Lesson two


Published on

  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • 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

    1. 1. Prep last week…• Learn the vocab• Complete the Fact-Finder sheet
    2. 2. Today you’re going to… Demonstrate understanding of vocabulary forJeff Buckley’s ‘Grace’Analyse the score of GraceArea of Study 3Graceby Jeff Buckley
    3. 3. Vocab Test
    4. 4. Answers!
    5. 5. Write grades intracking sheets15 = A* 2CMDs13-14 = A 1CMD11-12 = B 2 Merits9-10 = C 1 Merit7-8 = D6 = E5 = F4 = G
    6. 6. • 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
    7. 7. Score Analysis
    8. 8. 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’
    9. 9. How does this relate to thelyrics?
    10. 10. Score Analysis – add this inwhere appropriate!• Standard line up– Electric guitar– Bass guitar– Drums– Vocals
    11. 11. 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
    12. 12. 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
    13. 13. 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
    14. 14. More key facts
    15. 15. 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
    16. 16. Prep• Revise for listening test next Monday!• A-A* grades – extended prep andfurther analysis
    17. 17. 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
    18. 18. 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
    19. 19. 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
    20. 20. 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
    21. 21. 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
    22. 22. 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.
    23. 23. 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
    24. 24. 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.
    25. 25. 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
    26. 26. 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
    27. 27. 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)
    28. 28. 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