Revision

Use the tabs above to find information on the different styles/periods covered in the Higher Course

Renaissance

Here's a Powerpoint that gives basic information about the main concepts covered in Renaissance music. See below for a playlist to go with it.

PLAYLIST One track for each of the concepts (apart from CONSORT, which can be heard in the PAVAN and GALLIARD tracks):

Mode/Modal

This is quite difficult to explain briefly in a blog post, but here goes...

The majority of Western classical (in the widest sense of the word) since c.1600 and pop music has been based on the MAJOR or MINOR scales that we have looked at throughout the music course. These consist of a set order of TONES and SEMITONES, eg. a major scale is T-T-S-T-T-T-S, and give this music the MAJOR or MINOR tonality that we can identify quite easily.

MODAL scales simply order the notes of the scale differently. Here are two examples (the SEMITONES are indicated by slurs)

Modal music still has a MAJOR or MINOR or feel to it (the Lydian Mode above sounds kind of MAJOR, for example, because all of its INTERVALS are the same as a MAJOR SCALE except for that between the  fourth and fifth notes), but can often seem a bit more like a mixture between the two, and the CADENCES don't sound quite like the ones we have learnt about.

From about 1500, the MAJOR and MINOR scales gradually came to dominate music. PLAINSONG/PLAINCHANT/GREGORIAN CHANT, which originates from before this time is MODAL, as is the majority (but not all) of RENAISSANCE music, and this is where you're most likely to encounter it in your exam. In fact, if you're hearing PLAINSONG or any RENAISSANCE music in a multiple choice question, I would advise you to tick it. Here are some examples:

Beyond classical music, MODAL tonality also features in a lot of FOLK MUSIC from throughout history (tracks 1-5 in the following playlist).

Many classical composers in the early Twentieth Century had a great interest in the FOLK MUSIC of their countries and incorporated folk tunes (tracks 6 & 7) or influences (Tracks 8-10) into their compositions. These compositions often therefore have a MODAL feel to them.

Some JAZZ is also based on MODES and is known as MODAL JAZZ (tracks 11-14). 

Vocal - Mass

The MASS sets the six main sections of the Roman Catholic Liturgy. You must listen out for the keywords which begin each section: Kyrie (this is Greek, incidentally, unlike all the others which are Latin), Gloria, Credo, Sanctus, Benedictus, Agnus Dei.

Like the ANTHEM, this is a style of work that we learn about when covering RENAISSANCE music, but it is not an exclusively RENAISSANCE one. 

In this playlist, the Kyrie is from the RENAISSANCE  era, the Gloria BAROQUE, Credo CLASSICAL, Sanctus ROMANTIC, Benedictus C20, with a return to the RENAISSANCE for the Agnus Dei.

Vocal - Anthem

Sung in English, the texts they set are Christian, so you need to be listening for keywords such as "God", "Jesus", "Christ", "Lord", "Angels", "Hosanna", "Heaven" etc.

We cover this style when we're doing RENAISSANCE music, and you're most likely to hear an example from that era in your exam (if you hear one at all). The first four tracks on this playlist are RENAISSANCE, and typically are mostly POLYPHONIC in texture and either A CAPELLA or accompanied by ORGAN.

The ANTHEM is not an exclusively RENAISSANCE form, however, and composers have written them ever since then. An ANTHEM from the 20th Century has featured in the Higher exam at least once over the past few years, so I've included some non-Renaissance ones here.

Track 5 (Hear My Prayer) is by the English BAROQUE composer Henry Purcell, and notable for its highly expressive CHROMATIC, at times DISSONANT, HARMONIES.

Track 6 (God is Gone Up) is by Geral Finzi, and track 7 (Give unto the Lord) by Edward Elgar, both from the early 20th Century.

Coloratura

Somebody asked me about this in class the other day, so here's a reminder....

High, complex solo vocal music featuring scales, trills and other ornaments. Frequently, but not exclusively heard in C19 Italian OPERA. Here are nine ARIAs which feature COLORATURA.

Fugue

There are several concepts associated with Fugue:

Subject - this is the main theme, the first thing you hear played/sung by the first instrument/voice to enter.

Real Answer/Tonal Answer - this is the subject as played by the second instrument/voice to enter, in a related key. If the intervals between the notes are the same, it's a Real Answer, if one or two intervals have to be changed to make it fit, it's a Tonal Answer

Countersubject - after the subject or answer is played, the continuation of that same instrument or voice is called the countersubject.

Episode - a modulating link between entries of the subject, often based on fragments from the subject or Counter subject.

Exposition - the first part of the fugue, in which each of the voice/instrument parts has stated the Subject or Answer once.

Stretto - when each part enters quickly one after the other. Used to add tension/excitement, usually towards the end of the Fugue.

The Baroque Era (c.1600-1750)

Fugue

Although they developed in the Baroque era, fugues have been written ever since; this playlist starts with three Baroque fugues, then one Classical, one Romantic and two Twentieth Century fugues.

Chorale Prelude

Based on Chorale melodies (see next playlist), often (but not always) contrapuntal and always written for the pipe organ

Chorale

A German hymn tune, sung by choirs and Homophonic in texture. Heard in Passions and Cantatas, especially those by J.S.Bach.

Concerto Grosso

A type of concerto in which a group of soloists (CONCERTINO) is combined and contrasted with a larger group (RIPIENO). Often features a repeated theme known as a RITORNELLO.

Oratorio

Usually a story from the Bible set to music for soloists, chorus and orchestra.  It may include recitatives, arias, duets and chorus.  It is performed without acting or stage design. This playlist includes a Recitative (accompanied by Basso Continuo - this is very common) a Chorus and two Da Capo Arias.

Recitative

In this playlist, there are six examples of the form of 'sung speech' known as recitative. The first four, as is most common, are accompanied by Basso Continuo, and come respectively from an Opera, an Oratorio, a Passion and a Cantata. The last two come from an Opera and an Oratorio respectively and are accompanied by orchestra - this is less common but not unusual.

Brass Instruments

This playlist contains tracks for the most common members of the Brass family. Three tracks each for trumpet, french horn and trombone, two for tuba:

Woodwind Instruments

Here's a playlist to help you identify the most common orchestral instruments of the woodwind family. There are three tracks (one solo and two concertos) each for flute, oboe, clarinet and bassoon:

 


Don't forget that the Saxophone is also a woodwind instrument, most commonly heard in Jazz. This playlist has three jazz examples and two tracks in which the sax is used as part of an orchestra:

History of Western Music: Renaissance (1400-1600)

By 1400 or shortly thereafter, several composers were writing polyphony in a slightly different way. This led to a more unified sounding work, and gave rise to a number of contrapuntal (note-against-note) forms, such as the Canon (exact repetition in all the voices), the Canzon (a succession of themes, each developed and then discarded3), and the Fugue (one theme developed extensively).

Most of the development during this period was made in Italy. This is only natural as the Catholic church was the dominant force during this period, and was headquartered in Rome. Many of the best musicians wrote masses and other works for the church; nearly all of these works are in Latin, as this was the language used for services at the time. However, with the Reformation and rise of Protestantism in the latter half of the 16th Century, the nature of music had to change.

Composers wrote a lot of Sacred Music (music about the Bible) such as:

• Mass - Chief service of the Church - Latin text

LISTEN: Agnus Dei: http://open.spotify.com/track/62298R9kx9iOPJyJ5zz0OD

Kyrie eleison, Christe eleison	Lord have mercy, Christ Have mercy
Gloria in excelcis Deo	Glory to God in the highest
Credo in unum deum	I believe in one God
Sanctus; Osanna; Benedictus	Holy, holy, holy; Hosanna; Blessed is he….
Agnus Dei	Lamb of God

• Motet - Small choral work - Latin text

LISTEN: Ave Verum Corpus: http://open.spotify.com/track/5dqVorpncA99KBE3LWz9JL

Veni Sancte Spiritus	Come, Holy Spirit
Haec Dies	This is the day
Ave Maria	Hail Mary
Jubilate Deo	Be Joyful in the Lord
O quam gloriosam est regnum	O How Glorious is the Kingdom
Ave Verum Corpus	Hail, True Body
O Magnum Mysterium	O Great and Mighty Wonder

• Anthem - English text - Music for the people

LISTEN: I will exalt thee: http://open.spotify.com/track/35STWslUXBnUu2WiGJ4yir

The Anthem is a short sacred choral piece sung in English. It may be sung a cappella or with organ accompaniment. 

Composers were developing the secular composition

(non-religious music) such as:

• The Madrigal - Secular work which often makes use of word-painting (using music to illustrate the meaning of the words).

The ballett was lighter in style with clear-cut dance-like rhythms. It tended to be strophic (i.e. the same music for each verse) and usually homophonic (chordal) in texture, with a “fa-la-la” refrain.

Listen to a ballet: http://open.spotify.com/track/5PYL5Ipfa2e7GS5u7Gh0To

The ayre (or song) was often performed by a solo voice, accompanied by either lute or viols. 

Listen to an ayre: Flow my teares by John Dowland: http://open.spotify.com/track/4G2uZLVwbKcuoIFC5l8q0V