WHO WHAT WHERE WHY WHEN

Transcription

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2 WHO WHAT WHERE WHY WHEN

3 John Lennon Rhythm guitar Singer Wrote many of the songs along with Paul McCartney Married to Yoko Ono Was assassinated in 1980

4 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.

5 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

6 Ringo Starr Drums Original name is Richard Starkey Voices Thomas the Tank Engine

7 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

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10 THE BEATLES: ICONIC IMAGE

11 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

12 The Beatles: I Want To Hold Your Hand 2. Can't Buy Me Love 3. Hey Jude 4. Help! 5. All You Need is Love 6. Here Comes the Sun 7. Come Together 8. Strawberry Fields Forever 9. Don t Let Me Down 10. I am the Walrus They recorded/released 237 songs

13 The Beatles She Loves You I Want to Hold Your Hand Beatlemania 3 I Feel Fine Rock and Roll Music Bigger than Jesus Sgt. Pepper s Lonely Heart s Club band 1967

14 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

15 The Beatles: Study Pieces With a Little Help From My Friends Lucy in the Sky With Diamonds Within You, Without You

16 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

17 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)

18 WITH A LITTLE HELP FROM MY FRIENDS

19 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.

20 Written by Lennon & McCartney for Ringo Starr to sing lead vocals & play drums Other Beatles sing backing vocals and play electric guitar, bass, cowbell and piano (George Martin plays Hammond organ) Second track on the album and has been cross faded from Sgt. PLHCB Pre-recorded applause which reinforces that the album was live Starr sings the lead vocals in his alter ego character Billy Shears from a fictional band Billy Shears is introduced at the start following a long intro With a Little Help From My Friends

21 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

22 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)

23 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

24 Verse 1 Tied notes in the melody creates syncopation which contrasts with the shuffle rhythm Rhythm

25 Verse 1 Stepwise melody with a limited note range makes it easy to sing Melody Highest note = B Lowest note = E Sequential melody creates balance

26 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

27 Chorus 1 Leap in the melody of a 5 th 2 bar phrase is repeated 3 times in total Backing vocals add harmony on the third time Followed by a syncopated drum fill Flattened seventh chord (non diatonic harmony)

28 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?

29 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

30 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. Ringo answers in his normal baritone pitch Harmony sounds as if it going to modulate to B major but then goes back to E major

31 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

32 Chorus 3 Same as chorus 2

33 Bridge 2 Same as bridge 1

34 Chorus 4 This chorus is extended to eight bars (instead of six)

35 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.

36 With A Little Help From My Friends Rhythm & Metre 4/4 time signature, andante tempo, syncopated rhythms throughout, shuffle rhythm on drums, triplets in piano chords, tied notes in verse melody Harmony & Tonality E major, harmonised vocals (in 3rds and 5 ths ) Melody & Texture Timbre & Dynamics Melody and accompaniment, antiphonal (bridge), riff (bass guitar), conjunct vocal melodies limited range Electric guitar, bass guitar, vocals, drum kit (drum fill before verse 2), cowbell, tambourine, mp/mf dynamics Structure & Form Pop song structure (i.e. Intro, verses, choruses) Other Sung by Ringo Starr Vocals in harmony Lennon & McCartney Cross Fade

37 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

38 With A Little Help From My Friends How does this piece demonstrate balance and development? Balance The piece starts and ends with the same ascending chord patter (C, D, E) Harmonic rhythm in the verse creates balance Sequential stepwise melody used in the verse Development Paul McCartney develops the bassline using passing notes and inverted chords Verse 2 uses antiphonal call and response with the backing vocals Chorus 2 uses harmonies throughout and a shortened phrases The bridge uses an extended vocal range for the backing singers

39 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

40 Further Listening With a Little Help From my Friends Joe Cocker Wet Wet Wet Mumford and Sons

41 LUCY IN THE SKY WITH DIAMONDS

42 Third track on the album Mainly written by Lennon (who sang lead vocals) with input from McCartney Standard rock band instruments alongside acoustic guitar, tambura and Lowrey organ Said to be inspired by a painting done by Lennon s 4year old son Through The Looking Glass by Lewis Carroll psychedelic imagery marmalade skies and kaleidoscope eyes There is speculation that the song has reference to LSD from the song title, but the Beatles have denied that Lucy in the Sky with Diamonds

43 Lucy in the Sky With Diamonds Possible questions How does this song create a dream like quality? What technology effects does it use?

44 Technology Effects Overdubbing Reduction mixing Double tracking Automatic double tracking (ADT) Varispeeding Close micing Direct injection (DI) Mixing multiple parts on to one track to free up the other tracks Creating a double tracking effect automatically A microphone is placed very close to the sound source A transformer so that electric instruments could be recorded directly without the need of a mic. Using a 4 track recorder to record each track separately rather than recording the band playing live Setting a tape to record at a slow/fast speed and then playing it back at the original tempo. It changes the timbre of the instrument Recording the same instrumental or vocal part twice to achieve a chorus effect

45 Technology Effects Overdubbing Reduction mixing Double tracking Automatic double tracking (ADT) Varispeeding Close micing Direct injection (DI) Using a 4 track recorder to record each track separately rather than recording the band playing live Creating a double tracking effect automatically A microphone is placed very close to the sound source A transformer so that electric instruments could be recorded directly without the need of a mic. 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 original tempo. It changes the timbre of the instrument Recording the same instrumental or vocal part twice to achieve a chorus effect

46 Technology Effects Overdubbing Reduction mixing Double tracking Automatic double tracking (ADT) Varispeeding Close micing Direct injection (DI) Using a 4 track recorder to record each track separately rather than recording the band playing live Mixing multiple parts on to one track to free up the other tracks A microphone is placed very close to the sound source A transformer so that electric instruments could be recorded directly without the need of a mic. Creating a double tracking effect automatically Setting a tape to record at a slow/fast speed and then playing it back at the original tempo. It changes the timbre of the instrument Recording the same instrumental or vocal part twice to achieve a chorus effect

47 Technology Effects Overdubbing Reduction mixing Double tracking Automatic double tracking (ADT) Varispeeding Close micing Direct injection (DI) Using a 4 track recorder to record each track separately rather than recording the band playing live 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 effect A transformer so that electric instruments could be recorded directly without the need of a mic. Creating a double tracking effect automatically Setting a tape to record at a slow/fast speed and then playing it back at the original tempo. It changes the timbre of the instrument A microphone is placed very close to the sound source

48 Technology Effects Overdubbing Reduction mixing Double tracking Automatic double tracking (ADT) Varispeeding Close micing Direct injection (DI) Using a 4 track recorder to record each track separately rather than recording the band playing live 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 effect Creating a double tracking effect automatically 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 original tempo. It changes the timbre of the instrument A microphone is placed very close to the sound source

49 Technology Effects Overdubbing Reduction mixing Double tracking Automatic double tracking (ADT) Varispeeding Close micing Direct injection (DI) Using a 4 track recorder to record each track separately rather than recording the band playing live 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 effect Creating a double tracking effect automatically Setting a tape to record at a slow/fast speed and then playing it back at the original tempo. It changes the timbre of the instrument A transformer so that electric instruments could be recorded directly without the need of a mic. A microphone is placed very close to the sound source

50 Technology Effects Overdubbing Reduction mixing Double tracking Automatic double tracking (ADT) Varispeeding Close micing Direct injection (DI) Using a 4 track recorder to record each track separately rather than recording the band playing live 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 effect Creating a double tracking effect automatically Setting a tape to record at a slow/fast speed and then playing it back at the original tempo. It changes the timbre of the instrument A microphone is placed very close to the sound source A transformer so that electric instruments could be recorded directly without the need of a mic.

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52 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.

53 Intro Opening riff uses chromatic shape in the lowest sustained notes of the melody Uses a Lowrey DSO Heritage Deluxe electronic organ played by Paul. The harpsichord, vibraharp, guitar and music box stops are pulled out.

54 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)

55 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

56 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).

57 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.

58 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.

59 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

60 Rhythm & Metre Lucy in the Sky with Diamonds 3/4 time signature in verse melody and bassline follows strict 3/4, 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) Timbre & Dynamics Vocals, drumkit, tambura, bass guitar, electric guitar, Lowrey organ crescendo f into chorus, largely mf throughout Texture & Melody Melody and accompaniment, the texture thickens in the chorus, melody is simplistic, scalic, conjunct and sung syllabically Structure & Form Intro, Verse, Chorus, Verse, Chorus, Chorus Pop song form Other Possible link to LSD Beatles have denied this Psychedelic imagery marmalade sky kaleidescope eyes Repetitive chorus line Lucy in the sky with diamonds

61 Technology Effects Overdubbing Using a 4 track recorder to record each track separately rather than recording the 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 Varispeeding Setting a tape to record at a slow/fast speed and then playing it back at the original tempo. It changes the timbre of the instrument Close Micing A microphone is placed very close to the sound source Direct Injection (DI) A transformer so that electric instruments could be recorded directly without the need of a mic.

62 Further Listening Lucy in the Sky with Diamonds Elton John The Flaming Lips Katie Melua

63 WITHIN YOU, WITHOUT YOU

64 Written by George Harrison Harrison s second composition in the Indian Classical style inspired by his 6 week stay in India with his mentor and Ravi Shankar Recorded in London without the other Beatles The song features Indian features such as Sitar, Dilruba and Tabla Performed by Harrison and the Asian Music Circle Within You, Without You

65 Within You, Without You Possible Questions Identify influences of Indian music Identify influences of Western music

66 INSTRUMENTS: SITAR A large, long-necked Indian lute. It has sympathetic strings that produce a drone.

67 INSTRUMENTS: DILRUBA (ESRAJ) A bowed Indian instrument

68 INSTRUMENTS: SWARMANDAL An Indian harp

69 INSTRUMENTS: TABLA An Indian drum where the pitch can be altered by pressing on the skin

70 INSTRUMENTS: TAMBURA A lute like string instrument which produces a drone

71 INSTRUMENTS: STRINGS Found in Western Classical music

72 INSTRUMENTS: ACOUSTIC GUITAR Found in Western folk/pop music

73 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

74 Indian Music Click here to learn 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.

75 MIXOLYDIAN MODE A mode is a scale used in folk music. Its is neither major or minor

76 Structure Introduction Verse 1 Verse 2 Chorus 1 Instrumental section Verse 3 Chorus 2 We were talking, about the space between us all And the people, who hide themselves behind a wall of illusion Never glimpse the truth, then it's far too late when they pass away We were talking, about the love we all could share 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 Try to realize it's all within yourself, no-one else can make you change And to see you're really only very small And life flows on within you and without you We were talking, about the love that's gone so cold And the people who gain the world and lose their soul They don't know, they can't see, are you one of them? 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

77 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

78 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

79 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

80 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.

81 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

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83 Tempo & Time Signature Tonality & Haromy Timbre & Dynamics Melody & Texture Structure & Form Within You, Without You 4/4 time signature (loosely) 16 beat Tintal > 10 beat Jhaptal - ostinati 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 section 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 improvised Sitar, scalic and conjunct and vocals, note bends & portamento in instruments and vocals 3 sections 2 verses & chorus, extended instrumental section, final verse & chorus Other Written by George Harrison Use of Indian instruments Dilruba, Sitar, Tambura & Tabla Overdubbing of Indian instruments bends, slides of Dilruba & features of Indian music Crowd laughter added track recorded and then sped up after recording

84 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)

85 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)