Area Of Study 4 (Popular Music 'N Jazz) Flashcards
Includes "Revolver, "Cloudbusting" & "Back In The Day" + WL
What is the context of “Revolver”?
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
Describe the melody of “Eleanor Rigby”
Revolver
Conjunct verse from 9
Refrain octave leap at 20 extends to a tenth at 24
Describe the harmony of “Eleanor Rigby”
Revolver
Slow rate of change between C maj/E min
Dissonant appogiatura at 9 then chromatic viola at 19
Describe the tonality of “Eleanor Rigby”
Revolver
Dorian modal vocals from 9
Aeolian modal backing vocals at 1
Describe the rhythm of “Eleanor Rigby”
Revolver
String crotchets with syncopated vocals from 10
Refrain sus semibreves from 19
Describe the texture of “Eleanor Rigby”
Revolver
Blocked string chords with cello doubling vocals at 59
Occassional fill in string phrases from 1
Describe the sonority of “Eleanor Rigby”
Revolver
Doubled stopped strings with cello sus/repeated notes
Syllabic vocals with divisi 1st violins from 14
Describe the melody of “Here There And Everywhere”
Revolver
Triadic vocals at 1 become disjunct from 5
Chromatic mandolin descent at 15
Describe the harmony of “Here There And Everywhere”
Revolver
Chromatic B min/maj slip at 1 with parallel roots from 4
Third 7th acts a pivot mod chord at 16
Describe the tonality of “Here There And Everywhere”
Revolver
G maj with E min extursions from 4
Bb maj mod at 13
Describe the rhythm of “Here There And Everywhere”
Revolver
Free rhythm at 1 before syncopated vocals at 5
Semiquavers are introduced from 13
Describe the texture of “Here There And Everywhere”
Revolver
Close American barbershop with extra vocals from 17
Two part main vocals at 21
Describe the sonority of “Here There And Everywhere”
Revolver
Reduced sonority with close American barbershop
Spread guitar chords at 1 with Leslie cabinet timbre at 15
Describe the melody of “I Want To Tell You”
Revolver
Conjunct vocal scalic ideas with melisma chant from 39
F/E ostinato at 10 before vocal appogiatura C# up at 28
Describe the harmony of “I Want To Tell You”
Revolver
Alternating tonic/subdom at 1 then dom min 9th at 10
Diminished harmony at 28
Describe the tonality of “I Want To Tell You”
Revolver
Flat 7 over pedal A from 1
Dissonant key with min 9th at 10
Describe the rhythm of “I Want To Tell You”
Revolver
Swung rhythm with frequent syncopated vocals
Guitar triplets at 15
Describe the texture of “I Want To Tell You”
Revolver
Prominent solidifying drums with third vocals at 7
Textural fade in/out
Describe the sonority of “I Want To Tell You”
Revolver
Conventional prominent drums/ narrow ranged vocals
Blocked piano chords from 5
Describe the melody of “Tomorrow Never Knows”
Revolver
Maj 3rd/flat 7th vocals with C maj triad descent at 7
Guitar C blues solo with flat 3rds from 22
Describe the harmony of “Tomorrow Never Knows”
Revolver
Implied C chord throughout
Flat 7th Bb flat introduced at 11
Describe the tonality of “Tomorrow Never Knows”
Revolver
Mixolydian modal vocals throughout
Blues scale with flat 3rds from 22
Describe the rhythm of “Tomorrow Never Knows”
Revolver
Continuous rock drum rhythm with cross rhythm vocals
Lombardic with three vs two cross rhythms at 4
Describe the texture of “Tomorrow Never Knows”
Revolver
Distorted ambience with solidified tambura drone
Artificially double tracked vocals throughout
Describe the sonority of “Tomorrow Never Knows”
Revolver
Natural effects with sitar fills & reverse drum cymbals
Taped distorted guitar solo from 22 with Leslie vocals
WL: “God Only Knows” by The Beach Boys
Pet Sounds
Steady crotchet tack piano motion with inverted chords
Tonal plasticity by disuse of authentic cadence points
WL: “She’s A Rainbow” by The Rolling Stones
Their Satanic Majesties Request
Functional progressions with monophonic piano triplets
Mellotron heard when vocals enter with dotted rhythms
WL: “Have A Cigar” by Pink Floyd
Wish You Were Here
Dubious melody dominated homophony
Electric keyboards play E min 6th with distortion
WL: “Stuck In The Middle With You” by Stealers Wheel
Stealers Wheel
D Dorian mode with syncopated acoustic guitar riff
Hand claps with muted/sliding guitars
WL: “Forget That Girl” by The Monkees
Headquarters
Sighing backing vocals double in thirds with lead vocals
A maj followed by F maj with distinct leading note
WL: “Good Girls” by The Ronettes
Ronettes
Narrow vocals in Bb maj/G min/Eb maj/F min prog
Heavy rock pattern with conjunct/repeated vocal notes
WL: “Come Together” by The Beatles
Abbey Road
Vocal ‘sh’ effects with repeated notes in vocals
Sparse texture with unusual mod from D to B min
WL: “Time And Love” by The Supremes
Touch
Swung rhythm with free vocals and horn section
Happy chorus with flute/bell fill ins in verses
What is the context of “Hounds Of Love”?
Who: Kate Bush What: Two sided concept album Where: Welling How: Uillean pipes. vocals, CMI, bouzouki & whistles Why: For increasing production sales When: 1985
Describe the melody of “Cloudbusting”
Hounds Of Love
Triadic vocal shape at 1 before rising fifth at 82
Syncopated rapid repeated notes at 86
Describe the harmony of “Cloudbusting”
Hounds Of Love
Stepwise motion using 7ths & 9ths from 1
B add 9 subtonic acts as substitute dominant
Describe the tonality of “Cloudbusting”
Hounds Of Love
Modal C# min with no key changes
Tonal but not straightforwardly functional
Describe the rhythm of “Cloudbusting”
Hounds Of Love
6/4 time signatures extend phrases at 45
Anticipatory syncopation and repeated notes from 81
Describe the texture of “Cloudbusting”
Hounds Of Love
Homorhythm silence at 17 before octave string from 34
Polyphonic from 81 after additive vocal samples from 11
Describe the sonority of “Cloudbusting”
Hounds Of Love
Short staccato string sextet with restrained drums
Vocals range a tenth with steam engine sounds at end
Describe the melody of “And Dream Of Sheep”
Hounds Of Love
Two rising 5ths at 1 before oscillating min 3rds at 8
Word painting vocals finishing on dom at 53
Describe the harmony of “And Dream Of Sheep”
Hounds Of Love
Chordal roots 5th apart with subtonic at 1
E maj conventional prog over tonic pedal at 8
Describe the tonality of “And Dream Of Sheep”
Hounds Of Love
Verses in modal C# min ending in E Maj
E maj refrain and bridge
Describe the rhythm of “And Dream Of Sheep”
Hounds Of Love
Syncopation with duple meters used to extend phrases
Lombardic triplets with ritardando from 49
Describe the texture of “And Dream Of Sheep”
Hounds Of Love
Focuses on vocal line with piano sometimes doubling it
Mid range blocked chords with tonic pedal from 8
Describe the sonority of “And Dream Of Sheep”
Hounds Of Love
Dominating voice/piano with decorative bouzouki at 20
Shipping forecast at 15 before Irish whistles from 41
Describe the melody of “Under Ice”
Hounds Of Love
Staccato phrasing with sinking portamento from 53
Quasi pentatonic shapes at 15 with stepwise notes
Describe the harmony of “Under Ice”
Hounds Of Love
A natural min chords with 3rds moving up and down
Occasional D major chords from 49
Describe the tonality of “Under Ice”
Hounds Of Love
Modal A min without modulations
Finishes on ambiguous A min sus2 from 55
Describe the rhythm of “Under Ice”
Hounds Of Love
Obsessive crotchet pulse with accelerando
Cross rhythmic quaver crotchet ostinato at 3
Describe the texture of “Under Ice”
Hounds Of Love
Bass pedal textures with open fifths at 3
Homorhythmic at 19 before vocal dialogue from 50
Describe the sonority of “Under Ice”
Hounds Of Love
Low vocals limited to a perfect 5th with synths
High melisma before Mongolian throat singer at 55
WL: “Destiny” by Stevie Nicks
Street Angel
Warm Hammond organ & sop sax use wide vibrato
Syncopation is common with plagal progressions
WL: “Frederick” by Patti Smith
Wave
Steers away from A maj to F# min with D maj 7th
Frequent min 3rds & 2nds in vocal’s melodic shape
WL: “Stay In Touch” by Joni Mitchell
Taming The Tiger
Ambiguous fugal texture between guitars & vocals
Chord G9/11/F is created by added 2nds in guitars
WL: “Get Him Back” by Fiona Apple
Extraordinary Machine
A min contains seventh & flat 5th with inflections
Straight VS triplet cross rhythms in low piano riff
WL: “Closing Of The Doors” by Roisin Murphy
Ruby Blue
Jazz harmony with A flat maj 7th & C maj add 2nd
Vocals & horns rise together with vamp piano chords
WL: “Ricochet” by David Bowie
Let’s Dance
Talking effects are heard with horn & guitar stabs
Not clearly on key of A min stated by bass notes
WL: “Army Dreamers” by Kate Bush
Never For Ever
Waltzing compound time established by bass drum
Scalic main vocals with repeating backing vocal notes
WL: “Blood Of Eden” by Peter Gabriel
Us
African ideas with bongos & high powerful vocals
Tonic & dominant harmonic progressions with slides
What is the context of “Back In The Day”?
Who: Courtney Pine
What: Post-bop jazz album
Where: London
How: Saxes, keyboards, bass, drums & turntables
Why: For bringing modernistic cultures together
When: 2000
Describe the melody of “Lady Day And John Coltrane”
Back In The Day
Saxophone links with blue notes & grace notes at 8
Extreme chromatic writing at 102 to a similar link
Describe the harmony of “Lady Day And John Coltrane”
Back In The Day
Chords outline 12 bar blues on C min seventh
Fifth backings at 37 before chromatic harmony at 75
Describe the tonality of “Lady Day And John Coltrane”
Back In The Day
Harmony moves to standard blues subdom at 13
Aug 5th creates perf cadence to tonic at 119
Describe the rhythm of “Lady Day And John Coltrane”
Back In The Day
Syncopated rock rhythm in keyboards throughout
Rapid semiquaver writing in sax interjection at 102
Describe the texture of “Lady Day And John Coltrane”
Back In The Day
Solidifying vibrato effect on Hammond organ at 5
Denser keyboard chords accompanying sax at 51
Describe the sonority of “Lady Day And John Coltrane”
Back In The Day
Improvised sax solo with bends/slides at 55
Wide vibrato sax at 39 & key clicks at 130
Describe the melody of “Inner State Of Mind”
Back In The Day
Crotchet rising idea at 1 with pentatonic guitar riff at 104
Summertime theme at 10 before So Whats at 11
Describe the harmony of “Inner State Of Mind”
Back In The Day
Seventh chords with fuller harmony at 18
C min to F harmonic extensions from 10
Describe the tonality of “Inner State Of Mind”
Back In The Day
Dorian modal saxophone from 2
Guitar riff uses pentatonic scale at 104
Describe the rhythm of “Inner State Of Mind”
Back In The Day
Sax syncopation at 4
Homorhythmic tutti instrumental link at 70
Describe the texture of “Inner State Of Mind”
Back In The Day
Melody dominated homophony from 2
Sudden breaks at 62 & 72
Describe the sonority of “Inner State Of Mind”
Back In The Day
Distorted introductory sampled guitar music
Sliding sax from 2 with turntabling effects from 36
Describe the melody of “Love And Affection”
Back In The Day
Underlying memorable bass riff at 22
Blue vocal notes at 36 with string descents from 84
Describe the harmony of “Love And Affection”
Back In The Day
Chords move in E scale whilst avoiding E from 1
Harmonies descend chromatically from 54
Describe the tonality of “Love And Affection”
Back In The Day
Starts on subdom at 46 with section end on dom at 53
Song ends on a three note vocal tonic chord
Describe the rhythm of “Love And Affection”
Back In The Day
Free rhythm with occassional stop time bars at 30
Off beat notes at 36 with rock drum rhythm at 15
Describe the texture of “Love And Affection”
Back In The Day
Sax crescendo on long note at 66
Polyphony between vocals & sax from 76
Describe the sonority of “Love And Affection”
Back In The Day
Interesting choice of bass clarinet throughout
Guitar sounds are distorted throughout
WL: “Emergency” by Javon Jackson
Good People
Fast extensive jazz guitar patterns
Repetitive tenor sax chromatic triplets with rising 3rd
WL: “Wishing On A Star” by Marion Meadows
Player’s Club
Piano & liquefied guitar interject with blue grace notes
Syncopated vibrating sop sax ends on high trill
WL: “What It Was” by Dexter Gordon
Tangerine
Solidifying dense piano chords & moto perpetuo bass
Lightly swung & straight drum rhythms are explored
WL: “I Should Care” by Wayne Escoffery
If Dreams Come True
Warm Rhodes piano solo has fast scalic blues patterns
Glides & progressive ideas feature in tenor sax solo
WL: “Delta Bali Blues” by Kenny Garrett
Simply Said
High piano runs & wide use of drum kit’s cymbals
Repeating wah effects appear in alto sax
WL: “Get Yourself Up” by Carol Chaikin
Lucy’s Day Off
Whistles play a repeated extended chord sequence
Tenor sax has glides & improvises with blue notes
WL: “Be Mine Tonight” by Courtney Pine
Closer To Home
Heavy rock drum rhythm with bass reggae style
Tenor sax conjunct mixing between repetition & glides
WL: “Lil Les” by Tia Fuller
Angelic Warrior
Irregular pulse with memorable jazz guitar bass line
Distinctive rising perf 5th in tenor sax with grace note
