Multi-Genre Presentation

So I’m supposed to do a presentation on multi-genre, this is when a track switches it’s whole original motif whether it be a funk track that switches into polka or a pop track that changes into an Indian raga. The execution of this was the hardest to find, at first I relied on film composition (Alexandre Desplat – ‘The Fantastic Mr.Fox / The Grand Budapest Hotel) but they all relied on slight changes to their motifs. I was in a rut, we were shown Frank Zappa’s album ‘Apostrophe’ which set the bar with what we had to find, so after talking to the level 4 students, someone suggested John Zorn in which the outcome was rather positive. Here’s what I found;

[Video Above]

0:00 – 0:09 is rock riff A

0:09 – 0:11 is a super quick motif otherwise known as riff B

Then heads back to riff A until 0:19 seconds in where riff B come back with alterations, then it hits you at 0:23 where it’s a country barnyard idea then at 0:28 where the bass is doing a polka rhythm an everything else in riff B then back to riff A, have you got the stimulus yet?

0:39 has riff B once again and once again at 0:50

at 0:52 is a nice ‘loungey’ feel almost like a western bar then we come to the end 30 seconds whereb it crosses over from riff A to riff B.

Now for the stimulus, I like to think of this track as someone flicking through radio stations or T.V channels, a satirical take on how we can’t make our mind on what to watch.

The instrumentation is;

x1 electric guitar

x1 electric bass

x1 drums

Then I’m sure I can pick out a bit of brass, maybe a saxophone on riff B

On the 0:23 motif they’ve changed the guitar for a steel guitar maybe, it’s definitely got a whole different sound in comparison to the other electric guitar.

Piano is played on the 0:52 motif with a reprisal of the earlier steel guitar

The drums mainly conduct the sound, going from a rock groove straight feel, to riff B which is almost a heavy blast beat feel, at the 0:23 motif it has a slower more leaned back feel on the 4/4 which is played again at the 0:52 motif.


All The Things You Are

All The Things You Are

Key – Ab Major (Fminor)

Form – A A B A

This piece conists of flavoured chords (my favourites) such as major 7ths, 9ths dominant 7ths,9ths minor 7ths,9ths so it already givces off the impression that it’s not your conventional piece. These are the chords supplied with the notes attached:
F-7 – F Ab C Eb
Eb7 – Eb G Bb Db
Abmaj7 – Ab C Eb G
A-7b5 – Ab B D Gb
C+7 – C E G# Bb (Augmented)
Bo7 – B D F Ab
C7#9 – C E G Bb D#

Bars 1 – 8
The first 5 bars are in Ab major and follow the chord progression of 6, 2, 5, 1, 4….going into a 2-5-1 (ii V I) in the key of C major. Due to C minor 7 being closer to the key of Ab major it has the transition over the C major 7 which in conventional terms the listener would be more inclined to expect. The ii-V-I in bars 6&7 resolves to the parallel major as Cm is the expected key.

Bars 9 – 16
Similar to section 1 the first 5 bars follow the same chord progression of 6, 2, 5, 1, 4, but in the key of Eb major. This change of key was created at bars 8 and 9 where a ‘parallel minor’ was used, going from a Cmaj7 to a C-7….a parallel minor is the minor key based on the same root note as the origin, here we have C major to C minor where C is the root note. So the modulation on bars 6 to 7 using the 2, 5, 1 to change into the Cmaj7 then into the C minor 7 with a parallel minor, leading to Eb major, similar to section 1 the last 3 bars become a ii V I in the key of Gmaj7.  Bars 14&15, Gmaj7 is the parallel major. Bars 9-16 is the same as 1-8 but modulated a perfect 5th higher.  The C+7 is an enharmonic pivot chord, on one level it is the altered dominant 7th chord of the Fm7 in bar 25, but the basic triad of C+ is exactly the same as E+ (E, G#, B#), and just one note different from the Emajor triad (E, G#, B), so it links the 2 keys of Emajor and Fm.

Bars 17 – 24
The first 4 bars of this section follows on the ii-V-I from section 2, in the same key using the A-7-D7-Gmaj7. Then it leads into another ii-V-I in the key of E major. Then the last 2 bars with the Emaj7 and C+7, the C+7 shares some notes to the Emaj7, these notes being E and G#, which almost makes sense but it still sounds non-diatonic, the B section is apparent due to it’s unfamiliarity with the rest of the status quo

Bars 25 – 36.
25 – 30 to start with are very similar to bars 1-8 , a 6, 2, 5, 1, 4 in the key of Ab Major (vi, ii, V, I, IV). Following on the chord progression goes down in semi-tones creating a chromatic movement from the Db-7 to the Bb-7. Leading into the same 3 chords in section 1 and the first part to section 4, Bb-7, Eb7 and Abmaj7. Then for the last 2 chords it creates a minor ii-V-I back into the start of the chords again…..also known as a minor turnaround.

Fifteen Two Part Inventions

Fifteen Two Part Inventions

The ten bar piece applies several contrapuntal conventions. The start of the extract is also C major, which has neither any sharps or flats but then are examples of modulation such as bar 4 (G – F#) then on bar 9 returns to it’s former key of C major

The first bar gives a great example of exact imitation (Exact imitation is when a melody is repeated with the same notes and same rhythmic structure) where the treble clef plays the 1st idea and the bass clef repeats this but at a later time, 2 beats into the first bar. The first motif is the first seven 16th notes ending on the G 8th note and indicated by the phrase line.

Contrary motion and melodic inversion are shown in bar 3 & 4 (Bars 3 & 4 is an augmentation of only the first 4 notes of the motif.) , the contrary motion is show between the bass and treble clef as the melody is going down on the treble clef, its going up on the bass clef. Contrary motion is a movement of opposite directions so one would be going up in pitch while the other is going down in pitch. The melodic inversion is the two movements using the same intervals to travel, the treble clef is travelling down in seconds where the bass clef is travelling up in seconds. Melodic inversion is a form of imitation.

Augmentation is when notes are doubled in value I.E 16th notes made into 8th notes. (Also a type of imitation – the same melody played again)
The bass clef on bars 3 and 4 is an augmentation of the motif, its a diatonic augmentation to a point but when it reaches the F# it modulates into the key of G major making the whole augmentation non-diatonic. Bars 5 and 6 repeat the last 4 notes of the motif going up in thirds rather than going down in thirds, this pattern is repeated 3 times going up in thirds from E to C ending on the third of C giving an octave of E. On bar 5 the bass clef plays the motif but a tone up from the origin, therefore giving us the F# as a tone up from E is F#, this will make the modulation from C to G sound almost natural as it’s repeating a pattern previously heard.

There’s similarity between bars 7 & 8 to bars 1 & 2 but this time the bass clef is starting the idea and the treble clef is making an exact imitation, coming in after 2 beats of the bar. At the end of bar 8 the bass clef becomes a treble clef, melodic Inversion is also then shown on bars 9 & 10 in which the bass clef plays by starting the idea whilst the treble clef plays the melodic inversion by harmonizing the idea by playing a perfect 5th harmony over the top. Bars 9 & 10, the tune goes up a tone (major 2nd) modulating into D minor.