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8/11/2019 Gcse Mus Support 5641

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REVISED GCSE

Set Works AnalysesMusic

For use with the revised GCSE Music specification(for first teaching from September 2009)


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ContentsPage

Introduction: Purpose of the Guidance 3

Core Area of Study: Repeated Patterns in Music 4

Pachelbel: Canon inD major 5Beethoven: Symphony No. 7 Allegretto(2ndmovement) 8Holst: The Planets Mars 11

Jenkins: Requiem Dies Irae 14

Optional Area of Study 1: Musical Traditions in Ireland

To follow

Optional Area of Study 2: Incidental Music

To follow

Optional Area of Study 3: Vocal Music

To follow


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Introduction: Purpose of the Guidance

This guidance is designed to support the teaching of CCEAs Specification for GCSE Music (forfirst teaching, September 2009). It should be read in conjunction with the specification, thescheme of work and (when they become available) the exemplar assessment materials. This and

subsequent support material can be found on our subject microsite: www.ccea.org.uk/music.

These set work analyses provide a background, context and analysis of each work that appears inthe Core and Optional Areas of Study in the specification.

We have listed timecode in reference to specific points in each of the set works. Throughout thedocument we have listed the timings as, for example, (1.20) which indicates 1 minute and 20seconds into the relevant recording. These timings are based on the recordings we havesuggested on our microsite. Where scores were available, we have also listed rehearsal marks orbar numbers.

This material is intended as an aid to teaching and a resource to supplement teachers ownresearch.

This material is available on the microsite as a pdf and as a Word document so that teachers mayincorporate their own existing notes into this document.

We hope that you find this aspect of our support useful in your teaching.

Best wishes

Roger TriggSubject OfficerMusic

Email: [email protected]


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Core Area of Study:Repeated Patterns in Music


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Pachelbel (1653-1706): Canon in D major

Biographical detail

Johann Pachelbel was born in Nuremberg, Germany in August 1653 and became one of thegreat organist-composers of the Baroque era. He died in Nuremberg on March 6th, 1706.

Pachelbel is principally remembered as a composer of church and organ music, especially hischorale preludes and variations. Pachelbel is also credited with influencing the early keyboard

works of Johann Sebastian Bach. It is believed that the Canon in D majorwas written (along with aGiguein the same key) in or around 1680.

Historical Background & Context

This work was not published until the 1920s with the first recordings emerging some twentyyears later. Canon in D major has undergone hundreds of transformations in the intervening years,and has been recorded by artists as diverse as Pet Shop Boys and the Farm. It was the latters re-

working of Pachelbels original for their 2004 hit release which became more widely recognisedin its use as the theme tune of the English Euro 2004 team (All together now). Frequently used as aprocessional at weddings, this work has appeared in several films and also in television advertssuch as, British Gas, Pure New Wool and Ambrosia.

Analysis

The Canon in D majorwas originally written for three violins and basso continuo. The original

version of the Canon is rarely played today and the basso continuo (Extract 1) is frequentlyundertaken by cello, harpsichord or organ.

Extract 1

The term canon to describe this work, is true in that the parts follow in strict canonic orderthroughout the work. The harmonic progressions heard above the ground bass (basso ostinato)

also never alter. The title Canon therefore, refers to the way the three violin parts work, playingthe same music (in this piece) 2 bars apart (Extract 2).


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Extract 2

After the initial statement of the ground bass (Extract 1), the first violin enters with a simpledescending and ascending crotchet pattern. Two bars later the second violin adds to the textureby playing in thirds with the first violin (Extract 3 - 0.27). As the third violin enters with thedescending crotchet pattern, Violin 1 has begun the next variation, this time in quavers (Extract

4 - 0.40).

Extract 3

Extract 4

Further progression occurs when a new scalic semiquaver variation begins. (Extract 5 - 1.03 ) .Amore disjointed variation of the crotchet pattern exploiting octave leaps follows (1.27 ), followedin turn by the fastest variation featuring demisemiquaver patterns (Extract 6 - 1.50). This variantfeatures repeated half-bar sequences.


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Extract 5

Extract 6

As the canon becomes increasingly dense towards the middle of the piece, other interesting

variants occur when the descending crotchet pattern (Extract 2) is reworked and each note isrepeated in semiquavers (2.34).

Arguably the most melodically memorable legato variant is heard as the texture becomesincreasingly sparse with lighter scoring and less counterpoint (3.23). As the note values lengthen,the piece gradually reverts to a less complex structure and after 28 repetitions of the originalground bass (Extract 1), the work ends.

The chord progression used in Canon ( I V vi iii IV I IV V = D major, A major, B minor,F#minor, G major, D major, G major and A major) was to influence many composers includingHandel, Haydn, Mozart and the many hundreds of contemporary musicians who have used it.

The simplicity of the Canon is untypical of the Baroque era in that Pachelbel employs no complexcontrapuntal devices such as augmentation, diminution, inversion etc.

Performance detail

It is also important to note that the fashionable very slow tempo of performance currently heardin most recordings contrasts with the much faster tempi employed by performers in the Baroqueperiod.Many recordings also feature an accompaniment over the opening ground bass (bars 1-2).


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Beethoven (1770-1827): Symphony No. 7 in A Allegretto(2ndmovement)

Work onthe Symphony began in 1811 and was completed in 1812. First performance took place in Vienna in 1813 at a charity concert for soldiers wounded at

the battle of Hanau with Beethoven conducting.

The symphony is scored for a Classical Orchestra - 2 flutes, 2 oboes, 2 clarinets, 2bassoons, 2 horns 2 trumpets, timpani and strings. This is unusual as Beethoven had usedlarger forces in previous symphonies, particularly No. 5 where he included Piccolo, doublebassoon and three trombones.

There are four movements.

The 2ndmovement is the only one of the four which is not dance-like in character, yet it isthe best known.

Its main characteristic is the repeated crotchet/two quaver figure (ostinato) that continuesthroughout the piece not only in the bass,but at other times on different instruments ofthe orchestra.

Although it is the slow movement of the symphony, Beethoven marks it Allegretto iea little lively. It is this contrast between the steady march-like figure in the minor key andthe lightness which he expects the rhythm to be in performance that helps to give themovement its strange appeal.

Analysis

Theme 1

Theme 2

Theme 3

0.0 The movement opens with a chord of A minor by the oboes/clarinets/bassoons. Thisbeginsf and quickly fades toppestablishing the key of the movement.


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0.05 The first theme is statedpby the violas against a strong rhythmic pulse of crotchet/2quaver movement which continues relentlessly throughout the movement. The theme is16 bars long with the second eight bars being repeated.

0.46 The violas and cellos introduce a second idea while the 2ndviolins take up the 1sttheme

the cellos and double basses continue the regular pulse in an octave version of theopening rhythm. This 2ndtheme is also 16 bars long with the second eight bars repeated.

1.32 At this point the 1stviolins take thefirst theme and the 2ndviolins the second theme asthe violas and cellos provide quaver accompaniment with a broken version of therhythm. As the instrumentation increases so does the volume and as they approach theclimax of this part of the movement.

1.51 The oboes and bassoons add off-beat chords

2.08 At this point we hear a full orchestral tuttiff. The Woodwind and horns taking the firsttheme and the 1stviolins the second theme while the string section support witharpeggios underneath the violas, cellos and double basses in triplet figures against the2ndviolins quavers. The trumpets and timpani punctuate with loud tonic/dominantcrotchets. This passage comes to an end on a long diminuendo.

2.47 A two bar cadence is repeated quietly by the oboes, clarinets, bassoons and horns.

2.53 A one beat silence leads directly into the second part of the movement, in A major.Theme 3 is much more lyrical and provides a direct contrast to the previous themes.This theme in descending and ascending crotchets is played by the clarinets and bassoons

initially and then taken up by the other wind instruments. Although this melody is moreserene and lyrical, Beethoven keeps the insistent rhythm of the first theme in the cellosand double basses and a running figuration in quaver triplets in the 1stviolins to maintainthe restless mood of the piece.

3.20 As this part of the movement continues, the woodwind begin to take over the persistentquaver triplets in a series of sequences and imitative phrases where the clarinet and hornanswer one another and the music begins to quieten again and move into C major therelative major key of the movement.

3.57 Again, we hear imitative phrases this time from the flute, oboe and bassoon. Beethoven

then brings the section to a close with downward scales in triplets through the orchestra,emphasising the rhythmic quaver figureff leading directly into

4.12 a repeat of the opening themespwith the woodwind playing second theme, the violinsand violas answering each other in semiquaver arpeggio-like figures and the cellos anddouble basses playing thefirst theme.

4.56 At this point this section draws to a close with a 10 bar tonic pedal (A minor) in thetrumpet, timpani,cellos and double basses emphasising the basic pulse again. After aseries of short sequences and as the music quietens down

5.13 the 1stviolins begin a fugal passage based on the first bars of the first theme against arunning semiquaver idea in the second violins. After 8 bars this is taken up by the cellos


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and double basses with the violas having the semiquaver figure against them, while theupper strings continue with a syncopated counter-melody.As this builds the woodwindjoin in and there is a sudden surge as all the strings take up the semiquavers above apedal in the bass leading to

6.03 a full statement of the first 8 bars of the

first theme in the tonic (A minor)by the strings,brass and timpani accompanied by semiquavers in the woodwind.

6.18 After a one beat silence (similar to that at 2.53), there is a repeat of the lyrical third themeagain in the tonic major, (exactly as before at 3.37). This is of shorter duration as it isactually a preparation for the coda.

6.55 This begins after two repeated cadences with the familiar opening rhythm in a series ofquestion and answerphrases.It is followed by the Coda proper, where the cadentialidea continues to the end with cadences in C major and A minor respectively. There is a

restatement of the

first theme (7.17) with falling antiphonal phrases, again in the tonic( Aminor) playedf on the oboes, clarinets, bassoons and horns,with a sudden diminuendo,ending the movement exactly as it began.


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Holst (1874-1934): The Planets Mars

Background

Gustav Holst was an English composer most famous for his orchestral suite The Planets. Hestudied at the Royal College of Music in London and his work was influenced by Grieg, Wagner,Richard Strauss and fellow student Ralph Vaughan Williams. Through Vaughan Williams hebecame inspired by English folksong and the music of the French composer Ravel. His music ischaracterised by his use of irregular metres, pounding rhythms along with unusual hauntingmelodies.

The Planets Seven-part suite was written between 1914 and 1917

Mars is the first movement in the suite

Music is characterised by use of irregular metre, pounding rhythms, haunting melodies

Analysis

This is a 20thCentury Orchestral suite scored for very large orchestra including; sixteenwoodwind; fifteen brass; two timpanists and three other percussionists; celesta; two harps; organ;and strings.

Tempo Allegro Fast and lively

Written in time (irregular)

0.00 The chief characteristic of Mars is the incessant repeated note rhythm, an ostinatostarting in the timpani, harps and strings (col legno with the wood of the bow).

Two bars later a slow moving motif can be heard in unison from bassoons and hornsrising a fifth gradually building up adding more instruments with a falling semitone as afeature.

This is repeated and used in imitation extending upwards and also harmonised leading upto Figure I.

0.32 Figure I The tenor and bass trombone take over with a rising sixth motif against theongoing ostinato figure.

Twelve bars after Figure I, the first violins move away from the ostinato and play a more

sustained repetitive figure against the continuing ostinato.


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A two note motif in the form of an octave leap can be heard antiphonally in brass andwoodwind, growing in intensity, creating a fanfare-like effect building to a hugeffffullorchestralclimax at Figure II.

1.15 Figure IIThe strings, trumpets snare drum and timpani play the ostinato in unison against asustained chord from woodwind, horns and trumpets.

Four bars after figure II a new dotted chordal theme can be heard in the trombones andtubas against the ostinato figure still in strings and timpani. The horns and sometrumpets join in with this theme two bars later.

Dotted chordal theme

Eight bars before figure III a new syncopated motif appears in the upper woodwind andviolins with the dotted chordal theme continuing in the brass, lower woodwind andstrings. Double basses, trumpets, trombones and timpani play the opening ostinato.

1.50 Figure IIIThe orchestral texture thickens with the organ and trumpets playing part of the dottedchordal themefff. From figure III the original opening ostinato theme is replaced by thedotted rhythm theme. The addition of the organ three note theme can be heard five

times more ending in discords with afff(Eminor) chord two bars before figure IV. Atthis point the music quietens down with repeated notes on the strings alone.

2.10 Figure IVAgainst a steady crotchet pulse of the strings, a solo tenor tuba starts a new military call-like theme using triplet figuration. This is answered two bars later by trumpet, seven barslater by violins and flutes, and later by trumpets, horns and upper woodwind.

2.40 Figure VOnce again the tenor tuba followed by the trumpet in canon play the military call-like

theme against side drum taps and cymbal rolls.

Five bars before figure VI all the woodwind and strings play a semiquaver motif whilethe tubas and trumpets play a variant of the motif heard in figure I. Semiquaver runslead to a fortissimo tutti chord one bar before figure VI.

3.10 Figure VI 5/2This quiet melodic idea which starts in the bass instruments is based on the dottedchordal theme first heard four bars after figure II. There is a fragmented variation of theopening ostinato played initially on side drum, then joined by trumpets and tenortrombones. Violins, and then violas, play tremolo while horns play a sustained note with

timpani rolls. The texture builds up as more instruments join in with the melodic idealeading to


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4.18 Figure VII 5/4

A four bar orchestral tutti on the opening ostinato played in unisonfff. This is followedby a passage based on the opening melodic motif, accompanied by the ostinatothroughout.

5.03 Figure VIIIThe ostinato theme continues in the strings with imitation between tuba and trumpetsbased on the military-like theme first heard at figure IV. Three bars before figure IX, thedotted theme from figure II returns, this time in oboe, clarinet and horns.

5.27 Figure IXThe material from figure II is repeated with slight changes in the orchestration.

5.51 Figure XThe full orchestral texture continues, reaching affffclimax on a discord reinforced by

the organ. At this point the metre changes to 5/2 and three repeated cadences occurbased on the opening motif.

6.34 Fig XIThe Coda begins with semiquaver figurations on strings, joined by woodwind, providinga contrast to the previous section and leads into ..

6.41 Fig XIIA return of the opening ostinato figureffff, distorted by the addition of rests and entriesfrom the brass, percussion and strings with harsh discords. The movement concludes

with a bare fifth chord on C with loud timpani rolls.


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Jenkins (b. 1944): Requiem Dies Irae

Biographical detail

Karl Jenkins trained at Cardiff University and the Royal Academy of Music. He has enjoyedpopular success as a jazz musician, playing frequently during the 1970s with Ronnie Scotts JazzBand.

It was as a classical musician and composer that he first found longer term commercial andartistic success, beginning with the multi-million selling album Adiemus; Songs of Sanctuary. The

work set the trend for Jenkins to explore world music and experiment with new orchestral andchoral textures and minimalism

Contextual background

Jenkins own programme note indicates that his Requiem(from which the Dies Irae comes) wasdedicated to his late father whom he describes as a musician and an inspiration.

A Requiem is a Mass for the souls of the dead and Jenkins has blended the traditional Latin textfor many of the traditional movements, with many influences from his travels throughout the

world. In the Requiem, the addition of Japanese Haiku death poems is innovative and much inkeeping with Jenkins interest in Western and Eastern texts.

The Dies Irae is a medieval poem describing the day of judgement when the biblicalinterpretation speaks of the last trumpet sounding to summon souls before the throne of God

where their eternal fate will be decided. Jenkins does not use the full text.

The work is scored for SATB choir, shakuhachi (Japanese Flute), 2 horns in F, timpani, harp,strings and 3 percussion players using conventional orchestral percussion and others of ethnicorigin (for example, surdo, darabuca, mark tree, rainstick, bamboo chimes)

Analysis

The Dies Irae is in 4/4 and begins with anff8 bar introduction in D minor which introducesmusical elements which are developed further in the movement:

1. The 2 bar bass ostinato theme of 8 crotchet beats (Extract 1) played in the lowerstrings and accompanied by bass drum and tam tam. (There is a slight variation of the8 crotchet beat pattern in the rhythmic accompaniment when the third beat is playedas 2 quavers);

2. The driving relentless (Jenkins own performance direction) triplet upper stringaccompaniment; and

3. The two quaver horn motif which is repeated in the first entry of the chorus (Extract2).


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Extract 1

Extract 2

0.16 The chorus entry replicates the horn motif of the introduction with the first lines of theLatin text. The homophonic texture of the SATB chorus is heavily accented and sungsempreffThis 8 bar choral introduction only uses the first two lines of the text- Diesirae, dies illa.

0.33 The full first stanza of the text is heard from the choir this time in unison (note D). Thenatural speech rhythm used here is repeated for other stanzas of the text.

0.38 A recurrent three chord motif suggesting the dominant briefly interrupts the flow of themusic. The rhythmic impetus then continues as before.

0.48 A new bass ostinato is used as the chorus return to another 8 bar repeat of the openingchoral introduction (Extract 3). Both the string and percussion accompanimentsremain unaltered. Harmonic ambiguity is caused by the fluctuation between Band Bin the lower string ostinato.

Extract 3

0.58 After 4 bars, a chromatic rising scale idea played by the horns is heard for the first timeand this too is the basis of a new choral theme later on.

1.04 The Tuba Mirum theme which follows (Extract 4) comprises two crotchet beats a

third apart rising in sequence.


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Extract 4

1.12 The driving rhythmic accompaniment stops for the first time, as the choir sing, inharmony, a falling sequence, exploiting the interval of a third and finishing on a unisonD and with a re-introduction in the accompaniment of the ostinato.

1.29 The first of two sections follows where the word Dies is given syllabic rhythmictreatment and for the first time a polyphonic texture is created, comprising differentlayers of ostinati.

1.45 The underlying instrumental bass ostinato and percussion accompaniments continuefor another 8 bars, and lead to the second stanza of text ie. Mors stupebit et naturosung similarly and with the same rhythmic accompaniment as Dies Irae but with thesoprano one octave higher and the three chord motif (0.38 refers)

2.01 A return of the opening choral introduction, accompanied by the new bass ostinato,features a choral version sung by the basses of the horn chromatic scale idea heardearlier (Extract 5).

Extract 5

2.17 A key change to E minor follows as we hear an instrumental bridge section using the

Tuba Mirum theme in the horns for the first time. Note the string tripletaccompaniment and horn ornaments at this point.

2.32 The final section of the text used by Jenkins is heard after this instrumental bridge(Iudex ergo) the bass ostinato changes to a new rising chromatic scale idea.

2.49 A new key change (F minor) introduces the second example of syllabic treatment of thewords Dies Irae. In this extended section we hear many of the rhythms Jenkinshimself indicated were hip-hop influenced. A more complex rhythmic variation thanthe first, features greater use of syncopation and strong accented beats, further

emphasised by melodic leaps of an octave in the soprano line. The twelve bar Tuba


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Mirum choral theme is then used to lead to the third syllabic variation on the wordsDies Irae, this time featuring changes in the soprano line.

3.45 This eight bar segment leads directly to another key change (F#minor), another syllabicvariation given extra momentum by the frequency of the octave leaps in the soprano

line and the more exciting syncopated sextuplet bass vocal part.

4.00 The addition of a syncopated horn motif eight bars later, combined with the sopranoconstant F#repetition and the prominent cymbals, continues the excitement and buildstowards the thunderous and abrupt climax to the movement seventeen bars later.


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Optional Area of Study 1:Musical Traditions in Ireland

(To follow)


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Optional Area of Study 2:Incidental Music

(To follow)


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Optional Area of Study 3:Vocal Music

(To follow)

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