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AO3 - gracelands - Coggle Diagram
AO3 - gracelands
graceland
intrumentation and sonority
paul simons - lead and backing vocals, acoustic guitar
ray phiri - guitar
demola adepoju - pedal steel guitar
bakithi kumalo - fretlrss bass
vusi khumalo - drums
makhaya mahlangu - percussion
the everly brothers - additional voices
form - intro (20 bars) - verse 1 - chorus - verse 2 - chorus - verse 3- chorus - coda/outro
verse 1
metre + rhythm
4/4
constant drive
vocals free compared to bass
toanlity - E - major
harmony
I - IV - VI - V - IV
simple
chromaticism in bass
chord sequence repeats
blues turnaround
texture
melody and accompaniment
question + answer between voclas and pedal steele guitar
melody
each phrase beggins with anacrusis ( unstressed syllables at the beginning of a verse.)
begins high and descends
major 6th
syllabic throughout (lyrics written in the form of one syllable of text per musical note)
choruses
choruses
rhythm - im gioing to graceland interacts with bass guitar riff
tonality - E major
chorus 3 - rhythmic variation
harmony
blues turnaround (I - V - IV - I) followed by VII - IV - I (double plagal cadence )
shows influence of everly brothers
texture
melody and accompaniment
some heterophony between bass and vocals
chorus 2 - backing harmonies added
melody
based on im going to graceland hook
vocal is dijunct and syllabic
repeating basseline riff typical of american blues and jazz
music of south africa
kwela
developed in 40's
combined guitar with penny whistle
string bass
jazzy street music
improv
isicathamiya
created by ladysmith black mambazo
soft
fusion of mbube and others
acapella
choreography included
mbube
popular in 40s
fusion of western church music and south african styles
call + response
triadic harmonies
mbaqanga
popular in 60s
fuses american jazz, mbube and marabi
bass line very important
repeating melodies and rhythms