Scores

Scores to support
WJEC AS Music
Notes
Alun Guy
Published with the support of WJECs Teaching and Learning Resources Scheme
Sponsored by the Welsh Assembly Government
1
J. S. Bach: Brandenburg Concerto No. 2, 1st Movement
CONTENTS
PAGE
Introduction 2
J. S. Bach: Brandenburg No. 2, 1st Movement 3
Beethoven: Symphony No. 5 in C minor, 1st Movement 6
Mendelssohn: Violin Concerto, 1st Movement 9
Handel: Zadok the Priest 12
Haydn: Nelson Mass (Gloria; Quoniam Tu Solus; Credo) 15
Schubert: from Die Schne Mllerin (Am Feierabend; Der Neugierige; Ungeduld) 22
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio; Allemanda; Corrente; Giga) 29
b
Beethoven: String Quartet in B Op.18, No. 6, 1st Movement 37
b
Brahms: Clarinet Sonata in E Op.120, No. 2, 3rd Movement 40
Duke Ellington (Black and Tan Fantasy; Take the A-Train) 49
Queen (Bohemian Rhapsody; Killer Queen) 55
Loesser: Guys and Dolls (Runyonland; Fugue for Tinhorns) 61
Bernstein: West Side Story (Tonight; Maria) 66
Boublil and Schnberg: Les Miserables (On My Own; One Day More) 71
Mervyn Burtch: from Three Welsh Folk Songs (Cysga di, fy mhlentyn tlws;
Wrth fynd efo Deio i Dywyn) 75
Dilys Elwyn-Edwards: from Caneuon y Tri Aderyn (Y Gylnir; Mae Hiraeth yn y Mr) 79
Caryl Parry Jones (Pan ddaw yfory; Y Nos yng Nghaer Arianrhod) 83
The Beatles (Yesterday; Hey Jude) 88
2
Introduction
This anthology is written for students currently studying for the WJEC AS level music course.
You will probably have followed the GCSE music course during years 10 and 11 and are
familiar with the vocabulary used in the examination and in A Students Guide to GCSE Music
(Rhinegold).
I realise that many of you will have successfully completed the GCSE course without being au
fait with scores in sta notation. You share a love of music with us all. Dont worry too much
about reading scores and analysing.
These notes however will hopefully concentrate your mind on the basic forms and structures
of the music. They are not meant to be an academic treatise for musicologists!
The simplied diagrams have been included in a bid to demystify the analytical process
(which sometimes can be confusing and a big turn o for some).
The template used in these notes acts only as a guide for you: it is not an in-depth detailed
analysis bar by bar, and was never intended as such from the outset.
These notes do not second guess examination questions. Dont be disappointed if some
examination questions are not dealt with directly and in detail in these notes.
The examples of chords, modulations, harmony, composition techniques and devices etc.
should be a starting point for further research. You should look for more examples of the
above in the set works and recorded extracts chosen for study.
Remember that you are allowed to take a copy of the anthology into the examination with
you, with pencilled-in bar numbers.
Not every score in the anthology has bar numbers. Remember when numbering bars that an
anacrusis at the beginning of a piece of music is not bar 1. Bar 1 is the rst complete bar.
The notes on the Haydn Nelson Mass deal with three sections: Gloria (pages 104-112),
Quoniam Tu Solus (pages 119-125) and Credo (pages 126-130).
There are references to certain aspects of instrumentation in some extracts, which can be
clearly heard on the CD, although the scores are only piano reductions in the anthology. You
are encouraged to study the works by listening carefully to them on the CD, in addition to
studying the score.
Good luck with your listening and research.
Alun Guy
2
Introduction
This set of 6 concertos were dedicated to the Duke of Brandenburg 1721. They are called
concerti grossi because of the accompanying ripieno (mainly strings and continuo) combined
with a select group of soloists, the concertino. Bach loved experimenting with new sound
combinations in these three movement compositions. It is worth noting that numbers 3 and 6,
however, do not have any solo instruments.
Musical elements
Form
Quasi ritornello, but no clear cut distinction between ripieno and concertino. Both sections
seem to play most of the time (tutti). Ritornello is a series of short themes reappearing
(rondo-like) in various keys, with soloists (the concertino) playing episodes in between.
Structure (Rit = ritornello; Con = concertino)
1-8 9-10 11-12 13-14 15-16 17-18 19-20 21-22
Rit Con Rit Con Rit Con Rit Con

1 1 2 2 3 3 4 4
F F F F C C C C
major major major major major major major major
23-28 29-30 31-39 40-59 60-67 68-83 84-93 94-118

Rit Con Rit Rit Con Rit Con Rit
5 5 6 7 7 8 8 9/10
C F D D G C G A
major major minor minor minor minor minor minor
C E b G D F
major major minor minor major
F A
major minor
B b
major
Texture
- Mainly dense Bach was the master of polyphony and contrapuntal writing.
- Many examples of various motifs interacting simultaneously.
Tonality
- Home key: F major
- Occasionally minor, e.g. bar 68 C minor; bar 88 D minor
3
Examples of modulations:
C major (dominant) bars 15-28
D minor (relative minor) bars 40-41
b
B major (subdominant) bars 56-59
b
E major (attened leading note) bar 65
C minor (dominant minor) bars 68-71
G minor (supertonic) bars 75-83
A minor (mediant minor) bars 94-102
Harmony
Chords:
- Diatonic
- Dominant 7th (root position) bar 51 (C7)
- Dominant 7th 4 (third inversion) bar 52
2
- Major triad 6 (rst inversion) bar 72
3
Examples of composition techniques and devices

- Rising sequence bars 96-97 (Oboe)
- Sequence bars 33-34 (Flute)
- Sequence bars 76-79 (solo Trumpet)
- Falling sequence bars 77-79 (Viola)
- Syncopation bars 50-55; 107-112 (Violin I ripieno)
- Cadences: Perfect bars 8; 28; 39; 83; 93
- Imitation bars 96-98 (solo Violin and Flute)
- Arpeggio based bars 1-2 (Trumpet)
- Reduced instrumentation bars 60-67 (concertino and continuo)
Instrumentation
Concertino
Soloists
- Tromba: Trumpet (no valves in Bachs day). Written a 4th lower than the sound.
- Flauto (Flte bec): Recorder
- Oboe
- Violino: Violin
Ripieno
- Violin I
- Violin II
- Viola
- Cello
- Double Bass
- Harpsichord/Cembalo continuo
4
Score indications
Tasto solo (bars 102-103): Harpsichord, play the notes without lling in harmonies
all unisono: Cello/Bass and Harpsichord play in unison
piano: softly
pianissimo: very soft
forte: loudly
Points of interest
Scintillating and brilliant counterpoint.

Three-part counterpoint between Flute, Viola and Continuo bars 1-2.
Continuous semiquaver/quaver movement throughout the movement in one of the
solo or ripieno instruments.
Four very dierent high register solo instruments contrasted in the concertino, but each
instruments melodic line is audible.
Opening semiquaver motif in Continuo (bars 1-2) appears in other parts, e.g. Trumpet
bars 19-20; Oboe bars 40-41.
The solo Violin introduces a new exclusive gure in bars 9-10 and all other solo
instruments play it ripieno dont play this motif at all.
(Oboe bars 13-14; Flute bars 17-18; Trumpet bars 21-22.)
Imitation (bars 60-67) for all 4 soloists, using this exclusive gure (Flute, Violin, Oboe and
Trumpet).
Bach used cadence points to draw attention to new musical ideas.
Use of 8 motifs, sometimes in concertino and sometimes in ripieno, mostly with an
anacrusis.
This concerto is the only one of the Brandenburgs to feature a Trumpet.
Fanfare style motif in Trumpet (bars 1-2), and Continuo (bars 5-6).
Running bass line in Continuo a device often used by Bach.
Continuo given original concertino theme (bars 1-2) in bars 56-57 and bars 88-89, as a
relief from continuous quaver and semiquaver support.
No speed or dynamic indications given on the score, but generally played Allegro and
forte.
5
Beethoven: Symphony No. 5 in C minor, 1st Movement
Introduction
A symphony is a large-scale work for an orchestra, usually in four movements. The opening bars
of this rst movement contain one of the most famous orchestral motifs of all times. Beethoven
followed the classical tradition of Haydn and Mozart by composing this movement in sonata
form.
Musical elements
Form
Sonata
Structure
Exposition Development Recapitulation Coda

1-124 125-247 248-373 374-502
Subject 1 Variety of keys. Subject 1 Material
(1-24) (248-268) derived from 1st and
Subject 2 Using mainly Subject 2 2nd subjects.
(59-93) 1st subject (303-345) Tutti and antiphonal
Codetta material. Codetta passages.
(94-124) (346-373)
Texture
- Ranging from dense homophonic (bars 248-252) to sparse (bars 63-82).
Tonality
- Home key: C minor
b
E major (relative major) 2nd subject
F minor (subdominant minor) bar 130
G minor (dominant minor) bar 154
C major (tonic major) bar 195
Harmony
Chords:
- C minor tonic chord 5 (root position) bar 492
b
3
- D major 6 (rst inversion) bar 382
3
- Dominant 7th chords bars 182-186; 292-294
- Diminished 7th chords bars 56; 300
6
- Pedal (tonic) bars 33-47 (Cello & Bass)
- Repetition bars 160-167 (Violin I & II and Flutes)
- Sequence bars 408-414 (Violin I)
- Cadences: Perfect bars 194-195; 501-502
Imperfect bars 267-268
- Pizzicato accompaniment bars 254-263 (Viola, Cello, Bass)
- Antiphonal answers bars 196-227; 442-449 (Strings & Woodwind)
Instrumentation
zu 2: both players play the same part in unison
1.: rst player (principal) to play the part
Flauti: Flutes
Oboi: Oboes
b
Clarinetti (B ): Clarinets. Transposing instrument (written a 2nd higher than the sound)
Fagotti: Bassoons. Written in bass clef normally, but sometimes in tenor clef when bass part
goes high and uses many ledger lines (e.g. bar 102)
b
Corni (E ): Horns. Transposing instrument (written a major 6th higher than the sound)
Trombe (C): Trumpets
Timpani (C. G): Timpani tuned to C and G (tonic and dominant)
Violino I & II: Violin I & II
Viola: Viola (written in alto clef )
Violoncello: Cello. Written in bass clef but sometimes in tenor clef when part goes high and
uses many ledger lines (e.g. bars 83-93)
Contrabasso: String/Double Bass (sounding 8ve lower than written)
Score indications
Allegro con brio: Fast and vigorous
Adagio: Slow
Minim: 108 beats per minute tempo indication by composer or editor
dolce: sweetly
sf (sforzando): strong accent
(fortissimo): very loud
p (piano): soft
pp (pianissimo): very soft
cresc. (crescendo): gradually getting louder
pi: more
sempre pi: always more
dimin. (diminuendo): gradually getting softer
pizz. (pizzicato): pluck a string instrument
arco: resume playing with the bow
Points of interest
Beethoven always has strong contrasts between the 1st and 2nd subjects of his symphonies.
This movement exists entirely on the opening four note rhythmic motif (descending major
3rd) and is given many new melodic shapes, contrapuntal applications and structural
groupings by Beethoven.
The four sections of this movement exposition, development, recapitulation and coda are
almost identical in size and perfectly balanced musically.
7
The scoring is fuller in the recapitulation, and the 2nd subject is eight bars longer.
Mini cadenza bar 268 (Oboe). This is a plaintive bar in the recapitulation section which takes
the tension out of the performance.
Although the structure/architecture of the movement is conventional, it is the originality
of ideas and the brightness of energy and inspiration that mark this work out as one of the
outstanding symphonies of the classical era.
In Beethovens nine symphonies, the exposition in the rst movement is nearly always
repeated. (Mendelssohn rejected this idea in his Violin Concerto).
Sonata form evolved in the 18th century and deals with the organisation of themes/subjects,
their development and key relationships. The form has lasted so long and produced great
masterpieces because it is so exible and capable of great variation.
Unusually, there is no real transition passage in the exposition or the recapitulation sections
of this movement. The presence of a tonic pedal (bars 33-56) ensures that the music stays in
the tonic key, C minor. These bars are also identical harmonically in the recapitulation section
(bars 277-2961).
It is the same ambiguous diminished 7th chord in bars 56 and 300 respectively (with necessary
enharmonic alterations) which eect the abrupt transitions.
8
Mendelssohn: Violin Concerto, 1st Movement
Introduction
This violin concerto was written for Ferdinand David, a close friend of the composer, and
premiered in 1845 in Leipzig.
Musical elements
Form
Sonata
Structure
Exposition Development Recapitulation
(1-226) (226-335) (335-528)
Subject 1 (1-72) Variety of keys Subject 1 (335-351)
Transition (72-131) Transition (226) Transition (351-377)
Subject 2 (131-210) Subject 1 (240) Subject 2 (377-459)
Codetta (210226) Cadenza (299) Codetta (459-473)
Coda (473528)
Cadenza (bars 299-335)

This used to be the point (at the end of a movement) in the concerto when the soloist was
given a free hand to show o amazing technique and a virtuoso unaccompanied bravura
style. Mendelssohn broke the classical tradition and wrote out his own cadenza for the soloist,
placing it before the recapitulation rather than at the end of the movement. He used the
cadenza as a bridge passage in this concerto between the development and the recapitulation
sections.
Texture
- Light when accompanying soloist, but thicker with orchestral tutti when soloist is tacet,
e.g. bars 48-76
Tonality
- Home key: E minor
Exposition
A minor (subdominant minor) bars 28-29
G major (relative major) bar 131
Development
A minor bar 226
G major bar 241
E minor bar 245
C major bar 248
A minor bar 251
E major (tonic major) bar 255
B major bar 282
E major (2nd subject) bar 377
9
Harmony
Chords:
- Dominant 7th chords, e.g. bar 298
- Diminished 7th chords, e.g. bar 44

- Pedal (dominant) bar 33 (Cellos and Basses)
- Pedal (tonic) bar 48 (Trumpets, Horns and Timpani)
- Imitation bars 505-509 (Flutes and Oboes)
- Syncopated accompaniment bars 48-55 (Violins II, Violas)
- Decorated arpeggios bar 113 (solo Violin)
- Reduced scoring bar 131 (Flutes, Clarinets and solo Violin)
- Cadences: Perfect (in G major), e.g. bars 167-168 (Strings)
- Pizzicato accompaniment bars 181-189 (Strings)
- Rubato/Ad lib bars 299-334 (solo Violin)
- Sequence bars 359-360; 4284-430 (solo Violin)
- Double stopping bars 505-510 (Violins I)
Instrumentation
zu 2: both players play the same part in unison
Flauti: Flutes
Oboi: Oboes
Clarinetti in A: Clarinets. Transposing instrument
Fagotti: Bassoons
Corni in E: Horns. Transposing instrument
Trombe in E: Trumpets. Transposing instrument
Timpani in E-H: Timpani tuned to E and B (tonic and dominant)
Violino principale: solo Violin
Violino: Violin
Viola: Viola
Violoncello: Cello
Contrabasso: String/Double Bass. Transposing instrument (sounding 8ve lower than written)
Score indications
Allegro molto appassionato: Fast tempo with much passion
Points of interest
Opening theme played by the Violin soloist is played wholly on E string, well above the stave.
All 3 movements are linked together, each one following on after the previous one.
Combined classical structure with great romantic feeling.
Soloist and orchestra begin almost together.
No repeat of exposition as in classical concerti, where there was usually an orchestral
exposition followed by a repeat of the section with the soloist, where the themes were shared.
Eective musical balance between soloist and orchestra.
Variety of emotions passion and tranquillity constantly changing.
Dramatic writing contrasted with proportioned lyrical melodies.
Florid, owing melodic lines.
Focus changes constantly between soloist and orchestra.
Cadenza not wholly virtuosic, but part orid. 10
SONATA FORM A PLAN OF THE FIRST MOVEMENT
Further information
EXPOSITION DEVELOPMENT RECAPITULATION
Transition Codetta Transition Codetta

SUBJECT I SUBJECT II VARIETY SUBJECT I SUBJECT II CODA
E minor CADENZA E minor E major E minor
G major OF KEYS
A minor E minor
http://www.naxos.com/composerinfo/bio24619.htm
1 72 131 210 226 299 335 351 377 459 473 528
CONCERTO FOR THE VIOLIN AND ORCHESTRA E MINOR Opus 64

MENDELSSOHN

11
Handel: Zadok the Priest
Introduction
In the Book of Chronicles (Old Testament), Solomon is anointed King upon the death of his
father, King David, by Nathan the prophet and Zadok the Priest. Handel, Master of the Kings
Music since 1712, composed this anthem for the coronation of King George II in Westminster
Abbey in 1727. It is symbolic of King Solomons biblical coronation.
This English Baroque anthem was originally composed for 7 parts and an orchestra, but is often
found arranged for 4 voices (SATB).
Musical elements
Form
It is in three linked sections:
1. Zadok the Priest 2. And all the People Rejoiced 3. God save the King
Structure
1-30 31-62 63-121

1st section: 2nd section: 3rd section:
Introduction (Instrumental)
Zadok the Priest And all the People Rejoiced God save the King
Texture
1st section: Mainly light/sparse in opening orchestral introduction. Short homophonic choral
statement based on the opening harmonies of the orchestral introduction.
2nd section: Homophonic, based on legato lines in the chorus with dotted rhythms in
accompaniment. Addition of 4 part choir gives wider dimension. Brass and Timpani at
cadence points thicken the texture.
3rd section: Ternary form (ABA) interweaving of 4 linked ideas. Contrapuntal writing gives a
more dense texture.
Tonality
- Home key: D major
G major (subdominant) bars 4-5; 40-42
A major (dominant) bars 7-8; 78-80
B minor (relative minor) bars 49-52; 91-94
F# minor (mediant minor) bars 99-101
12
Harmony
- Diatonic/Consonant
- Chromatic harmonies
- Mainly root position and rst inversions
- Tonic and dominant mainly in middle section
Chords:
- Tonic chord 5 (root position) bar 1
3
- A minor 6 (rst inversion) bar 3
3
- D major 6 (second inversion) bar 71
4
- Dominant 7th 4 (third inversion) bar 12
2

- Sequence bars 74-75 (Vl II); 84-86 (Sopranos); 92-93 (Altos and Tenors)
- Repetition bars 34-38 (accompaniment); 63-65 (all parts)
- Pedal bars 6-8; 14-17
- Ostinato bars 32-39; 41-45; 54-60 (bass of accompaniment)
- Cadences: Perfect bars 35-36; 43-44; 93-94
Plagal bars 120-121
Instrumentation
- 2 Oboes
- 3 Trumpets
- Strings
- Continuo (Organ/Harpsichord)
Score indications
Andante maestoso: Moderately slow and majestic
Allegro: Quick and bright
Adagio: Very slow
A tempo ordinario: Ordinary or moderate time
p (piano): quiet
f (forte): loud
cres. (crescendo): getting louder
Points of interest
Handels use of block/homophonic harmony for clear enunciation of words, e.g. bars 23-29
and 63-66.
Types of accompaniment:
(i) Semiquaver broken chords bars 1-29
(ii) Dotted quaver and semiquaver gures bars 33-59
(iii) Running semiquavers in 3rd section bars 87-90
(iv) Secco (dry) quavers bars 92 and 93
13
Descending bass line in introduction and bars 95-97.
Orchestral bridge bars 74-78. Imitative style (modulating from tonic to dominant, IV).
Melismatic vocal style (many notes on one syllable Amen), e.g. bars 114-116 (bass choral
part).
Opening chordal sequence in instrumental introduction (bars 1-8) repeated in bars 23-30
with the voices.
Repetition of words, e.g. bars 43-52 Rejoiced.
Further information
www.naxos.com/composerinfo/George_Frideric_Handel/24403.htm
14
Haydn: Nelson Mass
Introduction
Haydn wrote at least 12 choral masses which were inuenced by Neopolitan operatic styles and
the Vienneses antiphonal choral tradition. This mass (number 9) was composed in 1798 and uses
the Latin words of the Catholic service. It is joyful and probably Haydns most popular mass.
There are many compositional techniques, devices, harmonies and points of interest which
naturally are common to all three choruses.
Gloria
Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

(Glory to God on the highest, and on earth, peace and good will to all men.)
Musical elements
Form
Solo & Choir / Vocal trio / Chorus / Solos / Chorus / Solos / Vocal quartet / Chorus
Structure
1-15 16-32 33-51 52-70

Soprano soloist and Solo trio: Choir sing in unison Alto soloist
choir (SATB) Bass, Tenor and Soprano. with orchestra (rst appearance)
in repetition of motifs. New solo motif stepwise chromatic with opening theme,
Homophonic choral sung in imitation. progressions. but no repetition
style. Less tension now from choir.
in accompaniment Soprano soloist
of strings only. with theme.
E minor
F# minor A major
D major E minor (21) A major B minor
71-77 78-89 91-97 98-105
Choir with opening No Soprano soloist Quartet of soloists Choral Coda.

theme this time. using part of motif Mainly tonic and
(rhythm changed Tenor & Bass soli (bar 16). dominant harmonies,
to dotted). with motif (bar 16). using opening
rhythmic pattern.
D minor
D major Tonic major/minor D major D major
15
Haydn: Nelson Mass
Texture
- Sparse with soloists
- Dense with choir
- Homophonic
- Fluid
Tonality
- Home key: D major
E minor (supertonic) bar 21
A major (dominant) bar 42
B minor (relative minor) bar 62
D minor (tonic minor) bar 81
Harmony
Chords:
- Diatonic
- Mainly root position and rst inversions
- Subdominant (root position) bar 71
- Tonic (root position) bar 91
- Dominant 7th (root position) bar 201
- Dominant 7th (rst inversion) bars 111 ; 293,4; 41
- Diminished 7th bars 333; 343; 353

- Repetition bars 1-4 (opening Soprano soloist motif repeated by choir); bar 16 (Bass,
repeated by the Tenor imitative)
- Pedal bars 15-18; 21-24; 89-93
- Cadences: Perfect bars 32; 50; 62; 105
- Cadential: 6 5 cadence bars 2-3; 14-15; 49-50
4 3
- Antiphonal answers between soloist and choir bars 1-4
- Sequence bars 64-67 (Soprano soloist)
- Appoggiatura in vocal part bars 81; 84 (Tenor soloist)
Instrumentation
- 3 Trumpets
- Timpani
- Organ
- Strings
- Mixed Choir
- Solo Quartet (SATB)
Score indications
Allegro: Quick
fz (forzato): forced sound
p (piano): softly
16
Haydn: Nelson Mass
Points of interest
Common time.
Nature of accompaniment changes (tutti) in intensity with chorus.
Lighter orchestration (strings) when soloists sing.
Use of soloists (quartet) and choir intertwining without distinct sections for soloists and choir
(as with Mozart masses).
Excellent examples of compositional symmetry, where thematic material from this section is
also used in the Quoniam.
Short orchestral bridges between soloists bars 50-51; 54-55; 60-61; 69-70
Haydns arpeggaic upper instrumental writing, e.g. bars 15-18; 96-98
Upward scalic semiquavers with opening of choral phrases bars 3; 71; 99; 100
Quoniam Tu Solus
Quoniam tu solus, solus sanctus. (For Thou alone art holy.)

Tu solus altissimus. (Only Thou art most high.)
Musical elements
Form
Solo & Choir / Choral bridge / Choral fugue / Vocal quartet / Coda
Structure
1-15 17-22 22-61 62-77 77-82

Soprano soloist and Choral bridge Choir sing a Solo quartet Tutti Coda
choir (SATB) passage four-voice fugue, returns with Orchestral, soloists
in repetition of Based mainly with each voice imitation of the and choral ourish
motifs. on tonic and stating the subject in stepwise motif mixture of
Homophonic dominant chords. various keys. previously used by polyphonic and
choral style. Less tension now. This choral fugue Haydn in the Gloria homophonic styles.
Repetition of bars Accompaniment of contains answers (bars 16 and 78). Upward climax,
1-15 of the Gloria, strings only. and counter Bass, Tenor and Alto ending with brass
but dierent words. First fugal entry by subjects (see below) enter in that order, and timps using
choir (Bass). with orchestral whilst the Soprano typical classical
support playing the has a more elaborate rhythmic motif
vocal parts. rococo/orid style of quavers and
solo passage. semiquavers
(bars 80-82).
D major D major D major D major D major
17
Haydn: Nelson Mass
Texture
- Sparse with soloists
- Dense with choir
- Homophonic
- Polyphonic
- Fluid
Tonality
- Home key: D major
E minor (supertonic minor) bar 44
Harmony
Chords:
- Diatonic
- Mainly root position bar 611
- First inversion bar 772
- Dominant 7th (rst inversion) bars 51; 61; 111; 791
- Dominant 7th (second inversion) bar 133
- Dominant 7th (third inversion) bar 53

- Repetition opening Soprano soloist motif repeated by choir (bars 1-4), with minor
rhythmic changes
- Tonic pedal bars 15-20; 61-681; 71-771 (orchestra)
- Cadences: Perfect bars 15; 81; 82
- Cadential: 6 5 cadence bar 23,4
4 3
- Antiphonal answers between soloist and choir bars 1-4
- Syncopated accompaniment (right hand) bars 17-22
- Sequence bars 77-78 in Soprano, Alto and orchestral accompaniment
- Chromatic harmonic progressions bars 28-31
- Countersubject continued by Basses in bars 24-25 (Amen) against fugal entry of the Tenors
Fugue: A contrapuntal composition based on a melody/subject/voice, heard in Bass, Tenor,

Alto and Soprano at the beginning (bar 22). They all pass the melodic baton from one to
the other.
The Bass (bar 22) starts on the dominant (5th) and the Tenor (bar 24) on the tonic. The
opening interval of a 2nd with the Bass changing to an interval of a 3rd with the Tenor,
similarly with the Alto (bar 26) and Soprano (bar 28). These answers by the Tenor and the
Soprano are called tonal answers (because they are not exactly note for note). When they
are exactly note for note, they are called real answers.
The orchestra parts mainly double the choral parts in the fugue.
18
Haydn: Nelson Mass
Counter melody (subject): A new melody, not as important, played at the same time as
the melody.
Instrumentation
- 3 Trumpets
- Timpani
- Organ
- Strings
- Mixed Choir
- Solo Quartet (SATB)
Score indications
Allegro: Quick and bright
Tutti: Everyone viz soloists and choir
Points of interest
Rococo/orid style evident in Haydns orchestral and choral writing.

Melismatic writing for Soprano on Amen bars 64-71; 77-80.
Stretto (tight/narrow) fugal entries from bar 44-61, when other voices enter with the
melody before the previous one has nished!
Orchestral accompaniment in the fugue moves mainly in walking quavers.
Credo
Credo in unum Deum Patrem omnipotentum, factorem coeli et terrae.

(I believe in one God, the Father Almighty, maker of heaven and earth.)
Musical elements
Form
Intro / Chorus / Orchestral bridge / Chorus / Orchestral bridge / Chorus / Coda
Structure
1-7 8-27 27-31 31-47 47-50 50-77 78-83
Orchestral Canon 2 in 1 at Orchestral Canon Orchestral Canon 2 in 1 Choral coda
unison the fth. Using bridge continues bridge continues, now in SATB
introduction rst six notes of passage/ with choir, but passage/ using fragments of harmony for
with much orchestral interlude. starting now interlude. bars 8-18. the only time
stepwise introduction. on the third More chromatic in the chorus.
movement beat of the now with much use
played Vocal lines are bar. of sequence.
staccato. subsumed in Orchestral
the orchestral accompaniment in
Homophonic accompaniment, upper parts with
style. which is more continuous quaver
polyphonic in movement.
D major style. A major
19
Haydn: Nelson Mass
Texture
- Homophonic, e.g. bars 77-83
- Polyphonic, e.g. bars 31-47
Tonality
- Home key: D major
A major (dominant) bar 28
Harmony
- Many chromatic harmonies in the orchestral accompaniment
Chords:
- Diatonic
- Mainly root position
- First inversion bar 143
- Second inversion bar 801
- Dominant 7th (rst inversion) bar 774

- Suspensions bar 29 (9-8)
- Sequence bars 51-54; 644-684 (choral parts)
- Auxiliary notes, passing notes and arpeggi quavers in accompaniment, e.g. bars 61-64
Canon: A compositional device in which a melody in one part is repeated note for note
in another part, while the melody of the rst part continues to unfold (an overlapping of
melodies).
Canon 2 in 1: Two voices sing what could be sung by one voice. Sopranos and Tenors begin
on tonic, then Altos and Bass begin a bar later, 5 notes lower.
Instrumentation
- 3 Trumpets
- Timpani
- Organ
- Strings
- Mixed Choir
Score indications
Allegro con spirito: Quick with much vigour
20
Haydn: Nelson Mass
Points of interest
It begins with orchestral unison playing and ends with choral unison.
Split common time, i.e. two beats to the bar.
Haydn emphasises his belief in one God by utilising the one theme sung in unison.
The appoggiatura bar 93 (accompaniment).
The turn ~ bar 132 (accompaniment).
The trill tr bar 181 (accompaniment).
21
Haydn: Nelson Mass
Schubert: Die Schne Mllerin
(The Beautiful Maid of the Mill)
When poetry and music together came down to Earth they entered the soul of Franz Schubert.
Dietrich Fischer-Dieskau (famous German lieder singer)
Introduction
Lieder is the German name for a song. Schubert (1797-1828) wrote over 600 songs, mainly
romantic and happy. This song cycle, composed when Schubert was 26 years old, consists of
20 songs. A song cycle is a group of interconnected songs performed in sequence on a central
theme, similar to Pink Floyds The Wall. Normally, all the poetry and music are by the same poet
and composer. This cycle is about a love triangle of a huntsman and a young happy wanderers
unrequited love for the Millers daughter, tracing the young mans emotional journey from
happiness to despair.
5. Am Feierabend (After Work)
Musical elements
Form
Ternary
Structure
1-7 8-25 26-59 59-78 78-89
Intro Section A Section B Section A Coda
Piano Voice and Piano Voice and Piano Voice and Piano Voice and Piano
Texture
- Light
- Chordal accompaniment
Tonality
- Home key: A minor
E major (dominant) bars 12-15
A major (tonic major) bars 16-24
C major (relative major) bars 26-40
D minor (subdominant minor) bars 41-44
Harmony
Chords:
- Diatonic arpeggaic/broken chords, e.g. bars 7-26 (right hand accompaniment)
- Major & minor chords (root position and rst inversion) bar 1
22
- Cadences: Perfect bars 14-15; 23-24; 45; 58-59; 88-89
Imperfect bar 37
- Repetition bars 16-19
- Sequence bars 37-43
- Anacrusis bars 7; 37; 60
- Ostinati bars 7-8 (right hand)
- Pedal bars 46-51; 78-87
- Tonic major to tonic minor bars 24 and 25
- b
Auxiliary chromatic notes bar 8 (G# voice); bar 52 (E voice)
Instrumentation
- Male vocalist/Tenor
- Piano
Score indications
Ziemlich geschwind: Rather quick
Etwas geschwinder: Somewhat quicker
f (forte): loud
p (piano): soft
sf (sforzando): strongly accented
decresc. (decrescendo): growing less/becoming softer
Points of interest
The poets name was Wilhelm Mller.

Compound 6 time.
8
Opening homophonic chordal style of accompaniment bars 1-4.
Beauty of owing lyrical melody bars 16-17.
Sensitive harmonic colours and progressions throughout.
Brief visits to related keys (see Examples of modulations).
Schuberts independent Piano accompaniment.
Excellent keyboard contrasts to suit the mood of the poetry.
Schubert preferred the Piano to the Harpsichord because it gave more scope for colour,
dramatic intensity and dynamic eects.
Exciting semiquaver accompaniment bars 7-25; 59-82.
Schuberts fondness of varying lengths of phrases, e.g. bars 8-19. There are 4x4 bar
phrases, but the section ends with a 5 bar phrase (bars 20-24).
His fondness for echoing the end of a vocal phrase in the accompaniment, e.g. bars 39-40;
43-44; 85-86 (left hand Piano).
The chord of the dominant 7th was often used by Schubert when the words refer to fatigue
and disappointment (bars 28-31 How weak my arms are!). The young wanderer so
wanted to impress the Millers daughter with his strength and win her love.
Middle section (bar 26 on) based on chord progressions derived from opening style of
introduction.
Compare bass line 8ve rhythms of bars 7-26 with bars 59-69.
Rhythmic change in bass line rhythms (on the beat) bars 26-36.
Less tension in bars 46-58 with recitative vocal style (family relaxing around the re after a
hard days work).
23
Further information
www.lieder.net
After Work
A (bars 8-24; 61-85)

If I had a thousand arms to move!
I could drive the wheels with a roar!
I could blow through all the copses!
I could turn all the millstones!
Then the millers daughter could sense my true purpose!
B (bars 26-59)
Oh, how weak my arms are! What I lift, what I carry,
What I cut, what I hammer, any fellow can do as well.
And there I sit among all the others in the quiet, cool time of rest,
And the master says to all of us: I am pleased with your work,
And the lovely maiden said Goodnight to everyone.
6. Der Neugierige (The Questioner)
Musical elements
Structure
1-4 5-20 23-32 33-41 43-52 53-55
Intro Section A Section B Section C Section B Coda
4 bars 4+4+4+4 4+4+2 3+3+3 4+4+2 4 bars
Piano Voice and Voice and Voice and Voice and Piano
Piano Piano Piano Piano
Texture
- Light
- Chordal accompaniment
Tonality
- Home key: B major
F# major (dominant) bars 11-12; 19-20
B minor (tonic minor) bars 25; 45
G major (attened submediant) bars 37-38
24
Harmony
Chords:
- Diatonic arpeggaic/broken chords, e.g. bars 23-33
- Dominant 7th 6 (rst inversion) bar 26
5
- Major & minor chords, e.g. bar 33 F# major 6 (rst inversion)
3
- Chromatic progression bar 50 (bass line)

- Cadences: Perfect bars 19-20; 31-32; 40-41
- Repeated phrases bars 5-8; 13-16
- Anacrusis bars 4; 22
- Pedal bars 23-25; 52-55
- Lower auxiliary notes melodic line bars 5; 13
- Appoggiaturas bars 31; 39 (voice)
- Accented passing notes bars 33-34 (voice)
- Anticipatory notes bars 29-30; 31-32 (voice)
Instrumentation
- Piano
Score indications
Langsam: Slow
Sehr langsam: Very slow
Points of interest

Semiquaver gures creating rippling stream bars 23-32.
Change from 2 (simple duple) to 3 (simple triple) in bar 23.
4 4
Syncopated accompaniment bars 5-10.
Recitative vocal style bar 33.
Chromatic harmonic progressions bars 9-10; 46 (accompaniment, chromatic lower auxiliary
note E# in the bass); 49-50.
Fondness for echoing the end of a vocal phrase in the accompaniment bars 51-52 (voice) in
augmentation bars 52-53 (Piano).
Remote key modulations and rapid return to tonic bars 41-43.
Further information
www.lieder.net
25
The Questioner
A (bars 5-20)
I dont ask any ower, I dont ask any star,
None of them can tell me what Id like to know so much.
I am not a gardener, the stars are too far above;
Ill ask my little brook if my heart has deceived me.
B (bars 23-32)
Oh, little brook of my love, why are you so silent today?
I only want to know one thing, one word, one way or the other.
C (bars 33-41)
Yes, is the one word, the other is No.
The two words together make up my entire world.
B (bars 43-52)
Oh, little brook of my love, how strange you are!
If you wont say anything further, tell me, little brook, does she love me?
7. Ungeduld (Frustration)
Musical elements
Form
Strophic 4 verses
Structure
1-8 9-18 19-26/27

Intro Verses 1, 2, 3, 4 Chorus
Piano Voice and Piano.
5 short phrases:
bars 9-10; 11-12;
13-14; 15-16; 17-18
Texture
- Light and rhythmic in verses
- Thicker in chorus
Tonality
- Home key: A major
E major (dominant) bars 3; 22-23
E minor (dominant minor) bars 4-5
B minor (supertonic minor) bars 10-11; 15-16
26
Harmony
Chords:
- Major and minor, root positions and inversions
- Dominant 7th bars 8; 24
- Diminished 7th bars 21-22
- Chromatic progressions bars 12; 15

- Cadence: Perfect bars 8-9
- Sequence bars 2-3 and 5-6; 9-10 and 11-12
- Anacrusis every vocal entry bars 9-18 (upbeat to 9)
Instrumentation
- Piano
Score indications
Etwas geschwind: Rather quick
fp (fortepiano): loud, then soft
fz (forzato): forced sound
ll: :ll : repeat
Points of interest

Simple triple time, but really 9 in performance.
8
Note how dotted rhythms in vocal line adds to character of song.
Melodic line in right hand intro bars 1-8.
Tension increases in chorus as wanderer declares his love for the millers daughter high
tessitura (pitch) of vocal line.
Much stepwise movement in melodic line of verses.
Brief irtations with remote keys (see Examples of modulations).
Joyful and uplifting mood the wanderer declares his love.
The rhythm of vocal line in each verse is exactly the same.
The rhythm of accompaniment in each verse follows the same pattern.
Opening left hand motif in intro repeated in sequence.
Intro right hand triplets mainly in thirds and sixths.
Texture of accompaniment thickens in bars 7-8, heralding vocal entry.
Lighter rhythmic texture with accompaniment in verses.
Homophonic closing perfect cadence.
Further information
www.lieder.net
27
Frustration at not being noticed!
Verse 1
Id like to carve it in the bark of every tree,
Id etch it into every pebble,
Id sow it in every new-tilled eld,
With cress seeds that would show it quickly,
Id gladly write it on every blank sheet of paper:
Chorus
My heart is yours and will ever remain so.
Verse 2
Id like to raise a young starling,
To speak the words clearly and distinctly,
So that he would speak with the sound of my voice,
With all my hearts intense longing;
Then hed sing it through her windows:
Chorus
Verse 3
Id like to breathe it into the morning breezes,
Id like to blow it through the stirring grove;
Oh, if it could only glow from every starry blossom!
If the scent could carry it to her from near and far!
You waves, can you only push wheels?
Chorus
Verse 4
Id swear it must show in my eyes,
Anyone could see it burning on my cheeks,
Anyone could read it on my silent lips,
Every breath proclaims it aloud,
And she doesnt even notice my anxious yearning:
Chorus
28
Corelli: Sonata da Camera Op.2, No. 7 in F
(Preludio, Allemanda, Corrente, Giga)
Introduction
Sonata da Camera (Chamber Sonata) is a series of short pieces (suite) composed in the same key,
suitable for dancing. The sonata generally begins with a Prelude which serves as a preparation
for the other movements, Allemanda, Corrente and Giga.
They are known as Trio Sonatas because they are scored on three staves for Violin 1, Violin 2 and
Cello, but 4 players are needed! The Harpsichord player was taken for granted and not counted,
and would read the gured bass from the same stave as the Cello part. The Trio Sonata was the
foundation of the Concerto Grosso (see Bachs Brandenburg).
Corelli (1653-1713) was an Italian violinist and composer of Baroque music who wrote 48 Trio
Sonatas.
Preludio
Musical elements
Form
Modied Binary
Structure
1-4 5-8 9-16 17-22
A1 A2 B1 B2
Tonic key F major. Dominant key C. Descending scalic Cello (bar 17)
Ends with imperfect Ends with imperfect motif from A. repeats bar 3.
cadence. cadence. Ends with perfect Ends with perfect
cadence. cadence.
Texture
- Contrapuntal, e.g. bars 9-10
Tonality
- Home key: F major
C major (dominant) bars 5; 13
D minor (relative minor) bar 16
29
Corelli: Sonata da Camera Op.2, No. 7 in F (Preludio, Allemanda, Corrente, Giga)
Harmony
Chords:
- Diatonic
- Dominant chord 5 (root position) bar 4
3
- Supertonic chord 6 (rst inversion) bar 173
3
- Dominant 7th 7 (root position) bar 213
5

- Suspensions: 7-6 bars 9-10
9-8 bars 18-19
- Diminuition of opening motif bars 18-19
- Passing notes bar 9 (Cello)
- Arpeggio notes bar 13 (Cello)
- Cadences: Perfect bar 13 (C major); bar 22 (F major)
Imperfect bar 4 (F major)
- Sequence bar 9 (Cello)
Instrumentation
Violino: Violin
Violone: Cello
Cembalo: Harpsichord
Score indications
Figured Bass/Continuo: a type of musical shorthand or playing by numbers popular with

small orchestral combinations, particularly in the Baroque era. The keyboard player would ll
in the harmonies according to the gures written under the bass clef this skill was called
realisation. Here are some of the most common gures used by Corelli:
5 root position of the chord (not always written)

3
6 rst inversion of the chord
6 second inversion of the chord

4
# sharpen the third note of the chord
43 suspension
7 chord of the 7th
6 rst inversion of the chord of the 7th

5
30
Points of interest
Quite a restricted melodic range for each part.

Adagio tempo.
Overlapping of Violin 1 & 2 bars 11-12
Walking bass bars 12-17
Imitation between Violin 1 & 2, using opening motif bars 14-15
Hardly any dynamics in Baroque music.
No repeats in the Prelude.
Imitation and dialogue throughout.
Independence of bass continuo part.
Good range of harmonic vocabulary.
Allemanda
Musical elements
Form
Binary
Structure
1-14 15-27
A B
F major F major
Opening rhythmic arpeggio motif is Opening rhythmic motif (Violin 2 & Cello)
repeated in imitation in Cello (bar 2). is repeated tutti in imitation. The nal
4 bar phrases ending in perfect cadences cadence has the same echo eect.
bar 8 in dominant and bar 14 in the tonic. Cello part more prominent here
Echo eect. Ending in perfect cadence. and more orid.
Ending in perfect cadence.
Texture
- Fluid
- Contrapuntal bars 20-21
Tonality
- Home key: F major
C major bar 9
D minor bar 18
31
Harmony
Chords:
- Diatonic
3
- Tonic chord 6 (rst inversion) bar 24
3
- Second inversion 6 bar 193
4
- Dominant 7th bars 81; 233 (7th rises here)

- Cadence: Perfect (in tonic) bar 5
- Sequence: descending bars 10-11 (Cello)
- Sequence: ascending bars 22-23
- Suspensions bars 253-4
Instrumentation
Violino: Violin
Violone: Cello
Score indications
Figured Bass/Continuo (see Prelude)
Points of interest
Allegro tempo.
Lively and rhythmic.
Common time 4
4
Very few dynamics in Baroque music.
Both sections A & B repeated.
Independence of bass continuo part.
Walking bass bars 53-7
Large leaps of 8ve and 10th in Violins.
Echo eect/repetition at end of sections bars 12-14; 25-27
This echo eect is to be seen in Vivaldis concerti he was a pupil of Corelli.
Use of tenor clef for Cello bar 15
Overlapping of Violins bars 8; 18
Falling interval of 7th in melody at cadence bars 244-25
32
Corrente
Musical elements
Form
Binary
Structure
1-20 21-40
A B
F major F major
Rhythmic motif in Violin 1 appears many Homophonic opening for 3 bars,
times in all 3 instruments. modulating briey to C major and
Echo eect in last 6 bars. D minor.
Ends on perfect cadence. Echo eect in last 6 bars.
Ends on perfect cadence.
Texture
- Sparse
- Homophonic
Tonality
- Home key: F major
C major (dominant) bars 7; 11
Harmony
Chords:
- Diatonic
3
3

- Cadences: Perfect bar 27 (D minor)
Interrupted (V-VI) bar 17
Imperfect bar 6
- Sequences bars 7-10 (Violin 1); bars 27-30 (Cello)
- Suspension 7-6 bar 22-3 (Violin 2)
33
Instrumentation
Violino: Violin
Violone: Cello
Score indications
Points of interest
Triple time.
Quite repetitive.
Opening dotted rhythm motif appears in most bars, but not always on the same beat of
the bar.
Tenor clef (Cello) bars 31-34
Bars 143-20 repeated exactly in bars 343-40.
Numerous cadential points.
Cello part plays dotted motif and given more independent line.
Corelli often used Hemiola rhythms, e.g. bars 21-23, in composing the type of dance
where the triple time 123,123 creates a sensation of becoming duple 12,12,12.
Giga
Musical elements
Form
Binary
Structure
1-34 35-73
A B
Lively rhythmic imitative opening Imitative opening before Violin 1
between Violin 1 and Cello. dominates the melodic line again.
Modulation to dominant at bar 18, Brief modulations to new keys.
then return to perfect cadence Sequential dialogue between
in F at bar 34. Violin 1 and others.
Ends with perfect cadence in tonic key.
Texture
- Fluid
34
Tonality
- Home key: F major
G minor (supertonic) bar 49
Harmony
Chords:
- Diatonic
3
3
- Tonic chord 6 (second inversion) bar 721
4
- Dominant 7th bar 65

- Cadences: Perfect (in tonic) bar 10
Perfect bar 18
- Sequence bars 58-65 (Violin 1)
- Auxiliary notes (lower) bar 21 (Violin 1 & 2)
- Passing notes in 3rds bar 27 (Violin 1 & 2)
- Passing notes (contrary motion) bar 46 (Violin 1 & 2)
Instrumentation
Violino: Violin
Violone: Cello
Score indications
Points of interest
Most Baroque orchestral suites end with a Gigue (cf. J. S. Bach).

The Gigue is a lively (Allegro) dance.
This Gigue is in 3 namely one beat in the bar.
8
Tenor clef (Cello) bars 11-13; 35-36
This is a moto perpetuo composition i.e. non stop action using mainly notes of the same
value (quavers).
Violin 1 is the dominant part except when overlapped by Violin 2.
Overlapping of parts (Violin 1 & 2) bars 19-24; 42-44
Cello has more supportive role in this dance with dotted crotchet notes bars 37-57.
Opening Violin 1 motif repeated in imitation by Cello.
35
Violin melody consists mainly of arpeggio and passing notes.
Bars 29-34 (end of section A) repeated in bars 68-73 (end of section B).
Dialogue between Violin 1 and Violin 2 & Cello bars 58-65.
36
b
Beethoven: String Quartet in B Op. 18, No. 6, 1st Movement
Introduction
One of the greatest revolutionary composers. Beethoven (1770-1827) wrote in many genres
including overtures, symphonies, choral works, piano sonatas and one opera. Despite his
incurable deafness, Beethoven composed almost exclusively for the string quartet during the
last three years of his life. He composed a total of 17 quartets. This quartet was composed in
1799. Although considered a Classical composer, Beethoven was a precursor of Romanticism
and ahead of his time because of the feeling and expression portrayed in his compositions.
Musical elements
Form
Sonata
Structure
1-91 91-174 175-265
Exposition Development Recapitulation
A B A
Texture
- Fluid
- Homophonic (2nd subject) bars 45-47; 88-89
- Mainly dense bars 210-213
Tonality
- b
Home key: B major
Exposition
F major bar 44
F minor (dominant minor) bars 49; 59-60
b
A (attened leading note) bar 56
Development
D major (mediant) bar 102
G minor (relative minor) bar 110
b
E major (subdominant) bar 127
Harmony
Chords:
b
- Tonic chord: B major (root position) bar 1
- G minor (root position) bar 248
- Dominant chord 6 (rst inversion) bar 64
3
37
Beethoven: String Quartet in Bb Op. 18, No. 6, 1st Movement
- Diminished 7th bars 74; 247
- Dominant chord 6 (second inversion) bar 78
4
- Dominant 7 (last inversion) bar 553
th

- Cadences: Perfect bars 79-80
- Pedal bars 33-39 (Cello)
- Sequence bars 53-56; 57-602
bars 1314-1372 (Violin 1)
- Imitation bar 113 (Cello); bar 115 (Viola); bar 117 (Violin 2)
- Double stopping (2 notes played simultaneously) bars 85 & 110 (Viola);
bar 102 (Violin 1 & 2)
- Appoggiatura in bar 1 played as 4 semiquavers
- Music dialogue (imitation) bars 5-9 (Violin 1 and Cello)
- Contrary motion bar 40 (Cello and Violin 1 & 2)
- Lower auxiliary notes bars 68-69 (Cello, Viola & Violin 2)
- Syncopated eect bars 71-74
- Upward scalic passages bars 32-41; 113-139
- Arpeggio based homophonic phrases bar 92
- Appoggiaturas played on the Viola and Violin bar 47
- Chromatic progression: F major to G minor bars 100-102 (Development)
- b
Chromatic chord in bar 101 is a French 6th (E -G-A-C#)
Score indications
Violino I: Violin 1
Violino II: Violin 2
Viola
Violoncello: Cello
Allegro con brio: Fast with vigour

fp (fortepiano): sudden reduction of loud dynamic
cresc. (crescendo): increase volume gradually
sf: strong accent
p (piano): soft
decresc. (decrescendo): decrease volume gradually
tr. (trill): quick repeated alternation between the note and the one above or below it, usually
a semitone or a tone
C (split common time): the composition is written as 4 crotchet beats to the bar, but
the performance is played/directed in 2 minim beats to the bar
Points of interest
Subject 1 theme consists of short arpeggi phrases.

Much use made of subject 1 appoggiatura 4 note (anacrusis) phrase in development section,
e.g. bars 934-106.
38
Melodic interest shared amongst all players, not just Violin 1.
New material in transition of recapitulation (bars 198-205), not in exposition.
Split common time 4 pulse is eectively two beats in the bar.
4
Viola uses alto clef (C is the third line on the stave), and tuned an octave higher than the Cello.
Return of subject 2 in recapitulation (bar 217) is in the tonic and not the dominant as in
exposition (as expected).
Major to minor uctuation in 2nd subject bars 44-62 (exposition) and bars 217-227
(recapitulation).
Beethoven always had repeat marks for the exposition section, and this was usual practice in
classical music.
Note the repeat marks in bar 264 instructing players to return to bar 92 (development
section) and play through again to the end.
Although there are 3 sections in this movement, the historical link with binary form is
very clear, with the repeat of both exposition (A) and the repeat of the development/
recapitulation (B) section. Nowadays, the repeat of development and recapitulation sections
are often omitted in performance.
39
b
Brahms: Clarinet Sonata in E Op. 120, No. 2, 3rd Movement
Introduction
This sonata was dedicated to the famous clarinettist, Richard Mhlfeld, and premiered in Vienna
in 1895 to critical acclaim. One critic wrote, There is no more beautiful use of variations than in
the last movement of this sonata.
For the 3rd and nal movement of the sonata, Brahms has used theme and variation form as his
structure. It is a set of 5 variations on a given theme. The clarinet part on our score is written in C
and doesnt need to be transposed.
Brahms was very fond of the variation form, and you may be familiar with his St Anthony Chorale
Variations for Orchestra. Perhaps some of you have already used theme and variation form in
your own compositions. If not, try it after studying this work.
Form of the 3rd Movement Theme and Variations
1-14 15-28 29-42 43-56 57-70 71-97 98-153

Theme Var. 1 Var. 2 Var. 3 Var. 4 Var. 5 Coda
Theme (bars 1-14)
Musical elements
Structure
4+4+2+4
Bars Bars Bars Bars

1-4 5-8 9-10 11-14
Texture
- Fluid
- Homophonic bars 2-4
- Dense in Piano bars 9-10
Tonality
- b
Home key: E major
Examples of modulations
G minor (mediant minor) bar 103
40
Brahms: Clarinet Sonata in E b Op. 120, No. 2, 3rd Movement
Harmony
Chords:
- Diatonic
3
3
- Dominant 7th bars 66; 83; 106
- Diminished 7th bar 136

- Cadences: Imperfect bars 4; 8
Plagal bar 14
- Pedal (dominant) bars 46-55
- Sequence bars 16 -2 (Piano)
- Sequence bars 1-3 (Clarinet)
- Suspension bar 83,4,5 (Piano)
Score indications
Andante con moto: Moderate pace
poco f (forte): fairly loud
calando: getting softer and slower/dying away
Points of interest
Anacrusis at beginning of musical phrases.

Phrasing.
Theme is 4+4+2+4.
Bars 3-4 (Clarinet) is repeated in 7-8 (Clarinet).
Cadence: Clarinet motif ends phrases bars 4, 8 and 13-14.
Symmetrical for rst 8 bars, but carries on with 6 (2+4) bar phrase (rather than 4 or 8 bar
phrase).
A beautifully shaped melody relaxed charm.
Piano part provides harmonic support and colour, yet is independent.
Use of consecutive 8ves in left hand Piano accompaniment.
Chordal richness of right hand Piano accompaniment.
The phrasing of the compound three quavers begins on the anacrusis and carries across
the bar line in both instruments.
Many cresc. and decresc. symbols (<>) in Brahms compositions, which are in keeping with
the Romantic period in which he lived.
Brahms is regarded as the bridge between Classical and Romantic music.
41
Variation 1 (bars 15-28)
Musical elements
Texture
- Contrapuntal
- Sparse at times, e.g. bars 15-18 (Piano)
Tonality
- b
Home key: E major
Harmony
Chords:
- Diatonic
- Chromatic bar 25

- Cadences: Imperfect bar 22
Perfect bar 285
- Pedal (dominant) bar 19
- Suspension bar 224 (right hand Piano)
- Sequence bars 186-195 (Piano)
Score indications
dolce: sweetly
sost. (sostenuto): sustained (legato)
poco f (forte): little louder
Points of interest
Highly imaginative.
Original theme note-lengths have been changed, but same phrasing across the bar
maintained. Clarinet part now resembles a skeletal version of the original theme.
Anacrusis (Clarinet and Piano) not starting together.
Structure modied: 4 (Tutti) + 4 (Piano) + 2 (Clarinet) + 2 (Piano) + 2 (Clarinet).
In theme, Clarinet plays for 10 bars.
Piano plays syncopated harmonies (3rds) in imitation with melody of Clarinet (bars 15-18),
providing tension.
These o-beat accents in the Piano provide main rhythmic focus in bars 15-18.
Piano has centre stage in bars 19-22, with re-statement of bars 15-18 (not syncopated),
but same simple rhythm as Clarinet previously in bar 15-18. Less tension now.
42
Cadence motif (bars 13-14) changed.
Left hand Piano rhythm repeats Clarinet rhythm in bars 226-245.
O beat rhythm returns in Piano bars 256-28.
Harmonic structure mainly the same as before in theme, although some slight harmonic
dierences in this variation.
Musical elements
Texture
Quite dense on the whole
Tonality
- b
Home key: E major
Harmony
Chords:
- Diatonic
- Diminished 7th bar 31 (right hand Piano)
- Dominant 7th bar 373 (heard in arpeggio guration and contrary motion in Piano part)
- Dominant 7th (nal inversion) bar 403 (Piano)

Interrupted/Surprise bar 413,4
- Pedal (dominant) bar 33
- Suspension bar 324,5
- Sequence (Clarinet) bars 306-313 (8ve lower than theme)
- Contrary motion: 16 note arpeggi bar 37 (Piano)
Score indications
molto p (piano) e dolce: very quiet and gentle
Points of interest
Piquant and jumping for joy.

Harmonic structure, mainly the same as before in theme, with some slight harmonic
dierences (bar 31).
Dierent phrasing now.
Some original theme note-lengths have been changed.
Piano triplet semiquaver accompaniment, descending then ascending bars 29-31.
43
Contrary motion arpeggi bar 37.
Anacrusis on Clarinet 8ve lower than before.
Brahms explores lower range sonority of Clarinet.
Downward leaps of minor 7ths at opening, then back up bar 29.
Clarinet keeps two note theme motifs on beats 3 and 6 in bars 29-31, whilst Piano plays
triplet arpeggi gures.
Changed harmonies in bar 31 compared with bar 3 of theme.
Regular rhythmic pattern in left hand Piano, with harmonic support chords on beats 2,3
and 5,6 bars 29-32.
Clarinet and Piano reverse roles in bars 33-36. Piano plays melody 8ve higher and Clarinet
plays triplet arpeggi gure in reverse (ascending then descending).
Clarinet plays 13 bars and Piano accompanies the same, but Piano only plays 1 bar solo at
the end of the variation bar 42.
This variation follows Variation 1 without a break/pause (segue).
Musical elements
Texture
Quite dense from bars 49-56
Tonality
- b
Home key: E major
Harmony
Chords:
- Diatonic
- Dominant 7th 6 (rst inversion) bar 461
5

- Antiphonal exchanges (3 beats length) between Clarinet and right hand Piano
bars 43-48
- Right hand Piano echoes previous beat of Clarinet bar 49
- Passing notes bar 503 (d) (Clarinet)
- Chromatic passing notes bar 46 (nal note)
- Lower auxiliary notes (anacrusis) bab
- Cadences: Imperfect bars 465; 505
Perfect bar 563,4
- Sequence bars 466-473 (Clarinet); bar 472-6 (right hand Piano)
44
Score indications
grazioso: gracefully
fp (fortepiano): sudden diminuendo
Points of interest
This variation follows variation 2 without a break/pause (segue).

Anacrusis.
This is the most intense of the rst three variations.
Both Clarinet and Piano play in every bar.
More emphasis on dynamic colour.
Very ornate/decorative, orid and chromatic.
Original theme note-lengths have been changed dramatically and decorated copiously.
Triplet groups now changed to demi semiquavers.
Brisk dialogue between Clarinet and Piano bar 43.
Rhythmic intensity (moto perpetuo) from bar 50 onwards.
Music pauses at the end of this variation as if the listener and performers need to catch
their breath before the next variation.
Musical elements
Texture
Sparse
Tonality
- b
Home key: E major
Harmony
Chords:
- Diatonic
- Dominant 7th 6 bar 626
5
- Chromatic progression bar 69

- Cadences: Imperfect bar 644,5
Perfect bar 70
- Tonic pedal bar 61 (left hand Piano)
- Syncopation between Clarinet and Piano throughout
Score indications
45
Points of interest
Both Clarinet and Piano play in every bar.

This variation is melodically much simpler than the other three, but metrically quite
complicated however.
Anacrusis begins with Piano chord 7th.
Little more than the harmonic basis of the theme now remains.
Only occasional hints of the original theme.
Dreamy atmosphere, soft dynamics.
Slow languid tempo.
Right hand chords of Piano.
Repeated dominant note is a feature on Clarinet.
Melody mainly in lower range of Clarinet.
Tied notes used eectively in both instruments at beginning and end of bars.
Bars 57-60; 646682 both hands in treble clef (Piano).
Bars 606-645; 683-705 both hands in bass clef (Piano).
Musical elements
Texture
Contrapuntal
Tonality
- b
Home key: E minor (tonic minor)
Harmony
Chords:
- Diatonic

- b
Cadences: Imperfect (B major) bars 781 & 861
b
Plagal (E major) bar 98
- Suspension: 9-8 bar 871
- Syncopated rhythms bars 87-91 (right hand & left hand Piano)
- Cadential overlap with next section bars 972-981
Score indications
Allegro: Fast
ben marcato: well-marked
sf (sforzando): sudden accent
46
Points of interest
Change of key to minor mode (tonic minor E ). b

Phrase lengths are doubled to 8+8+4+8.
Tempo now changed to Allegro.
Time signature is changed from compound to simple 2
4
2 1
Augmentation of cadence motif bars 84 -86 .
Anacrusis.
Predominance of semiquaver movement in right hand Piano.
The main melodic focus is in the right hand of the Piano, with minor changes from the
original theme.
Piano solo at the start of this variation, with Clarinet only playing for 2 bars (bars 74-76) in
the rst phrase.
Likewise, third and fourth phrases are for solo Piano (bars 90-95), except the nal 2 bars
where the Clarinet joins in just for 2 bars at the end of the variation (bars 96-97).
Clarinet echoes previous Piano theme an 8ve lower from bars 78-86.
Cadence theme in right hand Piano (bars 96-102) is a momentary release of tension.
Coda (bars 98-153)
Musical elements
Texture
- Contrapuntal
- Florid
Tonality
- b
Home key: E major
Harmony
Chords:
- Diatonic
- Diminished 7th (second inversion tonic) bars 131-132
- Diminished 7th bars 143-146 (Piano)
- Dominant 7th bar 1142 (Piano)
- Major 5 bars 1363; 151-153
3
- Minor 6 bar 1361
3

- Cross accents of various parts of theme bars 102-104
- Diminution of main theme in Piano (bars 135-136), then Clarinet (bars 136-138)
- Chromatic harmony in Piano and Clarinet bars 115-118 and bars 135-136
47
- Dominant pedal bars 1112-119
- Cadence: Imperfect bars 106-107 (German 6th-V7)
Score indications
Pi tranquillo: Even calmer
espress. (espressivo): with expression/feeling
Points of interest
This coda (tailpiece) of the main tune moves to centre stage.

Time signature remains 2, but more use of triplets.
4
Momentary calming of mood bar 98.
Development of cadence theme bars 98-111.
Using cadence theme in Piano bars 98-102.
Bars 102-1071 triplets in Piano against crotchet pulse of Clarinet.
Virtuosic ourishes, e.g. bars 127-133, in both instruments.
Final appearance of cadence theme bars 1472-1511.
Considerable rhythmic energy and momentum in the coda.
48
Duke Ellington
Introduction
Duke Ellington (Edward Kennedy, 1899-1974), the son of a White House butler, produced sensual
big-band jazz that included extended improvisations, solos and breaks. His shifting harmonies
and contrasting tonal colours, including his own piano playing, brought him everlasting fame
and worldwide recognition. Apparently, he never wrote down a single note of his compositions
that was left to others. He loved to tinker with his arrangements and there are many versions of
his hits still in existence. His arrangement of Take the A-Train became one of the memorable hits
of wartime USA. Apart from Black and Tan Fantasy, other hits include Mood Indigo.
Black and Tan Fantasy
Musical elements
Form
12 bar blues
Structure
1-12 13-20 21-28 29-40

A B B A
b
B minor. b
B major. Alto Sax solo b
B major.
Trio for Trumpet, Piano Solo Alto Sax begins accompaniment is Trumpet solo improvised
and Trombone b
over the G 7 harmony, repeated except for with generous
minor blues sequence. then major chords: bars 27-28, which ends smattering of blue
Same sad tonality b b b b on F9 chord notes and triplet
b
B , E , (E m), B ,
as last 4 bars
(quote from Marche
C7, F7, B . b (leading to B chord
in bar 29).
guration.
Thin texture.
Other instruments
Funbre by Chopin). support the harmonies. Supported only by
Piano and rhythm
section.
41-52 52-64 65-76 77-86 87-90

A A A A Outro
Repeat with same Piano solo in Trombone solo full Trumpet solo in Quote from Marche
rhythmic 4 stride style played of colourful eects quavers and Funbre by
4 by the Duke. (bar 73), using semiquavers Chopin in
backing pulse.
Piano begins solo
Chromatic bass plunger mute, blue notes. b
B minor, echoing
line and D7 chord glissandi, trills Rhythm section sombre opening
on nal bar of in bar 59. and staccato. backing but in tonality.
Trumpet solo. bars 64-85, tutti Tutti ensemble.
accompaniment.
49
Duke Ellington
Tonality
- Home key: B b minor
- Major tonality
- Minor tonality
- Blue notes
b
B major bar 13
b
B minor bar 87
Harmony
- Tonal
- Diatonic
- Major
- Minor
Chords:
- B minor b 5 (root position) bar 12
E b minor 6 bar 25
3
3
-
3
- F9 bar 644

- Chromatic harmonies bars 19-20
- Triplets, e.g. bar 37
- Syncopation bar 60 (right hand Piano)
- Piano stride, New Orleans style
- Blues notes
- Blues scale
- Jazz quavers are not played as written but swung, e.g. Piano solo
Instrumentation
Jazz Ensemble
Alto Sax
Tenor Sax
Trumpet (plunger mute)
Trombone
Piano
String Bass
Banjo
Drum Kit
Points of interest
Written in 1929 for a short lm featuring Duke Ellington and his band.
Shades of Negro spiritual in this composition.
Quote from Marche Funbre by Chopin in the last 4 bars.
Knowledge of the blues scale will help appreciate the composition.
50
Duke Ellington
Echoes of early New Orleans minimal style with strict rigid tempi.
Major to minor tonalities.
Further information
www.youtube.com
Take the A-Train
Musical elements
Form
- AABA x3
- Standard 32 bar song form played three times
Structure
1-4 5-12 13-20 21-28 29-36

Intro A A B A
The most famous Saxes in unison Repeated, but Angular tune also Back in tonic
4 bar Piano intro in with 8 bar theme the previous bar with intervals of C major.
big band history. (4+4), both angular 12 is now tacet. falling 5ths and Saxes with tune
Based on 2 chords and syncopated. Eective rhythmic major 7ths again but Trumpets
with repeated right Intervals of rising interaction F major key. (open) with
hand chromatic 6ths and falling 5ths. between the Reeds Trumpets are tacet countermelody.
descending motif Syncopated and the Brass in this section. Trombones with
(the A-Train ready harmonic very punchy and Trombones have syncopated
to leave New York accompaniment stabbing rhythms downward scalic harmonies in
station!). by Trombones and here. countermelody homophonic
muted Trumpets. bars 23-36. movement with
Trumpets.
Brass all have triplet
stepwise unison
gure bar 363,4.
37-44 45-52 53-60 61-68 69-72

A A B A Bridge
No Brass at all Repeated section as Solo Trumpet break Solo Trumpet Brass (except
except solo the Trumpet break continues and playing the main Trumpet 4) play
Trumpet 4 continues. Saxes support the theme, with Saxes notes G then G#
improvisation. Texture much harmonies with playing the repeat in unison for key
Homophonic lighter. one chord per bar. of countermelody change.
chromatic More emphasis Trombones tacet. (bars 45-48). Antiphonal
countermelody on rhythm section Saxes with response to 5 note
in the Saxes in now. downward triadic harmonised motif
harmony. blues motif. in the Saxes.
51
Duke Ellington
73-80 81-88 89-96 97-104 105-120 121-30
A A B A A Outro
New key Repeat of b
A major. b
Back in E with Repeat of Over the E b
b
E major. backing Trombones unison Saxes and previous 8 pedal, Drum lls
3 bar scalic accompaniment re-enter with solo optional bars and Trumpet
harmonised in Saxes and harmonised Trumpet big (no specic solo.
passage in rhythm section. upward quaver tutti sound. changes, Whole band
Saxes. Trumpet solo in motif, answered Brass apart from except Trumpet
Trumpet 4 solo bars 84-88. by triplet homophonic the last two 1,2 and 3 play
in bars 76-80. quavers Saxes in accompaniment bars). harmonies
Trumpets 1,2,3 bar 91. with syncopated based on E b
and Trombones stabbing chord.
tacet. harmonies.
Texture
- Intro light
- Light when backing solos
- Dense with tutti
- Homophonic sectional (Brass and Reeds)
Tonality
- Home key: C major (but ends in E major) b
b
E major bar 73
Harmony
- Tonal
- Diatonic
Chords:
- Major
- Minor
- Tonic 5 (root position), e.g. bar 21
3
- Tonic 6 (second inversion) bar 11,2
4
- Added 6th, e.g. bars 11; 53
- Major 9th bar 403,4

- Angular themes with wide leaps
- Walking bass in crotchets
- Jazz quavers are not played as written, but swung
- Balanced phrases of 4 bars length
- Two main themes A (bars 5-12) and B (bars 21-28) contrasted and used throughout the
composition
52
Duke Ellington
- Varied chromatic accompaniment motifs at end of A section
- Elements of whole tone scale in A, with chord of D7 with attened 5th (bars 7-8)
- Pedal bars 69-70 (Brass)
- Sequential bars 37-40 (Saxes)
- Rising sequence bars 70-72 (Saxes)
- Syncopation throughout
- Comparing and dovetailing 3 main sections of the band
- 3 sections (Saxes, Trumpets, Trombones) move together
- Chromatic quavers, e.g. bar 18
- Repetition bars 69-71 (Saxes)
- Use of closely voiced harmonies in Trombones and Trumpets
Instrumentation
5 Saxes (Alto 1,2; Tenor 1,2; Baritone)
4 Trumpets
4 Trombones (bass clef )
Rhythm Guitar
Piano
String Bass
Drum Kit
Score indications
Gliss. (Glissando): slide (Trombones in particular)
Rubato: rob the time
Mutes: alter timbre
Tacet: silent
Trumpets in B b
Alto Sax/Baritone in E b
Tenor Sax in B b
/ : repeat the previous bar
/ / / / : strumming rhythm (crotchet) for Guitar
^ ^ ^ ^ : accented notes
m: minor
dim: diminished
Points of interest
The ATrain became the signature tune of the Duke Ellington Orchestra.
The 4 bar Piano intro is Ellingtons music calling card.
Written by Billy Strayhorn, who discarded it but Mercer Ellington, Dukes son, rescued it!
The A train in New York went to Harlem the D train went to the Bronx.
The Trumpet soloist on the CD is Cootie Williams, who plays the original improvisation of
Ray Nance (1941).
His Piano part is ad lib throughout just following chord pattern!
He directed from the Piano, just like Count Basie.
53
Duke Ellington
Other great band leaders also had nicknames with royal titles, e.g. Joe King Oliver,
Count Basie.
Symmetry is important in these big band arrangements.
Changing melodic focus constantly.
Trumpet solo scored now, but improvised originally.
Excellent example of big band swing.
Further information
www.youtube.com
54
Duke Ellington
Queen
Introduction
This iconic band is one of the all-time greats. Their famous anthems, We Are The Champions and
We Will Rock You, brought them into world focus and helped secure the groups induction into
the Rock and Roll Hall of Fame. The four members were Freddie Mercury (Vocals and Piano),
Brian May (Lead Guitarist), John Deacon (Bass Guitar) and Roger Taylor (Drums). Both lyrics and
music for these two songs were written by Freddie Mercury.
Bohemian Rhapsody
Musical elements
Form
Through composed
Structure
1-16 17-42 43-55

Episode 1 Episode 2 Episode 3
b
B major. b b
B major & E major. A major.
A cappella opening for 4 bars; Bars 17-34 are repeated Piano repeated A major
close chromatic harmonies (two verses). chord for 2 bars.
(barber-shop style). Solo vocals. Chords alternate between major
Light Piano accompaniment Broken chord left hand and diminished.
(bar 5). Piano ostinati. Chromatic vocal line.
Backing vocals (bar 8). The distinctive motif Harmony in backing group,
Important chromatic Piano (bars 15-16) in the right hand antiphonal responses.
motif (bar 7). Piano part continues in the A cappella in bars 51-52.
Piano rhythm accompaniment. Lighter homophonic texture
follows vocal line mainly. Bass Guitar on 1st beat of every bar in this episode.
Bass Guitar in at bar 15. up to bar 22.
Piano style changes in bars Tutti band, apart from Guitar,
15-16 with motif which in at bar 24.
carries on into next episode. Modulation at bar 25.
Drums play with verse 2 and
backing vocals from bar 25.
Strong downward chromatic bass
line is a feature, e.g. bars 23-25.
At bar 29 onwards, the Guitar
break is based initially on
material from bar 25.
Bar 42 prepares key change for
b
next episode (the D changes
enharmonically to C#, the third
note of the A major chord).
55
Queen
56-83 84-104 105-120
Episode 4 Episode 5 Episode 6
b
E major modulating to bE major. bE major.
dominant in bar 61. Style now changed to heavy rock. New semiquaver motif heralds
Material derived from previous Strong dotted rhythm Guitar ri start of this nal episode.
episode. Call and response style. in bars 84-87. Tempo much slower lead Guitar
Call a cappella and choral Solo vocal passage using with melody, over falling
response harmonies with band triplet rhythm of bar 83 now in crotchet bass.
homophonic style. augmentation. Arpeggaic Piano accompaniment
Chromatic motif returns in bar 62 High vocal line descending from bar 110.
(rst heard in bar 7). stepwise. Vocal style changed again to
Change in vocal style to wide There are two solo Guitar passages ballad style in minor tonality
melodic leaps in bar 65. heard in this episode. (Cm and Gm).
Chromatic harmonies The extended Guitar solo Very pensive, ending with
in bars 74 and 75. heard at bar 101 is based on b
chord of A minor
Triplet quavers introduced for the opening of this episode (bars in bar 1124, underlining the
rst time in Bass/Kit (bar 83) on 84-87), ending on sadness of the lyrics.
dominant pedal. b
dominant 7th (B ). The motif of bars 31-32 is
extended into the codetta in
bars 114-120 ending in
F major.
Texture
- Mainly homophonic
- Thin (at start)
- Dense (middle, from bar 74 onwards)
Tonality
- Home key: B major b
A major bar 43
b
E major bar 25
F major bar 118
Harmony
- Tonal
- Chromatic
- Major
- Minor
- Diminished
Chords:
- Subdominant 5 (root position) bar 105
3
- Tonic 6 (rst inversion) bar 102
3
- Dominant 6 (rst inversion) bar 241,2
b
3
- D major 6 (second inversion) bars 491,2
b
4
- Dominant 7th: C7 bar 2; F7 bar 31,2; B 7 bar 881,2
- Minor 7th : Cm7th bar 33
56
Queen
b
- Minor A iv bar 1124
- Diminished 7ths bars 321; 1193

- Backing vocals bar 8
- Cadence: Perfect bars 100-101
- Chromatic harmonies, e.g. bars 32; 63-64
- Repetition bars 10 and 11
- b
Enharmonic writing, e.g. at bar 56 the key is E major, but the bass is written as D#
- Change in metre, e.g. bar 3 5 time
4
- Sequential vocal line bars 80 and 81
- Guitar breaks/solos bars 35-43 (based on bar 25)
- Arpeggaic left hand Piano accompaniment bars 110-112
- Triplet crotchets against two crotchets bars 88-89
- Pedal bars 31-32
- Antiphonal vocal imitation bars 51-55; 56-61; 63-83
- Call and response bar 63 onwards
Instrumentation
Piano
Vocals
Lead Guitar
Bass Guitar
Drums
Backing vocals
Score indications
Listesso tempo: keep the same tempo as before but quaver beat = new crotchet beat
Points of interest
An unusual musical structure, rather disjunct, with no real chorus (which is the norm with
modern pop and rock compositions), apart from Episode 4.
The song has been subtitled as a conscious nightmare.
Recorded in 1975 for the album Night at the Opera, but also released as a single.
Contains passing musical references to ve dierent styles/genres, i.e. barber-shop close
harmonies, operatic arias and choruses, a cappella singing, antiphonal call & response, and
heavy rock.
Mainly homophonic texture, with Freddie Mercury accompanying himself on the Piano.
Piano right hand chromatic motif rst heard in bar 7 occurs elsewhere, e.g. bars 31-32, and
bar 119.
High tessitura vocal part sung falsetto.
Minimal stepwise melodic movement in early episodes.
Further information
Video of live performance on www.youtube.com
57
Queen
Killer Queen
Musical elements
Form
- Verse / Chorus / Verse / Chorus / Middle 8 / Verse / Chorus
- Verses and choruses are mainly strophic
Structure
1-14 14-26 26-38
Verse 1 Chorus Verse 2
Vocal solo Piano Homophonic 4 part harmony. Vocal solo with Piano chords,
accompaniment with Mixture of major and minor then bass pedal on Guitar
secco chords. tonality based on key of Bb (bars 27-30).
Band enters at bar 64 with strong major, framing a tonicisation Backing homophonic vocals
descending chromatic bass line. of the iii, D minor. syncopated (bars 32-37).
Backing vocals in at bar 8 (Ooh). 4 bar instrumental bridge.
Bars 12-14 pre-chorus link
or transitional sub-section.
38-50 51-59 61-69 69-79

Chorus Middle 8 Verse 3 Chorus
Homophonic 4 part Guitar improvisation Vocal solo Homophonic 4 part
harmony. based on chord shorter than previous harmony.
Mixture of major and sequence of verse 2 verses. Mixture of major and
minor tonality based on mainly bars 4-11. Based on harmonies of minor tonality based on
b
key of B major and Cm, second part of verse: b
key of B major and
D minor. b
B 7 x2, b b
G7-Cm x2, B -E , D minor.
5 bars fewer vocals E ,b D7-Gm, F-B b Band play out to fade,
than previous chorus Gm, (falling cycles of 5ths). b
based on tonic E major
because Guitar plays b
E 7, This section could chord.
second part b
A etc. also be considered an
(bars 44-50). extension of the
pre-chorus link
(bars 12-14).
Texture
- Lighter in verses
- More dense in choruses and backing vocals
- Homophonic choruses
Genre: Glam Rock
Tonality
b
- Home key: E major
G minor bar 143
b
B major bar 151
58
Queen
D minor bar 173,4
C major bar 184
Harmony
- Tonal
- Diatonic
- Major
- Minor
Chords:
- Root position chords 5 e.g. bars 15-16
3
- Tonic 6 (rst inversion) bar 264
3
- Second inversion chords 6 bars 73,4; 93,4
4
- Third inversion chords bar 81,2
- Dominant 7ths, e.g. A7 bar 173; G7 bar 211,2
- b b
Minor triads, e.g. B m bar 681,2; A m bar 91,2
- Diminished 7th bar 654 (backing vocals)

- Compound time 12 changing to 6 bars 10; 34; 58; 69
8 8
- Backing vocals bars 8-11; 31-37; 63-68
- 4 and 5 part harmonies in choruses
- Short stabbing vamping repeated chords bars 1-11 (Blues style)
- Pedal bars 23-24; 27-30
- Descending chromatic bass lines bars 7-8
- Ostinati bass ris bars 14-18
- Syncopation bars 21-26
Perfect bar 14
- Major tonality, e.g. bars 3-7
b b
- Major-minor chords bars 8-9; 32-33; 56-57 (A major to A minor)
- Imitation bars 44-45 and 46-47
- Guitar breaks/solos bars 44-61
- Anacrusis in verses and choruses
- First two verses begin with chord of Cm (relative minor)
- Many examples of cycles of falling 5ths, e.g. verse 3 bars 61-69, derived from traditional
Blues compositions
Instrumentation
Piano
Vocals
Lead Guitar
Bass Guitar
Drums
Backing vocals
59
Queen
Points of interest
Blues inuence with falling cycles of 5ths harmonic progression/sequential, e.g. verse 3 bars
61-69.
Vocal technique glissando at bars 153,4; 22-23.
Compound time 12
8
Elaborate 4 part vocal harmonies in choruses and verses.
Multi-tracked Guitar solo by Brian May.
Brian Mays solos added at a later date after recovering from illness.
Two Bass Guitars used at times.
Written in 1974 for the album Sheer Heart Attack.
Vaudville/Music Hall retro style (1940s).
The lyrics were written before the music.
Grand Piano (Freddie Mercury) used for recordings and stage, but this recording was
overdubbed with a Honky-tonk Piano to give the song a light musical quality.
Partly recorded in Wales (Rockeld Studios Monmouth).
Further information
Video on www.youtube.com
60
Queen
Loesser: Guys and Dolls
Introduction
Guys and Dolls is one of the most memorable Broadway musical comedies of all time. First
produced in 1950, it ran for two and a half years on 46th Street. The self-taught composer,
Frank Loesser (1910-1969), was a native of New York. He based his musical on two short stories
by Damon Runyon The Idyll of Miss Sarah Brown. It features tales of romance, gambling and
religious reform, set in prohibition New York against the background of a Salvation Army style
mission. Damon Runyons name features in the opening title, Runyonland.
Runyonland
Musical elements
Style
- Music hall/Vaudeville
- No conventional form. Rather a frenetic opening to the musical, depicting the bustling
New York street scene, with various characters making cameo appearances during the
music. Each episode introduces dierent characters.
Structure
1-12 12-28 29-46 47-52 53-74

Episode 1 Episode 2 Episode 3 Episode 4 Episode 5
Begins on Opening not Theme: Luck be a b
D major. New melodic
b
A 7 chord. as rhythmic. lady (4 bars long). Same style and material in E ,b
Sprightly melodic Interaction Syncopation built theme as previous although content is
line (above between lower over two chords. episode, but only 6 chromatic in nature.
repeated crotchets) Brass and Saxes. This lasts for 16 bars long. Use of blue
with arpeggaic Unison call in bars before the The second phrase notes in bars
Trombones and chords of C and
b
gures visiting begins, but moves 57 (F#) and 59.
various keys. harmonic response A 7 support a 2 bar on after only one Enharmonic chord
Chromatic in Saxes. quaver ourish (3rds bar of the theme. (A9) in bar 66
harmonies are a String Bass more in Violins), moving There are gives jazzy feel.
characteristic of this prominent. the music up a some rapid Series of 4 chords
semitone via pivot
b
episode. countermelodies in support downward
Woodwind and chord of A 7 upper Woodwind. chromatic scale
Percussion are (bar 46). Strong rhythmic ending in F (bar 70),
prominent. support from Kit. and repeated an 8ve
lower on CD only.
Texture
- Light opening
- Heavier with Brass
- Many layers
- Contrapuntal
- Some homophonic sections, e.g. bars 53-60
61
Tonality
- Home key: C major
b
D major bar 47
b
E major bar 65
Harmony
Chords:
- Major
- Minor
- Primary
- Root position bar 29
- First inversion (G7) bar 6
- Second inversion bar 4
- C major bar 291,2
- C minor bar 7
b
- A 7 bar 46
- F9 bar 61
- A9 bar 66
b
- Added 6th (E 6) bar 25
b
- B 9 bar 5

- Call and response, e.g. bars 123,4-19
- Vamping jazz accompaniment bars 29-61
- Sequential ostinato bass rhythm bars 21-24
- Pedal bars 1-4
- Ostinato 2 note bass pattern bars 29-45
- Suspension bar 121
- Cadences: Perfect bars 29; 47
Imperfect bar 12
- Glissandi in Brass, e.g. bars 43; 44
Instrumentation
Typical musical Pit Orchestra
Woodwind
Saxes
Brass
Kit
Percussion
String Bass
Score indications
C: split common time (2 pulse to the bar)
marc. (marcato): accented
gliss. (glissando): slide
sfz (sforzando): sudden accent
62
Points of interest
This was not Loessers favourite musical.

Each episode has its own dierent rhythmic characteristics and scoring.
Main theme featured in this opening is Luck be a lady tonight.
Richly scored, bright and exciting.
Fugue for Tinhorns
Three characters Nicely-Nicely, Benny and Rusty argue about the likely winner of a horse race.
Musical elements
Form
Canon, with each voice singing the main tune 3 times.
Structure
1-6 6-18 18-22 22-26
Intro Canon 1 Canon 2 Canon 3
D major. Nicely-Nicely Benny Rusty
Tonic/dominant bass (Voice 1) (Voice 2) (Voice 3)
line vamping pianistic with canon tune with main tune exactly with main tune
style. syncopated with repeated musically, repeated musically,
Clarinet prominent dotted rhythms. except for dierent completing rst round
(Gershwinesque). Muted Trumpet words. of canonic entries.
Chords of the 7th. accompaniment. Nicely-Nicely Benny (Voice 2) carries
Triplet Trumpet fanfare 2nd part of tune (Voice 1) carries on with on with second half of
signalling horse race less rhythmic second half of tune in tune in counterpoint
in bar 3. falling sequential 5ths. counterpoint with main with main tune.
Jazzy swing feel to Syncopated chords. tune
the music.
Texture quite light in
strict rhythmic tempo.
26-50 51-58
2 & 3rd Entries
nd
Coda/Outro
2nd entry for Voice 1 Tutti band with sfz stab
bar 263
b
chords (bar 50).
nd
2 entry for Voice 2 Voices build up B m
bar 303 triad with staggered
nd
2 entry for Voice 3 entries, then conclude
bar 343 with an unison
rd
3 entry for Voice 1 statement which breaks
bar 383 into close harmony,
rd
3 entry for Voice 2
b
before nishing on a
bar 423 sustained D major
3rd entry for Voice 3 chord.
bar 463
63
Texture
- Thin/light to begin
- Building up with each vocal entry
- Contrapuntal and dense throughout
- Homophonic at the outro bars 52-56
Tonality
- b
Home key: D major
Harmony
- Diatonic
Chords:
- Root position
b3
- Tonic: D 5 (root position) bar 8 (major 7)
- Db7 bar 1 1,2
- Eb7 bar 11 1,2
- Db6 bar 16
- Eb9 bar 53 3,4

- Canon the main tune is 12 bars in length (4+4+4)
- Anacrusis for every entry
- This is not strictly a fugue but a canon (a fugue would have the second voice coming in at
the 5th)
- Sequence bars 104-131
- Imitation bars 124-613
- Contrary motion nal band ourish bars 55-56
- As voices enter, instruments play with voices and instrumental texture thickens muted
Trumpet and Clarinet are prominent
- Percussion becomes louder from bar 45 onwards
- Cadence: Perfect bar 562
- Chromatic scale bars 9; 21 (melody and band)
- Lower auxiliary notes bar 64 (melody)
Instrumentation
Typical musical Pit Orchestra
Woodwind
Saxes
Brass
Kit
Percussion
String Bass
64
Points of interest
The Guys swap racing tips in this number and have an argument over who will win
tomorrows race.
After second canonic entry, the main tune appears every 4 bars until bar 50.
The accompaniment uses the same chord sequences throughout.
No modulation or changes in tempi.
O beat jazz rhythms throughout.
65
Bernstein: West Side Story
Introduction
Leonard Bernstein (1918-1990) made his mark on both classical and popular music as a
composer/conductor. One of the great personalities of the 20th century American music scene
equally at home with classics and jazz. His greatest musical, West Side Story, is based on
Shakespeares tragedy, Romeo and Juliet. It contains Bernsteins complete technical mastery
of form, including a fugue with a 12 note row, Latin American dance rhythms, jazz chords and
grand operatic style.
Characters
Maria and Tony ill-fated lovers
Anita and Bernardo (Sharks) Puerto Rico gang
Ri (Jets) New York gang
Tonight
(Quintet)
Musical elements
Form
Three main sections:
1) The threats and posturing of both gangs bars 1-67
2) Tony looking forward to meeting Maria tonight bars 67-98
3) Maria looking forward to meeting Tony, together with threats from Ri, Anita and the
gangs bars 98-151
Structure
1-6 6-37 37-52 52-68 68-98
Intro Ri & Bernardo Jets & Sharks Anita (Sharks) Lyrical love
Orchestra. Two themes New theme The two themes, theme (D), sung
Ostinati gures A (bar 7) and (C) in tonic A & B, now an 8ve by Tony, is in
in Violins & Bass. B (bar 15). major. higher and in an A A1 B A2 form.
uneven triplet Tonic major
rhythm. modulating to
C major.
A minor A minor A minor
98-118 118-151
Orchestral Tutti ensemble
interlude using Themes are
previous ostinati. interwoven,
Ri sings themes retaining same
A&B harmonic
in C minor. progressions in
various keys.
66
Texture
- Dense
- Multi-layered
- Instrumental and vocal
Tonality
- Home key: A minor
Tonic major bars 37; 68; 92
C major (relative major) bar 76
C minor bar 102
b
E major bar 126
F minor bar 134
Harmony
Chords:

- Diatonic
- Dissonances, e.g. bar 13 (F /F#)
- Cluster, e.g. bar 46 (dominant 13th)
- G major 5 (root position) bar 1321,2
3
- B minor 5 (root position) bar 124
b
3
- First inversion 6 bar 954 (F# minor); bar 138 (E minor)
3
- F major 6 (second inversion) bar 84
4
- Dominant 7th bar 75 (G7)
- Fm7th 4 bar 127
2

- Time signatures 4 & 2 every other bar, e.g. bars 1-14
4 4
- Time signature 3 intermittently, e.g bars 16; 19; 65; 113 until bar 117
8
- Cadences: Perfect bars 76; 92
- Augmentation bars 130-132 (sung by the Sharks)
- Countermelody (canon) in Violins, with vocal line bars 84-91
- Ostinato 3 note stepwise bass gure bars 1-15; 20-29; 53-60 and 102-111 (3rd higher)
- Two note ostinato bass gure bars 37-45
- Arpeggiac ostinato gure bars 148-151
- Instrumental quaver ostinati in Violins bars 2-12; 22-27; 53-59
- Syncopated rhythms bar 68 onwards with love theme
- Pedal bars 68-71; 118-122
- Suspensions bars 88; 95
- Enharmonic key changes bar 125 (Tony sings the 5th and 7th above the chord of B 7) b
67
- 4 note rhythmic motif (bars 12-13) tonight appears throughout in orchestra and voices,
e.g. bars 45; 55; 101; 106; 117; 121
- Another interesting and musically dramatic device is the antiphonal exchange between
the rival gangs bars 46-47
Instrumentation
Maria: Soprano
Tony: Tenor
Anita: Mezzo-Soprano
Bernardo (Sharks): Baritone
Ri (Jets): Baritone
Orchestra
Score indications
marcato: accented
marcatissimo: very well accented
molto: much
sempre: always
p sub. (subito): sudden decrease of volume
Points of interest
Anacrusis at beginning of main vocal phrases.

Theme A is in recitative style.
Both gangs (Jets & Sharks) and Anita have same rhythmic (threatening) leitmotifs.
Maria and Tony have romantic, lyrical leitmotifs.
These 5 strands are brought together in multi-dimensional texture from bars 117-151.
Fuller orchestration/texture and increase in dynamics in nal section.
Contrast between gang themes and love theme.
Emphatic unison singing of theme C at bar 38.
68
Maria
Musical elements
Structure
1-8 9-14 15-20 20-25 26-28
Intro A1 A2 B Extension
Parlando/ Vocal line melody Vocal line melody Vocal line melody Vocal line melody
recitativo style. (stepwise) (stepwise) (downward) (3 note motif )
Uses quaver doubled by doubled by doubled by doubled by
triplet gure orchestra. orchestra. orchestra. orchestra.
(main motif ). Major tonality. Minor tonality Minor tonality Can be viewed as
(bars 18-20). (bars 23-24). an extension of B.
Major tonality
(bars 18-20).
28-33 34-39 40-47 48-53

A1 A2 B Coda
Melody with Melody with Vocal line melody Repeat in upper
orchestra. orchestra. doubled by orchestra Strings of bar 10
Vocal line broken up Vocal line broken up (cf. bars 21-25), with motif.
repeated Maria motif. with Maria high extension as above. Vocal line melody
tessitura. (3 note motif ) sung
softly, parlando style.
Sustained chords in
orchestra.
Texture
- Sparse bars 1-8
- Thicker from bar 9 onwards
Tonality
b
- Home key: E major (B major recitative)
Harmony
Chords:
- Diatonic
- Dominant major 5 (root position) bars 123; 471
3
- Minor (root position) bar 431

- b
Flattened mediant (G added 6th) bar 49
- F minor 7th bar 131
- b
E major 7th bar 141
- b
B major 7th bar 173
- Dominant 6 (rst inversion) bar 112
3
69
- Cadence: Plagal (IV-I) bar 25 (F major)
- Bar 10 shows augmentation of original quaver triplet motif from bar 83,4 now heard in
crotchet triplets
- Repeated gures bars 10-11
- Ostinati syncopated rhythms in bass accompaniment of orchestra from bars 9-46
- Change from common time (bars 1-8) to split common time/2 pulse (bar 9 onwards)
- Accented appoggiatura bars 7-8 (voice, Strings & Woodwind)
- Chromatic harmonies bars 7-8
Instrumentation
Tony: Tenor
Orchestra
Score indications
Moderato con anima: Moderate speed with spirit
dolce: sweetly
rall. (rallentando) molto: much slower
Meno mosso: Less movement
a piacere: out of tempo (ad lib)
Adagio: Slow
8va: play octave higher than written
con sord. (sordini): with the mute
senza sord. (sordini): without the mute
Ossia: Alternative small notes (bars 36-39)
Points of interest
Anacrusis at beginning of all vocal phrases.

Fuller orchestration, increasingly thicker in texture, plus increase in dynamics until bar 42.
b
Modulation from key of B major to E major accomplished with common note
(enharmonic note) to both keys, namely bar 8 (D# = E ). b
Melodic lines move mainly stepwise.
Operatic tessitura lines in bars 34-39.
Wide range of dynamics in voice and orchestra.
Importance of interval of rising augmented 4th (tritone) in the rst two notes of this
theme (also known as the devils leap because of the diculty in singing this interval). It
was avoided in early ecclesiastical composition, but is widely used in atonal melodies
today.
Also, importance of the following two note rising semitone motif (resolution; cf. Jaws)
rst heard across the bar lines in voice and Strings (bars 9-11; 15-16), and nally in
orchestral Strings (bars 51-52).
Same motif heard in bass of accompaniment bars 15-17; 34-36.
70
Boublil and Schnberg: Les Miserables
Introduction
The original novel by French author, Victor Hugo, portrayed the angst suered by his
countrymen in the 1820s and 1830s. Composer Claude-Michel Schnberg and librettist
Alain Boublil collaborated to produce one of the greatest musicals of all time, which was rst
performed in Paris in 1980.
On My Own
This solo is sung by Eponine.
Musical elements
Form
AABBAA
Structure
1-2 3-10 3-10 11-18 19-26 27-34 35-38
Intro Section A Section A Section B Section A Section A Coda
D major D major b
B major F major F major F major
Texture
- Sparse at the beginning but getting thicker in section B.
Tonality
- Home key: D major
A major (dominant) bars 5-6
b
B bars 11-14
E minor (supertonic) bars 15-17
Harmony
Diatonic
Chords:
- Triadic semiquaver broken chords bars 1-11
- Major and minor root positions
- Added 7th bar 17 (Am7)
71
- b
Pedal bars 3-4 (D); 12-13 (B )
- Ostinati accompaniment bars 1-10
- Syncopated accompaniment bars 1-10 (right hand)
- Sequence bar 1 (in right hand Piano)
- Syncopation in vocal line bars 8; 10; 19; 27
Instrumentation
- Synthesised sounds/Keyboard
- Symphony Orchestra
- Percussion
- Female vocalist Eponine
Score indications
Andante: Walking pace
p (piano): quiet
mf (mezzo forte): quite loud
f (forte): loud
Z
: pause
rit. (ritardando): becoming slower
Points of interest
Anacrusis at the beginning of every vocal phrase.

Rhythms mainly quavers, dotted quavers and semibreves.
Descending chromatic bass line bars 6-8; 22-23.
Three note descending motif in introduction (bars 1-2) in the treble part of the
accompaniment.
Higher key (F major) in return of section A bars 27-34.
Fuller orchestration/texture and increase in dynamics in nal section (bars 27-34).
Arpeggio/broken chord accompaniment in section A.
Crotchet chordal accompaniment in section B.
Cadences: Perfect bars 214-221
Plagal bars 37-38
Accent shift change from 4 to 2 in bars 8 and 24.
4 4
Accent shift change from 3 to 4 in bars 9-10 and 25-26.
4 4
b
Extreme and dramatic harmonic changes (E major to E minor) bars 14-15.
72
One Day More
Musical elements
Form
Through composed
Structure
1-4 5-12 13-25 26-35
Intro Section 1 Section 2 Section 3
A major Various keys Various keys
Orchestra
Theme 1 (Valjean) Themes 2 & 3 Theme 3
(Marius, Cosette, (Enjolras, Marcellas)
Theme 2 (Marius)
Eponine)
36-40 40-43 44-53 54-68

Section 4 Section 5 Section 6 Section 7
A major A major Various keys C major
Theme 1(Valjean) Theme 5 Theme 3 Fusion of themes

& (Thnardiers) (chorus groups) (solists, ensembles,
Theme 4 (Javert) chorus)
Texture
- Sparse to begin and gradually increasing to dense by the nal section.
Tonality
- Home key: A major
b
E major bar 32
A major bar 36
C major bar 54
Harmony
Chords:
- A major 5 (root position) bar 24
3
- F minor 5 (root position) bar 27
3
- Added 6th bar 11 (right hand Piano)
- F# minor 7th bar 101
- Dominant 7th bar 233 (E)
- D major 7th bar 382
73
- C major 6 (rst inversion) bar 263
3
- G# diminished 7th bar 621

- Tonic pedal bars 51-52 (bass of the accompaniment)
- Ostinati bars 1 and 2
- Syncopated accompaniment bars 17-23
- Sequence bars 5-6; 28-321
- Sequential repetition bars 30-33
- Call and response bars 26-33 (Enjolras/Marcellas)
- Antiphonal vocal writing, e.g. bars 17-25
Instrumentation
- Synthesised sounds/Keyboard
- Symphony Orchestra
- Percussion
- Male soloists (5) Valjean, Marius, Enjolras, Marcellas, Javert
- Female soloists (2) Eponine and Cosette
- Chorus tutti + Thnardiers
Score indications
Moderato: Steady pace
pp (pianissimo): very quiet
p (piano): quiet
rall. (rallentando) molto: very slow and deliberate slowing down
a tempo: back to the previous speed
Points of interest
Rhythms mainly quavers, dotted quavers and semibreves.

Descending bass line bars 1-4; 58-61.
Cadences: Perfect bars 8-9; 65-66.
b
Enharmonic change from A chord to E major bars 34-35.
Accent shift from 4 to 5 to 2 in bars 61-64.
4 8 4
Opening two bars of introduction based on broken A6 chord. This intro semiquaver motif
appears many times in the piece, e.g. bars 10; 12; 14; 16, and modied in bars 33-36. It
reappears in bars 54-62, and nally in bars 64-68.
This opening three note motif, One day more (bars 4-5), appears throughout the song as
Valjeans leitmotif (bars 12; 35-36; 39-40; 63-65) sometimes modied. This is the nal tutti
motif of the song.
The vocal lines are always in the orchestral accompaniment.
The seven characters have their own leitmotifs, e.g. Thnardiers bar 40.
Vocal interaction between the characters. The themes are interwoven from various solos,
e.g. I dreamed a dream.
The nal section is multi dimensional, following the operatic traditions with strong ensemble
singing based on the primary triads.
Final section is in the higher key of attened mediant, C major, and produces a dramatic nale
with all themes interwoven skilfully.
74
Mervyn Burtch: Three Welsh Folk Songs
Introduction
A product of the South Wales valleys who has become famous for his chamber music, brass band
compositions and operas for schools. Mervyn Burtch was born in Ystrad Mynach and belongs
to the Welsh School of composers that includes Dilys Elwyn-Edwards, Alun Hoddinott, William
Mathias, David Wynne and Grace Williams.
These arrangements of Welsh folk songs were commissioned for the National Youth Choir of
Wales and rst performed in 1994. Mervyn Burtch has his own unique brand of writing and
always retains a tonal basis. The main inuences on his composing are Janacek and Bartok.
Cysga di, fy mhlentyn tlws
Musical elements
Form
Strophic re-melodic content
Structure
Melody: 4+4+2
1-5 6-15 16-19 20-29 30-33

Introduction Verse 1 Bridge passage Verse 2 Coda
Based on bars 6 Altos with Male voices with Altos with melody. Based on
and 8 (melody) melody. motif (rocking Male voices descending
with staggered Harmonic the cradle). continue style 5 note scalic
entries of SAT. support from of bridge motif in SAB.
other parts. passage.
Soprano descant.
Texture
- Fairly light
- Homophonic
Tonality
- Aeolian F#
Harmony
Chords:
- Diatonic
- Mainly based on two chords (F# and C#)
- Modal cf. Bartok Hungarian Folk Songs
75
3
- Dominant chord 5 (root position) bar 11
3
3

- Cadence: Plagal/Amen bar 33
- Intro based on bars 6 & 8 (melody)
- Imitation between opening 3 note motif of Alto melody (bar 6) and Tenor and Bass
accompaniment (bar 8)
- Augmentation of same 3 note melodic motif (Alto bar 10) in Tenor (bars 12-13)
- Suspension: 7-6 bar 51 (Soprano/Alto)
- Harmony in 3rds and 6ths
- Much stepwise movement in accompaniment
- Rhythm of melody is constant
Instrumentation
SATB
Score indications
SATB: Soprano, Alto, Tenor, Bass
Lento: Very slow
poco rit: slight slowing down
a tempo: back to original tempo
niente: fade away to silence
Points of interest
Aeolian mode.
Many Welsh folk tunes are very old and modal.
This melody only spans an octave.
No words for Sopranos at all, only humming contrapuntal line (descant).
Small gure 8 beneath treble clef in Tenor line indicates part to be sung an octave lower
than written.
Altos have melody for both verses.
Balanced melodic phrases.
Minimal harmonic progressions.
A cappella (unaccompanied singing).
Change of time signature from 6 to 9 in bar 5.
8 8
ths
Open 5 in Tenor and Bass accompaniment bars 10; 11; 12
Compound time throughout.
Grace Williams used this lullaby in her Fantasia on Welsh Folk Tunes for orchestra.
76
Wrth fynd efo Deio i Dywyn
Musical elements
Form
- Ternary melody
- Strophic 6 verse content
Structure
Melody: _____ A _____ _____ A _____ _____ B _____ _____ A _____
4 4 4 4
1-6 7-22 23-25 26-41 42-45 46-61

Intro Verse 1 Bridge Verse 2 Bridge Verse 3
SATB Alto & Tenor & Soprano Soprano & Alto, Tenor,
Soprano Bass Tenor then Soprano
61-76 77-80 81-96 96-99 100-115 116-118

Verse 4 Bridge Verse 5 Bridge Verse 6 Coda
Soprano Soprano, Alto Soprano & Tenor & Tenor & SATB
& Bass Alto Bass Soprano
Texture
- Contrapuntal
- Homophonic
Tonality
- Modal
- Dorian G
Harmony
Chords:
- Diatonic
3
3
- Tonic chord 6 (second inversion) bars 61; 63-65; 67-68
4

- Imitation (semiquaver) between Alto and Tenor bars 9; 21
- Cadences: Perfect (in tonic) bars 10; 14; 118
Imperfect bar 111
- Tonic pedal bars 15-18 (Bass)
77
- Dominant pedal bars 54-58 (Tenor); bars 69-73
- Descending Soprano & Tenor sequence bars 42-45
- Sequence bars 101-102 (Bass)
- Lower auxiliary notes in a-la-la, e.g. bars 87; 91
Instrumentation
SATB
Score indications
Allegretto: Quite quick
Andante: Walking pace
poco accel. (accelerando): a little quicker
Presto: Very fast
meno mosso: less movement
Points of interest
This popular folk song describes two people on a happy journey to Tywyn via Dolgellau
and Abergynolwyn (Lake Tal-y-Llyn).
It is light hearted, repetitive in nature and interspersed with plenty of traditional a-la-las!
Note the F#s and C#s which are used as melodic decorations only in the a-la-las and in
the strong perfect cadences.
Strong inuence of Dorian mode in opening 2 bars of melody, e.g. bars 81-82
Melodic focus shared between parts in all verses except verse 4.
Bass not given any real melodic focus, but provide essential supporting harmonic and
rhythmic role.
Time signature simple: 2
4
Changing time signature in bridge passages, e.g. bar 44 3; bar 77 5; bar 78 8
8 8 8
Change from crotchet beat (simple) to dotted crotchet beat (compound) occurs mostly in
verse 5 (bars 81-96).
Rhythmic change of melody in bar 90.
Harmony in 3rds and 6ths.
Countermelody in Soprano bars 46-53.
Stretto (compacted) eect at bar 61 where end of verse 3 and beginning of verse 4 overlap
no bridge here.
All other verses have short bridge (interlude) between them, except verses 3-4.
Imitative dialogue between Soprano and Tenor at one bar interval (a tone lower) in verse 4
bars 61-68.
Homophonic writing bars 73-74; 108-109.
Extensive use made of semiquaver melodic motif (bar 9) in verse 5, e.g. bars 83-84 in SAT.
Dotted rhythm rst heard in bar 5 now appears in bridge (bars 77-78) to verse 5. Same
dotted rhythm also appears intermittently in Bass part bars 88-97.
A cappella: unaccompanied singing.
78
Dilys Elwyn-Edwards: Caneuon y Tri Aderyn
Introduction
Commissioned in 1961 by BBC Wales, these two songs belong to a 3 song cycle by the doyen of
contemporary Welsh composers, Dilys Elwyn-Edwards (1918-). The common thread is birds, and
the choice of poetry by R. Williams Parry reects her love of nature and its mystical themes.
Y Gylnir (The Curlew)
Musical elements
Form
Through composed
Structure
1-9 9-37 38-63 64-73
Introduction Verse 1 Verse 2 Coda
Piano Voice and Piano Voice and Piano Piano
Texture
- Light
- Contrapuntal accompaniment
Tonality
b
- Mixolydian F with attened leading note E , e.g. bars 1-28
b
- Mixolydian C with attened leading note B , e.g. bars 53-57
Harmony
Chords:
- Diatonic triadic broken chords
- Major 11th bar 56 (right hand accompaniment)
b
- Opening left hand ostinato based on two chords F and E (second inversion) bars 1-16
- Ostinato returns in right hand, based on two chords of the 7th and the 9th bars 38-42
- Cm7th bars 6263

- Anacrusis bars 9; 38
- Ostinati bars 1-15 (left hand); 38-42 (right hand)
- Recurring right hand piano motif bars 3-5; 13-15; 36-37
- Alberti accompaniment/repeated broken chords
Instrumentation
- Female vocalist
- Piano
79
Score indications
Allegretto: Fairly lively
sempre leggiero: always light touch
Ped. sim. (simile): sustaining pedal
cantabile: give prominence to the melody
poco rit. (ritardando): slow down a little
poco pi mosso: move the tempo on a little
dim. (diminuendo): getting softer
cresc. (crescendo): getting louder
Points of interest
Clear, warm vocal lines, often moving stepwise.

Use of sustaining pedal for colour and atmosphere, e.g. bars 25-28; bars 68-73.
Voice in 3 (simple triple), but 6 (compound duple) feel to the accompaniment.
4 8
Change from 3 to 4 in bars 26; 34; 50; 57; 60-61, with Piano (tacet partly) and voice in
4 4
accented crotchets.
b
The nal note of the voice is E (bars 62-63), which is the third note of a modal Cm7 chord
and a variation on the opening harmonies of the song.
First two vocal lines (bars 9-19) repeated with subtle changes in bars 19-38.
Change in left hand Piano part rhythm and style (bars 38-57). This part now has
3 pizzicato quaver style, whilst the right hand has 6 ostinato.
4 8
Both hands use treble clef, except for bass clef left hand accompaniment in bars 27-34 and
44-60, which provides contrast in colour and a wider spectrum of sound.
Cry of the curlew heard in opening bars of left hand Piano ostinato.
Piano paints the imagery with voice oating above.
Vocal line moves mainly in crotchets and minims whilst momentum is maintained with
quaver movement of Piano accompaniment.
Vocal line quite independent of Piano accompaniment.
Piano introduction (bars 1-8) is balanced by the return of the same motifs in the coda (bars
64-73).
Dilys Elwyn-Edwards was a Piano tutor at Bangor University and inuenced by Peter
Warlock, Delius and Vaughan Williams. She studied with Herbert Howells at the Royal
Academy.
The poetry is by R. Williams Parry from his collection, Cerddir Haf.
Further information
www.wmic.org
80
Mae Hiraeth yn y Mr (There is Longing in the Sea)
Musical elements
Form
Through composed
Structure
1-24 24-27 27-45

Lines 1-8 of the sonnet Instrumental bridge Lines 9-14 of the sonnet
F minor F major Dierent rhythms
Texture
- Moderately dense in the right hand of Piano
- Chordal/triadic texture of repeating quavers
Tonality
b
- Home key: A major
F minor (relative minor) bars 22-26
F major (submediant major) bars 27-30
Harmony
Chords:
- Mixture of triadic and 7th/ 9th chords with some close voicings

- Anacrusis at beginning of phrases, e.g. bars 1-4; 4-8
- Pedal (tonic) in vocal line bars 40-45
- Pedal in accompaniment, e.g. bars 35-39
- Ostinato rhythmic gures, e.g. bars 3-8, with changing harmonies
- Augmentation of 3 note left hand motif (bar 24) in bars 26-27, an 8ve lower and in
accented crotchets instead of quavers
- This 3 note motif also occurs several times in the vocal writing, e.g. bars 21-22 (Ac yn y
galon); 34-35 (Or gerddi agos)
- Repetition of vocal line in right hand accompaniment, e.g. bar 11 (amaur tn), echoed in
bars 12-13, and bar 22 (atgof, atgof gynt), repeated in bar 23
Instrumentation
- Female vocalist
- Piano
81
Score indications
Regular common time
Moderato: Steady pace
molto sostenuto: very sustained
colla voce: give way to soloist rubato
legato: smoothly
poco accel. (accelerando): slightly quicker
Points of interest
Mood of longing and enchantment.

The poem metre is a sonnet (14 lines, 10 syllables per line).
Vocal line independent of Piano accompaniment.
2 melodic ideas bars 1-4 and bars 8-10.
Opening vocal motif used frequently to open new lines in the song, e.g. bars 1-2; 5-6;
13-14; 27-28.
Haunting nal accompaniment (bars 40-47), with attened harmonies in bars 41-43,
descending into silence.
Constant use of sustaining pedal for colour and atmosphere.
Note repetitive chordal quavers throughout in right hand accompaniment, except bar 26
and nal 2 bars.
Sparse left hand accompaniment with wide leaps and many rests, sometimes supporting
the harmonies, e.g. bars 32-38.
Absence of left hand gures in bars 40-47.
Rhythmic change in bar 27 corresponds to new metric rhythm of second part of sonnet.
Quaver movement of vocal line occurs mainly in second half of the bar, e.g. bars 8-11;
19-22; 29-33; 35-37.
Vocal phrases mainly 3 bars in length.
b b
Vocal range interval of 11th (E -A ).
Opening repeated tonic triad in bar 1 repeated in bars 44-45.
Further information
www.wmic.org
82
Caryl Parry Jones
(Songs from Goreuon Caryl, Gwasg Carreg Gwalch, Llanrwst
17 transcriptions of her popular songs by Geraint Cynan)
Pan ddaw yfory
Introduction
This song was commissioned by BBC Radio Cymru, when road shows were held to promote
the station. New pop groups were mushrooming all over Wales and amongst them was Bando,
fronted by Caryl Parry Jones (bando: a game similar to hockey).
The two voices sing of an affair that should end Pan ddaw yfory rhaid dweud ffarwel (When
tomorrow comes we must bid farewell). Caryl herself has spoken of the happy ending to this true
episode in her life!
Musical elements
Form
Verse and Chorus
Structure
1-4 5-12 13-20 20-28 29-36 36-44 45-60 61-68 68-76 77-93
Intro Verse Verse Chorus Verse Chorus Guitar Verse Chorus Guitar
1 2 3 Solo 4 Solo
Texture
- Thin: Keyboard and Bass Guitar bars 1-36
- Thick: addition of Synthesizer, Drum Kit, Guitar bars 36-44
- Guitar solo given mixed vocals backing bars 45-61
- Thin: Keyboard and Bass Guitar bars 61-68
- Thick: Drum Kit fills prominent bars 68-93
Tonality
- Home key: E minor
- Modal, e.g. bar 11 modal cadence with flattened leading note (D)
- Other modal cadences in bars 3-4; 19-20
Harmony
Chords:
- Some major root position chords bar 111 (C); bar 104 (B)
- Mainly minor 7th and 9th chords, e.g. bar 54 (Em7); bar 274 (Am7); bar 241 (Em9);
bar 321 (Am9)
83
Caryl Parry Jones
- Repetition of single melodic idea in introduction bars 1-4
- Syncopation in vocal lines bar 273
- Unison singing in Chorus and Verse 4
- Suspensions and resolutions in accompaniment, e.g. bar 31 (9-8); bar 34 (4-3)
- Dotted rhythm bass ostinato/ri bars 5-12
- Cadences: Perfect bars 194-20
Imperfect bars 27328
Instrumentation
- Mezzo Soprano & Baritone
- Backing male and female vocals
- Lead Guitar
- Bass Guitar
- Keyboard
- Synthesizer
- Drum Kit
Score indications
Gydag angerdd: With passion and conviction
Pennill: Verse
Cytgan: Chorus
Unawd Gitar (ad lib): improvised Guitar solo
Rall. (rallentando): Slow down
Points of interest
Intro motif taken from bars 11-12.

Music does not start on tonic chord, but on C major chord (submediant of home key).
Mixture of crotchets and rocking quaver motif in right hand keyboard bars 5; 7; 9.
Modal cadences, e.g. bars 3-4; 11-12; 19-20.
Harmonised female voices sing variation of bars 75-76 in nal cadence.
Stepwise, economic melodic line.
Song constructed of 2 bar phrases.
Word-setting and mood (see translation).
Instrumental band backing.
Improvised/ad lib Guitar solo.
Further information
www.bbc.co.uk/wales/music/sites/history
www.carreg-gwalch.co.uk Goreuon Caryl
www.sainwales.com Cyngerdd y Mileniwm CD (Tr. 5, 6)
84
Caryl Parry Jones
Free translation of lyrics
Verse 1: Being with you last night

was a timeless experience.
Being together was everything
in our quest for love.
Verse 2: Tonight, please embrace me

before the curtain of reality descends.
We can only hope that tonight
will never end.
Chorus: But part we must when morrow breaks

and reality will return,
taking us back to our past.
God alone knows which one of us
was the most foolish.
Verse 3: I know that merely touching you

was a great mistake.
We both knew from the outset
that our love could never be.
Verse 4: Tonight is our nal farewell,

Sadly the dawn will soon break.
Give me all your warmth and tenderness
before tomorrows cold light of day.
Y Nos yng Nghaer Arianrhod
Introduction
This is reputedly Caryls favourite song. The title comes from one of the tales of the Mabinogi
Math son of Mathonwy. Caer Arianrhod is literally the citadel home of Arianrhod one of the
characters in this magical tale, which apparently was situated near the Sain recording studios at
Dinas Dinlle in Caernarfon.
The words describe the energy-sapping process of an all-night recording session in the early
1980s (pre-digital) with Caryls group, Bando. This song was never performed live.
Musical elements
Form
Verse and Chorus
85
Caryl Parry Jones
Structure
1-2 3-10 11-18 19-27 28-35 36-44 45-52 53-61
Intro Chorus Verse Chorus Verse Chorus Middle Chorus
1 2 8
Texture
- Thick: harmonised backing vocals bars 1-2 (Intro)
- Thin: mainly two dimensional (soloists and Guitar) bars 3-6
- Thicker from Middle 8 to the end, with vocal backing harmonies
Tonality
- Home key: C major
- Mostly major
- Brief minor visitations
D minor (briey) bars 12-13
G major (dominant) bars 17-18
Harmony
Chords:
- Chromatic, e.g. bar 33
- Use of attened 5th, 7th and 9th
- Major 7th, 9th, 11th and 13th

- Anacrusis (Verse and Chorus, except Middle 8)
- Accented passing notes bars 4; 14
- Sequential phrases bars 11-12 and 13-14
- Upper and lower auxiliary notes bars 17; 21
- Symmetrical phrases (Chorus 4+4)
- b
Final radical cadence VI(A )I(C)
Instrumentation
- Female vocalist Mezzo Soprano
- 4 accompanying vocal parts SATB
(Caryl Parry Jones, Myfyr Isaac, Endaf Emlyn and Rhys Dyrfal)
Score indications
Yn dyner a breuddwydiol: Sensitive and dreamy
Pennill: Verse
Cytgan: Chorus
rit. (ritardando): slow down
86
Caryl Parry Jones
Points of interest
Decorated cadential motif bar 35

b
Flattened mediant/blue note bar 35 in the vocal line (E ). A feature of blues/pop style.
Close harmony backing progressions bar 16
Music does not start on tonic chord, but on A minor chord (submediant of home key).
Chromatic harmonies bars 1-2
Melodic part includes many tied notes, typical of the style.
Stepwise, compact melodic line bars 28-30
Cluster chords bar 56 (Dm11)
Chromatic descending bass line bars 28-29
Acoustic Guitar accompaniment.
Mood is sensitive.
Further information
www.bbc.co.uk/wales/music/sites/history
www.carreg-gwalch.co.uk Goreuon Caryl
www.sainwales.com Cyngerdd y Mileniwm CD (Tr. 5, 6)
Free translation of lyrics
Chorus: The night in Arianrhods home

heralds the beginning of our day a hard days night.
The night in Arianrhods home however
doesnt seem so long when Im with you.
Verse 1: The tape has spooled its nal turn;

a muted recording desk, a closed door.
The singings over, the song is done,
our creativity is spent.
Verse 2: Dawns arrival signals our days end,

The ngers are sore the voices are hoarse.
The creative muse, long since departed
bequeathes only bowed bodies and bloodshot eyes.
Middle 8: Sometimes our spirits are down,

Sometimes the stress overwhelms us,
But soon the sun appears again
and the good times return.
87
Caryl Parry Jones
The Beatles
Introduction
The fab four (1959-1970), from Liverpool, changed the face of popular music for ever.
Beatlemania took Britain and America by storm. John Lennon, Paul McCartney, George Harrison
and Ringo Starr became household names overnight. The group were responsible for the shift
in emphasis from soloists to ensembles. They possessed a melodic and harmonic sophistication
unsurpassed by any other group in the history of pop music. The combined creative genius of
Lennon and McCartney gave us many classics, including Yesterday and Hey Jude.
Yesterday
Musical elements
Form
Binary
Structure
1-2 3-9 3-9 10-17
Intro A A B
Tonic chord Following the famous Melody repeated, but New balanced melodic
on acoustic Spanish rst bar motif, there string quartet adds new phrase (4 bars).
Guitar (no plectrum). is an ascending layer with sustained First two bars are
stepwise lyrical 7 bar backing chords. repeated but end of
melody (3+2+2) sung phrase is dierent.
by solo male voice.
Accompaniment is
b
Guitar.
B - G chord progression
is reminiscent of other
Beatles songs (more
often in reverse order).
18-24 10-17 18-24 25-26

A B A Coda/Outro
Repeat with some Strings again continue, String parts have new Vocal humming
slight changes in but subtle string arrangements, e.g. reprising last two bars
orchestration. changes from rst Violin 1 soars above the of A section (bars 8-9)
B playing. rest. but changed rhythm
Cello line very and chords (F instead
b
prominent in of Dm).
bar 13 (E ).
Texture
- Thin at beginning
- String layer added, giving thicker texture
- Homophonic texture throughout
88
The Beatles
Tonality
- Home key: F major
D minor (relative minor briey) bars 4-5
Harmony
- Tonal
- Diatonic
- Major
- Minor
Chords:
b
- B major 5
3
(root position) bar 61,2
- G major 6 (rst inversion) bar 253,4
3
- F major 6 (second inversion) bar 251,2
4
- A7 bar 43,4 (dominant of D minor)
- Dm7th bar 231
- Gm6 (added 6th) bar 121
- C7th (dominant 7th) bar 63,4

- Cadences: Plagal/Amen bars 9; 26
Perfect bars 63,4 -71,2 ; 16-17
- Appoggiatura motifs in section A at beginning of the bar, e.g. bars 3, 5 and 7
- Inverted pedal bar 14 (left hand Piano: G) and bar 19 (right hand Piano: E)
- Syncopation bars 8 and 9 (bars 22-24)
- Contrary motion between vocal line and Cello bar 15
- Bow/arch shaped melodies
- Stepwise descending bass lines, e.g. bars 11-12
- Sustained chords with string quartet very restrained scoring
b
- The E bass note in bar 13 could be a passing reference to the blues.
Instrumentation
Spanish Guitar
String quartet
Solo male voice
Points of interest
The most covered pop song in history.

Lead vocal: Paul McCartney.
Recorded in Abbey Road Studios in 1965.
Belongs to the LP Help.
Unusual in mid 1960s to have solo strings backing normally big band or orchestra.
Beatles were the rst pop group to use a hybrid classic & pop mix of styles, i.e. crossover.
Music arranged by George Martin.
89
The Beatles
First Beatles number to use other performers apart from the fab four.
Slow contemplative ballad style.
Written by Lennon-McCartney, but more Paul than John!
Classical tonality compared with their blues numbers.
Beatles inuenced by Elvis, Buddy Holly and Little Richard.
They liked to build up their songs in layers (texture).
Use of varied harmonic language.
Pauls voice is mostly single tracked, except for one place (double tracked on high notes).
Hey Jude
Musical elements
Form
Binary (two main contrasting themes)
Structure
1-8 9-16 17-21 22-28

A A B B
Plaintive melody, again Repeat, but with added New melodic statement Repeat, but with added
in a bow/arch shape, Rhythm Guitar and with more accented Codetta scat style.
gradually moving obeat Tambourine. quaver beat on snare Singing and chord of C7
upwards. Harmonised backing and cymbal. leading to restatement
Piano and vocal solo. vocals added Backing harmonised of section A.
bars 13-16. vocals mainly in
Drum Kit ourish in bar descending 3rds.
16 leading to section B. Bass Guitar plays
crotchet pulse.
9-16 17-21 22-29 1-6 30-36

A B B A Coda/Outro
Return with Repeat, but Repeat of previous Final statement of 2 octave
dierent words. dierent words. section again, melody (bars 1-6) appoggiatura
Rhythm Guitar, With stronger leading to partial before moving to arpeggio
Bass Guitar, backing vocals restatement of the Coda. bars 31-32.
Percussion and and band section A. Scat jam session
backing singers accompaniment. using three chords
still present, b b
F, B and E .
mainly in 3rds. Thickening
textures with
added orchestral
instruments.
Texture
- Sparse to begin, but gradually getting thicker (trademark of many Beatles songs).
90
The Beatles
Tonality
- Home key: F major
b
B major (subdominant) bars 18; 23
Harmony
- Tonal
- Diatonic
- Major
- Minor
Chords:
- Basic primary triads I, IV, V (root position)
- Gm7th (minor ii 7th)
- Flattened leading note chord bar 34
- C7 (dominant 7th) bar 15
b
- B major 5 (root position), e.g. bar 51,2
3
- C major 6 (rst inversion) bar 201
3

- Anacrusis in all A sections
- Mainly one chord per bar throughout song
- All chords in section A are in root position
- Bass line of section A keeps to the root of the chord
- Walking descending bass line in section B bars 23-251
- Oscillating/rocking quaver right hand chordal Piano style in section A
- Syncopation bars 5; 25
- Progressive layering techniques thickening the texture
- Variations in scoring when repeating
- Obeat Percussion scoring (Tambourine in repeat of A bar 9)
- Common time 4, except for return to A sections (bar 29) which are in 2 time.
4 4
- Cadences: Plagal/Amen bars 35-36
Perfect bars 74-8; 15-16
b
- E chord in bar 34 gives modal touch to outro (mixolydian)
b
- Clever dissonance in bar 34 interval of 9th (E F)
Instrumentation
Piano
Acoustic Rhythm Guitar
Bass Guitar
Drum Kit
Tambourine
Backing Vocals
* Many instruments, including Bass Clarinet and Double Bassoon, in jamming session!
91
The Beatles
Points of interest
Although the ocial song lasts for 7 minutes, the creative process is ended at 3 minutes
and 35 seconds, then bars 33-36 are repeated in a jam session style 19 times!
The jam session is longer than the song itself!
Scat singing in the nal 4 bars bars 33-36.
Written by Paul McCartney alone and recorded in 1968.
Composed for John Lennons son, Julian (aged 6), when the divorce between John and
Cynthia Lennon was imminent.
Originally called Hey Jules (Julian) but Jude was easier to sing.
Triple tracking on bars 31-33 ascending scale passage.
Section A is 8 bars in length but section B is unusual 11 bars long. Bar 17 could be
considered as a linking bar between both sections.
92
The Beatles

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Structure (Rit = ritornello; Con = concertino)

1-8 9-10 11-12 13-14 15-16 17-18 19-20 21-22

Rit Con Rit Con Rit Con Rit Con

23-28 29-30 31-39 40-59 60-67 68-83 84-93 94-118

Examples of composition techniques and devices

Scintillating and brilliant counterpoint.

Exposition Development Recapitulation Coda

Cadenza (bars 299-335)

Examples of composition techniques and devices

EXPOSITION DEVELOPMENT RECAPITULATION

Transition Codetta Transition Codetta

CONCERTO FOR THE VIOLIN AND ORCHESTRA E MINOR Opus 64

Mendelssohn: Violin Concerto, 1st Movement

1-30 31-62 63-121

Examples of composition techniques and devices

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

1-15 16-32 33-51 52-70

71-77 78-89 91-97 98-105

Choir with opening No Soprano soloist Quartet of soloists Choral Coda.

Examples of composition techniques and devices

Quoniam tu solus, solus sanctus. (For Thou alone art holy.)

1-15 17-22 22-61 62-77 77-82

D major D major D major D major D major

Examples of composition techniques and devices

Fugue: A contrapuntal composition based on a melody/subject/voice, heard in Bass, Tenor,

Rococo/orid style evident in Haydns orchestral and choral writing.

Credo in unum Deum Patrem omnipotentum, factorem coeli et terrae.

Examples of composition techniques and devices

5. Am Feierabend (After Work)

The poets name was Wilhelm Mller.

A (bars 8-24; 61-85)

6. Der Neugierige (The Questioner)

Examples of composition techniques and devices

The poets name was Wilhelm Mller.

1-8 9-18 19-26/27

Examples of composition techniques and devices

The poets name was Wilhelm Mller.

1-4 5-8 9-16 17-22

Examples of composition techniques and devices

Figured Bass/Continuo: a type of musical shorthand or playing by numbers popular with

5 root position of the chord (not always written)

6 rst inversion of the chord

6 second inversion of the chord

# sharpen the third note of the chord

7 chord of the 7th

6 rst inversion of the chord of the 7th

Quite a restricted melodic range for each part.

Examples of composition techniques and devices

Examples of composition techniques and devices

Examples of composition techniques and devices

Most Baroque orchestral suites end with a Gigue (cf. J. S. Bach).

Examples of composition techniques and devices

Allegro con brio: Fast with vigour

Subject 1 theme consists of short arpeggi phrases.

Form of the 3rd Movement Theme and Variations

1-14 15-28 29-42 43-56 57-70 71-97 98-153

Theme (bars 1-14)

Bars Bars Bars Bars

Examples of composition techniques and devices

Anacrusis at beginning of musical phrases.

Examples of composition techniques and devices

Variation 2 (bars 29-42)