+

Music Gcse


Music Gcse. Helpful Words.
  
Changes are done, please view the flashcard.

Preview Flashcards

FrontBack
accent
 
emphasis on a note or chord
acciaccatura
 
a very short ornamental note played just before the principle melodic note
added- note chord
 
a chord which includes one or more non-standard notes. like 2nd or 6th above the root
anacrusis
 
an upbeat , an accented note or group of notes that come before the strong beat of a phrase
atonal music
 
music that avoids keys or modes i.e- no one pitch stands our in the way the tonic does in tonal music
balfon
 
an instrument from west Africa, similar to a xylophone
balenced phrase
 
phrases of the same length paired together so that the first one sounds like a question and the second an answer
bass ( voice)
 
a low male voice
bass ( line)
 
the lowest pitched line in a piece of music
blues note
 
a note performed at a slightly lower pitch than normal
blues
 
a style of music created by an African american community during the early 20th century
break
 
in jazz and pop music, a short instrumental solo
bridge
 
in jazz and pop, a contrasting passage that connects two longer sections together.
broken chord
 
a chord in which notes are played one after another instead of at the same time
call and response
 
the second phrase is heard as reply to the first one
chorus ( structure)
 
the repeated phrase in a verse - chorus structure
chorus ( choir)
 
a movement for a whole choir in a large scale choral work
chorus ( blues)
 
one statement of the 12 bar blues progression
cirlce of 5ths
 
a harmonic progression in which the root of each of each succeeding chord is a 5th lower than the previous one
clef
 
a symbol placed at the beginning of a line of music that defines what the pitches of the notes are
coda
 
a section of music that ends the piece
compound time
 
a metre in which the main beat is sub-divided into into three equal portions
conjunct
 
a conjunct melody moves by steps rather than by larger intervals
consonance
 
notes that are consonant sound pleasing when played together
continuo
 
an accompanying part in instrumental music of the baroque period. The continuo is played by a bass instrument and a harmony instrument
contrapuntal
 
adjective to describe music that uses the counterpoint
counter melody
 
a second melody in a piece that is heard at the same time as the main melody, to provide contrast
counterpoint
 
a texture in which two or more melodic lines, each one significant in itself , are played together at the same time
cresendo
 
a gradual increase in dynamics
cross rhythm
 
the presence in a passage of music of conflicting rhythms
delay
 
an audio effect that can be electronically added to give the effect of an echo
dialogue
 
when two or more instruments or voices have a musical conversation
diminuendo
 
a gradual decrease in dynamics
disjunct
 
moves by leaps or intervals larger than a 2nd
dissonance
 
notes that are dissonant produce a clashing sound when played together
distortion
 
a digital effect effect that alters the sound of an instrument so that it becomes rougher and harsher
dominant
 
the fifth note in a scale
Dorian mode
 
tone,semi-tone,tone,tone,tone,semi-tone,tone
dotted rhythm
 
a rhythm that contain pairs of notes in the pattern long, short
doubling
 
a note or passage in one part that is played by another part at the same time .
drum machine
 
an electronic device that replicates the sounds of various percussion instruments.
en harmonic
 
the same pitch notated in two different ways
EQ
 
short for equalization. process of adjusting the relative levels of frequencies in an audio signal
Falcetto
 
a voice technique used by men to sing notes higher than their normal range
fill
 
a short passage of music between two two sections of music
flanging
 
a digital effect that combines two copies of the same signal, with the second delayed slightly to produce a swirling sweeping effect
free tempo
 
describes music without a regular pulse
harmonic rhythm
 
how often the harmony changes in a passage of music
hemiola
 
a rhythmic device in which two bars of 3-4 sounds like three bars of 2-4
hexachord
 
a chord made up of 6 notes
imperfect cadence
 
a cadence consisting of any chord - usually 1,2 or 4 followed by 5
instrumentation
 
the choice of instruments in a piece
interval
 
the distance between two notes
inversion
 
when a melody is inverted, the intervals between the notes are turned upside down
lament
 
a poem or piece that expresses grief
layered
 
a texture made up of independent lines which are designed to fit in together
melisma
 
one syllable played over several notes
mixolydian mode
 
a scale that uses tone, tone, semi-tone, tone ,tone, semi-tone, tone
mode
 
different types of seven note scales, other than major and minor
overdubbing
 
recording a new part over the top of existing material
panning
 
used in stereo recordings to control where the sound is coming from.
parallel motion
 
movement of two or more parts in the same direction, with the interval between between them remaining essentially the same
perfect cadence
 
a cadence consisting of the dominant followed by the tonic
pentantonic scale
 
a scale made up of five notes
pitch bend
 
a short slide up or down to a main note
plagal cadence
 
a cadence consisting of the sub dominant chord followed by the tonic
prelude
 
a short piece of music that often acts as an introduction to a longer work
pulse
 
a regularly occurring sence of beat
register
 
a part of the range of and instrument or voice
reverb
 
an effect used to alter music so that it sounds as if it was recorded in an echoey space
riff
 
a short catchy melody that is repeated through out a jazz or pop song
rondo
 
a musical structure in which a main melody alternates with contrasting sections (ABACADA)
sample
 
a short section from a recorded track that can be digitally manipulated and altered for insertion into a new track
sequence
 
immediate repetition of an idea at a different pitch
serial
 
atonal music that uses a predetermined series of 12 chromatic notes to guarantee equality of all pitches
seventh chord
 
a chord made up of a triad and a not a 7th above the root
soprano
 
high female voice
swung rhythm
 
in jazz and blues a relaxing of strict quaver rhythm
syllabic
 
vocal music that has one note to each syllable
symphony
 
a type of composition for an orchestra usually in four parts
synthesizer
 
an electronic device with a key board that allows the player to add digital effects and manipulate the sounds produced
ternary form
 
the form ABA
tibre
 
the elements of music concerned with the actual sound quality or tone colour of the music
tonality
 
the use of major and minor keys in music
tremolo
 
a musical effect that refers to a very quick and continuous repetition of a single note
unison
 
simultaneous performance of the same pitch by more than one person
virtuoso
 
a highly skilled singer capable of performing difficult music
word painting
 
the use of musical devices and features to illustrate and highlight specific words in the lyrics
key feature of western classical music
 
simple harmoniessame mood through out the piecechange in dynamics are suddenlots of ornamentationcomplex contrapuntal writing mostly string musicuse of a contiuo
when was and the glory of the lord composed ?
 
1741
instrumentation in and the glory of the lord
 
choir made up of sopranos, altos, tenors and bass' accompanied by strings and a continuo of cello, harpsichord and an organ
structure in and the glory of the lord
 
orchestral introduction- shorted versions of this is repeated laterno set form - based on four different motifs
motif 1 in and the glory of the lord
 
first sung by the altos starting in bar 11 its clearly in A major
motif 2 in ' and the glory of the lord '
 
first sung by the tenors starting in bar 17. it uses a descending sequence and melisma on the word revealed
motif 3 in' and the glory of the lord'
 
first sung by the altos, starting in bar 43. short descending figure form A to E
motif 4 in ' and the glory of the lord
 
first sung by the tenors and basses starting in bar 51 . most of it is on the same pitch and uses longer notes.
the metre of and the glory of the lord
 
this piece is in the dance like tempo 3-4
the tempo of ' and the glory of the lord'
 
it maintains a fast tempo almost until the end when there is a bar of total silence and then three bars in a slower tempo
the rhythm of and the glory of the lord
 
there are a lot of hemiolas in the piece such as at bar 9-10
the composer of ' and the glory of the lord
 
handel
the tonality of ' and the glory of the lord
 
the piece is in A major it modulates to two related keys. the dominant; E major and the supertonic ; B major the work ends on a plagal cadence of A major
the harmony of and the glory of the lord
 
its diatonic
the texture of ' and the glory of the lord
 
the piece alternates between homophonic and contrapuntal passages. there is a very short section that is monophonic there is imitation for example in bar 17 ' shall be revealed' is sung by the altos then imitated.
the number of parts in ' and the glory of the lord
 
the number of parts in and the gory of the lord varies sometimes there is one such as the altos in bars 43-46. at other time there is two, three or four parts
the word settings in ' and the glory of the lord'
 
there is a mixture of syllabic and melismatic word settings. 'for the mouth of the lord hath spoken it' is syllabic and the word revealed is melismatic the phrases are repeated many times to make the words clear
what country was 'and the glory of the lord ' composed in ?
 
England
key features of classical music
 
balanced and clear phrases that form questions and answersmore contrasts within a movement changes in dynamics not always suddensimple textures-often homophonic uses wind instruments and string instruments
who composed symphony no.40 in G minor
 
mozart
when was symphony number 40 composed
 
1788
tonality of symphony number 40
 
the movement is in sonata form in the key of G minor
the exposition in symphony no. 40
 
first subject ; a melody that is a falling motif played by strings G minorsecond subject: a melody with descending chromatic patterns played by wind and strings B flat major (relative major)
the development in symphony no.40
 
based on the first subject which is developed and fragmented moves through various keys starting in F sharp minor
the recapitulation in symphony no.40
 
first subject; repeated with some variation G minor second subject : repeated with some variation G minorcoda: repeated perfect cadences in G minor finishes the piece
the structure of symphony number 40
 
exposition( first subject, second subject), development, recapitulation ( first subject, second subject, coda )
melody in symphony no.40
 
made up of balanced, four or eight bar phrases- sounds like question and answer (for example the second subject ends with an imperfect cadence- it sounds like a question its followed by a 4 bar phrase that ends with a perfect cadence- the answer.) many phrases are scalic ( based on scales)
the harmony in symphony no.40
 
diatonic and functional- bases around major and minor triads chromatic chords such as a diminished 7tha circle of 5ths progression ( in the second subject)lots of pedal notes
rhythm of symphony number 40
 
rhythm fairly simple, although there are some dotted rhythms and syncopation to add interest short rhythmic ideas are repeated
the metre of symphony no.40
 
the metre is 4-4 throughout
the tempo of symphony no.40
 
the tempo is ' molto alegro' - very fast
the texture of symphony no.40
 
the texture is mostly harmonic but there is counter point and imitation , octave doubling and dialogue between the wing and the strings
the dynamics in symphony no.40
 
exposition; first subject is quiet, transition is loud, second subject gets louder development ;quiet, loud ,quietrecapitulation; same as expositiondynamics mostly sudden
use of instruments in symphony no.40
 
strings; busy, play melody and quick running scaleswoodwind; play sustained notes and some scaleshorns in different keys ( G and B flat)- maximize the number of notes- repetitive and held notes and sustained harmonies
key features of romantic music
 
expressive and emotionalrich chromatic harmonies- use of dissonance and modulation to more remote keystechnical advances - the rise of the virtuosostructure and form become longer descriptive titles
when was prelude no.15 in D flat composed
 
1839
who composed prelude no.15 in D flat
 
Chopin
what is the nickname of prelude no.15 in D flat
 
the raindrop prelude
the structure of prelude no.15 in D flat
 
ternary form (ABA)A;accompanied by quavers in the bass, has an ABA structureB;melody in bass, quavers above, moved from major to minorA; same as A but shorter and with a Coda
rhythm in prelude no.15 in D flat
 
bar 4+23 sectuplets, bar 79 dectuplets- unusualrepeated quavers- (reason its called the raindrop prelude))begins with a dotted rhythm in section A
metre of prelude no.15 in D flat
 
common time (4-4)
Tempo of prelude no.15 in D flat
 
legato, unhurried manner flexible tempo
melody of prelude no.15 in D flat
 
starts in the left hand- very decorative section B moves to the bass - narrower range, longer notesmade up of mostly four and eight bar phrases
tonality of prelude no.15 in D flat
 
modulates from the tonic major in section A to the enharmonic tonic minor in section B. it returns to d flat major both A and B end with an imperfect cadence, prelude ends with a perfect cadence there is a dominant pedal throughout
harmony in prelude no.15 in D flat
 
the harmony is diatonic sometimes it uses chromaticism
texture of prelude no.15 in D flat
 
apart from two monophonic bars near the end the piece is homophonic
dynamics in prelude no.15 in D flat
 
lots of crescendos and diminuendos wide range of dynamics no sudden contrast section A - quieter than section B
use of the piano in prelude no.15 in D flat
 
uses middle and lower piano rangesconcentrates on pianos ability to ' sing'lots of sustaining pedal
who composed the peripetie from 5 orchestral pieces
 
Schoenberg
when was peripetie from 5 orchestral pieces composed
 
1909
the instrumentation in peripetie from 5 orchestral pieces
 
requires a large orchestra of at least 90 players changes quickly- creating contrast in timbreinstruments played in the extremes of their rangesunusual effects- symbols played with cello bow
melody of peripetie from 5 orchestral pieces
 
made up of short fragmented motifs melodies are disjunct- uses octave displacement uses inversion and rhythmic augmentation
rhythm of peripetie from 5 orchestral pieces
 
complex and varied- change quickly
tempo of peripetie from 5 orchestral pieces
 
the tempo is very quick
metre of peripetie from 5 orchestral pieces
 
changes between 2-4,3-4 and 4-4
tonality of peripetie from 5 orchestral pieces
 
Atonal
harmony of peripetie from 5 orchestral pieces
 
chords and melodies build of hexachords dissonant harmony
Texture of peripetie from 5 orchestral pieces
 
contrapuntal- sometimes homophonic and monophoniccomplex textures build up through intimation and inversion and canon
dynamics in peripetie from 5 orchestral pieces
 
sudden changes and extreme contrast
structure of peripetie from 5 orchestral pieces
 
piece in free rondo form ( ABACA)
who composed somethings coming ?
 
Bernstein
when was somethings coming composed ?
 
1957
what genre is somethings coming from ?
 
Musicals
instrumentation in somethings coming
 
for solo tenor accompanied by wind,brass,strings and percussion strings use harmonics and tremolo
melody in somethings coming
 
melody is syllabic and based on three themes1. quiet syncopated opening 2, loud,strident theme in 2-43.lyrical, slow moving theme
rhythm in somethings coming
 
lots of cross rhythms
tempo of somethings coming
 
fast tempo
metre of somethings coming
 
changes between 2-4 and 3-4
harmony of somethings coming
 
in D major, there are two sections in C majortonal and jazzy, frequent 7th chords and added notesfeeling of incompletion
texture of somethings coming
 
homophonic- three main ideas1. repeated riffs2. syncopated chordsfast um-cha accompaniment
what style is electric counterpoint ( third movement) in
 
minimalism
who composed electric counterpoint ( third movement)
 
Steve Reich
when was electric counterpoint ( third movement) composed
 
1987
instrumentation of electric counterpoint ( third movement)
 
for live guitars accompanied by seven guitars and two basseslive guitar is amplified
structure in electric counterpoint ( third movement)
 
three layers 1. syncopated quaver motif2.different syncopated quaver motif3.more sustained motif build around three chords
melody in electric counterpoint ( third movement)
 
made up of a one bar motif, repeated to form an ostinatothere is a canonbuild up melody using addition
rhythm in electric counterpoint ( third movement)
 
little rhythmic variety- only repeated patterns and quaversfrequent syncopationuses metric displacement-sounds out of sync
metre in electric counterpoint ( third movement)
 
3-2towards the end some parts changes to 12-8 others stay the same - polymetre
harmony in electric counterpoint ( third movement)
 
harmonic progressions aren't used - final chord made up of only two notes (B,E) - not a complete chorduses hexatonic scales
tonality in electric counterpoint ( third movement)
 
largely in key of major - short section in E flat major
entirely diatonic
dynamics in electric counterpoint ( third movement)
 
fairly constant throughout parts fade out gradually in places
tempo of electric counterpoint ( third movement)
 
192 crotchets per minute - very fast
when was All blues composed
 
1959
who composed All blues
 
miles Davis
what type of band is on the album playing All blues
 
sextet
what is the front line
 
consists of the instruments playing the main melody
what is the rhythm section
 
the rhythm section is the section that provides the harmonic and rhythmic backing
what miles davis gave the ban before recording
 
no score only :overall structure, basic chord sequence,main melodic idea, the scale
structure in All blues
 
introduction- rhythmic sectionHead1- head melody, riffsolos-trumpet,alto sax, tenor sax, pianohead 2- same as head 1coda- solo for muted trumpet
melody in All blues
 
head melody simple- rising 6ths trumpet solo- short syncopated motifs alto sax solo- quick notes, wider range, virtuosictenor sax solo- fast scales, quick runs, very virtuosicpiano solo- calm,simple melody , parallel chords
harmony in All blues
 
scale;g7,G7,G7,G7,Gm7,Gm7,G7,G7,D7,E flat/D7,F/G,F/G6a chord sequence is known as the changesall blues is G major BUT with a flattened seventh
tonality in All blues
 
Mixolydian Mode- modal jazz
metre in All blues
 
6-4
tempo in All blues
 
jazz waltz because 6-4 sounds like 3-4
rhythm in All blues
 
swung quavers and syncopation
instrumental technique in All blues
 
snare drum played with wire brush at the startbass play pizzicato throughouttrumpet played with a mutepiano plays tremolo and comping
who composed grace
 
Jeff Buckley
when was grace released
 
1994
instrumentation in grace
 
accompanied by guitars,bass guitars, synthesizer,strings and drum kit guitars use drop D tuning drums and guitar used throughout the song, synthesizer and strings are less prominent
texture in Grace
 
strings and synthesizer used to vary the texture texture thickens towards the end of the song
use of technology in grace
 
modulation, distortion, flanging, overdubbing, extra vocal parts, EQ in the final verse
structure in grace
 
intro,verse,chorus,intro,verse,chorus,bridge,intro,verse, coda
tonality of Grace
 
E minor, intro focuses on the chord of D
Harmony in Grace
 
standard 1,4,5 chord progression- avoided chords are chromatic and in parallel motion very dissonant
melody in Grace
 
vocal part has improvisation and a wide range over 2 octavesvocal phrases falling - feeling of lots of glissandos
word setting of grace
 
syllabic - melismatic on the world love and fire
vocalization-falsettoword painting on ; cries,pain,leave,slow and drown
metre of grace
 
12-8
rhythm of grace
 
syncopation-rhythmically freelots of cross rhythms
who composed ' why does my heart feel so bad'
 
Moby
when was ' why does my heart feel so bad' released
 
1999
key features of dance music
 
4-4 metreuse of electronic soundstrong beats looped sections and short repetitive phrases
samples of ' why does my heart feel so bad'
 
based on two samples- a 1953 gospel choir recording(1) and an song called king Jesus will roll all burdens away.(2)1 used for verses2.the chorus
melody in ' why does my heart feel so bad'
 
been manipulated - have vintage style - not cleaned up surface noisesamples looped to create the melody- simple and repetitive
structure of ' why does my heart feel so bad'
 
based on verse chorus - looping creates this intro, verse, chorus,verse,silence(1bar)chorus,verse
texture in ' why does my heart feel so bad'
 
build up as tracks are introducedpiano only,voice,drums+strings,bass,piano chordsafter breakdown texture thins piano and drums drop out
metre of ' why does my heart feel so bad'
 
4-4
tempo of ' why does my heart feel so bad'
 
98bpm
rhythm of ' why does my heart feel so bad'
 
varied to provide contrast
use of technology in ' why does my heart feel so bad'
 
synthesizers,sampler,drum machine,sequencerpanning,electronic ghosting ,reverb,echoes,EQ
harmony in ' why does my heart feel so bad'
 
entirely diatonic - based on three simple chord progressions
tonality in ' why does my heart feel so bad'
 
Am,Em,G,D- first sampleC,Am,C,Am then F,C,F,C - second sampleDorian mode on A
who composed the Skye waulking song
 
Capercaillie
when was Skye waulking song released
 
2000
what language is Skye waulking song in
 
Gaelic
instrumentation in Skye waulking song
 
countermelody: violin, Wurlitzer piano, uilleann pipes and bouzouki bass line : bass guitar main melody is sung
chords on synthesizer and accordion
texture of Skye waulking song
 
layered texture opens with cluster chords
structure of Skye waulking song
 
call, response pattern:phrase D,refrain B,phrase D,refrain Eintro,verse1,verse2, instrumental break, coda
melody of Skye waulking song
 
pentatonicuses a low register- in vocal tenor clef syllabic
rhythm of Skye waulking song
 
frequent syncopationat the start there are cross rhythms then there is clear emphasis on the 12-8 beat
metre of Skye waulking song
 
12-8
harmony in Skye waulking song
 
G major and entirely diatonicthree main chords- G ,Em,Cmodal feel
who performs yiri
 
koko
what country do koko come from
 
Burkina Faso
instrumentation in yiri
 
balafon,djembe(drum), talking drum also vocals are used
structure in yiri
 
intro- short, balafon solo- play tremolomain section-drums play throughout, alternates between balafon solo and choruses also there is a vocal solo( call and response between soloist and choir)Coda-short phrase for balafonx5 - bell sounds to mark the end
melody in yiri
 
balafons play short patterns - fall from high to lowtend to emphasis G flat and D flat
harmony in yiri
 
in the key of G flat major. most of the music is hexatonic
rhythm in yiri
 
lots of syncopation and cross rhythmsvocalists use tripletsdrums play rhythmical ostinatos
metre in yiri
 
4-4
tempo of yiri
 
free tempo with a steady pulse
texture in yiri
 
layered texture but there is a monophonic intro, and occasional heterophonic texture
dynamics in yiri
 
there is little dynamic variation

Upgrade and get a lot more done!
Upgrade