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Music > WL: Popular Music and Jazz > Flashcards

WL: Popular Music and Jazz Flashcards

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1
Q

Courtney Pine: LDJC

Dizzy Gillespie: “A Night in Tunisia”

A
  • SIM: Complex chord extension
  • DIF: Quick alternation between chords, vs. LDJC, in which the harmonic movement is comparatively slow
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2
Q

Courtney Pine: LDJC

Chuck Berry: “Johnny B Goode”

A
  • SIM: 12 Bar Blues harmonic structure
    -> Rock and roll song, showing how the blues style influenced successive genres of music
  • DIF: Specifically 12 bars, whereas LDJC stretches over a longer period
    -> Blues only an influence, part of his fusion
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3
Q

Courtney Pine: LDJC + L&A
+
The Beatles: IWTTY

  1. Little Walter: “I’m a Man”
    +
  2. Randy Newman: “Little Criminals”
A

1.
CP
SIM: Blues-inspired notes, like flat 5ths and 3rds
-> BEATLES uses minor-major thirst with acciaccatura
DIF:
- Unrelenting, repetitive structure of chords and guitar refrain
- Improvisatory feel to vocals -> often speech-like
-> LINK! CP sax solos

  1. B
    SIM: Swung, blues-influenced guitar + piano accompaniment
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4
Q

Courtney Pine: LDJC

John Coltrane: “In a Sentimental Mood”

(+ Charlie Parker: “Blues for Alice”)

A

SIM: Sax solo with an improvisatory feel
-> “Blues for Alice”
-> LDJC, ISoM,
DIF:
- While CP uses energetic, virtuosic extended techniques eg. chromatic slides, pitch bends, multiphonics…
- … JC creates a slow, more contemplative mood, decorated mainly with short grace notes

+

  • While JC uses MDH throughout, swapping between the saxophone and piano…
  • … CP uses backing vocals, countermelodies and saxophone interludes to add moments of polyphony
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5
Q

Courtney Pine: LDJC

Avicii: “Levels”

A

SIM: Reverse cymbal effect
-> Demonstrate CP’s electronic influences

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6
Q

Courtney Pine: ISoM

  1. Gershwin: “Summertime”
  2. Miles Davis: “So what?”
A
  • Both quoted
  1. Vocal refrain
  2. Horn section (sax+trumpet)
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7
Q

Courtney Pine: ISoM (+ L&A)

Nas: “Memory Lane”

A

SIM - ISoM:
- East Coast Rap influence:
-> Drum Machine
-> Turntable Scratches
-> Small chordal range

SIM - L&A:
- Gospel-style backing vocals
-> DIF: Repeated refrain throughout
-> DIF: Vocables, not lyrics

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8
Q

Courtney Pine: ISoM

Marco Polo: “For the Future”

A

SIM
-> Rapper saying his name (Marco Polo vs. Black Twang)

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9
Q

Courtney Pine: LDJC/L&A

Charlie Parker: “Cherokee”

A

Chromaticism
- Creates enclosed sequential figures
- Repetitive riff harmony (L&A), giving a bebop-influenced feel (LDJC)

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10
Q

Courtney Pine: ISoM
+
Kate Bush: Cloudbusting
+
Beatles: Eleanor Rigby/IWTTY

  1. Miles Davis: “Blue in Green”
    +
  2. The Beatles: “Norwegian Wood”
A
  1. Modal
    DIF: Incorporates multiple modes: Dorian, Mixolydian, and Lydian, as opposed to “Inner State of Mind” which just uses C Dorian.
  2. Mixolydian
    DIF: E Mixolydian (as opposed to B in “Cloudbusting”), moving to E Dorian
    - Eleanor Rigby is much darker/disconcerting eg. Lydian on C in cello ascending scale
    - IWTTY: Sitar
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11
Q

Courtney Pine: L&A
+
The Beatles: Here, There and Everywhere

The Beatles: “When I’m 64”

A

CP:
Bass Clarinet - Unusual for pop music, used in imitations of older styles, i.e. imitating cabaret

B:
Verse moves to the relative minor (A minor), rather than the parallel minor - not quite as sudden.

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12
Q

Kate Bush: Cloudbusting
(+Beatles: Eleanor Rigby)

  1. Elton John: “I’m Still Standing”
    +
  2. The Beatles: “Eleanor Rigby”
    - + UI: Kraftwerk, “The Model”
A
  1. Constant crotchet pulse
    DIF: Begins with tonic pedal, giving an assuredness of key missing from “Cloudbusting”
  2. Constant crotchet pulse
    DIF: String octet, vs. Fairlight CMI vocal sample, sounding like strings
    -> Actual synth strings in “The Model”
    * German techno scene
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13
Q

Kate Bush: Cloudbusting

  1. Kate Bush: “Wuthering Heights”
  2. The Beatles: “I am the Walrus”
A

BASED OF LITERATURE
- “The Book of Dreams”, Peter Reich
-> About his relationship with his father, Freudian theorist Wilhelm Reich, who was arrested and died in a US prison

  1. First debut single, 1978, aged 19
    - Became the first female artist to achieve a UK number 1 with a self written song
    -> Highly disjunct - gives it a scattered, unpredictable, airy quality
  2. Based off a poem by Lewis Carol
    -> SIM: Mainly strong beat, with drum rolls emphasising the strong beats
    DIF: Degrades/fades out into a kind of anarchy at the end of radio samples/static noise -> + Babooshka
    + UI: Melisma on “crying” vs. eg. “over”
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14
Q

Kate Bush: Cloudbusting

The Who: “Baba O’Riley”

A

SIM:
- Violin riff (in outro)
DIF:
- Electric organ, creating similar rhythmic drive
-> Repetitive riff inspired by minimalist composer, Terry Riley

WL!
- More inspired by Elton John, 1983 (KB = 1985)

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15
Q

Kate Bush: All

Bush: “Babooshka”

+ Coldplay: “Kaleidoscope”

A

STRANGE INSTRUMENTATION/EFFECTS

CB: Balalaika, also used in a repeating melodic figure

  • Overlaid cackling/glass shattering vs. CB: Steam engine
    ADoS: Spoken voice sample
  • Shipping forecast vs. Obama in Coldplay’s “Kaleidoscope”
    UI: Submarine noises/cracking

UI: Accompanying vocals
-> Not harmonising, but low voices saying ‘babooshka’

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16
Q

Kate Bush: Cloudbusting/ADoS

Queen: “Killer Queen”

A

CB: Vocables
- ‘Ba’ in chorus

ADoS
- Conventional pop harmony
DIF: Cycles through circle of fifths, vs. I, ii, V, I

17
Q

Kate Bush: Cloudbusting/ADoS

The Beatles: “Let it Be”

A

CB: Parallel chordal movement
-> Descending, often to signal the start of a new section

ADoS: Lombardic rhythms (+speech rhythms)

18
Q

Kate Bush: ADoS/UI

Pink Floyd: “The Wall”

A

Concept album
-> KB: “The Ninth Wave” section of “Hounds of Love”
- Based on Russian painting: Alone at sea, waiting for the ninth wave, which is said to be unsurvivable

19
Q

Kate Bush: UI

Anais Mitchell: “Way Down Hadestown”

A

Portamento
-> Descent into the underworld
- “Under the groooouuuunnnnddd”
-> Contemporary music theatre, with soul/pop/even jazz influences

20
Q

The Beatles: Eleanor Rigby

Harry Nilsson: “I Said Goodbye to Me”

A

SIM:
- Similar lilting quality
- Double tracking
DIF: Emphasised by 3/4 time signature vs. repeatedly emphasises 4/4

21
Q

The Beatles: Eleanor Rigby

  1. Bob Dylan: “Masters of War”
    +
  2. Bruce Springsteen: “Born in the USA”
A

ER: Alternates between C major and E minor (with the occasional A minor)

  1. Also uses two chords: E-flat and F minor
    - Similar sense of inevitability but of a more repetitive melody -> short phrases add to a sense of frustration
  2. Also uses two chords: B major and E major
    - Sense of pride/joy/celebration
22
Q

The Beatles: Eleanor Rigby

Led Zeppelin: “Kashmir”

A

Articulated pedal
DIF: On D as their main riff, vs. E in ER
-> ER also uses inverted pedals

23
Q

The Beatles: Eleanor Rigby

Bob Dylan: “Simple Twist of Fate”

A

Chromatic scale
DIF: As a repeated bass line throughout (ER: Under “all the lonely people”)

24
Q

The Beatles: HTaE

The Beach Boys: “Fun, Fun, Fun”

A
  • Muted drums on the backbeat
    DIF: Manic activity, ‘fun fun fun’ energy vs. the laid-back feel of HTaE
  • Similar to tBB -> HTaE uses parallel, triadic, root position, close harmony backing vocals
    -> Barbershop inspired eg. v/ high falsetto, which feels for care-free/emotive in HTaE
25
Q

The Beatles: HTaE

The Kinks: “Rosy Won’t You Please Come Home”

A

Features stepwise chord progression
DIF: Descending, minor, more rock and roll inspired
-> Andalusian cadence (think “Hit the Road, Jack”)

26
Q

The Beatles: HTaE

The Beatles: “Drive my Car”

A

Unusual time signature in introduction
DIF: Uses 9/8 in intro guitar riff, compared to 7/8 in HTaE’s intro

27
Q

The Beatles: IWTTY + TNK
+ SHANKAR!!

Kula Shaker: “Govinda”

The Beatles - Within You Without You - Consistent Indian-influenced vocals throughout. Slides, melismas, unusual scales, etc. Shankar

A

Use of Indian-influenced melody
DIF: Throughout the song, unlike IWTTY, where it is just in the outro
- Sung entirely in Sanskrit
- Tabla and tambura instrumentation
-> Also Shankar WL - this fuses Indian with rock

+ Non-instrumental sounds (bird song) -> Tomorrow Never Knows

28
Q

The Beatles: IWTTY
+ SHANKAR!!

The Beatles: “Within You Without You”

A

Use of Indian-influenced melody
DIF: Consistent Indian-influenced vocals throughout:
- Slides, melismas, unusual scales
-> Shankar!!

29
Q

The Beatles: TNK

  1. The Beatles: “Revolution 9”
    +
  2. The Chemical Brothers: “Let Forever Be”
A
  1. Use of electronics, loops, panning electronics, vocal samples, music concrète influence
    DIF: Without the drum backbeat so feels more like free-time
  2. Heavily influenced by Tomorrow Never Knows -> use of drum loop and bass loop, with similar synth instrumental solo
30
Q

The Beatles: IWTTY + TNK
+ SHANKAR!!

Rolling Stones: “Paint it Black”

A

Use of sitar
DIF: In a more melodic way - heterophonic with the vocal line in the verse
-> SHANKAR!!!!

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