Leaving Cert Music
  • Welcome
    • 5th yr xmas '15
    • 5th Year Xmas test '12
  • Composition
    • Basic sight singing
    • Harmony homework
    • Melody Homework
    • Tonic Solfa and basic rhythm >
      • 4-bar pentatonic
      • 16-bar Rhythmic plan
    • 8-Bar melodies >
      • In G
      • In D
      • In A
      • In E
      • In F
      • In Bb
      • In Eb
      • In Ab
    • Form/Cadence
    • Modulation/Sequence
    • Minor - Theory and listening >
      • Minor Harmony Q.5 2012
      • Minor Tonic Solfa
    • Sample melodies >
      • 2012
      • 2008 and 2010
      • 2007 and 2009
      • Q.3 2006 and 2010
    • Rules - guidelines >
      • Scales and chords
    • Harmony Basics >
      • Harmony 2005
      • Harmony Loose ends
  • Bohemian Rhapsody
    • Form and Audio
    • Instruments
  • Romeo and Juliet
    • Themes
    • Video
    • Structure
    • Glossary of Terms and other features
    • Work sheets
    • Exam questions
  • Bach Cantata
    • 1st Movement - Chorus
    • 2nd Movement - Aria Duet
    • 3rd Movement Tenor Recitative
    • 4th Movement Tenor Aria
    • 5th Movement Bass Recitative
    • 6th Movement Bass Aria
    • 7th Movement - Chorale
    • Tonality and Form
    • Hymn
    • Important Terms
    • Comparisons
    • Test
  • Piano Quartet
    • Section by Section
    • How to remember all the sections
    • Use of Canon
    • Themes
    • Glossary of terms
    • Time Signatures
    • Exam questions
  • Traditional Irish Music
    • Listening to Traditional Irish Music >
      • listening practice
      • Trad past paper listening excerpts
    • Traditional Irish Dance Music
    • Céilí bands
    • The Irish Harp
    • Traditional Instruments >
      • Uilleann Pipes
    • Sean Nós Singing
    • The song tradition
    • Regional Styles
    • Ornamentation
    • Seán O'Riada
    • Changes/ Developments
    • Fusion
    • Michael McGlynn, Dúlamán, (fusion)
    • American folk
    • Collectors
    • Danu
    • Muireann nic Amhlaoibh
    • Organisations
    • The exam
  • Listening
    • Style
    • Listening homework
    • Texture
    • Timbre
    • Tonality
    • Form
    • Tempo, Dynamics, Articulation, Pitch
    • Q.6 Unprepared listening excerpts
    • Un-prepared "Analysis" >
      • Halleluia Chorus
      • Muse - Exogenesis symphony pt.3
      • Stravinsky L.C. '0
      • Dambusters
      • Inception - Hans Zimmer
      • timedance and iris
    • Great Music >
      • Beethoven
      • Stravinsky's Rite of Spring
      • French Impressionism
  • The Beatles
    • Sgt. Pepper album
    • George Martin's recording notes
    • Sgt. Pepper song
    • She's Leaving Home
    • When I'm 64
  • Seachanges
    • Homework
    • Introduction
    • Section 1
    • Section 2
    • Section 3
    • Section 4
    • Section 5
    • Section 6
  • Berlioz
    • Ideé Fixé
    • 2nd movement "A Ball"
    • 4th Movement "March to the scaffold"
  • Mozart
    • Themes
    • 1st Movement - Sonata Form
    • 2nd Movement - Ternary form (ABA)
    • 3rd Movement Sonata Rondo form
    • Score and Tonality
    • The piano
    • Documentary - The genius of Mozart
    • Key Listening practice
  • Course Content

Section A Sí Beag Sí Mór

The original tune of Sí Beag Sí Mór.
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The inversion, the tune turned upside down.
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The inversion up a 3rd roughly as Barry uses it in section A. Note Barry uses 2, 4/4 bars amongst all 3/4.
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The 2nd half of section A is even more fun. It's the tune backwards and upside down, a retrograde inversion. This idea of taking patterns of notes, inverting them and/or using retrograde is from a style of music called serialism, from the early 20th Century. This is it as Barry gives it to us starting in the L.H. of the piano. If you read it backwards and invert you can see this is a retrograde inversion.
Reminder; Revise Barry's use of Canon in this section, and remember Serialism is contemporary, canon is not.
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Section B

Note the time signatures and rhythms especially the last bar, triplet. Familiarise yourself with the the main notes and patterns used in this theme.
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Section C

Note the alto clef which is used by the Viola. The middle line is middle C.
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Section D Beidh Aonach Amárach

This is a great place to study the unusual time signatures used.
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Section H Lord Mayo's Delight

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