And There’s Going To Be Hell To Pay Flashcards
Dynamics - and there’s gonna be hell to pay
F
At ‘pay’ marking of sub mp then a crescendo across the word for emphasis and dramatics
Rhythm - and there’s gonna be hell to pay
‘And there’s’ is the end of the counterpoint in the voices
Sop+ten1 sing ‘there’s’ and rest sing ‘and there’s’ - both anacrusis figures
Anacrusis in 12/8, ‘gonna be hell to’ is a bar of 6/8 then ‘pay’ returns back to 12/8 which carries on = change in time signature creates tension
Pitch - and there’s gonna be hell to pay
High pitch on ‘pay’
Structure - and there’s gonna be hell to pay
5th phrase in verse 3, 3 bar phrase - ‘pay’ is held for 2 bars for emphasis
Melody - and there’s gonna be hell to pay
From ‘gonna’ both voices are in parallel minor 3rds
‘Hell’ is melisma in both parts - emphasis on words
2nd note in ‘hell’ is the 9th in sop=ten1 and 11th in res
‘Hell to’ = falling, falling into hell - their lives, a S.T fall in sop+ten1 line
‘To pay’ minor 3rd rise in sop+ten1 and major 2nd rise in rest
2nd note in ‘pay’ when vocal parts split again, a major 3rd between sop+te1 and sop2, then a perfect 4th between ten2 and alto+bari
Textures- and there’s gonna be hell to pay
In chorus of singers in 2 lines/ 4 voices
UNTIL
Split/division on ‘pay’ into
Sop 1 and tenor1, sop2, ten2, alto and bari
This creates 5 vocal lines
Tempo - and there’s gonna be hell to pay
Molto allegro
Tonality - and there’s gonna be hell to pay
Modulates to Ab major, up a tone, helps tension of words and helps transition back to F minor
Harmony - and there’s gonna be hell to pay
Ab arpeggios under ‘gonna be’ in woodwind accompaniment
Syncopation raises tension in keyboard and guitar accomp
In the 6/8 bar, the 3/4 moves against the 6/8 - oppression, same cross rhythms as before in the 12/8 bar
Chords - and there’s gonna be hell to pay
I911- V
Imperfect cadence, supports the words and how their lives are far from perfect
