1
Q
describe the instrumentation AND texture of the intro of ACSS
A
- starts with a drone using 2 different synth
tones, hard-panned L + R. Both synths are filtered with low pass filters. The filtering is
often timed so that when the L is adding treble, the R is removing it and vice versa. - Layering of parts increase the texture as talking drum, synth strings drone, vocal
samples (spoken) are added. Bodhrán, shaker and drum machine help to establish the steady tempo (50′′). - Female vocalisation (Fig. 1) (1′19′′) enters using heavy reverb and panned
2
Q
list as many features of the melody of ACSS as you can
A
- Use of nonsense lyrics
- Main verse is syllabic
- Some spoken parts
- Short phrases
- Limited note range (6th)
- Vocal samples
- Repetitive
- Sense of improvisation from opening female vocals
- Use of glissando (sliding)
- Use of ornamentation (acciaccatura)
- Use of double stopping (violin)
- Use of reverb is very obvious for the whole track.
3
Q
list as many features of the texture of ACSS as you can
A
- Constantly changing
- Use of layering
- Loops
- Main texture is homophonic
- Heterophonic texture (during outro)
- Polyphonic texture.
4
Q
list as many features of the harmony and tonality of ACSS as you can
A
- Diatonic
- Key of C minor but actually Modal
- Chord sequences are repetitive
- Hint of chromaticism
- Use of extended chords (7th, 9th)
- Slow harmonic pulse
- Use of drone
- Use of false relation.
5
Q
list as many features of the tempo metre and rhythm of ACSS as you can
A
- Free time at the start
- Steady tempo established at 50′′ – 100 bpm
- Simple quadruple meter
- Slightly swung quavers (gives a lilting/relaxed quality to the music)
- Syncopation
- Triplets
- Sextuplets
- Accents
- Rhythmic ostinato
- Use of loops
- Use of riffs
- Short rhythmic phrases
- 2- and 4-bar phrases.
6
Q
give an example of nonsense lyrics in ACSS
A
7
Q
give an example of a spoken part in ACSS
A
vocal samples in the intro
8
Q
give an example of a Vocal sample in ACSS
A
- spoken vocal samples in intro
- breath sample in verse 1
- Female vocal samples interject new uilleann pipe solo loop (heterophonic texture with hurdy-gurdy) in build up
9
Q
give an example of glissando in ACSS
A
- uillean pipe solo in solos section
- low whistle solo in solos section
10
Q
give an example of ornamentation in ACSS
A
- acciaccatura in low whistle solo in solos section
11
Q
give an example of double stopping in ACSS
A
- fiddle accompaniment in verse 2
11
Q
give an example of layering in ACSS
A
- in intro: drone + talking drum + synth strings + spoken vocal samples + bodhrán + shaker + drum machine + female vocalisation using heavy reverb + synth and drum loops
- in build up: bass + drum+ syncopated electric piano over arpeggio accompaniment + electric piano playing an oscillating pattern
- in build up pt2: Female vocal samples + uilleann pipe solo loop + hurdy-gurdy + low chromatic synth strings.
12
Q
GIVE AN EXAMPLE OF drone in ACSS
A
- intro starts with a drone hard panned L and R and low pass filters
- A steady C drone (without ‘modulation’) fades in gradually from about 19″.
- synth strings drone in intro
13
Q
GIVE an example of homophonic texture in ACSS
A
- verse 1: Main female vocal comes in singing verse 1 and the accompaniment is simple chords giving a homophonic texture.
14
Q
GIVE an example of Heterophonic texture in ACSS
A
- build up: Female vocal samples interject as a new uilleann pipe solo loop creates a heterophonic texture with the hurdy-gurdy.
15
Q
give an example of polyphonic texture in ACSS
A
- verse 3: female verse takes over. Hurdy-gurdy and uilleann pipe solo play underneath the main vocals creating a polyphonic texture. There is the addition of a new synth sample, which plays static chords
16
Q
GIVE an example of Syncopation in ACSS
A
build up: electric piano plays a syncopated two note melody (F and G)
17
Q
give an example of Triplets in ACSS
A
verse 2: fiddle accompaniment
18
Q
GIVE an example of Sextuplets in ACSS
A
low whistle solo in solo section (rhytmic variety)
19
Q
give an example of Accents in ACSS
A
- bodhran in intro
- kora in verse 1
- more complicated drum loop accompaniment in verse 2
- fiddle accompaniment in verse 2
- accordion loop accompanying solos in solo section plays accented chords
20
Q
give an example of Rhythmic ostinato in ACSS
A
- intro: shaker
- verse 1: female vocals, tamboruine
- solo section: uillean pipe solo, accordian accompaniment
- build up: electric piano, uillean pipe solo loop
21
Q
give an example of riffs in ACSS
A
22
Q
give an example of Short rhythmic phrases in ACSS
A
23
Q
what are low pass filters used for?
A
used to sweep through all the frequencies in a tone and modulate the sound by removing, and then adding, higher harmonic content while always keeping the lower part or fundamental
24
describe the tempo and metre of the intro of ACSS
- It is in free time.
- Bodhrán, shaker and drum machine help to establish the steady tempo (50′′).
25
describe the harmony and tonality of the intro of ACSS
A steady C drone (without ‘modulation’)
fades in gradually from about 19′′.
26
describe the instrumentation and texture of verse 1 of ACSS
- Main female vocal comes in singing verse 1.
- accompaniment is simple chords giving a homophonic texture.
- The tambourine takes over from the shaker
- Kora enters at the end of the verse along with low synth strings
- At the end there is a short bodhrán solo before the breath sample, and bass loop enters
- A short flute effect (showing obvious delay FX (echoes) acts as a link
27
describe the rhythm of verse 1 of ACSS
- TAMBOURINE playing steady semiquavers.
28
describe the melody of verse 1 of ACSS
- low synth strings play an ascending chromatic line
- bass loop enters playing a riff on
two notes (C and Bb), which gives a modal quality.
29
describe the harmony of verse 1 of ACSS
bass loop enters playing a riff on
two notes (C and Bb), which gives a modal quality.
30
describe the instrumentation and texture of verse 2 of ACSS
- Male vocals take over singing a variation of verse 1.
- A more complicated drum pattern appears with a fiddle playing an accompaniment
- Towards the end the low chromatic synth strings enter.
- short drum and bass link leads to the solos
31
describe the melody of verse 2 of ACSS
- fiddle accompaniment uses double stopping and accents
- low chromatic synth strings
32
describe the rhythm of verse 2 of ACSS
fiddle accompaniment uses triplets
33
describe the instrumentation and texture of the solos of ACSS
- Uilleann pipe starts the solo section, joined by the whistle an octave higher
- The solos are accompanied by an accordion loop and bodhrán
- The solo continues with the low whistle playing a more complicated version of the pipe solo.
- low synth strings accompany the low whistle along with the accordion.
- The bass loop has dropped out.
- Towards the end the male vocals are
joined by the hurdy-gurdy and bass
34
describe the rhtyhm of the solos of ACSS
- whistle plays mainly running semiquavers
- low whistle plays a more complicated version of the pipe solo which has an increase in rhythmic variety including the use of demisemiquavers
35
describe the melody of the solos of ACSS
- whistle plays occasional glissando
- accordion loop plays accented chords
36
describe the instrumentation and texture of verse 3 of ACSS
- The texture continues as the female verse takes over.
- The hurdy-gurdy and uilleann pipe solo playing underneath the main vocals created a polyphonic texture.
- There is the addition of a new synth sample, which plays static chords
- The male vocal takes over (5′35′′) accompanied by the fiddle with the chromatic low synth strings.
- At the end the bodhrán enters playing its original entry leading to the build up
37
describe the instrumentation and texture of the build up of ACSS
- The bass re-enters with a more complicated drum part
- Layered on top is an electric piano playing a syncopated 2-note melody (F and G) over an arpeggio accompaniment Underneath there is a second electric piano playing an oscillating pattern of two notes (Eb and F)
- the electric piano loops drop out as a new hurdy-gurdy loop enters
- Female vocal samples interject as a new
uilleann pipe solo loop creates a heterophonic texture with the hurdy-gurdy. - Again they are layered with the low
chromatic synth strings.
38
describe the rhythm of the build up of ACSS
electric piano plays a syncopated 2-note melody
39
describe the melody of the build up of ACSS
electric piano plays a syncopated 2-note melody (F and G) over an arpeggio/chordal accompaniment and underneath there is a second electric piano playing an oscillating pattern of two notes (Eb and F)
40
describe the instrumentation and texture of the outro of ACSS
- Female voice sings ‘Reach out and you’ll touch me’
- bass loop drops out and the second fiddle loop re-enters.
- At the end the 2 electric piano loops enter as all the other loops drop out.
- The music fades out.
41
what is a talking drum?
- african instrument
- replicates speech inflections by playing different pitches by squeezing strings to stretch membrane
42
what is a kora?
- african harp
- gourd resonator amplifies sound
- strings come off at an angle
- sounds in between a guitar and harp
43
what is a tin whistle?
- celtic instrument
- tin pipe with holes bored into it
- clear and shrill sound
44
what are the uillean pipes?
- celtic instrument
- sweeter version of the bagpipes (and smaller)
- no blow pipe, just bellows
- low constant drone
45
what is a hurdy gurdy?
- celtic instrument
- string instrument that produces sound by a hand-crank-turned wheel rubbing against the strings.
-The wheel functions much like a violin bow, and single notes played on the instrument sound similar to those of a violin
46
what is an accordian?
- celtic instrument
- bellows blow air
- buttons are chords
music gcse
flashcards
Decks in class (8)
# Cards
-
Killer Queen by Queen52
-
Defying Gravity by Stephen Schwartz49
-
Music for a While by Henry Purcell28
-
Brandenburg Concerto No.5 in D Major by J.S Bach29
-
Main Title/Rebel Blockade Runner by John Williams79
-
Sonata Pathetique by Beethoven16
-
Samba Em Preludio by Esperanza Spalding36
-
Release by AfroCelt Soundsystem47
