GCSE Music AQA

MELODY:

  • Rising/Ascending, falling/Descending

  • Conjunct (stepwise) or disjunct (leaps)

  • Chromatic (by semitone)

  • Repetition or Ostinato

  • Motif (a short, musical idea)

  • Scalic

  • Tradic

  • Arpeggio (broken chords)

  • Diatonic (based around/centered around the tonic key)

HARMONY:

  • Diatonic

  • Cadences: Perfect (V-I) and Plagal (IV-I), cadences sound finished, usually found at the end of a phrase or piece of music, imperfect cadence (I-V) sounds unfinished, usually found in the middle of a phrase

  • Consonance (pleasing sounding chords/harmonies)

  • Dissonance (clashing shounding chords/harmonies)

  • Power chords (made up of the tone and dominant notes in the electric guitar in rock music)

  • Primary chords (I, IV, V progression)

  • Pedal notes (sustained or repeating note usually on the bass note- tonic pedal, but can also be found in inner parts - a dominant pedal)

  • Walking bass line (Blues and Jazz Music)

  • Arpeggio

TEXTURE:

  • Monophonic (one)

  • Homophonic (chordal)

  • Polyphonic (many)

  • Melody and Accompaniment (tune and chordal accompaniment)

  • Octaves

  • Unsion

  • A Cappella (unaccompanied singing)

  • Layering (found in minimalism)

  • Canocic ( use of canon )

  • Antiphonal exchange (call and response)

TONALITY:

  • Major (positive, pleasing)

  • Minor (darker mood, sombre

  • Atonal (no gravitational pull towards one particular key/tonal centre)

  • Modal (a flattened 7th)

TEMPO:

  • Largo (slow)

  • Moderato (moderate)

  • Allegro (fast)

  • Rubato (robbed time- push and pull feel the pulse, found often in Romantic music or dances to give a sense of movement)

  • Rallentando (slows down)

  • Accelerando (gets faster)

RHYTHM:

  • Syncopated (off-beat)

  • Triplet ( 3 notes played in the time of 2)

  • Augmentation (doubling the note value)

  • Diminution (halving the note value)

  • Cross-rhythms (3 beats against a pulse of 2)

  • Polyrythms (two or more different rythms of equal importance)

DYNAMICS:

  • Forte (loud)

  • Mezzo Forte (moderately loud)

  • Mezzo Piano (moderately quiet)

  • Piano (quiet)

  • Crescendo (getting louder)

  • Diminuendo (getting quieter)

  • Accent (emphasis on a note)

ARTICULATION:

  • Legato (smooth)

  • Staccato (short, detached notes)

FORM/STRUCTURE:

  • 12-Bar Blues

  • Call & Response (a musical exchange between two parts, often used in Blues & Jazz)

  • Verse/Chorus (popular music)

  • Binary (AB/AABB – two contrasting ideas/subjects, sections may be repeated i.e. AA)

  • Ternary (ABA/AABBAA – a return to the original subject after a contrasting B section)

  • Rondo (ABACAD…where there are more subjects/ideas)

  • Strophic (same music accompaniment for each sung verse)

  • Through-Composed (different music accompaniment for each sung verse)

HARMONIC DEVICES:

  • Pedal: A sustained or repeating note, typically in the bass

  • Drone: Sustained or repeated sounds, usually played the tonic and dominant notes repeatedly

RHYTHMIC DEVICES:

  • Augementation: Doubling the rhythmic value of the notes

  • Diminution: Halving the rhythmic value of the notes

ORNAMENTS:

  • Trill: quick alternating notes

  • Acciaccatura: crushed note

  • Appoggiatura: grace note which delays the next note of the melody, taking half or more of its written time value

  • Mordent: rapid alternation of a note with the note immediately below (lower mordent) or above (upper mordent) it in the scale

  • Vocal Ornament: melisma (a group of notes sung to one syllable of text, often used to emphasise important words, create word-painting, or to show off the singer’s vocal prowess)

AOS 2: Broadway Musicals : 

  • Melody: Simple easy singable and memorable tunes which are repeated throughout the songs, syllabic, conjunct or disjunct or tradic.  

  • Rhythm: Syncopation, repetition, ostinatos, dotted rhythms or triplets. 

  • Dynamics: used towards the extremes, Crescendos and Diminuendos 

  • Texture: melody and accompaniment, unison, lots of harmony in the big numbers like in Mamma Mia. 

  • Sonority/Timbre and Instrumentation: use of belt, falsetto, vibrato, use of a standard orchestra and an ensemble containing Soprano’s, Alto’s, tenors and basses. 

  • Harmony: primary chords, Pedals and drones, can be dissonant but mostly consonant, cadences. 

  • Articulation: Legato, slurred, staccato, Accents, Tenuto

  • Tempo: Rallentando 

Rock Music of the 60s and 70s:

  • Melody: repetition, catchy tunes but also can be much more extended melodies, syllabic, including riffs

  • Rhythm: syncopation, repitition, ostinato, dotted rhythms, triplets, cross rhythms

  • Dynamics: Accents, varied, Sforzando

  • Texture: Melody and Accompaniment, Unsion, Monophonic, Antiphonal (call and response)

  • Sonority/Timbre/Instrumentation: Standard rock band containing a drum kit, electric, bass and rhythm guitar, lead vocalist and backing vocals, distortion, delay, echo,reverb, melisma

  • Harmony: Primary chords, Pedals/Drones, Cadences, Consonant

  • Articulation: Legato/Slurred, Staccato, Accents, Tenuto

  • Tonality: Major, Minor and Modal

    Film and Gaming Music 1990-Present

  • Melody: Simple melodies, repetition, conjunct, tradic

  • Harmony: Primary chords, Pedals/Drones, Cadences, Consonant, dissonance

  • Rhythm: Syncopation, repetition, ostinato, dotted rhythms, triplets, cross-rhythms

  • Dynamics: Extremes in dynamics, cresendos and diminuedoes, Accents, Sforzando

  • Texture: Melody and Accompaniment, Unsion, Monophonic, Antiphonal, Polyhonic

  • Sonority/TImbre/Instrumentation: 8-bit synthesiser, Standard orchestra

  • Articulation: legato, slurred, staccato, accents, tenuto

  • Tonality: major, minor, modal

    Pop Music 1990-Present

  • Melody: repetition, hook, catchy, singable, conjunct, triadic, melisma, riff

  • Rhythm: syncopation repetitionm ostinato, dotted rhythms triplets, cross-rhythms

  • Dynamics: range reflects whats in the lyric

  • Texture: melody and accompaniment, unsion, monophonic, antiphonal

  • Sonority,Timbre, Instrumentation: electronic instruments, drum kits, pianos, guitars, belt, falestto, backing singers, distortion, autotune, delay, echo, reverb

  • Harmony: primary chords, pedals/drones, cadences, consonant

  • Tonality: major, minor, modal

  • Articulation: Legato, Staccato, Accents, Tenuto

    AOS 3: Blues Music 1920-1950

  • Melody: Repetition, conjunct, tradic, improvisation, blue notes, melisma, syllabic, melimsa, ormamentation, protamento, glissando, smear

  • Rhythm: Syncopation, repetition, ostinato, swing rhythms, straight rhythms, dotted rhythms, triplets, cross rhythms

  • Dynamics: nothing special

  • Texture: Melody and Accompaniment, unsion, monophonic, call and response, acapella

  • Sonority/Timbre/Instrumentation: Trumpetsm trombrones, clarinets, saxophones, Acoustic guitar, Banjo, Harmonica, bass, Drum kit, vocals (improvisation)

  • Harmony: Primary chords,12 bar blue structure, Added notes, pedals and drones, cadences, consonant, dissonant

  • Tonality: Major, minor or modal

  • Articulation: Legato, slurred, staccato, Accents, tenuto

    Fusion Music- African and Caribbean

  • Melody: Simple melodies, memorable tunes, repetition, melisma, syllabic, conjunct, tradic,catchy,singable

  • Rhythm: syncopation, repetition, ostinato, dotted rhythms,triplets,cross rhythms

  • Dynamics: Range reflects what’s in the lyrics,accents, sforzando

  • Texture: melody and axxompaniment, union, monophonic, call and response, accapella

  • Sonority/Timbre/Instrumentation: standard pop instrumentsm heavy use of bass guitar, djembe, cowbell, backing singers

  • Harmony: primary chords, pedals and drones, cademces, consonant

  • Tonality: major, minor, modal

  • Articulation: legato/slurred, stacato, accents, tenuto

  • Metre: 4/4,3/4,6/8

    Contemporary Latin Music

  • Melody: simple melodies, repetition, melisma, syllabic, conjunct, tradicm catchy,singable

  • Rhythm: syncopation, repetition, ostinato, dotted rhythms, triplets, cross-rhythms

  • Dynamics: range reflects what’s in the lyrics, accents, szforzando

  • Texture: melody and accompaniment, unsion, monophonic, antiphonal, polyphonic

  • Sonority/Timbre/Instrumentation: bongos, congasm agogo, surdo, claves, maracas, guiro, timbales, drum kit, guitars, trumpets, trombones

  • Harmony: primary chords, pedals and drones, cadences, consonant, dissonant

  • Tonality: major, minor, modal

  • Articulation: legato/slurred, accents, tenuto

  • Metre: often compound time, 6/8

    Contemporary folk music of the british isles

  • Melody: simple melodies, memorable tunes, repetitionm melismam syllabic, conjunct, tradic

  • rhythm: syncopation repetition ostinato, dotted rhythms, triplets, cross rhythms, lilty rhythms

  • Dynamics: Range reflects whats in the lyric, accents, sforzando

  • Texture: melody and accompaniment, unsion, monophonic, call and response, acapella

  • Sonority/Timbre/instrumentation: accoustic guitar, banjo, mandolin, tin whistle, violin/fiddle, bodhran, bass, accordinm harmonica, backing singers

  • Harmony: primary chords, pedals and drones, cadances, consonant

  • Tonality: major, minor, modal

Articulation: legato/slurred, staccato, accents, tenuto

AOS1: Coronation Anthems and Oratorions of Handel

Instrumentation:

The instrumentation of these always contains basso continuo (see below), together with a string orchestra and various other appropriate woodwind and brass. Stringed instruments in the baroque period are more gentle than their modern counterparts – the bows in particular were very different and allowed for much less pressure on the string. The violin family (violins, violas and cellos) were in use by the late Baroque, but their predecessors, the viol family, which were very gentle instruments with frets and more strings, were still used in larger ensembles in the bass department. Woodwind instruments will generally be flutes, made of wood (so sounding more like recorders), oboes and bassoons. Oboes are sometimes used as an echo effect for the trumpets. The clarinet is only invented in the Classical period, so does not feature here. Brass instruments tend to be horns and trumpets, both playing only the harmonic series: this is what a brass instrument can play without using valves (the buttons on the instrument), and means that unless they are playing very high, the notes tend to be spaced apart and sound like arpeggios. Trombones and tubas do not feature: although the trombone existed (it was called a sackbut), it had fallen out of fashion. The only percussion you will hear, if any, is two timpani tuned to the tonic and dominant notes of the main key.

Basso continuo refers to a continuous bass line with improvised harmonies in Baroque period music. The term can also refer to the instruments that play the bass line and harmonies. Basso continuo performers play, or realize, a variety of abbreviated music notation symbols called figured bass. This music is played by all the bass instruments (double bass, cello, bassoon, bass viol, etc) and one or more instruments capable of playing chords (harpsichord, organ, lute, theorbo, etc). The bass line is played as written, with the chords being played in a slightly improvised fashion above. The other instruments and singers playing melodies and other harmonic parts are then added above. The only time when you will not hear instruments playing basso continuo in the Baroque period is in solo music. The Coronation Anthems involve a choir, generally in four parts: Soprano, Alto, Tenor and Bass, singing as a unit throughout. The Soprano line would normally have been sung by boys, with the alto line sung by men singing falsetto. The tenors and basses were sung by men in their more ordinary voice. Oratorios are similar in terms of vocal forces but have soloists in addition to the four-part choir.

Structure: The structure of these works is generally driven by the text. In a Coronation Anthem the text is telling a story, and so the music tends to be through-composed– that is, without many recurring melodies. Because the text does not repeat, the music tends not to either. As a new section of text is introduced, so is new music introduced. The Oratorio is also principally driven by the text, but here each bit of text is divided into different movements. Choruses tend to comment on the action, while solos and other smaller groups often take the part of particular characters in the story.

Melody: Scalic, triadic, Ornamentation, simple, regular phrase lengths, melisma, syllabic

Rhythm: Repetition, dotted rhythms, even rhythms, syncopation

Dynamics: Forte, piano, some crescendos and some diminuendos

Texture: Melody and accompaniment, a capella, chordal, polyphonic, canonic, unison, monophonic, antiphonal.

Instrumentation: Baroque Orchestra, Organ, Choir, falsetto

Harmony: primary chords, chords I,IV,V, pedals and drones, cadences, consonant

The tonality will always be major or minor

Articulation: legato, staccato, accents, tenuto

Piano Music of Chopin and Schuman:

Robert Schumann was a German composer and pianist, and he is regarded as one of the greatest composers of the Romantic era.

  • His works were characterized by their melodic lyricism and harmonic innovation.

  • Schumann’s compositions often captured deep emotion and displayed his love for literature and poetry.

  • Schumann’s piano works are celebrated as some of the finest in the Romantic repertoire.

  • His compositions include piano solos, sonatas, and suites, many of which were inspired by literature, poetry, or his own personal experiences.

  • “Kinderszenen” (‘Scenes from Childhood’) is one of Schumann’s most beloved piano works.

  • The piano cycle, “Carnaval”, features a collection of short pieces representing masked revelers at Carnival. It is a work famous for its dramatic and contrasting moods.

  • Schumann is known for his expressive harmonies, creative tonal schemes, and incorporation of literary ideas into his works - true to the Romantic ideals.

  • Schumann’s music often swings between contrasting mood extremes, reflecting his own turbulent emotional states.

  • Schumann’s dynamic piano music greatly influenced the Romantic tradition, setting a precedent for composers such as Brahms and Chopin.

  • His works continue to be a vital part of the piano repertoire, admired for their depth of emotion and innovative harmonies.

Melody: Scalic, triadic, disjunct, regular phrase lengths, ornamentation

Rhythm: Syncopation, repetition, ostinato, dotted-rhythms, triplets, cross rhythms

Dynamics: extremes ranges in dynamics, wide range of crescendos and diminuendos, accents, Sforzando

Texture: melody and accompaniment, unison, monophonic, antiphonal, polyphonic

Instrumentation: sustain pedal and a soft pedal can be used

Harmony: Primary Chords, Chords I, IV, V, Pedals/Drones (devices), Cadences, Consonant, Dissonance, Diminished 7ths

The tonality will always be major or minor

Articulation: legato, staccato, accents, tenuto

Requiems of the late romantic period:

A Requiem Mass is a special form of the Roman Catholic Mass service music, with a number of movements originally designed to be sung at a funeral service. In the Romantic Period the most famous requiems are those by Fauré, Berlioz,

Verdi, and Brahms, although Brahms’ is unusual in that it is in German, not Latin (and hence is often known as the German Requiem) and also does not use all of the traditional texts, but takes some texts from the Lutheran service instead. Verdi also does not use exclusively the traditional texts. The requiem is generally written for choir and orchestra, sometime with soloists also.

Melody: Scalic, triadic, disjunct, regular phrase lengths, ornamentation

Rhythm: Syncopation, repetition, ostinato, dotted-rhythms, triplets, cross rhythms, polyrhythms

Dynamics: extremes ranges in dynamics, wide range of crescendos and diminuendos, accents, Sforzando

Texture: melody and accompaniment, unison, monophonic, antiphonal, polyphonic

Instrumentation: Romantic Orchestra, Organ, Harp, Percussion

Harmony: Primary Chords, Chords I, IV, V, Pedals/Drones (devices), Cadences, Consonant, Dissonance, Diminished 7ths

Articulation: legato, staccato, accents, tenuto

Orchestral music of Haydn, Mozart and Beethoven:

(See separate notes for the set work)

Melody: scalic, triadic, disjunct, regular phrase lengths, ornamentation

Dynamics: Forte, piano, some crescendos and some diminuendos

Rhythm: Syncopation, repetition, ostinato, dotted-rhythms, triplets, cross rhythms

Texture: melody and accompaniment, unison, monophonic, antiphonal, polyphonic

Instrumentation: Classical Orchestra, the string parts have the melody mostly

Harmony: primary chords, chords I,IV,V, pedals and drones, cadences, consonant

The tonality will always be major or minor

Articulation: legato, staccato, accents, tenuto

AOS4 : Western traditional music

Orchestral music of Aaron Copland

Melody: Scalic, triadic, disjunct, repetition, folk melodies, ornamentation

Rhythm:Syncopation, repetition, Ostinato, Dotted rhythms, triplets, cross rythms, polyrhythms

Dynamics: Extremes of dynamics, crecesendo and diminuendos, accents, sforzando

Texture: Melody and accompaniment, unsion, monophonic, antiphonal, polyphonic

Instrumentation: pizzicato, arco, use of percussion, individual use of timbres

Harmony: dissonance, pedals or drones, sometimes there can be no clear cadence

Tonality: major, minor, modal or atonal

Articulation: legato, staccato, accented or tenuto ( held notes)

British music of Arnold, Britten, Maxwell-Davies and Tavener

Melody: Scalic, triadic, disjunct, repetition, folk melodies, ornamentation

Rhythm:Syncopation, repetition, Ostinato, Dotted rhythms, triplets, cross rythms, polyrhythms

Dynamics: Extremes of dynamics, crecesendo and diminuendos, accents, sforzando

Texture: Melody and accompaniment, unsion, monophonic, antiphonal, polyphonic

Instrumentation: pizzicato, arco, use of percussion, individual use of timbres

Harmony: dissonance, pedals or drones, sometimes there can be no clear cadence

Tonality: major, minor, modal or atonal

Articulation: legato, staccato, accented or tenuto ( held notes)

Orchestral Music of Kodaly and Bartok

Melody: Scalic, triadic, disjunct, repetition, folk melodies, ornamentation

Rhythm:Syncopation, repetition, Ostinato, Dotted rhythms, triplets, cross rythms, polyrhythms

Dynamics: Extremes of dynamics, crecesendo and diminuendos, accents, sforzando

Texture: Melody and accompaniment, unsion, monophonic, antiphonal, polyphonic

Instrumentation: pizzicato, arco, use of percussion, individual use of timbres, Cimbalom which is a hungarian drum

Harmony: dissonance, pedals or drones, sometimes there can be no clear cadence

Tonality: major, minor, modal or atonal

Articulation: legato, staccato, accented or tenuto ( held notes)

Minimalist Music of John Adams, Steve Reich and Terry Riley

Meldoy: Repetition, cell, note addition, additive melodies, simple melodies, phase shifting

Rhythm: repetition, ostinato, syncopation, cross-rhythms, polyrhythms

Dynamics: cresendo, diminuendo, gradual changes

Texture: polyphonic/contrapuntal, melody and accompaniment, carnonic

Instrumentation: persussion, elctronic instruments, Orchestral instruments, pizzicato, arco, vibrato

Harmony: Static Harmony, gradual chord changes, dissonance

Tonality: Major, minor, Modal

Articulation: legato, staccato, accents, tenuto

Metre: Sometimes there can be no fixed time signature