Summary Music A-level Wider Listening All Set Works

Wider Listening Wonder - M

Bach

Ein Feste Burg ist Unser Gott
Hallelujah Chorus - The Messiah, Handel
-​ Sacred work, SATB + small orchestra that doubles voices
-​ Homorhythmic opening, contrapuntal “And for the Lord”
-​ Ascending lines and functional diatonic harmony
Herr, gehe nicht ins Gericht mit deinem Knecht, Bach
-​ Fugal structure to demonstrate technical ability
-​ Tied rhythms and syncopation
-​ Melismatic, ornate, scalic melody, like an aria
Gloria, Vivaldi
-​ SATB, strings, oboe and continuo, orchestral introduction
-​ Orchestra long intro + ritornello outro
-​ Functional harmony and tonality
Seihe da: eine Hütte Gottes - Cantatas for Pentecost, Stözel
-​ Fugal M1, Aria M2 and Choral M8, Bach was a Stözel fan
-​ Functional harmony and frequent use of modulation
-​ Solos, chorus features polyphony, chorale is homorhythmic
Machet die Tore weit, Graupner
-​ Contextual markings for congregational understanding
-​ Homorhythmic with polyphonic phrases
-​ Functional harmony and scalic, melismatic melodies
Mass in D: Gloria, Smythe
-​ Romantic in style rather than Baroque
-​ Orchestra doubles choir, fugal call and response SATB soloists, polyphonic
-​ Decorative passages includes semi-quavers, dotted rhythms and syncopation
And the Glory of the Lord, Handel
-​ Syllabic melody, instruments double voices
-​ Major keys throughout, diatonic harmony, perfect and plagal cadences
-​ Imitative entries, homophonic
I Was Glad, Parry
-​ Brass introduction, and doubling of voices
-​ Homorhythmic, with polyphonic chamber section, split choir
-​ Modulations and diatonic harmony, use of perfect cadences

Beatles

Here, There, and Everywhere & Eleanor Rigby
God Only Knows, The Beach Boys
-​ Uses close harmony, unexpected key changes
-​ High vocal tessitura and string instrumental sections
Words of Love, Buddy Holly
-​ Repeated guitar riff, quaver and dotted crotchet rhythm
-​ Close harmony, double tracking
Grace, Jeff Buckley
-​ Melody-dominated homophony
-​ Instrumental introduction and strophic form

, Wider Listening Wonder - M

She’s Leaving Home, The Beatles
-​ Uses string quartet, tremolo, harp pizz. introduction, double tracking
Paperback Writer, The Beatles
-​ Only uses the tonic and dominant chords, C and G7, use of vocal echoes and
double tracking
-​ Also from Revolver, usual sonority, guitar ostinati
Mr Blue Sky, ELO
-​ Variations between conjunct main vocals and disjunct backing
-​ Use of strings and electronics combined
Penny Lane, The Beatles
-​ Uses a Baroque piccolo flute and early samplers and brass transitions
-​ Plot focused so simple melody to highlight lyrics
How to Disappear Completely, Radiohead
-​ String sonorities mixed with electronics and rock instruments
-​ Repeated ideas building texturally, close string harmony, vocal doubling

I Want to Tell You & Tomorrow Never Knows
Norwegian Wood, The Beatles
-​ Sitar used, first song with Indian influence
-​ Vocal harmonies in chorus and fade outro
Warszawa, Bowie
-​ Modal tonality, Eastern European influences
-​ Static harmony, uncertain pulse, drone, chanting
Interstellar Overdrive, Pink Floyd
-​ Influence of LSD, lack of clear pulse, modal melodies, chromaticism in melody
-​ Long drone notes, tambura long drone
Within You, Without You, George Harrison
-​ Use of sitar, sarangi, drone, instrumental sections, ornamentation,
chromaticism, double tracking, ostinati
Killer Queen, Queen
-​ Use of a tack piano, present at the end of Tomorrow Never Knows
Pet Sounds, The Beach Boys
-​ Non-standard harmonies and sonorites, deviates from conventional rock
setups, mixing techniques create psychedelic sound
-​ Tape splicing, manipulation and varispeed to alter vocals, radio-broadcasting
equipment led to ‘homemade’ sound
Long Hot Summer Night, Jimi Hendrix
-​ Use of Leslie speaker on vocals
-​ Cross rhythms in guitar cell
Vandanaa Traye, Ravi Shankar
-​ Eastern music that influenced both pieces
-​ Chromaticism, modal tone and melodies, interesting rhythms used

Berlioz

Symphonie Fantastique
Harold in Italy: Mvt 3, Berlioz