edexcel music model essay booklet
TRANSCRIPT
8/11/2019 Edexcel Music Model Essay Booklet
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Name ____________________
Target Grade _____ Form Group ____
GCSE Music
Model Essay Plans
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Keywords
Melody
4 Mofs. A starts in
also, B desc seq and
melisma, C repeon
of bars, D Longer
notes, solemn and
mostly same pitch
Har/Tonality
A Major, modulates to E
and B Maj, ends plagal
cadence, diatonic har-
monies, use of tonic/ dominant chords
Rhyt/Metre/
Tempo
In 3,4, Allegro, ending
there is a pause before
cadence, Hemiolas. Use
of Melisma and Syllabic
word seng
Inst/Forces
SATB choir, Organ
Strings, Connuo (cello
and organ)
Oen Doubles Mel
Texture
Alternate between
Homo and Contrapun-
al (poly), short Mono
passage, Imitaon
used, Varies the num-
ber of parts playing
Structure
Based on the 4 mofs,
Short orchestral intro
called Ritornello
Dynamics
Terraced, but lile
variaon on score
Any Tech?
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Model Essay— Handel: ‘And the Glory of the Lord’ From the ‘Messiah’ wrien in 1741, oratorio—based on biblical story, perf in concert halls, church, theatres
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Keywords
Melody
1st sub—Gminor, repe-on, 2nd sub Bb maj. Q
and A feel, balanced
phrases. Imp cadence at
end of phrases to sound
like Q? Some passages
based on scalic
Har/Tonality
Diatonic, G minor, Bb maj,
modulaons around circle of
5ths in dev, recap in Gm all
way through. PEDAL notes,chromac chords eg dim7th
Rhyt/Metre/
Tempo
In 4,4, molto allegro, short
rhythmic ideas, anacrusis,
2quav and Cro rhythm re-
peats, doed, syncopaon
Inst/Forces
Chamber orch, mainlystrings, some woodwind
and horns. No trpt or
mp.
Texture
Main Homo. Use of coun-
terpoint and imitaon in
dev. Oct Doubling, dia-
logue between string and
ww.
Structure
Sonata form, Expo, Dev,
Recao, Coda, Codea,
Bridge,
Dynamics
Expo—quiet, tran loud,
2nd sub grad gets louder.
Most cotrasts are sudden.
Few dim/cresc/
Perf Directs.
Div. = split parts between
players, 1. one play, a.2—
both play, sf—sfortzando,
tr.—trill
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Model Essay— Mozart: Symphony no.40 in G minor Mvmt1
1788, large room or stately hall for performance, symphony has 4 movements, this is the rst!
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Keywords
Melody
Begins with lyrical RH melo-dy, ornaments e.g. acciacca-
tura, turn. Doed rhythms,
some chromacism. Secon
B melody in bass, narrower
range, longer notes. 4 and 8
bar phrases
Har/Tonality
Db maj, mainly diatonic,
occasional chromacism.
Modulates to enharmonic
tonic minor (C#min) in Sec-
on B. A and B end imperfect
cadences, nal cadence—
perfect. Dominant pedal.
Rhyt/Metre/
Tempo
In 4/4, septuplet bars 4 and
23, dectuplet bar 79,
‘Sostenuto’ - legato, unhur-
ried. Rubato in recording.
Repeated quavers through-
out. Doed rhythms in Sect
A.
Inst/Forces
Piano—middle and lower
ranges, legato tone, wide
dynamic range, use of sus-
tain pedal.
Texture
Almost all homophonic. Sect
A—RH melody, LH broken
chords, Sect B—LH melody,RH repeated quavers domi-
nant pedal (inverted pedal),
chordal texture
Structure
A (Db maj), B (C# min), A (Db
maj) + coda
Dynamics
Lots of cres and dim, wide
tange but no sudden con-
trasts. Sect A quieter
Perf Directs.
Ped. = pedal, soo voce = like
a whisper, smorzando = dy-
ing away,
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Model Essay— Chopin: Prelude No. 15 in Db
1839, one of 24 preludes (1 in each maj and min key) performed in small space, nicknamed ‘Raindrop’.
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Keywords
Melody
Short, fragmented mofs,disjunct melodies, large
leaps, octave displacement,
inversion of mofs, rhythmic
augmentaon
Har/Tonality
Atonal, dissonant harmony,
chords/melodies oen built
from hexachords (groups of 6
notes).
Rhyt/Metre/
Tempo
Changes between 3/4, 2/4
and 4/4. Sehr rasch = v quick,
rhythms—completx, varied,
change quickly. Layers of
rhythms = complex/
contrapuntal texture
Inst/Forces
Large orch (str, ww, br, perc).
Many contrasts in mbre,
extremes of range, unusual
eects. Piccolo, cor anglais,
bass clarinet, contrabassoon,
tam-tam.
Texture
Most contrapuntal, occasion-
al mono/homo. Complex—
imitaon, inversion, canons,
extreme contrasts. Klangfar-
benmelodie—tone colour
melody
Structure
Free rondo form - 5 secons
(ABACA)
Dynamics
Sudden changes, extreme
contrasts (ppp to f)
Perf Directs.
Divisi = divide into groups,
bell up = brass players point
bell up for loud sound, 1 solo= single person play, tu =
everyone plays, + = hand -
stopped—horn hand in bell,
tremolo = note rapidly re-
peated. Hauptsmme-most
imp part, nebensmme—2nd
most imp part
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Model Essay— Schoenberg ‘Peripee’ (serialism) Fourth of ‘Five Orchestral Pieces’, 1909, shocking, experimental, large orchestra, tle = ‘A sudden reversal’
8/11/2019 Edexcel Music Model Essay Booklet
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Keywords
Melody
Almost enrely syllabic, 3main themes, 1)quiet synco-
pated, 2) loud strident 3)
lyrical slow. Not exact repe-
ons, varies by changing
words and metre. Word
painng
Har/Tonality
‘Something's coming’ Is
Dmajor, other two in C ma-
jor. Freq use of sharpened
4th and aened 7th. Use of
triton. Last note is at 7th
leaving a sense of unre-
solved for tonys uncertain
future. Tonal, jazz inuenced
7th chords and other extend-
ed chords. BI TONAL, Neapol-
itan chord.
Rhyt/Metre/
Tempo
Changes between 3/4 and
2/4, fast tempo, syncopaon
(excitement and ancipaon)
on beat bass with o beat
chords, cross rhythms, push
rhythms, short ris, driving
rhythms, accents.
Texture
Homophonic, 3 main ideas,
1) repeated ri, 2) short syn-
copated chords, 3) fast ‘um
cha’ accompaniment.
Structure
Intro A B B1 A1 Outro, two
main secons, fade to end.
Flaened 7th last note for
the uncertain future.
Inst/Forces
Solo tenor ‘something's com-
ing’, ww, brass, str, perc
(name at least 6 inst). To
ensure band doesn't over-
power—quiet dynamics, so
mbres, homophonic tex-ture. Strings use harmonics
and tremolos. Muted trpt,
pizzicato.
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Model Essay—Bernstein ‘Something’s Coming’ From ‘West Side Story’, 1957, based on Romeo and Juliet, New York, Jets and Sharks, Tony and Maria
8/11/2019 Edexcel Music Model Essay Booklet
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Keywords
Melody
One bar mof, repeated togive osnato, intro at dier-
ent mes to give canon, re-
sultant melody. Some parts
build up through addion,
metamorphasis
Har/Tonality
Largely Gmaj, ends in Eb
maj, diatonic, hexatonic
scale, convenonal harmony
progressions not used, nal
chord only 2 notes, ambigu-
ous
Rhyt/Metre/
Tempo
3/2 changes to 12/8. combo
at end is a polumetre, very
fast 192C, lile rhythmic
variety, syncopaon, metre
displacement—out of sync
parts.
Inst/Forces
Live guitar, 7 electric guitar,
2 bass (pre recorded). Guitar
is amplied to blend well.
Texture
Contrapuntal, canon, lay-
ered, broken chords, inter-
locking rhythms,
Structure
2 main secons followed by
coda, secons dened by key
change and texture
Dynamics
Fairly consistent, use of fade
outs
Minimalist Fea-
tures in Elec Cpt
Repeon, gradual
changes, layered texture,diatonic, slow harmonic
rhythm, lile variety in
instrumentaon
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Model Essay—Reich ‘Electric Counterpoint’3rd Mvmt Wrien for Pat Metheny, rst performed in 1987, 3 mvmts overall, fast-slow-fast.
8/11/2019 Edexcel Music Model Essay Booklet
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Keywords
Melody
Head melody, simple, ris-ing 6ths, 4 improvised
solos. 1. Trpt (short synco-
pated mofs) 2. Alto sax,
(more virtuosic) 3. tenor
sax (fast runs), 4. piano
(calm, simple chords, par-
allel chords)
Har/Tonality
12 bar blues, chord substu-
on, blue notes, mixolydian
mode gives to modal jazz.Gmaj but with aened 7th .
7th chords, extended chords,
7(#9)s, some dissonance.
Rhyt/Metre/
Tempo
6/4 jazz waltz, swing qua-
vers, syncopaon, compound
metre. Polyrhythms some
rhythmic displacement
Inst/Forces
Frontline: Trpt, alto sax, ten-
or sax. Rhythm: Piano, bass,
drums. Wire brushes, bass
pizzicato throughout, trpt
harmon mute, piano tremo-
los to start, piano comping.
Texture
Starts drum kit, bass and
piano, builds text as inst
added in, sax chordal ri,
trpt with head, links between
solos thinner.
Structure
12 bar blues progression,
played 19 mes, head, cho-
rus, 5 secons. intro-head
1—solos—head 2—coda. Use
of ri. Solos have 4 bar link
between. Fade out at end.
No rehearsal
Dynamics
Vary pending on secon
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Model Essay—Davis ‘All Blues’ Jazz, made up through improvisaons, modal jazz, Album: Kind of Blue, 1959.
8/11/2019 Edexcel Music Model Essay Booklet
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Keywords
Melody
Vocal has improve quality,wide range over 2 8ves. Most
vocal phrases are falling,
reect melancholy mood.
Frequent ornamentaon in
mel, glissando, mostly syl-
labic, some long melismas,
bridge has vocalisaons,
falseo used. Word painng
eg ‘cries, pain, slow, drown’.
2 and 4 bar phrases. Vocalise
in bridge. Diatonic with chro-
mac notes added .
Har/Tonality
E minor, somemes ambigu-
ous, avoids standard rock
chord prog, man chromac
chords and move in parallel
moon. Some dissonant
harmonies, spec. chorus.
Rhyt/Metre/
Tempo
12/8—compound. Bass drum
on 1 and 3, snare on back-
beats 2 and 4, syncopaon in
vocals and bass line. Cross
rhythms.
Inst/Forces
Elec/acousc Guitars, bass gui-
tar, synth, strings, drum kit,
backing vocals, lead vocals.
Guitar in TAB. Drop D tuning
(lowest string is tuned down
from E to D). Synth and strings
not as prominent throughout..
Texture
Synth and strings added to
vary texture, thickens to-
wards end of piece, esp. co-
da. Mainly homophonic,
Structure
Verse chorus. Uses bridge/
middle 8 passages and a
coda. Pre chorus.
Tech
Modulaon on synth at start,
distoron and anging on
guitars helps to intensify
sound of coda. Overdubbing
on guitars to thicken sound.
EQ in nal verse.
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Model Essay—Buckley: ‘Grace’ From album ‘Grace’ released in 1994, rock ballad.
8/11/2019 Edexcel Music Model Essay Booklet
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Keywords
Melody
2 samples from 1953 record-ing gospel choir, 1st by male
for verses, 2nd by female for
chorus, both manipulated to
change meaning, ’vintage’
feel, samples are looped—
simple and repeve.
Har/Tonality
Diatonic, has 3 chord pro-
gressions which last 8 bars.
1)Am, Em, G, D (Amazing
emily goes dancing) 2) C - Am,
3) F -C. Verses dorian mode
on A, chorus C maj.
Rhyt/Metre/
Tempo
4/4, steady tempo 98C, Drum
loop, breakbeat sampled
from other track, bass drum
1,3, backbeat snare 2,4, -
repeated semiquavers. Sun-
copaon piano/vocals.piano
paerns change, use of stac
chords in 2nd chorus.
Inst/Tech
Synthesisers, Sampler, Drum
machine, sequencer. Panning,
electronic ghosngs on vocals,
reverb and delay, echo, EQ
Texture
Intro has build of texture,
piano-bass-drums-vocals-
synth, piano. Aer break-
down thinner, contraststhrough varying instrumen-
taon, use of silence and
stac chords.
Structure
Intro, verse, chorus, silence
used.
Common feats
4/4, steady tempo, promi-
nent elec sounds, strong
beat, short prhases, repe-
on, loops
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Model Essay—Moby ‘Why does my heart feel so bad’ From album ‘Play’ released in 1990, Dance music
8/11/2019 Edexcel Music Model Essay Booklet
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Keywords
Melody
Vocal melody is pentatonic,lower register of voice, notat-
ed so sounds 8ve lower,
mainly syllabic, alternaves
between Gaelic (call) and
vocables (response). Inst
short mofs and counter-
mels, there is a inst break.
Har/Tonality
G maj, diatonic, G,Em,C
chords used, feels modal due
to avoiding the dom chord
(D). Cluster chords
Rhyt/Metre/
Tempo
12/8 (compound quad me).
Syncopaon, cross rhtyhms
created by hi hat paern,
band enters to emphasise
12/8
Inst/Forces
Uilleann, accordion, n whistle,bouzouki, bodhran, Wurlitzer,
ddle, drum kit, synth, voice
Texture
Layered, rhythmic paern,
bass, chords, mel, counter
mel.
Silence used—No acc. Heter-
ophonic
Structure
Intro, v1, v2, outro—4 main
phrases. Inst break. Use of
short vocal phrases
Others
Lament. Good for work song
due to steady rhythm, repe-
ve, rocking feel to work to,
call and response, keep work-
ers in me. Passed by oral
tradion
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Model Essay—Capercaille ‘Skye Waulking Song’ Folk music, fusion, Celc and popular, waulking—pounding tweed cloth against wooden board to soen
8/11/2019 Edexcel Music Model Essay Booklet
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Keywords
General
Melody based on Rag,rhythm is a cycle of beats
known as Tal. First beat of
the cycle is the sam. Alap is
the beginning intro parts, gat
is the more lively bit aer.
Other two secons are Jallah
and Johr.
Version 1 Shankar
Inst: Sitar (strings), also has
sympathec strings that vibrate
in sympathy with others and Tabla
(perc).
Rhythm: 2 tals. 1) Jhaptal 10
betas, 2) Tintal 16 beats.
Structure: Alap—sitar only,
slow, no reg pulse, introduc-
es notes of rag, decorated
with slieds and bends
(meends). Gat—table enters,
xed composion, sitar im-
prove based on gat and tal.
Ends on sam.
Version 2 Tanwar
Inst: Sarod (plucked string),
sarangi (bowed string)
pakhwaj—drum, table, pair
of cymbals.
Rhythm: Keherwa tal 8 beats
Structure: Alap—sarangi and
voice into notes of rag. Slow
and no reg pulse. Bahjan—
tabla joins in with tal, sung
verse, short solos on sarangi
and sarod, decoraon on imp
words, melisma and orna-
ments.
Version 3 Gorn/We
Inst: Bansuri, Esraj (bowed
string) shru box elec drone,
swarmandel plucked string,
table.
Rhythm: Rupak tal 7 beats,
ektal 12 beats.
Structure: Alap—sarangi and
voice inro notes of rag, no
reg pulse, slow. Gat 1– slow,
rupak tal, table enters later,
bansuri plays a composed
gat, bansuri and table then
improvise. Finishes with hai.
Gat 2—fast gat—ektal, table
solo, improve becomes elab-
orate, bansuri plays fast
scales, hais to end.
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Model Essay—Rag Desh—1,2 and 3. all versions
Indian classical music, an improvised form of music, 3 main feats: 1) mel solo 2) rhythm 3) drone on stringed
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Keywords
Typical Features
Repeon, osnatos, im-
prove, call and resp, lay-
ered text. Oral Trad
Melody
Chorus has unison, balaphon
short falling phrases to em-
phasise Gb and Db. Solos
breaks - more virtuosic.
Balaphons mostly play short
paerns. Solo voice, solo
improve over chorus, vocal
‘yiri’ interjecons, use of
pentatonic scale. Vocal pen-tatonic
Har/Tonality
Gb maj, most is hexatonic.
Rhyt/Metre/
Tempo
4/4, intro is free tempo, rest
is steady pulse. Syncopaon
is frequent, vocal solos and
balafons create cross
rhythms, vocal solo usestriplets, drum has rhythmic
osnato throughout piece,
djembe does occasional lls.
Polyrhythm , improve, ri.
Inst/Forces
Balafons, djembe—hands, talk-
ing drum—scks. Voices. BELL
Texture
Monophonic opening solo,
heterophonic with twobalafons at same me, poly-
phonic between all ensem-
ble, dialogue between inst
and voices. Varies as piece
progresses
Structure
Intro free tempo, inst breaks,
choruses, call and resp, vari-
aons, coda/outro—short
balaphon phrase 5 mes,
drum ost in rests, bell marks
the end. Main secon—clear pulse, alt between balaphons
and choruses, middle has
solo.
Others
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Model Essay—Koko: Yiri Performed from memory, score is a transcripon, from Burkino Faso in west Africa