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NATURE BOY by Eden Ahbez• Natalie Cole “Unforgettable”• A 20th Century Jazz Standard• Pop icon as a songstress ~ 3 Grammys• Classical, and Romantic era orchestrations• Recorded as a Pop hit and film score…
http://www.youtube.com/watch?v=2uu9_1_BDcs Produced by Andre Fischer Arranged by Michel Legrand Piano: Alan Broadbent STUDIOS: Capitol Studios, Conway, GroupIV, Hit Factory, Hollywood SoundRecorders, Lighthouse, Oceanway, Pacifique,Schnee Studios, Tracks, Twentieth CenturyFox Scoring Stage, Westlake Audio, andJohnny Yuma Mastered by Doug Saks at Mastering Lab
Born 1950 in Los Angeles. Natalie is anAmerican singer, songwriter andperformer. The daughter of JazzLegend Nat King Cole, Natalie rose tomusical fame in the mid-1970s as aPop/R&B Star with hits like “This WillBe”, “Inseparable” and “Our Love”. Inthe 1990s, she re-recorded standardsby her father, resulting in her biggestsuccess, Unforgettable, withLove, which sold over seven millioncopies and also won Cole numerousGrammy Awards. She has sold over30 million records worldwide.(1)Wikipedia
Tommy LiPuma David FosterThe BandPersonnel includes: Natalie Cole(vocals); Johnny Mandel, RalphBurns, Marty Paich, MichelLegrand, Bill Holman (arranger);John Chiodini, Alfred Viola, DennisBudimir, John Pisano, John Collins(guitar); Gary Foster (altosaxophone); Pete Christlieb, DonMenza, David "Fathead" Newman(tenor saxophone); Conte Candoli,Chuck Findley (trumpet); Dick Nash(trombone); Clare Fischer, JoeSample, Ike Cole, Brad Cole, AlanBroadbent, Mike Lang, MichaelMelvoin, Monty Alexander (piano);Andrew Simpkins, John Patitucci,Ray Brown, James Hughart, ChuckDomanico, John Clayton (bass);Harold Jones, Dave Weckel, JeffHamilton, Sol Gubin (drums).The OrchestraPersonnel: Natalie Cole (vocals); Dennis Budimir, JohnCollins, John Chiodini, John Pisano, Al Viola (guitar); Jo AnnTurovsky, Katie Kirkpatrick, Gayle Levant, Dorothy Remsen(harp); Raymond Tischer (violin, viola); Gerald Vinci, AssaDrori, Nathan Kaproff, James Getzoff, Anatoly Rosinsky,Harris Goldman, Barbara Porter, Ken Yerke, RonaldFolsom, Dorothy Wade, Edith Markman, Ezra Kliger, MariTsumura-Botnick, Lily Chen, Rene Mandel, Michael Ferril,Ralph Morrison III, Gail Cruz, Henry Ferber, Murray Adler,Dixie Blackstone, Alexander Treger, Irma Neumann, StanleyPlummer, Sid Sharp, Karen Jones, Bernard Kundell, DianaHalprin, Yoko Matsuda, Pavel Farkas, Isabelle Daskoff, SidPage, Israel Baker, Marilyn Baker, Arnold Belnick,Jacqueline Brand, Stuart Canin, Bonnie Douglas, BruceDukov, Julie Gigante, Clayton Haslop, Kathleen Lenski ,Brian Leonard, Paul Shure, Armen Garabedian, DariusCampo, Michael Markman, Berj Garabedian, MiwakoWatanabe, Endre Granat, Haim Shtrum (violin); CaroleMukogawa, Kenneth Burward-Hoy, Dan Neufeld, KaziPitelka, Myra Kestenbaum, Alan DeVeritch, Mike Nowack,David Stockhammer, Myron Sandler, Don McInnes, PamelaGoldsmith, Roland Kato, Milton Thomas, Harry Shirinian,Samuel Boghossian, Denyse Buffum (viola); PaulaHochhalter, Dennis Karmazyn, Jodi Burnett, ArmandKarpoff, Ronald Cooper, Anne Karam, Nils Oliver, AntonyCooke , Stephen Erdody, Armen Ksadjikian, DanielRothmuller, Frederick Seykora (cello); Gary Foster (flute,woodwinds, alto saxophone); Louise di Tullio (flute,woodwinds); Susan Greenberg, Ronald Langinger (flute);Gene Cipriano (oboe, woodwinds); Tom Boyd (oboe); PeteChristlieb (woodwinds, saxophone, tenor saxophone); JackNimitz (woodwinds, baritone saxophone); Steve Kujala,Sheridon Stokes, Ronnie Lang (woodwinds); Dan Higgins(soprano saxophone, alto saxophone); William Perkins,Lanny Morgan (alto saxophone); David "Fathead" Newman ,Don Menza, Rick Mitchell, Richard Mitchell (tenorsaxophone); Bob Efford, Bob Tricarico (baritonesaxophone); Chuck Findley, Conte Candoli, Gary Grant,Larry Hall , Nolan Andrew Smith, Oscar Brashear, RickBaptist, Steve Huffsteter , Warren Luening, Frank Szabo,Charlie Davis
Theme and variationswith repeated motifs.Irregularphrases, drama, chromaticism, embellishments and short cadenza.
32 Bar Form, four 8-bar sections A-B-A-B Jazz Standard 4/4 Rubato’ Intro – 4 bars w/fermata Orchestral Passages [A] – Vocal lead [B] – B section [A’] – A prime vocals [B’] – B prime or chorus 4 Bar intro ¾ meter change pre-solo (Solos/A’’) – ¾ Trumpet solo with Piano &jazz rhythm section accompaniments Fermata cadenza flourishes back to 4/4rubato [B’’ Tag to Coda] – 4/4 Vocals last chorus Coda – Orchestral Coda with small Pianocadenza/fillsfermatas
Studio: Live Studio Recording Genre: Jazz Ballad Released: USA 1991 Album of the year Formats: CD, Album, & Cassettes (wav/mp3s) Label: Electra, BMG marketing Style: easy listening, smooth jazz, bigband, contemporary jazz, swing and possiblefilm score orchestration…
Decca Tree „micing‟, 3 omni-directional mics inan upside down “T” formation @6‟-3‟ apartrespectively, fits on a tall boom high up in theair @above the conductor…probably Neumann M-50s small diaphragm pressure transducer tubecondensers The rest of the orchestra & rhythm section arespot „miked‟ individually and in sections for fullstereo effect, could be AT2020s, APEX 190s, orRodes 2000 could be some AKG‟s? Winds and other solos are panned according tothe sections the traditionally play in, and aremixed a little higher than their orchestralaccompaniment, because they are solos…
High strings to low strings tend to move from leftto right… The brass, French horns, low brass t-bones andtrumpets are placed in the rear of the mix like alive performance and how they are placedgeographically in the orchestra… Vocals move from the left to the right sometimesbut always fuller & with more gain in the mix The woodwinds float around above in the mix,with a light ethereal feel (hi-center-rear) The rubato feel lends itself well to the storytelling style of this ballad, with pauses andflourishes between each Lyric as afterthoughts tothis gripping poetic tale of a young boy‟sjourney…or message!
When the trumpet and piano solos come in at the lastverse, the rhythm section of the jazz band come inwith a steady medium slow 3/4 swing grove for 4 barsbefore the solos…swinging all the way (old schooljazz)…then back to 4/4 rubato for the chorus/end muted trumpet solo is lower and more distant in themix with some room reverb The piano is a little higher, in the front of the mix,and sounds like it‟s recorded in stereo or with omni-directional mics… When the vocals come back in with the last chorus,the time stops again, and goes back to the rubato outof time ballad feel with flourishes reminiscent of…Sibelius Symphony No. 7 or maybe Claus Ogerman(German 20th century) of present…? Now when the vocals take over, they are panned andmixed front and center as they should be with theorchestra & jazz rhythm section in the background
It sounds like there is only a little natural largeroom reverb on the orchestra like in a bigchurch… There is very little or no compression, EQ oreffects at all, most of it sounds like ambientroom, and natural acoustics effects from therecording studios they‟re recording in The vocals on the other hand, sound a little drywith a hint of reverb, some delicate EQ, a touchof compression and maybe a little expansion, notmuch if any…[thickening/fattening] Most of the vocal panning is a very precise stereoimage occasionally moving from left to right butalways; full, round, and up-front in the mix
The orchestration reflects a more tonal versionof Stravinsky or Tchaikovsky and Debussy thatexplore neoclassical (return to order) themesranging from the Romantic periods through toImpressionism/Expressionism~rubatos withadvanced harmonic and melodic devices(evoke~poetic images) very dramatic! The solos in the introduction capture theindividuality of a strange, lonely and exotic boythrough the drama the music provides with lightairy woodwind solos, flourishing around overhead The rich harmonic and melodic textures expressthe magic of a sad, shy, and possibly melancholyboy who has gained incredible wisdom in hisjourneys…and about to share all this with us in asimple & straightforward message.
The melancholy of the parallel musical textures witha little chromaticism, lend themselves well to the„past-tense‟ and sadness that, maybe the boy passedaway or disappeared… The orchestral mix and panning have an etherealwandering feel, like the boy‟s journey over land andsea Another interesting feature is that the solo section isin a medium slow ¾ swing and the rest of the song isin a relaxed 4/4 rubato tempo/non-tempo The song was originally written and played in bothmeters: ¾ or 4/4…time signatures! On the magic day they met, the musical scorereflects a cheerfulness with flourishes of light andhappy excited flute solos… The brass and strings bring the solemness of the boy‟smessage home with full swells and long whole tonehomophonic chordal tonal textures
"Nature Boy“There was a boy...A very strange enchanted boyThey say he wondered very far, very farOver land and seaA little shy and sad of eyeBut very wise was heAnd then one dayOne magic day, he passed my wayAnd as we spoke of many things,Fools and kings,This he said to me"The greatest thing youll ever learnis just to love and be loved in return""The greatest thing youll ever learnis just to love and be loved in return"
Song Analysis Presentation for Sound Design, Arranging, and Audio Engineering.