99 Popular Music NAME assignment 29.4 gong analysis a. Sopen Foster, “Jeanie with the Light Brown Hair” C) (anthology) | jen to this mineteenth-century American song, then complet the analysis as directed (2) Drawan are to represent each phrase, Label the are with a lowercase letter, and identify each cadence and key change. In the blanks provided, identify the form: quaternary, verse-refrain, strophic, and so forth. 4 4 444 4 aot Sema ae as Mae el a B: He PAC Eb wv Pac in Bb Form ofeach verse: ‘quaternary song from (a a’ b a”) Form of entire song: strophic ‘There are no cadences at measure 2, 6, or 10 because there is no harmonic motion in which two or ‘more chords lead to a tonal goal. There isa rhythmic resting point in these measures; some students ‘nay try to divide phrases there. Measure 151s. litle different, for it contains @ progression thet can be considered cadential: V-vi. But the phrase-rhythm patterns established in previous phrases help sto hear measures 14-17 as the formal unit. (2) Identity three ways Foster creates contrast inthe bridge section. (a) _new rhythmic motive (43) ee (©) _ return 10.0 tonic key (© _new stepwise contour, constrained range (8) Name tvo ways Foster musically portrays the insubstantial ‘Yapor” of the Tonged-for Jeane atthe end ofthe song. (> (era nate Yap je setting Gf “Vapor" withthe scotch-snap rhythm of.B. Jerome Kern, “Look forthe Silver Lining” () (anthology) 7 Listen to this 1920 Broadway musical song, then complete the analysis as directed, (D AL hela eve this song sided into two parts Give the term thats asec yg ‘then examine how the two differ. ° mm, 1-1 verse mm.12-43: retrain (2) Identify three ways thatthe two pars difler. (@) _1st part constant even eighth:note motion: 2nd pert: in halves and quarters, () _1st;part: two verses with efferent lyrics: 2nd part (“Chorus”) 2 ee th egy ST 2c ia (©) _1st part: “conversational” in tone, personal: 2nd pa and is more lyrical and memorable Other anowes are posable: ft part has repeated stp boss ine (nn. 1-4, 7-8, 10-17) > bare hes pater ot Snax witht cho spr stain ajo: 2rd age (9) For the second part ofthe song (beginning in m. 12), draw a graph with an are to repres nt each ‘Phrase. Label each are with a lowerease letter, and identify each cadence. Watch fora key Change dy the cadence in that new key (mark both eadence and kes). In the blank provided, identify the Form of : art of the song, x 8 8 8 8 2. ee > gooey m. 12 19 20 27 2B 35 36 43 Eb wc HC Ab IAC Eb: Pac Form of the second part: ___quterery song from (a ba’) C. Quaternary song form in television theme songs {nthe 19608 and 1970s, when television was relatively new form of entertainment, many ofthe ein shows had theme songs that introduced the show and were composed in quaternary song form, Hier are ‘vo that you may know—both from cartoons. ‘+ Find a video of each theme song online. Count along while listening to conduct to help count the measures), then complete the followit brief introduction prior tothe main body ofthe son introduction ends. ¢ List measure numbers for each phrase (including any cadential or phrase extension), identify the cadence type, and provide phrase leters. You may find variant versions from different years ofthe show; you can use this technique to compate them, (@) Hoyt Curtin, Joseph Barbera, and William Hanna, Flintstones): i to the song (you may wish ing graphs. Each song hasa i. Begin counting measure numbers after the “Meet the Flintstones” (theme song from The 4 4 4 6 —_ 7 ceepaeS Sacre (Hy 5 6 RE op OLS pore HC PAC (sequence) V7. PAG (or Ho) (2) Ben Raleigh, Scooby-Doo Theme Song (1969) aso ae asa asa ee - ee 8 ee a asst PAC PAG HC Pac Each elghtmeebre pase chides 4+ «into subphrasos a typical for 3-bar song for (BAB) Pact TI Chromatic Harmony and Form1 Writing blues scales the given staves, first write the indic ing, then add i indicated : minor Pentatie ales ecending end de ding, then ad a : ; cending, ‘A. Begin on E4. , Begin on B52. ©. Begin on G2. chapter 29 Popular Music BAUI. Analysis rd symbol. ‘A. Chord symbols: For each chord, provide the appropriate chord sym = © ca (1) Besse (2) GRO) ()_Daus_ (4) OO noe ) Cais BB. Blues: Listen tothe following passage, then answer the questions. Phillips, “Blues for Norton” mm. 20-24 () a Bass f (D Write out the appropriate blues scale (ascending) that corresponds with this passage, SSeS (2) From what point in the standard blues progression is this passage drawn? This isthe very end of the twolve-bar blues progression: Vi-IVPr, (The measure numbers 20-24 indicate that this passage comes atthe end ofthe second time through a twelve-bar pattem.) (B80) Part M1 Chromatic Harmony and Formassignment 29.3 j,song analysis: Mel Leven, “Creiyg , is » “Cruella de vit, sent this ons, then answer the questions le Vil,” from 404 Dalmatians sparmonie analysis: Indicate the ky, nis typically one or two chords per vith the Roman numeral, ay nem Wi a we her is to take a sud-den cil > Fe = = u wit wal vei (embelishing) sre-I, Cru-ed-la de ~ Vi vary vt ‘Asis typical in jazz and blues writing, the tonic harmony can include 8 seventh or ninth. Because of the added seventh and the motion to a IV chord, students may analyze es a secondary dominant to Wavihich is perfectly acceptable. Chapter 29. Popular MusicCount along with a recording (stan BB. Form: Complete the form chat forthe entre sOnE Om funy in introduction) to ‘determine the measure numbers, formal: ther MEASURES | FORMAL DIVISION | CADENCE -FiPE (OR INDICATE NO CADENCE) “ introduction ‘authentic cadence in. ‘Bb, mm. 3-4 Em oh AGinF (W) or THC Siero m PAC in B> : ae S no cadence | alo | PAG im Bb ‘What is the overall form of this song? (circle one) . ‘through-composed _verse-refrain (quaternary ) da capo aria ©. Text painting Give three specitic examples of text painting, as requested here. For each, include the measure numbers nj ‘description of how that example represents text painting. ‘TYPEOFTEXTPAINTING | MEASURES) | DESCRIPTION harmonic quality or | 9-10 “Take a sudden chil” is set with mode-mixture chords, chord choice exotie-sounding embellishing chord on “chil.” the melodic ine 5 (Dé-Alé outlines @ tritone for “Cruella de Vil” {the devil's interval) ‘one other example 142 Half-stap “lament,” DS-Ds5 and DS5-C5, on “Cruel, of text painting Cruella." D. Blues style elements ‘Though this song is not based on the twelve-bar blues harmonie progression, it does feature some blues related style elements. Listen carefully to the melody, and identify blues elements. ‘The half steps (CHD, F-G) sound bluasy, as do the lowered thirds (the song is in Bh major but Includes 8 (Ds) and/7 (Ab). Students may also cite the opening’s two short melodic ideas, similar to *Splanky.” II. Writing a blues melody ‘Taking “Splanky” and “Blues for Norton’ as your models, paper, using a blues scale in the key of; example, change the melodie contour best; you may be asked to play it in cl Tite three melodic ideas on your own manus. ‘Your choice. Next to each melodic idea, write at least one variant (et ‘oF add, replace, or remove a note). Keep a copy of the one you like lass and, ifyou wish, you may use it in Assignment 29.4. Part IIT Ghromatic Harmony and Formjsignment 20.4 A postion: Twolve-Bar Bluog e ce biues tune using the twelve-bar bes progression, as shown here and demonstrated in cosh 29.6 (MGTA p. 603), transposed toa key other than C. Those familie with bus o azz biues pa choose touse amore elaborate version of this pogresion; students working with the blues apie jon or the first-time are encouraged to keep it simple, ax shown here. Chords in parentheses 7° 00 he cord prior to them can continue through those measures. The progression should bein eo time (@) as shown, @ e 7 @ Hii cr @ provide & melodic line fortwo complete cjeles through the twelve-bar progression: {waite blues melody fora solo instrument (or for allnd-response between two instruments) to be pied ver one se through the progression, and {@) witea diferent blues melody tobe sung, along with your own lyrics, fora second cycle through the progression. ‘this means your entire composition will be 24 measures long: 12 measures of instrumental melody and 12 sneasures of vocal melody. In your performance, either the sung melody or the instrumental melody can be ayed fist, followed by the other setting, ‘Notate your score on your own manuscript paper using two staves: a staff with the melody. (astramental, then voice, or vice versa) aligned above a staff with the accompaniment part (keyboard, ‘itr or small combo) in slash notation as shown. Be sure to include the lyrics for the vocal melody. If you se writing your instrumental one for eall-and-response between two instruments you can use two staves forthe melodic instruments in addition to the one forthe keyboard, for a total of four staves. ‘Ths type of eomposition is intended for performance by a jazz or bes combo: accompaniment part, ‘neor two melodic instruments (trumpet, saxophone, flute or trombone are typical, but don't consider ‘bata limitation) and voice. Practice your song and solo for performance in class, and/or get a friend (or ‘o)to help you perform it. If available in your class, the performance may also include a bass player oF percussionist (those parts are normally improvised; you will not notate them). Gating started @) Your composition should model blues style. The style is conveyed through the conflict between the ‘ajor-key chords in the accompaniment, the minor-inflected melody, characteristic rhythmic patterns including swung rhythms (notated as straight eighth notes, but played swung), melodic motives, lyrics, and ‘other features. Closely observe the compositions you are modeling to create your own composition in that * Chapter 29. Popul Music BBB“ere are some models to emulate fora blues composition: “Rock Around the lock” “Blues for Norton “Hound Dog” “Splanky" ute “Blues inthe Night” “Harlem No “Blue Monk’ i rogression repeated) “Mustang Sally” (twenty-four bars—each measure ofthe P* 7 i toakey other than C major, using ag jin by transposing the harmonic progression given. : he ce i ee ema eeine ‘time, using four slashes per measure. Ifyou wish, make this: ae - 3 trates ‘specific blues composition. Write out the harmonic progression to make: a ey cco () Write out the blues “scale” in the hey you have chosen following Example 29.7 (MGTA p, go), ‘asa collection of notes from which to improvise melodic ideas. (4) A suggested way to start composing your melodies is by playing the chords ofthe progres eid improvising above the chords. You may use chord tones, but also connect between chord tones using notes ofthe blues sale Thenstrumenta slo melodies often festare shor motives, 25 shown in ay 29.6 (MGTA p. 603), that are expanded or elaborated over the course of the solo, and you may choosy feature call-and-response between two instrumental soloists. Choose interesting rhythms, instrumental melody; : especially ory 4s posible to create syst blues melody using mostly rhythmic motes way alotof pitch elaboration. Write down you best melodic ideas and work with those to create your mel (8) For the vocal melody, you will need to write lyics. ‘Strategies for creating iris: Keep the language simple and direct. * Most popular songs are about love—finding love, being in love losing a love; blues Iris tend tobe about love one wrong in some way, but are not usually sad overall (singing the blues helps puta better perspective onthe problem, perhaps). Blue ries may engage other topes, to, incadng ‘times, poor employment, or anything else worth complaining about. Blues pie often have double meanings or implied subjextsfor example, the hound dog"inBig ‘Mama Thorntons performance of Hound Dog” is two-legged (a man), not four-legged. ‘ry this model forthe Ives: subphrases 1 and 2 state a “problem” and subphras 3 reveals a consequence of the problem, * You can also think ofthe blues lyrics as a kind of call and response, with a conclusion. ‘Subphrase 1 (call) co een Subphrase2 (response) IV IV J Subphrase 3 (conclusion) V Ivy Toorv) The Iris to W.C. HandysSt, Louis Blues are a good example: Thate to see that evening sun go down, call Thate to see that evening sun go down, response “Cause, my baby, hes gone if this town. conclusion Fein’ tomorrow like fel today, call if tomorrow like I fel today, response ‘my truck and make my getaway. conclusion (804 Part IIE Chromatic Harmony and Formor by download, wan I then fl in these songs fom the 19608 draw oneair one Ht ansvethe questions that low f ade he setion name to, vere, verse, chong erat S06 form or telve-bar blues. a 7s; bridge, instrumental break, outro), the start id the number of te he test am ‘Measures in the sec saint end ofa vere indicate its text and anion ne ei Aad coun the). thre ‘jutsetion the bres based on Git identigahjgy "MY strumentl breaks, write “no text" and cation {, don Lennon and Paul McCartney “Can Bay Me Lovee GecTiONNAME | START OF Text NUMMER OF MEASURES jprocbased | Can't buyme. . carefrain) 6 (plus anaerusis) a TW buy you a ; 1444 (refrain: ‘Cause | don't care...) 12:bor| ie poor iad Mi give you all, .. T (refrain: ‘Cause | don't care...) me cre Can't buy me... a ns Say you don't need 13,4444 4 (refrain) +1 (refrain: | don't care...) (scream) Trsvumental | (no text based on verse) [12.44 4+ 4 (oan) break | aie Can't buy me... @ Gases ‘Say you don't need 12:4 +444 (refrain) (refrain: | don't care...) | chorus Can't buy me... 8 in each verse, What term best describes the (0) Listen forthe harmonie changes and number of measu harmonic structure of the verse? {2bar blues progression (2) Irthere ean instrumental section, does its musical material come from elsewhere in the song? Is ‘where? instrumental break is (12-ber blues structure); it could be called an jental verse. Ghapter 29 Popular Music’ 885Lennon and MeCartne, “ight Days 0 Week : : See se vvmeasues and writing te appropiate formal ey Complete a form chart for his song, counting = and beginning lyrics in the space provided. ‘NUMBER OF Miastaay SECTION NAME | STARTOF TEXT ; intro (no text) | ag eee verse 1 Ooh I need your. } 16 verse 2 Love you 8 | bridge Eight days 16 verse 1 Ooh | need your bridge 8 verse 2 ‘Love you . 16 \ | outro: (repeat of refrain: “Eight days e week . ..” then 84 +4) | instrumental) () For the frst verse, identify the phrases with letters and ares, and indicate the number of measures fr cach. 4 4 4 4 —_— —- ~~ —i-~ < : (2) On what form isthe verse based? quaternary song form (8) How is the bridge similar to and different from the verses? (This question refers to the more contemporary meaning of “bridge? which follows the first two verses.) ‘The bridge takes the beginning of its text from the refrain at verse's end (“Eight days a week"), but extends it. The musie departs from the 12-bar blues structure and has a new two-phrase ‘melody.*Love" is drawn out with many pitches to single word, ina type of text setting that is not present in the verses. % BB] eect Chroma Hamy tn Formuse dge, PecHOTUS, Postchorus, instr 00 f mensuresin the section conduct along stm ndicate its text and location, se on identifiable). i Fg the start ofthe ist ine of text andthe Rass count them). Ifthere is a refrain atthe end of © ® instrumental breaks, write “no ten” and what section the break Parl Willams, “Happy” fom Depicable Me stop-time Theres a four-measure harmonic loop under the verse, spere ise stop-time (pause in the accompani oop ywing questions ‘ord “Sunshine—listening for the loop will help you count. {pethe following to help you complete the eolum: a a= NUMBER OF MEASURES | ACCOMPANYING PARTS: | = x | Keyboard Ttmight seem crazy... | 16 (vavavay Keyboard, drums ee ecaates 16 (4444) keyboard, drums, hand claps, backing vocals Here come bad... | 16 (434444) ‘Keyboard, drums, occasional backing vocals yeah") Because I'm... Te araearay keyboard, drums, hand claps backing vocals Bring me down... 16 (4444444) hand claps, backing vocals, adds | textural elements toward chorus trons Because I'm Te arararay Keyboard, drums, hand claps, backing vocals cons Because I'm. 16 (4444444) Keyboard, drums, hand claps, | backing vocals idee Bring me down... | 8(4+4) hand claps, backing vocals | CHappy’) chorus Because I'm 16 (4+444+4) keyboard, drums, hand claps, backing vocals horus Because I'm... 16 (444+4+4) keyboard, drums, hand claps, backing vocals (2) Listen again to the verse and chorus sections, and compare the vocal part in these sections, Which 1s the most continuity in the vocal line and which has more rests between Sung ines? Which has more *ithmie repetition? Which has more melodie variety and which stays more on the same few pitches? How dhs the vocal line (and text) in the bridge differ from both of them? The 7 pattem, stays much ofthe time on one note, and has chorus has @ regular, repeating ic patton, sta ‘i No substantial rests forthe voice has shorter melodie ideas, long spans of rests, and ons ofthe same text “Can't nothing bring me down” ‘ore variety in the pitches used. 1 eee of te the chords ond crume drop out ; ws Chapter 29 Popular Music [BBTae one od secrete neta Sst OE iy Sori, 4 Seon fas Oe ek rt mn OT ain Se ee cgy tr tHe : eae toad el Seg AI | - en ta ternta$ tor et re aan ae et a es enon = eae 6 : ye ate sh operas tat at net te F pn wt "Wi SD Wit De ge 1, Cn Dy (ie nmr, ee pox axes Se BAIT or hone ser yon vec sige IE OTIS ti te —— ferme | Fang in the tale again | tehraie Waa 0 op.) | 16 Bem [verse] + 4am. ome | son, then 4 mm he no) fe