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Lesson two






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  • when a guitar plays quietly with a reverb effect to produce a sound like the guitar is whispering.
  • http://www.youtube.com/watch?v=KhjGitIsfMs

Lesson two Lesson two Presentation Transcript

  • Prep last week…• Learn the vocab• Complete the Fact-Finder sheet
  • Today you’re going to… Demonstrate understanding of vocabulary forJeff Buckley’s ‘Grace’Analyse the score of GraceArea of Study 3Graceby Jeff Buckley
  • Vocab Test
  • Answers!
  • Write grades intracking sheets15 = A* 2CMDs13-14 = A 1CMD11-12 = B 2 Merits9-10 = C 1 Merit7-8 = D6 = E5 = F4 = G
  • • Thereareseveral common production techniquesused inthistrack:• OVER DUBBING – Thisiswherepartsarerecordedseveral timesand MULTI-TRACKED (Layered) to makethetexturethicker and moreinteresting• EQ – Short for EQUALISATION. Thisiswherecertainfrequenciesof sound arecut or boosted to alter thequalityof thesound• DELAY – Thisisan effect that repeatsthesound multipletimeslikeacomplicated echo• REVERB – A much smoother echo, likethering you get inachurch or largebuilding• FLANGER – A studio effect that makesasound swirl andsweep• PAN – Very simply sending thesound/instrument/voicetoeither theleft or right speaker to createinterest and morespacein thetrack
  • Score Analysis
  • Word painting...The meaning of the words are reflected inthe music.Examples...In verse 1 Buckley:1. moves to his higher register on the words ‘myfading voice’2. emphasises the word ‘love’ by using a melisma3. uses cross-rhythms between the bass guitar andhis voice on the words clicking of time’
  • How does this relate to thelyrics?
  • Score Analysis – add this inwhere appropriate!• Standard line up– Electric guitar– Bass guitar– Drums– Vocals
  • Add this onto the score whereappropriate• Very guitar based– Used a lot of power chords• Used a lot of guitar effects– Distortion (also known as overdrive)– Feedback– Flanger– Slide
  • More key facts• Rock songs talk about controversial topics– Drugs– Mental illness– Sex– Alcohol• Lots of musical freedom and fusing with other genres– Grunge, punk & funk• Started in the 1950s– Heavily influenced by the 12 bar blues• Developed more in the 1970s– Songs became longer due to advancing technology
  • Key facts about Grace• Grace was Jeff Buckley’s debut album• Time signature is 12 / 8– Unusual because most pop songs are in 4 / 4– The main chord sequence is a power chordsequence slid across 3 frets
  • More key facts
  • More key facts• Song is based around 4 main riffs and has an unusualchord progression• The song is based on a dream that Jeff Buckley had.• Features male vocalist (Jeff Buckley himself)– Very wide vocal range– Extensive use of falsetto
  • Prep• Revise for listening test next Monday!• A-A* grades – extended prep andfurther analysis
  • Analysis of the piece – Introduction- A• The introduction is split into two sections – A and B• This is the same as the link – the link is a direct repeatof the introduction!The opening begins with guitar andsynthesizer (other parts enter on the 3rdbar)The piece has not settled in a sense ofkey yet – we can tell this because of theaccidentals, and because the first chordis an F minor 7thChord – not found in thekey of E Minor!AccidentalsChord of F Minor7thEnds on a loud chord of E Minor
  • Analysis – Introduction - BThe introduction isthe first time wehear the wholeband play.We are now in DMajor, which wecan tell by the useof C#’s in the musicA clash iscreated by theC# in the guitarand the D in thebassThe bass guitar isplaying a pedal on D –where one note isemphasised byrepetitionThis part is repeatedseveral times beforeleading us into theverse...A third electric guitarplays a low C# whichclashes against the DpedalThe rhythms isdriven by theacoustic guitarand hi-hat
  • Analysis - Verse 1At this point we have changed keyagain, and we are in E minor, shownby the use of Bb’s in the melodyThe piece uses parallel chordsin the verse – all the chordsare formed by moving thesame hand shape up or downone fret on the guitarThe accompanimentunderneath has severalelements to it.• Guitar whispers played onthe electric guitar• Rhythm guitar plays a patternfollowing the chords• The second guitar playsbroken chord patterns.The vocal line is:- in the lower register- mainly moving by step- dropping down at the end of thephrasesThe sound ofthe plectrumhitting thestrings of theacoustic guitaris used to giveeffect
  • Analysis – Pre-ChorusElectric guitarand acousticguitar both playchords, movingup theinstrument.The vocal range getshigherThe section ismostly in Eminor, but the Dnaturals give usa hint of thedorian modebased around E
  • Analysis - ChorusThe vocal line issignificantly higherthan in the verseOpen strings played by theguitar are used to create adischord – this is intentional!Buckley uses a melisma in the last part of thechorus – this is where lots of notes are sung toone syllableThis melisma lasts for two bars.The melody againconsists of severaldescending phrases
  • Analysis – Link A and BThink has the same melodic material as theintroduction and there are only twodifferences between the Link and theIntroduction:1.There is a mandolin effect added on theelectric guitar2.A vocal ‘Oh’ links parts A and BWhen we hear the link after the mid 8, it isagain the same, thought this time featuringthe guitarist hitting the deadened acousticstrings.
  • Analysis – Verse 2 and 3Whilst the melodic material remains the same,Buckley adds in some extra sound effects tocreate interest, namely:1.Descending slide2.Slide on the strings3.Trill on the stringsAt this point the strings have been written toimitate the guitarVerse 3 demonstrates much more use of thecymbal and more special effects being
  • Analysis – Pre-chorus 2Again this is almost the same as pre-chorus1, the only exception being the addition ofpizzicato strings (where the strings of theinstrument are plucked rather than bowed)This leads into a repeat of the chorus,followed by a drumroll lead-in to to theMid-8 Section.
  • Analysis – Mid-8, Section AStrings play longsustained notes to fill outthe chords (adding inmore of the harmony tothe sectionMulti-tracked vocal harmoniesplaying in counterpoint (differentmelodies interweaving)The drumkit uses more snare toadd intensity – this wholesection is far more intense thanprevious sections
  • Analysis – Mid 8, Section BThis section is based onthe chord sequence forthe pre-chorusThe instrumental backingis also similar to this.The main vocal lineimprovises a wordlessmelodyA ‘telephone’ EQ effect is applied to the vocalswhen the lyrics re-enter to give a harsh distant effectHummed harmoniesfollow the chordsequence, opening outinto vocal ‘ahs’ at the endto give an angelic qualityto contrast with the harshvocals
  • Analysis - Outro• Strings become very important• Lots of vocal improvisations high in thesingers range – use of falsetto• An electric guitar with flanger effect isadded• The song ends with a shortunnaccompanied phrase which clearlyshows the influence of Qawwali (aPakistani devotional chant)
  • Who was Jeff Buckley?• http://www.youtube.com/watch?v=HZRK9qrF490– from 11 mins• Plus ‘Grace’ official video• http://www.youtube.com/watch?v=AfQzLtOh3so&featu• Mainly about how he makes the music• http://www.youtube.com/watch?v=QwiOTC2Y4Cw&fea• http://www.youtube.com/watch?v=LhD9wuA9oLs• First page of booklet