Summary Set work revision: Courtney Pine, Back in the Day
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Course
Unit 3 - Appraising
Institution
PEARSON (PEARSON)
A comprehensive revision resource for the Edexcel Music A-Level set work Courtney Pine, Back in the Day.
Packed with ALL the content you need to know about the set work and comes with detailed wider listening examples to help you write top essays! Very well-formatted - the perfect revision resourc...
Back in the Day – Lady Day Back in the Day – Inner Back in the Day – Love and
and (John Coltrane), State (of Mind), Courtney Affection, Courtney Pine
Courtney Pine Pine
Context Courtney Pine: one of the most successful British jazz musicians of the modern-era, partly through his use of a
variety of modern popular styles in fusion with American modern jazz elements, his parents are from Jamaica –
the country’s reggae music has had a profound influence on his work, hip-hop styles (based on black America
pop music) feature including rap + turntables, multi-instrumentalist (sax, flute, bass clarinet, keyboard),
worked as a DJ so produced + mixed the album himself, some of his songs have influences of rhythmic calypso
+ fast-paced bebop (complex, virtuosic style of small-band jazz), led a jazz revival by broadening its appeal to
younger audiences
Back in the Day: released in 2000, encapsulates Pine’s interest in combining drum & bass, hip hop, blues, soul,
funk, bebop and jazz into a new-sounding style, his 8th album, his intention was to produce a sound that was
old and new at the same time
Jazz history: blues, ragtime, swing, bebop, cool jazz, symphonic jazz
Pays tribute to two of the greatest Uses sound bytes A cover of a well-known pop song
20th century jazz performers – released in the 1970s – original
female vocalist Billie Holiday (big song demonstrated some jazz
band, swing jazz) and tenor influences (sax solo, occasional
saxophonist John Coltrane (modern complex harmonies) – Pine shows a
jazz combo) – though the music is lot of respect for the track, but
more closely connected to blues + adds new interesting dimensions
soul
Perform Vocals Rap, sampling + turntable effects in Vocal
ing Turntable effects (e.g. intro) vocal 2/3 Distorted electric guitar (original
Keyboard set to sound like a Vocal solo by a jazz singer – contained acoustic) + synthesised
Forces
Hammond organ (features a dissolves into scat string sounds
vibrato effect, syncopated chords, Tenor sax + flute provide Backing vocals by a gospel choir of
used in much early blues/soul) improvised links/phrases in rap unison female voices + sometimes
Saxophone – links/fills in verses, Brass chordal interjections male voices added in octaves
slow lip vibrato ends verse 2, Soprano sax solo + guitar solo Bass clarinet (unusual) – generally
multiphonics + key clicks used at answer used for low short chromatic scale
end, slides/gliss, acciaccaturas Guitar alternates between rhythmic passages as links between sections
Drum + bass programming + live strumming + finger-style melodic Tenor sax solo, synthesised strings
drums = driving rhythm work
Chordal piano
Sonority Sax, backing vocals + Hammond Intro – distorted sample of guitar Arpeggiated guitar in intro
, organ heavily panned music distorted with reverb
Reverb on vocal + sax Contrasting free lyrical vocal + Verse 1 different to rest of song
Various samples taken from track intensive rhythmically driven rap + Unusual sonority of bass clarinet
+ random spoken-word sources brass rhythmic ostinato + drum Echo of ‘love’ at start of chorus
that sound like newscasts at start beats
+ end
Structur 8 bar intro, verse 1, chorus, Instrumental intro, vocal section 1 Verse 1, verse 2, link, chorus,
e extended turnaround, verse 2, (refrain, 4 equal phrases + 2 phrase middle-eight, chorus, link,
chorus, turnaround, instrumental, link), rap, vocal section 2, rap, vocal instrumental, chorus extension
verse 3 (repeat of verse 1), chorus, section 3, instrumental section, Verses contrast a lot + choruses all
coda coda typical hip hop structure quite different (e.g. first has
Verse 1 – 12-bar blues influenced Vocal 2 interrupted briefly by the different lyrics + last includes sax
structure (12-bar blues = 4 bar of vocal intro melody + vocal 3 ends + different backing vocal answers)
I, next 4 bars introduce IV and last with it accompanied by the bass +
4 bars introduce V) repeated in instrumental + at end
Texture Mainly melody (sax or vocals) Melody dominated homophony Verse 1: vocals over broken electric
dominated homophony (bass in octaves with chords above) guitar chords – thin/simple
(accompaniment very similar Groove breaks down at key Chorus: answers/imitation by
throughout) moments (e.g. start of new sections) gospel choir
Verse 2 multi-tracked backing + returns in a ‘drop’ = contrast Texture becomes more polyphonic
vocal harmony mainly in 5ths Vocal 2: simultaneous multi-tracked in last chorus/coda: solo voice +
Coda: singer improvises + sax vocal backing harmonies then sax improvising + bass riff +
provides counterpoint + backing improvised answers to the main backing vocal track + rhythm
singers answer with vocal hook phrases section chords
Mainly melody dominated
homophony
Tonality C major Saxophone uses notes from the E major – tonally ambiguous in
Passing modulation to B major in Dorian mode on C (flat 3rd + flat 7th) intro, but all other chord sequences
coda when melody/chords shifts with one blues note include E, there are E pedals +
down a semitone ends with perfect cadence in E
major
Harmon Blue note of flattened 3rd + Blue notes (e.g. intro sax improv Verse 1: relatively free harmony
y flattened 5th using Gb) moving around chords of E maj, but
Verses: tonic C7(#9) for 8 bars + Intro + rap chords – Cm7 and Dm7 mainly avoiding E (C#m, F#, A, B,
subdominant F7(#9) for 4 bars, then alternate G#m) – stops for two + a half bars
returns to tonic Pair of chords in brass section to outline the main harmonic riff
Turnaround: faster harmonic altered from Miles Davis’ ‘So What’ based around E-B-A
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