STYLE CHARACTERISTICS-2 Flashcards

1
Q

Vocal Group Rock ‘n’ Roll

A

Sound: Lead vocalist supported by 3-4 backing vocalists, tight close harmony singing (“barbershop style”), backup sings nonsense syllables, instrumentalists deep in background (except for solos)
Band: guitar, drums, bass, piano, saxophone (soloist)
Form: Many songs in standard form, AABA
Harmony: Many songs use the “doo wop” progression
Rhythm: Underlying triple pulse beneath basic duple meter
Other: Many “one or two hit wonders”, many bird groups (Orioles, Ravens, Penguins, Larks, etc), many car groups (Fleetwoods, El Dorados, Impalas)

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2
Q

Instrumental Surf Rock

A

-Guitar based bands
- Guitar sounds has tinny, trebly quality
- Lots of reverb on lead guitar
- Fast, double-picking style (“staccato, machine gun picking”)
-Often include an electric keyboard in the band (piano or organ)
- Drummer often doubles beat two the backbeat rhythm
- Drummer often fills with rapid snare drum beats
- If vocals are used its usually “oohs” and “ahs”
- Tune titles often associated with surfing

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3
Q

Dick Dale

A
  • Guitar sound has heavy reverb
  • Rapid double-picking style
  • Double-picked, descending slide on bass strings influenced by roar of pet lions
  • Double-picked, descending slide on treble strings influenced by sound of ocean waves while surfing
  • Melodically influenced by Middle Eastern scales and melodies, also spanish guitar tunes
  • Rhythmically influenced by drums of jazz
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4
Q

The Beach Boys

A
  • The epitome of vocal surf rock
  • Tightly arranged vocal harmony accompanied by surf rock band
  • Twangy guitar sound with slight reverb
  • High lead vocals (Mike Love, Brian Wilson)
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5
Q

Soul(intro)

A

Elements from Gospel Music: freedom of performance, gospel vocal inflections, religious fervor, call and response performance
Elements from Rhythm and Blues: hard-driving rhythm, fast tempos, aggressive electrifying performances

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6
Q

James Brown

A

-Raspy full-throated vocals
-Percussive backing band
-Gospel oriented chord progression
-Triplet figure in background (New Orleans)
-Gospel/Vocal group r&r backing singers
-Strophic, repetitive
-Intense, dramatic performance
-Hard biting punchy horn sound

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7
Q

Aretha Franklin

A

-Most strongly influenced by Gospel technique
-Wide range of vocal colors
-Wide vocal melodic range
-Frequent use of melisma
-Electrifying “in your face” performance

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8
Q

Pop Soul: Motown

A

-A lead singer supported by backup singers
-Close vocal harmonies
-Voices predominant over instruments
-Band is very much in the background
-More polished sound than soul
-Bass guitar recorded predominantly
-Not many instrumental riffs or vamps
-Strong beat generally emphasizing all four beats in a measure equally
-Some emphasis of backbeat, often with handclaps
-Very often uses a string orchestra in the background
-In performances usually very visual oriented with choreographed moves by backup singers

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9
Q

Pop soul: Philadelphia

A

-Lyrical melodies over a driving rhythm
-Punchy rhythm and blues horn section
-Clean guitar sound
-Drums have full, clear sound quality
-Simple but sophisticated string arrangements
-Band develops strong, dance oriented, rhythmic groove, which later defines disco sound

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10
Q

Funk

A

-Syncopated bass line
-Bass provides rhythmic direction
-Heavily pronounced backbeat drums
-Gospel-influenced Soul singing
-Rhythm instruments often used to create melodies
-Melody instruments often used to create rhythms
-No focus on any one singer/player
Rhythm guitar: choked style

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11
Q

Folk music

A

Voices: Good vocal control, generally sing on pitch, do not shout
Lyrics: carry a message, serious topics of social or political importance, music to listen to/ think about
Harmony: Simple but avoids 12-bar blues and doo-wop progressions
Rhythm: deep in background, no backbeat, surface rhythms based on lyrics
Sound: Exclusively acoustic instruments, avoid elaborate recording tricks, no double tracking, no overdubbing, no echo or reverb, “honest studio sound”, generally appeals to college age, older

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12
Q

Folk-rock

A

Blends rock elements (electric instruments, drums, use of backbeat) with folk elements (message lyrics, tuneful melodies, clear vocals, singing in key)

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13
Q

Country Rock

A

-Incorporation of the basic country string band with the electric band of rock
-Prominent use of country-style pedal steel guitar
-Bass often plays two-beat bass lines, though they must be decorated with runs and bounced notes
-Twangy lead guitar sound
-Nasally vocals with southern or country accents
-Stiff country rhythms

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14
Q

Alternative country

A

-Basic guitar band line up: lead guitar, rhythm guitar, bass, drums
-Augmented by country string band instruments: banjo, mandolin, fiddle, steel guitar
-Often electric bands with acoustic rhythm guitar
-A strong use of distortion on guitars, and sometimes vocals
-Lyrics typically of social or political concerns, though some are love songs as well

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15
Q

Southern rock

A

-Has traits that are found in blues, memphis-based rock and roll, and country music
-Favor two and sometimes three lead guitarists
-All lead guitarists have virtuosic abilities (rock characteristic)
-Lead guitarists favor playing syncopated licks in unison or harmony at extremely fast tempos
-Prominent southern accent on vocals
-Vocal harmonies are in tight or close harmony in thirds (country and rockabilly trait)
-Many songs are narratives, ballads (country and blues trait)
-Often displays attitudes of strong southern pride and patriotism

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16
Q

Stevie Wonder

A

-High baritone/low tenor vocal range
-Heavy, rhythmic bass
-Tightly arranged horn section
-Percussive keyboards
-Precise drumming
(After 1972)
-Songs are interconnected
-Lyrics embrace social, political, and mystical/spiritual concerns

17
Q

Sly and the Family Stone

A

Style derived from James Brown:
-Polyrhythmic vamps
-Hard beat, funky bass line
-Minimal chord changes
-Sound distortion with electronic devices
-Avoidance of strong backbeat
-Stress on all four beats
-Memphis soul sound in horns (percussive, staccato sound)

18
Q

The Beatles

A

First period: originals musically resemble cover models, idyllic or edenic quality of lyrics, lyrics describe the process of growing up, many songs are from me to you type
Second period: more use of acoustic instruments, exotic instruments, musique concrete, polyphonic texture, experimental chord progressions, lyric imagery, some asymmetric phrases to follow text, songs meant to be listened to
Third period: turn away from excessive experimentation, hardly any use of full orchestras or orchestral instruments, less use of exotic instrumentation, sounds more like soloist with backing band rather than unified whole band

19
Q

Ray Charles

A

-Gospel chord progressions: heavy use of tonic/subdominant relations, minor thirds and 7ths rather than blue 3rds and 7ths