Concepts:

Duration

Duration refers to the lengths of sound and silences in music and includes the aspects of beat, rhythm, metre, tempo, pulse rates and absence of pulse.

Pitch

Pitch refers to teh relative highness and lowness of sounds. Important aspects include high, low, higher and lower pitch, direction of pitch movement, melody, harmony, indefinite and definate pitch.

Texture

As texture is the result of teh way voices and/or instruments are combined in music, students should be able to disctiminate between different layers of sound and types of texture, and the ways it is created and used.

Dynamics and expressive techniques.

Dynamics refer to the volume of sound. Important aspects include the relative softness and loudness f sound, change of loudness (contrast), and the emphasis on individual sounds( accent). Expressive Techniques refers to the musical detail that articulates a style or interpretation of a style.

Tone Colour

Tone colour refers to the aspect of sound that allows the listener to identify the sound source of combination of source sound.

Structure

Structure refers to the idea of design or form in music. In organising sound, the elements of duration, dynamics, pitch and tone colour are combined in some way for a particular purpose. Unity and variety are produced by the use of repetition and contrast. Structure, therefore relates to the way in which music sounds the same (or similar) and/or different.

Viva.

VIVA

How do the two pieces by Miriam Hyde “Frost fairies” and “the Abbey Organ” contrast?.

Frost Fairies

Pitch:

1.       Register (Bar 5-7 0:14 -0:22)

2.       Contrast in dissonance and rest of the piece ( bar 9-12 0:25-0:37)

3.       Key in relation to Tonal quality.

·         G major

·         Upper register, Both in treble to start with (Bar 5-7 0:14 -0:22)

·         Light in tone quality

·         Contrast in dissonance in bar 9-11 accidenntals. (0:25-0:37)

Duration

1.       Repetition (Bar 1-2 0: 00-0:06) (bars 5-6, 0:14 -0:18) (bars 17-18, 0:50 - 0:54)

2.       Syncopation (Bar 11 0:32 – 0:36)

3.       Tempo

a.       Pauses (bar 19-20, 0:54-0:59)

b.      Runs (3-4 0:07 – 0:13) (7-8 0:19 – 0:25) (14 0:40 – 0:42) (16 0:45 – 048) (20-21 0:58- 1:02)

c.      

·         6/8 regular

·         Repetition Bar 1-2 0: 00-0:06 (5-6 0:14 -0:18) (17-18 0:50 - 0:54)

·         Bar 11 (0:32 – 0:36) syncopation in the melody (top line)

·         Fast Duration ...... (bars 3-4 0:07 – 0:13) (bars 7-8 0:19 – 0:25) (bar 14 0:40 – 0:42) (bar 16 0:45 – 048) (bars 20-21 0:58- 1:02)

Texture

·         Light (8va) homophonic melody (one melody), few notes played at once.

Articulation

1.       Staccato (seen in whole piece)

2.       Contrast to Slurs (seen mainly in runs ) (bars 3-4 0:07 – 0:13) (bars 7-8 0:19 – 0:25) (bar 14 0:40 – 0:42) (bar 16 0:45 – 048) (bars 20-21 0:58- 1:02)

Dynamics

1.       Overall Dynamics of piece (MF = bar 17-19 0:48 – 0:57) (PPP = Bar 24, 1:10 - 1:12)  

2.      

·         Predominately soft. P > PPP (piano > piano pianissimo)

·         Highest volume is mf (mezzo forte) when the theme returns and played more in bass ** Tone Colour

Expressive Techniques

·         Delicato

·         Brocken Chords (23-24 1:05 – 1:11)

The Abbey Organ

Pitch

1.       Key

2.       Range in comparison to Frost Fairies (focus on bass (bar 9-13 0:12-0:18)

3.       Melodic shifts (bar 9-13 0:12-0:18)

·         Minor – Clash and Dissonant

·         Wider Range

·         Focus on Bass (bar 1 0:00-0:02)

·         Sustenance

·         Melody Shifts to bass (bar 9-13 0:12-0:18)

·         Repetition of Melody (bar 1-8 0:00-0:12 Repeated in bars 37-44 0:52-1:03)

Duration

1.       Tempo

2.       Accents in bass (bar 1 0:00 – 0:02)

3.       Repetition (bar 1-8 0:00-0:12 Repeated in bars 37-44 0:52-1:03)

4.       Ralls (bar 36 0:48-0:50)

·         ¾ Moderate

·         Heavy accent on beat 1 of most song. (bar 1 0:00 – 0:02)

·         Simple rhythm crotchets, dotted minims. (Bar 1 0:00 – 0:02) 

·         Repetition  (Bars 1-8 repeated 37-44) (bars 9-13 repeated 45-49)

·         Ralls (bar 36 0:48-0:50)

Tone Colour

1.       sustenance (bar 67-74 1:34-1:47)

2.       Use of Low Register in conjunction to sound quality.

·         Pedal – sustenance (bar 67-74 1:34-1:47)

·         Slurs 1:15-1:16 ,1:17-1:18, 1:20-21, 1:22-1:23

·         Low register

·         Rich Thick Dissonant

Texture

1.       Homophonic

2.       Thick  (bass and sustained) (bar 14 0:18- 0:20)

3.       Dissonance

Dynamics and Expressive Techniques

1.       Slurs 1:15-1:16 ,1:17-1:18, 1:20-21, 1:22-1:23

2.       Range

3.       Accents contrast within piece

4.       Dynamics (F = bar 1 0:00 – 0:02) (P = bar 63-74 1:28-1:44)

·         Forte f (bar 1 0:00 – 0:02)

·         Range

·         Accents (bar 54  56 58)

·         Sustained through slurs

Brainstorm.

1950's - Slim Dusty, Johnny O'Keefe, Warren Williams and the Squares, The Bushwhackers


1960's - Olivia Newton-John, Pat Carroll, Helen Reddy, The Loved Ones, The Seekers, Little Pattie, The Masters Apprentices, Laurel Lee


1970's - Daddy Cool, Skyhooks, Sherbet, AC/DC, Midnight Oil, Redgum


1980's - Hunters & Collectors, The Church, Divinyls, Hoodoo Gurus, Mondo Rock, The Sunnyboys, Men at Work, The Go-betweens, The Triffids, The celibate rifles, INXS, Cold Chisel, Kylie Minogue, Hard-ons, The Cosmic Psychos, Severed heads, Nick Cave and the Bad Seeds


1990's - Silverchair, Spiderbait, Powderfinger, Savage Garden, Tina Arena, Natalie Imbruglia


2000's - The Distillers, Spinnerette, Jet, Ben Lee, Missy Higgins, The Veronicas, Casey Chambers, Shannon Noll, Guy Sebastian, Delta Goodrem, The Rogue Traders, Angus and Julia Stone, Kate Miller Heidke