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A Altos
B Tenors
C Sopranos
D Tenor and bass (unison)
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Patrick Watts
Patrick Watts
4 - Schoenberg Peripetie
Schoenberg (Austrian) formed the Second Viennese School with Berg and Webern. Peripetie
translates to a sudden reversal or a change of fortune and was written in 1909. It is the fourth
piece in Five Orchestral Pieces. The piece is in free rondo form which is split up into 5 sections A B
A1 C A2. Free rondo form is different to the the classical rondo form when different sections were
*clearly* contrasted. Peripetie is written for a very large orchestra (90 players) with unusual
additions. There are 3 flutes, oboes, clarinets and bassoons instead of 2 each. There's also a cor
anglais, piccolo, clarinet in D, bass clarinet and contrabassoon. For brass there are 6 horns, 3
trumpets, 3 trombones and a tuba. The percussion includes xylophone, cymbals, tam tam (large
gong), and bass drum. Instruments often play at the extreme of their registers in pitch and
dynamics. The metre is mostly 3/4. Although it is 2/4 just for bar 22 and 4/4 for 5 bars in the final A2.
The tempo of the piece alternates between sehr rasch (very quick) and etwas ruhiger (somewhat
calmer). In the A sections, the rhythm contains many triplets, sextuplets and demisemiquavers. In the
B section the rhythms overlap. The texture is largely contrapuntal with bits of monophony and
homophony between. The B section has a very thick texture created by the percussion and
woodwind. In the final section, A2, the full orchestra plays (tutto). The opening motifs are all based on
hexachords. A hexachord is a set of 6 pitches that can be used as a chord or a melody. In A1 the
hexachord is heard again this time by the horns. In the C section, the Bassoon takes the melody and
then is taken over by the cello & double bass. In A2 the motifs are piled on top of each other and are
playing in counterpoint and canon creating a very thick texture. The melody is split between
instruments and the principal melody is called the hauptstimme while the secondary voice is the
nebenstimme. The harmony is very dissonant with the use of hexachords and the 7th interval.
The piece is atonal. The 12 tone row is a technique Schoenberg made which is the foundation of
serialism (created after this piece), although this piece is an example of expressionism it doesnt use
the 12 tone row (I think). There are sudden loud bursts and the piece's dynamics range from fff to
ppp. The B section starts off very soft. In A2 there are large crescendos and diminuendos and the
clarinets play a phrase ppp right after the fff phrase showing a massive dynamic contrast. The piece
finishes with a chord (likely a hexachord not sure) played pp. Many of Schoenbergs melodic lines
sound very angular because he uses octave displacement. Constantly changing instrumentation.
Bar 62 there is a tremolo on the cymbal played with a cello bow. Bar 34 instructs the trumpet player
to play bell up meaning to point the bell of the trumpet in the air to create a loud brassy sound. The
+ signs (called hand-stopped) on the horns in the end at bar 65 tell the horn players to put their hand
further into the instrument which creates a thin, nasal sound. Brass and oddly strings have to play
with mutes in several passages. (Double Bass plays tremolo on the bridge with mutes in bars 64-66).
Bar 3 violins and viola play pizzicato (pluck the strings). These effects create a large variety of colour
and contrasting timbre. Klangfarbenmelodie means tone colour melody which concentrates on the
texture of the music and the particular sounds produced by the instruments (the colour).
Using semitone = and tone = 1, a hexachord can be constructed on any note by adding - 1 - 1 - . So C# D E F G# A or A Bb C C# E F. These create dissonant chords.
If you want to understand/survive these notes use the score from the GCSE Anthology of Music. The
structure is A B A1 C A2 and the entire piece is based on different motifs which can be called Motifs AG. They are ALL presented in A1 than they get more obscure and harder to find. They have been
named A-G in order of appearance so A comes first and G finishes the A section. (7 motifs).
A 0:00-0:31 1-18 Motifs introduced in quick succession. Motif A and B here. First 4 seconds Bars 1-3
A hexatonic motif is motif A and motif B is basically A repeated at a higher pitch and in diminution after
being separated by contrary motion (trumpets go up; trombones go down) chromatic scales played by
the brass section. This brass section plays glissando (they slide through the notes) and so quick its
like a smear of colour. Hexachords are heard at the end of motifs A and B on the first beat of bar 2
and on the 2nd beat of bar 3. In bar 3 beat 2 0:04 a more angular motif C is played by all 6 horns
(marked a 6) is introduced. When this motif is repeated its very obscure from the original. Motif D is
announced in bars 5-6 0:06 and is a rapid fire of hexachords. First the trombones play a loud jagged
melody and higher strings play the descending hexachords. Motif E is bars 6-8 played by the horns
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(see hauptstimme mark) and ends on a long sustained hexachord. It is a quiet rhythmically simple
motif and is repeated. Bar 8 0:11 low woodwind play motif F which roughly turns around G#. Bars 1018 0:15-0:28 (this is may be the easiest thing to follow in the score) Motif G is a long clarinet solo and
has wide leaps.
B 0:31-1:00 19-34 Motifs developed and combined in counterpoint. Motif A and B return here and are
in imitation in bar 19-21 and counterpoint is created in bar 22 with the use of the original (A) and
diminished motif (B) together. Bar 27 motif C is heard on the horns starting on the last beat of the bar
(marked hauptstimme as it is a principal voice like many of the other motifs). The 6 horns play
together again [although they are still split into 3 groups as the played a 2 previously, they play the
same notes]. 0:44. The notes are very similar although many are augmented (longer) and it is much
louder (fff). Motif D can be heard at 0:34 bar 22 played by the viola and cello, this is the same time as
motif A and B so dont get confused. So bar 22 is 3 motifs together, this is the height of counterpoint.
Part of motif F is played using diminution bars 33-34, now uses semiquavers opposed to quavers in
bar 8. (didnt put a time because its lost by the much louder parts). Bars 32-34 the first 2 notes of
motif G are played by the six times in succession by the first violins and cellos in unison (0:53 you can
hear the first 1 or 2 alterations before theyre lost in the battle). Bar 35-36 0:59 Motif G is used again
but uses the first 3 bars rather than the first 2 notes and ends on a G instead of an F. Its played in
unison by all the strings (except double bass) and has the same rhythm and notes as the original
motif.
A1 1:00-1:19 35-43 calmer section that develop many of the motifs in A in reverse order. Motif C now
used as a short bassoon solo bar 44 1:18.
C 1:19-1:50 44-58 calm section that combines new ideas with old ones. Bars 45-47 1:20 Motif F used
as muted trumpet solo (marked 1 solo) played piano after the Bassoon solo.
A2 1:50-2:12 59-66 Motifs combined in counterpoint creating loud climax. Bars 61-63 the trumpet
plays motif D but only half the notes so it forms an augmented chord. Bars 63-64 motif A returns now
on the low brass parts. However it is melodically inverted so it plunges down and is finished with a
thunderous fff crash on the cymbal (hit with a mallet), bass drum and tam tam. At the same time, the
trumpets play their ascending chromatic scales now a semitone higher than the beginning. The
trombone doesnt play the descending scale as contrary motion is created with the trumpet and the
now descending motif. This can all be heard at 1:58-2:01 and this was also used earlier a link
between A1 and C and is the same thing without the percussion 0:54. This is quickly followed by a
rapid attack of 3 ornaments and another hexachord played by all capable instruments 2:01. This is
contrary motion again although the resultant sound seems to be ascending unlike the more balanced
contrary motion by the trumpets and trombones at the start. Bar 64-65 2:03 clarinet gurgle is based off
of motif C and played pp. There are 3 canons heard together before the large percussion crash. A
canon is when after the melody is played by one part it is repeated exactly by another part.
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Patrick Watts
B the second time ends on a high E coming to me while the first time it dropped to an A on bright as
a rose.
B - 32-72 0:44-1:18 C major Theme A returns again but now starts on an F# and is sung piano. The
metre has also subtly changed to 2/4 although the rhythm is the same for the singer except the final
note is another beat longer. The drums now play the snare and hi-hat every crochet due to the metre
change so they appear faster 0:46. On bar 49 there is another tritone crated with F# and C where the
triplet was in the first A section although it doesnt appear this time. 0:55 bar 52 uses theme B on
somethings coming but now uses crochets rather than quavers. Repeat with different lyric but there
is a first and second ending.
Bridge 73-105 1:18-1:40 32 bar bridge is theme C which uses longer legato notes and is sung at a
higher pitch. Also uses triplets to create cross rhythms. Use of high strings. Bar 82 1:24 flute joins in
on whistling. 1:55 bar 128 the violin plays tremolo on the air is humming while other plays
harmonics (very high pure notes played by gently placing the finger lightly on the string and
bowing). These are good examples of word painting (where the meaning of the words is reflected by
instrumentation).
B1 - 106-127 1:40-2:04 Return to C major and is marked ppp. This is similar to bars 41-72 with
different lyrics. Bar 118 uses theme B again with a bit more movement (varying the pitches more)
which prepares for the return to D major.
A1 - 128-157 2:04-2:37 Bar 128 is marked subito meaning suddenly. In this case it means suddenly
quieter as theme B was sung forte while theme C is sung piano. On coming and its back to 3/4 and
the double bass reuses its 3 staccato ostinato. Bar 148 is marked sempre dim. which means always
getting quieter. Fade out and ad lib. fade to keep on playing between applause and scene change.
Maybe Tonight replaces the under a tree that we might have expected. Tonys last note is
sustained starting on bar 153 and is a C natural instead of the C# that is expected. This makes it
seem as if the music hasnt finished yet and something is coming
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Patrick Watts
all instruments are playing: a four part canon by G1-4, a 3 part canonic texture by G5-7, 2 bar ostinato
shared by bass guitars, and the live guitars note doubling to create a resultant melody. This isnt to
last as guitars 5-7 fade for the entrance of section B.
B 74-113 2:16-3:31 And poof comes the B section all of sudden in C minor (wouldn't recommend that
wording in the exam). Guitars 5-7 enter piano bar 74. Not going to bother with the chords they play
now but it's very similar just modulated. Bar 78 bass guitars play ff and subito (suddenly). Back to E
minor bar 82, at the same time there is a Metre change (polymetre) for ensemble guitars (1-4), now
play in 12/8 while the other parts continue in 3/2. The metres are triple against quadruple which
creates even more cross rhythms. They return to 3/2 in bar 86. Bar 90 the other guitars now play in
12/8 and it's back to C minor. Changes in key and metre continue to happen more frequently.
Coda 114-140 3:31-4:26 Bar 114 bass guitars and guitars 5-7 / chords drop out for coda. Coda
opens in E minor but changes keys rapidly, alternating between E and C minor. Bar 123 is C minor
for only 1 bar! Bar 129 the metre is now fixed at 3/2 for ensemble parts and the key is E minor for
the rest of the song. At bar 134 the live guitar plays a few notes higher and all parts repeat their 1 bar
ostinato 5 times. The live guitar has a crescendo to ff and the last chord (E5) is played across the 5
guitars. The chord sounds open and sparse. 4:19.
A little extra I want to add is the tab if anybody wants to play the main phrase. This is the one bar
repeated throughout. Never wrote a tab before but this seems playable. There's a few quaver pauses
but it's so fast that it sound like continuous playing.
E 10 -- 7 -- -- -- -- -- -- -- -- -B -- 8 -- -- 7- -- -- 10-7 - -G -- -- -- -- -- -- 9 - -- -- -D -- -- -- --- 9 -- -- -- -- -- -And why not the chord that it ends on. This is a nice way to play it by yourself. Just a bunch of high E
and B notes. E5 chord is power chord so it skips the middle note of the triad that would normally be E
G B so it's just E B.
E -- -- 12 -B -- -- 12 -G -- -- 9 -D -- -- -- --
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Organised in a head arrangement which dates back to trad jazz and is a jazz performance that
consists of improvised variations on a memorised (kept in the head) chord progression (this one
being the 12-bar blues). Each repetition of the blues progression is known as a chorus and each
improvised solo is based on 4 choruses except the piano solo which only uses 2. Links or riffs are
used as a 4 break between the repetitions of the 12-bar blues chord sequence.
Intro 4 bars 1-4 0:00-0:11- Waltz style established by rhythm section. Bass plays a six beat
pattern starting with the tonic G and has the blue seventh F on the fourth beat. Drums have play 3
beat waltz rhythm played with wire brushes. Piano plays a tremolo-like figure that can be described
as a pair of written-out trills.
Link/riff always 4 bars - 5-8 0:11-0:21 - main intro riff is stepwise and played on saxophones in
thirds.
Head 1 12 bars - 9-20 0:21-0:53 12 bar head melody played with muted trumpet (Harmon mute).
Melody used rising 6th from D to B which mirrors the falling leaps in the bass part.
Link 21-24 0:53-1:03
Head 2 12 bars 25-36 1:03-1:35 Repeat of Head 1
Link 37-40 1:35-1:46 Davis has time to take off his mute. Ride cymbal added by the drums and
sticks used instead of brushes.
Trumpet imp solo 4 choruses (12 bars) 41-88 1:46-3:51 unmuted trumpet now. Miles davis
improvises around the G mixolydian mode with the mute now removed. He uses a range just over
two octaves but most of his improvisation is around the middle of the trumpets range. Short
syncopated motifs. Piano comps and accompanies using the 12 bar blues chords rather than
playing trills. Ride cymbal now very prominent in the rhythm section and Jimmy Cobb keeps time
from bar 41 which means he plays a simple rhythm usually on ride cymbal while other band members
can play more complex, syncopated rhythm. The dynamic range increases in this section and has
more syncopation and the trumpet plays grace notes. Blue notes appear more frequently (Bb and F
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flattened 3rd and 7th). Bar 41 and 43 Davis plays ghost notes (marked with x note-heads) which
produce a very faint tone that sounds very soft or muted. Another Davis effect is the fall off where he
has a downward glissando at the end of a note (marked with diagonal line bar 52, 64 and 67).
Link 89-92 3:51-4:01 Many textbooks say Davis leaves almost reluctantly to let Adderley play.
What they mean by this his last two notes overlap into the link on bar 89. Played on piano between
solos instead of saxophones so they dont detract from their solos that follow.
Alto sax imp solo 4 choruses 93-140 4:01-6:04 Adderly on alto sax, very chromatic and
technical. Starts with terse rhythmic motifs that run into a series of scales and arpeggios in
semiquavers and triplets. There are few rest or long notes while most of the notes are in the alto
saxophones upper range although there is a wider range than Davis.
Link 141-144 6:04-6:15
Tenor sax imp solo 4 choruses 145-192 6:15-8:17 Coltraine plays virtuosically on tenor sax and
plays fast scales and arpeggios played across a large range of the instrument. He uses intricate
rhythms like triplets within triplets. Coltraine often plays away from the chord so his notes sometimes
clash with the underlying harmony.
Link 193-196 8:17-8:27
Piano imp solo 2 choruses 197-220 8:27-9:28 Evans on piano, continues COMPING in left
hand, uses 2-repetitions of the 12-bar blues chord sequence, right hand plays a melody line like
frontline instruments. His second chorus features parallel chords (a succession of identical/very
similar chords moving in the same direction) strings of triads, 7 th-chords and 9th chords and some
use of contrary motion with the left hand.
Link 221-224 9:28-9:38 Saxes return to play the link in in thirds and Evans reuses the piano
tremolo/trill half way through at bar 223.
Head 3 1 chorus 225-236 9:38-10:09 Same as head 1 trumpet muted again.
Link 237-240 10:09-10:20
Head 4 1 chorus - 241-252 10:20-10:51 melody now developed with a more minor feel. Can
hear trills on the piano again.
Link 253-256 10:51-11:01
Coda 1 chorus 257-268 11:01-11:33 Davis plays a simple and short muted solo on the tonic and
dominant and then uses the legato phrase he plays at the end of the heads over the sax riff before the
song fades.
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Patrick Watts
Verse 2 32-40 - 1:55-2:29 Strings added at 2:19 to add to texture. Strings play staccato and
glissando bar 39. Added synthesiser effect after sorrow 2:04. Bar 37 Buckley now rises to a high E
on love. Buckley also reaches the high A earlier at bar 39 compared to verse 1.
Pre-chorus 41-43 - 2:29-2:41 Same as before, strings now more prominent. Bars 42-43 Buckley
reaches a high B, the highest note so far which leads into the chorus.
Chorus 44-48 - 2:41-3:00 Repeat of the first chorus
Bridge/Middle 8 49-59 - 3:00-3:41 First 4 bars are based on sustained parallel triads rising from Eb
to G and then falling back chromatically to E minor 3:09. This seems to be moving towards G minor
but then plunges back to E minor in semitones. Use of overdubbing (Buckley recorded his own
harmony/backing vocals). This section is called the vocalisation (wordless singing often to a vowel).
Long sustained notes more harmonic than melodic. From bar 53 onwards Buckley moves even
higher into falsetto (false voice) bar 55 there is a top E. 3:29 - EQ effect (removes lower frequencies)
in vocal melody gives harsh and distant effect. The words pain and leave are higher now than
before.
Link 60-66 - 3:41 - 4:07 The guitar completely mutes the strings and strumming. Strings play col
legno (meaning with the wood) so they are repeatedly tapped with the back of the bow. Hitting the
deadened strings and the body of the acoustic guitar may be heard here as well.
Verse 3 67-72 - 4:07-4:30 Buckley sings the verse an octave higher but avoids falsetto to create
the feeling of strained anguish. Emphasis on cymbals (on beat crash cymbals). The words go so
slow are illustrated with longer notes
Outro 73-85 - 4:30 - 5:24 This is the climax and is based on repetitions of the falling chord pattern
at the start of the chorus F-Em-Ebmaj7. Melisma and Falsetto in vocal improvisations. Thick texture
by the performers improvising around the riff. The weight of the flange effect and distortion on guitar
and the cymbal splashes drowns the wailing lyrics which refers to verse 3s drown my name.
I'll put all the times the whisper effect is used here. 0:26 0:30 0:37 0:42 0:47 1:19 Some weird stuff
going on at 1:35 1:57
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Patrick Watts
Verse 2
A6 - 2:17-2:55 Same as A5 but voice echoes are created with delay and EQ effects (low frequencies
removed by passing the signal through a high-pass filter). Echoes and original sample create
question and answer style.
A7 2:36-2:55 Repeat of A6
Break - (1 bar) 2:56-2:58 1 bar silence but you can hear the fading echo of feel so bad. This is
known as a breakdown in techno dance music as the arrangement momentarily seems to break
down.
Chorus
Bx2 2:59-3:18 Female voice is now more distant and harsh due to Telephone EQ effect (removes
high and low frequencies). Static chords by synth-strings and no piano/percussion
By2 3:18-3:38 Similar to the first By chorus. Drum roll leads the drums back in with the piano
(syncopated chords). Voice returns to foreground (EQ and delay removed).
By3- 3:38-3:57 Repeat of chorus By2.
Outro/A8 - 3:57-4:26 Male sample accompanied only by static chords (string-synth). Piano and drums
completely drop out.
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(*s are for refrain 2 when the second syllable rises to a G rather than E)
Intro 1-8 0:00 Synth opens song with modulation (pitches slightly fluctuate) and uses a long
dischord of an Em triad with the 2nd and 4th notes added. This is called a CLUSTER CHORD. Fiddle
(folk musicians preferred name of violin which is why it is called violin in the anthology) plays tremolo
on D, Bass/Drums/Wurlitzer Piano and Bouzouki join bar 3. Wurlitzer and Bouzouki (plucked string
instrument of the lute family) share the melody. Bar 7 bouzouki plays acciaccaturas. Gentle cross
rhythm created by the drummers high-hat cutting across the normal divisions on 12/8.
Verse 1 9-11 0:33 Vocals come in, Chords alternate between Em and G for verses 1-2. Phrase 1 bar
10 0:37. Refrain 1 bar 11 0:41.
Break 12-15 0:45 Short break to separate the verse and provide some instrumental. Violin returns
with tremolo on D.
Verse 2 16-17 1:02
Verse 3 18-21 1:23
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Verse 4 22-24 1:40 bar 24 is unaccompanied (contrast in texture). It is marked N.C. which means No
Chord.
Verse 5 25-33 1:57 Bar 25 Full band plays, chords now C G Em G, backing vocals sing
vocables/refrains, accordion plays counter melody to vocals. Drums play with brushes. 2:13 end of
bar 28 drums play tom toms.
Verse 6 34-35 2:14
Instrumental 36-43 2:26 based on refrain 2 use uillean pipes, fiddle and accordion
Verse 7 44-48 3:00 Dynamics drop considerably as some instruments drop out, chords change to
Am9 Em9 Em G for 4 bars, in last line all instruments drop out which creates textural contrast
Verse 8 49-51 3:20 bar 49 Full band chords back to C G Em G
Outro 52-65 3:34 refrain 2 bar 57 and 59 and backing continues fading gradually. Alternating chords
between C G. In the key of G major, these create the effect of repeated plagal cadence.
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Patrick Watts
Bhajan (song) - 0:50-8:33 Tabla enters playing Keherwa tala (8 beats) 1:09-1:22 short sarod solo
1:22-1:31 Sarangi solo. They continue to play solo passages between verses. Verses are 0:50-1:09
solos 1:32-2:39 solos 3:04-4:26, solos 4:50-6:05 solos 6:21-8:33. Vocalist sings expressive
ornaments, some rapid tans and long melismas. Ends in short tihai.
11.3 Steve Gorn and Benjy Wertheimer Rag Desh
Released 2004. Bansuri plays the melody, tabla the rhythm and shruti box the drone. Esraj
(fretted bowed string instrument played on sitting on floor). There is also a swarmandel a plucked
string instrument like a zither. Bansuri is a bamboo flute. Steve Gorn plays bansuri and Benjy
Werheimer plays esraj and then swaps to tabla.
Alap - 0:00-8:35 Slow and unmetred. Drone playing the tonic and 5th notes Sa and Pa (D and A
concert pitch). Bansuri enters and explores raga notes and shares melody with the Esraj.
Swarmandel can be heard gently strumming the notes of the raga.
Gat1 - 8:35-13:30-slow tempo. Bansuri plays lyrical and unaccompanied melody. Tabla enters
playing Rupak tala (7 beats) at 9:09. Tihais at 12:56-13:03 and 13:08-13:20.
Gat2 - 13:30-16:33 Fast tempo (drut). Tabla plays Ektal tala (12 beats). Bansuri plays elaborate
melody with wide ranging pitch, fast scales (tans) and slides. A chakradar tihai (a special 3 tihais
in succession) brings the music to the end. Drone continues after melody ends.
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12 - Koko Yiri
Piece is from Burkina Faso area in West Africa. Koko is a band of 6 players and Yiri (wood) is the
fourth track in their album, Burkina Faso: Balafons et Tambours dAfrique (Balafons and drums of
Africa) released in 2006. Piece is in Gb major and frequently emphasizes the dominant Db and
tonic Gb. The vocal melody is short simple and repetitive. The voices in Chorus A1 (and probs all
choruses) sing in unison. The responses to the solo call are also in unison. The dynamics start soft
and increases as more instruments are added and the texture thickens but mostly loud. The piece
has a layered texture with some heterophony by balafons and monophonic in intro. Balafon can be
spelt balaphone but it is less common. Instrumentation: small and large talking drum (called donno but
many other names as well depending on language and country), hourglass shaped and played with a
hooked beater, can change pitch by altering tension of string by squeezing the drum, this has the
effect of imitating speech by using different pitches and slides. 2 balafons, similar to xylophone with
gourd resonators, has up to 21 wooden bars. Bell at the very end. Solo voice and response voices.
Djembe goblet shaped drum with goat skin head played with the hands. Due to the fact that the
score is a transcription from a recording there are frequent metre changes. Most of the time its 4/4
but theres also 6/4 (13), 3/4 and 5/4 (133). Piece is mostly hexatonic as it uses 6 pitches by avoiding
F except in the introduction. No variation in tempo and little variation in dynamics. Common features
of African Music include: Repetition/ostinato, Improvisation, Call and response, Layered texture. In
choruses the choir sings in unison.
Intro 1-27 0:00-1:09 Free tempo, Monophonic opening on balafon plays rolls (tremolo) on all
notes outlines all seven pitches. 0:11 Bar 6-7 there are acciaccaturas. Bar 8 0:18 clear pulse
(Moderato tempo) as balafon plays two bar phrase which is repeated and joined by another balafon
0:22 playing an octave lower but with a few different pitches creating a heterophonic texture. bar 13
0:34 drums join - large and small talking drum and djembe create a relentless 1 bar ostinato which
is quaver-semiquaver-semiquaver (the djembe plays occasional fills throughout). Bars 17-20 lower
balafon plays with the falling motif Db-Cb-Ab from bar 8 but it changes the rhythm frequently.
Syncopation in every bar 21 onwards with a triplet in bar 22 and a quick 1 bar change to 3/4 bar 27.
Chorus A1 28-33 1:09-1:25 Unison voices sing chorus A and balafon echoes similar motifs in
between singing as interjections bar 28-30. Notice how the choir starts on the tonic and finishes on
the dominant in the phrases (28-30) while the final phrases do the opposite and start on Db and end
on Gb bar 31-33. In the final phrases the balafon plays repeated crochet notes doubled on Db.
Break 34-41 1:25-1:44 balafon plays a solo (balafon break). The balafon uses a similar concept as
the singing phrases before; it starts and ends its phrases with the tonic or dominant except bar 40
where it lands on a seventh, Ab. The final phrase (40-41) starts on the dominant and ends on the tonic
so is similar to a perfect cadence. Most of the phrases are falling phrases.
Chorus A2 42-47 1:44-2:01 Choir sings the same as chorus A1 but the balafon plays developed
accompaniment with different rhythms and notes but on the same beats in between the choir. The
repeated crochets are now 2 quavers and a crochet that go Db-Eb-Db so it still emphasises the
dominant note.
Break 48-51 2:01-2:10 Lower balafon plays solo with emphasis around Gb as the home note. Bar
49-50 there are repeated semiquavers on Gb.
Vocal solo (Call & Response) 52-95 2:10-4:00 Vocal solo sings contrasting melody - Long held
note Yiri and then 2 short punctuated Yiri's. He then sings falling phrases in triplets which creates
cross rhythms against the simple time drums and balafons. Singer is accompanied by the high
balafon and then the low joins at the end of bar 58. He is echoed by a chorus in call and response
style (2:39) which is supported by the high balafon playing the same notes*. Solo comes back at 2:45.
The balafon plays accented notes every 3 notes which makes it sound like its playing in triple time,
this creates a cross rhythm (68-69 or 2:49). 3:28 balafon break into next chorus.
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Chorus B1 96-107 4:00-4:30 New chorus different words and melody but similar structure as the
balafon plays interjections between the vocals. Balafon break goes into chorus B2.
Chorus B2 108-127 4:30-5:20 repeat of chorus B1 and balafon break at bar 113 4:44. The balafon
again emphasises Gb as the home note and plays fast, virtuoso rhythms. From bar 122 the balafon
plays a variation of chorus A to anticipate its return.
Chorus A3 128 5:20-6:24 same as A1 Balafon break leads into coda 5:36
Coda - 6:24-6:41 The balafons play syncopated in the Coda. The riff in the coda is repeated and is
separated by short dramatic rests. The riff is played five times and is like 12121 where 1 is the
short version and 2 is the version with extra notes at the beginning and end (dont need to know this).
The piece ends with a 'ting' played by a bell.
*The balafon cannot play long sustained notes so it often plays the note rapidly in a tremolo by hitting
the note with both padded beaters which is what happens here and at the intro.