As Notes For Set Works

Scores to support WJEC AS Music Notes
Alun Guy
1
J. S. Bach: Brandenburg Concerto No. 2, 1st Movement
CONTENTS
PAGE
Introduction J. S. Bach: Brandenburg No. 2, 1st Movement Beethoven: Symphony No. 5 in C minor, 1st Movement Mendelssohn: Violin Concerto, 1st Movement Handel: Zadok the Priest Haydn: Nelson Mass (Gloria; Quoniam Tu Solus; Credo) Schubert: from Die Schne Mllerin (Am Feierabend; Der Neugierige; Ungeduld) Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio; Allemanda; Corrente; Giga) Beethoven: String Quartet in B Op.18, No. 6, 1st Movement Brahms: Clarinet Sonata in E Op.120, No. 2, 3rd Movement Duke Ellington (Black and Tan Fantasy; Take the A-Train) Queen (Bohemian Rhapsody; Killer Queen) Loesser: Guys and Dolls (Runyonland; Fugue for Tinhorns) Bernstein: West Side Story (Tonight; Maria) Boublil and Schnberg: Les Miserables (On My Own; One Day More) Mervyn Burtch: from Three Welsh Folk Songs (Cysga di, fy mhlentyn tlws; Wrth fynd efo Deio i Dywyn) Dilys Elwyn-Edwards: from Caneuon y Tri Aderyn (Y Gylnir; Mae Hiraeth yn y Mr) Caryl Parry Jones (Pan ddaw yfory; Y Nos yng Nghaer Arianrhod) The Beatles (Yesterday; Hey Jude) 2 3 6 9 12 15 22 29 37 40 49 55 61 66 71 75 79 83 88
Introduction
This anthology is written for students currently studying for the WJEC AS level music course. You will probably have followed the GCSE music course during years 10 and 11 and are familiar with the vocabulary used in the examination and in A Students Guide to GCSE Music (Rhinegold). I realise that many of you will have successfully completed the GCSE course without being au fait with scores in sta notation. You share a love of music with us all. Dont worry too much about reading scores and analysing. These notes however will hopefully concentrate your mind on the basic forms and structures of the music. They are not meant to be an academic treatise for musicologists! The simplied diagrams have been included in a bid to demystify the analytical process (which sometimes can be confusing and a big turn o for some). The template used in these notes acts only as a guide for you: it is not an in-depth detailed analysis bar by bar, and was never intended as such from the outset. These notes do not second guess examination questions. Dont be disappointed if some examination questions are not dealt with directly and in detail in these notes. The examples of chords, modulations, harmony, composition techniques and devices etc. should be a starting point for further research. You should look for more examples of the above in the set works and recorded extracts chosen for study. Remember that you are allowed to take a copy of the anthology into the examination with you, with pencilled-in bar numbers. Not every score in the anthology has bar numbers. Remember when numbering bars that an anacrusis at the beginning of a piece of music is not bar 1. Bar 1 is the rst complete bar. The notes on the Haydn Nelson Mass deal with three sections: Gloria (pages 104-112), Quoniam Tu Solus (pages 119-125) and Credo (pages 126-130). There are references to certain aspects of instrumentation in some extracts, which can be clearly heard on the CD, although the scores are only piano reductions in the anthology. You are encouraged to study the works by listening carefully to them on the CD, in addition to studying the score.
Good luck with your listening and research. Alun Guy

Introduction
This set of 6 concertos were dedicated to the Duke of Brandenburg 1721. They are called concerti grossi because of the accompanying ripieno (mainly strings and continuo) combined with a select group of soloists, the concertino. Bach loved experimenting with new sound combinations in these three movement compositions. It is worth noting that numbers 3 and 6, however, do not have any solo instruments.
Musical elements Form

Quasi ritornello, but no clear cut distinction between ripieno and concertino. Both sections seem to play most of the time (tutti). Ritornello is a series of short themes reappearing (rondo-like) in various keys, with soloists (the concertino) playing episodes in between.
Structure (Rit = ritornello; Con = concertino)

1-8 Rit 1 F major 9-10 Con 1 F major 11-12 Rit 2 F major 13-14 Con 2 F major 15-16 Rit 3 C major 17-18 Con 3 C major 19-20 Rit 4 C major 21-22 Con 4 C major
23-28 Rit 5 C major
29-30 Con 5 F major
31-39 Rit 6 D minor
40-59 Rit 7 D minor C major F major B major
60-67 Con 7 G minor E major
68-83 Rit 8 C minor G minor
84-93 Con 8 G minor D minor A minor
94-118 Rit 9/10 A minor F major
Texture
- Mainly dense Bach was the master of polyphony and contrapuntal writing. - Many examples of various motifs interacting simultaneously.
Tonality
- Home key: F major - Occasionally minor, e.g. bar 68 C minor; bar 88 D minor
3
Examples of modulations: C major (dominant) bars 15-28 D minor (relative minor) bars 40-41 B major (subdominant) bars 56-59 E major (attened leading note) bar 65 C minor (dominant minor) bars 68-71 G minor (supertonic) bars 75-83 A minor (mediant minor) bars 94-102
b b
Harmony
Chords: - Diatonic - Dominant 7th (root position) bar 51 (C7) - Dominant 7th 4 (third inversion) bar 52
2
- Major triad
6 3
(rst inversion) bar 72
Examples of composition techniques and devices

Rising sequence bars 96-97 (Oboe) Sequence bars 33-34 (Flute) Sequence bars 76-79 (solo Trumpet) Falling sequence bars 77-79 (Viola) Syncopation bars 50-55; 107-112 (Violin I ripieno) Cadences: Perfect bars 8; 28; 39; 83; 93 Imitation bars 96-98 (solo Violin and Flute) Arpeggio based bars 1-2 (Trumpet) Reduced instrumentation bars 60-67 (concertino and continuo)
Instrumentation
Concertino Soloists - Tromba: Trumpet (no valves in Bachs day). Written a 4th lower than the sound. - Flauto (Flte bec): Recorder - Oboe - Violino: Violin Ripieno - Violin I - Violin II - Viola - Cello - Double Bass - Harpsichord/Cembalo continuo
4
Score indications
Tasto solo (bars 102-103): Harpsichord, play the notes without lling in harmonies all unisono: Cello/Bass and Harpsichord play in unison piano: softly pianissimo: very soft forte: loudly
Points of interest
Scintillating and brilliant counterpoint. Three-part counterpoint between Flute, Viola and Continuo bars 1-2. Continuous semiquaver/quaver movement throughout the movement in one of the solo or ripieno instruments. Four very dierent high register solo instruments contrasted in the concertino, but each instruments melodic line is audible. Opening semiquaver motif in Continuo (bars 1-2) appears in other parts, e.g. Trumpet bars 19-20; Oboe bars 40-41. The solo Violin introduces a new exclusive gure in bars 9-10 and all other solo instruments play it ripieno dont play this motif at all. (Oboe bars 13-14; Flute bars 17-18; Trumpet bars 21-22.) Imitation (bars 60-67) for all 4 soloists, using this exclusive gure (Flute, Violin, Oboe and Trumpet). Bach used cadence points to draw attention to new musical ideas. Use of 8 motifs, sometimes in concertino and sometimes in ripieno, mostly with an anacrusis. This concerto is the only one of the Brandenburgs to feature a Trumpet. Fanfare style motif in Trumpet (bars 1-2), and Continuo (bars 5-6). Running bass line in Continuo a device often used by Bach. Continuo given original concertino theme (bars 1-2) in bars 56-57 and bars 88-89, as a relief from continuous quaver and semiquaver support. No speed or dynamic indications given on the score, but generally played Allegro and forte.
5
Beethoven: Symphony No. 5 in C minor, 1st Movement

Introduction
A symphony is a large-scale work for an orchestra, usually in four movements. The opening bars of this rst movement contain one of the most famous orchestral motifs of all times. Beethoven followed the classical tradition of Haydn and Mozart by composing this movement in sonata form.
Musical elements
Form
Sonata
Structure
Exposition 1-124 Subject 1 (1-24) Subject 2 (59-93) Codetta (94-124) Development 125-247 Variety of keys. Using mainly 1st subject material. Recapitulation 248-373 Subject 1 (248-268) Subject 2 (303-345) Codetta (346-373) Coda 374-502 Material derived from 1st and 2nd subjects. Tutti and antiphonal passages.
Texture
- Ranging from dense homophonic (bars 248-252) to sparse (bars 63-82).
Tonality
- Home key: C minor Examples of modulations: E major (relative major) 2nd subject F minor (subdominant minor) bar 130 G minor (dominant minor) bar 154 C major (tonic major) bar 195
Harmony
Chords: - C minor tonic chord - D major
5 3
(root position) bar 492
6 3
- Dominant 7th chords bars 182-186; 292-294 - Diminished 7th chords bars 56; 300
6

Pedal (tonic) bars 33-47 (Cello & Bass) Repetition bars 160-167 (Violin I & II and Flutes) Sequence bars 408-414 (Violin I) Cadences: Perfect bars 194-195; 501-502 Imperfect bars 267-268 - Pizzicato accompaniment bars 254-263 (Viola, Cello, Bass) - Antiphonal answers bars 196-227; 442-449 (Strings & Woodwind)
Instrumentation
zu 2: both players play the same part in unison 1.: rst player (principal) to play the part Flauti: Flutes Oboi: Oboes Clarinetti (B ): Clarinets. Transposing instrument (written a 2nd higher than the sound) Fagotti: Bassoons. Written in bass clef normally, but sometimes in tenor clef when bass part goes high and uses many ledger lines (e.g. bar 102) Corni (E ): Horns. Transposing instrument (written a major 6th higher than the sound) Trombe (C): Trumpets Timpani (C. G): Timpani tuned to C and G (tonic and dominant) Violino I & II: Violin I & II Viola: Viola (written in alto clef ) Violoncello: Cello. Written in bass clef but sometimes in tenor clef when part goes high and uses many ledger lines (e.g. bars 83-93) Contrabasso: String/Double Bass (sounding 8ve lower than written)
Score indications
Allegro con brio: Fast and vigorous Adagio: Slow Minim: 108 beats per minute tempo indication by composer or editor dolce: sweetly sf (sforzando): strong accent (fortissimo): very loud p (piano): soft pp (pianissimo): very soft cresc. (crescendo): gradually getting louder pi: more sempre pi: always more dimin. (diminuendo): gradually getting softer pizz. (pizzicato): pluck a string instrument arco: resume playing with the bow
Points of interest
Beethoven always has strong contrasts between the 1st and 2nd subjects of his symphonies. This movement exists entirely on the opening four note rhythmic motif (descending major 3rd) and is given many new melodic shapes, contrapuntal applications and structural groupings by Beethoven. The four sections of this movement exposition, development, recapitulation and coda are almost identical in size and perfectly balanced musically.
7
The scoring is fuller in the recapitulation, and the 2nd subject is eight bars longer. Mini cadenza bar 268 (Oboe). This is a plaintive bar in the recapitulation section which takes the tension out of the performance. Although the structure/architecture of the movement is conventional, it is the originality of ideas and the brightness of energy and inspiration that mark this work out as one of the outstanding symphonies of the classical era. In Beethovens nine symphonies, the exposition in the rst movement is nearly always repeated. (Mendelssohn rejected this idea in his Violin Concerto). Sonata form evolved in the 18th century and deals with the organisation of themes/subjects, their development and key relationships. The form has lasted so long and produced great masterpieces because it is so exible and capable of great variation. Unusually, there is no real transition passage in the exposition or the recapitulation sections of this movement. The presence of a tonic pedal (bars 33-56) ensures that the music stays in the tonic key, C minor. These bars are also identical harmonically in the recapitulation section (bars 277-2961). It is the same ambiguous diminished 7th chord in bars 56 and 300 respectively (with necessary enharmonic alterations) which eect the abrupt transitions.
8
Mendelssohn: Violin Concerto, 1st Movement

Introduction
This violin concerto was written for Ferdinand David, a close friend of the composer, and premiered in 1845 in Leipzig.

Sonata
Structure
Exposition (1-226) Subject 1 (1-72) Transition (72-131) Subject 2 (131-210) Codetta (210226) Development (226-335) Variety of keys Transition (226) Subject 1 (240) Cadenza (299) Recapitulation (335-528) Subject 1 (335-351) Transition (351-377) Subject 2 (377-459) Codetta (459-473) Coda (473528)
Cadenza (bars 299-335) This used to be the point (at the end of a movement) in the concerto when the soloist was given a free hand to show o amazing technique and a virtuoso unaccompanied bravura style. Mendelssohn broke the classical tradition and wrote out his own cadenza for the soloist, placing it before the recapitulation rather than at the end of the movement. He used the cadenza as a bridge passage in this concerto between the development and the recapitulation sections.
Texture
- Light when accompanying soloist, but thicker with orchestral tutti when soloist is tacet, e.g. bars 48-76
Tonality
- Home key: E minor Examples of modulations: Exposition A minor (subdominant minor) bars 28-29 G major (relative major) bar 131 Development A minor bar 226 G major bar 241 E minor bar 245 C major bar 248 A minor bar 251 E major (tonic major) bar 255 B major bar 282 E major (2nd subject) bar 377
9
Harmony
Chords: - Dominant 7th chords, e.g. bar 298 - Diminished 7th chords, e.g. bar 44

Pedal (dominant) bar 33 (Cellos and Basses) Pedal (tonic) bar 48 (Trumpets, Horns and Timpani) Imitation bars 505-509 (Flutes and Oboes) Syncopated accompaniment bars 48-55 (Violins II, Violas) Decorated arpeggios bar 113 (solo Violin) Reduced scoring bar 131 (Flutes, Clarinets and solo Violin) Cadences: Perfect (in G major), e.g. bars 167-168 (Strings) Pizzicato accompaniment bars 181-189 (Strings) Rubato/Ad lib bars 299-334 (solo Violin) Sequence bars 359-360; 4284-430 (solo Violin) Double stopping bars 505-510 (Violins I)
Instrumentation
zu 2: both players play the same part in unison Flauti: Flutes Oboi: Oboes Clarinetti in A: Clarinets. Transposing instrument Fagotti: Bassoons Corni in E: Horns. Transposing instrument Trombe in E: Trumpets. Transposing instrument Timpani in E-H: Timpani tuned to E and B (tonic and dominant) Violino principale: solo Violin Violino: Violin Viola: Viola Violoncello: Cello Contrabasso: String/Double Bass. Transposing instrument (sounding 8ve lower than written)
Score indications
Allegro molto appassionato: Fast tempo with much passion
Points of interest
Opening theme played by the Violin soloist is played wholly on E string, well above the stave. All 3 movements are linked together, each one following on after the previous one. Combined classical structure with great romantic feeling. Soloist and orchestra begin almost together. No repeat of exposition as in classical concerti, where there was usually an orchestral exposition followed by a repeat of the section with the soloist, where the themes were shared. Eective musical balance between soloist and orchestra. Variety of emotions passion and tranquillity constantly changing. Dramatic writing contrasted with proportioned lyrical melodies. Florid, owing melodic lines. Focus changes constantly between soloist and orchestra. Cadenza not wholly virtuosic, but part orid. 10
Further information
SONATA FORM A PLAN OF THE FIRST MOVEMENT
EXPOSITION
DEVELOPMENT
RECAPITULATION
Transition A minor
Codetta
Transition
Codetta
http://www.naxos.com/composerinfo/bio24619.htm
SUBJECT I E minor VARIETY OF KEYS CADENZA SUBJECT I E minor
SUBJECT II G major
SUBJECT II E major
E minor
CODA E minor
72
131
210
226
299
335
351
377
459
473
528
CONCERTO FOR THE VIOLIN AND ORCHESTRA E MINOR Opus 64 MENDELSSOHN
11
Handel: Zadok the Priest

Introduction
In the Book of Chronicles (Old Testament), Solomon is anointed King upon the death of his father, King David, by Nathan the prophet and Zadok the Priest. Handel, Master of the Kings Music since 1712, composed this anthem for the coronation of King George II in Westminster Abbey in 1727. It is symbolic of King Solomons biblical coronation. This English Baroque anthem was originally composed for 7 parts and an orchestra, but is often found arranged for 4 voices (SATB).

It is in three linked sections: 1. Zadok the Priest 2. And all the People Rejoiced 3. God save the King
Structure
1-30 1st section: Introduction (Instrumental) Zadok the Priest 31-62 2nd section: And all the People Rejoiced 63-121 3rd section: God save the King
Texture
1st section: Mainly light/sparse in opening orchestral introduction. Short homophonic choral statement based on the opening harmonies of the orchestral introduction. 2nd section: Homophonic, based on legato lines in the chorus with dotted rhythms in accompaniment. Addition of 4 part choir gives wider dimension. Brass and Timpani at cadence points thicken the texture. 3rd section: Ternary form (ABA) interweaving of 4 linked ideas. Contrapuntal writing gives a more dense texture.
Tonality
- Home key: D major Examples of modulations: G major (subdominant) bars 4-5; 40-42 A major (dominant) bars 7-8; 78-80 B minor (relative minor) bars 49-52; 91-94 F# minor (mediant minor) bars 99-101
12
Harmony
Diatonic/Consonant Chromatic harmonies Mainly root position and rst inversions Tonic and dominant mainly in middle section
Chords: - Tonic chord - A minor - D major

6 3 6 4
5 3
(rst inversion) bar 3 (second inversion) bar 71

4 2
- Dominant 7th
(third inversion) bar 12

Sequence bars 74-75 (Vl II); 84-86 (Sopranos); 92-93 (Altos and Tenors) Repetition bars 34-38 (accompaniment); 63-65 (all parts) Pedal bars 6-8; 14-17 Ostinato bars 32-39; 41-45; 54-60 (bass of accompaniment) Cadences: Perfect bars 35-36; 43-44; 93-94 Imperfect bars 28-30 Plagal bars 120-121
Instrumentation
2 Oboes 3 Trumpets Strings Continuo (Organ/Harpsichord)
Score indications
Andante maestoso: Moderately slow and majestic Allegro: Quick and bright Adagio: Very slow A tempo ordinario: Ordinary or moderate time p (piano): quiet f (forte): loud (fortissimo): very loud cres. (crescendo): getting louder
Points of interest
Handels use of block/homophonic harmony for clear enunciation of words, e.g. bars 23-29 and 63-66. Types of accompaniment: (i) Semiquaver broken chords bars 1-29 (ii) Dotted quaver and semiquaver gures bars 33-59 (iii) Running semiquavers in 3rd section bars 87-90 (iv) Secco (dry) quavers bars 92 and 93
13
Descending bass line in introduction and bars 95-97. Orchestral bridge bars 74-78. Imitative style (modulating from tonic to dominant, IV). Melismatic vocal style (many notes on one syllable Amen), e.g. bars 114-116 (bass choral part). Opening chordal sequence in instrumental introduction (bars 1-8) repeated in bars 23-30 with the voices. Repetition of words, e.g. bars 43-52 Rejoiced.
Further information
www.naxos.com/composerinfo/George_Frideric_Handel/24403.htm
14
Haydn: Nelson Mass

Introduction
Haydn wrote at least 12 choral masses which were inuenced by Neopolitan operatic styles and the Vienneses antiphonal choral tradition. This mass (number 9) was composed in 1798 and uses the Latin words of the Catholic service. It is joyful and probably Haydns most popular mass. There are many compositional techniques, devices, harmonies and points of interest which naturally are common to all three choruses.
Gloria
Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. (Glory to God on the highest, and on earth, peace and good will to all men.)

Solo & Choir / Vocal trio / Chorus / Solos / Chorus / Solos / Vocal quartet / Chorus
Structure
1-15 Soprano soloist and choir (SATB) in repetition of motifs. Homophonic choral style. 16-32 Solo trio: Bass, Tenor and Soprano. New solo motif sung in imitation. Less tension now in accompaniment of strings only. 33-51 Choir sing in unison with orchestra stepwise chromatic progressions. 52-70 Alto soloist (rst appearance) with opening theme, but no repetition from choir. Soprano soloist with theme. A major B minor
D major
E minor (21)
E minor F# minor A major
71-77 Choir with opening theme (rhythm changed to dotted).
78-89 No Soprano soloist this time. Tenor & Bass soli with motif (bar 16).
91-97 Quartet of soloists using part of motif (bar 16).
98-105 Choral Coda. Mainly tonic and dominant harmonies, using opening rhythmic pattern.
D major
Tonic major/minor
D minor D major
D major
15
Haydn: Nelson Mass
Texture
Sparse with soloists Dense with choir Homophonic Fluid
Tonality
Home key: D major Examples of modulations: E minor (supertonic) bar 21 A major (dominant) bar 42 B minor (relative minor) bar 62 D minor (tonic minor) bar 81
Harmony
Chords: - Diatonic - Mainly root position and rst inversions - Subdominant (root position) bar 71 - Tonic (root position) bar 91 - Dominant 7th (root position) bar 201 - Dominant 7th (rst inversion) bars 111 ; 293,4; 41 - Diminished 7th bars 333; 343; 353

Repetition bars 1-4 (opening Soprano soloist motif repeated by choir); bar 16 (Bass, repeated by the Tenor imitative) Pedal bars 15-18; 21-24; 89-93 Cadences: Perfect bars 32; 50; 62; 105 Cadential: 6 5 cadence bars 2-3; 14-15; 49-50
4 3
Antiphonal answers between soloist and choir bars 1-4 Sequence bars 64-67 (Soprano soloist) Appoggiatura in vocal part bars 81; 84 (Tenor soloist)
Instrumentation
3 Trumpets Timpani Organ Strings Mixed Choir Solo Quartet (SATB)
Score indications
Allegro: Quick fz (forzato): forced sound p (piano): softly
16
Haydn: Nelson Mass
Points of interest
Common time. Nature of accompaniment changes (tutti) in intensity with chorus. Lighter orchestration (strings) when soloists sing. Use of soloists (quartet) and choir intertwining without distinct sections for soloists and choir (as with Mozart masses). Excellent examples of compositional symmetry, where thematic material from this section is also used in the Quoniam. Short orchestral bridges between soloists bars 50-51; 54-55; 60-61; 69-70 Haydns arpeggaic upper instrumental writing, e.g. bars 15-18; 96-98 Upward scalic semiquavers with opening of choral phrases bars 3; 71; 99; 100
Quoniam Tu Solus
Quoniam tu solus, solus sanctus. (For Thou alone art holy.) Tu solus altissimus. (Only Thou art most high.)

Solo & Choir / Choral bridge / Choral fugue / Vocal quartet / Coda
Structure
1-15 Soprano soloist and choir (SATB) in repetition of motifs. Homophonic choral style. Repetition of bars 1-15 of the Gloria, but dierent words. 17-22 Choral bridge passage Based mainly on tonic and dominant chords. Less tension now. Accompaniment of strings only. First fugal entry by choir (Bass). 22-61 62-77 77-82 Tutti Coda Orchestral, soloists and choral ourish mixture of polyphonic and homophonic styles. Upward climax, ending with brass and timps using typical classical rhythmic motif of quavers and semiquavers (bars 80-82). D major
Solo quartet Choir sing a returns with four-voice fugue, imitation of the with each voice stepwise motif stating the subject in previously used by various keys. Haydn in the Gloria This choral fugue (bars 16 and 78). contains answers Bass, Tenor and Alto and counter enter in that order, subjects (see below) whilst the Soprano with orchestral support playing the has a more elaborate vocal parts. rococo/orid style solo passage.
D major
D major
D major
D major
17
Haydn: Nelson Mass
Texture
Sparse with soloists Dense with choir Homophonic Polyphonic Fluid
Tonality
Home key: D major Examples of modulations: B minor (relative minor) bar 33 E minor (supertonic minor) bar 44
Harmony
Chords: - Diatonic - Mainly root position bar 611 - First inversion bar 772 - Tonic (root position) bar 91 - Subdominant (root position) bar 21 - Dominant 7th (root position) bar 93 - Dominant 7th (rst inversion) bars 51; 61; 111; 791 - Dominant 7th (second inversion) bar 133 - Dominant 7th (third inversion) bar 53

Repetition opening Soprano soloist motif repeated by choir (bars 1-4), with minor rhythmic changes Tonic pedal bars 15-20; 61-681; 71-771 (orchestra) Cadences: Perfect bars 15; 81; 82 Cadential: 6 5 cadence bar 23,4
4 3
Antiphonal answers between soloist and choir bars 1-4 Syncopated accompaniment (right hand) bars 17-22 Sequence bars 77-78 in Soprano, Alto and orchestral accompaniment Chromatic harmonic progressions bars 28-31 Countersubject continued by Basses in bars 24-25 (Amen) against fugal entry of the Tenors
Fugue: A contrapuntal composition based on a melody/subject/voice, heard in Bass, Tenor, Alto and Soprano at the beginning (bar 22). They all pass the melodic baton from one to the other. The Bass (bar 22) starts on the dominant (5th) and the Tenor (bar 24) on the tonic. The opening interval of a 2nd with the Bass changing to an interval of a 3rd with the Tenor, similarly with the Alto (bar 26) and Soprano (bar 28). These answers by the Tenor and the Soprano are called tonal answers (because they are not exactly note for note). When they are exactly note for note, they are called real answers. The orchestra parts mainly double the choral parts in the fugue.
18
Haydn: Nelson Mass
Counter melody (subject): A new melody, not as important, played at the same time as the melody.
Instrumentation
3 Trumpets Timpani Organ Strings Mixed Choir Solo Quartet (SATB)
Score indications
Allegro: Quick and bright Tutti: Everyone viz soloists and choir
Points of interest
Rococo/orid style evident in Haydns orchestral and choral writing. Melismatic writing for Soprano on Amen bars 64-71; 77-80. Stretto (tight/narrow) fugal entries from bar 44-61, when other voices enter with the melody before the previous one has nished! Orchestral accompaniment in the fugue moves mainly in walking quavers.
Credo
Credo in unum Deum Patrem omnipotentum, factorem coeli et terrae. (I believe in one God, the Father Almighty, maker of heaven and earth.)
Musical elements Form Intro / Chorus / Orchestral bridge / Chorus / Orchestral bridge / Chorus / Coda Structure
1-7 Orchestral unison introduction with much stepwise movement played staccato. 8-27 Canon 2 in 1 at the fth. Using rst six notes of orchestral introduction. 27-31 31-47 47-50 50-77 Canon 2 in 1 continues, using fragments of bars 8-18. More chromatic now with much use of sequence. Orchestral accompaniment in upper parts with continuous quaver movement. 78-83 Choral coda now in SATB harmony for the only time in the chorus. Orchestral Canon Orchestral bridge continues bridge passage/ with choir, but passage/ interlude. starting now interlude. on the third beat of the bar.
Vocal lines are subsumed in the orchestral Homophonic accompaniment, which is more style. polyphonic in style. D major
A major
19
Haydn: Nelson Mass
Texture
Homophonic, e.g. bars 77-83 Polyphonic, e.g. bars 31-47
Tonality
Home key: D major Examples of modulations: A major (dominant) bar 28 B minor (relative minor) bar 49
Harmony
Many chromatic harmonies in the orchestral accompaniment Chords: - Diatonic - Mainly root position - First inversion bar 143 - Second inversion bar 801 - Tonic (root position) bar 781 - Subdominant (root position) bar 91 - Dominant 7th (root position) bar 134 - Dominant 7th (rst inversion) bar 774

Suspensions bar 29 (9-8) Sequence bars 51-54; 644-684 (choral parts) Auxiliary notes, passing notes and arpeggi quavers in accompaniment, e.g. bars 61-64
Canon: A compositional device in which a melody in one part is repeated note for note in another part, while the melody of the rst part continues to unfold (an overlapping of melodies). Canon 2 in 1: Two voices sing what could be sung by one voice. Sopranos and Tenors begin on tonic, then Altos and Bass begin a bar later, 5 notes lower.
Instrumentation
3 Trumpets Timpani Organ Strings Mixed Choir
Score indications
Allegro con spirito: Quick with much vigour
20
Haydn: Nelson Mass
Points of interest
It begins with orchestral unison playing and ends with choral unison. Split common time, i.e. two beats to the bar. Haydn emphasises his belief in one God by utilising the one theme sung in unison. The appoggiatura bar 93 (accompaniment). The turn ~ bar 132 (accompaniment). The trill tr bar 181 (accompaniment).
21
Haydn: Nelson Mass
Schubert: Die Schne Mllerin (The Beautiful Maid of the Mill)

When poetry and music together came down to Earth they entered the soul of Franz Schubert. Dietrich Fischer-Dieskau (famous German lieder singer)
Introduction
Lieder is the German name for a song. Schubert (1797-1828) wrote over 600 songs, mainly romantic and happy. This song cycle, composed when Schubert was 26 years old, consists of 20 songs. A song cycle is a group of interconnected songs performed in sequence on a central theme, similar to Pink Floyds The Wall. Normally, all the poetry and music are by the same poet and composer. This cycle is about a love triangle of a huntsman and a young happy wanderers unrequited love for the Millers daughter, tracing the young mans emotional journey from happiness to despair.
5. Am Feierabend (After Work) Musical elements Form

Ternary
Structure
1-7 Intro Piano 8-25 Section A Voice and Piano 26-59 Section B Voice and Piano 59-78 Section A Voice and Piano 78-89 Coda Voice and Piano
Texture
Light Chordal accompaniment
Tonality
Home key: A minor Examples of modulations: E major (dominant) bars 12-15 A major (tonic major) bars 16-24 C major (relative major) bars 26-40 D minor (subdominant minor) bars 41-44
Harmony
Chords: - Diatonic arpeggaic/broken chords, e.g. bars 7-26 (right hand accompaniment) - Dominant 7th (rst inversion) bar 9 - Major & minor chords (root position and rst inversion) bar 1
22
Schubert: Die Schne Mllerin

Cadences: Perfect bars 14-15; 23-24; 45; 58-59; 88-89 Imperfect bar 37 Repetition bars 16-19 Sequence bars 37-43 Anacrusis bars 7; 37; 60 Ostinati bars 7-8 (right hand) Pedal bars 46-51; 78-87 Tonic major to tonic minor bars 24 and 25 Auxiliary chromatic notes bar 8 (G# voice); bar 52 (E voice)
Instrumentation
Male vocalist/Tenor Piano
Score indications
Ziemlich geschwind: Rather quick Etwas geschwinder: Somewhat quicker f (forte): loud p (piano): soft pp (pianissimo): very soft sf (sforzando): strongly accented decresc. (decrescendo): growing less/becoming softer
Points of interest
The poets name was Wilhelm Mller. Compound 6 time. 8 Opening homophonic chordal style of accompaniment bars 1-4. Beauty of owing lyrical melody bars 16-17. Sensitive harmonic colours and progressions throughout. Brief visits to related keys (see Examples of modulations). Schuberts independent Piano accompaniment. Excellent keyboard contrasts to suit the mood of the poetry. Schubert preferred the Piano to the Harpsichord because it gave more scope for colour, dramatic intensity and dynamic eects. Exciting semiquaver accompaniment bars 7-25; 59-82. Schuberts fondness of varying lengths of phrases, e.g. bars 8-19. There are 4x4 bar phrases, but the section ends with a 5 bar phrase (bars 20-24). His fondness for echoing the end of a vocal phrase in the accompaniment, e.g. bars 39-40; 43-44; 85-86 (left hand Piano). The chord of the dominant 7th was often used by Schubert when the words refer to fatigue and disappointment (bars 28-31 How weak my arms are!). The young wanderer so wanted to impress the Millers daughter with his strength and win her love. Middle section (bar 26 on) based on chord progressions derived from opening style of introduction. Compare bass line 8ve rhythms of bars 7-26 with bars 59-69. Rhythmic change in bass line rhythms (on the beat) bars 26-36. Less tension in bars 46-58 with recitative vocal style (family relaxing around the re after a hard days work).
23
Further information
www.lieder.net
After Work A (bars 8-24; 61-85) If I had a thousand arms to move! I could drive the wheels with a roar! I could blow through all the copses! I could turn all the millstones! Then the millers daughter could sense my true purpose! B (bars 26-59) Oh, how weak my arms are! What I lift, what I carry, What I cut, what I hammer, any fellow can do as well. And there I sit among all the others in the quiet, cool time of rest, And the master says to all of us: I am pleased with your work, And the lovely maiden said Goodnight to everyone.
6. Der Neugierige (The Questioner) Musical elements Structure

1-4 Intro 4 bars Piano 5-20 Section A 4+4+4+4 Voice and Piano 23-32 Section B 4+4+2 Voice and Piano 33-41 Section C 3+3+3 Voice and Piano 43-52 Section B 4+4+2 Voice and Piano 53-55 Coda 4 bars Piano
Texture
- Light - Chordal accompaniment
Tonality
- Home key: B major Examples of modulations: F# major (dominant) bars 11-12; 19-20 B minor (tonic minor) bars 25; 45 G major (attened submediant) bars 37-38
24
Harmony
Chords: - Diatonic arpeggaic/broken chords, e.g. bars 23-33 - Dominant 7th 6 (rst inversion) bar 26
5
Major & minor chords, e.g. bar 33 F# major Chromatic progression bar 50 (bass line)
6 3
(rst inversion)

Cadences: Perfect bars 19-20; 31-32; 40-41 Repeated phrases bars 5-8; 13-16 Anacrusis bars 4; 22 Pedal bars 23-25; 52-55 Lower auxiliary notes melodic line bars 5; 13 Appoggiaturas bars 31; 39 (voice) Accented passing notes bars 33-34 (voice) Anticipatory notes bars 29-30; 31-32 (voice)
Instrumentation
Score indications
Langsam: Slow Sehr langsam: Very slow
Points of interest
The poets name was Wilhelm Mller. Semiquaver gures creating rippling stream bars 23-32. Change from 2 (simple duple) to 3 (simple triple) in bar 23. 4 4 Syncopated accompaniment bars 5-10. Recitative vocal style bar 33. Chromatic harmonic progressions bars 9-10; 46 (accompaniment, chromatic lower auxiliary note E# in the bass); 49-50. Fondness for echoing the end of a vocal phrase in the accompaniment bars 51-52 (voice) in augmentation bars 52-53 (Piano). Remote key modulations and rapid return to tonic bars 41-43.
Further information
www.lieder.net
25
The Questioner A (bars 5-20) I dont ask any ower, I dont ask any star, None of them can tell me what Id like to know so much. I am not a gardener, the stars are too far above; Ill ask my little brook if my heart has deceived me. B (bars 23-32) Oh, little brook of my love, why are you so silent today? I only want to know one thing, one word, one way or the other. C (bars 33-41) Yes, is the one word, the other is No. The two words together make up my entire world. B (bars 43-52) Oh, little brook of my love, how strange you are! If you wont say anything further, tell me, little brook, does she love me?
7. Ungeduld (Frustration) Musical elements Form

Strophic 4 verses
Structure
1-8 Intro Piano 9-18 Verses 1, 2, 3, 4 Voice and Piano. 5 short phrases: bars 9-10; 11-12; 13-14; 15-16; 17-18 19-26/27 Chorus
Texture
- Light and rhythmic in verses - Thicker in chorus
Tonality
- Home key: A major Examples of modulations: E major (dominant) bars 3; 22-23 E minor (dominant minor) bars 4-5 B minor (supertonic minor) bars 10-11; 15-16
26
Harmony
Chords: - Major and minor, root positions and inversions - Dominant 7th bars 8; 24 - Diminished 7th bars 21-22 - Chromatic progressions bars 12; 15

Cadence: Perfect bars 8-9 Sequence bars 2-3 and 5-6; 9-10 and 11-12 Anacrusis every vocal entry bars 9-18 (upbeat to 9)
Instrumentation
Score indications
Etwas geschwind: Rather quick fp (fortepiano): loud, then soft fz (forzato): forced sound ll: :ll : repeat
Points of interest
The poets name was Wilhelm Mller. Simple triple time, but really 9 in performance. 8 Note how dotted rhythms in vocal line adds to character of song. Melodic line in right hand intro bars 1-8. Tension increases in chorus as wanderer declares his love for the millers daughter high tessitura (pitch) of vocal line. Much stepwise movement in melodic line of verses. Brief irtations with remote keys (see Examples of modulations). Joyful and uplifting mood the wanderer declares his love. The rhythm of vocal line in each verse is exactly the same. The rhythm of accompaniment in each verse follows the same pattern. Opening left hand motif in intro repeated in sequence. Intro right hand triplets mainly in thirds and sixths. Texture of accompaniment thickens in bars 7-8, heralding vocal entry. Lighter rhythmic texture with accompaniment in verses. Homophonic closing perfect cadence.
Further information
www.lieder.net
27
Frustration at not being noticed! Verse 1 Id like to carve it in the bark of every tree, Id etch it into every pebble, Id sow it in every new-tilled eld, With cress seeds that would show it quickly, Id gladly write it on every blank sheet of paper: Chorus My heart is yours and will ever remain so. Verse 2 Id like to raise a young starling, To speak the words clearly and distinctly, So that he would speak with the sound of my voice, With all my hearts intense longing; Then hed sing it through her windows: Chorus My heart is yours and will ever remain so. Verse 3 Id like to breathe it into the morning breezes, Id like to blow it through the stirring grove; Oh, if it could only glow from every starry blossom! If the scent could carry it to her from near and far! You waves, can you only push wheels? Chorus My heart is yours and will ever remain so. Verse 4 Id swear it must show in my eyes, Anyone could see it burning on my cheeks, Anyone could read it on my silent lips, Every breath proclaims it aloud, And she doesnt even notice my anxious yearning: Chorus My heart is yours and will ever remain so.
28
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

Introduction
Sonata da Camera (Chamber Sonata) is a series of short pieces (suite) composed in the same key, suitable for dancing. The sonata generally begins with a Prelude which serves as a preparation for the other movements, Allemanda, Corrente and Giga. They are known as Trio Sonatas because they are scored on three staves for Violin 1, Violin 2 and Cello, but 4 players are needed! The Harpsichord player was taken for granted and not counted, and would read the gured bass from the same stave as the Cello part. The Trio Sonata was the foundation of the Concerto Grosso (see Bachs Brandenburg). Corelli (1653-1713) was an Italian violinist and composer of Baroque music who wrote 48 Trio Sonatas.
Preludio Musical elements Form

Modied Binary
Structure
1-4 A1 Tonic key F major. Ends with imperfect cadence. 5-8 A2 Dominant key C. Ends with imperfect cadence. 9-16 B1 Descending scalic motif from A. Ends with perfect cadence. 17-22 B2 Cello (bar 17) repeats bar 3. Ends with perfect cadence.
Texture
Contrapuntal, e.g. bars 9-10
Tonality
Home key: F major Examples of modulations: C major (dominant) bars 5; 13 D minor (relative minor) bar 16
29
Harmony
Chords: - Diatonic - Dominant chord Supertonic chord Dominant 7th
7 5
5 3 6 3
(root position) bar 4 (rst inversion) bar 173

Suspensions: 7-6 bars 9-10 9-8 bars 18-19 Diminuition of opening motif bars 18-19 Passing notes bar 9 (Cello) Arpeggio notes bar 13 (Cello) Cadences: Perfect bar 13 (C major); bar 22 (F major) Imperfect bar 4 (F major) Sequence bar 9 (Cello)
Instrumentation
Violino: Violin Violone: Cello Cembalo: Harpsichord
Score indications
Figured Bass/Continuo: a type of musical shorthand or playing by numbers popular with small orchestral combinations, particularly in the Baroque era. The keyboard player would ll in the harmonies according to the gures written under the bass clef this skill was called realisation. Here are some of the most common gures used by Corelli:
5 3
root position of the chord (not always written)
6 rst inversion of the chord

6 4
second inversion of the chord
# sharpen the third note of the chord

43
suspension
7 chord of the 7th

6 5
rst inversion of the chord of the 7th
30
Points of interest
Quite a restricted melodic range for each part. Adagio tempo. Overlapping of Violin 1 & 2 bars 11-12 Walking bass bars 12-17 Imitation between Violin 1 & 2, using opening motif bars 14-15 Hardly any dynamics in Baroque music. No repeats in the Prelude. Imitation and dialogue throughout. Independence of bass continuo part. Good range of harmonic vocabulary.
Allemanda Musical elements Form

Binary
Structure
1-14 A F major Opening rhythmic arpeggio motif is repeated in imitation in Cello (bar 2). 4 bar phrases ending in perfect cadences bar 8 in dominant and bar 14 in the tonic. Echo eect. Ending in perfect cadence. 15-27 B F major Opening rhythmic motif (Violin 2 & Cello) is repeated tutti in imitation. The nal cadence has the same echo eect. Cello part more prominent here and more orid. Ending in perfect cadence.
Texture
Fluid Contrapuntal bars 20-21
Tonality
Home key: F major Examples of modulations: C major bar 9 D minor bar 18
31
Harmony
Chords: - Diatonic - Tonic chord Tonic chord
5 3 6 3

6 4
Second inversion
bar 193
Dominant 7th bars 81; 233 (7th rises here)

Cadence: Perfect (in tonic) bar 5 Sequence: descending bars 10-11 (Cello) Sequence: ascending bars 22-23 Suspensions bars 253-4
Instrumentation
Score indications
Figured Bass/Continuo (see Prelude)
Points of interest
Allegro tempo. Lively and rhythmic. Common time 4 4 Very few dynamics in Baroque music. Both sections A & B repeated. Independence of bass continuo part. Walking bass bars 53-7 Large leaps of 8ve and 10th in Violins. Echo eect/repetition at end of sections bars 12-14; 25-27 This echo eect is to be seen in Vivaldis concerti he was a pupil of Corelli. Use of tenor clef for Cello bar 15 Overlapping of Violins bars 8; 18 Falling interval of 7th in melody at cadence bars 244-25
32
Corrente Musical elements Form

Binary
Structure
1-20 A F major Rhythmic motif in Violin 1 appears many times in all 3 instruments. Echo eect in last 6 bars. Ends on perfect cadence. 21-40 B F major Homophonic opening for 3 bars, modulating briey to C major and D minor. Echo eect in last 6 bars. Ends on perfect cadence.
Texture
Sparse Homophonic
Tonality
Home key: F major Examples of modulations: C major (dominant) bars 7; 11 D minor (relative minor) bar 27
Harmony
5 3 6 3

Cadences: Perfect bar 27 (D minor) Interrupted (V-VI) bar 17 Imperfect bar 6 Sequences bars 7-10 (Violin 1); bars 27-30 (Cello) Suspension 7-6 bar 22-3 (Violin 2)
33
Instrumentation
Score indications
Points of interest
Triple time. Quite repetitive. Opening dotted rhythm motif appears in most bars, but not always on the same beat of the bar. Tenor clef (Cello) bars 31-34 Bars 143-20 repeated exactly in bars 343-40. Both sections A & B repeated. Numerous cadential points. Cello part plays dotted motif and given more independent line. Corelli often used Hemiola rhythms, e.g. bars 21-23, in composing the type of dance where the triple time 123,123 creates a sensation of becoming duple 12,12,12.
Giga Musical elements Form

Binary
Structure
1-34 A Lively rhythmic imitative opening between Violin 1 and Cello. Modulation to dominant at bar 18, then return to perfect cadence in F at bar 34. 35-73 B Imitative opening before Violin 1 dominates the melodic line again. Brief modulations to new keys. Sequential dialogue between Violin 1 and others. Ends with perfect cadence in tonic key.
Texture
Fluid
34
Tonality
Home key: F major Examples of modulations: D minor (relative minor) bar 45 G minor (supertonic) bar 49
Harmony
Chords: - Diatonic - Tonic chord Tonic chord Tonic chord
5 3 6 3 6 4
(root position) bar 4 (rst inversion) bar 23 (second inversion) bar 721
Dominant 7th bar 65

Cadences: Perfect (in tonic) bar 10 Perfect bar 18 Sequence bars 58-65 (Violin 1) Auxiliary notes (lower) bar 21 (Violin 1 & 2) Passing notes in 3rds bar 27 (Violin 1 & 2) Passing notes (contrary motion) bar 46 (Violin 1 & 2)
Instrumentation
Score indications
Points of interest
Most Baroque orchestral suites end with a Gigue (cf. J. S. Bach). Both sections A & B repeated. The Gigue is a lively (Allegro) dance. This Gigue is in 3 namely one beat in the bar. 8 Tenor clef (Cello) bars 11-13; 35-36 This is a moto perpetuo composition i.e. non stop action using mainly notes of the same value (quavers). Violin 1 is the dominant part except when overlapped by Violin 2. Overlapping of parts (Violin 1 & 2) bars 19-24; 42-44 Cello has more supportive role in this dance with dotted crotchet notes bars 37-57. Opening Violin 1 motif repeated in imitation by Cello.
35
Violin melody consists mainly of arpeggio and passing notes. Bars 29-34 (end of section A) repeated in bars 68-73 (end of section B). Dialogue between Violin 1 and Violin 2 & Cello bars 58-65.
36
Beethoven: String Quartet in B Op. 18, No. 6, 1st Movement

Introduction
One of the greatest revolutionary composers. Beethoven (1770-1827) wrote in many genres including overtures, symphonies, choral works, piano sonatas and one opera. Despite his incurable deafness, Beethoven composed almost exclusively for the string quartet during the last three years of his life. He composed a total of 17 quartets. This quartet was composed in 1799. Although considered a Classical composer, Beethoven was a precursor of Romanticism and ahead of his time because of the feeling and expression portrayed in his compositions.

Sonata
Structure
1-91 Exposition A 91-174 Development B 175-265 Recapitulation A
Texture
Fluid Homophonic (2nd subject) bars 45-47; 88-89 Mainly dense bars 210-213
Tonality
-
Home key: B major
Examples of modulations: Exposition F major bar 44 F minor (dominant minor) bars 49; 59-60 A (attened leading note) bar 56
Development D major (mediant) bar 102 G minor (relative minor) bar 110 E major (subdominant) bar 127
Harmony
Chords: - Tonic chord: B major (root position) bar 1 - G minor (root position) bar 248 - Dominant chord 6 (rst inversion) bar 64
Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement
37
Dominant 7th (rst inversion) bar 65 Diminished 7th bars 74; 247 Dominant chord 6 (second inversion) bar 78
4
Dominant 7 (last inversion) bar 553
th

Cadences: Perfect bars 79-80 Imperfect bars 12-13 Pedal bars 33-39 (Cello) Sequence bars 53-56; 57-602 bars 1314-1372 (Violin 1) Imitation bar 113 (Cello); bar 115 (Viola); bar 117 (Violin 2) Double stopping (2 notes played simultaneously) bars 85 & 110 (Viola); bar 102 (Violin 1 & 2) Appoggiatura in bar 1 played as 4 semiquavers Music dialogue (imitation) bars 5-9 (Violin 1 and Cello) Contrary motion bar 40 (Cello and Violin 1 & 2) Lower auxiliary notes bars 68-69 (Cello, Viola & Violin 2) Syncopated eect bars 71-74 Upward scalic passages bars 32-41; 113-139 Arpeggio based homophonic phrases bar 92 Appoggiaturas played on the Viola and Violin bar 47 Chromatic progression: F major to G minor bars 100-102 (Development) Chromatic chord in bar 101 is a French 6th (E -G-A-C#)
Score indications
Violino I: Violin 1 Violino II: Violin 2 Viola Violoncello: Cello Allegro con brio: Fast with vigour fp (fortepiano): sudden reduction of loud dynamic cresc. (crescendo): increase volume gradually sf: strong accent p (piano): soft pp (pianissimo): very soft decresc. (decrescendo): decrease volume gradually tr. (trill): quick repeated alternation between the note and the one above or below it, usually a semitone or a tone (split common time): the composition is written as 4 crotchet beats to the bar, but C the performance is played/directed in 2 minim beats to the bar
Points of interest
Subject 1 theme consists of short arpeggi phrases. Much use made of subject 1 appoggiatura 4 note (anacrusis) phrase in development section, e.g. bars 934-106.
38
Melodic interest shared amongst all players, not just Violin 1. New material in transition of recapitulation (bars 198-205), not in exposition. Split common time 4 pulse is eectively two beats in the bar. 4 Viola uses alto clef (C is the third line on the stave), and tuned an octave higher than the Cello. Return of subject 2 in recapitulation (bar 217) is in the tonic and not the dominant as in exposition (as expected). Major to minor uctuation in 2nd subject bars 44-62 (exposition) and bars 217-227 (recapitulation). Beethoven always had repeat marks for the exposition section, and this was usual practice in classical music. Note the repeat marks in bar 264 instructing players to return to bar 92 (development section) and play through again to the end. Although there are 3 sections in this movement, the historical link with binary form is very clear, with the repeat of both exposition (A) and the repeat of the development/ recapitulation (B) section. Nowadays, the repeat of development and recapitulation sections are often omitted in performance.
39
Brahms: Clarinet Sonata in E Op. 120, No. 2, 3rd Movement

Introduction
This sonata was dedicated to the famous clarinettist, Richard Mhlfeld, and premiered in Vienna in 1895 to critical acclaim. One critic wrote, There is no more beautiful use of variations than in the last movement of this sonata. For the 3rd and nal movement of the sonata, Brahms has used theme and variation form as his structure. It is a set of 5 variations on a given theme. The clarinet part on our score is written in C and doesnt need to be transposed. Brahms was very fond of the variation form, and you may be familiar with his St Anthony Chorale Variations for Orchestra. Perhaps some of you have already used theme and variation form in your own compositions. If not, try it after studying this work.
Form of the 3rd Movement Theme and Variations

1-14 Theme 15-28 Var. 1 29-42 Var. 2 43-56 Var. 3 57-70 Var. 4 71-97 Var. 5 98-153 Coda
Theme (bars 1-14) Musical elements Structure

4+4+2+4 Bars 1-4 Bars 5-8 Bars 9-10 Bars 11-14
Texture
Fluid Homophonic bars 2-4 Dense in Piano bars 9-10
Tonality
-
Home key: E major
Examples of modulations G minor (mediant minor) bar 103
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
40
Harmony
5 3 6 3
Dominant 7th bars 66; 83; 106 Diminished 7th bar 136

Cadences: Imperfect bars 4; 8 Plagal bar 14 Pedal (dominant) bars 46-55 Sequence bars 16 -2 (Piano) Sequence bars 1-3 (Clarinet) Suspension bar 83,4,5 (Piano)
Score indications
Andante con moto: Moderate pace poco f (forte): fairly loud calando: getting softer and slower/dying away
Points of interest
Anacrusis at beginning of musical phrases. Phrasing. Theme is 4+4+2+4. Bars 3-4 (Clarinet) is repeated in 7-8 (Clarinet). Cadence: Clarinet motif ends phrases bars 4, 8 and 13-14. Symmetrical for rst 8 bars, but carries on with 6 (2+4) bar phrase (rather than 4 or 8 bar phrase). A beautifully shaped melody relaxed charm. Piano part provides harmonic support and colour, yet is independent. Use of consecutive 8ves in left hand Piano accompaniment. Chordal richness of right hand Piano accompaniment. The phrasing of the compound three quavers begins on the anacrusis and carries across the bar line in both instruments. Many cresc. and decresc. symbols (<>) in Brahms compositions, which are in keeping with the Romantic period in which he lived. Brahms is regarded as the bridge between Classical and Romantic music.
41
Variation 1 (bars 15-28) Musical elements Texture

Contrapuntal Sparse at times, e.g. bars 15-18 (Piano)
Tonality
-
Home key: E major
Harmony
Chords: - Diatonic - Chromatic bar 25 - Diminished 7th bar 246 - Dominant 7th bar 251

Cadences: Imperfect bar 22 Perfect bar 285 Pedal (dominant) bar 19 Suspension bar 224 (right hand Piano) Sequence bars 186-195 (Piano)
Score indications
dolce: sweetly sost. (sostenuto): sustained (legato) poco f (forte): little louder
Points of interest
Highly imaginative. Original theme note-lengths have been changed, but same phrasing across the bar maintained. Clarinet part now resembles a skeletal version of the original theme. Anacrusis (Clarinet and Piano) not starting together. Structure modied: 4 (Tutti) + 4 (Piano) + 2 (Clarinet) + 2 (Piano) + 2 (Clarinet). In theme, Clarinet plays for 10 bars. Piano plays syncopated harmonies (3rds) in imitation with melody of Clarinet (bars 15-18), providing tension. These o-beat accents in the Piano provide main rhythmic focus in bars 15-18. Piano has centre stage in bars 19-22, with re-statement of bars 15-18 (not syncopated), but same simple rhythm as Clarinet previously in bar 15-18. Less tension now.
42
Cadence motif (bars 13-14) changed. Left hand Piano rhythm repeats Clarinet rhythm in bars 226-245. O beat rhythm returns in Piano bars 256-28. Harmonic structure mainly the same as before in theme, although some slight harmonic dierences in this variation.

Quite dense on the whole
Tonality
-
Home key: E major
Harmony
Chords: - Diatonic - Diminished 7th bar 31 (right hand Piano) - Dominant 7th bar 373 (heard in arpeggio guration and contrary motion in Piano part) - Dominant 7th (nal inversion) bar 403 (Piano)

Cadences: Imperfect bar 325 Interrupted/Surprise bar 413,4 Pedal (dominant) bar 33 Suspension bar 324,5 Sequence (Clarinet) bars 306-313 (8ve lower than theme) Contrary motion: 16 note arpeggi bar 37 (Piano)
Score indications
molto p (piano) e dolce: very quiet and gentle
Points of interest
Piquant and jumping for joy. Harmonic structure, mainly the same as before in theme, with some slight harmonic dierences (bar 31). Dierent phrasing now. Some original theme note-lengths have been changed. Piano triplet semiquaver accompaniment, descending then ascending bars 29-31.
43
Contrary motion arpeggi bar 37. Anacrusis on Clarinet 8ve lower than before. Brahms explores lower range sonority of Clarinet. Downward leaps of minor 7ths at opening, then back up bar 29. Clarinet keeps two note theme motifs on beats 3 and 6 in bars 29-31, whilst Piano plays triplet arpeggi gures. Changed harmonies in bar 31 compared with bar 3 of theme. Regular rhythmic pattern in left hand Piano, with harmonic support chords on beats 2,3 and 5,6 bars 29-32. Clarinet and Piano reverse roles in bars 33-36. Piano plays melody 8ve higher and Clarinet plays triplet arpeggi gure in reverse (ascending then descending). Clarinet plays 13 bars and Piano accompanies the same, but Piano only plays 1 bar solo at the end of the variation bar 42. This variation follows Variation 1 without a break/pause (segue).

Quite dense from bars 49-56
Tonality
-
Home key: E major
Harmony
Chords: - Diatonic - Dominant 7th -
6 5
Diminished 7th bar 492

Antiphonal exchanges (3 beats length) between Clarinet and right hand Piano bars 43-48 Right hand Piano echoes previous beat of Clarinet bar 49 Passing notes bar 503 (d) (Clarinet) Chromatic passing notes bar 46 (nal note) Lower auxiliary notes (anacrusis) bab Cadences: Imperfect bars 465; 505 Perfect bar 563,4 Sequence bars 466-473 (Clarinet); bar 472-6 (right hand Piano)
44
Score indications
grazioso: gracefully fp (fortepiano): sudden diminuendo
Points of interest
This variation follows variation 2 without a break/pause (segue). Anacrusis. This is the most intense of the rst three variations. Both Clarinet and Piano play in every bar. More emphasis on dynamic colour. Very ornate/decorative, orid and chromatic. Original theme note-lengths have been changed dramatically and decorated copiously. Triplet groups now changed to demi semiquavers. Brisk dialogue between Clarinet and Piano bar 43. Rhythmic intensity (moto perpetuo) from bar 50 onwards. Music pauses at the end of this variation as if the listener and performers need to catch their breath before the next variation.

Sparse
Tonality
-
Home key: E major
Harmony
Chords: - Diatonic - Diminished 7th bar 646 - Dominant 7th 6 bar 626
5
Chromatic progression bar 69

Cadences: Imperfect bar 644,5 Perfect bar 70 Tonic pedal bar 61 (left hand Piano) Syncopation between Clarinet and Piano throughout
Score indications
pp (pianissimo): very soft
45
Points of interest
Both Clarinet and Piano play in every bar. This variation is melodically much simpler than the other three, but metrically quite complicated however. Anacrusis begins with Piano chord 7th. Little more than the harmonic basis of the theme now remains. Only occasional hints of the original theme. Dreamy atmosphere, soft dynamics. Slow languid tempo. Right hand chords of Piano. Repeated dominant note is a feature on Clarinet. Melody mainly in lower range of Clarinet. Tied notes used eectively in both instruments at beginning and end of bars. Bars 57-60; 646682 both hands in treble clef (Piano). Bars 606-645; 683-705 both hands in bass clef (Piano).

Contrapuntal
Tonality
-
Home key: E minor (tonic minor)
Harmony
Chords: - Diatonic

Cadences: Imperfect (B major) bars 781 & 861 Plagal (E major) bar 98 Suspension: 9-8 bar 871 Syncopated rhythms bars 87-91 (right hand & left hand Piano) Cadential overlap with next section bars 972-981
Score indications
Allegro: Fast ben marcato: well-marked sf (sforzando): sudden accent
46
Points of interest
Change of key to minor mode (tonic minor E ). Phrase lengths are doubled to 8+8+4+8. Tempo now changed to Allegro. Time signature is changed from compound to simple 2 4 2 1 Augmentation of cadence motif bars 84 -86 . Anacrusis. Predominance of semiquaver movement in right hand Piano. The main melodic focus is in the right hand of the Piano, with minor changes from the original theme. Piano solo at the start of this variation, with Clarinet only playing for 2 bars (bars 74-76) in the rst phrase. Likewise, third and fourth phrases are for solo Piano (bars 90-95), except the nal 2 bars where the Clarinet joins in just for 2 bars at the end of the variation (bars 96-97). Clarinet echoes previous Piano theme an 8ve lower from bars 78-86. Cadence theme in right hand Piano (bars 96-102) is a momentary release of tension.
Coda (bars 98-153) Musical elements Texture

Contrapuntal Florid
Tonality
-
Home key: E major
Harmony
Chords: - Diatonic - Diminished 7th (second inversion tonic) bars 131-132 - Diminished 7th bars 143-146 (Piano) - Dominant 7th bar 1142 (Piano) - Major 5 bars 1363; 151-153
3
Minor
6 3
bar 1361

Cross accents of various parts of theme bars 102-104 Diminution of main theme in Piano (bars 135-136), then Clarinet (bars 136-138) Chromatic harmony in Piano and Clarinet bars 115-118 and bars 135-136
47
Dominant pedal bars 1112-119 Cadence: Imperfect bars 106-107 (German 6th-V7)
Score indications
Pi tranquillo: Even calmer espress. (espressivo): with expression/feeling
Points of interest
This coda (tailpiece) of the main tune moves to centre stage. Time signature remains 2, but more use of triplets. 4 Momentary calming of mood bar 98. Development of cadence theme bars 98-111. Using cadence theme in Piano bars 98-102. Bars 102-1071 triplets in Piano against crotchet pulse of Clarinet. Virtuosic ourishes, e.g. bars 127-133, in both instruments. Final appearance of cadence theme bars 1472-1511. Considerable rhythmic energy and momentum in the coda.
48
Duke Ellington
Introduction
Duke Ellington (Edward Kennedy, 1899-1974), the son of a White House butler, produced sensual big-band jazz that included extended improvisations, solos and breaks. His shifting harmonies and contrasting tonal colours, including his own piano playing, brought him everlasting fame and worldwide recognition. Apparently, he never wrote down a single note of his compositions that was left to others. He loved to tinker with his arrangements and there are many versions of his hits still in existence. His arrangement of Take the A-Train became one of the memorable hits of wartime USA. Apart from Black and Tan Fantasy, other hits include Mood Indigo.
Black and Tan Fantasy Musical elements Form

12 bar blues
Structure
1-12
A B minor. Trio for Trumpet, Piano and Trombone minor blues sequence. Same sad tonality as last 4 bars (quote from Marche Funbre by Chopin).
13-20
B B major. Solo Alto Sax begins over the G 7 harmony, then major chords: B , E , (E m), B , C7, F7, B . Other instruments support the harmonies.
21-28
B Alto Sax solo accompaniment is repeated except for bars 27-28, which ends on F9 chord (leading to B chord in bar 29).
29-40
A B major. Trumpet solo improvised with generous smattering of blue notes and triplet guration. Thin texture. Supported only by Piano and rhythm section.
b b b
41-52
A Repeat with same rhythmic 4 4 backing pulse. Piano begins solo on nal bar of Trumpet solo.
52-64
A Piano solo in stride style played by the Duke. Chromatic bass line and D7 chord in bar 59.
65-76
A Trombone solo full of colourful eects (bar 73), using plunger mute, glissandi, trills and staccato.
77-86
A Trumpet solo in quavers and semiquavers blue notes. Rhythm section backing but in bars 64-85, tutti accompaniment.
87-90
Outro Quote from Marche Funbre by Chopin in B minor, echoing sombre opening tonality. Tutti ensemble.
49
Duke Ellington
Tonality
-
Home key: B b minor Major tonality Minor tonality Blue notes
Examples of modulations: B major bar 13 B minor bar 87
b b
Harmony
Tonal Diatonic Major Minor
Chords: - B minor -
b 5 (root position) bar 12 3 E b minor 6 bar 25 3

3
- Dominant 7th bar 184 - F9 bar 644

Chromatic harmonies bars 19-20 Triplets, e.g. bar 37 Syncopation bar 60 (right hand Piano) Piano stride, New Orleans style Blues notes Blues scale Jazz quavers are not played as written but swung, e.g. Piano solo
Instrumentation
Jazz Ensemble Alto Sax Tenor Sax Trumpet (plunger mute) Trombone Piano String Bass Banjo Drum Kit
Points of interest
Written in 1929 for a short lm featuring Duke Ellington and his band. Shades of Negro spiritual in this composition. Quote from Marche Funbre by Chopin in the last 4 bars. Knowledge of the blues scale will help appreciate the composition.
50
Duke Ellington
Echoes of early New Orleans minimal style with strict rigid tempi. Major to minor tonalities.
Further information
www.youtube.com
Take the A-Train Musical elements Form

- AABA x3 - Standard 32 bar song form played three times
Structure
1-4
Intro The most famous 4 bar Piano intro in big band history. Based on 2 chords with repeated right hand chromatic descending motif (the A-Train ready to leave New York station!).
5-12
A Saxes in unison with 8 bar theme (4+4), both angular and syncopated. Intervals of rising 6ths and falling 5ths. Syncopated harmonic accompaniment by Trombones and muted Trumpets.
13-20
A Repeated, but the previous bar 12 is now tacet. Eective rhythmic interaction between the Reeds and the Brass very punchy and stabbing rhythms here.
21-28
B Angular tune also with intervals of falling 5ths and major 7ths F major key. Trumpets are tacet in this section. Trombones have downward scalic countermelody bars 23-36.
29-36
A Back in tonic C major. Saxes with tune again but Trumpets (open) with countermelody. Trombones with syncopated harmonies in homophonic movement with Trumpets. Brass all have triplet stepwise unison gure bar 363,4.
37-44
A No Brass at all except solo Trumpet 4 improvisation. Homophonic chromatic countermelody in the Saxes in harmony.
45-52
53-60
61-68
A Solo Trumpet playing the main theme, with Saxes playing the repeat of countermelody (bars 45-48). Saxes with downward triadic blues motif.
69-72
Bridge Brass (except Trumpet 4) play notes G then G# in unison for key change. Antiphonal response to 5 note harmonised motif in the Saxes.
A B Repeated section as Solo Trumpet break the Trumpet break continues and continues. Saxes support the Texture much harmonies with lighter. one chord per bar. More emphasis Trombones tacet. on rhythm section now.
51
Duke Ellington
73-80
A New key E major. 3 bar scalic harmonised passage in Saxes. Trumpet 4 solo in bars 76-80. Trumpets 1,2,3 and Trombones tacet.
81-88
A Repeat of backing accompaniment in Saxes and rhythm section. Trumpet solo in bars 84-88.
89-96
97-104
105-120
A Repeat of previous 8 bars (no specic changes, apart from the last two bars).
121-30
Outro Over the E pedal, Drum lls and Trumpet solo. Whole band except Trumpet 1,2 and 3 play harmonies based on E chord.
B A A major. Back in E with Trombones unison Saxes and re-enter with solo optional harmonised Trumpet big upward quaver tutti sound. motif, answered Brass by triplet homophonic quavers Saxes in accompaniment bar 91. with syncopated stabbing harmonies.
Texture
Intro light Light when backing solos Dense with tutti Homophonic sectional (Brass and Reeds)
Tonality
Examples of modulations: E major bar 73
- Home key: C major (but ends in E major)
Harmony
- Tonal - Diatonic Chords: - Major - Minor - Tonic 5 (root position), e.g. bar 21
3
- Tonic
6 4
(second inversion) bar 11,2
- Added 6th, e.g. bars 11; 53 - Dominant 7th bar 242 - Major 9th bar 403,4

Angular themes with wide leaps Walking bass in crotchets Jazz quavers are not played as written, but swung Balanced phrases of 4 bars length Two main themes A (bars 5-12) and B (bars 21-28) contrasted and used throughout the composition
52
Duke Ellington
Varied chromatic accompaniment motifs at end of A section Elements of whole tone scale in A, with chord of D7 with attened 5th (bars 7-8) Pedal bars 69-70 (Brass) Sequential bars 37-40 (Saxes) Rising sequence bars 70-72 (Saxes) Syncopation throughout Comparing and dovetailing 3 main sections of the band 3 sections (Saxes, Trumpets, Trombones) move together Chromatic quavers, e.g. bar 18 Repetition bars 69-71 (Saxes) Use of closely voiced harmonies in Trombones and Trumpets
Instrumentation
5 Saxes (Alto 1,2; Tenor 1,2; Baritone) 4 Trumpets 4 Trombones (bass clef ) Rhythm Guitar Piano String Bass Drum Kit
Score indications
Gliss. (Glissando): slide (Trombones in particular) Rubato: rob the time Mutes: alter timbre Tacet: silent Trumpets in B Alto Sax/Baritone in E Tenor Sax in B / : repeat the previous bar
b b
/ ^
/ ^
/ ^
/ ^
: strumming rhythm (crotchet) for Guitar : accented notes
m: minor dim: diminished
Points of interest
The ATrain became the signature tune of the Duke Ellington Orchestra. The 4 bar Piano intro is Ellingtons music calling card. Written by Billy Strayhorn, who discarded it but Mercer Ellington, Dukes son, rescued it! The A train in New York went to Harlem the D train went to the Bronx. The Trumpet soloist on the CD is Cootie Williams, who plays the original improvisation of Ray Nance (1941). His Piano part is ad lib throughout just following chord pattern! He directed from the Piano, just like Count Basie.
53
Duke Ellington
Other great band leaders also had nicknames with royal titles, e.g. Joe King Oliver, Count Basie. Symmetry is important in these big band arrangements. Changing melodic focus constantly. Trumpet solo scored now, but improvised originally. Excellent example of big band swing.
Further information
www.youtube.com
54
Duke Ellington
Queen
Introduction
This iconic band is one of the all-time greats. Their famous anthems, We Are The Champions and We Will Rock You, brought them into world focus and helped secure the groups induction into the Rock and Roll Hall of Fame. The four members were Freddie Mercury (Vocals and Piano), Brian May (Lead Guitarist), John Deacon (Bass Guitar) and Roger Taylor (Drums). Both lyrics and music for these two songs were written by Freddie Mercury.
Bohemian Rhapsody Musical elements Form

Through composed
Structure
1-16
Episode 1 B major. A cappella opening for 4 bars; close chromatic harmonies (barber-shop style). Light Piano accompaniment (bar 5). Backing vocals (bar 8). Important chromatic Piano motif (bar 7). Piano rhythm follows vocal line mainly. Bass Guitar in at bar 15. Piano style changes in bars 15-16 with motif which carries on into next episode.
17-42
Episode 2 B major & E major. Bars 17-34 are repeated (two verses). Solo vocals. Broken chord left hand Piano ostinati. The distinctive motif (bars 15-16) in the right hand Piano part continues in the accompaniment. Bass Guitar on 1st beat of every bar up to bar 22. Tutti band, apart from Guitar, in at bar 24. Modulation at bar 25. Drums play with verse 2 and backing vocals from bar 25. Strong downward chromatic bass line is a feature, e.g. bars 23-25. At bar 29 onwards, the Guitar break is based initially on material from bar 25. Bar 42 prepares key change for next episode (the D changes enharmonically to C#, the third note of the A major chord).
43-55
Episode 3 A major. Piano repeated A major chord for 2 bars. Chords alternate between major and diminished. Chromatic vocal line. Harmony in backing group, antiphonal responses. A cappella in bars 51-52. Lighter homophonic texture in this episode.
55
Queen
56-83
Episode 4 E major modulating to dominant in bar 61. Material derived from previous episode. Call and response style. Call a cappella and choral response harmonies with band homophonic style. Chromatic motif returns in bar 62 (rst heard in bar 7). Change in vocal style to wide melodic leaps in bar 65. Chromatic harmonies in bars 74 and 75. Triplet quavers introduced for the rst time in Bass/Kit (bar 83) on dominant pedal.
84-104
Episode 5 E major. Style now changed to heavy rock. Strong dotted rhythm Guitar ri in bars 84-87. Solo vocal passage using triplet rhythm of bar 83 now in augmentation. High vocal line descending stepwise. There are two solo Guitar passages heard in this episode. The extended Guitar solo heard at bar 101 is based on opening of this episode (bars 84-87), ending on dominant 7th (B ).
105-120
Episode 6 E major. New semiquaver motif heralds start of this nal episode. Tempo much slower lead Guitar with melody, over falling crotchet bass. Arpeggaic Piano accompaniment from bar 110. Vocal style changed again to ballad style in minor tonality (Cm and Gm). Very pensive, ending with chord of A minor in bar 1124, underlining the sadness of the lyrics. The motif of bars 31-32 is extended into the codetta in bars 114-120 ending in F major.
Texture
- Mainly homophonic - Thin (at start) - Dense (middle, from bar 74 onwards)
Tonality
- Home key: B major Examples of modulations: A major bar 43 E major bar 25 F major bar 118
Harmony
Tonal Chromatic Major Minor Diminished
Chords: - Subdominant - Tonic

6 3
5 3

6 3 6 4
- Dominant - D major
(rst inversion) bar 241,2
(second inversion) bars 491,2
- Dominant 7th: C7 bar 2; F7 bar 31,2; B 7 bar 881,2 - Minor 7th : Cm7th bar 33
56
Queen
- Minor A iv bar 1124 - Diminished 7ths bars 321; 1193

Backing vocals bar 8 Cadence: Perfect bars 100-101 Chromatic harmonies, e.g. bars 32; 63-64 Repetition bars 10 and 11 Enharmonic writing, e.g. at bar 56 the key is E major, but the bass is written as D# Change in metre, e.g. bar 3 5 time 4 Sequential vocal line bars 80 and 81 Guitar breaks/solos bars 35-43 (based on bar 25) Arpeggaic left hand Piano accompaniment bars 110-112 Triplet crotchets against two crotchets bars 88-89 Pedal bars 31-32 Antiphonal vocal imitation bars 51-55; 56-61; 63-83 Call and response bar 63 onwards
Instrumentation
Piano Vocals Lead Guitar Bass Guitar Drums Backing vocals
Score indications
Listesso tempo: keep the same tempo as before but quaver beat = new crotchet beat
Points of interest
An unusual musical structure, rather disjunct, with no real chorus (which is the norm with modern pop and rock compositions), apart from Episode 4. The song has been subtitled as a conscious nightmare. Recorded in 1975 for the album Night at the Opera, but also released as a single. Contains passing musical references to ve dierent styles/genres, i.e. barber-shop close harmonies, operatic arias and choruses, a cappella singing, antiphonal call & response, and heavy rock. Mainly homophonic texture, with Freddie Mercury accompanying himself on the Piano. Piano right hand chromatic motif rst heard in bar 7 occurs elsewhere, e.g. bars 31-32, and bar 119. High tessitura vocal part sung falsetto. Minimal stepwise melodic movement in early episodes.
Further information
Video of live performance on www.youtube.com
57
Queen
Killer Queen
- Verse / Chorus / Verse / Chorus / Middle 8 / Verse / Chorus - Verses and choruses are mainly strophic
Structure
1-14 Verse 1 Vocal solo Piano accompaniment with secco chords. Band enters at bar 64 with strong descending chromatic bass line. Backing vocals in at bar 8 (Ooh). Bars 12-14 pre-chorus link or transitional sub-section. 14-26 Chorus Homophonic 4 part harmony. Mixture of major and minor tonality based on key of B major, framing a tonicisation of the iii, D minor. 4 bar instrumental bridge. 26-38 Verse 2 Vocal solo with Piano chords, then bass pedal on Guitar (bars 27-30). Backing homophonic vocals syncopated (bars 32-37).
38-50 Chorus Homophonic 4 part harmony. Mixture of major and minor tonality based on key of B major and D minor. 5 bars fewer vocals than previous chorus because Guitar plays second part (bars 44-50).
51-59 Middle 8 Guitar improvisation based on chord sequence of verse mainly bars 4-11. Cm, B 7 x2, E , Gm, E 7, A etc.
b b
61-69 Verse 3 Vocal solo shorter than previous 2 verses. Based on harmonies of second part of verse: G7-Cm x2, B -E , D7-Gm, F-B (falling cycles of 5ths). This section could also be considered an extension of the pre-chorus link (bars 12-14).
b b b
69-79 Chorus Homophonic 4 part harmony. Mixture of major and minor tonality based on key of B major and D minor. Band play out to fade, based on tonic E major chord.
Texture
- Lighter in verses - More dense in choruses and backing vocals - Homophonic choruses Genre: Glam Rock
Tonality
- Home key: E major Examples of modulations: G minor bar 143 B major bar 151
58
Queen
D minor bar 173,4 C major bar 184
Harmony
Chords: - Root position chords - Tonic

6 3
5 3
e.g. bars 15-16

6 4
- Second inversion chords -
bars 73,4; 93,4
Third inversion chords bar 81,2 Dominant 7ths, e.g. A7 bar 173; G7 bar 211,2 Minor triads, e.g. B m bar 681,2; A m bar 91,2 Diminished 7th bar 654 (backing vocals)

- Compound time 12 changing to 6 bars 10; 34; 58; 69 8 8 - Backing vocals bars 8-11; 31-37; 63-68 - 4 and 5 part harmonies in choruses - Short stabbing vamping repeated chords bars 1-11 (Blues style) - Pedal bars 23-24; 27-30 - Descending chromatic bass lines bars 7-8 - Ostinati bass ris bars 14-18 - Syncopation bars 21-26 - Cadences: Imperfect bar 11 Perfect bar 14 - Major tonality, e.g. bars 3-7 - Major-minor chords bars 8-9; 32-33; 56-57 (A major to A minor) - Imitation bars 44-45 and 46-47 - Guitar breaks/solos bars 44-61 - Anacrusis in verses and choruses - First two verses begin with chord of Cm (relative minor) - Many examples of cycles of falling 5ths, e.g. verse 3 bars 61-69, derived from traditional Blues compositions
Instrumentation
Piano Vocals Lead Guitar Bass Guitar Drums Backing vocals
59
Queen
Points of interest
Blues inuence with falling cycles of 5ths harmonic progression/sequential, e.g. verse 3 bars 61-69. Vocal technique glissando at bars 153,4; 22-23. Compound time 12 8 Elaborate 4 part vocal harmonies in choruses and verses. Multi-tracked Guitar solo by Brian May. Brian Mays solos added at a later date after recovering from illness. Two Bass Guitars used at times. Written in 1974 for the album Sheer Heart Attack. Vaudville/Music Hall retro style (1940s). The lyrics were written before the music. Grand Piano (Freddie Mercury) used for recordings and stage, but this recording was overdubbed with a Honky-tonk Piano to give the song a light musical quality. Partly recorded in Wales (Rockeld Studios Monmouth).
Further information
Video on www.youtube.com
60
Queen
Loesser: Guys and Dolls

Introduction
Guys and Dolls is one of the most memorable Broadway musical comedies of all time. First produced in 1950, it ran for two and a half years on 46th Street. The self-taught composer, Frank Loesser (1910-1969), was a native of New York. He based his musical on two short stories by Damon Runyon The Idyll of Miss Sarah Brown. It features tales of romance, gambling and religious reform, set in prohibition New York against the background of a Salvation Army style mission. Damon Runyons name features in the opening title, Runyonland.
Runyonland Musical elements Style

Music hall/Vaudeville No conventional form. Rather a frenetic opening to the musical, depicting the bustling New York street scene, with various characters making cameo appearances during the music. Each episode introduces dierent characters.
Structure
1-12 12-28 Episode 1 Episode 2 Begins on Opening not as rhythmic. A 7 chord. Interaction Sprightly melodic between lower line (above Brass and Saxes. repeated crotchets) Unison call in with arpeggaic Trombones and gures visiting harmonic response various keys. in Saxes. Chromatic String Bass more harmonies are a prominent. characteristic of this episode. Woodwind and Percussion are prominent. 29-46 Episode 3 Theme: Luck be a lady (4 bars long). Syncopation built over two chords. This lasts for 16 bars before the chords of C and A 7 support a 2 bar quaver ourish (3rds in Violins), moving the music up a semitone via pivot chord of A 7 (bar 46). 47-52 53-74 Episode 4 Episode 5 New melodic D major. material in E , Same style and theme as previous although content is episode, but only 6 chromatic in nature. bars long. Use of blue notes in bars The second phrase begins, but moves 57 (F#) and 59. on after only one Enharmonic chord (A9) in bar 66 bar of the theme. There are gives jazzy feel. Series of 4 chords some rapid countermelodies in support downward chromatic scale upper Woodwind. ending in F (bar 70), Strong rhythmic and repeated an 8ve support from Kit. lower on CD only.
Texture
Light opening Heavier with Brass Many layers Contrapuntal Some homophonic sections, e.g. bars 53-60
61
Tonality
Home key: C major Examples of modulations: D major bar 47 E major bar 65
b b
Harmony
Chords: - Major - Minor - Primary - Root position bar 29 - First inversion (G7) bar 6 - Second inversion bar 4 - C major bar 291,2 - C minor bar 7 - A 7 bar 46 - F9 bar 61 - A9 bar 66 - Added 6th (E 6) bar 25 - B 9 bar 5

Call and response, e.g. bars 123,4-19 Vamping jazz accompaniment bars 29-61 Sequential ostinato bass rhythm bars 21-24 Pedal bars 1-4 Ostinato 2 note bass pattern bars 29-45 Suspension bar 121 Cadences: Perfect bars 29; 47 Imperfect bar 12 Glissandi in Brass, e.g. bars 43; 44
Instrumentation
Typical musical Pit Orchestra Woodwind Saxes Brass Kit Percussion String Bass
Score indications
C: split common time (2 pulse to the bar) marc. (marcato): accented gliss. (glissando): slide sfz (sforzando): sudden accent
62
Points of interest
This was not Loessers favourite musical. Each episode has its own dierent rhythmic characteristics and scoring. Main theme featured in this opening is Luck be a lady tonight. Richly scored, bright and exciting.
Fugue for Tinhorns

Three characters Nicely-Nicely, Benny and Rusty argue about the likely winner of a horse race.

Canon, with each voice singing the main tune 3 times.
Structure
1-6 Intro D major. Tonic/dominant bass line vamping pianistic style. Clarinet prominent (Gershwinesque). Chords of the 7th. Triplet Trumpet fanfare signalling horse race in bar 3. Jazzy swing feel to the music. Texture quite light in strict rhythmic tempo. 26-50 2 & 3rd Entries 2nd entry for Voice 1 bar 263 nd 2 entry for Voice 2 bar 303 nd 2 entry for Voice 3 bar 343 rd 3 entry for Voice 1 bar 383 rd 3 entry for Voice 2 bar 423 3rd entry for Voice 3 bar 463
nd
6-18 Canon 1 Nicely-Nicely (Voice 1) with canon tune syncopated with dotted rhythms. Muted Trumpet accompaniment. 2nd part of tune less rhythmic falling sequential 5ths. Syncopated chords.
18-22 Canon 2 Benny (Voice 2) with main tune exactly repeated musically, except for dierent words. Nicely-Nicely (Voice 1) carries on with second half of tune in counterpoint with main tune
22-26 Canon 3 Rusty (Voice 3) with main tune repeated musically, completing rst round of canonic entries. Benny (Voice 2) carries on with second half of tune in counterpoint with main tune.
51-58 Coda/Outro Tutti band with sfz stab chords (bar 50). Voices build up B m triad with staggered entries, then conclude with an unison statement which breaks into close harmony, before nishing on a sustained D major chord.
63
Texture
Thin/light to begin Building up with each vocal entry Contrapuntal and dense throughout Homophonic at the outro bars 52-56
Tonality
-
Home key: D major
Harmony
Diatonic Chords: - Root position - Tonic: D 5 (root position) bar 8 (major 7) D E D E
b7 bar 1 b7 bar 11 b6 bar 16 b9 bar 53
b3
1,2 1,2
3,4

Canon the main tune is 12 bars in length (4+4+4) Anacrusis for every entry This is not strictly a fugue but a canon (a fugue would have the second voice coming in at the 5th) Sequence bars 104-131 Imitation bars 124-613 Contrary motion nal band ourish bars 55-56 As voices enter, instruments play with voices and instrumental texture thickens muted Trumpet and Clarinet are prominent Percussion becomes louder from bar 45 onwards Cadence: Perfect bar 562 Chromatic scale bars 9; 21 (melody and band) Lower auxiliary notes bar 64 (melody)
Instrumentation
Typical musical Pit Orchestra Woodwind Saxes Brass Kit Percussion String Bass
64
Points of interest
The Guys swap racing tips in this number and have an argument over who will win tomorrows race. After second canonic entry, the main tune appears every 4 bars until bar 50. The accompaniment uses the same chord sequences throughout. No modulation or changes in tempi. O beat jazz rhythms throughout.
65
Bernstein: West Side Story

Introduction
Leonard Bernstein (1918-1990) made his mark on both classical and popular music as a composer/conductor. One of the great personalities of the 20th century American music scene equally at home with classics and jazz. His greatest musical, West Side Story, is based on Shakespeares tragedy, Romeo and Juliet. It contains Bernsteins complete technical mastery of form, including a fugue with a 12 note row, Latin American dance rhythms, jazz chords and grand operatic style.
Characters
Maria and Tony ill-fated lovers Anita and Bernardo (Sharks) Puerto Rico gang Ri (Jets) New York gang
Tonight (Quintet) Musical elements Form

Three main sections: 1) The threats and posturing of both gangs bars 1-67 2) Tony looking forward to meeting Maria tonight bars 67-98 3) Maria looking forward to meeting Tony, together with threats from Ri, Anita and the gangs bars 98-151
Structure
1-6 Intro Orchestra. Ostinati gures in Violins & Bass. 6-37 Ri & Bernardo Two themes A (bar 7) and B (bar 15). 37-52 Jets & Sharks New theme (C) in tonic major. 52-68 Anita (Sharks) The two themes, A & B, now an 8ve higher and in an uneven triplet rhythm. A minor 68-98 Lyrical love theme (D), sung by Tony, is in A A1 B A2 form. Tonic major modulating to C major.
A minor 98-118 Orchestral interlude using previous ostinati. Ri sings themes A&B in C minor.
A minor 118-151 Tutti ensemble Themes are interwoven, retaining same harmonic progressions in various keys.
66
Texture
- Dense - Multi-layered - Instrumental and vocal
Tonality
- Home key: A minor Examples of modulations: Tonic major bars 37; 68; 92 C major (relative major) bar 76 C minor bar 102 E major bar 126 F minor bar 134
Harmony
Chords: - Diatonic - Dissonances, e.g. bar 13 (F /F#) - Cluster, e.g. bar 46 (dominant 13th) - G major 5 (root position) bar 1321,2
- B minor
5 3

6 3
- First inversion - F major

6 4
bar 954 (F# minor); bar 138 (E minor)
(second inversion) bar 84
- Dominant 7th bar 75 (G7) - Fm7th

4 2
bar 127

- Time signatures 4 & 2 every other bar, e.g. bars 1-14 4 4 - Time signature 3 intermittently, e.g bars 16; 19; 65; 113 until bar 117 8 - Cadences: Perfect bars 76; 92 - Augmentation bars 130-132 (sung by the Sharks) - Countermelody (canon) in Violins, with vocal line bars 84-91 - Ostinato 3 note stepwise bass gure bars 1-15; 20-29; 53-60 and 102-111 (3rd higher) - Two note ostinato bass gure bars 37-45 - Arpeggiac ostinato gure bars 148-151 - Instrumental quaver ostinati in Violins bars 2-12; 22-27; 53-59 - Syncopated rhythms bar 68 onwards with love theme - Pedal bars 68-71; 118-122 - Suspensions bars 88; 95 - Enharmonic key changes bar 125 (Tony sings the 5th and 7th above the chord of B 7)
67
- 4 note rhythmic motif (bars 12-13) tonight appears throughout in orchestra and voices, e.g. bars 45; 55; 101; 106; 117; 121 - Another interesting and musically dramatic device is the antiphonal exchange between the rival gangs bars 46-47
Instrumentation
Maria: Soprano Tony: Tenor Anita: Mezzo-Soprano Bernardo (Sharks): Baritone Ri (Jets): Baritone Orchestra
Score indications
marcato: accented marcatissimo: very well accented molto: much sempre: always p sub. (subito): sudden decrease of volume
Points of interest
Anacrusis at beginning of main vocal phrases. Theme A is in recitative style. Both gangs (Jets & Sharks) and Anita have same rhythmic (threatening) leitmotifs. Maria and Tony have romantic, lyrical leitmotifs. These 5 strands are brought together in multi-dimensional texture from bars 117-151. Fuller orchestration/texture and increase in dynamics in nal section. Contrast between gang themes and love theme. Emphatic unison singing of theme C at bar 38.
68
Maria
Musical elements Structure
1-8 Intro Parlando/ recitativo style. Uses quaver triplet gure (main motif ). 9-14 15-20 20-25 26-28 A1 A2 B Extension Vocal line melody Vocal line melody Vocal line melody Vocal line melody (stepwise) (stepwise) (downward) (3 note motif ) doubled by doubled by doubled by doubled by orchestra. orchestra. orchestra. orchestra. Major tonality. Minor tonality Minor tonality Can be viewed as (bars 18-20). (bars 23-24). an extension of B. Major tonality (bars 18-20).
28-33 A1 Melody with orchestra. Vocal line broken up repeated Maria motif.
34-39 A2 Melody with orchestra. Vocal line broken up with Maria high tessitura.
40-47 B Vocal line melody doubled by orchestra (cf. bars 21-25), with extension as above.
48-53 Coda Repeat in upper Strings of bar 10 motif. Vocal line melody (3 note motif ) sung softly, parlando style. Sustained chords in orchestra.
Texture
- Sparse bars 1-8 - Thicker from bar 9 onwards
Tonality Harmony
- Home key: E major (B major recitative)
Chords: - Diatonic - Dominant major -
5 3
(root position) bars 123; 471
Minor (root position) bar 431 Flattened mediant (G added 6th) bar 49 F minor 7th bar 131 E major 7th bar 141 B major 7th bar 173 Dominant 6 (rst inversion) bar 112
b b
69

- Cadence: Plagal (IV-I) bar 25 (F major) - Bar 10 shows augmentation of original quaver triplet motif from bar 83,4 now heard in crotchet triplets - Repeated gures bars 10-11 - Ostinati syncopated rhythms in bass accompaniment of orchestra from bars 9-46 - Change from common time (bars 1-8) to split common time/2 pulse (bar 9 onwards) - Accented appoggiatura bars 7-8 (voice, Strings & Woodwind) - Chromatic harmonies bars 7-8
Instrumentation
Tony: Tenor Orchestra
Score indications
Moderato con anima: Moderate speed with spirit dolce: sweetly rall. (rallentando) molto: much slower Meno mosso: Less movement a piacere: out of tempo (ad lib) Adagio: Slow 8va: play octave higher than written con sord. (sordini): with the mute senza sord. (sordini): without the mute Ossia: Alternative small notes (bars 36-39)
Points of interest
Anacrusis at beginning of all vocal phrases. Fuller orchestration, increasingly thicker in texture, plus increase in dynamics until bar 42. Modulation from key of B major to E major accomplished with common note (enharmonic note) to both keys, namely bar 8 (D# = E ). Melodic lines move mainly stepwise. Operatic tessitura lines in bars 34-39. Wide range of dynamics in voice and orchestra. Importance of interval of rising augmented 4th (tritone) in the rst two notes of this theme (also known as the devils leap because of the diculty in singing this interval). It was avoided in early ecclesiastical composition, but is widely used in atonal melodies today. Also, importance of the following two note rising semitone motif (resolution; cf. Jaws) rst heard across the bar lines in voice and Strings (bars 9-11; 15-16), and nally in orchestral Strings (bars 51-52). Same motif heard in bass of accompaniment bars 15-17; 34-36.
70
Boublil and Schnberg: Les Miserables

Introduction
The original novel by French author, Victor Hugo, portrayed the angst suered by his countrymen in the 1820s and 1830s. Composer Claude-Michel Schnberg and librettist Alain Boublil collaborated to produce one of the greatest musicals of all time, which was rst performed in Paris in 1980.
On My Own
This solo is sung by Eponine.

AABBAA
Structure
1-2 Intro 3-10 Section A D major 3-10 Section A D major 11-18 Section B B major 19-26 Section A F major 27-34 Section A F major 35-38 Coda F major
Texture
- Sparse at the beginning but getting thicker in section B.
Tonality
- Home key: D major Examples of modulations: A major (dominant) bars 5-6 B bars 11-14 E minor (supertonic) bars 15-17
Harmony
Diatonic Chords: - Triadic semiquaver broken chords bars 1-11 - Major and minor root positions - Added 7th bar 17 (Am7)
71

Pedal bars 3-4 (D); 12-13 (B ) Ostinati accompaniment bars 1-10 Syncopated accompaniment bars 1-10 (right hand) Sequence bar 1 (in right hand Piano) Syncopation in vocal line bars 8; 10; 19; 27
Instrumentation
Synthesised sounds/Keyboard Symphony Orchestra Percussion Female vocalist Eponine
Score indications
Andante: Walking pace p (piano): quiet mf (mezzo forte): quite loud f (forte): loud (fortissimo): very loud : pause rit. (ritardando): becoming slower
Points of interest
Anacrusis at the beginning of every vocal phrase. Rhythms mainly quavers, dotted quavers and semibreves. Descending chromatic bass line bars 6-8; 22-23. Three note descending motif in introduction (bars 1-2) in the treble part of the accompaniment. Higher key (F major) in return of section A bars 27-34. Fuller orchestration/texture and increase in dynamics in nal section (bars 27-34). Arpeggio/broken chord accompaniment in section A. Crotchet chordal accompaniment in section B. Cadences: Perfect bars 214-221 Imperfect bars 33-34 Plagal bars 37-38 Accent shift change from 4 to 2 in bars 8 and 24. 4 4 Accent shift change from 3 to 4 in bars 9-10 and 25-26. 4 4 Extreme and dramatic harmonic changes (E major to E minor) bars 14-15.
72
One Day More

Through composed
Structure
1-4 Intro Orchestra 5-12 Section 1 A major Theme 1 (Valjean) Theme 2 (Marius) 13-25 Section 2 Various keys Themes 2 & 3 (Marius, Cosette, Eponine) 26-35 Section 3 Various keys Theme 3 (Enjolras, Marcellas)
36-40 Section 4 A major Theme 1(Valjean) & Theme 4 (Javert)
40-43 Section 5 A major Theme 5 (Thnardiers)
44-53 Section 6 Various keys Theme 3 (chorus groups)
54-68 Section 7 C major Fusion of themes (solists, ensembles, chorus)
Texture
- Sparse to begin and gradually increasing to dense by the nal section.
Tonality
- Home key: A major Examples of modulations: E major bar 32 A major bar 36 C major bar 54
Harmony
Chords: - A major - F minor 5 3 5 3
(root position) bar 24 (root position) bar 27
Added 6th bar 11 (right hand Piano) F# minor 7th bar 101 Dominant 7th bar 233 (E) D major 7th bar 382
73
- C major
6 3
- G# diminished 7th bar 621

Tonic pedal bars 51-52 (bass of the accompaniment) Ostinati bars 1 and 2 Syncopated accompaniment bars 17-23 Sequence bars 5-6; 28-321 Sequential repetition bars 30-33 Call and response bars 26-33 (Enjolras/Marcellas) Antiphonal vocal writing, e.g. bars 17-25
Instrumentation
Synthesised sounds/Keyboard Symphony Orchestra Percussion Male soloists (5) Valjean, Marius, Enjolras, Marcellas, Javert Female soloists (2) Eponine and Cosette Chorus tutti + Thnardiers
Score indications
Moderato: Steady pace pp (pianissimo): very quiet p (piano): quiet (fortissimo): very loud rall. (rallentando) molto: very slow and deliberate slowing down a tempo: back to the previous speed
Points of interest
Rhythms mainly quavers, dotted quavers and semibreves. Descending bass line bars 1-4; 58-61. Cadences: Perfect bars 8-9; 65-66. Enharmonic change from A chord to E major bars 34-35. Accent shift from 4 to 5 to 2 in bars 61-64. 4 8 4 Opening two bars of introduction based on broken A6 chord. This intro semiquaver motif appears many times in the piece, e.g. bars 10; 12; 14; 16, and modied in bars 33-36. It reappears in bars 54-62, and nally in bars 64-68. This opening three note motif, One day more (bars 4-5), appears throughout the song as Valjeans leitmotif (bars 12; 35-36; 39-40; 63-65) sometimes modied. This is the nal tutti motif of the song. The vocal lines are always in the orchestral accompaniment. The seven characters have their own leitmotifs, e.g. Thnardiers bar 40. Vocal interaction between the characters. The themes are interwoven from various solos, e.g. I dreamed a dream. The nal section is multi dimensional, following the operatic traditions with strong ensemble singing based on the primary triads. Final section is in the higher key of attened mediant, C major, and produces a dramatic nale with all themes interwoven skilfully.
74
Mervyn Burtch: Three Welsh Folk Songs

Introduction
A product of the South Wales valleys who has become famous for his chamber music, brass band compositions and operas for schools. Mervyn Burtch was born in Ystrad Mynach and belongs to the Welsh School of composers that includes Dilys Elwyn-Edwards, Alun Hoddinott, William Mathias, David Wynne and Grace Williams. These arrangements of Welsh folk songs were commissioned for the National Youth Choir of Wales and rst performed in 1994. Mervyn Burtch has his own unique brand of writing and always retains a tonal basis. The main inuences on his composing are Janacek and Bartok.
Cysga di, fy mhlentyn tlws Musical elements Form

Strophic re-melodic content
Structure
Melody: 4+4+2 1-5 Introduction Based on bars 6 and 8 (melody) with staggered entries of SAT. 6-15 Verse 1 Altos with melody. Harmonic support from other parts. 16-19 Bridge passage 20-29 Verse 2 30-33 Coda Based on descending 5 note scalic motif in SAB.
Male voices with Altos with melody. motif (rocking Male voices the cradle). continue style of bridge passage. Soprano descant.
Texture
- Fairly light - Homophonic
Tonality
- Aeolian F#
Harmony
Chords: - Diatonic - Mainly based on two chords (F# and C#) - Modal cf. Bartok Hungarian Folk Songs
75
- Tonic chord
5 3

5 3
- Dominant chord - Tonic chord

6 3

- Cadence: Plagal/Amen bar 33 - Intro based on bars 6 & 8 (melody) - Imitation between opening 3 note motif of Alto melody (bar 6) and Tenor and Bass accompaniment (bar 8) - Augmentation of same 3 note melodic motif (Alto bar 10) in Tenor (bars 12-13) - Suspension: 7-6 bar 51 (Soprano/Alto) - Harmony in 3rds and 6ths - Much stepwise movement in accompaniment - Rhythm of melody is constant
Instrumentation
SATB
Score indications
SATB: Soprano, Alto, Tenor, Bass Lento: Very slow poco rit: slight slowing down a tempo: back to original tempo niente: fade away to silence
Points of interest
Aeolian mode. Many Welsh folk tunes are very old and modal. This melody only spans an octave. No words for Sopranos at all, only humming contrapuntal line (descant). Small gure 8 beneath treble clef in Tenor line indicates part to be sung an octave lower than written. Altos have melody for both verses. Balanced melodic phrases. Minimal harmonic progressions. A cappella (unaccompanied singing). Change of time signature from 6 to 9 in bar 5. 8 8 ths Open 5 in Tenor and Bass accompaniment bars 10; 11; 12 Compound time throughout. Grace Williams used this lullaby in her Fantasia on Welsh Folk Tunes for orchestra.
76
Wrth fynd efo Deio i Dywyn Musical elements Form

- Ternary melody - Strophic 6 verse content
Structure
Melody: _____ A _____ 4 1-6 Intro SATB 7-22 Verse 1 Alto & Soprano 77-80 Bridge Soprano, Alto & Bass _____ A _____ _____ B _____ 4 4 23-25 Bridge Tenor & Bass 81-96 Verse 5 Soprano & Alto 26-41 Verse 2 Soprano _____ A _____ 4 42-45 Bridge Soprano & Tenor 100-115 Verse 6 Tenor & Soprano 46-61 Verse 3 Alto, Tenor, then Soprano 116-118 Coda SATB
61-76 Verse 4 Soprano
96-99 Bridge Tenor & Bass
Texture
- Contrapuntal - Homophonic
Tonality
- Modal - Dorian G
Harmony
Chords: - Diatonic - Tonic chord - Tonic chord - Tonic chord
5 3 6 3 6 4
(root position) bar 1171 (rst inversion) bar 292 (second inversion) bars 61; 63-65; 67-68

- Imitation (semiquaver) between Alto and Tenor bars 9; 21 - Cadences: Perfect (in tonic) bars 10; 14; 118 Imperfect bar 111 - Tonic pedal bars 15-18 (Bass)
77
Dominant pedal bars 54-58 (Tenor); bars 69-73 Descending Soprano & Tenor sequence bars 42-45 Sequence bars 101-102 (Bass) Lower auxiliary notes in a-la-la, e.g. bars 87; 91
Instrumentation
SATB
Score indications
Allegretto: Quite quick Andante: Walking pace poco accel. (accelerando): a little quicker Presto: Very fast meno mosso: less movement
Points of interest
This popular folk song describes two people on a happy journey to Tywyn via Dolgellau and Abergynolwyn (Lake Tal-y-Llyn). It is light hearted, repetitive in nature and interspersed with plenty of traditional a-la-las! Note the F#s and C#s which are used as melodic decorations only in the a-la-las and in the strong perfect cadences. Strong inuence of Dorian mode in opening 2 bars of melody, e.g. bars 81-82 Melodic focus shared between parts in all verses except verse 4. Bass not given any real melodic focus, but provide essential supporting harmonic and rhythmic role. Time signature simple: 2 4 Changing time signature in bridge passages, e.g. bar 44 3; bar 77 5; bar 78 8 8 8 8 Change from crotchet beat (simple) to dotted crotchet beat (compound) occurs mostly in verse 5 (bars 81-96). Rhythmic change of melody in bar 90. Harmony in 3rds and 6ths. Countermelody in Soprano bars 46-53. Stretto (compacted) eect at bar 61 where end of verse 3 and beginning of verse 4 overlap no bridge here. All other verses have short bridge (interlude) between them, except verses 3-4. Imitative dialogue between Soprano and Tenor at one bar interval (a tone lower) in verse 4 bars 61-68. Homophonic writing bars 73-74; 108-109. Extensive use made of semiquaver melodic motif (bar 9) in verse 5, e.g. bars 83-84 in SAT. Dotted rhythm rst heard in bar 5 now appears in bridge (bars 77-78) to verse 5. Same dotted rhythm also appears intermittently in Bass part bars 88-97. A cappella: unaccompanied singing.
78
Dilys Elwyn-Edwards: Caneuon y Tri Aderyn

Introduction
Commissioned in 1961 by BBC Wales, these two songs belong to a 3 song cycle by the doyen of contemporary Welsh composers, Dilys Elwyn-Edwards (1918-). The common thread is birds, and the choice of poetry by R. Williams Parry reects her love of nature and its mystical themes.
Y Gylnir (The Curlew) Musical elements Form

Through composed
Structure
1-9 Introduction Piano 9-37 Verse 1 Voice and Piano 38-63 Verse 2 Voice and Piano 64-73 Coda Piano
Texture
- Light - Contrapuntal accompaniment
Tonality
- Mixolydian F with attened leading note E , e.g. bars 1-28 - Mixolydian C with attened leading note B , e.g. bars 53-57
b b
Harmony
Chords: - Diatonic triadic broken chords - Major 11th bar 56 (right hand accompaniment) - Opening left hand ostinato based on two chords F and E (second inversion) bars 1-16 - Ostinato returns in right hand, based on two chords of the 7th and the 9th bars 38-42 - Cm7th bars 6263

Anacrusis bars 9; 38 Ostinati bars 1-15 (left hand); 38-42 (right hand) Recurring right hand piano motif bars 3-5; 13-15; 36-37 Alberti accompaniment/repeated broken chords
Instrumentation
- Female vocalist - Piano
79
Score indications
Allegretto: Fairly lively sempre leggiero: always light touch Ped. sim. (simile): sustaining pedal cantabile: give prominence to the melody poco rit. (ritardando): slow down a little a tempo: back to original tempo poco pi mosso: move the tempo on a little dim. (diminuendo): getting softer cresc. (crescendo): getting louder
Points of interest
Clear, warm vocal lines, often moving stepwise. Use of sustaining pedal for colour and atmosphere, e.g. bars 25-28; bars 68-73. Voice in 3 (simple triple), but 6 (compound duple) feel to the accompaniment. 4 8 Change from 3 to 4 in bars 26; 34; 50; 57; 60-61, with Piano (tacet partly) and voice in 4 4 accented crotchets. The nal note of the voice is E (bars 62-63), which is the third note of a modal Cm7 chord and a variation on the opening harmonies of the song. First two vocal lines (bars 9-19) repeated with subtle changes in bars 19-38. Change in left hand Piano part rhythm and style (bars 38-57). This part now has 3 pizzicato quaver style, whilst the right hand has 6 ostinato. 4 8 Both hands use treble clef, except for bass clef left hand accompaniment in bars 27-34 and 44-60, which provides contrast in colour and a wider spectrum of sound. Cry of the curlew heard in opening bars of left hand Piano ostinato. Piano paints the imagery with voice oating above. Vocal line moves mainly in crotchets and minims whilst momentum is maintained with quaver movement of Piano accompaniment. Vocal line quite independent of Piano accompaniment. Piano introduction (bars 1-8) is balanced by the return of the same motifs in the coda (bars 64-73). Dilys Elwyn-Edwards was a Piano tutor at Bangor University and inuenced by Peter Warlock, Delius and Vaughan Williams. She studied with Herbert Howells at the Royal Academy. The poetry is by R. Williams Parry from his collection, Cerddir Haf.
Further information
www.wmic.org
80
Mae Hiraeth yn y Mr (There is Longing in the Sea) Musical elements Form

Through composed
Structure
1-24 Lines 1-8 of the sonnet 24-27 Instrumental bridge F minor F major 27-45 Lines 9-14 of the sonnet Dierent rhythms
Texture
- Moderately dense in the right hand of Piano - Chordal/triadic texture of repeating quavers
Tonality
- Home key: A major Examples of modulations: F minor (relative minor) bars 22-26 F major (submediant major) bars 27-30
Harmony
Chords: - Mixture of triadic and 7th/ 9th chords with some close voicings

Anacrusis at beginning of phrases, e.g. bars 1-4; 4-8 Pedal (tonic) in vocal line bars 40-45 Pedal in accompaniment, e.g. bars 35-39 Ostinato rhythmic gures, e.g. bars 3-8, with changing harmonies Augmentation of 3 note left hand motif (bar 24) in bars 26-27, an 8ve lower and in accented crotchets instead of quavers - This 3 note motif also occurs several times in the vocal writing, e.g. bars 21-22 (Ac yn y galon); 34-35 (Or gerddi agos) - Repetition of vocal line in right hand accompaniment, e.g. bar 11 (amaur tn), echoed in bars 12-13, and bar 22 (atgof, atgof gynt), repeated in bar 23 -
Instrumentation
- Female vocalist - Piano
81
Score indications
Regular common time Moderato: Steady pace molto sostenuto: very sustained colla voce: give way to soloist rubato legato: smoothly poco accel. (accelerando): slightly quicker
Points of interest
Mood of longing and enchantment. The poem metre is a sonnet (14 lines, 10 syllables per line). Vocal line independent of Piano accompaniment. 2 melodic ideas bars 1-4 and bars 8-10. Opening vocal motif used frequently to open new lines in the song, e.g. bars 1-2; 5-6; 13-14; 27-28. Haunting nal accompaniment (bars 40-47), with attened harmonies in bars 41-43, descending into silence. Constant use of sustaining pedal for colour and atmosphere. Note repetitive chordal quavers throughout in right hand accompaniment, except bar 26 and nal 2 bars. Sparse left hand accompaniment with wide leaps and many rests, sometimes supporting the harmonies, e.g. bars 32-38. Absence of left hand gures in bars 40-47. Rhythmic change in bar 27 corresponds to new metric rhythm of second part of sonnet. Quaver movement of vocal line occurs mainly in second half of the bar, e.g. bars 8-11; 19-22; 29-33; 35-37. Vocal phrases mainly 3 bars in length. Vocal range interval of 11th (E -A ). Opening repeated tonic triad in bar 1 repeated in bars 44-45.
b b
Further information
www.wmic.org
82
Caryl Parry Jones

(Songs from Goreuon Caryl, Gwasg Carreg Gwalch, Llanrwst 17 transcriptions of her popular songs by Geraint Cynan)
Pan ddaw yfory Introduction

This song was commissioned by BBC Radio Cymru in the early 1960s, when road shows were held to promote the new station. New pop groups were mushrooming all over Wales and amongst them was Bando, fronted by Caryl Parry Jones (bando: a game similar to hockey). The two voices sing of an aair that should end Pan ddaw yfory rhaid dweud arwel (When tomorrow comes we must bid farewell). Caryl herself has spoken of the happy ending to this true episode in her life!

Verse and Chorus
Structure
1-4 Intro 5-12 Verse 1 13-20 Verse 2 20-28 Chorus 29-36 Verse 3 36-44 Chorus 45-60 Guitar Solo 61-68 Verse 4 68-76 Chorus 77-93 Guitar Solo
Texture
Thin: Keyboard and Bass Guitar bars 1-36 Thick: addition of Synthesizer, Drum Kit, Guitar bars 36-44 Guitar solo given mixed vocals backing bars 45-61 Thin: Keyboard and Bass Guitar bars 61-68 Thick: Drum Kit lls prominent bars 68-93
Tonality
Home key: E minor Modal, e.g. bar 11 modal cadence with attened leading note (D) Other modal cadences in bars 3-4; 19-20
Harmony
Chords: - Some major root position chords bar 111 (C); bar 104 (B) - Mainly minor 7th and 9th chords, e.g. bar 54 (Em7); bar 274 (Am7); bar 241 (Em9); bar 321 (Am9)
83
Caryl Parry Jones

Repetition of single melodic idea in introduction bars 1-4 Syncopation in vocal lines bar 273 Unison singing in Chorus and Verse 4 Suspensions and resolutions in accompaniment, e.g. bar 31 (9-8); bar 34 (4-3) Dotted rhythm bass ostinato/ri bars 5-12 Cadences: Perfect bars 194-20 Imperfect bars 27328
Instrumentation
Mezzo Soprano & Baritone Backing male and female vocals Lead Guitar Bass Guitar Keyboard Synthesizer Drum Kit
Score indications
Gydag angerdd: With passion and conviction Pennill: Verse Cytgan: Chorus Unawd Gitar (ad lib): improvised Guitar solo Rall. (rallentando): Slow down
Points of interest
Intro motif taken from bars 11-12. Music does not start on tonic chord, but on C major chord (submediant of home key). Mixture of crotchets and rocking quaver motif in right hand keyboard bars 5; 7; 9. Modal cadences, e.g. bars 3-4; 11-12; 19-20. Harmonised female voices sing variation of bars 75-76 in nal cadence. Stepwise, economic melodic line. Song constructed of 2 bar phrases. Word-setting and mood (see translation). Instrumental band backing. Improvised/ad lib Guitar solo.
Further information
www.bbc.co.uk/wales/music/sites/history www.carreg-gwalch.co.uk Goreuon Caryl www.sainwales.com Cyngerdd y Mileniwm CD (Tr. 5, 6)
84
Caryl Parry Jones
Free translation of lyrics

Verse 1: Being with you last night was a timeless experience. Being together was everything in our quest for love. Tonight, please embrace me before the curtain of reality descends. We can only hope that tonight will never end. But part we must when morrow breaks and reality will return, taking us back to our past. God alone knows which one of us was the most foolish. I know that merely touching you was a great mistake. We both knew from the outset that our love could never be. Tonight is our nal farewell, Sadly the dawn will soon break. Give me all your warmth and tenderness before tomorrows cold light of day.
Verse 2:
Chorus:
Verse 3:
Verse 4:
Y Nos yng Nghaer Arianrhod Introduction

This is reputedly Caryls favourite song. The title comes from one of the tales of the Mabinogi Math son of Mathonwy. Caer Arianrhod is literally the citadel home of Arianrhod one of the characters in this magical tale, which apparently was situated near the Sain recording studios at Dinas Dinlle in Caernarfon. The words describe the energy-sapping process of an all-night recording session in the early 1980s (pre-digital) with Caryls group, Bando. This song was never performed live.

Verse and Chorus
85
Caryl Parry Jones
Structure
1-2 Intro 3-10 Chorus 11-18 Verse 1 19-27 Chorus 28-35 Verse 2 36-44 Chorus 45-52 Middle 8 53-61 Chorus
Texture
Thick: harmonised backing vocals bars 1-2 (Intro) Thin: mainly two dimensional (soloists and Guitar) bars 3-6 Thicker from Middle 8 to the end, with vocal backing harmonies
Tonality
Home key: C major Mostly major Brief minor visitations
Examples of modulations: D minor (briey) bars 12-13 G major (dominant) bars 17-18
Harmony
Chords: - Chromatic, e.g. bar 33 - Use of attened 5th, 7th and 9th - Major 7th, 9th, 11th and 13th

Anacrusis (Verse and Chorus, except Middle 8) Accented passing notes bars 4; 14 Sequential phrases bars 11-12 and 13-14 Upper and lower auxiliary notes bars 17; 21 Symmetrical phrases (Chorus 4+4) Final radical cadence VI(A )I(C)
Instrumentation
Female vocalist Mezzo Soprano 4 accompanying vocal parts SATB (Caryl Parry Jones, Myfyr Isaac, Endaf Emlyn and Rhys Dyrfal)
Score indications
Yn dyner a breuddwydiol: Sensitive and dreamy Pennill: Verse Cytgan: Chorus rit. (ritardando): slow down a tempo: back to original tempo
86
Caryl Parry Jones
Points of interest
Decorated cadential motif bar 35 Flattened mediant/blue note bar 35 in the vocal line (E ). A feature of blues/pop style. Close harmony backing progressions bar 16 Music does not start on tonic chord, but on A minor chord (submediant of home key). Chromatic harmonies bars 1-2 Melodic part includes many tied notes, typical of the style. Stepwise, compact melodic line bars 28-30 Cluster chords bar 56 (Dm11) Chromatic descending bass line bars 28-29 Acoustic Guitar accompaniment. Mood is sensitive.
Further information
www.bbc.co.uk/wales/music/sites/history www.carreg-gwalch.co.uk Goreuon Caryl www.sainwales.com Cyngerdd y Mileniwm CD (Tr. 5, 6)
Free translation of lyrics

Chorus: The night in Arianrhods home heralds the beginning of our day a hard days night. The night in Arianrhods home however doesnt seem so long when Im with you. The tape has spooled its nal turn; a muted recording desk, a closed door. The singings over, the song is done, our creativity is spent. Dawns arrival signals our days end, The ngers are sore the voices are hoarse. The creative muse, long since departed bequeathes only bowed bodies and bloodshot eyes. Sometimes our spirits are down, Sometimes the stress overwhelms us, But soon the sun appears again and the good times return.
Verse 1:
Verse 2:
Middle 8:
87
Caryl Parry Jones
The Beatles
Introduction
The fab four (1959-1970), from Liverpool, changed the face of popular music for ever. Beatlemania took Britain and America by storm. John Lennon, Paul McCartney, George Harrison and Ringo Starr became household names overnight. The group were responsible for the shift in emphasis from soloists to ensembles. They possessed a melodic and harmonic sophistication unsurpassed by any other group in the history of pop music. The combined creative genius of Lennon and McCartney gave us many classics, including Yesterday and Hey Jude.
Yesterday Musical elements Form

Binary
Structure
1-2 Intro Tonic chord on acoustic Spanish Guitar (no plectrum). 3-9 3-9 A A Following the famous Melody repeated, but rst bar motif, there string quartet adds new is an ascending layer with sustained stepwise lyrical 7 bar backing chords. melody (3+2+2) sung by solo male voice. Accompaniment is Guitar. B - G chord progression is reminiscent of other Beatles songs (more often in reverse order). 10-17 B New balanced melodic phrase (4 bars). First two bars are repeated but end of phrase is dierent.
18-24 A Repeat with some slight changes in orchestration.
10-17 B Strings again continue, but subtle string changes from rst B playing. Cello line very prominent in bar 13 (E ).
18-24 A String parts have new arrangements, e.g. Violin 1 soars above the rest.
25-26 Coda/Outro Vocal humming reprising last two bars of A section (bars 8-9) but changed rhythm and chords (F instead of Dm).
Texture
- Thin at beginning - String layer added, giving thicker texture - Homophonic texture throughout
88
The Beatles
Tonality
- Home key: F major Examples of modulations: D minor (relative minor briey) bars 4-5
Harmony
Chords: - B major
5 3 6 3
(root position) bar 61,2
- G major - F major -
(rst inversion) bar 253,4 (second inversion) bar 251,2
6 4
A7 bar 43,4 (dominant of D minor) Dm7th bar 231 Gm6 (added 6th) bar 121 C7th (dominant 7th) bar 63,4

- Cadences: Plagal/Amen bars 9; 26 Perfect bars 63,4 -71,2 ; 16-17 - Appoggiatura motifs in section A at beginning of the bar, e.g. bars 3, 5 and 7 - Inverted pedal bar 14 (left hand Piano: G) and bar 19 (right hand Piano: E) - Syncopation bars 8 and 9 (bars 22-24) - Contrary motion between vocal line and Cello bar 15 - Bow/arch shaped melodies - Stepwise descending bass lines, e.g. bars 11-12 - Sustained chords with string quartet very restrained scoring - The E bass note in bar 13 could be a passing reference to the blues.
Instrumentation
Spanish Guitar String quartet Solo male voice
Points of interest
The most covered pop song in history. Lead vocal: Paul McCartney. Recorded in Abbey Road Studios in 1965. Belongs to the LP Help. Unusual in mid 1960s to have solo strings backing normally big band or orchestra. Beatles were the rst pop group to use a hybrid classic & pop mix of styles, i.e. crossover. Music arranged by George Martin.
89
The Beatles
First Beatles number to use other performers apart from the fab four. Slow contemplative ballad style. Written by Lennon-McCartney, but more Paul than John! Classical tonality compared with their blues numbers. Beatles inuenced by Elvis, Buddy Holly and Little Richard. They liked to build up their songs in layers (texture). Use of varied harmonic language. Pauls voice is mostly single tracked, except for one place (double tracked on high notes).
Hey Jude
Binary (two main contrasting themes)
Structure
1-8 A Plaintive melody, again in a bow/arch shape, gradually moving upwards. Piano and vocal solo. 9-16 A Repeat, but with added Rhythm Guitar and obeat Tambourine. Harmonised backing vocals added bars 13-16. Drum Kit ourish in bar 16 leading to section B. 17-21 22-28 B B New melodic statement Repeat, but with added with more accented Codetta scat style. quaver beat on snare Singing and chord of C7 and cymbal. leading to restatement Backing harmonised of section A. vocals mainly in descending 3rds. Bass Guitar plays crotchet pulse. 1-6 A Final statement of melody (bars 1-6) before moving to the Coda. 30-36 Coda/Outro 2 octave appoggiatura arpeggio bars 31-32. Scat jam session using three chords F, B and E . Thickening textures with added orchestral instruments.
9-16 A Return with dierent words. Rhythm Guitar, Bass Guitar, Percussion and backing singers still present, mainly in 3rds.
17-21 B Repeat, but dierent words. With stronger backing vocals and band accompaniment.
22-29 B Repeat of previous section again, leading to partial restatement of section A.
Texture
- Sparse to begin, but gradually getting thicker (trademark of many Beatles songs).
90
The Beatles
Tonality
- Home key: F major Examples of modulations: B major (subdominant) bars 18; 23
Harmony
Chords: - Basic primary triads I, IV, V (root position) - Gm7th (minor ii 7th) - Flattened leading note chord bar 34 - C7 (dominant 7th) bar 15 - B major 5 (root position), e.g. bar 51,2
- C major
6 3

Anacrusis in all A sections Mainly one chord per bar throughout song All chords in section A are in root position Bass line of section A keeps to the root of the chord Walking descending bass line in section B bars 23-251 Oscillating/rocking quaver right hand chordal Piano style in section A Syncopation bars 5; 25 Progressive layering techniques thickening the texture Variations in scoring when repeating Obeat Percussion scoring (Tambourine in repeat of A bar 9) Common time 4, except for return to A sections (bar 29) which are in 2 time. 4 4 - Cadences: Plagal/Amen bars 35-36 Perfect bars 74-8; 15-16 - E chord in bar 34 gives modal touch to outro (mixolydian) - Clever dissonance in bar 34 interval of 9th (E F)
Instrumentation
Piano Acoustic Rhythm Guitar Bass Guitar Drum Kit Tambourine Backing Vocals * Many instruments, including Bass Clarinet and Double Bassoon, in jamming session!
91
The Beatles
Points of interest
Although the ocial song lasts for 7 minutes, the creative process is ended at 3 minutes and 35 seconds, then bars 33-36 are repeated in a jam session style 19 times! The jam session is longer than the song itself! Scat singing in the nal 4 bars bars 33-36. Written by Paul McCartney alone and recorded in 1968. Composed for John Lennons son, Julian (aged 6), when the divorce between John and Cynthia Lennon was imminent. Originally called Hey Jules (Julian) but Jude was easier to sing. Triple tracking on bars 31-33 ascending scale passage. Section A is 8 bars in length but section B is unusual 11 bars long. Bar 17 could be considered as a linking bar between both sections.
92
The Beatles

As Notes For Set Works

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

As Notes For Set Works

Uploaded by

Copyright:

Available Formats

Scores to support WJEC AS Music Notes

Good luck with your listening and research. Alun Guy

J. S. Bach: Brandenburg Concerto No. 2, 1st Movement

Musical elements Form

Structure (Rit = ritornello; Con = concertino)

23-28 Rit 5 C major

29-30 Con 5 F major

31-39 Rit 6 D minor

40-59 Rit 7 D minor C major F major B major

60-67 Con 7 G minor E major

68-83 Rit 8 C minor G minor

84-93 Con 8 G minor D minor A minor

94-118 Rit 9/10 A minor F major

(rst inversion) bar 72

Examples of composition techniques and devices

Beethoven: Symphony No. 5 in C minor, 1st Movement

(root position) bar 492

(rst inversion) bar 382

Examples of composition techniques and devices

Mendelssohn: Violin Concerto, 1st Movement

Musical elements Form

Examples of composition techniques and devices

SONATA FORM A PLAN OF THE FIRST MOVEMENT

SUBJECT I E minor VARIETY OF KEYS CADENZA SUBJECT I E minor

Mendelssohn: Violin Concerto, 1st Movement

CONCERTO FOR THE VIOLIN AND ORCHESTRA E MINOR Opus 64 MENDELSSOHN

Handel: Zadok the Priest

Musical elements Form

Chords: - Tonic chord - A minor - D major

(root position) bar 1

(rst inversion) bar 3 (second inversion) bar 71

(third inversion) bar 12

Examples of composition techniques and devices

Haydn: Nelson Mass

Musical elements Form

E minor F# minor A major

71-77 Choir with opening theme (rhythm changed to dotted).

91-97 Quartet of soloists using part of motif (bar 16).

Examples of composition techniques and devices

Musical elements Form

Examples of composition techniques and devices

Examples of composition techniques and devices

Schubert: Die Schne Mllerin (The Beautiful Maid of the Mill)

5. Am Feierabend (After Work) Musical elements Form

Examples of composition techniques and devices

6. Der Neugierige (The Questioner) Musical elements Structure

Examples of composition techniques and devices

7. Ungeduld (Frustration) Musical elements Form

Examples of composition techniques and devices

Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)

Preludio Musical elements Form

(root position) bar 4 (rst inversion) bar 173

(root position) bar 213

Examples of composition techniques and devices

root position of the chord (not always written)

6 rst inversion of the chord

second inversion of the chord

# sharpen the third note of the chord

7 chord of the 7th

rst inversion of the chord of the 7th

Allemanda Musical elements Form

(root position) bar 122 (rst inversion) bar 24