GCSE Music Revision 2014

Exam Overview

90 minutesBased on the 12 set worksDivided into 2 sections: A and BSection A (8 questions. 68 Marks in total)Section B (1 question. 12 Marks in total)

Section A – You will be required to identify:

Major, minor, modal, chromatic and pentatonic scales

/tonalities Context of

composition

Time signatures Instruments Differences between

extracts

Musical Elements Pitch Duration Dynamics Tempo Timbre Texture Structure

Melodic Devices Ornamentation Ostinato Riffs Use of Imitation Pedal Point Sequences

Rhythmic Devices Syncopation Swung rhythms Dotted Rhythms Triplets

Section A – You will be required to:Describe the historic &

stylistic background to the actual set work

Relate a given extract to the context of Music History

Justify opinions on music hard using appropriate vocabulary (e.g. I dislike this music due to the lack of melody & irregular rhythms)

Complete short exercises of melody and/or rhythm

Section B (12 Marks)

You will choose one question from a choice of two

Section B is based on one set workYou will first be asked to place the set work in

a wider context, for example:• In which country was this piece of music

composed?• What style is this piece of music written in?

Section B (12 Marks)

You will then be asked a question which encourages you to demonstrate a more in-depth knowledge of the set work’s musical features, including:

StructureTonalityTextureInstrumentation

DynamicsTempoMelodyRhythmTechnology

Set Works Summary 2014

Area of Study 1: Handel: Chorus: And the Glory of the Lord from the Messiah

Organ can be heard on the first note. There is no harpsichord. Textures – monophony, Imitation, Homophonic ending Vocal writing – use of melodies, counterpoint Voice types – SATB “Doctrine of Affection” – it’s a joyful piece, one mood

throughout Dynamics – terraced – they build up Baroque – historical placement and basic features. Oratorio – definition Type of instrumental ensemble (small orchestral group with

strings at the heart)

Area of Study 1: Mozart: 1st Movement from Symphony No. 40 in G Major

Symphony – definition, placement of the extract Orchestra – which instrument is missing? Instrumentation Sonata form in some detail – identify sections aurally Key/tonality/harmony – know the importance, not necessarily

be able to identify Textures Dynamics Classical – historical placement and basic features Notation question Cadences – all four

Area of Study 1: Chopin: Prelude No. 15 in D Flat Major, Op. 28

Importance of piano writing in the romantic period Techniques eg. pedal, sostenuto/cantabile writing Romantic - historical placement and basic features Rubato Virtuosity Pedal note Why “raindrop” – refer to features in the music Key/tonality of the section heard in the exam mood Pitch/dynamic range

Area of Study 2: A Schoenberg: Peripetie from Five Orchestral Pieces, Op 16

Hexachords – a 6 note idea which can be used horizontally or vertically

Klangfarbenmelodie – melodic line snakes through the parts Hauptestimme – principal voice and Nebenstimme – secondary

voice Transformation of the hexachord Texture/timbre – contrasts and combinations, spot families of

instruments 20th Century orchestra Structure – not aurally obvious, but initial horn theme comes back Elements of music Background to serialism to give context Expressionism

Area of Study 2: L Bernstein: Something’s Coming from Westside Story

Song from a musical Based on Romeo and Juliet This song is sung by Tony Mood of anticipation and optimism –how is this created? Orchestra Use of rhythm - syncopation Jazz/Latin influence – WCM orchestra Use of tritone Structure (could fill in the blanks) Possible melodic dictation Ostinato/bass riff Changing meter Blue notes

Area of Study 2: S Reich: 3rd Movement (fast) from Electric Counterpoint

Minimalism techniques – note addition, layering, resultant melody (you hear something not really played), ostinatos, phasing (not really in this piece – more of a canon.)

Why “Electric Counterpoint” ? InstrumentationTextureTonality – diatonic, quite static, ambiguous at the start

Gmajor ? E minor?? E minor when the bass starts, moves to C minor and back to E minor.

Time signature.

Area of Study 3: M Davis: All Blues from the album Kind of Blue

Meter – 6/4 (there will be a multiple choice question) Drums played with brushes Chord sequence – 12 bar blues with links, altered chord in 3rd line 7 #9 has major and minor 3rd

simultaneously. Texture Riff in bass and piano Spot the instrument Use of trumpet mute Improvisation Structure Tonality – modal Head arrangement C7 could be described as Gm7 ambiguous Vocab – head, changes, front line. rhythm section, improvisation General question about 5 elements of music, and development from blues Where might you hear this? Where has it come from? Influences? Piano style – comping/vamping, not accompanying

Area of Study 3: J Buckley: Grace from the album Grace

Meter 6/8 Structure Use of effects Drop D tuning allows easier power chords (bar over

bottom 3 strings). Just tune bottom string down to D rather than the usual E

Alternative rock Use of power chords with deliberate dissonance from

upper 3 strings, goes with the chorus lyric “wait in fire” Guitar techniques – pull-offs, string bending, slurs,

hammer-ons, string bending, slides. Repeated riff – up 2 frets followed by a power chord

Area of Study 3: Moby: Why Does My Heart Feel So Bad? From the album Play

Use of effects – Reverb (used to create distance), compression, EQ, delay

Structure - breakdownTexture (opening, build up, end)Use of samples – not cleaned up, background

noise adds to emotionChord sequence

Area of Study 4: Capercaillie: Skye Waulking Song

Folk/pop fusion Instruments – names and how played (eg blown, plucked) How does instrumentation

change through the structure Vocals – Gaelic – type of voice What is a Waulking song? Traditionally has call and response telling story/gossip/news. Not

allowed to repeat more than 1 line, so nonsense syllables give time to think. Use of nonsense syllables Legend/story Structure - Intro, verses, solo, fade Complete chord sequence for a question Tonality – ambiguous at start, major with modal feel Texture – heterophonic, v slight differences, starts v. thin with gradual build as instruments

join Purpose of song – how does the music fit this? Describe the tempo Instrumental techniques eg violin at start identify meter – multiple choice Mood – sad

Area of Study 4: Rag Desh

• Instrumentation – sarod (plucked), sarangi (bowed), tabla, cymbals, Pakhanaj (double headed drum).

• Vocal style – ornamented, bending notes• Different sections – recognise chracteristics• Rag desh is the tonality• Tal• Order of instrumental entries• Use of drone• Contextual placement• Comparison of 3 rags (section A question)

Area of Study 4: Koko: Yiri Texture – compare the introduction to the rest Instrumentation – spot the instrumentPossible spot the rhythm questionsOral tradition/master drummerRepetition/ostinato (probably a sentence completion

question)PurposeMelodyCall and responseWhat is Balfan doing at the start ? = ImprovisingRhythmic devices – polyrhythms, syncopation