Piano Concerto in A Major K488

W.A. Mozart

First Movement

Listening Assignments
1.6
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2.
3.
4.
5.
6.

1.7
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Page 10

(Bars 3138)

Page 11

(Bars 4762)

A major
first violins
second violins, violas, cellos and double basses
an imperfect cadence
bassoons then joined by flute
E major
unaccompanied
repeated notes; chromatic movement; mostly quaver rhythm; sequence (brief
description of any two)

shared between violins and woodwind

interrupted cadence
tremolo each note is repeated in semiquavers to the value of a crotchet

###
&

5.
6.
7.

(Bars 1930)

exposition
first and second violins
X A major I: Y E/Gsharp Vb
repeated notes; sequence
pedal note
dominant chord

1.8
1.
2.
3.
4.

Page 8

chromatic scale
perfect cadence in the tonic key
ascending chromatic scale; broken chords; melodic repetition

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1.9
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6.

1.10
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1.11
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1.12
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Page 13

(Bars 6782)

Page 14

(Bars 99114)

1st subject in the tonic

broken chords
descends in thirds
strings
piano part is decorated by scales and arpeggios
perfect cadence
key E major (dominant key)
block chords
bar 1 E major; bar 6 B7; bar 7 E major; bar 8 E/BB major
first violins; flute; bassoon (any two)
piano decorates the melody in broken octaves
perfect cadence
Similarities: heard on piano with the same harmonic arrangement; piano
decorates in the same way.
Differences: different key (A major); theme continued in three woodwind
instruments; first violins join in the accompaniment with other strings; horn
joins in the accompaniment

Page 15

(Bars 170178)

Tune IE can be described as the development theme immediately before the

development section.
see score
Tune is treated in canon at the fourth on the woodwind instruments. Begins with
clarinet imitated by flute.
Piano plays a secondary role decorates with broken scales in semiquaver
rhythm.
bar 170 D minor; bar 171 G major; bar 172 C major; bar 173 F major;
bar 175 E major; bar 176 A minor; bar 177 F major; bar 178 E major

Page 17

(Bars 261267)

recapitulation
key A major
a trill
bar 1 A major; bar 2 Bmin./D; bar 3 E major; bar 6 BminorE major;
bar 7 A major
perfect cadence
This theme is developed on the woodwind instruments in four-part counterpoint
while the piano decorates with continuous semiquaver movement in R.H. based
on scale passages and broken chords. L.H. adds an alberti bass in the final bars.

TEACHERS MANUAL

1.13
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Page 18

(Bars 290297)

recapitulation
flute and bassoon
see score (bar 294)
rhythm no. three
IC = Chord A/E
The soloist plays the cadenza written out by Mozart. The orchestra remains
silent. There are display passages for the soloist. At the end the chord of IC is
resolved on to the dominent chord (E7) followed by the re-entry of the orchestra
on the chord of I (A major)

Second Movement

Listening Assignments
1.18
1.
2.
3.
4.

5.
6.
7.
8.

1.19
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4.
5.
6.

1.20
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4.
5.

Page 23

(Bars 1220)

Page 24

(Bars 2035)

Page 25

(Bars 3538)

Fsharp minor
section one
in imitation
first violins play melody with the flute an octave lower, second violins play
broken chords
perfect cadence
transposing instrument notes sound a minor third lower than written
second rhythm
unaccompanied piano continues with a two-bar descending chromatic idea based
on the preceeding theme; on the third repeat the tonality changes from Fsharp
minor to A major and the strings accompany.
section one
see score (bar 24)
Y Fsharp minor i; Z Csharp/Esharp Vb
bar 6
a dominant pedal note (key A major)
chromatic movement bars 2 & 4; melodic repetition bars 1 & 2, bars 3 & 4;
repeated notes bars 4 & 6; jump of two octaves bar 11
A major
flute and clarinet in harmony
a semiquaver triplet figure
broken chords
piano repeats the melody with decorations in the R.H. accompanied by broken
chords in L.H. with a semiquaver triplet rhythm; flute and clarinet join with
piano in first two bars of the melody; pedal note on horn

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1.21
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1.22
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Page 26

(Bars 5368)

Fsharp minor
X imperfect cadence; Y interrupted cadence; Z perfect cadence
G major
not part of the key of Fsharp minor
(i) woodwind (ii) sustained chord
theme is extended by four bars; at bar 64 there is an interrupted instead of a
perfect cadence; at the end of the extended four bars there is a perfect cadence

Page 27

(Bars 8492)

coda
(i) pizzicato (ii) broken chords
see score (bars 8992)
bar 4
descending theme2B

Third Movement

Listening Assignments

1.28
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2.
3.
4.
5.
6.

1.29
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3.
4.
5.
6.

Page 33

(Bars 18)

A major
two
big leaps; scale passage (step movement); chordal movement; melodic
repetition
see score (bars 78)
melody first violins; accompaniment woodwind and remainder of strings
opening seven bars on the piano are the same, bar eight is based on a broken
chord; orchestra takes up theme with the same arrangement but modulates
towards Fsharp minor; theme is extended and ends with an imperfect cadence
in Fsharp minor

Page 34

(Bars 176187)

strings play pizzicato crotchet chords on first beat of each bar

long pedal note
cellos and double basses
in octaves
the soloist plays a countermelody in R.H. accompanied by broken chords (alberti
bass)
E major

TEACHERS MANUAL

1.30
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1.31
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1.32
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Page 35

(Bars 129150)

key E major
third rhythm
woodwind clarinet and bassoon
descending scales in dotted rhythm
bar 16
trill
bar 1 B/Dsharp Vb; bar 2 Csharp minor; bar 4 A major; bar 21 B7; bar 22 E major

Page 36

(Bars 106113)

E minor
flute and bassoon
two octaves apart
strings
crotchet and minim rest
E minor; B; C; Fsharp minor 7/A; E/B; B; E minor
Similarities: theme in woodwindflute and bassoon; string accompaniment the
same
Differences: clarinet also plays theme; major key A; pedal note on the horn

Page 37

(Bars 62105)

theme B
A; Gsharp dim./B; A/Csharp
grace notes
(i) bars 14 (ii) note A bars 23 (iii) Esharp bar 2 (iv) bar 4 (v) bar 8
the clarinet playing in thirds accompanied by the horn
piano responds to woodwind with ascending scale passages accompanied by an
alberti bass; modulates to the key of E major; in the final bars there is
chromatic movement followed by broken chords

Higher Level

Sample Question 1 (Bars 449496)

1.34
1.
2.
3.
4.

Page 38

(Bars 449464)

(i) movement 3 (ii) Coda

repeated notes
in thirds
clarinet and bassoon

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1.35

Page 38

1.
2.
3.

strings
flute and clarinet
perfect cadence

1.36

Page 39

1.
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3.
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5.

(Bars 464480)

(Bars 481496)

key D major G natural not part of the key of A major

pedal note
see score (bar 486)
flute, clarinet and bassoon
use of sonata form; overall harmonic texture of the work; the type of orchestra
used main sections woodwind and strings; horn only brass instrument; range
of horn part limited constant use of pedal notes this is typical of the
Classical Period; double exposition in the first movement

Ordinary Level

Sample Question 1 (Bars 449496)

1.34
1.
2.
3.
4.

1.35
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1.36
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4.
5.

Page 40

(Bars 449464)

Page 40

(Bars 464480)

Page 41

(Bars 481496)

(i) movement three (ii) Coda

violins
crotchet rests
strings
strings only
sequence
perfect cadence

D major G natural not part of key of A major

pedal note
see score (bar 486)
a countermelody
Classical

Symphonie Fantastique

TEACHERS MANUAL

H. Berlioz

Second Movement Un Bal

Listening Assignments

1.41
1.
2.
3.
4.
5.

1.42
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4.
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7.

1.43

Page 49
(i) major (ii)

3
8

(Bars 175191)

violins, violas, cellos

second rhythm
arpeggios on harp; repeated pizzicato notes on lower strings
use of ide fixe to represent the artists love; theme changes in character as the
programme emerges; use of the traditional waltz rhythm to represent the dance
scene; theme brilliantly played on first violins with the remainder of the strings
providing the waltz accomp.; second part of theme three consists of a repeated
turning figure which is treated in canon, resulting in contrary motion movement
this provides the effect of twirling round the dance floor in a festival
atmosphere

Page 50

(Bars 136)

Page 51

(Bars 5666)

introduction
(i) tremolo (ii) rising harp arpeggios
cellos play in demi-semi-quaver rhythm and double basses play in quaver
rhythm
begins pp and gradually gets louder; the crescendo increases gradually moving
from one chord to another until the fortissimo A major chord and scale finishes
with a perfect cadence in A major to conclude the intro.
descending major scales
perfect
the form is ABA preceded by an introduction and ending with a coda; the ide
fixe theme is heard in the B section and in the coda

1.

key A major

3.
4.
5.
6.
7.
8.

semiquaver rest
see score (bars 61/63)
pizzicato broken chords
harp; second violins; violas
repeat of section A
Similarities: theme in first violins; same key
Differences: second violins play with first violins in harmony; different
accompaniment

2.

3
8

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1.44
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1.45

(Bars 175191)

section 3
A major
second violins, violas, cellos
a pizzicato pedal note
second rhythm
a repeated pattern in sequence decorating the main theme
the harp
Similarities: both refer to the ide fixe theme; both begin with an introduction;
both movements begin softly and gradually get louder
Differences: key; metre; march rhythm; brass instruments prominent; bigger
orchestra

Page 53

(Bars 256264)

1.

coda

3.
4.

piccolo, flute, oboe, clarinets 1&2

in unison flute oboe clarinet 1 (any two)
in octaves clarinet 1 & 2
arpeggios
repeated notes in semiquaver rhythm
see score (bar 276)
p to ff
large orchestra; use of programme; ide fixe;

2.

5.
6.
7.
8.
9.

1.46
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1.47
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Page 52

3
8

Page 54

(Bars 233256)

piccolo, flute, oboe, clarinet

(i)

(ii) see score (bars 234239)

the melody with accompanying chords

second rhythm
allegro
perfect cadence

Page 55

(Bars 3754)

A major
first violins
second violins, violas, cellos and double basses
A B A B
see score
bar 39 A; bar 42 D; bar 43 B minor; bar 44 E/Gsharp;
bar 45 E; bar 46 A; bar 47 Fsharp minor; bar 51 B minor
bar 52 E/Gsharp; bar 53 E7; bar 54 A
perfect cadence

TEACHERS MANUAL

1.48
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1.49
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3.
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1.50
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Page 56

(Bars 93120)

flute; oboe; clarinet 1 & 2 (any two)

second beat
syncopated chords
sequence
first rhythm pattern
homophonic a melody accompanied by chords

Page 58

(Bars 120160)

B section or episode
(i) flute oboe
(ii) in unison
(iii) tremolo violins and violas, staccato arpeggios in cellos and double basses
(iv) with expression
flute and clarinet
(i) theme one (ii) imitation between violin 1 and violas
a recurring theme which is heard in each movement; theme represents the
composers love for H. Smithson; the theme or the ide fixe changes in
character as the programme emerges
in the coda
in the coda the ide fixe theme is heard on the clarinet accompanied only by
pedal notes on flute and horn

Page 59

(Bars 193214)

theme two
strings only
two harps playing broken chords in harmony in the treble with block chords in
the bass
an ascending scale on woodwind
repeated notes; falling sequence
rhythm number three
homophonic a melody with accompaniment

Fourth Movement March to the Scaffold

Listening Assignments

1.53
1.
2.
3.
4.
5.
6.

Page 62

(Bars 4161)

descending theme
in octaves
counter-subject
timpani
theme on cellos and double basses played pizzicato; theme heard at a lower pitch
polyphonic

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1.54
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1.55
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1.56
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8.

10

Page 63

(Bars 116)

minor
2
tonic chord in triplets
rhythm number three
the repeated notes on timpani and the repeated chord played by the double
basses; the syncopated motif heard on the horn;
Un Bal opens with tremolo strings and rising harp arpeggios; March to the
Scaffold begins with a syncopated motif on horns accompanied by tonic chord
triplets on timpani and repeated four-part block chords on double basses; in Un
Bal there is a crescendo which increases little by little, moving from chord to
chord until it reaches a fortissimo ending with a perfect cadence; in the March
the intro. is shorter and, after a crescendo in the final bars on the timpani, the
music flows directly into the first main theme; emphasis on strings in Un Bal
and timpani and horn in the March; the metre is 3 in Un Bal and 2 in the March;
keys are different Un Bal begins with a minor tonality and reaches A major at
the end of the Intro. the March is in G minor

Page 64

(Bars 4160)

descending scale-like movement; wide range of two octaves; rhythmic and

melodic sequence (Bars 23, 45) key Eflat major
a countermelody
repeated Bflat in triplet rhythm
cellos and double basses
played pizzicato; lower pitch; other strings play the theme in inversion; different
counter melody on bassoons
continuous quavers
same theme inverted

Page 65

(Bars 123135)

movement four
(i) horns in Bflat and Eflat; trumpet in Bflat; cornet in Bflat
(ii) instruments that produce a different note to that written in the score
(i) descending theme
(ii) flute; oboe; clarinet; bassoon trombone; tuba; cornet
(i) bassoon (ii) horn in Bflat (iii) cornet
(iv) trombone (v) tuba (vi) kettledrum
tremolo a rapid oscillating movement of the bow on a stringed instrument
off beat minims
the same theme
the extract begins ff (very loud) and there is a sudden diminuendo to pp (very
soft) with another sudden change to ff in the final six bars

TEACHERS MANUAL

1.57
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4.

5.

1.58
1.
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3.
4.
5.
6.
7.
8.

1.59
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7.
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1.60
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4.
5.
6.
7.

Page 67

(Bars 1732)

first section
(i) cellos and double basses (ii) imperfect
(i) bassoon (ii) see score (bars 2729)
theme in different key Eflat major; played on violins; theme heard at a higher
pitch; heard with a different counter melody; theme heard on cellos and double
basses in pizzicato with an inversion of the theme on violas and violins and a
counter melody on bassoons
any two examples with reference to the way Berlioz uses the orchestra

Page 68

(Bars 6069)

Page 69

(Bars 89104)

Page 70

(Bars 135160)

Bflat major
brass and woodwind
violins one and two, violas, cellos
dotted rhythm; repeated notes; syncopation (any two)
homophonic short explanation
see score (bars 64: 68/69)
imperfect
Differences: accompanied by strings with a double pedal note (bars 89104)
Similarities: same key; same instruments play the theme

second section
march theme
first flute; first clarinet; first horn; cornet (any two)
major
a pedal note
fuller orchestration; the strings accompany the theme on woodwind and brass;
double pedal note
1830
the symphony has five movements which express Berliozs dreams regarding his
obsession with H. Smithson; the programme that arises out of his disappointed
love represents the crazy dreams of a poet crossed in love who has taken
poison; all the movements are unified by the recurring theme (ide fixe) which
is transformed in each movement; each of the movements has a romantic title

towards the end leading to the coda

strings
descending theme which is inverted in these bars
fourth rhythm
in unison on strings
antiphonal short phrases of repeated notes heard on woodwind based on Dflat
major chord with an echo effect on strings based G minor chord
major

11

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1.61
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4.

5.
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1.62
1.
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4.
5.

Page 71

(Bars 113122)

theme on brass accompanied by rising motifs on woodwind and strings

(i) see score (ii) grace notes (bar 114)
different instruments theme on trombones and tuba here, at bar l7 this
theme is introduced by cellos and double basses;
different orchestration at bar 17 the theme is heard without accompaniment
but in this excerpt the composer uses the full orchestra; the theme is
accompanied by rising motifs on woodwind and strings
descending theme a flowing theme based on step movement; the theme
moves down the scale of Gminor (melodic); contains rhythmic sequence; even
rhythm with use of rests; is enhanced by counter melodies
march theme major key Bflat; opens with syncopated figure; dotted rhythm a
feature of this theme; strong vibrant theme beginning with a repeated note;
played mostly by brass and woodwind instruments; use of accented notes
Romantic period
choice of instruments; large orchestra; much use of brass and percussion
instruments; colourful orchestration; sudden and dramatic changes in dynamics;
use of ide fixe
(any two points developed in reference to the Symphony)

Page 73

(Bars 159164)

coda
quaver and crotchet rests
(i)
D major
(ii)
perfect in G minor
ide fixe
clarinet

Higher Level
Sample Question 1

1.64 Section A Page 75

(Bars 6877)

1.65 Section B Page 75

(Bars 7893)

1.
2.
3.

1.
2.
3.

12

strings
repeated notes; falling sequence; accented notes
homophonic texture melody with accompaniment

in canon
ascending broken chords of E7 two harps play the chords an octave apart
flute, oboe, clarinet (any two)

TEACHERS MANUAL

1.66 Section C Page 75

1.
2.
3.
4.

(Bars 94115)

a waltz the metre is three and there is a typical waltz accompaniment shared
by strings, woodwind and harps
see score (bars 102/103)
second
waltz theme is played by first violins in both but the accompaniment is arranged
differently; the first time the theme is arranged for strings only the lower
strings providing the accompaniment; in this excerpt the theme is accompanied
by woodwind, lower strings and harps

Ordinary Level
Sample Question 1

1.64 Section A Page 77

(Bars 6877)

1.65 Section B Page 77

(Bars 7893)

1.
2.
3.

1.
2.
3.

Un Bal
strings
homophonic

in canon
rising broken chords
flute, oboe, clarinet

1.66 Section C Page 77

(Bars 94115)

1.

major

3.

see score (bars 108/109)

2.
4.

dance tempo;

3
8

accidental: bars 95, 100, 103 (any one)

quaver rest: bars 107, 111, 113, 115 (any one)
accented note: bars 98, 110 (any one)

13

Seachanges with Danse Macabre

LEAVING CERTIFICATE MUSIC WORKBOOK

Raymond Deane

Listening Assignments
1.73
1.
2.
3.
4.
5.
6.

Page 88
in fifths
second rhythm

7
8

guiro; maracas (any one)

Totentanz
much of the folk music of Mexico is played by groups of street musicians and
the guitar, although not a trad. instrument, is an important part of the group;
the guitar is suggested at this point in the piece by the strumming of the violin
and cello

1.74
1.
2.
3.
4.
5.
6.

(Bars 4956)

Page 89

(Bars 93106)

violin and marimba

imitation
Dies Irae
guiro
polyphonic
string instruments are asked to play near the bridge to produce a strange weird
sound

1.75

Page 90

(Bars 2126)

1.
2.

main melody and inversion (after the introduction)

G

4.
5.
6.
7.
8.
9.

harmonics
cymbal
draw hair of bow rapidly on the side to produce harmonic-like effect
fast ascending passage
marimba
the passage is punctuated by the piano, flute and maracas with pizzicato on cello

3.

1.76
1.
2.
3.
4.

14

7
4

Page 91

(Bars 2734)

the six-note phrase reduces to a five-note phrase, then four, then three, then
two and finally finishes with a single G
see score (bars 33/34)
an inversion of the theme
marimba; maracas (any one)

5.
6.
7.

1.77
1.
2.
3.
4.
5.
6.
7.

1.78
1.
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3.
4.
5.

6.
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1.79

second rhythm
long sustained chords
left hand pizzicato

Page 92

(Bars 4661)

Page 93

(Bars 6568)

Page 94

(Bars 3545)

TEACHERS MANUAL

Totentanz
(i) maracas (ii) see score (bar 47)
in fifths
guiro
sul pont (on the bridge) play near the bridge to produce a peculiar nasal and
rustling effect
the Danse Macabre gains momentum and the piccolo and marimba reinforce the
rhythm; music reaches a climax and the strings have repeated fifths combined
with tritones on the marimba
the composer was struck with the preoccupation of the Mexican people with
death and grotesque symbols of death are frequently seen in public places in
Mexico hence the inclusion of a section based on the Danse Macabre rhythm
which forms a central part of the work

G
see score (bar 67)
(i) an octave higher (ii) accent on each note
sul pontplay near the bridge to produce a strange, weird sound
(i) the interval of the augmented fourth or diminished fifth, e.g. from the
fourth to the seventh note in the major scale;
(ii) a Mexican percussion instrument of African origin made of wooden bars
similar to the xylophone but larger and with a resonance-box to each note
there is a descending chromatic scale on the piccolo with strings in parallel fifths
unusual and changing time signatures; tempo change at the beginning of each
section indicated by the metronome marks; overall tonality is atonal no key
centre; use of three note rownearest to tonal centre in the piece; unusual
instrumental techniques; use of canon; unusual ending
(brief description of any two)

1.
2.

main melody and inversion

descending broken chords

4.
5.
6.
7.
8.

in inverted form
the string is struck with the wood of the bow
sul ponticello; glissando; strum like a guitar; play on harmonics (any one)
maracas
the shrill sounds in the opening bars suggest the intense heat and harsh glare
of the Mexican sun this is illustrated by the high pitch of the piccolo, piano
and crotales; use of Danse Macabre rhythm to illustrate the Mexican
preoccupation with death; the direction to the strings to strum like a guitar

3.

(i)

5 (ii) see score (bar 37)

4

15

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1.80
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Page 95

D
see score (bars 7476)
a lively countermelody on flute played in a very free cadenza-like style, but
constructed from the three-note cell
first beat bar 78
rainstick
broken chords on piano which become gradually reduced from a nine-note
broken chord to an eight-note chord, to a seven-note, six-note, five-note down
to a four note chord
tremolo
short account of the three features with reference to the work

1.81
1.
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3.
4.
5.
6.
7.

1.82
1.
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3.
4.
5.
6.
7.

1.83
1.
2.
3.
4.
5.

16

(Bars 7391)

Page 97

(Bars 93105)

marimba, violin
canon a melody first introduced by one instrument is imitated exactly by one
or more instruments at a fixed distance
sul pont (see previous questions)

7
8

guiro
polyphonic short explanation
different sections; different treatment of the same musical material; unusual
and changing time signatures give great freedom to the music and suggest
continual change; varied and sudden dynamic contrasts; many changes of
tempo; exploitation of varied percussion instruments; different instrumental
techniques used in the strings; (description of any three)

Page 98

(Bars 128140)

Page 100

(Bars 153174)

piano part begins with a single note which increases to a seven-note figure
with much vibration
see score (bar 129/130)
marimba; gong; cymbal (any two)
second rhythm
high pitched notes played above the bridge to produce a shrill sound
brief note on the percussion instruments

7
4

repeating chords; dance rhythms; accented rhythms; ascending chords; unison

playing (any four)

10 8
8 8

7
8

cross rhythms (bars 166/167)

repeated note A on piano and marimba; piece ends with rhythm only; no final
cadence just a dissolution

6.

1.83
1.
2.
3.
4.
5.

TEACHERS MANUAL

the contrast between the grey misty Athlantic coast and the bright clear Pacific
coast; the preoccupation of the Mexican people with death and the grotesque;
influence of Mexican folk music; Shakespeares Full Fathom Five my Father Lies
from The Tempest; the American composer Conlon Nancarrow who lived in
Mexico was the inspiration for the canon between marimba and violin

Page 101

(Bars 153174)

(i) flute (ii) an ascending passage in semiquavers

repeated chords
marimba; cymbal; bass drum; gong; maracas (any two)
marimba and piano
maracas

Higher Level
Sample Question 1

1.85
1.
2.

3.

1.86
1.
2.
3.

1.87
1.
2.
3.
4.

Page 103

(Bars 7484)

Page 103

(Bars 8591)

Page 103

(Bars 92103)

in inversion
lively countermelody on flute in a free cadenza-like style constructed from the
three-note cell
gong; crotales; cymbal

broken chords on piano which reduce from a nine-note chord to a four-note

chord over the three bars
tremolo
see score (bar 90)
Dies Irae
(i) marimba (ii) violin
canon
description of any two features with reference to work

17

Ordinary Level

LEAVING CERTIFICATE MUSIC WORKBOOK

Sample Question 1

1.85
1.
2.
3.

(Bars 74 84)

violin and cello

a counter subject
crotales; gong; cymbal (any one)

1.86
1.
2.
3.

1.87
1.
2.
3.
4.

Page 105

Page 105

(Bars 8591)

Page 105

(Bars 92103)

ascending broken chords

an accented note
see score (bar 90)

Dies Irae
violin and marimba
two or more parts strictly imitate each other at a fixed distance
guiro; cello

Sergeant Peppers Lonely Hearts Club Band

The Beatles

Listening Assignments

1.
2.
3.
4.
5.
6.
7.

18

Page 115

(Bars 112)

bass guitar
solo voice
first rhythm
there is an interlude in which four French horns are heard; the texture is
contrapuntal; there is much reverberation which gives an out of door feel
G major
syncopated rhythm; melodic repetition; narrow vocal range;
popular: rock and roll style vocals and drumming; use of three
guitarssyncopated lead guitar, rhythm guitar chords accentuating the back beat
(beats 2 and 4), with a repeated note on the bass guitar; homophonic texture
of verse;
classical: use of contrapuntal texture in the interlude; four French horns

TEACHERS MANUAL

Page 116

(Bars 1734)

1.
2.

in harmony
the speed is halved the rhythm changes from semiquavers to quavers;

3.

&
the driving guitars use the

4.
5.
6.
7.
1.
2.
3.
4.
5.
6.
7.
8.

1.
2.
3.
4.
5.
6.
7.
8.

4
4

drum gives the heavy back beat

rhythm and the snare

see score (bars 18/19)

(i) in this second interlude the horns play sustained chords increasing to a
quaver rhythm in the final bars
(ii) repeated notes mostly in quavers
chord of V
chorus: interlude two

Page 117

(Bars 117)

Page 118

(Bars 1334)

strong three-guitar and drum-kit rock sound; the lead guitar plays the melody
in a rock style
four two-bar phrases; almost monotone vocal line; syncopated rhythm
see score (bars 1317)
polyphonic short explanation
the use of reverberation a recording technique used to create an echo effect
using electronics this gives a feeling of outdoor music
second rhythm
1967
all kinds of advanced studio trickery was used throughout the recording session,
e.g. microphone right down in the bells of brass instruments and headphones
turned into microphones attached to violins; vocals treated with vast amounts of
echo; giant primitive oscillators used to vary the speed of taped instrumentals
and vocals; first album to feature two continuous sides of music, without pauses
between songs (banding); album sleeve was the first to feature printed lyrics
and the first to have a gate-fold sleeve; first rock LP to feature a full orchestra
and other unusual instruments
in counterpoint
reverberationsee previous question
the vocal line halves its melodic speednote values changed from semiquavers
to quavers;

snare drum
a descending arpeggio
sustained chords
dominant chord V
this song is a fusion of pop and classical; When Im 64 is a fusion of jazz, pop
and classical; Ser. Pepper uses solo voice and two/three part vocal harmony
while When Im 64 is sung mostly by solo voice with vocal counterpoint

19

Shes Leaving Home

LEAVING CERTIFICATE MUSIC WORKBOOK

Listening Assignments

Page 119
1.
2.
3.
4.
4.
6.
7.
8.
9.

crotchet chords on harp

see score (bars 59)
cello
third rhythm
descending violin melody
in contrary motion
dominant chord only
ABAB
four violins, two violas, two cellos, one double bass and one harp (string nonet
with harp)

Page 120
1.
2.
3.
4.
5.
6.
7.

5.
6.
7.
8.

20

(Bars 3755)

Paul McCartney with John Lennon

chorus one
counterpoint, short explanation with reference to song
three four-bar phrases and a seven-bar phrase C D
Pauls lead voice is joined by John in this chorus; both voices double-tracked,
creating a chorus effect, Paul singing the higher part and John the lower part;
an almost classical style with no guitars or drums; use of word-painting taken
from the classical genre; use of string nonet and harp which are classical
instruments;
short note on aspect of Beatles style based on the three songs or other songs in
the album

Page 121
1.
2.
3.
4.

(Bars 536)

(Bars 107149)

the form is A B
in counterpoint
with a jaunty quaver string rhythm
first violins play at a higher pitch; three part counterpoint in the strings; string
parts more agitated; use of tremolo on violins
first section homophonic, second section polyphonic
arpeggios in harp accompaniment ending in a plagal cadence
plagal cadence
two differences between song one and song three style; instrumentation;
vocal treatment

TEACHERS MANUAL

Page 122
Verse Two
1.
2.
3.

Page 122

(Bars 5687)

ascending melody
syncopated Gsharp on high violins like sobbing
ABAB

Chorus Two
1.
2.
3.
4.

(Bars 56106)

Page 122

(Bars 88106)

3
tonic chord
two part polyphonic
use of string nonet and harp; use of counterpoint

When Im Sixty Four

Listening Assignments

1.
2.
3.
4.
5.
6.
7.
8.

1.
2.
3.
4.
5.
6.
7

Page 123

(Bars 122)

Page 124

(Bars 2439)

two part melody on clarinet canonic entry

bass clarinet
chromatic movement; syncopated rhythm; triadic melody brief description
piano, bass guitar, rhythm guitar
perfect
Paul McCartney
vocal line was recorded in C major but the tape was speeded up to raise the
pitch up to Dflat major
fusion of jazz, pop and classical (reason)

minor key
in thirds
crotchets and minims
contrasting melodies
chimes
perfect cadence in a major key
bridge passage one

Page 125
1.
2.
3.
4.

(Bars 5688)

A minor
vocal counterpoint
chimes
Similarities: same tonality A minor
Differences: vocal line runs completely through; use of counterpoint

21

LEAVING CERTIFICATE MUSIC WORKBOOK

Verse Three
1.
2.
3.
4.

an ascending chord
a similar melody in harmony
piano, two clarinets, one bass clarinet, rhythm guitar, bass guitar, snare drum,
chimes;
style of drumming using brush on the snare drum; syncopated rhythm on
clarinet; syncopated vocal line; flattened third in the melody on will you still
need me; bass clarinet has a ragtime feel; use of harmonic pattern based on a
ragtime sequence

Page 126
1.
2.
3.
4.
5.

(Bars 4055)

second rhythm
repeated chords in crotchets
perfect
popular and jazz two reasons see previous questions
any three points: unusual use of instruments; mixture of styles in the songs;
opening sound effects at the beginning of Sergeant Pepper; use of word painting
from the Classical genre; complexity of some of their arrangements; the diverse
subject matter found in their songs loneliness, love, happiness, playfulness etc.
(develop any three points)

Irish Music

Listening Assignments
2.1

Page 128
(i)
(ii)
(iii)
(iv)
(v)
(vi)

2.2

Page 128
(i)
(ii)
(iii)
(iv)
(v)
(vi)
(vii)

22

reel
polka
slip jig
hornpipe
jig
slide

fiddle
concertina
accordion
flute
uilleann pipes
harpsichord
tin whistle

TEACHERS MANUAL

2.3
1.
2.
3.
4.
5.
6.

2
4

2.
3.

Page 130

Page 130

1.
2.
3.

2.7
1.
2.
3.

Cavan Potholes Sharon Shannon

button accordion
Sharon Shannon
bouzouki, guitar, keyboards, drums
fusion of traditional and jazz elements
tune on accordion backed by electric bass, drums,
jazz style riffs, use of the trad. fiddle

2.6
1.
2.
3.
4.

1. John Joes Jig Glenside and Kilfenora Cili Bands

2. Lass of Glenshee Altan
3. Mise Eire San O Roda

a dance tune played by a cili band

2 reasons instruments, style of playing, treatment of tune
an Irish ballad
2 reasons type of accompaniment, no ornamentation, use of language
a traditional tune played by an orchestra
2 reasons tune is ornamented in the traditional style, harp, use of orchestral
instruments, an arrangement of the tune

2.5
1.
2.
3.
4.

Drowsy Maggie Chieftains 4

uilleann pipes
reel
any two members of the Chieftains and their instruments
any modern group, e.g. Kla, Nomos, Solas
one point well developed with a musical example

2.4
1.

Page 129

Page 131

An Droimeann Donn Dlis Samus Ennis

Doh mode
ABCD
a traditional song
repeated final note, range of 11 notes, Doh mode

sean-ns singer
unaccompanied, sung in Irish, ornamentation, nasal type voice,
melody fits the natural rhythms of the language, free rhythm
Iarla Lionird, Lillis Laoire, Samus Ennis or any sean-ns singer

Excerpt One

6
8

Page 132

The Kesh Jig Bothy Band

traditional group
jig

23

LEAVING CERTIFICATE MUSIC WORKBOOK

2.8
1.

Excerpt Two

Page 132

George Ross Hornpipe De Dannan

hornpipe

2.
3.
4.

2.9
1.
2.
3.

2.10
1.
2.
3.
4.
5.
6.
7.

2.11

accordion/bouzouki
three or four well developed points with musical examples

Page 133

Molly on the Shore Irish reel arr. Percy Grainger

reel
fusion of traditional and classical, use of orchestral instruments, arrangement of
Irish dance tune, not played in the strict tempo of an Irish dance, music for
listening, not functional
any arrangement of an Irish tune which uses traditional and classical elements

The Last Rose of Summer Thomas Moore

sung by Suzanne Murphy

Page 133

Anglo Irish
classical singer
repeated final note, range of an octave, Doh mode
chordal accompaniment
oboe
AABA
Thomas Moore: refer to some of his songs

Excerpt One

Page 134

Cailn na Gruaige Doinne Liam OFlynn

/Rod McVey (Sult)

slow air, traditional arrangement, use of ornamentation, uilleann pipes, keyboards,

guitar, chordal accompaniment

Excerpt Two

Page 134

Tommy Peoples Reel Altan

dance tune reel, fiddle, bouzouki, guitar, accordion

traditional arrangement

Excerpt Three

Page 135

Wind in the Woods Composed by Mirtn

OConnor and arr. by Mcheal Silleabhin

accordion and chamber orchestra, fusion of traditional and classical style, an

arrangement of a jig

24

TEACHERS MANUAL

2.12
1.
2.
3.

A Excerpt One

Page 135

Jimmy mo Mhle Str The Rankins

(Chieftains Tears of Stone)

guitar
in unison
one voice sings the melody, the other two voices decorate with another melody
descant

2.13
1.
2.
3.

B Excerpt Two

Page 135

Jimmy mo Mhle Str Frances Black

(ist)

electric guitar
no ornamentation
accompanied by non-traditional instruments
not a sean-ns singer
no ornamentation
regular rhythm

2.14 C Excerpt Three

1.
2.
3.

Page 135

Jimmy mo Mhle Str Ceol Gan Amhras

button accordion, guitar

repeated final note, plucked bass, instrumental descent
Difference: more voices join in
sung with a descent
accordion part different

Similarity: guitar chordal accompaniment the same

accordion and guitar used in both accompaniments
melody sung by the same voice in both verses

Section D

Page 136

Note on song tradition refer to specific features and titles in the different types of
song in the Irish tradition (three or four well developed points).

2.15
1.
2.
3.
4.

2.16
1.
2.
3.

A Excerpt One

Page 136

Galtee Rangers Mary Bergin

B Excerpt Two

Page 136

Planxty Irwin The Dubliners

(Feast of Irish Music)

tin whistle
bodhrn
bouzouki
reel

6
8

A A :|| B A :||
Largely associated with the harper Turlough OCarolan, a planxty was a lively
harp tune written in honour of a patron, and bears their name.

25

LEAVING CERTIFICATE MUSIC WORKBOOK

2.17
1.
2.
3.

2.18
1.
2.
3.
4.
5.
6.

7.

B Excerpt Three

Page 137

Rachels Reel Kla (Lemonade and Buns)

Irish dance tune reel, traditional instruments uilleann pipes, fiddle, mostly a
traditional sound led by the uilleann pipes
fusion of traditional and modern
use of non traditional instruments mandolin, guitar, bouzouki, bass guitar,
music rhythmically driven
Kla (or any other similar group)

Page 137

Hey Jude Lennon, McCarty arr. by De Danann

binary
fiddle
accordion
bouzouki
hornpipe
use of Irish dance tunes hornpipe and reel
use of traditional instruments fiddle, accordion
original melody ornamented in the style of Irish music
description of a group e.g. Horselips, Clannad, Altan, Planxty

2.19

Excerpt One

Page 138

The Ballymun Regatta (from Timedance Suite)

Planxty (Journey The Best of Donal Lunny)

slip jig
Instruments: uilleann pipes, fiddle, bouzouki, mandolin, keyboard, guitar, bohdrn
fusion, traditional and modern, percussive elements

2.20

Excerpt Two

Page 138

Murphys Hornpipe Chieftains

hornpipe
Instruments: uilleann pipes, tin whistle, fiddle, flute, bodhrn
played in the traditional style by the Chieftains

2.21

Excerpt Three

Page 138

The Bag of Cats Sharon Shannon

reel
Instruments: fiddles, guitar, bouzouki, drums, percussion
fiddles play the dance tune, beatbox backing, use of percussion instruments

2.22

Page 139

Down the Broom Glenside and Kilfenora Cile Bands

1.

reel

3.
4.

AA :|| BB :|| short description of the structure of the dance tune

ray mode, repeated note at the end of each section, first section the tune
moves mostly within the lower octave while the second section the turn
breaks into the higher octave, the AA :||BB:|| form common to Irish dance

2.

26

4
4

or

2
2

TEACHERS MANUAL

5.
6.
7.

2.23
1.
2.
3.

tunes, no dynamics, internal swing and momentum makes the music sound
uniquely Irish
fiddle, accordion, flute, piano, drums (any three)
cili dance music instruments: vamping piano: a lot of unison playing
cili bands: Kilfenora, Tulla, The Tin, Shaskeen

Excerpt One

3.

3.
4.

2.24
1.
2.
3.

Page 140

Siil a Rin arr. Maighrad Ni Dhomhnail and

Iorla Lionaird (Sult)

guitar, keyboards
sean-ns style singing, use of ornamentation, solo voice joined by a second
voice, singers in unison, sung in English and Irish macaronic, traditional
arrangement
use of guitar and keyboards non traditional instruments
sean-ns singing is usually unaccompanied and sung by one voice

Excerpt Three
1.
2.

Whirl-y-Reel Afro Celt Sound System

uilleann pipes
Afro Celt
Instruments: uilleann pipes, celtic harp, kora, talking drums, guitars, keyboards,
keyboard loop, bongos
Afro Celt system mixes the music of Africa with Irish music and modern dance
music.
Incorporates Irish instruments with African instruments. Apart from African
rhythms a large part of the Afro Celt sound is the use of uilleann pipes. This
piece features the rhythm of the reel pipes play the dance tune.
A combinatin of musical instruments and the use of technology produce an
unusual sound.

Excerpt Two
1.
2.

Page 140

Page 140

S Bheag, S Mhr T. OCarolan arr. by

C. Breathach/M. Silleabhin (A River of Sound)

low whistle, harpischord, cello

use of traditional instrument low whistle
ornamentation in the melody on whistle
cello and harpischord are not traditional instruments, an arrangment of the tune
harp
brief account of Turlough OCarolans contribution to the Irish tradition (give
some examples from his music)

A Excerpt One

Page 141

5.30 Kla (Mind the Gap)

whistle
a guitar riff, Irish dance rhythms
1990s

27

LEAVING CERTIFICATE MUSIC WORKBOOK

2.25
1.
2.
3.
4.

B Excerpt Two

Page 141

The Return from Fingal Samus Ennis

march
uilleann pipes
drone, repeated final note
Samus Ennis, Liam OFlynn, Davy Spillane, Paddy Maloney

2.26 C Excerpt Three

Page 141

Woodbrook Michel Silleabhin

an arrangement of an Irish dance, the hornpipe, for piano and string orchestra
fusion of classical and traditional style
use of ornamentation
dance tune played with very flexible rhythm rubato
structure of dance very loose, this allows for expression of musical ideas
a highly individual, distinctive piano style
harmonies in the orchestral arrangment enhance the overall sound

Section D

Page 141

a short note on Michel OSilleabhins music

Higher Level Sample Question 5

2.27
1.
2.
3.
4.
5.

2.28
1.
2.
3.
4.
5.

28

A Excerpt One

slip jig

Drops of Brandy Stocktons Wing

9
8

flute, fiddle, bohdrn (any two)

mandolin, guitar (any one)

B Excerpt Two

The Parting Glass The Voice Squad

(Bringing It All Back Home)

a ballad
modal
AA BA
repeated final note, modal tonality, unaccompanied
3-part harmony

TEACHERS MANUAL

2.29 C Excerpt Three

1.
2.

April the 3rd Donal Lunny

a dance tune written by Donal Lunny; it uses the rhythms of Irish dance music;
traditional instruments uilleann pipes, fiddle, bodhrn
rhythmic background like pop music; repetitive rhythm and melody; electronic
sound; non-traditional instruments include bouzouki, electric guitar, bass guitar,
keyboards, percussion

Ordinary Level Sample Question 5

2.27
1.
2.
3.

2.28
1.
2.
3.

A Excerpt One

9
8

any two instruments

jig

B Excerpt Two
a ballad
AA BA
modal tonality, repeated final note, vocal harmony

2.29 C Excerpt Three

1.
2.

3.

any two instruments

modern rhythmic and percussive elements
non-traditional instruments
electronic instruments
rhythmic background likepop music
use of Irish dance rhythms
traditional instruments

Aural Skills
Les Misrables

Claude Michel Schonberg

2.19
1.

Section A

Page 150

A minor

2.
3.
4.

baritone
saxaphone

29

5.
6.

LEAVING CERTIFICATE MUSIC WORKBOOK

a counter melody
dominant chord

2.19

Section B

1.

melodic repetition

Page 151

2.
3.
4.

nearly the same

perfect cadence

Section C

Page 151

A
syncopated rhythm
key A minor
no modulation
accomp. rhythm different in both

Differences:

Similarities:

B
more regular rhythm
key A major
some key changes

same metre 2
same tempo
saxaphone/solo voice/melodic motifs repeated in both

Gemini

Conquest
2.32
1.

A Introduction and Verse 1

bass guitar, synthesizer

Page 152

2.
3.

pedal note

4.

B Chorus
1.

2.
3.

30

Page 153

backing vocals sing descending scales

electric guitar with distortion pedal establishes a syncopated ostinato rhythm
accompaniment becomes more aggressive
drum kit establishes rhythm of the chorus
percussion (drum kit)
a rhythmic ostinato

TEACHERS MANUAL

Section C
1.
2.
3.

Page 153

pedal note, same ostinato rhythm

modal
faster speed, louder dynamics, rhythm strongly accented, electric guitar with
distortion pedal, thicker texture, percussion included, brighter timbre (any three
features)
electric guitar like an improvisation
bass guitar plays a short rising chromatic scale

4.
5.

Morgengruss
F. Schubert

2.33
1.
2.
3.
4.
5.
6.
7.

Section A

Page 154

major
baritone
echoes the vocal line
a sequence
imitation between voice and piano
ABC
broken chords in both sections in the accompaniment

Des Baches Wiegenlied

F. Schubert

2.34

Section B Page 155

Des BachesWiegenbad

1.

F Schubert

2. 5 A major

3. EA

Section B
4. Section A
accompaniment mostly
rhythm of accomp.
independent of vocal
moves mostly with
vocal line:
9 melody:

different
styles
of
same style
of accomp.

throughout the excerpt

accomp. based on
sustained block chords
and broken chords:
repetition of the opening two bars
echoes of vocal line
13

heard
in
the
accomp.

5. rocking feel in the rhythm maintained throughout the excerpt; melodic

repetition; quiet mood; dynamics soft throughout; no sudden changes
17

31

LEAVING CERTIFICATE MUSIC WORKBOOK

Carmina Burana
C. Orff

2.35
1.
2.
3.
4.

2.36
1.
2.
3.

2.37

Section A

Page 156

pizzicato
in thirds
all four voices in two-part harmony female voices in thirds, male voices in
thirds, no syncopation in the rhythm

Section B

Page 157

sung in four-part harmony, syncopated rhythm, sung to syllable Ah

timpani, cymbals
minor key (section A), major key (section B)

Section C

Page 157

1.

in unison (female voices)

3.
4.
5.

tenors and basses sing in harmony accompanied by four violins

flute
pedal notes

2.

Bohemian Rhapsody
Queen

2.38
1.
2.
3.

Page 158

A Introduction

four part close harmony vocals; a capella unaccompanied singing; repeated

melody notes; some syncopation in the rhythm
backing vocals sing countermotif ooh poor boy in harmony (overdubbed
backing vocals)
use of flanged crash cymbal

B Verse
1.
2.
3.
4.

32

Page 158

arpeggio style accompaniment on piano; glissando on bass guitar at the end of

bar 9

b
&b

a descending chromatic scale

bass guitar; drums
Put

gun

a - gainst his

head

TEACHERS MANUAL

2.39

Section C

1.

chromatic melody,

2.

3.

Page 159

4 , repeated notes
4

different key A major

different accompaniment no arpeggios
different mood
rhythm more regular no syncopation
solo voice alternates with choras
unusual vocal effects use of falsetto voice this produces an antiphonal
effect (any three)
use of falsetto voice to produce an antiphonal or echo effect on the word
Gallileo; on the word Magnifico, the voices come in one after the other with
each voice holding their individual note to create the effect of a chord

The Boxer
Paul Simon

2.40

Section A Page 160

1.
2.

3.
4.

singers in harmony
repeated notes; mostly step movement; syncopated rhythm; range of an
octave; opening bars based on the tonic chord (any two)

2.41
1.
2.

3.
4.
5.

Section B Page 161

rhythm three
Similarities; melody is similar; same tonality; same metre and tempo;
Differences; verse two starts on an upbeat; some melody notes different; some
changes in rhythm; extra bars at the end
thirds
syncopation; use of dotted crotchet/quaver rhythm
FGC

33

LEAVING CERTIFICATE MUSIC WORKBOOK

From Russia With Love

L. Bart

2.42
1.
2.
3.
4.
5.
6.
7.
8.

Page 162
key signature in correct place on the score
an ascending broken chord
triplet explanation
modulates to G major
B major
A B A
song is sung in free rhythmic style (rubato)
description of orchestra any three well developed points

Ive Never Been in Love Before (Guys & Dolls)

F. Loesser

2.43
1.
2.
3.

Section A

Page 164

Bb major
tenor voice
melodic sequence explanation

4.
5.

alla breve time or explanation of

pause or explanation

2.44
1.
2.
3.
4.

Section B

34

Page 165

higher (Bb major to D major)

in harmony
pause on note, melodic climax
perfect cadence

Section C
1.
2.

2 time
2

Page 153

AA BA
accompaniment Three well-developed points

Variations on a Theme by Haydn

TEACHERS MANUAL

J. Brahms

2.45
1.
2.
3.
4.

Page 166
Bflat major
oboe; bassoon
pizzicato
bar 5 imperfect cadence; bar 10 perfect cadence

Variations on a Theme by Haydn

42

5.

J Brahms

6. melodic sequence repetition of a melodic figure at a higher or lower pitch

7. tonic pedal note
8. 5 A A B A Coda

2.46

Page 166

Differences: more instruments; fuller orchestra; theme heard on violins then

woodwind
and brass; different time
9

2 ; augmentation of theme note values doubled;

2

theme accompanied by rushing scales; dynamics are different

Similarities: same theme is heard; tonality is the same; harmony is the same

13

2.47

Lerner and Loewe

Brigadoon

Section A Page 168

1. trill
2. major
17
3. homophonic a melody sung in four-part harmony;
4. V7
5. perfect cadence
6. a capella singing unaccompanied choral singing sung in four-part harmony by
a mixed voice choir S A T B

21

2.48
1.
2.
3.
4.

Paint Your Wagon

Lerner and Loewe

Section B Page 169

melodic

4/4
repetition; dotted rhythm; repeated notes

25

mouth organ;
rhythm two

29

35

5.

Paint Your Wagon

LEAVING CERTIFICATE MUSIC WORKBOOK

44

6.

was

2.49
1.
13
2.
3.
4.
5.

bo - rn

Excerpt l
short instrumental
intro. otherwise sung
without accompaniment;
mixed chorus S A T B in
harmony throughout

Lerner & Loewe

un - der

wan

d'rin'

star.

Excerpt 2
accompanied throughout

male chorus in unison then

in harmony; solo male voice
with humming chorus in
background

Symphony in C

G. Bizet

Section A Page 170

9/8
oboe
bassoon
strings are played pizzicato; descending broken chords
flute; clarinet; horn (any one)

2.50

Section B Page 171

melodyan octave higher

this
Similarities:
pizzicato on strings; based on broken chords;

17

1.
2.

Differences: broken chords arranged differently; full orchestration woodwind

and horns added
Bizet

9
8

3.
21
4.

Symphony in C

bar 1 C; bar 8 G7

2.51
5
25

Section B Page 171

texture is polyphonic instruments imitate each other; mainly strings with some wind
instruments towards the end; starts with cellos and basses followed by imitative
entries on violins, violas, bassoons, flute and clarinet; notes are played mostly
staccato; begins in a major key, modulates to another major key and then into a
minor key; same time signature as previous two excerpts; begins very softly with a
gradual
crescendo; features of the melody include a lot of step movement; upward
9
29
leap of an octave; sequence; some syncopation in the rhythm

36 13

Evita

TEACHERS MANUAL

Andrew Lloyd Webber

2.52
1.
2.
3.
4.

2.53
1.
2.
3.
4.

2.54
1.
2.

Section A Page 172

major tonality; repeated notes; syncopation; triplet rhythm (any two)
harp-like; based on broken chords; quaver movement;
modulation to the dominant key
change of instruments to horns; style of accompaniment changes to block
chords; rhythm changes to

in each bar (any one)

Section B Page 173

after the first phrase the chorus hum the melody in unison
a sequence
woodwind
tremolo in accompaniment on low strings; recitative like style in vocal part;
monotone vocal line (description of any one)

Section C Page 173

a descending chord
each note is lengthened tenuto = held on

Evita

3.

4.

Andrew Lloyd Webber

bar four

13

17

37

Higher Level Sample Question 6

LEAVING CERTIFICATE MUSIC WORKBOOK

Excerpt from the Gloria of Missa di Gloria

Puccini

2.55
1.
2.
3.

4.

Excerpt One

Page 174

homophonic
pizzicato on strings
different tonality C major to Eb major
higher tonality
louder dynamics/larger orchestra, sung by tenors and basses
slight change in melodic line
trumpets in the orchestra
dynamics ff
four part in harmony on the word gloria

Excerpt from the Gloria of Missa Solemnis

Haydn

2.56

Excerpt Two

Page 174

1.

soprano

3.

soprano, alto, tenor, bass or S A T B

2.
4.

b
&b c

Section C
Similarities:

both major keys

S A T B choir in both
same format opening section repeated
strings and wind instruments in both
both begin softly and get louder on the repeat
dynamic build up at the end

Differences:

tonality
key change in A
metre A = 2 B = 4
faster tempo in B
solo voice in B
Haydn Mass more classical in style
different format in the use of the voices
climax bigger at the end of A
different style of accompaniment in both

38

TEACHERS MANUAL

different style of melody chordal in A, more step

movement in B
brass instruments/trumpets prominent in A wood
wind and horns in B
wind instruments featured more prominently in B

Ordinary Level Sample Question 6

2.55
1.
2.
3.
4.

2.56

Excerpt One

Page 176

Excerpt Two

Page 174

homophonic
pizzicato
different voices, different key
trumpets

1.

Bb Major

3.
4.
5.

a soprano
See Higher Level
male and female singers

4
2. 4

Section C

See Higher Level

39

Composition

LEAVING CERTIFICATE MUSIC WORKBOOK

Melody Writing

Continuation of a Given Opening

Develop musical ideas of given phrase.

Include a modulation to the dominant at a suitable point.
No modulation required for minor melody.
Range of the melody must suit the instrument selected.
Add suitable phrasing.
Select a tempo mark when no tempo mark is given.
Dynamics must be placed correctly and make musical sense.

Composing to a Given Dance Rhythm or Metre or Form

Use an appropriate form for each dance tune.

Continue in the style of the opening bars.
Maintain the rhythm of the dance.
Include a modulation in a suitable place.
Add appropriate performing directions.

Harmony

Composing Bass Notes and Chord Indications to a Given Tune

See music pages