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Leaving Certificate Music

Leaving Certificate Music. THE BEATLES It was 40 years ago today……..!. The Album. Gave the audience a lot more than just the songs – they also got: Two continuous sides of music The definite feel of a live performance with all the “extra” audience sounds

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Leaving Certificate Music

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  1. Leaving Certificate Music THE BEATLES It was 40 years ago today……..!

  2. The Album • Gave the audience a lot more than just the songs – they also got: • Two continuous sides of music • The definite feel of a live performance with all the “extra” audience sounds • Mixture of styles – classical to Indian raga! • Printed song lyrics • An kaleidoscope of colours on the front cover with the best “audience” collected in history • A cut out moustache along with stripes and a badge • A 41 piece orchestra on a Pop record

  3. There are 3 Beatles songs for study: • Sgt Pepper’s Lonely Hearts Club • She’s Leaving Home • When I’m 64

  4. Syllabus requirementsAll Levels! • Understand, identify and describe the range of musical features used • Study its musical style and place it in its historical context • Analyse and Describe patterns of repetition and change within the music

  5. And also for Higher Level……. • To make Comparative Judgements about music • To evaluate Interpretation and Performance in the light of experience already attained.

  6. The album- dates Concept idea What makes it different? General overview of the types of songs on the album. As with all the set works a thorough knowledge of each set song is important as examiners are most adept at asking anything of interest! So what do I have to know?

  7. What Kind of questions am I asked? • Instrumentation • Structure e.g. Verse, chorus • Keys • Textures • Chord patterns • Lyrics – word painting • Production Techniques

  8. What Kind of questions am I asked? • Differences between individual verses in particular She’s Leaving home • Correct identification of each song and individual parts e.g. Sgt Pepper bridge section • Be able to identify and insert missing notes and chords

  9. Examples of Syncopation, Chromaticism, etc – standard “classical” terminology also applies to these songs • Just because this is “pop” music we should not underestimate the tremendous musicianship of this group

  10. Analysis (1) Sergeant Peppers Hearts Club Band.

  11. Analysis Sergeant Pepper (2) Introduction • Initial sounds of audience in a concert hall! • Four bar instrumental with tune on lead guitar Verse 1 • Homophonic texture • 4 x 2 bar phrases • Key centres around G • Repeated notes 1st 2 bars made up of just 2 notes • Same chords as intro

  12. Sergeant Pepper (3) Brass interlude 1 • 4 French horns • – London Philharmonic Orchestra • Polyphonic Texture • Key around G

  13. Sergeant Peppers (4) Middle Section – Longest Section • Refrain – We’re Sergeant ……. • Vocal line rhythm is doubled in length i.e., semiquavers become quavers! • 2/3 part harmonies • Descending D7 arpeggio on horns • Typical pop hook used – catchy tune to grab your audience! Interlude • Chords as for Brass interlude • Vocals • Horns now a sustained dotted minim moving to quavers

  14. Sergeant Peppers (5) Verse 2 • Homophonic texture • Key centres around G • 4 x 2 bar phrases • Repeated notes • Same chords as intro Link • Similar to brass interlude • Chords of C D E linking to With a little help from my friends

  15. Analysis ‘64 Recorded Dec 1966 Arrangement – George Martin Structure

  16. ’64 (2) Intro – Fabulous use of 2 clarinets and 1 bass clarinet. • Piano Vamp – (not part of Pop music) • Really Jazz combo here! • Such a great contrast to the previous track

  17. ’64 (3) Verse 1 • 4 bar phrases A-B-A1-C • Effective use of Chromatic notes • C phrase – Harmonic sequence Ab-C-A7-D-G-C but with the added notes for colour. • Homophonic Texture • Augmentation “will you still ..”  “birthday greeting…”

  18. ’64 (4) Bridge 1 • Begins in Am (relative minor) • Melody less syncopated • Much higher register used • Alberti-type accompaniment • Polyphonic texture ( John and Paul ) Verse 2 • Harmonic sequence F Ab C A D G C

  19. ’64 (5) Bridge2 • Begins in Am (relative Minor) • Melody less syncopated • Much higher register • Alberti –bass accompaniment • Polyphonic Texture – particularly “we shall scrimp and save” • Use of diminution here minimscrotchets

  20. ’64 (6) Verse 3 • Similar to verse 2 but • More instrumental ad libs i.e.,listen to solo guitar • Does not go to bridge again • Clarinet in 3rds with vocalist Coda • Drum kit similar to opening • Well timed oooh to finish

  21. She’s Leaving Home - Structure

  22. Leaving home (2) • Instrumentation • String Nonet • 4 violins • 2 Violas • 2 cellos • 1 Double Bass • 1 Harp - Sheila Bromberg – 1st time a woman appears on a Beatles song!

  23. Leaving Home (3) • Word Painting – some excellent examples here The actual lyrics are wonderful, particularly the reaction of the parents to what their daughter has done. Their concern seems only to be for themselves, which is why the girl leaves in the first place. Also phrases like “she’s leaving home after living alone for so many years” perfectly captures the dysfunctional nature of this family situation.

  24. Intro Harp Arpeggios Homophonic texture Fab contrast to previous track Verse 1 Voice and harp Cello counter melody (bar10 – 12) Form: ABAB, each phrase gets a different accompaniment Key: E (vocal score Eb) Word painting: “downstairs” – descending violin melody Leaving home (4)

  25. Chorus 1 Beautiful vocal harmonies – Paul Falsetto with John‘s counterpoint Mainly 1 chord for 13 bars – Different forms of Chord I (Eb- Score) Verse 2 Similar to 1st verse but subtle differences in accompaniment e.g. strings first then Harp, cello has walking bass idea much richer string texture Homophonic texture Word painting: Mother sobbing – violin counter melody Leaving Home (5)

  26. Chorus 2 As with 1st chorus but again changes to the accompaniment. Middle texture now richer. (Viola) 18 bars divided into 8 and 10 bars respectively + 1 extra bar giving a total of 19 bars this uncertainty in phrase length may mirror the daughters uncertain future. Verse 3 Shorter than other verses (Only 16 bars) Word painting: use of tremolo strings - daughters’ excitement at her prospective meeting. Use of quaver movement in cello part to mirror the man in the “motor” trade! Leaving home (6)

  27. Leaving Home (7) • Chorus 3 • Like others but all string parts more animated e.g. violins play a repeated rhythm pattern here • Final chorus uses 20 bars as opposed to 19 perhaps she’s made the right decision? • Accompaniment “calms” down towards end of this chorus – mainly dotted minims in upper parts

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