The melody is predominantly in the cello but it switches halfway through.Īt 1:13, the A section is apparent and the guitar comps with the main staccato, descending chord progression ostinato of which the cello plays legato melody lines over the top. This version commences with melodic fragments split between the guitar and cello, introducing the main ideas but with the musicians’ own interpretation. The structure is in ternary form and in the traditional score, goes as follows: A (Bars 1-48), B (Bars 49-64) and A’ (Bars 65-80). Full of syncopation with an emphasis on the second beat of the bar, this piece is in 4/4 and uses the typical tango ‘3,3,2’ feel or ‘long- long-short’ syncopation. One of my most favourite Tango pieces, Libertango by Piazzolla, first recorded in 1974, has been arranged by many different musicians but the one I will be analysing is arranged for cello and guitar.
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