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You Can Get It if You Really Want
JimmyCliff
Resources
• Brass (two trumpets)
• Reeds (tenor and baritone saxophone)
• Guitars (lead, rhythm and bass)
• Electronic organ
• Drum kit
• Tambourine
• Backing vocalists
Structure and Form
• Strophic – verse/chorus, containing a bridge
• Four bar introduction and fade out in the coda
Texture
• MDH – Melody Dominated Homophony
Tonality
• Db major but with much of the vocal and instrumental
writing being pentatonic, there is no change of key at any
point
Harmony
• Diatonic, mostly root position chords and dominant 7th chords
• Chorus based on I and IV, introducing V7 towards the end of
the section
• Link is entirely I and IV
• Verse introduces on new chord, Fm, and the chord sequence
is dominated by movement between adjacent chords (bar 20-
25, moving Ab-G-Fm-g-Ab)
• The bridge has the most adventurous chord progression, first
moving G-Ab then descending via a whole tone scale pattern:
Ab-Gb-E-D-B
Melody
• Few notes, based on a limited selection of chords
• Hook
• Pentatonic
Rhythm and Metre
• Syncopation and backbeat
• Accompaniment riffs
• Simple quadruple time 4/4
Setting of Text
• Lead voice mostly syllabic except for the ornamentation
on the notes at the end of phrases
• Backing vocals all syllabic
• Some vocalisation (bars 15-16)
Key Words for You Can Get It if You Really Want
• Strophic – verse/chorus
• MDH
• Homophonic
• Monophonic
• Db major
• Whole-tone scale
• Dominant 7th
• Hook
• Pentatonic
• Portamento
• Syncopation
• One-drop rhythm
• Riff/Ostinato
• Falsetto
• Vocalisation
• Transcription
• Fill

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You Can Get It If You Really Want

  • 1. You Can Get It if You Really Want JimmyCliff
  • 2. Resources • Brass (two trumpets) • Reeds (tenor and baritone saxophone) • Guitars (lead, rhythm and bass) • Electronic organ • Drum kit • Tambourine • Backing vocalists
  • 3. Structure and Form • Strophic – verse/chorus, containing a bridge • Four bar introduction and fade out in the coda
  • 4. Texture • MDH – Melody Dominated Homophony
  • 5. Tonality • Db major but with much of the vocal and instrumental writing being pentatonic, there is no change of key at any point
  • 6. Harmony • Diatonic, mostly root position chords and dominant 7th chords • Chorus based on I and IV, introducing V7 towards the end of the section • Link is entirely I and IV • Verse introduces on new chord, Fm, and the chord sequence is dominated by movement between adjacent chords (bar 20- 25, moving Ab-G-Fm-g-Ab) • The bridge has the most adventurous chord progression, first moving G-Ab then descending via a whole tone scale pattern: Ab-Gb-E-D-B
  • 7. Melody • Few notes, based on a limited selection of chords • Hook • Pentatonic
  • 8. Rhythm and Metre • Syncopation and backbeat • Accompaniment riffs • Simple quadruple time 4/4
  • 9. Setting of Text • Lead voice mostly syllabic except for the ornamentation on the notes at the end of phrases • Backing vocals all syllabic • Some vocalisation (bars 15-16)
  • 10. Key Words for You Can Get It if You Really Want • Strophic – verse/chorus • MDH • Homophonic • Monophonic • Db major • Whole-tone scale • Dominant 7th • Hook • Pentatonic • Portamento • Syncopation • One-drop rhythm • Riff/Ostinato • Falsetto • Vocalisation • Transcription • Fill