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Kellie Madden - FDA Counselling Degree
07516 265935
About me
I am a qualified BACP registered integrative counsellor, providing a confidential and professional service for adults and young people, in the Carmarthen, Gorseinon and Ammanford areas.
For the past two years I have been working under the mental health umbrella with 'Mind'. Mental health effects many people and is not always visible. Fear, anger, loneliness, stress, low self esteem can change our thoughts feelings and behaviour.
Improvements of well-being, seeking support and being listened to often create a sense of a positive reflection and can make changes to our daily lives.
This has inspired me to develop myself and talking therapy within this area.
The initial step into a therapeutic talking relationship is almost like a first date, the introduction arranged but not knowing if there will be a connection. My belief is that the counsellor / client relationship is of utmost importance, so choosing the right counsellor for you is key, allowing you to engage in an accepting, non judgemental relationship which encourages openness, honesty, courage and autonomy, to enhance exploration of change.
In a safe environment, I combine a therapeutic relationship with varied theoretical approaches, Humanistic, Cognitive behavioural therapy , transactional analysis, solution focused, to promote a positive journey of change, development and empowerment for each individual and their needs.
I incorporate a variety of ongoing training to ensure continuous personal development within the BACP guidelines, for my own personal needs and those of my clients.
Training, qualifications & experience
- Diploma Introduction to counselling
- FDA Counselling Degree
- Seren:Working with adults and childhood abuse
- MHFA-Wales: First Aid in Mental Health
- West Wales Human Givens Peer Group: Alexander Technique
- College Sir Gar: CBT
- Carmarthen County Council: Alcohol Brief intervention
- Moodmaster: CBT group sessions
Areas of counselling I deal with
- Abuse
- Anger management
- Anxiety
- Asperger's syndrome
- Bereavement
- Bipolar disorder/Manic depression
- Borderline personality disorder
- Bullying
- Career
- Carer support
- Depression
- Disabilities
- Dissociation
- Domestic violence
- Emotional abuse
- Generalised anxiety disorder
- Hearing voices
- Hoarding
- Low self-confidence
- Low self-esteem
- Obsessive compulsive disorder (OCD)
- Personality disorders
- Physical abuse
- Post-traumatic stress disorder (PTSD)
Therapies offered
I offer a flexible service to suit your needs, short term therapy typically 6-8 weeks or longer term as required.
Venue's: Ammanford, Carmarthen, Gorseinon
Costs: £25.00 45 minute Initial assessment
£35.00 60 minute face to face session
Further information
Day and evening sessions are available at the following locations:
Ammanford, Carmarthen and Gorseinon
Maps & Directions
Type of session
|Online counselling:
|Telephone counselling:
|Face to face counselling:
Practical details
|Sign language:
|Other languages:
Sessions are available weekdays and evenings,
Types of client
|Young people
|Older adults


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Quick News!
PNG Collectors
Did you get the PNG 2015 Singapore Expo issue with gold foil mint sheet plus sheetlets?
They were not sent to PNG Bureau customers. Look at our listing under PNG for details.
The easiest way is to click 'CONTACT' at the top of the page and enter the shown code, then send us your details along with a note saying you wish for the Price List.
Home l Catalogue l Themes l Discover the Islands l Warbler Newsletter l Why Collect? l About Us l Contact
Pacific Stamps - Telephone details: International callers 61 75474 0799 Australian callers 07 5474 0799
Post to: PO Box 816, Tewantin, Sunshine Coast, Queensland, Australia 4565

subset: commoncrawl


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$ 519.00
Ships FREE in 3 to 5 Business Days
Make your front porch more inviting with the help of this Wildridge® Poly Furniture Classic Savannah style porch swing. This four foot swing just oozes down home charm thanks to the compact four foot double arch back style. This swing is built to be ultra durable and ultra safe. It holds up to 500 pounds of weight so that you and a loved one can easily settle in and have some deep conversations while enjoying warm spring breezes. This swing is 100% maintenance free. It's made out of poly, a synthetic lumber forged from recycled HDPE plastic. That means it's both eco-friendly and impervious to the elements, so you can expose this swing to the roughest, toughest climates without ever worrying about rot and decay. It still looks like painted or stained wood, but you won't have to scrape it, sand it, paint it, stain it, or seal it. You'll never have to worry about rot, mildew, mold, weathering, decay or termites of any kind. This swing comes in your choice of seven fun colors including Black, Cherry Wood, Weathered Wood, Tudor Brown, Turf Green, White and Light Grey. Just choose the color that makes you smile and order your Savannah swing today.
Wildridge is a Division of Little Cottage Company
Nestled in the heart of Ohio's Amish country, The Little Cottage Company resides in a quaint, slow-paced setting where old-fashioned craftsmanship and attention to detail have never gone out of style. Our experienced carpenters and skilled designers take great pride in creating top-quality, pre-built models and Do-It-Yourself kits of playhouses, storage sheds, and more.
Order Confirmation
As soon as you place your order you will receive an order confirmation e-mail. This means that we have received your order in our system and pre-authorized your credit card for the purchase. As soon as we receive your order we automatically reach out to our suppliers to confirm that it is in stock and available for immediate shipment. If your item is on backorder or unavailable we will void the pre-authorization and reach out to you via e-mail. If your item(s) are available for immediate shipment (within 5 business days) we will process the charges and submit the order for shipment.
Order Shipment
If your order is received, the inventory is in stock and your credit card information matches the information, In most cases, we can ship within 5 business days. We will send you tracking information within 24 hours of your order leaving the warehouse to the e-mail address your provide when checking out. If you do not receive tracking information from us within six business days of your order please email us at email@example.com.
Miscellaneous Shipping Information
Delivery Times
You can estimate the deliver time to your home or business by viewing the "Ships Within" information listed with every product. This refers to the time from when you place your order, to the time it leaves the warehouse. The total delivery time for your order is calculated from the time your order is placed, until you receive it. The diagram below shows how the total delivery time is broken down into pre-ship processing time and shipping time.
Processing time is the time it takes from when you submit your order to when the product leaves the warehouse. The "Ships Within" time frame listed with each of our products on the website applies to this time frame. For example, if your order a product that reads "Ships Within: 2 Weeks", this means that the product typically leaves the factory within two weeks. If there will be any additional time required to process your order, we will notify you immediately to confirm the delivery period. This time is needed for products that are shipped to you directly from our manufacturers. The manufacturers need this time to fulfill your order. In some cases, the items are custom built.
Shipping time is measured when your order leaves the warehouse to when it arrives at your address. Actual shipping time can vary between 2-5 business days. Contact our helpful customer service experts at ( 888-412-2269 for more information.
Did your shipment arrive damaged or defective?
Please report damaged or defective merchandise to us immediately by email phone. Photos of the items and the packaging would be greatly appreciated. This will speed up our resolution process. We strongly recommend at the time of delivery, if your notice any cartons that look dented, crushed or just not right, open them immediately and inspect the contents. If the contents appear to be damaged, please notate it on the delivery ticket, refuse that item only and contact us as soon as possible for instructions.


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Get an overview of this hotelBayside hotel with restaurant and outdoor pool
Popular property highlights
Located in the heart of Sant Antoni de Portmany, this hotel is steps from Egg of Columbus and Church of San Antonio. San Antonio Marina Port and Platja de S'Arenal are also within 10 minutes.
Hotel Features
This hotel features a restaurant, an outdoor pool, and a bar/lounge. WiFi in public areas is free. Additionally, a coffee shop/café, a 24-hour front desk, and tour/ticket assistance are onsite.
Room Amenities
All 366 rooms boast deep soaking tubs and offer free WiFi and balconies. For entertainment, guests will find TVs with satellite channels, and other amenities include safes.Information missing or incorrect? Tell us!Opens in a new window
Hotel Piscis - Adults Only
Hotel Amenities
Hotel Amenities
Dining options at the hotel include a restaurant and a coffee shop/café. A bar/lounge is on site where guests can unwind with a drink. Public areas are equipped with complimentary wireless Internet access. This Sant Antoni de Portmany hotel also offers an outdoor pool, a terrace, and tour/ticket assistance.
- Number of buildings/towers - 1
- Outdoor pool
- Restaurant
- Bar/lounge
- Total number of rooms - 366
- Number of floors - 6
- Breakfast available (surcharge)
- Coffee shop or café
- Billiards or pool table
- Free WiFi
- Tours/ticket assistance
- Elevator/lift
- 24-hour front desk
- Multilingual staff
- Terrace
- Luggage storage
Available in all rooms: Free WiFi
Available in some public areas: Free WiFi
Room Amenities
- Balcony
- Daily housekeeping
- Private bathroom
- Shower/tub combination
- Deep soaking bathtub
- Television
- In-room safe
- Satellite TV service
- Free WiFi
- Air conditioning
Where to Eat
Buffet breakfasts are available for a surcharge and are served each morning between 8:30 AM and 11 AM.
Hotel Piscis - Adults Only has a restaurant on site.
Nearby Things to Do
Recreational amenities at the hotel include an outdoor pool.
The recreational activities listed below are available either on site or nearby; fees may apply.
- Bicycle rentals nearby
Hotel Policies
Minimum check-in age is 18
Check-in time starts at 2 PM
Check-out time is 11 AM
Payment types
Children and extra beds
- Children are welcome.
- Rollaway/extra beds are not available.
- Cribs (infant beds) are not available.
- Pets not allowed
You need to know
Extra-person charges may apply and vary depending on property policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
- No onsite parking is available.
Hotel Registry Number - HPM-2033
No rollaway/extra beds available
No cribs (infant beds) available
Additional policies and fees may apply when booking more than 3 rooms. For more details, please contact the office using the information on the reservation confirmation received after booking.
- A tax is imposed by the city: EUR 1.10 per person, per night. This tax does not apply to children under 16 years of age.
- Resort fee
Optional extras
- Fee for buffet breakfast: EUR 9 per person (approximately)
Hotel Name
- Hotel Piscis Park Adults Only
- Hotel Piscis Park Adults Only Sant Antoni de Portmany
- Piscis Park Adults Only
- Piscis Park Adults Only Sant Antoni de Portmany
- Hotel Piscis Park Adults Sant Antoni de Portmany
- Hotel Piscis Park Adults
- Piscis Park Adults Sant Antoni de Portmany
- Piscis Park Adults
We should mention
Cash transactions at this property cannot exceed EUR 2500, due to national regulations. For further details, please contact the property using information in the booking confirmation. A resort fee is included in the total price displayed.


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OCR ADVANCED SUBSIDIARY GCE IN MUSIC (3872) OCR ADVANCED GCE IN MUSIC (7872) Specimen Question Papers and Mark Schemes
- Benjamin Watkins
- 2 years ago
- Views:
1 OCR ADVANCED SUBSIDIARY GCE IN MUSIC (3872) OCR ADVANCED GCE IN MUSIC (7872) Specimen Question Papers and Mark Schemes These specimen assessment materials are designed to accompany the OCR Advanced Subsidiary GCE and Advanced GCE specifications in for teaching from September Centres are permitted to copy material from this booklet for their own internal use. The GCE awarding bodies have prepared new specifications to incorporate the range of features required by new GCE and subject criteria. The specimen assessment material accompanying the new specifications is provided to give centres a reasonable idea of the general shape and character of the planned question papers in advance of the first operational examination. Specimen Materials 1 OCR 2000
2 CONTENTS Advanced Subsidiary GCE Unit 2552: Introduction to Historical Study Question Paper Page 3 Mark Scheme Page 15 A2 Unit 2554: Composing 2 Question Paper Page 24 Unit 2555: Historical and Analytical Studies Question Paper Page 27 Mark scheme Page 34 Specimen Materials 2 OCR 2000
3 Oxford Cambridge and RSA Examinations Advanced Subsidiary GCE MUSIC INTRODUCTION TO HISTORICAL STUDY 2552 Specimen Paper Additional materials: Answer paper Cassette Manuscript paper (2 sheets) Playback facilities with headphones for each individual candidate. Any suitable equipment may be used, including personal stereo players of good quality with both fast forward and rewind facilities; these should be fitted with fresh batteries if they cannot be powered from the mains electricity supply. TIME 2 hours INSTRUCTIONS TO CANDIDATES Write your name, Centre number and candidate number in the spaces provided on the question paper and answer booklet. Write your answers to Section A on either the question paper or the score; write your answers to Section B on the question paper; write your answers to Section C on the separate answer-booklet provided. At the end of the examination fasten the question paper, score and answer booklet securely together before handing them in. There are three sections in this paper. Section A Answer all the questions on one of the extracts: either on Extract 1: Side A of the tape (questions 1 to 5) or on Extract 1: Side B (questions 6 to 9). Section B Answer all the questions on both extracts. Section C Answer one question. INFORMATION FOR CANDIDATES The number of marks is given in brackets [ ] at the end of each question or part question. The quality of your written English will be taken into account in your answer to Section C. Specimen Materials 3 OCR 2000
4 Each side of your cassette tape contains two extracts of music. Side A contains an extract for Section A, taken from the period 1700 to 1830 (Extract 1 Questions 1 to 5), and Extract 3 for Section B (Questions 13 and 14). Side B contains an extract for Section A, taken from the repertoire of Jazz 1920 to 1960 (Extract 1 Questions 6 to 9), and Extract 3 for Section B (Questions 13 and 14). There is no recording for Extract 2 in Section B (Questions 10 to 12). Specimen Materials 4 OCR 2000
5 SECTION A You must answer all the questions on either Extract 1 Side A (questions 1 to 5) or Extract 1 Side B (questions 6 to 9). Decide which side of the tape contains the extract for the questions you intend to answer in Section A. Skeleton scores of Extract 1 Side A and Extract 1 Side B are contained in the accompanying Insert. Write your answers on this question paper or on the score. The questions make clear what you are to do. You may listen to the Extract you have chosen as many times as you wish. You are advised to spend no longer than 40 minutes on Section A. Side A (Extract 1) The extract consists of a theme followed by one complete variation and the first half of a second variation. Theme (Bars 1 to 16 1 ) 1 (a) What is the tonic key of the theme?......[1] (b) In the first 4 bars the dominant chord in the tonic key occurs twice in root position. On the score, mark the two places where this chord is heard by writing V under the bass stave. [2] (c) What key is reached at bar 8?.[1] 2 (a) On the score, complete the missing melody on the treble stave from bar 8 4 to bar [4] (b) On the score, identify the chord marked x at bar [2] (c) Describe the phrase structure of the Theme (bars 1 to 16) as fully as you can [4] 3 (a) What instrument doubles the violin an octave higher in bars 14 4 to 16 1?.[1] Specimen Materials 5 OCR 2000
6 (b) In most of this passage the horns play only the dominant. Identify two consecutive bars in which they sustain a different note. Give the precise bar numbers and identify the note played..[1] Variation 1 4 (a) In the passage between bar 16 3 and 18 2 identify one example of the use of melodic dissonance in the solo piano part. Give the precise bar and beat number of your example and name the note.[1] (b) In as much detail as you can, describe the melodic line played by the piano in the passage marked y on your score (bars 18 2 to 20 1 ). Explain in what way this is different from what you heard at the equivalent place in the Theme..... [4] (c) The piano plays continuously through this variation. Name two simple melodic devices used by the composer to keep the music moving over the rests in the accompaniment at bars 20, 26 and [2] (d) On the score in bar 27 circle each of the notes that refer directly back to the original theme. [2] (e) In which 4 bars can the1st violins be heard clearly playing a phrase of the theme? Give the bar and beat numbers to indicate the beginning and the ending of the phrase.....[2] Specimen Materials 6 OCR 2000
7 Variation 2 5 (a) On the score, complete the bass line in bar 38. [4] (b) As fully as you can describe in what ways this variation sounds different from Variation [4] Side B (Extract 1) The Extract consists of a theme followed by two improvisations. Theme (Bars 0 to 32) 6 (a) The tonic note of this theme appears four times in the bass between bars 1 and 3. On the score write on the bass stave of bars 1 to 3 where each tonic note is played. [4] (b) On the score complete the melody from bar 6 2 to bar 8 3. [4] (c) On the score identify the chord marked x at bar [1] 7 As fully as you can, outline the rhythmic structure (phrasing) of bars 1 to 12 and explain how this creates a raggy waltz feel.... [4] Specimen Materials 7 OCR 2000
8 Improvisation 1 (Bars 41 to 71) 8 (a) Describe in detail one way in which the pianist adds interest to (embellishes) the printed melody in the passage from bar 41 to bar [2] (b) On the score complete the double bass line in bars 55 to 57 and 59 to 60. [4] (c) On the score underneath the bass stave, write the chord symbols II7 - V7 - I at the point where this chord sequence is heard in the tonic key. [3] (d) On the score ring one blue note in the printed melody in the passage between bars 67 and 71. [1] (e) Briefly describe the drum part in this improvisation [2] Improvisation 2 (Bars 80 to 112) 9 (a) The score for this variation uses the jazz swing convention for notating pairs of quavers. On the score ring two separate beats where pairs of quavers are not swung but played straight. [2] (b) Describe the shape of the melodic line played in the passage between bars and [4] Specimen Materials 8 OCR 2000
9 (c) In as much detail as possible, compare the passage between bars 81 and 92 with the equivalent place in the theme (bars 1 to 12). It may help you if you refer to chords, tonality, instrumentation and phrasing [4] Specimen Materials 9 OCR 2000
10 SECTION B Answer all the questions in this section. Prescribed Orchestral Scores The accompanying insert contains Extract 2 taken from one of the Prescribed Scores. Answer all the questions (10 to 12) on the extract. A full score of the music for Extract 2 is in the Insert. Extract 2 (Beethoven: Symphony no 5 in C minor - last movement) 10 (a) Which woodwind instruments play the melody in the opening two bars of the extract? [1] (b) What does the instruction a 2 mean above the first note of the horn melody in bar 2 4? [1] (c) Explain the meaning of the way the 2nd violin part is notated in bar [2] (d) Identify all the instruments that play the bass line in the passage from bar 12 to bar [3] Specimen Materials 10 OCR 2000
11 11 (a) In the passage from bar 5 to bar 10 the composer has written the instruction cresc. poco a poco in all the parts. He has also created the effect of a crescendo by the way he has written for the instruments. As fully as you can, describe how the effect of a crescendo is built into the scoring [6] (b) The music of the passage from bar 0 4 to bar 16 1 is repeated from bar 17 4 to bar 33 1 but the scoring for the instruments is different. In as much detail as you can describe what the differences in scoring are between the two passages. Refer precisely to bar and beat numbers in your answer [6] 12 Briefly describe what happens in the music immediately after the end of this extract [6] Specimen Materials 11 OCR 2000
12 Prescribed Jazz Repertoire 1920 to 1960 Questions 13 and 14 refer to Extract 3 which is recorded on both sides of the tape, immediately after Extract 1 on Side A, and immediately after Extract 1 on Side B. There is no need for you to turn the tape over. Extract 3 is taken from one of the jazz pieces in the list of Prescribed Repertoire. The section of the recording that you will hear contains the second statement of the initial theme followed by the first twelve bars (the first chorus ) of the trumpet improvisation. 13 (a) Who is playing the trumpet on this recording?.[1] (b) During most of the theme the two saxophones play a repeated pattern. Describe how this pattern is arranged and how it changes through the theme [3] (c) For each of the trumpet, piano, bass and drum parts, describe as accurately as you can a change in either instrumental sound or technique between the theme and the first chorus of the trumpet solo [4] 14 (a) Describe the trumpet player s improvisational approach through the first chorus of his solo [4] Specimen Materials 12 OCR 2000
13 (b) How does the trumpet player s approach to improvisation differ from that of the two saxophone players heard later in the complete recording of the whole piece?..... [3] Specimen Materials 13 OCR 2000
14 SECTION C Answer one question. Write your answer in the separate answer book provided. 15 Briefly explain how and why the role of brass instruments in the late eighteenth-century orchestra was restricted. [25] 16 What aspects of Duke Ellington s writing in Ko-ko were new and forward looking? [25] 17 The circumstances of Haydn s professional life changed significantly in Comment briefly on some of the ways in which the change affected his work as a composer. [25] 18 Briefly describe how changes in recording technology affected the performance of jazz musicians through the period 1920 to [25] 19 Compare the nature and function of percussion instruments in Rossini s Overture with those in jazz in the 1940s and 1950s. [25] Specimen Materials 14 OCR 2000
15 Oxford Cambridge and RSA Examinations Advanced Subsidiary GCE MUSIC INTRODUCTION TO HISTORICAL STUDIES 2552 Mark Scheme Specimen Materials 15 OCR 2000
16 SECTION A Side A Extract 1 1 (a) C minor (b) 1 3 and 4 1 (c) G minor [1] [1 each = 2] [1] 2 (a) 1 mark for the repeated G + 1 mark for each of the other 3 notes [4] (b) Tonic [1] second inversion [1]: accept Ic or 6/4 [2] (c) 16 bars in two; balancing halves; each begins with 2 x 2; then continuous 4-bar phrase; identical; except for key. [4 x 1 mark for any of the above points] 3 (a) Flute [1] (b) Bars 5 and 6 = E flat [1] 4 (a) Any of F sharp or A flat (b 16), F, E natural or C sharp (b 17), D or B natural (b 18) [1] (b) Rises chromatically; in staccato quavers; from dominant to tonic; and descends back again; previously three-beat rest; followed only by sustained chord. [4 x 1 mark for any of the above points] (c) Scales [1]; broken chords (or arpeggios) [1] (d) A flat; G; F sharp; F natural. [2 x 1 mark for each pair of notes] (e) Bar 28 4 [1] to bar 321 [1] 5 (a) E flat; B flat; C; C sharp. [4 x 1 mark for each note] (b) Theme returns unaltered; WW only; shared between oboe and flute; bassoon fills rests with quaver movement; broken chord; second bassoon joins in at bar 37; richer harmony bars 37 to 39 [4 x 1 mark for any of the above points] Specimen Materials 16 OCR 2000
17 Side B (Extract 1) 6 (a) Note G at 1 1, 1 3, 2 2, 3 1 [4x1 mark] if accurate rhythmically but note wrong allow [3 marks] (b) 1 mark for identifying as copy of ; 2 marks for f d e d in if fully accurate, I mark if 2 or more notes accurate (alternative credit if this pattern seen in or as f d e in ); I mark for bars 7/8 seen as sequence of 5/6. [4 marks max] (c) D or D 7 or D 9 or V or V 7 or V 9 or dominant (7th/9th) [1 mark for any of these] 7 Bars 1 2 effectively in 2 time; Bars 3 4 in straight 3; Bars 5 8 contain two x 4+2 beats (accept effectively in two time ); Bars 9 12 back in straight 3; Cross Rhythms/Shifting of accents gives jazz/rag feel (2 vs 3 = Rag vs Waltz); [4 x 1 for any of above points] 8 (a) Playing in 3rds; adding crushed notes (accept clear description of crushed note effect); reference to the staggering rhythm e.g. in bar 43. [2] (b) Bb, Ab [I mark if both in place obvious link to theme bars 15/16], G, E, D [3 x 1 mark each] (c) On the first beat of each bar in bars 49/50/51 (Or: credit bars 69/70/71). [3 x 1 mark for each correctly placed chord] (d) Any of the Bb s or F s. [1 mark] (e) Hi-hat/cymbal keeps same regular swing rhythm virtually throughout; Snare drum has a more unpredictable/offbeat part; Snare drum often hits on 3rd beat [2 x 1 mark for any of these] 9 (a) 80 2, 80 3, 81 1, 85 3, 87 3, 88 1, 98 1, 98 2, 101 3, (Allow 93 1, 99 2 ) [2 x 1 mark any two] (b) (c) Notes on the beat ascend and descend (chromatic) scale; offbeat notes return to same note/pedal note/tonic; description of characteristic expanding/contracting style; developed from musical idea in bars and/or bars 5-8 and parallel passages in the theme. [4 x 1 mark] Key is semitone higher/ab major; Alto saxophone now has tune (must have alto for mark); piano now comping; melody now phrased much more firmly in 3 time; drum part more regular in 3 (in the theme it marked the cross rhythms); piano still has cross beat effect (in bars 85-88); chord sequence different at start (more of a straight 12 bar blues sequence); last 4/5 bars chord sequence similar to theme (from bar 92) [4 x 1 mark for any of the above points] Specimen Materials 17 OCR 2000
18 SECTION B 10 (a) Bassoons [1] (b) Both instruments play the same part [1] (c) Each noted is played as repeated [1] semiquavers [1] [2] (d) Double basses; cellos; double bassoon [3 x 1 mark each] 11 (a) Gradual adding of instruments [1] + increasing outer limits of compass [1] plus 2 x 1 mark for any of: cumulative effect of imitation in WW; timp roll; trumpet; detail of figuration. [6] (b) Bar 17 4 to 19 1 now strings in unison; with double bassoon; bar 19 4 to 21 1 adds piccolo and oboe to horns; bar 21 onwards piccolo trill replaces horn dom. pedal; bar 21 4 violins 1 and 2 take theme in 8ves; flute has 1st violin figuration; horns and oboes offbeat; bassoons join in; no timp roll but offbeat also. [6 x 1 mark for each accurate observation]. [6] 12 It gets quicker [1] + builds up to the end [1] plus 2 x 2 marks for description and clear indication of how it does so e.g. tutti; closing theme from exposition; loud, repeated perfect cadences [6] 13 (a) Miles Davis [1] (b) Alto saxophone is above the tenor saxophone [1]; the pattern is in thirds [1] It changes notes in the lower part to accommodate the change in harmony in bar 5 [1] Credit also for: the contrast between marcato playing bars 1 to 4, 7 to 8, and legato (and quieter) in bars 5 to 6 [maximum 1 mark]. [3] (c) Trumpet: change from muted (harmon mute) to open trumpet [1] Piano: change from sustained tremolo chords to short and louder chord punctuations behind the trumpet solo [1] Bass: louder and more defined playing beneath solo - although the part remains the same - grooves more with the drums [1] Drums: moves from brushes to sticks; moves from a repeated pattern on snare drum to a much freer backing on ride cymbal with occasional pushes on snare drum [1] [4] 14 (a) Uses repeated rhythms on one note; stays centred around one note (tonic) on the tonic chord sections of the chorus; but becomes more melodic and sustained on the alternating subdominant and dominant sections of the chorus; uses space and starts gradually; mostly plays within the mode without chromaticism; uses sequence to extend an idea (bars 5 to 6). [4 x 1 mark for each relevant point = 4 marks max] Specimen Materials 18 OCR 2000
19 (b) The alto saxophone player (Cannonball Adderly) plays with more chromaticism, in a style closer to be-bop, using faster scalar runs covering the whole instrument, and note bends/ blue notes [2]; the tenor saxophone player (John Coltrane) plays across the beat (much less rhythmic than Miles Davis or Cannonball Adderly) in fast and intense bursts, with a pronounced blues/pentatonic quality. A stronger and louder tone using mostly the top register of the instrument [2]. [3 marks] Specimen Materials 19 OCR 2000
20 SECTION C Questions 15 to 19 Marks Characterised by A thorough and detailed knowledge and understanding of the background to specific examples of repertoire, well-assimilated and applied in direct answer to the question. Ideas well structured and expressed in language of high quality essentially without faults of grammar, punctuation or spelling A thorough knowledge and understanding of the background to the repertoire, mostly well-applied towards answering the question. Ideas generally well structured and expressed in language that is mainly of good quality with perhaps a few lapses in grammar, punctuation or spelling Good knowledge and understanding of the general background but with little detail. Some attempt to apply this in direct answer to the question. Ideas fairly clearly expressed but with some flaws in grammar, punctuation and spelling Some knowledge of the background to the repertoire but not always well understood. Ideas not always clearly expressed and some weaknesses in grammar, punctuation and spelling Some knowledge of the background, not always relevant or accurate, Ideas rather poorly expressed with persistent errors in grammar, punctuation and spelling. 6-8 Little knowledge of relevant background. Few ideas poorly expressed with serious weaknesses in grammar, punctuation and spelling. 0-5 Very little knowledge of any relevant background. Little coherent thought very poorly expressed. SECTION C. Comments on Individual Questions 15 Briefly explain how and why the role of brass instruments in the late eighteenth-century orchestra was restricted. [25] [An answer on the following lines, if expressed in language of high quality, would achieve the highest band of marks only if it covered most of the points and supported some of them by references to specific, relevant examples e.g. of supernatural trombones, or explained exactly e.g. how the harmonic series restricted the ability of instruments to play melodically. Without the examples or more detailed explanation, it would achieve a mark in the band ] Limited number of brass instruments available to orchestra of Haydn and Mozart: horns (2 or 4) and trumpets (2) only; Addition of trombones near end of century, chiefly for effects in opera orchestras for supernatural or hellish scenes. Added to general orchestra around the turn of the century. Specimen Materials 20 OCR 2000
21 Lower tension of strings and slacker bow meant that string sound was less powerful than today, consequently brass needed to be kept in reserve to avoid overshadowing string melodic lines - brass confined therefore largely to supporting role (pedals, reinforcing perfect cadences) and/or adding weight to points of climax; Restricted range: largely confined to notes of the harmonic series because of lack of valve technology; Late 18th-century brass instruments able to play in wider range of keys than baroque counterparts as result of availability of greater range of crooks; Chromatic passages impossible (except on trombones) and limited ability to modulate between keys without use of crooks. 16 What aspects of Duke Ellington s writing in Ko-ko were new and forward looking? [25] Instrumentation: a more diverse range of instrumental combinations (and approaches to arranging) than other contemporary big band compositions; features bass (briefly) as soloist; Harmony: much more dense and chromatic than other contemporary big band arrangements; Material: much less obvious theme, really a set of variations on a minor blues sequence ( minor blues itself was innovative for 1939); not a conventional head arrangement - no obvious return to the statement of the theme at the end; A piece of recorded jazz that was no longer just a song or dance number - more pure composition. 17 The circumstances of Haydn s professional life changed significantly in Comment briefly on some of the ways in which the change affected his work as a composer. [25] [An answer on the following lines, if fairly clearly expressed, would achieve a mark at the lower end of the medium band 15-17; it understands and approaches the question in an appropriate way but lacks sufficient supporting detail. To achieve a higher band a more explicit comparison would be needed between the resources of London and those of Esterhaz, an indication of some of the music Haydn would have heard and some specific detail of at least one of the symphonies quoted.] End to a restricted life in service ; Esterhaz and Vienna; Retirement freed him to travel; to become familiar with music in other cities and accept more external commissions; Visits to London introduced him to the large professional orchestra assembled by Salomon and provided the opportunity to write for a large and competent ensemble; Large-scale works often making use of orchestral effects ( Military, Drum Roll, Clock ). Specimen Materials 21 OCR 2000
22 18 Briefly describe how changes in recording technology affected the performance of jazz musicians through the period 1920 to [25] The brevity of 78 rpm disc led to compressed performances of songs that would have lasted longer when played live; The more expansive format of LP allowed for longer pieces/improvisations, leading to a change in writing jazz, leaving more space for improvisation (cf. Kind of Blue, released with only five tracks on it); By the 1950s microphone stereo recording and multiple microphone placement allowed ensembles to be balanced in the studio, with quieter or more delicate sounds balancing with the rhythm section (e.g. Miles Davis use of close-miked harmon muted trumpet); Mass production of recordings led to the popularity of swing as dance music (leading to regular employment for jazz musicians in dance bands); subsequent development of the music towards either newer jazz-derived dance music - r & b, ballad crooners such as Sinatra and Nat King Cole, even rock-and-roll - or towards more complex harmonic and melodic areas in bebop and later cool/west Coast jazz; These later developments could be recorded cheaply, proliferation of small, more specialised companies, dissemination of the music beyond the US; Recording allowed the music to be studied and imitated, leading to rapid stylistic development; Recorded improvisations (e.g. by Charlie Parker) became standards that themselves became vehicles for improvisation). 19 Compare the nature and function of percussion instruments in Rossini s Overture with those in jazz in the 1940s and 1950s. [25] Rossini: side drum, bass drum, cymbals, timps. No tuned percussion. Jazz: drum-kit (pedal bass drum, snare drum, cymbals, pedal hi-hat cymbals, toms), Afro-Cuban imports (such as congas, bongos, claves, cowbells, timbales, maracas etc) and tuned percussion (mostly vibraphone but occasionally xylophone and marimba). Rossini: instruments highlight tutti events, punctuate and add weight (timps + bass drum), and sometimes underline ensemble rhythms i.e. contribute only intermittently. Jazz: drum-kit provides constant layer of pulse, metre and swing over which the rest of the ensemble rides; also used to highlight accents (cymbals and SD) in themes, written passages or improvisation; sometimes given space for improvised solo, either independently of pulse or maintaining it; plays almost continuously; Afro-Cuban instruments maintain set patterns that interlock with the drum-kit patterns; vibraphone plays pitched melodic or chordal parts in role either of keyboard or front-line melody such as saxophone or trumpet. Specimen Materials 22 OCR 2000
23 The non-tuned percussion in Rossini are decorations to largely pitch-centred music; nontuned percussion in jazz are at the heart of a mostly rhythm-centred music (origins in marching bands and African/Latin American dance music). Specimen Materials 23 OCR 2000
24 Oxford Cambridge and RSA Examinations Advanced GCE MUSIC COMPOSING Specimen Paper INSTRUCTIONS TO CANDIDATES There are two sections in this paper. Candidates are required to complete Section A. In Section B candidates may either submit a folio of exercises in Stylistic Techniques or complete the assignment in this Paper. Section A Candidates are required to set one of the two given texts as a vocal composition. A fully notated score must be submitted, complete in all details, together with a commentary which outlines the candidate s research and compositional process, identifies precisely music studied as models for style or technique, and explains any other relevant contextual influences. [50 marks] Section B Candidates who do not choose to submit a folio of exercises in Stylistic Techniques are required to compose incidental music to the given film story board with exact timings, lasting no longer than five minutes. It may be composed for any electro-acoustic, synthesised or purely acoustic medium. Submission of the complete composition must take one of the following forms: Either A cassette recording of the completed assignment, either in the intended instrumentation or reduced as a piano or synthesised/sequenced demonstration together with a full score Or A cassette recording of the completed assignment, either in the intended instrumentation or reduced as a piano or synthesised/sequenced demonstration, together with a full commentary on the methods of mixing and producing the cassette master which will become the principal examination document to be assessed on production values. [50 marks] Completed assignments must be forwarded to reach the Examiner nominated by OCR by the specified date. This booklet contains the texts for Section A and the film storyboard for Section B. INFORMATION FOR CANDIDATES The number of marks is given in brackets [ ] at the end of each question or part question. Specimen Materials 24 OCR 2000
25 Section A Select one of the following two texts and set it as a song: either for solo voice, and an accompaniment for a solo polyphonic instrument (such as piano, organ or guitar) or a group of at least four instruments (such as a chamber ensemble or rhythm section) or a sequenced and synthesised backing track produced by using music technology or unaccompanied a cappella voices in no fewer than four parts. Text 1 When you are old and grey and full of sleep And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face; And bending down beside the glowing bars, Murmur, a little sadly, how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars. Text 2 W B Yeats Three waitresses all wearing black diamond earrings Talking about Zombies and Singapore Slings No trouble in their faces, not one anxious voice, None of the crazy you get from too much choice, The thumb and the satchel or the rented Rolls-Royce. And you think she knows something by the second refill You think she s enlightened as she totals your bill You say Show me the way to Barangrill. The guy at the gaspumps, he s got a lot of soul, He sings Merry Christmas for you just like Nat King Cole, And he makes up his own tune right on the spot About whitewalls and windshields and this job he s got. And you want to get moving and you want to stay still But lost in the moment some longing gets filled And you even forget to ask, Hey, where s Barangrill? Joni Mitchell [50 marks] Specimen Materials 25 OCR 2000
26 Section B Film storyboard TIMINGS (in minutes and seconds) DESCRIPTION OF SCENE TYPE OF MUSIC CUE 0:00 Title sequence for Dracula : a montage of Gothic images - lightning, old engravings showing the legend, a distant castle, bats flying at twilight etc. 0:45 Fades to a sequence showing a coach driven at speed by horses across Eastern European countryside in the daytime - inside we see the main character, Jonathan Harker, full of optimism, talking to the other passengers and admiring the scenery outside. A signature tune: a theme for Dracula placed in a dramatic, quasi-orchestral setting. Gradual fade to travelling music, representing both the movement of the coach and the optimism of Harker. 1:30 Cut in time to later in the journey, at sunset: the coach slows, and the passengers become more fearful. 1:50 The coach stops - Harker steps out of the coach in order to walk the final mile to the Count s castle. The castle is visible in the distance and he walks slowly along a narrow track towards it. 2:20 From the distance along the track, and at great speed, another coach and horses comes towards Harker. 2:30 It stops and Harker is invited to enter by a mysterious coachman. 2:40 It returns at great speed (much faster than the previous coach) towards the castle - outside it is suddenly night. Slower, more reflective sequence, with a hint of the Dracula theme from the title music. Fast and sinister travelling music for the second coach...stops briefly......before continuing up to the arrival at the castle. 3:10 Approach to the castle 3:30 Stops at the castle - Harker steps out, and the coach quickly departs. The travelling music gives way to more mysterious, suspenseful music, with hints of the Dracula theme from time to time. 3:40 Harker approaches the main entrance slowly, and walks through an open door. 4:00 Inside, the castle is empty, dusty and cobwebbed, but lit with flares on the walls. Harker explores slowly and gingerly, and enters through into banqueting room where, seated in a far corner at a table covered with maps and books, he encounters... The mysterious music develops gradually through a crescendo... 4:45 Count Dracula for the first time....to a clear statement of the Dracula theme. Specimen Materials 26 OCR 2000
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Have you had enough of the winter root vegetables yet? Don't get me wrong, there's nothing wrong with them. In October. But by April, I'm SO over parsnips and potatoes, and I'm craving something fresh, green, and with a much shorter shelf life. Thank heavens it's asparagus season! I'm seeing those lovely pencil thin asparagus all over the place, and while I do realize you can get asparagus most of the year, there's just nothing like spring asparagus. So tender, thin and crisp, they're just screaming to be used in a fresh salad.
Since it will be a while before really good tomatoes make their appearance, cherry or grape tomatoes are just perfect for this salad. And make sure you use fresh lemons for the vinaigrette. Such simple, clean flavors here. Continue Reading..


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Regular price: $53.35
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Add item to cart to check stock levels.
This cool, sharp condiment is made from tender young ginger roots. Freshly picked ginger is marinated in seasoned vinegar to give it a delightfully pungent taste. Serve the crisp slivers of ginger chilled. Place a small mound on a plate of sushi or sashimi. Eat a little at a time between different varieties of sushi and at the end of the meal to cleanse the palate.


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UAB History of Medicine Fellowship Announcement
From: owner-sala-l@... [mailto:owner-sala-l@...] On Behalf Of Timothy L Pennycuff
Sent: Thursday, September 06, 2012 11:48 AM
To: sala-l@...
Subject: UAB Fellowship Announcement
The Historical Collections (HC) unit of Lister Hill Library of the Health Sciences, University of Alabama at Birmingham, announces Reynolds Associates Research Fellowships in the History of the Health Sciences for 2013. In conjunction with the unit's friends group, the Reynolds Associates, HC is pleased to announce the availability of short-term awards of up to $1,000 to individual researchers studying one or more aspects of the history of the health sciences during the 2013 calendar year.
Intended to support research using the HC unit as a historical resource, the fellowship requires the on-site use of at least one of the unit's three components, which are the Alabama Museum of the Health Sciences, Reynolds Historical Library and UAB Archives. Anyone who wishes to use HC for historical research may apply, regardless of his or her academic status. Fellowships are awarded to individual applicants, not to institutions, as awarded funds are meant to help offset the costs associated with visiting and utilizing HC and not for institutional overhead.
Information about the fellowship application process can be found on the web at http://www.uab.edu/reynolds/fellow. The application deadline is December 31, 2012, and awards will be announced by February 28, 2013.
For further information on the Historical Collections unit and its three components, please visit the web at http://www.uab.edu/lister/deptsunits/historical.


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THE BOXER Vs. RAPPER beef CONTINUES!! FLOYD "MONEY" MAYWEATHER has MORE words for 50CENT!
This all started when FLOYD decided to talk about 50 during an interview calling out 50, T.I. and NELLY for being IRRELEVANT!! Where as he has been out boxing 18 years and will always be RELEVANT!! WHOA!!!
Now they have gone back and forth talking smack about the ugly situation FLOYD created with T.I.'S WIFE TINY!! It doesn't seem to be coming to an end any time soon!! Here is FLOYD'S latest response to 50 and their ongoing internet, interview battle!!


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A leading Senate Democrat on Wednesday questioned the independence of a Federal Communications Commission nominee who worked as a top aide to the current chairman.
If confirmed, Brendan Carr, a Republican nominated last month by President Trump, would be the commission's swing vote on Chairman Ajit Pai's proposal to dismantle tough net neutrality rules for online traffic.
Carr hasn't publicly stated his position on the matter, but the assumption is he would support Pai, a fellow Republican and his former boss.
Members of the Senate Commerce Committee did not ask...


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In town for the annual Laneway tour, Minneapolis natives Poliça have been one of the festival's must-sees for those in the know. Lead singer Channy Leanagh's silky vocals hover delicately over the electronic-tinged layers the accomplished band sets. Despite only releasing debut album Give You the Ghost last year, members of the band had previously been members of super-group Gayngs.
Find out why they've been receiving praise from the likes of Jay-Z and Justin Vernon – the latter recently called them "the best band I've ever heard." For me, they're a much better version of Grimes, without all the hoopla.
WHAT: Poliça
WHEN: Tuesday, February 5
WHERE: Oxford Art Factory
HOW MUCH: $45+bf via Moshtix


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I'm guessing the point of Facebook Home was to get Facebook in your face whenever you switched on your phone. But there was always the hint of more content muscling in and a few months down the line, we're seeing the first substantive changes.Facebook has announced that Facebook Home users can now have photos and posts from Flickr, Pinterest, Tumblr and Instagram on their lockscreen. As well as Facebook updates, obviously. Although you can disable Facebook and just opt for the other services if you like (which is a bit odd).On top of that, you can 'like' (or the equivalent) these services too with a double tap of the screen. It's not quite ready to go yet, with the service in Android Beta, but when it is, you just need to connect your apps to Facebook Home and you are good to go.How long will it be in beta? We don't really know. It's likely to be until any bugs have been sorted. Although you can sign up for the Beta program if you can't wait. Might be worth letting someone else deal with any teething issues first though.Facebook is no doubt hoping that the new content will push Facebook Home to further Android users. It hasn't been as successful as the company had hoped, perhaps because not everyone wants to see a constant stream of Facebook status updates ticking over. But new content might soften things up a bit.
That's the theory, anyway.


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The following FAQ entries may contain spoilers. Only the biggest ones (if any) will be covered with spoiler tags. Spoiler tags are used sparingly in order to make the page more readable.
For detailed information about the amounts and types of (a) sex and nudity, (b) violence and gore, (c) profanity, (d) alcohol, drugs and smoking, and (e) frightening and intense scenes in this movie, consult the IMDb Parents Guide for this movie. The Parents Guide for Frankenstein Created Woman can be found here.
When their lab assistant, young Hans Werner (Robert Morris), is found guilty and beheaded for a murder he did not commit, Baron Victor Frankenstein (Peter Cushing) and his colleague Dr Hertz (Thorley Walters) claim the body so that they can separate from it Hans' soul and transfer his soul into the body of Hans' lover Christina Kleve (Susan Denberg), who committed suicide when she happened upon Hans being guillotined. Following the operation, however, as Christina's memories start to come back, so do Hans' memories, and Hans has revenge on his mind.
Frankenstein Created Woman, like all Frankenstein movies, stems from the 1818 novel Frankenstein; or, The Modern Prometheus, by 19-year-old British author Mary Wollstonecraft Godwin Shelley [1797-1851]. The screenplay for the movie was written by British screenwriter Anthony Hinds (writing under the name John Elder). It is the fourth film in a series of seven Frankenstein movies produced by UK's Hammer Studios, best known for its revival of the horror genre in the 1960s and 1970s. Preceded by The Curse of Frankenstein (1957), The Revenge of Frankenstein (1958), and The Evil of Frankenstein (1964), it was followed by Frankenstein Must Be Destroyed (1969), The Horror of Frankenstein (1970), and Frankenstein and the Monster from Hell (1973).
No. Although Peter Cushing stars as Baron Victor Frankenstein in all but one of the seven movies in Hammer's Frankenstein film series and there's often a character named Hans (usually his lab assistant/colleague), there is no attempt to tie the movies together in any logical sequence, like Hammer did with the movies in their Dracula series. Except for Cushing aging over the 16 years that the Frankenstein series spanned, the films are mostly meant to be viewable as stand alone stories not as ongoing sequelae.
With Karl (Barry Warren) and Anton (Peter Blythe) dead, there's only one more to go: Johann (Derek Fowlds). Knowing that he's to be next, Anton hops on the coach to Innsbad but winds up sitting with Christina, who starts coming on to him amorously as she did with Karl and Anton. When one of the horses throws a shoe and the coach must stop, Christina suggests they walk the rest of the way and have a picnic together. Meanwhile, Victor is hurrying to catch up with the coach in order to stop Christina/Hans from murdering Johann. He finds out from the driver that they have taken a path through the trees, and he runs to catch up with them. Johann is resting his head on Christina's lap while she pours him wine and kisses him. She asks Johann if he would really like to know where he's met her before, and he lazily murmurs, "Yes." Christina takes out a knife, says, "I am Christina Kleve," and begins to repeatedly stab him. Victor hears the cries and realizes that he's too late. By the time he reaches her, he finds Christina holding up Hans' head and hears his voice saying: "You have done what you had to do, Christina. You may rest now...in peace." When she sees Victor watching her, she jumps up in shock and runs away but is stopped when she comes to a cliff. When Victor catches up, he tells her that she's not responsible for the killings, holds out his hand, and says, "Let me tell you who you really are." Christina replies, "I know who I really am...and what I have to do," and jumps into the raging water below, drowning herself, again. In the final scene, Victor slowly walks back through the trees.
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|Directed by
|M. Sasikumar
|Produced by
|M. Sasikumar
|Written by
|M. Sasikumar
M. Sasikumar
Ganja Karuppu
|Music by
|James Vasanthan
|S. R. Kathir
|Edited by
|Raja Mohammad
Company Productions
Release date
Running time
|145 minutes
Subramaniapuram is a 2008 Tamil-language period drama film[1] produced, written, and directed by M. Sasikumar. The low-budget film received critical acclaim for its original script, expert direction, screenplay, editing, accurate sets and costumes to resurrect Madurai from the 1980s. Sasikumar cast then relatively new actors Jai, Swathi, Ganja Karuppu and himself in pivotal roles. Shot in 85 days, it became one of the biggest commercial successes of the year. The movie was remade in Kannada in 2012 as Prem Adda.
The story takes place in the Subramaniapuram area of Madurai city. A convict is released from prison in 2008 and is stabbed outside the prison gates...
The film then moves to 1980 where Azaghar (Jai), Paraman (M. Sasikumar), Kaasi (Ganja Karuppu), Dopa and Dumka, a polio-stricken physically challenged person, are part of a set of close friends, who are unemployed. They pass their time drinking liquor and fooling around on the streets opposite the house of an ex-councilor Somu and his brother Kanugu (Samuthirakani). Apart from them the family consists of Somu's wife, their three children including Thulasi (Swathi) and Thulasi's other uncle.
The five friends, particularly Paraman and Azhagu, often end up in jail due to frequent fighting. Cops get a call from someone complaining about the friends each time they do something wrong. Every time they are arrested, Kanugu and Somu bail them out immediately. In the meantime, Azhagu and Thulasi develop mutual feelings for each other. Paraman is against his friend developing feelings for a girl and Azhagu, not heeding to his friends thoughts, throws up quite a few funny scenes.
There are signs of things to come when Somu is not selected in a local temple's committee for a function. Things take a sudden turn just before intermission when Somu is not elected for his party's (Tamil Nadu's ruling party at the time) district chief post and is ridiculed by his wife for being jobless. This leads Kanugu to lock himself up in a lodge and drink all day. He makes sure the friends hear about him and come to visit. He requests them to murder the person who was chosen for district chief of party post ahead of his brother. Azhagu, Paraman and Kaasi hatch a plan and execute the person almost perfectly. The first half ends here with them running away after the murder leaving a cycle behind.
The second half begins with the cops finding out that Paraman and Azhagu have committed the murder with the help of the cycle they left behind. They surrender themselves before the court hoping that Kanugu will bail them out soon. But they come in for rude shock when they learn through Kaasi that Somu has been selected for the district chief of party post and is avoiding their contact with the Raichu Break Party. They come to terms with reality and stay helpless in jail where they befriend a fellow inmate. He learns their situation and bails them out.
The same friend who aided these guys expects a favor from them — kill his brother-in-law for murdering his sister. Accomplishing this task, these guys now look out for killing Kanugu who cheated them. In the meantime, Thulasi and Azaghu continue to meet up. This leads to Azhagar almost getting killed by Kanugu's men. The friends strike back killing those men later in the day. A few days later they end up hurting Thulasi's uncle in their bid to kill Kanugu. To save his life from the clutches of these buddies, Kanugu sets a trap for Azhagar using Thulasi as bait and kills him using his henchmen. Paraman takes revenge for his friend's death by decapitating Kanugu and laying his head at his friend's murder site. Paraman then calls to Kasi and reveals how he killed Kanugu, during which he sees Somu's henchmen rushing behind Kasi. Kasi betrays Paraman and leaves him at the mercy of the henchmen.
The story shifts back to the present day where it's revealed the person who was stabbed outside the prison walls is Kasi. He lies in the hospital in critical condition and is being interrogated by a policeman. The doctor intervenes and asks him to leave, after which Dumka comes in and reveals that it is Dopa who stabbed him and then proceeds to remove his air supply and kills him after reminding him of his betrayal.
- Jai as Azhagar
- M. Sasikumar as Paraman
- Samuthirakani as Kanugu
- Swathi as Thulasi
- Ganja Karuppu as Kaasi
- Maari as Dumka
- Vichithran as Dopa
- K. G. Mohan as Shitta
It was during the initial phases of Ameer's Paruthiveeran (2007) that Sasikumar began his groundwork for Subramaniapuram and left the production to focus on his film. Sasikumar started collecting old photos, banners and boards of shops to imitate the style of writing from that period and also searched the Internet extensively for photographs of the 80s. He especially researched photographs of wedding processions along the streets for a clear picture of how the roads looked and the kind of vehicles in use. The team relied on this visual information to construct the sets for the film.[2]
Jai, who earlier appeared in Chennai 600028 (2007) was then selected to play a leading role, after Sasikumar had seen him at Deva's residence and Jai signed up for the film without hearing the script under the basis that it was to be produced by director Ameer.[3]
Subramaniapuram has five songs composed by James Vasanthan. This is the first time a Tamil movie featured a promotional song. (The song does not feature in the movie but has been released to media). Sasikumar spoke of his apprehension to approach an established music director as he was a debut director himself. 'I was not sure whether they would listen to me and give me what I wanted' he said in an interview.[2] Vasanthan had been Sasikumar's music teacher at St. Peter's boarding school in Kodaikkanal. Sasikumar approached James with the project and the music became a remarkable success. The film brought Vasanthan into prominence with the film's songs and background score gaining fame and being praised[4][5] and the song "Kangal Irandal" topping the charts and being cited as the "anthem of the year among the youth".[6]
|Kangal Irandal
|Belly Raj, Deepa Miriam
|Kadhal Siluvayil Araidhaal Ennai
|Shankar Mahadevan
|Madera Kulunga Kulunga
|Velmurugan, Suchitra
|Theneeril Snehitham
|Benny Dayal
|Subramaniyapuram Theme
|Belly Raj
Critical response[edit]
The film received highly positive response from critics. Sify wrote "Sasikumar should be appreciated for making a bold and daring film, whose success will auger well for the industry. Subramaniapuram may be a bit brooding and dark, but still it's worth taking a look".[7] Rediff wrote "Subramaniyapuram ends as it begins -- naturally, at its own pace. This one is for lovers of realistic cinema."[8]
- ^ http://www.ejumpcut.org/archive/jc52.2010/Tamil/6.html
- ^ a b Director Sasi Kumar Interview. behindwoods.com
- ^ http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/article1421536.ece
- ^ "Subramaniapuram Music Review songs lyrics". IndiaGlitz. 28 May 2008. Retrieved 13 March 2012.
- ^ "SUBRAMANIAPURAM MUSIC REVIEW — Behindwoods". Behindwoods. 5 December 2007. Retrieved 13 March 2012.
- ^ "James Vasanthan's next". IndiaGlitz. 24 December 2008. Retrieved 13 March 2012.
- ^ http://www.sify.com/movies/subramaniapuram-review-tamil-pclwEVadgaibd.html
- ^ http://www.rediff.com/movies/2008/jul/07sss.htm