Eye of the Tiger

Starbucks Add: Glen Glen Glen

Rocky Movie: Eye of the Tiger

Listen to the two versions of ‘Eye of the Tiger’ and comment on the atmosphere created in each example, refer to Tone Colour, Dynamic and Expressive Techniques in your answer.

 

Starbucks

Rocky

Funny atmosphere, taking the micky out of something so serious. <-Lyrics different but still sung with the same intensity but are singing about everyday life. Intro (guitar, bass, drum kit) visuals affect the intensity of intro, comedic value in the song which creates an intro with more value to the advertising. Verse (electric guitar, melody and accompaniment, drum kit, vocals, tambourine) striving up to the “next level” lyrics are changed so the “next level” isn’t an amazing but a set up. Chorus (guitar vocals drum kit, Electric guitar) chord progressions lead up to climax that isn’t a climax making it comedic.

More serious atmosphere, glorious fights climax- punching anti climax- getting ready for fight. Expressive techniques and dynamics give idea of fight. Rock band ensemble Intro (electric guitars , drum kit, fireworks, cheering) – use of symbols create a hardened atmosphere setting dramatic scene.   Verse (electric guitars melody and accompaniment, Drum kit, Vocals, keyboard, tambourine, bass guitar, cheering, grunts from guitarist) – tenor male voice, rough for 80’s, thick texture creating climax for chorus. Chorus (Guitar Vocals Drum kit, Electric guitars) – chord progressions lead up to “win” of the character. Motivational, high energy created by the accents and density and intensity of the expressive techniques, keeping the texture mostly the same the entire song.

Ravi & Anoushka Shankar - Raga Anandi Kalyan

Pitch: Indian classical music sounds like it doesnt use a normal melodic western scale structures beacuse of this idea of the pitch bends. Scalic runs are inlcuded and repeated throughout the piece. Melody incorperates both the leaps and scale runs. There is a repeated tonic note creating a drone under the melodic sound. Sitar ostinatos are used within the first
Texture:
Thin layer including tabla (untuned), Sitar, background drone.

Indian Music

Indian classical music is principally basd on melody and rhythm, not on harmony, counterpoint, chors, modulation and the other baiscs of Western classical music.

The system of Indian music known as Raga Sangeet can be traced back nearly two thousand years to its origin in the Vedic hymns of the hindu temples, the fundamental source of all indian music.Thus, as in western music, the roots of Indian classical music are religous. To us, music can be spiritual discipline on the path to self-realisation, for we folow the traditional teaching that sound is God - Nada Brahma: By this process indivitual consciousness can be elevated to a realm of awareness where the revelation of the true meaning of the universe - its eternnal and unchaing essence - can be joyfully experienced. Our ragas are the vehicles by which this essence an be percieved.

The ancient Vedic scriptures teach that there are two types of sound. one is a vibration of ether, the upper or purer air near the celestral realm. This sound is called Anahata Nad or unstruck sound. Sought after by great enlightened yogis, it can be only heard by them The sound of the universe is the vibration though by some to be like the music of the spheres that the Greek Pythagoras described in the 6th centruyB.C. The other sound Ahata Nad or struck sound, is the vibration of air in thel ower atmosphere closer to the earty. It is any sound that we hear in nature or man-made sounds, musical and non-musical.

The tradition of Indian classical music is an oral one. It is taught directly by the guru to the disciple, rather than by the notation method used in the West. The very heart of Indian music is theragaL the melodic form upon which the musician improvises. This framework is established by tradiditon and inspired by the creative spirits of master musicians.

Ragas are extremely difficult to explain in a few words. Through indian music is modal in character, ragas should not be mistaken as modes that one hears in the music of the Middle and Far eastern countries, nor be understood to be a scae, melody per se, a composition, or a key. A raga is a scientifitc, precise, subtle and aesthetic melodic foorm with its own peculiar ascending and descending movement consisting of eather a full seven note octave, or a series of six or five notes(or a combination of any of these) in a ising or  faling structure called the Arohana and Avarohana. it is the subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with onther subtleties, that dematcate one raga from the other.

Samba Batucada

Instruments used in African performance:

Timpani               Congo’s

Snare Drums        Cajon

Cow bells             Bongos

Guiro                    Bongos

Shakers                 Piccolo snare drum

Ago-go Bell

Composure & Performance:

Our class formed a percussion ensemble and performed an arrangement of the Samba Batucada at Musicale. We started practice numerous weeks before the actual performance and found that it changed each lesson we practiced it adding dynamics and different instruments to alter the overall tonal quality of the piece. The instruments used were all indefinite pitch creating no more than one sound although it could be altered through dynamics and how you hit the instrument as we soon found out after a bit of practice.

Social & Historical Context

Music of Argentina

Mostly known for its tangos, the tango arose in the brothels, bars and port areas of Buenos Aires, where waves of Europeans poured into the country mixing various forms of music. The result, tango, came about as a fusion of disparate influences including:

• Old Milonga - songs of the rural gauchos.
• Habanera - Cuban music.
• Polka and Mazurka - Slavic music.
• Contradanse - Spanish music.
• Flamenco - from Andalucia.
• Italian folk music.

 Buenos Aires (A):

An Orquesta Típica generally plays the tango and comprises a string section (with violins, viola, and cello), a bandoneón section (with 3 or more bandoneons) and a rhythmic section (with piano, and double bass).

The music usually accompanies the Argentine tango which is a social dance, written in 4/4 measure and with binary musical form. Its lyrics and music are marked by nostalgia, expressed through melodic instruments like the bandoneón.

Argentina - Tango

Analysis:

Duration:
4/4 time that is played with and streched by the bandoneón.
Piano is using syncopation thorughout the piece
repeatitive patterns include the Bandoneon's jumping though the piece and the strings main melodic line.
Tempo is moderately fast (andante) fromg begining to end with slight changes in the middle of the piece where it gets slower (rubarto).
Strong steady beats are carried out by the piano and the Bandoneon on beats 1 and 3.

Pitch:
Melody is carried out by the Bandoneon, and accompanied by the strings and piano
Melodic range is wide, with riffs occuring as the structure is A-B-A.
Leaps are used by both melody and accompaniment, Disjunct.
Accompaniment is smooth in leaping while Melody is quite staccatod when leaping.
Dissonance is used creating interest within the piece and between the bandoneon and the rest of the strings and piano.
Tonality is Major

Structure:
A,B,A Ternary form
Repetition in both A and B create a sense of familiarity in this thick textured piece.

Lady Smith Black - I Dissgree

Tone Colour:
Warm male voices (barratone and bass), Call and response used, Talking backgruond develops into a singing type tune, Staccato of words in 2nd track, Harmonies are created from melody which has a nasal sound, Acompaniment supporting a changing repeted melody, Rhythimc layering using rhythm of language, range is low

Expressive Techniques:
Pitch bends
Call and response
     vabratoed, nasal, spoken, crecendoed
Response
    Smooth and legato, Crecendos created contrast to call

Texture:
Homophonic
    Dominant texture
    2 Melodies one carried out by man vocalist other melody in group, backing also grouped,
Call = thin, monophonic
Response = Thick, Homophonic
Various rhythms between layers
harmonies making song sound warmer and thincer in melodic rhythms.

Concepts:

Duration

Duration refers to the lengths of sound and silences in music and includes the aspects of beat, rhythm, metre, tempo, pulse rates and absence of pulse.

Pitch

Pitch refers to teh relative highness and lowness of sounds. Important aspects include high, low, higher and lower pitch, direction of pitch movement, melody, harmony, indefinite and definate pitch.

Texture

As texture is the result of teh way voices and/or instruments are combined in music, students should be able to disctiminate between different layers of sound and types of texture, and the ways it is created and used.

Dynamics and expressive techniques.

Dynamics refer to the volume of sound. Important aspects include the relative softness and loudness f sound, change of loudness (contrast), and the emphasis on individual sounds( accent). Expressive Techniques refers to the musical detail that articulates a style or interpretation of a style.

Tone Colour

Tone colour refers to the aspect of sound that allows the listener to identify the sound source of combination of source sound.

Structure

Structure refers to the idea of design or form in music. In organising sound, the elements of duration, dynamics, pitch and tone colour are combined in some way for a particular purpose. Unity and variety are produced by the use of repetition and contrast. Structure, therefore relates to the way in which music sounds the same (or similar) and/or different.

Viva.

VIVA

How do the two pieces by Miriam Hyde “Frost fairies” and “the Abbey Organ” contrast?.

Frost Fairies

Pitch:

1.       Register (Bar 5-7 0:14 -0:22)

2.       Contrast in dissonance and rest of the piece ( bar 9-12 0:25-0:37)

3.       Key in relation to Tonal quality.

·         G major

·         Upper register, Both in treble to start with (Bar 5-7 0:14 -0:22)

·         Light in tone quality

·         Contrast in dissonance in bar 9-11 accidenntals. (0:25-0:37)

Duration

1.       Repetition (Bar 1-2 0: 00-0:06) (bars 5-6, 0:14 -0:18) (bars 17-18, 0:50 - 0:54)

2.       Syncopation (Bar 11 0:32 – 0:36)

3.       Tempo

a.       Pauses (bar 19-20, 0:54-0:59)

b.      Runs (3-4 0:07 – 0:13) (7-8 0:19 – 0:25) (14 0:40 – 0:42) (16 0:45 – 048) (20-21 0:58- 1:02)

c.      

·         6/8 regular

·         Repetition Bar 1-2 0: 00-0:06 (5-6 0:14 -0:18) (17-18 0:50 - 0:54)

·         Bar 11 (0:32 – 0:36) syncopation in the melody (top line)

·         Fast Duration ...... (bars 3-4 0:07 – 0:13) (bars 7-8 0:19 – 0:25) (bar 14 0:40 – 0:42) (bar 16 0:45 – 048) (bars 20-21 0:58- 1:02)

Texture

·         Light (8va) homophonic melody (one melody), few notes played at once.

Articulation

1.       Staccato (seen in whole piece)

2.       Contrast to Slurs (seen mainly in runs ) (bars 3-4 0:07 – 0:13) (bars 7-8 0:19 – 0:25) (bar 14 0:40 – 0:42) (bar 16 0:45 – 048) (bars 20-21 0:58- 1:02)

Dynamics

1.       Overall Dynamics of piece (MF = bar 17-19 0:48 – 0:57) (PPP = Bar 24, 1:10 - 1:12)  

2.      

·         Predominately soft. P > PPP (piano > piano pianissimo)

·         Highest volume is mf (mezzo forte) when the theme returns and played more in bass ** Tone Colour

Expressive Techniques

·         Delicato

·         Brocken Chords (23-24 1:05 – 1:11)

The Abbey Organ

Pitch

1.       Key

2.       Range in comparison to Frost Fairies (focus on bass (bar 9-13 0:12-0:18)

3.       Melodic shifts (bar 9-13 0:12-0:18)

·         Minor – Clash and Dissonant

·         Wider Range

·         Focus on Bass (bar 1 0:00-0:02)

·         Sustenance

·         Melody Shifts to bass (bar 9-13 0:12-0:18)

·         Repetition of Melody (bar 1-8 0:00-0:12 Repeated in bars 37-44 0:52-1:03)

Duration

1.       Tempo

2.       Accents in bass (bar 1 0:00 – 0:02)

3.       Repetition (bar 1-8 0:00-0:12 Repeated in bars 37-44 0:52-1:03)

4.       Ralls (bar 36 0:48-0:50)

·         ¾ Moderate

·         Heavy accent on beat 1 of most song. (bar 1 0:00 – 0:02)

·         Simple rhythm crotchets, dotted minims. (Bar 1 0:00 – 0:02) 

·         Repetition  (Bars 1-8 repeated 37-44) (bars 9-13 repeated 45-49)

·         Ralls (bar 36 0:48-0:50)

Tone Colour

1.       sustenance (bar 67-74 1:34-1:47)

2.       Use of Low Register in conjunction to sound quality.

·         Pedal – sustenance (bar 67-74 1:34-1:47)

·         Slurs 1:15-1:16 ,1:17-1:18, 1:20-21, 1:22-1:23

·         Low register

·         Rich Thick Dissonant

Texture

1.       Homophonic

2.       Thick  (bass and sustained) (bar 14 0:18- 0:20)

3.       Dissonance

Dynamics and Expressive Techniques

1.       Slurs 1:15-1:16 ,1:17-1:18, 1:20-21, 1:22-1:23

2.       Range

3.       Accents contrast within piece

4.       Dynamics (F = bar 1 0:00 – 0:02) (P = bar 63-74 1:28-1:44)

·         Forte f (bar 1 0:00 – 0:02)

·         Range

·         Accents (bar 54  56 58)

·         Sustained through slurs

Brainstorm.

1950's - Slim Dusty, Johnny O'Keefe, Warren Williams and the Squares, The Bushwhackers


1960's - Olivia Newton-John, Pat Carroll, Helen Reddy, The Loved Ones, The Seekers, Little Pattie, The Masters Apprentices, Laurel Lee


1970's - Daddy Cool, Skyhooks, Sherbet, AC/DC, Midnight Oil, Redgum


1980's - Hunters & Collectors, The Church, Divinyls, Hoodoo Gurus, Mondo Rock, The Sunnyboys, Men at Work, The Go-betweens, The Triffids, The celibate rifles, INXS, Cold Chisel, Kylie Minogue, Hard-ons, The Cosmic Psychos, Severed heads, Nick Cave and the Bad Seeds


1990's - Silverchair, Spiderbait, Powderfinger, Savage Garden, Tina Arena, Natalie Imbruglia


2000's - The Distillers, Spinnerette, Jet, Ben Lee, Missy Higgins, The Veronicas, Casey Chambers, Shannon Noll, Guy Sebastian, Delta Goodrem, The Rogue Traders, Angus and Julia Stone, Kate Miller Heidke

Analysis of Music through the Decades.

1950’s Music:

Music in the 50’s was very limited in the way of technology. Microphones were used to amplify the voices making them sound richer and of a different tone colour to when they are normally singing. The instruments included electric guitars making the sound very dry and rich and twangy. Pianos were widley used in songs along with double bases with main accompaniments being voices for larger ensembles making the texture thicker. The more popular songs in the 50’s had a fast tempo (allegro) and used alot of syncopation learned from Jazz styles. Elvis Presley was the breaking point for this evolution of rock. People started following this in the very earily 50’s and music developed conceptually from there by using more dynamic contrast and the texture of music built up.

1960’s Music:

Jazz was very popular in the 60’s along with the rubarto and stretch of most songs. Solo singers became more popular than the trios and quads that were formed in the 50’s to create a more rich sound quality and create a thick texture. Although Trios and quads still were popular throughout the early 60’s. Instruments including more developed electric guitars and electric keyboards. Slower music was used later in this decade creating a more of classic rock sound with the electric guitars. The use of harmonies used in this between guitars and voices was used as the psychedelic music started coming in at the end of the 60’s. This created a more airy atmosphere and prepared Australia for the music of the 70’s.

1970’s Music:

 Majority of music in the 70’s had a classic rock band ensemble. The bands used Guitar, Bass Guitars, Drum Kits and Lead and backup Vocals. They were played with a slow-moderate speed and few were particularly fast. The vocalist usually had the melody, with the guitars playing catchy riffs. 70’s music started using advanced technology to distort their sound.

1980’s music:

80’s music was a harder style than the 70’s popular rock bands from this era are still popular today. This hard style came from the use of two main guitars and backup singers with a rough, strong tonal quality this is where Rock n Roll became more predominant and took its stand. The rubarto used in these songs was excessive especially in the guitar solos, the guitar and singers would create an atmosphere more spacey and outer world than years before.  The tempo played was slow-moderate with a strong beat behind the song. This was the year that the “Get Physical” slogan came out so most of the music was that you could exercise to (in the late 80’s).

1990’s Music:

90’s music introduced a huge variety in musical styles and taste. Everything from pop, alternative, grunge, rap, punk, electronic, and one-hit-wonders were popular along with the start of female musicians taking a part in the music industry. The music of this century was more upbeat music; gay bands became a hit in the 90’s and a lot more music styles were accepted. The tempo was almost always moderately fast to fast (allegro) and had a thicker texture as the use of advanced computer and synthesiser systems came in. The Structure of the music was more the same as it is nowadays with a basic song structure being (intro, Verse, Chorus, Verse, Chorus, Verse, Bridge, Chorus, Outro) with slight variations.  

2000’s Music:

During this century music has become a main part of our daily life, music has become more diverse and accepted. The tempo of songs range dramatically as well as the Dynamics and Expressive techniques although there are similarities between most Australian pop songs including the fact that most choruses’ dynamics are louder than the verses and the accents and contrast between different sections of the song. The texture of songs are also similar they often get thick during the chorus and are thin during the verse, the texture varies in different styles pop compared to harder styles differs greatly. Most pop has vocals as a melody and will have backing instruments where as harder styles such as techno has one melody and are backed by one standard beat. Electronic devices have reached their peak and so distortion of voices and sounds have become a part of the “natural” music.

Crowded House – Dont dream its over analysis

 

Select on piece of music to discuss in detail refering to the concepts.

The Piece of music has a rate of harmonic change is one chord per bar. The song uses chromatic harmony. The Song is played in a major key giving a feeling of happiness. Throughout the song the texture is dense.

Pitch

This piece of music starts with an instrumental that is very thin in texture making it polyphonic, as just the guitar plays the main melody. As the bass comes in and the verse starts the texture gets thicker and becomes homophonic, The voice has the main melody and is being accompanied by the drums , guitar, bass guitar. This becomes thicker as backing vocals are added in the chorus. The Melody in the verse is conjunct, the notes move using steps. The only disjunct parts are when the chords change. The keyboard also moves in leaps during the instrumental at 1:47-2:21. The verse then starts again and the guitar is accompanying the melody at 2:25, the range of melody is narrow-medium. It doesn’t require the singer to have wide coval range and most of the melody sigs on a medium pitch that most people can sing easily. This is common characteristic of popular music and allows the audience to be able to remember and sing the song easily. The use of melodic repetition in the verse repeats “There is freedom within, there is freedom without ... there’s a battle ahead, many battles are lost.. “ The whole song is very repetitive when it comes to the melody. The melody stays the same in all of the choruses and a different repeated melody is played in the verses. The Chorus repeats “ Hey now, Hey now, Dont tream its over.. hey now hey now when the world comes in...” This has the same repetitive melody and also repeats in the other chorus’s throughout the song. 

Texture

The Texture during the song stays the same but changes in the instrumental solo. The vocalist stops singing and the accompanying instruments take the spotlight for a few bars. The song stays homophonic. The guitar, bass and drums accompany the keyboard solo. The same happens in the guitar solo. The texture remains dense throughout the whole piece.

Duration

The Song is played moderately slow with a time signature of 4 4 which is a simple time signature. All of the instruments have very repetitive rhythms throughout the song. Eg the drums play the same simple rock beat throughout the piece. The verse also has a very repetitive rhythm, for the lead singer and the rest of the band. The melody is syncopated in areas throughout the song. Not all of it is syncopated though. The accompaniment is straight, providing contrast to the “off the bead” parts of the melody. This piece of music consists of 5 rhythmic layers, no necessarily playing at the same time. The Drum kid is playing the same rhythmic ostinato of a basic rock beat throughout the song. The bass guitar and guitar also play a few continuous ostinatos and riffs throughout the piece.

Tone Colour

The instruments or voices playing include the solo vocalist, the backup vocalists, the drum kid, bass guitar, the guitar and the keyboard.

 The Drums are played using a hitting motion with drum sticks. The Drums are making a sound that sounds rich and deep. This is used in quarrel to what the guitars sound like.

The Bass and guitars are played using a strumming and plucking motion with either fingers/nails or a pectoral. The guitar is playing in a twangy type of sound that quarrels to the way the drums sound, making contrast inside the accompaniment of the piece.

The voices are using their voice box with the help of their diaphragm to create the style in which they are singing. The vocals have a soft, yet powerful sound. Which also contrasts to the accompaniment which is rich and deep. The Vocalists use accents to emphasize the words “HEY now HEY now” in the chorus. This gives his voice a more powerful and energetic tone colour on the emphasized words in relation to the rest of the song.

The tone colour changes in the instrumental as the keyboard comes in. The Keyboard sound quality is like that of a church organ, giving a unique and attention grabbing contrast to the rest of the song.

Dynamic and Expressive techniques

The piece is moderately soft (mp) during the verses but becomes louder (f) in the chorus. The instrumental solo gives the keyboard and guitar a chance to be louder (f) that what they have been playing for the rest of the song (p).

The vocalists uses accents on “HEY now HEY now” during the chorus. The chorus is the climax of the song, so he puts emphasis on these words to show the power and strength of it .The piece uses lots of slurs joining multiple words at a time during the verse. The chorus is more individual notes. The last words of the sentences the main singer uses vibrato on his voice to create a more relaxed and intense pause. In the instrumental the piano is using some mute or sound setting on the keyboard to create the eairy sound.

Structure

There are 9 different sections in this piece

Intro, Verse1, Chorus, Verse 2, Chorus, instrumental, Verse 3, Chorus, Variation of the Chorus.