MUSICOLOGY/ SCORE READING TASK

Music 1945-1987/88

“I Don’t Know How To Love Him” Total /25 marks

Composer: Andrew Lloyd-Webber

Genre: Musical Theatre (from Jesus Christ Superstar)

Year of Composition: 1970 Duration: 3.36 mins

1. Refer to the score provided. For A) – H). (8 marks)A) What is the key of the piece?

B) What cadence occurs at Bars 9-10?

C) Draw the chord A9 sus (no G) in Bar 50 on manuscript below.

D) Name the Harmonic Technique used in Bar 60.

E) What is the Melodic Device used in Bars 22-25?

F) What is the Rhythmic Device featured in Bars 42-45?

G) What device is used in the harmonic accompaniment in Bars 29-30?

H) What is meant by the term “Opt Tacet” in Bar 42?

2. Describe the composer’s use of Dynamics and Expressive Techniques throughout the score. (3 marks)

3. Describe how the composer creates variety in the rhythmic material. Comment on the phrasing, tempo, metre and patterns. (4 marks)

4. Complete the table.List the similarities and differences between the two pieces. (4 marks + 4 marks)

Briefly comment below on how this these reflect the composer’s style and use of concepts within his works. (2 marks)

Similarities Differences

ANSWERS

1. A) D MajorB) Imperfect I-V (Tonic D- Dominant A)C) A D E B D) Pedal Point (Dominant Reiterated)E) SequenceF) SyncopationG) Reiterated pedal pointH) An optional acapella solo for the voice, without the piano providing

harmonic accompaniment; for the bars of 42-50. 2.

Use of contrast between crescendo and diminuendo (Bars 1-2) (Bars 11-12). This is repeated continuously throughout the piece at the beginning of each verse motif.

mp- Mezzo Piano- moderately soft. The dynamic used during each verse motif.

cres.poco a poco (Bar 22)- Gradually getting louder, little-by-little. This is repeated at the beginning of the refrain/chorus section.

dim.poco a poco (Bar 27). Used at the end of each refrain/chorus section. ff- Forzsando- very loud (Bar 26) f- forte-loud (Bar 27) contrasts with dim.poco a.poco for variety and

contrast. Bars 61-63 (ending) strong use of contrast for variety, with crescendo,

followed by an immediate mp, then dimuendo, ending with a mf-mezzo forte-moderately loud chord and “so”. This is the opposite of what you would expect in a usual ending to a work. Lloyd-Webber uses a similar dynamic marking for “Don’t Cry For Me Argentina”, when he concludes the work with a Refrain Grandioso, which includes the loudest and most accented material during the entire piece.

3. Phrasing mostly regular throughout verses with 8-9 beat (2-3 Bar)

phrases. Phrasing becomes regular in chorus/refrain with use of sequences. Tempo- slowly and expressively with no shifts or transitional bars. Time Signature 4/4- four crotchet beats per bar, with an absence of

multimeter. Syncopation in accompaniment. Repeated use of quaver and semiquaver rhythms in treble

accompaniment line. Rhythm doubles in piano bass line and vocal line in the second bar of

each phrase with use of minims. Repeated crotchets in the piano bass line of chorus/refrain (Bars 22-26)

4.

Andrew Lloyd-Webber incorporates contrasts in dynamic markings, and composes theses pieces in an intended slow tempo to allow the performer to encapsulate the emotion and contextual essence of each piece.

Lloyd-Webber composes with the use of modified strophic structure with verses and choruses. This is similar to the structure of popular music, with additional popular aspects being 7th chords with suspended 4ths. Dynamic markings of ppp are also reflective of twentieth century composition.

Double dotted minims reflective of twentieth century writing. Colla Voce, similar to the recitative technique in opera, reflective of classical writing. Both pieces with vocal lines indicate an interest in accompanied vocal writing.

Similarities DifferencesUse of repeated dynamic markings in each section of each piece.Eg. Mp for beginning of each verse for I-D-K-H-T-L-H.Eg. Use of Mf for verses in D-C-F-M-A

Use of more intense dynamic indications in Don’t Cry For Me Argentina with use of pp- pianissimo-very soft (Bar 15).Ppp after colla voce. Description of “molto”- much p- soft on final word and concluding vocal, perfect cadence.

Use of a modified strophic structure for each piece with similar material used in each verse and chorus/refrain. Structures are generally verse1, verse2, chorus, verse3, chorus.

Don’t Cry For Me Argentina has an orchestral introduction and outro. There is also an instrumental refrain with bouche’ ferme’- humming mmm with mouth- closed after the second vocal chorus.

Tempo of both pieces is slow. Time signature of both pieces is Simple Quadruple- 4/4, with the metre maintaining a regular four crotchet beats per bar rhythm.

Opt. Tacet in I-D-K-H-T-L-H. Colla Voce- with voice-sung speech, similar to recitative in opera in D-C-F-M-A.D-C-F-M-A has a tango feel in the refrain.Use of double dotted minims (3.5 beats) in D-C-F-M-A.Regular two bar phrasing in same piece with indicated pedal markings.

Use of imitative motifs in both accompaniments. Repeated rhythmic patterns in both accompaniments. Resolving harmonies with perfect and imperfect cadence points.

Tonality- D flat minor in D-C-F-M-A.D major in I-D-K-H-T-L-H.Use of A Flat Major transitional passage in D-C-F-M-A.