The document provides instructions for a lesson on Jeff Buckley's song "Grace". Students will analyze the song's vocabulary, score, and production techniques. They will identify examples of word painting and discuss how the lyrics are reflected in the music. Key facts about Buckley, the song, and its musical elements like instrumentation, effects, and structure are outlined to help students in preparing for a listening test and further analysis.

1. Prep last week…
• Learn the vocab
• Complete the Fact-
Finder sheet

3. Today you’re going to…
 Demonstrate understanding of vocabulary for
Jeff Buckley’s ‘Grace’
Analyse the score of Grace
Area of Study 3
Grace
by Jeff Buckley

4. Vocab Test

5. Answers!

8. Write grades in
tracking sheets
15 = A* 2CMDs
13-14 = A 1CMD
11-12 = B 2 Merits
9-10 = C 1 Merit
7-8 = D
6 = E
5 = F
4 = G

9. • Thereareseveral common production techniquesused in
thistrack:
• OVER DUBBING – Thisiswherepartsarerecorded
several timesand MULTI-TRACKED (Layered) to make
thetexturethicker and moreinteresting
• EQ – Short for EQUALISATION. Thisiswherecertain
frequenciesof sound arecut or boosted to alter thequality
of thesound
• DELAY – Thisisan effect that repeatsthesound multiple
timeslikeacomplicated echo
• REVERB – A much smoother echo, likethering you get in
achurch or largebuilding
• FLANGER – A studio effect that makesasound swirl and
sweep
• PAN – Very simply sending thesound/instrument/voiceto
either theleft or right speaker to createinterest and more
spacein thetrack

10. Score Analysis

20. Word painting...
The meaning of the words are reflected in
the music.
Examples...
In verse 1 Buckley:
1. moves to his higher register on the words ‘my
fading voice’
2. emphasises the word ‘love’ by using a melisma
3. uses cross-rhythms between the bass guitar and
his voice on the words 'clicking of time’

21. How does this relate to the
lyrics?

22. Score Analysis – add this in
where appropriate!
• Standard line up
– Electric guitar
– Bass guitar
– Drums
– Vocals

23. Add this onto the score where
appropriate
• Very guitar based
– Used a lot of power chords
• Used a lot of guitar effects
– Distortion (also known as overdrive)
– Feedback
– Flanger
– Slide

24. 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

25. 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 chord
sequence slid across 3 frets

26. More key facts

27. More key facts
• Song is based around 4 main riffs and has an unusual
chord 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

28. Prep
• Revise for listening test next Monday!
• A-A* grades – extended prep and
further analysis

29. 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 repeat
of the introduction!
The opening begins with guitar and
synthesizer (other parts enter on the 3rd
bar)
The piece has not settled in a sense of
key yet – we can tell this because of the
accidentals, and because the first chord
is an F minor 7th
Chord – not found in the
key of E Minor!
Accidentals
Chord of F Minor
7th
Ends on a loud chord of E Minor

30. Analysis – Introduction - B
The introduction is
the first time we
hear the whole
band play.
We are now in D
Major, which we
can tell by the use
of C#’s in the music
A clash is
created by the
C# in the guitar
and the D in the
bass
The bass guitar is
playing a pedal on D –
where one note is
emphasised by
repetition
This part is repeated
several times before
leading us into the
verse...
A third electric guitar
plays a low C# which
clashes against the D
pedal
The rhythms is
driven by the
acoustic guitar
and hi-hat

31. Analysis - Verse 1
At this point we have changed key
again, and we are in E minor, shown
by the use of Bb’s in the melody
The piece uses parallel chords
in the verse – all the chords
are formed by moving the
same hand shape up or down
one fret on the guitar
The accompaniment
underneath has several
elements to it.
• Guitar whispers played on
the electric guitar
• Rhythm guitar plays a pattern
following the chords
• The second guitar plays
broken chord patterns.
The vocal line is:
- in the lower register
- mainly moving by step
- dropping down at the end of the
phrases
The sound of
the plectrum
hitting the
strings of the
acoustic guitar
is used to give
effect

32. Analysis – Pre-Chorus
Electric guitar
and acoustic
guitar both play
chords, moving
up the
instrument.
The vocal range gets
higher
The section is
mostly in E
minor, but the D
naturals give us
a hint of the
dorian mode
based around E

33. Analysis - Chorus
The vocal line is
significantly higher
than in the verse
Open strings played by the
guitar are used to create a
dischord – this is intentional!
Buckley uses a melisma in the last part of the
chorus – this is where lots of notes are sung to
one syllable
This melisma lasts for two bars.
The melody again
consists of several
descending phrases

34. Analysis – Link A and B
Think has the same melodic material as the
introduction and there are only two
differences between the Link and the
Introduction:
1.There is a mandolin effect added on the
electric guitar
2.A vocal ‘Oh’ links parts A and B
When we hear the link after the mid 8, it is
again the same, thought this time featuring
the guitarist hitting the deadened acoustic
strings.

35. Analysis – Verse 2 and 3
Whilst the melodic material remains the same,
Buckley adds in some extra sound effects to
create interest, namely:
1.Descending slide
2.Slide on the strings
3.Trill on the strings
At this point the strings have been written to
imitate the guitar
Verse 3 demonstrates much more use of the
cymbal and more special effects being

36. Analysis – Pre-chorus 2
Again this is almost the same as pre-chorus
1, the only exception being the addition of
pizzicato strings (where the strings of the
instrument are plucked rather than bowed)
This leads into a repeat of the chorus,
followed by a drumroll lead-in to to the
Mid-8 Section.

37. Analysis – Mid-8, Section A
Strings play long
sustained notes to fill out
the chords (adding in
more of the harmony to
the section
Multi-tracked vocal harmonies
playing in counterpoint (different
melodies interweaving)
The drumkit uses more snare to
add intensity – this whole
section is far more intense than
previous sections

38. Analysis – Mid 8, Section B
This section is based on
the chord sequence for
the pre-chorus
The instrumental backing
is also similar to this.
The main vocal line
improvises a wordless
melody
A ‘telephone’ EQ effect is applied to the vocals
when the lyrics re-enter to give a harsh distant effect
Hummed harmonies
follow the chord
sequence, opening out
into vocal ‘ahs’ at the end
to give an angelic quality
to contrast with the harsh
vocals

39. Analysis - Outro
• Strings become very important
• Lots of vocal improvisations high in the
singers range – use of falsetto
• An electric guitar with flanger effect is
added
• The song ends with a short
unnaccompanied phrase which clearly
shows the influence of Qawwali (a
Pakistani devotional chant)

41. 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