Courtney Pine - Aos4: Jazz and Pop

Question 1

How does Lady Day and John Coltrane have harmony that emulates the 12 bar blues?

Answer 1

During the verse, the harmony is similar to a twelve bar blues, but differs slightly, in the sense that it is extended to be more like a 24 bar blues, and uses unusual extended chords. The chordal/harmonic structure has C7#9 for 12 bars, F7#9 for 4 bars, a return to C7#9 for 4 bars, Gminor7 for 1 bar, Fm7 for one bar and back to C7#9. However, the piece deviates the 12 bar blues structure by adding a random Bb13 bar in between the G minor and F minor chords.

Question 2

In what 2 ways does the structure of Lady Day and John Coltrane emulate structures that are typical of Pop?

Answer 2

+ The structure is similar to a pop song: verse, chorus, verse, chorus, virtuosic sax solo, chorus and extended outro.
+ The piece is also vaguely strophic, using Coda to repeat more specific and important motifs.

Question 3

Name 4 unusual playing techniques used in the saxophone part of Lady Day and John Coltrane (and the bars(s) they occur in).

Answer 3

+ Sustained bent note (sliding upwards) from bars 45-48
+A Quasi Glissando in bar —
+ Rapid, Chromatic-scale-based ad lib in bar 75
+ Saxophone key clicks are used right at the end of the piece

Question 4

Name 2 singing techniques used in Lady Day and John Coltrane (and the bars(s) they occur in).

Answer 4

+ Use of acciacatura (grace notes) in the vocal line in bars 90, 98 and 106
+ Vocal ad libs are used in the extended outro

Question 5

How is the harmony at the end of Lady Day and John Coltrane unusual?

Answer 5

Although, just before the end of the piece, th harmony does return to the recurring chord we associate with home (C7#9), and it would be expected that this would be the harmony we end on, the piece uses a non-functional harmony, via the unusual chord Bbminor7 add 4.

Question 6

What is one way that the vocal melody differs from the melody from the saxophone solo melody (give evidence).

Answer 6

The vocal melody is more structured and regular, whereas the sax solo is more random and cadenza-like.
Evidence- The call and response melody between the vocal parts and saxophone parts, repetition of specific vocal motifs using the coda and regular, repeating chord patterns.
Evidence- Random melodic and harmonic structure in sax solo, with ascending chromatic chords patterns and scales often used as well as random playing features and irregular, fast rhythms.

Question 7

What is one example of random harmony changes in Lady Day and John Coltrane?

Answer 7

In bar 79, there is a random chromatic shit in harmony up a semitone (from B13 to B11 and then back to B13).

Question 8

What is one use of asymmetric rhythm in Lady Day and John Coltrane?

Answer 8

In bars 122 and 123, the melody deviates from it’s usual 4/4 metre with two bars of 2/4.

Question 9

How does Kate Bush’s “And Dream of Sheep” use the relative major and minor to add to the movement of the piece?

Answer 9

Though the piece is originally in C# minor (modally), the harmony alternates with the mode of the relative major, E. This helps the piece feels like it is resolving or returning home, during these harmonic changes. Some other ways that the piece creates this “returning home” feel is by using imperfect cadences in the melody to transition between these harmonies, and have an E note in the melody at the start of the bar that the key changes to major in.

Question 10

Name 4 digital auditory effects used in Kate Bush’s “And Dream of Sheep” that help create the dream-like theme.

Answer 10

+ The seagull squawk sound effect on the word “gull”
+ The sampled Uilleann Pipes
+The sampled Bouzouki (a string instrument with an ethereal, mystique timbre)
+ The steam engine sound effect

Question 11

How is Kate Bush’s “And Dream of Sheep” adapted to focus on the dream narrative in the lyrics?

Answer 11

The melody and rhythm is irregular and composed to fit and emphasise the lyrics. Bars with asymmetric rhythms occur regularly to fit the vocals, with important motifs standing out. For example, whenever the phrase “ let me be weak” is sung, the dynamics become pianissimo.

Question 12

What are two vocal techniques used in Kate Bush’s “And Dream of Sheep”?

Answer 12

Melisma and portamento.

Question 13

how is the structure of Kate Bush’s “And Dream of Sheep” similar and/or different from that of Pop.

Answer 13

Although it does not have an obvious chorus, as a pop song typically would, it still has a regular, repetitive structure- with the progression intro, verse, bridge, verse, bridge 2 and outro/coda.

Question 14

What are two examples of word painting reflecting musical elements used in Kate Bush’s “And Dream of Sheep”?

Answer 14

On the word “Gulls” there is an auditory effect of a seagull effect
While the lyrics of the vocal line use the phrase “deeper and deeper”, the melody of the vocal line descends.

Question 15

How is the signature melodic phrase “And dream of sheep” in the vocal line important to the structure of Kate Bush’s “And Dream of Sheep”?

Answer 15

this specific vocal phrase is often used to transition between the corresponding major and minor modes used i the piece - C#minor and E major.

Question 16

What is the texture of Kate Bush’s “And Dream of Sheep”?

Answer 16

Though the texture is basically similar to that of a usual pop song, having the vocal lines and piano part create a melody-dominated polyphony. However, the texture also emulates that of a lullaby, due to the sparse, open texture- which is created by the use of frequent, disjunct piano part and reverb.

Question 17

Name one instrument in Love and Affection that is unusual for the Pop/Jazz genre and how courtney Pine uses this?

Answer 17

The use of the bass clarinet, that enters in bar 30. This is used for short, chromatic scale passages, played low in the register, in order to transition between the different sections of the piece.

Question 18

How does the intro of Courtney Pine's love and affection build up to bar 15? 
Clues
- Rhythm 
- Harmony
- Texture
- Instrumentation 
- Dynamics and Suspense

Answer 18

The piece uses free rhythms in the vocals and accompaniment, and also uses free harmonies, using chords from the E scale but avoiding E itself. The texture is sparse and simple, with just the guitar and vocals being played. In bar 13, the bass clarinet is introduced, and the music is suddenly played forte. Finally, in bar 14 just as the intro ends and the drums gear to kick in, All parts rest for minimum=a quaver, creating a suspenseful silence.

Question 19

How does Love and Affection change at bar 15?
Clues
- Harmony
- Instrumentation

Answer 19

After the suspenseful intro, we feel like we are finally kicking into motion. The accompaniment plays a C#mior chord in unison (a familiar, comforting chord- either the tonic or the relative minor of the tonic) and the rock drums kick in

Question 20

What is the main repeating harmonic sequence in Love and Affection, which is first found in bar 22?

Answer 20

The E- G#- A - Badd4 chord progression is repeated, often using unusual inversions and extended chords (which is typical of pop and jazz music)

Question 21

How, in bar 31, does the music help transition into the chorus-like main section in Love and Affection?

Answer 21

The usual harmonic pattern is changed, showcasing a C#m and A major. The singer uses ascending portamento and the bass clarinet finishes a descending chromatic scale. Then, when the harmony resolves to the tonic (E), and the rock drums return at bar 32, it feels like coming home, and helps establish the main, major sections.

Question 22

Describe the:
- Harmony
- Rhythm
- Timbre/effects
Of the "main section" of Courtney Pine's love and affection from bars 32 to 45

Answer 22

The harmony repeats the familiar 4 bar harmonic sequence (E- G#- A - Badd4) throughout .
the rhythm becomes more syncopated and emulative of Jazz, with off beat quavers of the word “love” in the vocals.
There is a call and response between the lead singer and the backing vocals, sung by Gospel choir.

Question 23

In reference to pop structure, how would you define bars 46-53 of love and affection?

Answer 23

The middle eight

Question 24

What changes in the middle eight of love and affection in reference to:
- Harmony

Answer 24

the harmony changes from the repeating E- G#- A - Badd4 sequence, starting on the subdominant C#minor chord. It ends on the dominant, as to allow a perfect cadence, when the tonic is used to start the next section. It also uses multiple blue notes (e.g. G natural in bar 47)

Question 25

Name two vocal technique used in bars 54-65 of Love and Affection. Where else is this seen?

Answer 25

Vocal Ad libs.
Improvised vocals using the notes from the blues scale.
this is also seen in bars 84 onwards

Question 26

Where does the sax solo start in “Love and Affection”?

Answer 26

bar 66

Question 27

How does the texture change at bar 76 in “Love and Affection”? How does Pine sustain continuity?

Answer 27

The texture changes to polyphony.
However, the repeating bass figure (E- G#- A - Badd4 ), is played under the sax and vocals improv, which were also played in the previous section

Question 28

What sort of Cadence do we see at the end of “Love and Affection”?

Answer 28

A perfect cadence, as the vocals sing a three part tonic chord.