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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

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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
Q

Describe the tonality of “Pagodes”

Estampes

A

Beginning unclear between B maj/G# min

Tunes influenced by pentatonic Javanese slendro scale

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26
Q

Describe the rhythm of “Pagodes”

Estampes

A

Two VS three cross rhythms at 16 becomes faster at 19

Contrary motion at 23 with syncopated dyads at 31

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27
Q

Describe the texture of “Pagodes”

Estampes

A

Thick gong pedals at 1 with triplet octaves at 19

Two octaves apart at 31 with accomp mid texture at 80

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28
Q

Describe the sonority of “Pagodes”

Estampes

A

Cross hand technique with exploring ebony keys at 3

Vibrating notes when sus pedal is depressed

29
Q

Describe the melody of “La Soiree Dans Grenade”

Estampes

A

Moorish triplets at 7 with step whole tone idea at 23

New tonal octaves at 41 then disjunct syncopation at 67

30
Q

Describe the harmony of “La Soiree Dans Grenade”

Estampes

A

Parallel 7th idea at 17 with chromatic appog to 3rd at 67

Continuous triads build on 3rds with added notes at 78

31
Q

Describe the tonality of “La Soiree Dans Grenade”

Estampes

A

A maj tonal centre from 38

F# maj key change from 67

32
Q

Describe the rhythm of “La Soiree Dans Grenade”

Estampes

A

Cross rhythmic triplets at 7 becomes syncopated at 33

Habanera rubato dance from 67 with murmur at 109

33
Q

Describe the texture of “La Soiree Dans Grenade”

Estampes

A

Extreme range with low octaves at 1

Pianissimo fade at 78 moves to three staves at 96

34
Q

Describe the sonority of “La Soiree Dans Grenade”

Estampes

A

Spanish guitar like spread piano chords at 38

Cross hands with tempo picking up pace from 92

35
Q

WL: “L’inquietude De Faust” by Lili Boulanger

Faust Et Helene

A

Blocked chord quavers with chromatic octave descents

Alternating implied mod with conjunct horn solo

36
Q

WL: “Impromptu” by Nikolay Rimsky Korsakov

Four Morceaux

A

Bouncing opening with a simple conjunct shape

Moto perpetuo quavers move in a zig zag motion

37
Q

WL: “Allegro Two” by Antonin Dvorak

Silhouettes

A

Spread gong like B maj harmonies in bass section

Rising perf 4ths with dotted/grace note rhythms

38
Q

WL: “Non Souffle Pans” by Erik Satie

L’enfance De Ko Quo

A

Simple marching staccato rhythm with rising min 3rd

Quavers grouped in five with oriental sounding motif

39
Q

WL: “Dedicace” by Ernest Chausson

Quelques Danses

A

A# min #5 is unsually seductive with gong bass notes

Inverted pedal D in high range between dense chords

40
Q

WL: “Toccata” by Marion Bauer

Four Piano Pieces

A

Chinese fifth intervals appear in bass of piano

Frequent chromatic steps sometimes with clashes

41
Q

WL: “Jardins Sous La Pluie” by Claude Debussy

Estampes

A

Rapid semiquaver modal writing with ground notes

Decorative right hand with accented melody in left hand

42
Q

WL: “Cronan” by Helen Hopekirk

Iona Memories

A

Distinctive min third interval pushes away from F# maj

Semiquaver/sus note patterns descend in scalic motion

43
Q

What is the context of “Breathing Underwater”?

A 
Who: Anoushka Shankar 
What: Indian world album  
Where: Mumbai
How: Sitar, Indian classical and Western pop
Why: For expanding culture borders 
When: 2007
44
Q

Describe the melody of “Burn”

Breathing Underwater

A

Thirds in classical raga sitar from 10 after rising 6th at 6

Oscillating adjacent notes at 30 then upwards 5th at 62

45
Q

Describe the harmony of “Burn”

Breathing Underwater

A

Extension chords from 1 with chords sharing notes at 30

Implied classical 6-4 progression at 21

46
Q

Describe the tonality of “Burn”

Breathing Underwater

A

Raised 7th in C# min with anchoring articulated bass

Inconclusive cadence in coda

47
Q

Describe the rhythm of “Burn”

Breathing Underwater

A

Rhythmically abstract sitar at 14

Lombardia sarangi rhythms

48
Q

Describe the texture of “Burn”

Breathing Underwater

A

Homophonic at 1 with synth pedal at 22

Contrapuntal at 38 and 46 with reduction at 86

49
Q

Describe the sonority of “Burn”

Breathing Underwater

A

R&B soulful vocals with slow moving orchestral strings

Ending cello after wide portamento analog synths at 22

50
Q

Describe the melody of “Breathing Underwater”

Breathing Underwater

A

Sitar ornamentally decorated unlike stepwise vocals

Arched ascending and descending phrases from 18

51
Q

Describe the harmony of “Breathing Underwater”

Breathing Underwater

A

D flat sus 4 at 17 before slash chords from 25

Diminished chord at 26 before maj 7th at 29

52
Q

Describe the tonality of “Breathing Underwater”

Breathing Underwater

A

Majority of work in Db maj

Tertiary mod to Lydian inflected A maj from 18

53
Q

Describe the rhythm of “Breathing Underwater”

Breathing Underwater

A

Rhythmically flexible sitar with syncopation/quintuplets

Anacrusis phrases with accomp moving in semibreves

54
Q

Describe the texture of “Breathing Underwater”

Breathing Underwater

A

Sitar block chords from 1 is polyphonic with vocals at 34

Descant voice in polyphony with sitar from 53

55
Q

Describe the sonority of “Breathing Underwater”

Breathing Underwater

A

Wordless singer with blocked string chords

Frequent ornamentation in sitar

56
Q

Describe the melody of “Easy”

Breathing Underwater

A

Restricted pentatonic vocal shapes from 10

Downward movement with octave phrases at 42

57
Q

Describe the harmony of “Easy”

Breathing Underwater

A

Avoids primary chord progressions and dominant chord

Flat leading note chord acts as substitute chord

58
Q

Describe the tonality of “Easy”

Breathing Underwater

A

Transposed Mixolydian with flat 7th appearence

No key changes

59
Q

Describe the rhythm of “Easy”

Breathing Underwater

A

Flexibly complex sitar in a medium tempo

Syncopated accomp and vocal style at 5

60
Q

Describe the texture of “Easy”

Breathing Underwater

A

Same guitar accomp with piano/synth in homophony

Vocal and sitar dialogue from 21 gets polyphonic at 42

61
Q

Describe the sonority of “Easy”

Breathing Underwater

A

Plucked guitar ostinato with sitar pedal from 21

Subtle piano with occassional melismatic vocals at 13

62
Q

WL: “Triangular Objects” by Tabla Beat Science

Tala Matrix

A

Moto perpetuo semiquavers with tone changing synths

Chromatic microtonal steps in an irregular meter

63
Q

WL: “Saat” by Kiran Ahluwalia

Seven Billion

A

Alternating D maj 7th/C# min 7th harmonies

Female/male vocalists sing octave apart with triplets

64
Q

WL: “Mountain Chalisa” by Krishna Das

Flow Of Grace

A

Enunciated syncopations with subtle warm pad

Conjunct raga with drone harmonium and steel guitars

65
Q

WL: “Night In Lenasia” by Deepak Ram

Flutes For Thought

A

Flute solo has jazz falls with accentuation

No complex modulations in dense pop atmosphere

66
Q

WL: “Enchantment” by Sheila Chandra

Weaving My Ancestor’s Voices

A

Bb vocal drone note beneath repeated notes

Modal writing with frequent added second

67
Q

WL: “Epic” by Karsh Kale

Liberation

A

Diatonic Bb maj with high lush string writing

Electronic vocals and strong drum bass pattern

68
Q

WL: “Casi Uno” by Anoushka Shankar

Traveller

A

Complex cross rhythmic sitar with bouncing guitar

Explorations in high ranges of vocals with tabla riff

69
Q

WL: “Zindagi Tune” by Jagjit Singh

Face To Face

A

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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