Music: The build up and the aftermath

-ME-

I can't believe that the marks of all of the set works combined (55m) are worth less than just one French comprehension (60m)!

CaoimH_in

The Key Of C Minor


Cm Ddim EbAug Fm G Ab Bdim
i ii(2nd inversion only III(not in use) iv V VI vii(not in use)

Not sure what you are after, hope this helps.

Can someone give me the best Chord Progressions?

and one thing to add to the melody do's and don'ts.

at the end of Phrases, use a plagal or perfect cadence, as a rule, anything to I (or i), is good.

Ignore the rule, that its ok to copy the entire first bar. BAD, I just checked one some marking schemes, apologises. PLEASE MAKE THAT KNOWN TO ALL extremely sorry.

base the pun-ultimate bar on the chord of V and the final bar long note of chord I(i) ALWAYS END ON THE TONIC.

Be careful with passing notes. They can work very well, or very very poorly. if they work well.. happy days, if they work poorly, jesus hope the examiner has lube cause they'll you hard, well that is if they play the melody out on Piano, as it really really stands out.

Triplets are good, and a question just for me on triplets, is it always groups of three? or could it be a group of four and they'd be played in the time of 3?

Can someone give me 2/4 rhythms?

mikeglee

I Am Dead

xOxSinéadxOx

yeah same, never really planned on counting this but I did really bad in french so I probably will end up counting it! raar I hate it

CaoimH_in

tootyflutty wrote: »

If you get full marks in your practical (which 88% of people do) then you only need to get 80% in your written to get an A1

and the listening?!

rcaz

So how do you guys study set works? I know them all pretty well, but not REALLY well. But I'm trying to get REALLY good in two days. Tips = appreciated.

tootyflutty

By the written I was referring to the listening and composing.

For how I study my set works, I listen to one and write down everything in short hand that I hear, and repeat this 2/3 times, then listen to it with the score that has all my notes in it and check what I missed. Then I will go back and listen again to the bits I missed. I do this with all the set works/movements.

If you have exam papers, do them as much as you can and check them on the marking schemes.

After that not much more you can do. :P

rcaz

tootyflutty wrote: »

By the written I was referring to the listening and composing.

For how I study my set works, I listen to one and write down everything in short hand that I hear, and repeat this 2/3 times, then listen to it with the score that has all my notes in it and check what I missed. Then I will go back and listen again to the bits I missed. I do this with all the set works/movements.

If you have exam papers, do them as much as you can and check them on the marking schemes.

After that not much more you can do. :P

Wow, great idea! Thanks Tootyflutty!

tootyflutty

No problemo! Just a way that helps you notice the little things!

lilmissprincess

Question....

I do the listening elective ( trying to work on it last-minute because I've kinda left it on the side, have barely anything done), and the question of "Musical features" has come up, but I'm wondering what falls under that because I somewhat remember there being a distinction between Musical features and something else....

Do instrumentation and rhythm fall under it?

Twinkle-star15

Piste wrote: »

God I hate the composition paper

If you modulate in bars 7-8 do you keep in the dominant in the third phrase and only modulate back to the tonic in the fourth or do you modulate back at the end of the 3rd phrase?

We weren't taught any formulas and tricks like that, I don't think our teacher really realised it was more difficult for us to hear the melody in our heads =/

A good formula is to base bar 7 around chord V, in the second half of the bar raise fah to fi, land on soh, repeat soh for a longer note (like a crotchet or dotted crotchet) in bar 8, land on fah briefly and end the phrase with a note from the major triad.

Crocodilius wrote:

What's the formula for a minor key? I think i know how to identify them (look for an accidental on the 7th note of the scale in the given melody, yes?)

Since you don't modulate, should you just use bar 7-8 as a further development of bars3-4?

P.S. i think it always says "include a modulation to the dominant at a suitable point" above the question if it's in a major key. Is this true or just me jumping the gun?

Yup, the formula for the minor key the exact same, just without the modulation.
You're right about modulating in the major key, it's always asked. And 'suitable point' is always the end of the second phrase.

mikeglee

Music!.... You're my last exam....and your going down!!!

rcaz

I always modulate Do Re Mi Fa So Fe Sooooo across 7 and 8, apparently that's a good way of approaching the modulation.

Piste

So you're only meant to modulate for two bars?! My modulations last a phrase =/

My melodies are usually Phrase 1: given, Phrase 2: finish off phrase one and end on tonic, Phrase 3: write completely new phrase in dominant and in the last bar work back to tonic Phrase 4: write a phrase somewhat based around phrase 1.

I jsut tack that together myself...we were never given that bar by bar breakdown everyone else seems to follow =/

rcaz

Yeah, we were told we only need to be in the dominant for 7 and 8. So we only actually use one accidental the whole time. I always start off Bar 9 back in the tonic like nothing happened in bar eight.

Du

CaoimH_in wrote: »

Can someone give me the best Chord Progressions?

Don't bother with chord progressions, just in general use (with major harmony):

I - Everything
ii - V
IV- I, ii, V, V7
V - I, IV, vi, V7
vi - ii, IV

Avoid using:
ii-I, IV-vi, V-ii, V7-V, vi-V
And you'll have it no problem.
Cadences:
V/V7- I - Perfect
IV- I - Plagal

V/V7 -vi -Interrupted
I-V - Imperfect
ii- V - Imperfect
IV- V - Imperfect

got plenty of helpful tips for those struggling with the melody!

Futurism

Christ,I'm ****ed. Don't know a thing.

tootyflutty

Anybody got anymore recording techiniques for the Beatles songs?
All I have is double tracking but it's not very relevant except in Sgt. Pepper.

tazbars

has anyone been given any tips on what might be coming up?

tazbars

tootyflutty wrote: »

Anybody got anymore recording techiniques for the Beatles songs?
All I have is double tracking but it's not very relevant except in Sgt. Pepper.

is double tracking not in when im 64? sampling is used in Sgt. Pepper

Piste

I don't think Seachanges has been a 25 mark question yet, or if it has, it hasn't been for a while, so I think that's due to come up.

tazbars

yea i really think seachanges is a safe bet. Anyone else hate mozart movement 3? really hard to distinguish themes i think. do we have to know how each theme is developed?

Piste

Yeah I much prefer the other two movements, I just can't seem to get my head around 3 =/

tootyflutty

Oh sorry tazbars your right! Do you know of any more? I'm really stuck for them, and would like to have two or three with definitions if you have them?
I'm really guessing Seachanges will be q.1. after that it's anyones guess. I'd say a Beatles piece if it's not Seachanges.

Idjit

I wish we didnt have to do Deane. The mozart piece makes me feel like cryin but in a nice way...and Un Bal makes me feel like swaying around the room like a madwoman coz it just sounds like you should be twirling and twirling around to it.reminds me of the teacups ride haha.
Does anyone know a good site for notes for the set works?

tazbars

tootyflutty wrote: »

Oh sorry tazbars your right! Do you know of any more? I'm really stuck for them, and would like to have two or three with definitions if you have them?
I'm really guessing Seachanges will be q.1. after that it's anyones guess. I'd say a Beatles piece if it's not Seachanges.

Sampling in Sgt. Pepper is used in the opening, there is sound effects of audience chatter and instrumental tune-up create the atmosphere of an open air concert.
It used again in verse two, the crowd is clapping and cheering creating a sese of excitement.

Double tracking (When I'm 64) is where the vocal line was recorded in C but the tape was speeded up to raise the pitch to Dflat major

I cant think of any for she's leaving home??

Piste

Isn't she's leaving home double tracking? Where McCartney's voice is sorta tinkered around with (wonder how I'd fare writing that in an exam...) to make it sound like a few people are singing.

tazbars

Piste wrote: »

Isn't she's leaving home double tracking? Where McCartney's voice is sorta tinkered around with (wonder how I'd fare writing that in an exam...) to make it sound like a few people are singing.

no dont think its in she's leaving home

tazbars

she's leaving home hasn't been tested since 2002....

Piste

oh, what's that called then?