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music > Africa toto > Flashcards

Africa toto Flashcards

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Ultimate Music Theory flashcards
1
Q

When was Africa recorded?

A

18th October 1981

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2
Q

Who are the composers of Africa?

A

David Paich, Jeff Porcaro

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3
Q

Tempo and Metre

A

Tempo: 92
Metre: 2/2

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4
Q

Texture

A

Homophonic, melody and accompaniment

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5
Q

Dynamics

A

Limited dynamic range, mf to f

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6
Q

Harmony and Tonality

A

Mostly major
Almost entirely diatonic
Uses a mixture of root position chords, inversions and extended harmony.

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7
Q

Rhythm

A

As in all Rock and Pop music, there is a mix of syncopation and on-beat rhythms.

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8
Q

Structure

A

Intro, Verse 1, Chorus 1, Link 1, Verse 2, Chorus 2, Link 2, Solo(instrumental), Chorus 3, Chorus 4, Outro

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9
Q

RIFF A chords

A

A major - G sharp minor - C sharp minor 7
All in root position

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10
Q

RIFF A

A

Played on the CS-80 synthesizer, first bar syncopated then next two bars on beat, using root position chords that move in parallel motion. Doubled by the bass guitar and by a marimba.

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11
Q

RIFF B

A

Uses a kalimba voice on the GS-I synthesizer, Riff B uses a pentatonic scale C sharp minor, repeated 5 quaver pattern in descending parallel 4ths, cross-rhythms

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12
Q

Verse chords

A

B, D sharp minor 7, G sharp minor 7, B/F sharp major, A/E major, F sharp major 11, E major 9/G sharp major

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13
Q

B/Fsharp WHAT DOES THIS MEAN

A

Play B chord with F sharp in the bass

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14
Q

Melody

A

Vocals are tripled, relatively low tessistura: octave B to B, almost entirely conjunct, word setting is syllabic apart from the melismas found on the last word of all but the last phrase, diatonic, syncopation

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15
Q

Backing vocals verse

A

Third phrase one octave higher
End of the last phrase third below

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16
Q

Guitars verse

A

Lead guitarist plays a short repeated figure with a clean sound whilst palm muting for the first 4 bar phrase. 12 string acoustic guitar then plays syncopated pattern.

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17
Q

Synth and piano verse

A

Synth uses sustained chords with the right hand (dotted rhythms) and doubles bass guitar in left hand. Also plays RIFF A. Piano plays RIFF A each time.

18
Q

Bass guitar verse

A

Mixture of roots and different partials of each chord using the same rhythm in each bar.

19
Q

Drums and percussion verse

A

Looped 2 bar pattern:
- 2 bar conga pattern repeat the first bar of their 2 bar pattern
- high cowbell drops out at the start of verse 1 not reappearing until bar 207
- marimba joins at every appearance of RIFF A
- bell tree sounds just before chorus 1
- drum fill in bar 58 + 59

20
Q

Chorus 1 chords

A

Phrase 1:
F sharp minor, D major, A major, E major
Phrase 2+3:
F sharp minor 7, D major, A major, E major
Phrase 4:
F sharp minor 7, D major add 2, A major, C sharp minor 7, E major, F sharp minor + E/G sharp major (same bar)

21
Q

Lead vocal chorus

A

Second crotchet of each phrase with an extremely narrow range (minor 2nd A-G sharp) except at the end (extends to a 4th A-E), syncopation, syllabic until the long melisma on ‘had’

22
Q

Backing vocals chorus

A

Homorhythmic with the lead vocal, generally two BVs but in bar 69 briefly splits into three BVs, the final two notes of the chorus has just one BV

23
Q

Guitars chorus

A

12 string guitar plays ascending and descending arpeggios in quavers, lead guitar uses distortion plays simple idea on the fourth bar of every phrase leading into a long sustained note, last three bars of chorus lead guitar plays three chords loudly, finishes chorus by doubling the bass guitar plays

24
Q

Synth and Piano chorus

A

Synth 1 is joined by synth 2 and uses strings sound, plays sustained chords, piano plays throughout the choruses

25
Q

Bass guitar chorus

A

Bass plays root notes of each chord, rhythm includes a ghost note, fourth bar of phrase 1+2+3 it plays a chromatic note

26
Q

Drums and Percussion chorus

A

Crash and ride cymbal plays crotchet quaver quaver crotchet quaver quaver, last bar of chorus involves hi hat and china cymbal

27
Q

Link 1

A

8bar passage is identical to bars 9 -16 of the intro, only difference is a gong sounds on the second beat of the second bar, live drum stops here

28
Q

Verse 2

A

Verse 2 is almost identical to Verse 1, verse 2 only repeats 9 bar phrase twice, start of final phrase it rises to a major sixth before descending back to the tonic, characteristic grave notes. Treble recorder plays a backing line (conjunct descending notes), bar 92 the upper recorder part doubles one of the BVs

29
Q

Backing vocals verse 2

A

First phrase: 3part chord on the ‘Ooh’
Second phrase : on the ‘Serengeti’ they create a four-part texture

30
Q

Chorus 2

A

Identical to chorus 1

31
Q

Link 2

A

Identical to Link 1

32
Q

Solo (instrumental)
Harmony and Structure

A
  • Phrases of 4,3,2 bars
  • incorporating RIFF A
  • just one repeat of the nine-bar phrase
33
Q

Solo(instrumental)
Timbre

A
  • synthesizers set to flute-like voice
  • a xylophone-like voice is added for the second phrase onwards
34
Q

Solo(instrumental)
Melody and Rhythm

A

-Phrase 1: 2 part texture, based on parallel 4ths(with occasional 3rds), regular quavers with a triplet and the end, B major pentatonic scale, repeating groups of three quavers creating cross rhythms and syncopation, sequence
-Phrase 2: parallel 3rds, quaver and crotchet triplets, E major, rhythm makes it feel improvised
-Phrase 3: regular quavers, parallel 4ths, B major pentatonic scale, ascends

35
Q

Solo(instrumental)
Vocal

A

Return in bar 150 singing a slightly modified version of the end of verse 1, three backing vocals, suspended chord

36
Q

Solo(Instrumental)
Piano

A

The piano is far higher in the mix during the Solo section

37
Q

Chorus 3

A

Chorus 3 is largely the same as Chorus 1 + 2
-Bass guitar: more decorated, lots of passing notes and improvised variations on the original bass line
-Lead guitar: more prominent, second half of chorus 3 it plays an ascending figure based on F sharp minor pentatonic
-4th phrase of Chorus 3 repeats the third phrase
- IN THE FINAL BAR OF CHORUS 3 AN ADDITIONAL LEAD VOCAL ENTERS SINGING A (presumably) IMPROVISED VOCAL IN A VERY HIGH REGISTER acting as an anacrusis into Chorus 4

38
Q

Chorus 4

A

Follows the 4-chord pattern of previous choruses, it uses the extended fourth phrase to lead into the Outro.
- backing vocals do not build up gradually, continue the full 3/4 part texture
- improvised lead vocal soars over the top of the texture, hitting the highest vocal note of the whole song, Top E
- piano is more prominent in this Chorus

39
Q

Outro

A

-Based on the intro, alternating RIFF A and RIFF B, using chords of the intro with no vocals
-Bass guitar plays some decorative lines, played in the high register
-xylophone: plays short repeated figure in bars 195-212
-Pangi shell shakers: on beat from the beginning of the outro till the end
-wood block: ostinato
-more cowbells
-extra conga
Music fades out.

40
Q

Roman numerals of chorus chords

A

vi-IV-I-V

music (10 decks)

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