Samba Em Prelúdio Flashcards
1
Q
Who is the composer
A
Esperanza Spalding:
American bassist player and singer
Jazz musician from Latin jazz, cuban jazz fusion
2
Q
What lyrics
A
Portuguese
3
Q
Intro dynamics
A
- Low volume as a romantic style
- ‘Free time’ - as rubato where it is hard to find a pulse
- harmonic fermenta with a pause
4
Q
What does the intro do
A
Bass solo
5
Q
Intro rhythm
A
Use of semiquavers
Metric shift to 5-4 in B3 = improvised to fit what is played
6
Q
Intro context
A
Use of studio techniques such as ad libs, virtuose
7
Q
Intro melody
A
- disjunct melody with wide leaps
- mordents for decoration and ornamentation
8
Q
Intro instrumentation
A
Acoustic bass guitar which is a hollow wooden body similar acous guitar
9
Q
Intro texture
A
Monophonic
10
Q
Intro harmony
A
- key sig = Bm as bossa nova is minor with no modulations
- double stopped chords
- arpeggios
11
Q
V1 dynamics
A
Starts with rubato
12
Q
V1 rhythm
A
- shift back to 44
- use of syncopated bossa nova bass rhythm
13
Q
V1 melody
A
- melodic line is rising arpeggio
- B8 leap of 7th
14
Q
Vocal line
A
- low tessitura as a chest voice
- range over minor 10th from E below middle C to G above
15
Q
V1 instrument
A
- alto voice
- acoustic bass guitar
16
Q
V1 texture
A
MDH but some places where bass is also active creates polyphony
17
Q
V1 harmony
A
- B4 use of broken chord of B6 = 6th end
- B4 bass raised 7th as it is the harmonic minor
- double stopped chord
- use of broken chords pattern which is highly complex and technical as if it is it’s own line
18
Q
V2 differences
A
- rhythmic fragmentation whereby use of triplets and semiquavers
- active bass known as ragtime piano accompaniment
19
Q
Chorus main line harmony
A
Use of a jazzy flattened 5th
20
Q
Link passage
A
- tempo almost doubles
- mostly in 44 but big sounds into 22
- double stopped chords with the bossa nova syncopated pattern
21
Q
V3 Dynamic
A
Chord symbols appear for acoustic guitar
22
Q
V3 rhythm
A
- syncopated bossa nova but less triplets v2
23
Q
V3 melody
A
- melody simpler with less syncopation and more conjunct
- longer note value
- sequence in melody
24
Q
V4 harmony
A
- influence of jazz harmony with extended chords
- B25 use of raised 7th
25
Cadence
Cadences not same as classical but end on perfects at every end of verse
26
V4 acoustic guitar
- adds rhythmic interest with syncopated and unsyncopated patterns
- plays plucked chords
- melodic passages
27
V4 harmony
- main chords are tonal from key sig like: 1, 2, 4,5
- some occasional with chromatic harmony like C or F major
28
V4 chorus harmony
Use of jazzy flattened 5th but also with dim chords and flattened chords
29
Séquence Harmony
Use of turn around chords to prepare to repeat some of material
30
How is the guitar solo played
Improvised in a flamenco which is a traditional Spanish style
31
Guitar solo rhythm
- complex rhythms with quintuplets
- syncopation with ties over bars
32
Guitar solo techniques
- studio techniques with overdubbing
- multitracking
- virtuosic
- pull offs
- flamenco
33
Guitar solo meoldun
- Ornamentation with grace notes
- High register
- mostly conjunct with occasional triadic writing
34
Guitar solo harmony
Big babies can’t fly but babies eat elephants can’t fly and babies g g g f
- Bm7
- Bm7
- C#m11
- F#7
- B7/F#
- B7
- Em
- Em
- C#m11
- F#m7
- A#dim7/B
- Bm7/A
- G#dim7
- G#dim7
- G13
- F#7
35
Where does bossa nova come from
Latin for ‘new trend’ to mix new elements with Brazilian rhythms and jazz harmony
36
V5
Essentially a repeat of v2 and 3
37
V5 dynamics
Tempo is maintained and not rubato
38
V5 rhythm
- Less syncopated in order to fit those of IV easily
- rhythmically augmented from V1
39
V5 melody
- sequences
- only melody and no chords
- melody fragmented from V2
40
V5 instrument
Only alto voice and acoustic bass
41
V5 texture
Polyphony as two different melodies play at same time
42
V5 harmony
Jazzy flattened 5th
- also use descending semitone as chromatic movement in baseline
43
How does V5 end
- DS Coda back to V4 till guitar solo
- texture also becomes sparse creating an intimate feel which overlaps as counterpoint
44
Coda melody
Repetitions of chord sequences and flourishes
45
Coda harmony
Use of turnaround chords; a series of chords that helps bring the chord progression to tonic key and the foundation of tune through subdominant
46
Coda end
Melody - flourish and decorated which is short and complex to mirror intro
Rhythm - use of quintuplets and metre changes with B113 to accommodate notation
Dynamics - free tempo
Texture - polyphonic
Harmony - use of 9th and end on Bm7 plus 13
47
What is a acoustic bass guitar
Uses 4 strings with tuned to E A D G
48
How does the music show the love and melancholic feel
- low tessitura and chest voice
- key of Bm
- quiet dynamics
- monophonic and MDH passages
