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A Level Music (Edexcel) > Area Of Study 4 (Popular Music 'N Jazz) > Flashcards

Area Of Study 4 (Popular Music 'N Jazz) Flashcards

Includes "Revolver, "Cloudbusting" & "Back In The Day" + WL

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1
Q

What is the context of “Revolver”?

A

Who: The Beatles
What: Psychedelic rock album
Where: London
How: Rhythm/lead/bass guitar, drums & tape loops
Why: For showcasing blues & rhythm influences
When: 1966

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2
Q

Describe the melody of “Eleanor Rigby”

Revolver

A

Conjunct verse from 9

Refrain octave leap at 20 extends to a tenth at 24

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3
Q

Describe the harmony of “Eleanor Rigby”

Revolver

A

Slow rate of change between C maj/E min

Dissonant appogiatura at 9 then chromatic viola at 19

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4
Q

Describe the tonality of “Eleanor Rigby”

Revolver

A

Dorian modal vocals from 9

Aeolian modal backing vocals at 1

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5
Q

Describe the rhythm of “Eleanor Rigby”

Revolver

A

String crotchets with syncopated vocals from 10

Refrain sus semibreves from 19

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6
Q

Describe the texture of “Eleanor Rigby”

Revolver

A

Blocked string chords with cello doubling vocals at 59

Occassional fill in string phrases from 1

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7
Q

Describe the sonority of “Eleanor Rigby”

Revolver

A

Doubled stopped strings with cello sus/repeated notes

Syllabic vocals with divisi 1st violins from 14

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8
Q

Describe the melody of “Here There And Everywhere”

Revolver

A

Triadic vocals at 1 become disjunct from 5

Chromatic mandolin descent at 15

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9
Q

Describe the harmony of “Here There And Everywhere”

Revolver

A

Chromatic B min/maj slip at 1 with parallel roots from 4

Third 7th acts a pivot mod chord at 16

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10
Q

Describe the tonality of “Here There And Everywhere”

Revolver

A

G maj with E min extursions from 4

Bb maj mod at 13

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11
Q

Describe the rhythm of “Here There And Everywhere”

Revolver

A

Free rhythm at 1 before syncopated vocals at 5

Semiquavers are introduced from 13

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12
Q

Describe the texture of “Here There And Everywhere”

Revolver

A

Close American barbershop with extra vocals from 17

Two part main vocals at 21

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13
Q

Describe the sonority of “Here There And Everywhere”

Revolver

A

Reduced sonority with close American barbershop

Spread guitar chords at 1 with Leslie cabinet timbre at 15

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14
Q

Describe the melody of “I Want To Tell You”

Revolver

A

Conjunct vocal scalic ideas with melisma chant from 39

F/E ostinato at 10 before vocal appogiatura C# up at 28

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15
Q

Describe the harmony of “I Want To Tell You”

Revolver

A

Alternating tonic/subdom at 1 then dom min 9th at 10

Diminished harmony at 28

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16
Q

Describe the tonality of “I Want To Tell You”

Revolver

A

Flat 7 over pedal A from 1

Dissonant key with min 9th at 10

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17
Q

Describe the rhythm of “I Want To Tell You”

Revolver

A

Swung rhythm with frequent syncopated vocals

Guitar triplets at 15

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18
Q

Describe the texture of “I Want To Tell You”

Revolver

A

Prominent solidifying drums with third vocals at 7

Textural fade in/out

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19
Q

Describe the sonority of “I Want To Tell You”

Revolver

A

Conventional prominent drums/ narrow ranged vocals

Blocked piano chords from 5

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20
Q

Describe the melody of “Tomorrow Never Knows”

Revolver

A

Maj 3rd/flat 7th vocals with C maj triad descent at 7

Guitar C blues solo with flat 3rds from 22

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21
Q

Describe the harmony of “Tomorrow Never Knows”

Revolver

A

Implied C chord throughout

Flat 7th Bb flat introduced at 11

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22
Q

Describe the tonality of “Tomorrow Never Knows”

Revolver

A

Mixolydian modal vocals throughout

Blues scale with flat 3rds from 22

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23
Q

Describe the rhythm of “Tomorrow Never Knows”

Revolver

A

Continuous rock drum rhythm with cross rhythm vocals

Lombardic with three vs two cross rhythms at 4

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24
Q

Describe the texture of “Tomorrow Never Knows”

Revolver

A

Distorted ambience with solidified tambura drone

Artificially double tracked vocals throughout

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25
Q

Describe the sonority of “Tomorrow Never Knows”

Revolver

A

Natural effects with sitar fills & reverse drum cymbals

Taped distorted guitar solo from 22 with Leslie vocals

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26
Q

WL: “God Only Knows” by The Beach Boys

Pet Sounds

A

Steady crotchet tack piano motion with inverted chords

Tonal plasticity by disuse of authentic cadence points

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27
Q

WL: “She’s A Rainbow” by The Rolling Stones

Their Satanic Majesties Request

A

Functional progressions with monophonic piano triplets

Mellotron heard when vocals enter with dotted rhythms

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28
Q

WL: “Have A Cigar” by Pink Floyd

Wish You Were Here

A

Dubious melody dominated homophony

Electric keyboards play E min 6th with distortion

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29
Q

WL: “Stuck In The Middle With You” by Stealers Wheel

Stealers Wheel

A

D Dorian mode with syncopated acoustic guitar riff

Hand claps with muted/sliding guitars

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30
Q

WL: “Forget That Girl” by The Monkees

Headquarters

A

Sighing backing vocals double in thirds with lead vocals

A maj followed by F maj with distinct leading note

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31
Q

WL: “Good Girls” by The Ronettes

Ronettes

A

Narrow vocals in Bb maj/G min/Eb maj/F min prog

Heavy rock pattern with conjunct/repeated vocal notes

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32
Q

WL: “Come Together” by The Beatles

Abbey Road

A

Vocal ‘sh’ effects with repeated notes in vocals

Sparse texture with unusual mod from D to B min

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33
Q

WL: “Time And Love” by The Supremes

Touch

A

Swung rhythm with free vocals and horn section

Happy chorus with flute/bell fill ins in verses

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34
Q

What is the context of “Hounds Of Love”?

A 
Who: Kate Bush
What: Two sided concept album
Where: Welling 
How: Uillean pipes. vocals, CMI, bouzouki & whistles  
Why: For increasing production sales 
When: 1985
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35
Q

Describe the melody of “Cloudbusting”

Hounds Of Love

A

Triadic vocal shape at 1 before rising fifth at 82

Syncopated rapid repeated notes at 86

36
Q

Describe the harmony of “Cloudbusting”

Hounds Of Love

A

Stepwise motion using 7ths & 9ths from 1

B add 9 subtonic acts as substitute dominant

37
Q

Describe the tonality of “Cloudbusting”

Hounds Of Love

A

Modal C# min with no key changes

Tonal but not straightforwardly functional

38
Q

Describe the rhythm of “Cloudbusting”

Hounds Of Love

A

6/4 time signatures extend phrases at 45

Anticipatory syncopation and repeated notes from 81

39
Q

Describe the texture of “Cloudbusting”

Hounds Of Love

A

Homorhythm silence at 17 before octave string from 34

Polyphonic from 81 after additive vocal samples from 11

40
Q

Describe the sonority of “Cloudbusting”

Hounds Of Love

A

Short staccato string sextet with restrained drums

Vocals range a tenth with steam engine sounds at end

41
Q

Describe the melody of “And Dream Of Sheep”

Hounds Of Love

A

Two rising 5ths at 1 before oscillating min 3rds at 8

Word painting vocals finishing on dom at 53

42
Q

Describe the harmony of “And Dream Of Sheep”

Hounds Of Love

A

Chordal roots 5th apart with subtonic at 1

E maj conventional prog over tonic pedal at 8

43
Q

Describe the tonality of “And Dream Of Sheep”

Hounds Of Love

A

Verses in modal C# min ending in E Maj

E maj refrain and bridge

44
Q

Describe the rhythm of “And Dream Of Sheep”

Hounds Of Love

A

Syncopation with duple meters used to extend phrases

Lombardic triplets with ritardando from 49

45
Q

Describe the texture of “And Dream Of Sheep”

Hounds Of Love

A

Focuses on vocal line with piano sometimes doubling it

Mid range blocked chords with tonic pedal from 8

46
Q

Describe the sonority of “And Dream Of Sheep”

Hounds Of Love

A

Dominating voice/piano with decorative bouzouki at 20

Shipping forecast at 15 before Irish whistles from 41

47
Q

Describe the melody of “Under Ice”

Hounds Of Love

A

Staccato phrasing with sinking portamento from 53

Quasi pentatonic shapes at 15 with stepwise notes

48
Q

Describe the harmony of “Under Ice”

Hounds Of Love

A

A natural min chords with 3rds moving up and down

Occasional D major chords from 49

49
Q

Describe the tonality of “Under Ice”

Hounds Of Love

A

Modal A min without modulations

Finishes on ambiguous A min sus2 from 55

50
Q

Describe the rhythm of “Under Ice”

Hounds Of Love

A

Obsessive crotchet pulse with accelerando

Cross rhythmic quaver crotchet ostinato at 3

51
Q

Describe the texture of “Under Ice”

Hounds Of Love

A

Bass pedal textures with open fifths at 3

Homorhythmic at 19 before vocal dialogue from 50

52
Q

Describe the sonority of “Under Ice”

Hounds Of Love

A

Low vocals limited to a perfect 5th with synths

High melisma before Mongolian throat singer at 55

53
Q

WL: “Destiny” by Stevie Nicks

Street Angel

A

Warm Hammond organ & sop sax use wide vibrato

Syncopation is common with plagal progressions

54
Q

WL: “Frederick” by Patti Smith

Wave

A

Steers away from A maj to F# min with D maj 7th

Frequent min 3rds & 2nds in vocal’s melodic shape

55
Q

WL: “Stay In Touch” by Joni Mitchell

Taming The Tiger

A

Ambiguous fugal texture between guitars & vocals

Chord G9/11/F is created by added 2nds in guitars

56
Q

WL: “Get Him Back” by Fiona Apple

Extraordinary Machine

A

A min contains seventh & flat 5th with inflections

Straight VS triplet cross rhythms in low piano riff

57
Q

WL: “Closing Of The Doors” by Roisin Murphy

Ruby Blue

A

Jazz harmony with A flat maj 7th & C maj add 2nd

Vocals & horns rise together with vamp piano chords

58
Q

WL: “Ricochet” by David Bowie

Let’s Dance

A

Talking effects are heard with horn & guitar stabs

Not clearly on key of A min stated by bass notes

59
Q

WL: “Army Dreamers” by Kate Bush

Never For Ever

A

Waltzing compound time established by bass drum

Scalic main vocals with repeating backing vocal notes

60
Q

WL: “Blood Of Eden” by Peter Gabriel

Us

A

African ideas with bongos & high powerful vocals

Tonic & dominant harmonic progressions with slides

61
Q

What is the context of “Back In The Day”?

A

Who: Courtney Pine
What: Post-bop jazz album
Where: London
How: Saxes, keyboards, bass, drums & turntables
Why: For bringing modernistic cultures together
When: 2000

62
Q

Describe the melody of “Lady Day And John Coltrane”

Back In The Day

A

Saxophone links with blue notes & grace notes at 8

Extreme chromatic writing at 102 to a similar link

63
Q

Describe the harmony of “Lady Day And John Coltrane”

Back In The Day

A

Chords outline 12 bar blues on C min seventh

Fifth backings at 37 before chromatic harmony at 75

64
Q

Describe the tonality of “Lady Day And John Coltrane”

Back In The Day

A

Harmony moves to standard blues subdom at 13

Aug 5th creates perf cadence to tonic at 119

65
Q

Describe the rhythm of “Lady Day And John Coltrane”

Back In The Day

A

Syncopated rock rhythm in keyboards throughout

Rapid semiquaver writing in sax interjection at 102

66
Q

Describe the texture of “Lady Day And John Coltrane”

Back In The Day

A

Solidifying vibrato effect on Hammond organ at 5

Denser keyboard chords accompanying sax at 51

67
Q

Describe the sonority of “Lady Day And John Coltrane”

Back In The Day

A

Improvised sax solo with bends/slides at 55

Wide vibrato sax at 39 & key clicks at 130

68
Q

Describe the melody of “Inner State Of Mind”

Back In The Day

A

Crotchet rising idea at 1 with pentatonic guitar riff at 104

Summertime theme at 10 before So Whats at 11

69
Q

Describe the harmony of “Inner State Of Mind”

Back In The Day

A

Seventh chords with fuller harmony at 18

C min to F harmonic extensions from 10

70
Q

Describe the tonality of “Inner State Of Mind”

Back In The Day

A

Dorian modal saxophone from 2

Guitar riff uses pentatonic scale at 104

71
Q

Describe the rhythm of “Inner State Of Mind”

Back In The Day

A

Sax syncopation at 4

Homorhythmic tutti instrumental link at 70

72
Q

Describe the texture of “Inner State Of Mind”

Back In The Day

A

Melody dominated homophony from 2

Sudden breaks at 62 & 72

73
Q

Describe the sonority of “Inner State Of Mind”

Back In The Day

A

Distorted introductory sampled guitar music

Sliding sax from 2 with turntabling effects from 36

74
Q

Describe the melody of “Love And Affection”

Back In The Day

A

Underlying memorable bass riff at 22

Blue vocal notes at 36 with string descents from 84

75
Q

Describe the harmony of “Love And Affection”

Back In The Day

A

Chords move in E scale whilst avoiding E from 1

Harmonies descend chromatically from 54

76
Q

Describe the tonality of “Love And Affection”

Back In The Day

A

Starts on subdom at 46 with section end on dom at 53

Song ends on a three note vocal tonic chord

77
Q

Describe the rhythm of “Love And Affection”

Back In The Day

A

Free rhythm with occassional stop time bars at 30

Off beat notes at 36 with rock drum rhythm at 15

78
Q

Describe the texture of “Love And Affection”

Back In The Day

A

Sax crescendo on long note at 66

Polyphony between vocals & sax from 76

79
Q

Describe the sonority of “Love And Affection”

Back In The Day

A

Interesting choice of bass clarinet throughout

Guitar sounds are distorted throughout

80
Q

WL: “Emergency” by Javon Jackson

Good People

A

Fast extensive jazz guitar patterns

Repetitive tenor sax chromatic triplets with rising 3rd

81
Q

WL: “Wishing On A Star” by Marion Meadows

Player’s Club

A

Piano & liquefied guitar interject with blue grace notes

Syncopated vibrating sop sax ends on high trill

82
Q

WL: “What It Was” by Dexter Gordon

Tangerine

A

Solidifying dense piano chords & moto perpetuo bass

Lightly swung & straight drum rhythms are explored

83
Q

WL: “I Should Care” by Wayne Escoffery

If Dreams Come True

A

Warm Rhodes piano solo has fast scalic blues patterns

Glides & progressive ideas feature in tenor sax solo

84
Q

WL: “Delta Bali Blues” by Kenny Garrett

Simply Said

A

High piano runs & wide use of drum kit’s cymbals

Repeating wah effects appear in alto sax

85
Q

WL: “Get Yourself Up” by Carol Chaikin

Lucy’s Day Off

A

Whistles play a repeated extended chord sequence

Tenor sax has glides & improvises with blue notes

86
Q

WL: “Be Mine Tonight” by Courtney Pine

Closer To Home

A

Heavy rock drum rhythm with bass reggae style

Tenor sax conjunct mixing between repetition & glides

87
Q

WL: “Lil Les” by Tia Fuller

Angelic Warrior

A

Irregular pulse with memorable jazz guitar bass line

Distinctive rising perf 5th in tenor sax with grace note

A Level Music (Edexcel) (6 decks)

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