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  • Key Stage 3
    • Year 7
      • Unit 1: Stomp
        • L1 - Time Signatures, Crotchets and Quavers
        • L2 - Semibreves and Minims
        • L3 - Rests and Polyrhythms
        • L4 - Improvising Rhythmic Patterns
        • L5 - Syncopation: Moving from body to objects
        • L6 - Rehearsing Stomp Performances
        • L7 - Notating Rhythms and Assessment
        • L8 - Listening and Evaluating
      • Unit 2: Finding Your Voice
      • Unit 3: Power of Pentatonic
        • L1 - The Pentatonic Scale
        • L2 - Amazing Grace (Phrase 1 and 2)
        • L3 - Improvising Melodies
        • L4 - Q + A Phrases (Part 1)
        • L5 - Q + A Phrases (Part 2)
        • L6 - The Final Practice
        • L7 - Notating Your Composition
        • L8 - Recapping Amazing Grace
        • L9 - Final Performance and Evaluation
      • Unit 4: Playing in a Band
        • L1 - Triads & E minor Chord
        • L2 - Degrees of the scale & G Major Chord
        • L3 - Primary Triads & C Major Chord
        • L4 - Secondary Triads & A Minor Chord
        • L5 - Semitones, Tones & Pop Songs
        • L6 - Ensemble Rehearsal
        • L7 - Tonic, Dominant & Performing Task 1
        • L8 - Inversions & Composing Chord Sequences
        • L9 - Playing Inversions & Ensemble Rehearsal
        • L10 - Performing Task 2
    • Year 8
      • Unit 5: Beauty of Baroque
        • L1 - Ground bass
        • L2 - Melodies 1 and 2
        • L3 - Melodies 3 and 4
        • L4 - Playing in canon
        • L5 + L6 - Canon in an ensemble
        • L7 + L8 - Composing a melody
        • L9 - Creating your canon
      • Unit 6: A capella
        • L1 - Four Chord Trick
        • L2 - Rhythm Section
        • L3 - The Bassline
        • L4 - Passing Notes and Solos
        • L5 - A capella Performances
      • Unit 7: Djembe
        • L1 - The Djembe
        • L2 - Call and Response
        • L3 - Polyrhythms
        • L4 - Djembe Performance
        • L5 - Composing Signal and Response
        • L6 - Composing Call and Response
        • L7 - Composing Polyrhythms
        • L8 - Performing Compositions
      • Unit 8: Playing in a Band - Part 2
        • L1 - Uptown Funk
        • L2 - The Brass Riff
        • L3 - The Bass Line
        • L4 - Putting the chorus together
        • L5 - Performing the chorus
        • L6 - 1st Verse and Pre Chorus
        • L7 - The Introduction
        • L8 - The Bridge
        • L9 - Putting it all together
    • Year 9
      • Indian Classical Music
        • L1 - Intro to Indian Classical Music
        • L2 - Ragas
        • L3 - Drones
        • L4 - Tala
        • L5 + L6 - Composing Indian Classical Music
        • L7 - Evaluating Indian Classical Music
      • Music Technology
      • The Blues
      • Video Game Music
      • Preparing For GCSE
  • GCSE
    • Key Terms
      • Terms and signs
      • Musical structures
      • Voices and instruments
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    • Set Works
      • Instrumental Music 1700-1820
        • J S Bach: Brandenburg Concerto No.5
          • L1 - About Barqoue and The Brandenburg Concerto
          • L2 - Features of Brandenburg
          • L3 - Melody and Structure
        • Beethoven: Pathetique
          • L1 - Background
          • L2 - The Introduction
          • L3 - Structure
          • L4 - Exposition
          • L5 - Development
          • L6 - Recapitulation and Coda
        • Recommended Listening
      • Vocal Music
        • Purcell: Music For A While
          • L1 - About Music For A While
          • L2 - The Introduction
          • L3 - The Accompaniment
          • L4 - The A Section
          • L5 - B section and Return To A Section
        • Queen: Killer Queen
          • Lyrics
          • L1 - About Killer Queen
          • L2 - Taking It Apart
          • L3 - Melody and Rhythm
          • L4 - Music Technology and Instruments
        • Recommended Listening
      • Music for Stage and Screen
        • Wicked: Defying Gravity
          • Liberetto
          • L1 - About Defying Gravity
          • L2 - Taking it apart
          • L3 - Intro and Verse 1
          • L4 - Chorus and Bridge
          • L5 - Coda
        • John Williams: Star Wars
          • L1 - The Fanfare
          • L2 - Luke Skywalker's Theme
          • L3 - B Theme
          • L4 - Wave 4 and 5
        • Recommended Listening
      • Fusions
        • Afro Celt Sound System: Release
          • L1 - About and Analysis of Intro, Verse and Break
          • L2 - Analysis from verse 2 onwards
        • Esperanza: Samba Em Preludio
          • L1 - About Samba Em Preludio
          • L2 - Harmony
          • L3 - Melody and Rhythm
          • L4 - Texture and Instrumentation
        • Recommended Listening
    • Performing
      • Preparing For Your Performance
      • Song Difficulty List
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      • 12 Mark Questions
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  • Thinking of A level?
    • A Level Music
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Music

Lesson 1 - About Samba Em Preludio

Lesson 2 - Harmony

Lesson 3 - Melody and Rhythm

Lesson 4 - Texture and Instrumentation

Esperanza Spalding was born in the USA in 1984. She is a singer and bass player. She went to the local high school, during which time she tried out many instruments including the violin and oboe. At 16 she decided to leave school as she said she found it too easy and boring, but not before a teacher taught her a few riffs on the bass guitar, which she used at an audition and got her first paid gig! Later she went to the famous Berklee College of Music in Boston, where she studied double bass. After graduating she was asked to stay on as a teacher—the youngest the college had ever had. Here she formed a jazz trio and with them recorded her first album in 2006, which was mainly instrumental. This set work is taken from her album Esperanza released in 2008. In her live shows, Spalding plays double bass, electric bass and acoustic bass guitar (seen below) which is what she plays on ‘Samba Em Preludio’ alongside a nylon-string acoustic guitar and her voice.

This is a cover of a song composed by the Brazilian virtuoso guitarist Roberto Baden Powell in 1962. The lyrics are written by the Brazilian poet, Vinicius de Moraes and was originally intended to be duet between a man and women. When Baden Powell first played the music to de Moraes for him to write the lyrics, he initially refused as he thought the music had been copied from a piece by the famous 19th century Polish composer, Chopin. He was finally persuaded that the music was original but this may be why it is called Samba Prelude as a nod to Chopin’s famous 24 Preludes for piano. Samba is a Brazilian musical style known for its energetic drumming and syncopated rhythms, which has became very popular throughout the world. This popularity has led to many variants of the style, one of which is Bossa Nova, which literally translates as ‘new trend’. It is a fusion of Brazilian Samba and Contemporary Jazz. Bossa Nova is the lazier, cooler and more lyrical version of samba and without samba’s emphasis on percussion. It borrows its rich and complex harmonies from jazz.

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