Phil Spector started off as a producing assistant for many producers and composers. However, eventually he formed his own recording company with Lester Sill called Philles. While in his own recording studio, he created a technique none as the wall of sound. The wall of Sound was a combination of various instruments in order to create layers of sound. Often times these various instruments would play different notes. Phil never recorded with just one of instrument. For example, he often recorded in triple rhythm sections- three drummers, three bass players, and three pianos. In addition, Phil often did not start off using all instruments. Instead he would start with a few instruments and add additional instruments in each verse. This is none as “building the wall of sound”.
One example of the wall of sound is River Deep Mountain High by Tina Turner. The very beginning of the song starts off with one guitar and within the first 5 seconds of the song Phil adds
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The music in this song is so dense and is paired beautifully with the deep tone of Bill Medley’s voice. The song begins with little to none background music but by 22 seconds into the song Phil adds a tambourine. Then, almost immediately Phil adds additions of the orchestra such as the cello. By the chorus, Phil is utilizing the entire orchestra which creates a dense sound behind the lead vocals and back up vocalist of The Righteous Brothers. After the chorus, the orchestra is still being used, but he tones it down a little in order to secure the intensity of the chorus. If he was to use the entire orchestra at full potential throughout the whole song, the chorus would not have as much effect. The last verse of the song includes very little instruments in the back ground. However, the music progressively builds with the lyrics of the song in order to end the song on an intense and dramatic
The poem “Where There’s a Wall” by Joy Kogawa is an interesting poem. It talks a lot about walls and how you might get over, under, around, or through a wall. The title is used throughout the entire poem and each thought usually starts with the phrase “Where there’s a wall”.
Part of this is due to the film’s soundtrack – just like its plot, it’s a daring and muddled mix in equal measures, an amalgamation of Jonny Greenwood’s terrifically periodic score, and the various offerings of artists, each with a booming, bombastic track to deftly support what’s on screen; Vitamin C, Here Come the Ho-Dads, Simba, and Les Fleur all stand-out as proudly and brilliantly as Doc’s sideburns. They also help contribute to Inherent Vice’s wonderful, tonal atmosphere – the turn of the 1970’s portrayed on screen with expert
Afterwards the same guitar roars in for half the time it did before as Mr. Collins proceeds to go into the first verse of the song. After the first verse he returns back to the chorus this time with additional vocals that lags behind his every word and ends with the guitar roar once again that comes predictably at the same time. The first words to his second verse starts with the singer's voice tweaked up a bit with the reverb machine. The prophet and a host of warm instruments continuously ascends with every whole note for a total of four measures in a harmonious fashion, but returns back to the tonic key after the fourth keystroke. In closure of the last verse the song increases from a (p) piano to an (mp) mezzo forte. An intense eleven strikes on a live drum set introduces the climax of the song, which then cancels out the sound of the electronic drum set, yet introduces the sound of a brass instrument that appears every two or three measures.
Palmer, the choir did a wonderful job at singing freely and with resonance. This helped the emotions created by the text to easily be portrayed. They also did a wonderful job at following their conductors gestures for changes in dynamics. This helped to intensify their crescendos and diminuendos. However, their consonants would occasionally be harsh, which interrupted the beauty of the piece as a whole.
Sound that is represented as originating outside of the films world or story space, for example:
It is a wonderful song that captures a lot of history in a short time just to describe how great Billy and Reno think each other are. At the beginning of the song they explain why they are about to sing and then at the end of the first verse say, "At least it'll tell you how great you are."(Porter 8). Right after the last sentence of the first verse the chorus begins with, "You're the top! You're the Coliseum."(Porter 9).
The Beach Boys’ signature sound, apart from their stringy guitars, southern Californian and Hawaiian influenced instrumentals, was their complex harmonies and articulate multi part vocal tracks. In one of the first instances of Phil Spector’s ‘wall of sound’, originally pioneered by Bryan Wilson, implementing the idea of the mixing technique into Spector’s mind, the lead vocals of the Beach Boys were often double tracked onto in mono, creating that smooth yet thicker sound the Beach Boys are often known and recognized for. This is explained in Bryan Wilson’s liner notes on the remastered Pet Sounds CD. They would record the band on four track with maybe a few overdubs, but mostly live.
Though the boys sing together, the words of the song have a different meaning for each. The train, which Wright mentions on several occasions, is a reminder of the trip they will all take to the afterlife. For everybody but Big Boy, this ascension to Glory comes sooner tha...
The concert started with a religious piece called Profanation from Jeremiah and it was based on a biblical story of a prophet named Jeremiah and his story in Jerusalem. This music piece tends to be a folk music. The music piece is managed to be divided into three sections, prophecy, profanation, and lamentation. The song starts with a solo horn fading in slowly playing over for couple seconds until a solo flute takes the roll along with a softer drum roll leading to a gathering of bassoons and clarinets.Also, the trombone enters in a high pitch increasing the song tempo.The melody throughout the song was lead by the flutes in first and then by the violins. The symphony ends with a three-note motif in a melodic gesture leading the song to end with a quiet tone.The second music piece is called candidate suite and it was conducted by Clare Grundman and has five parts. The first part is called The best of all possible worlds. In addition to Westphalia choral, Auto da fe, Glitter and be gay, and Make our Garden grow. The song starts with a high timpani hit and a brass fanfare. The melody then is lead by the trombone, and the flute joins the trombone. The tempo and the melody tend to be fast and there was soloist by the flute, clarinet, and the bassoon. The piccolo then leads the melody and shapes a descending tone. In the middle of the song, the theme sounds quiet and slows with a flute solo in the
I am listening to a studio recording of this song. This song was released on the album Flow in 2005, then arranged for full symphony orchestra on his 2007 album A Tale of God’s Will (A Requiem for Katrina). I will be listening to that version of the song. The piece starts out with a woodwind and string prelude. Then, the prelude decrescendos, then stops completely, making the way for the solo piano to come in at a mezzoforte dynamic with the melody line. The piece is shifted down a half step in key, with the melody's starting note going from G to F#. It’s solo piano for sixteen bars, then the tenor sax comes in at a mezzopiano dynamic in the middle of his range, making it easy to blend with the right hand piano line. Lower strings are also heard at a piano dynamic, adding harmony in a lower range (with some countermelody and fills) to the tenor sax/right hand piano part. Soft mallets are being used on the cymbals to add an occasional percussive color, but only at a pianissimo dynamics, as not to interrupt the main theme. When Blanchard comes in on trumpet, the cymbal work comes up to a mezzopiano dynamic with tom work as well. The melody line changes as well, and the full string orchestra is in at this point adding a dark color to this new melody line. Then the melody comes back in in the piano, tenor saxophone, and upper strings at a mezzoforte dynamic, different from the dynamic they were at earlier. They
The first song played is “The Sounds of Silence,” which is somber and melancholy with its soft voices and instruments. The song plays along with a dull and repetitive recording while Ben stands alone on the moving walkway at the busy LAX airport. The song’s lyrics reinforce Ben’s feeling of isolation, “And in the naked light I saw, ten thousand people, maybe more. People talking without speaking, people hearing without listening” (Nichols 00:01:34). Right away the unhappy music and lyrics give the feeling that Ben is absent from his life and is surrounded by people that have nothing important to say. The song establishes the anxiety that Ben will experience throughout the film which is that of not being able to connect with the generation above him and worrying that his own generation is becoming a superficial and apathetic culture. Later, there is a montage that uses “Sounds of Silence” and transitions into “April Come She Will.” The montage shows Ben going through his monotonous daily routine and then meeting up with Mrs. Robinson for their loveless affairs. The music reminds the audience how detached Ben is even in an activity that should be intimate. “April Come She Will” plays while Ben walks back and forth between the worlds of Mrs. Robinson and his parents, neither of which he is pleased with. This song is about a love burning
...ost abrupt of cuts and edits to feel smooth and natural. Coppola’s fondness for music is evident from her extensive use of on-screen musical elements such as the jazz bar, the karaoke, and Charlotte’s musician friends. Even as they tramp through the city, the rush of cars and the shouts of people become a kind of music. Every sound in this film plays an integral part in the overall tone.
These tenors represent the full spectrum of emotions and strength in life. It is as if he is discussing god and the life you have been given. It is gentle enough that you often feel strong and powerful but also strong enough to humble you.
Howard Shore caused a musical adventure and created an environment musically that helped the audience have an emotional feel for the movie also to help increase the dialogue and action to the film. This allowed the film the “cherry on top” complete feeling; intensifying the movie experience. Throughout the film Howard Shore incorporates many popular artists such as: Sia, Vampire Weekend, Muse, CeeLo Green Beck & Bat for Lashes and the list continues with a few more great bands and artists which were featured in the film. I believe the key to making nearly all movies fall in place and complete is the original score. Howard Shore did a fantastic job using original score pieces. Throughout the film there are eighteen scenes and all of which include music even if it was a original score this helped the scene flow together with the film also allowing the audience to feel the emotions the characters where undergoing as well as the character.