4991518
| Questão | Responda |
| Dynamics | dynamic variation is created through textural alteration e.g. monophonic balafon solo at start is quieter |
| Dynamics | coda - moments of complete silence create impact and signal end of piece |
| Rhythm/metre | intro - time sig i 4/4 but free tempo/rubato is used |
| Rhythm/metre | use change of metre to signal change in texture or instrumentation e.g. 6/4 in b.14 before drums enter |
| Rhythm/metre | change of metre before chorus marks piece into clear sections |
| Rhythm/metre | syncopation in balafon octave leaps |
| Structure | Intro: balafon, 2nd balafon, drums |
| Structure | 1st chorus: vocals, balafon break |
| Structure | 2nd chorus (shorter balafon break) |
| Structure | call & response section |
| Structure | chorus: more complex vocals |
| Structure | final chorus: long balafon break at end |
| Structure | Coda: drum ostinato interrupted by rests; bell signal at end |
| Melody | balafon at b.8 combines conjunct & disjunct leapss well as repeating notes - Gbs & Dbs reinforce key |
| Melody | lack of Fs (leading note) gives modal sound - hexatonic (6 note scale) |
| Melody | breaks are repetitive notewise, drawing attention to rhythms |
| Melody | short melodic idea heard in b.13 is used in coda and developed |
| Instrumentation/timbre | Djembe - variety of tones depending on where struck; play continuous rhythm |
| Instrumentation/timbre | talking drum - 2, large & small; pitch can be altered by squeezingleather tension cords; create resultant rhythm with djembe |
| Instrumentation/timbre | voice - chorus & solo voice (call & response) |
| Instrumentation/timbre | Balafon - 2, higher & lower (higher one heard in intro); tremolo effect used on them |
| Texture | intro is monophonic |
| Texture | balafon 2 enters & plays in octave unison before becoming heterophonic (almost identical versions - harmony in 5ths) |
| Texture | overall, texture is layered, but balafons use counterpoint |
| Texture | call & response in vocals - solo call, chorus response |
| Harmony/tonality | key of Gbmaj overall - sounds modal as it is hexatonic (no leading note F) |
| Harmony/tonality | strong use of tonic & dominant reinforces sense of key |
| Harmony/tonality | Harmony arises as a byproduct of the balafons' counterpoint |
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