Listen - Beyonce

Question 1

Have you learnt the chords + can play on piano?

Answer 1

Yes x
Or no? Do it nowwwww

Question 2

How do you describe the key change between the verse and pre chorus?

Answer 2

Up a minor 3rd. Which is the relative major of the tonic minor.

Question 3

Describe the melody broadly

Answer 3

Conversational rhythms and free feeling. The verse is more towards the lower end of Beyoncé’s register, which gives a lot of room to climb in the choruses. Lots of melisma - r and b and soul influence.

Question 4

Give an example of melisma.

Answer 4

‘Won’t’ at end of 4 bar bridge reaches a high F# a compound sharp 4th above middle C. 9 note melisma.

Question 5

Describe the rhythm of the melody, and how it prepares us for the chorus.

Answer 5

Generally the melody rhythms are free and conversational with lots of syncopation the to dots, ties, and semiquaver rests. This gives an unpredictable element to the rhythms of the melody (representing how she wants to break free and can’t be contained). Just before the chorus however, we get a repeated triplet + crotchet rhythm. ‘Aside and turned, into your own, all cause you won’t’. Sung very monosyllabically and the predictability and repetition here is almost as if Beyoncé is preparing for the chorus to come, and giving a little bit of space to breathe (both physically and musically) before launching into a high and melismatic chorus.

Question 6

Describe the rhythm of the accompaniment.

Answer 6

The chords are at first played in minims, then becomes crotchets halfway through the verse, and even are sometimes played as semiquavers (at the end of the 4 bar bridge section before the final chorus) to really create intensity.
Big crash cymbal hits in the choruses also add intensity, and one of the most dramatic moments is when the band plays 6 homorhythmic triplets in the final chorus, accompanied by crash cymbals and a big melisma from Beyonce

Question 7

Describe how the sonority builds in the piece.

Answer 7

Starts just vocals + piano. + a few cymbal rolls
Adds bass after 4 bars from a big descending glissando down to a root note of B.
First prechorus adds strings, and drums enter at the end.
Chorus one: semiquavers on hi hat + snare backbeat.
Verses made a bit smaller as the drum groove subtly changes - snare swapped for cross tick.
Last chorus has stings and a few little guitar countermelodies.
The texture is melody + accompaniment but the accompaniment gets bigger as the piece goes on

Question 8

Remember to talk about internal chromaticism + step wise descending bass

Answer 8

!! Where? In the four bar prechoruses.

Question 9

What is the highest note and where?

Answer 9

In the chorus repeats, Beyoncé reaches a head voice high F# on ‘you’.