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Music GCSE Set Works And the glory Symphony No. 40 The Raindrop Prelude Peripetie Something’s Coming Electric Counterpoint All Blues Grace Why does my.

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Presentation on theme: "Music GCSE Set Works And the glory Symphony No. 40 The Raindrop Prelude Peripetie Something’s Coming Electric Counterpoint All Blues Grace Why does my."— Presentation transcript:

1 Music GCSE Set Works And the glory Symphony No. 40 The Raindrop Prelude Peripetie Something’s Coming Electric Counterpoint All Blues Grace Why does my heart feel so bad? Skye Waulking Song Rag Desh Yiri

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6 Tonality and Harmony TextureStructureOrchestrationMelody and Word-settingRhythm and TempoDynamics D major, with two contrasting sections in C major Tonal and Jazz influenced harmony with blues notes e.g. tritone and flattened 7ths (e.g. C natural against D major harmonies at end) – note remains unresolved and fits in well with the sense of expectation HomophonicDoes not follow conventional verse-chorus structure Solo tenor accompanied by a band made up of woodwind, brass, percussion and strings Accompaniment: uses quiet dynamics, soft timbre (e.g. muted trumpets, pizz strings) = don’t overpower the singer Mostly syllabic Alternation of three main themes: 1 – quiet syncopated opening theme 2 – loud, strident theme in 2/4 (b21) 3 – lyrical, slow-moving theme A: mostly syllabic, often scalic B: made up of repeated notes C: made up of wider intervals Word-setting: ‘the air is humming’ – long notes, strings use harmonics and play tremolo ‘they may come cannonballing…’ – repetition, recitative style Fast tempo Frequent syncopation, push rhythms Metre changes between 3/4 and 2/4 Accompaniment: largely made up of an on-beat bass part with off-beat chords = create cross rhythms at star Starts pp Much contrast B: melody louder Many crescendos and diminuendos Fades out at end

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8 G7 Gm G7 D7#9E  7#9 D7#9 F G

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10 Am Em GGDD CCAm CC FFCCFFCC

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12 InstrumentsStructureTextureRhythmMelodyDynamics Anouskha Shankar (2001) Sitar (plucked) Tabla Alap Gat 1 Gat 2 Alap: unaccompanied sitar Gat 1: sitar and tabla Alap: slow, no metre Gat 1: tabla enters with JHAPTAL (10 beats: ) Medium speed. Sitar uses chand (triplets) Ends with tihai Gat 2: faster than Gat 1, tabla uses TEENTAL (16 beats: ) Ends with tihai Based on notes of Rag Desh Alap: sitar uses meend (pitch bend) Gat 1: sitar plays fixed composition, uses meend and tan Gat 2: sitar uses drone strings, strumming Alap: quiet Gat 1: gets louder Gat 2: crescendos to end Chiranji Lal Tanwar – Mhara Janam Maran (2004) Voice Sarangi (bowed) Sarod (plucked) Pakhawaj Cymbals Tabla Alap Bandish Bhajan (devotional song) Alap: short intro on sarangi. Continues with some improvisation by singer Alap: voice vocalizes in free time Bandish: tabla joins in with KEHERWA TAL (8 beats: ) Music becomes fast and exciting Piece ends with a short tihai Based on notes of Rag Desh Melody is ornamented with much melisma and meend Mostly conjunct Alap: intro on sarangi, sarod enters, then voice vocalizing in free time based on rag Bandish: fixed composition, solos on sarod and sarangi The rag begins very quietly Crescendo as instruments and vocals enter Dynamics increase when tabla and other percussion enter Dynamics stay at similar level throughout Benjy Wertheimer and Steve Gorn (2004) Bansuri (Steve Gorn) Esraj (bowed) Shruti box (same role as tambura) electronic Tabla Swarmandel Alap Gat 1 Gat 2 Alap: slow, drone on shruti box, bansuri enters, esraj takes over Gat 1: unaccompanied bansuri, tabla enters Gat 2: tabla solo Alap: slow Gat 1: slow tempo, tabla enters with RUPAK TAL (7 beat: 3+2+2) Ends with tihai Gat 2: fast tempo, tabla uses EKTAL TAL (12 beat: ) some syncopation Piece ends with 3 tihais Based on notes of Rag Desh Alap: drone on shruti box, bansuri enters Gat 1: unaccompanied bansuri, becomes more agitated and dramatic with improvisations Gat 2: tabla solo, improvisation becomes more elaborate, bansuri plays tans Quiet to start in alap, then gentle swells from shruti box copied by bansuri and then esraj. Generally, pretty much the same volume. Gat 1 and Gat 2 louder due to entry of tabla, but generally same volume after this. Structure of a raga: ALAP JHOR JHALLA GAT/BANDISH Percussion instruments Rag: C D F G B C Bb A G F E D C

13 Typical features of West African music: -repetition -improvisation -call and response -layered textures Significance of drums: -accompaniment for singing, dancing, working -means of communication Dancing to African Music: -strong beat -same tempo -unvaried dynamics -repetitive


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