Prelude Polkas

Question 1

“Traditional” Instruments which feature on this track (3)

Answer 1

Bodhrán, fiddle, and accordion

Question 2

Melody of each song (3)

Answer 2

• The Prelude Polka in in the Aeolian mode transposed to B with a dotted opening and balanced phrasing
• Paddy’s Polka No. 2 is in the key of A major but is based entirely on the pentatonic scale, moving largely in conjunct steps with 3rds interspersed
• The Millstream Reel is in the key of G major with the second section using a higher set of pitches than the first – a common trait in traditional music.

Question 3

Time signature

Answer 3

• The polkas are in 2/4 time and the reel has also been notated in this time signature although 2/2 is perhaps more common.

Question 4

Boega’s use of rhythm (4)

Answer 4

• The three pieces are in 2/4. 2/4 and 2/2 respectiviely. The rhythmic feature include an opening 8/8 pattern of 3+3+2 on the bodhrán.
• Frequent syncopation in the melody and accompaniment suggests an affinity with the American “Bluegrass” style
• The “Blues” version of the Millstream Reel is in “swung” rhythm where the first note of each pair is lengthened
• The use of fast repeated notes also drives the music forwards, especially in the reel.

Question 5

Structure

Answer 5

• All three tunes are in the customary binary form i.e. consisting of two sections each of which is repeated: AABB.

Question 6

Harmony (3)

Answer 6

• Beoga use major and minor triads plus added sixth and seventh chords more likely to be found in jazz or other popular styles.
• There are three ‘key’ areas in the set. Aeolian mode (transposed to B), A major, and G major. In binary form, the B sections are in related keys and there are many added chords, especially 6th and 7ths.
• There is a descending chromatic passage in Millstream leading into a Bluegrass harmony with added chromaticism.

Question 7

Instrumentation (3)

Answer 7

• The instruments used are a number of traditional Irish instruments such as the accordion, fiddle and bodhrán, but also with non-traditional instruments such as the piano, saxophone, bass guitar and drum kit
• First section of Prelude Polkas is played on accordion accompanied by 8/8 pattern of 3+3+2 on the bodhrán and syncopated piano chords
• The bass guitar is replaced by Double bass in the Millstream reel, giving a walking bass in slap style.

Question 8

Describe the introduction (2)

Answer 8

• Bodhrán solo in which a pattern of 3+3+2 quavers derived from the Tango or Habanera is emphasised.
• The accordion has a riff based on a rising and falling B minor arpeggio which is transposed up to D minor, F# minor and G# minor.

Question 9

Describe the prelude polka

Answer 9

• A : First section of the polka accordion has the tune accompanied by bodhrán rhythm and syncopated piano chords.
• A : Repeat of the tune interrupted by rests in the piano and an unusual violin trill and discord.
• B : Second half of polka beginning in D major and returning to B minor
• B : Repeat

Question 10

What happens when the interlude occurs after the first AABB of prelude polka? (4)

Answer 10

• only first four bars of section A played followed by ritardando.
• D major interlude in a slower tempo consisting of a duet for soprano saxophone and fiddle.
• Added piano arpeggios and glockenspiel effect on keyboards.
• Return of the polka in its original tempo for section A

Question 11

Describe the opening of paddy’s polka (4)

Answer 11

• A : First section of new polka played by accordion and fiddle in unison with rhythmic ostinato on maracas. Bass guitar joins with tonic pedal and then underlines the cadences at the end of each section.
• A repeats
• B - Second section begins in F# minor but returns to the tonic. Polyphonic texture created by interplay between 2 accordions
• B repeats

Question 13

Non traditional instruments on this track ? (4)

Answer 13

• Piano
• bass guitar
• double bass
• soprano saxophone and cymbals together with synthesised string and percussion sounds.