I N T E R N A T I O N A L

Music

2009
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Contents
11-14
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Theory Matters ................................................................... 8 information.
Singing Matters .................................................................. 8
Edexcel GCSE Music ........................................................... 8
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 key to symbols
New resources for 2009
www.heinemann.co.uk/GCSE new! New titles published in 2009

For the latest news and

CD-ROM included
pre-publication samples.

Cover image: © Chris Parker

Opus
A complete course for 11-14 music that will inspire your
pupils and take the pressure off you!
See pages 2-3 for more information

new!
Edexcel GCSE

Anthology
Edexcel GC
SE
of Music
Music
Edexcel GCSE Music
The Edexcel GCSE
Anthology of

A comprehensive resource tailored to the new GCSE Edexcel GCSE

Anthology
Music

of Music Music
specification for first teaching in 2009. Anthology of

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The Edexcel GCE

Edexcel GCE Anthology of Music

Anthology of
Music

GCE
Music
Anthology of

The Edexcel An
thology
The essential text for Edexcel A Level Music - revised and of Music
The Edexcel GCE

Edited by Julia
Winterson

updated for the new specification.

See page 7 for more information
11-14

A complete course for 11-14 music that will inspire your

pupils and take the pressure off you!
Opus is an exciting course based on extensive research into what teachers wanted to see in an
11-14 music resource.
O Opus builds confidence – well-structured
activities build skills in composing, performing
and listening for all abilities.
O Opus drives progress – clear lesson
objectives show pupils what they are learning
and why.
O Opus saves you time – complete lesson
support with detailed lesson plans, starters,
plenaries, worksheets and help with Assessment
for Learning, plus all the music you need on
Audio CDs.
O Opus has everything covered – full content
coverage in line with the Secondary Strategy and
the 8-level scale.

course structure
Unit 1 What makes a good song?
Unit 2 Latin beat
Year 7 Unit 3 The folk tradition
Unit 4 Rhythms of the Nile
Pupil Book 1 Teacher’s Audio CD 1 Unit 5 Medieval music
Resource File 1 Unit 6 Impressionism

Unit 1 Reggae
Unit 2 Making connections
Year 8
authors Unit 3 Going solo
Rob Blythe
Unit 4 Jazz improvisation
Karen Brock
Pupil Book 2 TTeacher’s
h ’ Audio CD 2 Unit 5 Night music
Marie Cherry
Chris Hiscock Resource File 2 Unit 6 Film music
Derek Hobbs 14b more info
Martyn Large
Peter Roadknight 14d All
Unitpapers in the
1 Chords into Teacher’s
jazz
Resource
UnitFile are Transylvania
also suppliedto on
series editors 2 From
Steve Block Year 9 an accompanying CD-ROM, so you
the Balkans
Chris Harrison
can customise then print them
Unit 3 Improvisation and off and
organisation
photocopy them. a
Pupil Book 3 TTeacher’s
h ’ Audio CD 3
Resource File 3
Unit 4 Polyrhythm into
www. Minimalism
Unit 5 Music for special
Visit www.heinemann.co.uk/opus for
full contents list, sample pages and to occasions
request an Evaluation Pack. Unit 6 Making arrangements

The Teacher’s Resource File comes

with an editable CD-ROM enabling
you to customise, print and photocopy
resources to suit your needs.
2
11-14
The Pupil Books are full of motivating
activities linked to the Audio CDs. In this
example pupils listen to ‘Clapping music’ and
then complete their own minimalist piece.
Pupil Book

Ch
Poor
lyds
rhyt
inhm
to ja
inzz
to minim alism
Lesson plan 4.3
‘Clapping Mu
sic’ – but is it
Resources
music?
Opus: Pupil Boo
k pages 40–41;
Other: untuned Worksheets 4.3a
percussion instr –c; CD track 18:
uments. ‘Clapping Mus
ic’.
Learning obje
ctives
Pupils will be able
to:
H learn about
Sample pages from Pupil Book 3 H explore how
the development
and conventio
ns of minimalism
minimalist com
Pupils will learn posers use sma
by: ll rhythmic mot
H reading abou ifs to build a bigg
t the origins and er piece.
H listening to features of min
an example of imalism
H composing minimalist mus
a piece of mus ic
Why? So that they ic in a minimalist style
can: .
H understand
the key
H apply their know concepts and features of min
Four elements – rhythm, pitch, ledge to practical
music making.
imalist music

texture and structure – are Learning outc

Pupils should be
omes
able to:
H listen to and
developed throughout the course. H perform a min
appraise a piec
e of music by a
imalist piece of minimalist com
music – ‘Clappin poser
H compose their g Music’ by Stev
Here pupils are exploring rhythm. Key words
own minimalist
piece of music
to include featu
e Reich
res/musical devi
ces used by Stev
e Reich.
Minimalism; abst
ract; impressionis
m; motif, ostin
ati; timbre.
Starter
Look at the pictu
re on page 40 of
following poin the Pupil Book
ts. showing minimal
H How do pup ist art by Sol Lew
ils feel about the itt. As a class, disc
H Is this really art? uss the
When you plan a lesson, the art at all? Why
/why not?
Development
Teacher’s Resource File Reading/discuss
ion:
Read page 40 from
illustrates how to bring all time to elaborat
harmonic patterns
the Pupil Book
e on the key elem
as a class to intro
ents of minimal
duce the origins
and key features
called motifs that ist music (a limi of minimalist mus
ted number of
the components of Opus ‘motif ’ in grea
Listening:
ter detail for clari
ty.
are repeated agai
n and again). Whe short, melodic,
re necessary, expl
ic. Take
rhythmic and
ain key terms such
H Read through as
together to the best effect. minimalist com
the information
posers.
on page 41 of
the Pupil Book
about the ‘Mo
H In task 1, pup notonous Scho
ils listen to Trac ol’ of American
inevitably be subj k 18 and answer the
ective, and pup questions on page
justification. ils should be enco 41. The answers
uraged to back to part c of task
up their answers 1 will
with appropriate
reasoning/

Harcourt Educ
ation 2007: Opus
3

4 Polyrhythm
Opus TRP 3 into minimalism
95

order and evaluate

Chapter 4.indd
95

Evaluate Opus Pupil Books Opus Audio CDs SSample

p lesson plan
p from
Each Opus Evaluation Pack contains: Pupil Book 1 Audio CD 1 Teacher’s Resource File 3
978 0 435812 08 9 £7.50 978 0 435812 10 2 £28.50 (+VAT)
- the Pupil Book
- the Teacher’s Resource File and CD-ROM Pupil Book 2 Audio CD 2
- the Audio CD 978 0 435812 30 0 £7.50 978 0 435812 32 4 £28.50 (+VAT)
Pupil Book 3 Audio CD 3
Evaluation Packs 978 0 435812 50 8 £7.50 978 0 435812 52 2 £28.50 (+VAT)
Opus 1 Opus Teacher’s Resource Files
978 0 435812 15 7 £72.50 Teacher’s Resource File 1
Opus 2 978 0 435812 11 9 £54.95
978 0 435812 37 9 £72.50 Teacher’s Resource File 2
Opus 3 978 0 435812 33 1 £54.95
978 0 435812 57 7 £72.50 Teacher’s Resource File 3
978 0 435812 53 9 £54.95

UK t 01865
0845 630 33 33
888080 ff 0845
01865630 77 77
314029 @ myorders@pearson.com w www.heinemann.co.uk
w www.heinemann.co.uk
3
International t +44 1865 888130 ff +44
+44 1865
1865 314981 w www.internationalschools.co.uk
314981 @ international.enquiries@pearson.com w www.internationalschools.co.uk
 distributed by Heinemann

14-16 on behalf of Edexcel

new!
Edexcel GCSE Edexcel
de GCSE Music
Music
A com
comprehensive resource tailored to the new GCSE
specification for first teaching in 2009
specifi
This dedicated suite of resources has been written by the chief and principal examiners and
subject experts to provide complete support for the new GCSE 2009 Music qualification.
@e^d7ha[bbš@eddoCWhj_d Our new Edexcel GCSE Music resources include:
O full and detailed analysis of all 12 set works with accompanying listening and appraising
tasks, to fully prepare your students for the exam
authors O exam and coursework advice from the people who created the new specification to help
John Arkell your students fulfil their potential
Jonny Martin
O performing and composing tasks in each Area of Study to ensure your students develop the
Julia Winterson
key musical skills assessed in the coursework element
O the set works available in print and audio format for complete flexibility.

Clear learning objectives at A glossary feature

the start of each Area of Study helps students
help students understand what understand unfamiliar
Set work 1: ‘And the Glory of the Lord’
Area of Study 1: Western Classical Music 1600-1899
they will be learning. musical vocabulary.
Chorus: ‘And the Glory of the Lord’ Features of the Baroque style Glossary
from the oratorio Messiah (1742) Before focusing on the set work, it is important to familiarise yourself with
diatonic notes belonging to
some of the basic ‘hallmarks’ or features of music composed during the
Baroque period. Some general features include: or literally ‘of the key’

In the study of this set work you will learn about:
the Baroque period and the main hallmarks of the style
some background to the life and works of G.F. Handel
how the chorus ‘And the Glory of the Lord’ from Messiah.is
constructed through an analysis of the music.
The Baroque era
The Baroque era (c.1600-1730) witnessed a new exploration of ideas and
innovations in the arts, literature and philosophy. Italy was at the hub of new
culture and led the way when it came to exploring new ideas and fashions.
The word ‘baroque’ comes from the Portuguese for ‘pearl’ and was used in
reference to the ornate architecture and elaborate gilded paintings, frescoes
and designs that covered the interior walls and ceilings of German and
Italian churches of the period. One particular aspect of this style that made
its way into the music was the emphasis on an ornamented or ‘decorative’
melody line.
The most well-known composers of the baroque period were Johann
Sebastian Bach (1685-1750), George Frederic Handel (1685-1759), Henry
Purcell (c.1659-1695) and Antonio Vivaldi (1678-1741). There were many
others too, but the set work that you will be tested on in the exam focuses
on a work by George Frideric Handel.
George Frideric Handel (1685-1759)
Handel was born in Germany in 1685 and from the age of 18
devoted his life to music. In 1707 Handel’s first serious opera
– Rodrigo - was performed. Success followed and in 1710 he
returned to Hanover to be appointed Kapellmeister to the
Elector. As part of this role, he was given permission to take
up a year’s leave in London, England. He spent the rest of his
life in this country and it was during this time that he wrote
some of his finest instrumental works, especially the overtures
and concerti grossi. When his employer, the Elector of Hanover,
succeeded the childless Queen Anne and became George I
of England, Handel became his Royal Composer. He wrote
the Water Music (1717) to accompany the King’s triumphant
procession up the River Thames. Towards the end of his life
his sight failed him and he died in 1759 and was buried in
Westminster Abbey.
George Frideric Handel (1685-1759)
homophonic a musical
ornamented melodic parts
texture comprising a melody
establishment of major/ minor key system replacing the old system of
part and some form of
modes
accompaniment
diatonic (i.e. in the key) chords of I, IV V, and II and VI
‘basso continuo’ or figured bass – literally ‘a continuous bass part’. The monophonic a musical
adoption of the ever constant keyboard instrument (harpsichord or organ) texture of a single melodic
line with no accompaniment
playing a chordal support with the bass line, usually played by the cello
different musical textures, such as monophonic, homophonic and polyphonic a musical texture
polyphonic featuring two or more parts,
each having a melody line
Baroque orchestra based on the newly invented members of the violin
family with the ever present harpsichord supplying the harmonies. and sounding together
Trumpets and horns and timpani drums were used. However, the use of
woodwind instruments at this time was not standard and varied from piece
to piece.
One ‘affection’ or mood usually prevailing.
dynamics being contrasted on two levels – loud and soft.
What is an oratorio?
This fourth movement scored for a four part SATB choir plus orchestral
accompaniment is taken from a type of work known as an oratorio.
This form developed at roughly the same time as opera. It took its name from
St. Philip Neri’s oratory or ‘hall of prayer’ situated in Rome, where the first
oratorios were performed. These works were essentially made of operatic
forms such as the recitative, aria and chorus and acted out with scenery and
in full costume dress. The key difference between the opera and oratorio was
that the oratorio used only texts for the story taken from the bible. By the time
of Handel however, the ‘acting’ element to the oratorio had ceased.
Messiah is probably the most well known and loved of all oratorios. The
libretto is in three main parts telling the story of the birth, death and
resurrection of Jesus Christ.
Part 1 consists of prophecies foretelling the annunciation (or coming of the
Messiah) with texts taken from the Old Testament as well as the story of His
birth from the New Testament.
Part 2 is the passion music of the suffering and crucifixion of Jesus, set
mainly to words from the Old Testament.
The final part of the work, Part 3, tells of His resurrection from the dead.

2 3

Sample pages from Edexcel GCSE Music Student Book

Biographical information
www. on all of the composers
of the 12 set works,
www.edexcelgcse.co.uk/music helping to contextualise
the study of these
musical pieces.
« Published in partnership with Edition Peters
4
 distributed by Heinemann

14-16 on behalf of Edexcel

A comprehensive bar-by-bar analysis

of each set work, so your students
are fully prepared for the exam. Listening and appraising
Area of Study 1: Western Classical Music 1600-1899 Set work 1: ‘And the Glory of the Lord’

tasks focus on the 12 set

Analysing the set work: ‘And the Glory of the Lord’ 1 Listening and appraising questions: ‘And the Glory of the Lord’ works, giving students plenty
1 Listen to the recording on the audio CD and use your Anthology to follow the analysis Now that you have listened to ‘And the Glory of the Lord’ and studied the analysis on of practice for the exam.
below bar-by-bar. Then answer the questions that follow on page 10. pages 5-9, answer the listening and appraising questions that follow.
1 How is the joyful mood or ‘affection’ of this chorus achieved by Handel?
Bar Musical features Keys used
numbers 2 Name three different types of musical texture that feature in this chorus.
1-11 Orchestral introduction in which the first two melodic ideas are stated. !MAJORTONICKEY 3 Name the four voice parts that perform this chorus.
The lively triple time dance tempo gives the feeling of one-in a bar.
Several features to note in the introduction: 4 What instruments accompany the singers?
s EXAMPLESOFAONEBARDESCENDINGSEQUENCEATBARS TOPPART 5 How many different melodies are used by Handel in the chorus?
AND MIDDLEPART
6 Identify two ways in which the last three bars of the extracts (‘hath spoken it’) is
s HEMIOLARHYTHMSATBARS THISWASAVERYCOMMONPRACTICEAT
THEAPPROACHTOACADENCE given a dramatic setting.
s SUSPENSIONSATBARS  7 Give bar numbers where you can hear:
The introduction ends with a perfect cadence in the tonic key of A a One voice part
MAJORATBARS 4HEHARMONICRHYTHMTHATISHOWMANYTIMES b Two voice parts
THECHORDSCHANGEPERBAR ISEITHERONECHORDPERBAREGBAR
ETC OREGBARBEATSANDARE%MAJORCHORD ANDBEAT
c Three voice parts
d All four voice parts together.
Performing and composing
IS!MAJORCHORD 4HISISTHEBASICPATTERNBUTOCCASIONALLYWE
HAVETHREECHORDSPERBAREGBAR$"MINOR%

Note that, in terms of the role and function of the orchestral
8 How are the words set to the music in the main?
9 How is the word ‘revealed’ treated throughout the piece?
tasks in each Area of Study
accompaniment throughout the whole extract, the instruments double
the voice parts. The music throughout the extract too is driven on ensure students develop the
THROUGHREGULARON BEATCROTCHETRHYTHMS*USTLOOKATTHEBASSLINE

 
BEAT
s !LTOENTRYWITHMELODYMF 4HESETTINGOFTHESEWORDSIS
SYLLABICONENOTEPERSYLLABLE 
A major
%NSEMBLEPERFORMANCE
key musical skills assessed
 
s
s
0ERFECTCADENCEIN!MAJORATBEAT BEAT 
@&ORTECHORDALRESPONSEBYTHESOPRANOSTENORSANDBASSES A major
Try the following task in groups of four
PART 1: Call and response!
in the coursework element.
s 4EXTUREISHOMOPHONICANDTHEMELODYBARS  ISNOWHEARD t
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HOMOPHONIC SECTIONS
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two, one bar descending sequences on the word ‘revealed’. using chords 3 one bar after player two, then player four, one bar after player 3. This should produce
6B ) DOMINANT some simple imitation!

 At this point the first idea ‘and the glory’ is combined with the second %MAJOR PART 3: Building up the texture!
BEAT IDEA@SHALLBEREVEALED4HETENORBAR ANDSOPRANOBAR HAVE Several perfect t
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-33 THEFIRSTIDEAANOCTAVEAPART ANDTHEALTOBAR ANDTENORBAR cadences in the keeps playing this over and over until the last player has finished playing.
BEAT  HAVETHESECONDIDEA4HERESULTISONEOFTWOPARTCOUNTERPOINT dominant key in this
IETUNEAGAINSTTUNE (ANDELISCLEVERTOCONTRASTTHEVOCALTEXTURES SECTIONEGBAR PART 4: The Grand Finale!
SOTHATWEHAVEVARIETYEGLOWERTWOPARTSBASSANDTENOR ATBARS BEAT BEATBAR t
5P
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 THENTOPPARTSSOPRANOANDALTO ATBARS FOLLOWEDBY BEAT BARBEAT
MIDDLEALTOANDTENOR PARTSATBARS 4OTHEEARTHISPROVIDES
interest and is a feature of the whole movement.
ANDBARBEAT
 BARBEAT
later by players three and four.
t
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Suggestions for further
Build up the dynamics through this final section ending fortissimo!
listening beyond the 12
6 7 set works give students the
Sample pages from Edexcel GCSE Music
opportunity to widen their
Student Book musical knowledge.

ResultsPlus features combine Area of Study 1: Western Classical Music 1600-1899 Set work 1: ‘And the Glory of the Lord’

real exam performance data

with examiner insight to give Further listening
Watch out! Build Better Answers
guidance on how to achieve When listening and appraising pieces of Question: Describe the use of rhythm in this
In addition to this set work, try to listen to other examples of a chorus movement found in Messiah
by G.F. Handel, for example:
music, it is important to give enough detail in expressionistic piece.
better results. your response. (3 marks) And he shall purify
For unto us a Child is born
Typically, weak answers lack in real If a question has three or four marks assigned to
Glory to God
musical detail. For example: it, then you are expected to make three or four Surely he hath borne our griefs
different points. He trusted in God
Question: Describe the texture of music.
Answer: It is thin then becomes thicker. Basic answers Hallelujah Chorus
Worthy is the Lamb
This just tells us that the texture changes. A Include the basic ideas: It would also be good to listen to other Baroque Choruses, such as those found in the music of J.S.
better answer would be: s 4HERHYTHMSAREBROKENUPANDDONOTFLOW Bach (the chorus movements from St. John Passion, St. Matthew Passion) as well as many examples
At the start of the extract there is s 4HERHYTHMSARECOMPLICATED in other sacred Oratorios by Handel.
only a solo flute playing pianissimo. (creating s 4HERHYTHMSAREVARIEDANDKEEPON
a monophonic texture). A few bars later changing
the texture and dynamics increase as the Excellent answers 6OCALCOMPOSITION: :EBEDIAH:IDCUP

strings enter providing an accompaniment
to the flute creating a fuller homophonic Develops the basic ideas above, adding more
detail and using more precise musical vocabulary Setting words to music
texture.
to fully describe the use of rhythm. In the vocal set work, we saw how Handel uses four different short melodies for each
s 4HERHYTHMSAREBROKENUPANDDONOTFLOW line of text and then combines them in different ways.
- they are fragmented and erratic with no 1. Try setting the following poem by Cara Lockhart Smith in any style you wish (rock,
regular feeling of a beat. pop, folk, classical) using a different melody for each line as shown.
s 4HERHYTHMSARECOMPLICATED COMPLEX Zebediah Zidcup tune 1
patterns feature including sextuplets, Puzzles in his head tune 2
dotted, reverse dotted and double dotted Round and round and round they go tune 3
rhythms, triplets are heard against duplets, When he lies in bed tune 4
constant syncopation etc. Zebediah Zidcup tune 1
s 4HERHYTHMSAREVARIEDANDKEEPON Looking at the moon tune 2
CHANGING4HEREISLITTLEREPETITIONOF Round and round and round it goes tune 3
rhythmic ideas in the music, creating a Likewise does the sun tune 4
sense of unrest and lack of order or chaos. Likewise do the elephants tune 4
Likewise do the sheep tune 4
Round and round and round they go tune 3
Till they fall asleep tune 4
Write for a solo voice, duet, trio or quartet and try to show some of the techniques
that Handel uses:
t
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PG
NVTJD

(polyphonic)
t
BMM
QBSUT
UPHFUIFS

IPNPQIPOJD


8 9

Sample pages from Edexcel GCSE Music Student Book

A dedicated examzone section in the Student Book takes students

through the best way of revising for their exams step-by-step, to
ensure they achieve the best results possible.

UK t 0845 630 33 33 f 0845 630 77 77 @ myorders@pearson.com w www.heinemann.co.uk

5
International t +44 1865 888130 f +44 1865 314981 @ international.enquiries@pearson.com w www.internationalschools.co.uk
 distributed by Heinemann

14-16 on behalf of Edexcel

Edexcel GCSE

Music
new! Student Book
Stu
O Focuses
Focu on developing students’ listening and appraising skills around the 12 set-pieces.
O Includes
Incl performance and composing tasks within all four Areas of Study.
O Provides exam and coursework guidance, including examzone, to help students prepare for
the exam.
O Uses ResultsPlus data to advise students on common errors and how to improve their
@e^d7ha[bbš@eddoCWhj_d
exam responses.

new! Teacher Guide

Tea
O Provides
Prov further composing tasks differentiated to cater for all abilities.
O Includes
Inclu worksheets to help students grasp musical theory, as well as some higher level
concepts for more confident students to tackle.
O Coursework and exam advice from experienced examiners – aimed specifically at teachers –
helping you to understand the requirements of the new specification.
O Contains the answers to the listening activities in the Student Book, plus a glossary of all the
musical terms that students need to know.

Edexcel GCSE

Anthology
new! Anthology (print)
An
of Music
O Contains
Con the printed music scores for all 12 set pieces of music in a single volume.
O Includes
Inclu graphic scores of non-traditional music not available elsewhere.
O Presented in a format that is ideal for students.

;Z_j[ZXo@e^d7ha[bbš@eddoCWhj_d
@kb_WM_dj[hied

Companion CD available

new! Anthology (CD)

An
Edexcel GCSE

Anthology O Contains
Con the audio recordings of all 12 set pieces of music.
of Music
;Z_j[ZXo@e^d7ha[bbš@eddoCWhj_d
@kb_WM_dj[hied
O Each recording selected to best illustrate how the music should be performed.

order and evaluate

Evaluate Order
The Edexcel GCSE Music Evaluation Pack contains: Student Book
978 1 846904 03 5 £16.99* Summer 2009
- The Student Book
- Sample material from the Teacher Guide Teacher Guide
- Sample material from the Anthology 978 1 846904 04 2 £60.00* Summer 2009
Anthology (Print)
Edexcel GCSE Music Evaluation Pack
978 1 846904 05 9 £16.99* Summer 2009
978 1 846904 07 3 £16.99* FREE Summer 2009
Anthology (CD)
978 1 846904 06 6 £26.99* (+VAT) Summer 2009

6 * Prices are provisional until publication.

 distributed by Heinemann

14-16 on behalf of Edexcel

new! The Edexcel GCE Anthology of Music

Published in partnership with Edition Peters
The Edexcel GCE Anthology of Music

The Edexcel GCE Anthology of Music is a comprehensive set of resources designed to

accompany the Edexcel Advanced Subsidiary and Advanced GCE in Music.
The book and four CD set provide an exciting compilation of more than 60 pieces of music,
Companion 4-CD set available

GCE

The Edexcel Anthology each with a printed score and an audio recording. From Dowland to Reich, string quartet to
of Music
Edited by Julia Winterson steel band, raga to reggae - all three Areas of Study are fully represented.
The Edexcel GCE Anthology of Music provides:
54 The Beatles
55 Desmond Dekker and the Aces
A Day in the Life
l the printed Anthology
You can get it if you really want
487
496 – the essential reference book for all your students, including the
56 Van Morrison Tupelo Honey 501
The Edexcel GCE Anthology of Music

57 Oasis Don’t look back in anger printed scores of more

509 than 60 pieces of music from all three Areas of Study
58 Ram Narayan (India) Rag Bhairav 519
The Edexcel GCE Anthology of Music

GCE
59 Gong Kebyar de Sebatu (Bali)
60 Red Stripe Ebony Steelband (Trinidad)
Baris Melampahan
Yellow Bird l Audio CDs – a four-CD
522
528 set containing recordings of all the pieces in the Anthology.
61 Niall
The Edexcel Keegan (Ireland)
Anthology Tom McElvogue’s (jig) and New Irish Barndance (reel) 530
62 Mustapha Tettey Addy (Ghana)
of Music Agbekor Dance 532
63 Familia Valera Miranda (Cuba)
Edited by Julia Winterson Se quema la chumbambá 534

Glossary of foreign terms 537

Translations of sung texts 538
Copyright acknowledgements 541
Index 543

Contents
grouped by Area of Study
Area of Study 1: Instrumental Music 35 Monteverdi (Ohimè, se tanto amate) 353
1 Bach (Brandenburg Concerto 4) Page 7 37 Haydn (My mother bids me bind my hair) 359
2 Haydn (Symphony 26) 31 38 Schubert (Der Doppelgänger) 361
3 Berlioz (Harold in Italy) 42 39 Fauré (Après un rêve) 363
5 Debussy (Prélude à l’après-midi) 86 41 Gershwin (Summertime) 366
6 Tippett (Conc. for double string orchestra) 120 51 Howlin’ Wolf (I’m leavin’ you) 471
8 Webern (Quartet Op. 22) 160 52 Carl Perkins (Honey Don’t) 477
9 Shostakovich (String Quartet 8) 163 53 The Kinks (Waterloo Sunset) 483
10 Cage (Sonatas for Prepared Piano) 166 54 The Beatles (A Day in the Life) 487
12 Reich (New York Counterpoint) 176 55 Desmond Dekker and the Aces
13 Holborne (Pavane and Galliard) 191 (You can get it if you really want) 496
15 Corelli (Trio Sonata Op. 3 No. 2) 200 56 Van Morrison (Tupelo Honey) 501
16 Haydn (String Quartet Op. 33 No. 2) 202 57 Oasis (Don’t look back in anger) 509
17 Beethoven (Septet) 207 63 Familia Valera Miranda (Cuba) 534
18 Brahms (Piano Quintet in F minor) 231
19 Poulenc (Sonata for Hn, Tpt and Tmb) 242 Area of Study 3: Applied Music
20 Sweelinck (Pavana Lachrimae) 245 4 Wagner (Prelude to Tristan und Isolde) 65
21 Bach (Partita 4) 249 7 Stravinsky (Pulcinella) 139
22 Mozart (Piano Sonata K.333) 253 14 G. Gabrieli (Sonata pian’ e forte) 194
23 Schumann (Kinderscenen) 258 26 Taverner (O Wilhelme, pastor bone) 266
24 Debussy (Pour le piano) 260 27 G. Gabrieli (In ecclesiis) 269
25 Shostakovich (Prelude and Fugue in A) 262 28 Bach (Cantata 48) 288
48 Louis Armstrong and his Hot Five 29 Haydn (Nelson Mass) 299
(West End Blues) 461 36 Purcell (Dido and Aeneas) 356
49 Duke Ellington and his Orchestra 40 Schoenberg (Der kranke Mond) 364
(Black and Tan Fantasy) 465 42 Auric (Passport to Pimlico) 369
50 Miles Davis Quintet (Four) 468 43 Bernstein (On the Waterfront) 374
58 Ram Narayan (India) 519 44 Goldsmith (Planet of the Apes) 388
45 Williams (ET) 409
Area of Study 2: Vocal Music 46 Pheloung (Morse) 433
11 Berio (Sequenza III) 171 47 Horner (Titanic) 440
30 Bruckner (Locus iste) 305 59 Gong Kebyar de Sebatu (Bali) 522
31 Stravinsky (Symphony of Psalms) 307 60 Red Stripe Ebony Steelband (Trinidad) 528
32 Tavener (The Lamb) 344 61 Niall Keegan (Ireland) 530
33 Dowland (Flow my tears) 347 62 Mustapha Tettey Addy (Ghana) 532
34 Weelkes (Sing we at pleasure) 349

Sample pages from The Edexcel

GCE Anthology of Music
Comprehensive coverage of
all three Areas of Study in
the new GCE specification. Music for large
ensemble.indd
1

11/07/2008
12:46:51

editor
order and evaluate
Julia Winterson
The Edexcel GCE Anthology of Music
978 1 846904 08 0 £30.00
Each printed score in the
The Edexcel GCE Anthology of Music CDs
Anthology is accompanied by
www. 978 1 846904 09 7 £30.00 (+VAT) a recording on the Audio CD.

www.heinemann.co.uk/ALevelMusic

UK t 0845 630 33 33 f 0845 630 77 77 @ myorders@pearson.com w www.heinemann.co.uk

7
International t +44 1865 888130 f +44 1865 314981 @ international.enquiries@pearson.com w www.internationalschools.co.uk
Other Resources

Composing Matters Theory Matters Practice for GCSE Music

By integrating composing with performing, listening Everything you need to help you develop your Listening Papers
and appraising, the skill-based activities and pupils’ knowledge of music theory. These practice papers provide essential listening
projects in Composing Matters will bring out the paper practice for your chosen specification.
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creativity in all your pupils. 978 0 435810 25 2 £7.95 Write-in workbooks (one for AQA and one for
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978 0 435811 82 2 £9.50 978 0 435810 26 9 £29.95 students to develop confidence in listening skills
and complement Heinemann GCSE Music.
Teacher Resource File
The books include a record of achievement for each
978 0 435811 81 5 £32.50 Singing Matters pupil to help track individual progress.
Audio CD-ROM A pack of lively resources to help your pupils
978 0 435811 80 8 £32.50 (+VAT) develop successful singing in the classroom. Practice for GCSE Music Listening Paper Audio CD
978 0 435813 30 7 £30.50 (+VAT)
TES/EPC Secondary Schoolbook Award Winner.
New Music Matters 11-14 Singing Matters
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(pack of 8)
Used by over 70% of music teachers in the UK at 978 0 435810 15 3 £68.50 978 0 435813 11 6 £30.50
KS3, this continues to be a popular and practical
Practice for Edexcel GCSE Music Listening Paper
choice to help you meet the requirements for Edexcel GCSE Music (pack of 8)
performing, composing, listening and appraising. 978 0 435813 23 9 £30.50
Inspire your students and help them achieve exam
Pupil Book 1 success with this Student Book, Teacher’s Resource
978 0 435810 90 0 £9.50 File and Audio CD. Heinemann Advanced
Teacher Resource Pack 1 Edexcel GCSE Music Student Book Music
978 0 435810 93 1 £31.95 978 0 435810 71 9 £16.50 Whatever your specification, this Student Book,
Audio CD 1 Edexcel GCSE Music Teacher Resource File Teacher Resource File and Music CD Pack provide
978 0 435810 99 3 £31.95 (+VAT) 978 0 435810 72 6 £57.50 comprehensive support. The Student Book provides
Pupil Book 2 listening, composing and performing activities for
Edexcel GCSE Music Audio CD
978 0 435810 91 7 £9.50 978 0 435810 73 3 £45.95 (+VAT) thorough exam preparation, whilst a corresponding
bank of tasks and suggested answers are provided
Teacher Resource Pack 2 See pages 4-6 for new Edexcel GCSE
978 0 435810 94 8 £31.95
in the Teacher Resource File. All referenced music
Resources
tracks are also available as recordings on the CDs.
Audio CD 2
978 0 435811 00 6 £31.95 (+VAT) Heinemann GCSE Music Student Book
978 0 435812 58 4 £20.50
Pupil Book 3 This flexible, topic-based course structured around
978 0 435810 92 4 £9.50 a series of motivating projects will help your Teacher Resource File
pupils meet all the requirements of performing, 078 0 435812 59 1 £86.50
Teacher Resource Pack 3
978 0 435810 95 5 £31.95 composing, listening and appraising. The resources Music CD Pack
also offer ample opportunity to integrate ICT into 978 0 435812 60 7 £56.95 (+VAT)
Audio CD 3
978 0 435811 01 3 £31.95 (+VAT)
your lessons.
See page 7 for new Edexcel GCE
Student Book
Resources
978 0 435813 18 5 £17.50

Teacher Resource File

978 0 435813 17 8 £57.50

Audio CD Pack
978 0 435813 16 1 £51.95 (+VAT)

Music CD-ROM
978 0 435813 15 4 £42.95 (+VAT)
8
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