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GCSE music > afro celt > Flashcards

afro celt Flashcards

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1
Q

fusion

A

Afro Celt Sound System is a fusion of African, Celtic and electronic dance music.

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2
Q

African instruments:

A

kora, talking drum

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3
Q

Celtic instruments:

A

hurdy-gurdy, uilleann pipes, bodhrán, fiddle, whistle, accordion

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4
Q

Western (dance) instruments

A

male vox, female vox, synthesisers (including string pad, soft pad, bells, string bass), breath samples, drum machine, electric piano, shaker and tambourine.

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5
Q

Structure

A
  • Intro
  • verse 1
  • verse 2
  • solos
  • verse 3
  • build
  • outro
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6
Q

Rhythm

A
  • Slightly swung semiquavers - relaxed feel
  • Syncopation
  • Fiddle uses Triplets, sextuplets.
  • Rhythmic ostinato
  • Loops, riffs, short rhythmic phrases, 2- and 4-bar phrases
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7
Q

Tempo

A
  • Free time at the start
  • Steady tempo established at 50-100 bpm.
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8
Q

Metre

A

Simple quadruple metre

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9
Q

Texture

A
  • Use of layering - multiple layers of music together - loops
  • Main texture is homophonic.
  • Heterophonic texture (during build) – one musical line has more elaborate texture than other musical line
  • Polyphonic texture during verse 3
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10
Q

Tonality

A
  • Chords - Key of C minor
  • Melody – Modal – Aeolian
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11
Q

0.0–1.38 Intro - Rhythm

A

bodhran – dotted rhythm, syncopation, Rhythmic ostinato

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12
Q

0.0–1.38 Intro - Texture

A

Layering of parts increase the texture as more loops of talking drum, synth strings drone, vocal samples (spoken) are added.

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13
Q

0.0–1.38 Intro - Instruments added:

A

bodhran – backbone of piece (1), shaker (2) and drum machine (3)
Female vocalisation enters later using heavy reverb and panned centrally, with synth (4) and drum loops (5 and 6).

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14
Q

0.0–1.38 Intro - Melody

A

The intro starts with a drone. It uses two different synth tones, hard-panned L and R. Both synths are being filtered with low pass filters

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15
Q

1.38–2.55 Verse 1 - Harmony

A
  • The accompaniment is simple synth chords
  • low synth strings that play an ascending chromatic line
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16
Q

1.38–2.55 Verse 1 - Texture

A
  • homophonic texture.
  • Layering of parts increase the texture as more loops are added – builds dynamics and tension.
17
Q

1.38–2.55 Verse 1 - Melody

A
  • Main female vocal (Fig. 2) comes in singing with a limited range of a 6th
  • The tambourine replaces the shaker.
  • Kora (9) enters at the end of the verse along with low synth strings that play an ascending chromatic line (10).
  • At the end we have a short instrumental before the breath sample and the bass loop enter. A short flute effect (showing obvious delay FX (echoes)on breath sample at the end of verse 1
18
Q

2.55–3.51 Verse 2 - Rhythm

A

fiddle - double stopping, accents and triplets and sextuples

19
Q

2.55–3.51 Verse 2 - Harmony

A

Towards the end the low chromatic synth strings enter

20
Q

2.55–3.51 Verse 2 - Texture

A

homophonic texture

21
Q

2.55–3.51 Verse 2 - Melody

A
  • Male vocals (Fig. 3) take over singing a variation of verse 1. A more complicated drum pattern (14) appears.
  • A fiddle enters playing an accompaniment using double stopping, accents and triplets and sextuples.
  • Towards the end the low chromatic synth strings enter. A short drum and bass link leads to the solos
22
Q

3.51–4.55 Solos - Rhythm

A

Uilleann pipe - plays mainly running semiquavers with occasional glissando (slide).
low whistle solo – demisemiquavers (mostly semiquavers), triplets & sextuples
hurdy gurdy solo - plays mainly semiquavers with some demisemiquavers and a few quavers.

23
Q

3.51–4.55 Solos - Harmony

A

Uilleann pipe solo is accompanied by the accordion loop (playing accented chords)
low whistle solo is accompanied by the low synth strings along with the accordion.

24
Q

3.51–4.55 Solos - Texture

A

homophonic texture
Uilleann pipe solos are accompanied by the accordion loop (playing accented chords) (17) and bodhrán (18)

25
Q

3.51–4.55 Solos - Melody

A

Uilleann pipe starts the solo section (Fig. 5), joined by the whistle (an octave higher) playing mainly running semiquavers with the occasional glissando (slide).
The solo continues with the low whistle (Fig. 6) playing a more complicated version of the pipe solo. It is more varied in rhythm and an increase in rhythmic variety (including the use of demisemiquavers, triplets & sextuples).
Towards the end the male vocals (19) (short phrases) are joined by the hurdy-gurdy solo (20) and bass (12).

26
Q

4.55–5.51 Verse 3 - Harmony

A

new synth sample plays static extended chords (one chord per bar).

27
Q

4.55–5.51 Verse 3 - Texture

A

polyphonic texture - The hurdy-gurdy and uilleann pipe solo playing underneath the main vocals.
Followed by a homophonic section of male vocal accompanied by the fiddle and ascending chromatic low synth strings.

28
Q

4.55–5.51 Verse 3 - Melody

A

female verse takes over with the hurdy-gurdy and uilleann pipe solo playing underneath the main vocals – creating a polyphonic texture. There is the addition of a new synth sample, which plays static extended chords (one chord per bar).
The male vocal takes over accompanied by the fiddle (double stopping, accents and triplets and sextuples) with the ascending chromatic low synth strings.

29
Q

5.51–6.59 Build - Texture

A

heterophonic texture

30
Q

5.51–6.59 Build - Melody

A

The bass re-enters with a more complicated drum part (24).
Layered on top is an electric piano playing a syncopated two note melody (F and G) over a chordal/arpeggio semiquaver accompaniment (25). Underneath there is a second electric piano playing an oscillating pattern of two notes (E[flat] and F) (26).
The two electric piano loops drop out as a new hurdy-gurdy loop enters (27). Female vocal samples interject as a new uilleann pipe solo loop (28) creates a heterophonic texture with the hurdy-gurdy. Again they are layered with the low chromatic synth strings.

31
Q

6.59–7.28 Outro

A

Female voice sings ‘Reach out and you’ll touch me’ (Fig. 2). The bass loop drops out and the second fiddle loop re-enters.
At the end the two electric piano loops enter as all the other loops drop out. The music fades out.

32
Q

Celtic (features)

A
  • Regular beat
  • Instrumental solo
  • Modal
  • Ornaments
  • Repetitive melodies
33
Q

EDM (features)

A
  • Layering
  • FX – panning, reverb
  • Loops
  • Follows edm structure
  • samples
  • pedal notes
  • static harmony
34
Q

African (features)

A
  • Ostinato
  • Syncopations
  • Layered texture.
  • Polyrhythms
  • cross rhythms

GCSE music (12 decks)

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