The Beatles: Revolver

January 19, 2018April 30, 2019Posted in A Level Music StudiesTagged A Level Music, The BeatlesLeave a comment

Context

The Beatles were an English innovative rock band in the 1960s who stretched the limits of technology and pop writing, resulting in some of the most iconic music of the second half of the 1900s. The group was made up 4 performers, Paul McCartney, John Lennon, George Harrison and Ringo Starr. The lyrics and tunes were mostly composed by Paul McCartney and John Lennon, however some pieces, such as “I Want To Tell You” were composed by George Harrison. Ringo only occasionally composed. The Beatles producer, George Martin, influenced the group in style due to his classical training, resulting in instrumentation unused by other pop groups at the time.

General Wider Listening

The Kinks – Waterloo Sunset: Features a popular song structure and common features, such as backing vocals, guitar riffs, a hook, melody-dominant homophony.
Jeff Buckley – Grace: Features melody-dominant homophony, a guitar riff, word painting, dissonant chords for effect, grace notes, middle 8, audio effects, backing vocals

The songs that this post will cover are from their album, “Revolver” released in 1966.

“Eleanor Rigby”
“I want To Tell You”
“Here, There And Everywhere”
“Tomorrow Never Knows”

A revolutionary album, also by the Beatles, is “Sgt. Pepper’s Lonely Hearts Club Band” , released in 1967 and celebrated its 50th anniversary last year. The album took 129 days to complete but was thought to have changed music forever around the world due to its unique style. As with “Revolver” the Beatles had to invent instruments and new studio techniques to get desired results, only possible through the groups creativity. The BBC released a lot of information last year in terms of radio podcasts, blogs and TV documentaries.

Sgt Pepper’s Musical Revolution with Howard Goodall (Program)

The Beatles Sgt Pepper’s Lonely Hearts Club Band Review (Blog)

Sgt. Pepper Song Brief Analysis (PowerPoint) for Wider Reading/Listening

Eleanor Rigby

Lyrics

Eleanor Rigby is a song about loneliness and ageing. The lyrics “wearing the face she keeps in a jar by the door” (b. 15) is a reference to the cream she wears in order to make her look younger. At bar 62 the lyrics read “no one was saved”. This is indicates that she didn’t go to heaven as the church promises. This caused a lot of controversy amongst listeners.

Instrumentation

Use of a string quartet – This was not common in pop music. George Martin influenced this decision due to his classical upbringing. There are actually 8 instrumentalists playing 4 parts, allowing for parts to split.
String Techniques – Double stopping is used throughout the piece providing an almost “dagger-like” sound.
Vocals – The lyrics are very powerful in this song. The phrases generally move in an arch in terms of pitch, however at some points there are big intervals of an octave and even a 10th (e.g bar 19, 24, 42). This provides contrast to previous phrases.

Structure

The structure of “Eleanor Rigby” is peculiar, with 10 bars as the vocals of each verse, instead of the more common 12 or 16 bar phrases. 3 verses and an outro

8 Bar Intro

10 bar Verse: 2x 5 bar phrases [“Eleanor Rigby picks up the rice…”] (b. 9)

8 bar Refrain [“All the lonely people…”] (b. 19)

10 bar Verse 2: 2x 5 bar phrases [“Father McKenzie writing the words…”] (b. 27)

8 bar Refrain [“All the lonely people…”] (b. 37)

18 bar Bridge containing features of the intro [“Ah, look at all the lonely people…”] (b. 45)

9 bar Refrain/Outro combing features of both [“All the lonely people…”] (b. 63)

Tonality

The piece is in Em only uses 2 chords, Em and C. The vocals are diatonic and there are modal injects (dorian and aeolian).

Melody

The melody is strophic (repeats sections)
Based on E dorian
Uses descending sequences
Triadic in sections
Use of chromatic descent.
Uses answer melodies.
Mild dissonance in sections
Distinctive leaps (b. 19)
Syncopated
Double Stopping

Harmony

Made up of 2 chords, E minor and C major.
Cellos play tonic pedals (b. 19 – 26)
Violas play chromatically descending semibreves (b. 19 – 26). Adds dissonance.
Slow harmonic pace – 3x bars of Em, 2x bars of C major

Tempo, Metre and Rhythm

4/4 time throughout
Sustained semibreves in refrain.
Repeated crotchet block chords.

Texture

Melody dominant homophony
Occasionally homorhythmic

Wider Listening

Beatles – Yesterday [Use of string quartet]

Bernard Herrmann – Psycho [use of strings]

Jeff Buckley – Grace [use of melody dominant homophony]

Beatles – She’s Leaving Home [Use of string quartet and string techniques]

Here, There and Everywhere

Written by Paul McCartney, this piece is a slow ballad with american influence, showed by the close barbershop vocal harmonies.

Instrumentation

Reduced from standard pop song
Guitars – spread chords in intro. backing guitar plays simple chords on 2nd and 4th beats
leslie cabinet – to imitate a mandolin sound (b. 15).
Vocals – of american influence (close harmonies). High range. (WL: Freddie Mercury). Backing vocals to harmonise.
No drums.

Structure

Altered AABA structure (reduced to 28 bars)

Intro (unusal 3 bars)

|: Section A (8 bars) 😐

|: Section A (4 bars), Section B (8 bars) 😐

Outro (8 bar)

Tonality

G major (b. 1 – 12, b. 17 – 24) -> Bb major (b. 13 – 16).
G major and Bb major is a tertiary relationship.
Section A hints at Em

Melody

Free intro
Syncopated
Syllabic
High vocal range (WL: Freddi Mercury)

Harmony

Introduction chromatic. G, Bm, Bb, Am
Section A: I, II, III, IV, V (Rising parallel chords in root position)
Section B: I, VI, II, III, VI, II
Chromatic slips
Perfect cadence (b. 13)
Plagal cadence at end.

Tempo, Metre and Rhythm

Rubato section at start
7/8 metre at start (weird)
Syncopated
Guitar plays off beats
Use of Scottish snaps

Texture

Melody dominant homophony
Guitar alters between block chords

Wider Listening

The Beach Boys – God Only Knows [Close harmonies, weird key changes]

The Beach Boys: Pet Sounds [American Influences] Documentary

Jeff Buckley – Grace [melody dominant homophony]

I Want To Tell You

This song was written by George Harrison. George was influenced by eastern philosophy and instruments. “Maybe next time round” reflects the belief of reincarnation. This version above includes a twanky swanky guitar solo.

George learnt to play the sitar by Ravi Shanker. The song was written under the experimentation of the hallucinogenic drug, LSD, which was common in music from the 1960s.

Instrumentation

Vocals – In close harmony, similar to american songs of the time. (WL: The Beach Boys). Backing vocals harmonise.
Tapes – Use of fade in and fade out.
More conventional at time.
Piano – plays block chords.
Tambourine, maracas and hand claps.

Structure

|: Intro (4 bars) 😐

11 bar Verse 1 (b. 5 – 15)

10 bar Verse 2 (b. 16 – 26)

8 bar Bridge (b. 27 – 34)

10 bar Verse 3 (b. 16 – 26)

8 bar Bridge (b. 27 – 34)

8 bar verse 3 (b. 16 – 25)

10 bar Outro (b. 36 – 45)

Tonality

All in A major
Touches B minor in bridge

Melody

Backing vocals harmonise
Long melisma at end gives a “chant-like” effect.
Fragmentary with dislocated phrases.

Harmony

Tonic pedal A in intro and outro.
Extreme dissonance. the minor 9th (F♮) against E7 chord (E, G#, B, D) (b. 10).
Use of acciaccaturas leading into chords.
Limited number of chords (A, D, B, E, Bm, Bdim)
Use of diminished chords (b. 28)

Tempo, Metre and Rhythm

Crotchets in accompaniment.
Triplets in guitar riff.
124 bpm.

Texture

Melody dominant homophony (WL: Jeff Buckly – Grace)
Use of tonic pedal

Wider Listening

The Beach Boys – God Only Knows [Close harmonies, weird key changes]

Jeff Buckley – Grace [melody dominant homophony]

The Kinks (Popular format)

Tomorrow Never Knows

This song was written by John Lennon and is the most innovative song on the album, “Revolver“. It uses tape loops excessively. For this song, 30 separate tape loops were recorded. This song was the first written for the album, but it placed last on the album.

Lyrics

Some of the lyrics in this song are from a book called “The Psychedelic Experience: A manual based on The Tibetan Book of The Dead”. Most definitely a song about the use of LSD. “Turn off your mind, relax and float down stream“.

Instrumentation

Drum Track – Unchanged throughout. Altered using studio effects – uses reversed cymbals.
Indian Influence – Use of the sitar and tambura drone. Not done before in pop music.
Electric Guitar – Reversed and distorted using tape manipulation.
Bass Guitar – Plays a riff throughout.
THE SEAGULLS – Spoiler Alert, not seagulls. Laughing was recorded, sped up, reversed.
Superimposing
Leslie Cabinet – Used to make vocals sound like “100 monks chanting”. Doubles Tracking.

Structure

Strophic (Each verse set to some music)

Intro (Fade In)

|: 8 bar Verse 1 – 3 😐 (b. 7 – 14)

16 bar instrumental (b. 16 – 31)

|: 8 bar Verses 4 – 6 😐 (b. 7 – 14)

Outro (Fade out) (b. 32 – end)

Tonality And Harmony

Continuous C major chord throughout.
C pedal

Tempo, Metre And Rhythm

Syncopated
Continuous rock rhythm

Texture

Leslie Cabinet thickens texture.
Use of tape loops creates electronic polyphony.

Wider Listening

The Beatles – Love You To (From Revolver) [Use of Indian Instruments]

The Beatles – Within You Without You (From Sgt. Pepper’s Lonely Hearts Album) [Use of Indian Instruments]

Oasis – Who Feel’s Love [Example of a modern band that have been influenced by the Beatles innovative style]

References

The Beatles Revolver Review

http://www.songfacts.com/detail.php?id=102

http://www.songfacts.com/detail.php?id=114

https://qualifications.pearson.com/en/qualifications/edexcel-a-levels/music-2016.news.html?article=%2Fcontent%2Fdemo%2Fen%2Fnews-policy%2Fsubject-updates%2Fmusic%2Ffurther-wider-listening-ideas&pageTypes=

Something weird and cool I found:

Film Music: Batman Returns – Birth of a Penguin I

November 20, 2017November 2, 2018Posted in A Level Music Studies, Film Music: Batman ReturnsLeave a comment

Film Music: Batman Returns – Birth of a Penguin I

This post will analyse “Birth of a Penguin I” from the film, “Batman Returns”:

Birth of a Penguin I (Audio)
Birth of a Penguin II (Audio)
Batman Vs The Circus (Audio)
Rise and Fall of Grace (Part I) (Audio)

This post will look at the structure, tonality, on-screen action, melody, harmony, texture, rhythm and instrumentation of each of the pieces.

The script for “Batman Returns” can be found here. Any text in bold within the block quotes were scenes/events that were not included in the final cut.

Wider Listening

“Edward Sissorhands” – Danny Elfman (uses basson and harp and everything)
Psycho – Bernard Herrmann (use of stabs, consistent pulse)

Birth of a Penguin I

On-Screen Action

Danny Elfman changes the music depending on what is being shown. When the Mother and Father pass the couple in the park the music lowers in volume to allow the speech to be audible. When the cat is killed, the music reaches a climax.

INT. A STUFFY MANSION–A NIGHT ABOUT FORTY YEARS AGO

The viewer floats through an overbearing mansion and
up its sweeping staircase to where a stern man in
conservative dress is pacing back and forth, smoking a
cigarette in a cigarette holder. He is the FATHER. The
throes-of-labor pants and moans of the MOTHER can be
heard from down the hall.

Now, eerie Gaas and Goos chill the air. The Father stops
and gapes the cigarette holder out of his mouth to see a
dazed NURSE shuffle out of the birth room and disappear
down the hallway.

A TRAUMATIZED DOCTOR next wanders out. The Father runs
past him into the room. The viewer remains outside and
hears the Father’s subsequent screams.

INT. MANSION LIVING ROOM–CHRISTMAS EVE PAST

A bizarrely corrugated Cage sits amid the plush, period,
and Christmased-up surroundings of the mansion. With
their backs turned to the sickly squeals emerging from
the Playpen from Hell, Father and Mother, holding
martinis, look out a window of gentle snowfall, with
bloodshot eyes. A 50’s-type radio warbles “Santa Claus
is coming to Town.”

A strange pair of eyes peer from the cage. Taking the
point of view of the eyes from inside the playpen, one
sees the mansion’s Christmas tree from between the dark
cage slats.

GIDDY YULETIDE SINGERS
“He knows when you are sleeping,
he knows when you’re awake…”

The family cat skulks past the cage — almost. Without
warning, the cat is yanked — so fast and powerfully it
seems that it’s been sucked — through the bars, into the
cage. A feline SCREAM, then sickening silence.

With dead syncopation, Mother and Father finish off their
martinis, and plop the empty glasses down.

EXT. A PARK–THAT NIGHT

A HAPPY COUPLE in 50’s dress, pushes a baby carriage
through the park cooing toward their bundle of joy
inside.

Father and Mother straggle from the other direction,
creaking forward an ominously closed-up, wickedly de-
signed baby carriage that serves to muffle nasty whining
and thumping noises.

HAPPY COUPLE
Merry Christmas!

Father and Mother fake a smiling response that collapses
as the happy couple passes. They then brake at a story-
book bridge over a bubbling brook. With dark nonchalance,
Father and Mother each grab an end of the carriage and
heave it upward.

EXT. THE CARRIAGE–NIGHT

swirls in the air and splashes down into the small river.
Right side up, the carriage gently rides the tranquil
rapids out of the park area. It bobs through an open
sewer tunnel pipe.

INT. THE SEWER–NIGHT

The carriage innocently slides through the murky waters
of the awesomely cavernous and creepy sewer, softly
surfing its sides.

INT. A DARK LAIR–NIGHT

The resilient carriage spews from a gaping pipe into a
moat of water that surrounds a vast patch of snow and
ice that is the centerpiece of a dark and mysterious
lair.

The carriage rides a gentle wave onto the sanctuary’s
arctic island, into a patch of light. From out of the
darkness of the lair, FOUR STATUESQUE EMPEROR PENGUINS
WITH DISTINGUISHED GRAY BELLIES regally approach the
carriage and surround it with spooky authority.

FROM OUT OF THE DARKNESS OF THE OPENING CREDITS WE
GO TO…

Instrumentation

Danny Elfman uses a variety of instruments. The instruments used are chosen to contrast each other or to connect with a character.

Organ – The organ opens up the tune with a dark, ominous sound. The organ is commonly used in film music for the bad guy as it portrays a sinister, evil and dark feel. (Extra Listening: Pirates of the Carribean, The Haunted Mansion). The organ instantly tells the listener that evil awaits. In “Batman Returns” Danny Elfman uses it to represent “the penguins”.

Celesta – The celesta is a keyboard-like instrument that uses hammers that hit steel plates. The sound produces a light, innocent tone similar to a music box. It has connotations with babies, who are innocent and cute and stuff. Danny Elfman uses this in direct contrast to the organ. Quick, descending minor arpeggios are played giving the music movement and creepiness. The celesta is more frequently used in horror films and so the audience will relate this instrument to terror. (Extra Listening: The Shining – Room 237, Harry Potter – Hedwig’s Theme)

Harp – The harp is played by plucking vertical strings. It produces an angelic, delicate sound that could easily be overpowered. The harp is commonly used when there is a close, personal connection to the scene/lyrics. Danny Elfman uses the harp when the penguin floats down the river at the very end, echoing the penguin theme at a low pitch while playing rippling glissandos which create a floaty feel, which reflects the on-screen action. The harp is used for scene changes. (Extra Listening: The Godfather – Love Theme, Donnie Darko – Mad World)

Bass Clarinet – The bass clarinet is an unusual instrument. Danny Elfman makes it play at a lower pitch than expected, defying the listener’s expectations.

Sleighbells – Sleighbells is Santa’s instrument. They play continuous quavers from (b.26 to 38) and link the music to Christmas. The overall effect is creepy due to the juxtaposition of the light, happy spirit of Christmas and the dark, minor music.

Wordless Choir/Synth – The eerie choir add to the spookiness. Using a choir without lyrics means that there is little clarity, which leaves the listener in a situation of unknown. This means that the audience does not know what to expect. (Fun Fact: Daniel Waters wanted to add “Giddy Yuletide Singers” singing “Santa Claus is Coming to Town”. This did not make the final cut. The use of traditional music along with the dark music can create a worrying feel)

Structure

Danny Elfman uses key changes, tempo changes, metre change, cymbal rolls, tam-tam and harp glissandos when there is a change of scene. In the score, most scene changes are marked with a double bar line.

Tonality

The tonality is constantly changing. This gives the piece movement. Danny Elfman regularly changes key a step up or down to give the piece an edge and a sense of unstableness.

F minor
A minor (bar 7)
G minor (bar 11)
C minor (bar 14)
D minor (bar 26). Ends with a picardy cadence.

Melody

There are leitmotifs (themes for characters) for both Batman and The Penguin. The themes are augmented and dimuted throughout and appear in both the melody and the accompaniment

Batman is represented by a rising minor 6th. This interval gives off a sinister feel as it resolves. It is first heard at the very start while the Warner Bros logo is present and is played on the lower brass.

The Penguin’s theme is then heard immediately afterwards, sung wordlessly by the choir. The motif uses chromatic notes which obscure the keys, affecting the music directly. As well as this the chromatic movement shows an insecurity in place, which relates to the Penguins rejected position in society. (Extra Listening: Harry Potter – Hedwig’s Theme)

Danny Elfman uses continuous semi-quavers to create movement and a sense of urgency, which reflect the Penguin’s parents situation.

Harmony

The key is outlined by ascending and descending arpeggios. These are played by the celesta. Danny Elfman uses cluster chords to create clashes, which create an unpleasant sound. There is a big juxtaposition in range, from the low-pitched organ (darkness) to the high-pitched celesta (innocence). To add emphasis and drama Danny Elfman uses octave doubling, especially on the Penguin’s theme.