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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
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
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
Œ D
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__________________________________________
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
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
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
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
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
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
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
11
Page 59Yesterday
Performing
1.
™ ™ ™ ™
C
C
2-1MM
& b F
œ œ ˙ ™ Em
Œ A 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
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
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
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
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
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–––––––––
17
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
18
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––––––––––––––
19
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˙ ˙
20
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
21
(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
23
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
24
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.
25
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.
26
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.
27
(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
28
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.
29
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
30
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.
31
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)
32
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)
33
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.
34
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
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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
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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
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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