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Music GCSE > Samba Em Prelúdio > Flashcards

Samba Em Prelúdio Flashcards

1
Q

Who is the composer

A

Esperanza Spalding:
American bassist player and singer
Jazz musician from Latin jazz, cuban jazz fusion

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2
Q

What lyrics

A

Portuguese

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3
Q

Intro dynamics

A
  • Low volume as a romantic style
  • ‘Free time’ - as rubato where it is hard to find a pulse
  • harmonic fermenta with a pause
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4
Q

What does the intro do

A

Bass solo

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5
Q

Intro rhythm

A

Use of semiquavers
Metric shift to 5-4 in B3 = improvised to fit what is played

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6
Q

Intro context

A

Use of studio techniques such as ad libs, virtuose

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7
Q

Intro melody

A
  • disjunct melody with wide leaps
  • mordents for decoration and ornamentation
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8
Q

Intro instrumentation

A

Acoustic bass guitar which is a hollow wooden body similar acous guitar

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9
Q

Intro texture

A

Monophonic

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10
Q

Intro harmony

A
  • key sig = Bm as bossa nova is minor with no modulations
  • double stopped chords
  • arpeggios
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11
Q

V1 dynamics

A

Starts with rubato

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12
Q

V1 rhythm

A
  • shift back to 44
  • use of syncopated bossa nova bass rhythm
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13
Q

V1 melody

A
  • melodic line is rising arpeggio
  • B8 leap of 7th
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14
Q

Vocal line

A
  • low tessitura as a chest voice
  • range over minor 10th from E below middle C to G above
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15
Q

V1 instrument

A
  • alto voice
  • acoustic bass guitar
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16
Q

V1 texture

A

MDH but some places where bass is also active creates polyphony

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17
Q

V1 harmony

A
  • B4 use of broken chord of B6 = 6th end
  • B4 bass raised 7th as it is the harmonic minor
  • double stopped chord
  • use of broken chords pattern which is highly complex and technical as if it is it’s own line
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18
Q

V2 differences

A
  • rhythmic fragmentation whereby use of triplets and semiquavers
  • active bass known as ragtime piano accompaniment
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19
Q

Chorus main line harmony

A

Use of a jazzy flattened 5th

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20
Q

Link passage

A
  • tempo almost doubles
  • mostly in 44 but big sounds into 22
  • double stopped chords with the bossa nova syncopated pattern
21
Q

V3 Dynamic

A

Chord symbols appear for acoustic guitar

22
Q

V3 rhythm

A
  • syncopated bossa nova but less triplets v2
23
Q

V3 melody

A
  • melody simpler with less syncopation and more conjunct
  • longer note value
  • sequence in melody
24
Q

V4 harmony

A
  • influence of jazz harmony with extended chords
  • B25 use of raised 7th
25
Q

Cadence

A

Cadences not same as classical but end on perfects at every end of verse

26
Q

V4 acoustic guitar

A
  • adds rhythmic interest with syncopated and unsyncopated patterns
  • plays plucked chords
  • melodic passages
27
Q

V4 harmony

A
  • main chords are tonal from key sig like: 1, 2, 4,5
  • some occasional with chromatic harmony like C or F major
28
Q

V4 chorus harmony

A

Use of jazzy flattened 5th but also with dim chords and flattened chords

29
Q

Séquence Harmony

A

Use of turn around chords to prepare to repeat some of material

30
Q

How is the guitar solo played

A

Improvised in a flamenco which is a traditional Spanish style

31
Q

Guitar solo rhythm

A
  • complex rhythms with quintuplets
  • syncopation with ties over bars
32
Q

Guitar solo techniques

A
  • studio techniques with overdubbing
  • multitracking
  • virtuosic
  • pull offs
  • flamenco
33
Q

Guitar solo meoldun

A
  • Ornamentation with grace notes
  • High register
  • mostly conjunct with occasional triadic writing
34
Q

Guitar solo harmony

A

Big babies can’t fly but babies eat elephants can’t fly and babies g g g f
- Bm7
- Bm7
- C#m11
- F#7
- B7/F#
- B7
- Em
- Em
- C#m11
- F#m7
- A#dim7/B
- Bm7/A
- G#dim7
- G#dim7
- G13
- F#7

35
Q

Where does bossa nova come from

A

Latin for ‘new trend’ to mix new elements with Brazilian rhythms and jazz harmony

36
Q

V5

A

Essentially a repeat of v2 and 3

37
Q

V5 dynamics

A

Tempo is maintained and not rubato

38
Q

V5 rhythm

A
  • Less syncopated in order to fit those of IV easily
  • rhythmically augmented from V1
39
Q

V5 melody

A
  • sequences
  • only melody and no chords
  • melody fragmented from V2
40
Q

V5 instrument

A

Only alto voice and acoustic bass

41
Q

V5 texture

A

Polyphony as two different melodies play at same time

42
Q

V5 harmony

A

Jazzy flattened 5th
- also use descending semitone as chromatic movement in baseline

43
Q

How does V5 end

A
  • DS Coda back to V4 till guitar solo
  • texture also becomes sparse creating an intimate feel which overlaps as counterpoint
44
Q

Coda melody

A

Repetitions of chord sequences and flourishes

45
Q

Coda harmony

A

Use of turnaround chords; a series of chords that helps bring the chord progression to tonic key and the foundation of tune through subdominant

46
Q

Coda end

A

Melody - flourish and decorated which is short and complex to mirror intro
Rhythm - use of quintuplets and metre changes with B113 to accommodate notation
Dynamics - free tempo
Texture - polyphonic
Harmony - use of 9th and end on Bm7 plus 13

47
Q

What is a acoustic bass guitar

A

Uses 4 strings with tuned to E A D G

48
Q

How does the music show the love and melancholic feel

A
  • low tessitura and chest voice
  • key of Bm
  • quiet dynamics
  • monophonic and MDH passages

Music GCSE (4 decks)

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