Area of Study 3

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Area of Study 3: Davis/Moby/Buckley
Davis Moby Buckley
Performing Frontline: Key role of technology: Lead and backing vocals
Forces i) trumpet (head & solo) synthesisers, samplers and drum 3 guitars:
ii) alto & tenor saxes (riffs & solo) machine. i) drop D
Rhythm Section: Sampled vocals ii) pull-offs
i) Piano (pizz) EQ iii) power chords
ii) Double Bass Delay iv) flange sound
iii) Drums (brushes & sticks) Reverb Synthesiser
Strings: pizz, col legno
Melody Mainly improve Material sampled from 1953 gospel Very wide range
Head = pre-composed choir. Begins low ends high
Improvisation use mixolydian mode Divided between male Uses steps and leaps
and blue notes (Bb and F) verse/female choruses. Phrases have falling shape, many
Mainly syllabic with some melisma. repeated an octave higher.
Diatonic melody made from short Vocal techniques:
phrases slides/falsetto/vocalisation
Mainly syllabic some important
melismas and some word painting.
Time Sig 6/4 (Jazz waltz) 4/4 12/8
Tempo 52bpm 98bpm 64bpm
Rhythmic Syncopation in drums and improve; Rhythm track combine hip-hop Free in rhythm ­ syncopation/grace
Features ostinato (riffs) beat and drum machine loop. notes/triplets.
Swung quavers throughout Emphasis on backbeat Cross rhythms in bass part
Syncopation in piano and claves, (pre-chorus)
continuous semiquavers in Semiquaver figures in guitar intro.

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Dynamics & Head is legato Mostly loud. Generally loud builds up to climatic
Articulation Cresc in intro and dim in final head Soft intro/break/outro. Coda
Tonality Built on G Modal (Dorian mode on A) Emin but not clear eventually settles
Chorus feels like Cmaj on D.
Harmony 12 bar blues: Regular chord changes using Parallel and often chromatic chord
i) G7/G7/G7/G7/C7/C7/G7/G7/ harmonic sequence in verse: shifts.
D7#9/ Eb7#9, D7#9/G7/G7 Amin/Emin/G/D Emin/F/Eb/D/A7
Extended chords add interest. Chorus: Dissonance by strumming open
C/Amin/F/C strings.…read more


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