The ‘IB Music Revision Guide 3rd Edition’ includes analyses of all the prescribed works of the International Baccalaureate Diploma Programme music course through to 2021. It also includes a comprehensive overview of all the musical styles and cultures that are examined during the course, practice questions and answers that allow students to check their knowledge, as well as a glossary to help ensure key terms are understood. There are also revision tips and advice on exam technique that will help students prepare for the IB listening exam with confidence. Suitable for Standard and Higher Level. ‘An excellent teaching resource for IB Music educators. To the point, comprehensive and easy to reference. An addition to your resource library.' ―Jim Yarnell, Director of High School Music, Music Department, American School of The Hague, The Netherlands Roger Paul has over 28 years of experience as a musician and teacher. From 2005 to 2013 Paul was the director of music at Ellesmere College, and he is currently Head of Academic Music at St Paul’s Girls’ School, London. IB Music Revision Guide Everything You Need to Prepare for the Music Listening Examination (Standard and Higher Level 2019–2021) By Roger Paul Wimbledon Publishing Company Copyright © 2018 Roger Paul All rights reserved. ISBN: 978-1-78308-866-9 Contents Introduction, 1, Musical Terms and Devices, 5, Section A, Prescribed Works 2019, 9, Brandenburg Concerto No. 2 in F Major BWV1047 (c.1719–21) J. S. Bach, 11, Dances of Galánta (1933) Zoltán Kodály, 23, Links between the Prescribed Works (HL Only), 35, Prescribed Works 2020–2021, 41, Rhapsody on a Theme of Paganini (1934) Sergei Rachmaninoff, 43, Symphony No. 94 in G Major 'Surprise' (1791) Joseph Haydn, 59, Links between the Prescribed Works (HL Only), 73, Section B, Perception and Analysis of Musical Styles, 79, Western Classical Music, 81, Western Jazz and Popular Music, 97, World Music, 103, Glossary, 113, Suggested Answers for Sections A and B Sample Questions, 121, Index, 137, CHAPTER 1 BRANDENBURG CONCERTO NO. 2 IN F MAJOR BWV1047 (c.1719–21) J. S. BACH Introduction This Prescribed Work is the second of a set of 6 concertos scored for a variety of instrumental combinations which Johann Sebastian Bach sent to Christian-Ludwig, Margrave of Brandenburg-Schwedt in 1721. Concerto No. 2 is believed to have been composed in or around 1719. The Margrave had asked Bach to send him some of his compositions and it is most likely all 6 concertos were written during the period Bach was employed as Kapellmeister to the Prince of Anhalt-Köthen. Indeed most of Bach's chamber and orchestral music dates from his time in this post. These concertos are mostly of a type called Concerto Grosso (literally ' big concert '), a popular genre among middle to late Baroque composers including Corelli, Vivaldi, Handel and of course Bach. A Concerto Grosso features two contrasting instrumental groups: the concertino , a smaller group of soloists, and the ripieno , the tutti or full orchestra (usually strings). Both of these groups were accompanied by the continuo , which is heard in almost all Baroque music, most commonly a harpsichord and cello, which provided the harmonic filling and bass line respectively. While both groups would have shared some of the same musical material, other themes were played exclusively by the concertino. Furthermore, the part writing for the concertino group was usually more virtuosic and elaborate. Bach was known as an experimenter, as can be seen in this work, with its unusual concertino group of tromba, (treble) recorder, oboe and violin; his often novel approach to musical structures; and his daring use of harmony and dissonance. Instrumentation The 'tromba' referred to by Bach in his score was a natural trumpet in high F, with no valves which meant it played only the notes of the harmonic series. The sound of the tromba in the 18th century was softer in both timbre and dynamic compared to a modern trumpet, which explains why Bach was able to use it in a concertino group alongside a treble recorder, oboe and violin without any problems with balance. The solo tromba part Bach wrote was at one time regarded as unplayable, because of technical difficulties and tuning issues on certain harmonics. It is highly likely he had a particular performer in mind for this part, since virtuoso trumpet and horn players would travel around Europe and were highly sought after. But with research into Baroque performance techniques and construction leading to the development of the so-called Baroque Trumpet, these problems have been overcome and many fine recordings of this work have been made since. Bach's score also calls for a 'violone' in the ripieno strings. The violone was a name given to a variety of lower stringed instruments, but it is most likely he intended the part to be played by one of the larger double bass viols, similar in size to the m