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GCSE Music Edexcel - 24th May 2013 (Official Thread)

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Great answer!

There is the use of the basso continuo, which was a common feature of the Baroque era: this includes the organ, cello and double bass in this piece. They play mainly straight crotchets which drive the piece forward.

There are also violins and a viola, which provide chordal accompaniment but at other times double up on the melody lines.

There is an orchestral introduction at the beginning (called a ritornello), where the instruments play motifs 1 and 2.

The piece is written for a large choir SATB (sopranos, altos, tenors and basses).

List 4 key features of the Baroque era.
Original post by cannonball.
Great answer!

There is the use of the basso continuo, which was a common feature of the Baroque era: this includes the organ, cello and double bass in this piece. They play mainly straight crotchets which drive the piece forward.

There are also violins and a viola, which provide chordal accompaniment but at other times double up on the melody lines.

There is an orchestral introduction at the beginning (called a ritornello), where the instruments play motifs 1 and 2.

The piece is written for a large choir SATB (sopranos, altos, tenors and basses).

List 4 key features of the Baroque era.


Nice answer :smile: However, I don't think we know if it's a cello or a double bass that's playing the continuo... I'd put down just one of them if I were you :tongue:

Okay well:

Terraced dynamics- the changes were sudden and contrasted a lot

The orchestra was smaller- mainly made up of strings

Music was mostly diatonic

Many pieces were accompanied by a continuo- the continuo usually made up of a keyboard instrument (organ/harpichord) and a cello, double bass or a bassoon.



I like to put down an extra point just in case one of them isn't right, but I just can't seem to remember anything else :frown:

Let's move onto Mozart :biggrin:
Describe the structure of the 1st Movement of Symphony no.40 in G Minor
On the mark scheme I remember they accepted any 2 from: organ, cello, double bass - when the question asked what instruments were in the continuo.

good answer

Sonata form: exposition, development, recapitulation
Exposition: 1st subject (g minor), bridge section that modulates and then 2nd subject in Bb major; short codetta.
Then repeat of the exposition section
Development section
Recapitulation: like exposition but 2nd subject also in g minor, some other small variations
Coda

How does Mozart use texture in this piece?
Original post by cannonball.
On the mark scheme I remember they accepted any 2 from: organ, cello, double bass - when the question asked what instruments were in the continuo.

good answer

Sonata form: exposition, development, recapitulation
Exposition: 1st subject (g minor), bridge section that modulates and then 2nd subject in Bb major; short codetta.
Then repeat of the exposition section
Development section
Recapitulation: like exposition but 2nd subject also in g minor, some other small variations
Coda

How does Mozart use texture in this piece?


I think it's just the cello and the harpsichord, but because it's a listening exam, people might find it hard to differentiate between a cello and a double bass which is why they accept both answers. People often get carried away by the mark schemes :tongue: just remember that just because they're *possible answers*, it doesn't mean that they're all the answers.

Yep yep, all points checked! :biggrin:

The texture is mostly homophonic (chordal) but is sometimes contrapuntal in the development section. Octave doubling is used and the melody is shared between the woodwind and violins for the 2nd subject.

Here's one I usually find tricky-
Describe the dynamics throughout Symphony no.40 in G minor.




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Yes you have a good point :smile:
Bear in mind that the continuo in Baroque may be a harpsichord or organ, but in this specific piece there is organ and no harpsichord.

Yep that's pretty much it for texture!

Dynamics is a weird one, but here it goes:

The first subject and second subject both begin piano.
There are crescendos and diminuendos throughout the piece, and a wide range of dynamics reaching up to ff.
There are sforzandos used.
The piece ends loudly :/ lol

What tals and used in each of the 3 versions of rag desh and explain their beat distributions.
Original post by cannonball.
Yes you have a good point :smile:
Bear in mind that the continuo in Baroque may be a harpsichord or organ, but in this specific piece there is organ and no harpsichord.

Yep that's pretty much it for texture!

Dynamics is a weird one, but here it goes:

The first subject and second subject both begin piano.
There are crescendos and diminuendos throughout the piece, and a wide range of dynamics reaching up to ff.
There are sforzandos used.
The piece ends loudly :/ lol

What tals and used in each of the 3 versions of rag desh and explain their beat distributions.


Sorry! I meant organ, not sure why I wrote down harpsichord for Handel :frown:

Ah, I needed help for this.
Jhaptal tal, a 10 beat cycle (2+3+2+3) is used in the Anoushka Shankar version, but the Gat 2 uses the common tintal, 16 beat cycle (4+4+4+4).

Keherwal tal (8 beat cycle) is used in the Tanwar piece.

In the Gorn and Wertheimer piece, the Rupak tal is used- 7 beat cycle (3+2+2).
The Gat 2 is based on the Ektal tal, a 12 beat cycle (2+2+2+2+2+2).

The tabla plays the tal. :smile:

Going back to Handel because I realised I missed out an important question :tongue: Describe the tempo/metre/rhythm in the Handel.


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(edited 10 years ago)
Tempo: Allegro (fast), but short Adagio (slow) section at the end.
Metre: 3/4 - dance like metre
Rhythm: use of hemiolas (rhythmic device where the music sounds like it is in 2/4 against the otherwise 3/4 metre, and drives the piece forward), straight crotchet rhythms in continuo drive music forward; dotted rhythms in motif 1 and 2; feeling of one in a bar

Describe the structure of the Schoenberg!
Original post by cannonball.
Tempo: Allegro (fast), but short Adagio (slow) section at the end.
Metre: 3/4 - dance like metre
Rhythm: use of hemiolas (rhythmic device where the music sounds like it is in 2/4 against the otherwise 3/4 metre, and drives the piece forward), straight crotchet rhythms in continuo drive music forward; dotted rhythms in motif 1 and 2; feeling of one in a bar

Describe the structure of the Schoenberg!


Nice answer :biggrin:

Ahhhhhh, lets see!
Peripetie has an unconventional structure. For example, Schoenberg uses short, fragmented melodies in this piece. It is also a free rondo.

Describe how Bernstein creates a feeling of foreboding in Something's Coming :biggrin:


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Did this thread die? :'( well, bumppppp!
Original post by Meliss
Nice answer :biggrin:

Ahhhhhh, lets see!
Peripetie has an unconventional structure. For example, Schoenberg uses short, fragmented melodies in this piece. It is also a free rondo.

Describe how Bernstein creates a feeling of foreboding in Something's Coming :biggrin:


Posted from TSR Mobile


Good answer. :smile: Think the use of dynamics is important here too actually, despite it not being explictly linked to structure. Extreme dynamic contrasts throughout the free rondo emphasises the unconventinal structure.

- long, sustained notes in the opening section
- tritone used to create suspense and apprehension
- push-rhythm used in the B section to symbolise the anticipation
- syncopation used as it is slightly before the on-beat: makes it sound like something is about to happen!
- ends with a leaning 7th

Describe the use of effects and technology throughout Why does my heart feel so bad?
(edited 10 years ago)
Reply 90
Anyone have any tips on how to revise for this, and how to get it all to actually go in and stay there?! I'm having a hard time remembering everything, there's just so much to learn :frown: And as favourite pieces go, mine is Moby :smile:
Reply 91
Original post by ABC05
Anyone have any tips on how to revise for this, and how to get it all to actually go in and stay there?! I'm having a hard time remembering everything, there's just so much to learn :frown: And as favourite pieces go, mine is Moby :smile:


omg same :frown: I actually don't know anything, and my coursework isn't really up to scratch so I actually have to get like an A* in this exam, to even achieve an A overall :unimpressed:
Original post by TelephoneBox
Good answer. :smile: Think the use of dynamics is important here too actually, despite it not being explictly linked to structure. Extreme dynamic contrasts throughout the free rondo emphasises the unconventinal structure.

- long, sustained notes in the opening section
- tritone used to create suspense and apprehension
- push-rhythm used in the B section to symbolise the anticipation
- syncopation used as it is slightly before the on-beat: makes it sound like something is about to happen!
- ends with a leaning 7th

Describe the use of effects and technology throughout Why does my heart feel so bad?


Great answer! Didnt know syncopation was a separate point from the push rhythms though! :redface:

Ugggghhhh Moby, hate this one :tongue: worst two are Moby and All Blues! :frown: was waiting for someone else to answer this one so I wouldn't have to but ahh well >.<
Lets see, the use of EQ, Reverb, Delay and Panning are all present in the song. They are used on the samples...
Erm, yeah. Wanna help me with this particular one? :biggrin:

Name the instruments and their uses in Electric Counterpojnt. ^^


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(edited 10 years ago)
Original post by ABC05
Anyone have any tips on how to revise for this, and how to get it all to actually go in and stay there?! I'm having a hard time remembering everything, there's just so much to learn :frown: And as favourite pieces go, mine is Moby :smile:


Yeaaaah, well the exam is less than two weeks away :tongue: I guess you could learn it all if you focused! :smile:

Go through each set work and make sure you get at least 3 points on the following features:
-Rhythm/Metre/Tempo
-Tonality
-Harmony
-Melody
-Structure
-Instrumentation
-Technology (where applicable)
-Timbre
-Texture
-Dynamics

In the essay question that's worth 12 marks, you'll be asked two 1 mark questions about general background knowledge of the piece, composer, etc and then 10 marks based on 5 of those musical elements above and how they are used in the piece. 2 marks for 2 points for each element. I recommend learning 3 points for each just in case though :smile:
So if you know your stuff for the elements, you should be halfway prepared for the listening section. Just listen over and over, to the pieces! Like seriously, put them onto your iPod- it'll actually help :biggrin: go over practice/past papers, grab any textbooks/revision books you can lay your hand on. Erm, just learn the basic facts for each set work. Like, Peripetie- learn the German word definitions. Rag Desh- learn the tals and the instruments used and their roles in the piece. Handel- learn which part of the choir comes in first for each motif. Stuff like that, just learn! Make flash cards and quiz yourself or something, it'll be fine :tongue:

PS. I've decided to write out the stuff for Rag Desh to save you some time :biggrin: good revision for me too :tongue:

Anoushka Shankar
Instruments- Tabla & Sitar
Structure -Alap, Gat, Jhalla
Tals -Jhaptal- 10 beat (2+3+2+3), Tintal- 16 beat (4+4+4+4)

Tanwar
Instruments -Sarod, Sarangi, Tabla, Pakhawaj & small cymbals
Structure -Alap, Bandish
Tals -Keherwa tal- 8 beat (2+2+2+2)

Steve Gorn & Benjy Wertheimer
Instruments- Bansuri, Tabla, Esraj, Shruti box, Swarmandel
Structure -Alap, Gat 1, Gat 2
Tals- Rupak tal 7 beat (3+2+2) & Ektal 12 beat (2+2+2+2+2+2)

That's by memory however, some things might be wrong so i suggest you go and check it :biggrin:

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(edited 10 years ago)
Reply 94
can someone help me... i got 98/120 for my coursework (82% overall). Is there anyway I can achieve an a* at all? overall the raw marks for both are out of 200 (120+80) and 180 is 90% of 200. so assuming i got full marks (as if) i'd still only be on 178, below 90%?
Original post by Andyroo17
can someone help me... i got 98/120 for my coursework (82% overall). Is there anyway I can achieve an a* at all? overall the raw marks for both are out of 200 (120+80) and 180 is 90% of 200. so assuming i got full marks (as if) i'd still only be on 178, below 90%?


I don't know the numbers but by looking at what you have, getting something like 93%~ in the paper could get you an A* I think. Your coursework marks are pretty high :tongue:


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Reply 96
Lol am I the only person who doesn't know anything ?
Original post by hedwig8
Lol am I the only person who doesn't know anything ?


Revise! :biggrin:
Reply 98
Original post by Meliss
Revise! :biggrin:


Test me please!!!
Reply 99
Miles Davis' chord structure is much more fancier than the traditional blues structure.
Traditional blues structure: C1, C1, C1, C1, CIV, CIV, C1, C1, CV, CIV, C1, C1
Miles Davis' structure goes: I7, I7, I7, I7, Im7, Im7, I7, I7, V7#9, VIb7#9 V7#9M, I7, I7

Now, it may seem confusing, but look here:
The 'C' stands for chords and the 'I' in the Miles Davis section stands for the chord number e.g. chord V means 5th chord

So, Davis uses the chords in G. This means the scale involves: G(I), A(II), B(III), C(IV), D(V), E(VI), F(VII) etc.

Now simply plug in the scale into his structure.
Davis' structure: I7, I7, I7, I7, Im7, Im7, I7, I7, V7#9 VIb7#9, V7#9, I7, I7
Plug it in: G7, G7, G7, G7, Gm7, Gm7, G7, G7, D7#9, Eb7#9, D7#9, G7, G7

Ta da! That's the chords MILES DAVIS uses.


CONFUSION: Chords that Moby uses
Moby follows an 8-bar structure rather than a 12-bar-blues structure

NOTE: Each chord lasts 2 bars IN THE VERSE that is why I have repeated the chords in the first chord set
The chords in the verse are: Am, Am, Em, Em, Gmj, Gmj, Dmj, Dmj
The chords in the chorus are: Cmj, Cmj, Am, Am, Cmj, Cmj, Am, Am
The chords in the chorus WITH LOOPS are: Fm, Fm, Cmj, Cmj, Fm, Fm, Cmj, Cmj
The vocal samples are in Am

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