Samba Em Preludio
dynamics
rhythm/tempo/time sig
genre
structure
melody (2 main ideas)
instrumentation
texture
harmony/tonality
performed by Esperanza Spalding
written in 1962 (why it's called a samba- bossa nova was only established in year it was written)
samba is a brazilian-style song
lyricist: Vinicius de Moraes
Portuguese lyrics
fusion of cool jazz and samba bossa nova
improvised performance
dynamic markings aren't in score because it was improv. so guitarist and Spalding would add them when they thought they were needed
monophonic intro.
mainly homophonic
bass line is borderline melodic so sometimes sounds polyphonic
polyphonic for bars 89-104
female alto vocals singing melody for most of piece
acoustic guitar (doesn't play as much as other instrumentation)
acoustic bass guitar (plays bass)
low tessitura
accompaniment role
rapid semiquaver passages
mainly sylabic
triplets, quavers, rests
wide leaps
double stops
plucked chords
imitates vocal line melody
guitar solo accompanied by bass guitar chords
typical cool jazz
typical samba bossa nova
relaxed slow tempo (rhythm feels like it's playing behind beat) - easy/lazy feel
syncopation
long, flowing melodic phrases, rich, harmonic (added/extended chords). Lots of 7ths/9ths
dissonance between instruments
fast, syncopated rhythms, energetic drumming (not in this song except for syncopation)
lazy tempo, bassa nova rhythm
on beat dotted rhythms in bass and syncopated off-beat (weak beat) chords
4/4 quadruple time
free tempo in intro (Bossa Nova tempo)
crossrhythm (triplets against duplets)
V1- rubato (irregular rhythm)
syncopation
key is B minor
bossa novas often use minor keys
no moduations
tonal
chromatic chords
diminished 7th
extended/flattened chords
complex harmony (influence of Jazz/American popular song)
intro
verse 1 (A)
verse 2 (B)
link
guitar solo
voice/bass duet
coda
8 bar idea repeated (changes)
16 bar idea repeated (changes)
moves into bossa nova rhythm
played over chords of verse 2
second 1/2 of vs 2 w/ repetitions of last line guitar and bass play florid riffs during last held vocal notes
verse 1 (A)
verse 2 (B)
8 bar idea
arpeggio shapes
leaps of 3rds and 7ths
steapwise
descending sequence
16 bar idea
jazz flattened 5th (bar 18)
note values doubled (similar melody to A)