Comprehensive Study Guide for MFAW, Queen, Bach, Beethoven, Schwartz, and Williams

Section A: The Six Set Works

MFAW (Music for a While) – Henry Purcell
Killer Queen – Queen
Brandenburg Concerto No. 5 in D Major – J.S. Bach
Sonata Pathetique – Beethoven
Defying Gravity – Schwartz
Star Wars – John Williams

Fundamental Elements of Music

Melody

Conjunct/Disjunct: Movement by step (conjunct) or by leap (disjunct).
Ascending/Descending: The upward or downward direction of melodic lines.
Sequence: The repetition of a musical phrase at a higher or lower pitch.
Ornamentation: Decorative notes added to the melody.
Chromatic: Using notes from outside the standard major or minor scale.
Diatonic: Using only notes belonging to the scale of the prevailing key.
Syllabic: Each syllable of text is matched to a single note.
Melismatic: A single syllable of text is stretched across multiple notes.

Rhythm

Syncopation: Rhythms that play off or against the main beat.
Triplets: Three notes played in the time of two.
Ostinato: A continually repeated musical phrase or rhythm.
Anacrusis: An upbeat or note(s) before the first strong beat of a measure.
Rests: Periods of silence with specific durations.
Push Rhythms: Rhythms where the note occurs slightly ahead of the beat.
Long, Sustained Notes: Notes held for extended durations.
Dotted Rhythm: A rhythm where a dot adds half the value of the note again.

Harmony

Dissonance: Lack of harmony among musical notes; creates tension.
Chromatic: Use of chromatic scales or notes outside the key.
Suspensions: A note from a previous chord is held over into the next, creating a temporary dissonance before resolving.
Pedal Note / Inverted Pedal: A sustained or repeated note, usually in the bass (or treble if inverted).
Diminished 7ths: A four-note chord composed of three stacked minor thirds.
Cluster Chords: Chords made of at least three adjacent tones in a scale.
Extended Chords: Chords that include notes beyond the seventh (e.g., $9^{th}$ , $11^{th}$ , $13^{th}$ ).
Baroque Harmony Features: * Functional Harmony. * Circle of Fifths. * Perfect Cadences. * Suspensions.
Romantic Harmony Features: * Dissonant elements. * Chromaticism. * Diminished 7ths.

Texture

Monophonic: A single melodic line without accompaniment.
Polyphonic: Two or more independent melodic lines (2-part, 3-part, etc.).
Imitation: A melody is played and then repeated shortly after by another voice/instrument.
Homophonic / Chordal: All parts move together in the same rhythm.
Melody-Dominated Homophony: A clear melody supported by chords.
Stretto: In a fugue, when subject entries overlap.

Structure

Ground Bass: A short theme, usually in the bass, that is constantly repeated as the other parts of the music vary.
Sonata Form: A large-scale organizational structure common in first movements of sonatas/symphonies.
Ternary (ABA): A three-part musical form where the first section is repeated after a contrasting middle section.
Verse-Chorus: Standard structure for popular music.

Tonality

Major/Minor: The character of the key center.
Modulate: The process of changing from one key to another.
Key Signature: The set of sharps or flats at the beginning of the staff.

Tempo

Grave: Very slow and solemn (used in the introduction to Beethoven’s Sonata Pathetique).
Allegro di Molto e con Brio: Very fast and with spirit.
Rit/Rall: Gradually slowing down.
Accelerando: Gradually speeding up.

Dictation Assessment Guidelines

Total Marks: $10$ marks.
Melodic Dictation: worth $5$ marks. Only write five notes.
Rhythmic Dictation: worth $5$ marks. Only write five notes.

Melodic Dictation Training

Recognition: There will always be at least one specific interval to recognize.
Practice Tool: Use Teoria.com.
Methodology: 1. Start by recognizing perfect intervals (P8 is an octave). 2. Progress to major 2nds, 3rds, and 6ths while removing perfect intervals. 3. Finally, include all major intervals.

Rhythmic Dictation Training

Practice Tool: Use rhythmrandomizer.com.
Patterns to Master: * Ta * Ti Ti * Tri-p-let * Ta Tim-ka

Section B: Comparative Analysis (AO3 & AO4)

Framework for Evaluation

AO3 (Point and Evidence): Identify a specific musical feature with a reference to the score or extract.
AO4 (Explanation): Link the feature to the typical characteristics of the genre or the narrative plot.
Focus Works: Star Wars (John Williams) and Defying Gravity (Schwartz).
Common Elements to Discuss: Melody, Harmony, Dynamics, Tempo, Rhythm, Texture.

Level 4 Assessment Criteria ( $10$ to $12$ Marks)

Points must be made about both extracts.
Points must be fully supported by evidence.
Demonstrates stylistic awareness of both pieces.
Displays extensive and sophisticated musical vocabulary.
Presents a cohesive critical argument.
Demonstrates the ability to compare, contrast, and draw logical conclusions.

Level 4 Model Paragraphs

Comparative Analysis of Melody

Both Williams and Schwartz utilize disjunct melodies for different expressive purposes. In Williams’ Star Wars, the Main Theme (bars $2$ – $5$ ) features multiple ascending leaps to create a hopeful and excited atmosphere at the film's opening while the rolling text is displayed. Conversely, in Defying Gravity, the disjunct melody in bars $11$ – $12$ ("at least I’m flying free") serves as word painting. Here, Elphaba’s vocal line leaps off the ground musically to mirror her flying away from the wizard and his entourage at the conclusion of Act 1.

Comparative Analysis of Harmony

While both composers use dissonant harmony, the resulting effects differ significantly. Williams employs cluster chords in bars $24$ – $30$ of Star Wars; this extreme dissonance captures the tension of the space battle on screen. In contrast, Schwartz’s dissonance in Defying Gravity is milder, utilizing suspensions in Verse 3 (e.g., bars $2$ and $4$ ). These suspensions provide a feeling of excitement and optimism as Elphaba powerfully flies away from the chaos of Oz below.

Comparative Analysis of Rhythm

Star Wars and Defying Gravity contrast in their application of syncopation. Schwartz uses syncopation frequently, such as in bars $11$ – $12$ on the lyric "at least I’m flying free." Williams, however, refrains from syncopation in the main theme (bars $2$ – $5$ ), opting instead for on-beat rhythms. Williams uses this to create a regimented, march-like feel suitable for a film about a space battle. Meanwhile, Schwartz uses rhythm to show the witch Elphaba "flying free" from the restraints of the steady pulse at the end of Act 1.

Comparative Analysis of Texture

Both composers manipulate texture to enhance the dramatic action. In Defying Gravity, Schwartz utilizes complex polyphony in bars $34$ – $40$ between Elphaba, Glinda, and the citizens of Oz. This demonstrates the chaotic nature of Oz in that specific moment of the musical. However, Schwartz usually avoids such chaotic textures, often using melody-dominated homophony (as seen in bars $2$ – $5$ ) to support the return of the main theme without interruption.