WHO
WHAT
WHERE
WHY
WHEN John Lennon
• Rhythm guitar
• Singer
• Wrote many of the songs along with Paul McCartney
• Married to Yoko Ono
• Was assassinated in 1980 Paul McCartney
• Bass guitar (left handed)
• Singer
• Wrote many of the songs along with John Lennon
• Originally a trumpet player but sold it for a guitar because the trumpet made it hard to sing and play. George Harrison
• Lead guitar
• Known as ‘The Quiet Beatle’
• Spent time in India and drew on this influence in many songs
• Died of lung cancer in 2001 Ringo Starr
• Drums
• Original name is Richard Starkey
• Voices Thomas the Tank Engine Other People
• George Martin: Producer
• Brian Epstein: Manager
• Stuart Sutcliffe: Former bass player (left group to become an artist, died a year later)
• Pete Best: Former drummer (sacked)
• Yoko Ono: Married John Lennon
THE BEATLES: ICONIC IMAGE The Beatles
They developed their own style including influences from many different genres including Indian music, Vaudeville, Music Hall, Ragtime and Avante Garde
But they had many different styles… The Beatles: 1963 -1970
1. I Want To Hold Your Hand
2. Can't Buy Me Love
3. Hey Jude
4. Help!
6. Here Comes the Sun
8. Strawberry Fields Forever
9. Don’t Let Me Down
10. I am the Walrus
They recorded/released 237 songs The Beatles
‘I Want to Hold ‘She Loves You’ ‘I Feel Fine’ 1 Your Hand’ 2 ‘Beatlemania’ 3 1963 1965 1964
4
‘Rock and Roll ‘Bigger than Sgt. Pepper’s Lonely Heart’s Club 5 6 Music’ 1966 Jesus’ 1966 band 1967 Why did The Beatles stop touring?
• They were tired of travelling and live shows
• The could hardly him themselves perform because of all the screaming and the low quality equipment
• There had been security issues and death threats because of their fame and popularity • They were sick of the same instrument format and wanted to experiment with different styles and genres The Beatles: Study Pieces
• With a Little Help From My Friends
• Lucy in the Sky With Diamonds
• Within You, Without You Sgt. Pepper’s Lonely Hearts Club Band
1. Sgt. Pepper's Lonely Hearts Club Band 2. With a Little Help from My Friends 3. Lucy in the Sky with Diamonds 4. Getting Better 5. Fixing a Hole 6. She's Leaving Home 7. Being for the Benefit of Mr. Kite! 8. Within You Without You 9. When I'm Sixty-Four 10. Lovely Rita 11. Good Morning Good Morning 12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) 13. A Day In the Life Sgt. Pepper’s Lonely Hearts Club Band
• Concept album created after they finished touring
• Whole album was a live performance so should be played in one go (i.e. there are sounds of instruments tuning)
• The songs on the album use a wide variety of instruments including a 40-piece orchestra, French horn quartet & classical Indian instruments
• The genre of the album is Psychedelic Rock (intended to replicate feeling of taking mind-altering drugs such as LSD) WITH A LITTLE HELP FROM MY FRIENDS With A Little Help From My Friends
Possible questions…
• How does this piece demonstrate that Ringo Starr wasn’t a confident singer?
• How does this piece demonstrate balance and development?
• Explain the contrasting rhythms used in this piece. Other Beatles sing backing Written by Lennon & vocals and play electric Second track on the album McCartney for Ringo Starr guitar, bass, cowbell and and has been cross faded to sing lead vocals & play piano (George Martin plays from Sgt. PLHCB drums Hammond organ)
Starr sings the lead vocals Pre-recorded applause ‘Billy Shears’ is introduced in his alter ego character which reinforces that the at the start following a Billy Shears from a album was live long intro fictional band
With a Little Help From My Friends Structure Intro: backing vocals ‘Billy Shears’ Verse 1: Ringo solo Chorus: Ringo solo with backing vocals joining in on the third repeat Verse 2: Ringo alternating questions with the backing vocals Chorus 2: in vocal harmony throughout, 6 bars instead of 8 Bridge 1: backing vocals asking questions with Ringo answering Verse 3: backing vocals asking questions with Ringo answering Chorus 3: in vocal harmony throughout, six bars instead of 8 Bridge 2: backing vocals asking questions with Ringo answering Chorus 4: in vocal harmony throughout, this time 8 bars leading to… Outro: same 3 ascending chords as the intro Intro
• Starts with crowd noises to give the impression of a live performance
• Backing vocals introduce Ringo Starr’s alter ego – Billy Shears
• Piano plays three ascending major chords (C, D, E) played in a triplet rhythm. These chords take us from the key of the previous song (G major) in to they key of With A Little Help from My Friends (E major) Verse 1 Harmony
Verse only uses chords I (E), V (B), ii (F#m) played in crotchets. The harmonic rhythm creates a sense of balance Verse 1 Rhythm Tied notes in the melody creates syncopation which contrasts with the shuffle rhythm Verse 1 Stepwise melody with a limited note range makes it Melody easy to sing
Highest note = B Lowest note = E
Sequential melody creates balance Verse 1
• Ringo sings a solo. Notice the stepwise melody with a limited range
• Piano and guitar have crotchet chords
• Drums play a shuffle rhythm (uneven hi hat: long, short, long, short)
• Melody is syncopated placing emphasise on the words: think, sang, tune, stand, walk and me
• There is a sequence between the words ‘What would you think’ and ‘sang out of tune’
• Paul McCartney is playing a melodic bassline filling in the root notes with passing notes
• The sequence is repeated for ‘Lend me your ears’ and ‘sing you a song’ creating a sense of balance Chorus 1 Leap in the melody of a 5th
Flattened seventh chord (non diatonic harmony) • 2 bar phrase is repeated 3 times in total
• Backing vocals add harmony on the third time
• Followed by a syncopated drum fill Verse 2
Verse 2 is different to verse 1 as it uses antiphonal call and response between the solo singer and the backing vocals
Ringo: What do I do when my love is away? B.V: Does it worry you to be alone? Ringo: How do I feel at the end of the day? B.V: Are you sad because you’re on your own? Chorus 2
Chorus 2 is different to chorus 1 in the following ways
1. The vocal harmonies are present throughout
2. The second part of the sixth bar is used as a transition to the bridge
3. The final two bar instrumental passage is omitted Bridge 1
The bridge provides a contrast to the restricted vocal writing of the verse and chorus as the backing vocals ask the opening questions in an expanded vocal range.
Harmony sounds as if it Ringo answers in his normal baritone pitch going to modulate to B major but then goes back to E major Verse 3
The backing vocals are now leading the questions in harmony with Ringo replying:
B.V: Would you believe in love at first sight? Ringo: Yes I’m certain that it happens all the time B.V: What do you see when you turn out the light? Ringo: I can’t tell you but I know it’s mine Chorus 3
Same as chorus 2 Bridge 2
Same as bridge 1 Chorus 4
This chorus is extended to eight bars (instead of six) Outro
A two bar outro based on the same three ascending major chords used in the intro (C, D, E) completing the sense of balance. With A Little Help From My Friends
4/4 time signature, andante tempo, syncopated rhythms throughout, shuffle rhythm on drums, Rhythm & Metre triplets in piano chords, tied notes in verse melody
Harmony & Tonality E major, harmonised vocals (in 3rds and 5ths)
Melody and accompaniment, antiphonal (bridge), riff (bass guitar), conjunct vocal melodies limited Melody & Texture range
Electric guitar, bass guitar, vocals, drum kit (drum fill before verse 2), cowbell, tambourine, mp/mf Timbre & Dynamics dynamics
Structure & Form Pop song structure (i.e. Intro, verses, choruses)
Sung by Ringo Starr Other Vocals in harmony – Lennon & McCartney Cross Fade With A Little Help From My Friends
How does this piece demonstrate that Ringo Starr wasn’t a confident singer?
• Simplistic melody with a limited range • Melody is syllabic • Melody contains sequences • Syncopated melody follows the natural pattern of speech • Extended melodic range is reserved for the backing singers With A Little Help From My Friends
How does this piece demonstrate balance and development?
Balance Development
The piece starts and ends with the same ascending chord Paul McCartney develops the bassline using passing notes patter (C, D, E) and inverted chords
Verse 2 uses antiphonal call and response with the backing Harmonic rhythm in the verse creates balance vocals
Chorus 2 uses harmonies throughout and a shortened Sequential stepwise melody used in the verse phrases
The bridge uses an extended vocal range for the backing singers With A Little Help From My Friends
Explain the contrasting rhythms used in this piece.
• Triplets in the piano during the introduction • Melody uses syncopation • Chords played in crotchets • Drums play a shuffle rhythm • Syncopated drum fill at the end of the chorus Further Listening…
With a Little Help From my Friends
• Mumford and Sons LUCY IN THE SKY WITH DIAMONDS Mainly written by Lennon (who Standard rock band instruments Third track on the album sang lead vocals) with input from alongside acoustic guitar, McCartney tambura and Lowrey organ
Said to be inspired by a painting done by Lennon’s 4year old son There is speculation that the Through The Looking Glass by song has reference to LSD from Lewis Carroll – psychedelic the song title, but the Beatles imagery “marmalade skies” and have denied that “kaleidoscope eyes”
Lucy in the Sky with Diamonds Lucy in the Sky With Diamonds
Possible questions
• How does this song create a dream like quality?
• What technology effects does it use? Technology Effects
Overdubbing Mixing multiple parts on to one track to free up the other tracks
Reduction mixing Creating a double tracking effect automatically
Double tracking A microphone is placed very close to the sound source
Automatic double A ‘transformer’ so that electric instruments could be recorded directly tracking (ADT) without the need of a mic. Using a 4 track recorder to record each track separately rather than Varispeeding recording the band playing live Setting a tape to record at a slow/fast speed and then playing it back at the Close micing original tempo. It changes the timbre of the instrument Recording the same instrumental or vocal part twice to achieve a chorus Direct injection (DI) effect Technology Effects
Using a 4 track recorder to record each track separately rather than Overdubbing recording the band playing live
Reduction mixing Creating a double tracking effect automatically
Double tracking A microphone is placed very close to the sound source
Automatic double A ‘transformer’ so that electric instruments could be recorded directly tracking (ADT) without the need of a mic.
Varispeeding Mixing multiple parts on to one track to free up the other tracks
Setting a tape to record at a slow/fast speed and then playing it back at the Close micing original tempo. It changes the timbre of the instrument Recording the same instrumental or vocal part twice to achieve a chorus Direct injection (DI) effect Technology Effects
Using a 4 track recorder to record each track separately rather than Overdubbing recording the band playing live
Reduction mixing Mixing multiple parts on to one track to free up the other tracks
Double tracking A microphone is placed very close to the sound source
Automatic double A ‘transformer’ so that electric instruments could be recorded directly tracking (ADT) without the need of a mic.
Varispeeding Creating a double tracking effect automatically
Setting a tape to record at a slow/fast speed and then playing it back at the Close micing original tempo. It changes the timbre of the instrument Recording the same instrumental or vocal part twice to achieve a chorus Direct injection (DI) effect Technology Effects
Using a 4 track recorder to record each track separately rather than Overdubbing recording the band playing live
Reduction mixing Mixing multiple parts on to one track to free up the other tracks
Recording the same instrumental or vocal part twice to achieve a chorus Double tracking effect Automatic double A ‘transformer’ so that electric instruments could be recorded directly tracking (ADT) without the need of a mic.
Varispeeding Creating a double tracking effect automatically
Setting a tape to record at a slow/fast speed and then playing it back at the Close micing original tempo. It changes the timbre of the instrument
Direct injection (DI) A microphone is placed very close to the sound source Technology Effects
Using a 4 track recorder to record each track separately rather than Overdubbing recording the band playing live
Reduction mixing Mixing multiple parts on to one track to free up the other tracks
Recording the same instrumental or vocal part twice to achieve a chorus Double tracking effect Automatic double Creating a double tracking effect automatically tracking (ADT) Varispeeding A ‘transformer’ so that electric instruments could be recorded directly without the need of a mic. Setting a tape to record at a slow/fast speed and then playing it back at the Close micing original tempo. It changes the timbre of the instrument
Direct injection (DI) A microphone is placed very close to the sound source Technology Effects
Using a 4 track recorder to record each track separately rather than Overdubbing recording the band playing live
Reduction mixing Mixing multiple parts on to one track to free up the other tracks
Recording the same instrumental or vocal part twice to achieve a chorus Double tracking effect Automatic double Creating a double tracking effect automatically tracking (ADT) Setting a tape to record at a slow/fast speed and then playing it back at the Varispeeding original tempo. It changes the timbre of the instrument A ‘transformer’ so that electric instruments could be recorded directly Close micing without the need of a mic.
Direct injection (DI) A microphone is placed very close to the sound source Technology Effects
Using a 4 track recorder to record each track separately rather than Overdubbing recording the band playing live
Reduction mixing Mixing multiple parts on to one track to free up the other tracks
Recording the same instrumental or vocal part twice to achieve a chorus Double tracking effect Automatic double Creating a double tracking effect automatically tracking (ADT) Setting a tape to record at a slow/fast speed and then playing it back at the Varispeeding original tempo. It changes the timbre of the instrument
Close micing A microphone is placed very close to the sound source
A ‘transformer’ so that electric instruments could be recorded directly Direct injection (DI) without the need of a mic.
Structure
Intro Verse 1: 3/4 time in A major Bridge 1: 3/4 time in Bb major Chorus 1: 4/4 time in G major, bass line in running quavers Verse 2: back to 3/4 time Bridge 2: 3/4 time, bass line uses arpeggios Chorus 2: 4/4 metre, bass line in running quavers Verse 3: Slightly modified bass line Chorus: repeated three times with modified bass and fade out ending. Opening riff uses chromatic shape in the lowest sustained notes of the Intro melody
• Uses a Lowrey DSO Heritage Deluxe electronic organ played by Paul.
• The harpsichord, vibraharp, guitar and music box stops are pulled out. Verse 1: 3/4 A major
• The opening melodic phrase starts with a single hypnotic note
• The melody starts by using just three notes, adding to the dreamlike effect
• John Lennon was insecure about his singing voice and so increasingly asked the studio engineers to invent ways to boost the timbre of his voice. The engineers came up with double tracking and later ADT. This effect was gradually added to the singing heard clearest on the words ‘…a girl with kaleidoscope eyes..’
• Uneven phrases lengths (9 bar phrase followed by 10 bar phrase) Bridge 1: 3/4 B flat 125 BPM
• Vocal effects continue with ADT • Melody has repeated notes over a changing chord progression which creates extended harmony.
• Uneven phrases . 8 bar phrase followed by… . a 5 bar phrase
• Last bar is in 4/4 and helps to provide a modulation to the key of G major Chorus 1: 4/4 G major 98 BPM • Uses chords I, IV and V
• Lowrey Organ plays off beat chords
• 2 bar phrase played three times followed by an extra bar.
• Appears to be faster but…
• Is actually slower (the running quavers in the bassline make it seem faster). Chorus 1: 4/4 G major 98 BPM
Unusual instrumental effects:
• George Harrison plays his lead guitar through a Hammond Organ Leslie Rotating speaker.
• McCartney plays simple off beat chords on the Lowrey Organ.
• At the end of the chorus George Harrison plays a tambura which produces a drone. Lucy in the Sky With Diamonds
How does this song create a dream like quality?
• Changes in time signature and tempo between the verse/bridge and the chorus
• Modulates to unrelated key signatures in the different sections.
• Uses unusual/unrecognisable sounds e.g. the harpsichord, vibraharp, guitar and music box stops on the Lowrey organ.
• Hypnotic and simplistic melody creates extended chords (e.g. CEG chord with a D in the melody)
• Irregular phrase lengths.
• Technology effects e.g. ADT on the words ‘…girl with kaleidescope eyes...’ acts as word painting. Lucy in the Sky With Diamonds
What technology effects does it use?
• Overdubbing allowed multi track recording which meant that more instruments/vocals could be included.
• Reduction mixing allowed a greater number of tracks could be used.
• DI improved the quality of the recording of electric instruments
• Close micing allowed acoustic instruments to be recorded
• ADT on the words ‘…girl with kaleidescope eyes...’ acts as word painting.
• Unusual instrument sounds: Guitar played through rotary speaker, stop selection of the Lowrey organ, Indian instruments Lucy in the Sky with Diamonds 3/4 time signature in verse – melody and bassline follows strict 3/4, Rhythm & Metre 4/4 time signature in chorus – the melody follows strict 4/4 with ties and syncopation Andante/Moderato tempo
Tonality & Harmony A major verses >Bb major bridge>G major chorus (modulations to unrelated key)
Vocals, drumkit, tambura, bass guitar, electric guitar, Lowrey organ Timbre & Dynamics crescendo f into chorus, largely mf throughout
Melody and accompaniment, the texture thickens in the chorus, Texture & Melody melody is simplistic, scalic, conjunct and sung syllabically
Structure & Form Intro, Verse, Chorus, Verse, Chorus, Chorus – Pop song form
Possible link to LSD – Beatles have denied this Other Psychedelic imagery “marmalade sky” “kaleidescope eyes” Repetitive chorus line “Lucy in the sky with diamonds” Technology Effects
Using a 4 track recorder to record each track separately rather than recording the Overdubbing band playing live
Reduction Mixing Mixing multiple parts on to one track to free up the other tracks
Double tracking Recording the same instrumental or vocal part twice to achieve a chorus effect
Automatic double tracking Creating a double tracking effect automatically
Setting a tape to record at a slow/fast speed and then playing it back at the Varispeeding original tempo. It changes the timbre of the instrument
Close Micing A microphone is placed very close to the sound source
Direct Injection A ‘transformer’ so that electric instruments could be recorded directly without (DI) the need of a mic. Further Listening…
Lucy in the Sky with Diamonds
• Katie Melua WITHIN YOU, WITHOUT YOU Harrison’s second composition in the Indian Recorded in London without Written by George Harrison Classical style – inspired by the other Beatles his 6 week stay in India with his mentor and Ravi Shankar
The song features Indian Performed by Harrison and features such as Sitar, the Asian Music Circle Dilruba and Tabla
Within You, Without You Within You, Without You
Possible Questions
• Identify influences of Indian music
• Identify influences of Western music INSTRUMENTS: SITAR A large, long-necked Indian lute. It has sympathetic strings that produce a drone. INSTRUMENTS: DILRUBA (ESRAJ) A bowed Indian instrument INSTRUMENTS: SWARMANDAL An Indian harp INSTRUMENTS: TABLA An Indian drum where the pitch can be altered by pressing on the skin INSTRUMENTS: TAMBURA A lute like string instrument which produces a drone INSTRUMENTS: STRINGS Found in Western Classical music INSTRUMENTS: ACOUSTIC GUITAR Found in Western folk/pop music Indian Music
• Uses a scale known as a rag. There are many scales in Indian music. Each scale… . has a particular ascending and descending pattern . is associated with a different time of the day, season, mood or special occasion
• Instruments are split in to following roles: . Melody: Often improvised . Drone . Percussion: The percussion section plays a tala. A tala is a repeated rhythmic idea used as an accompaniment for the performers to improves and weave around freely. It regularly changes metre Click here to learn Indian Music more about Indian music
The structure of Indian music is as follows: • Alap: A slow introductory section which helps to set the mood. It has a free rhythm with no regular pulse. It is unaccompanied apart from the drone. It usually moves from the lower notes to the higher notes gradually getting faster.
• Jor: Where the music begins to have a sense of pulse
• Jhalla: Where this beat begins to appear in groups.
• Gat: Which is often where the tabla comes in. A gat is a fixed composition which is often varied by adding improvised decoration. MIXOLYDIAN MODE A mode is a scale used in folk music. Its is neither major or minor We were talking, about the space between us all And the people, who hide themselves behind a wall of illusion Structure Never glimpse the truth, then it's far too late when they pass away
We were talking, about the love we all could share • Introduction When we find it, to try our best to hold it there, with our love With our love we could save the world, if they only knew • Verse 1 Try to realize it's all within yourself, no-one else can make you change • Verse 2 And to see you're really only very small And life flows on within you and without you • Chorus 1
• Instrumental section We were talking, about the love that's gone so cold And the people who gain the world and lose their soul • Verse 3 They don't know, they can't see, are you one of them?
• Chorus 2 When you've seen beyond yourself Then you may find peace of mind is waiting there And the time will come when you see we're all one And life flows on within you and without you Introduction
• Starts with a long sustained pulsating drone on the Tambura
• The dilruba enters playing an extended and decorated melody
• The is no real sense of pulse (free time), adding to the dreamy quality of the music.
• The tonality is modal and linked to the mixolydian mode
• Rising glissando recorded with heavy echo on the swarmandel
• Two bar rhythm on the tabla Verse 1
• The melody is based around the dilruba melody in the introduction
• The dilruba doubles the vocal line with some added decorations
• Irregular phrases lengths: . 6 bar phrase . 6 bar phrase . 9 bar phrase • Word painting on the word ‘…away’. The descending melody follows the wavering word before it dies away. • The western strings enter at the end of the first verse Verse 2
• Similar melody to the first verse
• Western strings play a counter melody creating a contrapuntal texture
• The cellos join the dilruba and George Harrison singing.
• There is a slight extension to the verse at the end leading to the chorus Chorus 1
• The chorus has a greater sense of urgency created by the crotchet movement in the vocal melody.
• 6 bar phrase
• Violins provide an antiphonal response to Harrison’s singing. Cellos reinforce the drone
• Same phrase repeated but the repeat picks up on the last beat of the bar rather than the third, putting a completely different emphasis on the shape and phrasing.
• This plus the changing rhythms in the tablas means that it is difficult to sense the 4/4 metre. Instrumental Section
• This section contrasts to the verse and chorus: . The drone and Mixolydian tonality are maintained . The tempo gets faster and the metre changes to 5/8 – unheard of in rock/pop music at the time
• The dilruba carries the melody • With antiphonal sitar responses • Strings add a pizzicato ostinato • This section is repeated with: . The western strings playing the melody in octaves . The dilruba providing the antiphonal answers . The sitar playing the pizzicato ostinato
• At the end the swarmandal glissando is heard taking us back to the verse
Within You, Without You 4/4 time signature (loosely) Tempo & Time 16 beat Tintal > 10 beat Jhaptal - ostinati Signature 5/8 section between Dilruba and Sitar Tempo sped up in recording studio Mixolydian mode Db, drone moving from Db-Ab, mode moves from Db to D in instrumental Tonality & Haromy section
Timbre & Dynamics Dilruba, tabla, tambura, sitar, swarmandal, vocals, western strings, acoustic guitar
Antiphony between dilruba & sitar (instrumental middle section) Melody and accompaniment with polyphony on the second verse Melody & Texture Melody – improvised Sitar, scalic and conjunct and vocals, note bends & portamento in instruments and vocals
Structure & Form 3 sections – 2 verses & chorus, extended instrumental section, final verse & chorus
Written by George Harrison Use of Indian instruments – Dilruba, Sitar, Tambura & Tabla Other Overdubbing of Indian instruments – bends, slides of Dilruba & features of Indian music Crowd laughter added – track recorded and then sped up after recording Identify influences of Indian music
• Instruments: Sitar, Dilruba, Swarmandal, Tambura, Tabla (melody, drone and percussion)
• Improvisation using decorated melodies and pitch bend
• Uses scale based on the Mixolydian mode (link to rag)
• Irregular phrases
• Tabla provides rhythmic accompaniment using frequently changing metre (5/8)
• Sections of free time (link to alap) Identify influences of Western music
• Sung in English
• Structure contains verses and choruses
• Instruments: Western strings and acoustic guitar
• Melody is sung in 4/4
• Antiphonal response from strings
• Cellos play pedal note (drone)