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The melodies in burn tend to feature:

narrow range of almost entirely a 6th;

largely conjunct intervals;

a repeating motif of a rising second and then a falling third (30-31);

strings that follow vocal melodies, with more freedom and longer note-values;

sometimes these string melodies are doubled at the octave;

the sitar has a long and improvised opening melody that forms the main interest in the introduction;

the range of the sitar melody is much bigger than the vocal, at almost three octaves;

the sitar gets higher and higher throughout the song, possibly a nod to traditional Indian music;

the sitar part features quite a lot of elaborate ornamentation, which is definitely a direct impact of Indian music.

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Polyrhythms in vocal and sitar line;

Dotted rhythms used often;

There's a lot of syncopation;

Begins with rhythmically abstract sitar phrases;

There is a string accompaniment that holds long and sustained chords;

Driving precussion

Rhythms Lock together in bar 14 in the Sitar and Strings.

Demisemi quaver hi hats, in the chorus, increase sense of excitement.

Strong rhythmic drive in the drums and manjir throughout.

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Write your own notes onto this Padlet that give comments on the elements of music for this song.

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Write your own notes onto this Padlet that give comments on the elements of music for this song.

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Keep it focussed on MRS. HITT. Melody has been done for you. Work on each of the rest of the elements.

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As usual for this year, please make notes on each element of MRS. HITT for Burn.

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There will be an essay on one of these songs set before the end of this term.

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There will be an essay on one of these songs set before the end of this term.

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You could suggest a title for how the essay could work if Burn comes up in the exam.

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As you know, the essay titles always follow the same format:

Discuss THREE ELEMENTS OF MUSIC in SONG/PIECE by COMPOSER.

Link your answer to other set works and wider listening.

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Bars 1-29:

Introduction. The sitar plays improvised material around C#;

There's more structure to this section at 22 through to 29, which prepares the listener for the first verse.

Bars 30-37:

Eight bar verse 1.

Bars 38-45:

Eight bar chorus 1.

Bars 46-53:

Bridge, with a prominent sarangi (pictured).

Bars 54-77:

Longer version of the verse, so verse 2.

There are quite a lot of rescored things here from the first verse. There isn't a bridge, but 66-73 feels a bit like a bridge (although it uses the same melodic material that has been heard in previous verses).

Bars 78-97:

Verse 3 here, so not chorus as you might expect. At 86 there is an instrumental which interrupts the chorus. Some variation of material throughout.

Bars 98-104:

Chorus 2, repeated, second time has a slightly different ending. There is a new string motif that gets repeated a lot of times (6 times) and is modal.

Bars 105-110:

There's a strange modulation to D, although the last chord is a D5, so doesn't establish major or minor really.

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Pretty Tied Up - GnR https://www.youtube.com/watch?v=uOzA23ibxjU

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Rich harmony with many extended chords at the start;

Synth bass stays on 2 notes (C# pedal?);

Freely used dissonance, never properly resolved (use of Pandiatonicism);

Lots of suspensions and extensions;

There are lots of inversions, and these are often 2nd inversions;
Static Harmony at the start (not many chords used).

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Strings sections playing up high

Synths in bass and lead

Sitar accompanying the lead singer

Trad. Indian instruments - manjira (lil hand cymbals), Sarangi (bowed instrument)

Cello solo at the end

Programmed drums

Brass, flute and harp feature as the piece develop

Strings have a Bollywood sound. This is produced through, High pitched strings, Lots of Reverb, good players, and good recordings.

Pitch Bends, Hammer ons, and ornamentation gives the sitar part a very improvised sound.

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Extraordinary Sarangi | Kamal Sabri | Raag Shree | Music of India

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The opening of the song features two bars of sitar and bass;

Layers build from this point;

There is a large amount of string parts added from bar three;

There is parallel writing in the strings, which adds to the dense quality of the violin sound;

Melody-dominated homophony at the start;

Mainly homophonic;

Backing vocals typically a third above from bar 38 add further layers;

Counter-melodies from backing vocalist for example bars 40-42;

Repeated section at bar 98-103 sees many layers all working together:

Call and response vocals, harmonized melody (3rds);

Sitar line;

Sustained string chords;

High strings in parallel octaves;

Synths continue.

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Burn is in C# minor throughout, except for the final few bars where there is a modulation to D.

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The published elements of the song that may come up in the exam.

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The published elements of the song that may come up in the exam.

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Anoushka Shankar, born on June 9, 1981, is a renowned sitar player and composer. The daughter of Ravi Shankar, she has achieved international acclaim for her fusion of Indian classical music with diverse genres, as heard in her album Breath Under Water and this song from it, called Burn.

Shankar has collaborated with various artists, received awards, and played a pivotal role in popularizing the sitar. She collaborated with Karsh Kale on this album, and the film composer Salim Merchant wrote the luscious string parts.