Friday, April 01, 2005
"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
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 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?
Thursday, March 31, 2005
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.
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.
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.
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.
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.
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
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
Wednesday, March 30, 2005
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.
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... :)
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.
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.
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.
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.
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.
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.
Tuesday, March 29, 2005
"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)
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.
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.
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