
hero
ic fi
gure
she
had
orig
inal
ly b
elie
ved
him
to b
e. R
ealis
ing
this,
Elp
haba
vow
s to
do
ever
ythi
ng in
her
pow
er to
figh
t the
Wiza
rd a
nd h
is sin
ister
pla
ns.
She
sings
of h
ow sh
e w
ants
to li
ve w
ithou
t lim
its, g
oing
aga
inst
the
rule
s tha
t oth
ers h
ave
set f
or h
er.
RH
YH
M, M
ETR
E a
nd
TE
MP
O
Ther
e ar
e lo
ts o
f tem
po c
hang
es th
roug
hout
the
song
and
they
are
im
port
ant t
o th
e st
ruct
ure
(see
the
stru
ctur
e se
ction
). Th
e so
ng sl
ows d
own
at th
e en
d.
Ther
e is
freq
uent
sync
opati
on th
roug
hout
.
The
intr
o st
arts
in 3
/2 ti
me,
then
cha
nges
to 2
/2 .
Whe
n ve
rse
1 st
arts
it th
en g
oes i
nto
4/4
time.
At b
ar 1
15 (“
I hop
e yo
u’re
hap
-py
”) it
goe
s bac
k to
2/2
tim
e.
Ther
e ar
e se
vera
l ral
lent
ando
s or “
ralls
” (w
hen
the
tem
po sl
ows
dow
n), p
artic
ular
ly a
t the
end
of s
ectio
ns. T
here
is a
rall
at th
e en
d of
the
who
le p
iece
. Do
tted
rhyt
hms a
re u
sed
thro
ugho
ut, l
ike
the
wor
d “g
ra-v
i-ty”
in
the
chor
us. T
here
are
also
trip
lets
.
Rhyt
hms i
n th
e vo
cal p
art a
re m
ostly
cro
tche
ts a
nd q
uave
rs, b
ut
ther
e ar
e so
me
long
er n
otes
at t
he e
nd o
f phr
ases
. Re
sts b
reak
up
phra
ses,
and
phr
ases
ofte
n st
art w
ith a
rest
.
STR
UC
TUR
E a
nd T
EM
PO
Th
ere
is a
vers
e ch
orus
form
, but
with
in th
at st
ruct
ure
ther
e ar
e m
ultip
le se
ction
s defi
ned
by c
hang
es in
tem
po a
nd
moo
d
Bars
1- 1
9 -
Free
tem
po (l
ike
a re
cita
tive)
Bars
20-
33 -
Anda
nte
(“yo
u ca
n sti
ll be
with
the
wiza
rd”)
Bars
34-
48 -
Anda
nte
- ver
se 1
(“so
met
hing
has
cha
nged
..”)
Bars
49-
87 -
Alle
gro
- Cho
rus,
ver
se 2
, cho
rus 2
Bars
88-
102
- Mod
erat
o - A
con
tras
ting
secti
on in
G m
ajor
(“
unlim
ited”
)
Bars
103
-110
- Al
legr
o - C
horu
s, b
ack
in D
maj
or.
Bars
111
-128
And
ante
- Si
mila
r to
the
intr
o
Bars
129
-161
Alle
gro
- Ver
se 3
and
cho
rus 3
. The
clim
ax o
f th
e so
ng! F
ull o
rche
stra
and
loud
dyn
amic
s.
Bars
162
- 17
7 - A
ndan
te to
Mae
stos
o - O
utro
- bu
ild u
p to
fin
ale.
KEY
3 G
rade
5
Gra
de
8 G
rade
Context:De
fyingGravity
Melod
y–Articulation–Dy
namics–
Tem
po–Structure–Harmon
y–Instrumen
tatio
n–Rh
ythm
-Texture
MusicalThe
atreCon
ventions
M
⇒ Po
psonginspire
dwith
catchyho
oksa
ndbigcho
ruses
⇒ Melod
ylinecarriedbysingersinamixtureofsolos,d
uetsand
ensem
blenu
mbe
rs
⇒ Often
usesv
erywiderang
ewith
abeltin
gvocalqua
lityforp
owerfuland
loud
highno
tes
⇒ Ca
nuseamixtureofsinging
and
talkingtocarryth
eplotfo
rward
⇒ Makesuseofv
ocalisations(“oo
hs”an
d“aah
s”)
⇒ Freq
uentuseofm
elismaatth
een
dsofp
hrasesto
show
expressionan
dem
otion
A D
⇒ Often
usesd
ynam
icextremes(p
iano
tofo
rte…
and
evenwider)
⇒ Dy
namicsu
sedtoemph
asise
thedram
ainth
elyric
s T
⇒ Tempo
sfreq
uentlycha
ngeinso
ngsa
sthe
emotiona
ldriv
eofth
echaractersingingcha
nges
⇒ Ra
lls(slowdow
ns)a
ndaccels(spe
edups)a
reusedtoadd
suspen
seand
drama
S
⇒ Songsu
sepop
son
gstructureconven
tions(verse,b
ridge,cho
rus,etc.)bu
texten
dtheseinim
aginativeways
⇒ Ve
ryflexibleand
irregu
larm
usicalstructuresto
followth
eun
foldingstorytoldbythelyric
s⇒
Musicalsa
reintw
oactsand
arebuiltfrom
ase
rieso
fnum
bers-individu
also
ngsw
hichadvan
ceth
estory
H
⇒ Usesp
opson
gchordprog
ressionsand
arebuiltfrom
mainlychordsI,IV
,Vand
vi
⇒ Mod
ulations(keycha
nges)a
reusedtobuildene
rgyan
ddram
a(especiallybygoingup
one
tone
orsem
itone
)⇒
Moremysterio
usse
ctionsuseunrelated
cho
rdstocreateam
biguity
and
atm
osph
ere
⇒ Pe
dald
rone
softenused
und
erne
athspoken
dialogueorto
linkm
usicalnum
bersorsectio
nsto
gether
I
⇒ Earlierm
usicalsu
sedan
orche
stra,b
utm
odernmusicalsa
ddro
ckin
strumen
tsto
theclassic
alone
inorderto
createa
moremod
ernsoun
d⇒
Pe
rformerso
ften
brid
geth
elinebe
tweensin
gera
ndactorth
roughspeak-sing
ing(halfspo
ken)
R
⇒ Musicalth
eatrenu
mbe
rsareusuallyrh
ythm
icallyinterestingwith
dottedrhythm
sand
tripletsusedtoadd
variety
⇒ Syncop
ationisused
freq
uentlyto
add
interestand
createapo
p-likesoun
d⇒
Timesign
aturesfreq
uentlycha
ngeinorderto
fitthe
lyric
s(storytellingisthemostimpo
rtan
taspect)
⇒ Th
erhythm
ofthe
melod
yisoftenbu
iltfrom
naturalspe
echrhythm
ssoitfe
elsc
onversationa
l
T
⇒ Mostly
usesm
elod
ydo
minated
hom
opho
ny(m
elod
yan
daccompa
nimen
t)
⇒ Lotsofinterestin
gtexturalcolou
rscreated
bycombiningdifferen
tpartsofthe
orche
straand
rockban
dline-up
⇒
Po
lyph
onicte
xturesso
metim
esoccurwhe
nmultip
lecha
racterso
rson
gsarelayeredon
topofone
ano
ther
Step
henSchw
artzBackgroun
d
•
Steven
Schwartziskno
wnasbothacompo
sera
nda
lyric
istwhichisnotalwaysthe
caseinm
usicalth
eatre.
Thismeansth
athissongsa
reverygo
odattellingthe
storyan
ddrivingtheplotfo
rward
• Schw
artzisabigfa
nofpop
/rockmusicand
usesthe
se
stylesinhismusicals
• Th
emusicalW
ickedtellsth
estoryofth
eWickedWitch
from
thefilmm
usicalTheW
izardofO
z•
‘DefyingGravity’ish
eardatthe
end
ofA
ct1whe
reth
emaincharacterd
ecidesth
ereareno
limitsto
wha
tshe
canachieve–themusicre
flectsthiside
a
A04
STA
R W
AR
S MA
IN T
ITLE
-
JOH
N W
ILLI
AM
S
ME
LOD
Y
John
Will
iam
s writ
es c
atch
y, m
emor
able
mel
odie
s, w
hich
is o
ne re
ason
why
his
film
sc
ores
hav
e be
en so
pop
ular
. Th
e pi
ece
star
ts w
ith a
fanf
are
(gra
nd a
nd h
eroi
c).
Then
the
leitm
otif i
s pla
yed
by tr
umpe
ts a
nd o
ther
bra
ss. I
t use
s int
erva
ls of
4th
s and
5t
hs a
nd lo
ts o
f 7th
s Th
en th
e B
them
e is
scal
ic a
nd p
laye
d by
the
viol
ins a
nd o
ther
strin
gs
Ther
e is
a fu
ll de
scen
ding
scal
e to
end
the
B th
eme
Then
the
A th
eme
retu
rns b
ut w
ith sm
all c
hang
es.
After
the
them
e, th
ere
are
not m
any
mai
n m
elod
y id
eas i
n th
e “r
ebel
blo
ckad
e
ru
nner
” se
ction
—ju
st a
shor
t pic
colo
mel
ody
durin
g th
e “s
tar fi
lled
sky”
secti
on
The
fanf
are-
like
intr
o us
es ra
pid
repe
ated
not
es u
sing
toni
c (B
b) tr
iple
ts—
whi
ch a
re
used
thro
ugho
ut th
e m
ain
them
e. It
also
use
s im
itatio
n (t
he m
elod
y id
eas a
re
repe
ated
by
diffe
rent
bra
ss in
stru
men
ts).
Ther
e ar
e 7t
h in
terv
als i
n th
e fa
nfar
e, li
ke
in th
e m
ain
them
e.
The
mai
n th
eme
cons
ists o
f a 4
bar
idea
whi
ch b
alan
ces s
tepw
ise m
otion
and
leap
s.
Ther
e ar
e re
peat
ed u
se o
f trip
lets
and
long
min
ims t
o cr
eate
exc
item
ent a
nd te
nsio
n Th
e B
them
e is
cont
rasti
ng to
the
A th
eme—
it fe
els l
ess f
orce
ful.
It us
es sc
alic
pa
ttern
s, b
ut d
oes c
onta
in so
me
leap
s and
trip
lets
to re
min
d us
of t
hem
e A.
At
the
end
of th
e B
them
e th
ere
is a
desc
endi
ng B
b m
inor
mel
odic
scal
e.
Both
them
es u
se a
n an
acru
sis.
The
mai
n A
them
e ca
n be
bro
ken
dow
n as
follo
ws:
Bar
1 c
onta
ins a
risin
g pe
rfec
t 5th
(t
onic
to d
omin
ant)
whi
ch c
reat
es a
her
oic
feel
. Bar
s 2 a
nd 3
are
iden
tical
, inc
ludi
ng a
le
ap o
f a m
inor
7th
. Bar
4 u
ses a
n au
xilia
ry n
ote
(not
in th
e m
ain
chor
d) to
reac
h th
e no
te C
, pre
parin
g fo
r the
repe
at o
f the
4 b
ar p
hras
e.
TON
ALI
TY
The
mai
n th
eme
is in
Bb
maj
or.
After
the
them
e fin
ishes
, dur
ing
the
rebe
l blo
ckad
e ru
nner
secti
on th
e to
nalit
y is
less
clea
r, us
ing
mor
e un
stab
le h
arm
onie
s.
From
whe
n th
e sp
aces
hips
app
ear,
ther
e is
lots
of u
se o
f
diss
onan
ce. T
he p
iece
is a
lmos
t ato
nal a
t tim
es, a
nd a
s the
actio
n sw
itche
s to
insid
e th
e cr
aft th
ere
is so
me
use
of b
itona
lity.
As th
e pl
anet
s are
reve
aled
the
piec
e sw
itche
s to
C m
ajor
(with
an
add
ed A
b) fo
r a sh
ort w
hile
. W
hen
the
spac
eshi
ps a
ppea
r the
mus
ic is
mor
e ba
sed
arou
nd
the
note
C, w
hich
is h
eard
as a
bas
s ped
al.
HA
RM
ON
Y
The
harm
ony
of th
e m
ain
them
e is
mos
tly d
iato
nic
(use
s cho
rds a
nd n
otes
that
fit w
ith
the
key
signa
ture
) Th
e m
elod
y is
acco
mpa
nied
by
mos
tly m
ajor
and
min
or c
hord
s.
Ther
e ar
e no
t man
y pe
rfec
t cad
ence
s, w
hich
we
norm
ally
exp
ect i
n th
is ki
nd o
f mus
ic.
After
the
mai
n th
eme,
the
harm
ony
is co
mpl
icat
ed a
nd o
ften
feel
s diss
onan
t and
aton
al (n
ot in
any
key
sign
atur
e)
The
harm
ony
in th
e fa
nfar
e an
d A
them
e us
es q
uart
al h
arm
ony—
chor
ds m
ade
up o
f no
tes t
hat a
re 4
step
s apa
rt.
In th
e m
ain
them
e th
e ch
ords
are
sync
opat
ed. W
hen
the
A th
eme
repe
ats,
it is
slig
htly
ch
ange
d to
cre
ate
a de
scen
ding
bas
sline
. W
hen
the
bigg
er sp
aces
hip
appe
ars t
he “
Mar
s” li
ke h
amm
ered
uni
son
chor
ds a
re
di
sson
ant (
clas
hing
). Th
is a
lso
uses
a tr
itone
(an
augm
ente
d 4t
h.. t
he d
evil’
s int
erva
l!).
The
them
e do
es u
se so
me
chor
ds n
ot in
the
key
of B
b m
ajor
, suc
h as
the
Ab m
ajor
at
the
end
of th
e fir
st A
them
e (b
efor
e th
e im
perf
ect c
aden
ce).
The
B se
ction
also
use
s a
Db m
ajor
, whi
ch is
not
in th
e ke
y of
Bb
maj
or.
In th
e in
tro
and
A th
eme
ther
e is
an in
vert
ed to
nic
peda
l pla
yed
trem
olo
in th
e vi
olin
s.
In th
e B
them
e th
ere
is a
dom
inan
t ped
al p
laye
d by
the
bras
s ins
trum
ents
. Du
ring
the
“sta
r fille
d sk
y” se
ction
, the
har
mon
ies m
ix u
nrel
ated
cho
rds t
oget
her (
like
Db m
ajor
and
C m
ajor
) to
crea
te st
rang
e, u
nsta
ble
effec
ts.
Whe
n w
e se
e th
e tw
o pl
anet
s, th
e st
rings
and
the
bras
s are
pla
ying
in tw
o di
ffere
nt
keys
.
INST
RU
ME
NTS
/SO
NO
RIT
Y
Mai
n Ti
tle/R
ebel
Blo
ckad
e Ru
nner
use
s a fu
ll sy
m-
phon
y or
ches
tra
— S
trin
gs, p
ercu
ssio
n, w
oodw
ind
and
bras
s.
The
inst
rum
ents
use
d ar
e a
full
strin
g se
ction
, plu
s:
Win
d: fl
ute,
pic
colo
, obo
e, c
larin
et, b
ass c
larin
et,
bass
oon
Bras
s: H
orn,
trum
pet,
trom
bone
, tub
a Pe
rcus
sion
: Tim
pani
, tria
ngle
, tam
tam
(gon
g),
vibr
apho
ne, g
lock
ensp
iel,
cym
bals.
Pl
us a
pia
no, c
eles
te a
nd h
arp
The
orch
estr
a is
used
in th
e st
yle
of a
trad
ition
al
rom
antic
-era
orc
hest
ra, w
ith m
uch
doub
ling
of
part
s an
octa
ve o
r mor
e ap
art.
TEX
TUR
E
The
piec
e is
mai
nly
mad
e up
of h
omop
honi
c te
xtur
es.
Ther
e ar
e on
ly a
few
solo
or l
ight
er te
xtur
es, i
t is m
ostly
ver
y
The
mai
n th
eme
is m
ostly
acc
ompa
nied
by
bloc
k ch
ords
or
arpe
ggio
s.
The
piec
e us
es p
edal
text
ures
, suc
h as
the
inve
rted
toni
c pe
dal
(rep
eate
d Bb
not
e pl
ayed
by
the
viol
ins)
dur
ing
the
intr
oduc
-tio
n an
d A
them
e, a
nd th
e do
min
ant p
edal
(rep
eate
d 5t
h no
te
play
ed b
y th
e br
ass)
in th
e B
secti
on.
At th
e en
d of
the
rebe
l blo
ckad
e ru
nner
, whe
n th
e ac
tion
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is is
a pi
ece
of m
usic
writt
en fo
r the
film
Sta
r War
s Epi
sode
IV: A
N
ew H
ope
in 1
977
It us
es a
mai
n th
eme
(whi
ch is
a le
itmoti
f for
Luk
e Sk
ywal
ker)
. Th
e “R
ebel
Blo
ckad
e Ru
nner
” se
ction
use
s mus
ic to
supp
ort t
he
RH
YH
M, T
EM
PO
an
d M
ETR
E
The
fast
tem
po m
atch
es th
e m
ood
and
feel
of t
he fi
lm—
an
exci
ting
actio
n m
ovie
! Th
e 4/
4 m
etre
, ste
ady
tem
po a
nd u
se o
f bra
ss g
ive
it a
“mar
ch”
like
feel
—w
hich
refle
cts t
he b
attle
s goi
ng o
n in
star
w
ars
Ther
e is
repe
ated
use
of t
riple
ts in
the
mel
ody
lines
Aft
er th
e m
ain
them
e, th
e pu
lse b
ecom
es h
arde
r to
follo
w.
Both
them
es u
se a
n an
acru
sis.
The
mai
n th
eme
(A) i
s acc
ompa
nied
by
sync
opat
ed b
lock
ch
ords
whi
ch c
reat
e ex
cite
men
t. W
hen
the
larg
e sp
aces
hip
appe
ars,
the
time
signa
ture
chan
ges t
o 3/
4 Th
e te
mpo
cha
nges
dur
ing
the
“reb
el b
lock
ade
runn
er”
secti
on o
f the
pie
ce to
em
phas
ize th
e ac
tion
on sc
reen
.
The
“Mar
s” li
ke c
hord
s whe
n th
e la
rge
spac
eshi
p ap
pear
s are
ho
mor
hyth
mic
(all
play
ing
the
sam
e rh
ythm
).
STR
UC
TUR
E
The
mai
n th
eme
uses
an
AABA
stru
ctur
e Aft
er th
is, th
e m
usic
follo
ws t
he a
ction
on
the
scre
en.
The
full
stru
ctur
e of
the
rebe
l blo
ckad
e ru
nner
secti
on is
: Sta
r fil
led
sky,
cam
era
pans
dow
n to
show
pla
nets
, spa
cesh
ip a
p-pe
ars,
larg
er sp
aces
hip
attac
ks, a
ction
con
tinue
s and
switc
h-
KEY
3
Gra
de
5 G
rade
8
Gra
de
Context:StarW
ars
Melod
y–Articulation–Dy
namics–
Tem
po–Structure–Harmon
y–Instrumen
tatio
n–Rh
ythm
-Texture
Film
MusicCon
ventions
M
⇒ He
rom
elod
iesu
sewidedisjun
ctleap
stoshow
pow
erand
cou
rage
⇒ Villainou
smelod
iesu
secon
junct,oftenchromaticstep
stoshow
sinisterqua
lities
⇒ Ch
aractersarere
presen
tedthroughmusicalLeitm
otifswhichevolvewith
thecharacters
⇒ Ve
ryexpressive!
⇒ Lotsofa
ccen
tsto
markpo
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elod
ies
⇒ Lotsoflegatoslurstoem
phasise
roman
ce
A D
⇒ Often
usesd
ynam
icextremes(p
iano
tofo
rte…
and
evenwider)
⇒ Freq
uentand
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ngesofd
ynam
ics
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ddram
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iltupthroughep
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⇒ Fasterte
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owdramaan
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erte
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susedform
orerefle
ctivemom
ents
⇒ Tempo
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ngequ
icklytore
presen
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Ru
batousedtohelpmelod
iesfitwith
theim
agesonthescreen
S
⇒ Ve
ryflexibleand
irregu
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usicalstructuresto
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foldingon
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⇒
Film
soften
startw
itham
usicalovertureofso
rtso
verthe
ope
ningcredits
⇒ Th
estructureofth
emusicisdictatedbyth
eed
itingofthe
film
H
⇒ Ha
rmon
yisoftende
scrip
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anfu
nctio
naland
hasnostric
t‘rules’
⇒ Ad
aptsto
suittheim
agesonscreen
whichitistryingto
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ict
⇒ Dissona
nceisused
freelyto
buildte
nsion
I
⇒ Ve
ryoften
forfullo
rche
stra,u
tilisingth
ediffe
rentinstrumen
talcolou
rs
⇒ Sci-fifilm
soften
useelectronicinstrumen
tsra
therth
anre
alone
s⇒
Brass=
heroics;Strin
gsand
Woo
dwinds=ro
man
ce;Pe
rcussio
n=aggressio
n
R
⇒ Often
boldan
ddram
atic
⇒ Usedtore
presen
tthe
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nscreen
(i.e.stron
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ssuchasfa
nfaresorm
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gcharacters,m
orede
licaterhythm
susedforrom
anticsc
enes)
T
⇒ Usuallyeith
erhom
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rds),o
r…
⇒ Melod
yDom
inated
Hom
opho
ny(a
ccom
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otifmelod
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⇒ Lotsofinterestin
gtexturalcolou
rscreated
bycombiningdifferen
tpartsofthe
orche
stra
John
WilliamsB
ackgroun
d
•
John
Williamsiso
neofthe
mostfam
ousfilm
compo
sersofa
lltim
e•
Hehaswrittenthemusicto
lotsofh
uge
blockbusterm
oviesincluding
Indian
aJones,Harry
Potterand
thePh
ilosoph
er’sStone,Jaw
sand
JurassicPark
• John
Williamsw
ascrucialinpop
ularising
grand
orchestralfilm
scoresata
timewhe
npo
pmusic
andelectron
icinstrumen
tswerebe
comingmore
common
•
Someofhisothe
rsci-fifilm
susedelectron
ic
instrumen
tssu
chasC
loseEncou
nterso
ftheThird
Kind
,how
everfo
rStarW
arsh
eused
the
orchestratore
presen
tthe
epic,alm
osto
peratic
scaleofth
estory
A04
AFR
O C
ELT
SOU
ND
SY
STEM—
REL
EASE
ME
LOD
Y
Ther
e is
a fe
mal
e an
d m
ale
singe
r. Th
e vo
cal m
elod
y is
repe
titive
Th
ere
are
som
e sp
oken
par
ts, i
nclu
ding
voc
al sa
mpl
es
The
singe
rs so
meti
mes
sing
voc
able
s (no
nsen
se ly
rics)
like
ooo
h an
d aa
ah
The
mel
ody
lines
are
all
shor
t phr
ases
At
the
star
t (be
fore
the
first
ver
se) t
he fe
mal
e vo
cal p
art s
ound
s lik
e it
is im
pro-
visi
ng.
Solo
s are
take
n by
the
Uill
eann
pip
e, w
hist
le a
nd h
urdy
gur
dy
The
fem
ale
voca
l par
t has
a li
mite
d ra
nge
(a 6
th)
The
mal
e vo
cal p
art h
as a
big
ger r
ange
(a 1
3th)
Th
e vo
cals
use
gliss
ando
(slid
es) a
nd o
rnam
enta
tion
(acc
iacc
atur
a)
The
fiddl
e m
elod
y us
es d
oubl
e st
oppi
ng
TON
ALI
TY
The
piec
e is
in C
min
or
The
piec
e ha
s a m
odal
feel
at ti
mes
.
TEM
PO
Th
e st
art o
f the
pie
ce is
in fr
ee
time
(no
set t
empo
/met
re)
Then
whe
n th
e bo
dhra
n co
mes
in
a st
eady
tem
po is
set.
The
piec
e is
at 1
00bp
m
HA
RM
ON
Y
The
piec
e is
in a
min
or k
ey (C
min
or)
It us
es re
peati
ng c
hord
sequ
ence
s ove
r and
ove
r aga
in
Ther
e is
a dr
one
in th
is pi
ece
on th
e no
te C
The
harm
ony
is m
ostly
dia
toni
c Th
ere
are
som
e ch
rom
atic
note
s, su
ch a
s the
low
synt
h st
rings
that
pla
y an
asc
endi
ng c
hrom
atic
line
Ther
e ar
e so
me
exte
nded
cho
rds (
such
as 7
ths a
nd 9
ths)
The
harm
onic
rhyt
hm is
slow
—it
feel
s lik
e it
stay
s on
the
sam
e ch
ord
for
a lo
t of t
he p
iece
. Thi
s is c
omm
on to
dan
ce m
usic
.
INST
RU
ME
NTS
/SO
NO
RIT
Y
Afric
an in
stru
men
ts: k
ora,
talk
ing
drum
Ce
ltic
inst
rum
ents
: hur
dy-g
urdy
, uill
eann
pip
es, b
odhr
án, fi
ddle
, whi
stle
, acc
ordi
on
Elec
tron
ic D
ance
Mus
ic in
stru
men
ts: m
ale/
fem
ale
voca
ls, s
ynth
esis
ers (
incl
udin
g st
ring
pad,
soft
pad,
bel
ls, b
ass)
, bre
ath
sam
ples
, dru
m m
achi
ne, e
lect
ric p
iano
, sha
ker a
nd ta
m-
bour
ine.
The
piec
e is
mad
e fr
om lo
opin
g id
eas (
a co
mm
on d
ance
mus
ic te
chni
que)
Som
e of
the
play
ing
tech
niqu
es in
clud
e gl
issan
do (a
con
tinuo
us sl
ide
of n
otes
), or
nam
en-
tatio
n, d
oubl
e st
oppi
ng (p
layi
ng 2
strin
gs to
geth
er o
n th
e fid
dle)
, ope
n an
d cl
osed
hi-
hat.
Th
ere
is a
reve
rb e
ffect
on
the
voca
ls th
roug
h th
e w
hole
trac
k.
The
synt
hesiz
er d
rone
use
s a fi
lter (
whi
ch a
utom
atica
lly a
djus
ts th
e EQ
giv
ing
a “s
wee
ping
” so
und)
TEX
TUR
E
The
mai
n te
xtur
e of
the
piec
e is
hom
opho
nic.
Th
ere
are
lots
of l
ayer
s of l
oops
. And
the
loop
s dro
p in
an
d ou
t reg
ular
ly m
akin
g th
e te
xtur
e co
nsta
ntly
cha
nge.
At
the
star
t of t
he so
ng, t
he te
xtur
e bu
ilds u
p by
add
ing
loop
s one
at a
tim
e
The
man
y ov
erla
ppin
g lo
ops g
ive
often
the
piec
e a
poly
-ph
onic
feel
. Th
ere
is a
hete
roph
onic
text
ure
durin
g th
e ou
tro,
with
so
lo in
stru
men
ts p
layi
ng th
e sa
me
thin
g, w
ith sl
ight
var
i-ati
ons.
The
very
star
t of t
he p
iece
is m
onop
honi
c
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is is
a pi
ece
of fu
sion
mus
ic, c
ombi
ning
ele
men
ts
of A
fric
an m
usic
, Cel
tic fo
lk m
usic
and
ele
ctro
nic
danc
e m
usic
It
was
rele
ased
in 1
999
The
band
has
feat
ured
a n
umbe
r of g
uest
mus
icia
ns
over
the
year
, inc
ludi
ng S
inea
d O
’Con
nor w
ho si
ngs
on “
Rele
ase”
.
RH
YH
M a
nd
ME
TRE
Th
e tim
e sig
natu
re is
sim
ple
4/4
(com
mon
to d
ance
mus
ic)
Ther
e ar
e lo
ts o
f rep
eatin
g rh
ythm
ic ri
ffs/o
stina
to p
atter
ns in
the
song
. The
se a
re sh
ort p
hras
es th
at a
re lo
oped
(rep
eate
d ov
er a
nd
over
aga
in)
Ther
e is
sync
opati
on u
sed
thro
ugho
ut
The
repe
ating
rhyt
hms a
re m
ostly
2 a
nd 4
bar
loop
s
Trip
lets
and
sext
uple
ts a
re u
sed
in th
e pi
ece.
Th
e se
miq
uave
rs a
re sl
ight
ly sw
ung
(giv
ing
the
piec
e a
rela
xed
qual
ity)
Som
e no
tes a
re a
ccen
ted
to m
ake
them
loud
er th
an o
ther
s
STR
UC
TUR
E
The
piec
e ha
s a v
erse
form
(with
no
chor
uses
) It
cont
ains
an
intr
o, v
erse
s, br
eaks
, sol
os a
nd a
n ou
tro.
The
full
stru
ctur
e is:
In
tro,
ver
se 1
, ver
se 2
, sol
os, v
erse
3, b
uild
, out
ro
KEY
3
Gra
de
5 G
rade
8
Gra
de
Context:Re
lease
Melod
y–Articulation–Dy
namics–
Tem
po–Structure–Harmon
y–Instrumen
tatio
n–Rh
ythm
-Texture
Afric
anCon
ventions
CelticCo
nven
tions
Electron
icDan
ceCon
ventions
M
⇒ Melod
yisun
impo
rtan
t–te
xturean
drhythm
arethemainfocus
⇒ An
ylead
line
saregiven
toth
evo
ice,orto
percussion
soloists
⇒ Usesa
mixtureofsun
gan
dspok
envocals
⇒ Melod
yusua
llyheardinvocalso
rfolkfid
dle
⇒ Usesm
odalto
nality
⇒ Often
veryfree,fun
and
intuitive–nota
form
allycon
structed
melod
y⇒
Ha
sastrongim
prov
ised
feeling
⇒ Ornam
entatio
n(acciaccatura,trillse
tc.)
⇒ Melod
yinvocalline
sand
lead
synthpa
rts
⇒ Usesc
atchyho
oks
⇒ Often
usesv
ocalsam
ples(recordingsw
hich
arerepe
ated
and
edited)
⇒ Re
verbadd
edto
vocalline
s A D
⇒
⇒
⇒ Sudd
encutsintextureareem
phasise
dby
terraced
dyn
amicdrops
T
⇒ Often
hasfree
timesectionscreating
atmosph
ere
⇒ Onceestablish
ed,asteady
tempo
isusually
maintaine
dthrougho
ut
⇒ Often
hasfreetimesectionssu
chasc
aden
zas
⇒ Morecommon
lyusesa
fasterte
mpo
designe
dford
ancing
⇒ Co
nstantte
mpo
througho
ut
⇒ Upb
eat,fasterte
mpo
ford
ancingto
S
⇒ Lotsofcyclicpatternsa
ndlo
oping
⇒ Lotsofrep
etition
with
embe
llishmen
t(them
ean
dvaria
tionform
)⇒
Po
psong
structure(intro,verse,b
ridgeetc.)
⇒ Cy
clicpatternsa
ndlo
oping
H
⇒ Freq
uentuseofd
rone
s⇒
Pe
rcussio
nba
sedsoharmon
yislessim
portan
t⇒
Nochordinstrumen
ts
⇒ Drone
sareoften
usedinth
eAc
cordionor
fiddle
⇒ Mod
alto
nalitybu
iltfrom
intuition
ratherth
an
form
alru
les(folkm
usicisallmod
al)
⇒ Mainlyusesstan
dardpop
son
gchords
(I,IV
,Vand
vi)
⇒ Ch
ordprogressionsre
peated
throug
hout
I
⇒ Lotsofh
andpe
rcussio
nsuchastalking
drums
andko
ra
⇒ Mainlybu
iltfrom
drumsan
dvo
cals
⇒ Useslotso
ffolkinstrumen
tsinclud
ingHurdy
Gurdy
,Uilleanpipe
s,Bod
hrán
,whitstle
,and
accordian
⇒ Th
efolkviolin(fiddle)isespeciallyim
portan
tan
disoftengivenvirtuo
sicpa
ssages
⇒ Synthe
sisers(keybo
ardswith
artificialso
unds)
⇒ Drumm
achine
s(digitaldrums)
⇒ Melod
ygiventolead
vocalist(maleorfe
male)
⇒ Prod
uctio
neffects(i.e.EQ,filtersa
nddelay)
R
⇒ Co
nstantsteady
beat
⇒ Lotsofsyn
copa
tion
⇒ Useofrhythmicostinatos
⇒ Lotscom
poun
dmetres(6/8or12/8)
⇒ Dottedrhythm
feelto
makeitda
nce-like
⇒ Co
nstantsteady
beat
⇒ Lotsofsyn
copa
tion
⇒ Useofriffs
T
⇒ Often
polyp
honic(lo
tsofinterweavingline
s)
⇒ Often
heterop
honic(everyinstrumen
tdoing
itsownversionofth
emainline)
⇒ Lotsofloo
psand
layerin
g
⇒ Mainlymelod
yan
daccompa
nimen
t(melod
ydo
minated
hom
opho
ny)
⇒ Freq
uentte
xturalcha
ngesareth
emainthing
used
tocreateinterestasthe
harmon
yan
dmelod
yusua
llyre
mainstaticth
rougho
ut
AfroCeltS
ound
System
Ba
ckgrou
nd
• Th
eirm
usicisafu
sion
(blend
ing)ofA
frican
,Celtic
,an
dElectron
icDan
cestyles
• Re
leasecomesfrom
their
second
stud
ioalbum
released
in199
9•
Thelyric
sforReleasewere
writtenbySinéadO’Con
nor,
anIrish
singer/son
gwriter
• Th
eba
ndhavebe
en
nominated
inth
e‘Best
WorldM
usic’categoryat
theGrammyMusicAwards
A04
ESP
ERA
NZA
SPA
LDIN
G—
SAM
BA
EM
PR
ELU
DIO
ME
LOD
Y—
GE
NE
RA
L Th
ere
are
two
mai
n m
elod
ies i
n th
e so
ng—
vers
e 1
and
vers
e 2,
whi
ch a
re th
en c
ombi
ned
after
the
guita
r sol
o.
The
lyric
s are
in P
ortu
gues
e. It
is a
sad
song
ab
out l
ongi
ng fo
r a lo
st lo
ve.
The
mel
ody
line
goes
ver
y lo
w fo
r a fe
mal
e vo
cal,
goin
g do
wn
to a
low
E.
The
voca
l lin
e co
vers
the
rang
e of
a m
inor
te
nth
TON
ALI
TY
The
piec
e is
in B
min
or
Man
y Bo
ssa
Nov
as a
re in
min
or k
eys.
Desp
ite th
e co
mpl
icat
ed h
arm
ony,
the
piec
e do
esn’
t mod
ulat
e—it
stay
s in
the
sam
e ke
y
TEM
PO
Th
e st
art o
f the
pie
ce is
ver
y fr
ee ti
me,
it’s
har
d to
pi
ck o
ut th
e be
at o
f the
song
. Ve
rse
1 ha
s a sl
ow te
mpo
. Ve
rse
2 un
til th
e en
d of
the
song
has
a fa
ster
tem
po
Vers
e 1
uses
lots
of r
ubat
o (fr
eedo
m to
slow
dow
n or
sp
eed
up e
xpre
ssiv
ely)
In
the
link
befo
re v
erse
2 th
e te
mpo
alm
ost d
oubl
es
HA
RM
ON
Y
The
chor
ds u
sed
are
influ
ence
d by
jazz
—th
ey a
re q
uite
com
plic
ated
! Th
ere
are
lots
of e
xten
ded
chor
ds, w
here
ext
ra n
otes
are
“pi
led
up”
on
top
of th
e no
rmal
3 n
ote
chor
d, li
ke 7
ths,
9th
s, 1
1ths
and
13t
hs.
The
mai
n ch
ords
are
mos
tly to
nal (
from
the
key
signa
ture
) Th
e m
ain
chor
ds a
re m
ostly
bas
ed a
roun
d ch
ords
I II
IV a
nd V
. Bu
t the
re a
re so
me
occa
siona
l chr
omati
c ch
ords
(out
side
the
key
signa
-tu
re) s
uch
as C
maj
or a
nd F
maj
or.
As w
ell a
s ext
ende
d ch
ords
, the
re a
re so
me
dim
inish
ed c
hord
s and
fla
tten
ed 5
th c
hord
s.
The
chor
d pr
ogre
ssio
ns so
meti
mes
cre
ate
a de
scen
ding
chr
omati
c ba
sslin
e (b
ars 3
0-38
, in
the
mid
dle
of v
erse
2)
Cade
nces
are
not
use
d in
the
sam
e w
ay a
s in
clas
sica
l mus
ic, b
ut e
ach
secti
on te
nds t
o en
d w
ith a
per
fect
cad
ence
.
INST
RU
ME
NTS
/SO
NO
RIT
Y
The
song
use
s a fe
mal
e vo
ice,
aco
ustic
bas
s gui
tar a
nd a
cous
-tic
gui
tar
The
voca
l par
t is l
ow in
pitc
h fo
r a fe
mal
e sin
ger
The
acou
stic
guita
r onl
y jo
ins i
n at
ver
se 2
The
acou
stic
bass
use
s dou
ble
stop
ping
(pla
ying
mul
tiple
st
rings
toge
ther
) It
also
use
s har
mon
ics
The
acou
stic
bass
is tu
ned
just
like
an
elec
tric
bas
s or d
oubl
e ba
ss.
In v
erse
1 th
e ba
ss so
unds
like
it is
pla
ying
2 p
arts
, with
a b
ass
note
s and
alte
rnati
ng c
hord
s, li
ke a
ragti
me
pian
o
TEX
TUR
E
The
mai
n te
xtur
e of
the
piec
e is
hom
opho
nic.
The
intr
o is
mon
opho
nic
(just
the
bass
) exc
ept f
or a
few
do
uble
stop
s (w
hen
the
bass
pla
ys m
ore
than
one
not
e at
onc
e)
The
voic
e an
d ba
ss d
uet v
erse
is p
olyp
honi
c w
ith tw
o cl
ear m
elod
y lin
es—
vers
e 2
bein
g su
ng a
nd v
erse
1 b
e-in
g pl
ayed
on
the
bass
The
bass
par
t is c
ompl
icat
ed a
nd d
oesn
’t ju
st p
lay
the
root
s of t
he c
hord
s. S
ometi
mes
it b
egin
s to
soun
d lik
e it
is pl
ayin
g it’
s ow
n m
elod
y lin
e, g
ivin
g th
e pi
ece
a po
ly-
phon
ic fe
el
BA
CK
GR
OU
ND
INFO
RM
ATI
ON
Th
is m
usic
is in
the
styl
e of
a ty
pe o
f fus
ion
mus
ic c
alle
d Bo
ssa
Nov
a. T
his s
tyle
com
-bi
nes e
lem
ents
of J
azz a
nd B
razil
ian
Sam
ba
The
song
was
orig
inal
ly w
ritten
in 1
962.
Es
pera
nza
Spal
ding
’s v
ersio
n w
as re
leas
ed
in 2
008.
The
orig
inal
song
was
writt
en b
y Ro
bert
o Ba
den
Pow
ell,
and
the
lyric
s wer
e w
ritten
by
poe
t Vin
iciu
s de
Mor
aes,
who
wer
e bo
th
influ
entia
l Bra
zillia
n m
usic
ians
.
RH
YH
M a
nd
ME
TRE
Th
e pi
ece
is al
mos
t com
plet
ely
in 4
/4 ti
me
Ther
e ar
e lo
ts o
f syn
copa
ted
rhyt
hms
Vers
e 1
has a
lot o
f rub
ato
(free
dom
of s
low
ing
dow
n or
spee
ding
up
exp
ress
ivel
y). T
he b
ass i
s pla
ying
com
plex
rhyt
hms,
but w
e ca
n ju
st a
bout
find
the
beat
of t
he so
ng.
Vers
e 2
has a
fast
er te
mpo
, and
feat
ures
a “
stan
dard
” bo
ssa
nova
rh
ythm
pla
yed
by th
e ba
ss (l
ike
a sl
owed
dow
n sa
mba
bea
t).
Whe
n th
e gu
itar p
art c
omes
in it
add
s to
the
rhyt
hmic
inte
rest
pla
y-in
g bo
th sy
ncop
ated
and
on
the
beat
at ti
mes
.
The
voca
l par
t mos
tly k
eeps
to th
e pr
inte
d m
elod
y, b
ut v
arie
s the
rh
ythm
s usin
g ru
bato
. In
ver
se o
ne in
par
ticul
ar th
e vo
cal p
art i
s sin
ging
lots
of t
riple
ts a
nd
sem
iqua
vers
with
freq
uent
rest
s In
ver
se 2
the
voca
l par
t is s
ingi
ng lo
ts o
f lon
ger n
ote
valu
es, b
ut
thes
e ar
e oft
en sy
ncop
ated
so th
ey st
art o
ff th
e be
at
Whe
n ve
rse
1 an
d ve
rse
2 ar
e pl
ayed
toge
ther
the
rhyt
hms a
re le
ss
sync
opat
ed, t
o he
lp th
em fi
t tog
ethe
r mor
e ea
sily
STR
UC
TUR
E
The
piec
e ha
s a tw
o m
ain
voca
l sec
tions
(ver
se 1
and
ve
rse
2), p
lus
solo
s.
After
the
guita
r sol
o, E
sper
anza
sing
s ver
se 2
aga
in, b
ut
play
s the
mel
ody
of v
erse
1 o
n th
e ba
ss, l
ike
a du
et b
e-tw
een
the
bass
and
voi
ce.
The
full
stru
ctur
e is:
In
tro,
Ver
se 1
, lin
k, V
erse
2, G
uita
r sol
o, V
erse
1 a
nd 2
vo
ice
and
bass
due
t, co
da (o
utro
)
KEY
3
Gra
de
5 G
rade
8
Gra
de
ME
LOD
Y—
VE
RSE
ON
E
Vers
e on
e is
an
8 ba
r ide
a w
hich
is th
en re
peat
ed w
ith
a di
ffere
nt e
ndin
g
Man
y of
the
phra
ses u
se a
risin
g ar
pegg
io (g
oing
up
the
note
s of a
cho
rd—
like
bar 4
) Th
e fir
st o
r sec
ond
note
of e
ach
phra
se d
esce
nds d
own-
war
ds in
a lo
ng d
ownw
ard
sequ
ence
The
mel
ody
mos
tly m
oves
in le
aps o
f a th
ird o
r a se
v-en
th, w
hich
is u
nusu
al
The
mel
ody
chan
ges i
n ba
r 18,
whi
ch in
clud
es a
jazz
y fla
ttene
d 5t
h
ME
LOD
Y—
VE
RSE
TW
O
Vers
e tw
o is
ano
ther
16
bar i
dea
whi
ch is
repe
ated
like
ver
se 1
, bu
t with
a d
iffer
ent e
ndin
g
Ther
e ar
e so
me
use
of se
quen
ces,
such
as b
ars 2
3 –2
6 an
d 3
1-34
.
Unl
ike
vers
e 1,
ver
se 2
use
s alm
ost c
ompl
etel
y st
epw
ise
(con
junc
t) m
ovem
ent.
Ther
e is
anot
her j
azzy
flatt
ened
fifth
at t
he e
nd o
f the
firs
t rep
eat
Context:Samba
EmPrelúdio
Melod
y–Articulation–Dy
namics–
Tem
po–Structure–Harmon
y–Instrumen
tatio
n–Rh
ythm
-Texture
Brazilian
Sam
baCon
ventions
JazzCon
ventions
M
⇒ Notam
elod
ydriven
gen
reofm
usic–m
osto
fthe
interestcom
es
from
rhythmand
sonority
⇒ Ifthereisamelod
y,itisusuallysu
nginacarefreewaywith
an
improvise
dfeel
⇒ Iftherearevocalists,the
melod
yisoftensunginSpanish
⇒ Im
provisedm
elod
ylines
⇒ Makesuseofthe
Bluesscale(flatten
ed3
rd,5
thand
7th)-th
eseare
chromaticnotes
⇒ Lotsofa
ccentsonsyncopatedbeats
⇒ Lostofa
cciaccaturasan
dpitchbends
A
D
⇒ Ve
ryloud
(forte)a
ndvibrant
⇒
T
⇒ Upb
eatd
ancete
mpo
s⇒
Funkand
Beb
opareveryfast
⇒ Trad
ition
alJa
zzand
earlierstylesa
rem
uchmorelaidback
S
⇒ Freq
uentlyusesc
allandresponse
⇒ Often
usesthe
12barblues(IIII,IVIV
II,VIVII)
⇒ Re
turnstothehead(cho
rus)and
featuresexten
dedsolos
⇒ Ca
nbe
thou
ghto
fasa
themeand
ase
tofv
ariations
H
⇒ Simplechordprogressionsusin
glotsofII-V
-Ipa
tterns
⇒ Ha
rmon
yisno
timpo
rtan
tinSamba
music–itisth
erhythm
and
colourwhichdom
inates
⇒ Extensionchordsw
ith‘jazzh
armon
y’su
chasa
dded
6thsa
nd7ths
⇒ Mainlybu
iltfrom
cho
rdsI,IVandVand
the12-barBlues
I
⇒ Ve
ryvibrantw
ithcolourfulsou
nds(likeaBrazilian
carnival)
⇒ Samba
ban
dfeatureslotsdrums:bassd
rum(surdo),teno
rdrums
(repiniques)and
smallerd
rums(timbales),p
lusthe
distinctive
soun
dofagogôbells
⇒ Rh
ythm
section:piano,drums,doublebass
⇒ Ho
rnse
ction:trumpets(o
ften
muted
),trombones,saxophones
⇒ Re
allysh
owso
fthe
soloinstrumen
t’svirtuositywith
awiderange
andlotsoftechn
ique
ssuchaspitchbe
ndingan
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beats
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ciallyinterested
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chasB
ossaNovas(a
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esongwascom
posedbyAcquino
(193
7-20
00),aBrazilian
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ho
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ossaNovas
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oraes(19
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litical
A04
Melody:
Conjunct/Disjunct
Range/Pitch
Ascending/Descending
Diatonic/Chromatic
Phrasing
Ostinato/Riff
Leitmotif
Improvisation
Sequence
Imitation
Syllabic/Melismatic
Word painting
Instrumentation, Sonority, Timbre
SATB
Brass: Trumpet, Trombone, Tuba
Woodwind: Flute, Clarinet, Sax, Oboe
Strings: Violin, Cello, Double Bass
Arco/Pizzicato
Keyboards: Piano, Synth, Harpsichord
Percussion (Drum fills)
Ensemble/Band
Distortion/Reverb
Articulation
Legato/Staccato
Accents
Ornamentation (Tremolo/Trill)
Grace notes
Glissando
Pitch Bend
Rhythm & Metre
Straight/Swung
Note lengths: Crochet (1/4) Quaver (1/8) Semiquaver (1/16)
Triplets
Dotted rhythms
Syncopation
Simple Time: 2/4, 3/4, 4/4
Compound Time: 6/8, 12/8
Dynamics
Terraced Dynamics
Sforzando
Crescendo
Piano (p) - Mezzo Forte (mf) - Forte (f )
Diminuendo
Tempo
Rubato
Free time
Accel.
Grave - Largo - Moderato - Allegro - Vivace
Rall.
Structure
Popular Song Form:
Verse/Chorus/Solo/ Bridge/Outro
Sonata Form:
Introduction/Exposition/ Development Section/ Recapitulation
ABA]
Theme & Variations
Harmony & Tonality
Pedal/Drone
Consonant/ Dissonant
Harmonic Rhythm
Diatonic/Chromatic
Major/Minor
Modulation (key change)
Tonic/Dominant/ Relative minor
Perfect Cadence
Imperfect Cadence
Texture Unison Octaves Monophonic Homophonic
Polyphonic Imitation Canon Melody Dominated Homophony