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111 Cards in this Set
- Front
- Back
- 3rd side (hint)
And the Glory of the Lord: Key |
A Major |
It’s Major
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And the Glory of the Lord: Time Signature
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3/4 |
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And the Glory of the Lord: Texture
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Switches between Homophonic and Contrapuntal
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And the Glory of the Lord: Structure
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Ritornello Orchestral Introduction, no other Form
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And the Glory of the Lord: Instrumentation
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4 Vocal Lines Accompanied by Violins, Violas and the Continuo
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And the Glory of the Lord: Techniques
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Syllabic and Melismatic singing with Imitation between parts
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Vocal Techniques
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And the Glory of the Lord: Melody
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Soprano, Alto, Tenor and Bass Vocals singing 4 main Motifs
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And the Glory of the Lord: Harmony
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A Major Modulating to E Major (the Dominant) and B Major (the Supertonic). Ends with an A Major Plagal Cadence
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And the Glory of the Lord: Rhythm/Tempo/Metre
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Fast tempo throughout with a General Pause before the ending in a slower Tempo. Hemiolas make some parts of the piece feel 2/4 not 3/4
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Confusing metre
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And the Glory of the Lord: Dynamics
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Little Dynamic change as the Continuo cannot change volume
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Think Continuo
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And the Glory of the Lord: Context
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Baroque music is between 1600-1750. From 'Messiah' written in 1741. Bach, Purcell & Vivaldi are other Composers
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Era, Where it’s from, When it was written, other composers of this era
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Mozart Symphony: Key
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G Minor
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It’s Minor
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Mozart Symphony: Time Signature
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4/4
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Pretty Basic
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Mozart Symphony: Texture |
Homophonic |
Chordal |
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Mozart Symphony: Structure
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Sonata Form: Exposition, Development, Recapitulation
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3 Sections
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Mozart Symphony: Instrumentation
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A Chamber Orchestra, made up of Strings, Woodwind and Horns
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Type of Orchestra
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Mozart Symphony: Techniques
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Accents and Trills are played as well as falling Chromatic Patterns
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Mozart Symphony: Melody
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Made up of 4 Balanced, Scalic, 4 or 8 bar Phrases in a ‘Question and Answer’ style
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Phrases
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Mozart Symphony: Harmony
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Diatonic, based around Major and Minor Triads. There are also Chromatic Chords (such as Diminished), Pedal notes and a Circle of Fifths Progression. Modulates to the Relative Major (Bb) in the Second Subject in the Exposition. The Development begins in F♯
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Mozart Symphony: Rhythm/Tempo/Metre
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4/4 and Molto Allegro (very fast). The first Subject begins with an Anacrusis (An Upbeat) and other Rhythms such as Dotted Rhythms and Syncopation are used
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Mozart Symphony: Dynamics
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Few Crescendos and Diminuendos as Dynamics are sudden
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Mozart Symphony: Context
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Written in 1788 for performances in large rooms/halls. This the 1st Movements of 4 in the Symphony
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When it was written, Where it was performed, Where it is from
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Chopin Prelude: Key
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Db Major
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It’s Major
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Chopin Prelude: Time Signature
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Common Time or C or 4/4
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Pretty Basic
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Chopin Prelude: Texture
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Homophonic apart from last 2 bars (Monophonic)
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Chopin Prelude: Structure
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Ternary (ABA) finishes with brief Coda
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Chopin Prelude: Instrumentation
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Solo Piano
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Not Many Instruments
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Chopin Prelude: Techniques
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Use of Sustain Pedal & middle/lower piano range
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Chopin Prelude: Melody
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Acciaccaturas, Turns, Dotted Rhythms and Chromaticism are used to create a Lyrical Melody. Melody in Bass in Section B. Whole piece mainly in 4 or 8 bar Phrases
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Chopin Prelude: Harmony
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Db Major Diatonic with occasional Chromaticism and Modulations to C♯ Minor (Enharmonic). Sections A and B end with an Imperfect Cadence and the Coda ends with a Perfect cadence & Double Sharps are used
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Chopin Prelude: Rhythm/Tempo/Metre
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Common Time, Septuplets and Dectuplets used, Rubato (Flexible Tempo), Smorzando (Dying Away) and Slentando/Ritenuto (Slow Down) Markings are used
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Chopin Prelude: Dynamics
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Crescendos and Diminuendos are frequently used alongside a wide range of Dynamics (pp to ff). Section B is louder (two ff Climaxes)
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Chopin Prelude: Context
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Part of Op.28, a collection of 12 Preludes Composed in 1839, Part of the Romantic Period
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Something’s Coming: Key
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D Major with C Major Sections
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Something’s Coming: Time Signature
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Varies Between 3/4 and 2/4
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Something’s Coming: Texture
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Homophonic & Layered, 3 Main Ideas
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Something’s Coming: Structure
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Intro, A1, B1, B2, A2, Outro - Alternated Ideas
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Something’s Coming: Instrumentation
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Solo Tenor Voice Accompanied by a Soft Timbre Band of Woodwind, Brass, Percussion and Strings
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Something’s Coming: Techniques
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Harmonics (high notes), Tremolos, Syncopation and Syllabic Singing
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Something’s Coming: Melody
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3 Alternated Main Ideas sung by the Tenor Vocalist Syllabically
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Something’s Coming: Harmony
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Two Contrasting C Major sections, frequent use of the Tritone (sharpened 4th interval). The last note sung is a Flattened Seventh giving an Unresolved ending. Harmony is Tonal and Jazz Influenced
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Something’s Coming: Rhythm/Tempo/Metre
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Fast Tempo with frequent Syncopation to add Excitement and Anticipation. Cross Rhythms created by on-beat Bass part and off-beat chords
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Something’s Coming: Dynamics
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Quiet Dynamics to reduce overpowering of the Vocalist
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Something’s Coming: Context
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Musical Style Piece With Jazz and Classical Influences. Written By Bernstein in 19 for West Side Story, a Broadway Musical Based on 'Romeo & Juliet'
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Electric Counterpoint: Key
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G Major with short Eb Major sections
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Electric Counterpoint: Time Signature
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3/2 with 12/8 in Section B in some parts
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Electric Counterpoint: Texture
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Contrapuntal
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Electric Counterpoint: Structure
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A B Coda
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Electric Counterpoint: Instrumentation
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1 Live Guitar, 7 Pre-Recorded Guitars & 2 Pre-Recorded Bass Guitars
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Electric Counterpoint: Techniques
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Phase Shifting and Layering of Ostinatos, Metamorphosis and Metrical Displacement
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Electric Counterpoint: Melody
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One-bar Motif Phase-Shifted through Guitars. Metamorphosis process in parts & a Resultant Melody played by the Live Guitar
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Electric Counterpoint: Harmony
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E Aeolian Mode, Hexatonic Scales, Diatonic and no Cadence due to double note Chord end. Key change at Section B & Coda
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Electric Counterpoint: Rhythm/Tempo/Metre
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The Tempo is 192 bpm (very fast) and it is12 /8 & 3/2 Polymetre. There is little Rhythmic variety as most of the piece is Repeated Patterns of Quavers. Syncopation and Repeated Quaver Ostinatos make it sound out of time
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Electric Counterpoint: Dynamics
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Constant throughout with parts fading out
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Electric Counterpoint: Context
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By Steve Reich. It was 1st Performed in 1987. Minimalism Started in 1960s due to reaction against Modern Music (Other Composers: Adams & Glass)
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All Blues: Key
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G Major 7th
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Major Chromatic Chord
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All Blues: Time Signature
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6/4
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All Blues: Texture
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Mainly Homophonic with Polyphonic solos that make the Texture Thinner
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All Blues: Structure
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12-Bar Blues Progression throughout. The piece is split into the Intro, Head 1, Solos, Head 2 and Coda
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5 Sections
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All Blues: Instrumentation
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Trumpet, Alto and Tenor Saxophones, Piano, Bass and Drum Kit
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All Blues: Techniques
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Improvisation by Solo Instruments (Trumpet, Alto, Tenor and Piano). The Drum Kit uses Wire Brushes, The Bass plays Pizzicato (Plucked), and the Piano begins with a Tremolo and then starts Comping (Chords and Melodic ideas)
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All Blues: Melody
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The Head Melody is simple and in Rising 6ths, played by the Trumpet. Syncopated Motifs (Trumpet), Virtuosic Playing Styles (Saxes) and Parallel Chords (Piano), are used by the Soloists
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All Blues: Harmony
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Modal Jazz in the Mixolydian Mode. The 12 Bar Blues Goes: G7 G7 G7 G7 Gm7 Gm7 G7 G7 D7 Eb7/D7 F/G F/ G7
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All Blues: Rhythm/Tempo/Metre
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6/4 but sounds in pairs of 3/4 so is described as a Jazz Waltz. Syncopation and Swing Quavers are used
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All Blues: Dynamics
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No specific Dynamics in the piece
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All Blues: Context
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Jazz originates from the Southern States of America in the early 20th Century. This is from Miles Davis album, Kind of Blue in 1959
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Grace: Key
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E Minor but often Ambiguous
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Grace: Time Signature
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12/8 Compound Quadruple Metre
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Grace: Texture
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Monophonic
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Grace: Structure
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Intro/Verse 1/Chorus 1/Intro Repeat/Verse 2/ Chorus 2/Bridge/Intro Repeat/Verse 3/Coda
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Grace: Instrumentation
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Vocals/Guitars/Bass Guitar/Drum Kit/Synthesizer/Strings
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Grace: Techniques
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Guitars use Drop D Tuning to increase range, Distortion/Flanging to Intensify sound (in the Coda), and Over-Dubbing to create a thick Sound. The Synth uses Pitch Modulation and Buckley uses EQ to remove lower Vocal Pitches (Telephone Effect)
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Grace: Melody
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Vocals, using falling Melismatic Phrases, Word Painting, Vocalisation (Wordless Singing) and Falsetto
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Grace: Harmony
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E Minor but Ambiguous often due to focus on other Chords, Chromatic Movements, Parallel Motion and Dissonant Harmonies are also heard. Power Chords in Chorus 1 are used
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Grace: Rhythm/Tempo/Metre
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Bass Drum and Snare Drum create a Back-Beat (1&3, 2&4). There is Syncopation of Vocal Melody and Cross Rhythms are created with Quavers
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Grace: Dynamics
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Varied throughout with loud Melismatic Phrases and Improvisation near the end
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Grace: Context
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It is a Folk Rock Ballad released in 1994 alongside Hallelujah and Lilac Wine in Buckley’s only album: Grace. The Folk Revival happened in the 50s leading to the Folk Rock Genre in the 60s
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Skye Waulking Song: Key
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G Major
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It’s Major
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Skye Waulking Song: Time Signature
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12/8 Compound Quadruple Metre
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Skye Waulking Song: Texture
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Thick & Heterophonic
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Skye Waulking Song: Structure
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Intro/Verse1/Verse 2 & Instrumental Break/Coda
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5 Sections
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Skye Waulking Song: Instrumentation
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Vocals/Violin/Wurlitzer Piano/Ulieann Pipes (softtone bagpipes)/Bouzouki (a Greek Lute/Accordion/Synth/Bass Guitar/Drum Kit
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Skye Waulking Song: Techniques
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Synth Pitch Modulation & ‘Call & Response’ in Vocals
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Skye Waulking Song: Melody
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Call & Response by Vocals, 'Nonsense' Vocables in Response, 1 Bar Vocal Phrases and Instrumental Countermelodies create an unusual Melody
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Skye Waulking Song: Harmony
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G Major Diatonic, G/Em/C Chords are used throughout, a Modal feel is made by avoiding the Dominant, D
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Skye Waulking Song: Rhythm/Tempo/Metre
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Syncopation in vocals & countermelodies, the High Hat plays Cross Rhythms that change when band enters to emphasize Time Signature
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Skye Waulking Song: Dynamics
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Large Band raises dynamics and Accompaniment fades out in the Coda
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Skye Waulking Song: Context
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Played and Written by Capercaille, in the Folk Fusion Genre, originally from a Lament. Waulking is pounding tweed cloth, and it was sung by women for motivation and to keep in time with the cloth movement
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Rag Desh 1: Structure
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Alap, Gat, Jhalla
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Rag Desh 1: Instrumentation
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Sitar (& Main Strings and 12 Sympathetic Strings) and Tabla (Two Drums: Dayan and Bayan)
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Rag Desh 1: Techniques
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Tihai in the Gat, a short rhythm repeated 3 times; Strummed sitar strings
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Rag Desh 1: Harmony
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Uses Rag Desh
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Rag Desh 1: Rhythm/Tempo/Metre
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Free pulse in the Alap, moderate tempo in Gat, fast tempo in Jhalla
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Rag Desh 1: Tals
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Jhaptal (10 Beats) and Tintal (16 Beats)
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Rag Desh 1: Context
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Played By Anoushka Shankar
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Rag Desh 2: Structure
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Alap/Bhajan
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Rag Desh 2: Instrumentation
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Sarod (Plucked String), Sarangi (Bowed String), Pakhawaj (Double ended drum), Tabla (Two drums), Pair of Small Cymbals and a Voice
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Rag Desh 2: Techniques
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Melismas and Ornaments by the Tanwar
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Rag Desh 2: Melody
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Voice sings rag notes in Alap and sings a verse in the Bhajan, Sarangi and Sarod have Solos in Bhajan
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Rag Desh 2: Harmony
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Based on Rag Desh, Rag notes introduced by Vocalist
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Rag Desh 2: Rhythm/Tempo/Metre
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Slow with no pulse in Alap, Tabla Plays in Bhajan,
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Rag Desh 2: Tals
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Keherwa Tal (8 Beats)
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Rag Desh 2: Context
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By Chiranhi Lal Tanwar, A Bhajan (Hindu Devotional Song)
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Rag Desh 3: Structure
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Alap/Gat 1 in Rupak Tal/Gat 2 in Ektal
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Rag Desh 3: Instrumentation
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Bansuri (Bamboo Flute), Esraj (Bowed String), Shruti Box (Electronic Drone), Swarmandel (Plucked String), Tabla (Two Drums)
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Rag Desh 3: Techniques
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Improvisation & Drones (D & A) in the Alap, Tihai in Gat 1 and Gat 2 and Tans (Fast Scales) in Gat 2
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Rag Desh 3: Melody
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Tans (Fast Scales)
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Rag Desh 3: Harmony
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Based on Rag Desh
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Rag Desh 3: Rhythm/Tempo/Metre
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Slow with No Pulse in Alap, Slow Gat 1, Fast Gat 2
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Rag Desh 3: Tals
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Rupak Tal (7 Beats) and Ektal (12 Beats)
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Rag Desh 3: Context
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By Americans Steve Gorn and Benjy Wertheimer |
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