SKS45 Edexcel GCSE set works: Moby, Miles Davis and Koko · 2016. 1. 29. · Moby, Miles Davis and Koko by David Ashworth IntroDuCtIon This resource provides background and a discussion

Music Teacher March 20151

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David Ashworth is a freelance education consultant, specialising in music technology. He is project leader for www.teachingmusic.org.uk and he has been involved at a national level in most of the major music initiatives in recent years.

Edexcel GCSE set works: Moby, Miles Davis and Koko

by David Ashworth

IntroDuCtIon

This resource provides background and a discussion of the main characteristics of three of the set pieces from

the current Edexcel GCSE syllabus.

From AoS 3 Popular music in context:

Moby: ‘Why Does My Heart Feel So Bad?’ from the album Play

Miles Davis: ‘All Blues’ from the album Kind of Blue

From AoS 4 World music:

Koko: ‘Yiri’ from the album Burkina Faso: Balafons et tambours d’Afrique

Important musical features covered include structure, texture, tonality, harmony, melody, rhythm and metre.

These should complement existing resources, and will provide students with some useful pointers on how to

write perceptively about the music.

The Edexcel specification offers this advice:

Sections A and B

In their responses to the questions in both sections, students will need to demonstrate an

understanding of the following in relation to the set works within the Areas of Study:

the musical elements (pitch, duration, dynamics, tempo, timbre, texture, structure)

identifying how resources are used in different combinations (identifying instruments and

groups of instruments)

identifying key musical features

identifying musical and melodic devices (ornamentation, ostinati, riffs, use of imitation, pedal

point and sequence)

identifying rhythmic devices (syncopation, swung rhythms, dotted rhythms and triplets)

identifying and discriminating between major, minor, modal, pentatonic, chromatic and atonal

tonalities

relating music to the context in which it was created

identifying conventions used in different times and places

using appropriate musical vocabulary

expressing and justifying opinions and preferences

Section A

Students should study the set works for each Area of Study, aurally identifying the key musical

features in each work. They should understand the context within which the set works were

composed and their place within the Area of Study as a whole. In this section of the examination,

students will also be expected to express and justify opinions on the set work extracts and complete

short musical dictation and staff notation questions.

Student should be encouraged to listen to music in a discriminating way, developing their skills of

aural perception.

Section B

In Section B, students write in more detail about the set works that they have studied and this

extended response will be assessed for QWC as well as the quality of the musical information

conveyed.

Music Teacher March 2015 2

Questions may concentrate on one or more set works and could ask for a comparison between two

works (within the same Area of Study or from two different Areas of Study). Students should be

prepared to demonstrate that they are able to write about:

how the musical elements such as pitch, duration, dynamics, tempo, timbre, texture and structure

have been used by the composer

how the instruments and groups of instruments are used

how any other key musical features have been used in the set work(s).

They could also be asked to:

place the music in its musical, social and historical context

express and justify opinions on the set work(s) in question

Some knowledge of related works within the Area of Study will be given credit but is not required.

However, students will need to know how the work fits within the context of other pieces written in

similar genres around the same time.

Students should be encouraged to express their ideas about the set works using correct musical

vocabulary.

MoBY: WHY DoES MY HEArt FEEl So BAD?

Background

Moby was an important figure in the dance music scene of the 1990s. He was seen as a lone figure, standing

apart from most others making music in this genre. In some ways, his music was typical – he combined

electronic disco-style beats with heavily processed instruments and samples from film soundtracks and pop

songs. But on the album Play, he also included samples of field recordings made by Alan Lomax decades

earlier of many legendary folk and jazz musicians from the first part of the 20th century. These samples help to

give the tracks on this album a more expressive, soulful and ‘human’ feel, which is often missing from some of

the more sterile techno tracks made during this era.

On this particular song, both samples are taken from a 1950s Gospel song called ‘King Jesus Will Roll All

Burdens Away’. The surface noise of the original vinyl recordings has been left on the track to give a more

atmospheric and authentic feel to the vocal parts.

This was a breakthrough recording for Moby, helping to make the transition from niche electronic composer

to global celebrity pop star status. He was largely responsible for bringing this type of music to a much larger

mainstream audience, but at the same time was criticised by many techno artists for ‘diluting’ the musical form.

This track was a massive hit for Moby and has been recreated live by many artists. You can hear a version by

Elton John here. Released in 1999, Play subsequently became the biggest-selling independent album in the

UK for the year 2000.

https://www.youtube.com/watch?v=eg5B-oVXBj8

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Instrumentation

acoustic piano

sampled vocal sounds, reverb added

roland drum machine kit (plus claves)

bass line – later, an extra sustained bass line during the female vocal sample

a processed backing vocal added as an echo

strings synth plus a vocal synth towards the end

Texture

As in much music in this style, texture and timbre are important elements. The musical interest is focused here

rather than on the dominating features of melody, harmony and rhythm, which are central to more traditional

rock and pop styles.

The build-up of texture and contrasts is controlled by careful consideration of how to combine and develop the

musical materials. Close attention is paid to the manipulation of timbral combinations to build up the ‘tension’

and the ‘release’ that follows.

The track begins in the classic techno way, by gradually adding loops to thicken the texture. In sections 3 to

6 the texture stays thick, swapping male and female vocal samples. From section 4 onwards, the bass and

synth parts are thickened by the adding of long, sustained notes. The backing vocal in section 6 is a heavily

processed echo of the sampled vocal line. Section 7 is a short gap, although the reverb/echo on some parts

allows them to ‘bleed’ through initially. There is a sense of symmetry with the final three sections – a dense

section 9, sandwiched between quieter sections involving solo sampled voice plus sustained synth parts.

Here is a chart showing how the texture develops over time:

section 1 2 3 4 5 6 7 8 9 10

piano gap

vocal sample

male female male female male

drum m/c

‘bass’ more

‘strings’ more

backing vocal

synth pad

The sampled vocals are interesting. Both seem to have copious amounts of reverb added. On the male singer

sample, the original recording backing can be heard, particularly at the very end of the sample. The sounds

here clash in a interesting way with the contemporary accompaniment provided by Moby.

4Music Teacher March 2015

Melody

As we noted in the previous section, there is not a great deal of melodic interest in this piece. The two vocal

samples can be thought of as a call and response. The call consists of two fragments, where the notes rise

and fall in alternating 3rds.

The long sustained note in the middle of this phrase is in fact sung melismatically. Although transcribed here

a long sustained note of A, the singer subtly adds notes above and below this pitch.

The response covers a slightly wider range. Again, in the first fragments the intervals between consecutive

notes are 3rds, whereas the second fragment is built on a falling second interval.

The female vocal sample is a single phrase, looped against a changing harmonic accompaniment. It is a short

series of notes that fall over an interval of a 6th.

Both vocal parts use notes from the home key of A minor. The female phrase uses just pentatonic notes from

this scale.

Tonality and harmony

This song essentially consists of two sections: the male vocal section and the female vocal section. We will

refer to these as sections A and B respectively.

The track begins with a solo piano playing the section A chords in a simple, reported pattern. There are slight

variations, but the basic pattern is this:

The chords for the A section are:

Am Em G D

These imply an A natural minor scale (ie with no G sharp). The notes sung by the vocalist sit well with this

accompaniment, but there are some faint background sounds on the recorded sample that indicate the original

backing may have had a very different harmony. A heavy reverb has been added to this sample which gives

the timbre of the sample a quite ethereal feel in this new context.


The female vocal sample is ‘cleaner’, so there are no harmonic ambiguities. There is a move towards the

relative major (C major) in the way that Moby harmonises this sample, which gives the song a more uplifting

quality during these sections:

C Am C Am

F C F C

These chords all share the notes A and C, which feature predominantly in the first bar of the vocal sample. The

Am and C chords share the notes A and E, which feature predominantly in the second bar of the vocal sample.

The chords are played by the piano throughout, with other instruments supporting these harmonies. The bass

synth sticks to the root notes of the respective chords. The synthesiser string part plays gentle, high sustained

notes to fit with the chords.

At the very end there is a coda section, where all the instruments drop out and the male vocal sample is

accompanied by a synth pad sound playing sustained chords.

Rhythm

As we noted earlier, the interest in this song lies mainly in the texture and timbre: the melody and rhythm are

not the central features of the track.

The piano plays a very four-square introduction rhythmically, which continues on into the song, eventually

changing to a more vamping style. The bass part consists of chugging quavers on the root note, eventually

reinforced by longer sustained bass synth notes.

The drum machine is set to play a typical bass/snare rock rhythm, but the addition of a quiet claves part does

add an interesting rhythmic feature:

The gospel vocal samples have an improvisatory quality where the singers are freely working ahead of the beat

to give subtle syncopations. The juxtaposition of these ‘human’ sounds in an electronically very rhythmically

precise musical setting creates an interesting tension. We have the sounds of the voices, flexible in terms of

pitch and rhythm, contrasting with the more artificially digitally created and mathematically controlled backing

parts.


Structure

The structure of the song is fairly straightforward and can be mapped out as follows:

Section Bars notes

1 introduction 8 piano solo

2 verse 8 vocal plus piano

3 verse 8 vocal plus full backing

4 verse 8 as before plus extra bass/synth layers

5 verse 8 as before, piano now plays a rhythmic vamp

6 chorus 8 vocal on minor chords

7 chorus 8 busier vocal on major chords

8 verse 8 now with processed backing vocal part

9 verse 8 as before with delay added to backing vocals

10 break 1 no instruments play, but some sustained parts from previous section fade out during this

11 chorus 8 vocals plus synth backing only, snare fill at end to lead into next section

12 chorus 8 vocal with full backing

13 chorus 8 as above

14 verse 8 vocals plus synth only

In the above table we are defining the verse as being sections using the male vocal sample and the chorus

using the female vocal sample.

From section 7, the female vocal part is ‘busier’ because the sample is triggered more frequently, with no

spaces in between.

Although the song sounds quite repetitive, the above chart indicates the ways in which Moby uses subtle

variations to maintain interest throughout.

MIlES DAvIS: All BluES

Background

Over the course of his illustrious career, spanning several decades, Miles Davis was to change and lead the

major developments and changes in jazz music. The album Kind of Blue marks the beginning of his reaction

against the preceding bebop movement in jazz. Bebop had become increasingly complex, based around

complicated chord structures where all the soloists were playing as fast and as loud as possible. Davis was

concerned that there was less and less room for musical creativity in this style, so he reacted by devising a

post-bebop modal jazz structured around simple scales and melodic improvisation.

Davies assembled a jazz sextet comprising some of the best jazz musicians of that era. They would be given

little to go on prior to the sessions – usually just the scales they were instructed to use and a sketch of the

main theme. This approach was intended to encourage and allow the musicians to be as creative as possible.

This music was generally slower, quieter and much less cluttered, with lots of space to breathe. The use of

modes brought some refreshing new melodic ideas and harmonies to jazz, which had up to this point been

dominated by the use of the familiar-sounding major and minor scales.


This track was in the blues tradition, but extended the genre’s possibilities in several ways. Soloists were no

longer restricted by the use of blues scales, and the time signature of two in a bar gives it a new dimension.

Most important was the exploration of harmonic colour, which Bill Evans was able to exploit in this more relaxed

musical environment, where at times his harmonies are reminiscent of Debussy.

This album, recorded in 1959, was enormously influential. It was to shape the direction of jazz for many years

to come and was an important recording for musicians working in other genres. For example, Pink Floyd’s

keyboard player Richard Wright acknowledged the influence of this album when he was working on his parts

for The Dark Side of the Moon.

Instrumentation

The musicians and instruments on this track are as follows:

trumpet: Miles Davis (leader)

tenor saxophone: John Coltrane

Alto saxophone: ‘Cannonball’ Adderley

Piano: Bill Evans

Double Bass: Paul Chambers

Drums: Jimmy Cobb

This is a typical jazz combo line-up for this era, comprising a rhythm section (piano/bass/drums) with trumpet

and saxophones playing the tunes and sharing the improvisation sections.

Texture

The piece begins with the rhythm section only establishing the blues riff pattern that underpins the song. The

saxophones join in, playing in harmony on the rhythm pattern set up by the bass. A few bars later the trumpet

joins in playing the tune.

After a couple of runs through the tune, the saxophones stop playing as the trumpet starts an improvised

solo. Davis now plays over a wider register, and although the playing is musically expressive, the overall feel

remains ‘cool’ or restrained. He begins by using a Harmon mute, but removes it for the second chorus as the

intensity builds. There is also more activity and variation from the piano during this section.

After a brief rhythm-section interlude, the alto saxophone plays four improvised choruses. These begin in a

highly melodic and lyrical fashion, reaching out into the high registers with some rather more energetic flurries,

but returning to base towards the end.

There follow four solo choruses from the tenor saxophone. The tone and dynamic level stay gentle, but the

improvisations are slightly more adventurous. There are now more rapid passages across the full range of the

instrument, and the improvising scale is extended to include additional tones. As for the previous solo, its ends

as it began – more calmly.

During the piano solo that follows, Bill Evans keeps up the accompanying vamp and adds melodic fragments

with the right hand. He stretches out on the chords and harmonies, while keeping to the 12-bar form.

Finally, there’s a recapitulation of the opening melody on muted trumpet, with the saxophones returning to

their original accompanying parts. The piece ends with the trumpet playing a gentle solo on one note with a

repeated rhythmic figure as the rest of the band play through the chorus one final time.

In summary, there are no big contrasts in texture. The playing is quiet and restrained throughout. The melody

instruments solo in turn against the rhythm section. The entire ensemble plays only at the beginning and end

for the ‘head’.


Melody

There is much melodic interest in this piece. Davis saw his music of this period as being essentially a return

to melody, as a reaction to much of the contemporary bebop jazz, which made more of harmonic changes at

the expense of melody. By keeping to simple, slow-moving chord changes and using modes, Davis was able

to explore melodic playing that sounded fresh. By using a modal scale, he was able to move away from the

typically major/minor playing of earlier jazz styles.

The scale that underpins this piece is G mixolydian. This can be thought of as a G major scale with a flattened

seventh note – a good choice mode for a piece that references the blues.

Here is a sketch of the first trumpet solo:

The solo grows slowly and organically using just the notes B and C (if we ignore the brief pickup note of D for

the moment). The rising/falling figure in bars 6 and 7 moves stepwise in an arch form, keeping close to what is

happening in the accompaniment during these bars. Note the use of a flattened 3rd in this phrase, which gives

it even more of a blues feel. This is immediately followed by a long assertive B natural.

The remaining two phrases alternate flattened and natural 7ths, which serve to highlight the importance of this

note modally. The B natural helps to give the solo a spacey, timeless, relaxed feel.

This is where the interest lies in these few bars. Long notes moving in steps over a narrow register, lingering

on the ‘interesting’ notes, form a feature of Miles Davis’s playing from this era. He makes the most out of just

a little material.

This contrasts effectively with the saxophone melodies, which are busier, playing more notes over a greater range.

Tonality and harmony

In its simplest form the chord progression can be shown as:

G7 G7 G7 G7

Gm7 Gm7 G7 G7

D7 Eb7 G7 G7

Because the band is playing modal vamps rather than block chords, the harmony is rather more fluid. Bill Evans

tends to embellish basic chords with ‘jazz’ extensions – for example, a #9 is often added to the D and E flat chords.

During the head section, the saxophones play lines in harmony, based on this pattern:

This ostinato pattern is transposed or modified when the chords change. For example, the note B is changed

to a B flat when the harmony moves to Gm7.


Although the tonal base for the entire piece is a mixolydian scale of G (all the white notes) the soloists and the

piano all add chromatic notes to add colour to their playing.

Rhythm

This blues is slightly unusual in that it has a 6/4 time signature. This gives it a characteristic swing/shuffle feel,

but with two beats to the bar. The tempo is slow and holds steady through the piece.

Miles Davis tends to play slow, ‘organic’ lines, making some use of syncopation during this piece. Both

saxophones are rhythmically more active: there are flurries of fast passages and many examples of use of

short trills and grace notes. The double bass holds a steady ostinato pattern throughout. The piano reinforces

this ostinato pattern. During the piano solo, towards the end of the piece, there is more sophisticated rhythmic

improvisation and some interplay with drums. For the most part, the drums simply hold the beat, adding

interesting fills at the ends of sections.

Structure

Section Bars notes

1 intro 8 4 bars piano trilling, then 4 bars on ostinato interlude*

2 ‘head’ x 2 24 trumpet plays melody with ostinato support from saxes

6 trumpet 48 four choruses solo trumpet improvising

7 alto sax 48 four choruses solo sax improvising

9 tenor sax 48 four choruses solo sax improvising

10 piano 24 two choruses

11 ‘head’ x 2 24

12 ending 12 trumpet – a playout solo over ostinato riff

* this four-bar interlude occurs between every section.

As the chart shows, this piece is carefully and clearly structured. It begins and ends with iterations of the main

theme. In between we have four chorus solos from each of the solo instruments in turn. There is a slight build

in intensity during this time, followed by some chordal explorations from the piano.

The interlude between each section helps contribute towards the open, spacey feel of this piece.

KoKo: ‘YIrI’

Background

Yiri are a group of musicians from Burkino Faso. Formerly known as Upper Volta, this is a relatively small

country in West Africa.

The musicians in the group are:

Madou Kone: vocals, balafon and flute

Sydou traore: vocals and balafon

François naba: vocals, tam-tam, dundun and maracas

Keresse Sanou: talking drum

Jacouba Kone: djembe

tidiane Hema: vocals and maracas


They are a typical musical group from this region and their music has many of the features that are characteristic

of West African music in general. The music is passed down from one generation to the next as part of an on-

going oral tradition. Each generation will ‘develop’ the music and make it their own, although changes will tend

to be well contained within the tradition. This music would not be notated, although much of it is now recorded.

This complements the oral tradition by allowing it to be heard globally rather than in just the communities where

it is traditionally performed.

Typical features of West African Music heard in this song include:

Repetition of rhythms, harmonies and melodies. using Western music terminology, we refer to these as

ostinatos. repetition may be large-scale, comprising a whole section, or of smaller musical units such as a

single phrase.

Polyphonic textures can arise when some performers stick to the main musical ideas, while others improvise

a variation at the same time.

Improvisation: most of the instrumental parts, including the melodies, may contain some improvised

elements.

Call and response: when a soloist sings or plays a phrase of music and a larger group responds to it with

an answering phrase.

Layered textures: built up from independent lines that are designed to be heard together.

Instrumentation

The instrumental layers we hear in this track comprise:

Balafons: this instrument is similar to a xylophone and is made up of differently pitched wooden bars. to

make the instrument sound more resonant, gourds are hung beneath the bars.

Djembes: these are wooden, goblet-shaped drums on which a goat skin in stretched and held in place using

rope. they are hand drums, which are now commonly played around the world in a range of musical settings.

traditionally these drums would only have been played by men in West Africa.

Talking drums are held under the arm. there are ropes strung around the side of the drum and when

these are squeezed the skin of the drum is tightened and the pitch is altered. Played in this way, they can be

used to imitate speech by creating different pitches which reflect changes in intonation of the human voice.

these drums are played with a hooked stick. the drummers work together to provide a strong driving rhythm

through much of the piece.

Yoruba bell: a two-tone bell, played with a stick. this instrument is often used to help establish a pulse,

which all performers can hear because of its clear and penetrating tone. in this piece, however, it has a more

background role.

In Koko, the instrumental musicians also provide all the vocal elements. A soloist and chorus work together in

call-and-response-type exchanges.

Texture

The majority of the piece has a layered texture, but the introduction has a monophonic texture. Occasional

heterophonic textures are created, for example when the two balafons play different versions of the same tune

simultaneously. There is very little variation in dynamics in ‘Yiri’.

The texture is monophonic at the beginning, where a single balafon plays a semi-improvised introduction.

When the player plays the initial theme, he is joined by another balafon, playing an octave lower. They move

on to playing different versions of the same tune, producing a heterophonic texture.

Following this, the drums and bell enter, and from this point onwards the layered, polyrhythmic texture remains

fairly constant, with little in the way of dynamic variation.

During the vocal section the balafons drop back, playing short fills in between the vocal lines. The first few

vocal sections are sung in unison. Later on, there is a call-and-response section where a solo voice sings

a verse, followed by a short vocal response from the other singers. This is followed, once again, by unison

singing.


Melody

The melodic lines are played on balafons, tuned to a hexatonic scale based on the note F sharp. The notes

of the scale are F sharp, G sharp, A sharp, B, C sharp and D sharp. This can be thought of as a major scale,

lacking the 7th note.

At the beginning, the melodies are more pentatonic in nature. In other words, the note B does not feature

significantly.

The piece begins with a solo balafon playing short, rapid, scale-based patterns ending in rapid tremolos on a

single note. He ends the section by playing the dominant note of C sharp a few times to cue in a balafon duet

section, where the first balafon is joined by another player and they play the main theme. The second balafon

plays the theme an octave lower. The tune is melodically straightforward, but the phrasing is asymmetrical and

highly syncopated.

The vocal melodies are much simpler rhythmically, and are mostly based on descending scale-like passages.

Here is a transcription of the first chorus passage:

Let’s look at the way the melody ‘develops’ over this section:

the first one-bar phrase fall from the tonic F sharp to the dominant C sharp.

the second phrase adds a small variation and extends the length of the phrase slightly.

the third phrase is also a variation on the first phrase.

the fourth phrase is lower, starting and finishing on the dominant C sharp.

the fifth phrase moves everything lower still, with a longer phrase moving downwards from the dominant

to the tonic.

the final phrase shown here is a variation on the previous one.

The solo vocal part moves in a similar way, although it is sung in a higher register and is rhythmically more

sophisticated. The chorus echoes the final line. Most of the melodic material comprises notes of short duration.

The balafons are not capable of sustaining longer notes, although a rapid tremolo is sometimes employed to

create this effect. The vocal parts also keep to short notes, although the soloist does employ some attention-

grabbing longer notes. His first vocal entry, for example, goes like this:


The ending is cued by the balafons playing a new melody, which is picked up by the percussion instruments.

Up to now, the drums have been playing continuously from their first entry. At this point, they strictly observe

the rests in the melody part:

The piece remains firmly in the key of F sharp, and there is no real harmonic movement. The balafons do not

play during the vocal sections, apart from very short fills between vocal lines.

Rhythm

The piece is in 4/4, apart from two or three instances, where a bar of 3/4 time is played to indicate the start of

a new section. The music is played at a steady tempo of about 192 bpm, after a fairly free introduction from

the solo balafon.

Once the drums enter, they maintain a steady beat throughout, essentially mapping out this basic ostinato

rhythm:

The other percussion instrument, the bell, has a supporting role in this piece, playing a quiet but distinctive

pattern:

There is considerable rhythmic sophistication in this music, especially in the solo vocal and improvised balafon

parts. Musicians make much use of highly syncopated patterns, and the singers will frequently play triplets,

as shown in the examples above.


Structure

Broadly speaking this piece is in three distinct sections:

there is a short introduction played on the balafons.

the main body of the piece consists of alternating sections for voices and balafons, underpinned by a strong

driving rhythm from the drums.

the ending is tightly structured with all the instruments playing short, rhythmic phrases, punctuated by rests.

Here is a more detailed breakdown of the piece:

Section Bars notes

intro 8 following a few freely improvised phrases, a second balafon enters for 8 bars of a theme played in octaves

2 12 improvised interplay between the two balafons over a drum backing. Drums now continue throughout

3 6 vocal section – all voices in unison

4 8 balafon 2 solo


6 4 balafon interlude

7 4 solo voice interjection singing ‘Kiri’

8 2 link section

9 12 solo voice verse – chorus repeats one vocal line (7th & 8th bars)

10 12 solo voice verse – chorus repeats one vocal line (7th & 8th bars)

11 14 balafon improvisations


13 6 balafons





ending 5 full ensemble plays five phrases, separated by rests

The vocal sections are the same length (six bars)each time. The two solo vocal sections occur midway through

the piece and are exactly twice as long. The balafon sections get longer towards the end of the piece.

Documents

SKS45 Edexcel GCSE set works: Moby, Miles Davis and Koko · 2016. 1. 29. · Moby, Miles Davis and Koko by David Ashworth IntroDuCtIon This resource provides background and a discussion