As you can see in the Killers’ version it has straight for music structure from the table above. If we compare this with Paul Anka’s rendition of Mr. Brightside, he does sing all the verses in the same order, and leaves out some words, but on the second time he only sings the second verse. So already, it is clear that Anka is making this his own song. To get a better understanding about where these changes occur, see the list order below:
1. In the verse 1 Anka sings all words in the
2. In the verse 2 he misses out the word ‘While’ at (00:43), ‘Now’ (00:45), and ‘And’ (00:48)
3. The Bridge section he sings the 3rd line twice at (00:55), in the 4th line, he adds in a word ‘because’(01:05), and the 5th line, adds ‘It’s’ (01:10)
4. Chorus section Anka
Vocal by Anka in the left position (00:28)
4. Anka sings ‘’ She’s touching his chest now” (00:54 – 01:00) with the answering muted trumpets bottom right corner
5. Guitar comes in at (01:08) very far left, followed by the piano far left (01:14)
6. Saxophone interlude solo take over in the same position as Anka’s vocal.
There is a very distinct stereophonic sound because of the data established above. This does not sound a live recording because you do not hear any reverb. The constant changing of sounds left to right is more like an effect had been created to give the sense of a live recording. Multi-tracking is something that lends to the fact that you hear instrumental sounds all one position, while Paul Anka, sings close the microphone to make it sound more live performance. If we now make a comparative assessment as we did with Paul Anka’s recording, there is a noticeable difference here. We do not have the big band sound, but instead rock band with one vocalist, electric guitars, string bass, drum kit it seems. Here then is a few things in the list that tell us more a about this songs production technique:
1. Distorted sounding guitars introduction (00:00 – 00:08) only can be heard in the left
... began the piece, and the beat of the drum was frequent. After the introduction, the rest of the musicians joined. The pianist also had a solo part with the companion of the drum. The pace of the song was moderately fast, and the song ended with a climax.
An often-used technique for creating rhythm sections of Beefheart’s - which actually dates back to Safe As Milk and the song ‘Electricity’ – is to mirror melodic elements of the track with the drums. When working on Electricity, Beefheart approached drummer John French, and asked him if he could play the guitar riff of the track on his drums, to which French complied. They would then set about making a drum part, which identically matched the rhythm of the guitar riff. For the Trout Mask Replica sessions, French’s involvement with the compositions became much more intense as he was the one that Beefheart would rely on to score the instrumental parts (this is why the drum parts would have to be left until after everything else). Examples of John French’s rhythmic ‘mirroring’ exist all over the album. The track ‘My Human Gets Me Blues’ starts with a simple (but still dissonant) two-note bassline, which is directly twinned with French’s drums, and examples of interplay between the two elements exist throughout the track as it goes through different
The 12th track on the album is “The Document Speaks For Itself,” this song embodies everything that A Day To Remember is and it blends everything they’ve done with previous records, it is musical genius. Being a hardcore band, the instrumentation includes two guitars, a lead and a rhythm, a bass guitar, drums, and two kinds of vocals, clean singing and a “death growl” scream. What makes this particular song so unique is that it is a balance of everything the band tries to do with making songs, it mixes their heavy side with a melodic chorus. When analyzing the form, it was difficult to classify the song with some of the basic forms like binary or ternary, because of the uniqueness of the style of music how it repeats and changes, the form ...
Starting out with an instrumental intro, then leading into the first verse sounds like it follows the form so far, although the differences are clear once the listener hears the first verse. The verses are longer than the typical verse, and they are not followed by the pre-chorus, they both just go right to the refrain, “Oh, Girl, you stand by me, I’m forever yours, Faithfully.” The two verses are separated by a short instrumental chunk which reminds the listener that it is indeed a rock song. After the second verse comes the second refrain, which then leads into another short rock instrumental followed by a series of “Woahs.” This is the bridge of the song and tells us that the end of the piece is near. Finally, the listener hears the refrain one more time, but this time it is slightly changed. This coda creates the perfect ending to the
A couple of other songs they played were “Bothered,” “Cruel and Pretty” and “Changes Come.” If you had never heard the band before tonight, this is where you would probably think all the songs sounded very similar. Slow, piano and sad. The variety lies in the songwriting, if you start paying attention to the lyrics now, you’d have a different opinion. I almost think what they say is so poignant sometimes it should be in a book or poem by itself. But on the other hand, if you took away the way Barquist sings it, or the accompanying instrumentation, I doubt you would get the same idea. They can even make an acoustic guitar sound like it’s in pain and crying.
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
This is how I heard the music, piece by piece with some help to understand and ...
In the third stanza of “He Got Game” it sates, There's a man with a gun over there/ Yeah that's right HA HA/ Telling
The second tune comes in in bar 25 with the Oboes a third apart, a
The musical style of this piece is West Indian soca (sokah) music. The performance is by Black Stalin and the title is “Black man Feeling to Party.” The social setting of the performance is a concert setting. This particular function of this musical style is for entertainment, parties, and dance. The ensemble set up for the performance is arranged with the band behind the performer, (as known as the artist) who is in the front and center of the stage. The four backup singers are also behind the artist; however, they are not directly behind him they are located to the left back side of the stage. The audience is facing the performer and the band. The bands instruments used for this performance constant of a piano, two electric guitars, a drum set, two trumpets, one trombone, and two saxophones.
...with variations on the main melody. There were some parts that were removed in the performance, just like in the Pirates of the Caribbean performance. The purpose of this looked like the song had to be shortened because it was part of an awards ceremony and the full second movement may have been too long.
bar 1 and bars 59-61 in the clarinet part. Bar 3 and bars 62-63 in the flute part.
This piece begins with a trumpet and saxophone duet by Davis and Coltrane. Both were following the style that Davis had implemented into his solo in So What; the duet was very slow, smooth, and simplistic. They were taking their time with the solo, improvising their notes along the way. Following their duet, the piano player, Wynton Kelly got his chance at a solo. Wynton did an amazing job with his solo, very smooth, simplistic, and well swung. Next up was a solo by Miles Davis. Slow and smooth, just as his solo in So What. Brilliant work on his part. Early into his solo, he showcases his ability to go from low to high octaves with no struggle. During his solo, he has an accompaniment by the drummer and the pianist. Davis takes his time on his solo, smooth and short with his lines. A sudden conclusion to Miles’s solo beings Coltrane’s saxophone solo. Playing with a heavy articulation, quick with his notes, at times it sounds a bit static. There was also a solo by their alto sax player, Julian Adderley. Adderley mixed in both styles of Coltrane and Davis, creating a wonderful solo filled with smooth transitions, as well as fast paced heavy scales. The piece concludes with Davis and Coltrane repeating the duet that was played at the beginning of the piece. This piece was in a 12-bar blues
I noticed he constantly switched from the synthesizer to the keyboard, and this was to change the tune and make it sound layered as I mentioned before. I also noticed that at times he played the keyboard slowly and other times he would play extremely fast. So rapidly that I even questioned how a man can first not only move his arms so fast but also play so beautifully at such high speeds. A tune he played even sounded like a swish-swashing sound, and I was amazed by how a synthesizer and keyboard can possibly make such sounds. I also noticed that for this song that both Lionel Loueke and Dave Holland played the guitar, and I think this was to match the fusion electric instrument style. Overall, the entire band did a great opening for their performance; everyone looked like they were doing their own thing and were very content.
Look him up on genius’s YouTube channel. There he explains his songs word for word verse by verse. He tells what the song means to him and what kind of messages he was trying to get from it. When he goes on genius he tells what he was trying to say in his songs. One of his best videos is The Incredible True Story.