Dambusters

Question 1

Name of piece

Answer 1

Dam Busters March

Question 2

Who composed the theme?

Answer 2

Eric Coates

Question 3

What does con spirito mean?

Answer 3

In a spirited or lively manner

Question 4

Time signature ?

Answer 4

2/4

Question 5

Tonality ?

Answer 5

Written in C major

Question 5

Describe the orchestration (3)

Answer 5

• The march is scored for the standard modern symphony orchestra consisting of double woodwind, 4 horns, 3 trumpets, 3 trombones, tuba, strings and 3 percussionists.
• Both themes are played by the violins and the trumpet fanfare is present to announce alternating harmonies and repeats of A and B sections
• The Dam Busters march is given a stately, full orchestra treatment marked Grandioso which is enhanced with cymbal crashes and snare drum rolls

Question 6

What form is the dambusters theme, theme B?

Answer 6

A – B binary form

Question 7

What form is theme A, the first March theme?

Answer 7

• ## Theme A, the first March theme is of ternary form A – B – A whereas the Dambusters theme B is of binary form A-B

Question 8

How is a sense of excitement created at the beginning ? (3)

Answer 8

• A fragmented version of the main Dam Busters theme is introduced in diminution
• This is treated in an ascending sequence, moving from lower strings into the violins
• The sustained dominant pedal point (G) continues and there is a dramatic crescendo to fortissimo.

Question 9

Describe theme A (5)

Answer 9

• Begins in C major with a chromatic semiquaver upbeat.
• Its main features include falling and rising triadic movement and a repeated auxiliary note idea in dotted rhythm.
• The melody is played by strings and woodwind with a pizzicato countermelody in the cellos and a prominent triangle part.
• Middle section contains descending sequences and modulates to G major
• Perfect cadence ends the theme followed by a single stroke on suspended cymbal

Question 11

Harmony

Answer 11

• This piece is largely in C major however modulates to related keys such as F major (the subdominant) with modulations to its dominant (C major, also the tonic key) where the theme returns to its tonic key via D minor.
• Harmonies alternate between G major and F major over the G pedal before theme A and the perfect cadence which ends this theme is followed by a single stroke on a suspended cymbal.
• The expected perfect cadence to end the piece is delayed by a brief coda where the opening bars of the Dam Busters theme occurs with F major and then F minor harmonisation. This is eventually resolved in the final C major chord in which the timpani accentuate the tonic and dominant

Question 12

Describe theme B the dambusters March (4)

Answer 12

• The first half of the Dam Busters theme is played legato by strings with countermelodies supplied by woodwind and horn.
• The key is now F major (the subdominant) but a modulation to its dominant (C) occurs at end of section
• The second part of theme returns to tonic key via D minor.
• A trumpet fanfare – again containing the two-semiquaver motif – leads to a fully scored repeat of the A and B sections with cymbal crashes

Question 13

Melody

Answer 13

• Both melodies of each theme are played by the violins and altered in diminution to create a sense of excitement
• The first quick March theme features falling and rising triadic movement and a repeated auxiliary note idea in dotted rhythm.
• The melody is played by strings and woodwind with a pizzicato countermelody in the cellos and a prominent triangle part.
  The melodies both begin in the violins, with support from the lower strings and woodwind. The opening theme, on violins, is accompanied by a counter melody in the French horn and punctuated by glockenspiel points. The second theme, also in violin 1, is repeated by the horns and trombones, while the strings provide a scurrying counter melody.

Question 14

12 mark 
Orchestration 
Tonality and Harmony 
Melody 
Dynamics and articulation

Answer 14

Orchestration:

• Coates has scored this march for the standard modern symphony orchestra consisting of double woodwind, 4 horns, 3 trumpets, 3 trombones, 3 percussionists, tuba and strings
• The Dam Busters march is given a stately, full orchestra treatment marked Grandioso which is enhanced with cymbal crashes and snare drum rolls
• The orchestral sections are used widely, with each section supporting and sharing the melodic line. The return of the fanfare re enforces the militaristic theme as well as the strong use of snare drum.

Tonality and harmony

• The march begins on a dominant pedal in the key of C major. As the instruments are added, the resulting perfect cadence gives a strong sense of the major tonality for theme 1.
• The piece modulates to the dominant (G) major and to the sub dominant towards the end to increase the tension, accompanied by the rallentando which builds towards the final perfect cadence
• Within the march, Coates also uses interrupted cadences to create further tension, again, increasing the effect of the final perfect cadence.

Melody
- There are two melodies in the Dambuster’s March, both in simple duple metre 2-4.
- The first quick March theme is presented with the melody on violins and makes use of repetition and sequence. A wide variety of rhythms is used in some of the dotted patterns and syncopation towards the end of the phrases
- The second melody is made up of slightly longer note values although moves in more legato manner.
The melodies are altered through augmentation and diminution to create a sense of excitement, as well as presented over dominant pedals. There is use of auxiliary notes and added chromatic notes.

Dynamics and articulation

• The fanfare slowly builds at the beginning above the dominant pedal and shows a strong opening crescendo from mp to ff at the cymbal crashes.
• The range of dynamics goes from piano to fortissimo, showing a wide variety and range of gradation.
• The opening melody is played in a slightly staccato manner, whilst the second melody demonstrates a more legato smoothness

Question 15

When was the March added to the film

Answer 15

1955

Question 16

How is this music typical of film music ? (3)

Answer 16

• Use of dominant pedal point.
• Range of traditional string techniques e.g pizzicato and legato
• triadic movement and auxiliary notes