Well it’s been a bit of a whirlwind. I’ve written a song, it went viral in a non-corona kinda way. I found a guitarist and someone who could record it (same guy actually!) and I arranged it for piano, did a chord chart etc. This has been my last two days:
The wonderful thing about it has been hearing other peoples’ versions of the song. That’s what’s been truly heartwarming. People getting out their instruments and singing for each other. As a music teacher, I feel as if I’m doing my job when I hear these.
If you’re going to do so please let me know and please share the link to my site in anything that is posted.
Click for Downloads – free for or by donation has:
Please respect my work and don’t share the music one to one, rather refer people to get their own copies from my site.
Since its humble beginnings, I’ve been interviewed and filmed.
SBS TV caught on to the song here
Then ABC TV did their version!
For those wanting to support Rob, the wonderful guitarist/sound engineer who has also found his work disappear.
For those wanting to support my brother and his coffee that may have to go to land fill after all the cafes have cancelled their orders here’s These Days Coffee or his Burnley Brewing Beer and pizza in Richmond.
Stay safe and thank you for your support.
For decades I have been teaching and writing about Music Analysis. There is a strange mix of trepidation and excitement as I present to you the self-published Listening Beyond Hearing.
I have included form format for students to type their analysis within the PDF as this was a request. Edition Four will be available to Booklist for the 2020 academic year with a discount available for teachers using the current third edition.
Thank you for your support over so many years. I think it’s no secret that I love this subject; that I love teaching it and sharing my resources with you. May your teaching and learning of analysis bring you a deepening love and appreciation for the power and beauty of this phenomena we call ‘Music’.
Purchase Listening Beyond Hearing in the ‘Shop’ tab.
https://listeningbeyondhearing.com.au/product/music-analysis-listening-beyond-hearing-3rd-edition/
Articulation Example 1: Seven types of articulation in a row to name
Articulation Example 2: Seven types of articulation in a row to name
For use with Listening Beyond Hearing’s new Mini Analysis Textbook. Available for purchase at the Listening Beyond Hearing Shop
Listen to these groups of four recorded examples of melodies and place them in the correct order.
Listen to the following musical examples.
Describe their range as either small or narrow, moderate, large or wide and place them in order from smallest to largest range.
Optional activity 1: Identify the possible instrument
Optional activity 2: Identify the melodic range by interval
Listen to the five excerpts and place them in order of hearing.
These examples are for use with the new Listening Beyond Hearing textbook, as yet to be named! Some options include:
Other suggestions much appreciated! It will be available, once published, at our shop.
https://listeningbeyondhearing.com.au/shop
If you would like to be on the emailing list to be informed of its progress, please let us know.
Here is my 2024 effort for Contemporary Performance.
This response is under timed conditions. As a result, there WILL be mistakes!! Please please please PM me when you find mistakes. I would love to fix them. There are many different ways of analysing.
It’s a real risk putting this out here as I’m sure anyone who teaches this subject is aware. Please give proper credit where appropriate and, if you’d like to give anything back, please let 2024 students and teachers know about the resources here and via our Facebook page. In particular the virtual events and other resources.
A note on my analysis for Question 2. I am not a contemporary performer. If I knew more about it I would have chosen sound production methods and I welcome anyone who would send their responses using sound production methods which I will put up as a demonstration of what’s possible. There is far more scope for writing on this subject hand on sound sources in my opinion.
Thanks again to Daniel Lijnders who sets up the discussion group and to Steven Majstorovic for his organisation and aid with resources.
I really hope you find this helpful.
Well, here is this year’s attempts!
As always, please let me know of any issues so I can fix them.
My gratitude to the VCE community we have which is really strong. Especially to Susie Heggie for your wisdom and double checking and Steven Majstorovic who helped me get access in time!
Here is my 2023 effort for the new study design – Repertoire Performance. Thank you to the facebook crew who got the files to me!
This response is under timed conditions. As a result, there WILL be mistakes!! Please please please PM me when you find mistakes. I would love to fix them. There are many different ways of analysing.
Here is my 2023 effort for the new study design – Contemporary Performance. Thank you to Adrian and Steven who got the files to me and who helped explain what the different feels were!
This response is under timed conditions. As a result, there WILL be mistakes!! Please please please PM me when you find mistakes. I would love to fix them. There are many different ways of analysing.
It’s a real risk putting this out here as I’m sure anyone who teaches this subject is aware. Please give proper credit where appropriate and, if you’d like to give anything back, please let 2023 students and teachers know about the resources here and via our Facebook page. In particular the virtual events and other resources.
I really hope you find this helpful.
The scores for the audio examples are here in case teachers would like them for reference or to display for class analysis. To show in a single tab, right click and select “Open Image in New Tab”.
Thank you to VCASS Alumni, Benji Wald for lending your expertise to this project.
Example 1:
Example 2:
Example 3:
Example 4:
Example 5:
These Examples are for use with Listening Beyond Hearing Analysis Textbook: Variation and Repetition Chapters.
https://listeningbeyondhearing.com.au/shop/
They were composed by Benji Wald, VCASS alumni and former student. Thanks, Benji, for your work on this project.
These same excerpts were used for the Repetition chapter, they are required to be described in more detail and about another compositional device here. I have included the scores for visual analysis if teachers wish to project the examples on the board.
These Examples are for use with Listening Beyond Hearing Analysis Textbook: Contrast Chapter.
https://listeningbeyondhearing.com.au/shop/
They were composed by Benji Wald, VCASS alumni and former student. Thanks, Benji, for your work on this project.
The scores are available in the Student and Teacher books of Listening Beyond Hearing.
Example 1:
Example 2:
Example 3:
The analysis question is without the score. The score is here if you would like to project this to the class for further discussion. Play and analyse without visual stimulus first.
Example 4:
The analysis question is without the score. The score is here if you would like to project this to the class for further discussion. Play and analyse without visual stimulus first.
These Examples are for use with Listening Beyond Hearing Analysis Textbook. They were composed by Benji Wald, VCASS alumni and former student. Thanks, Benji, for your work on this project.
https://listeningbeyondhearing.com.au/shop/
Example 1:
Example 2:
Example 3:
Example 4:
Example 5:
Here is my 2022 effort. Thank you to Amy who got the files to me.
This is our last exam of this Study Design!
Again, this response is under timed conditions. As a result, there WILL be mistakes!! Please please please PM me when you find mistakes. I would love to fix them. There are many different ways of analysing. This time I have tried to combine all three required elements.
It’s a real risk putting this out here as I’m sure anyone who teaches this subject is aware. Please give proper credit where appropriate and, if you’d like to give anything back, please let 2023 students and teachers know about the resources here and via our Facebook page.
I really hope you find this helpful.
Jenny Gillan
2023 is the year a new study design will be implemented in Victoria for the Victorian Certificate of Education.
In a recent Webinar, I put together three powerpoint slides that demonstrated how both Contemporary and Repertoire streams of the new VCE Syllabus (hitting us all 2023) could be taught together. The blue text indicates the elements unique to Repertoire. Purple denotes the elements unique to Contemporary performance. The black font denotes elements common to both subjects.
So, in theory(!) if you teach everything that is on these slides, you should have all aural components covered for both subjects, if you teach them in the same classroom.
Disclaimer: I have had this checked by a few trusted colleagues. These include Adam Yee, Melinda Ceresoli and Wendy Campbell. I am grateful for their expertise and time. If there’s something that all of us missed, which is possible, note all information is taken from the new study design, which has the final say on any information. If you find there are errors, please let me know.
My dear, dear students, especially those I hear who have been pressing refresh on my page every few minutes!!
It was wonderful to once again do warm up with VCASS students with the extra added privilege of being able to sing in person, albeit masked! The things we take for granted and the things we are so thankful for now.
Congratulations on getting beyond this exam!!
I know I say this every year, but this response is under timed conditions. As a result, there WILL be mistakes!! Please please please PM me when you find mistakes. I would love to fix them. I’m not so happy with all my links in the comparison question, but that’s what you get!
It’s a real risk putting this out here as I’m sure anyone who teaches this subject is aware. Please give proper credit where appropriate and, if you’d like to give anything back, please let 2022 students and teachers know about the resources here and via our Facebook page.
I really hope you find this helpful.
When we are little, we feel emotions keenly and in one direction. You cannot mistake joy in the eyes of a child. In fact, joy will touch every part of their body. They will open their eyes wide, jump up and down and shout with excitement. Equally, disappointment is a whole body, all encompassing, experience. Eyes will scrunch, fists will curl, bodies will stiffen and there will be a full on, meltdown of a rage in three dimensional technicolour!
When we ‘grow up’, feelings are a different kettle of fish. They are more integrated and (sometimes!) more controlled. But it is indeed possible to feel excited, happy and sad and scared at the same time.
I live in Melbourne, Australia. We are tentatively coming out of the longest lockdown caused by Covid-19 the world has seen. It’s been so long I’m not sure I actually believe we will actually open up on Friday. Surely someone is going to swoop in at the last minute and tell me I need to continue the dual, punishing work of supporting my own children while simultaneously trying to teach my high school students? Particularly, my beautiful, heart filled Class of 2021 Year 12s!! You guys – if any of you are reading – are worthy of my deep and lasting respect for what you have been through and are about to come out of.
My dual emotions are of excitement and terror. Excitement at the potential of seeing dear friends again, worry about the virus. Sadness for all that has been lost for my students and my children, happiness at the thought that music – real music – is closer.
So there are the feels everywhere at the moment.
If we were allowed to go to an airport (that mythical place!) to see a friend off, we might feel elated for them and simultaneously be falling apart inside that they are leaving us.
My rather long winded point is that it IS indeed possible as a grown up to feel more than one thing at a time. Music allows us to feel this as well. In my minds eye, (or as one of my dear year eights drew for me, in my mind’s EAR!) there was a piece from the soundtrack for the movie Memphis Belle that did this perfectly, but I’ve been unable to find it. This is the next example that came to mind: A piece with more than one emotion happening AT THE SAME TIME – two over the top of each other.
Listen to some of the perfect set up techniques for creating an ominous character:
This is overlaid by some of the techniques for creating tranquility
To me, this is a good example of how music can say more than one thing at a time. If you have any other examples that you feel demonstrates this, please let me know:
jenny AT listeningbeyondhearing DOT com DOT au
May your reentry into the unlocked be successful.
I do also want to say on a personal note – be kind to yourself and to others. Try to be a little more patient than usual and listen a little more deeply. We’ve shared quite an ordeal in our own isolated ways. While it sounds like the most wonderful thing in the world to party like it’s 1999, there is a lot of trauma that has been felt and we all need space to feel and process that.
My dear students and colleagues,
WHAT A YEAR!!! I bet you’re completely over this exam and never want to hear of it again…We’re all probably feeling the same way about 2020 itself.
Here’s my attempt – after rehearsals at St Michael’s this time, on a CD player because my wifi at the school wouldn’t work. Had to hotspot and have 5% left o my phone so see who wins – me or 2020(!?)
Warm up at VCASS didn’t happy for the first time in forever this year as my kids (actual not students) needed the dentist… and when you need the dentist after a pandemic, you kinda do!
My responses have been done under timed conditions. As a result, there WILL be mistakes!! Please please please PM me when you find mistakes. I would love to fix them.
It’s a real risk – and very scary – putting this out here as I’m sure anyone who teaches this subject is aware. Please be kind and give proper credit where appropriate.
If you’d like to give anything back, please let 2021 students and teachers know about the resources in our shop and via our Facebook page.
There’s also “Oma and Opa’s Song” in time for Christmas!
In hopes that your exam responses are the best reflection of what you’ve learnt this year.
Jenny Gillan
2020 Music Performance Exam (PDF 2.2MB)
For the time poor who are wanting to improve their music analysis skills, I’ve got you covered! These videos were born out of a desire to provide resources to Music students and a lack of time. Fortunately, this seems to have been a winning combination and there are even people wanting to know where all the videos are in one place! WOW!!!
So, here’s the exhaustive list (as per time of publishing!)
Let me know if there are any topics you would like covered and the context you’re using these videos in.
Remember to check for upcoming ONLINE EVENTS!
Mini Analysis 1 – Tone Colour 1
Mini Analysis 2 – Tone Colour 2
Mini Analysis 3 – Quick Fire Tone Colour
Mini Analysis 4 – Levelling Up!
Mini Analysis 5 – Writer’s Block
Mini Analysis 6 – Articulation
Mini Analysis 7– Linking to Musical Character
Mini Analysis 8– Linking to Musical Character II Articulation
Mini Analysis 9 – Articulation and Character
Mini Analysis 10 – Quick Fire Articulation
Lockdown 2020 and there’s not much of myself left after teaching my students and my class of Gillans at home. Five minutes is all I’ve been able to manage to give to the outside world, but it seems to have been embraced! Here’s a list of Mini Musicianship sessions for those playing along at home. There’s also Mini Analysis videos for those of you with a more literary bent. These are released weekly via Facebook.
Let me know if there are any skills you would like practiced and also I would love to hear about your context! I’ve heard from parents with kids, music teachers using them for themselves or as challenges for their classes, regular people wanting to increase their skills. I love seeing where these have gone!
Mini Musicianship 1 – d r m s & simple time clever echo
Mini Musicianship 3 – d r m sing and clap I IV V Major
https://www.youtube.com/watch?v=te7NkytQ29Q
My dear friend, Nina translated it into German and it has now been recorded in German by Theresa:
I had a lot of fun making this one and dreaming up others to come!
I’ve wanted to do bite size advice for music analysis and this seems to be the right vehicle for it. I always like hearing from teachers and students so if there’s a concept you’d like to suggest, feel free to email me.
So, you made it through the email!… one way or another – here’s your reward. Please feel free to use this analysis to help in your teaching or studying. If you could please let anyone interested know about:
that would be much appreciated.
Listening Beyond Hearing Fourth Edition and Progressive Musicianship pre orders of books and eBooks are now available at the shop!
I hope you find this analysis helpful.
Please attempt this yourself before looking at what I wrote! You may well pick up things I didn’t! Please let me know when you do.
A dramatic character, and thus a sense of drama, is created through the use of an exaggerated and energetic approach to the elements of music:
My dear, dear students. Congratulations on getting beyond this exam!! I’m not kidding when I say warming up the VCASS class before this exam is one of my favourite teaching activities. There’s just a lovely energy – plus, you’re a great group of students so being with you before this means a lot to me. Thanks for trusting me and sharing part of your schooling experience with me.
This has totally been done under timed conditions as I have yard duty (not that we have an actual yard but it’s a state of mind!) and afternoon classes following that in a minute – I’m heading out tonight too so if it was going to be done it HAD To be now!
As a result, there WILL be mistakes!! Please please please PM me when you find mistakes. I would love to fix them.
It’s a real risk putting this out here as I’m sure anyone who teaches this subject is aware. Please give proper credit where appropriate and, if you’d like to give anything back, please let 2020 students and teachers know about the resources here and via our Facebook page.
I really hope you find this helpful.
2019 VCE Music Performance Exam Jenny Gillan Answers (PDF 1.5MB)
Character: Tranquil
Tone Colour
The opening string quartet section begins with a unified warm, resonant tone colour due to the use of similar mid to low register, legato sustained chords. This aids the creation of a tranquil character.
In contrast with this, the first violin overlays whistling, ringing harmonic overtones played at a soft dynamic. This gentle approach enables sustains the tranquil character.
As the strings become more arpeggiated there is a greater contrast in tone colour between individual instruments due to a larger range covered. Upper strings, higher in register, have a brighter, clarity to their sound while the lower strings remain resonant and warm. The use of vibrato brightens the sound.
The female, soprano voice contrasts a little with the strings tone colour. Her voice has a nasal quality but a rounded warmth to it still which resonates well with the accompanying strings contributing to the tranquil character. Her vibrato is broader at times than the strings’ giving clarity to her sound. At the height of her phrases, there is no vibrato – on words like “guide”, which creates greater contrast – more purity than warmth – with the string accompaniment.
There is greater variety in tone colour in the voice. Some notes are left to grow and have a resulting pure tone colour but others are cut off early and have a more aspirate or creaking tone colour eg. lyrics such as “Frustrated” – creating word painting. These also tend to be in a lower register.
Tranquility is maintained through use of a stable overall approach to tone colour. Changes are expected and gradual eg. a brightening tone colour corresponding with a rise in dynamics and ascending contour that warms as the dynamic and descends in pitch.
Articulation
The use of gentle, wide glissando in the opening first violin on harmonic overtones played with legato articulation creates a sense of tranquility.
Legato articulation of string ensemble while playing long, sustained harmony remains the same when arpeggiated. Long, continuous bows with subtle changes helps enhance the tranquil character.
The idea of glissandi in the first violin introduction extends and is used to gradually ascend to notes at chord changes in the opening bars by a few instruments in the quartet. These glissandi are purposeful and smooth the transition between harmonic changes, creating a tranquil character.
The soprano has gentle, subtle bends in her opening phrases on the lyrics “no longer”. Her overall approach to articulation is likewise legato. Her attacks slightly emerging, giving a more gentle approach to each note. Subtle downward bends towards the next note in the melody – a pattern set up by similar articulation in the strings – smooth the transition between larger intervals – eg. the words “bound” and “and”. This leads to creak onset on the word “frustrated” creating word painting. A similar approach to bends between notes occur on the words “door open and close”. As this is also a descending line, the tranquility is supported.
There is a subtle flip up using melisma on to ‘mor’ ow. As this is at a soft dynamic it only enhances the tranquil character as does the final phrase ending with a subtle fade and gentle aspirate decay in the soprano.
So you made it through the email!… or you cheated and went straight to the end, either way here’s your reward. Please feel free to use this analysis to help in your teaching. If you could please let your students know about:
Twilight Analysis (October 10 and 31 2019)
Exam Preparation Workshop (October 19)
and our Facebook page
that would be much appreciated.
Listening Beyond Hearing Fourth Edition and Progressive Musicianship pre orders of books and eBooks are now available at the shop!
Please let me know how you go.
György Ligeti – Musica Ricercata
Musical interest is created through extreme, unexpected contrast across many elements of music:
This is the first Facebook analysis question for 2019! Go team!! If you’d like to play along at home, Like the Listening Beyond Hearing Facebook page for further questions, advice and event notification. One of my favourite songs most recently sung to me by my dear friend and piano man, Trevor Jones. Ironically, I just got a Facebook notification that he’d sung this for my ‘significant'(!) birthday party a decade ago!
Thank you for your analysis response, anonymous, and permission to publish it.
From the start to 1:09
From 1:51 – 3 mins
Jenn Gillan: A great set up for an answer to a comparison question. Headings make it clear what you’re discussing. Be careful that you don’t do a parallel analysis (analysing version 1 separately to version 2) rather than a comparison analysis (referring to the other version all the time). This reads a little like that at times. Make sure when you read across the page, you’re always talking about the same thing for the versions.
| V1. Kermit | V2. Willie Nelson |
| Tempo
Intro – a sense of freedom in tempo by the sustain string notes, no obvious tempo and then a more strict tempo approx. 120 BPM. Allegretto/Allegro Moderato tempo established by the banjo player and reinforced by bass and strings giving a playful character. Jenn Gillan: Your tempo is well described but the elements of music that aid that less so. What helps establish the new tempo? What does the banjo do? Do they play the beat? Every first beat of the bar? Pulses? The singer creates a more reflective character by sitting at the back of the grove/tempo. Jenn Gillan: How is this seen? Are they a little behind the accompaniment? Do they sing with more rubato than the accompaniment? I don’t know if your links to character are quite strong enough. Playful implies change unexpectedly or often. If this happens you need to describe it more. |
Tempo
Very similar tempo to V1. This version slightly slower approx. 105 BPM Moderato tempo. The back phrasing and rubato from the singer gives a relaxed, dreamy character, where the strummed guitar is more strictly in tempo reinforcing the moderato tempo and gentle character. Jenn Gillan: Watch the words dreamy and dream-like. There are stronger words to describe character. Tranquil, laid back, relaxed – these work better. Again, you need stronger descriptions of the factors that reinforce the tempo. What is the guitar strumming? Beat? Pulse? Beat 1? Are there pulses? Make sure you line up the tempo of the singer in version 1 discussion with that of version 2. |
| Articulation
Jenn Gillan: When discussing articulation, your analysis isn’t quite complete unless you use the words ‘attack’ and ‘decay’ over and over. This helps keep you on the right track. Strings – sustained bowing Banjo – emphasis on the 1 beat and lighter strum articulations on beast 2 and 3 – energetic character. Jenn Gillan: Your character words change a lot without saying whether there’s a change in the music or whether you’ve just changed character word to describe the same/similar character. Maybe reduce the types of words you use and if there is a change, clearly state what happens in the music to make this change. Strings – sustained articulation floating character. Some pizz sounding articulation in prechorus more dreamy character. Bass – emphasis on beat 1 and ‘let ring’ sustained articulations. Piano – emulating banjo articulations establishing the energetic character. Voice – half sung/spoken articulation first section, chorus more reflective character. Sustained articulation more playful character. |
Articulation
Guitar – gentle finger picking articulation creates a peaceful character. The strings are let to “ring out” articulation. Male voice – a combination of half-spoken, half-sung articulations – reflective character. Accented words on “rainbow connection” provides a more serious character on the title words. Jenn Gillan: Try to line up banjo with guitar for comparison reasons. Or, if the instruments aren’t the same, line up instruments that have the same roles for comparison. Line up voice with voice. |
| Overall
Jenn Gillan: Great that you have a summary at the end. I think this is where you really start answering the question. Your other responses are a little individual to each song rather than always comparing at each point. Tempo: both tempo/tempi are similar with Interpretation A slightly faster and more urgent in character with V2 slightly more relaxed. Both use strings to establish a strict tempo and have the voice back phrasing against the tempo with V2 more relaxed and reflective. Articulation: Both employ strummed plucked strings and voices with half sung/half spoken articulations with more energetic V1 and more reflective character V2. Jenn Gillan: A few more specifics needed with articulation – what sort of attack and decays are used? How do these compare? Some great work with a little more detail needed at times and comparison between the two being the main priority. But some great responses and observations. |
|
Here is the forth completed video for use with the chapter on Harmony.
Thank you to Timothy Mallis for your composition and to Eliza O’Connor for your work putting this video together.
Here is the third completed video for use with the chapter on Harmony.
Thank you to Mati Gwizdalla and Jem Sherwill for your composition and to Eliza O’Connor for your work putting this video together.
Here is the second completed video for use with the chapter on Harmony.
Thank you to Tim Mallis for your composition and to Eliza O’Connor for your work putting this video together.
It has long been my wish to have these videos up online so that the audio and visual element can be used together while exploring the world of harmony covered in chapter eight.
Thank you to ex students Mati Gwizdalla for your composition and to Eliza O’Connor for your work putting this video together.
Listening Beyond Hearing is a big book! I can understand that some teachers may be struggling to find the time to work through everything in the limited time available and that there is a need to priorities. With that in mind, the following is a suggested schedule for a class studying VCE Music that will cover all the elements required for the current Study Design.
As always, please remember that I am a teacher of this subject and not a representative of VCAA. Always check their documentation and use them as the ultimate authority on everything VCE.
https://www.vcaa.vic.edu.au/Pages/vce/studies/music/exams.aspx
The elements of music required for listening analysis as listed by VCAA are:
In addition:
Below is a list of the elements, relevant chapters and supplementary resources from the Listening Beyond Hearing Website in the order I would cover them:
| Expressive Device | Advice | Further Resources: |
|
LBH Chapter II
Tempo is dealt with as a subsection of Rhythm in Chapter II of LBH. However, more information on how to describe tempo in isolation and further detail on this can be found as a separate revision sheet. I would highly recommend this as a supplementary resource if discussing tempo on its own. |
Further resources: https://listeningbeyondhearing.com.au/product/music-analysis-resource-sheets-tempo-revision/
Quick Fire Question: https://listeningbeyondhearing.com.au/product/music-analysis-resource-sheets-quick-fire-questions/ Comparison: Tempo and Balance |
| 2. Tone Colour | LBH Chapter III
There is also a Quick Fire question relating to Tone colour available. Spending a significant amount of time on tone colour is warranted given its prevalence in previous questions. I also believe it’s a fairly straightforward element to learn and students can basically learn a formula that will get them to write convincing responses. |
Quick Fire Question:
https://listeningbeyondhearing.com.au/product/music-analysis-resource-sheets-quick-fire-questions/ Comparison: Tone colour and Dynamics |
| 3. Blend of Instrumental Voices | LBH Chapter V
Blend also involves tone colour so teaching these together, or next to each other, makes sense. |
Comparison: Blend and Articulation |
| 4. Articulation | LBH Chapter VII
Also fairly formulaic in terms of teaching, though to my mind this can be a little more complex for students to grasp. A further Articulation vocabulary test is available through the website. |
Further resources:
Quick Fire Question: https://listeningbeyondhearing.com.au/product/music-analysis-resource-sheets-quick-fire-questions/ |
| 5. Dynamics | LBH Chapter VI
Dynamics is only easily taught once the other elements that make up, or give reason for, dynamics are understood. Don’t teach it first! |
Further resources:
Quick Fire Question: https://listeningbeyondhearing.com.au/product/music-analysis-resource-sheets-quick-fire-questions/ Comparison: Tone colour and Dynamics |
| 6. Balance of musical lines | LBH Chapter V
Balance also involves a discussion of Texture – LBH Chapter IV – as well as dynamics and tone colour so teaching them next to each other makes sense. |
Quick Fire Question:
https://listeningbeyondhearing.com.au/product/music-analysis-resource-sheets-quick-fire-questions/ Comparison: Tempo and Balance |
| 7. Phrasing | LBH Chapter I: Melody
What needs to be discussed regarding phrasing can be found in the melody summary on page 18. I would only dip and in and out of Chapter I in order to cover phrasing and improvisation. |
|
| 8. Improvisation/ embellishment/ ornamentation | This encompasses articulation LBH Chapter VII and Melody LBH Chapter I as well as an element of harmony LBH Chapter VIII
More on this to come. |
|
| 9. Comparison of interpretation | LBH Chapter X
I would actually teach this alongside the other elements. So when dynamics is taught, I would teach a comparison of a work that discusses that element. |
Comparison: Blend and Articulation
Comparison: Tone colour and Dynamics |
The amount of time you have to spend on these elements of music will depend on what you have scheduled. I would recommend having a really solid run through tone colour and dynamics in particular as these are often covered extensively in exams and there is a lot that can be said for these elements.
Best of luck with your teaching and please let me know if there is anything I can do to further support your classes or your teaching of music analysis.
Work: ‘Dawn Mantras’ by Ross Edwards
Performers: Sydney Children’s Choir, Cantillation, Lyn Williams (Conductor)
Album: Eternity: The Timeless Music of Australia’s Composers ABC Classics, 2004)
Excerpt length: 1’46”
(10 Marks)
https://www.youtube.com/watch?v=ECP5AydSmnc
Describe the ways in which tone colour is used to achieve expressive outcomes.
Character –
Low, resonant, rumbling male voices enter with complementary tone colours to the reverberant, rumbling tone colour of the didgeridoo contributes to a serene character. Bright, metallic ringing chimes at a restrained, soft dynamic contribute to this mood.
Cor anglais – plays with a bright, woody tone colour using legato articulation. While this contrasts greatly with the drone and lower synthesised sounds that have warm, resonant tone colours the softer dynamic enables the mood to remain serene.
Shakuhachi plays with a contrasting tone colour to the cor anglais of breathy, airy quality. This gets brighter and clearer when it plays in a higher register. The mood is still tranqui while these instruments’ melodies interplay as they are matched in dynamic even while their tone colours contrast.
The children’s choir has a unified bright, clear overall tone colour which, due to its fullness of sound, increases the energy to an extent. Tone colour influenced by singing at a comfortable high register, same vocal type (treble unchanged) and unforced technique.
b. Describe how the performers use at least two of the following elements of music to achieve expressive outcomes:
Articulation
Organic attack due to controlled breath flow on didgeridoo with legato phrasing creates a sense of tranquility. The controlled, organic attack of opening male voice drone complements gentle attack of didgeridoo. Legato, long held notes contributes to tranquility.
While the chimes have sharp, sudden attack, this is achieved at a soft dynamic which, when combined with prolonged, ringing decay and sparse placement of these notes enhances the tranquil expressive outcome.
The approach to articulation is stable and all instruments use consistent approach to articulation with similar gentle attacks and ringing decay.
The shakuhachi has a more gradual attack and decay due to its breathy nature while the cor anglais is a little sharper in terms of attack. This is tempered by an unaccented approach to the starts of phrases and legato overall phrases. This enables the tranquil character to remain.
The shakuhachi plays using gentle glissando between notes to contribute to the tranquility of the work.
The choir sing with unaccented attack and use long legato lines. Consonants are not clearly enunciated and lack hard consonants. Lacks of ‘T’ etc on ends of words enables a tranquil character to remain.
Balance of musical lines
The chimes comes to the foreground of the balance initially, until being replaced by wind instruments, due to high pitch and ringing, metallic tone colour. The character remains tranquil through limited instrumental parts forward in the balance.
The background consists of rumbling, resonant drone of the didgeridoo which is further back in the balance due to low pitch and warm tone colours.
Shakuhachi and cor anglais share the foreground through similar dynamic and a more active melodic line which contrasts with the stagnant background. Clear interweaving melodies creates a sense of tranquility. The stability of this blend – these two instruments firmly in the foreground – equally contributes to tranquility.
The choir singing in harmonised rhythmic unison with bright clear tone colour and much higher pitch than the underlying drone are forward in the balance and replace the wind instruments in the foreground of the balance. Again, a stable approach to balance and clear melodic line enhance the tranquility of the work.
Ornamentation
Use of neighbouring and passing notes in the cor anglias and shakuhachi use stepwise motion and a light touch enhancing tranquility. The wind instruments echo each other’s melodic line and use ornamentation of faster runs of notes that are stepwise or pentatonic in intervalic structure. This contributes to the tranquility of the piece.
Use of gently bent ‘blue’ notes as upper neighbour notes with unhurried rhythm creates tranquility.
Use of trills at soft dynamic tend to occur towards the middle of phrases leading towards longer notes. Upper mordents in the shakuhachi are at times answered with opposite lower mordent in the cor anglais. This balance and unforced approach to ornamentation contributes to the tranquil character.
Dynamics
Dynamics are moderately soft at the opening of the excerpt due to sparse instrumentation and low pitch. This creates a tranquil atmosphere.
The shakuhachi and cor anglais have similar dynamics which are louder (mf) than the (p) warm, reverberant low drone of the synthesised sounds and didgeridoo – quieter due to low pitch, constant in dynamic through maintaining the same pitch. The wind instruments are louder due to higher relative pitch and clearer tone colour.
The chimes are quite soft but seem louder than other instruments through high pitch and metallic ringing tone colour. Gentle attack and sparse placement of these notes enables the overall dynamic to stay quite soft and the character to remain tranquil.
The choir has a louder dynamic to the accompanying instruments and this increases as their pitch rises. The expressive outcome is more joyous/exultant as a result though it does not increase in energy as the choir sings long note durations and with a balanced dynamic that matches their pitch – the dynamics increase as their pitch rises and decreases as they fall in pitch and return to the tranquil mood of the work.
Work: ‘Them Wolves’ by Nigel Westlake
Performers: Melbourne Symphony Orchestra
Album: Babe: Orchestral Soundtrack (DewABC Classics, 2015)
Excerpt length: 1’38”
(8 marks)
Discuss how the performers use dynamics and blend of instrumental voices to achieve expressive outcomes. The initial expressive outcome of tranquility is created through a unified blend of instrumental voices. Instruments play with warm, resonant tone colours. Particularly lower brass and strings create a unified bled through use of similar pitch (mid to low). This is complemented by soft dynamics. Flute and upper strings have a unified bright, shimmering tone colour which is a lowed to blend with the warmer colours due to very soft, restrained dynamics. As the pitch rises the blend is increasingly less unified which changes the character to more excited, anticipating. The range of tone colours increases and there is more use of harsher tone colours in the brass playing with more force and shimmering, bright tone colours of the upper strings playing at a higher register with firmer pressure on the bow. This also results in a louder crescendo that mirrors the rise in pitch. The gong also increases the energy with reverberant, ringing tone colour. This crescendos as the reverberation increases and is allowed to decrescendo as it rings out. Strings playing insistent notes on repeated down bows heralds a new character of menace and louder dynamic as a result. Again, the blend is less unified. Upper strings use tremolo and dissonant intervals to create a brighter, more piercing tone colour that contrasts greatly with the cutting, resonant snare and penetrating, booming lower brass – played with great force at a low register. The greater variety of tone colours and less unified blend creates a much louder dynamic at this point. The contrast and lack of blend, therefore continued unsettled character, is further emphasised through the call and response between instrumental groups. While the dynamic is much softer due to much thinner texture – the orchestra tutti drops out and is replaced by interaction between distinct orchestral sections. Bright, clear strings played at a comfortable register contrast with rumbling, reverberant brass at low register, bright, clear piano and tuned percussion played with gentle attack contrast again. The excerpt finishes with a unified blend once again and a return to a tranquil mood. Resonant, pure tone colours blend due to being played at a comfortable mid to high register with legato articulation. The dynamic is an unforced mf which contributes to the tranquility of the closing of the work.Interpretation A
Work: ‘Billie Jean’
Performer: Michael Jackson
Album: Thriller (MJJ Productions INC., 1982
Timing: 1 minutes 52 seconds
Interpretation B
Work: ‘Billie Jean’
Performer: Chris Cornell
Album: Carry On (Interscope Records, 2007)
Timing: 1 minutes 46 seconds
Compare the ways in which the two interpretations create different expressive outcomes through three of the following:
*Note the question asks for only three. I have provided responses for all four elements to enable feedback for all responses.
| A Energetic | B Tranquil, melancholic | |
| Tempo | A moderate tempo.
Tempo clearly set at the very beginning through ostinato on the drum kit, strong beats on snare and bass drum on beats 2 and 4, quaver pulses in the shaker and melodic quaver ostinato on the bass guitar. This all enhances the energetic character. The voice also maintains this tempo through staying in strict time with the accompaniment. Use of shorter note durations in this part make it seem a little faster, or at least driven towards the next beat but the underlying pulse is so steadily set by repeated patterns. |
Created through a slower tempo
Tempo less strict. Pulses in threes marked less strictly by the guitar. Beats given by the less pervasive gentle taps on the ride cymbal. The chorus has a more driven sense due to more complex rhythm on the drum kit including off beat, driving accents, more quavers being played on the ride cymbal, strumming on the guitar rather than arpeggiation. |
| Balance | The bass guitar is further back in the balance due to low pitch. Forward in the mix is the drum kit – sharper, penetrating tone colour, which enhances the energetic character. As other instruments enter – the synthesised chords then the voice, these rhythmic then harmonic parts get moved back in the balance. The increased complexity of balance increases the energy of the work.
The voice is clearly in the foreground due to more penetrating clear tone colour and clear melodic line. Strummed guitar chords in the chorus thicken out the texture, increases the energy and bring the harmonic line forward almost competing with the main melody due to rhythmic complexity and ringing tone colour. This competing is similar in version 2 thus both versions are more energetic in the chorus. |
The voice has the foreground immediately as it is significantly louder than the accompanying instruments – synthesised string sound and strummed acoustic guitar. The clear balance, rather than competing for prominence of version 1, contributes to the more tranquil initial character.
As the character changes toward the chorus the balance is less clear. In a similar way to version 1 there is a competing for prominence. The drums are significantly louder due to more complex rhythms and more forced attack, electric guitars with distorted tone colour also fight for prominence and contribute to a more aggressive character in the chorus. |
| Tone Colour | Sharp, penetrating snare tone colour contrasts with warm, mellow bass and resonant, brighter synthesised chords.
The voice is much more nasal and brighter in tone colour. This mix of tone colours and use of colours that are brighter/harsher contributes to the energetic character.
There is less variety of tone colour between verse and chorus than in version 2. The height of phrases is less harsh in tone colour as head voice is used with a more relaxed attack.
The chorus introduces backing vocalists which sing with a blended, warm, bright tone colour. This thickens the texture and increases the energy of the work but the difference of tone colours is not as marked as in version 2 so the change in energy remains less marked. |
The voice in Version 2 has a huskier, more mellow tone colour in comparison to version 1 which enables a more tranquil initial character.
Mellow, brass synthesised tone colour at comfortable register and soft dynamic is again less penetrating than version 1. Bass instruments have a similar warm, resonant tone colour but are allowed to ring for longer due to use of much longer note duration. Acoustic guitar equally has a warm, resonant tone colour. Upper notes tend to be brighter but are only played at the height of the arpeggio.
The contrast to the chorus tone colours change. The male voice changes to be more harsh and strained thus increases the energy of the piece, especially towards the upper, more uncomfortable register. Distorted, penetrating electric guitar enters and the drum kit is hit with more force therefore giving it a more penetrating, booming tone colour and increasing the energy. |
| Articulation | Sharp, accented attack on drum kit notes increases the energy of the work.
Staccato, accented articulation on syncopated chords aids energy.
Ends of vocal phrases tend to be thrown away – use of premature or interrupted decay, use of Gospel release (hey/ah) gives clear definition to the ends of notes and enhance the energy of the work. Few legato lines.
Voice favours sharper decays to notes than version 2. |
Echoing decay and legato phrases creates a sense of tranquility. The cymbal is not accented like version 1. Gentle attack and ringing decay enables tranquility.
The guitar strummed notes have natural, unaccented attack. Ends of vocal phrases make more use of downward bends initially, legato articulation, gentle bends upwards and downwards to complete notes. Legato line of brass synthesised instrument has a flowing higher melodic line. Towards the chorus notes blend more together. Sharper attacks and instruments are let ring out over each other. Far more force used on the percussion giving sharper more accented attacks. |
Thank you for your analysis response, anonymous, and permission to publish it.
Listen to the first 1 min 30 seconds
Character: joyful
Jenn Gillan: Great having the character stated clearly at the start.
the pizzicatto guitar (or banjo) in the upper register acts as a melodic accompaniment and creates an airy timbre, adding to the playful and joyful character
Jenn Gillan: I don’t know whether I’d call it pizzicato or finger picked? Plectrum used? Apart fro that, I like that you’ve mentioned register as an influence. I don’t know if this is enough on its own to support a playful character. Joyful maybe but playful usually implies, in my mind at least, something a little different/contrasting that happens. So maybe this could be added to or maybe just leave the character at this point as joyful.
the solo guitar (or banjo) introduction is metallic and crisp, opening the piece with an icy and delicate feeling whilst remaining joyful through the allegro tempo
Jenn Gillan: Your solution for the guitar (banjo) works well. It’s not a guessing the instrument exam so it’s fine. Your example doesn’t lead to character, rather tempo does. Although I do like that you’re saying that while the tone colour would support an alternate character, other elements of music do create this feel still. That would probably support a playful character having those two things at the same time.
bass male voice is full and warm, creating an inviting and joyful character
Jenn Gillan: Is full and warm on its own enough to equal joyful?
2nd male voice in the middle register had a warm and bright timbre when singing the melody, helping to create the joyful character
use of ascending portamentos in the male voices pulls the mood of the piece upwards, thus helping to create a joyful character
Jenn Gillan: This is stronger. There’s a clear link between what’s happening in the music in articulation and the character. Try to aim for this more.
percussive guiro has a piercing and crisp timbre, which also has an ascending feel to it creating joy through the unexpected tone colour and upwards nature of the sound
Jenn Gillan: I get what you mean. You could say the scrape rises in pitch due to the tapering of the guiro? But you got the message across. Unexpected = playful.
rippling accented phrasing of the vocals creates a sense of movement through syncopation, adding to the joyful character
Jenn Gillan: Does this answer the question?
Overall, you have a good turn of phrase and some sophisticated responses. Try to link them clearly to the question now and make sure that the character is fully supported by your musical examples. Is a warm tone colour enough on its own to = joyful? Also try to stick to the element of music in question.
Thank you for your analysis response, anonymous, and permission to publish it.
Listen to the first 1 min 30 seconds
The character of this work is driven and upbeat with aspects of articulation and tone colour that create this are:
Jenn Gillan: Consider more sophisticated character words. “Upbeat” I avoid because it has a double meaning in music and there are more sophisticate words. I’m feeling the same with the word ‘driven’, though this may just be a Ms Gillan thing and other teachers would be fine with it!
• Crisp hitting of the tribality bongo drums with (supposedly) the hands has a resonant but clear tone colour, and this is fairly similar to the consistent strumming of the guitar, resonant but also echoing.
Jenn Gillan: A few things here – Is there a better word than ‘hitting’? I love that you’ve given reason for the tone colour though (use of the hand rather than stick) Am not sure what you mean by ‘tribality’. If you meant something ‘tribal’ I’d avoid using this word when it comes to drums. It can be a little stereotypical and not really reflect what’s happening with the drums.
• Overall the male vocal is full and at times speech like, not only because he does speak at the conclusion of some phrases, but the tone for many phrases is like so.
Jenn Gillan: Watch the term ‘speech-like’ unless you qualify it a lot more. Speech-like melodies tend to be linear, small contour, use repeated notes and a lot of other things. Outline these if you intend to use the term ‘speech-like’. Also, I’d qualify ‘full’ a little more. Are you talking about tone colour here? Maybe revise some good tone colour words that you can use here.
• Male voice which appears to have some form of turn/ornament on phrases such as “we will ‘RUN’,” which he employs a crying/calling for help tone colour. Likewise, the squeaking and piercing whistle also imitates this kind of ornamentation, with a turn at the same time,
Jenn Gillan: Is there a particular technique he does or some reason you can give for this change of tone colour? It may have to do with pitch? Nice picking up the similarities in instruments. I like this. I’ve just realised though you haven’t made links to character for a while. Make sure you use phrases like “aids a __ character” or “supports the ___ character” or “enhances the ___ character” or even simply “= ______ (character word)” to keep you on track and remind you what you’re supposed to be discussing.
• Male voice also maintains a high amount of upper pitch turns and abrupt stepwise movement (laughing like) where he starts the ‘oohs’, while both main voice and harmonic vocals have large diphthongs with ‘away’ and ‘my way’
Jenn Gillan: Good. If you link this to character, which could be done quite easily, some good points. Can you link a diphthong to character? Worth trying…. I sometimes think the word ‘playful’ comes in handy here. A lot more connections you can make in a piece like this to the elements of music.
• Whistle section sees repetitive sequence in the whistle supported by the pulsing drums, but maintains the same tone colour,
Jenn Gillan: Some of your analysis may be spot on in terms of what happens but can you use it to support character as the question demands?
• Ad-Lib section sees the male vocals appearing to imitate a kookaburra which contrasts highly to the more ‘normal’ singing he had been doing.
Jenn Gillan: A little colloquial but easy to link to a playful character.
• The final phrases see the male vocals adopt a more aspirate articulation with a breath tone colour, appearing to be whispering. Concurrently the drums and guitar maintain their former driven and resonant tone colour
Through these instances, the character of driven and upbeat are supported.
Jenn Gillan: Great you stated the character at the end, though I don’t know if the links were strong as you went through. When you say aspirate articulation, make sure you make it clear whether you mean articulation – aspirate attack/decay – or tone colour – aspirate tone colour.
Jenn Gillan: Overall a great start. You’re hearing a lot which is great! You just need to neaten up your language a bit and make sure you’re connecting everything to the question.
After talking with Anna van Veldhuisen, and her commenting that her students were freaking out over the amount I write in my analysis, I decided it might be time to demonstrate how my mind works while I analyse music. So I’ve picked a piece and without preparation have analysed it for you, live to Video.
Excuse my inability to spell – my secret shame!! Also, the video has a huge amount of lag time. Just trying to do too much at once. Hopefully it still manages to get the point across.
– to listen to while, before or after watching the video
From 15 seconds to 1:47
From 13 seconds – 1:38
Thank you again to my students at the Victorian College of the Arts Secondary School for their enthusiastic participation. Especially to the students from Orientation Week who came in especially. Also to colleagues Melinda Sawers and Sue Lyons and alumni Jem Sherwill and Leighton Triplow for lending their expertise. None of this would be possible without James Lauritz who filmed it all, donated his time and skill and was such an ease and pleasure to work with. Thank you, James!
Teaching Purpose: Triple – ta (Crotchet triplet) Dorian Mode
Formation: Can be done seated or standing, in chairs or spread out around a room
Activity:
Gradually add actions for rhythms from the melody.
You can sing the song five times, adding a new action cumulatively each time or add a few at a time. In the video we started with ta and ti-ti, then added tam and too and lastly an action for triple ta, only singing it three times with actions, singing it first with the words and completing the activity by singing the song with the words again. This ‘puts it back together’, which is an important step.
Extension:
Use inner hearing. Replace the action with the sound so instead of singing the time name for that sound, you exchange it for the action.
Thank you again to my students at the Victorian College of the Arts Secondary School for their enthusiastic participation. Especially to the students from Orientation Week who came in especially. Also to colleagues Melinda Sawers and Sue Lyons for lending their expertise. None of this would be possible without James Lauritz who filmed it all, donated his time and skill and was such an ease and pleasure to work with. Thank you, James!
Teaching Purpose: 5/4 time. Mixolydian mode
Formation: Two circles – inner and outer circle. Partners facing from inner circle to outer circle.
Actions: Actions to the beat
Extension
Further Extensions
Interchange first lot of actions with second lot of actions.
Sing as a canon – inner circle starts first, outer circle comes in one bar after.
Can be done in multiple circles as a canon in more parts.
Interpretation A
Work: ‘A Case of You’
Performer: Prince
Album: A tribute to Joni Mitchell (Nonesuch, 2007)
Timing: 2 minutes 28 seconds
Interpretation B
Work: ‘A Case of You’
Performer: k.d. lang
Album: Hymns of the 49th Parallel (Nonesuch, 2004)
Timing: 2 minutes 21 seconds
Compare the ways in which the performers manipulate the following to achieve expressive outcomes:
| A Tranquil but more energetic | B Tranquil | |
| Tone Colour | The male voice has a bright, nasal tone colour at upper register (energetic) while at lower pitch it is quite warm and aspirate (tranquil). There is a great variety/change in tone colour and huge range used = a more energetic character than version B. Just before the end of the excerpt the vocalist ascends to the top of his register and has an even more nasal, bright tone colour enhanced by the use of vibrato and loud dynamic (energetic).
The piano is warm and resonant as it uses mid to low register in a harmonic roll. (tranquil) When it plays a melodic role, the pitch ascends an octave or more and is much brighter and clearer as a result. (energetic)
The drum kit has fairly muted colours due to use of subtle rim clicks on the snare, use of gentle, shimmering, bright taps on the cymbal rather than hi-hat. = tranquil, but use of kit increases energy of the character
The use of backing vocalists in the central section blend well with each other (warm, mellow tone colours at a comfortable register) and pick up on the warmer tone colours of the soloist. (tranquil) |
The female voice has warm mellow tone colours (tranquil). She too uses aspirate tone colors at the bottom of her range. (tranquil) There is less of a variation in tone colour as she tends to use a more predictable contour and smaller intervals with less extremes (stability = tranquil). When she ascends to the top of her range her tone colour becomes brighter but it does not have the nasal quality of version A (tranquil)
The piano is warm and resonant like version A but doesn’t tend to have a melodic role that extends as high as Version A. (tranquil) The melodic role is more clearly linked to the harmony using rhythmic unison more often and is not as contrasting in register. (tranquil)
There are no other instruments and the limited tone colour palate enhances the more relaxed, tranquil character. |
| Balance | There is a greater variety of change of balance in Version A. Melodic fills in the electric guitars at lower then higher pitch overlap and interplay with each other, bringing these lines to the foreground through brighter, more ringing tone colours and single line melodic movement (as opposed to playing chords). When chords are played, the guitars take on a mid-ground, harmonic role. Change in balance/thicker texture = more energetic character.
Backing singer takes over main melodic role in fills “time to time” and “so bitter” echoing and overlapping creating slight polyphony for the short duration of the fills.
The piano changes role from mid ground to foreground in the instrumental section. Backing vocalists shift from melodic role to singing harmonies underneath the piano’s melody. “ooo” vowel, softer dynamic and lower pitch.
|
The vocalist in both versions stay in the foreground through brighter tone colour and louder dynamics.
Stable roles within the balance of version B – voice foreground, piano playing mid ground and bass role = tranquil character. |
| Improvisation embellishment | “so bitter” in backing singer use of improvised (scalic movement – so still quite tranquil) melisma which extends the ‘so’. There is no interplay like this in Version B (thus the more tranquil character of B)
Improvised fills from the piano sometimes include closely voiced chords in a faster harmonic rhythm. (increased energy)
The piano improvises the melody of the instrumental section – taking on a more foreground role than Version B – using repeated pitches, elements of the main melodic line, playing around the note using trills and semiquaver turns that circle particular notes.
There is a mix of longer notes (tranquil) which are usually followed by shorter durations using sequential movement or short scalic runs. (energetic)
The lower electric guitar uses an improvised fragment of the melody using an ascending/descending stepwise motion motif that is then repeated again sequentially lower after the lyrics “frightened by the devil” (tranquil) This is also echoed by the higher electric guitar. (tranquil echoing effect, also at lower dynamic)
|
Less improvisation in this version. The melody is improvised a certain amount as indicated by the use of rubato while the piano stays fairly true to time. The use of melisma and downward scalic runs at her first ascent to higher pitch. Improvisation is subtle, uses stepwise movement and descending lines = tranquility
“Still I’ll be on my feet” extended in downward sequence.
Piano improvised fill uses elements of the melody but extends this scalically descending the melodic line, arpeggiation. Less ‘virtuosic’ and extended than Version 1 so more tranquil.
“Holy wine” uses improvised melisma to extend “wine” in a downward scalic run. Using some syncopated movement adding a little energy to the end of the excerpt.
There is less improvisation as there are fewer instruments and a more straightforward approach in Version B = tranquility. |
Work: ‘Out of Time Part III’
Artist: Iain Grandage
Performers: WA Youth Orchestra with Alumni
Excerpt length: 1’32”
(8 Marks)
Describe how the performers create and sustain mood and character in this work.
An elated, uplifting, energetic, excited character is created and sustained through
Work: ‘Albatross’
Artist: Sarah Blasko
Album: What the Sea Wants, the Sea Will Have (Dew Process/Universal Music Australia, 2006)
Excerpt length: 1’02”
a) How do the performers use tone colour to achieve expressive outcomes? (5 marks) A tranquil character with an underlying sense of restlessness is created through
Restlessness created through:
Listen to the first 1 min 17 seconds
Listen to the first 1 min 8 seconds
Thank you, anonymous, for this response and permission to publish it!
| A | B |
Jenn Gillan: A great way to compare characters here.
Jenn Gillan: Is playing off beat enough to equal improvisation? Does syncopation feed in to laid back? Maybe a little more elements needed here.
Jenn Gillan: Don’t forget to link these to character. It’s not sounding particularly relaxed again. You could either 1. Change your character word or 2. Work out a better way to say that something that is fast and improvised seems relaxed. Is this maybe to do with dynamics or tone colour? “While the scalic runs are fast and high, they are played at a soft dynamic and appear effortless, thus feeding into the relaxed character”
Jenn Gillan: Maybe discuss this uneasy character at the start too?
Jenn Gillan: The link to laid-back is much clearer here.
Jenn Gillan: Good reasons given for tone colour change. Great. · This is a contrast to the much more blended tone colours in excerpt B. |
Jenn Gillan: Having read through your analysis, I’ve missed you supporting the ‘playful’ character. I think it’s a good choice of word that needs supporting and can be supported quite easily with an improvised line.
Jenn Gillan: Better description of improvisation but to me it doesn’t sound so tranquil the way you describe it. So linking here still a bit of an issue. Great lining up these points so they’re easily compared though.
Jenn Gillan: Is this answering the question? You really need a heading to state which other element you’ve chosen to discuss.
Jenn Gillan: What sort of movement? |
Jenn Gillan: Some good comparison here. Just seems to lose focus a little toward the end. Keep linking to character and make sure you answer the question. Using headings might help especially when there are multiple elements you need to discuss. Make sure when having a chart you line up things and keep referring to the other version so that you don’t end up with two versions parallel, which is different from comparison.
Listen to the first 1 minute 12 seconds
Thank you, anonymous, for this response and permission to publish it!
How does tone colour and articulation create character in this work? (4 marks)
Character: longing /serene
Female voice: delicate and aspirant though creating the longing character through aspects of organic and longer decays of articulation on notes sung. Through the first verse on the ends of phrases = more longer decays = softens in dynamics = serene
Jenn Gillan: I think you meant aspirate (breathy) rather than aspirant, (aspiring!). Your link to ends of phrases and character is clear. I’d mention the use of lower pitch too, which has an impact on tone colour and how the phrases finish as well.
When the piece gets climatic towards the chorus through use of dynamics, there is a change in tone colour from an airy/aspirant tone to a crisp and organic tone of being bright. Especially heading into higher register of the voice, it becomes more prominent.
Jenn Gillan: I’d express this a little differently. Maybe “As the piece approaches a climax”. I don’t know if I really use ‘organic’ to describe tone colour. Given what is organic, or natural, would change depending on the instrument, using vocabulary that is more instrument specific might say more.
Piano accompaniment = delicate and resonant tone colours. Which is shown by the sequence of chords played through the piece adding improvisation through the use of lingering on the ends of chords and accents on every second chord of the sequence adding trills = complementing the characters of longing and serene.
Jenn Gillan: Mention influences on piano tone colour – mostly pitch I’d say, though also pedal, which has an impact on articulation too. I congratulate you on picking up on the piano trills, I missed this, as did everyone else who’s submitted so far! Take note of the articulation in the piano when she sings “once again”, which hasn’t been picked up by others either. I don’t know if your link to character is very strong here though.
Being a homophonic piece, together through the similar tone colours of the vocals and piano, and both different uses of articulation, when put together, they create the overall characters of serene and longing.
Jenn Gillan: Some great work here and good listening. Some work needed on clear linking to character. Some things you could explore – consistent, predictable approach to tone colour or articulation is usually linked with a tranquil character. Inconsistent, unexpected or sudden change from one extreme to another is usually linked with more tumultuous characters.
A much stronger response!
This is what can happen when a student takes on feedback, does the suggested reading and has another go!
Listen to the first 1 minute 12 seconds
Thank you, anonymous, for this response and permission to publish it!
How does tone colour and articulation create character in this work? (4 marks)
Jenn Gillan: Wow, this is much better!! I don’t think somberness is as strong as saying “creates a somber and regretful mood” but your connections are much better. Try not to change character words too much becase it can be confusing and appear as if the character has changed. If it has changed you need to locate your example and say what has changed the character. You can further describe bends saying:
Given this is a tone colour question too, bringing in tone colour would be an easy add here too.
Jenn Gillan: GREAT! A reason for articulation! Did you notice the change in piano articulation on the words “once again” ??
Jenn Gillan: Sometimes this is on the slightly uncomfortable lower register which gives a less supported effect which feeds into character I think. Remember the overall approach to tone colour can help create character. Changes in tone colour are subtle and expected. This works with your suggested character more than if it was sudden unexpected tone colour change from one extreme to another – which is more likely in a more aggressive or energetic character.
Jenn Gillan: This is great – just what I was suggesting before! I would leave out the “sense of storytelling” comment though. I don’t think it adds anything.
Jenn Gillan: Again, great. I don’t know what a change in character from melancholy to wistful looks like, they seem fairly similar to me… Maybe you could have said “an increased sense of or decreased sense of” instead. Or “…an intensification of this mood is created through…” instead.
Jenn Gillan: When you say due to register – state which! Some articulation points left out here and I’d always use two tone colour words but this is almost a different student writing. Congratulations, it’s a vast improvement!
First 1 minute 34 seconds
First 1 minute 34 seconds (then fade)
Thank you, anonymous, for this response and permission to publish it!
Bye Bye Black Bird Frank Sinatra
Jenn Gillan: I would maybe choose different words for both of these! I know what you mean but upbeat can be confused with anacrusis and there are more sophisticated words than jolly.
Jenn Gillan: What makes the tune ‘upbeat’? We can’t just take your word for it. And again, I’d use a different word to upbeat.
Jenn Gillan: You need more on what makes it improvisatory. Consider sequences, scalic and chromatic runs, syncopation, improvising arpeggiated or scalic variations on the main theme or ‘head’, using rubato in the soloist or main melodic player but not in the other instruments, repeating notes or motifs.
Jenn Gillan: Ok, but are you answering the question?
Jenn Gillan: I don’t think chaotic is needed here, try to describe what is there rather than what is not there. Are you answering the question? How do you know the horns are improvising? What’s happening melodically, harmonically or rhythmically?
Jenn Gillan: But how do we know they’re improvised?
Jenn Gillan: Well done comparing! But this is the first time you’ve compared in a comparison question. There’s a danger in leaving this too late. Which is why I recommend either 1. Using a table or 2. Going back and forth – eg. Version one has a faster tempo which seems even faster due to the use of semiquaver runs while version two has a slower tempo and uses quavers rather than semiquavers so seeming slower still. (Fictitious example rather than one from this piece)
Bye Bye Blackbird Etta Jones
Jenn GIllan: I think you may need to go through your character words. I don’t know how strong spontaneous is as a mood.
Jenn Gillan: I’m glad you’re comparing now. But you might want to say something about A to continue this sentence and be a little stronger on why using those instruments = freer. What are they doing that’s freer?
Jenn Gillan: Absolutely! But HOW are they playing with it?
Jenn Gillan: Good describing some of what’s happening in the improvisation here! You could have more but it’s a start. Try describing the syncopation more.
Jenn Gillan: Given phrasing is a whole area of the question much more is needed here. You have some places where you get close to making some really clear points, you just need to add more at the ends to make your point clearer. The points are in the detail! Also, remember this is a comparison question and that has to be the main focus of your analysis.
First 1 minute 34 seconds
First 1 minute 34 seconds (then fade)
Thank you, anonymous, for this response and permission to publish it!
Character of A (Frank Sinatra) : Energetic and jovial
Character of B (Etta Jones) : Playful and carefree
Improvisation/ornamentation/embellishment:
| A: | B: |
| · Piece A opens with an improvisatory, upbeat tune from the horn section that immediately establishes a bright and jovial atmosphere. While there is an improvisatory nature to it, particularly emphasised by the heavy swing, the unity between the multiple horns helps the opening of the piece feel more cheerful instead of chaotic.
Jenn Gillan: A great start! Clear comparison of character. More needed on what makes the piece seem improvisatory. We just can’t take your word for it unfortunately!
· The horns and the clarinet play short, improvisatory lines throughout the vocalist’s first verse. In these lines they frequently employ vibrato, which allows them to inject another layer of energy into the piece. While the heavy swing rhythms and slight variation between the horns’ improvised tunes allow these lines to feel improvisatory, the vibrato and articulation is repetitive and almost predictable, which allows it to carry a sense of stability and structure. This in turn contributes to a more unified and driven energy that helps to form the vigour of the piece.
Jenn Gillan: As above. More needed on what makes it improvisatory but some strong points in other areas. Just make sure you’re answering the question.
· The vocalist in piece A seems to use little embellishment as they sing apart from minimal use of vibrato. Jenn Gillan: There is use of some slides, playing around with the tempo etc. here. Maybe a little bit of a cop out. |
· The piano, similarly to the horns in piece A, opens with a short, solo improvisatory section. However, while interaction with the drums and bass lend it a sense of stability, the lone piano has a sense of freedom that the horns do not possess in piece A, allowing it to take on a more carefree attitude.
Jenn Gillan: You are so close to a great response! WHAT makes it seem improvisatory? WHAT creates the freedom you speak of? It’s the what that creates the analysis.
· The flute, similar to the horns and the clarinet in piece A, play short, improvisatory lines throughout the vocalist’s first verse. The flute relies on syncopation and flurries of short notes to establish its improvised nature.
Jenn Gillan: This is more like it! You’ve given a more detailed and convincing reason why this section is improvised. Rhythm and melody, as well as ornamentation, are worth discussing to make your point.
· The very varied use of these and other techniques allows the flute’s improvisation to feel much more original and natural than the horn lines in piece A, contributing to a much more impulsive character.
Jenn Gillan: Try not to cop out by saying “and other techniques”. Name them! That’s where the points lie.
· Unlike the vocalist in piece A, the vocalist in piece B makes frequent use of vibrato and scoops to embellish her words. This adds a layer of complexity and improvisation that communicates a sense of playfulness to the listener.
Jenn Gillan: The listener is a pet hate of mine! Try not to bring him/her/it up. There are many other ways of expressing your ideas without using this fictional character. |
Jenn Gillan: Overall some strong points! More needed in terms of relating the two columns to each other. Remember you’re answering a comparison question. More needed in terms of describing improvisation but you got better as you went along.
Phrasing:
| A: | B: |
| · Clearly defined, predictable phrases of the vocalist with an organic beginning and ending set up a relaxed atmosphere where the listener is able to latch onto the predictability of the vocalist with ease.
· The phrasing of the improvisatory horn lines in the midst of the vocalist’s first verse is of irregular length, much like the phrasing of the flute in piece B. Both of these instruments in both pieces therefore seem to be injecting a sense of free-spirited liveliness into the song.
Jenn Gillan: Some things to consider to flesh this out – What are the shapes of the phrases? Are there any short interjecting phrases? Maybe talk more of the function of these phrases and the trends – do they tend to be higher in pitch?
|
· Unpredictable phrasing from the vocalist and flute leaves the listener in constant anticipation of the next note; however, the chordal foundation of the bass and piano provides a sense of security to the listener, preventing the piece from becoming chaotic instead of playful.
Jenn Gillan: That dang listener!! What makes the phrasing unpredictable? Again, we can’t just take your word for it.
· The length of phrases by the vocalist is much more inconsistent and irregular than A; in some places they seem to be drawn out and other times they seem to cut off quite suddenly. The vocalist’s relationship with phrasing therefore comes across as very nonchalant and playful.
Jenn Gillan: Try to give more specific examples and mention trends and patterns. For example, the phrases tend to be longer leading towards a climax. Phrases are cut off after an extended phrase, which is balanced by a few shorter phrases. Also consider using lyrics or list what’s happening in the music (eg. before the trumpet solo, after the main climax, at the start of the excerpt) to pinpoint what you’re talking about. |
Jenn Gillan: Overall – Think about the shape of phrases, use lyrics to give more specific examples and consider the purpose of phrases. Remember to compare all along as this is a comparison question. Some solid work here. The format works well for you.
Listen to the first 1 minute 12 seconds
Thank you, anonymous, for this response and permission to publish it!
How does tone colour and articulation create character in this work? (4 marks)
The lead female vocal line opens with a heavily aspirated attack, creating an intense, stressed character.
Jenn Gillan: I wouldn’t have used the word stressed. Is there a better word? Maybe use lyrics to locate as well? You can then mention other lyrics/patterns within phrases that use the same technique. This makes this small point a bit more detailed.
Utilizing a warm tone in a high tessitura, the vocalist juxtaposes this tone with more aspirated attacks and ends of phrases, creating a tiredness in the distressed character of the piece.
Jenn Gillan: I’d review your character words. “tired” “stressed” “distressed” consider rewording. I have a list of character words in my book but you can also just take these words and use a thesaurus and pick some words which seem less like a value judgement. It was good that you mentioned where aspirate decays occurred – ends of phrases – but you called them aspirate attacks. Did you mean decay? Or the attack of the start of the final part of the phrase? Maybe clarify this.
The piano creates a homophonic texture, playing chordal accompaniment, providing a warm resonant tone underneath the main melody, which contrasts the aspirated and distressed vocals.
Jenn Gillan: What technique makes the voice ‘distressed’? What techniques or musical elements, for that matter, helps create a warm, resonant tone in the piano? Your analysis would be strengthened by giving more reasons why a tone colour is a particular way.
The piano ranges from held sustained chords which provide solid warmness, to fast, heavy attacks of staccato notes that push the rhythm of the piece along, conflicting the tired character of the vocals with an uplifting, upbeat energy.
Jenn Gillan: Where are the staccato notes? Are they actually staccato? Try to locate examples. Uplifting, I believe, is a stronger character word. I’d also use two tone colour words to describe each instrument and give influencing factors.
As the vocals reach the chorus, the singer extends into a higher tessitura, creating more strain in the voice and thus, a more distressed mood. this tension is relieved as the chorus opens with a much smoother high note, backed by legato, soothing backing vocals, building a much more comforting character.
Jenn Gillan: Good mention of pitch change. This would be strengthened by using tone colour words and stating that the vocal tone colour has changed due to higher pitch. You almost get there mentioning ‘strain’ but you need to be a little more specific. Overall, some good points but much more needed on articulation. I feel like I’m a broken record, but my chapter on articulation, particularly looking specifically at vocal articulation, might help. You did mention aspirate attack and some other attacks which was good, you just need more of this. Look more into how notes begin and end, list patterns and trends. For example, ____ occurs near the ends/starts of phrases, leading to/from a climax, at a higher/lower pitch.
Listen to the first 1 min 17 seconds
Listen to the first 1 min 8 seconds
Thank you, anonymous, for this response and permission to publish it!
· Has a tranquil yet slightly uneasy character
Jenn Gillan: Good listing character first. This can help focus your analysis. However, this is a comparison and the question asks you to compare the two. Should you compare these up front?
· The harsh, nasal tone colour of the brass instrument is created by its high register (and resulting loud dynamic). This contrasts with the sandy, less intense tone colour of the drums, created by use of brushes instead of sticks, adding a sense of unease to the otherwise tranquil character.
Jenn Gillan: ‘drums’ is a little general. Is this a drum kit? Snare? tom tom? Try to be a little more specific. Is use of brushes creating unease too much of a leap in reason? Watch your links to character.
· The piano line plays lots of improvisatory trills that create a laid-back mood, emphasising the character.
Jenn Gillan: When you say “…lots of improvisatory trills…” try to be more specific. What is the nature of the trills? How long are they? What are trends or patterns of where they occur? For example, the first beat of the bar, at the end/middle/start of a phrase, towards a climax etc. Also I don’t know if trills logically = laid back.
· Uneven, improvised amounts of space between the chords played by the piano at the beginning also create a laid-back and easy-going mood.
Jenn Gillan: Again, a need to be specific about the amount of space (one beat, one bar etc.) as well as trends but this is a stronger link to character I believe.
· The brass instrument in the foreground also embellishes its melody with trills.
Jenn Gillan: See comments on trends/patterns and being more specific.
Piece two: Someday My Prince Will Come by Bill Evans Trio (first 1 min 8 secs)
· Like the first piece, this piece begins with a tranquil character however changes to become more playful.
Jenn Gillan: This is a way of doing the analysis. I think it could work. It does mean that your first analysis isn’t a comparison, as required by the question though which is a lot of writing without answering the question.
· The piano has a very improvisatory feel as it plays a wide range of different chords and chord inversions in a short amount of time, and well as scalic phrases and trills. This creates an increasing sense of energy and helps shift the character from tranquil to playful throughout the excerpt.
Jenn Gillan: I like your justification for improvisation here with changes of chords, though I would ask again for you to be more specific as listed previously. Your link to character is stronger here too. But again, no comparison here.
· Unlike in the first piece, the tone colours of different instruments complement each other, contributing to the tranquil character. The piano has a reverberant tone colour, created by the mid-high register it is played in, and this blends with the sandy tone colour of the drums, created through use of brushes.
Jenn Gillan: Your work is getting stronger towards the end. However, this is a comparison question and there are very few sentences that compare the different versions. This needs to be made clearer from the start. When you mention “the tone colours of different instruments” you’re not giving the instruments or their tone colours or reasons why they might complement each other! That’s a lot of chances for points you’ve missed by being general here. Being more specific will give you more to write about!
Listen to the first 1 min 17 seconds
Listen to the first 1 min 8 seconds
Thank you, anonymous, for this response and permission to publish it!
How have different expressive outcomes been created through the elements of music in these two excerpts? (8 marks)
Jenn Gillan: Remember this question ask for Improvisation etc. and ONE other element. You need to list what this is and stick to it, or you’re not answering the question properly. Headings can help you focus on your chosen element.
The overall expressive outcome of Interpretation A is cheerful and playful.
Jenn Gillan: Good, but you haven’t compared this to the outcome of B.
Jenn Gillan: You’ve said the improvisation is simple, but how is it simple? In here lie points undiscovered!!
Jenn Gillan: Is this clear enough on its own? Maybe bring in other things to strengthen your point?
Jenn Gillan: Is this enough on its own to support your statement?
Jenn Gillan: Again, you need more support here! And please describe the embellishments. That’s the point of the analysis and the question they’re asking you – to describe the embellishments and link that to character.
The overall expressive outcome of Interpretation B is chaotic and energetic
Jenn Gillan: Watch the word confusing. It’s a little judgemental. Complex maybe? Again, you need to give reasons why it is ‘chaotic’. What happens rhythmically? Melodically? Harmonically etc.
Jenn Gillan: This is getting there but you need to be specific about what constitutes a multitude of notes and describe this more clearly. Are there scalic runs? Sequences? Use of chromaticism?
Jenn Gillan: Lively is not a tone colour word. Giving reasons as to why a tone colour is what it is can strengthen your answer. “Various registers” is a little broad. Try to be a little more specific. Your link to character is well made though.
Jenn Gillan: Oops! Upbeat is not a tone colour either! I try not to use this word in that context because it has a different musical meaning (anacrusis!) and this can be confusing. Overall some good points made but not a lot of comparison. Remember, this question asks you to look at how each piece creates character and compare them to each other. You might find it more effective to discuss the main melody line in version A then version B then describe the use of percussion in version A and version B. This is why I use charts. It’s also possible in point form or prose but you have to skip from one to another a lot. Maybe try experimenting in other formats. Best of luck!
Listen to the first 1 minute 12 seconds
Thank you, anonymous, for this response and permission to publish it!
How does tone colour and articulation create character in this work? (4 marks)
The overall musical character is sombre and reflective.
Jenn Gillan: Good having character front and centre and some nice words used here.
Jenn Gillan: Is this enough to support your character? Maybe use some other elements? Given the question, matching this with tone colour would make your point much stronger.
Jenn Gillan: Yes this strengthens it! Maybe take a microscope to the notes within the piano line. They’re not all played exactly the same way. Listen around the words “once again” for example! There’s a very deliberate change here.
Jenn Gillan: Is there a better way of saying “lacks excitement”? I’ve had some discussions with students lately about defining things by saying what they are not. This seems to be less ‘strong’ than defining them by what they are. More could be said about the drums here too. Tone colour and articulation. I usually use more tone colour words and your reasons why the tone colour is what it is needs strengthening.
Jenn Gillan: Any technical reasons worth mentioning as to why the articulation is what it is? Is this a little too general again? The comment on reflecting the vocal line works, though again, a little more detail, a little more specifics here. Overall some good descriptions, just try for more detail and do some study on articulation. Vocal articulation, see the Articulation chapter in my book and general articulation.
Listen to the first 1 minute 12 seconds
Thank you, anonymous, for this response and permission to publish it!
Creates a sorrow feel through her breathy and airy tone which symbolises sadness.
Jenn Gillan: Great putting character front and center, though I’d maybe say the character and then write “…created through:…” then give your dot points. Here it seems like this one thing is stand alone. Instead of ‘sorrow feel’ maybe try ‘sorrowful character’.
Creates a yearning character through her smooth articulation such as her scoop ins (at the start of phrases) and scoop outs (at the end of phrases) symbolising the sad state she is in.
Jenn Gillan: Last few words not needed. (Symbolising…) ‘Scoop ins and scoop outs’ might be better described as upward/downward bends. And if you’re giving these sorts of examples, it might be worth giving some lyrics where this is used to locate it. Good giving trends/patterns though – (at the starts of phrases) I would also go into more detail regarding “smooth articulation”. Articulation is very specific about how notes start/finish/are played or sung. More detail needed.
The thin tone when she holds the word ‘fight’ symbolises that she is in a yearning state and can’t fight back, contributing to the sorrowful of the piece.
Jenn Gillan: I’d use more than one tone colour word, ie not just thin, and I’d give reason for that tone colour. Why is it thin? What technique is she using? What register is she using? Is it comfortable/uncomfortable?
The contrasting thicker tone of the piano highlights the vocalist’s breathy tone which creates a focus on the yearning character of the piece.
Jenn Gillan: Again, with tone colour you need to give reasons why it is this way and use more than one tone colour word.
At the end of phrases we can occasionally hear the vocalist breathe out in a very airy tone, symbolising that she has been hurt and contributes to the sorrow nature of the piece.
Jenn Gillan: Saying “symbolizing that she has been hurt” is a little risky. Saying it as “contributes to the sorrowful nature of the work” is perhaps a better turn of phrase.
The lack of any accents in her articulation at the start of her phrases contributes to the yearning character.
Jenn Gillan: Can you analyse something by what it’s not? It’s better to say what it is. So instead of saying it’s not accented, say there is a gentle attack to the starts of phrases through the use of… is a better way to go?
As the chorus enters, the vocalist’s tone gets slightly thicker, symbolising a possible regret of her yearning nature, creating a sense of fight back and empowerment.
Jenn Gillan: Give reasons for the ‘thicker’ tone. And stay away from “symbolizing” statements. Maybe stick with “enhances or contributes or helps create a ____ character/mood” Overall some good points but light on in terms of articulation and you need to expand on your tone colour as suggested. If you have my book, maybe go through the articulation chapter, in particular common vocal articulation (page 132)
Listen to the first 1 minute 12 seconds
Thank you, anonymous, for this response and permission to publish it!
– This work has a despairing yet hopeful character.
Jenn Gillan: Great listing the character up the top. Makes it clear from the very start.
– The vocalist uses legato articulation to create a smooth sound, with predominantly softly spoken lyrics. This enhances the flow of the work and its hopeful nature.
Jenn Gillan: You might need to go into a bit more detail with this. Legato is fine, but you might want to talk about how particular notes start and finish. See page 132 of my book “Listening beyond hearing 3rd edition” for common vocal articulations that might help you be more specific.
– The piano line has uses the sustain pedal throughout the work, which has a similar effect to the aforementioned legato articulation of the vocal.
Jenn Gillan: Good mentioning reasons for articulation (ie use of the pedal) but again, you might want some more detail here.
– Accenting of negative words by the vocalist, such as “never” and “darkness” make them more prominent, which emphasises the despair.
Jenn Gillan: HOW are they accented? Is there a particular technique used?
– The aspirate tone that is used by the vocalist creates a breathy sound, creating a sense of the despair in the work.
Jenn Gillan: When mentioning tone colour it can be good to give reasons for a particular tone colour – for example, at a lower/higher register etc.
– The warm tone colour of the female vocalist is as a result of the comfortable range.
Jenn Gillan: You read my mind! Better.
The lack of strain from the vocals ensures that the piece can sustain the hopeful character.
– In addition, the piano line is played in a similarly comfortable mid-range, leading to a mellow tone colour that mixes well with the tone of the vocals to once again enhance the hopeful character.
Jenn Gillan: Overall some good points made. More needed on each topic and try to really hone in on the detail of how notes start and finish when it comes to articulation. Mention trends and patterns of articulation and deal with particular sections that stick out. Mention reasons for changes, both in articulation and in tone colour.
We’re looking forward to having you visit us in December! Here is the music in a video and as a graphic to help learn the songs.
The Cat Came Back
Debka Hora
One Bottle of Pop
Rose Red/Ah poor bird/Hey Ho Nobody Home
Liza Jane
The Cat Came Back
https://vimeo.com/238522874
https://vimeo.com/238522350
https://vimeo.com/238520349
Listen to the first 1 min 17 seconds
Listen to the first 1 min 8 seconds
Thank you, anonymous, for this response and permission to publish it!
– The use of clashing harmonies in the first excerpt creates tension in the opening of the piece, which is later released by the entry of the trumpet solo which used a more melodic line.
Jenn Gillan: You’re straight into it! Don’t forget the question. It may be good for you, (and the examiner!) if you state what the expressive outcomes (character/mood) are for each piece first. Maybe consider using headings to show which elements you’re using. This will help you keep to the question. Unfortunately, given that harmony is not one of the dot points, or improvisation as mentioned in the question, you wouldn’t get points for this paragraph, no matter how correct or well expressed you were. Maybe you were considering blend/balance? In which case, this needs to be a bit more explicit.
– In the second excerpt, the piano solo uses a more melodic line from the start, allowing for a relaxing, flowing character to be established.
Jenn Gillan: Again, a good point about the change of role, but hard to know what part of the question you’re referring to.
– The use of brushed on drums in both excerpts allows for a softer dynamic, ensuring that the solo parts remain prominent and that there is a lighter texture in the pieces.
Jenn Gillan: Great!! You’re dealing with dynamics here (which is on the list given in the question). You’ve given a reason for those dynamics too. Remember to link to character as the question asks.
– In the first excerpt, the soloists have louder dynamics in comparison to accompanying parts. For example, upon the entry of the solo trumpet line, the piano reduces its dynamic. This creates a less dense texture and allows for a laid-back character.
Jenn Gillan: Great. You’ve talked about character but only for one interpretation. You’ve given a reason for the laid-back character which is good but you’re not been clear enough on your reasons why dynamics are softer or how this compares to the other version. A little more detail needed here:
– In the second excerpt, the piano uses a louder dynamic with the right hand to ensure that the solo line is the prominent sound, which allows for a monophonic melody.
Jenn Gillan: Remember to link to character, give reason for dynamic change.
– The use of grace notes and glissandos in the solos of both excerpts creates rhythmic interest, with this effect adding to the legato style of both solos. This element once again emphasises the flowing characters of both excerpts.
Jenn Gillan: Great! Some vocab relating to embellishment/ improvisation! Maybe try to be a little more specific and give a lot more detail given that this area should make up half of your response. Tricky isn’t it?!
Overall: Some good points, more detail needed and a closer reading of the question. Headings, and stating the character of each interpretation first, may help to keep you on the right path.
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Thanks to Sarah Bouquet for this response and her permission to print it.
Davis’ rendition of “Someday My Prince Will Come” begins with the soft tinging of the drum, as well as bass and keyboard. The increase in instrumentation results in a very gradual crescendo, anticipating the entry of the saxophone, which enters at a louder dynamic, clearing delineating it’s role as the soloist. The saxophone’s melodic material often consists of jumping from one dynamic extreme to another; from quiet, low, mumbling notes to ‘forte’, soaring upper range. In Evans’ version, the dynamics are fairly consistent throughout; there are no drastic changes, resulting in a gentler, laid-back approach.
Jenn Gillan: Some great use of language here, but you haven’t addressed the question. WHAT are the different expressive outcomes? It’d be best to cover this part of the question first. THEN use musical examples to back it up. Consider using headings to make it clear which elements you are referring to. In this question one element has to be improvisation etc. the other must be from the given list. Headings can keep you on track. You do attach this to character at the end of the paragraph but that’s just for Evans.
Gradual entry of each instrumental voice culminates in the introduction to Davis’ piece, creating a “wash of sound”. The insistent drum, hollow-sounding persisting bass, shimmering glistens of the snare drum and the flitting, airy quality of the syncopated keyboard chords almost form a polyphony, with each line independent in rhythm and tone colour. This dissipates when the saxophone enters, the bass playing in a “walking” accompaniment style and other instruments reducing their dynamic, becoming an accompaniment for the saxophone, however with keyboard occasionally ‘popping’ out in between and interacting with the melodic phrases. A more homophonic style is evident in Evans’ rendition, with the walking bass and shimmering cymbal emphasizing the beat throughout, providing the harmonic and rhythm framework respectively. The accompaniment remains soft and muted throughout, with the main melodic material carried by the keyboard clearly in the foreground, the complex melody ringing out against the simpler harmony.
Jenn Gillan: You seem to be discussing dynamics but some of thi is not dynamics. You write well on dynamics. When you mention tone colour mention what it is and, as this is a dynamics response, what the affect on tone colour is. Also remember to link to character!! This needs to be clearer.
In Davis’ version, the alto saxophone’s improvised line consists of fast flurries of notes, utilizing an extreme tessitura and very fast flurries of notes to create a vibrant and exciting atmosphere. This is emphasized by short, punchy phrases, with Davis using these virtuosic ‘flashes’ as a means of embellishing his solo. However, what dominates the melodic line is the breathy, “barely-there” quality of Davis’ notes, rendering the overall tone quite light and husky. In contrast, Evans’ solo consists of longer, more lyrical phrases, only momentarily interrupted by quick, bouncy call and response phrases between the RH melody and LH accompaniment, rendering his version smoother; more arch-like. Nevertheless, Evans melodic material still moves frenetically, with speedy, virtuosic runs and dotted rhythms creating a more traditional “jazzy” sound, in comparison to Davis’ experimental style.
Jenn Gillan: Possibly a few more descriptive words relating to improvisation here. There doesn’t seem to be enough of an emphasis on this aspect seeing it’s a key factor in the question. Maybe a bit more of a description of the ‘virtuosic flashes’. What are they? Are they scalic runs, ascending/descending passages focussing on a particular note? or…? Other than that, this is some great writing on some of the Jazz based influences on the piece. Heading would make it clearer what you were discussing from the word go and help keep you on track. Some good work, just a little more clarity needed and answer the question!
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Thank you to Jacob Biviano for this response and permission to print it.
Character:
Jenn Gillan:I think you meant to put a character here but it’s blank! Good place to spot it but definitely a few character words needed here.
Miles Davis: Someday My Prince Will Come
Tone : nasal tone colour by trumpet, overall blended, complementing
Sax: nasal tone colour by the use of a mute, smooth free flowing
Drums, transition from brushes to sticks, sandy tc to woody;
Blend and balance; thin texture, homophonic, piano (virtuosic)
Piano was in foreground in both pieces, however more dominant in ‘Bill Evans
Trio’ contributed heavily to well rounded tc
Jenn Gillan: Some great descriptions of tone colour. Make sure you link them to influences (eg. pitch, dynamics, techniques) and make links from these to Character. Without doing this you haven’t answered the question! For example, complementing tone colours = a serene character) You also haven’t stated which character is which in the Evans or Davis versions and how these compare.
Bill Evans;
Character: elated, playful, content
Jenn Gillan: Comparison with the other version might be useful here, which is why I find tables useful.
Piano Foreground, drums softer dynamics compared to Miles Davis, not much
melodic variety, consistently repeated phrasing,
Jenn Gillan: A comment on how this affects character would be a good way to answer the question. Also link to influences. If the drums are softer/louder, why? Is this to do with balance or complexity of rhythm or stick choice or…?
Syncopated rhythm from drummer with addition of brushes which create a
metallic, raw, abrasive tone colour.
Jenn Gillan: Great, you mentioned an influence here! – addition of brushes. Link always to character!
Groupings of 4 when drummer solo’s
Clear underlying beat, diatonic notes from scale (piano solo), 8 bar blocks,
Grace notes, ornamentation from whole trio,
Begins relaxed. Calm and gentle character, restaurant feel, repetition of drum
hits in solo, pretty dense,
Piano- portamento, short phrases (melody), continuously unfolding
Jenn Gillan: Some great analysis here. Your biggest issue is that it didn’t answer the question. Link these aspects to character, even by writing = energetic would improve it immensely. Use of headings would make it clearer for an examiner to know if you’ve answered the question. There were only two elements that needed to be discussed. One of these had to be embellishment/improvisation, which is only mentioned in passing here. Much more needed here to fully answer the question and headings would make it clear what your other element was. Great use of language, just need to read the question and make sure you respond to this!
Game, music and lyrics by Jenny Gillan
Thank you again to my students at the Victorian College of the Arts Secondary School for their enthusiastic participation. Especially to the students from Orientation Week who came in especially. None of this would be possible without James Lauritz who filmed it all, donated his time and skill and was such an ease and pleasure to work with. Thank you, James!
Teaching Purpose: Compound time Major tonality practice ‘ti’ by step (first line) Syncopation in 6/8
Formation: Can be done sitting/standing in chairs or in a circle. Even number of participants if standing in a circle. Before beginning get students to nominate every 2nd person as A or B. Decide on who their first side partner is and who their second side partner is. Inform them that the As go down and touch the ground first.
Activity: Actions done to the beat
Action 1:
Repeat for entire song
Actions 2:
Action 3:
Action 4:
Extension:
Sing doing Action 1 for half a song, Action 2 for the other half of the song.
Sing doing Action 3 for half the song, Action 4 for the other half of the song.
Sing doing Action 1 for phrase one, Action 2 for phrase 2 etc.
Thanks to all who attended my 2017 presentation at the AMusE VCE Conference. My notes can be seen below.
AMUSE 2017 VCE Conference Notes
This includes a guided listening example and notes on comparison.
Chapter Four of my book, Listening Beyond Hearing relates to musical texture. For this chapter I had an ex student, the talented Mateusz Gwizdalla, compose a melody which he then arranged using different textures. The score of these examples are in the book with further comment, YouTube links and activities. Hearing the textures as well as seeing them on the score may help students to understand the effect created by texturally treating the same melody differently.
My gratitude to Mati for his enthusiasm and creativity writing to my specifications. I sometimes feel like I’m asking him and Tim Mallis to “Paint me a painting to match my couch!” But I’m so grateful for their willingness to compose and their grace to modify their ideas to help make the musical point I’m trying to make. Also, to Tess Kisilevich who put in many hours of work making the video for me, especially when I kept changing my mind! She is grace and patience personified.
This game is dedicated to Anna, who made me a Vegetarian Bear badge and who always loved the song.
Thank you again to my students at the Victorian College of the Arts Secondary School for their enthusiastic participation. Especially to the students from Orientation Week who came in especially. Also to colleagues Melinda Sawers and Sue Lyons and ex students Leighton and Jem for lending their expertise. None of this would be possible without James Lauritz who filmed it all, donated his time and skill and was such an ease and pleasure to work with. Thank you, James!
Teaching Purpose: Compound time Tonic, Dominant (I-V) harmony
ka-ti-ti-ka (Veggie Bear)
anacrusis and ka-ti-ka-ti (Emperor’s New Clothes)
Formation: One circle seated on the floor, each person with a cup or a clave or a shoe(!)
Actions: Actions to the rhythm ti-ti-ti tam –
Actions for the Emperor’s new Clothes are the same, they just start with action four first.
Extension:
These songs can be done in a round as well as being partner songs. This is possible in up to six parts – six different circles. Also possible to have different people within a circle singing different parts.
Thank you again to my students at the Victorian College of the Arts Secondary School for their enthusiastic participation. Especially to the students from Orientation Week who came in especially. Also to colleagues Melinda Sawers and Sue Lyons and ex students Leighton and Jem for lending their expertise. None of this would be possible without James Lauritz who filmed it all, donated his time and skill and was such an ease and pleasure to work with. Thank you, James!
This clever echo activity speaks for itself (I hope!)
I do this sort of activity with my students every lesson, regardless of what rhythm set they are working on and how advanced they are. I also do a similar activity with melodic clever echo and with chords, or harmonic clever echo. These are great warm up activities to do before doing rhythmic dictation exercises.
Step 1: Teacher claps four beats (or two beats)
Step 2: Students echo clap
Step 3: Students say the rhythms to rhythm names. This can be as a class then, after the class seems to have built momentum, individually
Step 1: Teacher claps four beats (or two beats)
Step 2: Students say the rhythms to rhythm names. This can be as a class then, after the class seems to have built momentum, individually
Thank you again to my students at the Victorian College of the Arts Secondary School for their enthusiastic participation. Especially to the students from Orientation Week who came in especially. Also to colleagues Melinda Sawers and Sue Lyons and ex students Leighton and Jem for lending their expertise. None of this would be possible without James Lauritz who filmed it all, donated his time and skill and was such an ease and pleasure to work with. Thank you, James!
Teaching Purpose: Compound time fa and ti approached by skip & in a Major context. Tim-ka ti
Formation: One circle with every second person partnered off.
Actions:
Step to the pulse. Shake hands with your partner to the beat. As you do so pull past them to meet the next person coming towards you. Continue this until the lyric “Way hey”
On “Way hey” to quaver pulses
REPEAT FOUR TIMES
Return to shaking hand movement until “Give me some time” where you repeat the “Way Hey” Actions.
Extension:
On “Give me some time” link arms with your partner and do a half turn so you are facing the opposite way. Then repeat “Way Hey” actions twice on the words “Blow the man down”
Thanks to Deborah Smith for the time we’ve spent together writing games and collating resources. Your generosity as an educator and friend is so much appreciated! Thank you again to my students at the Victorian College of the Arts Secondary School for their enthusiastic participation. Especially to the students from Orientation Week who came in especially. Also to colleagues Melinda Sawers and Sue Lyons and ex students Leighton and Jem for lending their expertise. None of this would be possible without James Lauritz who filmed it all, donated his time and skill and was such an ease and pleasure to work with. Thank you, James!
Teaching Purpose: I IV V harmony fa and ti approached scalically & in a Major context.
Formation: Two circles with inner circle facing towards outer circle.
Actions on quaver pulses:
These games are designed to be part of a five minute segment in a music classroom setting. Each time the song is experienced, another more complex element is added. These videos demonstrate an experience of the songs after many different five minute segments.
The songs use rhythmic or melodic elements which students then use in their musical dictations, improvisation and reading. Games enable students to experience these elements in context as well as develop coordination and provide enjoyable singing experiences.
First Five Minute Segment: Learn song. I teach this song by having the actions for the words, for example pointing to my watch for ‘late’, opening a book for ‘tell me a tail’ . As there are a fair few lyrics it takes some time to get this down.
Second Experience: Review song, Sing with clapping pattern, just in partners without moving.
Third Experience: Review song and first action. Learn song with outside circle moving after every two phrases.
Forth Experience: Review song and known actions, move after every phrase.
Fifth Experience: Inner and outer circle move after two phrases.
Sixth Experience/Extension: Inner and outer circle move after every phrase.
Enjoy!!
The third question in the 2016 VCE Music Style and Composition Exam.
Excerpt: George Deryfus, Sextet for didjeridu and Wind Ensemble
(10 Marks)
(1 minute 4 seconds)
The didgeridoo and woodwind instruments set up contrast immediately through articulation and tone colour. The didgeridoo has legato articulation of the drone which is punctuated by rhythmic pulses. It plays with an airy, reverberant tone colour with nasal overtones. The woodwind instruments play with short, staccato notes and have a bright, clear tone colour at a much higher pitch which contrasts with the lower pitch of the didgeridoo.
Rhythmically, the pulse of the didgeridoo is a little unclear due to the irregular frequency of accented pulses. The woodwind instruments seem to have a very strict sense of time within their played phrases. Initial short phrases contain flowing, quavers with sharp attack and almost instantaneous decay.
The length of didgeridoo phrases is fairly continuous due to the nature of circular breathing. This provides an underlying textural layer. At one point the lower, reverberant pitch is contrasted by a higher pitched, warm blown note on the same instrument.
Phrase lengths in the woodwinds contrast. They begin being momentary – less than a bar in length then extend upon each repetition. Short phrases have sharper, accented notes which contrasts to some longer phrases which are played more legato as the piece progresses.
Short opening phrases which are rhythmic in nature and scalic, wavelike in contour are contrasted with a single rhythmic unison accented beat. This contrast of short duration to long continues as a pattern.
Towards the end of the excerpt some longer phrases are played with staccato articulation while others with similar melodic approach are contrasted with the use of legato articulation and a softer dynamic.
The initial woodwind phrase has an ascending contour and is in unison. In contrast, other phrases are treated using weaving contour – all contours are wavelike, they just ascend and descend at different times, though most use rhythmic unison to a greater or lesser degree.
The final analysis question of prerecorded music for the 2016 Music Style and Composition Exam. Sample responses by Jenny Gillan
Hubert Giraud and Jean Drejac ‘Sous le ciel de Paris’
This question features two excerpts from this work – excerpts 4a and 4b. 4b includes all of excerpt 4a plus another 1 minute 18 seconds of the work.
(6 marks)
The opening cello melody begins with a large interval – an ascending minor 6 – and contrasts with a small interval – a descending minor 2nd. This pattern of larger intervals being balanced by smaller intervals in contrary motion is often used in this excerpt at different pitches. Often these melodic motifs continue scalically to complete a phrase. A descending, scalic motif is played sequentially before the voice enters.
The tonality is minor and melody is consonant, without use of chromaticism.
In contrast the intervals of the vocal melody are smaller. Scalic in nature and arch-like in contour. This scalic, arch-like contour is repeated almost sequentially down in pitch.
In the first phrase of the vocal part the descending melodic line in the vocal line complements the descending scalic movement of the cello creating parallel 6th harmony.
The accordion’s melodic line consists of four pitches beginning at the upper tonic and descending scalically.
(8 marks)
The opening texture of solo cello is monophonic. Once the voice enters, this is initially biphonic – the cello maintaining a drone while the voice provides the main melody. The arch-like contour of the opening theme develops through increasing textural thickness. The texture then becomes homophonic – harmonised lines, nearly rhythmic unison between the cello and voice. The texture thickens as more instruments are added. Different expressions of homophony are heard. The accordion adds a three time typical 1 2 3 bass harmony (3rds) harmony (3rds) motif. Later on this theme is developed as it is taken over by the piano– the left hand playing the first beat of each bar. This is developed from the accordion as the first note was much longer and louder while the piano left hand did not ring out as much and thus played more of a bass role rather than melodic role as in the accordion’s statement of these notes.
The accordion changes to a more melodic role and develops the melodic idea by playing in a heterophonic manner at the repetition of the verse. At times playing the exact melodic line, at times adding embellishments of trills or turns.
The piano enters thickening the homophonic texture through providing a rising arpeggiated accompaniment. The nature of this accompaniment develops itself once the piece rises to climax. Towards the first rising climactic line the piano plays at moderate register a complementing melodic line in unison.
The texture further thickens as the piano plays duplet descending sequence then complements each first beat of the melody with punctuating chords.
Before the end of the excerpt the texture becomes more complex with the accordion playing a chromatic triplet semiquaver counter melody and polyphonic overall texture. The cello doubles the melodic line at the octave and while it seems that the accordion is playing an independent line to some extent they are connected. Within the semiquavers the melody itself is doubled on accented notes thus the melody is reinforced even more.
The second question in the 2016 Music Style and Composition exam. These questions would also be worthwhile setting for Music Performance exam students as revision.
Excerpt: Mia Makaroff ‘Butterfly’ (2 minutes 1 second)
(10 Marks)
In the introductory chord of this excerpt voices are used in the manner of a synthesiser. Long held chords on ‘ah’ vowel crescendo. Use of extended chord here.
Voices are used in this excerpt are often used in an instrumental way. As the work is a cappella both vocal and instrumental roles are sung. Legato lower line from the alto to a ‘dm’ sound provides harmonic foundation on each dotted crotchet value. This role is eventually taken over by the bass as the texture thickens and male voices are added to the texture. The middle voices take a harmonic role completing the arpeggiated figure begun by the lower voice and singing on each unaccented semiquavers.
Two counter melodies from the sopranos initially takes the foreground role. These melodies interplay contrasting longer notes with shorter notes. Roles change as the second soprano sings the main melody and the first lyrics are heard. These counter melodies continue but the main melody takes prominence through use of louder dynamics, a warmer tone colour and longer note values. The interplay of these counter melodies seem to be word painting on the text “we fly in circles, we play with the sun”
The use of voices changes at the end of the final verse lyric “Blue the sky”. The texture here is homophonic. The tone colour unified, rich and blended. Rhythmic unison emphasises these words as does the sudden, dramatic change in harmonic technique and texture. The voices are treated more as voice here rather than being used for their instrumental properties.
The chorus continues in this chorale style – harmonised melody with rhythmic unison. As the section progresses there are answering phrases in the lower parts and the texture becomes a little less clear in its homophony. Rhythmic unison, harmonised parts helps clarify the division between the two sections.
(8 marks)
Introduction – long held note cluster chord. Beat unclear until tenor comes in with two quaver anacrusis.
Time signature – 6/8. Tempo remains steady throughout. Tempo itself is not particularly fast but appears that way through the use of interplaying semiquavers/quavers.
Opening section rhythm – tikatika-ti ostinato but this is spread between parts. Alto on first pulse, lower soprano next two quavers, mid sop. the next two.
Counter melody high soprano – phrases have longer notes. Dotted crotchets/dotted minims. Use of semiquaver embellishment in change between notes.
Lower counter melody – shorter note values than upper counter melody. When longer notes occur near the end of phrases, the upper counter melody fills this in with a change in pitch or slightly shorter notes creating polyrhythmic interplay.
Bass in verse sing dotted crotchets. Gives clarity to harmonic rhythm. In chorus rhythmic unison with other parts.
Main melody slight syncopation and frequent use of duplets. Phrases often start with longer notes. Some rubato/greater freedom in pulse in opening voice which means rhythm at times is slightly out of sync with other parts.
Rhythmic unison used in second section. Rhythm here more reminiscent of opening main melody. Use of duplets ties into this theme. Rhythms slightly polyrhythmic especially near the ends of phrases which uses call and response.
It is the first year I’ve put my responses up for this subject, and may well not be a regular thing given the insanity of my timetable at this time of year but for your interest, here are my responses to the 2016 exam.
https://www.youtube.com/watch?v=EGt000iascg
Excerpt: George Gershwin An American in Paris (1 minute 7 seconds)
(10 Marks)
Discuss how the composer evokes a sense of energy and busyness in this excerpt
The tempo is not actually that fast though seems to be due to short rhythmic values = energetic.
Rhythmic values in the work get a little more complex as the piece progressed which increases the energy. Starts with titi ta motif from strings with long held note in flute which is then interrupted with semiquavers. Use of rhythmic layers – titi ta is heard in the strings. Semiquaver rhythmic figures in the woodwind interrupt and add to the busyness of the work
Use of rhythmic motif in xylophone which uses quavers and semiquavers which get shorter in value near the end of the phrase diminution of values until the rhythm is effectively an ascending glissando. Rise in pitch as well as shorter rhythmic values increase the energy.
The brass enters at a much louder dynamic than strings combined with woodwind. The contrast between legato articulation of the strings and woodwind and staccato, accented notes in the brass increases the energy of the piece. Lower brass has accented crotchets with a booming, rounded tone colour. Trumpets have accented off beat accents which thickens the texture and increases the busyness. Trumpet nasal, sharp tone colour played at high register increases the energy.
Accented ti-ti ta motif with a bright, nasal tone colour
Accelerando near the end of the excerpt increases energy and is enhanced through the change of rhythmic motif from tika-ti to running semiquavers. These are also at higher pitch and louder dynamic which increase the energy of the work. Here roles have changed to a degree with the brass taking the lead in the melody rather than responding to the strings. Given their louder dynamic and brighter, harsher tone colour, this too increases the energy of the excerpt.
Off beat accents from the snare after the brass entry increases energy as does accents from the cymbal in rhythmic unison with the height of each descending sequential melodic unit also increases the thickness of the texture and adds to its energetic nature.
Work: ‘Deception Bay’
Artist: Boo Seeka
a) Describe how the vocalist uses tone colour to create expressive outcomes. (4 marks) The expressive outcome, a laid-back, relaxed character.
b) Describe TWO ways in which the use of phrasing by the performers in this band creates character in this excerpt
(4 marks)
2. Long legato phrases in accompaniment:
Work: Wild Swans Concert Suite – Eliza Aria
Composer: Elena Kats-Chernin
Track from the album: Wild Swans (ABC Classics, 2007)
(12 Marks) This excerpt has changing moods. Discuss how the performers create these moods using:
The mood of this work is tranquil at points and more energetic at others.
Blend and balance:
In the opening tranquil sections the parts are blended through the use of similar tone colours. Similar tone colours, unified blend = tranquility.
The bright clarity of the voice matches the bright, clarity of the piano line. The soprano sings at a comfortable high register. Strings are also bright/ringing in quality. Lower strings add depth to the sound and the warmth of their tone colour gives grounding to the sound and enhances the tranquility.
The soprano’s melody is forward in the mix through the use of high pitch, brightness of tone colour and a louder dynamic. The accompanying parts are softer through slightly lower pitch or, where pitch is similar or higher, softer dynamic level.
Interludes between the sections from high woodwind instruments – oboes and flutes in particular – take over the main melodic role and move to the foreground as the voice drops out. The texture here is much thicker as the parts are harmonised in rhythmic unison. So, while the texture is still homophonic, the character of the piece is more energetic than tranquil. The intensity of this section increases as upper strings play long held notes, which maintain a harmonic role, at a similar register to the woodwinds, thus increasing the dynamic and the energy of this section.
The use of polyphonic texture increases the energy as the vocal staccato melody is played on equal footing (similar dynamics and tone colour) to the woodwind melody. This is complemented by an increase in tempo. The strings remain in the background when playing staccato pizzicato articulation.
Roles change again as the flute plays the main melodic theme, again using staccato articulation and comes to the foreground through use of high pitch. The texture here is polyphonic as the upper strings play a counter melody with longer note durations.
Near the end of the excerpt the upper strings take over the main melody and this interchanges with the voice, changing roles while maintaining the homophonic texture. The voice drops out while the strings take over in a similar manner – long legato lines, flowing melodic contour using comfortable, stepwise intervals. Later the melody is doubled in unison between the soprano and the upper strings. The character here is more energetic as a result.
Energy here is also created through the use of woodwind counter melody, similar to that played earlier but this time down the octave and at a softer dynamic. This causes it to retreat to the middle ground but the thickening texture as a result increases the energetic nature of this section.
Articulation:
Staccato articulation in the voice mirrors the use of pizzicato in the strings and staccato articulation in woodwinds, piano and glockenspiel. Having said this, the reverberant nature of the glock results in a longer decay for this instrument. Equally, the piano has some natural resonance that causes the notes to have a more gradual decay in comparison to the voice. There is a degree of delay to the decay of strings through natural resonance while the voice has a fairly abrupt attack and decay. The unity of articulation here, while staccato, helps create at tranquil mood, particularly when paired with a softer dynamic and slow, steady tempo.
Near the end of the excerpt unified staccato movement is replaced by long legato lines. The connectedness of these parts you would assume would create tranquility but a change in harmony to use of chromaticism and a louder dynamic, as well as the changing roles of the strings and voice, mean that the character is more energetic. Here there is organic attack and tapered decay on vocal and string lines in particular which are similar in articulation again.
Before the entrance of the legato strings the vocalist contrasts articulation and allows for smooth transition between sections. Her opening notes are sung staccato while the next phrase is sung at a lower pitch and uses flowing, well connected legato lines.
During this final section articulation is unified in a similar way as the opening phrase. This time unified through the use of long legato lines. The string pizzicato movement, which was pretty consistent throughout the excerpt, is replaced by well connected phrases. The performers seem to have changed the expected roles of articulation in creating mood. While legato lines usually signify tranquility and staccato usually implies energy, the manipulation of the other elements of music, in particular harmony and dynamics, create the opposite effect. The woodwind layer here is still staccato but is not as pronounced as it is at a softer dynamic and lower in pitch. This layering of contrasting articulation increases the energy.
The flutes, when they take over the main melodic figure from the voice remain semi-detached. They are smoother and more joined than the voice while still maintaining a little separation between notes and sudden attack. When the voice reenters, the contrasting legato line contributes to the complexity of the layers. Contrasting articulation here helps create a sense of energy.
In 2017 the VCE introduces a new syllabus for Music Performance. To support teachers and students studying this new syllabus, Edition Three of ‘Listening Beyond Hearing’ is nearly complete! I’m particularly excited about the Harmony chapter. Thanks To Matti Gwizdalla and Timothy Mallis for their help in composing pieces for this new edition.
Click for a link to the flier for the New Edition
Click to order (when available!)
Here’s the fourth response to the ‘Babe’ question, together with my feedback, as posted on the VCE Music Support Facebook page 2016. Again, thank you for your time completing this analysis and courage to have it published. This one is from Eliza O’Connor who’s getting much better don’t you think?!
Analyse up until “Get yourself a dog, Hoggett”
Jenn Gillan: Good connection, good description. In terms of blend it’d be worth mentioning tone colour here, especially if blend is being discussed.
Jenn Gillan: Again, great example and description. I’d add the use of other elements that help support the crescendo. Look at my book under the dynamics chapter – ways to create dynamic change for more ideas.
Jenn Gillan: Again, great. And a good chance to mention tone colour and possibly rhythm.
Jenn Gillan: The thin texture itself doesn’t build the tension, but gives space for the tension to build? Reword slightly?
Jenn Gillan: Great. Just maybe mention reasons why the trumpet has this tone colour?
Jenn Gillan: Great. Remember to link to instruments. Who does the gliss? Describe the gliss in a little more detail. Is it a slow or fast glissando? Does it go down/up to another note or go down a small or large interval?
Jenn Gillan: Again, great connection between musical technique/influence and tone colour. Excels means to be good at something. I think you mean accelerando – to speed up? This last paragraph doesn’t connect to character, which is important as it’s the last paragraph. Overall MUCH better! Clearer connections, more relevant examples linked to both technique/musical factors and character. Some things to add/consider as suggested. Well done.
Here’s the third response to the ‘Babe’ question, together with my feedback, as posted on the VCE Music Support Facebook page 2016. Again, thank you for your time completing this analysis and courage to have it published.
A tense , suspenseful chaotic character is created through the dynamic changes and changes in texture.
Jenn Gillan: A great opening sentence. I wouldn’t limit it to two things but good to state the character initially and give a foretaste of what you’ll discuss.
The dark cellos open the piece using arch bowing producing a growling, reverberant tone colour.
Jenn Gillan: ‘dark’ cellos – you might want to state the dark + ___ tone colour of the cellos. Good giving reasons for tone colour and link to character in your next sentence.
This produces an underlying suspense and a fearful tense character………… The flutes enter in with the cello playing a melodic line with descending intervals. This produces a more brighter, smooth tone colour. With the strings entering an playing in unison anticipation is created and a fearful character that is unsure of the future is developed…
Jenn Gillan: I’d leave out the ‘fear of the future’ bit. Words like ‘ominous’ might suit better. The other question is whether your musical example is strong enough to support an ominous character. Maybe a few more elements of music need to be mentioned which in combination support your choice of character.
The timpani plays a crescendoing roll which signals the entering into a new section. Its dark reverberant sound adds to the overall tense, suspenseful character……. The repeated violin line creates a new steady character with its brighter timbre. However tension grows through the horns with an underlying rich, brooding timbre. Creating a more chaotic character the texture become thicker with the brass playing on the 2 and 4 creating a pounding but harsh timbre….. Signalling another section the timpani plays at an mp dynamic using mallets creating a dark reverberating sound.
Jenn Gillan: It might be worth discussing what factors help the dynamics increase or decrease. This is often a mixture of instrumentation, pitch, rhythm, tone colour etc. Other elements combine to create this character and you’re able to discuss all of them.
The drop in dynamic creates even more suspense being obvious that their will be a major musical crescendo adding to the tense nature of the song. A spooky haunting character is created by the xylophone laying out the pulse.
Jenn Gillan: Better word than ‘spooky’? Why is it obvious there will be a crescendo? A little more detail needed here.
Through allowing each note to ring freely creates a resonant, metallic and piercing tone. The instruments all crescendo in unison to the climax of the song and dramatically cut out of the mix creating a tense feel.
Jenn Gillan: Link tone colour with specific instruments and techniques or influencing factors. Overall, some strong links from character to musical elements. Some of these need to be strengthened as suggested. Try talking about more of the expressive elements in a question that allows for all elements to be covered.
