44
1 UNIT 2.1 SET SONGS Group A Page 40 An Mhaighdean Mhara (The Mermaid) Performing 1. 3 4 & # s, œ d œ r m œ j œ œ œ J œ œ œ œ œ œ œ œ ˙ , œ œ & # œ œ j œ œ œ J ˙ œ j œ œ J œ œ ˙ , œ œ & # ˙ œ œ œ J ˙ œ j œ œ œ œ œ ˙ , , œ œ & # œ j œ œ œ œ j œ œ œ œ œ œ œ ˙ 4. B in bar 12 is below mid-C. 5. Substitute B with another note or play C as a crotchet. Page 41 Listening CD 1, Track 73 1. This form of this song is A B C D. There is a total of 4 phrases in this song and each phrase is different. 2. Strophic form means that the same melody is used for each verse. 3. See music above. 4. The tempo is slow; the dynamics are soft; each of the four phrases is different (form ABCD); modal tonality (any three). 5. The language is Irish; the singer uses ornamentation. 6. The use of accompaniment. Section 2: Preparing for the Exam f m r d t ı d r d t ı l ı s ı d r m r m f s d r m m r m f m f s f m f m r d r d t ı l ı s ı m ı f ı s ı s ı l ı t ı d r m f m r m r d X ornamentation X X

Bravo - Section 2 - Preparing for the exam

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Page 1: Bravo - Section 2 - Preparing for the exam

1

Unit 2.1 Set SongSGroup APage 40An Mhaighdean Mhara (The Mermaid)

Performing

1.

3 4

2-1AA

& # s,

œ d

œ ™ r m

œ j œ œ œ J œ ™ œ œ œ ™ œ œ œ œ ˙ ,

œ œ

& # œ ™ œ j œ œ œ J ˙ œ j œ ™ œ J œ œ ˙ , œ œ

& # ˙ œ œ œ J ˙ œ j œ ™ œ œ œ œ ˙ ,

,œ œ

& # œ j œ ™ œ œ œ j œ ™ œ œ ™ œ œ œ ™ œ ˙ ™

4. B in bar 12 is below mid-C.

5. Substitute B with another note or play C as a crotchet.

Page 41Listening

CD 1, Track 73 1. This form of this song is A B C D. There is a total of 4 phrases in this song and each phrase is different.

2. Strophic form means that the same melody is used for each verse.

3. See music above.

4. The tempo is slow; the dynamics are soft; each of the four phrases is different (form ABCD); modal tonality (any three).

5. The language is Irish; the singer uses ornamentation.

6. The use of accompaniment.

Section 2: Preparing for the exam

fmrdtıdrdtılısıdr

mrmfsdrmmrmfmf

sfmfmrdrdtılısımıfı

sısılıtıdrmfmrmrd

Xornamentation

X

X

Page 2: Bravo - Section 2 - Preparing for the exam

2

Page 43Kalinka (Russia)

Listening

CD 1, Track 74 1. The chorus is 16 bars in length. It consists of 4 four-bar phrases.

2. A A1 A A1

3. We call this form unitary.

4. (a) Tempo: There are changes of speed in the chorus. The verse is sung at a slower tempo. (b) Dynamics: The song starts softly and gets louder gradually. There are lots of dynamic changes

throughout. (c) Texture: Varies throughout the song, but mainly homophonic.

The Little Sandman

Performing

1.

4 4

2-1CC

& #

œ œ ™ œ j œ œ ˙ œ œ œ œ œ œ œ œ ˙ Œ œ

& #

œ ™ œ j œ œ ˙ œ œ œ œ œ œ œ œ ˙ Œ œ œ

& # œ œ œ œ œ ™ œ J œ œ œ œ œ œ œ ˙ ™ Œ

& # œ ™ œ J ˙ œ ™ œ j

œ œ œ œ œ œ œ œ œ ˙ Œ

Page 44Composing

1. See music above.

Listening

CD 1, Track 75 1. There are 6 phrases in this song. The first and second phrases are the same; the third phrase has new

music; the fourth phrase has new music; the third and fourth phrases are repeated.

2. It is played on piano and consists of continuous quaver movement based on broken chords played softly, creating a calm, peaceful atmosphere. The beat is steady.

3. (a) soft dynamics (b) light accompaniment (c) slow tempo (d) quiet, gentle mood

4. The song was composed by Brahms. The accompaniment plays an important part in capturing the mood.

sıdrmrdtıdrmfmrdrsı

drmrdtıdrmfmrdrmf

smfslsfrmffmsr

smrmrdrmfsdrmrd

G D

G D

G D

D G

Page 3: Bravo - Section 2 - Preparing for the exam

3

Page 45The Streets of Laredo

Performing

1.

34

2-1DD

& bA

œF

œ ™ œJ œ

bB

œ œ œF

œ ™ œjœ

C

œ œ œ

& bB

F

œ ™ œj œ

C 7

œ œ œ

F

œ œ œ

C

˙ œ

& bA

F

œ ™ œJ œ

bB

œ œ œF

œ ™ œjœ

C

œ œ œ

& bB1

Dm

œ ™ œj œ

Gm

œ œ œF

œ œ

C

œ

F

˙

Listening

CD 1, Track 76 1. See music above.

2. Allow students to interpret the story.

3. (a) Speed: sung slowly to reflect the sad words. (b) Dynamics: Sung moderately soft, no change in dynamics, reflecting the sadness of the words,

telling a story.

Page 46 (c) Accompaniment: guitar accompaniment supports the singer, story.

59th Street Bridge Song (Feelin’ Groovy)

Performing

1.

c

2-1EE

& # # G

ΠD

œ œ œ ™ Em

œ j œ D

œ œ ˙ ‰ œ j œ œ œ œ œ œ œ œ œ Œ œ œ œ ™ œ j

™™& ## œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ w w3

ssfmfsfmrdtısısı

dtıdrmfmrdrs

sfmfsfmrdtısısı

dddrmfsdrd

GDEmDGD

lssmfsm—dlfsms—sdıslfsm

EmDGDEmDGDEmD

fsm—llfsms—smıdı__________________________________________

Page 4: Bravo - Section 2 - Preparing for the exam

4

Composing

1. see music above

Listening

CD 1, Track 77 1. Allow students to make comparisons between the original recording and this recording in the textbook.

2. Syncopation (with description).

Page 47The Wexford Carol

Performing

1.

34

2-1FF

&#

œj œ œ œ œ ™ œj œ œ œ ‰A

œJ œ œ œjœ œj œn œ œ ‰ œj

&#

œ œ œ œ ™ œj œ œ œ ‰ œJœ œ œj

œ œjœ œ œ ‰

Composing

1. G majorSee music above for circled note

2.1-2 14(b)

&# www 1-7X

? #www

Page 48Listening

CD 1, Track 78 1. Peaceful, solemn mood; smooth melody line, sung slowly, the drum accompaniment suggests the

birth of a king.

2. The flattened seventh, repeated final note, leap of the seventh are features of Irish songs.

Spring

1. and 2.

44

2-1GG

&## œ ™ œJ œ œ ‰ œj œ œ œ œ œ œ œ Œ œ ™ œJ œ œ œ œ

&## œ ™ œJ œ œ œ œ œ ™ œJ œ œ œ œ œ œ œ œ œ œ Œ

sıddtıdrmfssfmdsılıtadtası

ddtıdrmfsmfsmdrddd

sdlsmfmrmfrdslsdtıd

slsdıtdıslsdtıdfmrmfr

Page 5: Bravo - Section 2 - Preparing for the exam

5

Page 49Listening

CD 1, Track 79 1. (a) Tonality: Section A is major; Section B is minor. (b) Mood: Section A is happy; Section B is sad. (c) Dynamics: Section A is loud; Section B is soft. 2. On the words ‘hum’ and ‘singing’.

3. An aria is a solo song, sung in an opera. ‘Spring’ is from the opera Ottone by Handel.

Summer Is Icumen In

Performing

1.

68

2-1HH

&## œ œJ œ œJ

œ œJ* Second part enters

œ œ œ œ œj œ œj œ ™ Œ ‰* Third part enters

œ œjœ œj

œ œjœ œj

&## œ œj œ œJ œ ™ Œ ‰ œ ™ œ ™ œ ™ Œ ‰ œ ™ œ ™

X

œ ™ Œ ‰

Page 50Listening

CD 1, Track 80 1. See music above.

2. No

3. (a) Words: old English (b) Texture: a canon, polyphonic (c) Accompaniment: early instruments

4. Polyphonic

General questions 1. (a) ‘An Mhaighdean Mhara’ is a lament from Northern Ireland. (b) ‘Summer Is Icumen In is an example of a round. (c) ‘Spring’ is an aria from an opera. (d) ‘The Streets of Laredo’ is an American ballad. (e) ‘The Little Sandman’ is an art song. (f ) ‘Kalinka’ is a Russian wedding song. (g) ‘59th Street Bridge Song (Feelin’ Groovy)’ is written in the pop style. (h) ‘The Wexford Carol’ has many features of an Irish traditional tune.

dıtltdıdıtlsmmfrmdmrfmmrd

msllsdıldıdılıdı

Page 6: Bravo - Section 2 - Preparing for the exam

6

Page 51 2.

Popularsong 59th Street Bridge Song (Feelin’ Groovy)

Artsong The Little Sandman

Churchmusicorcarol The Wexford Carol

Irishtraditionalsong An Mhaighdean Mhara

Ballad The Streets of Laredo

Partsong,roundorcanon Summer Is Icumen In

Folk-songfromanothercountry Kalinka

Songfromanopera,operetta,stagemusical,cantataororatorio

Spring

3.

Feature NameofsongSyncopation 59th Street Bridge Song (Feelin’ Groovy)

Sequence Spring

Compound time Summer Is Icumen In

Triplets The Wexford Carol or 59th Street Bridge Song (Feelin’ Groovy)

Flattened seventh The Wexford Carol

Change of speed Kalinka

Use of a mode Kalinka or The Wexford Carol or Summer Is Icumen In

Ostinato Summer Is Icumen In or 59th Street Bridge Song (Feelin’ Groovy)

Ternary form Spring or The Wexford Carol

4. (a)

Nameofsong FeatureAn Mhaighdean Mhara Modal, ornamentation

Kalinka Modal, form: verse–chorus

The Wexford Carol Modal, use of flattened seventh note, repeated final note

Page 52 (b) Title of song: The Wexford Carol

Title of song: Kalinka Title of song: An Mhaighdean Mhara

Crosswords 1. historical 2. mermaid 3. Ottone 4. Paul Simon 5. syncopation 6. Kalinka 7. German 8. ostinato

Page 7: Bravo - Section 2 - Preparing for the exam

7

Page 53

A N M H A I G H D E A N M H A R A

B A L L A D

O P E R A

S P R I N G

A R I A

P A U L S I M O N

W E X F O R D C A R O L

B R A H M S

L A M E N T

R U S S I A N

D A N C E

U

M

M

A

R

S

R

M

D

L

O

S

I

R

S

O

N

T

G

U

R

U

N

E

I

K

L

I

H

N

D

E

K

Page 8: Bravo - Section 2 - Preparing for the exam

8

Group BPage 54Amhrán na Cuiginne (The Churning Song)

Performing

1.

6 8

2-1II

& # #

œ œ j œ œ j œ œ œ œ œ œ œ œ j œ œ j œ œ j œ œ œ œ œ œ œ œ j

& # # œ œ J

œ n œ œ œ œ j œ œ j œ œ œ œ ™

œ ™ œ œ J œ n œ J

œ œ œ œ ™ œ ™

& # # œ œ œ œ ™ œ œ j œ œ J

œ n œ j œ œ œ œ œ j œ œ j œ œ œ œ ™

A

Composing

1. Three of the notes at A form the tonic (doh) triad.

2.

2-1II(v)

? ## www

3. bars 2, 5, 8, 9, 11, 16 (any two)

Page 55Listening

CD 2, Track 1 1. (a) unaccompanied, sung in Irish (b) ornamentation (c) lack of dynamic variation 2. There are two main sections (verse and chorus), and each one is different.

3. (a) Love song: the words are romantic (b) Work song: it has a strong beat moderately fast tempo

ddmfssfmrdrmfrmdrmfmrdmf

sltalsdısfrrddddısltaltasmdıs

fmdrmfsltasdısfmdfrrddd

Page 9: Bravo - Section 2 - Preparing for the exam

9

Click Go the Shears (Australia)

Performing

1.

4 4

2-1JJ

& C

œ œ ™ œ œ œ ™ œ œ F

œ ™ œ ˙ œ œ ™ œ œ œ ™ œ œ œ ™ œ ˙

& œ œ ™ œ œ œ ™ œ œ œ ™ œ ˙ œ ™ œ œ œ œ œ œ œ œ œ ™ œ ˙

& œ œ ™ œ œ œ œ œ ˙ œ œ ™ œ œ œ ™ œ œ œ ™ œ ˙

& œ ™ œ œ ™ œ œ œ ™ œ œ ™ œ œ ™ œ ˙ œ ™ œ œ œ œ œ œ œ œœ ™ œ ˙

2. A range of 10 notes.

Page 56Composing

1. See music above

Listening

CD 2, Track 2 1. strong beat; repetition; verse and chorus (verse solo, chorus suggests everyone working); upbeat tempo

2. (a) Melodic features: repeated notes, octave leaps, descending scale (b) Rhythmic feature: dotted rhythm 3. (a) Similarity: use of dotted rhythm in both: descending scale at the end of both verse and chorus (b) Difference: melody of chorus starts differently. Form of verse: A A; form of chorus B A

Page 57Wanderer’s Night Song

Listening

CD 2, Track 3 1. The song ends with a perfectcadence.

2. The accompaniment is played on piano. The accompaniment consists of quiet chords.

3. It is soft and still, suggesting night-time.

4. Either of the following:

The composer uses pause marks to slow down the music still further.

The repetition of the first phrase adds expressiveness to the words, emphasising the idea of ‘sleeping’.

C G

C F G C

G C F C G

C F G7 C

mmrdmsdıdıtlsslsmdrrmr

mmrdmsdıdıtlrıdıtlsfmrddıdıdı

rırıdıtrıdımıdılltdıllsdımr

mmmrdmsdıdıdıtlrıdıtlsfmrddıdıdı

Page 10: Bravo - Section 2 - Preparing for the exam

10

Page 58The Verdant Braes of Screen

Performing

1.

c

c

2-1LL

°

¢

& bœ œ œ œ œ œ ™ œj

œ œ ™ œ œ œ œ œ œ œ ˙ ™ œ œ œ œ œ œ œ œ œ3

& b Œ ˙ ˙ œ Œ Ó ˙ ˙ œ œ œŒ ˙ ˙

°

¢

& b œ œ œ œ ™

X

œj œ ™ œjœ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ™

3

& b œ Œ Ó ˙ ˙ œ Œ Ó ˙ ˙ ˙ ™

Composing

1. C F A

2.2-1LL(ii)

& b www 2-1LL(iii)

? b www

3. perfect

Listening

CD 2, Track 4 1. Sometimes the singer uses the flattened seventh, which is a feature of Irish melodies. The flattened

seventh is one semibreve lower than the seventh note.

2. Triplet: three notes played to the value of two notes of the same kind.

Syncopation: accenting a beat or part of a beat that is not normally accented.

sıdmrrdtısımfssrdrmfrmfssdrmr

dtıdtıtıtılısıdd

ddtısısıdmrrddtısımfsrmfmrd

ddtıdtıtıd

Page 11: Bravo - Section 2 - Preparing for the exam

11

Page 59Yesterday

Performing

1.

™ ™ ™ ™

C

C

2-1MM

& b F

œ œ ˙ ™ Em

ΠA 7

œ œ n œ # œ Dm œ œ œ ™ œ ˙ ™ b B

Œ C 7 œ œ œ œ œ œ

? b œ Œ œ Œ ˙ ˙ ˙ ˙ ˙ ˙

™ ™ ™ ™

& b F

œ œ œ œ C

œ Dm

œ G 7

œ œ œ œ b B

œ F

œ œ ˙ ? b ˙ ™ œ ˙ ˙ œ ˙ ™

& b Em

˙ A 7

˙ Dm œ œ œ Gm œ œ œ ™ C 7 œ J œ œ F

w Em

˙ A 7

˙ ? b ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙

& b Dm œ œ œ Gm œ œ œ ™ C 7 œ J œ œ F œ œ œ œ œ œ

G 7

œ œ b B

œ F

œ œ ˙ U

? b w ˙ ˙ w ˙ ˙ œ ˙ ™ 2. B = fi ; C# = si

Page 60Composing

1. see music above

2. plagal

Listening

CD 2, Track 5 3. Have class discussion: great melodies; great rhythm; fresh, innovative approach

The Lord Is My Shepherd 1.

3 4 & # œ œ

A

œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 3

rddmfisiltdıtllllsfmr

fmm–––rdmr—lıdm–––––

mmltdıtltlslmmm

ltdıtltlstdısfmdmslıdm—

sılımdtıdrmrmrdlılıslı

Page 12: Bravo - Section 2 - Preparing for the exam

12

Composing

1. E minor

2. The psalm is modal.

Page 61Listening

CD 2, Track 6The style in the antiphon is that of a traditional Irish melody; the style in the verse is plainchant.

Can’t Help Lovin’ Dat Man

Performing

3.

44

2-1OO

&## œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙

™™&## ˙ ˙ œ œ œ œn œ œ w ∑

Page 62Listening

CD 2, Track 7 (a) flattened notes (melodic) (b) syncopated rhythm (rhythmic)

Evening Prayer

Performing

1.

44

44

2-1PP

°

¢

&##

Gretel

œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙

&##

Hansel

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Page 63Composing

1. see music above

4. ‘London Bridge Is Falling Down’

sssdı–dıdısss—mmml—llrrr—

sddddma—rd—————

dmmslssdıssmmrd

dddmffmrdmmddtıd

Page 13: Bravo - Section 2 - Preparing for the exam

13

Listening

CD 2, Track 8 1. A duet is a piece of music for two voices or instruments.

2. (a) soprano (b) alto

3. In the first section of the song, the texture is homophonic because the voices sing in harmony. In the second section, the texture is polyphonic because the voices sing in imitation.

Page 64General questions 1. (a) ‘Evening Prayer’ is a song from an opera. (b) ‘Yesterday’ is an example of a pop song. (c) ‘The Wanderer’s Night Song’ lies within a range of8 notes. (d) ‘Click Go the Shears’ is in AA1BA1 form. (e) ‘The Verdant Braes of Screen’ is a ballad from NorthernIreland. (f ) ‘Can’t Help Lovin’ Dat Man’ is from the musical PorgyandBess. (g) The verses in ‘The Lord Is My Shepherd’ are in plainchant style. (h) ‘Amhrán na Cuiginne’ is a love song and a work song. 2.

Partsong,roundorcanon Evening Prayer

Folk-songfromanothercountry Click Go the Shears

Irishtraditionalsong Amhrán na Cuiginne

Songfromanopera,operetta,stagemusical,cantataororatorio

Can’t Help Lovin’ Dat Man

Popularsong Yesterday

Ballad Verdant Braes of Screen

Churchmusicorcarol The Lord Is My Shepherd

Artsong Wanderer’s Night Song

3. (a) (i) Verdant Braes of Screen (ii) Click Go the Shears (iii) Amhrán na Cuiginne (b) (i) Amhrán na Cuiginne (ii) flattened seventh and repeated final note

Page 65 4. (a) Name the song on your course which was written by each of the following composers:

Composer SongJerome Kern Can’t Help Lovin’ Dat Man

F. Schubert Wanderer’s Night Song

Engelbert Humperdinck Evening Prayer

(b) Title of song: Wanderer’s Night Song Title of song: Can’t Help Lovin’ Dat Man Title of song: Evening Prayer

Page 14: Bravo - Section 2 - Preparing for the exam

14

5.

Feature NameofsongSyncopation Yesterday

Sequence Evening Prayer

Compound time Amhrán na Cuiginne

Triplets Verdant Braes of Screen

Flattened seventh Amhrán na Cuiginne, Verdant Braes of Screen

Jazz elements Can’t Help Lovin’ Dat Man

Blues notes Can’t Help Lovin’ Dat Man

Modal tonality Amhrán na Cuiginne, Verdant Braes of Screen, The Lord Is My Shepherd

Ternary form Yesterday, Can’t Help Lovin’ Dat Man

Octave jumps Click Go the Shears

Page 66Crosswords

A M H R Á N N A C U I S I N N E

R I N G E R

S

N

A

T

I

P

H

O

E

V

N

I

N

G

P

R

A

Y

E

R

Y

E

S

T

E

R

D

A

P

S

M

T

E

P

O

U

M

P

E

R

D

I

N

C

K

U

S

T

R

A

L

I

A

G

O

T

H

E

B

A

T

L

E

S

J E R O M E K E R N

B A L L A D

M O D A L O

T E R N A R Y

L

C

K

G

T

H

E

S

H

E

R

S

Page 15: Bravo - Section 2 - Preparing for the exam

15

Page 67 1. psalm 2. triplet 3. Yesterday 4. Schubert 5. Showboat 6. Evening Prayer 7. snagger 8. jazz song

Group CPage 68Preab san Ól (Drinking Song)

Performing

1.

3 4

2-1QQ

& #

œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ

& #

œ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ

& #

œ œ œ œ ™ œ œ ‰ œ J œ œ œ œ œ œ

& # œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ

& #

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ ‰

Page 69Listening

CD 2, Track 9 1. The song has four phrases: the first, second and fourth phrases are the same; the third phrase is

different.

Page 70 2. The same melody is used for each verse.

3. (a) strong beat (b) lively tempo (c) fairly loud dynamic level; the words are comic/funny

4. (a) unaccompanied (b) sung in Irish

sısısıdmsfmrlıdtılısıtırdtı

dsısısıdmsfmrlıdtılı

sıtırdtıdmfslsrm

fmrmfsrdtılısısısısı

d m s f m r lı d tı lı sı tı r d tı d

Page 16: Bravo - Section 2 - Preparing for the exam

16

Muss I Denn (Germany)

Performing

1. and 2.

4 4

2-1RR

& b œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ ˙ ˙ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ ˙ œ

& b ˙ ™ ˙ ™ œ œ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ ˙ ˙ œ ˙ œ œ œ ˙ œ œ

& b œ ˙ œ œ ˙ œ ˙ ™ ˙ ™ œ œ œ œ ™ œ ™ œ j œ œ J ˙ œ œ ™ ˙ œ j œ ˙ œ œ

& b œ ˙ œ œ ˙ œ œ ˙ ™ ˙ ™ œ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ ˙ ˙

& b œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ ˙ ™ ˙ ™

Page 71Composing

1. (a) Speed: fairly fast, moderato (b) Instruments: brass (c) Dynamics: loud 2. slower speed; quieter dynamics; light instrumentation: guitar/strings/woodwind

Listening

CD 2, Track 10 1. There are four phrases. The first and second phrases are the same, and the fourth phrase is similar. The

third phrase is different.

2. (a) The final two phrases, A and B, are repeated. The song now has six phrases. (b) A A B A B A 3. see music above

4. (a) simple melody, simple form (b) simple rhythm (lots of repetition)

drmmsfflssfmssfmmsffrsd————d————tı————dtı————d————tı————tı

m———drmmsfflssfmssfmmsd———drd————d–––––––––tı–––––––––dtı–––––––––d––––––––

ffrsm––––––––dmrmfrmfssstı–––––––tıd––––––––drmr–––––––––d––––––––m

lldıtlsdmsslssdıssfmf–––––––––f––––––––––tıd–––––––d–––––––d–––––––––––tı––––––––––d–––––

ssfmmsffmrdd–––––––––tı––––––––––––––d––––––––––––––––d––––––––––––––tı––––––––––––d–––––––––

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5.

Germanversion ElvisversionMood Formal, march-like Romantic (love song)

Melody Both melodies are similar Elvis varies the final phrase

Speed (tempo) Fast Slower

Words (lyrics) German English

Accompaniment No instrumental accompaniment Has instrumental accompaniment

Page 72Caro Mio Ben

Performing

1.

c

2-1SS

&## Ó œ œ ™ œ ˙ œ œ ™ œ ˙ œ œ œ œ œ œ œ œ œ œ

&## œ œ Ó Ó œ œ ™ œ ˙ œ œ ™ œ œ œ ™

œ œ œ fiœjœ

&##

˙ Ó ∑ Ó œ œ œ ˙ œ œ œ

&## ˙ œ œ œ œ œ# œ œ œ œ ™ œ ˙

Uœ œ ™ œ œ Œ œ œ œ

&## œ œ

œ œ# œ ˙U œ œ ™ œ ˙ œ œ œ œ ™ œ ˙ œ œ ™ œ

&## œ œ ™

œ œ œ ™ œ œ œ ˙Coda

œ œ œ œ ™ œ œ Œ œ œ œ œ ™ œ œ Œ œ œ œ

&## ˙ œ œ œ# œ œU Œ ˙

Ÿœ ™ œj ˙ Ó

Page 73Listening

CD 2, Track 12 1. 4 bars

2. (a) Opening melody and rhythm notes are the same. (b) Dynamic levels are the same (soft). (c) Mood of introduction and first vocal phrase are similar.

dıtlslsfmfmrssdtıd

mrlsfmfmrsdıdfmr

dsltlltdı

trıdıtlfisdıtlsslsfmsfm

mrdıfifisdıtlslsfmfmr

sdıdfmfmrdlsfmlsfmdıtl

sdımrdd

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3. (a) Similarity: both A and A1 begin with same rhythm. (b) Difference: phrase A is four bars long; phrase A1 is three bars long. 4. (a) The repetition of a short melodic phrase sung or played at a higher or lower pitch. (b) See music on the previous page. 5. The song was composed by Giordani. The accompaniment is important. The song is performed exactly

as written.

Page 75Streets of London

Listening

CD 2, Track 13 (a) Words: the words deal with social injustice, which would have been topical in the 1960s. (b) Accompaniment: the plucking-style guitar accompaniment was popular in the 1960s. (c) Mood: serious, reflecting the words. (d) Structure: verse and chorus; simple A A B A strophic form: same tune for each verse.

Page 76This Little Light of Mine

Performing

5.

44

2-1UU

&# Chorus

œ œ œ œ œ œ w œ œ œ œJ œ œj w

&#

œ œ œ œ œ œ w œ œ œ œ œ œ w

&#

œ œ œ œ œ œ w œ œ œ œJ œ œj ˙ œj œ ™

&# ˙ œJ œ ™ ˙ œj œ ™ w œ Œ Ó

Composing

2. G major

Listening

CD 2, Track 14 1. and 2. Allow students to interpret the song.

sılılıdlıd–––––––––––––––––mmmmrd–––––––––––

lıdddrd–––––––––––––ddddlısı–––––––––

sılılıdlıd––––––––––mmmmrd–––––––dd

mmrdrrd––––––––––––––

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Page 77Salve Regina (Hail, Holy Queen)

Performing

1. doh

___________________________________________________________________

2. 2-1VV

6 6 6 6 6 ™ 6 6 6 6 6 6 6 6 ™

Composing

1. (a) no bar-lines (b) no time signature (c) four-line stave or square note shapes

2.

Listening

CD 2, Track 15 1. ‘O Pia’: more than one note per syllable

2. (a) Gospel (b) folk (c) classical

Page 79Oh I Got Plenty O’ Nuttin’

Composing

1. G A B D

2. G B D

3.

2-1WW(ix)

? #www

4. (a) sharp (b) raises the note a semitone

Listening

CD 2, Track 16 1. upbeat; falling sequences; syncopation; repeated notes

2. Syncopation

& #œ œ œ œ œ œ œ œ œ œ# œ˙ ˙

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By the Waters of Babylon

Performing

1.

Page 80Composing

1. See music above: any two bars adjacent to each other.

4. (a) The melody is in the minor key. (b) The tonic solfa name of the last note is lah. (c) The mood is sad. (d) The speed which best suits this mood is slow. (e) There are four phrases in the melody. (f ) There is an example of a rest in the second phase.

Listening

CD 2, Track 17 (a) descending melody line (b) modal tonality (c) words are sung slowly

General questions 1.

Artsong Caro Mio Ben

Irishtraditionalsong Preab san Ól

Ballad Streets of London

Churchmusicorcarol Salve Regina

Partsong,roundorcanon By the Waters of Babylon

Popularsong Yesterday

Folk-songfromanothercountry Muss I Denn

Songfromanopera,operetta,stagemusical,cantataororatorio

Oh I Got Plenty O’ Nuttin’

Page 81 2. (a) ‘Oh I Got Plenty O’ Nuttin’’ comes from an opera called PorgyandBess. (b) ‘This Little Light of Mine’ is an example of a Gospelsong. (c) ‘Streets of London’ is an example of a modernballad. (d) The oldest form of church music is called plainchant. (e) ‘Preab san Ól’ is an Irishtraditional song. (f ) Elvis Presley had a hit with a pop version of ‘Muss I Denn’ in the 1960s called WoodenHeart.

lsfmfsfmrmfmrdrmmlı

dıdıdıdıdıtttlllsil

mfslrmfsdrmfmml

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(g) The composer of ‘Caro Mio Ben’ was Giuseppe Giordani. (h) The words of the song ‘By the Waters of Babylon’ were inspired by the first verse of Psalm136. 3.

Feature Nameofsong

Syncopation This Little Light of Mine, Streets of London

Sequence Caro Mio Ben, By the Waters of Babylon

Strophic Streets of London, Muss I Denn

Free rhythm Salve Regina

Flattened seventh Oh I Got Plenty O’ Nuttin’

Repeated notes This Little Light of Mine, Oh I Got Plenty O’ Nuttin’, Preab san Ól, Click Go the Shears

Slow tempo Caro Mio Ben, By the Waters of Babylon

Ornamentation Caro Mio Ben, Salve Regina

A A1 B A1 Streets of London, Preab san Ól

4. (a)

Composer SongRalph McTell Streets of London

Giuseppi Giordani Caro Mio Ben

George Gershwin Oh I Got Plenty O’ Nuttin’

Page 82 (b) Title of song: Caro Mio Ben Title of song: Oh I Got Plenty O’ Nuttin’ Title of song: Streets of London 5.

Rhythmic MelodicBy the Waters of Babylon dotted rhythm sequences

Muss I Denn dotted rhythm; upbeat sequences

Preab san Ól 3 quaver upbeat; each phrase ends with dotted rhythm

melody moves by step and leap; melody opens on notes of doh chord

This Little Light of Mine syncopation repeated notes

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Page 83Crosswords

T

H

E

W K

A M R I C A

Y

A

TI

T R E E S O F L N D N

A L I A N

E

R

SE R H W N

O

F

B

A

B

Y

L

O

N

S

Y

N

C

O

P

A

T

I

O

N

P

O

R

G

Y

O

G

I

O

R

D

A

N

IT

E

M

P

O

P

S

A

L

M

M

O

D

A

L

B

A

L

L

A

D

J

O

Y

F

U

L

L

Y

R

O

U

N

D

G

O

S

P

E

L

S

O

N

G

P R E A S A Ó

R I K I SN G

NAP I C H TA N

O N G

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Page 84 1. Gershwin 2. Jewish 3. Ralph McTell 4. Muss I Denn 5. syncopation 6. drinking song 7. larghetto 8. plainsong

Unit 2.2 Set workSGroup AWater Music, G.F. HandelHornpipe

Page 86Listening

CD 2, Track 18 1. The mood is joyful/happy/exciting/lively.

2. Since Handel composed the piece for outdoor performance, he used instruments that could be carried outside and heard clearly in the open air, e.g. trumpets and horns.

Minuet

Page 87Listening

CD 2, Track 19The version on this recording is shorter in length than the original version which Handel composed. Each section A and B is played on trumpets and violins and repeated. Handel indicated that sections A and B be played a second and third time, using different instruments.

General questions 1. (a) Handel composed the Water Music Suite for King George I of England, who was having a party on

board a boat on the River Thames in London. (b) It is a collection of dance tunes, usually all in the same key. (c) Oboes, bassoons, horns, trumpets and strings. (d) The music was intended for outdoor performance. Instruments had to be carried outside and

needed to be heard clearly in the open air. 2. (a) Handel’s Hornpipe has three beats in each bar. The Irish hornpipe has four beats in each bar. (b) Listening

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Page 88 (c) Ternary form A B A (d) No brass instruments (horns and trumpets), softer dynamics, the key is B minor, more quaver

movement. 3. (a) A dance in ¾ time (three beats in a bar) (b) Binary form A B (c)

Similarities The texture is homophonicBoth in the key of DThe instrumentation is the sameThere are repeated notes in bothOrnamentation is used in both pieces

Differences The time signatures are differentThe form is differentThere is much repetition in the MinuetThere is some syncopated rhythm in the HornpipeThere is more variety of dynamics in the HornpipeThere is also variety in the tonality in the Hornpipe because the middle section is in the minor key

(d) repeated notes, sequence, use of ornamental notes (any two) 4. George Frederick Handel was born in Germany in 1685. From an early age, he showed signs of

musical talent. He was asked to write music for King George of England. The music was to be performed on a boat. The Suite in D Major is now popularly known as the WaterMusic. Handel’s most famous work is the Messiah which was first performed in Dublin in 1742.

Page 89Crossword 1. Dublin 2. sailors 3. London 4. sections 5. German 6. Irish 7. trumpet 8. lively 9. tutti 10. three

Errata:clue 6 should read: The hornpipe is also an _______ traditional dance.

Overture to William Tell, Gioacchino RossiniPage 90Sunrise Over the Alps

Listening

CD 2, Track 20 (0:00–3:07) 2. (a) The tempo/speed is slow. (b) The dynamics are very soft/quiet. (c) Five solo cellos are heard in this opening section.

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Page 91The Storm

Listening

CD 2, Track 20 (3:08–5:51) (a) The tempo/speed is very fast. (b) The section begins softly and gradually gets very loud. This depicts the full force of the storm. As it

begins to die away, the music gets gradually softer. (c) The strings depict the wind rising, the drum roll suggests thunder and the raindrops are heard

on the high woodwind instruments. Loud rising scales on trombones suggest the full fury of the storm, together with short motifs/figures on violins, which depict the lightning. The timpani adds to the intensity.

Page 93Shepherd on the Mountainside

Listening

CD 2, Track 20 (5:52–8:38) (a) The tempo is fairly slow. (b) The dynamics are soft. (c) The cor anglais suggests the alpine horn; the trills on the flute suggest birdsong; the triangle

indicates the sound of cowbells.

Revolution

Listening

CD 2, Track 20 (8:39–end) (a) The tempo is very fast. (b) The rhythm moves in quavers and semiquavers to produce an exciting gallop. (c) This section begins very loud. There are sudden changes from very loud to very soft. The section

ends loudly. (d) Begins with trumpet fanfare. Strings, woodwind horns and percussion start the gallop. Some of

the quieter passages are played by strings only.

Page 94General questions 1. An orchestral composition written as an introduction to an opera.

2. Music which describes a scene or tells a story.

3. (a) (i) Sunrise Over the Alps (ii) The Storm (iii) Shepherd on the Mountainside (iv) Revolution (b)

Section DescriptionShepherd on the Mountainside

A flute and cor anglais share a gentle pastoral melody.

Revolution A fanfare of trumpets lead to an exciting gallop.

Sunrise Over the Alps Five cellos set the mood of this section.

The Storm Trombones, bass drum and timpani add to the excitement of this section.

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4.

Instrument SectionCello 1

Cor anglais 3

Trombone 2

Trumpet 4

Page 95 5. (a) Italy (b) programme (c) Seville (d) Swiss (e) crescendo (f ) quadripartite (g) cor anglais (h) fanfare

(i) Swiss legend

6.

Instrument SectionoftheorchestraCello Strings

Bass drum Percussion

Triangle Percussion

Cor anglais Woodwind

Trumpet Brass

Cymbals Percussion

Flute Woodwind

Viola String

Horn Brass

Piccolo Woodwind

7. student’s choice

Page 96Crossword 1. Swiss 2. Italian 3. apple 4. cellos 5. triangle 6. cor anglais 7. trumpet 8. storm 9. crescendo 10. gallop11. Gessler

Carmina Burana, First MovementCarl OrffPage 98Listening

CD 2, Track 21 (a) Unison singing: Makes a strong, purposeful statement at the beginning of the work. (b) Part singing: The texture becomes homophonic and this intensifies the mood. (c) Changing time signatures: Add a feeling of unrest and uncertainty. (d) Dynamic changes: Increase and intensify the sense of excitement and drama. (e) The full orchestra is used with particular emphasis on the percussion section. This gives a

powerful rhythmic effect and contributes greatly to the dramatic style of the work.

General questions 1. A musical composition for chorus and orchestra with or without soloists.

2. (a) (three semibreves in each bar) (b) The notes are accented or stressed.

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(c) minim rest (d) semibreve (e) It adds a feeling of drama or suspense and also of anticipation – what does the listener expect to

hear next. 3. The composer presents this melodic idea in a number of different ways:

• as a single-line melody – chorus sing in unison

• as a melody with harmony

• the melody is heard in thirds

• the melody is heard at a faster speed

• melody at a higher pitch (octave higher, verse 3)

• the climax is reached when the sopranos sing this melody a third higher

• the accompaniment varies

Page 99 4. (a) The use of the breve note. The language is Latin. Use of 3/1 time. (b) Syncopated rhythm. Large orchestra with many percussion instruments. 5. A four-part choir consisting of sopranos, altos, tenors and basses.

6.

Instrument FamilyBass clarinet Woodwind

Double bassoon Woodwind

Glockenspiel Percussion

Celesta Percussion

Gong Percussion

Piano Percussion

7. Camina Burana is a cantanta composed by Carl Orff. The words come from a medieval manuscript found in a monastery in Bavaria. The texture of the music is homophonic. An important feature of the movement is repetition. There are four changes of tempo in the movement. In Orff’s works, rhythm is an important feature.

Page 100Crossword 1. gong 2. Carl Orff 3. homophonic 4. unitary 5. cantata 6. percussion 7. piano 8. dramatic

Revision questions on Set Songs and Set Works, Group A 1. (a) Gioacchino Rossini (b) cellos (c) O Fortuna (d) Water music (e) Hornpipe (f ) Overture

(g) glockenspiel; celesta; gong; bass drum (any one) (h) descant (decorative tune above the cor anglais)

Page 101 2. student’s choice

3. (a) Swiss (b) Handel (c) S.A.T.B. (d) cellos (e) cor anglais (f ) trumpets and horns (g) minuet (h) Rossini(i) a suite (j) Carl Orff

4. (a) Streets of Laredo (b) timpani or bass drum (c) ff (d) cello (e) aria (f ) art (g) D.C. (h) Paul Simon(i) timpani; cymbals; triangle; bass drum (any one) (j) The Storm (k) Handel (l) folk-song/Irish traditional song/lament

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Page 102 (m) round (n) Spring 5. (a) Russian (b) solo (c) Alpine horn (d) popular (e) The Wexford Carol (f ) minuet (g) A B A (h) Italy

(i) minor

6.

A BWilliam Tell This piece was written by Rossini

The Little Sandman An art song

Carmina Burana A cantata

Kalinka A Russian folk-song

The Water Music An eighteenth-century dance suite

Spring A song from an opera

Streets of Laredo A historical ballad

Wexford Carol A traditional Irish song

Group BBrandenburg Concerto No. 5 in D Major, First and Second MovementsJ.S. BachFirst Movement: Allegro

Page 104Listening

CD 2, Track 22 (a) The ritornello theme is a busy, lively theme in semiquaver rhythm. It is in the key of D and

contains the chord and descending scale of D. The ritornello theme contains repeated notes. (any one)

(b) In the episodes, the theme is different. There is a variety of different rhythm patterns used, e.g. quavers, triplets. In the episodes, solo flute and violin play in imitation. (any one)

(c) The instrumentation is strings, harpsichord, solo violin and solo flute. (d) The cadenza is played on the harpsichord only. Different musical figures from the ritornello theme

are developed. In the cadenza, the harpsichord player improvises (makes something up as s/he goes along).

General questions 1. A work for a small orchestra in which a small group of soloists are contrasted with a larger group of

players.

2. It was written for the military governor of Brandenburg.

3. (a) ritornello form (b) The ritornello or main theme is repeated between the different sections of the piece. 4. strings, harpsichord, solo violin and solo flute

5. (a) A solo passage which shows off the skill of the performer. (b) The larger group of instruments in a concerto grosso. (c) The group of solo instruments. (d) The continuous bass line and supporting harmonies. (e) The passage for the solo instruments.

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Page 105 6. (a) B minor (b) flute, violin, harpsichord (c) dotted rhythm

7. Polyphonic/contrapuntal – three melodic lines are combined together. The melody is played in imitation.

8. Uses only three instruments.

The instruments play in imitation all through the piece.

Minor key – different key.

The tempo is slower.

The form is different.

The mood is different. (any three)

9. Johann Sebastian Bach was born in Eisenach, Germany. He came from a long line of musicians. He was celebrated for his performances on the organ. He became Kapellmeister to Prince Leopold. The six Brandenburg Concertos were written for the orchestra. The harpsichord is very important in these concertos. At the end of the first movement there is an exciting cadenza played on this instrument.

Page 106Crossword 1. B minor 2. concerto grosso 3. canon 4. Eisenach 5. cadenza 6. ripieno 7. concertino 8. bright 9. continuo 10.harpsichord 11. German

Peer Gynt Suite No. 1, First, Third and Fourth MovementsEdvard GriegPage 107Morning

Listening

CD 2, Track 24 (a) Tempo is fairly fast with flowing quavers in Section A. Longer notes in the cello with a busy string

part above it in semiquavers in Section B. The flowing rhythmic movement reflects the dawn rising and nature awakening.

(b) The piece begins softly and gradually rises to a climax with a return to soft dynamics at the end of the piece.

(c) The piece mainly features the flute, the oboe, the clarinet, the bassoon, strings and the horn. These instruments, which are effectively contrasted, help to paint a picture of early morning.

Page 108Anitra’s Dance

Listening

CD 2, Track 25 (a) The tempo/speed is fast in the style of a mazurka. (b) The first two sections are soft. In the final section, the piece reaches a climax before it quietens

down again, finishing with a very soft chord. (c) muted strings and a triangle

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Page 109In the Hall of the Mountain King

Listening

CD 2, Track 26 (a) Tempo begins like a march and gradually the piece gets faster. At the end, the music gathers

speed in a kind of frenzy. (b) Begins very softly and gradually builds up to a very loud climax.

General questions 1. (a) flute; oboe (b) no, oboe is an octave lower (c) strings 2. (a) strings and triangle (b) use of muted strings and the triangle 3. (a) play with the bow (b) the strings are plucked (c) with mutes

Page 110 4. The same melody is repeated eighteen times.

5.

Morning Anitra’sDance IntheHalloftheMountainKing

Key E major A minor B minor

Metre 2 3 4

Tempo Fairly fast Very fast March tempo

Mood Peaceful Exotic Mysterious

Instruments Woodwind; strings; horns Strings and triangle Full orchestra

Form A B A ternary A B A ternary Variations on a melodic theme

6. Edward Grieg was born in Bergen. He was very interested in folk music. He used Norwegian folk tunes in some of his pieces. In 1876, he composed the music for Ibsen’s play Peer Gynt. Peer Gynt was a Norwegian folk character. Today this music is mainly heard in two orchestral suites. These contain the most popular pieces. ‘Morning’, ‘Anitra’s Dance’, and ‘In the Hall of the Mountain King’ all belong to Suite1.

Page 111Crossword 1. pause 2. Ibsen 3. Solveig 4. triangle 5. Bergen 6. cymbals 7. ostinato 8. troll

Hoedown from RodeoA. CoplandPage 112Listening

CD 3, Track 1 (a) The tempo of the piece is fast and energetic. (b) The piece is played loud to very loud nearly all of the time.

Page 113 (c) The composer uses a large woodwind section together with the strings, brass and percussion.

There are interesting percussion instruments in the piece, such as the xylophone and woodblock.

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General questions 1. It has a lively rhythm. It is played at a fast pace. It has an exciting mood. The tunes are repeated a

number of times. (any of these points)

2.

Instrument FamilyCor anglais Woodwind

Bass clarinet Woodwind

Xylophone Percussion

Snare drum Percussion

Woodblock Percussion

Piano Percussion

(any five)

3. Copland uses a square dance called ‘Bonyparte’, which is a typical American dance. This dance tune and ‘McLeod’s Reel’ capture the spirit and atmosphere of the Saturday night rodeo dance.

4. Student’s description

5. Aaron Copland was born NewYork in 1900. He wanted to write music that had an American flavour, using folkmusic and jazz. Rodeo is the name of one of his ballets. He arranged four pieces from this work into an orchestral suite in four sections and Hoedown is one of these sections. Copland uses two dance tunes in this section, ‘Bonyparte’ and ‘McLeod’s Reel’. The mood of the music is exciting.

Page 114Crossword 1. horn 2. Rodeo 3. square dance 4. woodblock 5. banjo 6. cowgirl 7. Bonyparte

Revision questions on Set Songs and Set Works, Group B 1. (a) ostinato (b) A B A ternary (c) tutti (d) woodblock; snare drum; xylophone; piano (any one) (e)

Rodeo (f ) Peer Gynt (g) mazurka (h) harpsichord 2. Student’s choice

Page 115 3. (a) Music written for stage plays. (b) A work for a small orchestra in which a small group of soloists is contrasted with a larger group of

players. (c) A group of dance tunes or a set of pieces based on music which was originally composed for a

ballet or play arranged for a concert. (d) Functional dance music. 4. (a) Copland (b) Solveig (c) Hoedown (d) Grieg (e) grosso (f ) ritornello (g) imitation; dotted rhythm

(any one)

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5.

A BGrieg Peer Gynt Suite

Fr Tom Egan The Lord Is My Shepherd

Copland Hoedown

Humperdinck Evening Prayer

Bach Brandenburg Concerto

Schubert Wanderer’s Night Song

Jerome Kern Can’t Help Lovin’ Dat Man

Lennon/McCartney Yesterday

6. (a) plainsong (b) Grieg (c) reel/square dance (d) ostinato (e) two (f ) musical (g) solo (h) mode (i) out(j) pp (k) square

Page 116 (l) Rodeo (m) A B A (n) continuo (o) tempo (p) concerto grosso (q) Goethe (r) The Beatles (s) ritornello

(t) Yesterday (u) harpsichord (v) antiphon (w) folk-song; Irish traditional song; love song; work song (any one) (x) horn; trumpet; trombone; tuba (any one) (y) A A B A

Group CThe Four Seasons, Op. 8 No. 1, Spring (First and Second Movements)Antonio VivaldiPage 118Listening

CD 3, Tracks 2 and 3 (a) The solo violin and two other violins imitate birdsong with trills and other decorations on the

notes. (b) Flowing fast notes (semiquavers) played on the violins suggest the brooks/streams murmuring. (c) The continuous movement of the two violins and viola suggest the gentle rustling of the leaves in

the second movement.

General questions 1. (a) ritornello (b) The main theme returns several times between each of the contrasting themes or episodes. 2. solo violin, strings and harpsichord

3. (a) doh triad (b) soh triad (c) dotted crotchet = 1½ beats; quaver = ½ beat; semiquaver = ¼ beat(d) by a combination of step and leap

Page 119 4. Only four instruments: three violins and viola; minor key; slow speed; peaceful mood; different form;

soft dynamics. (any three)

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5.

FirstMovement SecondMovement‘Spring has come’: Bright cheerful tune, a high pitch

Barking of the dog: viola plays two very loud notes continuously

The birds trills and decorations on the high notes played by violins

Rustling of the leaves: continuous semiquaver movement

Flowing stream: fast notes (semiquavers) on violins

Peaceful scene: the music is played softly and in a flowing style

Thunder and lightning: fast repeated low notes and rapid rising scales

(any two from each movement)

6. Vivaldi was born in Venice. His father was a violinist in St Mark’s Cathedral. Vivaldi was a priest and composer who spent a number of years as a violinteacher in a girls’ orphanage. He wrote over 450 concertos, many of them contain expressive music for the violin. The Four Seasons are four solo concertos written for solo violin, string orchestra and continuo. They are a very good example of early programme music. Each piece begins with a poem describing that particular season. The first concerto describes the freshness and beauty of Spring. The slow movement of this concerto is in the minor key and is played very quietly throughout.

Page 120Crossword 1. lah chord 2. largo 3. Venice 4. harpsichord 5. cheerful 6. ritornello 7. tutti 8. violin

L’Arlésienne Suite No. 2, Second and Fourth MovementsGeorges BizetSecond Movement: Intermezzo

Page 121Listening

CD 3, Track 4 (from 1:02) (a) The opening melody in Section A is played slowly. In Section B the new melody is heard at a faster

speed, but the final bars get slower. (b) The opening melody in Section A is played very loudly, with each note heavily accented. The

melody in Section B is played softly. (c) The opening bars of Section A are played by strings, woodwind and horns, and in Section B by

saxophone, clarinet and cornet accompanied by strings. (d) The melodies in both A and B move mainly by step. The opening melody in A is heard at a lower

pitch than in B.

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Fourth Movement: Farandole

Page 122Listening

CD 3, Track 5 (a) The tempo is fast and in the style of a march in the opening Section A. In Section B, the tempo

gets faster and is in dance style. (b) Begins very loud. The dance tune is introduced very quietly. Gradually, the music builds up to a

very loud climax. (c) Bizet uses a large orchestra consisting of woodwind, strings, brass and percussion. The

tambourine is an important instrument in the percussion section, and the composer uses the cornet in the brass section.

Page 123General questions 1. (a) A lively dance from Provence in France usually in 6/8 time. The dancers move in procession

through the streets, usually led by a pipe and tabor. (b) A piece of music played between the scenes or acts of a play or an opera. (c) Music composed for a play. (d) Two or more independent melodies heard at the same time. 2.

Intermezzo FarandoleKey E major D minor/D major

Metre 4 4/2

Tempo Fairly slow Fast/very fast

Form A B A ternary A B A + B binary

Mood Solemn Lively/exciting

Texture Homophonic Homophonic/polyphonic

3. (a) two (b) strings, woodwind and horns (c) played a fifth (five notes) higher

4. (a) tambourine (b) The folk version is in 6/8 time but Bizet uses 2/4 time. (c) tambourine 5.

March Horn, cornet, trombone

Dance Flute, oboe, clarinet, violin

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Page 124 6.

Instrument SectionoftheorchestraClarinet Woodwind

Tambourine Percussion

Harp Strings

Saxophone Woodwind

Bassoon Woodwind

Viola Strings

Trumpet Brass

Cornet Brass

Flute Woodwind

Horn Brass

7. George Bizet was born in Paris in 1838. While at the Paris Conservatoire, he won the Prix de Rome which enabled him to study in Italy. He began his musical career as an opera composer. His best-known opera is Carmen. He was invited to compose incidental music for the play L’Arlésienne. He used two folktunes from Provence to give the music a flavour of the region. Later he and a friend arranged some of the music into two suites. The ‘Intermezzo’ is played between two acts of the play. The famous ‘Farandole’ is based on an old melody from Provence which was traditionally accompanied by tabor and pipe. At the end of the piece, both tunes are heard in counterpoint. Bizet’s music matches the mood of the play.

Page 125Crossword 1. flute 2. dance 3. march 4. carol 5. accented 6. brass 7. minor 8. Provence 9. canon 10. binary11. Intermezzo

Ripples in the Rockpools, Second Movement from GranuaileShaun DaveyPage 126Listening

CD 3, Track 6 (a) The first verse and part of the third verse are sung by a solo female voice – perhaps representing

Grace O’Malley. (b) The second verse is sung by male and female voices in unison. (c) The chorus is sung by voices in harmony. The homophonic texture contributes to the dramatic

effect.

Page 127 (d) There are many changes of time signature, which conveys the sense of restlessness and adds

excitement to the rhythm. (e) Instruments from the string, woodwind and brass sections of the orchestra, percussion

instruments such as conga drums and xylophone and traditional instruments such as the harp and the Uilleann pipes.

(f ) After the words ‘but the wind is surely rising’, there is a rising passage on the flute and clarinet. This suggests the wind rising and is an example of word painting.

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General questions 1. (a) The repetition of a short melodic phrase sung or played at a higher pitch. (b) all the instruments (c) Sliding quickly from one note to the next up or down a scale. 2. conga drums, guitar, Uilleann pipes, harp, xylophone

3. The mixture of classical and traditional instruments. The changing time signatures. The use of 7/8 time signature. The main tune is based on only four notes. The Uilleann pipes play a solo based on an Irish dance tune. The use of word painting on the words ‘but the wind is surely rising’. The battle cry on woodwind and pipes. The piece ends very abruptly. A drone is used, which is associated with traditional Irish music, in particular on the Uilleann pipes. (any three)

4. repeated notes; unusual time signatures; sequence; harp glissando; modal tonality; long sustained notes (any four)

5. The uilleann pipes consist of a chanter, bellows, three regulators and three drones. The melody is played on the chanter. The bellows supply the air to the bag and this air causes the reed to vibrate. The regulators supply chords for harmony. The drones provide a continuous note under the melody. Slow airs and dance tunes can be played on the Uilleann pipes. It is a very flexible instrument, making it very easy to do instrumentation. Well-known players include Séamus Ennis, Paddy Maloney, Willie Clancy. (some of the information above)

Page 128 6. Shaun Davey was born in NorthernIreland. While he was a student, he developed an interest in

popularmusic. He composed music for TV advertisements. In his serious works, he combined traditional Irish instruments with instruments from the orchestra. His works include The Relief of Derry Symphony, The Brendan Voyage and Granuaile. In the movement ‘Ripples in the Rockpools’, the opening bars set a mood of restlessness. In the fourth section of the piece, Davey introduces an Irish dance played on the uilleannpipes. Two unusual features of the movement are its instrumentation and frequent changes of timesignature.

7. Student’s own description.

Page 129Crossword 1. conga 2. drone 3. clarinet 4. Donal 5. guitar 6. glissando 7. traditional 8. modal 9. uilleann

Revision questions on Set Songs and Set Works, Group C 1. (a) glissando (b) Bizet (c) ritornello (d) slow (e) movement (f ) A B A’ ternary form (g) fast (h) pause sign

Page 130 2. Student’s choice.

3.

Spring L’ArlésienneSuite Granuaile StreetsofLondonContinuoSolo violin suggests the shepherdVivaldiSpring

Dance rhythm played on a taborTowards the end two tunes are played at the same timeFrench

A lively reel played on uilleann pipesShaun DaveyA lively accented figure imitating a battle cry

English songwriterIt became a big hit in 1969Ralph McTell

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Page 131 4. Vivaldi’s orchestra in ‘Spring’ uses strings only with the harpsichord. It features a solo violin. There are

many more instruments in Shaun Davey’s orchestra in ‘Ripples in the Rockpools’: woodwind, brass and string instruments, including the guitar, together with traditional Irish instruments, the harp and the uilleann pipes. Davey also uses conga drums, which come from Latin America, and a xylophone.

5. (a) flute (b) art (c) reel (d) Vivaldi (e) Shaun Davey (f ) drinking; Irish traditional; folk (any one) (g) violin (h) uilleann (i) Farandole

6. (a) popular song; American gospel song; spiritual (any one) (b) Bess (c) piano (d) Caro Mio Ben (e) jazz; syncopation (f ) chorus (g) uilleann pipes; conga drums; guitar (any one) (h) tutti (i) glissando (j) Hail, Holy Queen (k) ballad (l) continuo (m) Wooden Heart (n) march (o) ‘let’ (p) an opera

Page 132(q) fast or allegro (r) canon (s) Granuaile (t) solo (u) By the Waters of Babylon (v) reel (w) trill (x) largo (y) art

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Unit 2.3 irish mUsicPage 133The harp and harpers 1. (a) Aharperwasaprofessionalmusicianwhoperformedincastlesandbighouses.Hecomposed

piecesforspecialoccasionsforhispatrons.Thesepieceswereoftencalledplanxties,andoftenborethenameofthepatron.

(b) O’CarolanlivedintheseventeenthcenturyandwasthebestknownoftheIrishharpers.Hetravelledaroundthecountryandwastreatedasanhonouredguestwhereverhewent.HecomposedharptunesforhishostscalledplanxtiesandwasinfluencedbyItalianmusicwhichwasfashionableatthattime.HismostfamouspieceiscalledCarolan’sConcerto.

(c) Histuneshavebeenpublishedincollectionsandarefrequentlyplayedtoday. (d) 1792 (e) Topreserve,promoteandencouragetheharpingtradition. (f ) DenisHempson (g) TheharptuneswerewrittendownbyEdwardBuntingandpreservedforfuturegenerationsinhis

collections.Healsomadenotesontheplayingtechniquesandlifestyleoftheharpers. (h) Coins,governmentcorrespondence,Irishsouvenirs

The collectors 2. (a) EdwardBunting (b) TraditionalmusicianswererecordedinAmericaandtheserecordingsweresentbacktoIreland.

Differentinterpretationsoftunesbydifferentmusicianscouldbeheard.RecordingssentfromAmericainfluencedyoungerplayerswhocopiedtheirstyle.Becauseofthisregionalstylesbecamelessobvious.

Page 134 (c) CollectorssuchasBuntingandPetriewrotedowntheoutlineofthetunes.Modernrecording

techniquescanrecordtheperformanceofthetuneallowingfordifferentinterpretationsfromindividualperformers.

(d) Anycollector: Bunting:CollectorattheBelfastHarpFestival. Petrie:HiscollectionAncientMusicofIrelandgivesdetailsofwhereeachtunewasfound. F.O’Neill:Importantcollectorofdancemusic.

Anglo-Irish Music 3. (a) MoorewasanAnglo-Irishpoetoftheeighteenthandnineteenthcenturies.Hesethisownpoems

totheharpmelodiescollectedattheBelfastHarpFestival. (b) AnytwosongsofThomasMoore.

Irish Traditional MusicCD 3, Track 7 4. Melodyplayedontraditionalinstrument

Soloperformance:Noaccompaniment

section 2: Preparing for the Exam

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Droneinthebackgroundistraditional

Ornamentationofthemelodybyaddinggracenotes

CD 3, Track 8 5. Anyfourofthefollowing:

Soloperformance

Noaccompaniment

Useofornamentation

Nasalqualityinthevoice

Nodynamics

6. Anytraditionalsean-nóssinger

Page 135 7. Anythreeofthefollowing:

Traditional Non-traditionalFiddle Bouzouki

Uilleannpipes Mandolin

Flute Harpsichord

Tinwhistle Guitar

Concertina Keyboard

Harp

8. Anywell-knownperformerofeachinstrument,e.g.

Uilleannpipes:PaddyMoloney,LiamÓFloinn

Fiddle:EileenIvers,PaddyGlacken

Flute:MattMolloy,NiallKeegan

Tinwhistle:AndreaCorr,MaryBergin

Accordion:JoeBurke,SharonShannon

Bodhrán:MelMercier,ConnMurphy

9.

Melody Harmony PercussionFiddle Harp Bodhrán

Uilleannpipes Guitar Bones

Flute Banjo Spoons

Tinwhistle Bouzouki

Anyotherinstrumentswhicharesuitable.

10. (a) Collector:FrancisO’Neill (b) Harper:TurloughO’Carolan (c) Fiddle:EileenIvers (d) Balladgroupofthe1960s:TheClancyBrothers (e) Composer:BillWhelan (f ) Vocalgroupofthe1970s:Clannad (g) Sean-nóssinger:NóirínNíRiain (h) Piper:LiamÓFloinn

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(i) Accordion/Concertina:SharonShannon (j) Modern-daytraditionalgroup:Cruinniú

Page 136CD 3, Track 1011. (a)

(b) AABB

CD 3, Track 1212. Fiddle,Flute,Bodhrán

CD 3, Track 2113. (a) Irishdancetune–reel (b) Concertina (c) Traditional:Useofornamentation (d) Fast (e) (f ) AABB:8-barphrases14. Anygroupofstudent’schoice.

Page 13715. Anypieceofstudent’schoice.

16. Anypieceofstudent’schoicewhichfusestraditionalmusicwithmusicofanotherstyle.

17. Anygroupofstudent’schoice.Opportunityforstudent’sownresearch.

Page 13818. BriefdescriptionofanyfourtraditionalIrishinstruments.

Page 13919. (a) ComhaltasCeoltóiríÉireann:PromotesIrishmusic,songanddancing.Branchesestablished

alloverIreland,England,Americaandothercountries.Organisesteachingfacilitiesandcompetitions.Targetsyoungpeople.Manywell-knownplayersbeganinaComhaltasbranch.HoldsanannualAll-IrelandFleadhCheoil.

(b) RTÉ:PromotestraditionalmusicandsongbybroadcastingprogrammesonIrishmusicbothonradioandtelevision,e.g.The Long Note; Céilí House; Bringing It All Back Home.

Radioprogramme:A Job of Journeywork. TVseries:Come West Along the Road. (c) TG4:Developedavarietyofmusicprogrammesdevotedtotraditionalmusic,e.g.Síbín –apub-

stylesettingwhichfeaturestraditionalmusicalongsideothertypesofmusic.MainsponsorsoftheNationalTraditionalMusicAwards.

20. Anythreepiecesofstudent’schoicewithareasonforthechoice.

Page 140Crossword 1. oral 2. Riada 3. television

4. Chieftains 5. harper 6. dance

7. harp 8. anach 9. Clannad

10. Whelan

Show:Riverdance

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Page 141Wordsearch

U E M U Y G R N B S T I R N

I Z C E U C Á F N E V I I C

L U C O I R T O E T F Z B C

L J P J H J O R L U R N J A

E L G D A P E B D L A O M D

A R O P S Z N F D F X E K H

N B P B J A B H I G S D Q A

N R G A A V G O F T J O H R

P V N J L U U O N G M L P P

I J Z U A X I F J E B E I C

P E W H L N T E D N S M X V

E T U Q F J A K Q B A E G R

S C O N C E R T I N A B A T

H F Y E S T T K X A J T D L

H

A

R

P

S

N E

O E T

O L U

P D L

S D F

B I

G O F

U O N

I J E

T N S

A A

C O N C E R T I N A B

N

Á

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D

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Page 142 1. harp 2. Petrie 3. embellishment 4. ThomasMoore

5. EdwardBunting 6. Green 7. Neale 8. English

9. Hempson 10. nasal 11. laments 12. sean-nós

13. solo

Page 143 1. flute 2. bodhrán 3. banjo 4. mandolin

5. harpsichord 6. concertina 7. fiddle 8. MattMolloy

9. uilleannpipes 10. piano 11. DonalLunny

Unit 2.4 mElodic and rhythmic dictationPage 144 1. Addstems–notevalues:semibreve,minim,crotchet,quavers.

(a)

(b)

(c)

(d)

2. Melodyandrhythmcombined.NotevaluesasinQ1.Pitchdrmfsonly.Stepmovement.

3. Melodiesbasedoncompletescale.Notesshouldmovebystep.

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Page 145 4. (a)(b)(c)(d)Introducingthedohchord.

5. Introducingdottedcrotchet/quaverrhythm.Outlineofmelodygiven.

Page 146 6. Four-barmelodieswhichcontainsomeorallelementsoftheabove.Bar-linesgiven.

Page 147 7. Four-barmelodies–studentstoadd10notestocompletethemelody.Rhythmshouldcontaina

dottedcrotchet/quaverasinJuniorCertificateQ4.

Unit 2.5 choicE songs and choicE worksPages 148–152Student’sownchoiceineachcategory.

Unit 2.6 triadsPage 153 1. (a) major(b)major(c)minor(d)major(e)major(f )minor 2. (a) (i)GBCD(ii)Gmajor(iii)noteC(iv)Aminor (b) (i)AFD(ii)Dminor(iii)secondtriad(vi)bar4

Page 154 3. (a) DBG(b)major(c)Y(d)bars2and8 4. (a) GB D(b)minor(c)3,4,5,7,8,10,14(anythree) (d) Errata:KeysignatureshouldbethesameasRiverWisla.Answer:Y

Page 155 5. (a) bassclef(b)Gmajor(c)GDB(d)dohtriad(e)bars2,4,5,6,8,10,12,13,14,16(anytwobars) (f ) sohtriad(g)compound(h)cello;bassoon(i)AABA 6. (a) minorkey(b)Gminor(c)bars1,5,8(d)6/8

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Page 156 7. (a) GDB (b) Gmajor(Errata:Deletethewords‘Threeof’inquestion.)

(c)

2-6AA

? #www

www

(d) bar5 8. (a) CFGA (b) Fmajor

(c)

2-6BB

? b wwwwww

(d) bar4

Unit 2.7 comPosing mElodiEsPage 157StudentschooseoptionA,BorCasguidedbytheirteacher.

Unit 2.8 chord ProgrEssionsPage 164 1. (a) AWAITINGAUTHORS’ANSWER (b) AWAITINGAUTHORS’ANSWER

StudentschooseoptionA,BorCasguidedbytheirteacher.

Page 16812.

(a) F B C F

(b) G C D G

Page 16914.

(a) B E F B

(b) C F G C

15.

(a) Dm A Dm Gm A A7 Dm

(b) Dm Gm Dm A Dm

(c) Em B Em Am Em B Em

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16.

D A D G A D G A Bm GorEm A D

Page 17017. (Errata:Boxmissinginlasttwobeatsofbar6)

F C F B orGm C

F B F DmorB B orGm C

missingbox