Other Features

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Structure and Melody

Purcell uses word painting, where the meaning of the word is mirrored by the music.

Structure

Follows a ground bass structure.
Written in ternary form (A B A) with the A Section being shortened when it returns.
There is also an introduction in bars 1-3 where the basso continuo is established.

Structure cont.

Da capo arias are where the A Section is repeated (from the beginning) with the singer making variations and ornamenting the original melody line.
The changes in the set work occur at bar 31, 33 and 35-7.

Melody

There is melismatic (more than one note per syllable) and syllabic (one note per syllable) word setting.
Purcell uses word painting, where the meaning of the word is mirrored by the music.

Example of word painting

For example on the word ‘eternal’ (b.20-21) Purcell draws out the melody line with the use of ornamentation.

Melody cont.

There are also other ornaments used such as:
- Mordents.
- Appoggiaturas.
- Grace notes.

Instrumentation, Texture and Harmony

The use of the basso continuo and the vocal line create a homophonic texture.

Instrumentation

Solo voice:
- Soprano.
Basso continuo:
- Harpsichord, lute and bass viol.

Texture

The use of the basso continuo and the vocal line create a homophonic texture.

Harmony

Written in A minor, the harpsichord plays a figured bass where the chords are written in a type of musical shorthand.
There are some modulations away from A minor and C major but this piece predominantly centres around these two keys.

Dissonance and suspensions

There is use of dissonance (clashing notes) and suspensions (creating dissonance within a chord by extending the length of a clashing note) which can help create feelings of pain and sorrow.

Tierce de picardie

In bar 23 there is a tierce de picardie (a cadence with a major tonic chord in a minor key), used on the word ‘snakes’ to create drama.
This is another example of word painting.

1Musical Elements

1.1Organisation of Pitch

1.1.1Melodic Pitch

1.1.2Melodic Devices

1.1.3Harmonic Pitch

1.1.4Harmonic Devices

1.1.5Harmonic Progressions

1.2Tonality

1.2.1Major & Minor Tonality

1.2.2End of Topic Test - Musical Elements

2Instrumental Music 1700–1820

2.1Bach: Brandenburg Concerto No. 5 in D Major

2.1.1Concerto No. 5 in D Major

2.1.2Structure & Melody

2.1.3Instrumentation & Texture

2.1.4Harmony

2.1.5Wider Listening

2.2Beethoven: Sonata ‘Pathétique’

2.2.1Piano Sonata No. 8

2.2.2Structure & Melody

2.2.3Other Features

2.2.4Wider Listening

2.2.5End of Topic Test - Instrumental Music 1700–1820

3Vocal Music

3.1Purcell: Music for a While

3.1.1Music for a While

3.1.2Other Features

3.1.3Wider Listening

3.2Queen: Killer Queen

3.2.1Killer Queen

3.2.2Other Features

3.2.3Wider Listening

3.2.4End of Topic Test - Vocal Music

4Music for Stage & Screen

4.1Schwartz: Defying Gravity

4.1.1Defying Gravity

4.1.2Other Features

4.1.3Wider Listening

4.2Williams: Star Wars Episode IV

4.2.1A New Hope

4.2.2Structure & Melody

4.2.3Other Features

4.2.4Wider Listening

4.2.5End of Topic Test - Music for Stage & Screen

5Fusions

5.1Afro Celt Sound System: Release

5.1.1Release

5.1.2Other Features

5.1.3Wider Listening

5.2Spalding: Samba Em Preludio

5.2.1Samba Em Preludio

5.2.2Structure & Melody

5.2.3Other Features

5.2.4Wider Listening

5.2.5End of Topic Test - Fusions

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