Area Of Study 5 (Fusions) Flashcards
Includes "Cana Quema", "Estampes" & "Breathing Underwater" + WL
What is the context of “Cana Quema”?
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
Describe the melody of “Se Quema La Chumbamba”
Cana Quema
Intro riff has two related phrases with rising/falling 3rds
Balanced vocal phrases beginning of 3rd of tonic at 13
Describe the harmony of “Se Quema La Chumbamba”
Cana Quema
Tonic and dom 7th chords with rich Eb in D7 chord
Sliding cuatro parallel progressions from 77
Describe the tonality of “Se Quema La Chumbamba”
Cana Quema
Diatonic G min throughout
No modulations
Describe the rhythm of “Se Quema La Chumbamba”
Cana Quema
Strong 2 in a bar with first beat hidden at 1
3:2 claves rhythm at 9 then cuatro triplets at 95
Describe the texture of “Se Quema La Chumbamba”
Cana Quema
Blocked chordal accomp in guitar
Fixed coro in two parts at 21
Describe the sonority of “Se Quema La Chumbamba”
Cana Quema
Syllabic vocals with pizz double bass from 5
Ringing cuatro at 151
Describe the melody of “Alla Va Candela”
Cana Quema
Same shaped vocal/cuatro at 15 then large steps at 25
Ascending octaves at 32 then repeated notes at 39
Describe the harmony of “Alla Va Candela”
Cana Quema
E and B7 chords manipulated at 28 with tonic/dom at 39
Melodic chromatic inflections with high C#
Describe the tonality of “Alla Va Candela”
Cana Quema
Diatonic E maj throughout
No modulations
Describe the rhythm of “Alla Va Candela”
Cana Quema
Cut duple square bass at 38 becomes syncopated at 39
Vocal cross rhythms before cuatro solo hemiolas at 103
Describe the texture of “Alla Va Candela”
Cana Quema
Blocked chordal accomp in guitar
Fixed coro in two parts at 40 after low thick vocals at 15
Describe the sonority of “Alla Va Candela”
Cana Quema
Syllabic vocals with pizz double bass from 3
Ringing cuatro at 66 and 98
WL: “Castellano” by Sones De Oriente
Son De Santiago
Falling vocal minor sixth with cowbell timbres
Dotted rhythms where sparse textures are prominent
WL: “Coco Mai Mai” by Septeto Turquino
Son Para Los Rumberos
Extreme solo trumpet valve trills and turn figures
Descending third intervals with arpeggiated triads
WL: “Tresero De Manigua” by Pancho Amat
Herencias
F maj with implied mod to G min through dim harmonies
Continuous sliding conjunct quaver triplets in guitar
WL: “Sabroso” by Compay Segundo
Cien Anos De Son
Contrapuntal layers between double bass and guitar
Shakers as solo percussion in dancing duple meter
WL: “Y No Estas Conmigo” by Trio Taicuba
Noche Cubana
Close American barbershop harmonies
Experimental chords often appearing in chromatic steps
WL: “Vivir Para Ver” by Mezcla
Fronteras De Sucnos
Descending jazz piano chords with steel guitars
Chromatic steps with high tessitura vocals
WL: “El Empanadillero” by La Familia Valera Miranda
Son Asi
Diatonic C maj with A/D maj chords at some points
Virtuosic cuatro solo with inflections and ornaments
WL: “Rumba Con Sabor A Melao” by Sonlokos
Fronteras De Sucnos
Syncopated ties with a stright rock drum beat
Repeated notes in vocals with guitar countermelody
What is the context of “Estampes”?
Who: Claude Debussy What: Set of three Impressionistic pieces Where: Japan How: Solo piano Why: For illustrating poems and art When: 1903
Describe the melody of “Pagodes”
Estampes
Gong pitches at 1 then ostinato uses four diff notes at 3
Undulating scale counter at 7 with demisemis at 78
Describe the harmony of “Pagodes”
Estampes
Flat 7th A above B at 5
4ths and 5ths avoid thirds at 28 with maj 2nds at 33
Describe the tonality of “Pagodes”
Estampes
Beginning unclear between B maj/G# min
Tunes influenced by pentatonic Javanese slendro scale
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
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
Describe the sonority of “Pagodes”
Estampes
Cross hand technique with exploring ebony keys at 3
Vibrating notes when sus pedal is depressed
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
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
Describe the tonality of “La Soiree Dans Grenade”
Estampes
A maj tonal centre from 38
F# maj key change from 67
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
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
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
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
WL: “Impromptu” by Nikolay Rimsky Korsakov
Four Morceaux
Bouncing opening with a simple conjunct shape
Moto perpetuo quavers move in a zig zag motion
WL: “Allegro Two” by Antonin Dvorak
Silhouettes
Spread gong like B maj harmonies in bass section
Rising perf 4ths with dotted/grace note rhythms
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
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
WL: “Toccata” by Marion Bauer
Four Piano Pieces
Chinese fifth intervals appear in bass of piano
Frequent chromatic steps sometimes with clashes
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
WL: “Cronan” by Helen Hopekirk
Iona Memories
Distinctive min third interval pushes away from F# maj
Semiquaver/sus note patterns descend in scalic motion
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
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
Describe the harmony of “Burn”
Breathing Underwater
Extension chords from 1 with chords sharing notes at 30
Implied classical 6-4 progression at 21
Describe the tonality of “Burn”
Breathing Underwater
Raised 7th in C# min with anchoring articulated bass
Inconclusive cadence in coda
Describe the rhythm of “Burn”
Breathing Underwater
Rhythmically abstract sitar at 14
Lombardia sarangi rhythms
Describe the texture of “Burn”
Breathing Underwater
Homophonic at 1 with synth pedal at 22
Contrapuntal at 38 and 46 with reduction at 86
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
Describe the melody of “Breathing Underwater”
Breathing Underwater
Sitar ornamentally decorated unlike stepwise vocals
Arched ascending and descending phrases from 18
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
Describe the tonality of “Breathing Underwater”
Breathing Underwater
Majority of work in Db maj
Tertiary mod to Lydian inflected A maj from 18
Describe the rhythm of “Breathing Underwater”
Breathing Underwater
Rhythmically flexible sitar with syncopation/quintuplets
Anacrusis phrases with accomp moving in semibreves
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
Describe the sonority of “Breathing Underwater”
Breathing Underwater
Wordless singer with blocked string chords
Frequent ornamentation in sitar
Describe the melody of “Easy”
Breathing Underwater
Restricted pentatonic vocal shapes from 10
Downward movement with octave phrases at 42
Describe the harmony of “Easy”
Breathing Underwater
Avoids primary chord progressions and dominant chord
Flat leading note chord acts as substitute chord
Describe the tonality of “Easy”
Breathing Underwater
Transposed Mixolydian with flat 7th appearence
No key changes
Describe the rhythm of “Easy”
Breathing Underwater
Flexibly complex sitar in a medium tempo
Syncopated accomp and vocal style at 5
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
Describe the sonority of “Easy”
Breathing Underwater
Plucked guitar ostinato with sitar pedal from 21
Subtle piano with occassional melismatic vocals at 13
WL: “Triangular Objects” by Tabla Beat Science
Tala Matrix
Moto perpetuo semiquavers with tone changing synths
Chromatic microtonal steps in an irregular meter
WL: “Saat” by Kiran Ahluwalia
Seven Billion
Alternating D maj 7th/C# min 7th harmonies
Female/male vocalists sing octave apart with triplets
WL: “Mountain Chalisa” by Krishna Das
Flow Of Grace
Enunciated syncopations with subtle warm pad
Conjunct raga with drone harmonium and steel guitars
WL: “Night In Lenasia” by Deepak Ram
Flutes For Thought
Flute solo has jazz falls with accentuation
No complex modulations in dense pop atmosphere
WL: “Enchantment” by Sheila Chandra
Weaving My Ancestor’s Voices
Bb vocal drone note beneath repeated notes
Modal writing with frequent added second
WL: “Epic” by Karsh Kale
Liberation
Diatonic Bb maj with high lush string writing
Electronic vocals and strong drum bass pattern
WL: “Casi Uno” by Anoushka Shankar
Traveller
Complex cross rhythmic sitar with bouncing guitar
Explorations in high ranges of vocals with tabla riff
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
