The Elements of Music:
Music may be thought of as the use and interplay of aspects of sound called elements. Each of these documentaries covers a particular element of music. After watching each one we will have a class discussion about the matters raised, and assess our understanding of each element by completing some worksheets and assignments. Other elements we will cover later include texture, form, timbre, and dynamics. Notation of these elements are discussed on notation page.
1. What makes music work : melody. Has explanation of modes, and origin of scales. Development of scales from pentatonic,to minor, diatonic, blues, finale is 'Bridge over troubled water':
At the end of this posted series, you will find a different presentation of similar matters by the maestro, Leonard Bernstein in 4 parts.
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2. What makes music work:rhythm:explains beat, syncopation etc:
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3. Harmony: An explanation of two or more sounds made simultaneously:
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4. Bass: Its history and uses in music:
Part 1: Music is usually broken down into melody, rhythm and harmony. But what about the very lowest notes in music, that can have an impact on all three? In this film Howard looks at the abiding fascination musicians and composers have had with the bass. For half a millennium instrument makers have been trying to construct instruments of all shapes and sizes capable of thudding, sonorous low notes. Only with the arrival of the synthesizer did they succeed in producing a rival to the mighty organ. With disco, dance, and drum 'n' bass, the bass has arrived centre stage. But bass notes have another, crucial role. Far from just plodding away in the background, bass lines can have a critical effect on the whole structure of a piece of music, helping to drive the chord progressions. Howard looks at the dark horse of the musical family, and its use in the hands of such diverse musical talents as Johann (and Richard) Strauss, John Philip Sousa, Stevie Wonder, Elton John, Albinoni, Bach and Motown's resident bass maestro, James Jamerson. Part 2: String instruments were experimented with in the 17c in an effort to create effective bass. The modern double bass only materialised in about 1800. Contrary motion in the bass introduced. (Handel: "Largo" from "Xerxes", Albinoni: "Adagio", Pachelbel: "Canon in D", Coolie: "C U when U Get There", The Farm: "Altogether Now", Pet Shop Boys: "Go West", Nina Simone: "My Baby Just Cares for Me").Nina Simone Part 3: The coolness of bass scales! A downward stepping major scale in J.S. Bach's "Air on the G String". Chromatic scale in the bass generates more sophisticated and ambiguous chords. Purcell, in "Dido and Aneas", uses a descending "Ground Bass" to generate a suicidal mood. The same technique was used 300 years later by Stevie Wonder in "They won't go when I go". Inversions (using 3rd or 5th in the bass instead of the tonic) markedly change the character of a chord. |
part 4: Inversions can add forward movement. (Elton John"Goodbye Yellow Brick Road").During the 19th century
the Waltz raised the prominence of bass by introducing bass passages to link melodies, change tempos and keys. (Johann Strauss II "Roses from the South". In the late 19c John Philip Sousa supercharged the bass in his marching band music ("The Globe and the Eagle"). This led to the "Bass Run" and the "Bass Riff" (Mancini: "Peter Gunn Theme", Pink Floyd "Money, Michael Jackson "Billie Jean"). In post war jazz the bass took a melodic role (Miles Davis' "So What"). In 60's pop James Jamerson, using the electric bass created a stream of influential bass lines which energised simple harmonies. Wendy Carlos "Switched on Bach" caused a sensation by using Bob Moog's synthesisers to play Brandenburg Concertos. But it was in pop music that the technology had lasting impact. ***PLEASE NOTE: Some users have noticed problems with 'Bass - part 4' - not available in their country etc - this may be because some of the content has been marked as a copyright breach by UMG, tho they have allowed it to remain with advertising***
Part 5: The MiniMoog could thunder out bass lines of great power and depth. (Beyonce: "Deja Vu")
Synthesiser bass became inextricably linked with dance music, e.g. Donna Summer's "I Feel Love". Demonstrates how to sequence a bass line, include "quantizing", "looping". Drum'n'Bass (Shy FX and T Power "Shake Ur Body"). A Georgian English Psalm (Maurice Greene's "Lord let me know mine End") demonstrates a bass line which would also be at home today in Motown or Jazz. Many thanks to Peter InglisGuitar for the superb video summaries... Cheers!Timegrinder Thankyou timegrinder for posting these missing bass eoisodes:Gary |
What is a Melody?
Aired date: Dec 21, 1962 Parts 1-4 Plot: Bernstein discusses the different forms melody can take, including tune, theme, motive, melodic line and musical phrase. He illustrates by conducting the orchestra in excerpts from Tchaikovsky, Wagner, Hindemith, and Brahms. |
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Musical Atoms: A Study of Intervals Parts 1-5
Aired date: Nov 29, 1965 Plot: Bernstein explains musical intervals and discusses their relationship to harmony, melody and inversion. After analysis, the first movement of Symphony No. 4 in E-flat Major by Brahms is performed. The discussion continues, focusing on major and minor seconds. |