A2 applied set work; James Horner - Take Her to Sea, Mr Murdoch 0.0 / 5 ? MusicA2 applied set workA2/A-levelEdexcel Created by: KristenHornerCreated on: 27-04-14 15:44 When was the piece written? 1997 1 of 51 How many Academy Awards did Horner win for the score for Titanic? 2 2 of 51 Who has Horner had a long working relationship with? James Cameron 3 of 51 Where was Horner classically trained originally? Where did this lead? California; led to RCM, London 4 of 51 What elements did Horner include in the score? Celtic elements 5 of 51 What 3 large bodies of instrumentation does Horner use? Large symphony orchestra, real choir, synthetic choir 6 of 51 How is the orchestra treated? Traditional symphonic/Romantic way with much doubling 7 of 51 What timbre is there FEW uses of? Solo 8 of 51 What sort of ranges are favoured? Middle/low 9 of 51 How can we describe the texture? Wide and rapidly changing 10 of 51 What type of opening texturally? Imitative 11 of 51 What sort of pedal texture is seen in bars 8-10? Articulated pedal in violin and viola 12 of 51 What sort of pedal texture is seen in bars 11-30? Pedals with octave leaps 13 of 51 What sort of pedal texture is seen in bars 57-60? Sustained bass pedal 14 of 51 What sort of pedal texture is seen in bars 106-110? Tonic pedal over 3 octaves in strings 15 of 51 What type of texture is seen between the viola and horn at bars 12-14? Ostinato texture 16 of 51 What are the three most common textures of the piece? Homorhythm, homophony and heterophony 17 of 51 What does the music do up to bar 30? Follow the on screen action 18 of 51 How is the build up of excitement matched in the music? Rapid key change, increase in tempo, rising ideas 19 of 51 What is happening from bar 30? Ship is under full steam 20 of 51 Which two ideas does the music revolve around here? One lyrical, the other more dance like 21 of 51 What happens to the music when it is less tied to the action on screen? More traditional musical shapes appear 22 of 51 What type of phrasing is common? 2-4 bar 23 of 51 How is the music both episodic and unified? Episodic - frequent key/texture change; Unified - repetition/development 24 of 51 How does the piece open and close? Sections based on a rising Lydian motive 25 of 51 What is Horner's musical tonality, traditionally? Tonal/diatonic for the most part 26 of 51 What is the tonality of the piece frequently inflected by? A rising Lydian 4th 27 of 51 What type of chords are used throughout? Maj/min, mostly in root/1st 28 of 51 At times the harmony is non-functional. Who could this be influenced by? The 'pan-diatonic' style of American composers like Aaron Copland 29 of 51 What type of pedals are used frequently? Bass 30 of 51 What type of cadences are quite rare? Traditional perfect 31 of 51 How does the music modulate? "Slips" from one key to another 32 of 51 What interval for modulations often fall or rise by? A 3rd 33 of 51 What occurs in terms of tonality from bar 25 onwards? The harmonic rate of change speeds up 34 of 51 At bar 25 what is A major juxtaposed with? Eb major 35 of 51 Where is the most traditional diatonic harmony heard? The 1st dance section (bars 37-50) 36 of 51 What does the harmonic rhythm speed up to at times in bar 37-50? 3 chords a bar 37 of 51 What do bars 40-48 come to rest on? A dominant chord 38 of 51 What harmonic device is seen in bars 41-43? A circle of 5ths 39 of 51 What is the final cadence proceeded by? A flat VII chord 40 of 51 What are the three related but distinct melodic idea of the piece? An opening rising idea, material from Leaving Liverpool and a dance melody in 5/4 & 6/4 41 of 51 How is the opening rising 4th idea developed? Imitation/inversion 42 of 51 At bar 12 what does the opening rising 4th idea reappear as? An ostinato figure 43 of 51 How is the rising 4th idea used to close the piece? Augmentation 44 of 51 The melody first heard at bar 30 is based on what? The first phrase of the Leaving Liverpool theme 45 of 51 What does the dance style melody at bar 37 do to maintain interest? Use sequence and simple stepwise contours 46 of 51 At bar 57 what is the melody decorated by in the viola and horn? Triplets using upper aux notes 47 of 51 The linking motive at bar 62 spans a what? Downward 4th 48 of 51 What does the metre vary between? 3 & 4 beats to a bar 49 of 51 What rhythms play a vital role in the opening section? Octave crotchets 50 of 51 What feel does the 5/4 metre at bar 37 give? A folk like feel 51 of 51
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