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J. S. Bach: Brandenburg Concerto No. 2, 1st Movement1

Scores to support WJEC AS Music

– Notes

Alun Guy

Published with the support of WJEC’s Teaching and Learning Resources Scheme Sponsored by the Welsh Assembly Government

2

CONTENTS

PAGE

• Introduction 2

• J. S. Bach: Brandenburg No. 2, 1st Movement 3

• Beethoven: Symphony No. 5 in C minor, 1st Movement 6

• Mendelssohn: Violin Concerto, 1st Movement 9

• Handel: Zadok the Priest 12

• Haydn: Nelson Mass (Gloria; Quoniam Tu Solus; Credo) 15

• Schubert: from Die Schöne Müllerin (Am Feierabend; Der Neugierige; Ungeduld) 22

• Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio; Allemanda; Corrente; Giga) 29

• Beethoven: String Quartet in Bb Op.18, No. 6, 1st Movement 37

• Brahms: Clarinet Sonata in Eb Op.120, No. 2, 3rd Movement 40

• Duke Ellington (Black and Tan Fantasy; Take the A-Train) 49

• Queen (Bohemian Rhapsody; Killer Queen) 55

• Loesser: Guys and Dolls (Runyonland; Fugue for Tinhorns) 61

• Bernstein: West Side Story (Tonight; Maria) 66

• Boublil and Schönberg: Les Miserables (On My Own; One Day More) 71

• Mervyn Burtch: from Three Welsh Folk Songs (Cysga di, fy mhlentyn tlws;

Wrth fynd efo Deio i Dywyn) 75

• Dilys Elwyn-Edwards: from Caneuon y Tri Aderyn (Y Gylfi nir; Mae Hiraeth yn y Môr) 79

• Caryl Parry Jones (Pan ddaw yfory; Y Nos yng Nghaer Arianrhod) 83

• The Beatles (Yesterday; Hey Jude) 88

2

Introduction

• This anthology is written for students currently studying for the WJEC AS level music course.

You will probably have followed the GCSE music course during years 10 and 11 and are

familiar with the vocabulary used in the examination and in A Student’s Guide to GCSE Music

(Rhinegold).

• I realise that many of you will have successfully completed the GCSE course without being au

fait with scores in staff notation. You share a love of music with us all. Don’t worry too much

about reading scores and analysing.

• These notes however will hopefully concentrate your mind on the basic forms and structures

of the music. They are not meant to be an academic treatise for musicologists!

• The simplifi ed diagrams have been included in a bid to demystify the analytical process

(which sometimes can be confusing and a big ‘turn off ’ for some).

• The template used in these notes acts only as a guide for you: it is not an in-depth detailed

analysis bar by bar, and was never intended as such from the outset.

• These notes do not second guess examination questions. Don’t be disappointed if some

examination questions are not dealt with directly and in detail in these notes.

• The examples of chords, modulations, harmony, composition techniques and devices etc.

should be a starting point for further research. You should look for more examples of the

above in the set works and recorded extracts chosen for study.

• Remember that you are allowed to take a copy of the anthology into the examination with

you, with pencilled-in bar numbers.

• Not every score in the anthology has bar numbers. Remember when numbering bars that an

anacrusis at the beginning of a piece of music is not bar 1. Bar 1 is the fi rst complete bar.

• The notes on the Haydn ‘Nelson Mass’ deal with three sections: Gloria (pages 104-112),

Quoniam Tu Solus (pages 119-125) and Credo (pages 126-130).

• There are references to certain aspects of instrumentation in some extracts, which can be

clearly heard on the CD, although the scores are only piano reductions in the anthology. You

are encouraged to study the works by listening carefully to them on the CD, in addition to

studying the score.

Good luck with your listening and research.

Alun Guy

J. S. Bach: Brandenburg Concerto No. 2, 1st Movement

3


Introduction

This set of 6 concertos were dedicated to the Duke of Brandenburg 1721. They are called

‘concerti grossi’ because of the accompanying ‘ripieno’ (mainly strings and continuo) combined

with a select group of soloists, the ‘concertino’. Bach loved experimenting with new sound

combinations in these three movement compositions. It is worth noting that numbers 3 and 6,

however, do not have any solo instruments.

Musical elements

❍ Form

Quasi ritornello, but no clear cut distinction between ripieno and concertino. Both sections

seem to play most of the time (tutti). Ritornello is a series of short themes reappearing

(rondo-like) in various keys, with soloists (the concertino) playing episodes in between.

❍ Structure (Rit = ritornello; Con = concertino)

❍ Texture

- Mainly dense – Bach was the master of polyphony and contrapuntal writing.

- Many examples of various motifs interacting simultaneously.

❍ Tonality

- Home key: F major

- Occasionally minor, e.g. bar 68 – C minor; bar 88 – D minor

1-8 9-10 11-12 13-14 15-16 17-18 19-20 21-22

23-28 29-30 31-39 40-59 60-67 68-83 84-93 94-118

Rit

1

F

major

Con

1

F

major

Rit

2

F

major

Con

2

F

major

Rit

3

C

major

Con

3

C

major

Rit

4

C

major

Con

4

C

major

Rit

5

C

major

Con

5

F

major

Rit

6

D

minor

Rit

7

D

minor

C

major

F

major

Bbmajor

Con

7

G

minor

Eb

major

Rit

8

C

minor

G

minor

Con

8

G

minor

D

minor

A

minor

Rit

9/10

A

minor

F

major


4

Examples of modulations:

C major (dominant) – bars 15-28

D minor (relative minor) – bars 40-41

Bb major (subdominant) – bars 56-59

Eb major (fl attened leading note) – bar 65

C minor (dominant minor) – bars 68-71

G minor (supertonic) – bars 75-83

A minor (mediant minor) – bars 94-102

❍ Harmony

Chords:

- Diatonic

- Dominant 7th (root position) – bar 51 (C7)

- Dominant 7th 4 (third inversion) – bar 52

2

- Major triad 6 (fi rst inversion) – bar 72

3

❍ Examples of composition techniques and devices

- Rising sequence – bars 96-97 (Oboe)

- Sequence – bars 33-34 (Flute)

- Sequence – bars 76-79 (solo Trumpet)

- Falling sequence – bars 77-79 (Viola)

- Syncopation – bars 50-55; 107-112 (Violin I – ripieno)

- Cadences: Perfect – bars 8; 28; 39; 83; 93

- Imitation – bars 96-98 (solo Violin and Flute)

- Arpeggio based – bars 1-2 (Trumpet)

- Reduced instrumentation – bars 60-67 (concertino and continuo)

❍ Instrumentation

Concertino

Soloists

- Tromba: Trumpet (no valves in Bach’s day). Written a 4th lower than the sound.

- Flauto (Flûte à bec): Recorder

- Oboe

- Violino: Violin

Ripieno

- Violin I

- Violin II

- Viola

- Cello

- Double Bass

- Harpsichord/Cembalo continuo


5

❍ Score indications

Tasto solo (bars 102-103): Harpsichord, play the notes without fi lling in harmonies

all unisono: Cello/Bass and Harpsichord play in unison

piano: softly

pianissimo: very soft

forte: loudly

Points of interest

• Scintillating and brilliant counterpoint.

• Three-part counterpoint between Flute, Viola and Continuo – bars 1-2.

• Continuous semiquaver/quaver movement throughout the movement – in one of the

solo or ripieno instruments.

• Four very diff erent high register solo instruments contrasted in the concertino, but each

instrument’s melodic line is audible.

• Opening semiquaver motif in Continuo (bars 1-2) appears in other parts, e.g. Trumpet

– bars 19-20; Oboe – bars 40-41.

• The solo Violin introduces a new exclusive fi gure in bars 9-10 and all other solo

instruments play it – ripieno don’t play this motif at all.

(Oboe – bars 13-14; Flute – bars 17-18; Trumpet – bars 21-22.)

• Imitation (bars 60-67) for all 4 soloists, using this exclusive fi gure (Flute, Violin, Oboe and

Trumpet).

• Bach used cadence points to draw attention to new musical ideas.

• Use of 8 motifs, sometimes in concertino and sometimes in ripieno, mostly with an

anacrusis.

• This concerto is the only one of the Brandenburgs to feature a Trumpet.

• Fanfare style motif in Trumpet (bars 1-2), and Continuo (bars 5-6).

• Running bass line in Continuo – a device often used by Bach.

• Continuo given original concertino theme (bars 1-2) in bars 56-57 and bars 88-89, as a

relief from continuous quaver and semiquaver support.

• No speed or dynamic indications given on the score, but generally played Allegro and

forte.

6

Beethoven: Symphony No. 5 in C minor, 1st Movement


Introduction

A symphony is a large-scale work for an orchestra, usually in four movements. The opening bars

of this fi rst movement contain one of the most famous orchestral motifs of all times. Beethoven

followed the classical tradition of Haydn and Mozart by composing this movement in sonata

form.

Musical elements

❍ Form

Sonata

❍ Structure

❍ Texture

- Ranging from dense homophonic (bars 248-252) to sparse (bars 63-82).

❍ Tonality

- Home key: C minor


Eb major (relative major) – 2nd subject

F minor (subdominant minor) – bar 130

G minor (dominant minor) – bar 154

C major (tonic major) – bar 195

❍ Harmony

Chords:

- C minor tonic chord 5 (root position) – bar 492

3

- Db major 6 (fi rst inversion) – bar 382

3

- Dominant 7th chords – bars 182-186; 292-294

- Diminished 7th chords – bars 56; 300

Exposition

1-124

Development

125-247

Recapitulation

248-373

Coda

374-502

Subject 1

(1-24)

Subject 2

(59-93)

Codetta

(94-124)

Variety of keys.

Using mainly

1st subject

material.

Subject 1

(248-268)

Subject 2

(303-345)

Codetta

(346-373)

Material

derived from 1st and

2nd subjects.

Tutti and antiphonal

passages.

7


- Pedal (tonic) – bars 33-47 (Cello & Bass)

- Repetition – bars 160-167 (Violin I & II and Flutes)

- Sequence – bars 408-414 (Violin I)

- Cadences: Perfect – bars 194-195; 501-502

Imperfect – bars 267-268

- Pizzicato accompaniment – bars 254-263 (Viola, Cello, Bass)

- Antiphonal answers – bars 196-227; 442-449 (Strings & Woodwind)

❍ Instrumentation

zu 2: both players play the same part in unison

1.: fi rst player (principal) to play the part

Flauti: Flutes

Oboi: Oboes

Clarinetti (Bb): Clarinets. Transposing instrument (written a 2nd higher than the sound)

Fagotti: Bassoons. Written in bass clef normally, but sometimes in tenor clef when bass part

goes high and uses many ledger lines (e.g. bar 102)

Corni (Eb): Horns. Transposing instrument (written a major 6th higher than the sound)

Trombe (C): Trumpets

Timpani (C. G): Timpani tuned to C and G (tonic and dominant)

Violino I & II: Violin I & II

Viola: Viola (written in alto clef )

Violoncello: Cello. Written in bass clef but sometimes in tenor clef when part goes high and

uses many ledger lines (e.g. bars 83-93)

Contrabasso: String/Double Bass (sounding 8ve lower than written)


Allegro con brio: Fast and vigorous

Adagio: Slow

Minim: 108 beats per minute – tempo indication by composer or editor

dolce: sweetly

sf (sforzando): strong accent

ff (fortissimo): very loud

p (piano): soft

pp (pianissimo): very soft

cresc. (crescendo): gradually getting louder

più: more

sempre più: always more

dimin. (diminuendo): gradually getting softer

pizz. (pizzicato): pluck a string instrument

arco: resume playing with the bow

Points of interest

• Beethoven always has strong contrasts between the 1st and 2nd subjects of his symphonies.

• This movement exists entirely on the opening four note rhythmic motif (descending major

3rd) and is given many new melodic shapes, contrapuntal applications and structural

groupings by Beethoven.

• The four sections of this movement – exposition, development, recapitulation and coda – are

almost identical in size and perfectly balanced musically.


8


• The scoring is fuller in the recapitulation, and the 2nd subject is eight bars longer.

• Mini cadenza – bar 268 (Oboe). This is a plaintive bar in the recapitulation section which takes

the tension out of the performance.

• Although the structure/architecture of the movement is conventional, it is the originality

of ideas and the brightness of energy and inspiration that mark this work out as one of the

outstanding symphonies of the classical era.

• In Beethoven’s nine symphonies, the exposition in the fi rst movement is nearly always

repeated. (Mendelssohn rejected this idea in his Violin Concerto).

• Sonata form evolved in the 18th century and deals with the organisation of themes/subjects,

their development and key relationships. The form has lasted so long and produced great

masterpieces because it is so fl exible and capable of great variation.

• Unusually, there is no real transition passage in the exposition or the recapitulation sections

of this movement. The presence of a tonic pedal (bars 33-56) ensures that the music stays in

the tonic key, C minor. These bars are also identical harmonically in the recapitulation section

(bars 277-2961).

• It is the same ambiguous diminished 7th chord in bars 56 and 300 respectively (with necessary

enharmonic alterations) which eff ect the abrupt ‘transitions’.

9

Mendelssohn: Violin Concerto, 1st Movement

Introduction

This violin concerto was written for Ferdinand David, a close friend of the composer, and

premiered in 1845 in Leipzig.

Musical elements

❍ Form

Sonata

❍ Structure

❍ Texture

- Light when accompanying soloist, but thicker with orchestral tutti when soloist is tacet,

e.g. bars 48-76

❍ Tonality

- Home key: E minor


Exposition

A minor (subdominant minor) – bars 28-29

G major (relative major) – bar 131

Development

A minor – bar 226

G major – bar 241

E minor – bar 245

C major – bar 248

A minor – bar 251

E major (tonic major) – bar 255

B major – bar 282

E major (2nd subject) – bar 377

Cadenza (bars 299-335)

This used to be the point (at the end of a movement) in the concerto when the soloist was

given a free hand to show off amazing technique and a virtuoso unaccompanied bravura

style. Mendelssohn broke the classical tradition and wrote out his own cadenza for the soloist,

placing it before the recapitulation rather than at the end of the movement. He used the

cadenza as a bridge passage in this concerto between the development and the recapitulation

sections.

Exposition Development Recapitulation

(1-226) (226-335) (335-528)

Subject 1 (1-72) Variety of keys Subject 1 (335-351)

Transition (72-131) Transition (226) Transition (351-377)

Subject 2 (131-210) Subject 1 (240) Subject 2 (377-459)

Codetta (210–226) Cadenza (299) Codetta (459-473)

Coda (473–528)


10


❍ Harmony

Chords:

- Dominant 7th chords, e.g. bar 298

- Diminished 7th chords, e.g. bar 44


- Pedal (dominant) – bar 33 (Cellos and Basses)

- Pedal (tonic) – bar 48 (Trumpets, Horns and Timpani)

- Imitation – bars 505-509 (Flutes and Oboes)

- Syncopated accompaniment – bars 48-55 (Violins II, Violas)

- Decorated arpeggios – bar 113 (solo Violin)

- Reduced scoring – bar 131 (Flutes, Clarinets and solo Violin)

- Cadences: Perfect (in G major), e.g. bars 167-168 (Strings)

- Pizzicato accompaniment – bars 181-189 (Strings)

- Rubato/Ad lib – bars 299-334 (solo Violin)

- Sequence – bars 359-360; 4284-430 (solo Violin)

- Double stopping – bars 505-510 (Violins I)

❍ Instrumentation

zu 2: both players play the same part in unison

Flauti: Flutes

Oboi: Oboes

Clarinetti in A: Clarinets. Transposing instrument

Fagotti: Bassoons

Corni in E: Horns. Transposing instrument

Trombe in E: Trumpets. Transposing instrument

Timpani in E-H: Timpani tuned to E and B (tonic and dominant)

Violino principale: solo Violin

Violino: Violin

Viola: Viola

Violoncello: Cello

Contrabasso: String/Double Bass. Transposing instrument (sounding 8ve lower than written)


Allegro molto appassionato: Fast tempo with much passion

Points of interest

• Opening theme played by the Violin soloist is played wholly on E string, well above the stave.

• All 3 movements are linked together, each one following on after the previous one.

• Combined classical structure with great romantic feeling.

• Soloist and orchestra begin almost together.

• No repeat of exposition as in classical concerti, where there was usually an orchestral

exposition followed by a repeat of the section with the soloist, where the themes were shared.

• Eff ective musical balance between soloist and orchestra.

• Variety of emotions – passion and tranquillity – constantly changing.

• Dramatic writing contrasted with proportioned lyrical melodies.

• Florid, fl owing melodic lines.

• Focus changes constantly between soloist and orchestra.

• Cadenza not wholly virtuosic, but part fl orid.

11

❍ Further information

http://www.naxos.com/composerinfo/bio24619.htm


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12

Handel: Zadok the Priest


Introduction

In the Book of Chronicles (Old Testament), Solomon is anointed King upon the death of his

father, King David, by Nathan the prophet and Zadok the Priest. Handel, ‘Master of the King’s

Music’ since 1712, composed this anthem for the coronation of King George II in Westminster

Abbey in 1727. It is symbolic of King Solomon’s biblical coronation.

This English Baroque anthem was originally composed for 7 parts and an orchestra, but is often

found arranged for 4 voices (SATB).

Musical elements

❍ Form

It is in three linked sections:

1. Zadok the Priest 2. And all the People Rejoiced 3. God save the King

❍ Structure

❍ Texture

1st section: Mainly light/sparse in opening orchestral introduction. Short homophonic choral

statement based on the opening harmonies of the orchestral introduction.

2nd section: Homophonic, based on legato lines in the chorus with dotted rhythms in

accompaniment. Addition of 4 part choir gives wider dimension. Brass and Timpani at

cadence points thicken the texture.

3rd section: Ternary form (ABA) – interweaving of 4 linked ideas. Contrapuntal writing gives a

more dense texture.

❍ Tonality

- Home key: D major


G major (subdominant) – bars 4-5; 40-42

A major (dominant) – bars 7-8; 78-80

B minor (relative minor) – bars 49-52; 91-94

F# minor (mediant minor) – bars 99-101

1-30 31-62 63-121

1st section:

Introduction (Instrumental)

Zadok the Priest

2nd section:

And all the People Rejoiced

3rd section:

God save the King

13

❍ Harmony

- Diatonic/Consonant

- Chromatic harmonies

- Mainly root position and fi rst inversions

- Tonic and dominant mainly in middle section

Chords:

- Tonic chord 5 (root position) – bar 1

3

- A minor 6 (fi rst inversion) – bar 3

3

- D major 6 (second inversion) – bar 71

4

- Dominant 7th 4 (third inversion) – bar 12

2


- Sequence – bars 74-75 (Vl II); 84-86 (Sopranos); 92-93 (Altos and Tenors)

- Repetition – bars 34-38 (accompaniment); 63-65 (all parts)

- Pedal – bars 6-8; 14-17

- Ostinato – bars 32-39; 41-45; 54-60 (bass of accompaniment)

- Cadences: Perfect – bars 35-36; 43-44; 93-94


Plagal – bars 120-121

❍ Instrumentation

- 2 Oboes

- 3 Trumpets

- Strings

- Continuo (Organ/Harpsichord)


Andante maestoso: Moderately slow and majestic

Allegro: Quick and bright

Adagio: Very slow

A tempo ordinario: Ordinary or moderate time

p (piano): quiet

f (forte): loud


cres. (crescendo): getting louder

Points of interest

• Handel’s use of block/homophonic harmony for clear enunciation of words, e.g. bars 23-29

and 63-66.

• Types of accompaniment:

(i) Semiquaver broken chords – bars 1-29

(ii) Dotted quaver and semiquaver fi gures – bars 33-59

(iii) Running semiquavers in 3rd section – bars 87-90

(iv) Secco (dry) quavers – bars 92 and 93


14


• Descending bass line in introduction and bars 95-97.

• Orchestral bridge – bars 74-78. Imitative style (modulating from tonic to dominant, I–V).

• Melismatic vocal style (many notes on one syllable – Amen), e.g. bars 114-116 (bass choral

part).

• Opening chordal sequence in instrumental introduction (bars 1-8) repeated in bars 23-30

with the voices.

• Repetition of words, e.g. bars 43-52 – ‘Rejoiced’.


www.naxos.com/composerinfo/George_Frideric_Handel/24403.htm

15

Haydn: Nelson Mass

Introduction

Haydn wrote at least 12 choral masses which were infl uenced by Neopolitan operatic styles and

the Vienneses antiphonal choral tradition. This mass (number 9) was composed in 1798 and uses

the Latin words of the Catholic service. It is joyful and probably Haydn’s most popular mass.

There are many compositional techniques, devices, harmonies and points of interest which

naturally are common to all three choruses.

Gloria

‘Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.’

(Glory to God on the highest, and on earth, peace and good will to all men.)

Musical elements

❍ Form

Solo & Choir / Vocal trio / Chorus / Solos / Chorus / Solos / Vocal quartet / Chorus

❍ Structure

1-15 16-32 33-51 52-70

71-77 78-89 91-97 98-105

Haydn: Nelson Mass

Soprano soloist and

choir (SATB)

in repetition of motifs.

Homophonic choral

style.

D major

Solo trio:

Bass, Tenor and Soprano.

New solo motif

sung in imitation.

Less tension now

in accompaniment

of strings only.

E minor (21)

Choir sing in unison

with orchestra

– stepwise chromatic

progressions.

E minor

F# minor

A major

Alto soloist

(fi rst appearance)

with opening theme,

but no repetition

from choir.

Soprano soloist

with theme.

A major

B minor

Choir with opening

theme

(rhythm changed

to dotted).

D major

No Soprano soloist

this time.

Tenor & Bass soli

with motif (bar 16).

Tonic major/minor

Quartet of soloists

using part of motif

(bar 16).

D minor

D major

Choral Coda.

Mainly tonic and

dominant harmonies,

using opening

rhythmic pattern.

D major

16

Haydn: Nelson Mass

❍ Texture

- Sparse with soloists

- Dense with choir

- Homophonic

- Fluid

❍ Tonality

- Home key: D major


E minor (supertonic) – bar 21

A major (dominant) – bar 42

B minor (relative minor) – bar 62

D minor (tonic minor) – bar 81

❍ Harmony

Chords:

- Diatonic

- Mainly root position and fi rst inversions

- Subdominant (root position) – bar 71

- Tonic (root position) – bar 91

- Dominant 7th (root position) – bar 201

- Dominant 7th (fi rst inversion) – bars 111 ; 293,4; 41

- Diminished 7th – bars 333; 343; 353


- Repetition – bars 1-4 (opening Soprano soloist motif repeated by choir); bar 16 (Bass,

repeated by the Tenor – imitative)

- Pedal – bars 15-18; 21-24; 89-93

- Cadences: Perfect – bars 32; 50; 62; 105

- Cadential: 6 – 5 cadence – bars 2-3; 14-15; 49-50

4

3

- Antiphonal answers between soloist and choir – bars 1-4

- Sequence – bars 64-67 (Soprano soloist)

- Appoggiatura in vocal part – bars 81; 84 (Tenor soloist)

❍ Instrumentation

- 3 Trumpets

- Timpani

- Organ

- Strings

- Mixed Choir

- Solo Quartet (SATB)


Allegro: Quick

fz (forzato): forced sound

p (piano): softly

17

Points of interest

• Common time.

• Nature of accompaniment changes (tutti) in intensity with chorus.

• Lighter orchestration (strings) when soloists sing.

• Use of soloists (quartet) and choir intertwining without distinct sections for soloists and choir

(as with Mozart masses).

• Excellent examples of compositional symmetry, where thematic material from this section is

also used in the Quoniam.

• Short orchestral bridges between soloists – bars 50-51; 54-55; 60-61; 69-70

• Haydn’s arpeggaic upper instrumental writing, e.g. bars 15-18; 96-98

• Upward scalic semiquavers with opening of choral phrases – bars 3; 71; 99; 100

Quoniam Tu Solus

‘Quoniam tu solus, solus sanctus.’ (For Thou alone art holy.)

‘Tu solus altissimus.’ (Only Thou art most high.)

Musical elements

❍ Form

Solo & Choir / Choral bridge / Choral fugue / Vocal quartet / Coda

❍ Structure

Soprano soloist and

choir (SATB)

in repetition of

motifs.

Homophonic

choral style.

Repetition of bars

1-15 of the Gloria,

but diff erent words.

D major

Choral bridge

passage

Based mainly

on tonic and

dominant chords.

Less tension now.

Accompaniment of

strings only.

First fugal entry by

choir (Bass).

D major

Choir sing a

four-voice fugue,

with each voice

stating the subject in

various keys.

This choral fugue

contains answers

and counter

subjects (see below)

with orchestral

support playing the

vocal parts.

D major

Solo quartet

returns with

imitation of the

stepwise motif

previously used by

Haydn in the Gloria

(bars 16 and 78).

Bass, Tenor and Alto

enter in that order,

whilst the Soprano

has a more elaborate

rococo/fl orid style

solo passage.

D major

Tutti Coda

Orchestral, soloists

and choral fl ourish

– mixture of

polyphonic and

homophonic styles.

Upward climax,

ending with brass

and timps using

typical ‘classical’

rhythmic motif

of quavers and

semiquavers

(bars 80-82).

D major

1-15 17-22 22-61 62-77 77-82

Haydn: Nelson Mass

18

❍ Texture

- Sparse with soloists

- Dense with choir

- Homophonic

- Polyphonic

- Fluid

❍ Tonality

- Home key: D major



E minor (supertonic minor) – bar 44

❍ Harmony

Chords:

- Diatonic

- Mainly root position – bar 611

- First inversion – bar 772




- Dominant 7th (fi rst inversion) – bars 51; 61; 111; 791

- Dominant 7th (second inversion) – bar 133

- Dominant 7th (third inversion) – bar 53


- Repetition – opening Soprano soloist motif repeated by choir (bars 1-4), with minor

rhythmic changes

- Tonic pedal – bars 15-20; 61-681; 71-771 (orchestra)

- Cadences: Perfect – bars 15; 81; 82

- Cadential: 6 – 5 cadence – bar 23,4

4

3

- Antiphonal answers between soloist and choir – bars 1-4

- Syncopated accompaniment (right hand) – bars 17-22

- Sequence – bars 77-78 in Soprano, Alto and orchestral accompaniment

- Chromatic harmonic progressions – bars 28-31

- Countersubject continued by Basses in bars 24-25 (Amen) against fugal entry of the Tenors

Fugue: A contrapuntal composition based on a melody/subject/voice, heard in Bass, Tenor,

Alto and Soprano at the beginning (bar 22). They all pass the melodic baton from one to

the other.

The Bass (bar 22) starts on the dominant (5th) and the Tenor (bar 24) on the tonic. The

opening interval of a 2nd with the Bass changing to an interval of a 3rd with the Tenor,

similarly with the Alto (bar 26) and Soprano (bar 28). These answers by the Tenor and the

Soprano are called tonal answers (because they are not exactly note for note). When they

are exactly note for note, they are called real answers.

The orchestra parts mainly double the choral parts in the fugue.

Haydn: Nelson Mass

19

Counter melody (subject): A new melody, not as important, played at the same time as

the melody.

❍ Instrumentation

- 3 Trumpets

- Timpani

- Organ

- Strings

- Mixed Choir

- Solo Quartet (SATB)


Allegro: Quick and bright

Tutti: Everyone – viz soloists and choir

Points of interest

• Rococo/fl orid style evident in Haydn’s orchestral and choral writing.

• Melismatic writing for Soprano on ‘Amen’ – bars 64-71; 77-80.

• Stretto (tight/narrow) fugal entries from bar 44-61, when other voices enter with the

melody before the previous one has fi nished!

• Orchestral accompaniment in the fugue moves mainly in ‘walking’ quavers.

Credo

‘Credo in unum Deum Patrem omnipotentum, factorem coeli et terrae.’

(I believe in one God, the Father Almighty, maker of heaven and earth.)

Musical elements

❍ Form

Intro / Chorus / Orchestral bridge / Chorus / Orchestral bridge / Chorus / Coda

❍ Structure

Haydn: Nelson Mass

Orchestral

unison

introduction

with much

stepwise

movement

played

staccato.

Homophonic

style.

D major

Canon 2 in 1 at

the fi fth. Using

fi rst six notes of

orchestral

introduction.

Vocal lines are

subsumed in

the orchestral

accompaniment,

which is more

polyphonic in

style.

Orchestral

bridge

passage/

interlude.

Canon

continues

with choir, but

starting now

on the third

beat of the

bar.

A major

Orchestral

bridge

passage/

interlude.

Canon 2 in 1

continues,

using fragments of

bars 8-18.

More chromatic

now with much use

of sequence.

Orchestral

accompaniment in

upper parts with

continuous quaver

movement.

Choral coda

now in SATB

harmony for

the only time

in the chorus.

1-7 8-27 27-31 31-47 47-50 50-77 78-83

20

❍ Texture

- Homophonic, e.g. bars 77-83

- Polyphonic, e.g. bars 31-47

❍ Tonality

- Home key: D major


A major (dominant) – bar 28


❍ Harmony

- Many chromatic harmonies in the orchestral accompaniment

Chords:

- Diatonic

- Mainly root position

- First inversion – bar 143

- Second inversion – bar 801




- Dominant 7th (fi rst inversion) – bar 774


- Suspensions – bar 29 (9-8)

- Sequence – bars 51-54; 644-684 (choral parts)

- Auxiliary notes, passing notes and arpeggi quavers in accompaniment, e.g. bars 61-64

Canon: A compositional device in which a melody in one part is repeated note for note

in another part, while the melody of the fi rst part continues to unfold (an overlapping of

melodies).

Canon 2 in 1: Two voices sing what could be sung by one voice. Sopranos and Tenors begin

on tonic, then Altos and Bass begin a bar later, 5 notes lower.

❍ Instrumentation

- 3 Trumpets

- Timpani

- Organ

- Strings

- Mixed Choir


Allegro con spirito: Quick with much vigour

Haydn: Nelson Mass

21

Points of interest

• It begins with orchestral unison playing and ends with choral unison.

• Split common time, i.e. two beats to the bar.

• Haydn emphasises his belief in one God by utilising the one theme sung in unison.

• The appoggiatura – bar 93 (accompaniment).

• The turn ~ – bar 132 (accompaniment).

• The trill tr – bar 181 (accompaniment).

Haydn: Nelson Mass

22

Schubert: Die Schöne Müllerin

(The Beautiful Maid of the Mill)

‘When poetry and music together came down to Earth they entered the soul of Franz Schubert.’

Dietrich Fischer-Dieskau (famous German lieder singer)

Introduction

Lieder is the German name for a song. Schubert (1797-1828) wrote over 600 songs, mainly

romantic and happy. This song cycle, composed when Schubert was 26 years old, consists of

20 songs. A song cycle is a group of interconnected songs performed in sequence on a central

theme, similar to Pink Floyd’s The Wall. Normally, all the poetry and music are by the same poet

and composer. This cycle is about a love triangle of a huntsman and a young happy wanderer’s

unrequited love for the Miller’s daughter, tracing the young man’s emotional journey from

happiness to despair.

5. Am Feierabend (After Work)

Musical elements

❍ Form

Ternary

❍ Structure

❍ Texture

- Light

- Chordal accompaniment

❍ Tonality

- Home key: A minor


E major (dominant) – bars 12-15

A major (tonic major) – bars 16-24

C major (relative major) – bars 26-40

D minor (subdominant minor) – bars 41-44

❍ Harmony

Chords:

- Diatonic arpeggaic/broken chords, e.g. bars 7-26 (right hand accompaniment)


- Major & minor chords (root position and fi rst inversion) – bar 1


1-7 8-25 26-59 59-78 78-89

Intro

Piano

Section A

Voice and Piano

Section B

Voice and Piano

Section A

Voice and Piano

Coda

Voice and Piano

23


- Cadences: Perfect – bars 14-15; 23-24; 45; 58-59; 88-89

Imperfect – bar 37

- Repetition – bars 16-19

- Sequence – bars 37-43

- Anacrusis – bars 7; 37; 60

- Ostinati – bars 7-8 (right hand)

- Pedal – bars 46-51; 78-87

- Tonic major to tonic minor – bars 24 and 25

- Auxiliary chromatic notes – bar 8 (G# – voice); bar 52 (Eb – voice)

❍ Instrumentation

- Male vocalist/Tenor

- Piano


Ziemlich geschwind: Rather quick

Etwas geschwinder: Somewhat quicker

f (forte): loud

p (piano): soft


sf (sforzando): strongly accented

decresc. (decrescendo): growing less/becoming softer

Points of interest

• The poet’s name was Wilhelm Müller.

• Compound 6 time.

8 • Opening homophonic chordal style of accompaniment – bars 1-4.

• Beauty of fl owing lyrical melody – bars 16-17.

• Sensitive harmonic colours and progressions throughout.

• Brief visits to related keys (see ‘Examples of modulations’).

• Schubert’s independent Piano accompaniment.

• Excellent keyboard contrasts to suit the mood of the poetry.

• Schubert preferred the Piano to the Harpsichord because it gave more scope for colour,

dramatic intensity and dynamic eff ects.

• Exciting semiquaver accompaniment – bars 7-25; 59-82.

• Schubert’s fondness of varying lengths of phrases, e.g. bars 8-19. There are 4x4 bar

phrases, but the section ends with a 5 bar phrase (bars 20-24).

• His fondness for echoing the end of a vocal phrase in the accompaniment, e.g. bars 39-40;

43-44; 85-86 (left hand Piano).

• The chord of the dominant 7th was often used by Schubert when the words refer to fatigue

and disappointment (bars 28-31 – ‘How weak my arms are!’). The young wanderer so

wanted to impress the Miller’s daughter with his strength and win her love.

• Middle section (bar 26 on) based on chord progressions derived from opening style of

introduction.

• Compare bass line 8ve rhythms of bars 7-26 with bars 59-69.

• Rhythmic change in bass line rhythms (on the beat) – bars 26-36.

• Less tension in bars 46-58 with recitative vocal style (family relaxing around the fi re after a

hard day’s work).


24

Intro

4 bars

Piano

Section A

4+4+4+4

Voice and

Piano

Section B

4+4+2

Voice and

Piano

Section C

3+3+3

Voice and

Piano

Section B

4+4+2

Voice and

Piano

Coda

4 bars

Piano


www.lieder.net

After Work

A (bars 8-24; 61-85)

If I had a thousand arms to move!

I could drive the wheels with a roar!

I could blow through all the copses!

I could turn all the millstones!

Then the miller’s daughter could sense my true purpose!

B (bars 26-59)

Oh, how weak my arms are! What I lift, what I carry,

What I cut, what I hammer, any fellow can do as well.

And there I sit among all the others in the quiet, cool time of rest,

And the master says to all of us: I am pleased with your work,

And the lovely maiden said ‘Goodnight’ to everyone.

6. Der Neugierige (The Questioner)

Musical elements

❍ Structure

❍ Texture

- Light

- Chordal accompaniment

❍ Tonality

- Home key: B major


F# major (dominant) – bars 11-12; 19-20

B minor (tonic minor) – bars 25; 45

G major (fl attened submediant) – bars 37-38


1-4 5-20 23-32 33-41 43-52 53-55

25

❍ Harmony

Chords:

- Diatonic arpeggaic/broken chords, e.g. bars 23-33

- Dominant 7th 6 (fi rst inversion) – bar 26

5

- Major & minor chords, e.g. bar 33 – F# major 6 (fi rst inversion)

3

- Chromatic progression – bar 50 (bass line)


- Cadences: Perfect – bars 19-20; 31-32; 40-41

- Repeated phrases – bars 5-8; 13-16

- Anacrusis – bars 4; 22

- Pedal – bars 23-25; 52-55

- Lower auxiliary notes – melodic line – bars 5; 13

- Appoggiaturas – bars 31; 39 (voice)

- Accented passing notes – bars 33-34 (voice)

- Anticipatory notes – bars 29-30; 31-32 (voice)

❍ Instrumentation


- Piano


Langsam: Slow

Sehr langsam: Very slow

Points of interest


• Semiquaver fi gures creating rippling stream – bars 23-32.

• Change from 2 (simple duple) to 3 (simple triple) in bar 23.

4 4

• Syncopated accompaniment – bars 5-10.

• Recitative vocal style – bar 33.

• Chromatic harmonic progressions – bars 9-10; 46 (accompaniment, chromatic lower auxiliary

note – E# in the bass); 49-50.

• Fondness for echoing the end of a vocal phrase in the accompaniment – bars 51-52 (voice) in

augmentation – bars 52-53 (Piano).

• Remote key modulations and rapid return to tonic – bars 41-43.


www.lieder.net


26

Intro

Piano

Verses 1, 2, 3, 4

Voice and Piano.

5 short phrases:

bars 9-10; 11-12;

13-14; 15-16; 17-18

Chorus

The Questioner

A (bars 5-20)

I don’t ask any fl ower, I don’t ask any star,

None of them can tell me what I’d like to know so much.

I am not a gardener, the stars are too far above;

I’ll ask my little brook if my heart has deceived me.

B (bars 23-32)

Oh, little brook of my love, why are you so silent today?

I only want to know one thing, one word, one way or the other.

C (bars 33-41)

Yes, is the one word, the other is No.

The two words together make up my entire world.

B (bars 43-52)

Oh, little brook of my love, how strange you are!

If you won’t say anything further, tell me, little brook, does she love me?

7. Ungeduld (Frustration)

Musical elements

❍ Form

Strophic – 4 verses

❍ Structure

❍ Texture

- Light and rhythmic in verses

- Thicker in chorus

❍ Tonality

- Home key: A major


E major (dominant) – bars 3; 22-23

E minor (dominant minor) – bars 4-5

B minor (supertonic minor) – bars 10-11; 15-16


1-8 9-18 19-26/27

27

❍ Harmony

Chords:

- Major and minor, root positions and inversions

- Dominant 7th – bars 8; 24

- Diminished 7th – bars 21-22

- Chromatic progressions – bars 12; 15


- Cadence: Perfect – bars 8-9

- Sequence – bars 2-3 and 5-6; 9-10 and 11-12

- Anacrusis – every vocal entry – bars 9-18 (upbeat to 9)

❍ Instrumentation


- Piano


Etwas geschwind: Rather quick

fp (fortepiano): loud, then soft

fz (forzato): forced sound

ll: :ll : repeat

Points of interest


• Simple triple time, but really 9 in performance.

8

• Note how dotted rhythms in vocal line adds to character of song.

• Melodic line in right hand intro – bars 1-8.

• Tension increases in chorus as wanderer declares his love for the miller’s daughter – high

tessitura (pitch) of vocal line.

• Much stepwise movement in melodic line of verses.

• Brief fl irtations with remote keys (see ‘Examples of modulations’).

• Joyful and uplifting mood – the wanderer declares his love.

• The rhythm of vocal line in each verse is exactly the same.

• The rhythm of accompaniment in each verse follows the same pattern.

• Opening left hand motif in intro repeated in sequence.

• Intro right hand triplets mainly in thirds and sixths.

• Texture of accompaniment thickens in bars 7-8, heralding vocal entry.

• Lighter rhythmic texture with accompaniment in verses.

• Homophonic closing – perfect cadence.


www.lieder.net


28

Frustration at not being noticed!

Verse 1

I’d like to carve it in the bark of every tree,

I’d etch it into every pebble,

I’d sow it in every new-tilled fi eld,

With cress seeds that would show it quickly,

I’d gladly write it on every blank sheet of paper:

Chorus

My heart is yours and will ever remain so.

Verse 2

I’d like to raise a young starling,

To speak the words clearly and distinctly,

So that he would speak with the sound of my voice,

With all my heart’s intense longing;

Then he’d sing it through her windows:

Chorus


Verse 3

I’d like to breathe it into the morning breezes,

I’d like to blow it through the stirring grove;

Oh, if it could only glow from every starry blossom!

If the scent could carry it to her from near and far!

You waves, can you only push wheels?

Chorus


Verse 4

I’d swear it must show in my eyes,

Anyone could see it burning on my cheeks,

Anyone could read it on my silent lips,

Every breath proclaims it aloud,

And she doesn’t even notice my anxious yearning:

Chorus



29

Corelli: Sonata da Camera Op.2, No. 7 in F

(Preludio, Allemanda, Corrente, Giga)

Introduction

Sonata da Camera (Chamber Sonata) is a series of short pieces (suite) composed in the same key,

suitable for dancing. The sonata generally begins with a ‘Prelude’ which serves as a preparation

for the other movements, ‘Allemanda’, ‘Corrente’ and ‘Giga’.

They are known as Trio Sonatas because they are scored on three staves for Violin 1, Violin 2 and

Cello, but 4 players are needed! The Harpsichord player was taken for granted and not counted,

and would read the fi gured bass from the same stave as the Cello part. The Trio Sonata was the

foundation of the Concerto Grosso (see Bach’s Brandenburg).

Corelli (1653-1713) was an Italian violinist and composer of Baroque music who wrote 48 Trio

Sonatas.

Preludio

Musical elements

❍ Form

Modifi ed Binary

❍ Structure

❍ Texture

- Contrapuntal, e.g. bars 9-10

❍ Tonality

- Home key: F major


C major (dominant) – bars 5; 13

D minor (relative minor) – bar 16

A1

Tonic key – F major.

Ends with imperfect

cadence.

A2

Dominant key – C.

Ends with imperfect

cadence.

B1

Descending scalic

motif from A.

Ends with perfect

cadence.

B2

Cello (bar 17)

repeats bar 3.

Ends with perfect

cadence.

1-4 5-8 9-16 17-22

Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

30

❍ Harmony

Chords:

- Diatonic

- Dominant chord 5 (root position) – bar 4

3

- Supertonic chord 6 (fi rst inversion) – bar 173

3

- Dominant 7th 7 (root position) – bar 213

5


- Suspensions: 7-6 – bars 9-10

9-8 – bars 18-19

- Diminuition of opening motif – bars 18-19

- Passing notes – bar 9 (Cello)

- Arpeggio notes – bar 13 (Cello)

- Cadences: Perfect – bar 13 (C major); bar 22 (F major)

Imperfect – bar 4 (F major)

- Sequence – bar 9 (Cello)

❍ Instrumentation

Violino: Violin

Violone: Cello

Cembalo: Harpsichord


Figured Bass/Continuo: a type of musical shorthand or playing by numbers popular with

small orchestral combinations, particularly in the Baroque era. The keyboard player would fi ll

in the harmonies according to the fi gures written under the bass clef – this skill was called

‘realisation’. Here are some of the most common fi gures used by Corelli:

5 – root position of the chord (not always written)

3

6 – fi rst inversion of the chord

6 – second inversion of the chord

4

# – sharpen the third note of the chord

43 – suspension

7 – chord of the 7th

6 – fi rst inversion of the chord of the 7th

5


31

A

F major

Opening rhythmic arpeggio motif is

repeated in imitation in Cello (bar 2).

4 bar phrases ending in perfect cadences

– bar 8 in dominant and bar 14 in the tonic.

Echo eff ect. Ending in perfect cadence.

B

F major

Opening rhythmic motif (Violin 2 & Cello)

is repeated tutti in imitation. The fi nal

cadence has the same echo eff ect.

Cello part more prominent here

and more fl orid.

Ending in perfect cadence.

Points of interest

• Quite a restricted melodic range for each part.

• Adagio tempo.

• Overlapping of Violin 1 & 2 – bars 11-12

• Walking bass – bars 12-17

• Imitation between Violin 1 & 2, using opening motif – bars 14-15

• Hardly any dynamics in Baroque music.

• No repeats in the Prelude.

• Imitation and dialogue throughout.

• Independence of bass continuo part.

• Good range of harmonic vocabulary.

Allemanda

Musical elements

❍ Form

Binary

❍ Structure

❍ Texture

- Fluid

- Contrapuntal – bars 20-21

❍ Tonality

- Home key: F major


C major – bar 9

D minor – bar 18

1-14 15-27


32

❍ Harmony

Chords:

- Diatonic


3

- Tonic chord 6 (fi rst inversion) – bar 24

3

- Second inversion 6 – bar 193

4

- Dominant 7th – bars 81; 233 (7th rises here)


- Cadence: Perfect (in tonic) – bar 5

- Sequence: descending – bars 10-11 (Cello)

- Sequence: ascending – bars 22-23

- Suspensions – bars 253-4

❍ Instrumentation

Violino: Violin

Violone: Cello



Figured Bass/Continuo (see Prelude)

Points of interest

• Allegro tempo.

• Lively and rhythmic.

• Common time – 4

4 • Very few dynamics in Baroque music.

• Both sections A & B repeated.

• Independence of bass continuo part.

• Walking bass – bars 53-7

• Large leaps of 8ve and 10th in Violins.

• Echo eff ect/repetition at end of sections – bars 12-14; 25-27

• This echo eff ect is to be seen in Vivaldi’s concerti – he was a pupil of Corelli.

• Use of tenor clef for Cello – bar 15

• Overlapping of Violins – bars 8; 18

• Falling interval of 7th in melody at cadence – bars 244-25


33

Corrente

Musical elements

❍ Form

Binary

❍ Structure

❍ Texture

- Sparse

- Homophonic

❍ Tonality

- Home key: F major


C major (dominant) – bars 7; 11


❍ Harmony

Chords:

- Diatonic


3


3


- Cadences: Perfect – bar 27 (D minor)

Interrupted (V-VI) – bar 17

Imperfect – bar 6

- Sequences – bars 7-10 (Violin 1); bars 27-30 (Cello)

- Suspension 7-6 – bar 22-3 (Violin 2)

1-20 21-40

A

F major

Rhythmic motif in Violin 1 appears many

times in all 3 instruments.

Echo eff ect in last 6 bars.

Ends on perfect cadence.

B

F major

Homophonic opening for 3 bars,

modulating briefl y to C major and

D minor.

Echo eff ect in last 6 bars.

Ends on perfect cadence.


34

❍ Instrumentation

Violino: Violin

Violone: Cello




Points of interest

• Triple time.

• Quite repetitive.

• Opening dotted rhythm motif appears in most bars, but not always on the same beat of

the bar.

• Tenor clef (Cello) – bars 31-34

• Bars 143-20 repeated exactly in bars 343-40.


• Numerous cadential points.

• Cello part plays dotted motif and given more independent line.

• Corelli often used Hemiola rhythms, e.g. bars 21-23, in composing the type of dance

where the triple time 123,123 creates a sensation of becoming duple 12,12,12.

Giga

Musical elements

❍ Form

Binary

❍ Structure

❍ Texture

- Fluid


1-34 35-73

A

Lively rhythmic imitative opening

between Violin 1 and Cello.

Modulation to dominant at bar 18,

then return to perfect cadence

in F at bar 34.

B

Imitative opening before Violin 1

dominates the melodic line again.

Brief modulations to new keys.

Sequential dialogue between

Violin 1 and others.

Ends with perfect cadence in tonic key.

35

❍ Tonality

- Home key: F major



G minor (supertonic) – bar 49

❍ Harmony

Chords:

- Diatonic


3


3

- Tonic chord 6 (second inversion) – bar 721

4

- Dominant 7th – bar 65


- Cadences: Perfect (in tonic) – bar 10

Perfect – bar 18

- Sequence – bars 58-65 (Violin 1)

- Auxiliary notes (lower) – bar 21 (Violin 1 & 2)

- Passing notes in 3rds – bar 27 (Violin 1 & 2)

- Passing notes (contrary motion) – bar 46 (Violin 1 & 2)

❍ Instrumentation

Violino: Violin

Violone: Cello




Points of interest

• Most Baroque orchestral suites end with a Gigue (cf. J. S. Bach).


• The Gigue is a lively (Allegro) dance.

• This Gigue is in 3 namely one beat in the bar.

8

• Tenor clef (Cello) – bars 11-13; 35-36

• This is a moto perpetuo composition – i.e. non stop action using mainly notes of the same

value (quavers).

• Violin 1 is the dominant part except when overlapped by Violin 2.

• Overlapping of parts (Violin 1 & 2) – bars 19-24; 42-44

• Cello has more supportive role in this dance with dotted crotchet notes – bars 37-57.

• Opening Violin 1 motif repeated in imitation by Cello.


36


• Violin melody consists mainly of arpeggio and passing notes.

• Bars 29-34 (end of section A) repeated in bars 68-73 (end of section B).

• Dialogue between Violin 1 and Violin 2 & Cello – bars 58-65.

37

Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement

Introduction

One of the greatest revolutionary composers. Beethoven (1770-1827) wrote in many genres

including overtures, symphonies, choral works, piano sonatas and one opera. Despite his

incurable deafness, Beethoven composed almost exclusively for the string quartet during the

last three years of his life. He composed a total of 17 quartets. This quartet was composed in

1799. Although considered a ‘Classical’ composer, Beethoven was a precursor of Romanticism

and ahead of his time because of the feeling and expression portrayed in his compositions.

Musical elements

❍ Form

Sonata

❍ Structure

❍ Texture

- Fluid

- Homophonic (2nd subject) – bars 45-47; 88-89

- Mainly dense – bars 210-213

❍ Tonality

- Home key: Bb major


Exposition

F major – bar 44

F minor (dominant minor) – bars 49; 59-60

Ab (fl attened leading note) – bar 56

Development

D major (mediant) – bar 102

G minor (relative minor) – bar 110

Eb major (subdominant) – bar 127

❍ Harmony

Chords:

- Tonic chord: Bb major (root position) – bar 1

- G minor (root position) – bar 248

- Dominant chord 6 (fi rst inversion) – bar 64

3

1-91 91-174 175-265

Exposition

A

Development

B

Recapitulation

A


38


- Diminished 7th – bars 74; 247

- Dominant chord 6 (second inversion) – bar 78

4

- Dominant 7th (last inversion) – bar 553


- Cadences: Perfect – bars 79-80


- Pedal – bars 33-39 (Cello)

- Sequence – bars 53-56; 57-602

– bars 1314-1372 (Violin 1)

- Imitation – bar 113 (Cello); bar 115 (Viola); bar 117 (Violin 2)

- Double stopping (2 notes played simultaneously) – bars 85 & 110 (Viola);

bar 102 (Violin 1 & 2)

- Appoggiatura in bar 1 played as 4 semiquavers

- Music dialogue (imitation) – bars 5-9 (Violin 1 and Cello)

- Contrary motion – bar 40 (Cello and Violin 1 & 2)

- Lower auxiliary notes – bars 68-69 (Cello, Viola & Violin 2)

- Syncopated eff ect – bars 71-74

- Upward scalic passages – bars 32-41; 113-139

- Arpeggio based homophonic phrases – bar 92

- Appoggiaturas played on the Viola and Violin – bar 47

- Chromatic progression: F major to G minor – bars 100-102 (Development)

- Chromatic chord in bar 101 is a French 6th (Eb-G-A-C#)


Violino I: Violin 1

Violino II: Violin 2

Viola

Violoncello: Cello

Allegro con brio: Fast with vigour

fp (fortepiano): sudden reduction of loud dynamic

cresc. (crescendo): increase volume gradually

sf: strong accent

p (piano): soft


decresc. (decrescendo): decrease volume gradually

tr. (trill): quick repeated alternation between the note and the one above or below it, usually

a semitone or a tone

C(split common time): the composition is written as 4 crotchet beats to the bar, but

the performance is played/directed in 2 minim beats to the bar

Points of interest

• Subject 1 theme consists of short arpeggi phrases.

• Much use made of subject 1 appoggiatura 4 note (anacrusis) phrase in development section,

e.g. bars 934-106.


• Melodic interest shared amongst all players, not just Violin 1.

• New material in transition of recapitulation (bars 198-205), not in exposition.

• Split common time 4 – pulse is eff ectively two beats in the bar.

4

• Viola uses alto clef (C is the third line on the stave), and tuned an octave higher than the Cello.

• Return of subject 2 in recapitulation (bar 217) is in the tonic and not the dominant as in

exposition (as expected).

• Major to minor fl uctuation in 2nd subject – bars 44-62 (exposition) and bars 217-227

(recapitulation).

• Beethoven always had repeat marks for the exposition section, and this was usual practice in

classical music.

• Note the repeat marks in bar 264 instructing players to return to bar 92 (development

section) and play through again to the end.

• Although there are 3 sections in this movement, the historical link with binary form is

very clear, with the repeat of both exposition (A) and the repeat of the development/

recapitulation (B) section. Nowadays, the repeat of development and recapitulation sections

are often omitted in performance.

39


40

Brahms: Clarinet Sonata in Eb Op. 120, No. 2, 3rd Movement

Introduction

This sonata was dedicated to the famous clarinettist, Richard Mühlfeld, and premiered in Vienna

in 1895 to critical acclaim. One critic wrote, ‘There is no more beautiful use of variations than in

the last movement of this sonata.’

For the 3rd and fi nal movement of the sonata, Brahms has used theme and variation form as his

structure. It is a set of 5 variations on a given theme. The clarinet part on our score is written in C

and doesn’t need to be transposed.

Brahms was very fond of the variation form, and you may be familiar with his ‘St Anthony Chorale

Variations for Orchestra’. Perhaps some of you have already used theme and variation form in

your own compositions. If not, try it after studying this work.

Form of the 3rd Movement – Theme and Variations

Theme (bars 1-14)

Musical elements

❍ Structure

4+4+2+4

❍ Texture

- Fluid

- Homophonic – bars 2-4

- Dense in Piano – bars 9-10

❍ Tonality

- Home key: Eb major

Examples of modulations

G minor (mediant minor) – bar 103


1-14 15-28 29-42 43-56 57-70 71-97 98-153

Bars

1-4

Bars

5-8

Bars

9-10

Bars

11-14

Theme Var. 1 Var. 2 Var. 3 Var. 4 Var. 5 Coda

41

❍ Harmony

Chords:

- Diatonic


3


3

- Dominant 7th – bars 66; 83; 106

- Diminished 7th – bar 136


- Cadences: Imperfect – bars 4; 8

Plagal – bar 14

- Pedal (dominant) – bars 46-55

- Sequence – bars 16 -2 (Piano)

- Sequence – bars 1-3 (Clarinet)

- Suspension – bar 83,4,5 (Piano)


Andante con moto: Moderate pace

poco f (forte): fairly loud

calando: getting softer and slower/dying away

Points of interest

• Anacrusis at beginning of musical phrases.

• Phrasing.

• Theme is 4+4+2+4.

• Bars 3-4 (Clarinet) is repeated in 7-8 (Clarinet).

• Cadence: Clarinet motif ends phrases – bars 4, 8 and 13-14.

• Symmetrical for fi rst 8 bars, but carries on with 6 (2+4) bar phrase (rather than 4 or 8 bar

phrase).

• A beautifully shaped melody – relaxed charm.

• Piano part provides harmonic support and colour, yet is independent.

• Use of consecutive 8ves in left hand Piano accompaniment.

• Chordal richness of right hand Piano accompaniment.

• The phrasing of the compound three quavers begins on the anacrusis and carries across

the bar line in both instruments.

• Many cresc. and decresc. symbols (<>) in Brahms’ compositions, which are in keeping with

the Romantic period in which he lived.

• Brahms is regarded as the bridge between Classical and Romantic music.


42

Variation 1 (bars 15-28)

Musical elements

❍ Texture

- Contrapuntal

- Sparse at times, e.g. bars 15-18 (Piano)

❍ Tonality




❍ Harmony

Chords:

- Diatonic

- Chromatic – bar 25




- Cadences: Imperfect – bar 22

Perfect – bar 285

- Pedal (dominant) – bar 19

- Suspension – bar 224 (right hand Piano)

- Sequence – bars 186-195 (Piano)


dolce: sweetly

sost. (sostenuto): sustained (legato)

poco f (forte): little louder

Points of interest

• Highly imaginative.

• Original theme note-lengths have been changed, but same phrasing across the bar

maintained. Clarinet part now resembles a skeletal version of the original theme.

• Anacrusis (Clarinet and Piano) not starting together.

• Structure modifi ed: 4 (Tutti) + 4 (Piano) + 2 (Clarinet) + 2 (Piano) + 2 (Clarinet).

In theme, Clarinet plays for 10 bars.

• Piano plays syncopated harmonies (3rds) in imitation with melody of Clarinet (bars 15-18),

providing tension.

• These off -beat accents in the Piano provide main rhythmic focus in bars 15-18.

• Piano has centre stage in bars 19-22, with re-statement of bars 15-18 (not syncopated),

but same simple rhythm as Clarinet previously in bar 15-18. Less tension now.


43

• Cadence motif (bars 13-14) changed.

• Left hand Piano rhythm repeats Clarinet rhythm in bars 226-245.

• Off beat rhythm returns in Piano – bars 256-28.

• Harmonic structure mainly the same as before in theme, although some slight harmonic

diff erences in this variation.


Musical elements

❍ Texture

Quite dense on the whole

❍ Tonality




❍ Harmony

Chords:

- Diatonic

- Diminished 7th – bar 31 (right hand Piano)

- Dominant 7th – bar 373 (heard in arpeggio fi guration and contrary motion in Piano part)

- Dominant 7th (fi nal inversion) – bar 403 (Piano)



Interrupted/Surprise – bar 413,4

- Pedal (dominant) – bar 33

- Suspension – bar 324,5

- Sequence (Clarinet) – bars 306-313 (8ve lower than theme)

- Contrary motion: 16 note arpeggi – bar 37 (Piano)


molto p (piano) e dolce: very quiet and gentle

Points of interest

• Piquant and ‘jumping for joy’.

• Harmonic structure, mainly the same as before in theme, with some slight harmonic

diff erences (bar 31).

• Diff erent phrasing now.

• Some original theme note-lengths have been changed.

• Piano triplet semiquaver accompaniment, descending then ascending – bars 29-31.


44

• Contrary motion arpeggi – bar 37.

• Anacrusis on Clarinet 8ve lower than before.

• Brahms explores lower range sonority of Clarinet.

• Downward leaps of minor 7ths at opening, then back up – bar 29.

• Clarinet keeps two note theme motifs on beats 3 and 6 in bars 29-31, whilst Piano plays

triplet arpeggi fi gures.

• Changed harmonies in bar 31 compared with bar 3 of theme.

• Regular rhythmic pattern in left hand Piano, with harmonic support chords on beats 2,3

and 5,6 – bars 29-32.

• Clarinet and Piano reverse roles in bars 33-36. Piano plays melody 8ve higher and Clarinet

plays triplet arpeggi fi gure in reverse (ascending then descending).

• Clarinet plays 13 bars and Piano accompanies the same, but Piano only plays 1 bar solo at

the end of the variation – bar 42.

• This variation follows Variation 1 without a break/pause (segue).


Musical elements

❍ Texture

Quite dense from bars 49-56

❍ Tonality




❍ Harmony

Chords:

- Diatonic

- Dominant 7th 6 (fi rst inversion) – bar 461

5



- Antiphonal exchanges (3 beats length) between Clarinet and right hand Piano

– bars 43-48

- Right hand Piano echoes previous beat of Clarinet – bar 49

- Passing notes – bar 503 (d) (Clarinet)

- Chromatic passing notes – bar 46 (fi nal note)

- Lower auxiliary notes (anacrusis) – bab

- Cadences: Imperfect – bars 465; 505

Perfect – bar 563,4

- Sequence – bars 466-473 (Clarinet); bar 472-6 (right hand Piano)


45


grazioso: gracefully

fp (fortepiano): sudden diminuendo

Points of interest

• This variation follows variation 2 without a break/pause (segue).

• Anacrusis.

• This is the most intense of the fi rst three variations.

• Both Clarinet and Piano play in every bar.

• More emphasis on dynamic colour.

• Very ornate/decorative, fl orid and chromatic.

• Original theme note-lengths have been changed dramatically and decorated copiously.

• Triplet groups now changed to demi semiquavers.

• Brisk dialogue between Clarinet and Piano – bar 43.

• Rhythmic intensity (moto perpetuo) from bar 50 onwards.

• Music pauses at the end of this variation as if the listener and performers need to catch

their breath before the next variation.


Musical elements

❍ Texture

Sparse

❍ Tonality


❍ Harmony

Chords:

- Diatonic


- Dominant 7th 6 – bar 626

5

- Chromatic progression – bar 69


- Cadences: Imperfect – bar 644,5

Perfect – bar 70

- Tonic pedal – bar 61 (left hand Piano)

- Syncopation between Clarinet and Piano throughout




46

Points of interest

• Both Clarinet and Piano play in every bar.

• This variation is melodically much simpler than the other three, but metrically quite

complicated however.

• Anacrusis begins with Piano chord 7th.

• Little more than the harmonic basis of the theme now remains.

• Only occasional hints of the original theme.

• Dreamy atmosphere, soft dynamics.

• Slow languid tempo.

• Right hand chords of Piano.

• Repeated dominant note is a feature on Clarinet.

• Melody mainly in lower range of Clarinet.

• Tied notes used eff ectively in both instruments at beginning and end of bars.

• Bars 57-60; 646–682 – both hands in treble clef (Piano).

• Bars 606-645; 683-705 – both hands in bass clef (Piano).


Musical elements

❍ Texture

Contrapuntal

❍ Tonality

- Home key: Eb minor (tonic minor)

❍ Harmony

Chords:

- Diatonic


- Cadences: Imperfect (Bb major) – bars 781 & 861

Plagal (Eb major) – bar 98

- Suspension: 9-8 – bar 871

- Syncopated rhythms – bars 87-91 (right hand & left hand Piano)

- Cadential overlap with next section – bars 972-981


Allegro: Fast

ben marcato: well-marked

sf (sforzando): sudden accent


47

Points of interest

• Change of key to minor mode (tonic minor – Eb).

• Phrase lengths are doubled to 8+8+4+8.

• Tempo now changed to Allegro.

• Time signature is changed from compound to simple 2

4 • Augmentation of cadence motif – bars 842-861.

• Anacrusis.

• Predominance of semiquaver movement in right hand Piano.

• The main melodic focus is in the right hand of the Piano, with minor changes from the

original theme.

• Piano solo at the start of this variation, with Clarinet only playing for 2 bars (bars 74-76) in

the fi rst phrase.

• Likewise, third and fourth phrases are for solo Piano (bars 90-95), except the fi nal 2 bars

where the Clarinet joins in just for 2 bars at the end of the variation (bars 96-97).

• Clarinet echoes previous Piano theme an 8ve lower from bars 78-86.

• Cadence theme in right hand Piano (bars 96-102) is a momentary release of tension.

Coda (bars 98-153)

Musical elements

❍ Texture

- Contrapuntal

- Florid

❍ Tonality


❍ Harmony

Chords:

- Diatonic

- Diminished 7th (second inversion tonic) – bars 131-132

- Diminished 7th – bars 143-146 (Piano)

- Dominant 7th – bar 1142 (Piano)

- Major 5 – bars 1363; 151-153

3

- Minor 6 – bar 1361

3


- Cross accents of various parts of theme – bars 102-104

- Diminution of main theme in Piano (bars 135-136), then Clarinet (bars 136-138)

- Chromatic harmony in Piano and Clarinet – bars 115-118 and bars 135-136


48

- Dominant pedal – bars 1112-119

- Cadence: Imperfect – bars 106-107 (German 6th-V7)


Più tranquillo: Even calmer

espress. (espressivo): with expression/feeling

Points of interest

• This coda (tailpiece) of the main tune moves to centre stage.

• Time signature remains 2, but more use of triplets.

4

• Momentary calming of mood – bar 98.

• Development of cadence theme – bars 98-111.

• Using cadence theme in Piano – bars 98-102.

• Bars 102-1071 – triplets in Piano against crotchet pulse of Clarinet.

• Virtuosic fl ourishes, e.g. bars 127-133, in both instruments.

• Final appearance of cadence theme – bars 1472-1511.

• Considerable rhythmic energy and momentum in the coda.


49

Duke Ellington

Introduction

Duke Ellington (Edward Kennedy, 1899-1974), the son of a White House butler, produced sensual

big-band jazz that included extended improvisations, solos and breaks. His shifting harmonies

and contrasting tonal colours, including his own piano playing, brought him everlasting fame

and worldwide recognition. Apparently, he never wrote down a single note of his compositions

– that was left to others. He loved to tinker with his arrangements and there are many versions of

his hits still in existence. His arrangement of Take the A-Train became one of the memorable hits

of wartime USA. Apart from Black and Tan Fantasy, other hits include Mood Indigo.

Black and Tan Fantasy

Musical elements

❍ Form

12 bar blues

❍ Structure

1-12 13-20 21-28 29-40

41-52 52-64 65-76 77-86 87-90

A

Bb minor.

Trio for Trumpet, Piano

and Trombone –

minor blues sequence.

Same sad tonality

as last 4 bars

(quote from Marche

Funèbre by Chopin).

B

Bb major.

Solo Alto Sax begins

over the Gb7 harmony,

then major chords:

Bb, Eb, (Ebm), Bb,

C7, F7, Bb.

Other instruments

support the harmonies.

B

Alto Sax solo

– accompaniment is

repeated except for

bars 27-28, which ends

on F9 chord

(leading to Bb chord

in bar 29).

A

Bb major.

Trumpet solo improvised

with generous

smattering of blue

notes and triplet

fi guration.

Thin texture.

Supported only by

Piano and rhythm

section.

A

Repeat with same

rhythmic 4

4 backing pulse.

Piano begins solo

on fi nal bar of

Trumpet solo.

A

Piano solo in

stride style played

by the Duke.

Chromatic bass

line and D7 chord

in bar 59.

A

Trombone solo full

of colourful eff ects

(bar 73), using

plunger mute,

glissandi, trills

and staccato.

A

Trumpet solo in

quavers and

semiquavers

– blue notes.

Rhythm section

backing but in

bars 64-85, tutti

accompaniment.

Outro

Quote from Marche

Funèbre by

Chopin in

Bb minor, echoing

sombre opening

tonality.

Tutti ensemble.

Duke Ellington

50

❍ Tonality

- Home key: Bb minor

- Major tonality

- Minor tonality

- Blue notes


Bb major – bar 13

Bb minor – bar 87

❍ Harmony

- Tonal

- Diatonic

- Major

- Minor

Chords:

- Bb minor 5 (root position) – bar 12

3

- Eb minor 6 – bar 253

3


- F9 – bar 644


- Chromatic harmonies – bars 19-20

- Triplets, e.g. bar 37

- Syncopation – bar 60 (right hand Piano)

- Piano stride, New Orleans style

- Blues notes

- Blues scale

- Jazz quavers are not played as written but swung, e.g. Piano solo

❍ Instrumentation

Jazz Ensemble

Alto Sax

Tenor Sax

Trumpet (plunger mute)

Trombone

Piano

String Bass

Banjo

Drum Kit

Points of interest

• Written in 1929 for a short fi lm featuring Duke Ellington and his band.

• Shades of Negro spiritual in this composition.

• Quote from Marche Funèbre by Chopin in the last 4 bars.

• Knowledge of the blues scale will help appreciate the composition.

Duke Ellington

51

• Echoes of early New Orleans minimal style with strict rigid tempi.

• Major to minor tonalities.


www.youtube.com

Take the A-Train

Musical elements

❍ Form

- AABA x3

- Standard 32 bar ‘song’ form played three times

❍ Structure

1-4 5-12 13-20 21-28 29-36

37-44 45-52 53-60 61-68 69-72

A

No Brass at all

except solo

Trumpet 4

improvisation.

Homophonic

chromatic

countermelody

in the Saxes in

harmony.

A

Repeated section as

the Trumpet break

continues.

Texture much

lighter.

More emphasis

on rhythm section

now.

B

Solo Trumpet break

continues and

Saxes support the

harmonies with

one chord per bar.

Trombones tacet.

A

Solo Trumpet

playing the main

theme, with Saxes

playing the repeat

of countermelody

(bars 45-48).

Saxes with

downward triadic

blues motif.

Bridge

Brass (except

Trumpet 4) play

notes G then G#

in unison for key

change.

Antiphonal

response to 5 note

harmonised motif

in the Saxes.

Intro

The most famous

4 bar Piano intro in

big band history.

Based on 2 chords

with repeated right

hand chromatic

descending motif

(the A-Train ready

to leave New York

station!).

A

Saxes in unison

with 8 bar theme

(4+4), both angular

and syncopated.

Intervals of rising

6ths and falling 5ths.

Syncopated

harmonic

accompaniment

by Trombones and

muted Trumpets.

A

Repeated, but

the previous bar

12 is now tacet.

Eff ective rhythmic

interaction

between the Reeds

and the Brass

– very punchy and

stabbing rhythms

here.

B

Angular tune also

with intervals of

falling 5ths and

major 7ths –

F major key.

Trumpets are tacet

in this section.

Trombones have

downward scalic

countermelody

– bars 23-36.

A

Back in tonic –

C major.

Saxes with tune

again but Trumpets

(open) with

countermelody.

Trombones with

syncopated

harmonies in

homophonic

movement with

Trumpets.

Brass all have triplet

stepwise unison

fi gure – bar 363,4.

Duke Ellington

52

❍ Texture

- Intro – light

- Light when backing solos

- Dense with tutti

- Homophonic sectional (Brass and Reeds)

❍ Tonality

- Home key: C major (but ends in Eb major)


Eb major – bar 73

❍ Harmony

- Tonal

- Diatonic

Chords:

- Major

- Minor

- Tonic 5 (root position), e.g. bar 21

3

- Tonic 6 (second inversion) – bar 11,2

4

- Added 6th, e.g. bars 11; 53


- Major 9th – bar 403,4


- Angular themes with wide leaps

- Walking bass in crotchets

- Jazz quavers are not played as written, but swung

- Balanced phrases of 4 bars length

- Two main themes – A (bars 5-12) and B (bars 21-28) – contrasted and used throughout the

composition

Duke Ellington

73-80 81-88 89-96 97-104 105-120 121-30

A

New key –

Eb major.

3 bar scalic

harmonised

passage in

Saxes.

Trumpet 4 solo

in bars 76-80.

Trumpets 1,2,3

and Trombones

tacet.

A

Repeat of

backing

accompaniment

in Saxes and

rhythm section.

Trumpet solo in

bars 84-88.

B

Ab major.

Trombones

re-enter with

harmonised

upward quaver

motif, answered

by triplet

quavers Saxes in

bar 91.

A

Back in Eb with

unison Saxes and

solo optional

Trumpet – big

tutti sound.

Brass

homophonic

accompaniment

with syncopated

stabbing

harmonies.

A

Repeat of

previous 8

bars

(no specifi c

changes,

apart from

the last two

bars).

Outro

Over the Eb

pedal, Drum fi lls

and Trumpet

solo.

Whole band

except Trumpet

1,2 and 3 play

harmonies

based on Eb

chord.

53

- Varied chromatic accompaniment motifs at end of A section

- Elements of whole tone scale in A, with chord of D7 with fl attened 5th (bars 7-8)

- Pedal – bars 69-70 (Brass)

- Sequential – bars 37-40 (Saxes)

- Rising sequence – bars 70-72 (Saxes)

- Syncopation throughout

- Comparing and dovetailing 3 main sections of the band

- 3 sections (Saxes, Trumpets, Trombones) move together

- Chromatic quavers, e.g. bar 18

- Repetition – bars 69-71 (Saxes)

- Use of closely voiced harmonies in Trombones and Trumpets

❍ Instrumentation

5 Saxes (Alto 1,2; Tenor 1,2; Baritone)

4 Trumpets

4 Trombones (bass clef )

Rhythm Guitar

Piano

String Bass

Drum Kit


Gliss. (Glissando): slide (Trombones in particular)

Rubato: rob the time

Mutes: alter timbre

Tacet: silent

Trumpets in Bb

Alto Sax/Baritone in Eb

Tenor Sax in Bb

•/• : repeat the previous bar

/ / / / : strumming rhythm (crotchet) for Guitar

^ ^ ^ ^ : accented notes

m: minor

dim: diminished

Points of interest

• The A–Train became the signature tune of the Duke Ellington Orchestra.

• The 4 bar Piano intro is Ellington’s music calling card.

• Written by Billy Strayhorn, who discarded it – but Mercer Ellington, Duke’s son, rescued it!

• The A train in New York went to Harlem – the D train went to the Bronx.

• The Trumpet soloist on the CD is Cootie Williams, who plays the original improvisation of

Ray Nance (1941).

• His Piano part is ad lib throughout – just following chord pattern!

• He directed from the Piano, just like Count Basie.

Duke Ellington

54

• Other great band leaders also had nicknames with royal titles, e.g. Joe King Oliver,

Count Basie.

• Symmetry is important in these big band arrangements.

• Changing melodic focus constantly.

• Trumpet solo scored now, but improvised originally.

• Excellent example of big band swing.


www.youtube.com

Duke Ellington

55

Queen

Introduction

This iconic band is one of the all-time greats. Their famous anthems, We Are The Champions and

We Will Rock You, brought them into world focus and helped secure the group’s induction into

the Rock and Roll Hall of Fame. The four members were Freddie Mercury (Vocals and Piano),

Brian May (Lead Guitarist), John Deacon (Bass Guitar) and Roger Taylor (Drums). Both lyrics and

music for these two songs were written by Freddie Mercury.

Bohemian Rhapsody

Musical elements

❍ Form

Through composed

❍ Structure

1-16 17-42 43-55

Episode 1

Bb major.

A cappella opening for 4 bars;

close chromatic harmonies

(barber-shop style).

Light Piano accompaniment

(bar 5).

Backing vocals (bar 8).

Important chromatic Piano

motif (bar 7).

Piano rhythm

follows vocal line mainly.

Bass Guitar in at bar 15.

Piano style changes in bars

15-16 with motif which

carries on into next episode.

Episode 2

Bb major & Eb major.

Bars 17-34 are repeated

(two verses).

Solo vocals.

Broken chord left hand

Piano ostinati.

The distinctive motif

(bars 15-16) in the right hand

Piano part continues in the

accompaniment.

Bass Guitar on 1st beat of every bar

up to bar 22.

Tutti band, apart from Guitar,

in at bar 24.

Modulation at bar 25.

Drums play with verse 2 and

backing vocals from bar 25.

Strong downward chromatic bass

line is a feature, e.g. bars 23-25.

At bar 29 onwards, the Guitar

break is based initially on

material from bar 25.

Bar 42 prepares key change for

next episode (the Db changes

enharmonically to C#, the third

note of the A major chord).

Episode 3

A major.

Piano repeated A major

chord for 2 bars.

Chords alternate between major

and diminished.

Chromatic vocal line.

Harmony in backing group,

antiphonal responses.

A cappella in bars 51-52.

Lighter homophonic texture

in this episode.

Queen

56

❍ Texture

- Mainly homophonic

- Thin (at start)

- Dense (middle, from bar 74 onwards)

❍ Tonality

- Home key: Bb major


A major – bar 43

Eb major – bar 25

F major – bar 118

❍ Harmony

- Tonal

- Chromatic

- Major

- Minor

- Diminished

Chords:

- Subdominant 5 (root position) – bar 105

3

- Tonic 6 (fi rst inversion) – bar 102

3

- Dominant 6 (fi rst inversion) – bar 241,2

3

- Db major 6 (second inversion) – bars 491,2

4

- Dominant 7th: C7 – bar 2; F7 – bar 31,2; Bb7 – bar 881,2

- Minor 7th : Cm7th – bar 33

Queen

56-83 84-104 105-120

Episode 4

Eb major modulating to

dominant in bar 61.

Material derived from previous

episode. Call and response style.

Call a cappella and choral ff

response harmonies with band

– homophonic style.

Chromatic motif returns in bar 62

(fi rst heard in bar 7).

Change in vocal style to wide

melodic leaps in bar 65.

Chromatic harmonies

in bars 74 and 75.

Triplet quavers introduced for the

fi rst time in Bass/Kit (bar 83) on

dominant pedal.

Episode 5

Eb major.

Style now changed to heavy rock.

Strong dotted rhythm Guitar riff

in bars 84-87.

Solo vocal passage using

triplet rhythm of bar 83 now in

augmentation.

High vocal line descending

stepwise.

There are two solo Guitar passages

heard in this episode.

The extended Guitar solo

heard at bar 101 is based on

opening of this episode (bars

84-87), ending on

dominant 7th (Bb).

Episode 6

Eb major.

New semiquaver motif heralds

start of this fi nal episode.

Tempo much slower – lead Guitar

with melody, over falling

crotchet bass.

Arpeggaic Piano accompaniment

from bar 110.

Vocal style changed again to

ballad style in minor tonality

(Cm and Gm).

Very pensive, ending with

chord of Ab minor

in bar 1124, underlining the

sadness of the lyrics.

The motif of bars 31-32 is

extended into the codetta in

bars 114-120 – ending in

F major.

57

- Minor Ab iv – bar 1124

- Diminished 7ths – bars 321; 1193


- Backing vocals – bar 8

- Cadence: Perfect – bars 100-101

- Chromatic harmonies, e.g. bars 32; 63-64

- Repetition – bars 10 and 11

- Enharmonic writing, e.g. at bar 56 the key is Eb major, but the bass is written as D#

- Change in metre, e.g. bar 3 – 5 time

4

- Sequential vocal line – bars 80 and 81

- Guitar breaks/solos – bars 35-43 (based on bar 25)

- Arpeggaic left hand Piano accompaniment – bars 110-112

- Triplet crotchets against two crotchets – bars 88-89

- Pedal – bars 31-32

- Antiphonal vocal imitation – bars 51-55; 56-61; 63-83

- Call and response – bar 63 onwards

❍ Instrumentation

Piano

Vocals

Lead Guitar

Bass Guitar

Drums

Backing vocals


L’istesso tempo: keep the same tempo as before but quaver beat = new crotchet beat

Points of interest

• An unusual musical structure, rather disjunct, with no real chorus (which is the norm with

modern pop and rock compositions), apart from Episode 4.

• The song has been subtitled as a ‘conscious nightmare’.

• Recorded in 1975 for the album ‘Night at the Opera’, but also released as a single.

• Contains passing musical references to fi ve diff erent styles/genres, i.e. barber-shop close

harmonies, operatic arias and choruses, a cappella singing, antiphonal call & response, and

heavy rock.

• Mainly homophonic texture, with Freddie Mercury accompanying himself on the Piano.

• Piano right hand chromatic motif fi rst heard in bar 7 occurs elsewhere, e.g. bars 31-32, and

bar 119.

• High tessitura vocal part sung falsetto.

• Minimal stepwise melodic movement in early episodes.


Video of live performance on www.youtube.com

Queen

58

Killer Queen

Musical elements

❍ Form

- Verse / Chorus / Verse / Chorus / Middle 8 / Verse / Chorus

- Verses and choruses are mainly strophic

❍ Structure

❍ Texture

- Lighter in verses

- More dense in choruses and backing vocals

- Homophonic choruses

Genre: Glam Rock

❍ Tonality



G minor – bar 143

Bb major – bar 151

Queen

1-14 14-26 26-38

38-50 51-59 61-69 69-79

Verse 1

Vocal solo – Piano

accompaniment with

secco chords.

Band enters at bar 64 with strong

descending chromatic bass line.

Backing vocals in at bar 8 (Ooh).

Bars 12-14 – ‘pre-chorus link’

or transitional sub-section.

Chorus

Homophonic 4 part harmony.

Mixture of major and minor

tonality based on key of Bb

major, framing a tonicisation

of the iii, D minor.

4 bar instrumental bridge.

Verse 2

Vocal solo with Piano chords,

then bass pedal on Guitar

(bars 27-30).

Backing homophonic vocals

– syncopated (bars 32-37).

Chorus

Homophonic 4 part

harmony.

Mixture of major and

minor tonality based on

key of Bb major and

D minor.

5 bars – fewer vocals

than previous chorus

because Guitar plays

second part

(bars 44-50).

Middle 8

Guitar improvisation

based on chord

sequence of verse

– mainly bars 4-11.

Cm,

Bb7 x2,

Eb,

Gm,

Eb7,

Ab etc.

Verse 3

Vocal solo –

shorter than previous

2 verses.

Based on harmonies of

second part of verse:

G7-Cm x2, Bb-Eb,

D7-Gm, F-Bb

(falling cycles of 5ths).

This section could

also be considered an

extension of the

‘pre-chorus link’

(bars 12-14).

Chorus

Homophonic 4 part

harmony.

Mixture of major and

minor tonality based on

key of Bb major and

D minor.

Band play out to fade,

based on tonic Eb major

chord.

59

D minor – bar 173,4

C major – bar 184

❍ Harmony

- Tonal

- Diatonic

- Major

- Minor

Chords:

- Root position chords 5 – e.g. bars 15-16

3

- Tonic 6 (fi rst inversion) – bar 264

3

- Second inversion chords 6 – bars 73,4; 93,4

4

- Third inversion chords – bar 81,2

- Dominant 7ths, e.g. A7 – bar 173; G7 – bar 211,2

- Minor triads, e.g. Bbm – bar 681,2; Abm – bar 91,2

- Diminished 7th – bar 654 (backing vocals)


- Compound time 12 changing to 6 – bars 10; 34; 58; 69

8 8

- Backing vocals – bars 8-11; 31-37; 63-68

- 4 and 5 part harmonies in choruses

- Short stabbing ‘vamping’ repeated chords – bars 1-11 (Blues style)

- Pedal – bars 23-24; 27-30

- Descending chromatic bass lines – bars 7-8

- Ostinati bass riff s – bars 14-18

- Syncopation – bars 21-26


Perfect – bar 14

- Major tonality, e.g. bars 3-7

- Major-minor chords – bars 8-9; 32-33; 56-57 (Ab major to Ab minor)

- Imitation – bars 44-45 and 46-47

- Guitar breaks/solos – bars 44-61

- Anacrusis in verses and choruses

- First two verses begin with chord of Cm (relative minor)

- Many examples of cycles of falling 5ths, e.g. verse 3 – bars 61-69, derived from traditional

Blues compositions

❍ Instrumentation

Piano

Vocals

Lead Guitar

Bass Guitar

Drums

Backing vocals

Queen

60

Points of interest

• Blues infl uence with falling cycles of 5ths harmonic progression/sequential, e.g. verse 3 – bars

61-69.

• Vocal technique glissando at bars 153,4; 22-23.

• Compound time 12

8

• Elaborate 4 part vocal harmonies in choruses and verses.

• Multi-tracked Guitar solo by Brian May.

• Brian May’s solos added at a later date after recovering from illness.

• Two Bass Guitars used at times.

• Written in 1974 for the album ‘Sheer Heart Attack’.

• Vaudville/Music Hall retro style (1940s).

• The lyrics were written before the music.

• Grand Piano (Freddie Mercury) used for recordings and stage, but this recording was

overdubbed with a Honky-tonk Piano to give the song a light musical quality.

• Partly recorded in Wales (Rockfi eld Studios Monmouth).


Video on www.youtube.com

Queen

61

Loesser: Guys and Dolls

Introduction

Guys and Dolls is one of the most memorable Broadway musical comedies of all time. First

produced in 1950, it ran for two and a half years on 46th Street. The self-taught composer,

Frank Loesser (1910-1969), was a native of New York. He based his musical on two short stories

by Damon Runyon – The Idyll of Miss Sarah Brown. It features tales of romance, gambling and

religious reform, set in prohibition New York against the background of a Salvation Army style

mission. Damon Runyon’s name features in the opening title, Runyonland.

Runyonland

Musical elements

❍ Style

- Music hall/Vaudeville

- No conventional form. Rather a frenetic opening to the musical, depicting the bustling

New York street scene, with various characters making cameo appearances during the

music. Each episode introduces diff erent characters.

❍ Structure

❍ Texture

- Light opening

- Heavier with Brass

- Many layers

- Contrapuntal

- Some homophonic sections, e.g. bars 53-60

1-12 12-28 29-46 47-52 53-74

Episode 1

Begins on

Ab7 chord.

Sprightly melodic

line (above

repeated crotchets)

with arpeggaic

fi gures visiting

various keys.

Chromatic

harmonies are a

characteristic of this

episode.

Woodwind and

Percussion are

prominent.

Episode 2

Opening not

as rhythmic.

Interaction

between lower

Brass and Saxes.

Unison call in

Trombones and

harmonic response

in Saxes.

String Bass more

prominent.

Episode 3

Theme: ‘Luck be a

lady’ (4 bars long).

Syncopation built

over two chords.

This lasts for 16

bars before the

chords of C and

Ab7 support a 2 bar

quaver fl ourish (3rds

in Violins), moving

the music up a

semitone via pivot

chord of Ab7

(bar 46).

Episode 4

Db major.

Same style and

theme as previous

episode, but only 6

bars long.

The second phrase

begins, but moves

on after only one

bar of the theme.

There are

some rapid

countermelodies in

upper Woodwind.

Strong rhythmic

support from Kit.

Episode 5

New melodic

material in Eb, although content is

chromatic in nature.

Use of ‘blue

notes’ in bars

57 (F#) and 59.

Enharmonic chord

(A9) in bar 66

gives ‘jazzy feel’.

Series of 4 chords

support downward

chromatic scale

ending in F (bar 70),

and repeated an 8ve

lower on CD only.


62

❍ Tonality

- Home key: C major


Db major – bar 47

Eb major – bar 65

❍ Harmony

Chords:

- Major

- Minor

- Primary

- Root position – bar 29

- First inversion (G7) – bar 6

- Second inversion – bar 4

- C major – bar 291,2

- C minor – bar 7

- Ab7 – bar 46

- F9 – bar 61

- A9 – bar 66

- Added 6th (Eb6) – bar 25

- Bb9 – bar 5


- Call and response, e.g. bars 123,4-19

- Vamping jazz accompaniment – bars 29-61

- Sequential ostinato bass rhythm – bars 21-24

- Pedal – bars 1-4

- Ostinato 2 note bass pattern – bars 29-45

- Suspension – bar 121

- Cadences: Perfect – bars 29; 47


- Glissandi in Brass, e.g. bars 43; 44

❍ Instrumentation

Typical musical Pit Orchestra

Woodwind

Saxes

Brass

Kit

Percussion

String Bass


C: split common time (2 pulse to the bar)

marc. (marcato): accented

gliss. (glissando): slide

sfz (sforzando): sudden accent


63

Points of interest

• This was not Loesser’s favourite musical.

• Each episode has its own diff erent rhythmic characteristics and scoring.

• Main theme featured in this opening is ‘Luck be a lady tonight’.

• Richly scored, bright and exciting.

Fugue for Tinhorns

Three characters – Nicely-Nicely, Benny and Rusty – argue about the likely winner of a horse race.

Musical elements

❍ Form

Canon, with each voice singing the main tune 3 times.

❍ Structure

1-6 6-18 18-22 22-26

26-50 51-58

Intro

D major.

Tonic/dominant bass

line – vamping pianistic

style.

Clarinet prominent

(Gershwinesque).

Chords of the 7th.

Triplet Trumpet fanfare

signalling horse race

in bar 3.

Jazzy swing feel to

the music.

Texture quite light in

strict rhythmic tempo.

Canon 1

Nicely-Nicely

(Voice 1)

with canon tune

– syncopated with

dotted rhythms.

Muted Trumpet

accompaniment.

2nd part of tune

less rhythmic

– falling sequential 5ths.

Syncopated chords.

Canon 2

Benny

(Voice 2)

with main tune exactly

repeated musically,

except for diff erent

words.

Nicely-Nicely

(Voice 1) carries on with

second half of tune in

counterpoint with main

tune

Canon 3

Rusty

(Voice 3)

with main tune

repeated musically,

completing fi rst round

of canonic entries.

Benny (Voice 2) carries

on with second half of

tune in counterpoint

with main tune.

2nd & 3rd Entries

2nd entry for Voice 1 –

bar 263


bar 303


bar 343

3rd entry for Voice 1 –

bar 383


bar 423


bar 463

Coda/Outro

Tutti band with sfz stab

chords (bar 50).

Voices build up Bbm

triad with staggered

entries, then conclude

with an unison

statement which breaks

into close harmony,

before fi nishing on a

sustained Db major

chord.


64

❍ Texture

- Thin/light to begin

- Building up with each vocal entry

- Contrapuntal and dense throughout

- Homophonic at the outro – bars 52-56

❍ Tonality

- Home key: Db major

❍ Harmony

- Diatonic

Chords:

- Root position

- Tonic: Db 5 (root position) – bar 8 (major 7)

3

- Db7 – bar 11,2

- Eb7– bar 111,2

- Db6 – bar 16

- Eb9 – bar 533,4


- Canon – the main tune is 12 bars in length (4+4+4)

- Anacrusis for every entry

- This is not strictly a fugue but a canon (a fugue would have the second voice coming in at

the 5th)

- Sequence – bars 104-131

- Imitation – bars 124-613

- Contrary motion fi nal band fl ourish – bars 55-56

- As voices enter, instruments play with voices and instrumental texture thickens – muted

Trumpet and Clarinet are prominent

- Percussion becomes louder from bar 45 onwards

- Cadence: Perfect – bar 562

- Chromatic scale – bars 9; 21 (melody and band)

- Lower auxiliary notes – bar 64 (melody)

❍ Instrumentation

Typical musical Pit Orchestra

Woodwind

Saxes

Brass

Kit

Percussion

String Bass


65

Points of interest

• The ‘Guys’ swap racing tips in this number and have an argument over who will win

tomorrow’s race.

• After second canonic entry, the main tune appears every 4 bars until bar 50.

• The accompaniment uses the same chord sequences throughout.

• No modulation or changes in tempi.

• Off beat jazz rhythms throughout.


66

Bernstein: West Side Story

Introduction

Leonard Bernstein (1918-1990) made his mark on both classical and popular music as a

composer/conductor. One of the great personalities of the 20th century American music scene

– equally at home with classics and jazz. His greatest musical, West Side Story, is based on

Shakespeare’s tragedy, Romeo and Juliet. It contains Bernstein’s complete technical mastery

of form, including a fugue with a 12 note row, Latin American dance rhythms, jazz chords and

grand operatic style.

Characters Maria and Tony – ill-fated lovers

Anita and Bernardo (Sharks) – Puerto Rico gang

Riff (Jets) – New York gang

Tonight

(Quintet)

Musical elements

❍ Form

Three main sections:

1) The threats and posturing of both gangs – bars 1-67

2) Tony looking forward to meeting Maria ‘tonight’ – bars 67-98

3) Maria looking forward to meeting Tony, together with threats from Riff , Anita and the

gangs – bars 98-151

❍ Structure


1-6 6-37 37-52 52-68 68-98

98-118 118-151

Intro

Orchestra.

Ostinati fi gures

in Violins & Bass.

A minor

Riff & Bernardo

Two themes –

A (bar 7) and

B (bar 15).

A minor

Jets & Sharks

New theme

(C) in tonic

major.

Anita (Sharks)

The two themes,

A & B, now an 8ve

higher and in an

uneven triplet

rhythm.

A minor

Lyrical love

theme (D), sung

by Tony, is in

A A1 B A2 form.

Tonic major

modulating to

C major.

Orchestral

interlude using

previous ostinati.

Riff sings themes

A & B

in C minor.

Tutti ensemble

Themes are

interwoven,

retaining same

harmonic

progressions in

various keys.

67

❍ Texture

- Dense

- Multi-layered

- Instrumental and vocal

❍ Tonality

- Home key: A minor


Tonic major – bars 37; 68; 92

C major (relative major) – bar 76

C minor – bar 102

Eb major – bar 126

F minor – bar 134

❍ Harmony

Chords:

- Diatonic

- Dissonances, e.g. bar 13 (F ½/F#)

- Cluster, e.g. bar 46 (dominant 13th)

- G major 5 (root position) – bar 1321,2

3

- B minor 5 (root position) – bar 124

3

- First inversion 6 – bar 954 (F# minor); bar 138 (Eb minor)

3

- F major 6 (second inversion) – bar 84

4

- Dominant 7th – bar 75 (G7)

- Fm7th 4 – bar 127

2


- Time signatures 4 & 2 every other bar, e.g. bars 1-14

4 4

- Time signature 3 intermittently, e.g bars 16; 19; 65; 113 until bar 117

8 - Cadences: Perfect – bars 76; 92

- Augmentation – bars 130-132 (sung by the Sharks)

- Countermelody (canon) in Violins, with vocal line – bars 84-91

- Ostinato 3 note stepwise bass fi gure – bars 1-15; 20-29; 53-60 and 102-111 (3rd higher)

- Two note ostinato bass fi gure – bars 37-45

- Arpeggiac ostinato fi gure – bars 148-151

- Instrumental quaver ostinati in Violins – bars 2-12; 22-27; 53-59

- Syncopated rhythms – bar 68 onwards with love theme

- Pedal – bars 68-71; 118-122

- Suspensions – bars 88; 95

- Enharmonic key changes – bar 125 (Tony sings the 5th and 7th above the chord of Bb7)


68

- 4 note rhythmic motif (bars 12-13) – ‘tonight’ appears throughout in orchestra and voices,

e.g. bars 45; 55; 101; 106; 117; 121

- Another interesting and musically dramatic device is the antiphonal exchange between

the rival gangs – bars 46-47

❍ Instrumentation

Maria: Soprano

Tony: Tenor

Anita: Mezzo-Soprano

Bernardo (Sharks): Baritone

Riff (Jets): Baritone

Orchestra


marcato: accented

marcatissimo: very well accented

molto: much

sempre: always

p sub. (subito): sudden decrease of volume

Points of interest

• Anacrusis at beginning of main vocal phrases.

• Theme A is in recitative style.

• Both gangs (Jets & Sharks) and Anita have same rhythmic (threatening) leitmotifs.

• Maria and Tony have romantic, lyrical leitmotifs.

• These 5 strands are brought together in multi-dimensional texture from bars 117-151.

• Fuller orchestration/texture and increase in dynamics in fi nal section.

• Contrast between gang themes and love theme.

• Emphatic unison singing of theme C at bar 38.


69

Maria

Musical elements

❍ Structure

❍ Texture

- Sparse – bars 1-8

- Thicker from bar 9 onwards

❍ Tonality

- Home key: Eb major (B major recitative)

❍ Harmony

Chords:

- Diatonic

- Dominant major 5 (root position) – bars 123; 471

3

- Minor (root position) – bar 431

- Flattened mediant (Gb added 6th) – bar 49

- F minor 7th – bar 131

- Eb major 7th – bar 141

- Bb major 7th – bar 173

- Dominant 6 (fi rst inversion) – bar 112

3

1-8 9-14 15-20 20-25 26-28

28-33 34-39 40-47 48-53

Intro

Parlando/

recitativo style.

Uses quaver

triplet fi gure

(main motif ).

A1

Vocal line melody

(stepwise)

doubled by

orchestra.

Major tonality.

A2

Vocal line melody

(stepwise)

doubled by

orchestra.

Minor tonality

(bars 18-20).

B

Vocal line melody

(downward)

doubled by

orchestra.

Minor tonality

(bars 23-24).

Extension

Vocal line melody

(3 note motif )

doubled by

orchestra.

Can be viewed as

an extension of B.

Major tonality

(bars 18-20).

A1

Melody with

orchestra.

Vocal line broken up

repeated ‘Maria’ motif.

A2

Melody with

orchestra.

Vocal line broken up

with ‘Maria’ – high

tessitura.

B

Vocal line melody

doubled by orchestra

(cf. bars 21-25), with

extension as above.

Coda

Repeat in upper

Strings of bar 10

motif.

Vocal line melody

(3 note motif ) sung

softly, parlando style.

Sustained chords in

orchestra.


70


- Cadence: Plagal (IV-I) – bar 25 (F major)

- Bar 10 shows augmentation of original quaver triplet motif from bar 83,4 – now heard in

crotchet triplets

- Repeated fi gures – bars 10-11

- Ostinati syncopated rhythms in bass accompaniment of orchestra from bars 9-46

- Change from common time (bars 1-8) to split common time/2 pulse (bar 9 onwards)

- Accented appoggiatura – bars 7-8 (voice, Strings & Woodwind)

- Chromatic harmonies – bars 7-8

❍ Instrumentation

Tony: Tenor

Orchestra


Moderato con anima: Moderate speed with spirit

dolce: sweetly

rall. (rallentando) molto: much slower

Meno mosso: Less movement

a piacere: out of tempo (ad lib)

Adagio: Slow

8va…: play octave higher than written

con sord. (sordini): with the mute

senza sord. (sordini): without the mute

Ossia: Alternative small notes (bars 36-39)

Points of interest

• Anacrusis at beginning of all vocal phrases.

• Fuller orchestration, increasingly thicker in texture, plus increase in dynamics until bar 42.

• Modulation from key of B major to Eb major accomplished with common note

(enharmonic note) to both keys, namely bar 8 (D# = Eb).

• Melodic lines move mainly stepwise.

• Operatic tessitura lines in bars 34-39.

• Wide range of dynamics in voice and orchestra.

• Importance of interval of rising augmented 4th (tritone) in the fi rst two notes of this

theme (also known as the ‘devil’s leap’ because of the diffi culty in singing this interval). It

was avoided in early ecclesiastical composition, but is widely used in atonal melodies

today.

• Also, importance of the following two note rising semitone motif (resolution; cf. Jaws)

– fi rst heard across the bar lines in voice and Strings (bars 9-11; 15-16), and fi nally in

orchestral Strings (bars 51-52).

• Same motif heard in bass of accompaniment – bars 15-17; 34-36.


71

Boublil and Schönberg: Les Miserables

Introduction

The original novel by French author, Victor Hugo, portrayed the angst suff ered by his

countrymen in the 1820s and 1830s. Composer Claude-Michel Schönberg and librettist

Alain Boublil collaborated to produce one of the greatest musicals of all time, which was fi rst

performed in Paris in 1980.

On My Own

This solo is sung by Eponine.

Musical elements

❍ Form

AABBAA

❍ Structure

❍ Texture

- Sparse at the beginning but getting thicker in section B.

❍ Tonality

- Home key: D major


A major (dominant) – bars 5-6

Bb – bars 11-14

E minor (supertonic) – bars 15-17

❍ Harmony

Diatonic

Chords:

- Triadic semiquaver broken chords – bars 1-11

- Major and minor root positions

- Added 7th – bar 17 (Am7)

1-2 3-10 3-10 11-18 19-26 27-34 35-38

Intro Section A

D major

Section A

D major

Section B

Bb major

Section A

F major

Section A

F major

Coda

F major


72

Z


- Pedal – bars 3-4 (D); 12-13 (Bb)

- Ostinati accompaniment – bars 1-10

- Syncopated accompaniment – bars 1-10 (right hand)

- Sequence – bar 1 (in right hand Piano)

- Syncopation in vocal line – bars 8; 10; 19; 27

❍ Instrumentation

- Synthesised sounds/Keyboard

- Symphony Orchestra

- Percussion

- Female vocalist – Eponine


Andante: Walking pace

p (piano): quiet

mf (mezzo forte): quite loud

f (forte): loud


: pause

rit. (ritardando): becoming slower

Points of interest

• Anacrusis at the beginning of every vocal phrase.

• Rhythms mainly quavers, dotted quavers and semibreves.

• Descending chromatic bass line – bars 6-8; 22-23.

• Three note descending motif in introduction (bars 1-2) – in the treble part of the

accompaniment.

• Higher key (F major) in return of section A – bars 27-34.

• Fuller orchestration/texture and increase in dynamics in fi nal section (bars 27-34).

• Arpeggio/broken chord accompaniment in section A.

• Crotchet chordal accompaniment in section B.

• Cadences: Perfect – bars 214-221


Plagal – bars 37-38

• Accent shift change from 4 to 2 in bars 8 and 24.

4 4• Accent shift change from 3 to 4 in bars 9-10 and 25-26.

4 4 • Extreme and dramatic harmonic changes (Eb major to E minor) – bars 14-15.


73

One Day More

Musical elements

❍ Form

Through composed

❍ Structure

❍ Texture

- Sparse to begin and gradually increasing to dense by the fi nal section.

❍ Tonality

- Home key: A major


Eb major – bar 32

A major – bar 36

C major – bar 54

❍ Harmony

Chords:

- A major 5 (root position) – bar 24

3

- F minor 5 (root position) – bar 27

3

- Added 6th – bar 11 (right hand Piano)

- F# minor 7th – bar 101

- Dominant 7th – bar 233 (E)

- D major 7th – bar 382

Intro

Orchestra

Section 1

A major

Theme 1 (Valjean)

Theme 2 (Marius)

Section 2

Various keys

Themes 2 & 3

(Marius, Cosette,

Eponine)

Section 3

Various keys

Theme 3

(Enjolras, Marcellas)

Section 4

A major

Theme 1(Valjean)

&

Theme 4 (Javert)

Section 5

A major

Theme 5

(Thénardiers)

Section 6

Various keys

Theme 3

(chorus groups)

Section 7

C major

Fusion of themes

(solists, ensembles,

chorus)


1-4 5-12 13-25 26-35

36-40 40-43 44-53 54-68

74

- C major 6 (fi rst inversion) – bar 263

3

- G# diminished 7th – bar 621


- Tonic pedal – bars 51-52 (bass of the accompaniment)

- Ostinati – bars 1 and 2

- Syncopated accompaniment – bars 17-23

- Sequence – bars 5-6; 28-321

- Sequential repetition – bars 30-33

- Call and response – bars 26-33 (Enjolras/Marcellas)

- Antiphonal vocal writing, e.g. bars 17-25

❍ Instrumentation

- Synthesised sounds/Keyboard

- Symphony Orchestra

- Percussion

- Male soloists (5) – Valjean, Marius, Enjolras, Marcellas, Javert

- Female soloists (2) – Eponine and Cosette

- Chorus tutti + Thénardiers


Moderato: Steady pace

pp (pianissimo): very quiet

p (piano): quiet


rall. (rallentando) molto: very slow and deliberate slowing down

a tempo: back to the previous speed

Points of interest

• Rhythms mainly quavers, dotted quavers and semibreves.

• Descending bass line – bars 1-4; 58-61.

• Cadences: Perfect – bars 8-9; 65-66.

• Enharmonic change from Ab chord to E major – bars 34-35.

• Accent shift from 4 to 5 to 2 in bars 61-64.

4 8 4 • Opening two bars of introduction based on broken A6 chord. This intro semiquaver motif

appears many times in the piece, e.g. bars 10; 12; 14; 16, and modifi ed in bars 33-36. It

reappears in bars 54-62, and fi nally in bars 64-68.

• This opening three note motif, ‘One day more’ (bars 4-5), appears throughout the song as

Valjean’s leitmotif (bars 12; 35-36; 39-40; 63-65) – sometimes modifi ed. This is the fi nal tutti

motif of the song.

• The vocal lines are always in the orchestral accompaniment.

• The seven characters have their own leitmotifs, e.g. Thénardiers – bar 40.

• Vocal interaction between the characters. The themes are interwoven from various solos,

e.g. ‘I dreamed a dream.’

• The fi nal section is multi dimensional, following the operatic traditions with strong ensemble

singing based on the primary triads.

• Final section is in the higher key of fl attened mediant, C major, and produces a dramatic fi nale

with all themes interwoven skilfully.


75

Mervyn Burtch: Three Welsh Folk Songs

Introduction

A product of the South Wales valleys who has become famous for his chamber music, brass band

compositions and operas for schools. Mervyn Burtch was born in Ystrad Mynach and belongs

to the Welsh School of composers that includes Dilys Elwyn-Edwards, Alun Hoddinott, William

Mathias, David Wynne and Grace Williams.

These arrangements of Welsh folk songs were commissioned for the National Youth Choir of

Wales and fi rst performed in 1994. Mervyn Burtch has his own unique brand of writing and

always retains a tonal basis. The main infl uences on his composing are Janacek and Bartok.

Cysga di, fy mhlentyn tlws

Musical elements

❍ Form

Strophic re-melodic content

❍ Structure

Melody: 4+4+2

❍ Texture

- Fairly light

- Homophonic

❍ Tonality

- Aeolian F#

❍ Harmony

Chords:

- Diatonic

- Mainly based on two chords (F# and C#)

- Modal – cf. Bartok Hungarian Folk Songs

1-5 6-15 16-19 20-29 30-33

Introduction

Based on bars 6

and 8 (melody)

with staggered

entries of SAT.

Verse 1

Altos with

melody.

Harmonic

support from

other parts.

Bridge passage

Male voices with

motif (rocking

the cradle).

Verse 2

Altos with melody.

Male voices

continue style

of bridge

passage.

Soprano descant.

Coda

Based on

descending

5 note scalic

motif in SAB.


76


3

- Dominant chord 5 (root position) – bar 11

3


3


- Cadence: Plagal/Amen – bar 33

- Intro based on bars 6 & 8 (melody)

- Imitation between opening 3 note motif of Alto melody (bar 6) and Tenor and Bass

accompaniment (bar 8)

- Augmentation of same 3 note melodic motif (Alto – bar 10) in Tenor (bars 12-13)

- Suspension: 7-6 – bar 51 (Soprano/Alto)

- Harmony in 3rds and 6ths

- Much stepwise movement in accompaniment

- Rhythm of melody is constant

❍ Instrumentation

SATB


SATB: Soprano, Alto, Tenor, Bass

Lento: Very slow

poco rit: slight slowing down

a tempo: back to original tempo

niente: fade away to silence

Points of interest

• Aeolian mode.

• Many Welsh folk tunes are very old and modal.

• This melody only spans an octave.

• No words for Sopranos at all, only humming contrapuntal line (descant).

• Small fi gure 8 beneath treble clef in Tenor line indicates part to be sung an octave lower

than written.

• Altos have melody for both verses.

• Balanced melodic phrases.

• Minimal harmonic progressions.

• A cappella (unaccompanied singing).

• Change of time signature from 6 to 9 in bar 5.

8 8

• Open 5ths in Tenor and Bass accompaniment – bars 10; 11; 12

• Compound time throughout.

• Grace Williams used this lullaby in her ‘Fantasia on Welsh Folk Tunes’ for orchestra.


77

Wrth fynd efo Deio i Dywyn

Musical elements

❍ Form

- Ternary melody

- Strophic 6 verse content

❍ Structure

Melody: _____ A _____ _____ A _____ _____ B _____ _____ A _____

4 4 4 4

❍ Texture

- Contrapuntal

- Homophonic

❍ Tonality

- Modal

- Dorian G

❍ Harmony

Chords:

- Diatonic


3


3

- Tonic chord 6 (second inversion) – bars 61; 63-65; 67-68

4


- Imitation (semiquaver) between Alto and Tenor – bars 9; 21

- Cadences: Perfect (in tonic) – bars 10; 14; 118


- Tonic pedal – bars 15-18 (Bass)

1-6 7-22 23-25 26-41 42-45 46-61

61-76 77-80 81-96 96-99 100-115 116-118

Intro

SATB

Verse 1

Alto &

Soprano

Bridge

Tenor &

Bass

Verse 2

Soprano

Bridge

Soprano &

Tenor

Verse 3

Alto, Tenor,

then Soprano

Verse 4

Soprano

Bridge

Soprano, Alto

& Bass

Verse 5

Soprano &

Alto

Bridge

Tenor &

Bass

Verse 6

Tenor &

Soprano

Coda

SATB


78

- Dominant pedal – bars 54-58 (Tenor); bars 69-73

- Descending Soprano & Tenor sequence – bars 42-45

- Sequence – bars 101-102 (Bass)

- Lower auxiliary notes in ff a-la-la, e.g. bars 87; 91

❍ Instrumentation

SATB


Allegretto: Quite quick

Andante: Walking pace

poco accel. (accelerando): a little quicker

Presto: Very fast

meno mosso: less movement

Points of interest

• This popular folk song describes two people on a happy journey to Tywyn via Dolgellau

and Abergynolwyn (Lake Tal-y-Llyn).

• It is light hearted, repetitive in nature and interspersed with plenty of traditional ff a-la-las!

• Note the F#s and C#s which are used as melodic decorations only in the ff a-la-las and in

the strong perfect cadences.

• Strong infl uence of Dorian mode in opening 2 bars of melody, e.g. bars 81-82

• Melodic focus shared between parts in all verses except verse 4.

• Bass not given any real melodic focus, but provide essential supporting harmonic and

rhythmic role.

• Time signature simple: 2

4

• Changing time signature in bridge passages, e.g. bar 44 – 3; bar 77 – 5; bar 78 – 8

8 8 8

• Change from crotchet beat (simple) to dotted crotchet beat (compound) occurs mostly in

verse 5 (bars 81-96).

• Rhythmic change of melody in bar 90.

• Harmony in 3rds and 6ths.

• Countermelody in Soprano – bars 46-53.

• Stretto (compacted) eff ect at bar 61 where end of verse 3 and beginning of verse 4 overlap

– no bridge here.

• All other verses have short bridge (interlude) between them, except verses 3-4.

• Imitative dialogue between Soprano and Tenor at one bar interval (a tone lower) in verse 4

– bars 61-68.

• Homophonic writing – bars 73-74; 108-109.

• Extensive use made of semiquaver melodic motif (bar 9) in verse 5, e.g. bars 83-84 in SAT.

• Dotted rhythm fi rst heard in bar 5 now appears in bridge (bars 77-78) to verse 5. Same

dotted rhythm also appears intermittently in Bass part – bars 88-97.

• A cappella: unaccompanied singing.


79

Dilys Elwyn-Edwards: Caneuon y Tri Aderyn

Introduction

Commissioned in 1961 by BBC Wales, these two songs belong to a 3 song cycle by the doyen of

contemporary Welsh composers, Dilys Elwyn-Edwards (1918-). The common thread is birds, and

the choice of poetry by R. Williams Parry refl ects her love of nature and its mystical themes.

Y Gylfi nir (The Curlew)

Musical elements

❍ Form

Through composed

❍ Structure

❍ Texture

- Light

- Contrapuntal accompaniment

❍ Tonality

- Mixolydian F with fl attened leading note Eb, e.g. bars 1-28

- Mixolydian C with fl attened leading note Bb, e.g. bars 53-57

❍ Harmony

Chords:

- Diatonic triadic broken chords

- Major 11th – bar 56 (right hand accompaniment)

- Opening left hand ostinato based on two chords – F and Eb (second inversion) – bars 1-16

- Ostinato returns in right hand, based on two chords of the 7th and the 9th – bars 38-42

- Cm7th – bars 62–63


- Anacrusis – bars 9; 38

- Ostinati – bars 1-15 (left hand); 38-42 (right hand)

- Recurring right hand piano motif – bars 3-5; 13-15; 36-37

- Alberti accompaniment/repeated broken chords

❍ Instrumentation

- Female vocalist

- Piano

1-9 9-37 38-63 64-73

Introduction

Piano

Verse 1

Voice and Piano

Verse 2

Voice and Piano

Coda

Piano


80


Allegretto: Fairly lively

sempre leggiero: always light touch

Ped. sim. (simile): sustaining pedal

cantabile: give prominence to the melody

poco rit. (ritardando): slow down a little


poco più mosso: move the tempo on a little

dim. (diminuendo): getting softer

cresc. (crescendo): getting louder

Points of interest

• Clear, warm vocal lines, often moving stepwise.

• Use of sustaining pedal for colour and atmosphere, e.g. bars 25-28; bars 68-73.

• Voice in 3 (simple triple), but 6 (compound duple) feel to the accompaniment.

4 8

• Change from 3 to 4 in bars 26; 34; 50; 57; 60-61, with Piano (tacet partly) and voice in

4 4 accented crotchets.

• The fi nal note of the voice is Eb (bars 62-63), which is the third note of a modal Cm7 chord

and a variation on the opening harmonies of the song.

• First two vocal lines (bars 9-19) repeated with subtle changes in bars 19-38.

• Change in left hand Piano part – rhythm and style (bars 38-57). This part now has

3 pizzicato quaver style, whilst the right hand has 6 ostinato.

4 8

• Both hands use treble clef, except for bass clef left hand accompaniment in bars 27-34 and

44-60, which provides contrast in colour and a wider spectrum of sound.

• Cry of the curlew heard in opening bars of left hand Piano ostinato.

• Piano paints the imagery with voice fl oating above.

• Vocal line moves mainly in crotchets and minims whilst momentum is maintained with

quaver movement of Piano accompaniment.

• Vocal line quite independent of Piano accompaniment.

• Piano introduction (bars 1-8) is balanced by the return of the same motifs in the coda (bars

64-73).

• Dilys Elwyn-Edwards was a Piano tutor at Bangor University and infl uenced by Peter

Warlock, Delius and Vaughan Williams. She studied with Herbert Howells at the Royal

Academy.

• The poetry is by R. Williams Parry from his collection, Cerddi’r Haf.


www.wmic.org


81

Mae Hiraeth yn y Môr (There is Longing in the Sea)

Musical elements

❍ Form

Through composed

❍ Structure

❍ Texture

- Moderately dense in the right hand of Piano

- Chordal/triadic texture of repeating quavers

❍ Tonality

- Home key: Ab major


F minor (relative minor) – bars 22-26

F major (submediant major) – bars 27-30

❍ Harmony

Chords:

- Mixture of triadic and 7th/ 9th chords with some close voicings


- Anacrusis at beginning of phrases, e.g. bars 1-4; 4-8

- Pedal (tonic) in vocal line – bars 40-45

- Pedal in accompaniment, e.g. bars 35-39

- Ostinato rhythmic fi gures, e.g. bars 3-8, with changing harmonies

- Augmentation of 3 note left hand motif (bar 24) in bars 26-27, an 8ve lower and in

accented crotchets instead of quavers

- This 3 note motif also occurs several times in the vocal writing, e.g. bars 21-22 (Ac yn y

galon); 34-35 (O’r gerddi agos)

- Repetition of vocal line in right hand accompaniment, e.g. bar 11 (ffl amau’r tân), echoed in

bars 12-13, and bar 22 (atgof, atgof gynt), repeated in bar 23

❍ Instrumentation

- Female vocalist

- Piano

1-24 24-27 27-45

Lines 1-8 of the sonnet Instrumental bridge

F minor – F major

Lines 9-14 of the sonnet

Diff erent rhythms


82


Regular common time

Moderato: Steady pace

molto sostenuto: very sustained

colla voce: give way to soloist rubato

legato: smoothly

poco accel. (accelerando): slightly quicker

Points of interest

• Mood of longing and enchantment.

• The poem metre is a sonnet (14 lines, 10 syllables per line).

• Vocal line independent of Piano accompaniment.

• 2 melodic ideas – bars 1-4 and bars 8-10.

• Opening vocal motif used frequently to open new lines in the song, e.g. bars 1-2; 5-6;

13-14; 27-28.

• Haunting fi nal accompaniment (bars 40-47), with fl attened harmonies in bars 41-43,

descending into silence.

• Constant use of sustaining pedal for colour and atmosphere.

• Note repetitive chordal quavers throughout in right hand accompaniment, except bar 26

and fi nal 2 bars.

• Sparse left hand accompaniment with wide leaps and many rests, sometimes supporting

the harmonies, e.g. bars 32-38.

• Absence of left hand fi gures in bars 40-47.

• Rhythmic change in bar 27 corresponds to new metric rhythm of second part of sonnet.

• Quaver movement of vocal line occurs mainly in second half of the bar, e.g. bars 8-11;

19-22; 29-33; 35-37.

• Vocal phrases mainly 3 bars in length.

• Vocal range – interval of 11th (Eb-Ab).

• Opening repeated tonic triad in bar 1 repeated in bars 44-45.


www.wmic.org


83

Caryl Parry Jones

(Songs from Goreuon Caryl, Gwasg Carreg Gwalch, Llanrwst– 17 transcriptions of her popular songs by Geraint Cynan)

Pan ddaw yfory

Introduction

This song was commissioned by BBC Radio Cymru, when road shows were held to promote the station. New pop groups were mushrooming all over Wales and amongst them was ‘Bando’, fronted by Caryl Parry Jones (bando: a game similar to hockey).

The two voices sing of an aff air that should end – ’Pan ddaw yfory rhaid dweud ff arwel’ (When tomorrow comes we must bid farewell). Caryl herself has spoken of the happy ending to this true episode in her life!

Musical elements

❍ Form Verse and Chorus

❍ Structure

❍ Texture - Thin: Keyboard and Bass Guitar – bars 1-36 - Thick: addition of Synthesizer, Drum Kit, Guitar – bars 36-44 - Guitar solo given mixed vocals backing – bars 45-61 - Thin: Keyboard and Bass Guitar – bars 61-68 - Thick: Drum Kit fi lls prominent – bars 68-93

❍ Tonality - Home key: E minor - Modal, e.g. bar 11 – modal cadence with fl attened leading note (D) - Other modal cadences in bars 3-4; 19-20

❍ Harmony Chords: - Some major root position chords – bar 111 (C); bar 104 (B) - Mainly minor 7th and 9th chords, e.g. bar 54 (Em7); bar 274 (Am7); bar 241 (Em9); bar 321 (Am9)

1-4 5-12 13-20 20-28 29-36 36-44 45-60 61-68 68-76 77-93Intro Verse

1Verse

2Chorus Verse

3Chorus Guitar

SoloVerse

4Chorus Guitar

Solo

Caryl Parry Jones

84


- Repetition of single melodic idea in introduction – bars 1-4

- Syncopation in vocal lines – bar 273

- Unison singing in Chorus and Verse 4

- Suspensions and resolutions in accompaniment, e.g. bar 31 (9-8); bar 34 (4-3)

- Dotted rhythm bass ostinato/riff – bars 5-12

- Cadences: Perfect – bars 194-20

Imperfect – bars 273–28

❍ Instrumentation

- Mezzo Soprano & Baritone

- Backing male and female vocals

- Lead Guitar

- Bass Guitar

- Keyboard

- Synthesizer

- Drum Kit


Gydag angerdd: With passion and conviction

Pennill: Verse

Cytgan: Chorus

Unawd Gitar (ad lib): improvised Guitar solo

Rall. (rallentando): Slow down

Points of interest

• Intro motif taken from bars 11-12.

• Music does not start on tonic chord, but on C major chord (submediant of home key).

• Mixture of crotchets and rocking quaver motif in right hand keyboard – bars 5; 7; 9.

• Modal cadences, e.g. bars 3-4; 11-12; 19-20.

• Harmonised female voices sing variation of bars 75-76 in fi nal cadence.

• Stepwise, economic melodic line.

• Song constructed of 2 bar phrases.

• Word-setting and mood (see translation).

• Instrumental band backing.

• Improvised/ad lib Guitar solo.


www.bbc.co.uk/wales/music/sites/history

www.carreg-gwalch.co.uk – Goreuon Caryl

www.sainwales.com – Cyngerdd y Mileniwm CD (Tr. 5, 6)

Caryl Parry Jones

85

❍ Free translation of lyrics

Verse 1: Being with you last night

was a timeless experience.

Being together was everything

in our quest for love.

Verse 2: Tonight, please embrace me

before the curtain of reality descends.

We can only hope that tonight

will never end.

Chorus: But part we must when morrow breaks

and reality will return,

taking us back to our past.

God alone knows which one of us

was the most foolish.

Verse 3: I know that merely touching you

was a great mistake.

We both knew from the outset

that our love could never be.

Verse 4: Tonight is our fi nal farewell,

Sadly the dawn will soon break.

Give me all your warmth and tenderness

before tomorrow’s cold light of day.

Y Nos yng Nghaer Arianrhod

Introduction

This is reputedly Caryl’s favourite song. The title comes from one of the tales of the Mabinogi

– Math son of Mathonwy. ‘Caer Arianrhod’ is literally the ‘citadel home of Arianrhod’ – one of the

characters in this magical tale, which apparently was situated near the Sain recording studios at

Dinas Dinlle in Caernarfon.

The words describe the energy-sapping process of an all-night recording session in the early

1980s (pre-digital) with Caryl’s group, ‘Bando’. This song was never performed live.

Musical elements

❍ Form

Verse and Chorus

Caryl Parry Jones

86

❍ Structure

❍ Texture

- Thick: harmonised backing vocals – bars 1-2 (Intro)

- Thin: mainly two dimensional (soloists and Guitar) – bars 3-6

- Thicker from Middle 8 to the end, with vocal backing harmonies

❍ Tonality

- Home key: C major

- Mostly major

- Brief minor visitations


D minor (briefl y) – bars 12-13

G major (dominant) – bars 17-18

❍ Harmony

Chords:

- Chromatic, e.g. bar 33

- Use of fl attened 5th, 7th and 9th

- Major 7th, 9th, 11th and 13th


- Anacrusis (Verse and Chorus, except Middle 8)

- Accented passing notes – bars 4; 14

- Sequential phrases – bars 11-12 and 13-14

- Upper and lower auxiliary notes – bars 17; 21

- Symmetrical phrases (Chorus 4+4)

- Final ‘radical’ cadence – VI(Ab)–I(C)

❍ Instrumentation

- Female vocalist – Mezzo Soprano

- 4 accompanying vocal parts – SATB

(Caryl Parry Jones, Myfyr Isaac, Endaf Emlyn and Rhys Dyrfal)


Yn dyner a breuddwydiol: Sensitive and dreamy

Pennill: Verse

Cytgan: Chorus

rit. (ritardando): slow down


Caryl Parry Jones

1-2 3-10 11-18 19-27 28-35 36-44 45-52 53-61

Intro Chorus Verse

1

Chorus Verse

2

Chorus Middle

8

Chorus

87

Points of interest

• Decorated cadential motif – bar 35

• Flattened mediant/blue note – bar 35 in the vocal line (Eb). A feature of blues/pop style.

• Close harmony backing progressions – bar 16

• Music does not start on tonic chord, but on A minor chord (submediant of home key).

• Chromatic harmonies – bars 1-2

• Melodic part includes many tied notes, typical of the style.

• Stepwise, compact melodic line – bars 28-30

• Cluster chords – bar 56 (Dm11)

• Chromatic descending bass line – bars 28-29

• Acoustic Guitar accompaniment.

• Mood is sensitive.


www.bbc.co.uk/wales/music/sites/history

www.carreg-gwalch.co.uk – Goreuon Caryl

www.sainwales.com – Cyngerdd y Mileniwm CD (Tr. 5, 6)

❍ Free translation of lyrics

Chorus: The night in Arianrhod’s home

heralds the beginning of our day – a hard day’s night.

The night in Arianrhod’s home however

doesn’t seem so long when I’m with you.

Verse 1: The tape has spooled its fi nal turn;

a muted recording desk, a closed door.

The singing’s over, the song is done,

our creativity is spent.

Verse 2: Dawn’s arrival signals our day’s end,

The fi ngers are sore – the voices are hoarse.

The creative muse, long since departed

bequeathes only bowed bodies and bloodshot eyes.

Middle 8: Sometimes our spirits are down,

Sometimes the stress overwhelms us,

But soon the sun appears again

and the good times return.

Caryl Parry Jones

88

The Beatles

The Beatles

Introduction

The ‘fab four’ (1959-1970), from Liverpool, changed the face of popular music for ever.

Beatlemania took Britain and America by storm. John Lennon, Paul McCartney, George Harrison

and Ringo Starr became household names overnight. The group were responsible for the shift

in emphasis from soloists to ensembles. They possessed a melodic and harmonic sophistication

unsurpassed by any other group in the history of pop music. The combined creative genius of

Lennon and McCartney gave us many classics, including Yesterday and Hey Jude.

Yesterday

Musical elements

❍ Form

Binary

❍ Structure

❍ Texture

- Thin at beginning

- String layer added, giving thicker texture

- Homophonic texture throughout

1-2 3-9 3-9 10-17

18-24 10-17 18-24 25-26

Intro

Tonic chord

on acoustic Spanish

Guitar (no plectrum).

A

Following the famous

fi rst bar motif, there

is an ascending

stepwise lyrical 7 bar

melody (3+2+2) sung

by solo male voice.

Accompaniment is

Guitar.

Bb- G chord progression

is reminiscent of other

Beatles songs (more

often in reverse order).

A

Melody repeated, but

string quartet adds new

layer with sustained

backing chords.

B

New balanced melodic

phrase (4 bars).

First two bars are

repeated but end of

phrase is diff erent.

A

Repeat with some

slight changes in

orchestration.

B

Strings again continue,

but subtle string

changes from fi rst

B playing.

Cello line very

prominent in

bar 13 (Eb).

A

String parts have new

arrangements, e.g.

Violin 1 soars above the

rest.

Coda/Outro

Vocal humming

reprising last two bars

of A section (bars 8-9)

but changed rhythm

and chords (F instead

of Dm).

89

❍ Tonality

- Home key: F major


D minor (relative minor – briefl y) – bars 4-5

❍ Harmony

- Tonal

- Diatonic

- Major

- Minor

Chords:

- Bb major 5 (root position) – bar 61,2

3

- G major 6 (fi rst inversion) – bar 253,4

3

- F major 6 (second inversion) – bar 251,2

4

- A7 – bar 43,4 (dominant of D minor)

- Dm7th – bar 231

- Gm6 (added 6th) – bar 121

- C7th (dominant 7th) – bar 63,4


- Cadences: Plagal/Amen – bars 9; 26

Perfect – bars 63,4 -71,2 ; 16-17

- Appoggiatura motifs in section A at beginning of the bar, e.g. bars 3, 5 and 7

- Inverted pedal – bar 14 (left hand Piano: G) and bar 19 (right hand Piano: E)

- Syncopation – bars 8 and 9 (bars 22-24)

- Contrary motion between vocal line and Cello – bar 15

- Bow/arch shaped melodies

- Stepwise descending bass lines, e.g. bars 11-12

- Sustained chords with string quartet – very restrained scoring

- The Eb bass note in bar 13 could be a passing reference to the blues.

❍ Instrumentation

Spanish Guitar

String quartet

Solo male voice

Points of interest

• The most covered pop song in history.

• Lead vocal: Paul McCartney.

• Recorded in Abbey Road Studios in 1965.

• Belongs to the LP ‘Help’.

• Unusual in mid 1960s to have solo strings backing – normally big band or orchestra.

• Beatles were the fi rst pop group to use a hybrid classic & pop mix of styles, i.e. crossover.

• Music arranged by George Martin.

The Beatles

90

The Beatles

• First Beatles number to use other performers apart from the ‘fab four’.

• Slow contemplative ballad style.

• Written by Lennon-McCartney, but more Paul than John!

• Classical tonality compared with their blues numbers.

• Beatles infl uenced by Elvis, Buddy Holly and Little Richard.

• They liked to build up their songs in layers (texture).

• Use of varied harmonic language.

• Paul’s voice is mostly single tracked, except for one place (double tracked on high notes).

Hey Jude

Musical elements

❍ Form

Binary (two main contrasting themes)

❍ Structure

❍ Texture

- Sparse to begin, but gradually getting thicker (trademark of many Beatles songs).

1-8 9-16 17-21 22-28

9-16 17-21 22-29 1-6 30-36

A

Plaintive melody, again

in a bow/arch shape,

gradually moving

upwards.

Piano and vocal solo.

A

Repeat, but with added

Rhythm Guitar and

off beat Tambourine.

Harmonised backing

vocals added –

bars 13-16.

Drum Kit fl ourish in bar

16 leading to section B.

B

New melodic statement

with more accented

quaver beat on snare

and cymbal.

Backing harmonised

vocals mainly in

descending 3rds.

Bass Guitar plays

crotchet pulse.

B

Repeat, but with added

Codetta scat style.

Singing and chord of C7

leading to restatement

of section A.

A

Return with

diff erent words.

Rhythm Guitar,

Bass Guitar,

Percussion and

backing singers

still present,

mainly in 3rds.

B

Repeat, but

diff erent words.

With stronger

backing vocals

and band

accompaniment.

B

Repeat of previous

section again,

leading to partial

restatement of

section A.

A

Final statement of

melody (bars 1-6)

before moving to

the Coda.

Coda/Outro

2 octave

appoggiatura

arpeggio –

bars 31-32.

Scat jam session

using three chords

– F, Bb and Eb.Thickening

textures with

added orchestral

instruments.

91

❍ Tonality

- Home key: F major


Bb major (subdominant) – bars 18; 23

❍ Harmony

- Tonal

- Diatonic

- Major

- Minor

Chords:

- Basic primary triads – I, IV, V (root position)

- Gm7th (minor ii 7th)

- Flattened leading note chord – bar 34

- C7 (dominant 7th) – bar 15

- Bb major 5 (root position), e.g. bar 51,2

3

- C major 6 (fi rst inversion) – bar 201

3


- Anacrusis in all A sections

- Mainly one chord per bar throughout song

- All chords in section A are in root position

- Bass line of section A keeps to the root of the chord

- Walking descending bass line in section B – bars 23-251

- Oscillating/rocking quaver right hand chordal Piano style in section A

- Syncopation – bars 5; 25

- Progressive layering techniques thickening the texture

- Variations in scoring when repeating

- Off beat Percussion scoring (Tambourine in repeat of A – bar 9)

- Common time 4, except for return to A sections (bar 29) which are in 2 time.

4 4 - Cadences: Plagal/Amen – bars 35-36

Perfect – bars 74-8; 15-16

- Eb chord in bar 34 gives modal touch to outro (mixolydian)

- Clever dissonance in bar 34 – interval of 9th (Eb–F)

❍ Instrumentation

Piano

Acoustic Rhythm Guitar

Bass Guitar

Drum Kit

Tambourine

Backing Vocals

* Many instruments, including Bass Clarinet and Double Bassoon, in jamming session!

The Beatles

92

Points of interest

• Although the ‘offi cial’ song lasts for 7 minutes, the creative process is ended at 3 minutes

and 35 seconds, then bars 33-36 are repeated in a jam session style 19 times!

• The jam session is longer than the song itself!

• Scat singing in the fi nal 4 bars – bars 33-36.

• Written by Paul McCartney alone and recorded in 1968.

• Composed for John Lennon’s son, Julian (aged 6), when the divorce between John and

Cynthia Lennon was imminent.

• Originally called Hey Jules (Julian) but Jude was easier to sing.

• Triple tracking on bars 31-33 ascending scale passage.

• Section A is 8 bars in length but section B is unusual – 11½ bars long. Bar 17 could be

considered as a linking bar between both sections.

The Beatles

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