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Leaving Certificate Leaving Certificate Music Music THE BEATLES THE BEATLES It was 40 years ago It was 40 years ago today……..! today……..!

Leaving Certificate Music THE BEATLES It was 40 years ago today……..!

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Leaving Certificate Music Leaving Certificate Music

THE BEATLESTHE BEATLES

It was 40 years ago It was 40 years ago today……..!today……..!

The AlbumThe Album• Gave the audience a lot more than just the Gave the audience a lot more than just the

songs – they also got:songs – they also got:• Two continuous sides of musicTwo continuous sides of music• The definite feel of a live performance with The definite feel of a live performance with

all the “extra” audience soundsall the “extra” audience sounds• Mixture of styles – classical to Indian raga!Mixture of styles – classical to Indian raga!• Printed song lyricsPrinted song lyrics• An kaleidoscope of colours on the front An kaleidoscope of colours on the front

cover with the best “audience” collected in cover with the best “audience” collected in historyhistory

• A cut out moustache along with stripes A cut out moustache along with stripes and a badgeand a badge

• A 41 piece orchestra on a Pop record A 41 piece orchestra on a Pop record

There are 3 Beatles songs for There are 3 Beatles songs for studystudy::

• Sgt Pepper’s Lonely Hearts Club Sgt Pepper’s Lonely Hearts Club

• She’s Leaving HomeShe’s Leaving Home

• When I’m 64When I’m 64

Syllabus requirementsSyllabus requirementsAll Levels!All Levels!• Understand, identify and describe Understand, identify and describe

the range of musical features usedthe range of musical features used

• Study its musical style and place it in Study its musical style and place it in its historical contextits historical context

• Analyse and Describe patterns of Analyse and Describe patterns of repetition and change within the repetition and change within the musicmusic

And also for Higher And also for Higher Level…….Level…….

• To make Comparative Judgements To make Comparative Judgements about musicabout music

• To evaluate Interpretation and To evaluate Interpretation and Performance in the light of Performance in the light of experience already attained.experience already attained.

So what do I have to know?So what do I have to know?

• The album- datesThe album- dates

• Concept ideaConcept idea

• What makes it What makes it different?different?

• General overview General overview of the types of of the types of songs on the songs on the album.album.

• As with all the set As with all the set

works a thoroughworks a thorough

knowledge of each knowledge of each

set song is important set song is important

as examiners are as examiners are

most adept at asking most adept at asking

anything of interest! anything of interest!

What Kind of questions am I What Kind of questions am I asked?asked?

• InstrumentationInstrumentation

• Structure e.g. Verse, chorusStructure e.g. Verse, chorus

• KeysKeys

• TexturesTextures

• Chord patternsChord patterns

• Lyrics – word paintingLyrics – word painting

• Production TechniquesProduction Techniques

What Kind of questions am I What Kind of questions am I asked?asked?

• Differences between individual verses Differences between individual verses in particular She’s Leaving homein particular She’s Leaving home

• Correct identification of each song Correct identification of each song and individual parts e.g. Sgt Pepper and individual parts e.g. Sgt Pepper bridge sectionbridge section

• Be able to identify and insert missing Be able to identify and insert missing notes and chordsnotes and chords

• Examples of Syncopation, Examples of Syncopation, Chromaticism, etc – standard Chromaticism, etc – standard “classical” terminology also applies “classical” terminology also applies to these songsto these songs

• Just because this is “pop” music we Just because this is “pop” music we should not underestimate the should not underestimate the tremendous musicianship of this tremendous musicianship of this groupgroup

Analysis (1) Sergeant Peppers Analysis (1) Sergeant Peppers Hearts Club Band.Hearts Club Band.

IntroIntro Verse 1Verse 1 BrassBrassinterlude 1interlude 1

MiddleMiddle InterludeInterlude2 2

Verse 2Verse 2 linklink

4 bars4 bars 8 bars8 bars 5 bars5 bars 12 bars12 bars 5 bars5 bars 8 bars8 bars 4 bars4 bars

1-41-4 5-125-12 13-1713-17 18-2918-29 30 -3430 -34 35 - 4235 - 42 43 - 4643 - 46

Analysis Sergeant Pepper Analysis Sergeant Pepper (2)(2)Introduction Introduction • Initial sounds of audience in a concert hall!Initial sounds of audience in a concert hall!• Four bar instrumental with tune on lead guitarFour bar instrumental with tune on lead guitar

Verse 1• Homophonic texture• 4 x 2 bar phrases• Key centres around G• Repeated notes 1st 2 bars made up of just 2

notes• Same chords as intro

Sergeant Pepper (3)Sergeant Pepper (3)

Brass interlude 1Brass interlude 1

• 4 French horns 4 French horns

• – – London Philharmonic OrchestraLondon Philharmonic Orchestra

• Polyphonic TexturePolyphonic Texture

• Key around GKey around G

Sergeant Sergeant Peppers Peppers ((44))

Middle Section – Middle Section – Longest SectionLongest Section• Refrain – Refrain – We’re SergeantWe’re Sergeant ……. …….• Vocal line rhythm is doubled in length i.e., semiquavers Vocal line rhythm is doubled in length i.e., semiquavers

become quavers!become quavers!• 2/3 part harmonies2/3 part harmonies• Descending D7 arpeggio on hornsDescending D7 arpeggio on horns• Typical pop hook used – catchy tune to grab your audience!Typical pop hook used – catchy tune to grab your audience!

InterludeInterlude• Chords as for Brass interludeChords as for Brass interlude• VocalsVocals• Horns now a sustained dotted minim moving to quaversHorns now a sustained dotted minim moving to quavers

Sergeant PepperSergeant Pepperss ( (55))

Verse 2Verse 2• Homophonic textureHomophonic texture• Key centres around GKey centres around G• 4 x 2 bar phrases4 x 2 bar phrases• Repeated notesRepeated notes• Same chords as introSame chords as introLinkLink• Similar to brass interludeSimilar to brass interlude• Chords of C D E linking to Chords of C D E linking to With a little help With a little help

from my friendsfrom my friends

Analysis ‘64Analysis ‘64

Recorded Dec 1966Arrangement – George Martin

Structure

IntroIntro Verse1Verse1 Bridge1 Bridge1 Verse2Verse2 Bridge2Bridge2 Verse3Verse3 CodaCoda

BarBar 1-41-45-65-6

A A 7-14 7-14B B 15-22 15-22

CC 23-30 23-30DD 31-39 31-39

AA 40- 47 40- 47BB 48-55 48-55

CC 56-63 56-63DD 64-72 64-72

AA 73-80 73-80BB 81-88 81-88

89 -9289 -92

’’64 64 (2)(2)

IntroIntro – Fabulous use of 2 clarinets and – Fabulous use of 2 clarinets and 1 bass clarinet.1 bass clarinet.

• Piano Vamp – (not part of Pop music)Piano Vamp – (not part of Pop music)

• Really Jazz combo here!Really Jazz combo here!

• Such a great contrast to the previous Such a great contrast to the previous tracktrack

’’64 (3)64 (3)

Verse 1Verse 1• 4 bar phrases A-B-A1-C4 bar phrases A-B-A1-C

• Effective use of Chromatic notesEffective use of Chromatic notes

• C phrase – Harmonic sequence Ab-C-A7-D-G-C but C phrase – Harmonic sequence Ab-C-A7-D-G-C but with the added notes for colour.with the added notes for colour.

• Homophonic TextureHomophonic Texture

• Augmentation “will you still ..” Augmentation “will you still ..” “birthday “birthday greeting…”greeting…”

’’64 (4)64 (4)

Bridge 1Bridge 1

• Begins in Am (relative minor)Begins in Am (relative minor)

• Melody less syncopatedMelody less syncopated

• Much higher register usedMuch higher register used

• Alberti-type accompanimentAlberti-type accompaniment

• Polyphonic texture ( John and Paul )Polyphonic texture ( John and Paul )

Verse 2Verse 2

• Harmonic sequence F Ab C A D G C Harmonic sequence F Ab C A D G C

’’64 (5)64 (5)

Bridge2Bridge2

• Begins in Am (relative Minor)Begins in Am (relative Minor)

• Melody less syncopatedMelody less syncopated

• Much higher registerMuch higher register

• Alberti –bass accompanimentAlberti –bass accompaniment

• Polyphonic Texture – particularly “we shall Polyphonic Texture – particularly “we shall scrimp and save” scrimp and save”

• Use of diminution here minimsUse of diminution here minimscrotchetscrotchets

’’64 (6)64 (6)

Verse 3Verse 3

• Similar to verse 2 butSimilar to verse 2 but

• More instrumental ad libs i.e.,listen to solo More instrumental ad libs i.e.,listen to solo guitarguitar

• Does not go to bridge againDoes not go to bridge again

• Clarinet in 3rds with vocalistClarinet in 3rds with vocalist

CodaCoda

• Drum kit similar to openingDrum kit similar to opening

• Well timed Well timed ooohoooh to finish to finish

She’s Leaving Home - She’s Leaving Home - StructureStructure

IntroIntro Verse1Verse1 ChorusChorus Verse2Verse2 ChorusChorus Verse 3Verse 3 ChorusChorus

1-41-4 5-365-36 37-5537-55 56-8756-87 88-10688-106 107-122107-122 123-134123-134

ABABABAB CDCD ABABABAB CDCD ABAB CC

Leaving home (2)Leaving home (2)

• InstrumentationInstrumentation• String Nonet String Nonet • 4 violins 4 violins • 2 Violas 2 Violas • 2 cellos 2 cellos • 1 Double Bass 1 Double Bass • 1 Harp - Sheila Bromberg – 1st time a 1 Harp - Sheila Bromberg – 1st time a

woman appears on a Beatles song!woman appears on a Beatles song!

Leaving Home (3)Leaving Home (3)

• Word PaintingWord Painting – some excellent examples – some excellent examples here The actual lyrics are wonderful, here The actual lyrics are wonderful, particularly the reaction of the parents to particularly the reaction of the parents to what their daughter has done. Their concern what their daughter has done. Their concern seems only to be for themselves, which is seems only to be for themselves, which is why the girl leaves in the first place. Also why the girl leaves in the first place. Also phrases like “phrases like “she’s leaving home after she’s leaving home after living alone for so many yearsliving alone for so many years” perfectly ” perfectly captures the dysfunctional nature of this captures the dysfunctional nature of this family situation.family situation.

Leaving home (4)Leaving home (4)

IntroIntro• Harp Arpeggios Harp Arpeggios • Homophonic textureHomophonic texture• Fab contrast to Fab contrast to

previous trackprevious track

Verse 1Verse 1• Voice and harpVoice and harp• Cello counter melody Cello counter melody

(bar10 – 12)(bar10 – 12)• Form: ABAB, each Form: ABAB, each

phrase gets a different phrase gets a different accompanimentaccompaniment

• Key: E (vocal score Eb)Key: E (vocal score Eb)• Word painting: Word painting:

“downstairs” – “downstairs” – descending violin descending violin melodymelody

Leaving Home (5)Leaving Home (5)

Chorus 1Chorus 1

• Beautiful vocal Beautiful vocal harmonies – Paul harmonies – Paul Falsetto with John‘s Falsetto with John‘s counterpointcounterpoint

• Mainly 1 chord for Mainly 1 chord for 13 bars – Different 13 bars – Different forms of Chord I forms of Chord I (Eb- Score)(Eb- Score)

Verse 2Verse 2• Similar to 1st verse Similar to 1st verse

but subtle differences but subtle differences in accompaniment in accompaniment

• e.g. strings first then e.g. strings first then Harp, cello has Harp, cello has walking bass ideawalking bass idea

• much richer string much richer string texture texture

• Homophonic textureHomophonic texture• Word painting: Mother Word painting: Mother

sobbing – violin sobbing – violin counter melody counter melody

Leaving home (6)Leaving home (6)

Chorus 2Chorus 2• As with 1st chorus but As with 1st chorus but

again changes to the again changes to the accompaniment. accompaniment.

• Middle texture now richer. Middle texture now richer. (Viola)(Viola)

• 18 bars divided into 8 and 18 bars divided into 8 and 10 bars respectively 10 bars respectively ++ 1 1 extra bar giving a total of extra bar giving a total of 19 bars 19 bars

• this uncertainty in phrase this uncertainty in phrase length may mirror the length may mirror the daughters uncertain future.daughters uncertain future.

Verse 3Verse 3• Shorter than other Shorter than other

verses (Only 16 bars)verses (Only 16 bars)

• Word painting: use of Word painting: use of tremolo strings - tremolo strings - daughters’ excitement daughters’ excitement at her prospective at her prospective meeting.meeting.

• Use of quaver Use of quaver movement in cello part movement in cello part to mirror the man in the to mirror the man in the “motor” trade!“motor” trade!

Leaving Home (7)Leaving Home (7)

• Chorus 3Chorus 3

• Like others but all string parts more Like others but all string parts more animated e.g. violins play a repeated animated e.g. violins play a repeated rhythm pattern here rhythm pattern here

• Final chorus uses 20 bars as opposed to Final chorus uses 20 bars as opposed to 19 perhaps she’s made the right decision?19 perhaps she’s made the right decision?

• Accompaniment “calms” down towards Accompaniment “calms” down towards end of this chorus – mainly dotted minims end of this chorus – mainly dotted minims in upper parts in upper parts