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A Level Music (Edexcel) > Area Of Study 4 (Popular Music 'N Jazz) > Flashcards

Area Of Study 4 (Popular Music 'N Jazz) Flashcards

Includes "Revolver, "Cloudbusting" & "Back In The Day" + WL (87 cards)

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1
Q

What is the context of “Revolver”?

A

Who: The Beatles
What: Psychedelic rock album
Where: London
How: Rhythm/lead/bass guitar, drums & tape loops
Why: For showcasing blues & rhythm influences
When: 1966

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2
Q

Describe the melody of “Eleanor Rigby”

Revolver

A

Conjunct verse from 9

Refrain octave leap at 20 extends to a tenth at 24

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3
Q

Describe the harmony of “Eleanor Rigby”

Revolver

A

Slow rate of change between C maj/E min

Dissonant appogiatura at 9 then chromatic viola at 19

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4
Q

Describe the tonality of “Eleanor Rigby”

Revolver

A

Dorian modal vocals from 9

Aeolian modal backing vocals at 1

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5
Q

Describe the rhythm of “Eleanor Rigby”

Revolver

A

String crotchets with syncopated vocals from 10

Refrain sus semibreves from 19

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6
Q

Describe the texture of “Eleanor Rigby”

Revolver

A

Blocked string chords with cello doubling vocals at 59

Occassional fill in string phrases from 1

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7
Q

Describe the sonority of “Eleanor Rigby”

Revolver

A

Doubled stopped strings with cello sus/repeated notes

Syllabic vocals with divisi 1st violins from 14

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8
Q

Describe the melody of “Here There And Everywhere”

Revolver

A

Triadic vocals at 1 become disjunct from 5

Chromatic mandolin descent at 15

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9
Q

Describe the harmony of “Here There And Everywhere”

Revolver

A

Chromatic B min/maj slip at 1 with parallel roots from 4

Third 7th acts a pivot mod chord at 16

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10
Q

Describe the tonality of “Here There And Everywhere”

Revolver

A

G maj with E min extursions from 4

Bb maj mod at 13

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11
Q

Describe the rhythm of “Here There And Everywhere”

Revolver

A

Free rhythm at 1 before syncopated vocals at 5

Semiquavers are introduced from 13

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12
Q

Describe the texture of “Here There And Everywhere”

Revolver

A

Close American barbershop with extra vocals from 17

Two part main vocals at 21

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13
Q

Describe the sonority of “Here There And Everywhere”

Revolver

A

Reduced sonority with close American barbershop

Spread guitar chords at 1 with Leslie cabinet timbre at 15

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14
Q

Describe the melody of “I Want To Tell You”

Revolver

A

Conjunct vocal scalic ideas with melisma chant from 39

F/E ostinato at 10 before vocal appogiatura C# up at 28

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15
Q

Describe the harmony of “I Want To Tell You”

Revolver

A

Alternating tonic/subdom at 1 then dom min 9th at 10

Diminished harmony at 28

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16
Q

Describe the tonality of “I Want To Tell You”

Revolver

A

Flat 7 over pedal A from 1

Dissonant key with min 9th at 10

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17
Q

Describe the rhythm of “I Want To Tell You”

Revolver

A

Swung rhythm with frequent syncopated vocals

Guitar triplets at 15

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18
Q

Describe the texture of “I Want To Tell You”

Revolver

A

Prominent solidifying drums with third vocals at 7

Textural fade in/out

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19
Q

Describe the sonority of “I Want To Tell You”

Revolver

A

Conventional prominent drums/ narrow ranged vocals

Blocked piano chords from 5

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20
Q

Describe the melody of “Tomorrow Never Knows”

Revolver

A

Maj 3rd/flat 7th vocals with C maj triad descent at 7

Guitar C blues solo with flat 3rds from 22

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21
Q

Describe the harmony of “Tomorrow Never Knows”

Revolver

A

Implied C chord throughout

Flat 7th Bb flat introduced at 11

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22
Q

Describe the tonality of “Tomorrow Never Knows”

Revolver

A

Mixolydian modal vocals throughout

Blues scale with flat 3rds from 22

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23
Q

Describe the rhythm of “Tomorrow Never Knows”

Revolver

A

Continuous rock drum rhythm with cross rhythm vocals

Lombardic with three vs two cross rhythms at 4

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24
Q

Describe the texture of “Tomorrow Never Knows”

Revolver

A

Distorted ambience with solidified tambura drone

Artificially double tracked vocals throughout

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25
Describe the sonority of "Tomorrow Never Knows" | Revolver
Natural effects with sitar fills & reverse drum cymbals | Taped distorted guitar solo from 22 with Leslie vocals
26
WL: "God Only Knows" by The Beach Boys | Pet Sounds
Steady crotchet tack piano motion with inverted chords | Tonal plasticity by disuse of authentic cadence points
27
WL: "She's A Rainbow" by The Rolling Stones | Their Satanic Majesties Request
Functional progressions with monophonic piano triplets | Mellotron heard when vocals enter with dotted rhythms
28
WL: "Have A Cigar" by Pink Floyd | Wish You Were Here
Dubious melody dominated homophony | Electric keyboards play E min 6th with distortion
29
WL: "Stuck In The Middle With You" by Stealers Wheel | Stealers Wheel
D Dorian mode with syncopated acoustic guitar riff | Hand claps with muted/sliding guitars
30
WL: "Forget That Girl" by The Monkees | Headquarters
Sighing backing vocals double in thirds with lead vocals | A maj followed by F maj with distinct leading note
31
WL: "Good Girls" by The Ronettes | Ronettes
Narrow vocals in Bb maj/G min/Eb maj/F min prog | Heavy rock pattern with conjunct/repeated vocal notes
32
WL: "Come Together" by The Beatles | Abbey Road
Vocal 'sh' effects with repeated notes in vocals | Sparse texture with unusual mod from D to B min
33
WL: "Time And Love" by The Supremes | Touch
Swung rhythm with free vocals and horn section | Happy chorus with flute/bell fill ins in verses
34
What is the context of "Hounds Of Love"?
``` Who: Kate Bush What: Two sided concept album Where: Welling How: Uillean pipes. vocals, CMI, bouzouki & whistles Why: For increasing production sales When: 1985 ```
35
Describe the melody of "Cloudbusting" | Hounds Of Love
Triadic vocal shape at 1 before rising fifth at 82 | Syncopated rapid repeated notes at 86
36
Describe the harmony of "Cloudbusting" | Hounds Of Love
Stepwise motion using 7ths & 9ths from 1 | B add 9 subtonic acts as substitute dominant
37
Describe the tonality of "Cloudbusting" | Hounds Of Love
Modal C# min with no key changes | Tonal but not straightforwardly functional
38
Describe the rhythm of "Cloudbusting" | Hounds Of Love
6/4 time signatures extend phrases at 45 | Anticipatory syncopation and repeated notes from 81
39
Describe the texture of "Cloudbusting" | Hounds Of Love
Homorhythm silence at 17 before octave string from 34 | Polyphonic from 81 after additive vocal samples from 11
40
Describe the sonority of "Cloudbusting" | Hounds Of Love
Short staccato string sextet with restrained drums | Vocals range a tenth with steam engine sounds at end
41
Describe the melody of "And Dream Of Sheep" | Hounds Of Love
Two rising 5ths at 1 before oscillating min 3rds at 8 | Word painting vocals finishing on dom at 53
42
Describe the harmony of "And Dream Of Sheep" | Hounds Of Love
Chordal roots 5th apart with subtonic at 1 | E maj conventional prog over tonic pedal at 8
43
Describe the tonality of "And Dream Of Sheep" | Hounds Of Love
Verses in modal C# min ending in E Maj | E maj refrain and bridge
44
Describe the rhythm of "And Dream Of Sheep" | Hounds Of Love
Syncopation with duple meters used to extend phrases | Lombardic triplets with ritardando from 49
45
Describe the texture of "And Dream Of Sheep" | Hounds Of Love
Focuses on vocal line with piano sometimes doubling it | Mid range blocked chords with tonic pedal from 8
46
Describe the sonority of "And Dream Of Sheep" | Hounds Of Love
Dominating voice/piano with decorative bouzouki at 20 | Shipping forecast at 15 before Irish whistles from 41
47
Describe the melody of "Under Ice" | Hounds Of Love
Staccato phrasing with sinking portamento from 53 | Quasi pentatonic shapes at 15 with stepwise notes
48
Describe the harmony of "Under Ice" | Hounds Of Love
A natural min chords with 3rds moving up and down | Occasional D major chords from 49
49
Describe the tonality of "Under Ice" | Hounds Of Love
Modal A min without modulations | Finishes on ambiguous A min sus2 from 55
50
Describe the rhythm of "Under Ice" | Hounds Of Love
Obsessive crotchet pulse with accelerando | Cross rhythmic quaver crotchet ostinato at 3
51
Describe the texture of "Under Ice" | Hounds Of Love
Bass pedal textures with open fifths at 3 | Homorhythmic at 19 before vocal dialogue from 50
52
Describe the sonority of "Under Ice" | Hounds Of Love
Low vocals limited to a perfect 5th with synths | High melisma before Mongolian throat singer at 55
53
WL: "Destiny" by Stevie Nicks | Street Angel
Warm Hammond organ & sop sax use wide vibrato | Syncopation is common with plagal progressions
54
WL: "Frederick" by Patti Smith | Wave
Steers away from A maj to F# min with D maj 7th | Frequent min 3rds & 2nds in vocal's melodic shape
55
WL: "Stay In Touch" by Joni Mitchell | Taming The Tiger
Ambiguous fugal texture between guitars & vocals | Chord G9/11/F is created by added 2nds in guitars
56
WL: "Get Him Back" by Fiona Apple | Extraordinary Machine
A min contains seventh & flat 5th with inflections | Straight VS triplet cross rhythms in low piano riff
57
WL: "Closing Of The Doors" by Roisin Murphy | Ruby Blue
Jazz harmony with A flat maj 7th & C maj add 2nd | Vocals & horns rise together with vamp piano chords
58
WL: "Ricochet" by David Bowie | Let's Dance
Talking effects are heard with horn & guitar stabs | Not clearly on key of A min stated by bass notes
59
WL: "Army Dreamers" by Kate Bush | Never For Ever
Waltzing compound time established by bass drum | Scalic main vocals with repeating backing vocal notes
60
WL: "Blood Of Eden" by Peter Gabriel | Us
African ideas with bongos & high powerful vocals | Tonic & dominant harmonic progressions with slides
61
What is the context of "Back In The Day"?
Who: Courtney Pine What: Post-bop jazz album Where: London How: Saxes, keyboards, bass, drums & turntables Why: For bringing modernistic cultures together When: 2000
62
Describe the melody of "Lady Day And John Coltrane" | Back In The Day
Saxophone links with blue notes & grace notes at 8 | Extreme chromatic writing at 102 to a similar link
63
Describe the harmony of "Lady Day And John Coltrane" | Back In The Day
Chords outline 12 bar blues on C min seventh | Fifth backings at 37 before chromatic harmony at 75
64
Describe the tonality of "Lady Day And John Coltrane" | Back In The Day
Harmony moves to standard blues subdom at 13 | Aug 5th creates perf cadence to tonic at 119
65
Describe the rhythm of "Lady Day And John Coltrane" | Back In The Day
Syncopated rock rhythm in keyboards throughout | Rapid semiquaver writing in sax interjection at 102
66
Describe the texture of "Lady Day And John Coltrane" | Back In The Day
Solidifying vibrato effect on Hammond organ at 5 | Denser keyboard chords accompanying sax at 51
67
Describe the sonority of "Lady Day And John Coltrane" | Back In The Day
Improvised sax solo with bends/slides at 55 | Wide vibrato sax at 39 & key clicks at 130
68
Describe the melody of "Inner State Of Mind" | Back In The Day
Crotchet rising idea at 1 with pentatonic guitar riff at 104 | Summertime theme at 10 before So Whats at 11
69
Describe the harmony of "Inner State Of Mind" | Back In The Day
Seventh chords with fuller harmony at 18 | C min to F harmonic extensions from 10
70
Describe the tonality of "Inner State Of Mind" | Back In The Day
Dorian modal saxophone from 2 | Guitar riff uses pentatonic scale at 104
71
Describe the rhythm of "Inner State Of Mind" | Back In The Day
Sax syncopation at 4 | Homorhythmic tutti instrumental link at 70
72
Describe the texture of "Inner State Of Mind" | Back In The Day
Melody dominated homophony from 2 | Sudden breaks at 62 & 72
73
Describe the sonority of "Inner State Of Mind" | Back In The Day
Distorted introductory sampled guitar music | Sliding sax from 2 with turntabling effects from 36
74
Describe the melody of "Love And Affection" | Back In The Day
Underlying memorable bass riff at 22 | Blue vocal notes at 36 with string descents from 84
75
Describe the harmony of "Love And Affection" | Back In The Day
Chords move in E scale whilst avoiding E from 1 | Harmonies descend chromatically from 54
76
Describe the tonality of "Love And Affection" | Back In The Day
Starts on subdom at 46 with section end on dom at 53 | Song ends on a three note vocal tonic chord
77
Describe the rhythm of "Love And Affection" | Back In The Day
Free rhythm with occassional stop time bars at 30 | Off beat notes at 36 with rock drum rhythm at 15
78
Describe the texture of "Love And Affection" | Back In The Day
Sax crescendo on long note at 66 | Polyphony between vocals & sax from 76
79
Describe the sonority of "Love And Affection" | Back In The Day
Interesting choice of bass clarinet throughout | Guitar sounds are distorted throughout
80
WL: "Emergency" by Javon Jackson | Good People
Fast extensive jazz guitar patterns | Repetitive tenor sax chromatic triplets with rising 3rd
81
WL: "Wishing On A Star" by Marion Meadows | Player's Club
Piano & liquefied guitar interject with blue grace notes | Syncopated vibrating sop sax ends on high trill
82
WL: "What It Was" by Dexter Gordon | Tangerine
Solidifying dense piano chords & moto perpetuo bass | Lightly swung & straight drum rhythms are explored
83
WL: "I Should Care" by Wayne Escoffery | If Dreams Come True
Warm Rhodes piano solo has fast scalic blues patterns | Glides & progressive ideas feature in tenor sax solo
84
WL: "Delta Bali Blues" by Kenny Garrett | Simply Said
High piano runs & wide use of drum kit's cymbals | Repeating wah effects appear in alto sax
85
WL: "Get Yourself Up" by Carol Chaikin | Lucy's Day Off
Whistles play a repeated extended chord sequence | Tenor sax has glides & improvises with blue notes
86
WL: "Be Mine Tonight" by Courtney Pine | Closer To Home
Heavy rock drum rhythm with bass reggae style | Tenor sax conjunct mixing between repetition & glides
87
WL: "Lil Les" by Tia Fuller | Angelic Warrior
Irregular pulse with memorable jazz guitar bass line | Distinctive rising perf 5th in tenor sax with grace note

A Level Music (Edexcel) (6 decks)

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