OCR AS MUSIC - SET WORK SUMMARIES

OCR AS MUSIC

SET WORK SUMMARIES

REVISION GUIDE 2012-2013

OCR AS MUSIC - SET WORK SUMMARIES

Set work summary

Hotter Than That Louis Armstrong & His Hot Five
PART 1 PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT
About the Composer Placing the Set Work in a Social & Historical Context Louis Armstrong born in New Orleans in 1901, died in 1971 Influential trumpeter, singer & composer Pioneered scat singing an imitative vocal style that mimics different instrument sounds through nonsense syllables Known as a hot player because he swung the rhythm much more than his contemporaries. Leader of the Hot Five and later, the Hot Seven, including his wife Lil Hardin Related composers Charlie Parker (1920-1955), Duke Ellington (1899-1974), Count Basie (1904-1984), Jelly Roll Morton (1885-1941)

About the Set Work Placing the Set Work in a Musical Context th Hotter Than That was recorded on the 13 December 1927 by Louis Armstrong and his Hot Five. It was recorded in Chicago for OKeh Records. It was one of the first recordings of jazz music that used the new technology of gramophone & shellac discs. The piece was recorded using the hierarchical order from the microphone/recording horn; the soloist would have been the closest to the device (and therefore, louder), whilst the trombonist would have been the furthest away (hence, the sound quality of the trombone in the main mix). The Hot Five had an additional member (Lonnie Johnson) who played the blues guitar and banjo on the recording, although he was never a fully-fledged member of the band. The line-up of the band changed many times throughout its career and eventually expanded to the Hot Seven. Many of their pieces were written by Lil Hardin and Hotter Than That is no exception she based it on the jazz standard Tiger Rag. Key features of the soloists playing include:
DOIT FALL-OFF GLISSANDO/SMEAR TERMINAL VIBRATO TAILGATE STYLE CLARINO RANGE RIP VIBRATO STOP TIME

PART 2 MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES

Time signature Tonality Tempo Dynamics
Dynamics vary from instrument to instrument on the recording, according to closeness to the microphone.

Pitch (trumpet range)

Eb major

Prestissimo
A very fast pace!

Rhythm Heavily swung rhythms, particularly in the solo lines.

Harmony
Major harmonies throughout. The piece is mostly in Eb major with the use of chords Eb, Bb & Ab major. Microtonal inflections are used in the Duet section by the guitar (blues tuning).

Texture
NEW ORLEANS POLYPHONY or COLLECTIVE IMPROVISATION (in Intro & Chorus 4). Mainly homophonic but also elements of monophonic and polyphonic.

Musical Features
Walking bass Improvisation Comping Frontline Rhythm section Stride piano Scat singing

32 bar song form Introduction (ensemble) Chorus 1 (trumpet) Chorus 2 (clarinet) Chorus 3 (vocals) Duet (vocal + guitar) Link (piano) Chorus 4 (trombone solo + ensemble) Coda (vocals + guitar)

Melody and Structure

Instrumentation Written for the following instruments: Trumpet Louis Armstrong, Clarinet Johnny Dodds, Piano Lil Hardin, Trombone Kid Ory, Banjo Johnny St. Cyr, Guitar Lonnie Johnson

OCR AS MUSIC - SET WORK SUMMARIES

Revision Questions 1. Explain why Louis Armstrong made such an impact on audiences and musicians. Use examples from Hotter Than That to illustrate your answer. 2. Why do you think Armstrong added a guitar player to the line-up of the Hot Five in this recording? What effect does it have? 3. How does the rhythm section of this piece differ from that of Duke Ellington in Koko? 4. Why do you think Armstrong chose not to use drums or any form of percussion in Hotter Than That? 5. Explain the meaning of each of the following terms: Smear Comping Rip Collective improvisation Tailgate style Stop time 6. What were the bluesy adjustments that Lonnie Johnsons made to the music? 7. Name each of the players and their instruments. 8. Describe what scat singing is and how it came about. 9. Explain the changes in texture heard between the two halves of Chorus 4. 10. In which city was this performance recorded and which record label was it for?

Characteristics of New Orleans jazz Collective improvisation/New Orleans polyphony Frontline = clarinet/ trumpet/ trombone/ guitar Banjo Scat singing Simple accompaniment Stride piano technique Heavy emphasis on the frontline Virtuosic players 32-bar song form 12-bar blues Instrument techniques such as smear, rip, terminal vibrato, etc Stemmed from ragtime Comping crotchets in piano & banjo

Time 000

Structure Introduction 8 bars

009

Chorus 1 32 bars

045

Chorus 2 32 bars

Description Makes use of the final 8 bars of the chorus 32 -bar chord pattern. The texture is typical of the New Orleans polyphony style. Short phrases in the trumpet melody. Agile clarinet countermelody (balanced much further back in the mix) more audible in its higher register or when the trumpet rests. The trombone begins in the traditional tailgate style with glissandi up to sustained semibreves breaks into crotchets at the end of the introduction. Clarinet & trombone drop out, leaving the rhythm section to accompany the trumpet solo. Armstrongs solo is confident and well-shaped. Two-note syncopated upbeat at beginning of each 4-bar phrase. Accents on this to make it stand out a strong sense of swing. The similarity of phrasing helps to keep the improvisation highly melodic. Most of the phrases extend over an octave showing Armstrongs ability and range. There is a rip up to the high Bb which can be clearly heard on the recording it sounds very much like a very quick, subtle, glissando. The second half of the solo is more virtuosic and varied. There are less rests and more use of broken-chord figures and chromatic triplets. The final phrase includes a lip trill (shake) on a sustained high G. Blues sound of Johnny Dodds first note which uses a clarinet smear makes a striking contrast with Armstrong. The solo begins in the high clarino range of the instrument. Dodds was known for his bright, assertive tone, which is even more piercing at these registers. The fast vibrato) fashionable in the 1920s) is most obvious at the end of long notes terminal vibrato. Emphasises the strong crotchet beats of the bar in contrast to Armstrong emphasising the upbeats. He then moves into swung quavers. Heavy use of smear

OCR AS MUSIC - SET WORK SUMMARIES

to add to the blues feel. Accompaniment in the banjo and piano only. Energetic comping by Lil Hardin but not restricted to repeated chords. Bass octaves at the beginning in the left hand alternating tonic-dominant. This then changes to movement between registers (stride piano). Use of some higher register to create variety in texture. Armstrong enters as a vocalist for the first time. The piano drops out of the accompaniment, leaving the banjo to comp. Lonnie Johnson improvises countermelodies on the guitar. The scat solos on the Hot Five recordings were very popular with the public. Armstrong gives the scat solos many of the same qualities as the earlier trumpet solo in Chorus 1 the first 16 bars have a similar overall shape. He imitates the trumpet-style rip and uses smears, fall offs and vibrato regularly. A succession of 24-dotted crotchets occurs covering 9 bars. This creates a polyrhythmic effect against the crotchet beat of the rhythm section a very unusual technique for its time, showing his gift for rhythmic freedom and invention. Voice & guitar exchange two-bar phrases in a call and response style. Armstrong & Johnson give a strong blues flavour to their dialogue. The start of each phrase rd begins with a microtonal smear on the 3 of the scale (G or Gb). This exploits the expressive flexibility of blues tuning compared to the western classical approach to intonation. Piano played by Lil Hardin. Back in the original tempo. Music returns to the original mood. Kid Orys trombone solo occupies the first half of the chorus. He uses the slide on the trombone to decorate the pitches of the melody with three techniques glissando up, fall-off at the end of notes and a slide between notes. Rhythm section continues to drive on energetically. Hardin plays an elaborate countermelody in the high register of the right hand which is typical of ragtime. Armstrong leads the second half of the chorus with an unaccompanied ascending scale in straight quavers chromatic scale rising over an octave to a high Bb. New Orleans polyphonic style. Dramatic sequence of stop time the accompaniment plats short staccato chords separated by silences, which build up the anticipation for the end of the piece. Avoidance of the predictable full ensemble ending that the listener expects. Instead, Armstrong uses the final two-bar break at the end of Chorus 4 to return to the idea explored during the duet section: call & response. The final diminished chord makes for an intriguing and inconclusive ending another flavour of the blues style.

121

Chorus 3 32 bars

156

Duet 16 bars

214 218 236

Link 4 bars Chorus 4 16 bars 16 bars

251

Coda

OCR AS MUSIC - SET WORK SUMMARIES

Set work summary

Koko Duke Ellington & His Famous Orchestra'
PART 1 PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT
About the Composer Placing the Set Work in a Social & Historical Context Duke Ellington born in Washington D.C. in 1899, died in 1974 Influential pianist and composer Had his own style nicknamed the Ellington effect a particular sound that his band had which came from having input from the players. Known as a swing player because of the large numbers of players in his ensemble and the Big Band style. Leader of His Famous Orchestra including Johnny Hodge s, Cootie Williams and Ben Webster. Related composers Benny Goodman (1909-1986), Cab Calloway (1907-1994), Billie Holiday (1915-1959). About the Set Work Placing the Set Work in a Musical Context th Koko was recorded on the 6 March 1940 by Duke Ellington & His Famous Orchestra. It was recorded in Chicago for RCA Victor records. It was one of many recordings of swing/Big Band music that used the new technology of multiple RCA ribbon microphones. The piece was recorded using much more sophisticated equipment compared to the recording horn; each set of instruments would have had their own microphone. His Famous Orchestra had 15 members which was the standard for the swing era. Ensembles were much bigger as the music was made for dancing and filling huge dance halls with music. Although many of the solos were still improvised, the act of collective improvisation was no longer practical with such a large ensemble and arrangements using written notation became a necessity. The band toured extensively around America and Europe but had a residency at the Cotton Club in Harlem (19271931). They performed equally to both white and black audiences. It is likely that this piece was composed by Ellington on a train on the way to another gig.
Key features of the Ellington effect: Chords arranged for sections of reeds, trumpets or trombones one player to each note Unison melodies or riffs for a section Antiphonal effects of pitting one section against another, either as call and response or as countermelodies Solo improvisation with accompaniment from one or more contrasting sections

PART 2 MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES

Time signature Tonality Tempo Dynamics
Dynamics were varied & had greater depth, partly to do with the more advanced recording technology used to record the piece.

Pitch (saxophones)

Eb minor (aeolian mode)

Vivace
A fairly fast pace

Rhythm

Harmony

Texture Mixture of homophonic & polyphonic throughout.

Musical Features
Chase chorus Shout chorus Rich 7th chords Motifs/ riffs Dissonance tritons Walking bass

Key motif seen throughout the piece.

Introduction (reduced ensemble) Chorus 1 (valve trombone solo) Chorus 2 (trombone solo) Chorus 3 (trombone solo) Chorus 4 (piano solo) Chorus 5 (trumpets in unison) Chorus 6 (double bass solo + ensemble) Chorus 7 (Full ensemble) Coda (reduced ensemble)

Rich 7th chords bluesy sounds

Melody and Structure

Instrumentation Written for the following instruments: Alto sax Johnny Hodges & Otto Hardwick, Clarinet Barney Bigard, Tenor sax Ben Webster, Bariton Sax Harry Carney, Trumpets Wallace Jones, Cootie Williams & Rex Stewart, Trombones Lawrence Brown, Joe Tricky Sam Nanton & Juan Tizol, Guitar Fred Guy, Piano Duke Ellington, Double bass Jimmy Blanton, Drums Sonny Greer.

OCR AS MUSIC - SET WORK SUMMARIES

Revision Questions 1. What is meant by the jungle style? 2. Why do you think the big bands became popular in the 1930s and 1940s? 3. Explain the meaning of the following terms: Walking bass Shout Chorus Chase Chorus Ya-ya Straight eights Du-wah 4. Describe how Ellington uses harmony and tonality in Koko. 5. Ellingtons ability to create a sound that was unique to his band is often referred to as the Ellington Effect. Give examples of how Ellington empl oys his signature sounds in this arrangement of Koko. 6. Name each of the players and their instruments. 7. Identify two differences between the first chorus and the second chorus. 8. In which year and city was this music recorded and for which record label? 9. How is the sound of the trombone modified in Chorus 2 and Chorus 3? 10. What is the role of the double bassist throughout? 11. How is the tonality of this piece unusual? 12. Compare Ellingtons use of brass and reeds in Chorus 6 and Chorus 7. 13. Identify the structure used for the choruses throughout. 14. Explain the differences in sound that both the plunger and pixie mutes produce. 15. How are the mute positions (open and closed) notated in sheet music?

Characteristics of Swing jazz Music for dancing to in large ballrooms so & concert halls so ensembles were big (15+) Written arrangements used to cater for large ensembles collective improvisation is no longer viable so only the soloist tends to improvise Saxophones = leading solo instruments Banjos became outdated rhythm section is now generally: bass, piano, drums, (guitar) Instrumentalists = better quipped and more technically trained, reading music at a higher level Most big bands included: trombones, trumpets, saxophones + rhythm section Double bass replaced the tuba walking bass style Piano players moved away from the stride piano style of ragtime Drums relied heavily on the hi-hat for swing rhythms Emphasis on the off-beat

Time 000

Structure Introduction 8 bars

012

Chorus 1 12 bars

032 051

Chorus 2 12 bars Chorus 3 12 bars

Description Brooding, jungle mood from the beginning. Dark sound of the baritone saxophone plays a low tonic pedal on Eb. Brighter sounds of the trumpets and higher reeds are not used in the introduction. Hollow sounds from the tom-tom and the crotchet beat of the bass drum makes for a distinctive African colour in the passage. The four note x-motif is stated for the first time. Syncopated chords in the three trombones move in parallel, descending chromatically in each phrase. Opening melody on the valve trombone. Trombone phrases are answered by close th harmonies in the four saxophones, which move in parallel. Rich sounds of the 7 chords and the bluesy sound of having Db and D in the same chord. Double bass plays pizzicato walking bass stepwise motion. The drums have changed from the jungle colouring to keeping time on the hi-hat and bass drum. Repeated two-bar phrasing between the trombone and saxophones is shortened in bars 9-10 to two one-bar phrases. Piano plays a syncopated dominant pedal on B b with a crescendo, which adds momentum towards the next chorus. Slide trombone solo across two choruses distinctive sound incorporates three effects: Growling ya-ya (which Joe Nanton was well known for) using a plunger mute Pixie (straight) mute fixed inside the trombone to create a buzz to the sound Style of blowing through the instrument that gives the impression of words being produced

OCR AS MUSIC - SET WORK SUMMARIES

Only a few pitches are used throughout the solo but the three specific techniques mentioned above with the addition of smears and fall-offs creates a highly expressive calling effect that suits the jungle atmosphere of the piece. Saxophones play a two-bar riff in a low unison, using the x-motif and sustained notes. Single staccato chords on the piano emphasise the first note of the x rhythm. Brass play a syncopated rhythm, alternating repeated notes quickly between closed and open plunger mute positions (du-wah effect). The rhythm section keeps time with a very clear walking bass. Guitar comps and drums keep time. The second half of the solo (Chorus 3) begins with higher pitches the plunger mute is tight against the bell of the instrument, restricting the sound even further. The soloist returns to the ya-ya style of playing to conclude the solo. Piano solo accompanying riffs begin to move in one-bar phrases. The Aeolian mode is reinforced by the repeated Dbs on each first beat. The boldest harmonies are created in the solo the right hand plays a whole-tone scale in semiquavers (ascending & descending over an octave and a half). The use of the bright high register of the piano emphasises its polytonal dissonance as it clashes with the E b minor chord in the left hand and the rest of the band. A whole-tone scale on Cb creates a similar colourful dissonance against the A b th minor chord. The solo ends with a syncopated Ebm7 chord leaps in pairs (10 apart) across the range of the instrument. The riff moves to the trumpets for the first time in this chorus reverts back to twoth bar phrases. The repeated phrase is higher so that the 9 of the chord is the most th prominent more dissonant than the 7 in the previous chord. The sound of the unison trumpets with plunger mutes half open gives the music a more insistent feel. Full ensemble apart from piano. Reeds & trombones play a twonote rhythm and sustained chords which each other antiphonally. Clarinet takes the highest note in the chord. The baritone sax has its own decorated figure. The x-motif is passed around the sections of instruments within the band and each section harmonises it differently. The sections enter one after another in imitation at a distance of one minim apart. The full band then sustains the chord until an emphatic shop on two ff repeated quavers. The double bass breaks the dramatic pause with a two-bar solo descending scale in walking bass crotchets. The rest of the chorus continues to alternate between full band sections in imitation and solo bass in two-bar phrases referred to as the chase chorus. The full ensemble takes over for the final climactic chorus known as a shout chorus. Melody in unison in the saxophones with the clarinet supplying the highest note of the sustained chords in the brass section. Highly dissonant chords the Eb th th th minor chord now includes an added 7 , 9 & 11 . Insistent E s in the saxophones, causing a dissonant triton against the Bb in the bass. The phrase also includes whole-tone inflections, previously referred to in Ellingtons piano solo. Concludes with a return to material from the introduction but the orchestration is now reduced to baritone sax, trombones & rhythm section. The final bars bring back the full band, section by section in ascending phrases. Straight eights replace the swung rhythm to finish the piece.

108

Chorus 4 12 bars

126

Chorus 5 12 bars

144

Chorus 6 12 bars

203

Chorus 7 12 bars

222

Coda 12 bars

OCR AS MUSIC - SET WORK SUMMARIES

Set work summary

Boplicity Miles Davis & His Orchestra'
PART 1 PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT
About the Composer Placing the Set Work in a Social & Historical Context Miles Davis born in Chicago in 1926, died in 1991 Influential trumpeter and jazz composer Pioneered two new styles of jazz: bebop & cool Extremely virtuosic and distinctive trumpet player kept to a simple style of playing Had a close working relationship with Gil Evans (1912-1988) Related composers Charlie Parker (1920-1955), Dizzy Gillespie (1917-1993) & Thelonious Monk (1917-1982) About the Set Work Placing the Set Work in a Musical Context nd Boplicity was written and arranged by Miles Davis and Gil Evans. It was recorded on 22 April 1949 in New York for Capitol Records. The piece is in a cool jazz style during the 1950s the trend towards a softer, less dauntingly complex style of jazz was sought by musicians and critics. The album Birth of Cool was a reissue of 11 tracks (1949 -50) that was produced on an LP in 1957. Boplicity was seen as one of the first recordings of music in the cool jazz style and this album is a tribute to this. The Boplicity track itself was originally credited to Miles Davis mother (Cleo Henry) for business reasons. Whilst the real reason remains unknown, it is said that this was probably due to many of Miles Davis melodies being stolen and produced by other composers of the time and so he was simply trying to disguise his work. The band that Miles Davis used is a nonet featuring mainly brass with just two saxophones, which was highly unusual at a time where most bands featured large numbers of saxophones. Key features of Gil Evans arranging style: Unusual instrumentation, including the use of French horns and tuba Minimal use of vibrato Emphasis on soft, subdued sounds in low registers

PART 2 MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES

Time signature Tonality Tempo Dynamics
Dynamics stay around the same level throughout typical of the cool jazz style easy listening with no sudden changes in dynamics.

Pitch (trumpet)

F major

Vivace
Marginally quicker than Allegro although it has a laid back feel compared to swing music of Duke Ellington.

Rhythm Syncopated rhythms with use of triplets and offbeat accents throughout. Swung rhythms but not as much as in the swing style. Melody and Structure

Harmony Begins with a Gm7 chord and use of chromatic chords throughout. Each F chord uses different extensions (7ths, 9ths, 11ths) in Chorus 1.

Texture Unison rhythms in Chorus 1. Mainly homophonic throughout. Some use of antiphony.

Musical Features
Unusual harmonies (F major but begins with Gm7 chord) Syncopation Light, soft & lyrical melodies.

Chorus 1 (full ensemble no piano) Chorus 2 (bari. sax solo, full ensemble no piano, trumpet solo, full ensemble no piano) Chorus 3 (trumpet solo with ensemble, trumpet solo with rhythm section, piano solo, full ensemble no piano)
Instrumentation Written for the following instruments: Trumpet Miles Davis, Trombone J.J. Johnson, French horn Sandy Siegelstein, Tuba John Bill Barber, Alto Saxophone Lee Konitz, Baritone saxophone Gerry Mulligan, Piano John Lewis, Double bass Nelson Boyd, Drums Kenny Clarke.

OCR AS MUSIC - SET WORK SUMMARIES

Revision Questions 1. What is cool jazz? How is it different from bebop? 2. Why do you think Boplicity interested musicians and critics more than the public when it was first released? 3. Compare the arranging techniques of Duke Ellington and Gil Evans. 4. List the similarities and differences between the trumpet styles of Louis Armstrong and Miles Davis. 5. Name the players and the instruments. 6. Describe the main features of the piano solo. 7. How did the life of a jazz musician change between the 1920s and the end of the 1940s? 8. Which city was this piece recorded and for which record company? 9. Describe the music played by the rhythm section in Chorus 2. 10. What are the key characteristics of Miles Davis trumpet playing?

Characteristics of Cool jazz Relaxed form of jazz a reaction against bebop Originated on the West Coast of America in Los Angeles Incorporates elements of classical music Debussy, Stravinsky, Gershwin Light & lyrical sound Gentle, flowing rhythms Whispery saxophones & muted trumpets Intricately arranged Unusual time signatures (Dave Brubecks Take Five & Unsquare Dance Orchestral instruments used French horns, oboes, bassoons, bass clarinet, alto flute Controlled use of vibrato Brass dominated

Time 000

Structure Chorus 1 32 bars

057

Chorus 2 34 bars

125

157 225

Chorus 3 33 bars

Description AABA (each section = 8 bars). There is no introduction, the opening chorus is fully written out for the full ensemble, minus the piano. The melody on the trumpet is doubled an octave lower by the baritone saxophone. The six horns (wind/brass) form a rhythmic unit that plays complex chords in close harmony. F major tonality at the beginning but begins with a Gm7 chord and chromatic chords each F major chord uses a different extension (7ths, 9ths, 11ths). Bars 6-7 a dominant pedal of C suggests the key more clearly. First four bars = highly syncopated. The melody notes rarely coincide with the strong beat in double bass and drums. Triplet rhythms add to the flexibility of the melody the answering phrase hits the strong beats regularly in stark contrast. Dominant pedal in the tuba and clear offbeat hits of the cymbal. The B section has more conventional phrasing and chord progressions. Baritone saxophone = not commonly used as a solo instrument light, soft tone in the middle and upper registers of the instrument, using little vibrato. The solo is clear and uncomplicated. Relaxed crotchet and swung quaver movement avoids the complex double time of many bebop solos. Melody develops in a logical, unhurried way, using silences to create a feeling of space. The rhythm section only plays the accompaniment the chord pattern is a simpler version of the opening chorus. Section B the rest of the frontline instruments enter in quiet low octaves (the C minor tonality darkening the mood). The brighter sound of the trumpet is left out, then descends slowly in a sequence of syncopated phrases to a sustained F, two octaves below. The extended descent lengthens this part of the bridge section by two bars. The trumpet solo begins to the accompaniment of sustained chords in the rest of the ensemble the bass plays repeated Bbs. After the bands mysterious and meandering descent to the low F during the six preceding bars of section B, the bright sound of the trumpet then transforms the mood. Clear sense of direction in the modulation through the circle of 5ths and in the way that the trumpet melody is shaped this gradually reaches higher and higher until it reaches a top F two octaves above the bands low F previously heard. Improvised solo first 8 bars = a bar of double time with chords and antiphonal accompaniment, second 8 bars = use of silences with no other frontline players & rhythm section only. Section B texture is reduced to that of a jazz piano trio relaxed swung quaver movement and a long silence between the phrases in the piano. First 4 bars = melody

OCR AS MUSIC - SET WORK SUMMARIES

emphasises the interval of a perfect 5 . This is briefly echoed two octaves lower in the next four bars. The piece ends with a full-band reprise of the final A section. There is no coda. Additional accents in the drums and cymbals give the final section an extra sense of swing. Quiet and contained mood continue to the end. Final three chords fully scored but quiet. The drums have a quiet fill on the final chord. The tuba plays a tremolo between two notes before coming to rest on its sonorous low F.
th

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Set work summary

Concerto in E minor for bassoon & orchestra, RV 484 (1st movt.) Vivaldi
PART 1 PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT About the Composer Placing the Set Work in a Social & Historical Context
Antonio Vivaldi born in Italy in 1678, died in 1741. Accomplished composer, violinist & director of operas. Took holy orders (priest) known as the Red Priest Employed for most of his life at the Pio Ospedale della Piet as the maestro di violino the post was renewed every year and Vivaldi wasnt always re-employed. Busy life as a musician travelling around Europe but still tied to a contract, providing monthly concertos for the Piet. Famous and in demand in his own lifetime unusual. Composed 500+ concertos, mostly for strings but many also for bassoon and other woodwind instruments. He was a forward thinker The Four Seasons (1723) was programmatic a Romantic feature that was in constant use approx. 100 years after this.

About the Set Work Placing the Set Work in a Musical Context
The Piet was an orphanage/convent for girls which Vivaldi ran as a music conservatoire 1 of 4 in Vienna at the time. It was mainly for string players but Vivaldi also promoted lessons in both woodwind and brass. The orphanage was filled with illegitimate daughters of the wealthy in Venice and surrounding areas. Despite this, the Piet had a huge reputation for musical excellence and the concerts were renowned. Concerts were used as a way of raising money for the orphanage and wealthy patrons enjoyed the spectacle of hearing female musicians play even though they were mostly veiled or hidden away behind a screen. The reputation of this establishment didnt mean that it turned out professional musicians this was quite the opposite. Females were not allowed to work as musicians. Musicians had to be a part of the Guild of Musicians in order to work professionally and this was a male only organisation. Girls who lived at the Piet were simply being educated for marriage. Those that didnt marry often stayed as teachers but they were never given the role over a male if he applied for the same job. The Bassoon Concerto in E minor was written in ritornello form (one of the first pieces to have the faster movement written in this structure). A ritornello is a returning of the full orchestra. This concerto has memorable melodies and has a heavy use of sequence. Writing for a bassoon in this way was unusual which suggests that there was a capable bassoonist at the orphanage at the time. The bassoon is written in a very virtuosic way using the following features: RAPID DEMISEMIQUAVER ARPEGGIOS WIDE LEAPS TRILLS CHROMATIC PASSAGES IN HIGH REGISTER

RAPID DESCENDING SCALE IN DEMISEMIQUAVERS PART 2 MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES
Time signature Tonality E minor Tempo

Allegro poco a little fast & lively.

Dynamics Simple dynamics from p to f typical of the Baroque era. Texture

Pitch (solo bassoon)

Rhythm
Lots of demisemiquavers.

Harmony
Chords mostly closely related to E minor A minor, G major. Modulation to dominant B minor.

Musical Features
Basso continuo ideas not themes Soloist

Mainly full texture throughout. Sections with just solo bassoon & basso continuo.

Ritornello form: Ritornello 1 (04-131), Solo 1 (13-251), Ritornello 2 (244-281), Solo 2 (282-383), Ritornello 3 (382-461), Solo 3 (462-641), Ritornello 4 (64-67).

Melody and Structure

Instrumentation Strings: Violin I, Violin II, Viola, Cello, Double Bass. Basso continuo: Harpsichord. Solo: Bassoon

OCR AS MUSIC SET WORK SUMMARIES

Revision Questions
1. Find two recordings of Vivaldis Bassoon Concerto in E minor, and compare the first movement. Listen for the following points: Ornamentation: How do the performers interpret the ornaments in the printed score? What additional ornamentation is added by the performers? Tempo change: Can you hear the expressive use of rubato or phrasing in the solo bassoon part? Instrumentation: Compare the sound of the instruments can you hear a difference between a modern-orchestral recording and one using period instruments? Continuo harmony: How does the continuo player realise the bass line? Which instruments are used? 2. Explain what is meant by ritornello form. How does Vivaldi make use of it? 3. What is the function of the basso continuo? 4. Describe briefly your understanding of audiences and the conditions for musicians in Venice during Vivaldis lifetime. 5. List the characters/musicians associated with this set work. 6. In Ritornello 2, would having the melody in a major key have altered the character of the movement?

Characteristics of the Baroque Period

No firm format of the orchestra until the mid-17th century different occasions called for different instruments Orchestra was string dominated mostly violins end of the 17th century a set format for the orchestra was established Composers such as Lully in Paris and Corelli in Rome wrote music for a large number of strings in sections with basso continuo Pairs of woodwind or brass were used according to what was available Basso Continuo: harpsichord (sometimes organ, lute or another plucked/strummed string instrument) + cello/double bass/bassoon; realization of figured bass through embellishment. Different realizations of the continuo could be an important point of comparison when it comes to comparing recordings Clarinets (in A) were in their early stages and other more unusual instruments (eg. oboe damore. hunting horns) may have been available to some composers. Italian violin makers eg. Stradivari and Guarneri started to manufacture violins with a brighter, more powerful tone. The gut strings were tightly strung to increase the volume. Longer bows suitable for melodic lines French and German woodwind and brass instruments Lots of ornamentation Use of the harpsichord Use of sequence a common way of extending & developing a melodic phrase

Analysis Bars
1-131

Structure
Ritornello 1 E minor

Description
The main theme is in Violin 2 this features acciaccaturas. The first violins would normally have the main theme. The main theme is known as the first idea or a. Homophonic accompaniment including bassoon (quaver chords + broken chords in Violin 1 arpeggiando bowing). This is where you cross three strings in one bow movement. Two-bar phrase quasi-question and answer. Both feature the Lombardic rhythm (or Scotch Snap), which was a favourite of Vivaldis short-long but whilst the appoggiaturas in bar one form a dissonance with the E minor chord beneath - the written out demisemiquavers in bars two are harmony notes. There is triple stopping in the first violins to give more emphasis to the loud E minor chord at bar 5 3. A secondary theme (second idea or b) is introduced a strong chord followed by a descending scale, played staccato, in octaves Vivaldi often writes for the orchestra in octaves. It is a strong effect that brings out the melody and rhythm very clearly, and contrasts effectively with the harmonised sections of the music.

OCR AS MUSIC SET WORK SUMMARIES

Vivaldi contrasts the loud chord at bar 53 with the soft, staccato scale that follows which begins in a distinctive five-note rhythm in faster note values the rest of the scale following in even quavers. The chord and scale are played three times descending in a sequence: B minor A minor E minor in 1st inversion E minor. The bass has an arpeggio figure to link the three phrases in descending sequence. This ritornello concludes with the return of the first idea and a cadential figure a series of chords that forms a cadence. The solo bassoon is accompanied by the continuo (harpsichord). The repeated quavers maintain the style of the ritornello through almost all of this solo section. The harmony changes twice a bar, on every minim beat. The first solo section uses musical ideas from the opening ritornello, focusing on the a material. The bassoon solo opens with the demisemiquaver arpeggios stated in the accompaniment for the opening theme. The arpeggios are in a closed formation, with the notes of the triad played as a broken chord. This is easier to play on the bassoon than the wide leaps of the violin version. The violins answer the bassoon passages in bars 14-16, using the triadic pattern of arpeggios. First & second violins play in harmony together there are no slurred bow markings. The bassoon states the opening melody for the first time at bars 144-163. This spans nearly two octaves going down to the bassoons low E. There is a descending sequence in bars 17-19, moving through the circle of fifths. This pattern gives a strong bass line in the continuo and helps to drive the music forward a sense of direction. A very short ritornello allowing the soloist to continue with the virtuosic solo section as soon as possible. Theme A is in Violin 2 again but now in B minor (the dominant minor). Virtuosic writing for the bassoon based on the second idea, initially. The Basso Continuo accompaniment is more varied - NO VIOLINS AT ALL. Features of the virtuosic bassoon writing: - Wide leaps in the melody (7ths, octaves, 10ths, 2 octaves) - Descending demisemiquaver passages/sequences/scales - Ornamentation (trills and acciaccatura), auxiliary and inverted auxiliary notes decorating the melodic line - Sustained melodic phrasing requiring breath control The theme in Violin 2 is in A minor the subdominant minor; modulates back to E minor. Unison material from bars 64-10 two repetitions of the material; key alterations - B minor was being established as a key centre; by this stage in the piece, B major makes the presence of E minor more emphatic & dramatic). Cadential material in E minor leading to the next solo section. This is the longest solo episode. There is the addition of new material undulating quaver pattern. The basso continuo is the only accompaniment at first. Most of the solo in the bassoon lies in the tenor register and the bass notes act with the continuo. Broken chords in the violins introduce another circle of fifths and a second sequence in the bassoon. There is repetition of material in bars 11-13. NO RESTATEMENT OF THE MAIN THEME. Echo in the final bars first time loud (f), second time quiet (p).

13-251

Solo 1

241-281 282-383

Ritornello 2 B minor Solo 2

382-461

Ritornello 3 A minor B major - E minor Solo 3

462-641

64-67

Ritornello 4 E minor

OCR AS MUSIC SET WORK SUMMARIES

Set work summary

Symphony no. 103 in Eb (Drum Roll), 4th movt. Haydn
PART 1 PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT About the Composer Placing the Set Work in a Social & Historical Context
Franz Joseph Haydn born in Austria in 1732, died in 1809. Accomplished composer and pianist. In service to the Eszterhazy family in Vienna the Kappelmeister. Felt isolated here and this forced him to experiment and become original. Famous throughout Europe (1790s) through the publication of his music & commissions outside of the Eszterhazy family The Paris Symphonies. Wrote 100+ symphonies amongst other works; 12 symphonies were written in London The London Symphonies. Nicknamed his music e.g. Drum Roll symphony. Travelled to London twice between: 1791-1795 - in his sixties.

About the Set Work Placing the Set Work in a Musical Context
Haydn was brought to London from Vienna by Johann Peter Salomon a famous violinist and leader of the Opera Concert Orchestra. There were two rival orchestras in competition in London at this time: The Opera Concert Orchestra and The Professional Concert Orchestra. The venue that both of these orchestras performed in was the Hanover Square Rooms a purpose built hall with a raised platform for the orchestra with 500+ seats for the audience. Music was booming in London in the late 1700s due to the Industrial Revolution and the increasingly wealthy middle classes. London had become the melting-pot of cultural life and musician flocked here to earn a living. The Drum Roll symphony was created amidst Haydns second visit to London and was the 11 th symphony of 12 nicknamed the London symphonies. The piece was written for an orchestra of 60 players and premiered at the Kings Theatre, which seated 800+ people on 2nd March, 1795. It was well loved by the audience and continued to be played. The Drum Roll is written in sonata-rondo form a hybrid form that comes from Haydns isolation and inclination towards experimentation. The piece is also monothematic meaning it only has one theme, altering the structure of sonata form. The piece is created using the following devices: MOTIFS PEDALS IMITATION (ANTIPHONY) REPEATING THEME

PART 2 MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES

Time signature Tonality Eb major Rhythm
Simple rhythms

Tempo

Dynamics
Expressive dynamics from pp to ff with sudden accents such as sfz used for expression.

Pitch

Allegro con spirit lively with spirit

Harmony
Mixture of major/minor modulating to various keys: dominant minor (Bb minor) & relative minor (C minor).

Texture
Mixture of textures strings with woodwind accompaniment. Winds written in groups.

Musical Features
Imitation Pedals Motifs/Themes

Sonata-rondo form: A Theme/Exposition 1st subject bars 1-107, B Episode/Exposition 2nd subject bars 107-157, Theme A/Exposition 1st subject bars 158-182, C Episode/Development bars 182-263, A Theme/Recapitulation bars 264-316, B Episode/Coda bars 316-386

Melody and Structure

Instrumentation
Double wind orchestra including clarinets in Bb, full compliments of strings, 2 horns & trumpets in Eb, timpani in Eb & Bb.

OCR AS MUSIC SET WORK SUMMARIES

Revision Questions
1. How does Haydn use tonality to structure the music of this movement? How does this compare with the use of tonality in the first movement of Vivaldis Bassoon Concerto in E minor? 2. How has the orchestra, as used by Haydn, changed from the time of Vivaldi? 3. In what ways was writing for a London audience different from what Haydn was used to? 4. Compare the music before and after each appearance of the theme (bars 5-12, 45-52, 158-165, 264-271). Describe what happens. 5. Write out the cello and viola parts in bars 73-761 in the treble clef. 6. Explain how a motif is difference from a theme. 7. Describe some of the orchestral textures that Haydn uses in this movement. 8. What is meant by the term sonata rondo form? 9. Make an analysis chart to show the differences between the tonality, themes and instrumentation of the B and C sections of this movement. 10. Listen to performance of this movement by different orchestras and conductors. Compare a performance from 50 years ago with a modern performance or with one that uses period instruments. 11. List the characters/musicians associated with this set work. 12. What limitations did the brass and timpani have, particularly in the development section?

Characteristics of the Classical Period

Tonic-dominant alternation Balanced phrases (question & answer/four bar phrases) Introduction of the piano Gradual phasing out of the basso continuo and the establishment of a conductor A more varied orchestra including clarinets (Bb) Prominence of melody and accompaniment Alberti bass Symphony, sonata, string quartet Graded dynamics Sonata form Fewer ornaments than Baroque music Quick change of mood

Bars
1-107

Structure (Rondo)
A Theme

Structure (Sonata)
Exposition 1st subject

Analysis Description
Eb major. The horn call plays a call to attention after a short pause, the horn call is repeated now as an important part of the main theme. Haydn then breaks down the main theme into motifs small sections of the melody that is recognisable. This repetition of motifs gives the movement momentum, intensity and drive. Bars 12-15 briefly passes through F minor. Haydn keeps the audience waiting until bar 73 for the full orchestra to play. Woodwind & brass are used sparingly and not as full sections horns, clarinets, oboes and bassoons are used separately in pairs or as a solo on sustained notes. These sustained pedals create suspense. The texture is reduced at bar 65 and dynamics are decreased, creating a bigger impact at bar 73 with a full forte orchestra. Through the shift to Bb major, the theme is extended by using motifs and the texture becomes imitative creating a rich, polyphonic texture. Bb major. The pace of this section is less hectic. The melodic activity of the strings is replaced by repeated crotchets. The dynamics drop to p and the texture reduces to strings with the occasional woodwind. There is some use of double stopping in the violins (bars 141-142) followed by triple stopping in the next two bars adding emphasis to the approaching cadence. The link passage in bars 146-157 brings the music back to the tonic, using a pedal Bb under shifting chromatic chords until a

107-157

B Episode

Exposition 2nd subject

OCR AS MUSIC SET WORK SUMMARIES

dominant 7th chord is reached. Eb major. The main theme returns in a shortened form (25 bars). This statement is almost identical to the first appearance of the theme at bars 5-26, with the exception of an inverted motif in the clarinet at bar 172. C minor. The use of this key makes the motivic imitation more urgent and dramatic. The overlap of the exchanges of the two-bar motif makes the repeated note figure appear in almost every bar. Some of the entries of the motif are harmonised in 3rds, played by different combinations of strings and woodwind, creating a chordal string texture to the section. Note the absence of the brass and timpani here due to their limitations. There is a change of mood at bar 198 the soft upper strings play a legato version of the motif in even crotchets. There is then a sudden tutti return of the orchestra at bar 208 marked forzando. Eb major. The recapitulation is a surprise/abrupt return to the tonic key. The first-subject material of the first 107 bars is repeated in a compressed way (53 bars) at bars 264-316. The theme is played once, in the same scoring as before, but there is no long build up this time. A brief modulation to Bb major signified by the pedal in horns, bassoons, trumpets & timpani. The tonality reverts back to Eb major at bar 300. Eb major. The coda is brief. The violins rapidly leap in the final tutti (bar 368 onwards), hinting at the virtuosity that Haydn expected from his players. There is a high G in the violinists 6th position (bar 379-383) unusual for orchestral writing of this time.

158-182 182-263

A Theme C Episode

Exposition 1st subject Development

264-316

A Theme

Recapitulation

316-386

B Episode/Coda

Coda

OCR AS MUSIC SET WORK SUMMARIES

Set work summary

Concerto in D major for Violin & Orchestra, op. 61, 1st movt. Beethoven
PART 1 PLACING THE SET WORK IN ITS MUSICAL, SOCIAL & HISTORICAL CONTEXT About the Composer Placing the Set Work in a Social & Historical Context
Ludwig Van Beethoven born in Germany in 1770, died in 1827. Accomplished composer and pianist. Arrived in Vienna in 1792 to have lessons with Haydn. Nicknamed the second Mozart. Haydn was meant to take Beethoven to London with him but this did not happen for some unknown reason. Beethoven wrote 9 symphonies & 7 concertos amongst other works a small amount compared to his contemporaries such as Haydn (100+ symphonies) and Vivaldi (500+ concertos). Close friends with violinist Franz Clement. Beethoven had a fiery nature partly due to illness. Began to lose his hearing around 1796. A slow composer, he composed using sketchbooks of ideas drafting & redrafting melodies.

About the Set Work Placing the Set Work in a Musical Context
Vienna was the largest German-speaking city and was a capital ruled by the Hapsburg family who were imperial bureaucrats. They heavily promoted the arts, particularly music. These opportunities attracted musicians from all over Europe. Many of Beethove ns performances and compositions were for private aristocratic society. The Violin Concerto in D major (op. 61) was written for a charity event to raise money for Franz Clement musicians often did this to supplement their wages and other musicians would offer their services for free for the concert. The first performance was at the Theater an der Wien on the 23 rd December 1806. The performance was not a great success as, amongst other things, it was very long 20 minutes for just the 1st movement and it was in an unusual form (extended sonata form). There were major advances in violin technology at this time including the following:
LENGTHENED NECK INCREASED SOUNDING LENGTH OF STRINGS MORE BETWEEN NOTES HIGHER NOTES BECAME MORE PRACTICAL MODERN BOW MADE BY FRANCOIS TOURTE MODERN BOW BALANCED, CURVED INWARDS, MORE BOWHAIR, MORE WEIGHT AT THE BOTTOM

Beethovens style at this time was heading towards Romanticism with the dramatic use of dynamics (crescendos & diminuendos) and sudden accents. These trends signalled a move towards more obvious expression of feeling or emotion. The larger orchestra with additional instruments such as the piccolo allowed for more freedom of expression. The piece remained unpopular until 1844, when a violinist named Joseph Joachim performed the concerto at the age of 12 in London, with Felix Mendelssohn (a composer) as the conductor.

PART 2 MUSICAL ELEMENTS, INSTRUMENTATION & MUSICAL FEATURES

Time signature Tonality
D major

Tempo

Dynamics
Expressive dynamics from pp to ff with sudden accents such as sfz used for expression.

Pitch (solo violin)

Allegro ma non troppo fast but not too much.

Rhythm
Many triplets used solo violin

Harmony
Mysterious D#s in bar 10 creates a sense of unease in D major.

Texture
Often scored for families of instruments particularly the woodwind as a separate entity to the rest of the orchestra.

Musical Features
- Use of pedal notes - Cello & Double bass had separate parts in places - Use of motifs & themes

Melody and Structure

Sonata form: Tutti exposition bars 1-88, Solo exposition bars 89 223, Development bars 224 364, Recapitulation bars 365 496, Cadenza bar 510, Coda bars 511 535

Instrumentation
Double wind orchestra but only 1 flute, full compliments of strings, horns & trumpets in D, timpani in D & A, solo violin.

OCR AS MUSIC SET WORK SUMMARIES

Revision Questions
1. Make a chart to show the different uses of the woodwind in the first movement of Beethovens Violin Concerto in D major. Find an example in the score for each of the following bullet points: The flutes, oboes, clarinets and bassoons contrast in timbre with the sound of the solo violin and with the string section. Important themes are introduced by the woodwind section. The woodwind can either play themes as a full section or play melodic lines in unison, octaves, 3rds, 6ths accompanied by string. Woodwind instruments are used as a section in homophonic writing, reinforcing the rhythm in the full orchestra or holding a chord while the strings play a more energetic rhythmic figure. The woodwind can be used to strengthen melodic lines by doubling the strings. The bassoon is used for expressive effect in dialogue with the solo violin in the development and in the coda. Look at how the timpani motif is used later in the movement at the following points: Towards the end of the 1st violin solo (bars 205-223) The second half of the development (bars 300-364) The beginning of the recapitulation (bars 365-381) In your Beethoven score, look at the passage bars 19-42. It begins in D major, the tonic key of the movement. There are no accidentals (sharps, flats or naturals) until bar 28, where there is a chord of Bb major. Find the notes of this chord (Bb, D and F) in the score. Describe the tonality in the following places: Bars 35-39 Bars 4346 Bars 5154 Identify the chords used at the following points: Bars 691 Bars 711 Bars 721 Bars 731 Find all of the Italian terms in the score and write down their meanings. The term virtuoso is sometimes used to describe either players of exceptiona l accomplishment or music that is particularly difficult. What are the virtuosic characteristics of the violin solo in the first movement of Beethovens D major concerto? Listen to the performances of the work by different violinists. Note any differences you hear in their interpretations. Consider differences and similarities in tempo, phrasing, dynamics, size of the orchestra, recorded balance between the solo and accompaniment, bowing, execution of ornaments, tone and vibrato. List the characters/musicians associated with this set work.

2.

3. 4.

5.

6. 7. 8. 9.

Characteristics of the Romantic Period

Dramatic dynamics pp to ff with sudden accents sfz Bold/dramatic contrasts dynamics, keys, time signature, mood, themes, etc. Experimentation of form sonata form with two expositions Expression of emotion telling a story (programme music) Adventurous modulations/keys Chromatic harmonies Use of rubato Large orchestra new instruments (piccolo, ophecleide)

OCR AS MUSIC SET WORK SUMMARIES

Bars
1-88

Structure
Exposition 1 (Tutti)

Description
D major. This first exposition is for the orchestra only. Beethoven lays out the main material for the movement in the exposition. There is a strong timpani motif five repeated crotchets (bars 1-2). This is used in many places in this movement and helps to give a sense of unity to the music. A woodwind melody follows. In bar 10 there is an unnerving D#, which creates suspense unrelated to the key of D major. D major. This exposition is for the soloist. Instead of closing the previous exposition with a perfect cadence at bar 88, there is an unresolved dominant 7th chord (A7) as the background for the entrance of the soloist. Bowing is indicated by slurs over the notes long bows for triplets, quicker changes of bow for the pairs of semiquavers, detached bowing for the scale up to top D (bars 100101). At bar 122, there is a change of order as the role of the orchestra reduces and the solo violin starts to dominate. The orchestra is then decreased to just strings, oboes and bassoons at bar 178. The solo part becomes more varied and challenging changing quickly from one type of figuration to another (ascending scales to rapid semiquaver octave leaps). A major C major B minor G minor. Begins with the dramatic entrance of the tutti orchestra on the interrupted cadence at bar 224. The rest of the section is essentially a repeat of the tutti exposition in the dominant key. The tutti sounds forceful at bar 256 marked sempre ff. The constant movement of pairs of semiquavers in the second violins and violas helps to retain the intensity. The chromatic A# is repeated with the enharmonic equivalent Bb (bar 263), becoming the 7th of a dominant 7th chord in F major (C7). The change in the bass from C# to C natural (bar 264) leads to a modulation to the distant key of C major for the closing theme. The repetition of the timpani motif is an important feature in the rest of the development section. D major. The first theme returns with the full force of the orchestra unlike its first appearance. Once the fourth solo begins, the role of the orchestra is reduced again to allow for the soloists semiquaver passagework to shine through. This section ends with a reprise of the long trills and scales that ended the exposition, followed by the full orchestra with a sudden Bb chord (bar 497). The music moves to a fermata (pause) on a Ic chord (bar 510) this signals the beginning of the cadenza. D major. Draws on the themes from the movement, combined with the soloists own elaborations/ideas. A long trill on the penultimate note signals to the rest of the orchestra that the coda is about to begin. D major. The violin solo continues with the second subject theme, played on the G & D strings not the preferred option for a violinist but playing it here helps to exploit the richer, darker tone of the lower strings. The movement ends with the tutti closing theme from the second subject group.

89-223

Exposition 2 (Solo)

224-364

Development

365-510

Recapitulation

510 511-535

Cadenza Coda

PRACTICE ESSAY QUESTIONS

1. Discuss the principle differences between the orchestras of Vivaldi and Beethoven, and how the composers wrote for them. 2. Explain the circumstances in which either Haydn composed the Symphony no. 103 in Eb major or Beethoven composed the Violin Concerto in D major. 3. If you were asked to prepare a performance of one of the prescribed orchestral works, what aspects would you need to consider? To what extent do you think it is important to respect the composers intentions? 4. Compare the way music was made available to audiences during 1920-1960 with the customs during the 18th and early 19th centuries. Refer in your answer to the background of one of the orchestral scores and one of the jazz recordings that you have studied. 5. What similarities and differences were there between the working conditions or orchestral players in the 18th and early 19th centuries, compared to the jazz musicians in 1920-1960? 6. Compare the contributions of Louis Armstrong and Miles Davis to the jazz recordings to you have studied. 7. Explain which musical features of either Duke Ellingtons Koko or Miles Davis Boplicity would have been familiar to audiences of the 1940s and which features would have been new. 8. Describe the effect of radio and recording on the work of jazz musicians. Consider issues such as the advance of technology, the role of the radio and recording companies, the artistic and business opportunities presented by radio and recording, and the public response to broadcast and recorded performances. 9. Compare how Hadyn or Beethoven used woodwind and brass instruments with the use of reeds and brass in one of the prescribed jazz recordings. 10. Discuss the use of imitation in the orchestral and jazz repertoire you have studied. Refer to examples from at least one orchestral and one jazz piece.

11. Compare the contributions to the pieces you have studied of Duke Ellington and Miles Davis. 12. Discuss the role of the soloist in jazz. What would be expected of them? In what ways did the role change over time? Refer to examples from at least two of the jazz recordings you have studied. 13. Explain how the recordings conditions experienced by Gil Evans and Miles Davis in 1949 contrasted with those of jazz groups from the early twentieth century. 14. Explain the circumstances that influenced the creation and performance of either Louis Armstrongs Hotter Than That or Duke Ellingtons Koko. 15. Explain the importance of recordings to the transmission of music in the twentieth century. Refer to at least two items of prescribed repertoire in your answer. 16. In what ways does Haydns use of instrumental forces in his Drum Roll symphony, reflect the style of its time? 17. In what ways does Beethovens use of instrumental forces in his Violin Concerto in D major, reflect the style of its time? 18. Compare and contrast the orchestral forces and their use in any two of the prescribed orchestral scores that you have studied. 19. Describe some of the ways in which the limitations of early recording technology affected the style and performance of jazz in the early twentieth century. 20. Compare the use of brass instruments in Haydns Drum Roll symphony and Miles Davis Boplicity, pointing out similarities and differences. 21. Describe the approaches to improvisation in any two examples of the prescribed work (scores and/or recordings) you have studied. 22. Compare and contrast the approaches to the concerto in Vivaldis Concerto in E for Bassoon & Orchestra and Beethovens Concerto in D for violin & orchestra. 23. Explain why so many performers in the period from 1920 to 1960 were keen to secure contracts with recording companies and radio
stations.