Area of GAM 1 Handel GAM 2 Mozart GAM 3 Chopin

Study 1

mozart writes for small classical solo piano

orchestra
melody swaps from RH LH
STRINGS vln i/ii, vla, vc, cb (vc and cb depending on change in structure - ie.
INSTRUMENTATI play same bass line) A=RH melody, B=LH melody
ON
WOODWIND 1 flute, 2 oboes, 2 clarinets, soft and sustained pedals used
2 bassoons

BRASS 2 horns (unvalved limited

notes) NO TRUMPETS!!

PERCUSSION NO TIMPANI!!

the movement is written in sonata ternary - ABA + coda

form
structure defined by tonality
this is a structure defined by tonality
STRUCTURE/FO sections are inequal - A: 27 bars, Ai: 6
EXPOSITION (presents 1st/2nd subjects in bars
RM
contrasting keys)
no intro
DEVELOPMENT (greater harmonic
venture)

RECAPITULATION (presents 1st/2nd

subjects in tonic key)

CODA (finishes the piece in the tonic

key)
 the structure is defined by tonality use of dominant pedal in all sections

1st subject G minor A section: Db major, occasionally

modulates to related keys
HARMONY & 2nd subject Bb major (relative major)
B section: C# minor - ENHARMONIC -
TONALITY
in recapitulation the 2nd subject is in G modulates to E major
minor

in development there is a greater sense

of harmonic venture lots of
modulations

perfect cadences e.g. coda.

melodic lines use periodic phrasing phrasing in two bar chunks

MELODY balanced phrases top Bb - highest note

violin 1 often have a melody RH: melody, dotted rhythms, gentle

syncopation, occasionally chromatic
 1st subject diatonic ornaments

2nd subject increased chromaticism LH: steady quavers, dominant pedal

development use of sequences, B SECTION: LH melody, RH dominant

imitation + augmentation to develop pedal

melodic lines
played in middle range of piano; full
range not explored

B narrower range than A

mozart writes in 4/4 with very fast contrast between melody and
tempo (molto allegro) accompaniment
RHYTHM
alberti bass in bassoon/cello movement MELODY: ornaments, gentle
syncopation, dotted rhythms in A
violas constant quavers in 1st subject section (RH) / crotchets in B section
(LH) - CONTRAST
augmentation of 1st subject in canon
between treble and bass ACCOMPANIMENT: steady quavers,
dominant pedal, except in coda
 melody dominated homophony mostly melody and accompaniment,
except coda
typical to classical period MDH crystal
clear textures monophonic
TEXTURE
octave doubling 1st subject vln i/vln ii B: thicker, more chordal, uses octave
doubling
dialogue between strings and
woodwind 2nd subject

canonic writing treble and bass

Area of GAM 1 Schoenberg GAM 2 Bernstein GAM 3 Reich

Study 2
 unusually large band

lead male vocals: tenor

INSTRUMENTATI unusually large band, 30 players

ON
FOUR ORCHESTRAL FAMILIES

1. woodwind: 5 players:
saxophone and clarinet (double
up)
2. brass: 7 players: 2 horns, 2
trombones, 3 trumpets
3. percussion: 4 players: drumkit,
piano + 2
4. strings: 14 players: 7 violins, NO
VIOLAS, 4 cellos, 2 double bass,
1 electric/acoustic guitar (double
up)

ABBA form

avoids conventional verse-chorus form

STRUCTURE/FO sections made recognisable by melodic

hooks and rhythmic accompaniments
RM

ABBA:

intro (b.1-3, vamp b.3) A (b.4-39) B

 (b.40-105) B (b.106-140) A (b.141-
157) outro (b.138, fade out vamp)

tonal but with added chromatic notes

A sections: D major, B sections: C

major
HARMONY &
use of blues notes: #4th and b7th
TONALITY
jazz inspired, use of #4th gives a tritone
interval used by composers as the sign of
the devil - ind. of problems within story

vocal melody ends on C natural,

accompaniment ends in D major

contrast between short, snappy

phrases (a) and long, sustained notes
MELODY (b)

uses short, repeated riffs throughout

 sustained notes (B section)

push notes anticipate beat, esp. at start

of vocal phrases

melodic line can be sung, though w/

some challenging intervals, eg. uses of
blues notes

mix between 3 / 4 (A) and 2 / 4 (B) -

tempo stays fast
RHYTHM
accompaniment on-beat bass,
syncopated chords, esp. in 2/4 sections

vocal line often syncopated, and uses

push notes

triplets in vocal line create cross-

rhythms

latin-american rhythms used throughout

the musical, help reflect bg of musical
 contrapuntal in A, melody and
accompaniment in B

layers textures of independent parts -

TEXTURE contrapuntal in A sections

B sections melody and accompaniment;

voice singing principal melody and
orchestra accompanying w/ a
rhythmically independent part

riffs help to change texture and add

textural variety between sections
 Area of GAM 1 Davis GAM 2 Buckley GAM 3 Moby
Study 3

frontline and comping standard rock instruments used

instruments
vocals: backing and lead
FRONTLINE (solo)
INSTRUMENTATI synth strings, pizzicato effect
1. Davis, trumpet (mute
ON
used) drums
2. Adderley, alto sax
3. Coltrane, tenor sax bass guitar
COMPING (accompaniment)
3x electric guitars: guitar whispers, drop
1. Evans, piano (gets a solo) D tuning, flanger effect
2. Chambers, bass (double
bass, played pizzicato)
3. Cobb, drums
 head arrangement verse-chorus typical of pop songs

is basically head + a lot of solos chorus: wait in the fire repeated

STRUCTURE/FO head sections: main melody of a 2 intros, linking sections:

jazz number played @ the
RM A. arpeggios
start/end of piece, gives arch-like
B. chords
structure
middle 8/bridge: mostly nonsense
solo sections based on chords syllables (vocalisation)
est. in head sections
outro: v. thick texture, completely
structur bar improvised
e length

intro 8

head 1 12 + 4
link

head 2 12 + 4
link

davis 12x4
trumpet choruses
solo + 4 link
 adderley 12x4
alto sax choruses
solo + 4 link

coltrane 12x4
tenor choruses
sax solo + 4 link

evans 12x2
piano choruses
solo + 4 link

head 3 12 + 4
link

head 4 12 + 4
link

outro 12 +
fade out

modal jazz harmony is not functional

modal: frequent use of F natural guitar songwriting technique: open

and Bb (blues notes), and solo strings = intentional discord, power
HARMONY & sections use modes and scales as chords used
TONALITY a basis of improvisation - not
specific chords chords: lots used, most are disonant or
not related to predecessors
CHANGES & 12 BAR BLUES
 G7 G7 G7 G7

C7/Gm C7/Gm G7 G7

D7#9 Eb7#9/D7#9 C7 G7

b.9 & 10 use extended chords -

adding 7th and #9th

riffs 1 & 2 contain modal features

and feature heavily throughout

idk what the topic sentence can melody is generally conjunct

be, maybe the riffs thing
MELODY some large jumps, esp. in bridge
USE OF TWO PRINCIPAL RIFFS
THROUGHOUT buckley has huge vocal range

1. blues note, interval of maj. falsetto

7th, 3 quavers add swung portamentos
rhythm vibrato
2. blues note, moves in thirds
HEAD SECTIONS

characterised by interval of a 6th

(D-B in trumpet)

melody in 4 head sections subtly

developed, adding new notes &
rhythms to provide development
and interest

melodies improvised using

modes (mixolydian) transposed to
6(c) (idk that last part.)

SOLOS

1. DAVIS: mellow and

laidback
2. ADDERLEY: melodic lines
more angular + chromatic
using vibrato and making a
thick tone quality
3. COLTRANE: avoids using
 vibrato, explores mode
gradually, developing his
short ideas using
sequences + becoming
increasingly virtuosic
4. EVANS: has chord based
solo, understated sound

swung 6/4 rhythms time signature is 12/8

RHYTHM 6/4 time signature; unusual, more cross-rhythms for bass guitar in bridge
of a 2/2 feel, despite tempo
marking of jazz waltz semi-quaver runs in intro make song
rhythms swung throughout, trad. seem faster than it is
for this genre
4 dotted crotchets per bar
solo sections use gentle
folk music feel, esp. in intro b
syncopation for rhythmic interest

double piano trill adds extra

complexity to piece, blurring
rhythm and helping to create more
relaxed/laid back feel

melody dominated homophony texture thickens as piece progresses

link sections using riffs 1 & 2 cross-rhythms thicken texture

 provide textural contrast b/w solo CONTRAPUNTAL TEXTURE
sections - allows soloists to

TEXTURE prepare more instruments added as piece

progresses, eg. synth strings in outro
principal melodic instruments
accompanied by rhythmically riffs used, esp. for bass guitar
independent parts on other
instruments

use of double trill on piano adds

interesting textural dimension to
the piece - texture changes when
piano drops out
 Area of GAM 1 Capercaillie GAM 2 Rag Desh GAM 3 Koko
Study 4

fusion of western pop and folk

instruments

WESTERN POP
INSTRUMENTATI
drums
ON
synth
wurlitzer piano
bass
FOLK
 uillean pipes
bouzouki
accordion
violin
+ vocals

verse structure, no chorus

intro 8 verses outro

STRUCTURE/FO instead of chorus sections -

nonsense syllables, almost a
RM
refrain, acts as unifying feature
 generally less important than
melody and rhythm

opening sections only use Em

HARMONY & (tonic) and G (relative maj)
TONALITY
section two uses C G Em G to
develop harmonic interest of the
piece

extended chords used from verse

7 (7th/9th), Am chord

piece ends in G w/ a fadeout

 Em pentatonic

MELODY improvised counterpoint, melodic

lines played in folk style, which
means improv basically

vocals fairly simple, vocal range v

low @ points NC from band

pipes use pitch bends in

instrumental, highest note in b.42
 12/8 scotch snap rhythm

RHYTHM 12/8 time signature ambiguous at

first bc of cross-rhythms between
drums and melodic instruments

12/8 confirmed in v.2 by vocals,

drums in b.3 play on beat to
cement 12/8 lilt

ambiguity = fusion nature

 heterophonic

heterophonic texture b/w pipes and

accordion in instrumental
TEXTURE
selective use of instruments helps
define; verse 7 v. thin in
comparison to verse 8

textural contrast: reduced, before

filling, eg. run into verse 4 b. 24-25

2 part counterpoint between

piano and bouzouki in intro