Prescribed Listenings Flashcards by elizabeth tran

Name the song, genre, period, techniques, guitar used and context.

Hawai Marche → Paris, Plages D-Hawaii
- Hawaiian Guitar/ French Hawaiian hybrid (genre)
- 1930s
- Glissandi (slides), vibrato
- Lap steel guitar (raised bridge) played with a metal bar
- Open tuning → Chordal guitar accompaniment with emphasis on beats 2 and 4
Craze for Hawaiian guitar in 1920s and 1930s saw it adapted in may countries
French waltzes, tangos, musettes were adapted to South Seas or Pacific Islands themes
Hawaiian guitar characterise by use of the slide
One of the first 20th century guitar styles where the instrument takes a purely melodic role

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Suarasama, Fajar Di Atas Awan (Dawn Over Clouds)
- Indonesian Guitar
- 1990s
- Gentle arpeggios accompanying the voice
- Steel string guitar played fingerstyle
Suarasama aim to write and play music distinctively Indonesia without traditional instruments
Guitar came to Indo from West → Mixes influences freely with trad music

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Papua New Guinea Stringband with Bob Brozman, Alir Pukai → Song of the Volcano
- Papua New Guinean Guitar
- Recorded in 2000s
- Guitar orchestra with layered guitar parts → Numerous guitars strumming in swing rhythm
  - Solo slide guitar
  - Bass acoustic guitar → Low end
- Steel string and nylon played with picks
- Bob Brozman playing slide guitar above the musical texture

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Subsonic → Mississipi John Hurt, Stack-O-Lee
- (Country) Blues
- 1920s
- Slurs in treble part to emphasise certain notes (hammer ons)
- Slide leads into A chord
Steady bassline keeps rhythm and outlines chord changes
Melody is syncopated and functions as an introduction
- Later doubles the vocal melody

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Me and My Chauffer → Memphis Minnie
- Blues
- 1940s
- Lead guitar intro → Some lines used to answer voice in verses
- Bending one note (2nd string 10th fret) → Playing another (1st string) then releasing the bend
- Combination of bend and stopped (fretted) notes
- Steel string acoustic guitars played finger-style
Early Chicago blues
Adapting elements of Delta and country blues in ensemble context
Rhythm guitar plays chords on each beat and clearly accents beats 2 and 4

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Pony Blues → ‘David’ Honeyboy Edwards
- Blues
- 1970s (recording) but learnt song from Charlie Patton in 1930
- Syncopated rhythmic feel
- Sliding up to chords on treble strings when playing melody in between vocal phrases
- Punctuating bass lines (staccato and accented)
- Blues interjection at 12th fret
Honeyboy Edwards was link to early blues players

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Little Queen of Spades → Robert Johnson
- (Acoustic) Blues
- 1937
- Steady pulse kept by thumb and higher chords played with fingers
- Passing chords with added notes
- Variety of turnarounds (standard at the end of the verses)
- Call and response
Further evolution of acoustic blues
Standardised many turnarounds and rhythmic features that become part of a widely known blues vocabulary

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Two Wings → Rev Utah Smith, The Guitar Evangelists
- Blues
- 1940s
- Simultaneous chords and melody
- High notes for call and response (vocal)
- Overdriven amp for distorted sound
- Electric Guitar
- Clapping and guitar accents on beats 2 and 4

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Crossroads → Cream
- Electric blues/ Blues rock
- 1960s
- Live recording
- Was a major influence on many guitarists
- Rock sound → Les Paul guitar + Marshall amp
- Rhythm straight not swung
- Bends, slides
- Fluid sound
- Mixed major pentatonic and blues scales

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Wildwood Flower → The Carter Family
- Country
- 1928
- Carter Scratch = Melody played with thumbpick on bass strings, chords strummed with fingers
Maybelle Carter’s guitar style had a lasting influence and big impact on folk revival in the 50s and 60s

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Blue Yodel No.8 (Muleskinner Blues) → Jimmy Rodgers
- Country
- 1931
- Played with a pick on a steel string guitar
- Bass note alternates with strummed chord
- Basslines used to connect chords and provide a counterpoint to the melody
- Guitar was accompanying voice

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Saturday Night Shuffle → Merle Travis
- Country
- 1950s
- Travis picking = Steady bass with thumb + Syncopated melody with index finger
- Bends and slides
- Notes from blues scale added to major pentatonic scale
- Solo guitar breaks at end of the form → Chords stop and melody/ riffs leads back to beginning

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Solea 1 → Jose Menese & Melchor De Marchena
- Traditional flamenco
- Solo guitar introduction
- Strong accents and extensive use of slurs
- Phrygian mode (E-E)
- Rasgueado
- Picado
- Golpe (hit guitar body)
- Arpeggios
- Ornamentation

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Alegrias → Chano Lobrato & Luis Moneo
- Traditional flamenco
- Less melodic playing more rasgueado
- Guitar = Rhythmic framework for song
- Rest stroke with thumb (picado)
- Dynamic range = Guitar is softer during singing + Punctuate vocal phrases
- Golpe (hit guitar body)
- Arpeggios
- Ornamentation
- Slurs

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Al Verte Las Flores Lloran → El Camaron De La Isla, Con La Colaboracion Especial De Paco De Lucia
- Traditional Flamenco
- 1969
- Bulerias = Faster flamenco form
- Two guitars accompany voice
- Extended instrumental introduction
- Quick rest stroke (picado)
- Rasgueado
- Palmas = Clapping hands
Birth of modern flamenco

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La Barrosa (Alegria) → Paco de Lucia
- Flamenco
- 1990s
- Guitar phrasing shows influence of modern jazz in the types of intervals and slides
- Free opening → Gives way to traditional Alegrias rhythm and chord progression
- Palmas accompanying guitar - Rhythmic foundation
- Free stroke arpeggios
- Rest stroke melodies
- Melodic phrases punctuated with accented rasgueados

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Danza del Fuego Fatuo → Paco de Lucia
- Flamenco
- 1978
- Guitars play tremolo over 2 strings
- Addition of clapping + electric bass + Flute
- Melody forcefully projected
- Rhythmic basis taken from rumba style flamenco
- Fast melodies and rasgueados
Flamenco interpretation of classical piece by Manuel de Falla
- Melodies and harmonies same as original

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Tres Notas Para Decir Te Quiero → Vicente Amigo
- Flamenco
- 2002
- Guitar take lead
- Picado
- Slides and slurs
- Voice joins in on melody later = Jazz style
Next generation of guitarists after Paco de Lucia

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Jorge do Fusa → Garoto
- Brazilian
- 1990s recording but written in 1950s
- Jazz harmonies anticipate bossa nova styles of the late 50s and 60s
- Moving bass lines
- Parallel chord movement
- Scale run (whole tone)
- Texture of bass (bass runs)
- Advanced harmonic style
- Choro rhythm → Chords on ‘e’ and ‘a’
- Syncopation or anticipated chords

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Samba Triste → Baden Powell
- Brazilian
- 1960s
- Easy to confuse with flamenco
  - Opening sounds flamenco like = Rest stroke, rough sound
- Free opening statement combines chords and melody
- Moves into samba rhythm
  - Key to the style
  - Syncopation and accent
- Anticipated chords
- Percussive guitar style

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Samba pro Rafa → Yamandu Costa
- Homage to Brazilian guitarist Raphael Rabello
- 2000s
- Combines bass, chord and melody
- Fast scale runes and arepeggios
Seven string guitar
- Seventh string tuned to low C

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Angie → Bert Jansch
- Signature instrumental work of British Folk revival
- 1960s
- Original composition Anji composed by Davy Graham
- Covered by many inc Paul Simon
- Descending bass sets tone
- Flamenco-like accented strums on A minor chord
- Steady bass rhythm kept by right hand thumb
- Ornaments in melody evoke classical guitar
- Bends = Blues-like

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Black Water Side → Bert Jansch
- Originally a folk song
- 1960s
- Influenced other folk guitarists and a generation of rock and folk/rock guitarists
  - Jimmy Page
  - Neil Young
  - Johnny Marr of the Smiths
- Virtuosic fingerpicking
- Ornaments played forcefully - Strings slap onto neck
- Irregular rhythmic groupings
- Blue touches, particularly in the bass
- Guitar accompaniment follows contour of melody
- Evokes Celtic instrumental styles with the droning bass and use of slurs
Guitar tuned with 6th to D

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May You Never → John Martyn
- Folk music
- 1970s
- Guitar follows vocal melody closely
- Right hand slaps the strings on beats 2 and 4
  - Rhythmic “backbeat”
- Strings plucked forcefully
  - In between vocal phrases
- Ornaments and double stops add to the texture =Multipart accompaniement

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* **The Dark Plaintive Youth** → Martin Simpson * **Celtic guitar** * Ireland * **1970s** * **Original melody by Irish harpist Turlough O'Carolan (1670-1738)** * Free solo piece = Air or song * **Rubarto → Flexibility of rhythm** * Ornamentation used to embellish melody * **Variety of articulation** * **Slides** * **Slurs (Hammer ons and pulloffs)** * Clear focus on the melody

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* **The Fairies' Hornpipe** → Davy Graham * **Celtic** guitar * **Clear rhythmic pulse maintained via bass notes on beats 1 and 3** * **Typical of hornpipe = Always in 4/4** * **Quick grace notes embellish the melody** * Slurs and occassionally slides embellish the melody * **Main focus is on melody with a simple moving bass added**

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* **Lady Ann Monthomery's Reel** → Tony McManus * **Celtic reel** * **2000s** * **Open tuning = Resonance** * **Quick repeated notes imitate phrasing of other instruments** * Bagpipes * Flute * Violin * **Finger-style on steel string guitar**

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* **Girl from the North Country** → Bob Dylan * **Folk on second album 'The Freewheelin' Bob Dylan'** * **1963** * **Alternating bass with treble notes** * **Reminiscent of Travis picking** * Capo on 3rd fret * Change key * Accommodate voice * **Chordal technique → G chord played and C chord hammered on for variation** * Inspired by visit to England and meeting Martin Carthy * References childhood in Minnesota * **Borrows musically and lyrically from Carthy's arrangement of Scarborough Fair**

Name the song, genre, period, techniques, guitar used and context.

* **Blowin in the Wind** → Bob Dylan * **Folk on second album 'The Freewheelin' Bob Dylan'** * **1963** * Popularity through cover version by folk/pop group = Peter, Paul and Mary * **Anthem of civil rights movement** * Dylan's version = Simple and stripped back * Capo on 7th fret * Bass notes articulated with pick * Played in sequence to connect chords * Simple down and up strumming pattern * **Harmonica → Melodic answers to the vocals** * **Guitar remains in chordal accompaniement role**

Name the song, genre, period, techniques, guitar used and context.

* **Don't Think Twice It's Alright** → Bob Dylan * **Folk on second album 'The Freewheelin' Bob Dylan'** * **1963** * **Familiar or typical Travis picking pattern** * Some hammer ons and pull offs * **Passing chords (F-F#) or (Am-/G-F)** * **Typical in jazz or ragtime blues and folk songs** * Capo on 4th fret * Clear and bright tone * **Steel string guitar**

Prescribed Listenings Flashcards

(30 cards)