Samba Em Preludio by Esperanza Spalding Flashcards

1
Q

intro bars

A
  • bars 1-3
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2
Q

describe the introduction.

A
  • opens with ad lib, virtuoso, bass solo which makes use of arpeggios, wide leaps, rapid semiquaver passages, a mordent and a harmonic
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3
Q

tempo of introduction

A
  • free tempo - difficult to recognise a strong pulse
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4
Q

instrumentation of ‘samba em preludio’

A
  • female voice - alto
  • acoustic guitar
  • acoustic bass guitar
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5
Q

introduction - playing techniques, rhythm and ornamentation

A
  • mordent - e.g. bar 1
  • end of b.1 - double stopping in acoustic bass guitar - playing multiple strings together
  • acoustic bass guitar - arpeggios
  • bar 3 - harmonic and pause
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6
Q

how many main melodies are there in the song?

A
  • two
  • v1 and v2, which are then combined after the guitar solo
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7
Q

introduction - harmony + tonality

A
  • b minor - 2 sharps
  • minor key is typical of a bossa nova
  • complicated harmony - piece doesn’t modulate - stays in the same key throughout
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8
Q

introduction - texture

A
  • monophonic - apart from a couple of double stops
  • HOWEVER texture of entire piece is mainly homophonic
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9
Q

what language are the lyrics in?

A
  • portuguese - typical of bossa novas
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10
Q

verse 1 - stanza 1 bars

A

4-11 (8 bars)

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11
Q

v1s1 - melody, melodic range

A
  • melodic phrases use a rising arpeggio - b.4
  • first/second note of each phrase descends downwards in a long downwards sequence
  • melody line goes down v.low for a female vocal down to a low E
  • vocal line covers the range of a minor tenth (octave and minor third)- using chest register
  • melody mostly moves in leaps of a third/seventh - unusual
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12
Q

v1s1 - tempo

A
  • slow
  • much rhythmic rubato
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13
Q

v1s1 - rhythm and accompaniment

A
  • bar 9 - bossa-nova type rhythm
  • bass in v1 is complicated, making more use of syncopated rhythms than the vocals and only occasionally (b.6,9,10,14+17) using a typical bossa nova-type rhythm
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14
Q

v1 - instrumentation

A
  • no acoustic guitar - only introduced in v2
  • acoustic bass guitar
  • vocals
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15
Q

how is acoustic bass guitar played - v1s1?

A
  • played more like a guitar with arpeggios and double stopping to provide a chordal accompaniment - polyphonic feel
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16
Q

acoustic bass guitar

A
  • larger version of acoustic guitar, but with 4 strings, tuned to E,A,D,G (like the double bass and bass guitar)
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17
Q

verse 1 stanza two bars

A
  • 12-19 (8 bars)
18
Q

v1s2 - vocal line

A
  • mostly leaps and complex rhythms
  • triplets and semiquavers
  • rests used effectively to separate most phrases
19
Q

v1s2 - accompaniment

A
  • active bass part
  • some places in v.1 -> bass appears to be playing two parts before acoustic guitar comes in - lower bass notes alternating with higher chords - like a piano accompaniment
20
Q

v1s2 - word setting, vocal melody

A
  • syllabic
  • 1 musical note to each syllable of text
  • vocal melody based on broken chords/arpeggio figures
  • melody notes are often the highest note of the extended chord - b.14,15+16
21
Q

what are bars 12-17 comprised of?

A
  • a repeat of bars 4-9
  • melody is developed through rhythmic changes
  • bar 18 - melody changes - jazzy flattened 5th
22
Q

link - bars

A
  • 19-21
  • 3 bars
23
Q

link - tempo and harmony

A
  • tempo almost doubles - b.19
  • bass guitar begins bossa nova tempo
24
Q

verse 2 stanza 3 bars

A
  • 23-38
  • 16
25
Q

v2s3 - function of the bass

A
  • sets the bossa nova groove
  • bar.23 - bass part plays much closer to the ‘standard’ bossa nova rhythm - dotted crotchet and quaver pairs
26
Q

v2s3 - rhythm, tempo

A
  • piece - apart from 2 bars - wholly 4/4 quadruple time - although tempo changes from bar 19 onwards - tends to make the piece sound like 2/2
  • fewer triplets - less busy
27
Q

v2s3 - harmony, texture, instrumentation

A
  • bar 23 - acoustic guitar joins and chord symbols appear on the score
  • 25-27 - guitar line imitates the vocal part
  • chords influenced by jazz - lots of extended chords - such as Em7, G13
  • altered chords - b31
  • slash chords - b34
28
Q

v2s3 - melody

A
  • uses almost completely stepwise conjunct movement
  • vocal line is mostly in longer note values - start of the notes tend to be off-beat, syncopated a quaver before the beat sometime
  • sequences - b35/36
29
Q

verse 2 stanza 4 bars

A
  • 39-54
  • 16 bars
30
Q

v2s4 harmony, rhythm, accompaniment, cadences

A
  • guitar parts adds to rhythmic interest - syncopated and unsyncopated passages
  • main chords - mostly tonal - based around chords I, II, IV, V
  • occasional chromatic chords (outside key sig) -> C maj + F maj (b.43/44)
  • each section ends with a perfect cadence
  • accompaniment - guitar plays a mixture of plucked chords and small melodic passage
  • b51 - another jazzy flattened 5th in melody
  • diminished chords, extended chords, flattened 5th chords
31
Q

guitar solo - bars

A
  • 55-87
  • 2x 16 bars
32
Q

guitar solo

A
  • improv - flamenco style
  • virtuosic, complex rhythms and ornamentation like grace notes and pull-offs
  • common in jazz - 32 bars long - oveer 2 sets/choruses of the 16-bar chord sequence of v.2
  • second acoustic guitar is dubbed in guitar solo
33
Q

16-bar chord sequence

A
  1. Bm7
  2. Bm7
  3. C#m7 ^b5
  4. F#7
  5. B7/F#
  6. B7
  7. Em
  8. Em
  9. C#m7^b9
  10. F#7
  11. A# dim7/B
    12.Bm7/A
  12. G# dim 7
  13. G# dim 7
  14. G13
  15. F#7
34
Q

verse 3 bars

A
  • 88-104
  • 16 bars
  • vocals and bass duet
35
Q

v3 - instrumentation, tempo

A
  • guitar drops out
  • tempo still maintained - bossa nova
36
Q

v3 - vocal rhythms, texture, harmony, melody

A
  • bar 89 onwards, vocal rhythms of v.2 - less syncopated
  • voice and bass duet - polyphonic with 2 clear melody lines - V.2 being sung and V.1 played on bass
  • melody from v.2 in vocals
  • melody from v.2 in bass
  • very sparse texture in places - intimate feel - counterpoint at times - b.99 - flattened 5th sequence
  • b.100 - descending semitone movement in bars
37
Q

b.103

A
  • D.S Al Coda
  • dal segno al coda
  • go back to the sign (b.39) and continue to the coda mark (b.51) and then jump to the coda (b.105)
38
Q

D.S repeat bars

A
  • verse 2
  • bars 39-52
  • 4th stanza
39
Q

coda bars

A
  • 104 to end
  • 11 bars
40
Q

coda-end

A
  • consists of 2 last repetitions of the last line of the lyrics
  • over a 4-bar turnaround sequence
  • quintuplet demi-semi quavers - bar 111
  • guitar flourish - bar 113- 6/4 - free tempo returns for final guitar flourish- changes to 6/4 to accommodate notation
41
Q

turnaround

A
  • series of chords that helps bring chord progressions back to the tonic key - usually found at end of a tune
42
Q

final chord and time sig

A
  • Bm13
  • 4/4