lingus

Question 1

who is the composer of Lingus?

Answer 1

the composers of Lingus are Michael League and Snarky Puppy

Question 2

what could be discussed under the concept of structure in Lingus?

Answer 2

macro: strophic form; A (bars 1-9), B (bars 10-19), C (bars 20-31), D (bars 32-47), E (bars 48-56), F (bars 57-103), coda (bars 104-111)
micro: bars 1-19: syncopated ostinato played by bass throughout with slight variation of bars 10-12 in bars 13-15 with explored rhythm, bars 20-31: repeated melody played in descending in intervals, bars 32-47: keys playing various motifs, changing fluidly

Question 3

what could be discussed under the concept of pitch in Lingus?

Answer 3

tonality: E minor
roles: bars 1-56: horns melody, bass and piano bassline, electric guitar harmony/solo, bars 57-103: horns melody/piano solo melody over horn line, bars 104-111: horns harmony, drum rhythm throughout
range/register: horns in middle register, medium range, piano in low/high register, high range
content: bar 1: E7sus4 piano chord, bar 2: tonal centre of E in Dorian mode, ostinato in piano, bars 10-19: ascending pattern, rhythmic ostinato bassline, tonal centre of C in Lydian mode, bars 20-31: returns to E Dorian, bars 32-47: block chords/scales/arpeggios, bars 48-56: E minor, horns play ascending/descending scales, bass motif, bars 57-103: I/VI/IV/V pattern from previous section, bars 104-111: same chord progression as previous section, I/VI/IV/V but ends on I, E7sus4 piano chord

Question 4

what could be discussed under the concept of texture in Lingus?

Answer 4

density: bars 1-9: thin, bars 10-19: thicker (rhythmic complexity), bars 20-31: thinner (less rhythmic complexity, lower dynamic), bars 32-47: thin > thick, bars 48-56: thick (rhythmic unison, high instrumentation, loud dynamic), bars 57-103: thicker, bars 104-111: thinner
roles: bars 1-56: horns melody, bass and piano bassline, electric guitar harmony/solo, bars 57-103: horns melody/piano solo melody over horn line, bars 104-111: horns harmony, drum rhythm throughout
type: homophonic throughout (melody shared between different parts)

Question 5

what could be discussed under the concept of tone colour in Lingus?

Answer 5

ensemble: funk fusion group
layers: bars 1-56: horns melody, bass and piano bassline, electric guitar harmony/solo, bars 57-103: horns melody/piano solo melody over horn line, bars 104-111: horns harmony, drum rhythm throughout
techniques: all notes played with staccato unless stated otherwise, swung beat, digital manipulation of sound, bars 20-31: acciaccatura, bars 32-47: tenuto, bar 56: glissando in horns, bar 111: accent
quality: bars 1-31: fat, bright, bars 32-47: clean, pure, bars 48-56: bright quality

Question 6

what could be discussed under the concept of dynamics and expressive techniques in Lingus?

Answer 6

dynamics: bars 32-47: notes range from p-f
expressive techniques: all notes played with staccato unless stated otherwise, swung beat, digital manipulation of sound, bars 20-31: acciaccatura, bars 32-47: tenuto, bar 56: glissando in horns, bar 111: accent

Question 7

what could be discussed under the concept of duration in Lingus?

Answer 7

beat: crotchets
pulse: bars 1-9: quavers, bars 10-19: semi-quavers, bars 20-47: quavers, bars 48-111: semi-quavers
meter: 5/4 with four-beat rests to give the illusion of 4/4
tempo: crotchet = 144 bpm
style: contemporary funk fusion style
content: bars 1-9: ‘doo-wa’ (tenuto followed by staccato quavers), 2 phrases 2nd one fragmented of the 1st, bars 20-31: homorhythmia between electric guitar and horns, bars 48-56: syncopation, diminution from previous section