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Esperanza Spalding: 'Samba Em Prelúdio' (Structure (Introduction,…
Esperanza Spalding: 'Samba Em Prelúdio'
Background information and performance circumstances
Performer
Esperanza Spalding
Born in Portland, Oregon in 1984
She graduated from violin to double bass
Worked as a soloist and session player in a variety of musical styles
Won 4 grammy awards
On the album Esperanza she sings in English, Spanish and Portuguese
Composer
Roberto Baden Powell Aquino
1937- 2000
Brazilian guitarist and composer
Played a major part in the bossa nova 'explosion'
His music mixed Brazilian rhythms with complex jazz harmonies
Lyricist
Vinicius de Moraes
1913-80
famous poet and a lyricist
wrote the lyrics for 'the girl from Ipanema
The song and its genre
Written in 1962
Bossa nova
Bossa nova means new trend in Brazilian
The styles are mixes of Brazilian samba with jazz
The lyrics are in Portuguese
Performing forces and their handling
Female voice
Low
Using the chest register
Syllabically
One musical note to each syllable
Contains many leaps
Quite complex rhythms
Triplets, Semiquavers, rests
Rubato
Acoustic guitar
Virtuosic solo
Accompaniment role
mixture of plucked chords
Small melodic passages
The guitar line imitates the vocal part
Bar 25-27
Acoustic bass part
Active
virtuosic bass solo
Double stops
Wide leaps
Rapid semiquaver passages
Mordent
A harmonic
Structure
Introduction
Florid bass guitar solo
Bars 1-3
Verse 1
8 bar idea repeated but with a changed ending the second time
Bars 4 - 19
Link
Bass solo picks up the tempo to move into the bossa nova rhythm
Bars 19 - 22
Verse 2
A 16 bar idea repeated and changed the second time
Bars 23-54
Guitar solo
Played over the chords of verse 2
Bars 55-88
Voice and bass duet
Bass plays the vocal part from 4-11 ehile the voice sings bars 23-38
Bars 89-104
Coda section
D.S to end
Second half of verse 2 followed by repetitions of the last line guitar and bass play florid riffs during the last held vocal note
Tonality
B minor
does not modulate
Many bossa novas use minor keys
Texture
Introduction is monophonic
Apart from a couple of double-stops
Mostly Homophonic
But the bass part is almost melodic enough to be a melody alone
Polyphonic
Bars 89-104
Harmony
Tonal
Influence of jazz and of American popular song
In being quite complex
Chords roots
Chord extensions
diminished seventh and flattened fifth chord
Chromatic chords
Descending chromatic movement in the bass line
Bars 30-38
Melody
Verse 1
Arpeggio shapes
Each phrase descends by a semitone or tone in a long downward
Music descends beneath the female vocal range
Leaps of a third and occasionally of a seventh
Jazzy flattened fifth in bar 18
Verse 2
Note values have doubled here
entirely conjunct
descend to the leading note at bars 34-35
Tempo, metre and rhythm
very free
Bars 1-3
rhythmic rubato
Bossa nova tempo
4/4 quadruple time
triplets and rests