Teacher's Guide Cambridge Pre-U MUSIC Available for teaching ...

Cambridge Pre-U Teacher Guide
The 69 chorale melodies with figured bass (available, for example, in the Riemenschneider edition of
the Bach chorales, published by Schirmer) are a particularly useful resource in addition to 371 fully
harmonised chorales. The bass parts of the 69 chorales repay close study in their own right, and
candidates who can understand the figured bass may also find them helpful for working out how
the inner parts of the texture fit together. This can lead naturally to a consideration of Bach’s use of
passing notes, accented passing notes, suspensions, voice leading and the many other essential
features of this style at its most typical.
In the examination candidates will be expected to complete the alto, tenor and bass parts below a
given melody. They will not be required to invent a melody over a given bass. Coursework examples
should therefore follow the same pattern.
String Quartets in the Classical style
The approach to melody and harmony found in this style is very different from the chorale.
Candidates will need to learn about the particular features of Classical melody and about the
relationship between melody and harmony, in a context where the harmony often moves more
slowly than the melody. Establishing an appropriate harmonic rhythm thus becomes an extremely
significant part of work in this style – something that students often find difficult in the initial stages.
Particular features of the classical style need to be addressed as confidence in handling the basic
harmony develops. For example, cadence formation is often different from baroque practice,
especially in the use of so-called ‘feminine’ endings, where a cadence resolves onto a weak beat
after a suspension or retardation (often 6/4 – 5/3 or 7/4/2 – 5/3 in figured bass notation). The use of
such melodic devices as accented passing-notes or appoggiaturas is also very common, and these
often cause difficulties in understanding which chord to use: working out which melody notes are the
real harmony notes and which are ‘inessential’ (a confusing term in itself!) can be very tricky until
candidates have immersed themselves in the style so that it becomes second nature.
Some of the Minuet and Trio movements in the Haydn quartets can provide a relatively simple
introduction. Suitable movements or extracts can also be found in works such as divertimenti, which
can provide a wider scope for finding suitable material, especially in the early stages, than just the
string quartet repertoire itself.
The core repertoire is found in the quartets of Haydn, Mozart and Beethoven. Mozart’s harmony,
however, can be very chromatic and may not be suitable for less confident students. Similarly, the
texture of Beethoven’s quartets, especially the later ones, can be highly complex and too difficult for
most candidates to handle. Contemporaries of Haydn and Mozart also wrote quartets (e.g. Vanhal or
Michael Haydn) and these may be a useful source of examples if scores can be found.
Exercises should require the completion of the second violin, viola and cello parts: the first violin
part should be given throughout. In the examination candidates will not be required to invent a first
violin part.
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