Structure
0:00 - 0:31 (Intro 3/8) 0:31 - 1:45 (Waltz 3/4) 1:45 - 2:40 (Piano Solo 1 4/4) 2:40 - 3:27 (Vibraphone Solo 4/4) 3:27 - 3:53 (Unison Section 1 4/4) 3:53 - 4:20 (Piano Solo 2 4/4) 4:20 - 5:00 (Unison Section 2 3/4 + 4/4 simultaneously) 5:00 - 5:40 (Piano Solo 3 3/4) 5:40 - 6:07 (Hip-hop / Jazz 4/4) 6:07 - 6:34 (Double Speed 4/4) 6:34 - 7:44 (First fade 7/4) 7:44 - 8:26 (Dissonant Piano melody 3/4) 8:26 - 8:53 (Diminuendo 12/8)
The structure in the composition is mainly defined by new time signatures and melodic ideas. When the time signature changes this is usually followed by the addition or subtraction of a musical instrument from the ongoing texture to allow new ideas to explored within the piece.
"Of course, we need not to be told what we are going to hear. An experienced listener can place a work as to form and style on the basis of musical clues, such as harmony, melody, texture, instrumental style, and the like." (Meyer, 1961, p.59)
Using appropriate signposts during the piece and melody, texture and harmony the listener can understand the compositions intentions without too much on what to listen out for which would arguably make a more pleasurable listening experience.
The composition begins and ends with similar sections where the only instruments played are the piano, synthesised wind and tubular bell. The motive behind this was to have a strong contrast between how the piece starts and ends to sections found within the middle of the piece. The introduction was composed to create a tension subtly with the piano playing chords at the beginning while using a gradual crescendo to enter into the next section. The ending uses similar techniques to bring the piece to a close by using a diminuendo and more dissonance in the piano part to create a different kind of eerie tension.
After the introduction the main motif is played on the marimba as the tension is resolved by changing the time signature to 3/4 and beginning the waltz section. This section was composed so the listener could be introduced to the lead melody and chord progression. Once the new idea was established the more instruments were added supporting to the accompaniment and adding counter melody to maintain interest.
During the transition from 3/4 to 4/4 more unstable elements are added as well as jazz elements such as syncopation and passing notes. This then leads into a preliminary section where there is a thinner texture to contrast with only piano and double bass playing crotchets and a minimal piano solo on top. This then built up tension for a more dramatic and elaborate marimba solo.
The section that follows presents a complete contrast where the same instruments play syncopated phrases in unison. This was done to contrast textures while adding new ideas which led to more unison into the section where 3/4 and 4/4 are used simultaneously. 4/4 is used in conjunction with a stylistic change of playing in the drum parts suit hip-hop. This was done to allow the composition to grow further while showing the link between hip-hop and jazz which is shown by artists such as Soweto Kinch. To help bring the piece to a climax the section is repeated but in double speed to add further tension and lead into the penultimate section which is in 7/4.
7/4 is used to help the piece enter new section because it is only one of two irregular time signatures used in the piece. With no clear melody it brings the attention of the listener the overall texture. The texture builds and then dies down with a rallentando in preparation for the outro creating a more solemn tone the ending of the piece.
Bibliography
Leonard B. Meyer, 1961. Emotion and Meaning in Music (Phoenix Books). Edition. University Of Chicago Press.










