Prep last week…• Complete the Fact-Findersheet• A-A* grades – challenge prepand further analysis
Today you’re going to…Analyse the score and lyrics of GraceUnderstand how to write an extendedquestionArea of Study 3Graceby Jeff Buckley
Word painting...The meaning of the words are reflected inthe music.Examples...In verse 1 Buckley:1. moves to his higher register on the words ‘myfading voice’2. emphasises the word ‘love’ by using a melisma3. uses cross-rhythms between the bass guitar andhis voice on the words clicking of time’
• Make 5 more keypoints, but under anybubble you want to• You do not have tohave two for each• You must have onekey point for eachbubble, and then 10points altogether
Now to write your extendedquestion!• Use full written prose (not bullet point)• Use the correct punctuation, grammarand spelling• Structure your answer for a paragraphper ‘bubble’• As you answer each bubble, tick it offthe question paper.
First paragraph - StructureUse these sentence starters if you want to(you don’t have to)•The structure of Jeff Buckley’s Grace is…•It has a… and a …•Tick it off the question paper.
Second paragraph - MelodyUse these sentence starters if you want to(you don’t have to)•The melody of Grace uses…
Third paragraph - HarmonyUse these sentence starters if you want to(you don’t have to)•Grace uses chords such as…•The key of Grace is…
Fourth paragraph - TextureUse these sentence starters if you want to(you don’t have to)•The main texture of Grace is…•Some parts drop out such as…
Fifth paragraph -InstrumentationUse these sentence starters if you want to(you don’t have to)•The instruments in Grace are…•Guitar effects used are…
Use the Mark Scheme to markyour extended question
IMPORTANTOn Monday 15thJuly:1.Trial Exam of all Set Works studied2.Hand in a draft 2ndcomposition3.Complete either one solo or one ensembleperformanceDO NOT MAKE ME CHASE YOU FORCOURSEWORK!
Prep• Revise for listening test Friday 5thJuly• A-A* challenge: add extra score analysisfrom next slides• If not complete, complete your extendedquestion
Analysis of the piece – Introduction- A• The introduction is split into two sections – A and B• This is the same as the link – the link is a direct repeatof the introduction!The opening begins with guitar andsynthesizer (other parts enter on the 3rdbar)The piece has not settled in a sense ofkey yet – we can tell this because of theaccidentals, and because the first chordis an F minor 7thChord – not found in thekey of E Minor!AccidentalsChord of F Minor7thEnds on a loud chord of E Minor
Analysis – Introduction - BThe introduction isthe first time wehear the wholeband play.We are now in DMajor, which wecan tell by the useof C#’s in the musicA clash iscreated by theC# in the guitarand the D in thebassThe bass guitar isplaying a pedal on D –where one note isemphasised byrepetitionThis part is repeatedseveral times beforeleading us into theverse...A third electric guitarplays a low C# whichclashes against the DpedalThe rhythms isdriven by theacoustic guitarand hi-hat
Analysis - Verse 1At this point we have changed keyagain, and we are in E minor, shownby the use of Bb’s in the melodyThe piece uses parallel chordsin the verse – all the chordsare formed by moving thesame hand shape up or downone fret on the guitarThe accompanimentunderneath has severalelements to it.• Guitar whispers played onthe electric guitar• Rhythm guitar plays a patternfollowing the chords• The second guitar playsbroken chord patterns.The vocal line is:- in the lower register- mainly moving by step- dropping down at the end of thephrasesThe sound ofthe plectrumhitting thestrings of theacoustic guitaris used to giveeffect
Analysis – Pre-ChorusElectric guitarand acousticguitar both playchords, movingup theinstrument.The vocal range getshigherThe section ismostly in Eminor, but the Dnaturals give usa hint of thedorian modebased around E
Analysis - ChorusThe vocal line issignificantly higherthan in the verseOpen strings played by theguitar are used to create adischord – this is intentional!Buckley uses a melisma in the last part of thechorus – this is where lots of notes are sung toone syllableThis melisma lasts for two bars.The melody againconsists of severaldescending phrases
Analysis – Link A and BThink has the same melodic material as the introductionand there are only two differences between the Linkand the Introduction:1. There is a mandolin effect added on the electric guitar2. A vocal ‘Oh’ links parts A and BWhen we hear the link after the mid 8, it is again thesame, thought this time featuring the guitarist hittingthe deadened acoustic strings.Otherwise all the material is in your notes for theintroduction!
Analysis – Verse 2 and 3Whilst the melodic material remains the same, Buckley adds insome extra sound effects to create interest, namely:1. Descending slide2. Slide on the strings3. Trill on the stringsAt this point the strings have been written to imitate the guitarVerse 3 demonstrates much more use of the cymbal and morespecial effects being added. The vocal part also becomeshigher and harsher.
Analysis – Pre-chorus 2Again this is almost the same as pre-chorus1, the only exception being the addition ofpizzicato strings (where the strings of theinstrument are plucked rather than bowed)This leads into a repeat of the chorus,followed by a drumroll lead-in to to theMid-8 Section.
Analysis – Mid-8, Section AStrings play longsustained notes to fill outthe chords (adding inmore of the harmony tothe sectionMulti-tracked vocal harmoniesplaying in counterpoint (differentmelodies interweaving)The drumkit uses more snare toadd intensity – this wholesection is far more intense thanprevious sections
Analysis – Mid 8, Section BThis section is based onthe chord sequence forthe pre-chorusThe instrumental backingis also similar to this.The main vocal lineimprovises a wordlessmelodyA ‘telephone’ EQ effect is applied to the vocalswhen the lyrics re-enter to give a harsh distant effectHummed harmoniesfollow the chordsequence, opening outinto vocal ‘ahs’ at the endto give an angelic qualityto contrast with the harshvocals
Analysis - Outro• Strings become very important• Lots of vocal improvisations high in thesingers range – use of falsetto• An electric guitar with flanger effect isadded• The song ends with a shortunnaccompanied phrase which clearlyshows the influence of Qawwali (aPakistani devotional chant)
Who was Jeff Buckley?• http://www.youtube.com/watch?v=HZRK9qrF490– from 11 mins• Plus ‘Grace’ official video• http://www.youtube.com/watch?v=AfQzLtOh3so&featu• Mainly about how he makes the music• http://www.youtube.com/watch?v=QwiOTC2Y4Cw&fea• http://www.youtube.com/watch?v=LhD9wuA9oLs• First page of booklet