REVISED GCSE Set Works Analyses Music For use with the revised GCSE Music specification (for first teaching from September 2009)
Contents Page Introduction: Purpose of the Guidance 3 Core Area of Study: Repeated Patterns in Music 4 Pachelbel: Canon in D major 5 Beethoven: Symphony No. 7 Allegretto (2 nd movement) 8 Holst: The Planets Mars 11 Jenkins: Requiem Dies Irae 14 Optional Area of Study 1: Musical Traditions in Ireland To follow Optional Area of Study 2: Incidental Music To follow Optional Area of Study 3: Vocal Music To follow
Introduction: Purpose of the Guidance This guidance is designed to support the teaching of CCEA s Specification for GCSE Music (for first teaching, September 2009). It should be read in conjunction with the specification, the scheme of work and (when they become available) the exemplar assessment materials. This and subsequent support material can be found on our subject microsite: www.ccea.org.uk/music. These set work analyses provide a background, context and analysis of each work that appears in the Core and Optional Areas of Study in the specification. We have listed timecode in reference to specific points in each of the set works. Throughout the document we have listed the timings as, for example, (1.20) which indicates 1 minute and 20 seconds into the relevant recording. These timings are based on the recordings we have suggested on our microsite. Where scores were available, we have also listed rehearsal marks or bar numbers. This material is intended as an aid to teaching and a resource to supplement teachers own research. This material is available on the microsite as a pdf and as a Word document so that teachers may incorporate their own existing notes into this document. We hope that you find this aspect of our support useful in your teaching. Best wishes Roger Trigg Subject Officer Music Email: rtrigg@ccea.org.uk 3
Core Area of Study: Repeated Patterns in Music 4
Pachelbel (1653-1706): Canon in D major Biographical detail Johann Pachelbel was born in Nuremberg, Germany in August 1653 and became one of the great organist-composers of the Baroque era. He died in Nuremberg on March 6 th, 1706. Pachelbel is principally remembered as a composer of church and organ music, especially his chorale preludes and variations. Pachelbel is also credited with influencing the early keyboard works of Johann Sebastian Bach. It is believed that the Canon in D major was written (along with a Gigue in the same key) in or around 1680. Historical Background & Context This work was not published until the 1920 s with the first recordings emerging some twenty years later. Canon in D major has undergone hundreds of transformations in the intervening years, and has been recorded by artists as diverse as Pet Shop Boys and the Farm. It was the latter s reworking of Pachelbel s original for their 2004 hit release which became more widely recognised in its use as the theme tune of the English Euro 2004 team (All together now). Frequently used as a processional at weddings, this work has appeared in several films and also in television adverts such as, British Gas, Pure New Wool and Ambrosia. Analysis The Canon in D major was originally written for three violins and basso continuo. The original version of the Canon is rarely played today and the basso continuo (Extract 1) is frequently undertaken by cello, harpsichord or organ. Extract 1 The term canon to describe this work, is true in that the parts follow in strict canonic order throughout the work. The harmonic progressions heard above the ground bass (basso ostinato) also never alter. The title Canon therefore, refers to the way the three violin parts work, playing the same music (in this piece) 2 bars apart (Extract 2). 5
Extract 2 After the initial statement of the ground bass (Extract 1), the first violin enters with a simple descending and ascending crotchet pattern. Two bars later the second violin adds to the texture by playing in thirds with the first violin (Extract 3-0.27). As the third violin enters with the descending crotchet pattern, Violin 1 has begun the next variation, this time in quavers (Extract 4-0.40). Extract 3 Extract 4 Further progression occurs when a new scalic semiquaver variation begins. (Extract 5-1.03 ).A more disjointed variation of the crotchet pattern exploiting octave leaps follows (1.27 ), followed in turn by the fastest variation featuring demisemiquaver patterns (Extract 6-1.50). This variant features repeated half-bar sequences. 6
Extract 5 Extract 6 As the canon becomes increasingly dense towards the middle of the piece, other interesting variants occur when the descending crotchet pattern (Extract 2) is reworked and each note is repeated in semiquavers (2.34). Arguably the most melodically memorable legato variant is heard as the texture becomes increasingly sparse with lighter scoring and less counterpoint (3.23). As the note values lengthen, the piece gradually reverts to a less complex structure and after 28 repetitions of the original ground bass (Extract 1), the work ends. The chord progression used in Canon ( I V vi iii IV I IV V = D major, A major, B minor, F# minor, G major, D major, G major and A major) was to influence many composers including Handel, Haydn, Mozart and the many hundreds of contemporary musicians who have used it. The simplicity of the Canon is untypical of the Baroque era in that Pachelbel employs no complex contrapuntal devices such as augmentation, diminution, inversion etc. Performance detail It is also important to note that the fashionable very slow tempo of performance currently heard in most recordings contrasts with the much faster tempi employed by performers in the Baroque period. Many recordings also feature an accompaniment over the opening ground bass (bars 1-2). 7
Beethoven (1770-1827): Symphony No. 7 in A Allegretto (2 nd movement) Work on the Symphony began in 1811 and was completed in 1812. First performance took place in Vienna in 1813 at a charity concert for soldiers wounded at the battle of Hanau with Beethoven conducting. The symphony is scored for a Classical Orchestra - 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns 2 trumpets, timpani and strings. This is unusual as Beethoven had used larger forces in previous symphonies, particularly No. 5 where he included Piccolo, double bassoon and three trombones. There are four movements. The 2 nd movement is the only one of the four which is not dance-like in character, yet it is the best known. Its main characteristic is the repeated crotchet/two quaver figure (ostinato) that continues throughout the piece not only in the bass, but at other times on different instruments of the orchestra. Although it is the slow movement of the symphony, Beethoven marks it Allegretto ie a little lively. It is this contrast between the steady march-like figure in the minor key and the lightness which he expects the rhythm to be in performance that helps to give the movement its strange appeal. Analysis Theme 1 Theme 2 Theme 3 0.0 The movement opens with a chord of A minor by the oboes/clarinets/bassoons. This begins f and quickly fades to pp establishing the key of the movement. 8
0.05 The first theme is stated p by the violas against a strong rhythmic pulse of crotchet/2 quaver movement which continues relentlessly throughout the movement. The theme is 16 bars long with the second eight bars being repeated. 0.46 The violas and cellos introduce a second idea while the 2 nd violins take up the 1 st theme the cellos and double basses continue the regular pulse in an octave version of the opening rhythm. This 2 nd theme is also 16 bars long with the second eight bars repeated. 1.32 At this point the 1 st violins take the first theme and the 2 nd violins the second theme as the violas and cellos provide quaver accompaniment with a broken version of the rhythm. As the instrumentation increases so does the volume and as they approach the climax of this part of the movement. 1.51 The oboes and bassoons add off-beat chords 2.08 At this point we hear a full orchestral tutti ff. The Woodwind and horns taking the first theme and the 1 st violins the second theme while the string section support with arpeggios underneath the violas, cellos and double basses in triplet figures against the 2 nd violins quavers. The trumpets and timpani punctuate with loud tonic/dominant crotchets. This passage comes to an end on a long diminuendo. 2.47 A two bar cadence is repeated quietly by the oboes, clarinets, bassoons and horns. 2.53 A one beat silence leads directly into the second part of the movement, in A major. Theme 3 is much more lyrical and provides a direct contrast to the previous themes. This theme in descending and ascending crotchets is played by the clarinets and bassoons initially and then taken up by the other wind instruments. Although this melody is more serene and lyrical, Beethoven keeps the insistent rhythm of the first theme in the cellos and double basses and a running figuration in quaver triplets in the 1 st violins to maintain the restless mood of the piece. 3.20 As this part of the movement continues, the woodwind begin to take over the persistent quaver triplets in a series of sequences and imitative phrases where the clarinet and horn answer one another and the music begins to quieten again and move into C major the relative major key of the movement. 3.57 Again, we hear imitative phrases this time from the flute, oboe and bassoon. Beethoven then brings the section to a close with downward scales in triplets through the orchestra, emphasising the rhythmic quaver figure ff leading directly into 4.12 a repeat of the opening themes p with the woodwind playing second theme, the violins and violas answering each other in semiquaver arpeggio-like figures and the cellos and double basses playing the first theme. 4.56 At this point this section draws to a close with a 10 bar tonic pedal (A minor) in the trumpet, timpani, cellos and double basses emphasising the basic pulse again. After a series of short sequences and as the music quietens down 5.13 the 1 st violins begin a fugal passage based on the first bars of the first theme against a running semiquaver idea in the second violins. After 8 bars this is taken up by the cellos 9
and double basses with the violas having the semiquaver figure against them, while the upper strings continue with a syncopated counter-melody. As this builds the woodwind join in and there is a sudden surge as all the strings take up the semiquavers above a pedal in the bass leading to 6.03 a full statement of the first 8 bars of the first theme in the tonic (A minor) by the strings, brass and timpani accompanied by semiquavers in the woodwind. 6.18 After a one beat silence (similar to that at 2.53), there is a repeat of the lyrical third theme again in the tonic major, (exactly as before at 3.37). This is of shorter duration as it is actually a preparation for the coda. 6.55 This begins after two repeated cadences with the familiar opening rhythm in a series of question and answer phrases.it is followed by the Coda proper, where the cadential idea continues to the end with cadences in C major and A minor respectively. There is a restatement of the first theme (7.17) with falling antiphonal phrases, again in the tonic( A minor) played f on the oboes, clarinets, bassoons and horns, with a sudden diminuendo, ending the movement exactly as it began. 10
Holst (1874-1934): The Planets Mars Background Gustav Holst was an English composer most famous for his orchestral suite The Planets. He studied at the Royal College of Music in London and his work was influenced by Grieg, Wagner, Richard Strauss and fellow student Ralph Vaughan Williams. Through Vaughan Williams he became inspired by English folksong and the music of the French composer Ravel. His music is characterised by his use of irregular metres, pounding rhythms along with unusual haunting melodies. The Planets Seven-part suite was written between 1914 and 1917 Mars is the first movement in the suite Music is characterised by use of irregular metre, pounding rhythms, haunting melodies Analysis This is a 20 th Century Orchestral suite scored for very large orchestra including; sixteen woodwind; fifteen brass; two timpanists and three other percussionists; celesta; two harps; organ; and strings. Tempo Allegro Fast and lively Written in time (irregular) 0.00 The chief characteristic of Mars is the incessant repeated note rhythm, an ostinato starting in the timpani, harps and strings (col legno with the wood of the bow). Two bars later a slow moving motif can be heard in unison from bassoons and horns rising a fifth gradually building up adding more instruments with a falling semitone as a feature. This is repeated and used in imitation extending upwards and also harmonised leading up to Figure I. 0.32 Figure I The tenor and bass trombone take over with a rising sixth motif against the ongoing ostinato figure. Twelve bars after Figure I, the first violins move away from the ostinato and play a more sustained repetitive figure against the continuing ostinato. 11
A two note motif in the form of an octave leap can be heard antiphonally in brass and woodwind, growing in intensity, creating a fanfare-like effect building to a huge fff full orchestral climax at Figure II. 1.15 Figure II The strings, trumpets snare drum and timpani play the ostinato in unison against a sustained chord from woodwind, horns and trumpets. Four bars after figure II a new dotted chordal theme can be heard in the trombones and tubas against the ostinato figure still in strings and timpani. The horns and some trumpets join in with this theme two bars later. Dotted chordal theme Eight bars before figure III a new syncopated motif appears in the upper woodwind and violins with the dotted chordal theme continuing in the brass, lower woodwind and strings. Double basses, trumpets, trombones and timpani play the opening ostinato. 1.50 Figure III The orchestral texture thickens with the organ and trumpets playing part of the dotted chordal theme fff. From figure III the original opening ostinato theme is replaced by the dotted rhythm theme. The addition of the organ three note theme can be heard five times more ending in discords with a fff (E minor) chord two bars before figure IV. At this point the music quietens down with repeated notes on the strings alone. 2.10 Figure IV Against a steady crotchet pulse of the strings, a solo tenor tuba starts a new military calllike theme using triplet figuration. This is answered two bars later by trumpet, seven bars later by violins and flutes, and later by trumpets, horns and upper woodwind. 2.40 Figure V Once again the tenor tuba followed by the trumpet in canon play the military call-like theme against side drum taps and cymbal rolls. Five bars before figure VI all the woodwind and strings play a semiquaver motif while the tubas and trumpets play a variant of the motif heard in figure I. Semiquaver runs lead to a fortissimo tutti chord one bar before figure VI. 3.10 Figure VI 5/2 This quiet melodic idea which starts in the bass instruments is based on the dotted chordal theme first heard four bars after figure II. There is a fragmented variation of the opening ostinato played initially on side drum, then joined by trumpets and tenor trombones. Violins, and then violas, play tremolo while horns play a sustained note with timpani rolls. The texture builds up as more instruments join in with the melodic idea leading to 12
4.18 Figure VII 5/4 A four bar orchestral tutti on the opening ostinato played in unison fff. This is followed by a passage based on the opening melodic motif, accompanied by the ostinato throughout. 5.03 Figure VIII The ostinato theme continues in the strings with imitation between tuba and trumpets based on the military-like theme first heard at figure IV. Three bars before figure IX, the dotted theme from figure II returns, this time in oboe, clarinet and horns. 5.27 Figure IX The material from figure II is repeated with slight changes in the orchestration. 5.51 Figure X The full orchestral texture continues, reaching a ffff climax on a discord reinforced by the organ. At this point the metre changes to 5/2 and three repeated cadences occur based on the opening motif. 6.34 Fig XI The Coda begins with semiquaver figurations on strings, joined by woodwind, providing a contrast to the previous section and leads into.. 6.41 Fig XII A return of the opening ostinato figure ffff, distorted by the addition of rests and entries from the brass, percussion and strings with harsh discords. The movement concludes with a bare fifth chord on C with loud timpani rolls. 13
Jenkins (b. 1944): Requiem Dies Irae Biographical detail Karl Jenkins trained at Cardiff University and the Royal Academy of Music. He has enjoyed popular success as a jazz musician, playing frequently during the 1970 s with Ronnie Scott s Jazz Band. It was as a classical musician and composer that he first found longer term commercial and artistic success, beginning with the multi-million selling album Adiemus; Songs of Sanctuary. The work set the trend for Jenkins to explore world music and experiment with new orchestral and choral textures and minimalism Contextual background Jenkins own programme note indicates that his Requiem (from which the Dies Irae comes) was dedicated to his late father whom he describes as a musician and an inspiration. A Requiem is a Mass for the souls of the dead and Jenkins has blended the traditional Latin text for many of the traditional movements, with many influences from his travels throughout the world. In the Requiem, the addition of Japanese Haiku death poems is innovative and much in keeping with Jenkins interest in Western and Eastern texts. The Dies Irae is a medieval poem describing the day of judgement when the biblical interpretation speaks of the last trumpet sounding to summon souls before the throne of God where their eternal fate will be decided. Jenkins does not use the full text. The work is scored for SATB choir, shakuhachi (Japanese Flute), 2 horns in F, timpani, harp, strings and 3 percussion players using conventional orchestral percussion and others of ethnic origin (for example, surdo, darabuca, mark tree, rainstick, bamboo chimes) Analysis The Dies Irae is in 4/4 and begins with an ff 8 bar introduction in D minor which introduces musical elements which are developed further in the movement: 1. The 2 bar bass ostinato theme of 8 crotchet beats (Extract 1) played in the lower strings and accompanied by bass drum and tam tam. (There is a slight variation of the 8 crotchet beat pattern in the rhythmic accompaniment when the third beat is played as 2 quavers); 2. The driving relentless (Jenkin s own performance direction) triplet upper string accompaniment; and 3. The two quaver horn motif which is repeated in the first entry of the chorus (Extract 2). 14
Extract 1 Extract 2 0.16 The chorus entry replicates the horn motif of the introduction with the first lines of the Latin text. The homophonic texture of the SATB chorus is heavily accented and sung sempre ff This 8 bar choral introduction only uses the first two lines of the text- Dies irae, dies illa. 0.33 The full first stanza of the text is heard from the choir this time in unison (note D). The natural speech rhythm used here is repeated for other stanzas of the text. 0.38 A recurrent three chord motif suggesting the dominant briefly interrupts the flow of the music. The rhythmic impetus then continues as before. 0.48 A new bass ostinato is used as the chorus return to another 8 bar repeat of the opening choral introduction (Extract 3). Both the string and percussion accompaniments remain unaltered. Harmonic ambiguity is caused by the fluctuation between Bª and B in the lower string ostinato. Extract 3 0.58 After 4 bars, a chromatic rising scale idea played by the horns is heard for the first time and this too is the basis of a new choral theme later on. 1.04 The Tuba Mirum theme which follows (Extract 4) comprises two crotchet beats a third apart rising in sequence. 15
Extract 4 1.12 The driving rhythmic accompaniment stops for the first time, as the choir sing, in harmony, a falling sequence, exploiting the interval of a third and finishing on a unison D and with a re-introduction in the accompaniment of the ostinato. 1.29 The first of two sections follows where the word Dies is given syllabic rhythmic treatment and for the first time a polyphonic texture is created, comprising different layers of ostinati. 1.45 The underlying instrumental bass ostinato and percussion accompaniments continue for another 8 bars, and lead to the second stanza of text ie. Mors stupebit et naturo sung similarly and with the same rhythmic accompaniment as Dies Irae but with the soprano one octave higher and the three chord motif (0.38 refers) 2.01 A return of the opening choral introduction, accompanied by the new bass ostinato, features a choral version sung by the basses of the horn chromatic scale idea heard earlier (Extract 5). Extract 5 2.17 A key change to E minor follows as we hear an instrumental bridge section using the Tuba Mirum theme in the horns for the first time. Note the string triplet accompaniment and horn ornaments at this point. 2.32 The final section of the text used by Jenkins is heard after this instrumental bridge ( Iudex ergo ) the bass ostinato changes to a new rising chromatic scale idea. 2.49 A new key change (F minor) introduces the second example of syllabic treatment of the words Dies Irae. In this extended section we hear many of the rhythms Jenkins himself indicated were hip-hop influenced. A more complex rhythmic variation than the first, features greater use of syncopation and strong accented beats, further emphasised by melodic leaps of an octave in the soprano line. The twelve bar Tuba 16
Mirum choral theme is then used to lead to the third syllabic variation on the words Dies Irae, this time featuring changes in the soprano line. 3.45 This eight bar segment leads directly to another key change (F# minor), another syllabic variation given extra momentum by the frequency of the octave leaps in the soprano line and the more exciting syncopated sextuplet bass vocal part. 4.00 The addition of a syncopated horn motif eight bars later, combined with the soprano constant F# repetition and the prominent cymbals, continues the excitement and builds towards the thunderous and abrupt climax to the movement seventeen bars later. 17
Optional Area of Study 1: Musical Traditions in Ireland (To follow) 18
Optional Area of Study 2: Incidental Music (To follow) 19
Optional Area of Study 3: Vocal Music (To follow) 20