sonic-autopsy-blog

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#10 ‘Gnossienne No.3′ by Erik Satie

Genre: Impressionism

Track: Gnossienne No.3

Composer/ Artist: Erik Satie

Introduction: Beginning in the late 19th century and continuing into the middle of the 20th century, Impressionism was the name given to a style of European classical music. Notable Impressionist composers such as Claude Debussy, Maurice Ravel and Erik Satie favoured atmosphere and short forms such as nocturnes, arabesques and preludes. As in art, Impressionist music focused on instrumental colour and mood (rather than expression). A number of contemporary genres take some influence from Impressionism, including Ambient music, Post-rock and Shoegaze.

Gnossienne No.3 is part of a collection of several piano pieces by French composer Erik Satie. Composed in the late 19th century, these pieces anticipate some of the harmonic features of impressionism to come. As we will see, Gnossienne No.3 is highly experimental in terms of form, timing, rhythm and chordal structure. Here the music exists to serve the mood. The recording used for this analysis is by Reinbert de Leeuw from his album Erik Satie: Early Piano Works Vol. 1 released in 1975.

Texture: In terms of texture Satie’s Gnossienne No.3, composed for solo piano, is broken into melody and accompaniment, with the right hand playing only single lines and the left hand playing rhythmic chordal harmonies over a repetitive bass line. The texture can be characterised as full but not dense with a clear melody line in the higher register. Satie is known for his unorthodox performance indications and textual remarks interspersed throughout his compositions. This may attributed to the natural, almost trance like movement of the piece in terms of rhythm and texture.

Timbre: Gnossienne No.3 is performed on a grand piano. The timbre of this recording by Reinbert de Leeuw can be characterised as dark and rich. The lower notes sound focused and rounded with good sustain, while the higher notes sing out more clearly, sounding more lively, with a strong transient that adds a notable percussive element to the sound.

Dynamics: Satie does not include any dynamic markings in this piece. The dynamic movement and volume is instead determined via interpretation of his unique performance indications. In terms of dynamicness, this performance of Gnossienne No.3 is quiet, precise and direct with a flatness of movement and a general overarching stasis. Satie does not use any traditional dynamic techniques such as crescendo or diminuendo. While the melody played in the higher register of the piano dances freely and the lower chords ebb and flow in volume throughout the piece, this is all within a certain dynamic range and the piece never goes beyond mezzo-piano (mp).

Instrumentation/use of Technology: Satie wrote Gnossienne No.3 for solo piano. This approach lends to the minimalist nature of the composition and gives space for the constant free flowing rhythm. The solo piano also supports the solitariness and starkness of the piece. The use of the piano pedal is integral to the composition. While it is used sparingly, it extends the bass notes and gives a sense of suspension. On the recording of Gnossienne No.3, the use of the space for its bright reverberance and the organic, true-to-life micing techniques used to record give a sense of realism, as if we are in the room with the pianist as they perform.

Melody: The overall melody of Gnossienne No.3 is eerie with an air of mystery. The piece utilises fluid and melancholic oriental scales. The melody which opens the piece is constructed using modal scaling, specifically, the B Phrygian dominant scale. The rhythmic nature of the melody is fluid throughout creating a constant motion that drags and runs ahead and leaps up only to cascade down in a delicate dance of melodic exoticism.

Time Signature: Satie’s Gnossienne No.3 is written in free time with no inherent time signature.

Tempo: Satie’s Gnossienne No.3 is written in free time with no inherent tempo.

Tonality: As mentioned previously, the piece is introduced using the B Phrygian dominant scale. This distinctive sound is constructed using a flattened second (C natural) along with an augmented third (D#). Elsewhere we see the use of more unusual scales, such as the six tone scale built using the notes from the E minor and F# major triad chords (see transposition).

Structure: Gnossienne No.3 is an unusually piece in terms of its structure due to the absence of time signatures and bar divisions. This is known as free time.  Some critics of Satie’s work argue that it is formless in structure. It is true that Satie does not for instance use classical musical forms (sonatas etc.), or develops his pieces using motifs. However, it is clear by listening to Gnossienne No.3 that Satie’s form is not random. Instead Satie follows a more utilitarian approach where form follows function. Here the music is presented in blocks of sound with a predetermined length, averting the egoism of Western music and playing into his famed notion of his work being “furniture music”. While there is a meandering nature to Gnossienne No.3, we still feel an underlying development and shifting between phrases. The distinction as to where this happens, I feel is subject to the listeners perception of the piece.

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#9 ‘Voiles’ by Claude Debussy

Genre: Impressionism

Track: Voiles

Composer/ Artist: Claude Debussy

Introduction: Beginning in the late 19th century and continuing into the middle of the 20th century, Impressionism was the name given to a style of European classical music. Notable Impressionist composers such as Claude Debussy, Maurice Ravel and Erik Satie favoured atmosphere and short forms such as nocturnes, arabesques and preludes. As in art, Impressionist music focused on instrumental colour and mood (rather than expression). A number of contemporary genres take some influence from Impressionism, including Ambient music, Post-rock and Shoegaze.

Voiles was composed by Claude Debussy in 1909 and published in 1910. The piece, which has attained near-iconic status as a beacon of his impressionist style, is the second in a set of twelve preludes. The piece’s title may be translated as either veils or sails. As I could not source a direct recording of Debussy performing Voiles I will use for this analysis the recording of Voiles by Polish pianist Krystian Zimerman released in 2012.

Texture: In terms of texture, Debussy’s Voiles, composed for solo piano, is both transparent and dense. An air of mystery and ethereal vagueness can be heard in a number of instances, characterised by his use of widely spaced open chords. On the other hand, there are still moments of full, rich texture. This is achieved through the use of block-like chords, ninth and eleventh chords, and sudden sweeping glissandi. Overall though, the impression of emptiness caused by Debussy’s heavy use of open chords and tied notes is the prevailing textural linchpin.

Timbre: Voiles is performed on one grand piano. The timbre of this recording by Krystian Zimerman can be characterised as mellow, dark and rich with fewer upper harmonics and a stronger true tone. However, the timbre still exhibits a sense of ‘bigness’ especially in the louder dynamic sections where the projected sound seems vast. The heavy use of the pedal on the piano works to create a timbre that is blurred. A cascading wash of sound.

Dynamics: Overall, Debussy is most known for his extensive use of gentle dynamics such as pianissimo. For instance, the empty chords throughout most of Voiles placed in the upper register of the piano are dynamically delicacy, this dynamicness is also aided by the thinner timbre of the instrument at this register. There are times however, where the tone is louder than pp. In Voiles, the sudden sweeping glissando at 2’38’’ works in direct juxtaposition to create a sudden change in dynamics and subject matter. This also works to emphasis more, the inevitable flighty pianissimo which follows. In Voiles there are 62 measures which are marked piano, while only 3 measures marked forte.

Instrumentation/use of Technology: All classical forms and styles depend on the piano as a core instrument. For Voiles, Debussy choose to use piano only (this is the case with many of his pieces). This minimalist approach to instrumentation provides us with a more focused sonic picture. It also exaggerates the transient and often solitary emotions which this piece evoke. On the recording of Voiles, the use of the space for its large reverberance and the organic, true-to-life micing techniques used to record give a sense of realism, as if we are in the room with the pianist as they perform.

Melody: The use of melody in Voiles, and much of Debussy’s work for that matter, is interesting in that the form, freedom of rhythm and cyclical or repeating nature of the melody directly supports the incantatory mood of the piece. Debussy uses motival figures, rather than extended melodic passages, to give outline or contour to the piece. Debussy fits the rhythm of his motifs to the mood of the composition. The motifs in Voiles shed any feeling of definite metre, portraying the abstract over the concrete. Debussy also chooses to develop his motifs over the course of the composition. The main theme or motif is introduced first (descending thirds beginning on E/G#. A number of other motifs are introduced in succession. Debussy then performs a series of alterations: first he combines them in different ways to form new melodic lines; second, Debussy alters note-values; third, he fragments these motifs and builds them back up. These techniques give the sense of an ever-flowing, ever evolving melodic undertow.

Notation (Main motif):

Time Signature: 2/4

Tempo: 68bpm

Tonality: Debussy is probably most well known for his extensive use of the whole-tone scale. This scale is composed of six tones, and has either no tonic, or six tonics with only two possible transpositions (C or C# as beginning tone). In Voiles the whole-tone scale provides the background for the whole composition, with the exception of a brief six-measure section in the pentatonic scale in E flat minor.

Structure: Voiles follows a ternary (A-B-A) form. The A section begins in m.1; B begins in m.42; and a return to A occurs in m.48. This structure is identified by the difference in rhythm, tempo and scale with the A sections being softer, slower and utilising the whole-tone scale, while the B section juxtaposes this with a wider dynamic range which includes forte, a faster tempo and the use of the E flat minor pentatonic scale.

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#8 ‘Earth Horns with Electronic Drone’ by Yoshi Wada

Genre: Minimalism (Drone)

Track: Earth horns with electronic drone

Composer/ Artist: Yoshi Wada

Introduction: Minimal music emerged in the early 1960s with pioneering composers such as Terry Riley, Steve Reich, and Philip Glass. Taking influence from serialism, avant-garde and indian music, Minimalism is noted for its non-narrative and non-representational form and the novel mode of listening it calls for. Minimalism is the building of large structures through repetition of small parts. Sonic features of minimalism may include consonant harmony, steady pulse, stasis or gradual transformation and repetition of tiny repertoires of pitches and rhythmic values (figures/ motifs/ cells).

Drone music is a subgenre of minimal music and emphasises the use of sustained sounds and lengthy durational compositions. La Monte Young is one of drone musics earliest practitioners. The subgenre forged connections with art pop icons such as the Velvet Underground, with the likes of David Bowie, Brian Eno and David Byrne, and later with punk rock acts such as Swans and Sonic Youth. Drone is now its own musical force, positioned more so within popular music spheres thanks to these collaborations. The drone piece we will be discussing here is Yoshi Wada’s 1974 recording entitled Earth Horns With Electronic Drone.

Theme: N/a

Texture: In Earth Horns With Electronic Drone Wada used an electronic tone tuned to the harmonics of the AC line cycle of the room. This is fused with the “earth horn” instruments which were calibrated in octaves. The players, Thys Chatham, Garret List, Barbara Stewart, Yoshi Wada and Liz Phillips layer their drones in monophonic fashion but with subtle modulation. The resulting texture ebbs and flows throughout the piece with the fundamental tone remaining constant and a wavering fluctuation and overtones which provide textural juxtaposition in harmonic and dissonant fashion.

Timbre: Timbre plays a big part in Earth Horns With Electronic Drone. The tone of the synthesiser performed by Liz Phillips is soft, rounded and enveloping. The earth horns, reminiscent of the alphorn, produce a physically affecting timbre that is full bodied, spacious, slightly reedy and organic. This all comes together to form a sound-body which is chant-like, immersive and primordial in nature.

Dynamics: In minimal and drone music, sounds are not programmed to achieve a final solution. Earth Horns With Electronic Drone can be seen as a pure-sound event without any mediated dramatic dynamic moments. From a listening point-of-view though, there are two elements within this piece which impart some sense of dynamic variance, however minute. Firstly, the physical act of adding and subtracting sounds, as can be heard throughout Earth Horns With Electronic Drone will always give the sensation of dynamicness. And while the dynamic shift here is minuscule in comparison to the loud/soft dynamics of Grunge, within the context of this piece these variations seem sizeable. Secondly, the background noise of audience coughs and footsteps (which one may or may not chose to give “musical” status) do give a further dynamic layer.

Instrumentation/use of Technology: The novel instruments used on Earth Horns With Electronic Drone are key to the pieces composition and sonic character. The piece comprises of an electronic feedback-resonating system tuned to the harmonics of the AC line cycle of the room. This is accompanied by a number of Earth Horns which are constructed from plumbing materials which are in lengths of 10 and 20 feet and calibrated in octaves. One could also argue that the room used for the performance is in fact an instrument in itself. The room's effects can be heard as it recycles the low bellowing sound of the pipes, naturally oscillates the electronic drone and emphasises and deemphasizes certain overtones. In terms of the recording technology, this is not a feature which interests the artist. The recording is used more as a basic means of archival rather than an extra layer of creative potentialities.

Melody: Earth Horns With Electronic Drone does not offer any structured or preconceived melody. Any melodic inferences that we hear in the piece are a product of chance via the interaction of the sound forces at play and are rooted in the drone’s fundamental which is B. What we may hear as melody in this piece is our own perception based off of intervals which emerge from, and recede back into, the rich body of sound.

Time Signature: There is no calculable time signature present in this piece, this is typical of many drone compositions

Tempo: There is no definite tempo present in this piece as there is no outstanding beat or rhythmic element. However, if we take tempo as relating to the motion of the piece we can surmise that Earth Horns With Electronic Drone is a slow moving piece that sits somewhere between lento and grave.

Tonality: Earth Horns With Electronic Drone is not bound by any particular key or scale. However, the piece does exhibit a strong tonal centre on B. In all music which utilises drones, they are primarily used to establish a tonal centre.

Structure: Drone music is characterised by its directionality which presumes a linear memory. Compared to the cyclical, modular form of popular music and its verse/ chorus structure, repetitive music (minimalism/ drone) forces the listener to follow the music's evolution. The listener finds herself/himself in constant reference with what has gone before - remembering what has past so as to situate and contextualise the present. As Philip Glass has remarked: “[Drone] music must be listened to as a pure sound-event, an act without any dramatic structure.” In Earth Horns with Electronic Drone the relentless stasis and sheer duration is central to the pieces purpose. The three-LP version records the entire event and runs for 162 minutes. The CD version of the recording is a 77-minute excerpt.

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#7 ‘In C’ by Terry Riley [Minimalism]

Genre: Minimalism

Track: In C

Composer/ Artist: Terry Riley

Introduction: Minimal music emerged in the early 1960s with pioneering composers such as Terry Riley, Steve Reich, and Philip Glass. Taking influence from serialism, avant-garde and indian music, Minimalism is noted for its non-narrative and non-representational form and the novel mode of listening it calls for. Minimalism is the building of large structures through repetition of small parts. Sonic features of minimalism may include consonant harmony, steady pulse, stasis or gradual transformation and repetition of tiny repertoires of pitches and rhythmic values (figures/ motifs/ cells).

In C is widely cited as being one of the first minimalist compositions. While the piece was conceived in 1964, this analysis will use the 1968 Columbia Masterworks recording of the performance as a reference point for examination.

Themes: N/a

Texture: Due to the way In C is composed and performed, the careful yet free flowing linear progression of motives which overlap and morph, build and unfold in complex profile, exhibit extensive textural detail. The piece may be considered heterophonic as it is constructed around the simultaneous variation of a single melodic line played by all instruments. However, the spontaneous hold and release done by players has a big influence over the texture of the piece and this interplay of the various patterns, in a rhythmic sense, sees the texture become polyphonic at points. These heterophonic and polyphonic elements are underpinned by the steady, unvarying eighth-note pulse provided by the piano which give a clear anchor to the piece.

Timbre: Riley wrote In C without any specific instrumentation in mind (however he does recommend a group of about 35). The recording that we are analysing was done with an ensemble of 11 instruments with overdubs. These acoustic instruments include saxophone, trumpet, vibraphone, viola, bassoon, clarinet, flute, marimba, oboe, trombone and piano. The predominance of wind and percussion creates a “circus” type sound. While at the same time timbres reminiscent of East Asian music and to a certain extent 1960s psychedelic rock are heard. The great number of timbres present also creates a “phasing” effect at a number of points throughout the piece (e.g. 17’30’’ - 21’30’’). As a whole though, the individual timbres are organic, bright, jangly and somewhat blurred as they blend into the general hum of the piece. Longer-held tones at times sound like overtones of other figures as they emerge.

Dynamics: The choices that the performers made in the moment during the recording of In C resulted in a piece which rises and falls in dynamicness but in a very natural and free flowing manor. This rise and fall though is in no way a dramatic change in level. However, the overall stasses of the piece exacerbates any minor changes to the dynamics. Unlike the static instrumentation of other earlier minimalist pieces, instruments in In C are heard dropping out on occasions which has the effect of lowering the overall sound level (e.g. 17’42’’ and 27’18). The main point to make in relation to dynamics in In C is however, the use of group crescendos and diminuendos which occur throughout the piece. This is most noticeable at the end of the piece when the entire ensemble makes a cycle of crescendos and diminuendos which create a swelling sensation.

Instrumentation/use of Technology: As stated previously the Columbia recording of In C was done using an ensemble of 11 instruments: saxophone, trumpet, vibraphone, viola, bassoon, clarinet, flute, marimba, oboe, trombone and piano. The session was held in Columbia’s recording studio, a decommissioned church. The recording was done using an Ampex 8-track machine. In a practice not that common for the time, Riley chose to multitrack the piece in a series of three passes choosing to omit certain instruments on the second and third pass. This choice was probably spurred by his experiments with layered tape-delay. This created a far more dense and jangly sound than would have been the case in a live performance. Close miking was used on the Pulse, while the rest of the instruments were recorded with microphones hanging overhead. The recording of In C broke from classical recording practices in that its duration was not predetermined. This would cause problems if the piece went on too long as it would not fit on the LP. Thus, cards were held up during the performance so performers didn’t stray too far afield

Melody: In C is very dense with individual modules that each house a particular motif being blurred by the proximity of similar modules that differ minutely in pitch and rhythm. This creates a shimmering and sporadic wall of tones that flurries onwards in perceived randomness. While it is true that for the most part the piece is made up of short motifs, module 35, the longest at 30 beats, can in fact be seen as genuinely thematic and therefore melodic. This module includes a range of durational values from sixteenths to whole notes (with rests and dotted notes). This creates a diverse and sometimes syncopated melody line. The module is chromatic and contains 9 pitches in total F/G/B/Bb/A/B♮/E/F#/F♮. The false relations that occur here with B/Bb and F/F# are key to the melodic character of the module and add a certain dissonance.

Notation (module 35):

Time Signature: 4/4

Tempo: 132bpm

Tonality: In C begins (shockingly) in C with a strong emphasis on the third (E). Modules 2 - 4 include E/F/G. The omittance of D here suggests the pentatonic scale. From module 8 the mode projected is C Ionian with no strong dominant. 9-13 add the B to the mix (leading tone) though the disappearance of the lower C sees G sounding like the modal centre here. G is quickly replaced with E at 18 and this creates the context for E Aeolian which continues for a period. Modules 31 - 34 shift the piece to G mixolydian and by module 49 Bb replaces B and the G modality becomes G dorian. By the end we hear a G/Bb ostinato with C. The piece does not cadence as a finale. Instead the music trails off giving a sense of timelessness and a lack of resolve.

Structure: In C consists of a single score of music broken up into 53 brief modules. These modules are performed in sequence. Players have the freedom to determine how many times he/she repeats each module before moving on. Players are instructed to listen and feel out the dynamics. The Columbia recording clocks in at 42’03’’. The piece begins with the Pulse, a high C played in eight notes on piano. The first 5 modules progress for 3’30’’. The longer tone of module 6 then enters and remains until roughly the 7 minute mark. From here every module is repeated for roughly two minutes with module 32 being an exception (running for roughly 5 minutes). Towards the end module 48 and 49 also extend for roughly 5 minutes before giving way to 50 - 52 at roughly the 38 minute mark. These fade just after the 41 minute mark leaving module 53 to conclude the piece.

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#6 ‘Time After Time’ by Chet Baker [Jazz]

Genre: Smooth Jazz

Track: Time After Time

Composer/ Artist: Chet Baker

Introduction: Jazz has come to be one of the most influential music genres of the last century. Jazz has its roots in African-American communities of New Orleans in America. The genre is said to have begun in the late 19th and early 20th centuries and takes influence from both Blues and Ragtime. The end of World War I, the newfound freedom of African-Americans, the sharing of cultures, and the  increase in leisure time and mass media all contributed to the rise of Jazz music. The likes of New Orleans Jazz (1910s), Gypsy Jazz (1930s), Bebop (1940s), Jazz-rock fusion (1960s) and Smooth Jazz (1980s) all share broad characteristics such as improvisation, swing, blue notes, call and response vocals and polyrhythms. However, all these sub-genres also put their own stamp on the genre through various compositional, technical and stylistic choices.

The track we will discuss here is Chet Baker’s version of the Jazz standard Time After Time which featured on his Chet Baker Sings studio album released in 1954. Baker’s rendition fits the Cool Jazz mold, characterised by relaxed tempos and lighter tones.  

Themes: Wistful, Sentimental, Smooth

Texture: Texturally, this track comprises of trumpet, piano, drums and upright bass. The piece opens with piano and drums which play for 4 bars. The bass joins on bar 3 playing in harmonic voice to the piano. On bar 5 the vocals are introduced. From here we hear the piano, bass and vocals sound in 3-part polyphony with the vocals at the forefront. On bar 36 the vocals give way to the trumpet solo. The vocals return for a final verse before the piece concludes.

Dynamics: In comparison to other Jazz styles such as big band and hard bop, Time After Time and Cool Jazz as a whole does not exhibit much in the way of big dynamic shifts. Listening to the drums in Time After Time this becomes readily apparent as they remain a constant pp through the entire track. The vocals, while they climb up and down the scale, also retain a hushed and gentle delivery. The only slight dynamic shift occurs when the trumpet takes its solo. This however is mainly due to the instruments timbre rather than its dynamicness. The steady, restrained nature of the dynamics lends well to the songs serenading and wistful quality.

Timbre: Time After Time relies very much on the timbre of the instruments to achieve its sonic signature. The piano on the track features throughout and is delicate, mellow and relatively dark sounding. The upright bass is full bodied and rounded sounding but at the same time has some distance and openness. The drums are played using brushes which give a gentle, simmering, hazy foundation to the piece which again veers on the side of darkness rather than being bright and airy. The trumpet is focused, dry and upfront. However, it still exhibits a fairly rounded and mellow timbre. Finally, the vocals are velvety, whispery and smooth even as they move up the scale into falsetto.

Instrumentation/use of Technology: Technology both in recording and instrumentation in the 1950s was very different from current conventions. Time After Time was recorded to tape, probably using a simple two track recorder. Unlike the now common practice of recording instruments one by one, the ensemble would have performed together paying close attention to their distance from microphones and their level in relation to the rest of the musicians. Songs were performed in one take with little practice or rehearsal. All of these elements combine to give a sonic signature which is very organic and unmediated with lots of room ambience and colouration from the tape.

Melody: Time After Time is true to the Cool Jazz style in terms of its melodic content. Overall the piece chooses melodic flow over strong rhythmic passages. The melody lines in this piece are smooth and seem effortless. The intro section sees the piano play its own simple descending melodic line. The vocals then take over as the main melodic voice. Overall the vocal melody begins in the lower range and gradually climbs using intervallic figures with passing notes and upwards leaps with stepwise descent. After a short trumpet solo the vocals continue to climb and finish the piece on the tonic an octave higher.

Notation (Vocal melody):

Time Signature: 4/4

Tempo: This piece follows a tempo of 100bpm with a medium swing.

Tonality: This piece is in the key of C major and remains major for the most part with A minor and E minor tonalities occuring in the B section. The A section begins with what is known as an ice cream change (a traditional chord progression in Jazz) in this case it’s I > vi > ii > V > I where the ii variation substitutes for the subdominant IV (which is used  in the original progression). The final resolution of the piece to I is creatively delayed through the use of another iv chord after the ii7 and before the iii > vi > ii7 sequence which eventually ends with a final V7 > I cadence.

Structure: Time After Time follows a fairly simple A> B> A> C structure with a short piano introduction of 4 bars. The trumpet solo enters at bar 36 and plays for 16 bars.

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#5 ‘So What’ by Miles Davis [Jazz]

Genre: Modal Jazz

Track: So What

Composer/ Artist: Miles Davis

Introduction: Jazz has come to be one of the most influential music genres of the last century. Jazz has its roots in African-American communities of New Orleans in America. The genre is said to have begun in the late 19th and early 20th centuries and takes influence from both Blues and Ragtime. The end of World War I, the newfound freedom of African-Americans, the sharing of cultures, and the  increase in leisure time and mass media all contributed to the rise of Jazz music. The likes of New Orleans Jazz (1910s), Gypsy Jazz (1930s), Bebop (1940s), Jazz-rock fusion (1960s) and Smooth Jazz (1980s) all share broad characteristics such as improvisation, swing, blue notes, call and response vocals and polyrhythms. However, all these sub-genres also put their own stamp on the genre through various compositional, technical and stylistic choices.

The track we will discuss here, So What is a quintessential piece of Modal Jazz, a musical style born from the ashes of Bebop in the late 1950s which celebrates simplicity, more organic structures, relaxed tempi and whimsy but also gives rise to a wider palette of melodic colours since modes bring new harmonic structures into the aural mix.

Themes: Laid Back, Relaxed, Light-footed

Texture: Featured on Miles Davis’ classic 1959 album Kind of Blue, the opening track So What is by all means a Jazz standard. Texturally, this track comprises of trumpet, piano, drums, upright bass and tenor and alto saxophone. The piano establishes the tonal context of the track with a two-chord motif. The upright bass enters and delivers its melodic voice in call-and-response. When the brass first enter they play in monophonic voicing supporting the piano. The call-and-response interaction with the bass persists. On bar 42 the call-and-response and monophony gives way to a 3-part polyphonic section with bass, piano and trumpet playing separate interweaving melodic lines with the trumpet taking the lead. This polyphonic structure continues through the solo section with the trumpet being replaced by tenor and alto sax and finally piano (where the brass all being once again to sound a melodic line in monophonic fashion). After the solos the piano returns to the main riff/motif along with the brass and the track finishes as it started - in a call-and-response between the bass and the other instruments.

Dynamics: So What follows the tradition of a lot of Jazz in its expressive use of dynamics. Probably the most notable use of dynamics in So What occur with the piano. The iconic chord voicings which repeat throughout the track use dynamics to convey a sense of energy and light-footedness. On an overall compositional level the dynamics shift from mf in the intro section to f when the solos begin. The track returns to mf when the piano takes its solo. Here the drummer changes to playing the rim of the snare. The brass also come down in level. The track then drops further to p and again to pp before fading out.

Timbre: So What can be seen to showcase a fairly traditional grouping of Jazz timbres. The piano on the track features throughout and is delicate, rich and for the most part dry and upfront. The upright bass is full bodied and rounded sounding but at the same time has some distance and openness. The drums sound crisp, woody and airy which adds to the laid back feel of the song. The trumpet is focused but not harsh. It exhibits a fairly rounded and mellow timbre. In comparison the tenor and alto saxophones are much more piercing, reedy and bright and command the attention of the listener when they play full voice.

Instrumentation/use of Technology: Technology both in recording and instrumentation in the 1950s was very different from current conventions. So What was recorded on three-track tape at Columbia Records’ 30th Street Studio in New York City using entirely acoustic instrumentation. The studio was a converted Greek Orthodox Church. This large space with its high vaulted ceilings plays a large part in the sound signature of So What as close micing would not have been used. Unlike the now common practice of recording instruments one by one, the ensemble would have performed together paying close attention to their distance from microphones and their level in relation to the rest of the musicians. Songs were performed in one take with little practice or rehearsal. All of these elements combine to give a sonic signature which is very organic and unmediated.

Melody: Modal music develops thematic material through rhythm and melody rather than through chord progressions. The melodic backbone of the piece is the compelling quartal 2 chord riff introduced by the piano. These pentachords are a whole step apart. The basic interval is the perfect 4th (in some cases ♭4 and ♯4). The simplistic foundational progression gives freedom for improvisation in terms of melody. In terms of the solo section which takes up much of the track, the modal structure manifests in a complex and ever moving piece of music which modulates from D Dorian to Eb Dorian. Davis’ solo can be marked as very melodic with thoughtful phrasing, whereas Coltrane uses a harder/ scalar approach playing faster and leaving less space.

Notation (Piano chords):

Time Signature: 4/4

Tempo: The tempo of So What varies to some degree but as a while the track has a moderate swing feel and plays at roughly 134bpm.

Tonality: As mentioned earlier, instead of musical ideas which move away from and back to the home key, or tonic (which may be major or minor), modality implies a series of transposable interval relationships. Ideas are developed via changes in the character of the mode (e.g. C Dorian to C Mixolydian) or in modulation to other modes. This amounts to a simplistic tonal foundation on which Modal Jazz songs are built. So What follows a 32 bar AABA structure (16 bars in D Dorian, 8 bars in Eb Dorian and a further 8 bars in D Dorian).

Structure: The track intro is played by the piano and bass. The piano drops out and the bass plays a line solo before the piano and drums enter. The brass then enters, playing the melody in a call-and-response fashion with the bass. After one 32 bar chorus each performer takes an extended solo in the following order: trumpet, tenor sax, alto sax and piano. During these solos the other brass players do not play. Following this the melody line is played for a chorus. The piece ends with bass, piano and drums and fades out.

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#4 ‘Rise Above’ by Black Flag [Punk]

Genre: Punk

Track: Rise Above

Composer/ Artist: Black Flag

Introduction: During the 1970s popular music was dominated by disco and rock and metal bands that featured virtuous musicians which many teenagers simply could not relate to. This, along with a wave of youth disenfranchisement led to the formation of punk - a genre characterised by simple and repetitive song structures; blistering, angular, distorted guitars; and aggressive vocals which are nihilistic, rebellious and express disdain for authority and the establishment. Taking musical cues from ska and reggae, US rockabilly and honky-tonk, and the “mod scene” in England, seminal English bands such as The Clash and The Sex Pistols and US bands such as Ramones and The MC5 began a genre which grew to be a world-wide counter-culture and birthed a slew of sub-genres including Punk Rock, Post-Punk, Hardcore Punk, Pop Punk, and Emo.

Themes: Anti-establishment, Social Commentary, Rousing.

Texture: Like the track Cringe which was discussed in the previous blog, this track Rise Above by Black Flag shares a similar texture qualities. This supports the idea that punk is as much about the texture and other musical elements as it is about the lyrics and the image. Texturally, the track is comprised of a single double-tracked electric guitar, vocals, gang vocals, bass guitar and drums. Rise Above begins with the drums which play their 4/4 beat for 2 bars before the guitars screech in with the bass bass guitar which plays the root note in harmonic fashion. This extended intro section lasts for 10 bars. Next the verse, and the introduction of the lyrics. The verses jump back and forth between two 1 bar sequences. The first has the guitar playing the harmony however, this is buried slightly behind the vocals which, typical of the punk genre, stress delivery and rhythm over any strong melodic structure. The second part sees the presence of another feature staple of punk music, the gang vocals. Here we witness the guitar implying melody to the gang vocals as the two parts share the same rhythmic structure. The chorus follows this structure, the vocals and gang vocals do not provide much in the way of melody and so the guitars are relied on for their melodic texture.

Dynamics: Also similar to the song discussed in the previous Punk blog, Rise Above doesn’t exhibit any major shifts in dynamicness. Instead, the song features an intense and passionate, driving rhythm which is maintained from start to finish. While there are no major dynamic changes there are subtle lifts in the song. The gang vocals for instance, during the verses and in the chorus are call-and-response-like and do inject some element of dynamicness.

Timbre: While this track is similarly abrasive in timbre to Cringe there are still subtle differences which distinguish the punk rock genre of Cringe from the Hardcore Punk genre that Rise Above falls under. The vocals on the track are blistering and distorted, characteristics gained from the intense vocal delivery, the dryness in terms of acoustics and the lack of effects. This is similar to Cringe, however there is a much more guttural timbre to lead singer Henry Rollins’ voice here. The backing vocals in terms of timbre add an excitement, depth and roundness due to the ambient room sound. The electric guitar is distorted and piercing, the use of palm muting in the choruses gives an extra biting and percussive timbre to the track. The bass, unlike in Cringe is almost inaudible and is only there to support the guitar and add some low end support and fullness. Finally the drums are gritty and loose with a certain fullness also as a result of the room sound being picked up. The drums also sound very natural and are in no way made to be explosive or hyped through use of compression or any other production techniques. This bare-bones, raw, low-fi sound is fairly typical of this sub-genre of punk.

Instrumentation/use of Technology: While many genres are modelled on cutting edge technology or innovative instrumentation, Rise Above, and Punk as a whole, are interesting in that they embrace both exhausted instrumentation (basic rock ensemble of vocals, electric guitar, bass and vocals) and low fidelity recording technology. This however, adds to the overall sound of Punk and its DIY, anti-commercialistic ethos. A number of unique and novel instrumentation choices however, which features in Rise Above include the gang vocals, guitar plectrum slides and palm muted guitar chords. The guitar tone is a main feature of this music. The electric guitar here uses a Plexi guitar with a DiMarzio pickup with the EQ turned as dark and thick as possible on a loud solid state amp. It was not uncommon to also use distortion and overdrive pedals such as the RAT and the Tube Screamer. 

Melody: Compared to many other genres the melody of this track can be seen as basic in many respects. The main melody in Rise Above is provided by the electric guitar throughout the track as the vocals remain almost a monotone or with no overtly recognisable tone for the duration of the track. The verses have two melodic sections, the first sees the guitar play a lead sequence D > F#, and the second using power chords G5 > A5.

Notation (2 - 4 bars notated part):

Time Signature: This song is in 4/4 time with four quarter note/crotchet beats in every bar.

Tempo:

213 bpm

Tonality: This track is in A Major. The verse starts on the 4th on D then goes to the 7th below the root. This pattern repeats for the duration of the verse. The chorus is structured around the 5th using the E5 chord. The chord cycle goes as follows: E5 > C5 > G5 > A5 > E5 > D5 >B5 >G5 >A5 >G5 > A5. 

Structure: A short drum introduction consisting of 2 bars begins the song. On the last two beats of the second bar a plectrum scratch introduces the guitar to the mix. These two parts play together for 4 bars before being joined by the bass. This extended intro section lasts for 10 bars before the verse begins. The verse is a two part section made up from 2 one bar riffs which cycle back and forth. The chorus follows the verse and plays for 4 bars with a half bar transition directly into verse 2. The song cycles on without much structural variance: chorus 2, verse 3 and then a solo section before finally ending with a chorus.

Intro > Verse 1 > Chorus > Verse 2 > Chorus > Verse 3 > Chorus > Solo > Extended Chorus

[sonic-autopsy-blog]

#3 ‘Cringe’ by Alkaline Trio [Punk]

Genre: Punk

Track: Cringe

Composer/ Artist: Alkaline Trio

Background: During the 1970s popular music was dominated by disco and rock and metal bands that featured virtuous musicians which many teenagers simply could not relate to. This, along with a wave of youth disenfranchisement led to the formation of punk - a genre characterised by simple and repetitive song structures; blistering, angular, distorted guitars; and aggressive vocals which are nihilistic, rebellious and express disdain for authority and the establishment. Taking musical cues from ska and reggae, US rockabilly and honky-tonk, and the “mod scene” in England, seminal English bands such as The Clash and The Sex Pistols and US bands such as Ramones and The MC5 began a genre which grew to be a world-wide counter-culture and birthed a slew of sub-genres including Punk Rock, Post-Punk, Hardcore Punk, Pop Punk, and Emo.

Themes: Angst, Aggression.

Texture: Texturally, Cringe fits the Punk mould well as the number of musical layers are kept to a minimum. The track is comprised of a single double-tracked electric guitar, vocals, bass guitar and drums. The electric guitar plays the intro section for two bars before being joined by bass guitar which plays the root note in harmonic fashion. The first verse sees the introduction of the lead vocals which become the main focal point of the track, working in two-part polyphony with the guitars. Aside from the break sections after the first and second verses, the instrumental section towards the end of the track, the bass embellishments and the monophonic vocal motifs after the first verse and during the outro, this two-part polyphonic exchange between the vocals and guitars dominates the track.

Dynamics: Like most music in the Punk genre, Cringe doesn’t exhibit any major shifts in dynamicness. Instead, the song features an intense and passionate, driving rhythm which is maintained from start to finish. However, while each instrument and the vocals are performed for maximum impact throughout all the major sections in the track, there are a number of brief moments which inject some variance in the overall dynamic level. This can be seen for example at 0:43 after the second verse where the solo vocals, which occur for a single bar, give the track a moment of repose before all instruments crash back in.

Timbre: Punk is renowned for its ensemble of abrasive musical sounds. Cringe is a perfect example of this. In terms of timbre, the vocals on the track are blistering and distorted, characteristics gained from the intense vocal delivery, the dryness in terms of acoustics and the lack of effects. The electric guitar is similar in timbre, being both distorted and hard-hitting. The bass has substantial power and presence, being used not just for low end support in this track but with a fair deal of high-frequency information to add to the overall aggressive timbre. Finally the drums are upfront and full of energy. The mic techniques and performance give the drums added bite and ferocity with no real use of ambience or room sound.

Instrumentation/use of Technology: While many genres are modelled on cutting edge technology or innovative instrumentation, Cringe, and Punk as a whole, are interesting in that they embrace both exhausted instrumentation (basic rock ensemble of vocals, electric guitar, bass and vocals) and low fidelity recording technology. This however, adds to the overall sound of Punk and its DIY, anti-commercialistic ethos. The main signature of this sound comes from the electric guitar which is probably a Les Paul going though a Marshall JCM amp. The guitarist also uses overdrive and distortion stomp box effects. The bass player plays a Fender P bass.

Melody: Compared to many other genres the melody of this track can be seen as basic in many respects. The main melody is provided by the vocals in the verses in the key of C Major and the electric guitar in the breaks and the instrumental, also in the key of C Major.

Notation (2 - 4 bars notated part): 

Time Signature: This song is in 4/4 time with four quarter note/crotchet beats in every bar.

Tempo: 250bpm

Tonality: As mentioned, this track is in the key of C Major. Fitting with the simplistic tonal nature of many Punk tracks, the main riff of the electric guitar follows a repeating pattern C > Em > F, moving to Am at the end of each 4 bar sequence. During the instrumental this pattern changes to C > Am > G > F and the track has a strong resolve on the root chord C.

Structure: The structure of this song is slightly more complex than some tracks of the same genre. A short guitar introduction consisting of 2 bars begins the song. Next the first verse is established, followed by a 2 bar break and the second verse. This is preceded by the chorus, another break of 4 bars, the third verse an instrumental section (16 bars in length) and an outro.

Intro > Verse 1 > Break > Verse 2 > Chorus > Break > Verse 3 > Instrumental > Outro

[sonic-autopsy-blog]

#2 ‘Old Man’ by Neil Young

Genre: Folk

Track: Old Man

Composer/ Artist: Neil Young

Background: Folk music is commonly known as the music of the people. It describes a long lineage which includes both traditional folk music and the contemporary folk music genre spurred by the 20th-century folk revival. In general, all folk music represents community and favours authenticity over musical verciousity. In terms of contemporary folk music, the work of Woodie Guthrie in the early 1900s, the Kingston Trio in the 1950s, Bob Dylan and the protest music of the 1960s, and current artists such as Bon Iver and Iron & Wine, all draw on common features inherent in folk music. Heavy emphasis on lyrical content, the use of acoustic instruments (particularly acoustic guitar) and liberal ideologies are some of the broad characteristics at play in folk music. However, over the past number of decades the genre has given rise to many others such as folk rock, anti folk, bluegrass and folktronica.

Themes: Pensive, Nostalgic, Warm.

Texture: Compared to the stripped back nature of Mr. Tambourine Man which I covered in the previous blog, Old Man is texturally more complex but still maintains an element of minimalism. The track is introduced by a strummed acoustic guitar pattern. This is joined by electric bass at the end of the first line and by accompanying piano on the third line both playing in homophonic accompanying fashion. The vocals are also introduced on the third line. They take the focus and work in polyphonic fashion with the acoustic guitar. During the first pre chorus we hear the introduction of a banjo as another polyphonic texture. The chorus sees a three part harmony in the vocal section being added to the mix. Here the acoustic guitar takes a back seat and the banjo and vocals perform in polyphony. The texture in the subsequent verse and chorus repeats this form.

Dynamics: This track also differs from Mr. Tambourine Man in its dynamicness. The songs intro sees a layering in stages, first the acoustic guitar, then electric bass, followed by piano and vocals. The drums join and signal the first verse which is of a casual, relaxed level. There is a slight increase in energy in the pre chorus with the addition of the banjo. When the chorus hits there is a big leap in dynamics. The three part harmony of the vocals, the louder acoustic and bass strumming, the cymbal hits and pedal steel guitar all give the chorus a powerful driving air. This subsides with the verse and the dynamics are brought right back down, before picking up again for the second chorus. Finally the outro plays the song out on a mellow note, matching the level of the introduction.

Timbre: Old Man has a fair number of textures. The track can be seen as veering into folk rock territory due to the use of electric bass and drums. However, these elements display a disparate, woody, dry and raw character both due to the way they were played and the humble recording techniques used. The acoustic guitar is upfront and also very dry sounding throughout the track. The accompanying piano is delicate and distant which adds depth, this can also be said for the pedal steel guitar which occurs during the choruses and works to lift the song and the playful banjo passages. The vocals are also very present and full of earthy character. In the choruses the vocal harmony section as a whole displays a slight raspy and soulful character which adds to the urgency and excitement of these sections.

Instrumentation/use of Technology: Acoustic guitar, pedal steel guitar, electric bass, drums and banjo make up the instrumentation section of the song. This is a relatively typical assembly for the genre with the pedal steel and banjo being the unique, defining factors. The track was recorded in 1972 at Quadrafonic Sound Studio. Principle equipment used included a U87 microphone for vocals, a Quad 8 analog desk, a Ampex MM1000 16-track, AG440 eight, four and two-track recorders, and Altec monitors. The band performed the track together in the live room.

Melody: The main melody of this song is provided by the vocals in the choruses and verses in the key of D major, the acoustic guitar in the verses and the outro and the banjo in the pre choruses. The banjo accompaniment also provides a countermelody to the vocals in the choruses.  

Time Signature: This song is in 4/4 time with four quarter note/crotchet beats in every bar.

Tempo: 76bpm

Tonality: This song is in D Major Mixolydian mode. However, there is the inclusion of an Fmaj7 chord which can be seen to be borrowed from the D Dorian or D Aeolian scale. Aside from this there is a strong feeling of the D major chord being the center. The song also ends with a strong resolution on D.

Structure: The structure of this song is relatively simple. There is an introduction played by acoustic guitar. The bass and piano are added and then the drums and vocals signal the beginning of the first verse. A four bar pre chorus preludes the chorus. Then the song comes back to another via a short 4 bar break. The verse and pre chorus follows the same pattern verse>pre chorus>chorus and ends on an outro which mimics the intro section.

Intro > Verse > Pre Chorus > Chorus > Break > Verse > Pre Chorus > Chorus > Outro

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[sonic-autopsy-blog]

#1 ‘Mr. Tambourine Man’ by Bob Dylan

Genre: Folk

Track: Mr. Tambourine Man

Composer/ Artist: Bob Dylan

Background: Folk music is commonly known as the music of the people. It describes a long lineage which includes both traditional folk music and the contemporary folk music genre spurred by the 20th-century folk revival. In general, all folk music represents community and favours authenticity over musical verciousity. In terms of contemporary folk music, the work of Woodie Guthrie in the early 1900s, the Kingston Trio in the 1950s, Bob Dylan and the protest music of the 1960s, and current artists such as Bon Iver and Iron & Wine, all draw on common features inherent in folk music. Heavy emphasis on lyrical content, the use of acoustic instruments (particularly acoustic guitar) and liberal ideologies are some of the broad characteristics at play in folk music. However, over the past number of decades the genre has given rise to many others such as anti folk, folk rock, bluegrass and folktronica.

Themes: Wistful, Nostalgic.

Texture: Broadly, the song is comprised of a simple but animate trio of vocals, acoustic guitar and accompanying electric guitar, with the occasional addition of harmonica. The song begins with an upbeat strummed acoustic guitar pattern. Expansive vocals enter and work in homophonic fashion with the acoustic guitar. Furthermore, an electric guitar accompaniment works in free polyphony against the vocals. These three elements remain throughout the song giving it a hypnotic, incantatory feel. During the break and outro sections Dylan’s harmonica replaces the vocals as the main melody line.

Dynamics: Both the strummed acoustic guitar and electric guitar accompaniment remain consistent throughout the song in terms of their dynamicness. The vocals are the major source of dynamic variance in this song. While overall the delivery becomes more intense as the song progresses, there is also variance from line to line and in some cases between words which gives a soaring and exultant effect. The harmonic also effects the dynamicness of the track, lifting the song when introduced.

Timbre: Mr. Tambourine Man is relatively sparse in terms of timbre. The jangly acoustic guitar has a worn and muted, yet playful character. Dylan’s vocals are upfront, gritty and biting with a hint of reverb which adds depth to the song and supports the dreamy quality of the melody. The electric guitar floats in a subtle manor just out of shot while in comparison the harmonica is sharp and brittle, demanding attention.  

Instrumentation/use of Technology: Acoustic guitar, electric guitar and harmonica make up the instrumentation section of the song. The use of electric guitar on this song as an accompaniment is quite novel given the era in which it was recorded (1960s). The reverb used on the vocals, judging by the time period and studio (Columbia Studios) was either a dedicated echo chamber or an EMT 140 plate reverb.

Melody: The main melody of this song is provided by the vocals in the choruses and verses in the key of F major and the harmonica in the break section and the outro. The electric guitar accompaniment provides a countermelody to the vocals and harmonica throughout the song.

Time Signature: This song is in 4/4 time with four quarter note/crotchet beats in every bar.

Tempo: 174bpm

Tonality: This song is in F Major. The acoustic guitar starts in the middle of a cycle of tension and resolution on the subdominant (B♭ major) rather than the keynote (subdominant > dominant > tonic). This happens throughout the song and adds to the trance like quality of the song.

Structure: The structure of this song is quite complex. There is a short 4 bar introduction on acoustic guitar (playing the tonic). This gives way to the first chorus which lasts for 16 bars. The chorus occurs 5 times in the song after which there is a 6 bar break before each new verse. There are 4 verses, which get longer as the song progresses and each use different chord sequences.

Intro > Chorus > Pre-verse > Verse 1 >Chorus > Pre-verse > Verse 2 > Chorus > Pre-verse > Verse 3 > Chorus > Pre-verse > Break > Pre-verse > Verse 4 > Chorus > Outro (fade)

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