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To begin with, it is necessary to state that the piece to be analyzed in this paper is a bright example of the Brazilian music style called Bossa Nova. The piece of music under consideration was created by Luiz Bonfa and Carl Sigman. The original version of the song has been modified and remixed many times, and nowadays there are numerous varieties of Manha De Carnival representing such a wide range of styles as jazz, samba, salsa, etc.
Further on, it is obvious that the song under consideration has 3 major ideas, and its structure can be pictured with the help of the following scheme A1BA2C. These ideas appear in a sequence that lasts for equal periods of time but there is a longer break between the second and the third one. In more detail, the first idea starts at the 0:15 point of the song, and is followed by the second idea at the 0:46 point. However, the third idea appears to the listeners at the 3:20 point and is substituted by the fourth one at the 3:48 point. Moreover, each of the ideas, or sections, of the song is divided into 8 bars which are further subdivided into 2 parts having 4 bars each. Thus, the A1 and B sections have similar 4-bar parts, while the second part of the A2 differs in its timbre and the use of instruments involved. Finally, the C part is divided into a 12-bar part and a 4-bar part presenting the culmination of the song.
Accordingly, the use of such components of any piece of music as dynamics, timbre and pitch differs from one part to another. In more detail, the dynamics of the Manha De Carnival develops rather slowly, as the first discernible idea of the song appears only in 15 seconds after the song starts. Thus, the dynamics develops from this point till the start of the second one with no substantial changes. Moreover, up to the start of the third section, the dynamics of the song becomes stable with hardly comprehensible intrusions of new percussions or drums. Further on, the timbre of the song is determined by its use of the wide variety of instruments that are introduced gradually in accordance with the above discussed parts. Finally, the pitch of the song obviously grows with every new section. During the first section and a part of the second one, the pitch is rather low and the instruments are hardly heard. However, the third section is the moment of the highest pitch level of the song, and the fourth section marks that gradual lowering of the pitch which lasts until the sound fades.
Drawing from the above said, it is possible to state that Manha De Carnival is a piece of music for an ensemble. The very essence of Bossa Nova as a style of solo music contradicts this, but it would be impossible to create the atmosphere of carnival with a solo instrument use. The manner of playing is rather calm and low so that to allow the listeners comprehend the introduction of every new instrument.
To sum up, it is necessary to recall the major traits and typical features of Bossa Nova as a style. First of all, the major instrument used is guitar. It is combined with piano, percussion and wind instruments like clarinet. Moreover, Bossa Nova can be performed instrumentally and vocally and can be merged with such close styles of music as Samba or Jazz. The specific purpose this peace can serve is the creation of impression of presence at the carnival and of feeling sad after its ending. So, it is an emotionally-colored piece of music, and the connotations it has for me include the wish to experience the emotions presented in the song and once to become a part of the carnival celebrated by Sigman and Bonfa.
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