Cheek to Cheek - Ella Fitzgerald

Musical Context

• Ella Fitzgerald and Louis Armstrong
• Jazz, Contemporary jazz
• Jazz duet

Musical Elements

• 4/4
• Female jazz vocals and male jazz vocals singing melody
• Muted trumptet
• Walking bass (played by double bass)
• Piano playing ??
• Scat

Musical Structure

• 0:00 - 0:07 = introduction
• 0:08 - 1:09 = verse 1 - sung by Louis Armstrong (male jazz vocals)
• 1:10 - 1:40 = verse 2?
• 1:41 - 1:56 = chorus
• 1:57 - 2:25 = verse 1
• 2:26 - 3:30 = Verse 3. sung by Ella Fitzgerald - change of feel (more like swing)
• 3:31 - 4:02 = Verse 2
• 4:03 - 4:18 = chorus
• 4:19 - 4:49 = verse 3 again
• 4:50 - 5:34 = Louis and Ella duet, singing Verse 1/3
• 5:35 - 5:50 = outro

Derniere Danse - Indila

Musical Context

• French popular music
• Dernier Danse (title of song)
• Indila (artist)
• Released in 2013

Musical Elements

• 4/4 time
• Female vocalist - singing in French
• ostinato played by bass
• xylophone?

Musical Structure

• Verse-chorus structure
• 0:00 - 0:15 = introduction =
• 0:16 - 0:49 = verse 1 =
• 0:50 - 1:22 = chorus
• 1:23 - 1:41 = bridge? link?
• 1:42 - 2:13 = chorus =
• 2:14 - 2:28 = instrumental section but has a small choir singing over the top.
• 2:29 - 2:46 = link
• 2:47 - 3:20 = chorus
• 3:21 - 3:32 = outro

Unheard track

Recently in my music lessons, we have been preparing for the IB music exam by doing practice Section B questions. I thought I would upload my analysis for one of the unidentified songs as I achieve 17/20 for this question.

This question was from the IB Music Higher and Standard level exam from May 2013, and it was question 6.

(The writing in red is the corrections that were written on my paper.)

Musical Context

• Latin music / Latin American
• Dance music
• Argentine tango (Argentinian dance music)

Musical Elements

• 4/4 time
• Fusion music - use of traditional latin music instruments (e.g. guitar, maracas), but also uses an accordion.
• Use of the accordion gives the feel of the Argentine tango.
• Use of drums (djembe / cajon)
• Contemporary
• Female vocals in the verse, chorus and link. Joined by male backing vocalists in chorus and female backing vocalists in the link. Backing vocalists are adding harmonies.
• Pulls in guitar (sitar) part, especially solo (0:54 - 1:24 and 2:01 - end).
• Clear defined sections
• Improvisation in guitar (sitar) solo.
• Descending glissando at the beginning of the extract (0:00 - 0:01)

Musical structure
0:00-0:15 = introduction
0:15 - 0:30 = verse 1 (strophe)
0:30 - 0:46 = chorus
0:46 - 0:53 = link
0:54 - 1:24 = Guitar solo (sitar solo)
1:25 - 1:38 = verse 2
1:39 - 1:54 = chorus
1:55 - 2:00 = link
2:01 - end = guitar solo

Verse-chorus form.

Mahler Section B - New and improved version

This piece is Feierlich und gemessen, ohne zu schleppen from Symphony No. 1 in D Major "Titan" by G Mahler. This piece is from the late romantic period. The opening melody is "Frere Jacques", the French nursery rhyme, but this melody has been changed into a minor key.

The piece begins with timpani drums playing a steady pulse (4/4 time signature) of crotchet durations on the tonic and dominant which introduces the minor key. This opening lasts for two bars (until 0:08), where we have the introduction of a double bass which plays the minor version of 'Frere Jacques'. This melody lasts for six bars (until 0:32) where a bassoon enters in direct imitation, creating a canon. The trumpet is joined by a tuba at 0:53, which is directly imitating the original minor melody, creating a three-part canon. This lasts for four bars before the entrance of the oboe at 1:08. This melody is more lively than the canon beneath it. This is caused by the shorter rhythmic durations, which creates a counter melody.


This extract clearly has two sections. Section A is the Frere Jacques theme, and section B section which begins at 2:20. Section B begins with a melody played by the oboes which lasts for the rest of the extract. This section contrasts with section A, because it is syncopated. 


The texture of this extract is polyphonic, due to the canon in section A which is accompanied by the timpani until 1:08 in the extract when we have the introduction of the oboe.

Mahler section B

Here is my original response to 'Analyse, examine, and discuss this extract' with regards to the Mahler extract, along with feedback from my classmate and teacher.

Suite No. 1 in G Major, BWV 1007: I. Prelude - J.S. Bach

I first heard this piece for solo cello the other day whilst watching the film 'If I Stay' and thought that it was absolutely beautiful!!

Here is the link that I used (Spotify): János Starker – Suite No. 1 in G Major, BWV 1007: I. Prélude
The score that I used can be found on IMSLP.

Analysis:

This piece is an exploration of arpeggio chords around the tonic note. The image below is of the first 3 bars of the piece. As you can see from the image below, the piece has a key signature of G major, and is written in 4/4 time. I also think that there is the use of alberti bass (as highlighted) on the piece. This is when the notes are played as: 'low-high-mid-high'.

The first measure outlines a G major chord.  However, he immediately goes to outlining a C (G) major chord then a D dominant seventh chord, followed by a G major chord again. Also, he used a G pedal tone through these first four measures.  This helps to establish the tonality to center around G and show the musicians as well as audience that this piece is in this key.

Bach chose to create an effect where through the use of pedal tones, and implied accents, he is able to use only notes he wants as the melody while the notes surrounding create the harmony. 

Masterpiece - The Kings Singers

Analysis of the piece based on how they treated the techniques commonly used by the mentioned composers: Renaissance / Classical / 20th Century / Baroque / Medieval / Romantic

Johann Sebastian Bach
Fugal
Melisma
Tonality
Imitation
Counter-melody
Stretto
Augmentation
Pedal
Decorated Suspension

George Frederic Handel
Fanfare
Tutti
Homophony
Terraced dynamics
Irregular phrasing
Dotted rhythms
Polyphony

W.A. Mozart
Appogiatura
Alberti Bass
Regular phrases
Stepwise melody
Conjunct motion
Arch contour
Melody dominated homophony
Chromatic gestures
Contrast and interest

Ludwig Van Beethoven
Dotted rhythm
Minor tonality
Rubato
Fermata
Expressive markings
Huge dynmaic contrast
Sfrozando
Accents
Accelerando

Felix Mendelssohn-Bartoldy
Canatbile
Triplet
2 against 3
More use of dissonance

Johann Strauss
Waltz (3/4 time)

Richard Wagner
Total art
Very dramatic
Huge orchestra
Fanfare

Claude Debussy
Modal
Impressionism
Whole tone scale
Parallel harmony
Cross over of popular music and other world music

Stockhausen
Experimental electronic composer
1950's
Pioneer of electronica

William Byrd
Decorated suspension
Renaissance
Mass
Motet
Secular songs
Lute songs
Modal

An American in Paris: Class work 2

1) From 79 onwards - a familiar theme reappears! What theme is this? How is it similar/different to before?

• We hear the 'Walking Theme' again, but this time it is played quietly on the oboe (pp) and the violins (p).

2) In bar 89, we are introduced to a new motif. Arguably, it can be traced back to measure 7 (violins/oboes). How is this new motif similar?

• The rhythm of four semiquavers and two quavers (bar 90) is the same as the motif in bar 7.

3) La Sorella (a popular French song) is quoted in bar 97. Describe what happens to the texture at this point.

• Emphasis is put on the melody line when the texture thins out, and none of the woodwind section plays.

4) Comment on how the 1st walking theme has been treated in bar 106.

• The first walking theme is played by the viola, cello and horns. This is different to how it originally played.

5) A new idea dominated the texture at bar 119. What label do we give to this? We can compare this motif to two similar ideas heard before; locate these in the score.

• "Second walking theme".

6) What musical devices are used in bars 125-135?

• playing in unison (e.g flutes and oboes bar 126),
• chromaticism (e.g. clarinets bar 125),
• walking bass in the double bass part (bars 125-)
• imitation (e.g clarinets bars 125-128)
• ostinato in 3rd and 4th horn parts (bars 132-135)

8) When we heard the 2nd walking theme again at 152 - how is it different to before?

•  This time, the 2nd walking theme is played in the key of Bb.

10) There is a sense of urgency in bars 178-185. What musical device helps to push the momentum along?

• The use of imitation.

11) What are the oboes and violins doing in bar 186?

• They are playing a melody which is similar to the first walking theme, but only use the first bar of this idea. Also, it modulates into the key Bmajor.

12) A familiar motif is heard in the lower instruments at 188. What term best describes the treatment of this motif?

•  Augmentation

13) What does 'Con fuoco' mean - and what elements are used to give this impression?

• 'Con fuoco' means 'With fire'.This feeling is created by the use of dynmaics (ff) and short rhythmic durations.