Transcript Yr 10 Bernstein - Stanborough Music

https://prezi.com/axoitgr1wq20/year-10-melodybernstein/?utm_campaign=share&utm_medium=copy
Name
Class
Target
Project Grade
Term
Definition
syncopation
Gradually get quieter
Notes placed on the weak beat
cross-rhythm
Two different rhythms, with different emphasis, played at the same time
sempre dim
triplet
push-rhythm
Allegro
West Side Story
Musical
subito
arco
pizzicato
Staccato
marcato
ostinato
word painting
flattened 7th
syllabic
tritone
modulation
Three beats in the space of two
Where the synopcated beat is fulling emphasised
Fast
Musical based on Romeo and Juliet set in New York
Theatre piece with music, dancing and acting
Suddenly!
With a bow
Plucked
Short note
Emphasised note, but full length >
Short repeated pattern
Music which matches the mood or lyrics
Lowered pitch of the 7th note of the scale
One note per syllable
Augmented 4th – gap of 6 semitones – D to G#
Change from one key to another
Bernstein – Something’s Coming Listening DR CAT SMITH
Dynamics
Rhythm
Context
Articulation
Texture
Structure
Melody
Instruments
Timbres
Harmony
Dynamics
How the dynamics change Gradually – using crescendos and diminuendos
FIND: Pianissimo PPP Bar 106
FIND: Subito Bar 128
FIND: Sempre dim. Bar 148
Rhythm
Time signatures
Tempo
FIND: syncopation
FIND: triplet
FIND: cross-rhythms
3/4 and 2/4
Fast – Allegro – 176bpm
From bar 1! (Vocals bar 13)
Bar 17
Vocals Bars 82-87
Context
Stage Musical
1957
West Side Story
Genre
First Performance
Production Name
Musical Fingerprints •
•
•
•
•
Different types of songs – solo character, duets, action songs,
chorus numbers,
“Singable” melodies,
Influenced by jazz
Based on Romeo and Juliet by Shakespeare
Set in New York
Articulation
FIND: pizzicato
FIND: staccato
FIND: marcato
Main Texture
DESCRIBE ACMP:
Bars 1-20
DESCRIBE ACMP:
Bars 21-31
DESCRIBE ACMP:
Bars 39-105
Bass
Bar 1 Bass
Vocals bar 4 (and many more)
Texture
Homophonic
syncopated
anticipation notes
staccato
ostinato
Starts monophonic
time signature change
Loud!
Change of beat emphasis
Um-cha-cha rhythm
time signature change
riffs./ostinatos
Structure
Structure type Verse Chorus (ish)
Intro: bars 1-3
A: bars 4- 39
B: bars 40-105
Overall Structure
B1: bar 106-140
A1: bars 141-157
Outro: bars 158 fade
Melody
FIND: ostinato Bars 1-2 in orchestra, Bars 32-35 and many more
FIND: Flattened 7th Vocals Bar 17
FIND: word painting Bar 22“Cannonballing”, bar 133 “humming”, bar 153 “maybe
tonight”
Instruments
Voice Type
Ensemble Type
Altered Timbre
Type of drum sticks
Home Key
Second key
Type of Tonality
FIND: 5 Modulations
FIND: Tritone
Tenor
Orchestra plus drumkit
Timbres
Muted trumpet
Brushes
Harmony
D major
C major
Jazz
Bar 32 , Bar 70, Bar 106, Bar 125
‘Who knows’ Bar 8 (D to G#)
SECTION A
The following questions are about Something’s Coming from the West Side Story by Bernstein.
1. Fill in the missing pitches on the score.
[9]
2. Circle three terms that accurately describe the bass line in this section:
[3]
2 note
Tremolo
ostinato
3 note
arco
sequence
4 note
pizzicato
stepwise
3. Identify the two instruments which play the rising phrases at the end of the extract
[2]
1. ____________________________________
2. ____________________________________
4. What does ‘Sempre dim.’ mean?
_____________________________________
5. Bernstein uses a particular interval called a Tritone in this piece of music. Why does he do this?
[2]
[1]
____________________________________________________________________________________________________________
6. Add another note to create a tritone interval using the note D
[1]
SECTION A
The following questions are about Something’s Coming from the West Side Story by Bernstein.
1. Fill in the missing pitches on the score.
[9]
2. Circle three terms that accurately describe the bass line in this section:
[3]
2 note
Tremolo
ostinato
3 note
arco
sequence
4 note
pizzicato
stepwise
3. Identify the two instruments which play the rising phrases at the end of the extract
[2]
1. ________FLUTE____________________________
2. _____________OBOE_______________________
4. What does ‘Sempre dim.’ mean?
_GRADUALLY [1] GET QUIETER [2]_____
[2]
5. Bernstein uses a particular interval called a Tritone in this piece of music. Why does he do this?
[1]
___CREATE TENSION/ TELL THE LISTENER SOMETHING BAD WILL HAPPEN_______________________________________
6. Add another note to create a tritone interval using the note D
[1]
G#
SECTION B
The following questions are about Something’s Coming from the West Side Story by Bernstein.
1. Which Shakespeare play is the musical West Side Story based on? (1) Romeo and Juliet
2. Which style of music most influenced this piece? Put a cross in the correct box. (1)
 A Expressionism
 B Folk
 C Jazz
 D Minimalism
3. Comment on how Bernstein using the following musical elements are used in ‘Something’s Coming’. (10)
Melody
Rhythm
Structure
Harmony/Tonality
Instrumentation
Remember to use correct musical vocabulary where appropriate.
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
Melody
Harmony/ Tonality
 Blues scale/ notes
 D major/ major tonality ( reject incorrect keys)
 Use of triton/ augmented 4th in melody line
 Jazz based harmony/ dissonances
 Higher tessitura in second section than first (  Bi- tonal sections
or vice versa)
 Extended chords/ added 7th / 9th/ 11th chords
 Syllabic
 Conventional chords with added blue notes
 Short two bar phrases
 Chromatic (b. 77-81)
 Longer eight bar phrases (‘around the corner’)  Uses triton / augmented 4th as part of chord (
 Contrasted lyrical sections with longer notes
D major with added G sharp)
 Melodic riffs used
 Uses a neapolitan chord/ flattened supertonic
 Word painting (e.g. cannon- balling down
chord in first inv. In bar 95
through the sky)







Rhythm
Syncopation

Cross rhythm

‘Push’ rhythm anticipating the beat

Driving rhythms

Accents

Frequent use of short rhythmic riffs/ostinati
Some use of straight rhythms too e.g. oompah/oom-cha bass sections
Structure
Introduction
Sections A-B
Sections B1- A1
Two main sections each with a varied repeat
Outro/ coda/ codetta/ad lib fade bar linking
to the change of scene instrumental
Instrumentation
 Large/ full orchestra/ band/ 30 players
 Some players double-up on instruments
 Any four of the following for 2 marks/ any two of the following for 1 mark Piccolo,
flute, oboe, cor anglais, clarinet, bass clarinet, bassoon, saxophone (soprano, alto,
tenor, baritone) horns, trumpets, trombones, violins, cellos and bass, drum- kit,
percussion, piano, celeste, and guitars (acoustic, electric and mandolin)
 Muted trumpet/ brass
 Tremolo strings
 Pizzicato strings
Developmen
t of Ideas
Limited
1
Basic
2
Minimal understanding
Little to no development
of ideas
Adequate
understanding
Some development. Your
chord progression may
be repetitive.
Competent
3
Good
4
Good understanding.
Two contrasting chord
sequences in 1 key.
Melody fits the chord
progression and is
interesting.
Good use of resources
A wide range of
Satisfactory use of
resources
instruments and some
of their performance
Some instruments are
used and a few of their
techniques and
performance techniques. articulation possibilities
are used.
Some conventions.
Melody fits, but not
exciting. Not much
development in the
chords.
Mark scheme
Exploitation
of medium
Structure
Melody
Harmony
Functional use of
Limited use of resources resources
Misunderstandings
Few attempts to use the
full capacity of the
about
instruments chosen.
Some attempt at
Minimal use of structure
structure
Only one section,
Sense of proportion may
without any clear sense
be compromised by the
of structure.
piece being too short.
Simple but clear
At two contrasting
sections in a
recognisable form.
Uses proportion and
development
Some of the features of
excellent, but not
entirely successfully.
Functional without
Limted
shape
No clear sense of melody
Melodies are repeated
– not singable.
without much variation.
Some sense of shape
Some development of
melody, but too
repetitive.
Well constructed
The melody fits with the
chords. Melodic
development included,
mostly successfully.
Limited harmonic
awareness
Random chords that
don’t fit with the
melody.
Simple but appropriate.
Primary and secondary
chords, but only in root
position. Only obvious
cadences.
Good harmonic
repertoire
Use of a modulation,
primary and secondary
chords & inversions.
Basic use of chords
Primary chords only.
Some misjudgements.
Excellent
5
Imaginative and
inventive. Two+
contrasting chord
sequences, modulation,
countermelody & bridge
included.
Excellent and effective
Many instruments used,
and to their full capacity
– their full tessitura,
performance techniques
and articulation.
Interesting and
appropriate for the
genre
At least three contrasting
sections including
modulation
With style and character
Some structure and
development to the
melody.
Countermelodies
included.
Extended range of
chords
Good, plus use of
extended chords (sus4,
6th, 7th, sus2)
Limited
1
Basic
2
Competent
3
Texture
Limted awareness
Only one type of texture
used.
Adequate awareness
Some variety of texture,
perhaps some
misjudgements.
Generally appropriate
Build up of layers to start
and some changes later
on.
Clear awareness of
texture
Gradual build up of
textures.
Rhythm
Functional rhythms
Limited
Only use of quavers and
Inappropriate tempo and
crotchets – no dotted
boring rhythms.
rhythms.
Appropriate
Fine choice of tempo and
rhythms show some
variety and interest.
Interesting
Good choice of tempo,
syncopation and variety
in rhythms used.
Dynamics
Limited
Limited use of dynamics,
though mainly
inappropriate.
Poor use
Dynamics are used but
are only sometimes
appropriate.
Some contrast
Dynamics are used to
provide some contrasts
in the music.
Use of
Technology
Limited
Used very little, or with
significant
misjudgements.
Functional
Technology used without
purpose or considered
thought.
Competent
Some use of the music
tech tools, with some
misjudgements.
Grade Boundries:
A*
28+
A
25-27
Good
4
Excellent
5
Good
Dynamics are used to
good effect throughout
the composition,
including gradual
changes.
Good
Some use of the tools
from ‘Excellent’
throughout the
composition.
B
21-24
C
17-20
Sensitive awareness of
texture
Wide variety of textures
present and used
effectively and gradually.
Exciting and original
Use of time signature
changes, syncopation
dotted rhythms. Perhaps
an unusual time
signature.
Careful, sensitive and
appropriate, the
dynamics significantly
enhance the
composition.
Confident and
imaginative use of
effects, EQ, reverb,
delay, panning and
automation.
D
15-16
E
13-14
F
12
Name
Class
Target
Project Grade
Term
sempre dim
syncopation
cross-rhythm
triplet
push-rhythm
Allegro
West Side Story
Musical
subito
arco
pizzicato
Staccato
marcato
ostinato
word painting
flattened 7th
syllabic
tritone
modulation
Definition
Bernstein – Something’s Coming Listening DR CAT SMITH
Dynamics
Rhythm
Context
Articulation
Texture
Structure
Melody
Instruments
Timbres
Harmony
Dynamics
How the dynamics change
FIND: Pianissimo PPP
FIND: Subito
FIND: Sempre dim.
Rhythm
Time signatures
Tempo
FIND: syncopation
FIND: triplet
FIND: cross-rhythms
Context
Genre
First Performance
Production Name
Musical Fingerprints
Articulation
FIND: pizzicato
FIND: staccato
FIND: marcato
Texture
Main Texture
DESCRIBE ACMP:
Bars 1-20
DESCRIBE ACMP:
Bars 21-31
DESCRIBE ACMP:
Bars 39-105
Structure
Structure type
Overall Structure
Melody
FIND: ostinato
FIND: Flattened 7th
FIND: word painting
Instruments
Voice Type
Ensemble Type
Timbres
Altered Timbre
Type of drum sticks
Harmony
Home Key
Second key
Type of Tonality
FIND: 5 Modulations
FIND: Tritone
SECTION A
The following questions are about Something’s Coming from the West Side Story by Bernstein.
1. Fill in the missing pitches on the score.
[9]
2. Circle three terms that accurately describe the bass line in this section:
[3]
2 note
Tremolo
ostinato
3 note
arco
sequence
4 note
pizzicato
stepwise
3. Identify the two instruments which play the rising phrases at the end of the extract
[2]
1. ____________________________________
2. ____________________________________
4. What does ‘Sempre dim.’ mean?
_____________________________________
5. Bernstein uses a particular interval called a Tritone in this piece of music. Why does he do this?
[2]
[1]
____________________________________________________________________________________________________________
6. Add another note to create a tritone interval using the note D
[1]
SECTION B
The following questions are about Something’s Coming from the West Side Story by Bernstein.
1. Which Shakespeare play is the musical West Side Story based on? (1) Romeo and Juliet
2. Which style of music most influenced this piece? Put a cross in the correct box. (1)
 A Expressionism
 B Folk
 C Jazz
 D Minimalism
3. Comment on how Bernstein using the following musical elements are used in ‘Something’s Coming’. (10)
Melody
Rhythm
Structure
Harmony/Tonality
Instrumentation
Remember to use correct musical vocabulary where appropriate.
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
……………………………………………………………………………………………………………………………………………………………………………………….
Developmen
t of Ideas
Limited
1
Basic
2
Minimal understanding
Little to no development
of ideas
Adequate
understanding
Some development. Your
chord progression may
be repetitive.
Competent
3
Good
4
Good understanding.
Two contrasting chord
sequences in 1 key.
Melody fits the chord
progression and is
interesting.
Good use of resources
A wide range of
Satisfactory use of
resources
instruments and some
of their performance
Some instruments are
used and a few of their
techniques and
performance techniques. articulation possibilities
are used.
Some conventions.
Melody fits, but not
exciting. Not much
development in the
chords.
Mark scheme
Exploitation
of medium
Structure
Melody
Harmony
Functional use of
Limited use of resources resources
Misunderstandings
Few attempts to use the
full capacity of the
about
instruments chosen.
Some attempt at
Minimal use of structure
structure
Only one section,
Sense of proportion may
without any clear sense
be compromised by the
of structure.
piece being too short.
Simple but clear
At two contrasting
sections in a
recognisable form.
Uses proportion and
development
Some of the features of
excellent, but not
entirely successfully.
Functional without
Limted
shape
No clear sense of melody
Melodies are repeated
– not singable.
without much variation.
Some sense of shape
Some development of
melody, but too
repetitive.
Well constructed
The melody fits with the
chords. Melodic
development included,
mostly successfully.
Limited harmonic
awareness
Random chords that
don’t fit with the
melody.
Simple but appropriate.
Primary and secondary
chords, but only in root
position. Only obvious
cadences.
Good harmonic
repertoire
Use of a modulation,
primary and secondary
chords & inversions.
Basic use of chords
Primary chords only.
Some misjudgements.
Excellent
5
Imaginative and
inventive. Two+
contrasting chord
sequences, modulation,
countermelody & bridge
included.
Excellent and effective
Many instruments used,
and to their full capacity
– their full tessitura,
performance techniques
and articulation.
Interesting and
appropriate for the
genre
At least three contrasting
sections including
modulation
With style and character
Some structure and
development to the
melody.
Countermelodies
included.
Extended range of
chords
Good, plus use of
extended chords (sus4,
6th, 7th, sus2)
Limited
1
Basic
2
Competent
3
Texture
Limted awareness
Only one type of texture
used.
Adequate awareness
Some variety of texture,
perhaps some
misjudgements.
Generally appropriate
Build up of layers to start
and some changes later
on.
Clear awareness of
texture
Gradual build up of
textures.
Rhythm
Functional rhythms
Limited
Only use of quavers and
Inappropriate tempo and
crotchets – no dotted
boring rhythms.
rhythms.
Appropriate
Fine choice of tempo and
rhythms show some
variety and interest.
Interesting
Good choice of tempo,
syncopation and variety
in rhythms used.
Dynamics
Limited
Limited use of dynamics,
though mainly
inappropriate.
Poor use
Dynamics are used but
are only sometimes
appropriate.
Some contrast
Dynamics are used to
provide some contrasts
in the music.
Use of
Technology
Limited
Used very little, or with
significant
misjudgements.
Functional
Technology used without
purpose or considered
thought.
Competent
Some use of the music
tech tools, with some
misjudgements.
Grade Boundries:
A*
28+
A
25-27
Good
4
Excellent
5
Good
Dynamics are used to
good effect throughout
the composition,
including gradual
changes.
Good
Some use of the tools
from ‘Excellent’
throughout the
composition.
B
21-24
C
17-20
Sensitive awareness of
texture
Wide variety of textures
present and used
effectively and gradually.
Exciting and original
Use of time signature
changes, syncopation
dotted rhythms. Perhaps
an unusual time
signature.
Careful, sensitive and
appropriate, the
dynamics significantly
enhance the
composition.
Confident and
imaginative use of
effects, EQ, reverb,
delay, panning and
automation.
D
15-16
E
13-14
F
12