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A Level Music (Edexcel) > Area Of Study 5 (Fusions) > Flashcards

Area Of Study 5 (Fusions) Flashcards

Includes "Cana Quema", "Estampes" & "Breathing Underwater" + WL

1
Q

What is the context of “Cana Quema”?

A 
Who: La Familia Valera Miranda
What: Cuban family history album 
Where: Cuba 
How: Lead/chorus vocals, guitar/cuatro, and bongos
Why: For entertainment purposes 
When: 1995
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2
Q

Describe the melody of “Se Quema La Chumbamba”

Cana Quema

A

Intro riff has two related phrases with rising/falling 3rds

Balanced vocal phrases beginning of 3rd of tonic at 13

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3
Q

Describe the harmony of “Se Quema La Chumbamba”

Cana Quema

A

Tonic and dom 7th chords with rich Eb in D7 chord

Sliding cuatro parallel progressions from 77

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4
Q

Describe the tonality of “Se Quema La Chumbamba”

Cana Quema

A

Diatonic G min throughout

No modulations

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5
Q

Describe the rhythm of “Se Quema La Chumbamba”

Cana Quema

A

Strong 2 in a bar with first beat hidden at 1

3:2 claves rhythm at 9 then cuatro triplets at 95

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6
Q

Describe the texture of “Se Quema La Chumbamba”

Cana Quema

A

Blocked chordal accomp in guitar

Fixed coro in two parts at 21

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7
Q

Describe the sonority of “Se Quema La Chumbamba”

Cana Quema

A

Syllabic vocals with pizz double bass from 5

Ringing cuatro at 151

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8
Q

Describe the melody of “Alla Va Candela”

Cana Quema

A

Same shaped vocal/cuatro at 15 then large steps at 25

Ascending octaves at 32 then repeated notes at 39

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9
Q

Describe the harmony of “Alla Va Candela”

Cana Quema

A

E and B7 chords manipulated at 28 with tonic/dom at 39

Melodic chromatic inflections with high C#

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10
Q

Describe the tonality of “Alla Va Candela”

Cana Quema

A

Diatonic E maj throughout

No modulations

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11
Q

Describe the rhythm of “Alla Va Candela”

Cana Quema

A

Cut duple square bass at 38 becomes syncopated at 39

Vocal cross rhythms before cuatro solo hemiolas at 103

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12
Q

Describe the texture of “Alla Va Candela”

Cana Quema

A

Blocked chordal accomp in guitar

Fixed coro in two parts at 40 after low thick vocals at 15

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13
Q

Describe the sonority of “Alla Va Candela”

Cana Quema

A

Syllabic vocals with pizz double bass from 3

Ringing cuatro at 66 and 98

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14
Q

WL: “Castellano” by Sones De Oriente

Son De Santiago

A

Falling vocal minor sixth with cowbell timbres

Dotted rhythms where sparse textures are prominent

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15
Q

WL: “Coco Mai Mai” by Septeto Turquino

Son Para Los Rumberos

A

Extreme solo trumpet valve trills and turn figures

Descending third intervals with arpeggiated triads

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16
Q

WL: “Tresero De Manigua” by Pancho Amat

Herencias

A

F maj with implied mod to G min through dim harmonies

Continuous sliding conjunct quaver triplets in guitar

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17
Q

WL: “Sabroso” by Compay Segundo

Cien Anos De Son

A

Contrapuntal layers between double bass and guitar

Shakers as solo percussion in dancing duple meter

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18
Q

WL: “Y No Estas Conmigo” by Trio Taicuba

Noche Cubana

A

Close American barbershop harmonies

Experimental chords often appearing in chromatic steps

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19
Q

WL: “Vivir Para Ver” by Mezcla

Fronteras De Sucnos

A

Descending jazz piano chords with steel guitars

Chromatic steps with high tessitura vocals

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20
Q

WL: “El Empanadillero” by La Familia Valera Miranda

Son Asi

A

Diatonic C maj with A/D maj chords at some points

Virtuosic cuatro solo with inflections and ornaments

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21
Q

WL: “Rumba Con Sabor A Melao” by Sonlokos

Fronteras De Sucnos

A

Syncopated ties with a stright rock drum beat

Repeated notes in vocals with guitar countermelody

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22
Q

What is the context of “Estampes”?

A 
Who: Claude Debussy
What: Set of three Impressionistic pieces  
Where: Japan
How: Solo piano
Why: For illustrating poems and art 
When: 1903
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23
Q

Describe the melody of “Pagodes”

Estampes

A

Gong pitches at 1 then ostinato uses four diff notes at 3

Undulating scale counter at 7 with demisemis at 78

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24
Q

Describe the harmony of “Pagodes”

Estampes

A

Flat 7th A above B at 5

4ths and 5ths avoid thirds at 28 with maj 2nds at 33

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25
Describe the tonality of "Pagodes" | Estampes
Beginning unclear between B maj/G# min | Tunes influenced by pentatonic Javanese slendro scale
26
Describe the rhythm of "Pagodes" | Estampes
Two VS three cross rhythms at 16 becomes faster at 19 | Contrary motion at 23 with syncopated dyads at 31
27
Describe the texture of "Pagodes" | Estampes
Thick gong pedals at 1 with triplet octaves at 19 | Two octaves apart at 31 with accomp mid texture at 80
28
Describe the sonority of "Pagodes" | Estampes
Cross hand technique with exploring ebony keys at 3 | Vibrating notes when sus pedal is depressed
29
Describe the melody of "La Soiree Dans Grenade" | Estampes
Moorish triplets at 7 with step whole tone idea at 23 | New tonal octaves at 41 then disjunct syncopation at 67
30
Describe the harmony of "La Soiree Dans Grenade" | Estampes
Parallel 7th idea at 17 with chromatic appog to 3rd at 67 | Continuous triads build on 3rds with added notes at 78
31
Describe the tonality of "La Soiree Dans Grenade" | Estampes
A maj tonal centre from 38 | F# maj key change from 67
32
Describe the rhythm of "La Soiree Dans Grenade" | Estampes
Cross rhythmic triplets at 7 becomes syncopated at 33 | Habanera rubato dance from 67 with murmur at 109
33
Describe the texture of "La Soiree Dans Grenade" | Estampes
Extreme range with low octaves at 1 | Pianissimo fade at 78 moves to three staves at 96
34
Describe the sonority of "La Soiree Dans Grenade" | Estampes
Spanish guitar like spread piano chords at 38 | Cross hands with tempo picking up pace from 92
35
WL: "L'inquietude De Faust" by Lili Boulanger | Faust Et Helene
Blocked chord quavers with chromatic octave descents | Alternating implied mod with conjunct horn solo
36
WL: "Impromptu" by Nikolay Rimsky Korsakov | Four Morceaux
Bouncing opening with a simple conjunct shape | Moto perpetuo quavers move in a zig zag motion
37
WL: "Allegro Two" by Antonin Dvorak | Silhouettes
Spread gong like B maj harmonies in bass section | Rising perf 4ths with dotted/grace note rhythms
38
WL: "Non Souffle Pans" by Erik Satie | L'enfance De Ko Quo
Simple marching staccato rhythm with rising min 3rd | Quavers grouped in five with oriental sounding motif
39
WL: "Dedicace" by Ernest Chausson | Quelques Danses
A# min #5 is unsually seductive with gong bass notes | Inverted pedal D in high range between dense chords
40
WL: "Toccata" by Marion Bauer | Four Piano Pieces
Chinese fifth intervals appear in bass of piano | Frequent chromatic steps sometimes with clashes
41
WL: "Jardins Sous La Pluie" by Claude Debussy | Estampes
Rapid semiquaver modal writing with ground notes | Decorative right hand with accented melody in left hand
42
WL: "Cronan" by Helen Hopekirk | Iona Memories
Distinctive min third interval pushes away from F# maj | Semiquaver/sus note patterns descend in scalic motion
43
What is the context of "Breathing Underwater"?
``` Who: Anoushka Shankar What: Indian world album Where: Mumbai How: Sitar, Indian classical and Western pop Why: For expanding culture borders When: 2007 ```
44
Describe the melody of "Burn" | Breathing Underwater
Thirds in classical raga sitar from 10 after rising 6th at 6 | Oscillating adjacent notes at 30 then upwards 5th at 62
45
Describe the harmony of "Burn" | Breathing Underwater
Extension chords from 1 with chords sharing notes at 30 | Implied classical 6-4 progression at 21
46
Describe the tonality of "Burn" | Breathing Underwater
Raised 7th in C# min with anchoring articulated bass | Inconclusive cadence in coda
47
Describe the rhythm of "Burn" | Breathing Underwater
Rhythmically abstract sitar at 14 | Lombardia sarangi rhythms
48
Describe the texture of "Burn" | Breathing Underwater
Homophonic at 1 with synth pedal at 22 | Contrapuntal at 38 and 46 with reduction at 86
49
Describe the sonority of "Burn" | Breathing Underwater
R&B soulful vocals with slow moving orchestral strings | Ending cello after wide portamento analog synths at 22
50
Describe the melody of "Breathing Underwater" | Breathing Underwater
Sitar ornamentally decorated unlike stepwise vocals | Arched ascending and descending phrases from 18
51
Describe the harmony of "Breathing Underwater" | Breathing Underwater
D flat sus 4 at 17 before slash chords from 25 | Diminished chord at 26 before maj 7th at 29
52
Describe the tonality of "Breathing Underwater" | Breathing Underwater
Majority of work in Db maj | Tertiary mod to Lydian inflected A maj from 18
53
Describe the rhythm of "Breathing Underwater" | Breathing Underwater
Rhythmically flexible sitar with syncopation/quintuplets | Anacrusis phrases with accomp moving in semibreves
54
Describe the texture of "Breathing Underwater" | Breathing Underwater
Sitar block chords from 1 is polyphonic with vocals at 34 | Descant voice in polyphony with sitar from 53
55
Describe the sonority of "Breathing Underwater" | Breathing Underwater
Wordless singer with blocked string chords | Frequent ornamentation in sitar
56
Describe the melody of "Easy" | Breathing Underwater
Restricted pentatonic vocal shapes from 10 | Downward movement with octave phrases at 42
57
Describe the harmony of "Easy" | Breathing Underwater
Avoids primary chord progressions and dominant chord | Flat leading note chord acts as substitute chord
58
Describe the tonality of "Easy" | Breathing Underwater
Transposed Mixolydian with flat 7th appearence | No key changes
59
Describe the rhythm of "Easy" | Breathing Underwater
Flexibly complex sitar in a medium tempo | Syncopated accomp and vocal style at 5
60
Describe the texture of "Easy" | Breathing Underwater
Same guitar accomp with piano/synth in homophony | Vocal and sitar dialogue from 21 gets polyphonic at 42
61
Describe the sonority of "Easy" | Breathing Underwater
Plucked guitar ostinato with sitar pedal from 21 | Subtle piano with occassional melismatic vocals at 13
62
WL: "Triangular Objects" by Tabla Beat Science | Tala Matrix
Moto perpetuo semiquavers with tone changing synths | Chromatic microtonal steps in an irregular meter
63
WL: "Saat" by Kiran Ahluwalia | Seven Billion
Alternating D maj 7th/C# min 7th harmonies | Female/male vocalists sing octave apart with triplets
64
WL: "Mountain Chalisa" by Krishna Das | Flow Of Grace
Enunciated syncopations with subtle warm pad | Conjunct raga with drone harmonium and steel guitars
65
WL: "Night In Lenasia" by Deepak Ram | Flutes For Thought
Flute solo has jazz falls with accentuation | No complex modulations in dense pop atmosphere
66
WL: "Enchantment" by Sheila Chandra | Weaving My Ancestor's Voices
Bb vocal drone note beneath repeated notes | Modal writing with frequent added second
67
WL: "Epic" by Karsh Kale | Liberation
Diatonic Bb maj with high lush string writing | Electronic vocals and strong drum bass pattern
68
WL: "Casi Uno" by Anoushka Shankar | Traveller
Complex cross rhythmic sitar with bouncing guitar | Explorations in high ranges of vocals with tabla riff
69
WL: "Zindagi Tune" by Jagjit Singh | Face To Face
A min/C maj alternations with folk influenced violin solo | Steady tabla rhythm with trad Western key changes

A Level Music (Edexcel) (6 decks)

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