Kate Bush Flashcards

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1
Q

Context of Kate Bush and work

A
  • Born 1958 and is a performer and composer of progressive rock
  • Music contains Irish elements sometimes which come from her family connections
  • The album Hound of Love was released in 2985 and draws on vocals and piano played by her, Balalaika, string sextet, bouzouki and uilleann pipes
  • Album was produced by Bush in her own studio
  • Could be classed as a concept album as first side of the original vinyl record consists of 5 prog rock songs and the second side is closely based on Tennyson’s poetic work Idylls of the King
  • Cloudbusting is the last of the progressive rock songs on side one of the vinyl. It is based on incidents in the life and career of the psychologist Wilhelm Reich
  • The first two songs from the original side 2 ‘And dream of sheep’ and ‘Under Ice’ depict the thoughts of a drowning girl
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2
Q

Describe the sonority in Cloudbusting

A
  • Vocals, Fairlight CMI, and drums play a major role in this piece
  • The most distinctive timbre is the string sextet (relate to Eleanor Rigby
  • There are also occasional appearances of balalaika ( Russian stringed musical instrument)
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3
Q

Describe the sonority in ‘And Dream of Sheep’

A
  • Most conventional popular music timbre of the three songs with voice and piano dominating
  • Additional parts for bouzouki (a plucked string instrument used in Greek and modern Irish music) and whistles
  • The sound is further intensified by the use of dubbed voices
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4
Q

Describe the sonority in Under Ice

A
  • Unusual atmospheric timbres are created through the use of synthesised strings and a low vocal tessitura
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5
Q

Describe the texture in Cloudbusting

A
  • Persistent detached chords
  • Fragmentary patterns on keyboard
  • Counter-melody in octaves in the violin
  • Expansion of texture with the three lowest strings and keyboard 3 providing sustained semibreves
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6
Q

Describe the texture in And Dream of Sheep

A
  • Broken chord figures
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7
Q

Describe the texture in Under Ice

A
  • Lean sound is created by the fragmentary vocal line supported by bass octaves and two-part synthesised string motifs, mainly in 4ths and 5ths: a soft synth sound pad sounds throughout
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8
Q

Describe the tempo, metre and rhythm in Cloudbusting

A
  • This song is in a moderate, rather strict time. Mainly quadruple time signature with occasional changes (to 6/4 and 2/4)

Rhythmic features include:

  • Constant crotched beat established at the start by the strings
  • Steady, reinforcing crotched drum-beats from bar 11
  • Backbeat
  • Mechanical patterns in the violin (bar 3)
  • Effective halt to the mechanical rhythms at the key words “I won’t forget” (bar 50)
  • Semibreves in the lower parts (bar 95) combined with a strong rhythmic figure in the upper string parts
  • Longer note values in the violin counter-melody beginning in bar 34, and in the additional synthesised line at bar 65
  • Syncopation e.g. keyboard 2 (bar 69-70)
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9
Q

Describe the tempo, metre and rhythm in Dream of Sheep

A
  • This song uses a moderately slow quadruple metre with occasional changes
  • Rubato, rits and fermata (pause) are used
  • Use of dotted rhythm, triplets and scotch snap
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10
Q

Describe the tempo, metre and rhythm in Under Ice

A
  • tempo speeds up from 65 beats per minute to 108 and then slows at the close

Rhythmic features include:

  • A two quaver-crotchet pattern, first heard in strings and taken over in the voice
  • two-note figure with longer second notes (vocal part bars 12-13 ‘so white’)
  • Long-sustained synth pad which enters in bar 2
  • Scotch snaps (bar 27)
  • Triplets (bar 50)
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11
Q

Describe the melody in Cloudbusting

A
  • Modal based in C# aeolian minor
  • Lead vocal is a minor 10th
  • Word setting is predominantly syllabic with occasional slurred pairs
  • Opens with leaps of 3rds, 4ths and 5ths but then narrows the range
  • Portamento (similar to glissando)

Other melodic features include:

  • The violin’s opening narrow-range motif, featuring some chromaticism
  • The violin’s later counter-melody with step-wise descent
  • An additional melody line in keyboard 2, starting at bar 65
  • Bvoc vocalisation with leap of minor 7th (bar 111)
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12
Q

Describe the melody in And Dream of Sheep

A
  • E Major
  • Vocal range is a major 9th
  • Distinctive 5ths in the opening phrase
  • Repeated notes
  • Word setting is mainly syllabic with brief melismas at phrase-endings
  • Repeated thirds on ‘if they find me racing’
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13
Q

Describe the melody in Under Ice

A
  • Vocal range is a minor 10th
  • Characterised by a mainly step-wise two-pitch figure
  • A more lyrical phrase occurs at ‘The river has frozen over’ with leaps of a 4th and 5th
  • Word-setting is mainly syllabic
  • Descending chromatic portamento at close
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14
Q

Describe the harmony in Cloudbusting

A
  • The song’s mechanical feel is intensified through the use of a limited number of dissonant added-note chords
  • All chords contain both B and C#
  • Harmonic rhythm is varied: e.g. at the opening the C# and B chords have two beats whereas at bar 95, the cords are allotted four beats
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15
Q

Describe the harmony in And Dream of Sheep

A
  • Functional harmony in the key of E major
  • Typical chords include I,IIb,V,V^7, IV with added 9th
  • Tonic pedal at ‘If the find me racing’
  • A chord of perfect 4ths played on whistles at bar 41
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16
Q

Describe the harmony in Under Ice

A
  • Conventional chords avoided
  • Bass hints at functional structure with the tonic (A), submediant (F), mediant (C) and subdominant (D)
  • The dominant (E) is avoided
17
Q

Describe the tonality and structure in Cloudbusting

A
  • C# minor with no modulation
  • Follows a verse and chorus pattern with instrumentals

See book for detailed structure

18
Q

Describe the tonality and structure in And Dream of Sheep

A
  • E major and is loosely strophic

Verse-Link 1- Verse- Link 2 - Coda

19
Q

Describe the tonality and structure in Under ice

A
  • The bass notes indicate clearly that this song is in A minor. The tonality is clouded at the end by the chromaticism and background electronic effects.
  • The song is through-composed, with alternating fragmentary melodic motifs

See book again for more detail