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Area of Study Three

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Area of Study Three

Miles Davis - All Blues
- Structure
  - Based on 12-bar blues progression
    - Chord sequence that last for 12 bars then repeats
      - One chord sequence is called the chorus
  - Main melody is called the Head
    - Played by a muted trumpet
      - Heard near the start and end of piece
  - Simple 4 bar riff
    - In parrallel 3rds
      - Seperates each section
  - 5 Sections
    - Introduction
      - Opening 4 bars
        Played by rhythm section
        Followed by a riff
    - Head 1
      - Head melody
        Followed by a riff
    - Solos
      - 4 solos
        Trumpet
        Piano
        Alto and Tenor saxaphone
    - Head 2
      - Head melody
        Followed by riff
        Played twice
    - Coda
      - Solo for muted trumpet
    - Head arrangement
- Melody
  - Head melody simple
    - Characterised by rising 6ths
      - Interval from D to B
        Followed by 4 solos
  - Trumpet solo
    - Lasts for 4 choruses
      - Short, syncopated motifs
  - Alto sax solo
    - Lasts for 4 choruses
      - Quicker notes
        Wider range
      - Adderleys improvisation is more virtuosic than Davis'
  - Piano solo
    - Lasts for 2 choruses
      - Improvisation is calmer
        simple melody
        Leads into string parrallel chords
  - Tenor sax solo
    - Lasts for 4 choruses
      - fast scales
        Quick runs
        Also very virtuosic
- Harmony and tonality
  - Based on 12 bar blues sequence
    - Repeated throught piece
      - G7 bars 1-4
        Gm7 bars 5-6
        G7 bars 7-8
        D7 bar 9
        Eb7/D7 bar 10
        F/G bar 11
        F/G6 bar 12
  - Chord sequence known as changes
  - Gm with flattened 7th
    - Flattened note is called a blue note
  - Mixolydian mode
    - Modal jazz
- Rhythm metre and tempo
  - 6/4
    - Jazz waltz
    - Sounds like 3/4
  - swing quavers
    - Each pair of qauvers is played with the first a little longer than the second
  - Frequent syncopation
- Instrumental techniques
  - Snare drum is played with wire brushes
    - Sticks later on
  - Bass plays pizzicato
  - Trumpet plays Harmon mute for the head
  - Piano plays tremolo
    - Pianist begins comping during solo
Jeff Buckley - Grace
- instrumentation and texture
  - Buckley is accompanied
    - Guitars
    - Bass guitars
    - Synthesiser
    - Strings
    - Drum kit
  - Guitar part printed in tab
    - Shows finger position
    - Uses drop D tuning
      - Lowest string is tuned from E to D
  - Drums and guitars
    - Play rhythmic patterns
      - Broken chords
      - Accompany Buckley throughout the song
        Synthesiser and strings less prominent
        Drop in and out
        Add effects and vary texture
  - Texture thickens towards end
    - Especially in the coda
- Use of technology
  - Modulation
    - Used on synthesiser
      - Start of song
  - Distortion and flanging
    - Guitars
      - Intesify sound
        In coda
  - Overdubbing
    - Guitars
      - Thicker sound
    - Extra vocal parts
      - Bridge
  - EQ
    - Final verse
      - Removes lower frequency in Buckley's voice
- Structure
  - Verse Chorus form
  - Intro
    - Instrumental
  - Verse 1
    - Voice
  - Chorus 1
    - Voice
      - "Wait in the fire"
  - Intro
    - Instrumental
  - Verse 2
    - Voice
  - Chorus 2
    - Voice
      - "Wait in the fire"
  - Bridge
    - Voice
      - Vocalisation
  - Intro
    - Instrumental
  - Verse 3
    - Voice
  - Coda
    - Voice
      - Improvisation
- Tonality and harmony
  - E minor
    - Often ambiguous
      - Intro focus on D chord
        E minor becomes clear halfway through verse
  - Harmony unusual of a rock song
    - I-IV-V chord progression ignored
      - Chords are chromatic
        Move in parrallel motion
        Semi tone steps
  - Some harmonies
    - Dissonant
- Melody and word setting
  - Vocal parts improvised
    - Wide vocal range
      - 2 octaves
    - vocal phrases are falling
      - Reflecting melancholy mood
  - Frequent ornamentation
    - Melody line
    - Glissandos
      - Slides
  - Syllabic word setting
    - Some melisma
      - Emphasise words
        Love
        Verse one
        Fire
        Chorus
  - Vocalisation
    - Bridge section
      - Wordless singing
      - Buckley uses his falsetto
        Singing high notes
  - Lyrics reflect outlook on love
    - Verse 1
      - Cries
        Set to a falling 5th
        Sounds like crying
    - Bridge
      - Pain
        High register
        Sound frought
      - Leave
    - Verse 3
      - Slow
        Set to a long note
    - Coda
      - Thick texture builds up
        "Drown my name"
- Rhythm metre and tempo
  - 12/8
    - Compound time
  - Bass drum
    - Plays beats 1 + 3
    - Snare drum
      - Accents back beats
        Beats 2 + 4
  - syncopation
    - Vocal melody
      - Rhythmically free
    - Bas line
  - Cross rhythms
    - Two-against-three rhythms
      - Quavers against dotted quavers
Moby - Why does my heart feel so bad?
- Samples and Melody
  - Based on 2 samples
    - Taken from a recording
      - 1953
        Gospel chior
        Singing a gospel song
        King Jesus Will Roll All Burdens Away
  - First sample
    - Sample A
      - Sung by a Male
        Used for verses
  - Second sample
    - Sample B
      - Sung by female
        Used for choruses
  - Boths samples have been manipulated
    - Change meaning of words
    - Have a vintage feel
      - Moby hasn't cleaned up surface noise
        Crackles when a worn vinyl plays
  - Samples are looped
    - Creates melody
      - Result is simple adn repetitive
- Structure and texture
  - Song based on verse chorus structure
    - Samples looped
      - Creates verse and chorus
  - After second verse 1 bar silence
    - Into = A1
      - Verse = A2, A3, A4, A5
        Chorus = Bx1, By1
        Verse = A6, A7
        1 bar silence
        Chorus = Bx2, By2, By3
        Verse = A8
    - A = male sample
      - B = female sample
  - A1 = Piano
    - A2 = Voice
      - A3 = Drum, string-synth countermelody
        A4 = Bass, held synth-string chords
        A5 = syncopated piano chords
  - After breakdown texture becomes thinner
    - Piano and drums drop
      - Bx2
    - Re-enter for next 8 bars
      - By2
      - Drop out again till end
  - Contrasts in texture
    - Varying instrumentation
      - Each 8 bar section
    - Use of silence
    - Sections with static chords for accomapniment
- Rhythm, metre and tempo
  - 4/4
    - Steady tempo
      - 98 bpm
  - Drum loop
    - After 16 bars
      - Made up of a breakbeat
        Drum solo
        Sampled from a hip hop track
  - Bass drum plays on beats 1 + 3
    - Snare drum beats 2 + 4
      - Repeated semiquavers on shaker
  - Syncopation
    - Piano
    - Vocal
    - Sythesised strings
  - Rhythms varied between sections
    - Provides contrast
    - Piano pattern changes at end of verse 1
      - More syncopated
      - Start of verse 2 static chords
- Use of technology
  - Synthesisers
    - Produce string, bass and piano
  - Sampler
    - Vocal samples
      - backbeat rhythm on drum track
  - Drum machine
    - Creates drum track
  - Sequencer
    - Trigger sampler and synthesiser
  - Various effects are applied
    - Panning
      - Used to place sounds in stereo field
        On the piano at the begining
        Creates a sense of movement
        Right to left and back
    - Electric ghostings
      - Male vocal sample
        First comes in
        Remnants of backing singers in original sample
    - Reverb and delay
      - Used throughout the track
        Hear effects in the 1 bar breakdown
    - Echoes
      - Second verse
        A6
      - Voice
        Created through delay
        EQ used to remove lower frequencies
        "Telephone voice"
- Harmony and tonality
  - Harmony is diatonic
    - Made up of 3 simple 8 bar phrases
      - Repeated chord progression
        Each last 8 bars
      - First sample
        Chord sequence = Am, Em, G and D
        Remember: AMazing EMily Goes Dancing
      - Second sample
        Harmonised
        2 different ways
        Firstly: C, Am, C, Am
        Secondly: F, C, F, C
      - Can describe these as verses
        Dorian mode on A
        Describe choruses as
        Being in Cmajor

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Description: Mind Map on Area of Study Three, created by noelfielding11 on 10/12/2014.
Created by: noelfielding11
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