Joseph Haydn. Symphony 26 Movement 1. A musical analysis
|
|
|
- Cora Richards
- 5 years ago
- Views:
Transcription
1 Joseph Haydn Symphony 26 Movement 1 A musical analysis 1
2 Introduction... 5 Sources... 5 Instrumental forces... 6 Oboes... 6 Bassoon Horns in D... Error! Bookmark not defined. Strings... Error! Bookmark not defined. String ranges... Error! Bookmark not defined. Cembalo... Error! Bookmark not defined. Orchestration... Error! Bookmark not defined. Thematicism... Error! Bookmark not defined. 2nd Subject... Error! Bookmark not defined. Codetta... Error! Bookmark not defined. Coda... Error! Bookmark not defined. Structure... Error! Bookmark not defined. Exposition bars 1 to Error! Bookmark not defined. Development bars 45 to Error! Bookmark not defined. Recapitulation bars 80 to Error! Bookmark not defined. Exposition... Error! Bookmark not defined. 2nd Subject... Error! Bookmark not defined. Codetta... Error! Bookmark not defined. 2
3 Development... Error! Bookmark not defined. 2nd Subject... Error! Bookmark not defined. Recapitulation... Error! Bookmark not defined. Texture... Error! Bookmark not defined. Exposition... Error! Bookmark not defined. 2nd Subject... Error! Bookmark not defined. Codetta... Error! Bookmark not defined. Development... Error! Bookmark not defined. 2nd Subject... Error! Bookmark not defined. Recapitulation... Error! Bookmark not defined. 2nd Subject... Error! Bookmark not defined. Coda... Error! Bookmark not defined. Tonality... Error! Bookmark not defined. The concept of tonality... Error! Bookmark not defined. Tonal scheme... Error! Bookmark not defined. Exposition... Error! Bookmark not defined. Development... Error! Bookmark not defined. 2nd Subject... Error! Bookmark not defined. 2nd Subject Transition... Error! Bookmark not defined. 3
4 Recapitulation... Error! Bookmark not defined. Harmony... Error! Bookmark not defined. Texture, harmony & dissonance: 1 st SubjectError! Bookmark not defined. Texture, harmony & dissonance: 1 st Subject TransitionError! Bookmark not defined. Texture, harmony & dissonance: 2 nd SubjectError! Bookmark not defined. Evangelist... Error! Bookmark not defined. Christ... Error! Bookmark not defined. Evangelist... Error! Bookmark not defined. Jews... Error! Bookmark not defined. Texture, harmony & dissonance: 1 st Subject Development... Error! Bookmark not defined. Texture, harmony & dissonance: 1 st Subject Development Transition... Error! Bookmark not defined. Texture, harmony & dissonance: 2 nd Subject Development... Error! Bookmark not defined. Texture, harmony & dissonance: 1 st Subject Recapitulation... Error! Bookmark not defined. Texture, harmony & dissonance: 2 nd Subject Recapitulation... Error! Bookmark not defined. Texture, harmony & dissonance: Coda... Error! Bookmark not defined. 4
5 Phrasing... Error! Bookmark not defined. Score reduction... Error! Bookmark not defined. Nick Redfern... Error! Bookmark not defined. Music through the Microscope... Error! Bookmark not defined. 5
6 Introduction This document is a detailed analysis of Haydn s Symphony number 26 Movement 1. The purpose of this analysis is to aid the study of the work by isolating aspects of structure, melody and melodic development, harmony, orchestration techniques, texture and phrasing. This study is not a critique of the composer and does not seek to explore the cultural, contextual or historical aspects of the music. If some of the illustrations appear too small then a free copy of the illustrations can be downloaded as a PDF file from: Sources The score from which the analysis is derived was taken from The New Anthology of Music published by Edition Peters for Edexcel. However the copyright restrictions have required me to illustrate the work from a short score transcription and from public domain scores downloaded from IMSLP at Nick Redfern January
7 Instrumental forces Haydn s early symphonies are characterised by a limited instrumental timbre but it is imperative not to consider these works to be constrained by a lack of timbral variety through poor artistry. Haydn was simply making use of an available and conventional instrumental ensemble. Indeed Haydn is crafting a mode of orchestral expression which was to become the foremost mode of musical expression in the Classical period and beyond. This is not merely proto-symphonic writing but a highly innovative, urbane, spectacular, crafted and fully rounded orchestral composition. Oboes There are two oboes whose function is both melodic and harmonic. The range is two octaves from middle C, the lowest note on the Classical oboe. This range is typical of the era. Figure 1 oboe range In the 1 st Subject the oboes work intrinsically with the 1 st and 2 nd violins to achieve maximum weight for this most boisterous of melodic themes. The 1 st Subject is phrased in a pattern which reveals some very cunning and idiomatic differentiation between the strings and double reeds. 7
8 Figure 2 oboes and violins bars 1 to 2 The oboes sit an octave above the 1 st and 2 nd violins, which are in unison. There are two interesting points of idiomatic consideration. Firstly the oboes are required to sustain the D whilst below the violins, an octave below, articulate the characteristic syncopation of the 1 st Subject. The sustained note is much more in keeping with the Classical oboe s natural mode of articulation. The second idiomatic consideration is that the violins are required to double stop D both as an open string and fingered on the G string below to gain maximum volume and sonority. As is evident, this cannot be achieved in the strings on the B flat of bar 3 but can be achieved on the A of bar 5. Here the A is articulated on the open A string and fingered on the D string below. 8
9 Figure 3 oboe & violins bars 1 to 8 Given the restricted instrumentation of the ensemble such considerations are vital to the success of the work in terms of dramatic impact, dynamics and sonority. Where the 1 st and 2 nd violins are in unison the oboes are placed an octave higher where their characteristic double reed sonority is able to shine. In the 2 nd Subject from bars 17 to 42 the 1 st oboe is doubled in unison with the 2 nd violins. Where the 1 st Subject is a wholly original idea conceived for orchestral instruments, the origins of the 2 nd Subject lie in the human voice, the melody being derived from a Gregorian plainchant. The inherent simplicity of the theme, its highly conjunct shape and narrowly defined range is ideal for the oboe s expressive tone. Where performance details are scant 9
10 it is clear that the few staccatos and slurs are vital in defining the characterisation of the melody. Figure 4 1st oboe 2 nd Subject bars 17 to 25 The exact nature of the melody will be explored later; however the sheer restriction of the melodic range is indicative of its liturgical and vocal origins. Here the 2 nd oboe in isolation reveals its music to be of a secondary nature to that of the 1 st oboe. 10
11 Figure 5 2 nd oboe 2 nd Subject bars 17 to 25 A closer inspection of both oboe parts reveals how they cross quite freely in an often claustrophobic and dissonant manner. However, the skill of Haydn in realising the sonic nature of both oboes lies in their relationship to the strings. 11
12 Figure 6 oboes 2 nd Subject bars 17 to 25 The 1 st oboe (upper voice) is doubled with the 2 nd violins which ensure sonic differentiation between the two oboes. Therefore, their close proximity does not result in confusing or distorting the principle melody of the 1 st oboe. The 2 nd oboe, when not doubling the melody of the 1 st, has a clearly defined harmonic relationship with the strings. 12
13 Figure 7 2 nd Subject oboes and strings, excluding 1 st violins The central section of the 2 nd Subject from bars 26 to 31 reveals the Gregorian chant melody at its most disarmingly simple. The 1 st oboe is again doubled in unison with the 2 nd violins to maintain timbral differentiation with the 2 nd oboe. This part of the oboe s tessitura is rich and expressive and Haydn clearly has placed the oboes within this octave to best suit their sonority. Figure 8 1 st oboe 2 nd Subject bars 26 to 31 Here both oboes remain in close proximity but, as before, the unison doubling of the 1 st oboe and 2 nd violins allow for an effective timbral 13
14 differentiation. Note how the 2 nd oboe (lower voice) is given an F pedal, the tonic of the 2nd Subject, before blatantly crossing the path of the 1 st. Figure 9 both oboes 2 nd Subject bars 26 to 31 Bassoon The bassoons are never allowed an independent presence throughout the Movement; their function is simply to bolster the sonority of the cellos and bass, whose presence in tern is also greatly enhanced by doubling in unison and octaves with the violas. In his 23 rd Symphony Haydn employs the bass instruments in the same, undifferentiated manner. Figure 10 Haydn Symphony 23 Exposition 14
Anton Bruckner. Locus iste. Illustrations. A musical analysis. Music through the Microscope Volume 6
Anton Bruckner Locus iste Illustrations A musical analysis Music through the Microscope Volume 6 1 Introduction... 4 Sources... 4 Thematicism... 5 A section... 5 B section... 6 C section... 7 Vocal forces
Claude Debussy. Prélude à l après-midi d un faune. A musical analysis. Dr Nick Redfern 2015 Cloud Factory Publications Limited
Claude Debussy Prélude à l après-midi d un faune A musical analysis 1 Introduction... 5 Structure... 6 Tripartite structure... 6 Themes and motifs... 7 Motif Z (cadencial motif)... 9 Motif Y ( cellos)...
17. Beethoven. Septet in E flat, Op. 20: movement I
17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper
Claudio Monteverdi. Ohimè, se tanto amate. Illustrations. A musical analysis. Music through the Microscope Volume 3
Claudio Monteverdi Ohimè, se tanto amate Illustrations A musical analysis Music through the Microscope Volume 3 1 Sources & acknowledgement... 4 Voices... 5 Setting & texture... 6 Rhythm... 8 Motifs...12
Assessment Schedule 2017 Music: Demonstrate knowledge of conventions in a range of music scores (91276)
NCEA Level 2 Music (91276) 2017 page 1 of 8 Assessment Schedule 2017 Music: Demonstrate knowledge of conventions in a range of music scores (91276) Assessment Criteria Demonstrating knowledge of conventions
Symphony no. 26 in D Minor, Lamentatione : Movement I Haydn
Symphony no. 26 in D Minor, Lamentatione : Movement I Haydn Background information and performance circumstances Joseph Haydn (1732 1809) was highly influential in establishing the symphony, but to describe
Claudio Monteverdi. Ohimè, se tanto amate. A musical analysis. Music through the Microscope Volume 3
Claudio Monteverdi Ohimè, se tanto amate A musical analysis Music through the Microscope Volume 3 1 Introduction... 4 Sources & acknowledgement... 4 Claudio Monteverdi... 6 Ohimè, se tanto amate... 6 Text...
rhinegold education: subject to endorsement by ocr Beethoven: Symphony No. 3 in Eb, Op. 55, Eroica, first movement
80 AS/A LEVEL MUSIC STUDY GUIDE Mozart: Symphony No. 41 in C, K. 551 Jupiter Composed in 1788 in Vienna It is not known if the symphony was performed in Mozart s lifetime it was not published until after
CONCERTO NO. 2 IN F MAJOR, OP. 102 FOR PIANO AND ORCHESTRA BY DMITRI SOSTAKOVICI
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts Vol. 7 (56) No. 2 2014 CONCERTO NO. 2 IN F MAJOR, OP. 102 FOR PIANO AND ORCHESTRA BY DMITRI SOSTAKOVICI Maria Cristina BOSTAN
Copyright 2009 Pearson Education, Inc. or its affiliate(s). All rights reserved. NES, the NES logo, Pearson, the Pearson logo, and National
Music (504) NES, the NES logo, Pearson, the Pearson logo, and National Evaluation Series are trademarks in the U.S. and/or other countries of Pearson Education, Inc. or its affiliate(s). NES Profile: Music
FINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Alignment
FINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Program: Music Number of Courses: 52 Date Updated: 11.19.2014 Submitted by: V. Palacios, ext. 3535 ILOs 1. Critical Thinking Students apply
CHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77. Czech composer, Antonin Dvořák is well known for his orchestral repertoire.
1 CHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77 Czech composer, Antonin Dvořák is well known for his orchestral repertoire. His works encompass a variety of genres including, but not limited
Cambridge International Examinations Cambridge International General Certificate of Secondary Education. Published
Cambridge International Examinations Cambridge International General Certificate of Secondary Education MUSIC 040/ Paper Listening MARK SCHEME Maximum Mark: 70 Published This mark scheme is published as
0410 MUSIC. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers.
CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education MARK SCHEME for the May/June 2014 series 0410 MUSIC 0410/13 Paper 1 (Listening), maximum raw mark 70 This mark
AoS1 set works Handel: And the Glory of the Lord Mozart: 1 st movement (sonata) from Symphony No.40 in Gminor Chopin: Raindrop Prelude
The KING S Medium Term Plan - Music Y10 LC4 Programme out-going GCSE Module Area of Study 1 Analysing three additional set works. Learners will be required to focus their skills on a more formal style
2010 HSC Music 2 Musicology and Aural Skills Sample Answers
2010 HSC Music 2 Musicology and Aural Skills Sample Answers This document contains sample answers, or, in the case of some questions, answers could include. These are developed by the examination committee
Haydn: London Symphony, No.104
MOVEMENT 2 During the Classical era in music, second movements in a symphony were the slow movements, generally labelled Adagio, Largo or Andante. They would be in a key other than the tonic, so as to
3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)
3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble
47. James Horner Take her to sea Mr Murdoch from Titanic
47. James Horner Take her to sea Mr Murdoch from Titanic (For Unit 6: Further Musical Understanding) Background information and Performance Circumstances James Horner (born 1953) is one of America s foremost
GCE. Music. Mark Scheme for January Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music
GCE Music Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music Mark Scheme for January 2013 Oxford Cambridge and RSA Examinations OCR (Oxford Cambridge and RSA) is a leading UK
Music Curriculum Glossary
Acappella AB form ABA form Accent Accompaniment Analyze Arrangement Articulation Band Bass clef Beat Body percussion Bordun (drone) Brass family Canon Chant Chart Chord Chord progression Coda Color parts
44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding)
44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding) Background information and performance circumstances Biography Jerry Goldsmith was born in 1929. Goldsmith
Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding)
Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding) Background information and performance circumstances Biography Johannes Brahms was born in Hamburg, Germany
Leaving Certificate 2013
Coimisiún na Scrúduithe Stáit State Examinations Commission Leaving Certificate 03 Marking Scheme Music Higher Level Note to teachers and students on the use of published marking schemes Marking schemes
rhinegold education: subject to endorsement by ocr Mozart: Clarinet Concerto in A, K. 622, first movement Context Scores AS PRESCRIBED WORK 2017
94 AS/A LEVEL MUSIC STUDY GUIDE AS PRESCRIBED WORK 2017 Mozart: Clarinet Concerto in A, K. 622, first movement Composed in 1791 (Mozart s last instrumental work, two months before he died), dedicated to
Elementary Strings Grade 5
The following Instrumental Music performance objectives are integrated throughout the entire course: INSTRUMENTAL MUSIC SKILLS Strand 1: Create Concept 1: Singing, alone and with others, music from various
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born
Trumpets. Clarinets Bassoons
LISTENING GUIDE RTÓK (1943) One of artók s last works, the was premiered by the oston Symphony Orchestra at Symphony Hall on December 1, 1944. The score was a commission from Serge Koussevitsky, the orchestra
GCE. Music. Mark Scheme for June Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music
GCE Music Advanced Subsidiary GCE Unit G353: Introduction to Historical Study in Music Mark Scheme for June 2013 Oxford Cambridge and RSA Examinations OCR (Oxford Cambridge and RSA) is a leading UK awarding
31. Stravinsky Symphony of Psalms: movement III (for Unit 3: Developing Musical Understanding) Background information and performance circumstances
31. Stravinsky Symphony of Psalms: movement III (for Unit 3: Developing Musical Understanding) Igor Stravinsky Background information and performance circumstances In 1910 the Russian composer Igor Stravinsky
Preparatory Orchestra Performance Groups INSTRUMENTAL MUSIC SKILLS
Course #: MU 23 Grade Level: 7-9 Course Name: Preparatory Orchestra Level of Difficulty: Average Prerequisites: Teacher recommendation/audition # of Credits: 2 Sem. 1 Credit MU 23 is an orchestra class
5. Debussy Prélude à l'après-midi d'un faune (for Unit 3 : Developing Musical Understanding)
5. Debussy Prélude à l'après-midi d'un faune (for Unit 3 : Developing Musical Understanding) Background information Biography Debussy was born in St Germain-en-Laye, France on 22nd August 1862. His prodigious
LISTENING GUIDE. FORM: SONATA ALLEGRO EXPOSITION 1st Theme. 1st Theme. 5. TRANSITION ends with 2 CHORDS.
LISTENING GUIDE Ludwig van Beethoven (1770 1827) Symphony No. 5 in C minor, Opus 67 Composed 180 1808 1st Performance in Vienna, December 22, 1808 Movement I Allegro con brio FORM: SONATA ALLEGRO EXPOSITION
Ragtime wordsearch. Activity SYNCOPATED B T S A D E T N E C C A G E M F AMERICA Y N O M R A H T N A N I M O D Z SCOTT JOPLIN
page 9 Activity Ragtime wordsearch SYNCOPATED AMERICA SCOTT JOPLIN THEMES RECAPITULATION TONIC HARMONY DOMINANT HARMONY ACCENTED ACCOMPANIMENT THE ENTERTAINER MAPLE LEAF B T S A D E T N E C C A G E M F
7. Stravinsky. Pulcinella Suite: Sinfonia, Gavotta and Vivo
7. Stravinsky Pulcinella Suite: Sinfonia, Gavotta and Vivo (For Unit 6: Further Musical Understanding) Background information and performance circumstances The Russian composer, Igor Stravinsky wrote the
43. Leonard Bernstein On the Waterfront: Symphonic Suite (opening) (For Unit 6: Further Musical Understanding)
43. Leonard Bernstein On the Waterfront: Symphonic Suite (opening) (For Unit 6: Further Musical Understanding) Biography Background Information and Performance Circumstances On the Waterfront was made
2013 Music Style and Composition GA 3: Aural and written examination
Music Style and Composition GA 3: Aural and written examination GENERAL COMMENTS The Music Style and Composition examination consisted of two sections worth a total of 100 marks. Both sections were compulsory.
Advanced Orchestra Performance Groups
Course #: MU 26 Grade Level: 7-9 Course Name: Advanced Orchestra Level of Difficulty: Average-High Prerequisites: Teacher recommendation/audition # of Credits: 2 Sem. 1 Credit MU 26 is a performance-oriented
Cambridge International General Certificate of Secondary Education 0410 Music June 2013 Principal Examiner Report for Teachers
MUSIC Cambridge International General Certificate of Secondary Education www.xtremepapers.com Paper 0410/01 Listening Key Messages Answers must always focus on the music, not general features of the style
MARK SCHEME for the May/June 2012 question paper for the guidance of teachers 0410 MUSIC
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education www.xtremepapers.com MARK SCHEME for the May/June 2012 question paper for the guidance of teachers
Stylistic features Antonio Vivaldi: Concerto in D minor, Op. 3 No. 11
Stylistic features Antonio Vivaldi: Concerto in D minor, Op. 3 No. 11 Piece Structure Tonality Organisation of Pitch Antonio Vivaldi 1678-1741 Concerto in D minor, Op. 3 No. 11 See separate table for details
AP Music Theory
AP Music Theory 2016-2017 Course Overview: The AP Music Theory course corresponds to two semesters of a typical introductory college music theory course that covers topics such as musicianship, theory,
46. Barrington Pheloung Morse on the Case
46. Barrington Pheloung Morse on the Case (for Unit 6: Further Musical Understanding) Background information and performance circumstances Barrington Pheloung was born in Australia in 1954, but has been
29 Music CO-SG-FLD Program for Licensing Assessments for Colorado Educators
29 Music CO-SG-FLD029-02 Program for Licensing Assessments for Colorado Educators Readers should be advised that this study guide, including many of the excerpts used herein, is protected by federal copyright
Stephen Schwartz Defying Gravity (from Wicked) Name: PLC. score
Stephen Schwartz Defying Gravity (from Wicked) I know the plot of Wicked and how the song fits into the musical I can describe the setting of the words, and understand vocables I can identify how the voices
8663 and 9703 MUSIC 8663/01 and 9703/01 Paper 1 (Listening), maximum raw mark 100
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS GCE Advanced Subsidiary Level and GCE Advanced Level MARK SCHEME for the May/June 2009 question paper for the guidance of teachers 8663 and 9703 MUSIC
2016 Music. Advanced Higher. Finalised Marking Instructions
National Qualifications 2016 2016 Music Advanced Higher Finalised ing Instructions Scottish Qualifications Authority 2016 The information in this publication may be reproduced to support SQA qualifications
Year 11 SOW MUSIC Autumn Week. Lesson Objectives/ PLC Activities Assessment Resources Key words Focus Group/
Year 11 SOW MUSIC Autumn Week. Lesson Objectives/ PLC Activities Assessment Resources Key words Focus Group/ Week 1 Lesson 1 Theory- AOS 1 introduction Week 1 lesson 2 Coursework- Solo Identify key words
Chapter 13. The Symphony
Chapter 13 The Symphony!1 Key Terms symphony sonata form exposition first theme bridge second group second theme cadence theme development retransition recapitulation coda fragmentation theme
TABLE OF CONTENTS CHAPTER 1 PREREQUISITES FOR WRITING AN ARRANGEMENT... 1
TABLE OF CONTENTS CHAPTER 1 PREREQUISITES FOR WRITING AN ARRANGEMENT... 1 1.1 Basic Concepts... 1 1.1.1 Density... 1 1.1.2 Harmonic Definition... 2 1.2 Planning... 2 1.2.1 Drafting a Plan... 2 1.2.2 Choosing
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding)
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653 1713) was one of the most
Orchestration notes on Assignment 2 (woodwinds)
Orchestration notes on Assignment 2 (woodwinds) Introductory remarks All seven students submitted this assignment on time. Grades ranged from 91% to 100%, and the average grade was an unusually high 96%.
Symphony No. 4, I. Analysis. Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some
Karolyn Byers Mr. Darcy The Music of Mahler 15 May 2013 Symphony No. 4, I. Analysis Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some deformations. The exposition
Brandenburg Concerto No. 5 Mvmt 3
Brandenburg Concerto No. 5 Mvmt 3 Key words 1) Instrumentation and Sonority 2) Structure 3) Tonality 4) Harmony 5) Rhythm, Metre and Tempo 6) Melody 7) Texture At the top of your Bach Score write each
Exemplar for Internal Achievement Standard. Music Level 2
Exemplar for internal assessment resource Music for Achievement Standard 91271 Exemplar for Internal Achievement Standard Music Level 2 This exemplar supports assessment against: Achievement Standard 91271
SAMPLE ASSESSMENT TASKS MUSIC GENERAL YEAR 12
SAMPLE ASSESSMENT TASKS MUSIC GENERAL YEAR 12 Copyright School Curriculum and Standards Authority, 2015 This document apart from any third party copyright material contained in it may be freely copied,
3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo
3 against 2 Acciaccatura One line of music may be playing quavers in groups of two whilst at the same time another line of music will be playing triplets. Other note values can be similarly used. An ornament
The Baroque Period. Better known today as the scales of.. A Minor(now with a #7 th note) From this time onwards the Major and Minor Key System ruled.
The Baroque Period The Baroque period lasted from approximately 1600 1750 The word Baroque is used to describes the highly ornamented style of fashion, art, architecture and, of course Music. It was during
Haydn: London Symphony, No.104 (Movement one)
Background information The following materials are essential for use with this resource: Eulenberg score of the London Symphony by Haydn (ISBN: 978-3-7957-6523-1) Recording of the symphony Preparatory
Edexcel A Level Syllabus Analysis
M USIC T EACHERS.CO.UK the internet service for practical musicians. Edexcel A Level Syllabus Analysis Mozart: Piano Sonata in B-flat K333, first movement. 2000 MusicTeachers.co.uk Mozart: Piano Sonata
CMP Teaching Plan: Four Royal Dances
CMP Teaching Plan: Four Royal Dances Title: Four Royal Dances Composer: Eric Ewazen Ensemble: Orchestra Performance level: Middle School or High School Submitted by: Leyla Sanyer; Oregon School District
GCSE. Music. CCEA GCSE Specimen Assessment Materials for
GCSE CCEA GCSE Specimen Assessment Materials for Music For first teaching from September 2017 For first assessment in Summer 2019 For first award in Summer 2019 Subject Code:7010 Foreword CCEA has developed
Chapter 11. The Art of the Natural. Thursday, February 7, 13
Chapter 11 The Art of the Natural Classical Era the label Classical applied after the period historians viewed this period as a golden age of music Classical also can refer to the period of ancient Greece
2014 Music Performance GA 3: Aural and written examination
2014 Music Performance GA 3: Aural and written examination GENERAL COMMENTS The format of the 2014 Music Performance examination was consistent with examination specifications and sample material on the
GRADUATE PLACEMENT EXAMINATIONS - COMPOSITION
McGILL UNIVERSITY SCHULICH SCHOOL OF MUSIC GRADUATE PLACEMENT EXAMINATIONS - COMPOSITION All students beginning graduate studies in Composition, Music Education, Music Technology and Theory are required
AS MUSIC Influences on Music
Please write clearly in block capitals. Centre number Candidate number Surname Forename(s) Candidate signature AS MUSIC Unit 1 Influences on Music Monday 23 May 2016 Morning Time allowed: 1 hour 45 minutes
BIG IDEAS. Music is a process that relies on the interplay of the senses. Learning Standards
Area of Learning: ARTS EDUCATION Music: Instrumental Music (includes Concert Band 10, Orchestra 10, Jazz Band 10, Guitar 10) Grade 10 BIG IDEAS Individual and collective expression is rooted in history,
West Windsor-Plainsboro Regional School District String Orchestra Grade 9
West Windsor-Plainsboro Regional School District String Orchestra Grade 9 Grade 9 Orchestra Content Area: Visual and Performing Arts Course & Grade Level: String Orchestra Grade 9 Summary and Rationale
Cambridge International Examinations Cambridge International General Certifi cate of Secondary Education
Cambridge International Examinations Cambridge International General Certifi cate of Secondary Education MUSIC 040/0 Paper Listening For examination from 05 MARK SCHEME Maximum Mark: 70 Specimen The syllabus
abc GCE 2004 June Series Mark Scheme Music (MUS )
GCE 2004 June Series abc Mark Scheme Music (MUS4 6271 ) Mark schemes are prepared by the Principal Examiner and considered, together with the relevant questions, by a panel of subject teachers. This mark
Debussy Nuages from Nocturnes Summary Notes
Debussy Nuages from Nocturnes Summary Notes These notes supplement the annotated scores on Moodle and are designed to be used in conjunction with them. What should I revise? Spend lots of time making sure
Music Learning Expectations
Music Learning Expectations Pre K 3 practice listening skills sing songs from memory experiment with rhythm and beat echo So Mi melodies incorporate movements to correspond to specific music use classroom
Additional Orchestration Concepts
Additional Orchestration Concepts This brief, online supplement presents additional information related to instrumentation and orchestration, which are covered in Chapter 12 of the text. Here, you will
Objective 2: Demonstrate technical performance skills.
SECONDARY MUSIC 1.1.a 1.1.b 1.1.c 1.1.d 1.1.e 1.1.f 1.1.g 1.2.a 1.2.b 1.2.c ORCHESTRA ASSESSMENTS February 2013 I. Students will use body, voice and instruments as means of musical expression. Objective
2013 HSC Music 2 Musicology and Aural Skills Marking Guidelines
2013 HSC Music 2 Musicology and Aural Skills Marking Guidelines Question 1 (a) Outlines the structure in detail 2 Attempts to outline the structure 1 2 bar piano intro Verse 1 (piano & vocal) 4 bar piano
Haydn s Clock Symphony
Haydn s Clock Symphony GCSE AQA Set Work Analysis Revision Guide Haydn Background Franz Joseph Haydn (1732 1809) was an Austrian composer, one of the most important of the classical period. He wrote 107
Berlioz: Symphonie Fantastique: Movement, I (for component 3: Appraising)
Berlioz: Symphonie Fantastique: Movement, I (for component 3: Appraising) Background information and performance circumstances Hector Berlioz (1803 69) was a French composer who was highly influential
2014 Music Style and Composition GA 3: Aural and written examination
2014 Music Style and Composition GA 3: Aural and written examination GENERAL COMMENTS The 2014 Music Style and Composition examination consisted of two sections, worth a total of 100 marks. Both sections
Examiners Report June GCE Music 6MU03 01
Examiners Report June 2014 GCE Music 6MU03 01 Edexcel and BTEC Qualifications Edexcel and BTEC qualifications come from Pearson, the UK s largest awarding body. We provide a wide range of qualifications
S Schwartz: Defying Gravity (from the album of the cast recording of Wicked) (for component 3: Appraising)
S Schwartz: Defying Gravity (from the album of the cast recording of Wicked) (for component 3: Appraising) Background information and performance circumstances Stephen Schwartz is an American music theatre
King Edward VI College, Stourbridge Starting Points in Composition and Analysis
King Edward VI College, Stourbridge Starting Points in Composition and Analysis Name Dr Tom Pankhurst, Version 5, June 2018 [BLANK PAGE] Primary Chords Key terms Triads: Root: all the Roman numerals: Tonic:
MUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.
MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing
Norman Public Schools MUSIC ASSESSMENT GUIDE FOR GRADE 8
Norman Public Schools MUSIC ASSESSMENT GUIDE FOR GRADE 8 2013-2014 NPS ARTS ASSESSMENT GUIDE Grade 8 MUSIC This guide is to help teachers incorporate the Arts into their core curriculum. Students in grades
Advanced Higher Music Analytical Commentary
Name:... Class:... Teacher:... Moffat Academy: Advanced Higher Music Analytical Commentary Page 1 A GUIDE TO WRITING YOUR ANALYTICAL COMMENTARY You are required to write a listening commentary between
Release date: Sunday 1 September 2013 Time: 16 hours
Write your name here Surname Other names Pearson Edexcel GCE Music Advanced Subsidiary Unit 2: Composing Centre Number Candidate Number Release date: Sunday 1 September 2013 Time: 16 hours You do not need
Composing and Interpreting Music
Composing and Interpreting Music MARTIN GASKELL (Draft 3.7 - January 15, 2010 Musical examples not included) Martin Gaskell 2009 1 Martin Gaskell Composing and Interpreting Music Preface The simplest way
Flint School of Performing Arts Ensemble Audition Requirements
Flint School of Performing Arts Ensemble Audition Requirements FLINT YOUTH SYMPHONY STRINGS 1. 2-minute excerpt of solo of your choice which demonstrates your playing level (no piano accompaniment necessary)
Beethoven: Sonata no. 7 for Piano and Violin, op. 30/2 in C minor
symphony, Piano Piano Beethoven: Sonata no. 7 for Piano and Violin, op. 30/2 in C minor Gilead Bar-Elli Beethoven played the violin and especially the viola but his writing for the violin is often considered
Examiners Report June GCE Music 6MU06 01
Examiners Report June 2015 GCE Music 6MU06 01 Edexcel and BTEC Qualifications Edexcel and BTEC qualifications come from Pearson, the UK s largest awarding body. We provide a wide range of qualifications
ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music. Ephesians 5:19-20
ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music [Speak] to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord, always giving thanks to
LEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
LEVELS IN NATIONAL CURRICULUM MUSIC
LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness
Elementary Strings Grade 4
The following Instrumental Music Performance Objectives are integrated throughout the entire course: INSTRUMENTAL MUSIC SKILLS Strand 1: Create Concept 1: Singing, alone and with others, music from various
Fifth Grade Music. Curriculum Guide Iredell-Statesville Schools
Fifth Grade Music Curriculum Guide Iredell-Statesville Schools Musical Literacy Essential Standard: 5.ML.1 Apply the elements of music and musical techniques in order to sing and play music with accuracy
Music Advanced Subsidiary Unit 2: Composing
Write your name here Surname Other names Edexcel GCE Music Advanced Subsidiary Unit 2: Composing Centre Number Candidate Number Release date: Saturday 1 September 2012 Time: 16 hours You do not need any
Power Standards and Benchmarks Orchestra 4-12
Power Benchmark 1: Singing, alone and with others, a varied repertoire of music. Begins ear training Continues ear training Continues ear training Rhythm syllables Outline triads Interval Interval names:
MARK SCHEME for the May/June 2008 question paper 0410 MUSIC
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education www.xtremepapers.com MARK SCHEME for the May/June 2008 question paper 0410 MUSIC 0410/01 Paper
Elements of Music David Scoggin OLLI Understanding Jazz Fall 2016
Elements of Music David Scoggin OLLI Understanding Jazz Fall 2016 The two most fundamental dimensions of music are rhythm (time) and pitch. In fact, every staff of written music is essentially an X-Y coordinate
Curriculum Map for Intermediate Orchestra Grades 8.1
Curriculum Map for Intermediate Orchestra Grades 81 Month: August -Review a brief history of bowed instruments -Review the parts of the instrument & bow -Review body, instrument, and bowhold -Review group