Higher Music

ali*

wat's there in regional styles? all we ever did was munster uses more vibratto, less ornamentation, connacht uses lots of ornamentation and the northa has a middle amout, isnt that just in sean nós? im screwed...

OTliddy

The essay is evil. It's only worth 10/11 marks, and the hours put into studying the composing paper would be much more worth it. The difference between doind bad and well in the essay is only about 5 marks(10-5), but it could be as much as 35 in composing(80-45). Barry, Bach and Queen are also worth doing, and learn whatevr you can in Tchaikovsky(simple things like what the instrument abbreviations are)

rosa

ok i haven't started studying yet but I'm about to. Think there's enough time left?? And what are you people learning for the set works? Key sigs, techniques, features..... what else?

JackKelly

Dunno. I think its sooo pointless having to know features of each section of a piece. I think we should know general techniques instead. I really hate this course. How detailed is everyones knowledge of the pieces?

Scratch Acid

I will be eternally grateful to anyone who can send me complete versions of the Bach, Barry and Tchaikovsky pieces.

JackKelly

Scratch Acid wrote:

I will be eternally grateful to anyone who can send me complete versions of the Bach, Barry and Tchaikovsky pieces.

scores or music?

Scratch Acid

Music.

Cianan2

Ive got an extra class today, which is more helpful to me than studying on my own! Thank god for kind teachers...

JackKelly

Waltons wrote:

I'm preparing an essay on Flogging Molly (A group using traditional irish music)

thats a great idea. It would have to be under fussion though i'd imagine.

Prezatch

Ye know the Song Tradition essay, I was lookin through some of those trinity notes and they just give a few types of songs (laments, love, drinking etc) and a few examples of them. Is that all you have to do for that essay does anyone know?

JackKelly

Hmm. Can someone tell me how the hell to wright these?! Well, tips for them. I know the structure (copy opening-modulated-sequence-closing) but its just hit or miss when it comes to writing them

And with the harmony. All you really need to know are chord progressions right?
In the bass, do you just put whatever is the tonic note of the chord you chose?

Cinderellie

Follow what you're given religiously.Write down all the jumps used in what you're given and only use those,apart from s-m-d etc. Pick out nice little rhythms in the first 4 bars and try and keep that rhythmic shape through out the melody.Like, if you have 4 crochets in the first bar,use four crochets in the 5th bar,etc. Except in bars 9-12,of course.

Make sure when you're doing the sequence that you're not going to have a really awkward leap from the 9th bar to the 10th bar.Like if you end on doh in the 9th bar then don't start on fah in the 10th unless that's a given leap in the first 4 bars.

I dunno if that helps or not.If you have time you should play through your other melodys and see what sounds nice in them,what jumps and sequences and stuff and keep a note of them so you know that,for example,the jump soh-re is nice.If you can't really sing the melody in your head then don't get creative,just manipulate what you're given.Invert the notes or add passing notes,stuff like that.

Also,for the minor melody I'd recommend avoiding getting into situations where you have to raise and lower the 6th and 7th.Do it once or twice to show that you know how but try and avoid them.Like,if you're coming down go to mi so you don't have to raise the 7th.

For the chord question just go over all the rules for minor and major.Like,in minor you should use the 2nd inversion of the chord of 2,not the chord of 2 itself.And the chord of 2 should never go to one.Make sure you know the cadences,and if you can't figure out the phrasing on a chord question then just put in a cadence around the end of the line...oh,and yeah,it is just the bass notes.But make sure when you write the notes in the bass line that they're directly underneath the chord boxes,otherwise they'll take off marks.

JackKelly

wow.thanks! thats a lot of help. Can you use the same chord progressions in a minor harmony as in a major harmony? Just avoid chord ii?

Cinderellie

Pretty much the same except for a few things.The chords i,iib and iv and minor,and V and VI are major.Emm...try and avoid VI-i or i-VI.if you have to use ii,then write iib in the box,and then put the second note of the chord in the bass line.

I hope that helps!

:Keith:

Quick question about a minor 16 bar melody. Do you modulate in it? I'm not very clear on that as the teacher I had is a bit of a retard.

Cinderellie

Nope,you don't.Instead you have an imperfect cadence in bars 7 and 8,and 11 and 12.The sequence is still there though in bars 9 and 10.

It's alot easier then major in that respect!

Gileadi

you arent required to modulate in it,you can do so if you wish though

:Keith:

Thanks. Thats a big help because I have a feeling a Minor 16 bar melody will come up and I want to be prepared for it.

JackKelly

except modulate to the major if you do.

unak

ok im al set for my melody but hav no structure whatsoever for the harmony.
is there a certain pattern of chords you should follow?
also, have done nothing for the trad essay, any suggestions?

thanks in advane...

gaagirl

Cinderellie wrote:

Also,for the minor melody I'd recommend avoiding getting into situations where you have to raise and lower the 6th and 7th.Do it once or twice to show that you know how but try and avoid them.Like,if you're coming down go to mi so you don't have to raise the 7th.

in minor you should use the 2nd inversion of the chord of 2,not the chord of 2 itself.And the chord of 2 should never go to one.Make sure you know the cadences,and if you can't figure out the phrasing on a chord question then just put in a cadence around the end of the line...

The chords i,iib and iv and minor,and V and VI are major.Emm...try and avoid VI-i or i-VI.if you have to use ii,then write iib in the box,and then put the second note of the chord in the bass line.QUOTE]

Its clear everyone does WAY different things for melody throughout the country. also for harmony our rule is never to use ii-I or V/V7-ii! theres never been a problem with 1-6 or 6-1!! I think that basically u need to do what everyone in ur class does coz theyre all gonna be corrected together and if one is way different to the rest itl stand out and might be seen as wrong.

Cinderellie

There's no problem with using it in major,but if you use it in minor there are rules you have to follow and its just easier to leave it out.

Anyone know the definition of the wedge technique in Barry?

Waltons

TimAy wrote:

thats a great idea. It would have to be under fussion though i'd imagine.

I hadn't thought of using them under fusion, could be done though! I think with the trad influences I could just talk about the traditional instruments being used and the drums being played to simulate a bodhran,etc. I'm not too worried about it if it comes up because if it looks like I know what I'm saying I should be ok

inflight

What the hell is a wedge technique?!?

I'm very angry with myself, left everything til tonight, and have no Irish music or Gerard Barry done at all, partially cos I think I'm allergic :rolleyes: so I'll rely on bullsh!tting for the ol essay.. There goes the A1 I was depending on anyway

OTliddy

Cinderellie wrote:

There's no problem with using it in major,but if you use it in minor there are rules you have to follow and its just easier to leave it out.

Anyone know the definition of the wedge technique in Barry?

Wow, you really know your stuff. I thought you were a teacher until you asked that. The "wedge technique" is used in C2 and it basically means augmenting. In the second half od C2, it is a copy of the first except that every crotchet is made a semitone higher or lower. Also here is a tip for recognising parts: bar 300=end of C3
bar 400=end of C4
bar Five hundered=F+C8

OTliddy

Sorry to burst everyone's bubble here but looking over the papers, you can't predict whats going yo come up. In fact if anything, you'd be most reliable learning exactly what came up last year because they try(and succeed) to be unpredictable. Nothing is stopping them giving the same style composition as last year. It's bast to learn a little out of alot rather than alot out of a little, or else you'll prolly be disappointed. Anyway, its 9.30 night before, a bit too late i think.

Cinderellie

Teacher?Nah,my music teacher is just very..enthusiastic.She tends to force knowledge into your head.With a big stick.

I dunno,I'm a bit iffy on the old predictions,I keep remembering the junior cert when everyone was convinced vivaldi wouldn't come up because he'd been up so many times before.

JackKelly

OTliddy wrote:

Wow, you really know your stuff. I thought you were a teacher until you asked that. The "wedge technique" is used in C2 and it basically means augmenting. In the second half od C2, it is a copy of the first except that every crotchet is made a semitone higher or lower. Also here is a tip for recognising parts: bar 300=end of C3
bar 400=end of C4
bar Five hundered=F+C8

do they tell you the bars if they give you the music?

inflight

Yep I think they always do give you the bars. Time to learn a few off!

scorpy

so the composing paper was a bit of a shock, eh? I didn't know if Q1 was a minor or major melody at first because there was no 'you must modulate/you may modulate if you wish' instruction at all! that threw several of my classmates; luckily I managed to figure it out that it was in C minor.
Q5 was difficult, but then it always is. I get the feeling my whole composing paper was a shambles but it doesn't matter because the listening paper was a dream and I'm FINISHED at last! ^__^

HALLELUJAH!