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)