Ex.

10 THE GENRE CHART

Forces Ensemble Solo Choral Sacred Motet Mass setting Madrigal Genre Renaissance Instrumental music Renaissance Keyboard music Examples Pavane The image of Melancholy- Holborne (Edexcel) Pavana Lachrimae Dowland (Edexcel) O Wilhelme, pastor bone Taverner (Edexcel) Mass for Four Voices Byrd Sing we at pleasure Weelkes (Edexcel)

Era Renaissance

Instrumentation Instrumental

Vocal

Defining features Predominantly homophonic dance-based music with internal contrapuntal parts. Simple repeating sections played by consorts of related instruments (recorders, shawms, viols). Keyboard music based on dances or simple theme and variations. Much melodic ornamentation and passage work running through all parts. (harpsichord, virginal or organ) Latin text, unaccompanied imitative polyphony. Rhythm and harmony subservient to the contrapuntal line

Solo Orchestral

Baroque

Instrumental

ayres or lute song. French Overture Italian Overture Concerto Concerto Grosso Trio Sonata Solo Sonata

As above, but the Latin text comes from the five parts of the Ordinary of the Mass. A mixture of homophony and polyphony, in the vernacular and generally highly rhythmic. Often use of nonsense words with pastoral or courtly love themes. Solo voice, usually in the vernacular accompanied most commonly by the lute. Strophic form, commonly in ABB form. Binary form where the first section is slow, homophonic, pompous and dotted rhythms abound. Followed by a fast fugal section. Three short sections arranged fast-slow-fast, often with prominent trumpet part.

Flow my teares Dowland (Edexcel) Overture to Messiah Handel Tutto il mal, non vien per nuocere A. Scarletti Violin Concerto in A minor BWV1041 J.S. Bach Concerto Grosso Op.6 No.8 Corelli (CCEA)

Chamber

Strings with basso continuo group alternating with solo instrumental episodes. Use of Ritornello form, three movements: fast-slow-fast. A concertante group of instruments alternating with the ripieno group of strings with basso continuo group. Three or more movements, often several short sections. Two equally important melodic instruments and the basso continuo group. Solo melodic instrument accompanied by a basso continuo group.

Trio Sonata in D, Op.3 No.2 Corelli (Edexcel) Flute Sonatas Handel

Solo Various Prelude, Fantasia, Toccata Dance Suite

Fantasia in G major BWV 571 - J.S. Bach Partita No.4 in D major BWV828 J.S. Bach (Edexcel)

Vocal Chorus Aria Solo

Choral

Cantata No.48 Ich Elender Mensch J.S. Bach (Edexcel) Cantata No.48 Ich Elender Mensch J.S. Bach (Edexcel) Cantata No.48 Ich Elender Mensch J.S. Bach (Edexcel)

Recitative (Precursor: Monody) Fugue Symphony String Trio String Quartet Piano Trio String Quintet

Instrumental or Vocal Orchestral Chamber

Classical

Instrumental

Fugue in D Major Well-Tempered Clavier BkI J.S. Bach Symphony No. 103 Haydn (OCR) Trio in Eb major K.563 - Mozart Quartet Op.76 No.2 Haydn (AQA) Kegellstadt Trio K.498 - Mozart String Quintet in G minor K.516 Mozart

Keyboard music, either contrapuntal or virtuosic and improvisatory (harpsichord, clavichord, organ). Series of short Binary Form movements all in the same key. Majority highly rhythmic and characterized by a repeated rhythmic pattern and effect. Usually ending with a fast compound time movement. Primarily contrapuntal four parts or more. In Latin or vernacular. Accompanied by orchestra and basso continuo group. Secular: Opera / Sacred: Oratorio, Passion, Mass Solo voice accompanied by orchestra and basso continuo group. Often with an obbligato instrument to the fore, use of instrumental ritornelli. Frequent use of Da Capo form with use of ornamentation, especially on repeats. Secular: Opera / Sacred: Oratorio, Passion, Mass. Solo voice punctuated by accompanimental chords usually from the basso continuo group (sometimes strings). Text presented as speech with little or no repetition or melismas. Secular: Opera / Sacred: Oratorio, Passion, Mass. Strict imitative counterpoint with each part entering with Subject (in Tonic) or the Answer (Subject in Dominant). Use of countersubject, episodes, sequences, stretto, inversion and pedal notes. Four movement work for orchestra. Sonata Form used for first movement followed by a slow movement, Minuet and Trio (later a Scherzo) then a fast lighter movement to end, often a Rondo. Growing out of the Baroque Trio Sonata, this is a work three string instruments: either two violins and a cello or violin, viola and cello. Work for four strings: two violins, viola and cello. Usually with four movements, often the same order and forms used in the symphony. Work for piano and two other instruments, usually violin and cello, but can be piano, clarinet and cello or even viola. Usually in four movements. Chamber music using five strings, usually two violins, two violas and a cello. Has a darker and warmer sound than the string quartet.

Piano Quintet Sonata Art Song Symphonic Poem Concert Overture Piano piece: miniature / character piece Lied Impressionism Expressionism Neo-Classicism

Piano and Wind Quintet K.452 Mozart Piano Sonata K.333 Mozart (Edexcel)

Vocal Orchestral

Solo

Romantic

Instrumental

Solo

An die Ferne Geliebte Beethoven Harold in Italie Berlioz (Edexcel) Fingals Cave Mendelssohn Kinderscenen Op.15 Schumann (Edexcel) Die Forelle, Erlknig Schubert (AQA) Prelude LAprs-Midi dune Faune Debussy (Edexcel) Erwartung Schoenberg Pulcinella Stravinsky (Edexcel)

Vocal

Solo

Twentieth Century

Various

Nationalism Serialism Aleatoricism

Dance Suite Bartk Quartet Op.22 Webern (Edexcel) Sequenza III for female voice Berio (Edexcel)

Chamber work for piano and four other instruments. Again using the Symphonic model of four movements. Solo instrument (i.e. piano) or a single line melodic instrument accompanied by the piano. Again using the Symphonic model of movements Simple and light solo songs accompanied by the piano. Often published on just two staves Generally in one continuous movement held together by thematic transformation. Relating music to nature, literature or philosophy. One movement work, usually connected with a programme, often portraying the mood of the subject. Small scale piano pieces. Usually with a simple form: ternary or theme and melodic variation. Often demonstrating folk influences. Complex accompanimental textures. Right hand melody predominant. Solo secular song, sung in German. Voice and piano of equal importance. A fusion of the verbal and musical components. Much more interest in the piano part. Mood music, conjuring up an atmosphere rather than conveying a graphic programme. Use of parallel added chords, complex rhythms and non-diatonic scales. Very chromatic to the point of atonality. No sense of key, sounding completely unstructured. Expression of an emotion or a state of mind was of ultimate importance. Reworking forms and structures from previous eras with a twentieth-century gloss. Often employing wrong note effects, unusual orchestration, harmonic shifts rather than modulations and rhythmic displacement. Music inspired by national legends or themes. Use of folk songs or folk traits assimilated into art music, modes, non-diatonic scales and national orchestral colour. Atonal music given structure and purpose by use of tone rows subjected to contrapuntal techniques such as inversion and retrograde. Use of Baroque and some Classical forms. Chance music relying on choices made by the performers working from a graphic or free score.

Minimalism Blues Ragtime Swing

New York Counterpoint Reich (Edexcel) West End Blues Louis Armstrong (Edexcel & OCR) Maple Leaf Rag 1899 Joplin In the Mood Glen Miller Birdland Charlie Parker Kind of Blue Miles Davis (OCR)

Blues & Jazz

Very little material being used. Almost mesmeric use of repetition. Riff-based textures. Minimal material treated with small evolving shifts of rhythm, pitch, and accompaniment. Use of the Blues scale, 12 bar chord progression, walking bass, short vocal phrases filled in by the jazz.

Bebop

Piano music where left hand vamps bass line on the beat and chordal accompaniment off the beat. Right hand plays a syncopated melody in octaves with frequent runs and arpeggios. Large-scale jazz ensembles playing arranged music. Use of swung quavers, walking bass, instrumental sections play homophonically. Frequent use of 12 bar blues pattern and brass to punctuate texture with stabs. Fast moving, small ensemble jazz. Plentiful melodic embellishment, chords being added to using 7ths, 9ths and 11ths. Use of augmented and diminished chords, substitutions and exploitation of the tritone (harmonically and melodically) Use of strong melodies, harmonies and a square rhythmic basis. Use of modes and non-diatonic scales. Reaction to the free sound of Bebop. Cool jazz