Patrick Watts

GCSE Set Work Revision NotesCompiled by Patrick Watts

After doing intense research on all the set works I was able to create this
revision resource. This is a collection of many different notes and resources that I
have gathered with additional input of my own such as the links to video timings for
different points. All timings are with reference to the set work audio on YouTube
which can be found here https://www.youtube.com/watch?v=LUi0cwsITg&list=PLC134878F04F4482D. In the comments I have also posted individual
notes for each set work and the video timings are interactive so they can link you
directly to the relevant playback time in the song. The YouTube comments may vary
slightly from the notes in this document, but I it is better to read these notes and use
the comments for the automatic links to the video timings. At the moment some of
my comments have been ghost banned so they are not visible to others. I will try to
sort this out but this will require me to create an additional count so may take some
time. I recommend going through these notes using the GCSE Anthology of Music as
this is where the most relevant scores are found and I have used their scores when
referencing bar numbers and instruments etc. There are small chances that notes
listed in this compilation may be incorrect or better phrased. If so please inform me
so I can make the relevant changes. Last but not least, enjoy!
Edit: Originally wrote this for my GCSE class but shared it with everyone because
why not, also Ive changed it so anybody can comment on the document, if anybody
messes around with these I will just remove this option and I can get rid of all edits
anyway, so please only make comments for questions, edits, or phrase. I would
thank you if you go to View > Mode > Viewing to avoid adding spaces or random,
unnecessary things. To suggest things just type them into where it should go. For
some reason I can only see edits not comments. http://tinyurl.com/n92ngv6
Theres the links for this document if you want to send it to someone. Thanks and
happy revision =D. You can leave a message below this and I will try reply asap. I
usually check the document everyday or two and Im currently writing essays for all
the setworks, I can also share these with anyone who wants them.

Patrick Watts

1 - Handel And the Glory of the Lord

A chorus from Handel's oratorio Messiah written in 1741. From baroque period 1600-1750.
Baroque Features: ornamentation, major/minor key structure, Basso continuo played by
organ/harpsichord/double bass/cello, homophonic and contrapuntal textures, terraced dynamics.
Marked 3/4, A major (major makes it happy/joyful). Although the use of hemiolas (notes grouped in
2) make it seem in 2/4 at times (end of the introduction bars 9-11). Allegro (fast dance tempo to
match joyous mood (last 4 bars marked adagio/slow)). Dynamics mainly mf or f (terraced - means it
goes up like steps, so there are no crescendos or diminuendos). Rhythm - Driving regular on beat
crochet matches stately mood. Perfect cadences (V-I) in piece and ends with plagal cadence (IV-I).
Instruments: SATB choir (Soprano, alto, tenor, bass), Strings-violins, violas, cellos, continuo organ
or cello, trumpets, timpani. Handel later added oboes, bassoons and doubled the string parts and
some places in voice parts. Texture - mixture of homophonic and contrapuntal texture throughout
the piece. There is a small monophonic phrase of motif A bars 107-108 sung by sopranos. Bars 3338 texture is homophonic. It ends with a chordal homophonic texture. Orchestra often doubles the 4
motifs. The tenor has an 8 on the bottom of the treble clef which means it sounds an octave lower
than it is written.
Structure is based on 4 motifs
A - Outlines A major triad and syllabic (1 note per syllable) "And the glory of the Lord" ranges from
low A to high A wide leaps create confidence
B - Descending sequence and melismatic (more than one note per syllable) "Shall be revealed"
(melisma on revealed)
C - Repetition of notes "And all flesh shall see it together" Spans from dominant E to tonic A
D - Long repeated notes and syllabic "for the mouth of the Lord hath spoken it" pitch rarely varies to
reflect importance
Bar 1-11 is an orchestral introduction called a ritornello (little return as bits of it are played later) and
it plays motif A followed by B.
0:04-0:08 Violins play descending sequence bars 5-8
0:11 bar 11 Motif A sung by altos
0:14 bar 14 STB repeat motif A after the altos (this is repetition not imitation as they dont overlap)
0:17 last beat of bar 17 motif B sung by tenors (hear the melisma on revealed) then imitated by other
parts
0:22 bar 21 modulation to E major (continuo plays a D#) this is the dominant of A major
0:45 bar 43 back to A major and motif C sung by sopranos "And all flesh shall see it together"
0:54 bar 51 Motif D sung in unison by tenor and bass
1:08 bar 64 modulation to B major, this is the dominant of E major
1:35 bar 90 modulates back to E major (drops A#)
1:42-1:51 bars 96-101 3 motifs at once (great contrapuntal texture example)
1:50 bar 102 modulates back to A major (drops D# and perfect cadence on bass and continuo)
1:55 bars 108-109 monophonic texture motif 1 sung by sopranos and violins play in unison
2:25 last beat of bar 135 chordal homophonic texture marked adagio after 3 crochet rests (General
Pause).
2:29 Plagal cadence chords IV-I (D-A)
May be important to know the voices that introduce each motif:

A Altos
B Tenors
C Sopranos
D Tenor and bass (unison)

Patrick Watts

2 - Mozart Symphony No. 40 In G Minor

Written in 1788 - Classical period 1750-1820. Sonata form - Exposition, development,
recapitulation. Written for traditional classical orchestra but without trumpets and timpani. 1st
and (mainly sudden changes). Use of crescendos such as bar 63 but no diminuendos. Range of
articulation: 2nd violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2
natural horns (one in G other in Bb). Marked 4/4, molto allegro (very fast), G minor. 1st subject has
anacrusis of two quavers. Some syncopation. Homophonic texture but there are examples of
contrapuntal texture and imitation for part of development, frequent octave doubling. Texture is
homophonic. Based on 2 subjects. The subjects are balanced 4 or 8 bar melodies that use question
and answer phrasing. I.E. 2nd subject - The first part (each 4 bars) uses an imperfect cadence like a
question and the next uses a perfect cadence as an answer (called periodic phrasing). Dynamics
change frequently between p and f legato (lines connecting notes), staccato (dots/wedges above
notes), sf - sforzando (played forcefully) bars 34-37. Diatonic harmony based on major and minor
triads. Also examples of chromatic chords, pedal notes and progressions through the circle of
fifths.
Exposition 0:00-3:43 bars 1-100 1st subject introduced bar 1 in G minor. 1st subject is a balanced 4
bar phrase typical of classical period. Uses descending semitones and repeats rhythm of notes. Bar
28 0:32 Bridge/Transition modulates 1st subject and links it to the 2nd subject. 0:36 bar 34 marked
sf which is to be played forcefully. The transition is loud and confident notes of chords played
staccato. 0:45 full bar pause precedes 2nd subject in relative major Bb major bar 44, Played piano
by strings. Violins play in octaves apart. Chromatic and descending. Mozart uses chords following
the circle of fifths during the chromatic descent. Codetta (mini coda) ends in G minor. At 1:51
exposition is repeated. At 3:21 bar 80-84 the clarinet plays 3 notes of the 1st subject (now major) and
is echoed by the oboe an octave lower. This forms a dialogue between the instruments. Codetta
(small coda or little tail) reinforces Bb major key bars 88-99. Bar 100 A dominant seventh G minor
chord sets the key to the tonic ready for the repeat of the Exposition.
Development (develops 1st subject by using different keys and instruments) 3:43-4:53 bars 101164 Opens in F# minor which is very distant from G minor. Development of first subject with rapid and
unpredictable key changes. Agitated quavers played by violins. Bar 114 contrapuntal texture created
by 1st subject on low strings and bassoon while violins play staccato countermelody. Bar 138
dynamics drop to piano and theres imitation between first violins and upper woodwind. From bar 140
Mozart uses lots of pedal notes. Bar 153 Long pedal on D (dominant of G minor) started by horns
and taken over by bassoons. This is referred to as the dominant preparation and signals the nearing
of the recapitulation.
Recapitulation (similar to exposition) 4:53-7:31 bars 165-300 Returns to tonic G minor and full 1st
subject is heard (rather than the fragments of it in development). Longer Transition passage goes
through many different keys (goes through circle of fifths) quickly then returns to tonic (G minor). The
bass plays the transition theme (moved to G minor) and is against violin IIs quaver counterpoint.
Violin I imitates the bass part. Bar 227 2nd subject is now also in G minor (not Bb major).
Coda Bar 260 6:39. Bar 281 dramatic outburst with help of the horn playing sforzando tonic pedals.
Woodwind plays syncopated rising semitones against tonic pedals which creates momentary
discordant clashes. Repeated perfect cadences bring the movement to a close in G minor.
Random stuff: flutes and oboes often play trills e.g. bar 65 although you can't hear it. 2nd subject
there is descending chromatic scale from G all the way to D. 2nd subject has legato phrases as
well as staccato notes. Violas often play divisi (players divide into groups - one plays higher note
and other plays lower note).

Patrick Watts

3 - Chopin Raindrop Prelude No. 15 In D Flat Major

The piece is in ternary form (ABA1 and Codetta) and written in about 1835-38 in romantic period
(1820-1900). 4/4. The tempo is rubato (the speed can be altered for expression - sped up/down). Db
major and modulates to C# minor (tonic minor) in B section. Mainly Homophonic texture.
Dynamics range from pp to ff. There is a crescendo stretching over 6 bars from p to ff (bars 35-40).
Piece is decorated with ornaments such as acciaccatura (or crush/grace note bar 11 and 15) and
turn bar 17. Also Repetitive dominant pedal note A flat (enharmonic G# in B section). Unusual
rhythmic features such as septuplets in bar 4 and 23 and similar effect in bar 79 where 10 notes has
to be fit in the last beat of the bar. Piano is the only instrument (for B section mention how its played
using sustaining pedal which creates a cantabile (singing) effect. Piano also plays legato
(smoothly). Pedal markings show where to put the pedal on to sustain the chord while stars indicate
when to release it so it doesnt blur the next chord.
A section 0:00-1:36 1-27 Marked sostenuto (sustaining pedal). Starts piano with falling motif. Melody
played by right hand. Accompaniment played by left mainly pedal note Ab. First 4 bars (link below)
is the main theme for A section 0:00-0:13. There's a distinct rhythm that is used in the A sections (look
at first 2 bars top line http://tinyurl.com/odfpvhp).
B section (modulates to C# minor (tonic minor) 1:36-4:32 28-75 Dark and stormy mood. Marked
sotto voce (under the voice). *Melody* now played by left hand in bass. The right hand plays G#
(pedal note) every quaver for the entire B section (as well as other chords containing G#), creates the
effect of raindrops. Here's that big crescendo 1:58-2:14. Thicker texture created by octave doubling
in both hands (bar 40 best example). Apparently also passes through G# minor and F# minor.
A section 4:32-4:46 75-81 melody back to right hand, shorter than first A section and back to Db
major. Marked smorzando (dying away) bar 79. Codetta 4:46-5:43 81-89 Marked slentando
(becoming broader) bar 81. Right hand plays unaccompanied descending 2 bar phrase Monophonic texture bars 82-83 Coda 4:57-5:04. Ending is played ritenuto (immediately slower).

Patrick Watts

4 - Schoenberg Peripetie
Schoenberg (Austrian) formed the Second Viennese School with Berg and Webern. Peripetie
translates to a sudden reversal or a change of fortune and was written in 1909. It is the fourth
piece in Five Orchestral Pieces. The piece is in free rondo form which is split up into 5 sections A B
A1 C A2. Free rondo form is different to the the classical rondo form when different sections were
*clearly* contrasted. Peripetie is written for a very large orchestra (90 players) with unusual
additions. There are 3 flutes, oboes, clarinets and bassoons instead of 2 each. There's also a cor
anglais, piccolo, clarinet in D, bass clarinet and contrabassoon. For brass there are 6 horns, 3
trumpets, 3 trombones and a tuba. The percussion includes xylophone, cymbals, tam tam (large
gong), and bass drum. Instruments often play at the extreme of their registers in pitch and
dynamics. The metre is mostly 3/4. Although it is 2/4 just for bar 22 and 4/4 for 5 bars in the final A2.
The tempo of the piece alternates between sehr rasch (very quick) and etwas ruhiger (somewhat
calmer). In the A sections, the rhythm contains many triplets, sextuplets and demisemiquavers. In the
B section the rhythms overlap. The texture is largely contrapuntal with bits of monophony and
homophony between. The B section has a very thick texture created by the percussion and
woodwind. In the final section, A2, the full orchestra plays (tutto). The opening motifs are all based on
hexachords. A hexachord is a set of 6 pitches that can be used as a chord or a melody. In A1 the
hexachord is heard again this time by the horns. In the C section, the Bassoon takes the melody and
then is taken over by the cello & double bass. In A2 the motifs are piled on top of each other and are
playing in counterpoint and canon creating a very thick texture. The melody is split between
instruments and the principal melody is called the hauptstimme while the secondary voice is the
nebenstimme. The harmony is very dissonant with the use of hexachords and the 7th interval.
The piece is atonal. The 12 tone row is a technique Schoenberg made which is the foundation of
serialism (created after this piece), although this piece is an example of expressionism it doesnt use
the 12 tone row (I think). There are sudden loud bursts and the piece's dynamics range from fff to
ppp. The B section starts off very soft. In A2 there are large crescendos and diminuendos and the
clarinets play a phrase ppp right after the fff phrase showing a massive dynamic contrast. The piece
finishes with a chord (likely a hexachord not sure) played pp. Many of Schoenbergs melodic lines
sound very angular because he uses octave displacement. Constantly changing instrumentation.
Bar 62 there is a tremolo on the cymbal played with a cello bow. Bar 34 instructs the trumpet player
to play bell up meaning to point the bell of the trumpet in the air to create a loud brassy sound. The
+ signs (called hand-stopped) on the horns in the end at bar 65 tell the horn players to put their hand
further into the instrument which creates a thin, nasal sound. Brass and oddly strings have to play
with mutes in several passages. (Double Bass plays tremolo on the bridge with mutes in bars 64-66).
Bar 3 violins and viola play pizzicato (pluck the strings). These effects create a large variety of colour
and contrasting timbre. Klangfarbenmelodie means tone colour melody which concentrates on the
texture of the music and the particular sounds produced by the instruments (the colour).
Using semitone = and tone = 1, a hexachord can be constructed on any note by adding - 1 - 1 - . So C# D E F G# A or A Bb C C# E F. These create dissonant chords.
If you want to understand/survive these notes use the score from the GCSE Anthology of Music. The
structure is A B A1 C A2 and the entire piece is based on different motifs which can be called Motifs AG. They are ALL presented in A1 than they get more obscure and harder to find. They have been
named A-G in order of appearance so A comes first and G finishes the A section. (7 motifs).
A 0:00-0:31 1-18 Motifs introduced in quick succession. Motif A and B here. First 4 seconds Bars 1-3
A hexatonic motif is motif A and motif B is basically A repeated at a higher pitch and in diminution after
being separated by contrary motion (trumpets go up; trombones go down) chromatic scales played by
the brass section. This brass section plays glissando (they slide through the notes) and so quick its
like a smear of colour. Hexachords are heard at the end of motifs A and B on the first beat of bar 2
and on the 2nd beat of bar 3. In bar 3 beat 2 0:04 a more angular motif C is played by all 6 horns
(marked a 6) is introduced. When this motif is repeated its very obscure from the original. Motif D is
announced in bars 5-6 0:06 and is a rapid fire of hexachords. First the trombones play a loud jagged
melody and higher strings play the descending hexachords. Motif E is bars 6-8 played by the horns

Patrick Watts
(see hauptstimme mark) and ends on a long sustained hexachord. It is a quiet rhythmically simple
motif and is repeated. Bar 8 0:11 low woodwind play motif F which roughly turns around G#. Bars 1018 0:15-0:28 (this is may be the easiest thing to follow in the score) Motif G is a long clarinet solo and
has wide leaps.
B 0:31-1:00 19-34 Motifs developed and combined in counterpoint. Motif A and B return here and are
in imitation in bar 19-21 and counterpoint is created in bar 22 with the use of the original (A) and
diminished motif (B) together. Bar 27 motif C is heard on the horns starting on the last beat of the bar
(marked hauptstimme as it is a principal voice like many of the other motifs). The 6 horns play
together again [although they are still split into 3 groups as the played a 2 previously, they play the
same notes]. 0:44. The notes are very similar although many are augmented (longer) and it is much
louder (fff). Motif D can be heard at 0:34 bar 22 played by the viola and cello, this is the same time as
motif A and B so dont get confused. So bar 22 is 3 motifs together, this is the height of counterpoint.
Part of motif F is played using diminution bars 33-34, now uses semiquavers opposed to quavers in
bar 8. (didnt put a time because its lost by the much louder parts). Bars 32-34 the first 2 notes of
motif G are played by the six times in succession by the first violins and cellos in unison (0:53 you can
hear the first 1 or 2 alterations before theyre lost in the battle). Bar 35-36 0:59 Motif G is used again
but uses the first 3 bars rather than the first 2 notes and ends on a G instead of an F. Its played in
unison by all the strings (except double bass) and has the same rhythm and notes as the original
motif.
A1 1:00-1:19 35-43 calmer section that develop many of the motifs in A in reverse order. Motif C now
used as a short bassoon solo bar 44 1:18.
C 1:19-1:50 44-58 calm section that combines new ideas with old ones. Bars 45-47 1:20 Motif F used
as muted trumpet solo (marked 1 solo) played piano after the Bassoon solo.
A2 1:50-2:12 59-66 Motifs combined in counterpoint creating loud climax. Bars 61-63 the trumpet
plays motif D but only half the notes so it forms an augmented chord. Bars 63-64 motif A returns now
on the low brass parts. However it is melodically inverted so it plunges down and is finished with a
thunderous fff crash on the cymbal (hit with a mallet), bass drum and tam tam. At the same time, the
trumpets play their ascending chromatic scales now a semitone higher than the beginning. The
trombone doesnt play the descending scale as contrary motion is created with the trumpet and the
now descending motif. This can all be heard at 1:58-2:01 and this was also used earlier a link
between A1 and C and is the same thing without the percussion 0:54. This is quickly followed by a
rapid attack of 3 ornaments and another hexachord played by all capable instruments 2:01. This is
contrary motion again although the resultant sound seems to be ascending unlike the more balanced
contrary motion by the trumpets and trombones at the start. Bar 64-65 2:03 clarinet gurgle is based off
of motif C and played pp. There are 3 canons heard together before the large percussion crash. A
canon is when after the melody is played by one part it is repeated exactly by another part.

Patrick Watts

5 - Bernstein Somethings Coming

Something's Coming is played near the beginning of the musical West Side Story first perform in
1957. The lyrics were written by Stephen Sondheim. The structure is not a typical verse and chorus
structure but is simple and follows A, B, Bridge, B1, A1. The whole song is based on 3 themes A B
and C. The melody contains many short riffs that are also used and developed in other songs of the
musical. There are also accented notes (e.g. on "down, "bright" and "rose"). There is a very fast
tempo of 176 bpm and the piece is full of syncopation (playing on the up beat). Tony often sings in
triplets which creates cross rhythms. It has influences of jazz by the crochet bass part, fast tempo
and complex cross-rhythms. The tonality is D major although it modulates to C major in the B
sections. Although these arent related keys Bernstein slips into them smoothly and it plays
significance as C is the flattened 7th degree of D major which is a blue note that repeats itself
throughout West Side Story. The texture is homophonic throughout. The score has blue notes
such as flattened sevenths (long C natural at end of vocal "soon as it shows"). Tritones (aka the
devil in music/augmented fourth) creates dissonance and tension which matches the mood of the
story. The first chord with D and G# is an example. The vocals vary from ppp to f and there is a
crescendo and a metre change to 2/4 at bar 21 to the words "cannonballing". This is also word
painting as the music is syllabic and forte. The piece is written for the character Tony a solo male
tenor. Orchestra: Woodwind: 2 horns, 3 trumpets, 2 trombones. Strings: 7 violins, 4 cellos, 2 double
basses. Others: drum-kit, mandolin, celeste, saxophones, electric and acoustic guitar. The castanets
and maracas reflect the Puerto Rican gang (The Sharks, the American gang is The Jets). Tony sings
syllabic (one note per syllable) but there is one melisma on rose. An extra point on word painting "The air is humming", the word humming is illustrated by high violins 1:55. When looking through the
score keep in mind there are repeats in a few places.
Tritone are 3 tones apart if you are asked to construct one. G# D is common in the song as well as
F# C. {When youre composing these shouldnt be there as they can create dissonance unless thats
your goal, similar to semitone clashes like E and F on the same beat}. Below I refer to 3 different
themes however, if you use these terms in the exam you must first describe what you mean by each
theme by defining them. It is unlikely you will need this amount of detail but it is good to know when
you are revising and for a better understanding. Cross rhythms are when two conflicting rhythms are
heard together. This happens in the intro when the bass part plays 3 crochets in triple time but the
syncopated melody sounds more like 6/8 which is duple time. This syncopation also causes the last
beat of the bar to sound as if its played early, this creates a push rhythm.
Intro - 1-3 0:00-0:06 D major - The intro introduces the descending staccato crochet ostinato by the
double bass which is repeated until bar 21 when theme B appears. Clarinets and pizzicato strings
play till bar 15 (pizzicato really clear at 0:00 but before 1 second, it goes duh duh pluck). Drums play
with brushes throughout and use the snare and hi-hat although they can be very difficult to hear at
places, play the intro 5 times and you should hear them. They play every dotted crochet which adds to
the cross rhythm.
A - 4-31 0:06-0:44 Tony starts singing pp. Theme A is heard best on bars 12-16 0:13-0:18 and is a 2
bar motif sung by Tony. On the first quaver/beat a tritone is created with the orchestra but

it is quickly resolved on the next quaver by the singer.

The last note rises the first time and falls the second time. It uses a rhythm of
quaver, quaver, quaver rest, dotted crochet. The main feature is the syncopated
third note which creates a feeling of urgency. Bar 17 soon as it uses crochet
triplets against quavers which creates a cross rhythm. End of bar 17 0:17 sees the
entrance of muted trumpets while the exit is at bar 28. There is also a tritone
created by G# and D. Theme B is heard at bar 21 0:21 and the metre switches to
2/4. It is marked forte and marcato and uses accents >. There is word painting on
cannonballing as it is forte, syllabic and repetitive. The time signature is back to in bar 27 and the
music is repeated and starts again now with different lyrics at bar 9. Each theme ends with a long
sustained note by the singer. Bar 17 the second time under a tree the drum becomes clearer Theme

Patrick Watts
B the second time ends on a high E coming to me while the first time it dropped to an A on bright as
a rose.
B - 32-72 0:44-1:18 C major Theme A returns again but now starts on an F# and is sung piano. The
metre has also subtly changed to 2/4 although the rhythm is the same for the singer except the final
note is another beat longer. The drums now play the snare and hi-hat every crochet due to the metre
change so they appear faster 0:46. On bar 49 there is another tritone crated with F# and C where the
triplet was in the first A section although it doesnt appear this time. 0:55 bar 52 uses theme B on
somethings coming but now uses crochets rather than quavers. Repeat with different lyric but there
is a first and second ending.
Bridge 73-105 1:18-1:40 32 bar bridge is theme C which uses longer legato notes and is sung at a
higher pitch. Also uses triplets to create cross rhythms. Use of high strings. Bar 82 1:24 flute joins in
on whistling. 1:55 bar 128 the violin plays tremolo on the air is humming while other plays
harmonics (very high pure notes played by gently placing the finger lightly on the string and
bowing). These are good examples of word painting (where the meaning of the words is reflected by
instrumentation).
B1 - 106-127 1:40-2:04 Return to C major and is marked ppp. This is similar to bars 41-72 with
different lyrics. Bar 118 uses theme B again with a bit more movement (varying the pitches more)
which prepares for the return to D major.
A1 - 128-157 2:04-2:37 Bar 128 is marked subito meaning suddenly. In this case it means suddenly
quieter as theme B was sung forte while theme C is sung piano. On coming and its back to 3/4 and
the double bass reuses its 3 staccato ostinato. Bar 148 is marked sempre dim. which means always
getting quieter. Fade out and ad lib. fade to keep on playing between applause and scene change.
Maybe Tonight replaces the under a tree that we might have expected. Tonys last note is
sustained starting on bar 153 and is a C natural instead of the C# that is expected. This makes it
seem as if the music hasnt finished yet and something is coming

Patrick Watts

6 - Reich Electric Counterpoint

Electric Counterpoint has 3 movements: Fast, Slow, Fast (we study the 3rd movement). It uses
minimalism and minimalist techniques such as little variety in instrumentation, chords that change
very slowly, repeating patterns that gradually vary over time, rhythmic displacement/phase shifting,
metamorphosis, layering, ostinati/loop, note addition, drone, augmentation & diminution.
Minimalism is using limited materials in new ways. Written for Guitarist Pat Metheney in 1987. Time
signature starts 3/2 but has a polymetre when mixing 3/2 with 12/8. Fast tempo 192 bpm.
Instruments: Live guitar, Guitars 1-7, 2 bass guitars (panned to left and right, interlocking bass
pattern). Guitars 1-4 play around opening riff while guitars 5-7 play chords. Structure - Piece is
divided into two main sections, A and B, as well as a coda. Each section is further divided into 4
and defined by changes of key and/or texture. Rhythm is made up of layered ostinati which are
phase shifted and displaced, interviewing rhythms (not a spelling mistake). Little rhythmic variety,
mostly repeating patterns of quavers. Repetitiveness creates hypnotic effect. Multi-layered
contrapuntal texture created by each track being multi-tracked to allow a live performance over the
top. E5 chord at the end gives open and sparse sound. Diatonic harmony, no chromatic notes in
either key. The key is not E minor as D# isnt used. Instead it is the Aeolian mode transposed to start
on E. It is different in lots of text books, you can even say it is G major and Eb major. Most people
believe it is E minor and C minor however which can be remembered by the name Electric
Counterpoint. Either one should get you the marks although personally G and Eb make more sense
as there are no sharps that should be in a minor keychoice is yours. Reich uses hexatonic scales (6
notes of the G major scale).
The order of the instrument entrances are as follows:
Guitar 1
Live Guitar
Guitar 2
Guitar 3
Guitar 4
Bass Guitars
Guitar 5
Guitar 6
Guitar 7
A 1-73 0:00-2:16 Metre is 3/2 for all A section. Guitar 1 opens with the one bar ostinato/loop, plays mf
(guitars 1-4 ALWAYS play mf). This creates a monophonic texture. The live guitar then plays (in
forte) and uses note addition until the whole melody is heard. The live guitars starts to fade out when
guitar 2 plays the ostinato phase shifted (bar 7). The live guitar enters again in bar 10 with guitar 3
both using note addition. This creates a gradual metamorphosis through note addition. Guitar 4
comes in at bar 16 and the ensemble motif is heard for the first time where the live guitar and guitars
1-4 are playing their developed motifs. The guitars create a 4 part canon, they are playing the same
thing but at different times. Each of the separate guitars sound slightly different as they have accents
on different notes, this is called metrical displacement. The live guitar fades out and joins again in
bar 20 with a different style, it doubles notes in other parts to create the effect of accenting the
doubled notes which creates a resultant melody, it plays piano and crescendos to forte in the next bar.
Reich uses tonal ambiguity but the bass guitars confirm E minor in the Aeolian Mode when they
enter in bar 24 0:42 playing forte (remember they're panned). The bass guitars are introduced with
note addition and play the first C note in the music (same bar) outlining an A minor triad A C E. Bar 36
1:05 the live guitar introduces descending chords. He plays: 3 C chords, Bm chord then E5 power
chord. Now there is 3 conflicting pulses which creates a cross rhythm. Guitar 5 then enters bar 40
also playing these chords (minus first 2 C chords). Bar 46 live guitar plays a C chord and now a D
chord. Bar 51 he plays an Em chord. Bar 52 guitar 6 takes over live guitar and plays C, D, Em
chords which creates a pattern of ascending chords and creates contrary motion (melodic lines
whose pitches move in opposite directions) against guitar 5s descending chords. Bar 64 guitar 7 joins
and plays C D Bm-(with lower F#). Keep in mind guitar 5-7 only play chords and enter playing mf but
they also fade out. (They enter p in B section). Bar 67 theres a very dense contrapuntal texture as

Patrick Watts
all instruments are playing: a four part canon by G1-4, a 3 part canonic texture by G5-7, 2 bar ostinato
shared by bass guitars, and the live guitars note doubling to create a resultant melody. This isnt to
last as guitars 5-7 fade for the entrance of section B.
B 74-113 2:16-3:31 And poof comes the B section all of sudden in C minor (wouldn't recommend that
wording in the exam). Guitars 5-7 enter piano bar 74. Not going to bother with the chords they play
now but it's very similar just modulated. Bar 78 bass guitars play ff and subito (suddenly). Back to E
minor bar 82, at the same time there is a Metre change (polymetre) for ensemble guitars (1-4), now
play in 12/8 while the other parts continue in 3/2. The metres are triple against quadruple which
creates even more cross rhythms. They return to 3/2 in bar 86. Bar 90 the other guitars now play in
12/8 and it's back to C minor. Changes in key and metre continue to happen more frequently.
Coda 114-140 3:31-4:26 Bar 114 bass guitars and guitars 5-7 / chords drop out for coda. Coda
opens in E minor but changes keys rapidly, alternating between E and C minor. Bar 123 is C minor
for only 1 bar! Bar 129 the metre is now fixed at 3/2 for ensemble parts and the key is E minor for
the rest of the song. At bar 134 the live guitar plays a few notes higher and all parts repeat their 1 bar
ostinato 5 times. The live guitar has a crescendo to ff and the last chord (E5) is played across the 5
guitars. The chord sounds open and sparse. 4:19.
A little extra I want to add is the tab if anybody wants to play the main phrase. This is the one bar
repeated throughout. Never wrote a tab before but this seems playable. There's a few quaver pauses
but it's so fast that it sound like continuous playing.
E 10 -- 7 -- -- -- -- -- -- -- -- -B -- 8 -- -- 7- -- -- 10-7 - -G -- -- -- -- -- -- 9 - -- -- -D -- -- -- --- 9 -- -- -- -- -- -And why not the chord that it ends on. This is a nice way to play it by yourself. Just a bunch of high E
and B notes. E5 chord is power chord so it skips the middle note of the triad that would normally be E
G B so it's just E B.
E -- -- 12 -B -- -- 12 -G -- -- 9 -D -- -- -- --

Patrick Watts

7 Miles Davis All Blues

All blues is taken from the album Kind of Blue and recorded in 1959. Uses modal jazz (jazz based
on modes rather than chords) based on the mixolydian mode in G. A mode is a scale that is neither
major nor minor. Although this has the same notes as C major it is different as the home note is G.
The double bass also enforces this by playing a G at the start of nearly every bar. Blue notes are
used as well such as the flattened seventh. 6/4 jazz waltz. Swung quavers is a rhythmic device
common to jazz where when playing pairs of quavers the first is slightly longer than the second. Modal
jazz is longer than bebop or cool jazz as it allows extending soloing. 156 crochet bpm. Dynamics
mainly piano with a diminuendo in Head 4. Based around a repeating 12 bar blues chord sequence
(referred to as the changes by jazz musicians).
7
G7 G7 G7 G7 - Gm7 Gm7 G7 G7 - D7 E /D7 F/G F/G6 (semi important)
I
I
I
I
i
i
I
I
V VI V VII I VII I (not important - i is
a minor chord)
Lots of minor sevenths! This called extending or altering a chord. The last chord G6 is an added
sixth chord (characteristic jazz chord) and results in G, B, D, E in the chord. The Gm7 is also special
as it uses a Bb which is the blue third of G major, another blue note. Jazz sextet consisting of the
frontline: Trumpet, alto sax, tenor sax and the rhythm: Piano, Bass (plays pizzicato and often
"walks"), Drums. Drums played with brushes at first than switches to sticks when the solos begin.
At the start the drums are marked sweep which means that a brush is dragged across the drumhead.
Alto and tenor sax use effects such as glissandos and smears. Comping means accompanying.
Piano plays trill at intro oscillating between G and A which is doubled at a fourth lower (many say
tremolo it is actually a trill!). Syncopation (examples - Davis's improvised outro and the alto sax solo).

Organised in a head arrangement which dates back to trad jazz and is a jazz performance that
consists of improvised variations on a memorised (kept in the head) chord progression (this one
being the 12-bar blues). Each repetition of the blues progression is known as a chorus and each
improvised solo is based on 4 choruses except the piano solo which only uses 2. Links or riffs are
used as a 4 break between the repetitions of the 12-bar blues chord sequence.
Intro 4 bars 1-4 0:00-0:11- Waltz style established by rhythm section. Bass plays a six beat
pattern starting with the tonic G and has the blue seventh F on the fourth beat. Drums have play 3
beat waltz rhythm played with wire brushes. Piano plays a tremolo-like figure that can be described
as a pair of written-out trills.
Link/riff always 4 bars - 5-8 0:11-0:21 - main intro riff is stepwise and played on saxophones in
thirds.
Head 1 12 bars - 9-20 0:21-0:53 12 bar head melody played with muted trumpet (Harmon mute).
Melody used rising 6th from D to B which mirrors the falling leaps in the bass part.
Link 21-24 0:53-1:03
Head 2 12 bars 25-36 1:03-1:35 Repeat of Head 1
Link 37-40 1:35-1:46 Davis has time to take off his mute. Ride cymbal added by the drums and
sticks used instead of brushes.
Trumpet imp solo 4 choruses (12 bars) 41-88 1:46-3:51 unmuted trumpet now. Miles davis
improvises around the G mixolydian mode with the mute now removed. He uses a range just over
two octaves but most of his improvisation is around the middle of the trumpets range. Short
syncopated motifs. Piano comps and accompanies using the 12 bar blues chords rather than
playing trills. Ride cymbal now very prominent in the rhythm section and Jimmy Cobb keeps time
from bar 41 which means he plays a simple rhythm usually on ride cymbal while other band members
can play more complex, syncopated rhythm. The dynamic range increases in this section and has
more syncopation and the trumpet plays grace notes. Blue notes appear more frequently (Bb and F

Patrick Watts
flattened 3rd and 7th). Bar 41 and 43 Davis plays ghost notes (marked with x note-heads) which
produce a very faint tone that sounds very soft or muted. Another Davis effect is the fall off where he
has a downward glissando at the end of a note (marked with diagonal line bar 52, 64 and 67).
Link 89-92 3:51-4:01 Many textbooks say Davis leaves almost reluctantly to let Adderley play.
What they mean by this his last two notes overlap into the link on bar 89. Played on piano between
solos instead of saxophones so they dont detract from their solos that follow.
Alto sax imp solo 4 choruses 93-140 4:01-6:04 Adderly on alto sax, very chromatic and
technical. Starts with terse rhythmic motifs that run into a series of scales and arpeggios in
semiquavers and triplets. There are few rest or long notes while most of the notes are in the alto
saxophones upper range although there is a wider range than Davis.
Link 141-144 6:04-6:15
Tenor sax imp solo 4 choruses 145-192 6:15-8:17 Coltraine plays virtuosically on tenor sax and
plays fast scales and arpeggios played across a large range of the instrument. He uses intricate
rhythms like triplets within triplets. Coltraine often plays away from the chord so his notes sometimes
clash with the underlying harmony.
Link 193-196 8:17-8:27
Piano imp solo 2 choruses 197-220 8:27-9:28 Evans on piano, continues COMPING in left
hand, uses 2-repetitions of the 12-bar blues chord sequence, right hand plays a melody line like
frontline instruments. His second chorus features parallel chords (a succession of identical/very
similar chords moving in the same direction) strings of triads, 7 th-chords and 9th chords and some
use of contrary motion with the left hand.
Link 221-224 9:28-9:38 Saxes return to play the link in in thirds and Evans reuses the piano
tremolo/trill half way through at bar 223.
Head 3 1 chorus 225-236 9:38-10:09 Same as head 1 trumpet muted again.
Link 237-240 10:09-10:20
Head 4 1 chorus - 241-252 10:20-10:51 melody now developed with a more minor feel. Can
hear trills on the piano again.
Link 253-256 10:51-11:01
Coda 1 chorus 257-268 11:01-11:33 Davis plays a simple and short muted solo on the tonic and
dominant and then uses the legato phrase he plays at the end of the heads over the sax riff before the
song fades.

Patrick Watts

8 Jeff Buckley Grace

Grace features in the album Grace released in 1994. Co-Written by Gary Lucas, guitarist. A rock
ballad (love sung with a slow tempo) with folk music influence so it is FOLK ROLK. The song starts
p but has a chord played f in intro. The whisper effect uses dynamics by playing a note quietly and
then quickly turning the volume up. 64 dotted crochet bpm consistent throughout. 12/8 (quadruple
compound time). Complex structure closest link being verse/chorus with some additions. Intro used as
a link. Melody mainly sung by Jeff Buckley and covers a large register (2 octaves). Unaccompanied
vocal at end shows influence of qawwali music. Mainly homophonic texture. Parts drop out for
textural contrast. Thick polyphonic texture in middle 8 from multi-track vocal harmonies in
counterpoint. Whisper often used in thinner textures so they can be heard. Thick texture in verse 3
and outro with strings. In intro, rhythm is driven by the acoustic guitar and the Hi-Hat. Emphasis on
Toms of drum kit in verse 1. Drum roll leads into middle 8. Cymbals used more prominently in verse 3
(on beat crash cymbal). Solid rock beat is the unifying rhythm. Ambiguous key, D major at intro but
becomes recognised mainly as E minor. Harmony consists of dissonance, complex chords and the
use of power chords. Unusual harmony for a rock song: standard I IV V chords are avoided and
many are chromatic and move in parallel motion (semitone steps like the chorus F-Em-Eb). Main
chord sequence is a power chord played in different ways. Band: Vocals: Jeff Buckley, Guitars: Jeff
Buckley, Gary Lucas, Drum Matt Johnson, Bass: Mick Grondahl. Electric and acoustic guitars, drum
kit, bass guitar, synth, strings. Bass drum plays on 1st and 3rd beat while snare accents the backbeats
on 2 and 4. Cross Rhythms with use of 2 against 3/quavers against dotted quavers. Drop D tuning
on guitar (lowest E string tuned down to D). Guitar printed in tab (shows the finger position of each
note: numbers represent frets and lines represent strings). Sings portamento (glissando/slides) on
words away, afraid and die. Vocal has frequent ornamentation (acciaccaturas or grace/crush notes).
Mainly syllabic but has frequent melismas. Long melisma emphasises love. Drums and guitars
(playing rhythmic patterns and broken chords) accompany Buckley for most of the song. The
synthesiser and strings are less prominent and drop in and out, they are used to add effects and vary
the texture. Guitars are overdubbed which creates a thicker sound.
Intro - 1-7 - 0:00-0:25 2 guitars pick the riff outlining the first chord of F minor then G minor.
Modulation on synthesiser [Karims favourite for those in my class]. The band enters with a loud Em
chord (tonic) (Scoops on tremolo arm on guitar here, more often called the whammy bar) and a roll
on the crash cymbal leads into the instrumental 0:11. Bars 1-3 no clear key but bars 4-7 in D major
and chord alternate between D and A7 (tonic and dominant of D). Strong chordal guitar riff played four
times emphasis on D major by using C#. Introduction overall has ambiguous tonality.
Verse 1 8-16 - 0:25-0:48 Listen to the Toms on the drum kit. Bass plays root note of power chord
which moves up and down chromatically so tonality is still fairly ambiguous. Guitar plays broken
chords. Whispers heard here! 0:26 0:30 0:37 for some. Buckleys melody is low in his range and has
descending leaps that are sung portamento (glissando/slide) establishing the songs gloomy mood.
Pre-chorus 17-19 - 0:48-1:11 Both guitars move up the fretboard with the vocalist. Buckley moves to
a high register for my fading voice. Tonality finally established as E minor with the use of its three
primary triads (I, IV and V chords). Buckely illustrates love with a falling melisma (sings several
notes to a syllable the opposite of syllabic). The bass depicts the clicking of time by playing a
cross rhythm in bars 14 and 17 (Bass plays the equivalent of 8 notes in 4/4 while Buckely sings in
12/8).
Chorus 20-24 - 1:11-1:30 Ghost notes played by guitar in chords by playing and muting the 2
bottom strings (E & B). Whisdrifper heard here also. Same notes are also played openly to create an
intentional dischord as they clash with the rest of the chord. Melisma over 2 bars on "fire". Still has
falling melodic lines and there is a long melisma on the last fire.
Link 25-31 - 1:30-1:55 Repeat of intro with slightly fuller texture.

Patrick Watts
Verse 2 32-40 - 1:55-2:29 Strings added at 2:19 to add to texture. Strings play staccato and
glissando bar 39. Added synthesiser effect after sorrow 2:04. Bar 37 Buckley now rises to a high E
on love. Buckley also reaches the high A earlier at bar 39 compared to verse 1.
Pre-chorus 41-43 - 2:29-2:41 Same as before, strings now more prominent. Bars 42-43 Buckley
reaches a high B, the highest note so far which leads into the chorus.
Chorus 44-48 - 2:41-3:00 Repeat of the first chorus
Bridge/Middle 8 49-59 - 3:00-3:41 First 4 bars are based on sustained parallel triads rising from Eb
to G and then falling back chromatically to E minor 3:09. This seems to be moving towards G minor
but then plunges back to E minor in semitones. Use of overdubbing (Buckley recorded his own
harmony/backing vocals). This section is called the vocalisation (wordless singing often to a vowel).
Long sustained notes more harmonic than melodic. From bar 53 onwards Buckley moves even
higher into falsetto (false voice) bar 55 there is a top E. 3:29 - EQ effect (removes lower frequencies)
in vocal melody gives harsh and distant effect. The words pain and leave are higher now than
before.
Link 60-66 - 3:41 - 4:07 The guitar completely mutes the strings and strumming. Strings play col
legno (meaning with the wood) so they are repeatedly tapped with the back of the bow. Hitting the
deadened strings and the body of the acoustic guitar may be heard here as well.
Verse 3 67-72 - 4:07-4:30 Buckley sings the verse an octave higher but avoids falsetto to create
the feeling of strained anguish. Emphasis on cymbals (on beat crash cymbals). The words go so
slow are illustrated with longer notes
Outro 73-85 - 4:30 - 5:24 This is the climax and is based on repetitions of the falling chord pattern
at the start of the chorus F-Em-Ebmaj7. Melisma and Falsetto in vocal improvisations. Thick texture
by the performers improvising around the riff. The weight of the flange effect and distortion on guitar
and the cymbal splashes drowns the wailing lyrics which refers to verse 3s drown my name.
I'll put all the times the whisper effect is used here. 0:26 0:30 0:37 0:42 0:47 1:19 Some weird stuff
going on at 1:35 1:57

Patrick Watts

9 - Moby Why Does My Heart Feel So Bad?

Why Does My Heart Feel So Bad by Richard Hall / Moby is the fourth track in the album Play
released in 1999. It is a club dance piece with influences of Techno. Common features of club dance
music include: 4/4 metre and steady tempo, prominent use of electronic sounds, strong beat
emphasised by drums and bass, short phrases and repetitive looped sections. Melody consists of 2
samples from a gospel choir recording in 1953 from the song King Jesus Will Roll All Burdens
Away. These samples are looped to create the melody which as a result is simple and repetitive.
Samples have authentic vintage sound as Moby didnt remove surface noise (crackles made when
playing a worn vinyl record). Although the music is electronically based, Moby didnt want it to sound
sterile. Moby manipulates the samples to reverse the meaning of the words. For example, he changes
the original lyrics from glad to bad. Both samples are manipulated to produce different lyrics.
Sample B is these open doors and is sung by a female voice while sample A is male. [Moby used
Steinberg Cubase sequencing software on an Apple Mac computer]. Tempo of 98 bpm with 4/4
metre. Instruments: Roland TR-909 Drum Machine, Piano chords generated by Emu Proformance
piano module, Yamaha Synthesisers, Akai 3200 Sampler, String sounds made by Yamaha synths
(SY22 and SY85), sub-bass line by Roland Juno 106 synth, Yamaha SPX900 is a processor Moby
used for adding reverb to the piano sounds. The clave on the drum machine plays entirely off the
beat. Drum beat is very similar to Grace as the backbeats (2 and 4) are accented on the snare drum.
Moby added reverb (short for reverberation) to enhance the piano and vocal tracks. Sub-bass line
plays notes over 2 bars which lacks the physically throbbing character usually in techno dance music.
Described as a verse-chorus structure, Why Does My Heart Feel So Bad consists of the verses
defined by sample A (male) and the choruses defined by sample B (female). Moby harmonises
the samples using a new chord every 2 bars. Moby uses a falling harmonic sequence Am Em G D for
verses. The piece in in the Dorian mode on A for the verses (A1-A8). The Dorian mode is all the
white notes from D-D but has been transposed to start on A, this produces an F#. In the choruses the
piece is in C major but only uses 6 of the 7 pitches so its hexatonic. Chorus Bx uses C Am C Am
and chorus By uses F C F C (each chord 2 bars). Harmony is entirely diatonic. Syncopation is
used by the piano, vocal and the synth strings in the song. There are electronic ghostings on
Sample A when it first comes in, these are remnants of the backing singers in the original sample.
Intro/A1 - 0:00- 0:19 Harmonies for samples introduced on piano establishing the sequence Am Em G
D using broken chords. Can be described as being played in free time as there isnt a clear sense of
pulse. Notice the panning? Listen to the offbeat quaver bass note in the middle of every bar, its
panned to the right ear.
Verse 1
A2- 0:19-0:39 Male gospel sample A added.
A3 0:39-0:58 Drums and percussion added makes the 4/4 beat clear. Countermelody for synthstrings and piano (later only piano plays this as strings play chords). The drum loop is made up of a
backbeat (drum solo) sampled from a hip-hop track. Repeated semiquavers are played on the
shaker. The drum beat is the EXACT same as Grace with the bass drum and snare (look at notes on
Grace).
A4 0:58-1:18 The texture thickens with chords for synth-strings and bass.
A5 1:18-1:38 More rhythmic, syncopated version of the main chord pattern is played by piano.
Chorus
Bx - 1:38-1:57 The 2 bar female sample B "These open doors" is played 4 times with the sequence
C Am C Am.
By - 1:57-2:17 The same sample is re-harmonised with chords F C F C, it is still repeated 4 times but
the second appears straight after the first then has a gap between the next two. [This can be called
re-triggering]. There are gospel shouts of praise in the gap and at the end [sounds like HAH!].

Patrick Watts
Verse 2
A6 - 2:17-2:55 Same as A5 but voice echoes are created with delay and EQ effects (low frequencies
removed by passing the signal through a high-pass filter). Echoes and original sample create
question and answer style.
A7 2:36-2:55 Repeat of A6
Break - (1 bar) 2:56-2:58 1 bar silence but you can hear the fading echo of feel so bad. This is
known as a breakdown in techno dance music as the arrangement momentarily seems to break
down.
Chorus
Bx2 2:59-3:18 Female voice is now more distant and harsh due to Telephone EQ effect (removes
high and low frequencies). Static chords by synth-strings and no piano/percussion
By2 3:18-3:38 Similar to the first By chorus. Drum roll leads the drums back in with the piano
(syncopated chords). Voice returns to foreground (EQ and delay removed).
By3- 3:38-3:57 Repeat of chorus By2.
Outro/A8 - 3:57-4:26 Male sample accompanied only by static chords (string-synth). Piano and drums
completely drop out.

Patrick Watts

10 - Capercaillie Skye Waulking Song

From album Ndurra (translates to naturally). Heterophonic texture, instruments sometimes weave
complex improvised counterpoint. Vocables are nonsense lyrics (oh ho), 12/8, slow and calm tempo.
Released in 2000. Celtic Fusion (music that comes from Scotland, Ireland or Wales). Scottish Band
sing in Gaelic. The band formed at Oban High school as a school band and they played for local folk
dances known as cilidhs (pronounced kay-lees). This is a word pun on caper(kay-lee) which is also
a Scottish bird. Song means "My father sent me to a house of sorrow". The lyrics are taken from a
lament called Seathan (or John), Son of the King of Ireland. Spread by oral tradition. Capercaillie
fuses Celtic Folk Music (accordion, flutes, whistle, uilleann pipes (pronounced ill-ann), bodhran,
fiddle, bouzouki) with Western Popular Music (synth, acoustic and electric bass, guitar, Wurlitzer
piano [where hammers strike small steel rods]) Other instruments: Vocals, drums and percussion).
Solo (Karen Matheson) has a very low female alto voice. A traditional waulking songs usually in call
and response but this adaptation uses solo voice with backing vocals. Tonality vocal based on
pentatonic scale on G but the accompaniment isnt as it contains all the notes of G major including C
and F#. However, it has a modal feel as the dominant chord D is avoided, the main chords are G,
Em, C. Bad luck to repeat verses so they're all slightly different. A phrase is followed by a refrain and 2
of these make the structure of the song. The instruments base many of their motifs on the vocalist.
The phrase is the Gaelic singing and the refrain can be heard as it is the vocables [like oh hi oho].
Phrase 1 is sung a bit higher and is short than phrase 1. They both start on the dominant D but
phrase 1 is an octave higher. Frequent syncopation in vocal and instrumental countermelodies. The
vocal part has a lilting rhythm. The phrases are both harmonised with a chord of G (except bar 46
where phrase 1 has Em9 but this still includes all the notes of G). The refrains are harmonised with C
and/or Em (except bar 45 where there is Am9 which also still includes the same notes). It is easiest to
spot the difference between 1 and 2 by listening to the refrains.

(*s are for refrain 2 when the second syllable rises to a G rather than E)
Intro 1-8 0:00 Synth opens song with modulation (pitches slightly fluctuate) and uses a long
dischord of an Em triad with the 2nd and 4th notes added. This is called a CLUSTER CHORD. Fiddle
(folk musicians preferred name of violin which is why it is called violin in the anthology) plays tremolo
on D, Bass/Drums/Wurlitzer Piano and Bouzouki join bar 3. Wurlitzer and Bouzouki (plucked string
instrument of the lute family) share the melody. Bar 7 bouzouki plays acciaccaturas. Gentle cross
rhythm created by the drummers high-hat cutting across the normal divisions on 12/8.
Verse 1 9-11 0:33 Vocals come in, Chords alternate between Em and G for verses 1-2. Phrase 1 bar
10 0:37. Refrain 1 bar 11 0:41.
Break 12-15 0:45 Short break to separate the verse and provide some instrumental. Violin returns
with tremolo on D.
Verse 2 16-17 1:02
Verse 3 18-21 1:23

Patrick Watts
Verse 4 22-24 1:40 bar 24 is unaccompanied (contrast in texture). It is marked N.C. which means No
Chord.
Verse 5 25-33 1:57 Bar 25 Full band plays, chords now C G Em G, backing vocals sing
vocables/refrains, accordion plays counter melody to vocals. Drums play with brushes. 2:13 end of
bar 28 drums play tom toms.
Verse 6 34-35 2:14
Instrumental 36-43 2:26 based on refrain 2 use uillean pipes, fiddle and accordion
Verse 7 44-48 3:00 Dynamics drop considerably as some instruments drop out, chords change to
Am9 Em9 Em G for 4 bars, in last line all instruments drop out which creates textural contrast
Verse 8 49-51 3:20 bar 49 Full band chords back to C G Em G
Outro 52-65 3:34 refrain 2 bar 57 and 59 and backing continues fading gradually. Alternating chords
between C G. In the key of G major, these create the effect of repeated plagal cadence.

Patrick Watts

11. General Rag Desh Notes

Comes from Hindustani tradition (North India). Most Indian music is based on: melody, rhythm and
drone. A rag is a pattern of notes. Rag Desh is traditionally an evening/night rag and performed at a
medium-fast tempo. Starting on C the notes are: Sa Re Ma Pa Ni Sa(highest) Ni(flat) Dha Pa Ma Ga
Re Sa. Rhythms are usually in cycles of beats called talas (or tals). The most common tala is the
tintal tala (16 beats). Talas are commonly marked with claps to mark strong beats and waves to mark
weaker or empty beats. A beat is called a mantra and the first beat/mantra is called the sam. Unlike
western music the song finishes on the sam rather than the last beat of the tala. The rhythm is
provided by the tabla which plays the tala (cycle) and is a percussion instrument with 2 drums played
side by side on the floor. The right (dayan) is tuned to Sa the tonic with a high pitch. While the left
(bayan) is deeper in pitch to provide a bass sound. They are played with the fingers of each hand. On
the bayan the heel of the hand is pressed into the drum to change the pitch. The drone often opens
the song and starts on the tonic note, Sa. Traditionally played by the tanpura, a string instrument that
looks like a sitar but has no frets and has 4-6 strings. Music passed on through generations by oral
tradition. In India it's known as master-pupil teaching known as Gharana. A tihai (pronounced teehigh) is a phrase played 3 times across the beat ending on the sam. An alap is a slow introductory
section in free time that introduces the notes of the rag accompanied only by a drone. A gat
introduces a clear pulse with a tala. A jhalla (means shower) is a more rhythmic section that uses
tans (scales) and lively strumming of strings. Music is often improvised but there are fixed
compositions in parts like the gat. The alap is always improvised.
11.1 Anoushka Shankar Rag Desh
Sitar and Tabla are main instruments in this version. Sitar is a long-necked plucked string
instrument with moveable frets. 12 or more Sympathetic strings running beneath the 6-7 main
strings. These sympathetic strings resonate producing a characteristic shimmering sound. Notes are
frequently bent by pulling the strings (similar to pitch bend but called meend) to the side. Uses Tintal
(16) and jhaptal (10) tala.
Structure - Alap, Gat1, Gat2, Jhalla
Alap - 0:00-0:53 like an introduction, here it's slow and unmetred. It's just Anoushka on the sitar
exploring the notes of the raga.
Gat1 - 0:53-9:27 Played at madhyalya (at a medium speed). Sitar plays fixed composition that is
repeated throughout the music, melody is decorated with ornaments, Tabla enters playing Jhaptal
tala (10 beats) at 0:58. The gat ends in a series of various length tihais 3:01-3:03, 3:11-3:19, 3:273:34 and 3:40-3:50. 3:55 the sitar improvises using triplet phrasing called chand. 5:02 improvisations
continue Sitar and tabla alternate indicating the end of each solo with a tihai.
Gat2 9:27-10:10 Faster tempo (drut) and the tabla now plays the most common tala -tintal tala (16
beats).
Jhalla - 10:10-11:19 Drone strings strummed on sitar for rhythmic effect. Piece ends on tihai starting
on 11:11.
11.2 Chiranji Lal Tanwar Rag Desh
Instruments: solo voice, sarangi, sarod, pakhawaj (large double headed drum), cymbals, tabla.
This is a hindu devotional song from Rajasthan and is called a Bhajan. Tells of waiting for Lord
Krishna in the morning. The sarod is similar to the sitar but has no frets and is shorter than the sitar
and is plucked with a wooden plectrum (oppose to metal on the sitar). The sarangi is a fretless
bowed instrument that is held in the lap and has 3 main strings with as much as 36 sympathetic
strings.
Alap - 0:00-0:50 sarangi plays first then the vocalist sings notes of the raga. Melody is in free
time. This is a chorus from the Bhajan.

Patrick Watts
Bhajan (song) - 0:50-8:33 Tabla enters playing Keherwa tala (8 beats) 1:09-1:22 short sarod solo
1:22-1:31 Sarangi solo. They continue to play solo passages between verses. Verses are 0:50-1:09
solos 1:32-2:39 solos 3:04-4:26, solos 4:50-6:05 solos 6:21-8:33. Vocalist sings expressive
ornaments, some rapid tans and long melismas. Ends in short tihai.
11.3 Steve Gorn and Benjy Wertheimer Rag Desh
Released 2004. Bansuri plays the melody, tabla the rhythm and shruti box the drone. Esraj
(fretted bowed string instrument played on sitting on floor). There is also a swarmandel a plucked
string instrument like a zither. Bansuri is a bamboo flute. Steve Gorn plays bansuri and Benjy
Werheimer plays esraj and then swaps to tabla.
Alap - 0:00-8:35 Slow and unmetred. Drone playing the tonic and 5th notes Sa and Pa (D and A
concert pitch). Bansuri enters and explores raga notes and shares melody with the Esraj.
Swarmandel can be heard gently strumming the notes of the raga.
Gat1 - 8:35-13:30-slow tempo. Bansuri plays lyrical and unaccompanied melody. Tabla enters
playing Rupak tala (7 beats) at 9:09. Tihais at 12:56-13:03 and 13:08-13:20.
Gat2 - 13:30-16:33 Fast tempo (drut). Tabla plays Ektal tala (12 beats). Bansuri plays elaborate
melody with wide ranging pitch, fast scales (tans) and slides. A chakradar tihai (a special 3 tihais
in succession) brings the music to the end. Drone continues after melody ends.

Patrick Watts

12 - Koko Yiri
Piece is from Burkina Faso area in West Africa. Koko is a band of 6 players and Yiri (wood) is the
fourth track in their album, Burkina Faso: Balafons et Tambours dAfrique (Balafons and drums of
Africa) released in 2006. Piece is in Gb major and frequently emphasizes the dominant Db and
tonic Gb. The vocal melody is short simple and repetitive. The voices in Chorus A1 (and probs all
choruses) sing in unison. The responses to the solo call are also in unison. The dynamics start soft
and increases as more instruments are added and the texture thickens but mostly loud. The piece
has a layered texture with some heterophony by balafons and monophonic in intro. Balafon can be
spelt balaphone but it is less common. Instrumentation: small and large talking drum (called donno but
many other names as well depending on language and country), hourglass shaped and played with a
hooked beater, can change pitch by altering tension of string by squeezing the drum, this has the
effect of imitating speech by using different pitches and slides. 2 balafons, similar to xylophone with
gourd resonators, has up to 21 wooden bars. Bell at the very end. Solo voice and response voices.
Djembe goblet shaped drum with goat skin head played with the hands. Due to the fact that the
score is a transcription from a recording there are frequent metre changes. Most of the time its 4/4
but theres also 6/4 (13), 3/4 and 5/4 (133). Piece is mostly hexatonic as it uses 6 pitches by avoiding
F except in the introduction. No variation in tempo and little variation in dynamics. Common features
of African Music include: Repetition/ostinato, Improvisation, Call and response, Layered texture. In
choruses the choir sings in unison.
Intro 1-27 0:00-1:09 Free tempo, Monophonic opening on balafon plays rolls (tremolo) on all
notes outlines all seven pitches. 0:11 Bar 6-7 there are acciaccaturas. Bar 8 0:18 clear pulse
(Moderato tempo) as balafon plays two bar phrase which is repeated and joined by another balafon
0:22 playing an octave lower but with a few different pitches creating a heterophonic texture. bar 13
0:34 drums join - large and small talking drum and djembe create a relentless 1 bar ostinato which
is quaver-semiquaver-semiquaver (the djembe plays occasional fills throughout). Bars 17-20 lower
balafon plays with the falling motif Db-Cb-Ab from bar 8 but it changes the rhythm frequently.
Syncopation in every bar 21 onwards with a triplet in bar 22 and a quick 1 bar change to 3/4 bar 27.
Chorus A1 28-33 1:09-1:25 Unison voices sing chorus A and balafon echoes similar motifs in
between singing as interjections bar 28-30. Notice how the choir starts on the tonic and finishes on
the dominant in the phrases (28-30) while the final phrases do the opposite and start on Db and end
on Gb bar 31-33. In the final phrases the balafon plays repeated crochet notes doubled on Db.
Break 34-41 1:25-1:44 balafon plays a solo (balafon break). The balafon uses a similar concept as
the singing phrases before; it starts and ends its phrases with the tonic or dominant except bar 40
where it lands on a seventh, Ab. The final phrase (40-41) starts on the dominant and ends on the tonic
so is similar to a perfect cadence. Most of the phrases are falling phrases.
Chorus A2 42-47 1:44-2:01 Choir sings the same as chorus A1 but the balafon plays developed
accompaniment with different rhythms and notes but on the same beats in between the choir. The
repeated crochets are now 2 quavers and a crochet that go Db-Eb-Db so it still emphasises the
dominant note.
Break 48-51 2:01-2:10 Lower balafon plays solo with emphasis around Gb as the home note. Bar
49-50 there are repeated semiquavers on Gb.
Vocal solo (Call & Response) 52-95 2:10-4:00 Vocal solo sings contrasting melody - Long held
note Yiri and then 2 short punctuated Yiri's. He then sings falling phrases in triplets which creates
cross rhythms against the simple time drums and balafons. Singer is accompanied by the high
balafon and then the low joins at the end of bar 58. He is echoed by a chorus in call and response
style (2:39) which is supported by the high balafon playing the same notes*. Solo comes back at 2:45.
The balafon plays accented notes every 3 notes which makes it sound like its playing in triple time,
this creates a cross rhythm (68-69 or 2:49). 3:28 balafon break into next chorus.

Patrick Watts
Chorus B1 96-107 4:00-4:30 New chorus different words and melody but similar structure as the
balafon plays interjections between the vocals. Balafon break goes into chorus B2.
Chorus B2 108-127 4:30-5:20 repeat of chorus B1 and balafon break at bar 113 4:44. The balafon
again emphasises Gb as the home note and plays fast, virtuoso rhythms. From bar 122 the balafon
plays a variation of chorus A to anticipate its return.
Chorus A3 128 5:20-6:24 same as A1 Balafon break leads into coda 5:36
Coda - 6:24-6:41 The balafons play syncopated in the Coda. The riff in the coda is repeated and is
separated by short dramatic rests. The riff is played five times and is like 12121 where 1 is the
short version and 2 is the version with extra notes at the beginning and end (dont need to know this).
The piece ends with a 'ting' played by a bell.
*The balafon cannot play long sustained notes so it often plays the note rapidly in a tremolo by hitting
the note with both padded beaters which is what happens here and at the intro.