GCSE Music Edexcel Grace Lesson Three

1. Prep last week…
• Complete the Fact-Finder
sheet
• A-A* grades – challenge prep
and further analysis

3. Today you’re going to…
Analyse the score and lyrics of Grace
Understand how to write an extended
question
Area of Study 3
Grace
by Jeff Buckley

4. Word painting...
The meaning of the words are reflected in
the music.
Examples...
In verse 1 Buckley:
1. moves to his higher register on the words ‘my
fading voice’
2. emphasises the word ‘love’ by using a melisma
3. uses cross-rhythms between the bass guitar and
his voice on the words 'clicking of time’

5. How does this relate to the
lyrics?

6. How to write an Extended
Question

7. How to write an Extended
Question

8. First, the question!

9. Write one point under each
bubble

10. • Make 5 more key
points, but under any
bubble you want to
• You do not have to
have two for each
• You must have one
key point for each
bubble, and then 10
points altogether

11. Now to write your extended
question!
• Use full written prose (not bullet point)
• Use the correct punctuation, grammar
and spelling
• Structure your answer for a paragraph
per ‘bubble’
• As you answer each bubble, tick it off
the question paper.

12. First paragraph - Structure
Use 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.

13. Second paragraph - Melody
Use these sentence starters if you want to
(you don’t have to)
•The melody of Grace uses…

14. Third paragraph - Harmony
Use these sentence starters if you want to
(you don’t have to)
•Grace uses chords such as…
•The key of Grace is…

15. Fourth paragraph - Texture
Use these sentence starters if you want to
(you don’t have to)
•The main texture of Grace is…
•Some parts drop out such as…

16. Fifth paragraph -
Instrumentation
Use these sentence starters if you want to
(you don’t have to)
•The instruments in Grace are…
•Guitar effects used are…

17. Use the Mark Scheme to mark
your extended question

18. IMPORTANT
On Monday 15th
July:
1.Trial Exam of all Set Works studied
2.Hand in a draft 2nd
composition
3.Complete either one solo or one ensemble
performance
DO NOT MAKE ME CHASE YOU FOR
COURSEWORK!

19. Prep
• Revise for listening test Friday 5th
July
• A-A* challenge: add extra score analysis
from next slides
• If not complete, complete your extended
question

20. 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 repeat
of the introduction!
The opening begins with guitar and
synthesizer (other parts enter on the 3rd
bar)
The piece has not settled in a sense of
key yet – we can tell this because of the
accidentals, and because the first chord
is an F minor 7th
Chord – not found in the
key of E Minor!
Accidentals
Chord of F Minor
7th
Ends on a loud chord of E Minor

21. Analysis – Introduction - B
The introduction is
the first time we
hear the whole
band play.
We are now in D
Major, which we
can tell by the use
of C#’s in the music
A clash is
created by the
C# in the guitar
and the D in the
bass
The bass guitar is
playing a pedal on D –
where one note is
emphasised by
repetition
This part is repeated
several times before
leading us into the
verse...
A third electric guitar
plays a low C# which
clashes against the D
pedal
The rhythms is
driven by the
acoustic guitar
and hi-hat

22. Analysis - Verse 1
At this point we have changed key
again, and we are in E minor, shown
by the use of Bb’s in the melody
The piece uses parallel chords
in the verse – all the chords
are formed by moving the
same hand shape up or down
one fret on the guitar
The accompaniment
underneath has several
elements to it.
• Guitar whispers played on
the electric guitar
• Rhythm guitar plays a pattern
following the chords
• The second guitar plays
broken chord patterns.
The vocal line is:
- in the lower register
- mainly moving by step
- dropping down at the end of the
phrases
The sound of
the plectrum
hitting the
strings of the
acoustic guitar
is used to give
effect

23. Analysis – Pre-Chorus
Electric guitar
and acoustic
guitar both play
chords, moving
up the
instrument.
The vocal range gets
higher
The section is
mostly in E
minor, but the D
naturals give us
a hint of the
dorian mode
based around E

24. Analysis - Chorus
The vocal line is
significantly higher
than in the verse
Open strings played by the
guitar are used to create a
dischord – this is intentional!
Buckley uses a melisma in the last part of the
chorus – this is where lots of notes are sung to
one syllable
This melisma lasts for two bars.
The melody again
consists of several
descending phrases

25. Analysis – Link A and B
Think has the same melodic material as the introduction
and there are only two differences between the Link
and the Introduction:
1. There is a mandolin effect added on the electric guitar
2. A vocal ‘Oh’ links parts A and B
When we hear the link after the mid 8, it is again the
same, thought this time featuring the guitarist hitting
the deadened acoustic strings.
Otherwise all the material is in your notes for the
introduction!

26. Analysis – Verse 2 and 3
Whilst the melodic material remains the same, Buckley adds in
some extra sound effects to create interest, namely:
1. Descending slide
2. Slide on the strings
3. Trill on the strings
At this point the strings have been written to imitate the guitar
Verse 3 demonstrates much more use of the cymbal and more
special effects being added. The vocal part also becomes
higher and harsher.

27. Analysis – Pre-chorus 2
Again this is almost the same as pre-chorus
1, the only exception being the addition of
pizzicato strings (where the strings of the
instrument are plucked rather than bowed)
This leads into a repeat of the chorus,
followed by a drumroll lead-in to to the
Mid-8 Section.

28. Analysis – Mid-8, Section A
Strings play long
sustained notes to fill out
the chords (adding in
more of the harmony to
the section
Multi-tracked vocal harmonies
playing in counterpoint (different
melodies interweaving)
The drumkit uses more snare to
add intensity – this whole
section is far more intense than
previous sections

29. Analysis – Mid 8, Section B
This section is based on
the chord sequence for
the pre-chorus
The instrumental backing
is also similar to this.
The main vocal line
improvises a wordless
melody
A ‘telephone’ EQ effect is applied to the vocals
when the lyrics re-enter to give a harsh distant effect
Hummed harmonies
follow the chord
sequence, opening out
into vocal ‘ahs’ at the end
to give an angelic quality
to contrast with the harsh
vocals

30. Analysis - Outro
• Strings become very important
• Lots of vocal improvisations high in the
singers range – use of falsetto
• An electric guitar with flanger effect is
added
• The song ends with a short
unnaccompanied phrase which clearly
shows the influence of Qawwali (a
Pakistani devotional chant)

31. 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