DOCSLIB.ORG

Song Structure MUSC-21600: the Art of Rock Music Prof

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Song Structure MUSC-21600: the Art of Rock Music Prof Song Structure MUSC-21600: The Art of Rock Music Prof. Freeze 24 August 2018 The Rock Window • Pane 1: Musical Text • Timbre: What instruments are playing? • Rhythm: What beats are emphasized? What instruments emphasize the beat? • Vocal style: How emotional? How articulate? How would you describe the vocal quality? • Structure: How are repeating and non-repeating sections of music arranged? • Pane 2: Lyrical Text • Structure: how are repeating and non-repeating sections of lyrics arranged? • Story themes: romance, sexuality, alienation, in/justice, introspection, story, other? • Message: is there an explicit or underlying political or cultural message? • Pane 3: Context • How does the song reflect broader social, political, and cultural forces like race and ethnicity, sexuality and gender, social class, generational identity? • How does the song reflect an artist’s personal history, identity, musical influences, career? • How does the song reflect the conditions shaped by the music industry? Song Structure: The Foundations • Song structure/form = pattern of repeating and contrasting sections of music and lyrics in a song • Both dynamic (experience in time) and architectural (formal diagrams) • Both aesthetic and practical • Backbone of song structure = time • Precise timing on recording (e.g., 0:19) • Beat = regular pulse that can be inferred from a song’s musical events • Meter = regular pattern of strong and weak beats that can be inferred from a song’s musical events • Measure (bar) = one iteration of the meter’s essential pattern of strong and weak beats • Rhythm = a particular pattern of long and short musical events (not inferred, but heard!) • Most common meters • “Rocket 88” = 4 beats per measure (SwWw = quadruple meter = 4/4) • “Goodnight Irene” = 3 beats per measure (Sww = triple meter = 3/4) • “That’s All Right” = 2 beats per measure (Sw = duple meter = 2/4) Song Structure: The Basic Patterns • Simple verse = one section of music repeated many times, with different words (= verse) or with no words (= instrumental verse) • “Rocket 88” (Jackie Brenston, 1951) • 12-bar blues • Common structural pattern for a song section • Distinctive coordination of measure length, harmony (chords), phrasing, and lyrics bar: 1 2 3 4 5 6 7 8 9 10 11 12 chord: I I I I IV IV I I V V (IV) I I phrase: Phrase 1 Phrase 2 Phrase 3 lyric: Question Question Answer Song Structure: The Basic Patterns • Simple verse-chorus = one section of music repeated many times with different words (= verse) and with recurring lyrics (= chorus) • “Hound Dog” (Elvis Presley, 1956) • Contrasting verse-chorus = two sections of music, one that repeats with different words (= verse) and one that repeats with the same lyrics (= chorus) • “Rock and Roll Music” (Chuck Berry, 1957) • AABA = two sections of music (usually 8 bars each), one of which is stated in full or part three times (A) and one that occurs once (B) • “Great Balls of Fire” (Jerry Lee Lewis, 1957).
Load more

Recommended publications
  • Elvis GI Blues Mp3, Flac
    Elvis G.I. Blues mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Stage & Screen Album: G.I. Blues Country: UK Released: 2001 Style: Soundtrack MP3 version RAR size: 1358 mb FLAC version RAR size: 1692 mb WMA version RAR size: 1753 mb Rating: 4.8 Votes: 402 Other Formats: APE MP2 MMF XM MP3 WAV MP4 Tracklist A1 Tonight Is So Right For Love A2 What's She Really Like A3 Frankfort Special A4 Wooden Heart A5 G.I. Blues A6 Pocketful Of Rainbows A7 Shoppin' Around A8 Big Boots A9 Didja' Ever A10 Blue Suede Shoes B1 Doin' The Best I Can B2 Tonight's All Right For Love B3 Big Boots (Fast Version) B4 Shoppin' Around (Alternate Take 11) B5 Frankfort Special (Fast Version - Take 2) B6 Pocketful Of Rainbows (Alternate Take 2) B7 Didja' Ever (Alternate Take 7) B8 Big Boots (Acoustic Version) B9 What's She Really Like (Alternate Take 7) B10 Doin' The Best I Can (Alternate Take 9) C1 Almost In Love C2 A Little Less Conversation D1 Wonderful World D2 Edge Of Reality Notes Soundtrack album with outtakes and bonus EP. Includes 6 page booklet. Barcode and Other Identifiers Barcode: 5038456410611 Other versions Category Artist Title (Format) Label Category Country Year G. I. Blues (LP, RCA LPM-2256 Elvis* LPM-2256 US 1960 Album, Mono) Victor G. I. Blues (LP, RCA LPM-2256 Elvis* LPM-2256 US 1960 Album, TP) Victor Elvis G.I. Blues (LP, SF 5078 RCA SF 5078 UK Unknown Presley Album, RE) RD-27192, Elvis G.I. Blues (LP, RCA, RD-27192, UK 1961 RD.27192 Presley Album, Mono) RCA RD.27192 Elvis G.I.Blues (CD, Album, BVCP-2026 RCA BVCP-2026 Japan 1991 Presley RE, RM) Related Music albums to G.I.
    [Show full text]
  • Songwriting Cheatsheet
    Songwriting Cheatsheet If you study the charts, you’ll realize that great pop songs are not accidents, and they are too plentiful to be the products of so-called “inspiration”. Pop songwriting is a craft that can be learned and applied with practice. I’d like to share what I’ve learned over the years from both my own writing and conversations with many professional songwriters. Hopefully you can apply these tips to your own songs! The elements of a great pop song are as follows: 1. Song Structure Great songs start with a great structure. While there are several popular structures used in pop music today, what they all have in common is that they provide a balance between repetition and presenting new information. A great song structure is designed to keep giving your listener something new, but also provide them with enough familiarity to keep them engaged. Let’s first define the typical sections, or parts of a pop song: Verse: Tells the story – answers “who, what where, when and why?”. Lyrics usually change from verse to verse, while the melody usually stays the same (though it is sometimes embellished upon slightly with each passing verse). Pre-chorus (or “the climb”): Functions to build energy and lead the listener into the chorus. Chorus: Sums up the message of the song – answers the question “so what?”. Contains the song’s “hook”. Lyrics and melody usually stay the same in each chorus. Bridge: Provides lyrical and melodic contrast – usually by offering a different point of view or perspective (something we haven’t heard before).
    [Show full text]
  • Elvis Presley's Original 12-Pound 'Aloha from Hawaii' Cape Has a New Home!
    Elvis Presley's Original 12-Pound 'Aloha From Hawaii' Cape Has a New Home! Summer, 2015 Elvis' original 12-Pound 'Aloha From Hawaii' Cape to The King's Ransom Museum: Elvis Presley's original 12-Pound 'Aloha From Hawaii' Cape has a new home! The 12-pound cape custom-made for Elvis Presley for the singer's famed 1973 performance Aloha from Hawaii Via Satellite is now owned by The King's Ransom Museum and is one of the 'Personal Treasures of Elvis Presley' soon to be displayed for Elvis fans around the world to enjoy. The full-length cape, adorned with an American eagle and stars and inlaid with semi-precious stones, measured nearly five feet in length, but when Presley tried it on in rehearsals, he found it too heavy to be worn onstage for the show. Designer Bill Belew was forced to create a lighter replacement for Presley, with the original sent back to Graceland. "Presley had the cape made to hide behind at the opening of the Hawaii show. His intention was to 'emerge' from behind the cape during the 2001 opening segment. The show was heavily choreographed - he intended to drop the cape and reveal himself to the anxiously awaiting crowd. However, when Presley tried on the cape during rehearsals, the weight almost pulled him over backwards, and it was decided that a smaller version was needed." "Three small hooks and Velcro are sewn into the collar to connect the cape to Presley’s jumpsuit, and two small straps are sewn into the corners to enable Elvis to stretch out the cape while wearing it." Belew, who died in 2008, gained fame for designing many of Presley's outfits from 1968 to 1977, including the velveteen ensemble the singer wore for his infamous "Elvis meets Nixon" photo.
    [Show full text]
  • What Makes a Good Song? Exploring Popular Songs A
    SECOND ARY/KEY STAGE 3 MUSI C – WHAT MAKES A GOOD SONG? K NOWLEDGE ORGANISER What Makes a Good Song? Exploring Popular Songs A. Form and Structure in Pop Songs B. Typical Pop Song Structure C. Key Words FORM AND STRUCTURE – the different sections MELODY – The main tune of a popular song, often sung by the LEAD SINGER or sometimes of a piece of music or song and how they are INTRO played on instruments within the band e.g. LEAD GUITAR. A melody can move by STEP ordered. using notes that are next to or close to one another this is called CONJUNCT MOTION, or a INTRO – The introduction sets the mood of a VERSE 1 melody can move by LEAPS using notes that are further apart from one another which is song. It is often instrumental but can called DISJUNCT MOTION. The distance between the lowest pitched and highest pitched note in a melody is called the MELODIC RANGE. occasionally start with lyrics. VERSE 2 CHORD – A group of two or more pitched notes played at the same time. VERSES – Verses introduce the song theme. They CHORUS BASS LINE – The lowest pitched part of a song, often performed by bass instruments such are usually new lyrics for each verse which helps as the BASS GUITAR. The bass line provides the harmonies on which the chords are to develop the song’s narrative, but the melody is VERSE 3 constructed. the same in all verses. ACCOMPANIMENT – Music that accompanies either a lead singer or melody line – often PRE-CHORUS - A section of music that occurs CHORUS known as the “backing” – provided by a band or BACKING SINGERS.
    [Show full text]
  • Compound AABA Form and Style Distinction in Heavy Metal *
    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
    [Show full text]
  • Ebook Download Elvis Presley: a Life in Pictures
    ELVIS PRESLEY: A LIFE IN PICTURES PDF, EPUB, EBOOK none | 48 pages | 01 Jul 2012 | Atlantic Publishing,Croxley Green | 9781908533975 | English | Croxley Green, United Kingdom Elvis Presley: A Life in Pictures PDF Book Sunset Boulevard Getty Images. TIME Apps. He was stationed in Germany for two years. Today's Top Stories. Office of Presidential Libraries. Space He received deferment so that he could complete production on King Creole and entered the army as a private in A young Elvis, age 10, is pictured with his parents outside his family home in Tupelo, Mississippi in While living on the German army base, Presley met year-old Priscilla Beaulieu , who was living there with her parents. Your email address will not be published. Presley brought his iconic gold Cadillac on tour with him to promote his film Tickle Me. TIME Shop. Published in the Memphis Commercial Appeal. He released his first two albums and a string of singles including the US number one, Heartbreak Hotel. Sign In. After his film success started to decline and it became clear Presley was losing some of his box office charm, he returned to TV with a special in Available via Getty. Or subscribe to articles in the subject area by email or RSS. Originally published in the Memphis Press-Scimitar. His new single "Heartbreak Hotel" climbed the charts and quickly took over the top spot. A year later, Elvis would be given his first guitar. Paramount Pictures Getty Images. The Comeback Special, which saw the King in raucous form, was a massive success. TIME Magazine's first-ever consideration of Elvis Presley, a snippet review of the single Heartbreak Hotel in , did not contain many clues about what was to come.
    [Show full text]
  • MTO 23.3: De Clercq, Embracing Ambiguity in Pop/Rock Form
    Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991 Trevor de Clercq KEYWORDS: Form, popular music, rock music, verse, chorus, bridge ABSTRACT: A central concern for theories of form in pop/rock music is the division of a song into sections and, consequently, the categorization of these sections according to a standard set of section labels. Psychological research on categorization shows that it is inherently a perceptual process, one that involves graded membership and fuzzy boundaries. Thus in contrast to prior theorists, who often a2empt to minimi/e ambiguity in the analysis of form in pop/rock music, I confront ambiguity directly, organi/ing and describing many of the common types encountered. I focus e4clusively on the time period 198 –1991, 1hen verse5chorus form can be considered to have achieved 1idespread currency. After providing an illustrative e4emplar, I discuss three types of ambiguity common to this decade, each based on the main section role involved: 16 verse ambiguity, 1hich typically derives from 1eak section di7erentiation8 6 chorus ambiguity, 1hich usually involves a blend of more than one section role8 and 36 bridge ambiguity, 1hich often results from di7erent hierarchical meanings of the bridge label. Received December 2016 :olume 23, Number 3, September 2017 Copyright © 2017 Society for Music Theory Introduction ?1.1] ,he analysis of form in pop/rock music traditionally involves partitioning a song into various discrete sections, such as verse, chorus, and bridge. Perhaps unsurprisingly, this process is not al1ays straightfor1ard, since t1o di7erent analysts sometimes provide t1o di7erent interpretations of the same song.
    [Show full text]
  • Signature Events
    SIGNATURE EVENTS FILM FLORIDA LEGENDS From the earliest days of Filmmaking, Florida has played a significant role in the entertainment industry. Jacksonville hosted the Keystone Cops and Laurel and Hardy in the early 1900’s, D.W. Griffiths filmed in Ft. Lauderdale, Buster Keaton in St. Petersburg, and Miami’s Fleischer Studios turned Popeye and Betty Boop cartoons into Saturday matinee staples. Our State’s tropical locations have long been the backdrop for such notable flicks as the Tarzan series, Creature From the Black Lagoon, Twelve O’Clock High and 30 Seconds Over Tokyo, The Yearling, the James Bond classic Goldfinger, Frank Sinatra’s Tony Rome, Elvis’ Clambake, and Jerry Lewis’ The Bellboy. When television was coming of age, Jackie Gleason and Flipper represented Florida’s contribution to the medium, and a few decades later Miami Vice continued the tradition of legendary Florida productions. With so much history and so many stories to tell about Florida’s entertainment legacy, Film Florida created the LEGENDS AWARDS, to honor the men and women who played such a big part in establishing our State as an entertainment powerhouse. Since its inception in 2006, FLORIDA LEGENDS honorees have included Ricou Browning Sr., Jordan Klein Sr., Mike and Brad Fuller, Ralph Clemente, Danny and Eddie Harvey and Digger Wilson, Errol Falcon, Michelle Marx, Belton Clark, Jerry Smith, Ray Fielding, Bill Grefe, Luke Halpin, Victor Milt, Dee Miller, John Patterson, Burt Reynolds, and posthumously Wes Skiles, Billy Mays, Egon Stephan Sr., Mike McGowan Sr., and Richard Norman Sr. Recent recipients include Sharon Gless, Emilio and Gloria Estefan, and Vanilla Ice.
    [Show full text]
  • Strictly Elvis Newsletter No.16.Pdf
    NewsletterNewsletter No. No. 1165 Autumn Spring 2015 2016 Good Morning, We appreciate that not everyone has the You will, I’m sure, know that Joe Moscheo of Elvis’ Imperials time or inclination for social media but we died in January, just a month after he should have been in the really don’t want you to miss out so could I UK as Special Guest at a Concert that Strictly Elvis UK were ar- ask a big, big, favour? If you are on Email (or ranging in his honour. We cancelled the plans when it became if not then perhaps a friend or family mem- apparent that Joe’s condition had deteriorated to the point that ber is) then just email us your name to en- overseas travel would prove impossible. Joe wasn’t just an Elvis [email protected] and from that we’ll ‘contact’ or someone I did business with, but a genuine friend pick up your email address and in future, in and I miss him greatly. I wear his watch – the one he gave me addition to using Social Media, we’ll send outside Coventry Cathedral. He wanted to mark the occa- you details in an email. It was sad when Elvis sion, joking that he wouldn’t be offended if I preferred the one at The O2 finally closed its doors, but didn’t already on my wrist. I’ve worn his watch every day since. And we close it out in style with the Birthday always will. God Bless you Joe, we’ve lost a good ’un in you but Bash followed by our Last Night Farewell? I can imagine the welcome that was awaiting you in Heaven.
    [Show full text]
  • Page 1 of 2 All Shook up Choreographer: Naomi Fleetwood Description: 1 Wall, Intermediate Line Dance Music: All Shook up By
    All Shook Up Choreographer: Naomi Fleetwood Description: 1 wall, intermediate line dance Music: All Shook Up by Elvis Presley or Billy Joel PART A SHUFFLE FORWARD LEFT AND RIGHT 1&2 Shuffle forward Left, Right, Left 3&4 Shuffle forward Right, Left Right LEFT GRAPEVINE AND TOUCH 5-8 Step L Foot to left, Step R Foot behind L, Step L Foot to left, Touch R in place SHUFFLE BACKWARDS RIGHT AND LEFT 9&10 Shuffle backwards Right, Left, Right 11&12 Shuffle backwards Left, Right, Left RIGHT GRAPEVINE AND TOUCH 13-16 Step R Foot to right, Step L Foot behind R, Step R Foot to right, Touch R in place WALK FORWARD LEFT, RIGHT, LEFT, KICK RIGHT 17-20 Walk forward Left, Right, Left, Kick Right WALK BACK RIGHT, LEFT, RIGHT, TOUCH LEFT 21-24 Walk Back Right, Left, Right, Touch Left in place STOMP LEFT TO LEFT SIDE, CLAP, PULL, PAUSE 25 Stomp Left to Left Side and extend Left arm to the left 26-27 Clap Right hand on Left, Pull Right hand to chest, as if with a bow and arrow 28 Pause ROLL HIPS TWICE (ELVIS HIPS!) 29-32 Rolls hips twice as if you were Elvis himself! PART B LEFT GRAPEVINE AND TOUCH 33-36 Step L Foot to left, Step R behind L, Step L Foot to left, Touch R in place ½ PIVOT TO THE LEFT TWICE 37-38 Touch R Foot forward, Pivot ½ Turn to the left (weight stays on L Foot) 39-40 Touch R Foot forward, Pivot ½ Turn to the left (weight stays on L Foot) RIGHT GRAPEVINE AND TOUCH 41-44 Step R Foot to right, Step L Foot behind R, Step R Foot to right, Touch R in place ½ PIVOT TO THE RIGHT TWICE 45-46 Touch L Foot forward, Pivot ½ Turn to the right (weight
    [Show full text]
  • Handout For: 'Repetition's Sonic Connection in Lyric Writing By: L Dunn
    Handout for: ‘Repetition’s sonic connection in lyric writing by: L Dunn ● Chorus or Refrain: is the repeated section in a song that’s function is to crystallize the idea, the intent, the emotional point and statement the song is making and is often repeated verbatim at least 3 times in a song’s structure. I should note for those who don’t already know, that a ‘refrain’ is defined as the same lyric line, word for word, that ends each separate verse section (the last line of the verse). It can occasionally appear as the first line instead of the last line of each verse. It differs from the ‘chorus’ which is a separate multi-lined section of it’s own that generally follows a verse or pre-chorus. But a chorus can also be the first section, leading off a song. ●Pre-Chorus or Lift: is a repeated song section, often using the same lyric each time it repeats. This section precedes the choruses in a song’s structure. ●anaphora: is the repetition of a word or short phrase at the beginning of successive lines. This is a very commonly used device in lyric writing, here are 2 examples: * “When Will I be Loved” by Phil Everly, recorded by: The Everly Brothers, Linda Ronstadt, Vince Gill, Carrie Underwood, John Fogerty, and Tanya Tucker among others. I’ve been pushed down/I’ve been pulled ‘round/when will I be loved I’ve been made blue/I’ve been lied to/when will I be loved *“Who’s Cheatin’ Who” by Charly McClain, recorded by Alan Jackson.
    [Show full text]
  • New Elvis Presley Album Christmas with Elvis and the Royal Philharmonic Orchestra to Be Released October 6 by Sony Music's Legacy Recordings
    NEW ELVIS PRESLEY ALBUM CHRISTMAS WITH ELVIS AND THE ROYAL PHILHARMONIC ORCHESTRA TO BE RELEASED OCTOBER 6 BY SONY MUSIC'S LEGACY RECORDINGS Essential New Presley Seasonal Collection Unites Classic Elvis Holiday Performances with Brand-New Orchestral Accompaniment, Produced by Nick Patrick and Don Reedman Deluxe Version To Be Released November 24 # # # # # RCA Records and Legacy Recordings, the catalog division of Sony Music Entertainment, will celebrate the 2017 holiday season with the release of Elvis Presley - Christmas with Elvis and The Royal Philharmonic Orchestra on Friday, October 6. Christmas with Elvis and The Royal Philharmonic Orchestra brings together Elvis Presley’s best-loved yuletide performances from Elvis’ Christmas Album (1957) and Elvis Sings the Wonderful World of Christmas (1971) re-imagined with sublime and exquisite new arrangements performed by The Royal Philharmonic Orchestra. Produced by Nick Patrick and Don Reedman and recorded at Abbey Road Studio 2, Christmas with Elvis and The Royal Philharmonic Orchestra follows in the phenomenal worldwide success of 2015's If I Can Dream: Elvis Presley with The Royal Philharmonic Orchestra (which has sold more than 1.5 million copies) and last year's The Wonder Of You: Elvis Presley with The Royal Philharmonic Orchestra (which sold more than 800,000 copies worldwide). Christmas with Elvis and The Royal Philharmonic Orchestra will be released on CD, LP, and digital formats on Friday, October 6. A deluxe version of the album contains 4 bonus tracks (new symphonic versions of material from Elvis’ Peace In The Valley EP) and will be released on CD and digital formats Friday, November 24.
    [Show full text]