Don't You Worry Bout A Thing Flashcards

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1
Q

Explain what happens at the end of the verse in terms of harmony.

A

Fb#11 chord which acts as a tritone sub of the dominant in the verse (which is in Ebminor). The next chord is in the chorus, and is a Gb major chord - we modulate to the relative major. Therefore this chord acts as an interrupted cadence, but instead of the chord 5, it is substituted. Also an example of a complex extension.

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2
Q

Give an example of a clear cadence in the chorus. (II-V-I)

A

Abmaj7, Db11,Gb(add2). Happens halfway through the chorus (on bar 5). Is an example of a clear 2 5 1, but we have extensions and also a major chord two - non diatonic harmony.

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3
Q

Explain the harmony of the post chorus.

A

Gb,F,E,Eb,D,Db,Gb(add2). Chromatically descending and non diatonic harmony, yet still ends in clear V-I perfect cadence.

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4
Q

What happens to the tonality?

A

Verses + bridge in Ebm. (But passing modulation to Cb in fourth and fifth bar of verse)
Chorus and post choruses in relative major - Gb major

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5
Q

How is the syncopation typical of Latin?

A

Chord changes and bass drum pushed ahead of beats 1 and 3. So on +of2 and +of4. Bass line plays to these rhythms too, and the melody emphasises these aswell.

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6
Q

How is percussion used to ground the piece?

A

Cowbell and shaker crotchets.

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7
Q

What does the drum kit play in the post chorus?

A

MASSIVE OFFBEAT HI HATS

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8
Q

Describe the rhythm of the melody.

A

Conversational style rhythms (very much highlighted as piece begins with Spanish freestyle vocals). Emphasises pushed Latin rhythm.

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9
Q

Describe the melody briefly.

A

4 bar phrases in verse. Mostly diatonic outlining chord tones and emphasising pushed 1 and 3.
A few chromatic notes used sparingly for colour.

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10
Q

Give an example of chromaticism in the melody.

A

Abmaj7 halfway through chorus is anticipated with Gb,F,E then lands on Eb when the Ab chord is played. Chromatic descending line and appogiatura.

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11
Q

What happens in the bridge section melody?

A

Descending pentatonic sequence sung melismatically and with a high tessatura, emphasising the pushed 2 and 4.

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12
Q

Give an example of the melody outlining the chords.

A

Cmaj7 arpeggio on ‘having’ at end of verse sung melismatically

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13
Q

Describe the melody of the instrumental verse

A

‘Ba bum ba bum’ is layered with backing vocals which sing the melody starting after the main melody. This feels like a round and has a quasi canonic effect due to the imitation.

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14
Q

Describe the sonority.

A

Relatively typical Latin lineup:
Bass plays chord tones emphasising the pushed 1 and 3
Keys play a chords with a few flourishes in vocal melody spaces
Drum kit + percussion such as shaker, cowbell and cabasa

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15
Q

What are the more unusual/interesting sections of the piece?

A

Post chorus - chromatic descending section
Bridge - sequential and melismatic ‘thiiiinnngggg’
Instrumental/‘ba-bum’ verse
Outro - bridge section (thiiiing) + repeat and fade

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