study notes - bach study notes – bach chapter 5 – irish music

6

STUDY NOTES - BACH

Study Notes – BachCHORALE

MOVEMENT 7 MOVEMENT 1Key G minor G minorTime SignatureTexture

Form

Voice(s)

Instruments

Techniques

Features

RECITATIVESMOVEMENT 3 MOVEMENT 5

KeyTime SignatureTypeVoiceInstruments

Features

Chorale Theme – Movement 7

Chorale Theme – Movement 1

CHAPTER 5 – IRISH MUSIC

42

DANCES

INSTRUMENTS

Chapter 5 – Irish Music

Most dances are in AABB form. A is eight bars long and is called the tune. B is eight bars longand is called the turn. B is usually played in a higher register.

TRACK

63

• a lively, soft shoe dance consisting mainly of quavers.

TRACK

64

TRACK

65

• a hard shoe dance, characterised by a dotted rhythm, an upbeatand some triplets, ending usually with three repeated crotchets.

TRACK

66• a lively, soft shoe dance in duple time.

TRACK

67

Other dances include Slides (fast single jigs), Polkas (bouncy 2/4 dances usually played for set-dancing) and Mazurkas (3/4 dances).

Categorise the instruments in two ways - traditional or non-traditional and melody or rhythm.Some instruments play both melody and rhythm and some can accompany themselves.Instruments that are used in Céili music and are now closely associated with traditional musicare marked by an *. Instruments that can accompany themselves are marked by **.

Reel –

Hornpipe –

Jig –

Slip Jig –

• an AB-form dance ( - the 8-bar sections are not repeated -) intriple time.

TraditionalUillean PipesFiddleHarpTin WhistleFluteBodhrán

Bones and SpoonsAccordion(s) and ConcertinaBanjo*Drum Kit*Piano*

Melody

Uillean Pipes **FiddleHarp **Tin Whistle

FluteAccordion(s) and Concertina **Banjo **Piano **

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9

STUDY NOTES - TCHAIKOVSKY

LOVE THEME Part 1EXPOSITION RECAPITULATION CODA

bar 184 bar 213 bar 389 bar 419 bar 486 bar 510KeyInstrument(s):MelodyInstrument(s):Accompaniment

Texture

Features

Important themes and accompaniments


LOVE THEME Part 2EXPOSITION RECAPITULATION

bar 193 bar 368

KeyInstrument(s):MelodyInstrument(s):Accompaniment

Texture

Features


43

INSTRUMENTS

TRADITIONAL FEATURES

FUSION

The following features are common to many pieces of Irish music but not to them all!

• ornamentation. There are regional styles of instrumental and vocal ornamentation• unaccompanied• free rhythm• repeated last note• modal. Flattened 7th or a gap scale• wide range• few dynamics• sean-nós features other that above include glottal stops, nasal singing and ending a phrase

with a consonant such as m, n or ng or by speaking.

Traditional music is often fused with other genres. In an answer, you must be able to identifythe features of both the Irish traditional music and the other genre that you hear. Somepointers for recognising these are listed below.

Classical Rock (or Pop)Instruments (orchestral - identify)Harmony or CountermelodiesTexture (e.g. rich, polyphonic…)Dynamics (e.g. dramatic, expressive…)Formal and structured with clear definedcadences

Instruments (identify)Driving force is the drumsRecording techniques (panning, distortion…)Electric (synthesiser or guitars)Loud

Ballad Jazz

Instruments (identify)Simple accompaniment Storytelling

Improvisatory Instruments (identify)Rhythm (swing, syncopated)Harmony (blues notes)

Céili American

Instruments (identify)UnisonRhythmic and repetitiveFunctional

Mixed InstrumentsLarge, theatrical soundBig production soundFilm soundtrack

Ethnic/New AgeInstruments, including ethnic instruments from other countriesUse of everyday appliances (hairdryer, doorbell….)Electronic (synthesiser)Mystical and atmospheric (recording techniques used to alter sound)

The essay MUST include examples and names of performers and recordings. The student MUSTshow they have listened to these examples by describing a performance in detail and givingdescriptions of the performance or performers. There is negative marking in this question andall examples MUST make sense and the information should be coherent so as not to incur anypenalties. Source your information on the Internet, TV, CDs and in books. There are manyrecordings and videos on YouTube that will give you ample information.

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12

STUDY NOTES – QUEEN

Study Notes – QueenINTRODUCTION VERSE 1 VERSE 2

Style

Instruments

InstrumentalTechniques

RecordingTechniques

OtherFeatures

INTERLUDE OPERATIC SONG ROCK SONG CODA

Style

Instruments

InstrumentalTechniques

RecordingTechniques

OtherFeatures



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DANCES

INSTRUMENTS



TRACK

63


TRACK

64

TRACK

65


TRACK


TRACK

67



Reel –

Hornpipe –

Jig –

Slip Jig –




Melody




13

STUDY NOTES – HARMONY

CHORD GRID

CHORD PROGRESSIONS

Study Notes – Harmony

Key: Bb Major

Notes ofchord

FDBb

Chord Symbol Bb

RomanNumeral

I

Key: G Minor

Notes ofchord

DBbG

Chord Symbol Gm

RomanNumeral

i

MAJORPerfect V – I or V7 – I

MINORPerfect V – i or V7 – i

CADENCES:

MAJOR MINOR

GOOD PROGRESSIONS:

MAJOR MINOR

BAD PROGRESSIONS:


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INSTRUMENTS


FUSION







Ballad Jazz



Céili American






18

CHAPTER 1 – BACH

FORM

Chapter 1 – Bach

Cantata A vocal work with orchestral accompaniment. A German Chorale Cantata,which is written for Sunday service, consists of an opening chorus and anumber of arias separated by recitatives. The work ends with the chorale,which is an old German hymn tune, on which the work is based.

Aria A vocal work with instrumental accompaniment. It is usually found in anOpera, Oratorio or Cantata and is written for solo or duet singing. Themelodic line is melismatic and elaborate.

Recitative A vocal work with speech-like singing. It is usually found in an Opera,Oratorio or Cantata. The accompaniment can be sparse (recitative secco) ormore involved (recitative accompagnato). The vocal line is syllabic,dramatic and has wide leaps.

Ritornello Features a recurring idea, usually played by the instruments, betweensections or verses of a song.

Ground Bass A form which features a recurring phrase in the bass.

Chaconne A form which uses a ground bass that passes into upper parts.

COMPOSITIONAL TECHNIQUES

Melismatic Singing a lot of notes to one syllable.singing

Syllabic singing Singing one note to each syllable.

Sequence A section of melody repeated at different pitches.

Imitation Two or more voices/instruments that enter one after another at a specificinterval and time distance with the same melody. The parts overlap. Canonis exact imitation.

BAROQUE FEATURES

Continuo Used in the Baroque period to provide support and harmony, the continuoconsists of a keyboard instrument (organ or harpsichord) which plays off afigured bass and a string instrument (cello or double bass) which plays acontinuous and steady line of music.

Figured Bass A line of music played by a keyboard instrument where the chords andharmony are indicated by numbers. There are many combinations ofnumbers but the common ones are:

5/3 - a root position chord. The 5th and 3rd played above given bass note.

6/3 - a 1st inversion chord.

6/4 - a 2nd inversion chord


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DANCES

INSTRUMENTS



TRACK

63


TRACK

64

TRACK

65


TRACK


TRACK

67



Reel –

Hornpipe –

Jig –

Slip Jig –




Melody




21

CHAPTER 1 – BACH

Chorale Hymn Tune – Line 2 (bar 33)33

hast

durch

dei

nen

-

bit tern

- Tod

Chorale Hymn Tune – Line 5 (bar 81)

81

kraf

tig

- lich

- her

aus

- ge ris

sen,

-

Chorale Hymn Tune – Line 6 (bar 95)95

und

mich

Sol

ches

- las

sen- wis

sen

Chorale Hymn Tune – Line 7 (bar 118) 118

durch

dein

an

ge

- neh- - mes

Wort:

Chorale Hymn Tune – Line 8 (bar 137) 137

sei

doch

jetzt,

o Gott,

mein

Hort!

• Horn and Flute (an 8ve higher) play the hymn tune with the Soprano eachtime

• ground bass theme, played on the Continuo, accompanies the Soprano each time• rising 3-note motif played in accompaniment during all imitative singing in lines 1,3,5,6,7

and 8• section B has two lines of the hymn tune with no instrumental section between them• sections C, D, E and F have only one line of the hymn in each• C (the 5th line of the hymn) is in F major, as in the chorale• D (the 6th line of the hymn) is in Bb major, as in the chorale• the final A ends with a Picardy 3rd as in the chorale, although here it is on the

instruments only


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INSTRUMENTS


FUSION







Ballad Jazz



Céili American






6

7

8

4

5

24

CHAPTER 1 – BACH

• melismatic setting of the text• wide leaps and word painting

Section B – begins in Bb major and travels through C minor before ending in Eb major.

• 3-bar dominant pedal on the syllable ‘ste’• Dal Segno

Section B1 – begins in C minor but moves to G minor immediately.

MOVEMENT 6 - BASS ARIA

Written for Bass voice with String, Oboe and Continuo accompaniment. It is in ABA1 , in C minorand 4/4 time. It features melismas, sequences, ornamentation, word painting, pedal notes andconstant overlapping of three ideas - the instrumental ritornello, the oboe solo and the Basssinger.

Section A – Instrumental Ritornello14

An 8-bar instrumental introduction is made up of (i) an alternating 2-bar instrumental phraseand (ii) an oboe solo. Ends with a Perfect cadence.

(i)

(ii)

Section A – Vocal

• similar to section A but shorter• dominant pedal (C) on the syllable ‘E’

Section B – moves from G minor through F minor to end in C minor.

• similar to section A but shorter• dialogue in bars 46 and 47• dominant pedal (G) on the syllable ‘E’

Section A1 – is in C minor.

• use of trills by both the singer and the instruments• dialogue between instruments in bar 18• begins in C minor moving to Eb major before ending in G minor.


42

DANCES

INSTRUMENTS



TRACK

63


TRACK

64

TRACK

65


TRACK


TRACK

67



Reel –

Hornpipe –

Jig –

Slip Jig –




Melody




14

15

27

CHAPTER 2 – TCHAIKOVSKY

INTRODUCTION

FRIAR LAWRENCE THEME (FL)

DEVELOPMENT

By tracing each theme through the overture, you will see how the story unfolds. The key of theoverture in B minor and is in 4/4 time. It uses a full orchestra.

At concertpitch

It is not usual to have an important theme in the Introduction. There are a number of tempochanges which reflect changes in the story line. It is a calm, rising theme that is made up of anumber of short motives.

Bar 1

Played by first clarinet(cl) and accompanied by the second clarinet and both bassoons (fagotti -fg). It is in F# minor, is homophonic and soft.

The music from bar 20 onwards changes key chromatically down a step to F minor and featuressustained strings. It ends with rising harp arpeggio chords.

Bar 38

Descending pizzicato strings introduce the second full statement of the theme (bar 41) two 8veshigher on first flute (fl) and oboe (ob), accompanied by cl and corno inglese (c.i.). It is in F minor.

The music from bar 52 is the same as before with more instruments added, doubling theoriginal parts. It moves chromatically down to E minor. The timpani (timp) join in at the veryend as the mood becomes more tense.

Bar 86

The opening six bars of the theme are played on all the wind instruments, accompanied bytremolo strings. Bar 90 introduces dialogue with the horn.

The Introduction leads into the Exposition with B minor first inversion chords playedalternatively between the strings and wind. The tempo speeds up.

The FL theme does not appear in the Exposition. It does not appear in full again in the work.

The key signature is omitted and accidentals are used throughout.

Bar 280

Six bars of the FL theme played softly on 2 horns (cor) against an element (on F#) of the StrifeTheme on the strings. Accompanied by pizzicato (pizz) low strings and rushing semiquavers onthe viola (vla).


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INSTRUMENTS


FUSION







Ballad Jazz



Céili American






116

18

17

19

30

CHAPTER 2 – TCHAIKOVSKY

EXPOSITION

DEVELOPMENT

RECAPITULATION

LOVE THEME (LT) 1 and 2

Love Theme 1

LT 1 appears for t e first time in Db major instead of the relative major – D.

Bar 184

The theme doubled on c.i. and muted vlas. It is in a low register and is accompanied by pizz lowstrings and syncopated block chords on the horns.

Bar 193

LT 2 follows immediately and is a gentle, swaying calm idea of eight bars on divided and mutedstrings. It is repeated with fg joining. The music gradually gets louder.

Bar 213

LT 1 is repeated (having been introduced by a long D major scale on fl and ob) up two 8ves onthe fls and obs, accompanied by swaying cor and broken chord accompaniment on the stringswith pizz low strings. This is extended sequentially using material from the theme and featuresa dominant pedal on the fg. The theme is played again with cls joining the melody and the tbnijoining the accompaniment.

The end of the Exposition has a calm dialogue between different strings and windwith descending block chords on the harp accompanying (from Bar 243).

Bar 368

LT 2, the gentle swaying idea, is now on the ob and cl with cor chords. However, a new restlesssemiquaver accompaniment is introduced on strings giving the theme an unsettling feel. Theform is the same - eight bars repeated with a sweeping triplet scale on the strings at the end.This should all be in B minor but instead appears in D major.

30

The Love Themes do not appear in the Development. The first statement of the LT 1 is missingfrom the Exposition and it is LT 2 that appears first.


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DANCES

INSTRUMENTS



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Reel –

Hornpipe –

Jig –

Slip Jig –




Melody




27

28

30

29

31

Bar 1 A

An inversion of Sí Bheag, Sí Mhór. A is in two parts. The first is a 4-part canon at the 8ve andcrotchet distance, the second is a 5-part canon at the 8ve and crotchet distance (the piano is twoseparate lines) . The range is wide.

Bar 53 B1

In three parts, this section features a rhythmic, triadicmelody over a 2-note accompaniment. The first parthas violin accompanied by viola. The cello joins for thesecond part, playing the 2-note accompaniment

inverted which results in a chordal sound. The piano comes in for the third part. There is noaccompaniment as all instruments play the melody an 8ve apart. The piano plays cluster chords- filling in as many notes as possible between the two extremes. This section has many changesof time signature.

Bar 108 C1

Two melodies on violin and viola accompanied by harmonics on the cello. The second partmoves abruptly down an 8ve, gets faster, gets louder and features many missing notes. Thepiano joins, doubling the string parts and there is no accompaniment.

Bar 140 C2

The two melodies of C1 are played on viola and cello only. In two parts, the intervals used inboth melodies are widened (wedging) the second time.

Bar 170 B2

This section is in five parts. It uses the triadic melody in canon. First is a 3-part canon at theunison and at a crotchet distance on string instruments. The second and third parts are also in3-part canon with first the right hand (rh) of the piano and then the left hand (lh) of the pianojoining in, doubling the strings.

The fourth part (bar 222) suddenly becomes soft. Here, the violin and viola begin,playing in parallel 5ths. The cello and rh, also in 5ths, enter an 8ve lower at a crotchetdistance. The lh is the third voice to enter, playing in 5ths.

The fifth part (bar 239) is like the fourth. This timehowever, the strings are double stopping by playing anopen string with each melody note.

33

CHAPTER 3 – BARRY

PIANO QUARTET NO 1

The Piano Quartet No 1 is written for Violin, Viola, Cello and Piano. It is a piece of abstractmusic. Learning off the order of the 18 sections would be a very good idea. Notice, especiallyin the longer sections, the absence of breathing places and cadences.


43

INSTRUMENTS


FUSION







Ballad Jazz



Céili American






36

37

38

35


42

DANCES

INSTRUMENTS





• a lively, soft shoe dance in duple time.



Reel –

Hornpipe –

Jig –

Slip Jig –




Melody




63

67

66

65

64

CHAPTER 7 – MELODY

49

PHRASING

SEQUENCE

Do not re-introduce the original tonic chord (A major) before the end of the 2ndphrase.

This usually occurs in the third phrase and covers bars 9 and 10. The sequence should takematerial from the given melody and adapt it to fit in a musical pattern. Bar 11 will look as if itis going to continue the sequence but will move away from it. Bar 12 usually ends on anImperfect cadence.

This must be accurate and appropriate. You may use a phrase line or a comma but not both.Place it clearly after the last note or rest of the given phrase. All the other phrase marks will bein the same position in bars 8, 12 and 16. Be careful to count the beats correctly, especially ifthe melody has an upbeat.

Commas

Modulation 2 - A major to its dominant key E major.


CHAPTER 7 – MELODY

52

Example 1 – A Gigue in the form AABB

Example 2 – A Minuet in the form ABBA (Minor Key)


CHAPTER 8 – HARMONY

57

Example – harmonisation showing poor progressions and cadence

BASS LINES

Add bass notes, aligned properly, under correct chord symbols.

You MUST have a bass note under each chord symbol. Ensure the rhythm you use allows thecorrect note under the correct box. Simply placing the note under the box will not suffice if therhythm is incorrect. You need to be careful with alignment.

Example

X X X X

Example – harmonisation showing good progressions and cadence

The rhythm used inthe bass means the Awill be struck underthe B even though it iswritten under the C.There are not enoughbeats in the bass.

The rhythm used in thebass means the D willbe struck under the F#even though it iswritten under the G.There are not enoughbeats in the bass.

The rhythm used in the bassmeans the A will not be struckunder the chord symbol. Thevalue of the minim G is too longfor the rhythm of the previouschords. You will lose marks forthe bass note as a result.


CHAPTER 8 – HARMONY

60

Chord Grid – Key: C Minor

Notes ofchord

CEbC

BGEb

FDB

ChordSymbol

Cm Eb+ Bº

RomanNumeral

i III+ viiº

EXERCISE 2 – Compose bass notes and chord indications to the following minor tune.Complete the bass line in the style of the opening bars.


SOLUTIONS

63

EXERCISE 3 – (possible solution)

4444

&bbb œ Œ œn œ œ œ œ ™ œJ œ œ œ ™ œJ œ œ œ?bbb œ œn œ œ œ ™ œJ œ œ œ œ œ ™ œJ œ œ œ œ œ ™ œj4

&bbb œ œ œ Œ œ œ œ œ Œ œn œ œ œ Œ?bbb œ œn œ œ œ ™ œJ œ œ œ œ œ ™ œJ œ œ œ œn œ œ7

&bbb œ œ œ œ œ œ œ ˙n œ œ œ œ œ?bbb œ œ œ œ œ ™ œJ œ œ œ œ œ ™ œJ œ œ œ œ œ ™ œJ10

&bbb œn œ œ œ œ œ œ œ œ œ œ œ œ ˙?bbb œ œ œ œ œ ™ œj œ œ œ œ œ ™ œj œ œ œ œ ˙

œ

iCm Cm

iDº/Fiiºb

GV

G7

V7

Cmi

Fmiv

GV i

Dº/F GV

Cmi

Fmiv

GV

Cmi

G Cm/Eb G Cm/G G CmV ic V7 iibV

iiºb

Dº/Fiiºb

Cm

GV

EXERCISE 4 – (possible solution)

PN

A

A/C#

A/C#

D E A F#m

F#m

F#m

F#m

D E A

E/G# E/G#A D E

A D E A Bm Bm/D E

A D E7 A


study notes - bach study notes – bach chapter 5 – irish music

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