samba em preludio Flashcards

1
Q

structure

A
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2
Q

Melody Verse 1 (A) bars 4–19

A

An eight-bar idea (bars 4–11), repeated with a different ending, in bars 12–19.
o The first (or second) note of each phrase descends by a semitone or a tone in a
long downward sequence.
o The music descends almost beneath the female vocal range, to a low E, at bar
11.
o The melodic line moves, unusually, mostly by leaps of a third and occasionally of
a seventh, in bars 8–9.
o All phrases have a span of a seventh, apart from the first, which spans a minor
sixth.

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3
Q

fusion

A

fusion of cuban and Jazz

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4
Q

Instrumentation

A

female voice, acoustic guitar and acoustic bass guitar.

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5
Q

female voice

A
  • The vocal line covers a range of a minor tenth (an octave plus a minor third) from E below middle C to the G above.
  • Syllabic
  • vocal line contains many leaps, and also some quite complex rhythms – triplets, semiquavers, rests.
  • Uses variation in the performance of the rhythms and of the tempo – a performance technique known as rubato.
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6
Q

acoustic guitar

A
  • The acoustic guitar joins the accompaniment from bar 23 onwards and plays a virtuosic solo from bar 55- 89.
  • In its accompaniment role, the guitar pays a mixture of plucked chords and small melodic passages, some of which cover the long notes at the end of vocal phrases.
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7
Q

acoustic bass guitar

A
  • The bass part is active.
  • Intro features a virtuosic bass solo with use of double stops, wide leaps, rapid semiquaver passages, a mordent and a harmonic.
  • during verse 1 (before the acoustic guitar enters), the bass appears to be playing two parts, with lower bass notes alternating with higher chords, rather like a ragtime piano accompaniment.
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8
Q

Rhythm - Verse 1

A
  • Vocals: frequent triplets, rests separate most of the phrases here – mostly quavers
  • Acoustic bass guitar: syncopated, only occasionally (bars 6, 9, 10, 14 and 17) using a typical bossa nova-type rhythm.
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9
Q

Rhythm - Verse 2

A
  • Vocals: longer note values - (includes quavers, crotchets and minims), A few triplets, some bossa nova rhythms
  • Acoustic bass guitar: plays more of a ‘standard’ bossa nova rhythm – dotted crotchet and quaver pairs – although still with some syncopations and quaver movement.
  • Acoustic guitar: The guitar part also adds to the rhythmic interest, with both syncopated and un-syncopated passages.
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10
Q

Rhythm - Guitar Solo

A
  • Ornamentation - Grace notes - pulloffs
  • Mostly conjunct
  • Triplets, quintuples, sextuples
  • Some dotted rhythms
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11
Q

Rhythm - Voice and bass duet

A
  • Vocals: less syncopated, a few triplets
  • Acoustic bass guitar: frequent triplets – mostly crotchets and minims
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12
Q

Tempo:

A
  • The tempo during bars 1–3 bars is very free, and it is difficult to recognise a strong pulse.
  • Verse 1 has a slow tempo, with much rhythmic rubato (freedom taken with the tempo).
  • The tempo almost doubles at bar 19, where the bass guitar begins the bossa nova tempo.
  • A free tempo returns at bar 113 for finale – last 2 bars.
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13
Q

Metre

A

The piece is (apart from two bars, - bar 3 (5/4) and bar 113 (6/4)) in 4/4 quadruple time

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14
Q

Tonality

A

B minor

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15
Q

Texture

A
  • The introduction is monophonic (a single line of music) – apart from a couple of double-stops (two notes or more at once).
  • The texture in the rest of the piece is mostly homophonic (tune and accompaniment) but note that the bass part at times becomes almost melodic enough to be a melody in its own right.
  • The passage at bars 89–104 (voice and bass duet) is polyphonic (two or more separate melodic lines at once) as the two melodies of the piece are combined.
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16
Q

Harmony

A
  • Non-functional harmony
  • chord roots is based around chords I, II, IV and V.
  • There are frequent extended chords – e.g. 7ths, 9ths, 11ths, 13ths
  • Other types of chords are used – diminished seventh (bar 35); flattened fifth chord (bar 44).
  • Chromatic chords (containing notes outside the scale of the home key) are used – C♯7 (bar 31) and C and F major chords (bars 27/28).
17
Q

Guitar solo

A
  • Improvisatory quality
  • Ornamentation - Grace notes - pulloffs
  • Mostly conjunct
  • Triplets, quedtuples, sextuples
  • Virtuosic
  • Wide range