Uematsu - Vamo Alla Flamenco Flashcards

1
Q

What chord progression does this piece use?

A

i, V, i, bVII, bIII, bVII, i, V
i, V, i, bVII, bIII, bVII, i,V,i

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2
Q

What is the harmony of this piece based on?

A

La folia, a 15th century Portuguese piece.

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3
Q

How is colour and a reference to flamenco music introduced in the harmony of the introduction?

A

A chromatic bass line (E,F,F#.)

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4
Q

How is a reference to flamenco music introduced in the technique and timbre of the introduction?

A

A nylon string guitar strummed in a way which is reminiscent of the gueado technique.

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5
Q

What is the time signature of the piece?

A

6/8.

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6
Q

How is a reference to flamenco music introductions in the articulation of the piece’s introduction?

A

In the clapping (beats: 3, 6, 8, 10, 12,) performed with standard accented articulation, which is a fundamental rhythm in flamenco music.

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7
Q

What is the rhythm of the strummed guitar accompaniment to the main melody?

A

Quaver, semiquaver, semiquaver, quaver, quaver, quaver.

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8
Q

What is the structure to the antecedent and consequent phrases of this section?

A

Four bar antecedent, four bar consequent.

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9
Q

After the introduction, how does the music transition to the first main section?

A

With a fill in the bassline.

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10
Q

When the A theme repeats in the first section, how is it developed?

A

It is played by the strings instead of the guitar and it has a countermelody behind it in the brass

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11
Q

What is the general structure of the piece?

A

Introduction, A, B (shorter), A, C and a Coda.

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12
Q

Which percussive timbre is used in the introduction to evoke flamenco music?

A

Castanets.

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13
Q

Which rhythmic device is used in the B section in the castanets and bass line?

A

Hemiola.

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14
Q

Which rhythmic device is used at the end of the melodic consequent phrase in the A section?

A

Hemiola.

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15
Q

In the antecedent phrase of section A, which types of passing notes are used?

A

Lower auxiliary, passing notes between chord tones.

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16
Q

Which cadence supports the end of the consequent phrase and what makes this cadence stronger?

A

A perfect cadence, strengthened by a V7 chord instead of the usual V.

17
Q

At the end of the B phrase, how is the return to the A phrase prepared?

A

The V7 chord is built up from lower chord tones. String timbres are also added to build chord to prepare for a return to a chord I and the main A theme.

18
Q

What is the harmonic rhythm of the A section?

A

One chord per bar.

19
Q

How is the harmonic rhythm of the B section different?

A

Mostly two chords per bar, as it is a faster harmonic rhythm.

20
Q

How is the energy maintained through the rhythm?

A

-Generally, quavers are used frequently in the melody and the accompaniment to keep the sense of motion.
-Sometimes this is enhanced by the use of dotted rhythms accompaniment or semi quaver rhythms.
-Constant clapped quavers.

21
Q

What helps to maintain the sense of movement in the C section?

A

-Use of a very mobile bass line with many disjunct leaps.
-Clapped hemiola rhythm.

22
Q

When the countermelody appears, how is it introduced?

A

With an anacrusis of three repeated quavers on E.

23
Q

How does the composer create a sense of a live performance and audience?

A

Includes clapping and a vocal shout at the end.

24
Q

How is the double bass payed throughout?

A

Pizzicato.