Samba Em Preludio (1962)- Esperanza Spalding (Tempo/Metre & Rhythm…
Samba Em Preludio (1962)- Esperanza Spalding
Tempo/Metre & Rhythm
Bars 1-3 are free.
Time Signature changes from 4/4 to 5/4.
Verse 1- slow tempo, RUBATO
tempo starts at bar 19, tempo doubles.
Free tempo at bar 114.
4/4 quadruple time; feels like 2/2.
Vocal melody rhythms + guitar rhythms are complex.
Acoustic guitar- varied rhythms, including demi-semiquavers
rhythms- dotted crotchet quaver pairs.
Verse 2- longer note values.
Low Range for female vocalist-
Melody range is low E to G above middle C, a minor 10th.
Spalding sings and plays the acoustic bass guitar in this recording.
A nylon string acoustic guitar is overdubbed into the solo section.
Melody has wide legs and complex rhythms, including triplets, semiquavers and rests.
Rubato is used- pulling around of the time.
Bass part- virtuosic solo at the beginning.
Uses double stops, wide leaps, rapid semiquaver passages, a mordent and a harmonic.
Plays the role of a bass and a higher part, almost like a ragtime piano part.
Acoustic guitar- joins the accompaniment at bar 23. Plays a virtuosic solo between verse 2 & bar 89.
When accompanying- it plays
Some places it imitates the vocal part.
Performer- Esperanza Spalding.
Composer- Roberto Baden Powell Aquino.
Lyricist- Vinicius de Moraes
Samba Em Preludio is a BOSSA NOVA
Bossa Nova means
The song has a Low Range.
Instruments/ female voices, acoustic guitar & acoustic bass guitars.
The song is a fusion of Brazilian Samba with Jazz.
In B minor.
Bossa Nova's are usually in minor keys.
I, II, IV, V
Complex Jazz Chords.
Added note chords- 7ths, 9ths, 11ths, 13ths
Dim 7th- flattened 5th (bars 35, 44)
Descending chromatic basslines- bars 30,38
Turn around chords- coda, bars 107 & 111.
Voice and bass duet
Can also be seen as a
from Jazz music.
Verse 2 (B)- Stanza 3&4, 16 bar phrases.
is where a main melody is played with chord changes underneath.
Verse 1 (A)- Stanza 1&2, 8 bar phrases twice.
Players then improvise around this head with the changes underneath (sometimes with substitute chords).
Head is repeated.
2 main melodies- verse 1 & verse 2.
Verse 1 melody (bars 4-19)
8 bar idea, repeated with different ending.
shape (broken chords)-bar 4
Descending by semitone- descending
Low range- E
3rd steps and a 7 leap (Broken chords)
Flattened 5th, F natural (bar18), Jazz Influence (BLUES).
Descends to Tonic (B)
Broken chord patterns
is a key feature.
Verse 2 melody
Flattened 5ths e.g. bar 100, jazz influence.
Note Values double, tempo increases in bar 19.
Leading note A#
Monophonic intro (except for the 2 double stopped notes in bar 1)
Homophonic- bars 19-28.
Polyphonic- bars 89-104
Counterpoint between melody and bass and guitar parts- bars 29-38