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    (Original post by CSdrummer)
    Did anyone use the Anthology for the composer dates? It was pretty helpful in the 5 minutes reading time. It couldn't have been Berlioz because the dates were all wrong so I went with Stravinsky and i'm pretty confident with that. But i'm willing to be proved wrong
    No, smart thinking though if one of them comes up on the listening although if I'm correct aren't they given as dates of the piece or the composer's whole life? So it wouldn't necessarily be specific or helpful enough (eg 1815)

    As it stands the pieces are
    Aural Awareness: Schubert, 1815
    Comparison:
    Extract A) Extract from Symphony of Psalms (towards the very beginning)
    Extract B) Extract from Symphony of Psalms (towards the 5 minute mark)
    Stravinsky, 1930
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    Hey Guys,
    Listening isn't my strong suit so the essays are my bread and butter this is what i got though!
    1.
    a) Violin
    b) Alto
    c) Ostinato
    d) Soprano
    e) various things
    f) Tippett (lol)
    g) 1930

    2.
    a) let's not go there I think I got 2 marks!
    b) F major, Imperfect, D minor, Perfect, Appogiatura, suspension
    c) Vb & I
    d) Chopin (eeeeeeek)
    e) 1815

    3
    a) In Eccelsis & c) Morse on the Case
    4
    a) Corelli, Berlioz and Ram Narrayan
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    (Original post by A_Mytt2449)
    c) Morse on the Case
    out of interest, what points did you make for morse? I was looking at that one because I'd done practice papers in class on all the short questions that came up and devising likely questions so went with gabrieli and stravinsky in the end but curious as to possible morse answers.
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    (Original post by auburnstar)
    out of interest, what points did you make for morse? I was looking at that one because I'd done practice papers in class on all the short questions that came up and devising likely questions so went with gabrieli and stravinsky in the end but curious as to possible morse answers.
    I'd done dozens of questions for the morse because we knew it would come up so I went through each section; performing forces-rhythm and said how it did. So the small dynamic range, use of mute, harp sonority, height of the Oboe to create tension, minor 2nd in piano etc
 
 
 
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