la yu'minu Flashcards
Lior Attar, Nigel Westlake
who is the composer of The Compassion, Mvt. 3: La Yu’minu?
the composers of The Compassion, Mvt 3: La Yu’minu are Lior Attar and Nigel Westlake
what could be discussed under the concept of structure in La Yu’minu?
macro: modified rondo form; intro (bars 1-4), A (bars 5-15), interlude I (bars 16-20) B (bars 21-33), interlude II (bars 34-35), C (bars 36-40), interlude I (bars 41-45), A (bars 46-56), interlude I (bars 57-60), coda (bars 61-62)
micro: bars 1-4: harmonic rhythm every 2 beats, bars 16-20: 1 bar motif repeated 4x, fifth bar extension/intro to next section, bars 36-40: 3 2-bar phrases; last bar is first bar of next section, bar 41-45: 1 bar motif repeated 4x, fifth bar extension/intro to next section
what could be discussed under the concept of pitch in La Yu’minu?
tonality: G minor
roles: bars 1-4: harp solo melody, bars 5-15 male tenor vocal melody, harp harmony, bars 21-33: horns and triangle taken out for 4 bars, flute, bassoon, clarinet, marimba, vocalist added, bar 34-35: oboe melody with strings harmony, bar 19: violin II melody, cello inverted drone, bar 27: D drone in viola, bar 43: wind section added, flute and oboe play in unison with violin I
range/register: violin I/II, viola, cello: wide range/register, woodwind section: wide range/register, brass section: wide range/register, male tenor vocals: medium range/low register
content: melody based on Afghani love song, bars 1-3: G drone, broken chord pattern, suspension resolution, bars 5-15: A drone, G drone bar 16: ‘weeping motif’ borrowed from Berlioz (minor 2nds descending), bar 19: cello inverted drone, bars 21-33: new theme sung, bassline of G-F#-Eb-D-C, G harmonic minor, parallel motion, Alberti bass-like, bars 32-33: imperfect cadence III/VI/V (Bb/Cm/D), bars 46-56: augmentation in vocals, bar 55: winds and upper winds enforce hemiola with ascending scale
what could be discussed under the concept of texture in La Yu’minu?
density: bar 1: thin, bars 5-15: thicker, bars 16-20: thicker (rhythmic complexity), bars 21-33: thinner (moderate rhythmic complexity, low dynamic, low instrumentation), bars 34-35: thinner (lack of vocals), bars 36-40: moderate (rhythmic complexity in harp, lack of in all other instruments), bars 41-45: thicker, bars 46-56: increases (canon entries), bars 57-60: thicker, bars 61-62: begins thick, gets thinner (fade out)
roles: bars 1-4: harp solo melody, bars 5-15 male tenor vocal melody, harp harmony, bars 21-33: horns and triangle taken out for 4 bars, flute, bassoon, clarinet, marimba, vocalist added, bar 34-35: oboe melody with strings harmony, bar 19: violin II melody, cello inverted drone, bar 27: D drone in viola, bar 43: wind section added, flute and oboe play in unison with violin I
type: bars 1-4: monophonic, bars 5-62: homophonic
what could be discussed under the concept of tone colour in La Yu’minu?
ensemble: orchestra with added male tenor vocalist
layers: bars 1-4: harp solo melody, bars 5-15 male tenor vocal melody, harp harmony, bars 21-33: horns and triangle taken out for 4 bars, flute, bassoon, clarinet, marimba, vocalist added, bar 34-35: oboe melody with strings harmony, bar 19: violin II melody, cello inverted drone, bar 27: D drone in viola, bar 43: wind section added, flute and oboe play in unison with violin I
techniques: bars 1-4: sempre, slurs, tenutos, bars 5-15: mordents, bars 16-20: ‘senza sord’ (without mute), misterioso, pitch bending, bar 36: pedalling used in piano, bar 37: ‘col legno tratto’ (with the wood drawn), bars 41-45: harmonics
quality: warm through vocals, stringy in string sections
what could be discussed under the concept of dynamics and expressive techniques in La Yu’minu?
dynamics: pp/p < mp >
expressive techniques: bars 1-4: sempre, slurs, tenutos, bars 5-15: mordents, bars 16-20: ‘senza sord’ (without mute), misterioso, pitch bending, bar 36: pedalling used in piano, bar 37: ‘col legno tratto’ (with the wood drawn), bars 41-45: harmonics
what could be discussed under the concept of duration in La Yu’minu?
beat: crotchets
pulse: bars 1-15: semi-quavers, bars 16-20: quavers, bars 21-56: semi-quavers, bars 57-62: quavers
meter: 4/4, 3/4, 5/4
tempo: crotchet = 58bpm
style: contemporary middle-Eastern art music
content: bars 5-15: hemiola, bars 16-20: subdivision (1, 2, 3, 4, 1+2+3+4), bars 21-33: rhythmic ostinato, syncopation in crotales, bars 36-40: homorhythmia in strings, vocal melody augmentation, bar 53: homorhythmia between vocals and flute, bar 55: winds and upper strings enforce hemiola
