"Soviet Anthem" by Prokofiev

Ok so another fun piece of randomness. I really like this national anthem, it's a shame you don't hear it any more (well, I mean it's better that way, but...ok I'm rambling) at the Olympics. It's one of those songs that just SOUNDS like a national anthem. This is a recording sung by the Red Army Chorus along with the Soviet National Orchestra. It starts with simply horns playing a single note, before the chorus, strings and horn all come in. Halfway through the phrase we have the snare roll come in as they crescendo through. The first section is all one phrase, with a half cadence after 4 measures and then another half cadence at 8. This leads to the consequent part of the phrase, which is contrasting material, another half cadence before a deceptive motion, extending the cadence by 8 measures (and playing with minor shortly) final PAC after measure 24. I would call this an assymmetric contrasting double period since it really has an overal phrase feel, with smaller divisions. I love the drums , rolling in and out, the tympany pounding , the cymbals crashing and especially the chimes tolling in the background. The chimes add this air of timeless regality to the piece. The horns blaring in a fanfare between each verse really lends to the mood of the piece. The long phrase is repeated 3 times (each verse). Each phrase builds up larger and larger, flowing into the other, before finally overflowing at the end of the third, as we ritard and end on a very powerful final PAC. This is what i feel a national anthem should sound like. I like the Star Spangled Banner well enough, but this anthem really has some oomph to it.

"in your eyes" by Peter Gabriel

who can forget the scene in the great movie Say Anything, with John Cusack holding up that boom box with this song playing?? That's a great move. I've heard the live version of this song, and it's a lot funkier rhythmically, and more drums are played to create a very tribal feeling with a continuous "in your eyes" lyrics sung in a very very low register.

Anyway, the synthesizer starts off with a very syncopated groove along with congas, and a triangle on the off beats. PG starts singing after 8 measures, with the instrumentals keeping the same groove. When the song starts to build up up to the chorus, the texture thickens,and the keyboards go up a register, and the drumset starts. The backup vocals are sung in unison, singing "in your eyes." The second verse is exactly the same instrumentation as the beginning verse.
The second chorus ends with PG improvising, and it has a very middle eastern sound-the backups start singing (almost in kind of a sing-off competion) in another language (somewhere in the middle east, i think).
the forms of each of the verses and the chorus don't change-each verse is a double parallel period

Rachmaninov Vocalise

This piece's melody is very soft and flowing in nature, but is not very catchy or memorable in the sense that you won't find yourself singing or humming it randomly. The tune has a haunting quality to it, yet still feels peaceful or dreamy-like. I pictured clouds and leafy trees while I listened to this. I get a sense of wave-like motion, which then makes me feel the peaceful/dreamy feeling. This is created by the way the line of the music moves up for several phrases and then meanders around before slowly moving back downward. The orchestral parts seem to help a lot with the feelings that the piece gives, but it's hard to explain. There are many short echoes of the soloist's part in various solo instruments at different points in the piece, including oboe and bassoon. This adds to the peaceful floating feeling. It is in a minor key, but I don't find the mood to be anything like the usual sadness minor keys bring. It seems to evoke a longing or nostalgic feeling instead.

Andre Boscelli & Celine Dione- Time to Say Goodbye

The structure of this piece is for the most part dictated by the voicing or timbre of the piece as well as changes in texture. It involves the beautiful voices of Celine Dione and Andre Boscelli and orchestral accompaniment. The strings begin the piece alone, hinting and introducing the motive which is later sung in the B section. The A section then begins with Celine on her own. Singing ascending scales twice, ending each phrase at the top of the scale. Then a textural change and a new motive indidrcates the small b section. This material is repeated a few times until pausing. Then there is again textural change as Celine Dione comes back in to sing the chorus, or B section. Then Andre Boscelli takes it away, singing the A and B again almost exactly, each with interpolation. Then after the chorus cycle ends, Celine Dione joins and the chorus and repeated twice more, before Andre and Celine ascend up to the highest note to finalize the piece. The accompaniment provided by the strings is very simple, allowing the voice to be the focal points. It is certainly the beautiful resonance of tones and dazzling leaps in the voice parts that captivates the audience.

Andre Boscelli & Celine Dione- Time to Say Goodbye

The structure of this piece is for the most part dictated by the voicing or timbre of the piece as well as changes in texture. It involves the beautiful voices of Celine Dione and Andre Boscelli and orchestral accompaniment. The strings begin the piece alone, hinting and introducing the motive which is later sung in the B section. The A section then begins with Celine on her own. Singing ascending scales twice, ending each phrase at the top of the scale. Then a textural change and a new motive indicates the small b section. This material is repeated a few times until pausing. Then there is again textural change as Celine Dione comes back in to sing the chorus, or B section. Then Andre Boscelli takes it away, singing the A and B again almost exactly, each with interpolation. Then after the chorus cycle ends, Celine Dione joins and the chorus and repeated twice more, before Andre and Celine ascend up to the highest note to finalize the piece. The accompaniment provided by the strings is very simple, allowing the voice to be the focal points. It is certainly the beautiful resonance of tones and dazzling leaps in the voice parts that captivates the audience.

Schumann- Liederkreis, Op. 24 - II. Es treibt mich hin

Schumann- Liederkreis, Op. 24 - II. Es treibt mich hin

this piece starts with what seems like to be a fast two measure intro that is reintroduced multiple times throughout the whole song. Each period seems to start with it and then develope more and more each time as the song goes on.... the voice part somewhat traces a little outline of it then goes on to a new musical idea and the piano part is very minimal. It is quite interesting how Schumann uses these dramatic shifts in tempo, dynamics, texture to get the character of the piece to come alive.

I'm driven here, I'm driven there! -fast, louder
In only a few more hours I will see her, -slower and softer
she herself, the fairest of fair young women; - -" "
you true heart, how heavily you pound! -Fast, louder
But the hours are lazy people! -slower and softer
They drag themselves comfortably and sluggishly, -" "
creeping with yawns along their paths; - -" "
rouse yourself, you lazy fool! -fast, louder
A charging hurry seizes and drives me! -fast, louder
But the Hours have never been in love; -slower, softer
sworn secretly to cruel conspiracy, -slower, softer
they mock treacherously the lover's haste. -fast, pick up the tempo for the ending

It's very interesting to look at then english text and really see how well Schumann matching the music up with the emotional aspects of the poetry. The part I love the most is when the vocalist sings but the hours are lazy people! The drag themselves comfortably and sluggishly, creeping with yawns along their paths.... this section really feels like a very tired, heavy pace...really showing how the hours are just dragging by and not flying by. Nothing short of amazing..i love it all.... :)

This blog site is acting really weird

Lots of times when I publish it'll just keeping saying 0% each time the page refreshes, despite the fact it has already on the blog, and tonight it said there was an error posting so I tried putting it on their again and again and then I check the blog and it was on there about five times. Ah, the joys of technology. It's the April Fools maybe?

Schubert, Liebhaber in allen Gestalten, D. 558

Time for a random Naxos thing.

This is a fun little song in convential song form but with a clear phrase in the piano only that introduces the verse each time it happens. It is four bars and ends in a half cadence.

The verse is a 16 bars in a brisk 2/4. The phrases are four bars with the first two ending in half cadences and the second two being the same thing ending in a PAC. It might seem a bit odd to repeat this phrase but it helps balance wise having the four phrases rather than three and balancing the cadences. And in keeping with all of the fours the verse happens four times.

Another interesting aspect to this recording is how the musicians keep the song interesting. The piano player does this by emphasizing different parts. The piano part mostly consists of fluttering sixteenth notes with full chords on the pick up and downbeat each measure. The first time through emphasizes the sixteenth notes and the second is softer with emphasis on the chords. The third time through has equal emphasis but starts very soft and crecendos throughout the verse. The last time through plays with the tempo some, pushing forward to help increase the tension before the cadences. There is also variation in the piano intro. The first time is straightforward, second time rubato, third time soft, and last time alternating loud soft measures with some rubato. This variation of playing style helps to keep the song interesting.

Kennan "Night Soliloquy"

This piece has personality issues. For the majority of the piece, the flute plays this beautiful, yet somewhat sorrowful melody. It is extremely expressive, it is as if the flute is pouring it's heart out for you. Then all of a sudden it is very haunting. The flute part gets little crazy in a few sections, but for the most part stays slow and emotional. I really like the piano part to this piece. It is simple repeated dissonant chords. The light, haunting accompaniment reminds me of a light horror film, or a film noir. One can almost imagine the dark figure in an alleyway, wearing a dark long raincoat, smoking a cigarette. I enjoyed this piece because it was a non-typical. No cadences, no harmonic rhythm in the accompaniment. Rather it allowed the flute player to express his or herself. Like the title suggests, this song reminds me of the night.

I like the Beat of your Drum - David Bowie

As far as the background accompaniment, there are synthesizers, percussion, some guitar, and a lot of bass guitar undercurrent. It's strophic, naturally, with two verses and a chorus, and then he elaborates at the end with the chorus and we get some sax (though the sax does interject at intervals beforehand) going. This was done in the eighty's and definitely reeks of it, which I thoroughly enjoy as it reminds me of Labyrinth. There's a lot of syncopation and there's a syncopated do do re do repeated all throughout the song in the accompaniment. Assuming the piece is in cut time, it's like a dotted quarter on the second beat then an eighth and a quarter on the first beat of the next measure.

Words:

"Photograph king, watches you go (mi)
Fashions may change, heaven knows, but you still leave a stain on me (sol) V
Supplement queen ---does not say this actually---, your colours may fade (mi)
Seasons may change, weather blows, but you still leave a mark on me (sol) V

Wrong-negative fades-never the twain, reckless and tame (do) --doesn't have a tonic feel

I like the beat of your drum
I like to look in your eyes
I like to look thru your things
I'd like to beat on your drum

I like the smell of your flesh
I like the dirt that you dish
I like the clothes that you wear
I'd like to beat on your drum

Disco brat-follow the pack
Watching you peel, heaven knows, prison can't hold all this greedy intention
Vanity's child-pictures you now
Music may change-hi-di-ho keen to follow your nose

Wrong-love out of tune
Sweet is the night, bright light destroys me

(repeat chorus)

I like how his words never make lucid sense, and I'm quite lucky, because sometimes he doesn't write his words in his albums.

Bach: Italian Concerto in F Major, Presto (third movement)

I have played the first two movements of Bach’s Italian Concerto but I have yet to perform the third movement, the Presto section. If you have never listened to any Jacques Loussier you should definitely listen to his jazzy portrayal of some popular Bach pieces on his CD Jacques Loussier Plays Bach Bach. He plays piano and is accompanied by percussion and stand up bass. The first movement of the concerto is in F major and the third movement sounds like it is in the same key. The piece is in two-four with a sort of A-A-B-A section, a long improvisation, and the A-A-B-A section repeated. You could almost call it ternary, but not actually. The A theme is 12 measures ending with a half cadence and then an authentic cadence after it is repeated. The melody goes a little like do-do-up the major scale to sol-sol-sol-fa-mi-re and eventually ends on sol, making it a half cadence. The next twelve measures are the same as the first twelve except for the last few measures that end re-do for a perfect authentic cadence. The next four measures are a new melody which is then played a step higher four the second four measures of the eight bar phrase. The A section repeats, using the second version of A with the authentic cadence. Now is the interesting part where Jacques and his players jazz Bach up to the extreme. The bass walks up and down the scale and the high hat plays a jazzy rhythm while Loussier improves on the Bach melody. In the left hand he often plays start chords while the right hand solos away. Towards the end of the section the piano makes more use of the low bass range with jazzy chords in the right hand. The improve section is ended with an eight measure drum solo, very nice. The piece is finished by repeating the beginning A-A-B-A and the very end has retards in the last few measures.
This piece is such a cool spin on Bach and makes me want to learn to play JAZZ!!! This would be a great way to get someone into classical music as well because it is exciting. I think the percussion adds the most to the song, not overplayed, very tasteful. The drum solo is well deserved after the percussions control throughout the rest of the piece. My favorite part is the improvised section and I like how you can still hear similar chord progressions from the original. Everyone should hear this stuff sometime.

"Home" from Beauty and the Beast

"Home" From Beauty and the Beast. Music by Alan Menken, Lyrics by Tim Rice.

Belle has just made a deal with the Beast that she will be his prisoner if he lets her father go, and she sings this song.
It starts out in a minor key, with a very speech like melody. It is mostly stepwise, and the rhythm is just as if you were speaking the words, which is nice for dramatic effect. The accompaniment basically just serves the purpose of supporting the vocal line, and it moves rhythmically with the melody. It is very lyrical, and the music sounds like you would expect something that is in a Disney musical to sound.
When the refrain begins, the key changes to a major key. The melody starts being sung more than spoken. The accompaniment isn't really very exciting... mostly just arpeggiated chords or block chords... but the melody is great. It sits right in the middle of the voice, which is where most musical theatre singers like a song to sit. Because of this, she is able to belt it. The tempo has picked up a little bit, and it is a little bit louder than when the song first began.
Nothing really changes until the bridge, which is my favorite part of the whole song. Up to this point, she has been fairly reserved, and just singing. But here, she gets really passionate, and the music is really passionate. The dynamic is now forte, and the melody is a lot higher than it was before. The accompaniment does a lot more now... the chords are more full, and everything is more complex. Because she is belting higher pitches... and because it's louder... and just the wonderful way the vocalist puts her whole self into the song here is just wonderful.
After the bridge is a modulation to a higher key of course. The refrain returns, and at the end of the refrain, everything slows way down and becomes quiet again, just like at the beginning. It is much more reflective than emotive as she sings, "my heart's far, far way... home, and free." She really takes her time singing the last line.... so it's really touching. The last note is pretty high, and it is sung with a very light, almost breathy quality. She holds it while the orchestra plays arpeggiated chords underneath her, and then the song ends on a great full rolled chord.

Avril Lavigne- My Happy Ending

I really enjoy listening to this song and it's pretty darn catchy. The first verse are very quiet with a simple strummed accompaniment. Then theres a transition to the chorus and the texture drastically changes and we add percussion and other instruments and she starts nearly shouting the chorus. "You were everything, everything that I wanted...but all this time you were pretending. So much for my happy ending." Even with the thick texture this song remains simple with strumming guitar, a melodic guitar, a bass, and some drums. It's really repetitive, which I feel is the virtue of a catchy song!
Yes, I do agree that Avril's target demographic is "tween" girls...but I happen to enjoy her even if she is like 16. She makes a good punk/pop singer and I'm happy that someone with her voice isn't trying to sing huge ballads or Celine Dion covers...She knows her talent and her limits. Way to go on this one Avril.

Symphony No.7 IV Allegro con brio

Beethoven

Beginning rhythm is very short, with entire orchestra on the same rhthm of eighth, sixteenth rest, sixteenth quarter, and two quarter rests. The rhythm is then repeated a step lower. The jump in intervals from the first eighth in the rhythm to a lower sixteenth, along with the fast tempo introduce the energetic motive in the first section. It also establishes a simple quad meter, especially in the third measure, which breaks apart into seperate textures. There is a constant bass drum line on two and four of every beat that keeps the tempo going. The strings have the melody with a rhythm of quarter, four sixteenths, quarter, four sixteenths, shaped into two bar phrases. The repeated and constant rhythm give the piece a fast, chasing feel, especially because there is not a lot of jumpy intervals. The first period ends after a four measure phrase, the first ending on an IAC and the second on a PAC. The parallel period is repeated, and sequencial motion is hinted at in the next phrase, which is the same thing a third higher. The next period breaks the sequence and begins a new motive in the larger motive of fast, moving rhythms. There are several developmental functions that all convey one main motive of moving fast. This is done through lots of notes inbetween accents, and a constant pulse feel. The lines also descend slowly, with a lot of repeated motion. Most of the phrases are symetric. The transistional functions are signaled by longer notes. The main theme is stated in the third phrase of the beginning, and this is restated several times throughout the piece. There is also a liter variation on this theme, that still maintains a fast tempo but with less density, and a softer dynamic. The piece as a whole always returned to these two main themes, and there are several developmental functions inbetween. As a whole, each seperate motive sounded like it could be a terminative function to another piece. The accents are very heavy, sudden, and everything wants to terminate, but it keeps going to another phrase. The end incorporates all the aspect that give it a terminating feeling, and it ends on an IAC

Scarlatti Sonata in d minor, K 213

This Scarlatti Sonata is another piece off Bela Fleck's Perpetual Motion Album. The sonata is played by banjo and mandolin. The piece is in a slow simple meter, possibly four-four. The piece definitely seems more like the first movement to a sonata because it is not long enough and does not have all three movements. Halfway though the piece, the key changes from the minor to the major key. The key change sounds like it goes to D major and not to the relative major key of F major. The piece begins with the banjo playing quarter notes, sol-do-me-sol. When the mandolin comes in on the second measure it takes the quarter notes over and the banjo plays on the and of the beat. The mandolin plays do-fi-sol-me while the banjo plays fa-me-re-do-ti-do. The first phrase is five measures long and ends in a perfect authentic cadence. The next phrase is also five measures long and ends with another authentic cadence. This noticeable melody in this phrase is the banjo playing sixteenth notes, starting on do and going down the d minor triad for two octaves, do-sol-me-do-sol-me-do-sol. This pattern is repeated a half step lower and then a third time another half step lower. Next, the banjo merely plays the opposite of these, beginning low and going high. The rest of the minor section, before the piece modulates, sounds a lot like a huge cadential extension. The reason why I say this is because it keeps sounds like it will have a cadence but it just keeps going on. The melody in the major key is still played by the banjo and does a cute little do-re-do-sol pattern that keeps repeating the neighboring non-chord thing on different starting pitches. The section slyly creeps back into the minor. During this section of major and minor harmony is done by the mandolin where it plays the same rhythm as the banjo a third away for a nice major harmony so that when it switches to minor the key change is apparent. The piece ends with a perfect authentic cadence.
The thing I enjoy most about this piece is that the banjo has the melody throughout the entire sonata while the mandolin plays the accompanying part. I enjoy this because far too often mandolins are featured and other instruments like the banjo don’t get so much melodic glory. I like the key change and the first two phrases on the first half of the song, but I am confused as to the actual form of the piece.

Just Kiss Me --- Harry Connick, Jr - Blue Light Red Light

This is a very fast song....it's really fun..
It start with a loud big band intro then goes to just the steady high hat keeping the fast tempo with vocals over top, and then whenever the vocal has rest, instrumentals play a little something, and also every now and then saxs throw in little decorative spats to break up just the duet of high hat and voice... then in the middle the vocal and whole band doing this echo effect before the vocals drop out for a good time and the band passes around time for scat solos. different saxs (bari, and alto) play, and also trumpet muted and unmuted. then of course the throw in a drum solo to bring it all back to the A section. the lyrics are just so fun in this song...fun fun fun...well im off to bed because it's 3 in the morning..good night/morning... :)

Mack the Knife--Ella

So I'm listening to the live recording on the "Pure Jazz" album.

The song is usually sung by a man, and Ella prefaces the song by mentioning this and talking to the audience. The band creeps in with rhythm section and a great walking bass line. At the beginning Ella stays true to the original melody--until the end of the first phrase.

The rhythm section keeps grooving while Ella, with such great ease, croons this fabulous song. All at once she says: "what's the next chorus to the song now, this is the one now, i don't know, but it was a swinging tune and it's a hit tune so we tried to do Mack the Knife....oh, Louis somethin', something about a cat, oh yeah darrin, he was spinning that trash, and that (something) dear he spins like a sailor, tell me tell me could that boy do something right....oh bobby darrin and louis armstrong they made a record oh they did....and now ella, ella and her fellas we're making a wreck, yes a wreck of Mack the Knife!" Now come the scat section (she's trying to sound like Louis) and of course the audience is dying laughing. She goes on to address the audience some more for the rest of the tune. It's hilarious! The whole while she's singing the melody and the rhythm section goes the whole while.

At the end when the applause picks up the rhythm section really takes it up, it's pretty great :)

Check it out, if nothing else-it will give you a chuckle, and we get to see how truly original and fearless Ella is.

Collective Soul, "Crown"

Lots of other people have been posting lyrics so I'll start doing the same.
Verse:
Who's gonna be my savior, now that I've learned to believe
Who's gonna be the answer, To all of my questioning
Well I hope I'm not lost, But I think that hope is now distancing
And the words that secure a thought, Are now faint whisperings
Chorus:
Who's gonna wear my crown
I don't know I just might alone
Who's gonna wear my crown
I don't know I've just got to go my way
Verse 2:
Who's gonna be my partner, Now that I stand here alone
Who's gonna be the shepherd, To lead this poor boy back home
Well I hope I'm not lost, But I think that hope is now distanceing
And the words that secure a thought, Are now faint whisperings
Chorus
Guitar Solo
Chorus (sans "my way")

The main thing that I'm going to discuss about the song is how the music reflects the mood of the lyrics. The main feeling of the song is isolation with a degree of depression and resignation. The mood is created by the effects in the introduction. The song begins with a suspended cymbal crash and the main melody is done by a synthesizer with an effect that sounds like pitched wind on top of soft rhythm guitar and upbeat hi hat helps drive the rhythmically simple melody. This use of wind goes along with the cultural metaphor of wind being associated with isolation.

The transition between the intro and the verse is pretty sudden with just a crecendo, and despite totally changing instrumentation other than the rhythm guitar it keeps a similar mood. The accompaniment for the verses and chorus consists of a loud bass drum doing eighth notes on beat one and three with the hi hat eighth notes and snare on two and four. The bass drum is very prominent and gives the feeling of a heartbeat, which is something a person would most likely only hear when alone. Unlike most rock songs, there is no pure bass line, but rather each measure has just one bass note (might be synthesizer) that echoes throughout the measure. This prominence of lower pitched music also expresses the mood of depression and the only high pitched part in this is an occasional synthesizer effect like the bass but in a higher pitch but it is very soft and sounds extremely distant. It's hard to hear unless you're trying to hear it. It is showing that the hope is almost unattainable. The chorus doesn't really change much except the drum part is slightly elaborated (meaning a little eighth note displacement) and the voice gets echoed but rather than using an echo effect, it is a seperate voice that does the echo which makes it seem more life like but still just an echo.

There are also a couple of solo sections that feature higher voices. The first one between the chorus and second verse is done by the high synthesizer but lacks any climax. There is a full guitar solo later, but doesn't stray from the rhythmic feeling of the guitar part, and the second half consists of a sequenced rhythmic pattern that goes right into the chorus, taking away most of the feeling of resolution with the return of the chorus because the pattern just keeps going.

The use of timbres to create moods and feeling and masking resolutions give this song a feel of isolation and despair that connect well to the lyrics.

Collective Soul, "Crown"

Lots of other people have been posting lyrics so I'll start doing the same.
Verse:
Who's gonna be my savior, now that I've learned to believe
Who's gonna be the answer, To all of my questioning
Well I hope I'm not lost, But I think that hope is now distancing
And the words that secure a thought, Are now faint whisperings
Chorus:
Who's gonna wear my crown
I don't know I just might alone
Who's gonna wear my crown
I don't know I've just got to go my way
Verse 2:
Who's gonna be my partner, Now that I stand here alone
Who's gonna be the shepherd, To lead this poor boy back home
Well I hope I'm not lost, But I think that hope is now distanceing
And the words that secure a thought, Are now faint whisperings
Chorus
Guitar Solo
Chorus (sans "my way")

The main thing that I'm going to discuss about the song is how the music reflects the mood of the lyrics. The main feeling of the song is isolation with a degree of depression and resignation. The mood is created by the effects in the introduction. The song begins with a suspended cymbal crash and the main melody is done by a synthesizer with an effect that sounds like pitched wind on top of soft rhythm guitar and upbeat hi hat helps drive the rhythmically simple melody. This use of wind goes along with the cultural metaphor of wind being associated with isolation.

The transition between the intro and the verse is pretty sudden with just a crecendo, and despite totally changing instrumentation other than the rhythm guitar it keeps a similar mood. The accompaniment for the verses and chorus consists of a loud bass drum doing eighth notes on beat one and three with the hi hat eighth notes and snare on two and four. The bass drum is very prominent and gives the feeling of a heartbeat, which is something a person would most likely only hear when alone. Unlike most rock songs, there is no pure bass line, but rather each measure has just one bass note (might be synthesizer) that echoes throughout the measure. This prominence of lower pitched music also expresses the mood of depression and the only high pitched part in this is an occasional synthesizer effect like the bass but in a higher pitch but it is very soft and sounds extremely distant. It's hard to hear unless you're trying to hear it. It is showing that the hope is almost unattainable. The chorus doesn't really change much except the drum part is slightly elaborated (meaning a little eighth note displacement) and the voice gets echoed but rather than using an echo effect, it is a seperate voice that does the echo which makes it seem more life like but still just an echo.

There are also a couple of solo sections that feature higher voices. The first one between the chorus and second verse is done by the high synthesizer but lacks any climax. There is a full guitar solo later, but doesn't stray from the rhythmic feeling of the guitar part, and the second half consists of a sequenced rhythmic pattern that goes right into the chorus, taking away most of the feeling of resolution with the return of the chorus because the pattern just keeps going.

The use of timbres to create moods and feeling and masking resolutions give this song a feel of isolation and despair that connect well to the lyrics.

Collective Soul, "Crown"

Lots of other people have been posting lyrics so I'll start doing the same.
Verse:
Who's gonna be my savior, now that I've learned to believe
Who's gonna be the answer, To all of my questioning
Well I hope I'm not lost, But I think that hope is now distancing
And the words that secure a thought, Are now faint whisperings
Chorus:
Who's gonna wear my crown
I don't know I just might alone
Who's gonna wear my crown
I don't know I've just got to go my way
Verse 2:
Who's gonna be my partner, Now that I stand here alone
Who's gonna be the shepherd, To lead this poor boy back home
Well I hope I'm not lost, But I think that hope is now distanceing
And the words that secure a thought, Are now faint whisperings
Chorus
Guitar Solo
Chorus (sans "my way")

The main thing that I'm going to discuss about the song is how the music reflects the mood of the lyrics. The main feeling of the song is isolation with a degree of depression and resignation. The mood is created by the effects in the introduction. The song begins with a suspended cymbal crash and the main melody is done by a synthesizer with an effect that sounds like pitched wind on top of soft rhythm guitar and upbeat hi hat helps drive the rhythmically simple melody. This use of wind goes along with the cultural metaphor of wind being associated with isolation.

The transition between the intro and the verse is pretty sudden with just a crecendo, and despite totally changing instrumentation other than the rhythm guitar it keeps a similar mood. The accompaniment for the verses and chorus consists of a loud bass drum doing eighth notes on beat one and three with the hi hat eighth notes and snare on two and four. The bass drum is very prominent and gives the feeling of a heartbeat, which is something a person would most likely only hear when alone. Unlike most rock songs, there is no pure bass line, but rather each measure has just one bass note (might be synthesizer) that echoes throughout the measure. This prominence of lower pitched music also expresses the mood of depression and the only high pitched part in this is an occasional synthesizer effect like the bass but in a higher pitch but it is very soft and sounds extremely distant. It's hard to hear unless you're trying to hear it. It is showing that the hope is almost unattainable. The chorus doesn't really change much except the drum part is slightly elaborated (meaning a little eighth note displacement) and the voice gets echoed but rather than using an echo effect, it is a seperate voice that does the echo which makes it seem more life like but still just an echo.

There are also a couple of solo sections that feature higher voices. The first one between the chorus and second verse is done by the high synthesizer but lacks any climax. There is a full guitar solo later, but doesn't stray from the rhythmic feeling of the guitar part, and the second half consists of a sequenced rhythmic pattern that goes right into the chorus, taking away most of the feeling of resolution with the return of the chorus because the pattern just keeps going.

The use of timbres to create moods and feeling and masking resolutions give this song a feel of isolation and despair that connect well to the lyrics.

Collective Soul, "Crown"

Lots of other people have been posting lyrics so I'll start doing the same.
Verse:
Who's gonna be my savior, now that I've learned to believe
Who's gonna be the answer, To all of my questioning
Well I hope I'm not lost, But I think that hope is now distancing
And the words that secure a thought, Are now faint whisperings
Chorus:
Who's gonna wear my crown
I don't know I just might alone
Who's gonna wear my crown
I don't know I've just got to go my way
Verse 2:
Who's gonna be my partner, Now that I stand here alone
Who's gonna be the shepherd, To lead this poor boy back home
Well I hope I'm not lost, But I think that hope is now distanceing
And the words that secure a thought, Are now faint whisperings
Chorus
Guitar Solo
Chorus (sans "my way")

The main thing that I'm going to discuss about the song is how the music reflects the mood of the lyrics. The main feeling of the song is isolation with a degree of depression and resignation. The mood is created by the effects in the introduction. The song begins with a suspended cymbal crash and the main melody is done by a synthesizer with an effect that sounds like pitched wind on top of soft rhythm guitar and upbeat hi hat helps drive the rhythmically simple melody. This use of wind goes along with the cultural metaphor of wind being associated with isolation.

The transition between the intro and the verse is pretty sudden with just a crecendo, and despite totally changing instrumentation other than the rhythm guitar it keeps a similar mood. The accompaniment for the verses and chorus consists of a loud bass drum doing eighth notes on beat one and three with the hi hat eighth notes and snare on two and four. The bass drum is very prominent and gives the feeling of a heartbeat, which is something a person would most likely only hear when alone. Unlike most rock songs, there is no pure bass line, but rather each measure has just one bass note (might be synthesizer) that echoes throughout the measure. This prominence of lower pitched music also expresses the mood of depression and the only high pitched part in this is an occasional synthesizer effect like the bass but in a higher pitch but it is very soft and sounds extremely distant. It's hard to hear unless you're trying to hear it. It is showing that the hope is almost unattainable. The chorus doesn't really change much except the drum part is slightly elaborated (meaning a little eighth note displacement) and the voice gets echoed but rather than using an echo effect, it is a seperate voice that does the echo which makes it seem more life like but still just an echo.

There are also a couple of solo sections that feature higher voices. The first one between the chorus and second verse is done by the high synthesizer but lacks any climax. There is a full guitar solo later, but doesn't stray from the rhythmic feeling of the guitar part, and the second half consists of a sequenced rhythmic pattern that goes right into the chorus, taking away most of the feeling of resolution with the return of the chorus because the pattern just keeps going.

The use of timbres to create moods and feeling and masking resolutions give this song a feel of isolation and despair that connect well to the lyrics.

"Eleanor Rigby" - The Beatles

Another one. Haha.

This song has Paul on lead vocals, with John and George on backup vocals. (Standard Beatles formula.) There's a string octet playing with them - four guys on violin, two on viola and two on cello. I've never heard of a string octet before. I guess this would be considered a sort of chamber orchestra?

The priest's name was originally Father McCartney, but the producers changed it to McKenzie, worried that people would confuse it with Paul's dad, a priest. "Eleanor Rigby" was a common name in the '60s, and seemed suitable for the song's theme of universal lonliness.

The violins and violas are mainly playing staccato notes on the bow. They ARE NOT using pizzicato, or plucking the instruments. I wish I could find the term for this light, short bowing that they're doing. The cellos seem to be the only expressive instruments - they have the legato phrases. This is appropriate to the somber feeling of the piece - to me, cellos evoke feelings of sadness, mourning, depression.

String instruments in general were a good choice in creating the mood, rather than the using the band. I love how the Beatles always choose unique instrumentation for each song - in some songs, like this one, they never play their own instruments. They use instruments that will compliment the mood of the piece well, even if it means using other musicians.

*No intro, but straight into the lyrics:
Ah, look at all the lonely people.
Ah, look at all the lonely people.

*A phrase.
Eleanor Rigby, picks up the rice in the church
where a wedding has been
Lives in a dream (HC)

*same repeating phrase, but the violins play double time
Waits at the window, wearing the face that she keeps
in a jar by the door.
Who is it for? (HC)

*The cellos play very legato passages underneath the violins and violas. Paul sings alone.
*B phrase - creates a contrasting period.
All the lonely people,
where do they all come from? (PAC)
All the lonely people,
where do they all belong? (PAC)

*Back to the a phrase.
Father McKenzie, writing the words of a sermon
that no-one will hear.
No-one comes near. (HC)

*Identical phrase
Look at him working, darning his stocks in the night
when there's nobody there.
What does he care? (HC)

*B phrase
All the lonely people,
where do they all come from? (PAC)
All the lonely people,
where do they all belong? (PAC)

*John and George harmonize with Paul. I LOVE the cello part here - very low and languid.
*B section
Ah, look at all the lonely people.
Ah, look at all the lonely people.

*A phrase
Eleanor Rigby: died in the church
and was buried a long with her name.
Nobody came. (HC)

Father McKenzie: wiping the dirt from his hands
as he walks from the grave.
No one was saved. (HC)

*Combines the B phrase and B section - interesting.
All the lonely people, where do they all come from? (PAC)
(Ah - Look at all the lonely people)
All the lonely people, where do they all belong? (PAC)
(Ah - Look at all the lonely people)

Andante from Piacentino’s Flute Concerto in G

This piece centers around a repeated rhythmic pattern that always ends with a leading tone or tonicization followed by a cadence. This gives the effect of a sort of up and down, or wave-like, motion. The piece is mostly in minor but slyly meanders into the parallel major here and there. Also, it's difficult to follow they specific keys because of the tonicizations, which are all over the place. The switches to and from major and minor are sort of deceiving because it's not very obvious, perhaps due to the fact that your attention isn't on the key, it's on the rhythm and flow of the music. The major-keyed sections are primarily at the ends of phrases and periods though. The piece has a very developmental feel to it because of the repetition of this rhythm, which is a big part of the main motive/melody. It is especially developmental about 3/4 of the way through the piece when the motive begins again but there are many ornamentals added, which gives an unexpected twist.

"When You Got It, Flaunt It" from The Producers

Somebody was singing "springtime for hitler" from The Producers today, and it got me in the mood to listen to some of the music again. So here is, "When You Got It, Flaunt It." From The Producers. Music and Words by Mel Brooks.
This song happens when Ula is auditioning for the producers of the new broadway show "Springtime for Hitler." This show is being produced simply because the producers think they can make more money off of a flop on Broadway than off of a hit. So this is her audition... and it gets her the job. You'll see why after you read the rest of this blog. I'd love to be able to sing this for something.... if only I was a little slutty.... and busty....and could belt. *sigh* my chances of doing this one don't look good. But here ya go. Enjoy.
We start out with a really dramatic and elaborate rolled and arpeggiated chord. Ula comes in with a very simple melody that she sings with a terrible german/sweedish/ God only knows what accent. She is using this teeny, cutsie, squeeky character voice. She is singing accapella, but when she rests, her vocal line is echoed in the accompaniment. The tempo is a moderate swing, and she is slightly hesitant and reserved... which is funny because she sings, "Ven you got it, flaunt it. Step right up and strut your stuff. People tell you modesty's a virtue, but in the theatre modesty can hurt you. Ven you got it, flaunt it. Show your assets let them know your proud. Your goodies you must push, stick your chest out, shake your tusch, ven you got it, shout it outloud."
At this point, she starts this melodic motive over again, and she has begun to feel a lot more comfortable and brave about her audition. There is a change in the music. The tempo picks up to more of a cool swing, and there is now accompaniment being played underneath her. It isn't anything complicated, but it's fun and it really swings, as well as supports the vocal line. There is also an increase in dynamic at this point. I have to include the words again here because they are hysterical: "Ven you got it, show it. Put your hidden treasures on display. Violinists love to play an E-string, but audiences really love a G-sring. Ven you got it, shout it. Let the whole world here what you're about. Clothes may make the man, but all a girl needs is a tan. Ven you got it, let it hang out. As the verse goes on this whole time, the accompaniment keeps getting more interesting and more intricate. The chords are a lot more full, and the rhythm is a lot more complicated. There are triplets and syncopations everywhere. She has also begun to sing very boldly.
Next we have a HUGE contrast. The accompaniment stops moving around, and we have sustained block chords. The dynamic is taken way down, and the combination of instruments that are being used on top of the vocal quality that the singer uses really changes the whole mood to a very sweet feeling. So far she has been talking about G strings and shaking her tusch, and now she starts to sing a very stepwise melody with a straight eighth note rhythm in an angellic voice: "Ven I was just a little girl in Sveden my thoughtful mother gave me this advice: if nature blesses you from top to bottom, show that top to bottom don't think twice.
Now, This is my favorite part of the song: she says, "Now Ula Belt." And all the sudden she goes from this ditzy character voice to this huge unexpected belt, and she belts, "Don't think twice!" Which is also the modulation into the new key. As she holds "twice" out, the orchestra goes crazy and plays all these full chords with triplet rhythms... BAM BAM BAM BAM underneath her belt.... it is so exciting. When I saw this show, when she started belting like this, it was so unexpected that the audience just went nuts. So cool. I wanna be on Broadway. Anyway, continuing on...
Now we have a great cabaret/strip joint feel going on. It is a broad swing with all of these great drum beats. The trumpets and the brass section is going nuts wailing out their parts, and she just keeps right on belting. The sound right now is just huge...FF. I might as well include the lyrics here too: "Ven you got it, share it. Let the public feast upon your charms. People say that being prim is proper, but every show girl knows that prim will stop her." Then there is yet another modulation, and it gets even bigger. The accompaniment stays pretty much the same.... the orchestra is just wailing... and the belting is fabulous. She sings, "Ven you got it, give it. Don't be selfish give it all avay!" She holds "avay" out for a really long time, and then all the sudden the orchestra drops out, and she returns back to her cutsie character voice to sing, "don't be shy be bold and cute." The orcestra answers with these great drum beats... and they are really very stripper/cabaret like. Think almost along the lines of Chicago and Fosse. The orchestra rests again so she can sing, "Show the boys that birthday suit." Then the sexy drum beats happen again.
Then the orchestra picks back up and she begins to belt again. It's a samba like feel here... the horns and the drums really stand out the most to me. The lyrics are: "Ven you got it... if you got it....Once you got it.... shout out hooray!" The last note she belts is just awesome. It's not that hugh but it is really powerful. The orchestra plays strong until the end and it is a big finish.
Wow. I possibly got a little too excited while writing this. Just like every other blog I write... I will tell you to listen to the music from this show. Not because it is fabulous music, but because it is hysterical. Other fun songs include, Der guten tag hop clop, Keep It Gay, and Springtime For Hitler. This isn't your typical musical theatre guy has girl, guy loses girl, guy wins girl back plot. It's really inventive and a ton of fun. Check it out.

Debussy- Pour le Piano

I listened to Kieth play this piece at Master Class tonight. Debussy used phenomena to create clear division and make it possible for to analyze the piece with only one hearing. The piece begins with a melodic motive whose line is somewhat masked by a harmonic accompaniment with fast, triplets that give a buzzing sound like a swarm of bees. These triplets also add excitement to an otherwise very simple and repetitious melody that is kept within the a narrow, middle range. In this A section , the phrasing is created subtly by the melody. The B section is then made very clear through a break from the texture of the A section. The phrasing within this section is also clued by the change in texture. It goes from an ascending scale and the top of the scale begins the new section on repeating chords. The B section is also distinct from the much louder dynamics, a rise in the register, and sharp dissonance and tonal instability. Then the A section returns with the exact motive, but doesn’t return as many times. Then the B section comes back with a little variation and then there is a coda with some new material.

Lizst, "Un Sospiro"

I'm a big fan of piano music. It is very relaxing to me. I'm not sure why? I guess the piano just has a beautiful mild timbre that appeals to me. I'm sure I'm not the only one, as there is tons of piano literature out there just begging to be played. Ever since I heard this specific piece while studying it in Music History I have loved it.
The most distinctive part of this song is the rapid smooth movement. The slow beautiful melody is played ontop of a crazy fast arpeggiating line. But the cool thing is that it doesn't sound rushed or hectic. In the hands of a professional pianist, the piece exudes a dream-like smooth quality. The chords just float over a sea of emotion. The melody is an oasis in a world of notes. I love how Lizst displaces the melody in different octaves. The differing dynamics and density of chords also lends itself to create much contrast in the piece.
This piece appears to be an open rounded binary form. The b section allows the melody to mix in with the rapid notes, but comes round to the a section, return us to the mellow feel of the piece. The ending is very distinctive. The termitive function does not follow a typical progression, and I believe it even modulates. The modulation up gives the piece a lifted feeling at the conclusion.

Montovano: Lirum Bilirum

This piece sounds like a motet from the Renaissance. It begins with a stringed instrument on arrpegiated chords that sounds like a mix between a harp and harpsichord. Then the singers begin in four part harmony. The bass keeps the steady pulse just entering in one note beats separated by rests. The upper voices all sing homophonically with unison rhythms and intervals on different pitches. The ornaments sound very Renaissancey. Then more voices enter and the two sections play back and forth like they're communicating over the constant pulse. This section seems like a triple period. There is an A phrase with another similar A phrase that follows a phrase slightly different in the middle. The end of the third phrase becomes very animated until it slows and pauses into the B section. The B section begins with two identical phrases. These phrases sound entirely different, however, due to the dynamic shift used with them. Then the A section returns and makes the B section stronger with the repeated material before the piece is concluded. This kind of music is probably actually very complex but after listening to so much of the modern music of today it seems so pure and healing through its simplicity in instrumentation.

"sweet child of mine" by Guns and Roses

Each phrase group at the beginning (eight measures each) starts with a guitar playing a strict eighth note sequence starting on a V chord (sol do ti so re sol do ti), then repeats the same motive up a third, and then again up a fourth from the V, then it starts over on the V chord again... that doesnt end until the vocals begin (they begin after the third phrase group)

All of the phrases are very symmetrical and parallel. Most of the phrases end on PAC's, except for the occasional IAC. There's a really cool guitar solo right in the middle of the song. The "where do we go" section brings us up to a climax. Then ending cadence is a PAC...it's really a pretty simple song, and if I had to pick a form, i would say rounded binary form.

"Gone" by Ben Folds

Not a really happy song, but for some reason it evokes some happy vibes from me. Getting right into it we have a 2 beat drum pickup until we come right into the intro with drums, bass, guitar and piano. The chord progression for the verse and chorus is very similar, the same I-iii-IV-V progression that we begin with here. We repeat this twice with some nice double tracked oohs. The first verse once repeates the progression 3 times, before changing it up on the 4th time through, instead of getting the I we get a iii chord and then to our half cadence on V before launching into the verse which is just the same I-iii-IV-V progression repeated twice. The second verse is more of the same, as we wash rinse repeat thrre time and then go with the iii-V ending. The second chorus is the same as the first, except he varies. A quick reflection I love the piano fill before the chorus as it just pounds through everything to get to the chorus. Ben Folds really uses it as a powerhouse instrument, not just light accompaniment like most pop acts. Anyway, back to analysis, after the second chorus we end deceptively as we come to a vi chord to start our bridge section. Here the piano wanders for a little bit and we have some overdubbed "gones" that build and fade. Now we have an instrumental change the piano falls to a, well, piano and we have some plucked strings as Ben and Frally (his wife) share a haunting little duet. This builds up as we add instruments and a huge crescendo by the strings and a nice arpeggiated chord with tracked voices. Then everything comes to a short stop and a big drum fill return brings back the final verse. We add the oohs from the beginning over top of the melody line and we build suspense by extending out the final phrase to double it's normal two measure length. Now we have the final chorus, which is extended in length to 3 measures. We have another decpetive cadence, but no bridge, just a vi-IV-V-I and a sudden cutoff at the very end, to the point of hearing feedback on the mics. This abrupt stop just leaves all sorts of questions unanswered. I like how this entire album is like a bunch of different stories intertwining. I imagine all the characters in each song living in one community, each with a different story to tell. This one I see as a guy finally writing the letter he's been wanting to write to an ex for years. There is sadness yes, but overall there is vindication that he can be happy without this girl who left him. Rock on, Ben!

Domenico Scarlatti - Concerto Grosso No. 5 in D

This is the allegro movement. First it begins with a sol ti do, then in a higher octave and voice it goes re me fa sol do ti le sol and (the second gesture only) is echoed twice, the first time in the cello and then returning in the violins. This for me makes the first phrase group as it ends on a V on sol. Then it marches forth with a sol fa me re, sol fa me re, le sol (start to transition into new key)..., (modulates to the dominant) fa me re do ti le sol, and is followed by a terminative section of repeated cadences on the new tonic. There is a transition and then it repeats the first part again, but then transitions into something new and seems to end as the first part ended, then it repeats this new part again. Evidently it is an open rounded binary form, a progressive period for the a which is then repeated, and then a b that has a return to a and the original key. It's very pretty too.

Oboe Solo from Brahms Violin Concerto Mvt.2 Adagio

Ok, this is one of my FAVORITE orchestral excerpts of all time and the first recording that I listened to tonight was crap. It was really disappointing to hear a 1950s sounding oboe from Europe butcher the beautiful opening to this piece.
The recording I'm listening to as I write this is much better. The opening of the second movement feels timeless, and longing as if fondly looking back on a favorite memory. Thats the way that I hear it. The oboe repeats its main motive twice before the violin actually comes in and plays it as well, in my opinion the oboe should have just kept going, but I guess the violin sounds ok.
The violin solo is complemented by little interruptions by the woodwinds and then the first horn, then it goes into a little variation of the motive in the B section. It definately has the same tonality and even the same looming sense of mood that was created by the oboe, but its somehow much different sounding.
The texture is really structured throughout, its usually solo violin with these little woodwind interludes, sometimes the strings will be the ones to do it, but when its not that its solo violin over strings. There are never big tutti sections, its kind of pieced together this way.
The most important, not to mention BEAUTIFUL part of the movement will always be the oboe solo.

enigma variations not all of them though!

Variation 6...

this variation of elgars piece starts of softly, with a nice, melody from the low strings and other low voices. they are intertwined by their descending lines. it gradually loudens and intensifies. the chords become fuller so the texture grows. just as soon as this melody can no longer be intensified, the first melody is taken over by a new, playful one in the flutes and oboes, followed by a line in the clarinets. the high voices in the ensemble help to change the attitude of this variation. rather than being slow and lethargic, the high voices are very staccato and light. the first melody returns, adding a few of the higher voices to the thick texture, almost acting as a descant--they kind of sing over top of the voices. all of these melodies are taken from the initial theme heard in the first movement, which is eventually heard in its fullest towards the end of this sixth movement.

"Nuages" from Trois Nocturnes - Debussy

This piece is a part of a set of three pieces Debussy wrote for orchestra. "Nuages" means clouds, and Debussy portrays them by using a very soft texture - the orchestra doesn't play anything remotely harsh.

He also used parallel chords quite often in his music, and this piece is no exception. Therefore, I rarely felt like a cadence had been reached. My analysis may be incorrect, but one passage has this progression:

i VII i N VII vii(dim7)

This effect creates an undulating sound with little tension or relaxation, though the piece's minor mode does give it a somber feel overall. From the mood, I'd guess Debussy must have had gray, dreary clouds in mind when he wrote this piece. It sounds foreboding and very serious to me.

I read that the Debussy was influenced by a gamelan orchestra, and included a pentatonic melody in this piece as a result of that influence. If anything, it is a subtle reflection of gamelan at most. I've heard gamelan before, and a normal gamelan piece is very noisy and raucous - the instruments are all metallic and they're played with hammers. In "Nuages," the pentatonic melody is played softly by flute and harp.

"Nuages" from Trois Nocturnes - Debussy

This piece is a part of a set of three pieces Debussy wrote for orchestra. "Nuages" means clouds, and Debussy portrays them by using a very soft texture - the orchestra doesn't play anything remotely harsh.

He also used parallel chords quite often in his music, and this piece is no exception. Therefore, I rarely felt like a cadence had been reached. My analysis may be incorrect, but one passage has this progression:

i VII i N VII vii(dim7)

This effect creates an undulating sound with little tension or relaxation, though the piece's minor mode does give it a somber feel overall. From the mood, I'd guess Debussy must have had gray, dreary clouds in mind when he wrote this piece. It sounds foreboding and very serious to me.

I read that the Debussy was influenced by a gamelan orchestra, and included a pentatonic melody in this piece as a result of that influence. If anything, it is a subtle reflection of gamelan at most. I've heard gamelan before, and a normal gamelan piece is very noisy and raucous - the instruments are all metallic and they're played with hammers. In "Nuages," the pentatonic melody is played softly by flute and harp.

When you say you love me - Josh Groban

It begins with a piano introduction and then the introduction repeats with the orchestra. The introduction is the melody of the chorus. Then the verse begins. The verse is in a minor mode, I cannot tell if it is in the same key, or in a parallel or relative minor. After the first verse and chorus he goes onto repeat the melody with another set of words. This time it has more embellishment. Next is a bridge with a very different feel to it. It is a transition. The chorus melody comes back in a different key. The composer likes to use La Ti Do in the melody a lot. It seems to end each period. This song has a bitter sweet feeling to it. The words are amazing and they talk about all the things that you feel when someone says they love you. But, the melody has a minor feel to it. It strikes me as odd that someone would put those words to a sad tune.

Turina Danzas Fantasticas mvt 1

The piece starts off with a call and answer between very high strings and the low strings. A serene and exotic chord is played in the high strings and is immediately answered by a low pedal note by the low strings and winds. This is repeated and extended bringing us to our melody played by the english horn. It is of course very spanish and dance like yet melodic and linear. New intstruments join in on the melody. The brass and strings have a large duel that leads to the secondary theme that is played a bit slower and more deliberate in both the strings and horns. It is then repeated by the winds as we enter a transition period. A rhythmic introduction is played by the strings, winds, and harp as we return to our first stated dance. Some development is happening as melodic gestures are becoming distorted then a crescendo and ritardando bring us back full fledge into the dance but this time more ferocious and aggressive. It is answered by a new development section with totally new material. Chromatic moving lines dominate that texture and modulating sequences are heard. The secondary theme then comes in with grandeur and honesty. This time it is more powerfully supported by brass chords. The texture disappates and returns to nothing. The beginning is then repeated with question and answeres from the high strings and low strings/winds. One last time the main melody comes in though with no intro. It is as if this is just a musing in the back of the composers head. The secondary melody is played in conjunction with the main melody but slower and more beautiful and gentle. Gracious chord progressions are played by the strings and woodwinds venturing us back to tonic and pianissimo.

"Lost Road" from Road to Perdition

Sorry this had to come this morning. I don't know what's wrong with my computer but after I sent again, it said the server was down so I had to wait for the library to open to send it this morning. This piece is like an Easter surprise. It begins with a low drone. Soon after this, an electronic instrument enters. This is when I think, "Ughhh. This is going to be a terrible piece." But, this is quickly followed by bagpipes. I love bagpipes. So, it's like Easter because something unexpected happens in an unexpected way. (I don't generally expect bagpipes to follow electronic music.) The bagpipe repeats a 4 note motive. Then, another bagpipe enters and there is duo harmony. This simple motive begins an ascending sequence pattern. I hear this section as an introduction. When it is complete, strings enter. I think this section is binary form. The A section is open with strings and consists of two contrasting phrases. The B section uses themes from the A section and also has two contrasting phrases. This section, however, is played by classical guitar. It is interesting that even though there is a dramatic change in timbre in this section, this doesn't seem to effect any other structural phenomena. The end of this section has a lilting flute extension. Then the bagpipes return, followed by the electronic unison octaves and finally the drone. Some people might feel this makes it ternary form but I disagree because while the intro and conclusion make a statement by being identical in reverse order of instrumentation, I don't hear phrase structure in them. The middle section is the only part with phrases and thus is binary form.

Bob Marley "Jammin"

Its time for more Bob Marley since I'm at the beach. The song "Jammin" is another song of bob marley's that is a perfect representative of his cool, smooth reggae style and simple lyrics. The song is in four-four with a two and a half measure pick-up drum beat. The instrumental introduction is 8 measures long with all of the unstruments playing, percussion, keyboard, organ, bass, and guitar. There is an abrious chord progression with four chords becuase you can hear the keyboard and bass change chords, possibly 1-4-5-1. This chord progression repeats and the lead vocal enters in the ninth measure and the background vocals even come in on the first line. "we're-jam-min" is "sol-la-sol" whils some of them are "sol-ti-do". There are eight measures of chorus and that is two 4 measure lines of "we're jammin, i wanna jam it with you," but each second half of the lines has different words. Next, there is an 8 measure verse, 8 measure chorus, 8 measure verse, chorus, verse, and then an 8 measure bridge that includes a rhythmically slower vocal part. Throughout the song you can hear the bass doing a lot of 5-1 motion. The second 4 measures of the chorus are just lead vocal and percussion. After the bridge the chorus repeats and there is one last verse. The rest of the song is an extended chorus, over and over again. I like the random percussion in this song, the maraccas and cow bells. It's such a nice theme and really encompassses Bob's peaceful, jammin' image and the religious thing comes out in the "jammin in the name of the lord" becuase of their rasta beliefs.

What you Waitin' For- Gwen Stefani

This song has a very offbeat rhythm its that is almost assymetrical at times which is what caught my attention at first. Its kind of interesting and unique for a pop song because they are geared towards dancing and being something that people can immediately relate to and sing.
I've always been a big 'No Doubt' fan so when Gwen Stefani, their lead singer came out with her solo album I couldn't help but cure my curiosity and take a listen.
The beat is always prominent throughout the song which is ecspecially important because of the assymetric feel, its basically just pumped out strong over the course of the song which gives it a high energy feel, definately a great song to dance to, or just to brighten your mood.

you're the inspiration---chicago

No kids, I'm not quoting the musical, I'm quoting the beloved 80's power ballads of Chicago.

You're the Inspiration is possibly one of the most recognized love-power ballads of the 80's and I love it!

It opens with a syncopated keyboard motive followed and then the motive is repeated with full band. The orchestrations dies down to the typical synth keyboard chords playing quarters with a 4+a every now and then. The lone voice conveys the honesty of the lyrics. how i love peter cetera. (except now he looks like a creepy old-grandpa) Once the chorus picks up there is some harmony that just makes me smile :) The the drums take the feeling up a bit in the chorus.

Verse 2 is prefaced with the same motive (piano, then tutti). The vocals, however, are stepped up with a cute little echo effect. Musically, not genius, but it's catchy....and i'm still listening! They take the chorus around to a few new keys, these tonicizations are solidified by the "ooohs, and aaaahs" in the background vocals. This lets me know that Pete's not going crazy...but he has a destination.

The repeat and fade on the last chorus is really quite effective :) I realize that this proves difficulty in a live performance but hey, it works for a recording!

Check out the "Chicago, Greatest Hits" album...it's a keeper!

"On My Own" from Les Miserables

"On My Own" from the Broadway Musical Les Miserables. Music by Claude-Michel Schonberg.
I'm not going to say a lot about this song because pretty much everybody knows it, because it is one of the most overdone musical theatre songs ever ever ever. But it's overdone because it is so awesome... which is why I feel the need to write about it :-)
We start out with fast arpeggiated chords in the accompaniment, and after a few measures Eponine begins to sing. The melody is almost pop sounding. After about 6 measures, there is a small change in meter and in rhythm. The vocal line so far as been eighth notes, and here we see a change to 16th notes. A few measures later, at the end of the first verse, the meter changes back to the original meter in order for the second verse to occur.
At the bridge there is a key change. The vocal line becomes even more belty and sits very much in the middle of the voice. There is an increase in dynamic as well as a slight increase in tempo. When the melody from the verses returns, it is even more powerful because it is in a higher key. Nothing really changes until the very end of the piece. There is a huge sustained belted note, I think it is the higest note in the song. Everything stops, and Eponine comes in singing accapella, at a piano dynamic. The huge break makes what she sings even more effective. She sings "I love him" three times, and then finishes up with, "but only on my own." The word "own" is sustained very quietly and sincerely over a rolled chord. It is a very touching moment in the song. Such a great moment in the show. I wish this song wasn't so freaking overdone so I could sing it for something :-)
Hope everybody had a lovely spring break!!!!

Finlandia

two large low brass swells to sfz's open the piece followed by a lush mellow ferocious chorale. The phrase is repeated but with horns and trumpets with the melody in the trumpet. The chorale is extended. The dynamics and intensity are quite high. I feel victorious. Immediately the texture and style change and we enter into a more serene, contemplative mood. String and woodwind chorales dominate the texture. A sweeping cello line ascends to a restatement of the gestures. I can picture the cold, frigid, but beautiful landscape of Finland. Oboe duets make themselves heard as the horns add a color to the background. Cadential material is heard and is repeated three times leading us to a new section. The tempo is faster now with urgency as the trumpet and bones play fanfare material. There is an ongoing pedal C being played. The first bar of the original motive in the earlier section is now played but with more urgency. This more dark section leads into a similar section that feels more like a dance. The triangle and symbol crashes add a new color. Then we briefly return to an instance of the urgency until the dance is repeated. Horn chorales dominate the texture. A crescendoing sequence with off beats is a focal point. The hymn is now played by the woodwinds with tremelos as the accompaniment. It is very lush and beautiful. The phrase is then repeated by the strings. There is more finality with this phrase; the end is in sight. A yearning and longing horn solo accompany the melody in the firsts. The urgent section then comes back with a much faster tempo. This is transition material to get us to the end. Large trombone quarter notes and a furious crescendo bring us to the final chorale. The chorale from the beginning is played with much gusto, ending the piece!

Beach Boys, "Kokomo"

Being as I just returned from the beach, I thought I would blog something that would remind me of the palm trees and waves I left behind. First off, may I open with that the Beach Boys are the poster child for tropical music, (not including jimmy buffet).
"Kokomo" opens up with a drum prelude that is so typical of Beach Boys music. This tropical beat instantly puts the listener in the mood. Enter the soloist on top of the singer. Lyrics about florida keys, sand, and oceans paint a beautiful landscape for the listener. We now have the steel drum band joining in on the fun along with a light guitar. Steel Drums are quintessential of tropical music. They scream waves, tequila, sandals, dredlocks and cool runnings. "Kokomo is just so chill...As for the music part, it's fairly straightforward. Strophic, closed, simple. Verse, chorus, verse, chorus. No key change, nothing melodically or harmonically complex. The interest for this song comes, as most popular songs do, in it's lyrics. Man I want to go to Kokomo. Anyway, good night all. Hope you're as tan as I.

"She Roll Me Up",by Rusted Root

You've all probably heard "Send Me on my Way," their most popular tune. However, the group has a very eclectic sound, and "She Roll Me up" is completely different then the carefree "Send Me on my Way." "She Roll me Up" is the first song on their self titled album from 1998, and I love the trancelike state of this song. Michael Gablicki (lead vocals) has such a different kind of voice, and the first time I heard this band I had to kind of readjust my thinking of what exactly makes a voice pleasing to the ear. His voice grew on me though, with all of its extreme waverings of pitches that, in my opinion, give him a more passionate sound.

The beginning section is starts with acoustic guitar and Michael singing, somehow in a very reflective way. then it busts into electric guitar on the words "I do my best in this conversation, she roll me up..." It's cool because the guitar and the vocalist are completely melodically independent of each other.

The rest of this sextet start with a great drum introduction on the words "levitate my soul"
The backup vocals have a great melodic line that completes this trancelike song because they sing "ah"on the solfege "do sol mi so"

The middle section becomes terminative on the words " return me, transform me", and it keeps repeating that for a while, and then finally climaxes. The end is almost like the beginning, except that the electric guitar just ends on a V7 chord.

The vocals are the most important element in creating the mood for the song

Adagio from flute concerto in G - Pergolesi

The soloist - orchestral relationship in this piece is pretty typical - the soloist is clearly the star and the orchestra has a very basic part when solo sections are being highlighted. Otherwise, the orchestra is playing melodies and has a much more full, complete, balanced sound. The piece doesnt have a catchy melody, but instead focuses on a pattern of 2 sixteenth notes followed by an eighth. Whenever this rhythm returns, I feel like I have returned to the main motive - it ties the piece together and makes it more unified. The flute part itself is mostly in the lower to middle octaves and doesn't venture very high in general. The piece begins in minor, but modulates to the parallel major a few lines after the flute initially entered and remains in major until the end, where it returns back to the minor key. This affected the entire mood of the piece in an interesting way because I wasn't sure if I was supposed to be feeling happy or sad.

Howie Day- End of our days

So....I'm feeling pretty bad...been really sick for the past two days and wish it were the end of my days...but it's not...so here I am bloggin...
Through this song I basically see it as my life...everything just builds up and up, and eventually you just feel like you need to escape it all or you will drown in all of it. Sometimes you have to stand up and realize what you really feel about things..make the choices you need to make and just move on with your life... Escape everything that you can't help or change... worry about the things you can do now... It is a fairly simple accompaniment with piano, drum set, guitar, and strings. As the song progresses, instruments are added...kind of like the worries of your life add up as it goes along. Then as all the instruments have been added the lyrics are "slipping all away, slipping all away" This is obviously the climax of the song, then it goes directly back into the begining pure piano block chord accompaniment.....good song...but..I'm still sick and worrying....

"Hey Jude" - The Beatles

This is actually a really daunting task: to analyze one of the longest Beatles songs. At 7:07, "Hey Jude" was one of the most popular "slow dance" songs at high school proms around the country in the 60's and 70's. As soon as Paul's opening words, "Hey Jude" thumped over the speakers, teenage girls flocked to the opposite sex for a dance, knowing that they would get a full SEVEN MINUTES in the arms of their crushes.

"Hey Jude" is an epic musical production. The record boasts not only Paul on double-tracked lead vocal, piano, AND bass guitar (on separate tracks, of course), but also John and George on backing vocals, John on acoustic guitar, George on lead guitar, and Ringo on drums and tambourine. Don't forget the forty-piece orchestra towards the end! The song required so much sound that it had to be recorded at two separate studios.

Paul wrote the song for John's son, Julian ("Jules"), because John was going through a painful divorce with his first wife. The song was originally titled, "Hey Jules," but "Hey Jude" was much easier to sing, and it just so happened that St. Jude was the patron saint of lost causes (hence - divorce) as well.

*The song opens with Paul and his piano on the main chorus (A section)
Hey Jude, don't make it bad
Take a sad song and make it better (HC)
Remember to let her into your heart (IV chord)
Then you can start (V chord) to make it better (AC)

*add tambourine and acoustic guitar, same melody
Hey Jude, don't be afraid
You were made to go out and get her
The minute* you let her under your skin (*add George and John on aaahhhs)
Then you'll begin to make it better (add drums - yeah Ringo!)

And anytime you feel the pain (add bass)
Hey Jude refrain (interesting, because this is the B section, or bridge!)
Don't carry the world upon your shoulders
For well you know that it's a fool
Who plays it cool
While making his world a little colder
La Na Na Na Na Na Na Na Na (add lead guitar)

*By now, we have the full band sound - back to the A section
Hey Jude Don't let me down
You have found her, now go and get her
Remember to let her into your heart (This line adds John on harmony)
Then you can start to make it better

*B section again
So let it out and let it in
Hey Jude, begin
You're waiting for someone to perform with (I love this line; it's a great play-on-words)
And don't you know that it's just you
Hey Jude, you do
The movement you need is on your shoulders
La Na Na Na Na Na Na Na Na yeah (The revolutionary double-track - invented in the 60's. The Beatles were obsessed with it because the Beach Boys used it so well)

*Paul starts to improvise on the main melody
Hey Jude don't make it bad
Take a sad song and make it better
Remember to let her under your skin
Then you begin to make it better, better, better, better, better, better, better YEAH!!!!
*Paul rocks out. :)

(Na Na Na Na Na Na Na Na Na Na Na Hey Jude)

This is sung 18 friggen times, each time with more passion. All the bandmates are singing together. You can hear them shouting in the background.

By the fourth time, it sounds like more people are singing. Double track?

The fourth time also introduces the powerhouse orchestra, playing in unison on the tonic note, the fourth, then the fifth, then tonic (an octave lower). So, the chord progression is very simple here - it's just I IV V I. After about the 6th time, some of the horns go up the octave instead of down the octave.

Interesting fact - you can hear John yell "Fucking 'ell!" at around 2:58, because he messes up the backing vocal harmony. Hehe.

Carlos Nakai - "See the Rainbows"

This is a traditional Zuni melody arranged by Nakai on the native american flute. The Zuni (or the A:shiwi as they call themselves) native americans are located around the western border of New Mexico and are said to have inhabited the Zuni river valley since at least 4 ad and their language does not seem to be related to the other Pueblo indians of the area. They believe themselves to have emerged from the underworld at either the Grand Canyon or the Mojave desert and are thought to be descendants of the extensive Anasazi tribe. http://www.crystalinks.com/zuni.html
I actually got this CD in Cherokee, NC over spring break in the "talking leaves" bookstore. Native american flute is one of my favorite instruments.

This song beings with a repeated phrase something like a sixteenth on a lower octave and a dotted eighth on the upper octave and then the higher note repeated and held at length. Then the melody dips a minor third down, down a whole step, back up holding the last note. The piece almost reminds me of a rondo in the sense that this phrase returns at the end of each new melodic venture, though does not end the piece. Nakai further embellishes the phrase as he repeats it, adding what sound to be "hiccup" gestures with his flute and so forth. This gives an almost hypnotic sense to the work and a sense of continuity.

Eine kleine Nachtmusik, First Movement

Mozart

The piece begins with two introductory statements of a motive. The first starts on sol, and the second on fa. The tempo helps to immediately establish an energetic feel to the piece, very lite and brisk, combined with a rhythm of quarter eighth rest eighth and quarter on one, giving it a simple duple time signature. The intervals also give it a sporadic feel, immediately demading the attention of the listener. The held sol at the end of the second phrase is a cue that the core of the piece will begin the the next phrase, which is a relief from the intense begining few measures. The first period of the A section is made up of two four measure phrases, which is repeated and ends on a half cadence. After the HC, an ascending line begins that starts a new phrase, and also ends in a HC. The A section also has a consistant stream of eighths to maintain a tempo, which contributes to the energy. The next phrase begins a two phrase parallel period, the structure becoming more stable to hint that a B section, and key change, is on its way. The period ends with a PAC, on la-ti-do, do acting as an elision into a terminative function. The new B section has a more melodic motive, more flexible. The first phrase has ant/con subphrases, and is restated in the next phrase in a new voice, accompanied by a stream of eighths. The next phrase introduces a new motive that is less squared, without an ant./con. relationship. This phrase is repeated, and a new, higher density, contrasting symetric period begins. The more dense it gets the closer to a terminative function it gets, in this case leading back to the introductory measures. The contrasting symetric period is repeated, and transistional function returns to the introductory theme. From this theme, A is restated, then B, and then the introductory theme again. By now, this theme has become the constant of the piece, surrounded by several different variations. B is restated in a different key, then there is a transistional function back to the constant, A and a terminative function, this time very long and more aggressive that ends the piece in an IAC. Each time the constant theme was stated, it was in the same key. I enjoyed this piece very much. Overall, it was very happy. The keys were all major, and in a very stable register. The tempo also added to the energetic feel, even in the more melodic B section. Overall, I look at this piece in three different parts, the A section, the B section, and the constant.

Eine kleine Nachtmusik, First Movement

Mozart

The piece begins with two introductory statements of a motive. The first starts on sol, and the second on fa. The tempo helps to immediately establish an energetic feel to the piece, very lite and brisk, combined with a rhythm of quarter eighth rest eighth and quarter on one, giving it a simple duple time signature. The intervals also give it a sporadic feel, immediately demading the attention of the listener. The held sol at the end of the second phrase is a cue that the core of the piece will begin the the next phrase, which is a relief from the intense begining few measures. The first period of the A section is made up of two four measure phrases, which is repeated and ends on a half cadence. After the HC, an ascending line begins that starts a new phrase, and also ends in a HC. The A section also has a consistant stream of eighths to maintain a tempo, which contributes to the energy. The next phrase begins a two phrase parallel period, the structure becoming more stable to hint that a B section, and key change, is on its way. The period ends with a PAC, on la-ti-do, do acting as an elision into a terminative function. The new B section has a more melodic motive, more flexible. The first phrase has ant/con subphrases, and is restated in the next phrase in a new voice, accompanied by a stream of eighths. The next phrase introduces a new motive that is less squared, without an ant./con. relationship. This phrase is repeated, and a new, higher density, contrasting symetric period begins. The more dense it gets the closer to a terminative function it gets, in this case leading back to the introductory measures. The contrasting symetric period is repeated, and transistional function returns to the introductory theme. From this theme, A is restated, then B, and then the introductory theme again. By now, this theme has become the constant of the piece, surrounded by several different variations. B is restated in a different key, then there is a transistional function back to the constant, A and a terminative function, this time very long and more aggressive that ends the piece in an IAC. Each time the constant theme was stated, it was in the same key. I enjoyed this piece very much. Overall, it was very happy. The keys were all major, and in a very stable register. The tempo also added to the energetic feel, even in the more melodic B section. Overall, I look at this piece in three different parts, the A section, the B section, and the constant.