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MUSICAL LINKS INVESTIGATION

Cante Jondo Flamenco &

Cross Over Jazz of Jamie Cullum 

Word count: 1506

CULTURE 1

CANTE JONDO FLAMENCO

Background: 

 

Flamenco originated in Southern Spain in the 16th century. It is a musical style that involves singing, dancing, and the playing of a guitar as well as other instruments, separately as well as together. 

 

Cante Jondo is the flamenco that involves all three aspects of flamenco: deep singing, guitars, cajas & castanuelas. 

 

Typical Instruments: 

  • Male vocals

  • Female vocals 

  • Castanuelas 

  • Acoustic guitars 

  • Flamenco guitars (this guitar is used because the flamenco guitar is lighter and have a different sound quality) 

EXTRACT 1

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​

​

CONTEXT:

This specific type of flamenco comes from the city where flamenco started. 

Flamenco is very personal because the vocals can vary and change however the artist wants them to. The taquoneo is also something that varies and changes even though it does have structure. The guitar is the most constant part of cante condo because there's certain strings and chords that are conchordant.

​

INSTRUMENTS:

  • Guitar 

  • Male vocals 

  • Clapping 

  • Taquoneo (rhythmic x)

 

DYNAMICS: 

  • Forte 

 

TEMPO:

Allegretto 

  • Allegro

  • Moderato  

 

At 3:15 all instruments stop besides the taqoneo. 

 

INTRO (0:00-0:43): 

Improvised introduction - vocal dexterity with lots of trills and turns to embellish the melody, establishing the modal scale 

Instrumentation: acoustic guitar and lead male vocal

 

0.43-1:02 Taquoneo

Rhythmic unison between foot stomping and guitar chord patterns. Where the rhythms are too fast for the hand claps, the hand claps provide the pulse.  Triplet rhythms in unison. No vocal melody.

 

1:03 - 1:29

Vocal melody returns with highly decorative and dexterous antecedent phrase a (1:03-1:09) followed by consequent phrase b (1:04-1:18).  Imbalanced phrasing.

​

PITCH:

 

  • Antecedent and Consequent Phrasing - guitar at 2:30 

  • There’s dexterity in the way that the guitar sounds 

  • And dexterity when the vocal does the riff 

  • Melodic embellishment / fast moving melodic phrases (vocal dexterity) 

  • Guitar and singing (0:00-0:43)​

 

​

DURATION / RHYTHM:
 

TRIPLET rhythm ostinati- the dancer comes up with this so that they can contribute to the sound of the music

  • From 3:13-3:20 her feet make triplets

At 3:13 she starts to dance alone and the other instruments drop out. 

Rhythmic Unison- the foot stomping always matches the rhythm / pulse / bass rhythm

 

At 3:30 the guitar and clapping re-enter

EXTRACT 2

Musical features also found in extract 1 to be highlighted in red!

 

INSTRUMENTATION:

  • Guitar 

  • Cuatro 

  • Female vocals 

  • Clapping 


 

0:00- 0:27 solo guitar improvisation

0:27- 0:48 guitar and vocal chants 

0:48 canto de los cuatro muleros starts

0:48- 2:31 vocals and guitar (steady pulse ) 

2:31onwards: clapping rhythmic ostinati, with vocals and guitar. 


DYNAMICS

Guitar starts piano 

Vocals enter mezzo forte 

Guitar and vocals are forte when the canto starts, building excitement

 

DURATION / RHYTHM

(0:00-0:15 and much throughout) Rhythmic ostinati featuring triplet rhythms on the guitar

There are moments of rhythmic unison between the foot stomping taqueno rhythms also on the guitar throughout

 

TEMPO: 

Moderato 

Allegro 

Allegretto 

 

MELODY

(0:15 to 0:26) Rising and falling melodic conjunct phrases in the guitar introduction

(0:37-0:42) Guitars in melodic unison

0:49  Vocal antecedent and consequent phrases in the melody followed by melodic improvisation featuring vocal dexterity, lots of vocal variety - melodic contour is fast moving, ascending and descending runs.

​

​

MUSICAL LINKS found in CULTURE 1

  • Improvised introduction

  • Rising and falling, conjunct, antecedent and consequent melodic phrases

  • Rhythmic ostinati featuring triplet rhythms

  • Foot stomping - taqueno rhythm

​

-- Rhythmic unison between foot stomping and guitar chord patterns.

- TRIPLET rhythm ostinati

​

​

- Melodic contour is fast moving, ascending and descending runs.

CULTURE 2

JAMIE CULLUM

Background: 

 

Influenced by a love of learning, the Crossover Jazz of Jamie Cullum is a fusion of pop and jazz elements. With his first album ‘Twentysomething’ in 2003, Jamie Cullum has won Best British Male Ronnie Scots Award and numerous Jazz and Radio awards.  The Song Society has now become a popular music culture with over 1 million views for most of his tracks. Known for a high level of sonic intricacy, Cullum applies his Jazz expertise to popular songs of various genres. “The songs are learnt and performed live, warts and all within an hour.” 

EXTRACT 1

CONTEXT:

Originally by American Rap artist, Bon Iver, ‘Hey, Ma’ is a highly emotional and lyrical song with over 3 million views on youtube. In the Song Society version, the band used the melody and the chords as the basis for an improvisation and were inspired to add a riff that echoes some of the production/soundscape sounds. 

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INSTRUMENTATION:

  • Piano 

  • Male Tenor Vocal Lead

  • Jazz Drum kit

  • Upright Bass

​

METER: 4/4 common time

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TEMPO: Andante for a relaxed feel

​

TONALITY: diatonic minor

​

DYNAMICS

0:24 - 1:22 Soft dynamics, sustained piano chords, use of silence to separate chords to echo loneliness;

 

MELODY & HARMONY

Tenor vocal lead melody is phrased in antecedent and consequent phrases that rise and fall.  Consonant harmonies throughout.

​

MUSICAL FEATURES ANALYSIS

 

1:23-1:36 Contrasting section begins with melodic unison between piano and upright bass. 

​

4 note falling ostinato with ⅛ note syncopated rhythms - more momentum gathering; suspenseful

​

1:38 - 2:00 ⅛ note motif continued in the upright bass while the piano returned to the chords, but with reharmonisation for added colour.

 

2:00 - 2:57   Verse 2: When the vocal melody enters again for the verse, it is developed through vocal improvisation that includes melodic ornamentation

 

2:11-2:12. Timbral variation as the piano chords are played in a higher register. Increased dynamic variation as the song becomes more emotionally expressive.

 

2:58 - 3:16 Solo Piano improvisation; simple chords, stillness.

 

3:17 Vocal melody returns - timbral variation as the melody is sung in a higher falsetto register. Melodic augmentation and melodic ornamentation

 

4:12 - 4:41 Drums return with a rhythmic ostinato, upright bass return for the chorus. Crescendo poco a poco

 

4:42 - 5:05 Return of the 4 note falling motif and suspended ending.

EXTRACT 2

Musical features also found in extract 1 to be highlighted in yellow!

​

CONTEXT:

The popular version of this song is the EDM remix, but Jamie Cullum’s version resembles the original version and has lots of similarities with it. 

​

INSTRUMENTS: 

  • Guitar 

  • Male vocals 

  • Piano 

  • Drums 

 

METER: 4/4

 

TEMPO: Moderato

 

0.34 Ostinato on guitar to begin, 4 chords, falling. Syncopated rhythmic ostinato, staccato.

0.42 Tenor vocal lead melody joins, phrased in antecedent and consequent phrases that rise and fall.  Consonant harmonies throughout.

1.02 - 1.59 piano enters with sustained chords and the drums enter with a simple rhythmic ostinato

1:59  piano rhythm mirrors the guitar ostinato 

2.24 - 3.-04 melodic unison between the main tenor vocal and the tenor backing vocal 

2:44 - 3:04 the vocals drop out and there is a piano improvisation, based on the repetition of a four note pattern that becomes an ostinato that is developed through melodic augmentation.

3:04 contrast for return of the verse, with the guitar and piano dropping out. Crescendo throughout, building up.

3.45  Return of the chorus in melodic unison between the tenor vocals, but this time the drums, bass and guitar drop out and the voice is accompanied with still, sustained chords.

3.56 The drums, bass and guitar re-enter to build the layers

4:05 Piano improvisation based on the same repetitive four note rising pattern, with further melodic augmentation that extends to all registers of the piano, high and low for timbral variation.

MUSICAL LINKS found in CULTURE 2

  • Ostinato on guitar  

  • Syncopated rhythmic ostinato

  • antecedent and consequent phrases that rise and fall

  • Consonant harmonies throughout

  • melodic unison

  • piano improvisation

  • Timbral variation

- Melodic augmentation that extends to all registers of the piano

​

-  ⅛ note motif continued in the upright bass
-  vocal improvisation
- Solo Piano improvisation

Musical Links between cultures one and two

​

Use of:

  • Improvisation based on rhythmic and melodic ostinati that requires dexterity and includes melodic ornamentation and augmentation

  • Rising and falling, conjunct, antecedent and consequent melodic phrases

  • Conchordant harmony

 

This investigation has changed the way I listen to music, probably forever.  I now find myself listening to music for ostinati, riffs and thematic development. When I consider what might be the reasons for musical links across different musical cultures, I think that improvisation brings a different sense to a song - a different feeling that is more authentic, free. Jazz as a genre, celebrates freedom of expression, same as Flamenco, which is based on emotion and what people are feeling. Further, there are often sections of songs that are more memorable than others and when you listen to these, you’ll find that they have repeated ideas, some might have unexpected ideas or combinations of ideas that you have not necessarily heard before.

Bibliography 

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Bonifer, L. (2013, June 20). Interview: Jamie Cullum - "Hurl yourself into it without thinking". Retrieved from https://nbhap.com/people/jamie-cullum

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Díaz-Báñez, J. M. (n.d.). Introduction to Flamenco music. Retrieved from https://www.cofla-project.com/resources/FLAMENCO.pdf

 

Grill Friendly Chef. (2013, May 31). Flamenco, Song and Dance, Spain [Video file]. Retrieved from https://www.youtube.com/watch?v=gxzU5EqNL14 

Herrero, O. (n.d.). Flamenco Rhythms. Retrieved from http://www.oscarherrero.info/MFOH/Flamenco Rhythms by Oscar Herrero.pdf

​

Holmes, G. (2019, June 14). Review: Bon Iver – 'Hey, Ma'. Retrieved from https://www.theedgesusu.co.uk/records/singles/2019/06/18/review-bon-iver-hey-ma/

​

Jamie Cullum. (2016, May 3). Jamie Cullum - I took a pill in Ibiza (Mike Posner X Seeb) The Song Society No.6 [Video file]. Retrieved from https://www.youtube.com/watch?v=CppiJUbC8BI 

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Jamie Cullum. (2019, December 22). Jamie Cullum - Hey Ma (Bon Iver) - Song Society No. 18 [Video file]. Retrieved from https://www.youtube.com/watch?v=q4WyENmHDBk

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MrGardelspanish. (2011, June 1). CANTE Y BAILE FLAMENCO [Video file]. Retrieved from https://www.youtube.com/watch?v=vhg7ND0_yiA

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The Editors of Encyclopaedia Britannica. (2019, August 16). Jamie Cullum. Retrieved from https://www.britannica.com/biography/Jamie-Cullum

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CULTURE 1

CANTE JONDO FLAMENCO

Background: 

 

Flamenco originated in Southern Spain in the 16th century. It is a musical style that involves singing, dancing, and the playing of a guitar as well as other instruments, separately as well as together. 

 

Cante Jondo is the flamenco that involves all three aspects of flamenco: deep singing, guitars, cajas & castanuelas. 

 

Typical Instruments: 

  • Male vocals

  • Female vocals 

  • Castanuelas 

  • Acoustic guitars 

  • Flamenco guitars (this guitar is used because the flamenco guitar is lighter and have a different sound quality) 

EXTRACT 1

Instruments:

  • Guitar 

  • Male vocals 

  • Clapping 

  • Taquoneo (rhythmic x)

 

Dynamics: 

  • Forte 

 

Tempo:

Allegretto 

  • Allegro

  • Moderato  

 

At 3:15 all instruments stop besides the taqoneo. 

 

INTRO (0:00-0:43): 

Improvised introduction - vocal dexterity with lots of trills and turns to embellish the melody, establishing the modal scale 

Instrumentation: acoustic guitar and lead male vocal

 

0.43-1:02 Taquoneo

Rhythmic unison between foot stomping and guitar chord patterns. Where the rhythms are too fast for the hand claps, the hand claps provide the pulse.  Triplet rhythms in unison. No vocal melody.

 

1:03 - 1:29

Vocal melody returns with highly decorative and dexterous antecedent phrase a (1:03-1:09) followed by consequent phrase b (1:04-1:18).  Imbalanced phrasing.


 

PITCH – MELODY + HARMONY

 

  • Antecedent and Consequent Phrasing - guitar at 2:30 

  • There’s dexterity in the way that the guitar sounds 

  • And dexterity when the vocal does the riff, 

  • Melodic embellishment / fast moving melodic phrases (vocal dexterity) 

 

DURATION / RHYTHM

​
 

TRIPLET rhythm ostinati- the dancer comes up with this so that they can contribute to the sound of the music

  • From 3:13-3:20 her feet make triplets

At 3:13 she starts to dance alone and the other instruments drop out. 

Rhythmic Unison- the foot stomping always matches the rhythm / pulse / bass rhythm

​
 

CONTEXT:

This specific type of flamenco comes from the city where flamenco started. 

Flamenco is very personal because the vocals can vary and change however the artist wants them to. The taquoneo is also something that varies and changes even though it does have structure. The guitar is the most constant part of cante condo because there's certain strings and chords that are conchordant.


 

  • Guitar and singing (0:00-0:43)

  • Guitar, flamenco, singing, 0:43-

  • At 3:13  she starts to dance alone and the other instruments drop out. 

  • At 3:30 the guitar and clapping re-enter

  • ​

CULTURE 1

CANTE JONDO FLAMENCO

Background: 

 

Flamenco originated in Southern Spain in the 16th century. It is a musical style that involves singing, dancing, and the playing of a guitar as well as other instruments, separately as well as together. 

 

Cante Jondo is the flamenco that involves all three aspects of flamenco: deep singing, guitars, cajas & castanuelas. 

 

Typical Instruments: 

  • Male vocals

  • Female vocals 

  • Castanuelas 

  • Acoustic guitars 

  • Flamenco guitars (this guitar is used because the flamenco guitar is lighter and have a different sound quality) 

EXTRACT 1

EXTRACT 2

Musical features also found in extract 1 to be highlighted in red!

 

INSTRUMENTATION:

  • Guitar 

  • Cuatro 

  • Female vocals 

  • Clapping 


 

0:00- 0:27 solo guitar improvisation

0:27- 0:48 guitar and vocal chants 

0:48 canto de los cuatro muleros starts

0:48- 2:31 vocals and guitar (steady pulse ) 

2:31onwards: clapping rhythmic ostinati, with vocals and guitar. 


DYNAMICS

Guitar starts piano 

Vocals enter mezzo forte 

Guitar and vocals are forte when the canto starts, building excitement

 

DURATION / RHYTHM

(0:00-0:15 and much throughout) Rhythmic ostinati featuring triplet rhythms on the guitar

There are moments of rhythmic unison between the foot stomping taqueno rhythms also on the guitar throughout

Tempo: 

Moderato 

Allegro 

Allegretto 

 

MELODY

(0:15 to 0:26) Rising and falling melodic conjunct phrases in the guitar introduction

(0:37-0:42) Guitars in melodic unison

0:49  Vocal antecedent and consequent phrases in the melody followed by melodic improvisation featuring vocal dexterity, lots of vocal variety - melodic contour is fast moving, ascending and descending runs.

​

​

MUSICAL LINKS found in CULTURE 1

Instruments:

  • Guitar 

  • Male vocals 

  • Clapping 

  • Taquoneo (rhythmic x)

 

Dynamics: 

  • Forte 

 

Tempo:

Allegretto 

  • Allegro

  • Moderato  

 

At 3:15 all instruments stop besides the taqoneo. 

 

INTRO (0:00-0:43): 

Improvised introduction - vocal dexterity with lots of trills and turns to embellish the melody, establishing the modal scale 

Instrumentation: acoustic guitar and lead male vocal

 

0.43-1:02 Taquoneo

Rhythmic unison between foot stomping and guitar chord patterns. Where the rhythms are too fast for the hand claps, the hand claps provide the pulse.  Triplet rhythms in unison. No vocal melody.

 

1:03 - 1:29

Vocal melody returns with highly decorative and dexterous antecedent phrase a (1:03-1:09) followed by consequent phrase b (1:04-1:18).  Imbalanced phrasing.


 

PITCH – MELODY + HARMONY

 

  • Antecedent and Consequent Phrasing - guitar at 2:30 

  • There’s dexterity in the way that the guitar sounds 

  • And dexterity when the vocal does the riff, 

  • Melodic embellishment / fast moving melodic phrases (vocal dexterity) 

 

DURATION / RHYTHM

​
 

TRIPLET rhythm ostinati- the dancer comes up with this so that they can contribute to the sound of the music

  • From 3:13-3:20 her feet make triplets

At 3:13 she starts to dance alone and the other instruments drop out. 

Rhythmic Unison- the foot stomping always matches the rhythm / pulse / bass rhythm

​
 

CONTEXT:

This specific type of flamenco comes from the city where flamenco started. 

Flamenco is very personal because the vocals can vary and change however the artist wants them to. The taquoneo is also something that varies and changes even though it does have structure. The guitar is the most constant part of cante condo because there's certain strings and chords that are conchordant.


 

  • Guitar and singing (0:00-0:43)

  • Guitar, flamenco, singing, 0:43-

  • At 3:13  she starts to dance alone and the other instruments drop out. 

  • At 3:30 the guitar and clapping re-enter

  • ​

  • Improvised introduction

  • Rising and falling, conjunct, antecedent and consequent melodic phrases

  • Rhythmic ostinati featuring triplet rhythms

  • Foot stomping - taqueno rhythm

EXTRACT 2

Musical features also found in extract 1 to be highlighted in red!

 

INSTRUMENTATION:

  • Guitar 

  • Cuatro 

  • Female vocals 

  • Clapping 


 

0:00- 0:27 solo guitar improvisation

0:27- 0:48 guitar and vocal chants 

0:48 canto de los cuatro muleros starts

0:48- 2:31 vocals and guitar (steady pulse ) 

2:31onwards: clapping rhythmic ostinati, with vocals and guitar. 


DYNAMICS

Guitar starts piano 

Vocals enter mezzo forte 

Guitar and vocals are forte when the canto starts, building excitement

 

DURATION / RHYTHM

(0:00-0:15 and much throughout) Rhythmic ostinati featuring triplet rhythms on the guitar

There are moments of rhythmic unison between the foot stomping taqueno rhythms also on the guitar throughout

Tempo: 

Moderato 

Allegro 

Allegretto 

 

MELODY

(0:15 to 0:26) Rising and falling melodic conjunct phrases in the guitar introduction

(0:37-0:42) Guitars in melodic unison

0:49  Vocal antecedent and consequent phrases in the melody followed by melodic improvisation featuring vocal dexterity, lots of vocal variety - melodic contour is fast moving, ascending and descending runs.

​

​

MUSICAL LINKS found in CULTURE 1

  • Improvised introduction

  • Rising and falling, conjunct, antecedent and consequent melodic phrases

  • Rhythmic ostinati featuring triplet rhythms

  • Foot stomping - taqueno rhythm

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