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78 Cards in this Set
- Front
- Back
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Electric Counterpoint structure |
> two main sections with a coda > each main section is then subdivided into four smaller sections, which are defined by changes in key and texture |
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Electric Counterpoint Tonality and Harmony |
> tonal ambiguity: keeps the listener guessing about the key > starts in E minor, changes to C minor > ends on an E5 chord |
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Electric Counterpoint Dynamics |
> limited use of dynamics as they depend on texture |
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Electric Counterpoint Rhythm |
> changes between 3/2 and 12/8 > made up of rhythmic layered ostinati which are phase shifted |
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Electric Counterpoint Tempo |
> Very fast > Does not change |
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Electric Counterpoint Texture |
> Polyphonic and repetitive > Texture always remains fairly constant but always seems to be shifting due to panning and interweaving rhythms |
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Electric Counterpoint Instrumentation |
> 7 electric guitars > 2 bass guitars > One part played by a live performer, the rest are recorded |
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Electric Counterpoint Melody |
> Very repetitive > Uses minimalist techniques such as additive melody > Uses accents |
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MOBY Structure |
> song form > intro, outro, verse, chorus, break > all 8-bar section |
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MOBY
Tonality and Harmony
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> Verse : Am Em G D > Chorus: C Am C Am F C F C |
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MOBY Rhythm |
> 4/4
> syncopated rhythms > sustained rhythms |
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MOBY Tempo |
> steady, moderate tempo
> 98 bpm |
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MOBY Texture |
> mainly homophonic, with chords and a melody
> layered / builds > call and response used |
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MOBY Instrumentation |
> akai sampler used (unclean samples)
> all synthetic > piano, sub bass, synths > Roland TR909 drum machine > echo, reverb, delay, telephone EQ |
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MOBY Melody |
> samples from a 1950s gospel choir > vocals hold the melody > male vocals in verse, female vocals in chorus |
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Grace Structure |
> song form
> intro, outro, verse, chorus, prechorus, middle 8, link > the 'link' uses intro material |
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Grace Tonality and Harmony |
> E minor
> uses chromatic and extended chords > uses power chords |
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Grace Rhythm |
> 12/8 --> feels like 4/4 > use of semi-quavers > use of syncopation |
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Grace Tempo |
> 64 bpm
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Grace Texture |
> mostly homophonic (chords and melody)
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Grace Instrumentation |
> 3 electric guitars - distorted
> 1 acoustic guitar > 1 bass guitar > vocals (lead and backing) > synth strings > reverb, EQ and phaser used |
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Grace Melody |
> vocals have the melody
> wide vocal range - 2 octaves > falsetto > mainly syllabic, but sometimes melismatic e.g. 'fire' > some improvised vocals |
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Something's Coming Structure |
> short intro
> A and B section which are repeated and reappear |
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Something's Coming Tonality and Harmony |
> starts in D major
> moves to C major > major key suggests hopefulness and joy |
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Something's Coming Dynamics |
> pp at start - builds anticipation
> builds to ff with excitement and hope > accents used to emphasise words and rhythms |
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Something's Coming Rhythm |
> 3/4 , however sometimes feels like 6/8
> crotchets in the left hand, quavers in the right > bars 82-85 : cross rhythms > bar 4 : push rhythms used to show anticipation |
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Something's Coming Tempo |
> 176 bpm
> fast - shows excitement |
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Something's Coming Texture |
> mainly homophonic
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Something's Coming Instrumentation |
> large orchestra
> woodwind sections were large > percussion sections were even bigger > Latin American instruments used such as castanets, guiro and maracas |
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Something's Coming Melody |
> based on short riffs, or motifs
> uses notes from the blues scale > tritones used (D and G#) also known as the 'devils's interval' |
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All Blues Structure |
> head arrangement > head sections with solos inbetween |
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All Blues Tonality and Harmony |
> modal jazz
> based in G major > uses extended and altered chords |
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All Blues Dynamics |
> dynamics only change as a result of texture
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All Blues Rhythm |
> 6/4
> syncopation heavily used |
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All Blues Tempo |
> steady, laid back 'swing' feel
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All Blues Texture |
> homophonic
> ostinato riff which sounds like melody but is an accompaniment |
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All Blues Instrumentation |
> drums played with brushes
> only snare and hi-hats used to keep the beat > solos from; piano, trumpet, alto sax, tenor sax > upright bass > trumpet uses a mute > John Coltrane, Julian Adderly, Jimmy Cobb |
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All Blues Melody |
> solos are based around modes rather than chords |
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Raindrop Prelude Structure |
> Ternary form : A,B,A
> Coda at the end > when the A section return, it is shorter > represents a storm |
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Raindrop Prelude Tonality and Harmony |
> A section : Db major
> B section : C# minor > Db and C# are enharmonic |
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Raindrop Prelude Dynamics |
> A section quieter, B section louder
> extreme, wide ranging dynamics > B section is the loudest point |
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Raindrop Prelude Rhythm |
> 4/4
> some dotted rhythms in the A section > nothing too complex |
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Raindrop Prelude Tempo |
> Rubato : free tempo
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Raindrop Prelude Texture |
> mainly homophonic
> single monophonic line into the coda > pedal note used : G# / Ab |
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Raindrop Prelude Instrumentation |
> piano, uses sustain pedal
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Raindrop Prelude Melody |
> A section: melody is in the right hand
> B section: melody is in the left hand > ornamentation of melodies > acciaccaturas used (grace notes) |
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Peripetie Structure |
> broadly in Rondo form
> sections are developed to such an extent that they are hardly recognisable |
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Peripetie Tonality and Harmony |
> Atonal
> Uses all 12 semitones (serialism) |
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Peripetie Dynamics |
> extreme use of dynamics
> ppp to fff (dramatic shifts) > sometimes instruments are played so quietly that they can barely be heard |
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Peripetie Rhythm |
> use of short triplet quavers
> short note durations |
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Peripetie Tempo |
> changes throughout
> 'serr rasch' : very quick > 'etwas ruhiger' : somewhat calmer |
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Peripetie Texture |
> lots of variation
> overall texture is polyphonic and very complex > texture seems to thin dramatically after the loud hexachords |
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Peripetie Instrumentation |
> instruments used to their full pitch range
> mutes used in the brass section > explores instrumental colour |
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Peripetie Melody |
> hexachords and compliments used
> most of the ideas that are going to be used in the whole piece appear in the first section > use of extended chords > 12 tone row (serialism) > Prime, Retrograde, Inversion |
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Handel Structure |
> chorus from an oratorio
> other parts of an oratorio include; aria, recitative, overture > 4 different musical ideas |
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Handel Tonality and Harmony |
> major affection
> A major, changes to E major and B major > major key and happy religious lyrics create a joyful mood |
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Handel Dynamics |
> little contrast
> dynamics are a result of texture |
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Handel Rhythm |
> 3/4
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Handel Tempo |
> Allegro (lively)
> changes to Adagio (slow) at the end |
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Handel Texture |
> mainly polyphonic
> last bar is homophonic (chords) |
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Handel Instrumentation |
> chamber orchestra > two violins, a viola, a cello, SATB choir> strings mirror SATB choir > bass continuo played on an organ |
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Handel Melody |
> melody 1: syllabic, made from the notes of the tonic chord
> melody 2: melismatic, downward sequence > melody 3: melismatic, repetitive sequence > melody 4: syllabic, based on a pedal note (only two notes used) |
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Mozart Structure |
> sonata form > exposition, development, recapitulation > coda at the end |
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Mozart Tonality and Harmony |
> first subject: Gm
> second subject: Bb > development section modulates to many keys, avoiding the tonic > recapitulation, second subject is now also in Gm |
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Mozart Dynamics |
> gradual changes in dynamics
> lots of crescendos and diminuendos |
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Mozart Rhythm |
> 4/4
> rhythmically fairly simple |
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Mozart Tempo |
> Allegro (lively, fast)
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Mozart Texture |
> mainly homophonic
> uses call and response / imitation |
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Mozart Instrumentation |
> full classical orchestra including violins, cello, viola, double bass, clarinet, oboe, flutes, bassoon, horns
> no trumpets or timpani which you would expect from a classical orchestra |
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Mozart Melody |
> two subjects introduced in the exposition
> strings mainly have melody > only the first subject used in the development section |
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Skye Waulking Song Structure |
> strophic form
> intro, verse, verse, coda > uses call and response |
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Skye Waulking Song Tonality and Harmony |
> In G major, has a modal feel
> entirely diatonic > main chords: G, Em, C |
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Skye Waulking Song Dynamics |
> terraced dynamics (each section different) > higher pitch = louder dynamics > starts quietly > louder when full band playing |
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Skye Waulking Song Rhythm |
> 12/8
> frequent syncopations in vocal lines > use of cross-rhythms at the start created by a hi-hat |
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Skye Waulking Song Tempo |
> moderate (not marked on music)
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Skye Waulking Song Texture |
> layered, contrapuntal texture
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Skye Waulking Song Instrumentation |
> combines folk and rock instruments
> rock: synthesiser, bass guitar, drum kit > folk: fiddle, accordion, uillean pipes, bouzouki |
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Skye Waulking Song Melody |
> pentatonic > mainly syllabic > alternates between 1 bar phrases |
