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music gcse > Samba Em Preludio by Esperanza Spalding > Flashcards

Samba Em Preludio by Esperanza Spalding Flashcards

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1
Q

describe the genre of SEP

A
  • mixes brazilian samba with jazz; bossa nova
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2
Q

what bass techniques are used in SEP?

A
  • double stopping
  • passagework
  • finger picking
  • harmonicsw
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3
Q

what is double stopping? and how is it used in SEP

A
  • playing 2 strings at once on a string instrument
  • unusual and uncommon way of using bass
  • lower clarity in lower pitches so she uses fairly high register double stops
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4
Q

what is a harmonic? and how is it used in SEP

A
  • difficult to achieve
  • don’t press fully on string - produces a sound, usually an 8ve, higher than the fret, as a ghostly sound
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5
Q

what is passagework? and how is it used in SEP

A
  • virtuostic technique; flashy runs
  • focus on scales and harmonic rather than melodic shaping
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6
Q

what is finger picking? and how is it used in SEP

A
  • complex but gentler than strumming
  • provides rhythm without drums
  • articulation; can use different fingers to replicate different parts of a drum kit ie thumb as bass
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7
Q

what is chest register? and how is it used in SEP

A
  • uses subdued and low key tone; sits in a comfortable alto range (lowest female voice type) and doesn’t belt
  • uses chest to reverberate sound creating a rich big sound
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8
Q

describe the structure of SEP

A

sits in between simple head and changes arrangement and more complex structural forms

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9
Q

describe the instrumentation of SEP

A
  • bossa nova often performed by a soloist accompanying themselves on nylon guitar, but piano, organ, double bass, and drums also frequently used
  • stripped back instrumentation similar to mellow bossa nova tracks of early 60s
  • improvised guitar solo with jazz influence
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10
Q

describe the harmony and tonality of SEP

A
  • essentially tonal harmonies with Jazz and American Pop influence (complex)
  • bass and voice create a sense of harmony despite mostly performing single notes
  • B minor
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11
Q

what happens in the intro of SEP?

A

florid bass guitar solo

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12
Q

what was the improvised guitar solo in SEP influenced by and how?

A
  • jazz; triplets, pentuplets, semiquavers, dotted rhythm
  • Flamenco
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13
Q

what happens in verse 1 A of SEP?

A

8 bar idea repeated with different ending

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14
Q

what happens in the link in SEP?

A

bass solo picks up the tempo to move into the bossa nova rhythm for verse 2

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15
Q

what happens in verse 2 B of SEP?

A

10 bar idea repeated and changed the second time

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16
Q

what harmony is in the guitar solo in SEP?

A

played over chords of Verse 2

17
Q

describe the tempo, metre and rhythm of the intro in SEP

A
  • free tempo; lost - difficult to recognise strong pulse
  • 4/4 mainly (almost wholly) but 5/4 b.3
  • semiquavers; difficult to play because of speed and frets
18
Q

describe the harmony and tonality of the intro in SEP

A
  • B minor; common in Bossa Nova and despite complex harmony it doesn’t really modulate
  • N.C
  • harmonic on high G b.3
19
Q

describe the melody of the intro in SEP

A
  • ornamentation: mordent b.1 and fermata b.3 (adds to interest and free time feeling)
20
Q

describe the texture of the intro in SEP

A

monophonic except some double stops (eg.b1)

21
Q

describe the tempo, metre, and rhythm of Verse 1 initial idea in SEP

A
  • slow tempo; rhythmic rubato
  • slow, aimless triplets b4-5
  • complicated rhythm (eg b.5-6) but not enough to lose sense of beat
  • lots of syncopation in bass (eg.b.4-6)
  • occassionally bossa nova type rhythm in bass (eg.b.6 & 9)
  • lack of direction, wandering; no drums
22
Q

describe the tempo, metre, and rhythm of Verse 1 repeated idea in SEP

A
  • develops initial idea through rhythmic changes
  • bossa nova type rhythm b.14 + 17
  • vocal line contains complex rhythms eg triplets
  • the bass progression b.15-16 now has triplets not semiquavers
23
Q

describe the tempo, metre, and rhythm of verse 2 B in SEP

A
  • more syncopated than A
  • note values have doubled with the b.19 increase in tempo, so apparent increase in phrase lengths is false
  • rhythmic interest provided through contrast eg. b.29-31 is chromatic and syncopated whereas b.32 is unsyncopated
24
Q

describe the tempo, metre, and rhythm of the link in SEP

A
  • ‘in tempo’ makes it sound as if it is moving in 2/2
  • dotted crotchet and quaver rhythms
  • bass solo picks up the tempo to move into the bossa nova rhythm for verse 2
25
Q

describe the tempo, metre, and rhythm of the guitar solo in SEP

A

dotted rhythms and syncopation

26
Q

describe the harmony and tonality of Verse 1 initial idea in SEP

A
  • essentially tonal harmonies with jazz influence (complex)
  • ends of sections tend to land on V despite not having traditional classical cadences eg b.11 ends on V
27
Q

describe the harmony and tonality of Verse 2 B in SEP

A
  • dissonance eg b.44 C + B7
28
Q

describe the harmony and tonality of VDS to end in SEP

A

turnaround chords: C#7, G7b5, C#7b9, F#7

29
Q

describe the texture of Verse 1 initial idea in SEP

A

mostly homophonic but sometimes bass is melodic enough to be a melody in its own right

30
Q

describe the ttexture of the voice and bass duet in SEP

A

polyphonic; 2 melodies of the piece are combined

31
Q

describe the melody of Verse 1 initial idea in SEP

A
  • series of phrases linked by common rising arpeggio
  • first or second note of each phrase descends by a tone or semitone in long downward sequence (eg.b.7 + 9)
  • melody moves, unusually, by 3rd leaps and sometimes 7th and all phrases have the span of a 7th (except for the first, which is a minor 6th) (eg.b.8-9)
  • low e shows low vocal range b.11
32
Q

describe the melody of Verse 1 repeated idea in SEP

A
  • vocal line contains many leaps and complex rhtyhms eg.b.15
  • melody changes witth a jazzy flat 5th to prepare for descent to tonic
33
Q

describe the melody of Verse 2 B in SEP

A
  • contrasts A as this is now completely conjunct
  • chromatic: Cmaj7b9 and F7b5 b.27-28
  • chromatically descending b.31-32
  • guitar plays improvised fills - licks - when singing stops to fill silence
  • repeat of flattened 5th idea b.34 on
34
Q

describe the ttexture of verse 2 B in SEP

A

bass and guitar accompanying melody and have contrapuntal melodic lines of their own; bossa nova style

35
Q

describe the melody of voice and bass duet in SEP

A
  • bass plays vocal part from b.4-11 (A) while voice sings b.23-38 (B)
  • sense of intimacy; innermost emotions
36
Q

describe the melody of DS to end in SEP

A
  • second half of verse 2 followed by repetitions of last line
  • guitar and bass play florid riffs during last held vocal note

music gcse (8 decks)

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