AoS 4: Toto 'Africa' - Sonority

1. Riff 1 sonority

Synthesiser

2. Riff 2 sonority

Again, synthesiser - but mimicking xylophones, marimbas, kalimbas etc.

3. Sonority of solo counter-melody in Verse 2

'Flute-like instrument' (Eduqas' own words!)

4. How does the vocal sonority differ during Verse 2?

Addition of 2nd vocal part / backing vocals come and go

5. At what interval does the backing vocalist harmonise 'company' in Verse 2?

6th above

5 (again). Identify the sonority which links each Verse and Chorus

Drum fill (high - low - floor toms)

6. Comment on the vocal sonority at the start of the Chorus

Very high in pitch for a male singer

7. Comment on the vocal sonority in the second phrase of the Chorus

A second voice enters, harmonising below (@6th, 5th, 6th & 3rd)

8. Comment on the vocal sonority in the third and fourth phrases of the Chorus

A third voice enters, facilitating triadic harmony (all three notes of the triad are generally present)

9. Identify key features of Sonority in the Instrumental

- Played on synthesiser
- An instrumental 'duet', in the sense there are two parts in homophony throughout
- Referencing African flute, kalimba, xylophone etc.

10. Identify the sonority/technique used in the third phrase of the Chorus

Grace notes (or acciaccaturas - Eduqas call them grace notes)

11. Identify the sonority which links the Instrumental to the final Chorus

Drum fill again

12 (b.43). In the final Chorus, how does the sonority change in the last bar of each phrase?

A new electric guitar riff (G#, A, B, A) - see b.43

13. Comment on the vocal sonority during the Coda.

Additional solo vocal improvisation provides a counter-melody against the repeated 'I bless the rains down in Africa'. Each one is different, the first two using the lyrics I bless the rain, whilst the final one uses, I'm gonna take some time.

14. Describe the sonority/technique during the Outro

Fade