The piece is tonally ambiguous at the beginning of the piece but there are hints of it being in E minor but doesn't become clear until the bass guitars come in and then you can tell that the piece is in E minor. He three chord progressions used are C, Bm and E5, C, D and Em and C, D and Bm. At the start of section B the key switches to C minor and continues to change alternatively with the intervals in between getting shorter until the Coda where it stays in E minor until the end. The piece is in binary form (AB) and has 4 sections within the A and B sections. The piece begin monophonically with the live guitar playing a one bar ostinato.
It is written in 2/4 time which translates to 2 quarter notes for each measure. The rhythm, especially that of the first four notes, is catchy and quick and contributes to the overall feel of the piece. The rhythm of Love the Way You Lie is 4/4 or Common time which is 4 quarter notes to each measure. The rhythm of the chorus vs. the verses feels very different. The verses are defined by
Introductions partis played with piano and then with xylophone. It starts off with four bar just about right rhythm. The first part, which is chorus with 32-bar form (A1 and A2), starts off slowly with the entire band without making the song boring. Right after the band plays the first chorus and interlude. I like the xylophone part because it felt like it was one part of the song.
In this song queen used a combination of piano ballad, Italian opera, and hard rock, as well as multi vocal tracking in which they used to record up to 80 voices in a single bar. Bohemian Rhapsody has many different types of textures and would be difficult to put into one category of texture. The intro to the song begins with the members singing an a cappella four-part harmony that portrays a monophonic texture. Around 15 seconds into the song the Piano enters putting the song in a homophonic texture due to Freddy Mercury’s vocals being the main melody, and the piano and back up vocals being the harmony. For most of the rest of the song homophonic texture is fairly persistent.
At the start of the piece there is tonal ambiguity and it is not obvious that the key is in E minor until the bass guitars enter. The piece frequently modulates between E minor and C minor. A conventional harmony progression is not used; the three chord progressions used in section A-3 are C Bm E5/ C D Em/ C D Bm. The piece uses the E Aeolian mode. Rhythm/ metre/ tempo.
The touchstyle fretboard stood out from the rest of the musical instruments. Teed Rockwell played the Hindustani ragas on the fretboard with a recording of the sitar played in the background as a drone. The performers started out the first piece with slow tempo and tone with the didjeridu, fretboard and the morsing by Owen followed by playing the drums with the stick. Stephen Kent Played a blue didjeridu which he later explained was a side didj made out of pvc. The fretboard played by Rockwell sounded and looked very similar to a guitar with a Hindustani touch to it.
The horns play on the first beat a G minor 1st inversion triad shifting to an F minor first inversion triad on the third beat, while the bass jumps in on the second beat with a little 8th note pick up and plays from the tonic (Bb) an ascending Bb seventh chord in quarter notes, omits the thirds and lands on the seventh at the 4th beat. Right there the rhythm is very gospel influenced and the harmony. We have the melody accenting one and three and the bass two and four. In gospel music it is a common device to separate two and four and one and three. In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music.
George Harrison, hired when he was still a minor, played lead guitar, with a formidable style inspired by the rockabilly of James Burton and Carl Perkins. They rose through the ranks playing rock and roll covers in Hamburg, Germany, then made their debut at The Cavern, in Liverpool, on February 21, 1961. Shortly after, Ringo Starr was called to replace the drummer Pete Best, and McCartney switched to the bass. In 1962 two phenomena exploded in America: the Beach Boys and the Four Seasons. Both truly sang, in vocal harmony derived from 1950s doo-wop, which they introduced to white audiences, with arrangements imitating the
The performer sings a verse and then repeats the first line, sometimes with some variation. The third line completes the thought, often with a rhyme. A second form begins with the A-A-B pattern, but it also has an additional four lines, followed by a two-line refrain. The blues are about more than being sad. They were also delivering messages in musical code.
The era of the Beatles I’ve chosen is the music of 1965. The pieces I’m going to use to represent this era are ‘Drive My Car’ from ‘Rubber Soul’ and ‘Yesterday’ from their other 1965 release ‘Help!’ ‘Yesterday’ shows the immense differences The Beatles could go through in such a short amount of time. The differences in performing media are the use of acoustic guitar, a string section and what sounds like acoustic or a double bass, as well as heavily chorus effected vocals. This ensemble of instruments is quite different to the more generic Beatles ensemble in Drive My Car, the ensemble of which is Male Tenor Voice (Higher), Male Tenor Voice (Lower), Overdriven Electric Guitar, Bass Guitar, Drum Kit and the added instruments of Cowbell, Tambourine and the Piano. These added instruments show that during this time The Beatles were not quite the band they started off as,(I Saw Her Standing There) but were not fully into their experimental faze they ended up in.