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Yearly Archives: 2019
Development of the Symphony Research (for first lesson back after Xmas)
Use the list of symphonies in your Development of the Symphony booklet plus the material on A level music (here) and any other wider reading (e.g. the Rhinegold study guide) to create a set of notes on Topic F: Development of the Orchestra. There will be a review activity and timed essay in the new year.
Composition (for Tuesday 17th)
Complete at 16-bar compound period (like the Haydn) for strings only that will lead into your tonic noise (and therefore should obviously be in the same key, tempo etc.). Remember to use the WCT Composing Hub to get ideas for textures, check your harmonic progressions make sense etc.
Structure is as follows:
- 4-bar basic idea (go back and read the advice here and remember too the DYNAMICS AND ARTICULATION are a vital part of the music)
- 4 bar cadential idea ending on an imperfect cadence. These four bars must include some parallel motion in the form of either parallel thirds or sixths OR falling first inversion chords before the cadence
- Exact repeat of bars 1-4
- Modified repeat of bars 5-8 this time ending on V that will make a perfect cadence with the beginning of your tonic noise
Review Haydn Minuet and Trio for a test next WEDNESDAY 11th NOVEMBER (use the annotated score on Moodle to make sure that yours is up to date and do some of the quizzes)
Composition – Tonic Noise (for Tuesday 10th December)
Write eight or more bars of ‘tonic noise’ as specified below:
- Instrumentation should be at least ‘a 8’: Violin I, Violin II, Viola, Cello and Bass (playing the same thing), 2 horns (on the same line) and 2 oboes or flutes PLUS timpani. You may add other woodwind and brass if you wish
- It must have a tonic pedal and some suitable chords with/against it (list of chords here)
- You should also include at least a few of:
- tutti tonic chords
- short, repetitive phrases
- some octave unison
- rising thirds against the pedal
- repeated notes rather than held pedal
- Start and end on the tonic chord
- It is all about gesture and energy rather than writing a nice tune
Composition (for Tuesday 3rd December)
Your blank six bars should be filled as follows:
1. A single bar based on the same chord that you landed on at the end of your A section (should be chord I of the dominant of your original key) leading to …
2. A partial circle of fifths in the original key as follows:
- iii – vi ii – V (one chord per bar)
- write a two-bar melody / texture that draws on your original idea in some way and fits with iii-vi and then sequence it exactly a step down for the next two bars (ii-V)
3. Finally, one bar of an augmented sixth that resolves onto the beginning of your dominant pedal
- re-orchestrate it for ‘a 8’ early Classical orchestra (strings plus two horns and two flutes or oboes)
- write a contrasting Trio in a different key that follows a similar template
- 1-8 – modulating period to the dominant (via secondary dominant) [repeat marks at the end of bar 8]
- 9 – One bar continuing in the dominant
- 10-13 – circle of fifths in original key: iii – vi – ii – V
- 14 – augmented sixth onto …
- 15-18 Dominant pedal
- 19-26 – As bars 1-8 but staying in the tonic
Haydn / Western Classical
Prepare for an essay on the development of Third Movements on Wednesday 4th. Your essay should talk about roughly three earlier symphonies, Haydn 104 and three or so later symphonies, making your references clear and accurate.
Composition (for Tuesday 26th November)
- Make corrections on your modulating period
- For the LAST eight bars of your piece you need to rewrite this period so that it has no secondary dominant and does not modulate. Make sure you finish with an idiomatic cadence like I6/4 V I or ii6 – V – I and end on the FIRST beat of the final bar
- To lead into the final eight bars, you need to write four bars (or more) of dominant pedal. You must use at least two different dissonant and chromatic harmonies discussed in class (from the WCT Fingerprints page)
- Leave a gap of six bars or so before, so the whole structure will be:
- Modulating period
- 6 blank bars
- dominant pedal with harmonies over it
- Modified non modulating period
History (for Wednesday 27th November)
You need to use your Development of Symphony Essay booklet to research Third movements (Topic D). Read the introductory material and then use the list provided for this topic to guide you to reading about and listening to the symphonies on The Development of the Symphony pages on alevelmusic.com. You will need to do this before Wednesday, when we will discuss the topic in class ready for an essay the following week.
NOTE: you should be doing regular revision every week using the checklist to make sure you use all the available resources. The planner is to help your synchronise your schedule with what we are reviewing in class.
Knowledge Test (A: Thursday 19th March / B: Friday 20th March)
This is a short answer test of basic knowledge needed for the exam. It will include everything from facts about wider listening pieces in both areas of study through to the location of specific features that you should have revised in set works.
The 99 Questions for A level revision on will help you revise for this test as well help you practice the skills we are working on in class.
Mock Exam (end of March)
Schedule as follows:
- Musical Theatre, Unseen AoS E Listening and Dication – A: Thursday 26th March / B: Friday 27th March
- Haydn, Essay and Poulenc/Debussy: Depending on your rehearsals choose ONE of the following 80 minutes slots on Tuesday 31st March: 8.40-10:00; 10:00-11:20 2:45-4:05. You need to sign up to one of these slots in advance
We should now be in the finishing off phase. The more you are on top of the game, the better your submission will be.
Checklist and log templates are here: https://moodle1.kedst.ac.uk/mod/folder/view.php?id=74762
- Making corrections
- Creating separate audio and print versions
- Filling in your log
Composition (for TUESDAY 19th)
Minuet Composition – First Eight Bars
Write eight bars of minuet that is:
- in 3/4
- in a major key
- a period
- in a string quartet score start with a melody and a bass line in the cello and chord labels (THESE ARE COMPULSORY). THEN you can fill in with a simple texture taken from the Basic String Quartet textures on www.alevelmusic.com
- modulate to the dominant in the second half of the phrase
- Use standard chord progressions including at the cadences
Please update your new Haydn scores from your photocopies/notes so far.
Composition (A: Monday / B Wednesday)
Please complete corrections and suggestions from feedback on Piece 1 and start thinking about what you are going to do for Piece 2
Please review the following:
- Haydn fourth movement
- Fourth movements of Wider Listening Symphonies
- FOR the following week, you need to start reviewing the Debussy Nocturne.
Composition (both classes for Tuesday 12th)
Finish the arrangment of the Haydn Minuet in the style of the Stamitz, Filtz and Haydn symphonies that we have studied. It is best done in that order and files are available on Moodle that are already set up and partially completed.
You have finished Starting Points and I am not setting any particular work over half term.
If you are feeling keen, you could do some listening as follows:
- THIRD movement of Haydn’s Symphony 104, which we will be studying,
- Rodgers and Hammerstein’s music, particularly Oklahoma and Carousel
- Any Haydn and Mozart String Quartets, to get a better feel for how these go
Preparation for first week back after half term:
- Review FOURTH movement of Haydn and Fourth movement essay topics ready for us to tackle this when we get back.
- Review Poulenc – notes in your revision booklets and both annotated and blank scores are on Moodle. We will have a short test on the usual AoS E lesson (Tuesday for A group / Thursday for B group). If time, there will also be a short C20 test including the 5-marker at the end on Core Wider Listening.
Have a nice break!