Samba

Question 1

Harmony and tonality

Answer 1

• B minor (AO3)
• No modulations but use of many chromatic notes (AO3)
• Complex chords (AO3) because bossa nova is based on the rich harmonic vocabulary of cool jazz (AO4)
• Chord extensions (7ths, 9ths, 11ths and 13ths) are used (AO3)
• Use of chromatic chords such as the diminished 7th (AO3)
• Extensions and chromatic alterations are typical of cool jazz (AO4)
• An extended chord is usually used to end a jazz performance (AO4)
• Final chord is Bm#13. The B in the bass is the tonic, but soon dies away leaving a shimmering discord containing the 3rd, 7th, 9th, 11th and #13th, deliberately avoiding any sense of finality (AO3)

Question 2

Instrumentation

Answer 2

• Acoustic bass guitar (AO3)
• Bass plays broken chords, scale patterns and double stopping as well as a mordent (bar 1), the harmonic on highest note (bar 3) and the glissando after from the low F# towards D (AO3)
• Female voice with low tessitura (AO3)
• Nylon string acoustic guitar (AO3) Latin America (AO4)
• Guitar joins accompaniment in bar 23, plays chords and melodic fragments. Has virtuosic solo in the middle of the song (AO3)

Question 3

Texture

Answer 3

• Bars 1 – 3 are monophonic, apart from the two double stops (AO3)
• Most of the song is then homophonic (melody and accompaniment) (AO3)
• Bars 88 – 103 is contrapuntal with the combination of two independent melodic lines (AO3)

Question 4

Rhythm, metre and tempo

Answer 4

• Based on Bossa Nova and Samba rhythms (AO3)
• Starts in free tempo (AO3)
• Use of 5/4 in bar 3 to express free tempo, not a strict pulse (AO3)
• 4/4 simple quadruple time by bar 4 (AO3)
• Frequent use of syncopation (AO3) traditional of Samba (AO4)
• Frequent use of triplets (AO3)
• Cross rhythms – two rhythmic patterns that conflict occur simultaneously (bar 8) (AO3)
• Bossa Nova (in tempo) in bar 19 is the start of the dance section of the song (AO3) with bossa nova’s characteristic combination of gently syncopated and dotted rhythms (AO4)

Question 5

Structure

Answer 5

• Bar 103 D.S. al Coda an instruction to go back to sing in bar 39. From there to bar 52 and then jump to Coda in bar 104 (AO3)
• Contains 2 main melodies, A and B (AO3)
• Each is immediately repeated in varied from. Structure is A then B then after guitar solo in the middle based on the chords of section B, the two melodies are heard together in counterpoint in bars 88 – 103 (AO3)
• Bass in bars 88-103 is an augmented version of the vocal melody in bars 4-11 (i.e note lengths are increased – mostly doubled) (AO3)

Question 6

Melody

Answer 6

• Vocal melody in section A based on 4-note rising figure (AO3)
• Each phrase spans a 7ths (apart from first – a 6th) (AO3)
• 1st or 2nd note of each phrase falls by a step, creates a downward sequence (AO3)
• Falling sequence, low tessitura and minor key create a sad mood, designed to portray the melancholy lyrics (AO4)
• Melody in section A moves mainly by leaps of between a 3rd and a 7th
• Section B almost entirely conjunct (AO3)
• Word setting throughout is syllabic (AO3)
• The instrumental melodies have an improvisatory character (AO3) Prelude means to improvise (AO4)
• In intro – acoustic bass part consists of broken-chord and scale-based figures (AO3)
• Unaccompanied pattern in bar 2 returns in bar 7 and is changed to a triplet rhythm in bar 15 (AO3)
• Acoustic solo (bars 55-87) based on scale and chord patterns, and shows the range and versatility of the instrument in its upper register (AO3)
• Guitar fingered tremolo at 2:53 and 3:25 (AO3)

Question 7

Context

Answer 7

• Samba – 20th century national dance of Brazil
• Loud drumming and syncopated rhythms
• This piece is a bossa nova – new trend
• Bossa nova slower and more lyrical than samba
• Focus on rich and complex harmonies borrowed from contemporary cool jazz
• Title means ‘Samba in the form of a prelude’ (prelude – short improv style piece)
• Portuguese (language of brazil) lyrics