Edexcel Music Gcse Set Works

Front 1

And the Glory of the Lord: Key

Back 1

A Major

Hint 1

It’s Major

Front 2

And the Glory of the Lord: Time Signature

Back 2

3/4

Front 3

And the Glory of the Lord: Texture

Back 3

Switches between Homophonic and Contrapuntal

Front 4

And the Glory of the Lord: Structure

Back 4

Ritornello Orchestral Introduction, no other Form

Front 5

And the Glory of the Lord: Instrumentation

Back 5

4 Vocal Lines Accompanied by Violins, Violas and the Continuo

Front 6

And the Glory of the Lord: Techniques

Back 6

Syllabic and Melismatic singing with Imitation between parts

Hint 6

Vocal Techniques

Front 7

And the Glory of the Lord: Melody

Back 7

Soprano, Alto, Tenor and Bass Vocals singing 4 main Motifs

Front 8

And the Glory of the Lord: Harmony

Back 8

A Major Modulating to E Major (the Dominant) and B Major (the Supertonic). Ends with an A Major Plagal Cadence

Front 9

And the Glory of the Lord: Rhythm/Tempo/Metre

Back 9

Fast tempo throughout with a General Pause before the ending in a slower Tempo. Hemiolas make some parts of the piece feel 2/4 not 3/4

Hint 9

Confusing metre

Front 10

And the Glory of the Lord: Dynamics

Back 10

Little Dynamic change as the Continuo cannot change volume

Hint 10

Think Continuo

Front 11

And the Glory of the Lord: Context

Back 11

Baroque music is between 1600-1750. From 'Messiah' written in 1741. Bach, Purcell & Vivaldi are other Composers

Hint 11

Era, Where it’s from, When it was written, other composers of this era

Front 12

Mozart Symphony: Key

Back 12

G Minor

Hint 12

It’s Minor

Front 13

Mozart Symphony: Time Signature

Back 13

4/4

Hint 13

Pretty Basic

Front 14

Mozart Symphony: Texture

Back 14

Homophonic

Hint 14

Chordal

Front 15

Mozart Symphony: Structure

Back 15

Sonata Form: Exposition, Development, Recapitulation

Hint 15

3 Sections

Front 16

Mozart Symphony: Instrumentation

Back 16

A Chamber Orchestra, made up of Strings, Woodwind and Horns

Hint 16

Type of Orchestra

Front 17

Mozart Symphony: Techniques

Back 17

Accents and Trills are played as well as falling Chromatic Patterns

Front 18

Mozart Symphony: Melody

Back 18

Made up of 4 Balanced, Scalic, 4 or 8 bar Phrases in a ‘Question and Answer’ style

Hint 18

Phrases

Front 19

Mozart Symphony: Harmony

Back 19

Diatonic, based around Major and Minor Triads. There are also Chromatic Chords (such as Diminished), Pedal notes and a Circle of Fifths Progression. Modulates to the Relative Major (Bb) in the Second Subject in the Exposition. The Development begins in F♯

Front 20

Mozart Symphony: Rhythm/Tempo/Metre

Back 20

4/4 and Molto Allegro (very fast). The first Subject begins with an Anacrusis (An Upbeat) and other Rhythms such as Dotted Rhythms and Syncopation are used

Front 21

Mozart Symphony: Dynamics

Back 21

Few Crescendos and Diminuendos as Dynamics are sudden

Front 22

Mozart Symphony: Context

Back 22

Written in 1788 for performances in large rooms/halls. This the 1st Movements of 4 in the Symphony

Hint 22

When it was written, Where it was performed, Where it is from

Front 23

Chopin Prelude: Key

Back 23

Db Major

Hint 23

It’s Major

Front 24

Chopin Prelude: Time Signature

Back 24

Common Time or C or 4/4

Hint 24

Pretty Basic

Front 25

Chopin Prelude: Texture

Back 25

Homophonic apart from last 2 bars (Monophonic)

Front 26

Chopin Prelude: Structure

Back 26

Ternary (ABA) finishes with brief Coda

Front 27

Chopin Prelude: Instrumentation

Back 27

Solo Piano

Hint 27

Not Many Instruments

Front 28

Chopin Prelude: Techniques

Back 28

Use of Sustain Pedal & middle/lower piano range

Front 29

Chopin Prelude: Melody

Back 29

Acciaccaturas, Turns, Dotted Rhythms and Chromaticism are used to create a Lyrical Melody. Melody in Bass in Section B. Whole piece mainly in 4 or 8 bar Phrases

Front 30

Chopin Prelude: Harmony

Back 30

Db Major Diatonic with occasional Chromaticism and Modulations to C♯ Minor (Enharmonic). Sections A and B end with an Imperfect Cadence and the Coda ends with a Perfect cadence & Double Sharps are used

Front 31

Chopin Prelude: Rhythm/Tempo/Metre

Back 31

Common Time, Septuplets and Dectuplets used, Rubato (Flexible Tempo), Smorzando (Dying Away) and Slentando/Ritenuto (Slow Down) Markings are used

Front 32

Chopin Prelude: Dynamics

Back 32

Crescendos and Diminuendos are frequently used alongside a wide range of Dynamics (pp to ff). Section B is louder (two ff Climaxes)

Front 33

Chopin Prelude: Context

Back 33

Part of Op.28, a collection of 12 Preludes Composed in 1839, Part of the Romantic Period

Front 34

Something’s Coming: Key

Back 34

D Major with C Major Sections

Front 35

Something’s Coming: Time Signature

Back 35

Varies Between 3/4 and 2/4

Front 36

Something’s Coming: Texture

Back 36

Homophonic & Layered, 3 Main Ideas

Front 37

Something’s Coming: Structure

Back 37

Intro, A1, B1, B2, A2, Outro - Alternated Ideas

Front 38

Something’s Coming: Instrumentation

Back 38

Solo Tenor Voice Accompanied by a Soft Timbre Band of Woodwind, Brass, Percussion and Strings

Front 39

Something’s Coming: Techniques

Back 39

Harmonics (high notes), Tremolos, Syncopation and Syllabic Singing

Front 40

Something’s Coming: Melody

Back 40

3 Alternated Main Ideas sung by the Tenor Vocalist Syllabically

Front 41

Something’s Coming: Harmony

Back 41

Two Contrasting C Major sections, frequent use of the Tritone (sharpened 4th interval). The last note sung is a Flattened Seventh giving an Unresolved ending. Harmony is Tonal and Jazz Influenced

Front 42

Something’s Coming: Rhythm/Tempo/Metre

Back 42

Fast Tempo with frequent Syncopation to add Excitement and Anticipation. Cross Rhythms created by on-beat Bass part and off-beat chords

Front 43

Something’s Coming: Dynamics

Back 43

Quiet Dynamics to reduce overpowering of the Vocalist

Front 44

Something’s Coming: Context

Back 44

Musical Style Piece With Jazz and Classical Influences. Written By Bernstein in 19 for West Side Story, a Broadway Musical Based on 'Romeo & Juliet'

Front 45

Electric Counterpoint: Key

Back 45

G Major with short Eb Major sections

Front 46

Electric Counterpoint: Time Signature

Back 46

3/2 with 12/8 in Section B in some parts

Front 47

Electric Counterpoint: Texture

Back 47

Contrapuntal

Front 48

Electric Counterpoint: Structure

Back 48

A B Coda

Front 49

Electric Counterpoint: Instrumentation

Back 49

1 Live Guitar, 7 Pre-Recorded Guitars & 2 Pre-Recorded Bass Guitars

Front 50

Electric Counterpoint: Techniques

Back 50

Phase Shifting and Layering of Ostinatos, Metamorphosis and Metrical Displacement

Front 51

Electric Counterpoint: Melody

Back 51

One-bar Motif Phase-Shifted through Guitars. Metamorphosis process in parts & a Resultant Melody played by the Live Guitar

Front 52

Electric Counterpoint: Harmony

Back 52

E Aeolian Mode, Hexatonic Scales, Diatonic and no Cadence due to double note Chord end. Key change at Section B & Coda

Front 53

Electric Counterpoint: Rhythm/Tempo/Metre

Back 53

The Tempo is 192 bpm (very fast) and it is12 /8 & 3/2 Polymetre. There is little Rhythmic variety as most of the piece is Repeated Patterns of Quavers. Syncopation and Repeated Quaver Ostinatos make it sound out of time

Front 54

Electric Counterpoint: Dynamics

Back 54

Constant throughout with parts fading out

Front 55

Electric Counterpoint: Context

Back 55

By Steve Reich. It was 1st Performed in 1987. Minimalism Started in 1960s due to reaction against Modern Music (Other Composers: Adams & Glass)

Front 56

All Blues: Key

Back 56

G Major 7th

Hint 56

Major Chromatic Chord

Front 57

All Blues: Time Signature

Back 57

6/4

Front 58

All Blues: Texture

Back 58

Mainly Homophonic with Polyphonic solos that make the Texture Thinner

Front 59

All Blues: Structure

Back 59

12-Bar Blues Progression throughout. The piece is split into the Intro, Head 1, Solos, Head 2 and Coda

Hint 59

5 Sections

Front 60

All Blues: Instrumentation

Back 60

Trumpet, Alto and Tenor Saxophones, Piano, Bass and Drum Kit

Front 61

All Blues: Techniques

Back 61

Improvisation by Solo Instruments (Trumpet, Alto, Tenor and Piano). The Drum Kit uses Wire Brushes, The Bass plays Pizzicato (Plucked), and the Piano begins with a Tremolo and then starts Comping (Chords and Melodic ideas)

Front 62

All Blues: Melody

Back 62

The Head Melody is simple and in Rising 6ths, played by the Trumpet. Syncopated Motifs (Trumpet), Virtuosic Playing Styles (Saxes) and Parallel Chords (Piano), are used by the Soloists

Front 63

All Blues: Harmony

Back 63

Modal Jazz in the Mixolydian Mode. The 12 Bar Blues Goes: G7 G7 G7 G7 Gm7 Gm7 G7 G7 D7 Eb7/D7 F/G F/ G7

Front 64

All Blues: Rhythm/Tempo/Metre

Back 64

6/4 but sounds in pairs of 3/4 so is described as a Jazz Waltz. Syncopation and Swing Quavers are used

Front 65

All Blues: Dynamics

Back 65

No specific Dynamics in the piece

Front 66

All Blues: Context

Back 66

Jazz originates from the Southern States of America in the early 20th Century. This is from Miles Davis album, Kind of Blue in 1959

Front 67

Grace: Key

Back 67

E Minor but often Ambiguous

Front 68

Grace: Time Signature

Back 68

12/8 Compound Quadruple Metre

Front 69

Grace: Texture

Back 69

Monophonic

Front 70

Grace: Structure

Back 70

Intro/Verse 1/Chorus 1/Intro Repeat/Verse 2/ Chorus 2/Bridge/Intro Repeat/Verse 3/Coda

Front 71

Grace: Instrumentation

Back 71

Vocals/Guitars/Bass Guitar/Drum Kit/Synthesizer/Strings

Front 72

Grace: Techniques

Back 72

Guitars use Drop D Tuning to increase range, Distortion/Flanging to Intensify sound (in the Coda), and Over-Dubbing to create a thick Sound. The Synth uses Pitch Modulation and Buckley uses EQ to remove lower Vocal Pitches (Telephone Effect)

Front 73

Grace: Melody

Back 73

Vocals, using falling Melismatic Phrases, Word Painting, Vocalisation (Wordless Singing) and Falsetto

Front 74

Grace: Harmony

Back 74

E Minor but Ambiguous often due to focus on other Chords, Chromatic Movements, Parallel Motion and Dissonant Harmonies are also heard. Power Chords in Chorus 1 are used

Front 75

Grace: Rhythm/Tempo/Metre

Back 75

Bass Drum and Snare Drum create a Back-Beat (1&3, 2&4). There is Syncopation of Vocal Melody and Cross Rhythms are created with Quavers

Front 76

Grace: Dynamics

Back 76

Varied throughout with loud Melismatic Phrases and Improvisation near the end

Front 77

Grace: Context

Back 77

It is a Folk Rock Ballad released in 1994 alongside Hallelujah and Lilac Wine in Buckley’s only album: Grace. The Folk Revival happened in the 50s leading to the Folk Rock Genre in the 60s

Front 78

Skye Waulking Song: Key

Back 78

G Major

Hint 78

It’s Major

Front 79

Skye Waulking Song: Time Signature

Back 79

12/8 Compound Quadruple Metre

Front 80

Skye Waulking Song: Texture

Back 80

Thick & Heterophonic

Front 81

Skye Waulking Song: Structure

Back 81

Intro/Verse1/Verse 2 & Instrumental Break/Coda

Hint 81

5 Sections

Front 82

Skye Waulking Song: Instrumentation

Back 82

Vocals/Violin/Wurlitzer Piano/Ulieann Pipes (softtone bagpipes)/Bouzouki (a Greek Lute/Accordion/Synth/Bass Guitar/Drum Kit

Front 83

Skye Waulking Song: Techniques

Back 83

Synth Pitch Modulation & ‘Call & Response’ in Vocals

Front 84

Skye Waulking Song: Melody

Back 84

Call & Response by Vocals, 'Nonsense' Vocables in Response, 1 Bar Vocal Phrases and Instrumental Countermelodies create an unusual Melody

Front 85

Skye Waulking Song: Harmony

Back 85

G Major Diatonic, G/Em/C Chords are used throughout, a Modal feel is made by avoiding the Dominant, D

Front 86

Skye Waulking Song: Rhythm/Tempo/Metre

Back 86

Syncopation in vocals & countermelodies, the High Hat plays Cross Rhythms that change when band enters to emphasize Time Signature

Front 87

Skye Waulking Song: Dynamics

Back 87

Large Band raises dynamics and Accompaniment fades out in the Coda

Front 88

Skye Waulking Song: Context

Back 88

Played and Written by Capercaille, in the Folk Fusion Genre, originally from a Lament. Waulking is pounding tweed cloth, and it was sung by women for motivation and to keep in time with the cloth movement

Front 89

Rag Desh 1: Structure

Back 89

Alap, Gat, Jhalla

Front 90

Rag Desh 1: Instrumentation

Back 90

Sitar (& Main Strings and 12 Sympathetic Strings) and Tabla (Two Drums: Dayan and Bayan)

Front 91

Rag Desh 1: Techniques

Back 91

Tihai in the Gat, a short rhythm repeated 3 times; Strummed sitar strings

Front 92

Rag Desh 1: Harmony

Back 92

Uses Rag Desh

Front 93

Rag Desh 1: Rhythm/Tempo/Metre

Back 93

Free pulse in the Alap, moderate tempo in Gat, fast tempo in Jhalla

Front 94

Rag Desh 1: Tals

Back 94

Jhaptal (10 Beats) and Tintal (16 Beats)

Front 95

Rag Desh 1: Context

Back 95

Played By Anoushka Shankar

Front 96

Rag Desh 2: Structure

Back 96

Alap/Bhajan

Front 97

Rag Desh 2: Instrumentation

Back 97

Sarod (Plucked String), Sarangi (Bowed String), Pakhawaj (Double ended drum), Tabla (Two drums), Pair of Small Cymbals and a Voice

Front 98

Rag Desh 2: Techniques

Back 98

Melismas and Ornaments by the Tanwar

Front 99

Rag Desh 2: Melody

Back 99

Voice sings rag notes in Alap and sings a verse in the Bhajan, Sarangi and Sarod have Solos in Bhajan

Front 100

Rag Desh 2: Harmony

Back 100

Based on Rag Desh, Rag notes introduced by Vocalist

Front 101

Rag Desh 2: Rhythm/Tempo/Metre

Back 101

Slow with no pulse in Alap, Tabla Plays in Bhajan,

Front 102

Rag Desh 2: Tals

Back 102

Keherwa Tal (8 Beats)

Front 103

Rag Desh 2: Context

Back 103

By Chiranhi Lal Tanwar, A Bhajan (Hindu Devotional Song)

Front 104

Rag Desh 3: Structure

Back 104

Alap/Gat 1 in Rupak Tal/Gat 2 in Ektal

Front 105

Rag Desh 3: Instrumentation

Back 105

Bansuri (Bamboo Flute), Esraj (Bowed String), Shruti Box (Electronic Drone), Swarmandel (Plucked String), Tabla (Two Drums)

Front 106

Rag Desh 3: Techniques

Back 106

Improvisation & Drones (D & A) in the Alap, Tihai in Gat 1 and Gat 2 and Tans (Fast Scales) in Gat 2

Front 107

Rag Desh 3: Melody

Back 107

Tans (Fast Scales)

Front 108

Rag Desh 3: Harmony

Back 108

Based on Rag Desh

Front 109

Rag Desh 3: Rhythm/Tempo/Metre

Back 109

Slow with No Pulse in Alap, Slow Gat 1, Fast Gat 2

Front 110

Rag Desh 3: Tals

Back 110

Rupak Tal (7 Beats) and Ektal (12 Beats)

Front 111

Rag Desh 3: Context

Back 111

By Americans Steve Gorn and Benjy Wertheimer