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Listening Quiz 2: Units 4-7Tom Dooley?– The Kingston TrioListening GuideFORM: simple verse-chorus, starting with chorus. Entire song repeats the same 8-bar music for verses and choruses. Lead vocals are supported by two-part backups. Chorus is present first in unison,, then in a 3-part harmony, and then in a more complicated arrangement for three voices that introduces a new melody over the chorus melody. To end, the last 2 bars of the chorus are repeated three times – technique used to close out a tune called a “TAG”TIME SIGNATURE: 12/8, a gently rolling four-beat feelINSTRUMENTATION: acoustic guitar, banjo, acoustic bass, lead vocal, and two backup vocals. Online NotesLook up the following term in your Glossary and memorize it. Listen for it in the song.TagThis song is a completely non-political, traditional folk song. Nothing in the lyrics challenges the status quo.Note the three-part vocal harmony and the simple accompaniment.Like Peter, Paul, and Mary, the Kingston Trio use much smoother, rounder vocal timbres.Down in Mexico?– The CoastersListening GuideFORM: form is AABA. Each 16-bar verse is divided into an 8-bar section with lyrics that change from verse to verse. Section beginning with the lyrics “he wears a red bandana” that is repeated in each verse. Such a section with repeated lyrics at the end of a verse is called a “refrain”. The bridge repeats a 2-bar section 8 times, building the song’s comic punch line. Note: the dramatic intro and the spoken fade-out, both of which heighten the comedy of the piece.TIME SIGNATURE: 4/4 (distinct latin-tinged feel, one with the first half of the verse, another with the second half (refrain), and a third with the bridge). These changes of feel were uncommon in pop music at this time. Reinforced the influence of BroadwayINSTRUMENTATION: Piano, bass, electric guitar, nylon-string guitar, percussion, leade and backup vocals. Mike Stoller= pianist, Barney Kessel= guitar (famous jazz guitarist)Online NotesFollow the narrative or “playlet” described by the lyrics. Think about how the white middle class might have reacted to them.Listen to the specific sounds that help set the “scene:” the syncopated beat in the drum sounds exotic, the nylon string-guitar? (evokes the sound of Spanish guitar playing) and the castanets. These start in the middle of the first verse. Listen for the conga drums, another exotic sound to middleclass Americans, in the bridge when the dancer enters.There Goes My Baby?– The DriftersListening GuideFORM: Simple verse-chorus. Same 8-bar pattern is used for the entire song, underpinning the introduction, verses and chorus. Song begins typically, with a doo-wop inflection vocal into, two verses, and a chorus. Verse 4 introduces what sounds like an improvised verse over melodic figure in the cellos that might have been borrowed from classical composer Rimsky-Korsakov.TIME SIGNATURE: 12/8INSTRUMENTATION: acoustic guitar, electric guitar, bass, tympani, orchestral strings, lead and back up vocalsOnline NotesThis song is representative of the sweet soul style: a blend of doo-wop and classical music.Listen for the doo-wop sounds at the beginning: nonsense syllables and call and response. Call and response, remember was originally a feature of African-American gospel singing. We’ve seen it in blues, doo-wop, and rhythm and blues.In the first verse, the call and response moves to the lead vocals and high strings.At 0:59, the cellos (low stringed instruments that look like five-foot high violins) and the tympani (big copper drums) accompany the singer.The effect of the orchestra is threefold:first, it expands the sound palette of doo-wop, supporting the lyrics with a more expressive background.second, it creates an association with Tin Pan Alley pop, a genre that had often had orchestral accompaniments.third, it adds a sense of? “classiness” to the sound. Westerners tend to associate the sound of the orchestra with all things “upper class.” This phenomenon is a remnant of previous centuries of European history, when the only people who could afford to patronize orchestral music were the upper class. The association still exists today, even though most orchestral tickets are very reasonable compared to pop-concert tickets. Like?American Bandstand, the addition of orchestral instruments probably added to the sense that youth music was safe again.Be My Baby?– The RonettesListening GuideFORM: Contrasting verse-chorus: verses and choruses employ different music. Not how verse 1 build, starting with lead vocals for 8 bars, then adding backup vocals and saxes for the next 8 bars, and finally bringing all instruments and vocals in for the chorus (which is clearly “the hook”)TIME SIGNATURE: 4/4. Not the was hand claps and percussion are used to build excitement and drive forward chorusINSTRUMENTATION: piano, bass, electric guitar, drums, horns, orchestral strings, percussion, hand claps, led and backup vocalsOnline NotesThis is an example of girl-group pop and of Spector’s “wall of sound.”In the introduction, we hear an effect called “reverberation” or just “reverb” on the drum. The effect is to create the illusion of space around the sound source.The “wall of sound” enters at about 0:05 with a pulsing rhythm. The sound is made up of piano, electric guitar, and strings, but it is VERY difficult to hear the individual sounds. In essence, Spector has created a new timbre.At 0:26, the horns enter to thicken the wall.At 0:54, the backup singers join the wall, making them hard to pick out.I Want to Hold Your Hand?– The BeatlesListening GuideFORM: AABA, with partial reprise (since bridge and verse sections are repeated after the complete verse-verse-bridge-verse structure. Each verse ends in a 4 bar refrain, employing the songs title in the lyrics and featuring two-part vocal harmony; the previous bars in the verse are always sung in two-part unison. The intro is built from the last 4 bars of the bridge, while tagging the last bars of the refrain manner creates the song’s ending.TIME SIGNATURE: 4/4. The lighthearted, driving pop feel with accents on beats 2 and 4 was called “Mersey beat’ in the UK.INSTRUMENTATION: Electric guitars, bass, drums, hand claps, two-part lead vocal, with sections in unison and in harmonyOnline NotesThis is an example of the early Beatles style, heavily influenced by American rock and roll and pop.The low-register guitar chords are similar to those used by Chuck Berry in?Johnny B.Goode.Note the hand clapping on the off beats – a feature that had been common to Brill Building girl groups.The second bridge is sung entirely in 2-part harmony. The sound would have recalled the Everly Brothers to American audiences.The AABA formal structure of the song is same one used for years by Tin Pan Alley pop.Tomorrow Never Knows– The BeatlesListening GuideFORM: simple verse, with each verse built on the same 8-bar structure that is repeated over and over. The droning of the bass makes the harmonic dimension of the music sound static, suggesting the influence of Indian music while the tape loops, backward guitar, and processed lead vocals create an otherworldly atmosphere.TIME SIGNATURE: 4/4. Constant repeated notes in the bass, which interact with the repeated drum pattern in an interesting way, creating a rhythmic feel that seems unrelenting. INSTRUMENTATION: bass, sitar, drums, organ, backwards guitar, tape loops, piano, and electrically processed lead vocals. Online NotesThis song reflects the Beatles mature style: their heightened concern for having meaningful lyrics and their interest in studio production techniques.The lyrics are drawn from the?Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead?by Timothy Leary, Richard Alpert, and Ralph Metzner, which itself was based on the?Tibetan Book of the Dead, the western title for an 8th-century Tibetan book that describes the experience of consciousness between death and rebirth. The choice of this text reflects the influence of the hippie culture of the 1960s, which had a fascination with many facets of eastern religions. The use of a sitar, a stringed instrument from India, also reflects this influence. The droning bass sound you hear is also a common feature of Indian and other far-eastern musics. The drone is played by another Indian instrument, the tambura.The tape loops were made up of a melange of recorded sounds including a sea gull, a variety of synthesized sounds, and a guitar solo that had been cut up, spliced back together, and then reversed. The tapes were then attached end-to-end so that they would play in a continuous loop. Splicing and looping recorded sound was a technique used at the time by modernist art music (a.k.a. “classical music”) composers such as Karlheinz Stockhausen, Edgard Varèse, and Steve Reich. The use of taped sound in music not only expanded the sound palette available to the composer, but in the 1950s and 1960s, it also challenged notions of what music was and what musical instruments were. The inclusion of tape loops in this song should, therefore, be viewed as subversive. All the songs we have listened to so far have had either an explicit narrative structure in the lyrics: beginning, middle (which includes the climax), and an ending or denouement, or if the lyrics don’t have a narrative, then the music forms a narrative where the bridge forms the climax of the work. This song has no climax and no sense of proceeding narrative: it is trance-like, goal-less. The music celebrates process, not goals: it is very Buddhist in this respectI Can’t Get No Satisfaction– The Rolling StonesOnline NotesThree possibilities are suggested by the lyrics, all of which would have resonated with teenagers and possibly shocked their parents:A young man who is dissatisfied with his current lot in life.A young man who cannot find a sexual partner.A young man who has found masturbation unsatisfactory.Look up the following terms in the Glossary at the back of your text and memorize them. Listen for the riff in the song.RiffLickListen to the sound of the electric guitar: it has had an effect called “ HYPERLINK "" \t "_blank" fuzz” added to it. The sound is a bit ugly, adding to the “bad boy” image fostered by the Stones’ manager. The effect is controlled by a foot pedal plugged into the amplifier. Please note: the demonstration represents just one make of pedal for this effect. Pedals made by different companies will have slightly different sounds.House of the Rising Sun– The AnimalsOnline NotesThis is an example of British blues-based rock (slow traditional American folk-blues)There is no riff here, simply a repeating chord progression under each verseConsider the narrative of the text: the story is similar to the “hard times” narratives in early American blues. The lyrics are also thoughtful and layered with meaning: similar to the lyrics of the 60’s folk revivalYou Really Got Me- The KinksListening GuideFORM: Simple verse form, with repeated 20-bar verses built on a two-chord pattern that is repeated progressively higher on the guitar providing a sense of growing tonal intensification as the verse proceeds. This two-chorus pattern is not transposed during the guitar solo, and a comparison of that partial verse with the other complete ones highlights this tonal difference. TIME SIGNATURE: 4/4. Note the use of repeated piano chords and tambourine to underscore the beat and its division in two parts (simple time)INSTRUMENTATION: electric guitars, piano, bass, drums, tambourine, lead and backup vocals. While this track is professionally produced, the backup vocals give it a wild and almost amateur quality, an impression reinforced by the manic but relatively primitive guitar solo. Online NotesThis is British rock, but it is not based on bluesNote the riff that introduces the song and recurs throughoutNote the distorted guitar sound: this will be the norm in psychedelic rockPositively 4th Street– Bob DylanListening GuideFORM: Simple verse. Lots of lyrics, 12 verses over same 8-bar structure without much change in the accompaniment. In contrast to the technique of building an arrangement by adding instruments or vocal parts as the song progresses, this track remains static, leaving the listener to focus on the development of the lyrics. TIME SIGNATURE: 4/4 note the finger cymbals on beat four of each measureINSTRUMENTATION: piano, organ, electric guitars, drums, finger cymbals, lead vocal. Al Kooper’s organ playing – came to be much intimidated despite Kooper’s insistence that he was not really an organist. Online NotesThis is an early example of folk rock.Note that Dylan often sings out of time with his accompaniment. This technique is intended to disrupt the trance created by the meter and encourage the listener to pay attention to the lyrics. Folk rock, like the earlier acoustic folk, is primarily a vocal genre.The accompaniment remains very simple: another traditional technique for allowing the vocals to stand in the spotlight. However, also note the use of a riff in the organ, a technique borrowed from British rock, that repeats from time to time in order to add musical interest when the vocalist is silent.The lyrics are a philippic against the members of the folk community who turned against Dylan when he moved to electric instruments. The title is often believed to refer to 4th Street in New York, which runs through Manhattan’s Greenwich Village, the heart of the American folk-revival scene.Mr. Tambourine Man– Bob DylanListening GuideFORM: Contrasting verse-chorus, beginning with the chorus. Dylan’s original alternates the chorus with multiple verses, but the Byrds use only one of the original verses. Resulting from looks a little strange, but the band had to get the arrangement to fit the 2-minute format of AM radio at the time. TIME SIGNATURE: 4/4 with a feel borrowed from “Don’t Worry Baby”INSTRUMENTATION: Electric 12-string guitar, electric 6-string guitar, bass, drums, solo and lead vocals.Online NotesThis is a mature example of folk rock and is a cover of Dylan song.The significance of this recording is the introduction of the electric 12-string guitar to the folk-rock sound. The traditional guitar has 6 strings; the additional 6 strings run close beside each of the original strings and are arranged in pairs or “courses.” The low strings are tuned an octave apart and the high strings are tuned in unison. The effect is a pleasantly jangly, shimmering sound. The courses cannot ever be exactly in tune, so the paired strings also create a chorus sound, as if two guitars are playing at the same time. The technique of singing slightly out of time with the accompaniment is repeated in the vocal solo sections.Note the use of a guitar riff at the beginning and throughout.Louie Louie– The KingsmenListening GuideFORM: Simple verse chorus, with the entire song built on the famous four-chord sequence that opens the song. In the first half of the song, the choruses precede the verses, but after the guitar solo, the order is flipped and verse 3 precedes the final chorus. The guitar solo was probably meant for 16 bar length (twice the length of verse and chorus); when the vocal enters at the end of these 16 measures, however, singer Jack Ely stops abruptly as if he’s made a mistake, and then starts again two bars later. The likely “mistake” was left in the released version and created a section of 18 bars. The final chorus is extended by 5 bars, with the last of these extra measures simply being the last chord of the song. TIME SIGNATURE: 4/4INSTRUMENTATION: electric piano, electric guitar, bass, drums, and lead vocals.Online NotesThis song is an example of garage-band rock.The accompaniment is very simple and performed very loosely: it sounds amateurish.The recording is inexpertly mixed: the vocals cannot be heard clearly most of the time. Listen too, for the error in the vocals described in the guide.The guitar solo at 1:27 is reasonably complex: a corollary of Eric Clapton and the Yardbirds’ “rave ups.”Listen to the rough vocal timbre of the lead vocals: it is very similar to both the Stones and the Yardbirds.The Last Train to Clarksville– The MonkeesListening GuideFORM: Modified simple verse, with verses of different lengths and two interludes not derived from the verses. While the first verse is 14 bars in length, the second is 2 measures longer, owing to a closing line that extends the verse “and I don’t know…”. The third verse is like the first, except that it is preceded by the 2-bar-guitar figure from the intro, while the 4th verse is like the 2nd with the extra concluding bars. In the middle of the last verse, two instrumental interludes are inserted. These interludes are actually based on similar material, but sound different enough from each other to be heard as new when they appear in the arrangement.TIME SIGNATURE: 2/4, with a hint of country two-step feel, which is a lively one-two one-two rhythm.INSTRUMENTATION: electric guitar, acoustic guitar, bass, drums, tambourine, lead and backup vocals. Note that the guitar lick employed here seems influenced by similar figures in the Beatles “Ticket to Ride”, “Day Tripper”, and “I Feel Fine”. The backup vocals imitate a train whistle in various ways throughout the track, picking up on the song’s title. Online NotesThis song is an example of American Pop in the style of the Brill pare the slick production values in this song to the mix in?Louie Louie. The performance sounds professional, not amateur, which is a result of the Brill-Building style production, not the skill of the band members.Note the guitar riff in the introduction. It will repeat throughout.The guitar has an effect added to it called “wah-wah.” The music was originally meant only as a spice for the television show, but in some respects, the show ended up supporting the music. You can readily see the resemblance between the Beatles and the Monkees:?The Monkees:?The Royal Flush?– TV Episode, Season 1, Episode British member of the group, was the darling of many teenage girls who watched the show, though the other members also had their followingsSmoke on the Water– Deep PurpleListening GuideFORM: contrasting verse-chorus, with guitar solo featured after second verse-chorus pair, employing music from the verses and an altered version of the chorusTIME SIGNATURE: 4/4INSTRUMENTATION: drums, electric bass, electric guitar, and organ, with solo lead vocal on verses and one backup vocal on choruses.PAGE 227The Way You Do the Things You Do– The TemptationsListening GuideFORM: Simple verse. After an introduction based on a 1-bar, two-chord vamp, the first two verses follow the same lengthy structure. These verses employ a 16-bar section that leads into a 4-bar refrain and then a 3-bar ending subsection, based on the two-chord vamp from the intro. Robinson builds the arrangement by adding horns in verse 2, changing key for the sax solo, and scoring the horns in a higher register in verse 3 to create more excitement. TIME SIGNATURE: 12/8 (shuffle in four)INSTRUMENTATION: electric guitar, piano, bass, drums, horns, lead and backup vocals.Online Notesproduced by Smokey Robinson, and follow along with the listening guide. This song is Motown pop.Listen in particular to the new sounds like horns and a sax (the sax isn’t mentioned in the guide).Note the “ooo” in the backup vocals as well as the call and response throughout: these are gospel via doo-wop and blues influences.Listen to the improvisatory vocals in the coda. A “coda” is a short epilogue tacked onto the song. It is often called the “outro,” but this word is a slang neologism: the correct term is “coda.”The timbre of the vocals is smooth and round: similar to Tin Pan Alley and Brill Building pop.Baby Love– The SupremesListening GuideFORM: simple verse, with a 12-bar verse structure repeated relatively unchanged throughout. The only significant alterations are in verse 3, where the saxes take over the melody after four bars, and in verse 5, which introduces a change of key via a 2-bar transition. The guitar enters in verse 2, as do call-and-response phrases between the lead and backup vocals; and saxes are added in verse 3. The change of key gives the song a lift after verse 4. The song structure is nevertheless very simple and its numerous repetitions would threaten to render this track boring if it weren’t for the captivating vocal performance of Diana Ross. TIME SIGNATURE: 12/8 (shuffle in four). Note how stomping boards pound out the beat thoughout the song.INSTRUMENTATION: piano, vibes, electric guitar, bass, drums, saxes, stomping boards, lead and backup vocals. Online NotesProduced by Brian Holland, Lamont Dozier, and Edward Holland Jr. and follow along with the listening guide. The song is an example of Motown pop.Pick out the vibraphone and the “stomping boards,” a sound created by smacking 2x4s together. The vibraphone is essentially a metal xylophone with the ability to sustain notes. Compare the stomping-board sound the hand clapping from the earlier Brill Building girl groups.Like the previous song, the call and response and “oh” in background vocals come from gospel via doo-wop and blues.Note the soft, light vocal timbre used by Diana Ross, the lead vocalist: it is very much a Brill Building pare the sound of the rhythm section to that of the song above. You will find that they sound similar. The same studio band, the Funk Brothers, were used for both recordings as well as many Motown hits, helping to create a more homogenous “Motown sound.”Note the difference in sexual politics between the Temptations and the Supremes. The lyrics in the Temptation’s song are sexually suggestive, while the Supremes lyrics speak of unprosperous love. We have seen this pattern in white music previously: the male rock and roll artists sing songs about sex, the girl groups sing songs about romantic or lost love (Will You Still Love Me Tomorrow?is an exception). The taboo against women singing about sex won’t be lifted from mainstream culture for another decade or so.In The Midnight Hour– Wilson PickettListening GuideFORM: simple verse, with an instrumental interlude. After an instrumental intro featuring the horn, the band falls into a repeated figure, often called a “vamp”. In this case, the vamp is made up of two chords played over one measure, and this measure is repeated. Two 17-bar verses featuring Pickett’s lead vocal are followed by an instrumental interlude made up of the horns playing over new material based on the intro vamp. Pickett’s vocals then return, and he delivers only the first part of a verse before seeming to improvise over the intro vamp as the song fades out.TIME SIGNATURE: 4/4, with an accent on the 2nd beat of each measure that is so late it is almost out of time. This is the famous Stax “delayed backbeat”INSTRUMENTATION: electric guitar, bass, drums, horns, lead vocals.Online NotesThis is an example of southern soul.Note the Memphis horns representative of the STAX sound.Listen for the delayed backbeat (strong beats on 2 and 4, beats that are normally weak). This sound, like the horns, becomes a staple of the STAX sound.Note the lack of backup singers.Note the rough, raw timbre of Pickett’s voice. It makes him sound more passionate.Pickett uses the partial last verse as an opportunity to improvise with his voice, adding new text and the occasional melisma. A “melisma” is melody with no full words under it, just a syllable. It’s usually sung to a vocalization like “ah” or “oh.” You can hear a short melisma at 2:19 on the word “oh.” Melismas are common elements of improvisation in gospel music and also in southern soul.?Respect– Aretha FranklinListening GuideFORM: modified simple verse. Beginning with a 4-bar introduction, this track continues by presenting three very similar 10-bar verses. It then moves into an 8-bar instrumental bridge, which serves to provide a brief contrast before returning to the 4th verse. Perhaps the most notable formal feature of this track is the coda, which begins with what might be Franklin’s most memorable passage (“RESPECT”). As distinctive as these measures are, they really only help launch the song’s ending and are built on the same two-chord vamp that is used for the entire coda and fadeout. TIME SIGNATURE: 4/4. This is Wexler’s attempt to capture the Stax rhythmic feel in Atlantic’s New York studios. INSTRUMENTATION: Electric guitar, organ, piano, bass, drums, tambourine, horns, lead and backup vocals. Note that while Franklin’s lead vocals are much looser and unbuttoned than most other female lead singers of the 1960’s, the backup vocals are much more restrained and in the girl-group tradition. Online NotesThe song is southern soul.This song was recorded at Atlantic in New York, but still has the STAX sound:The Memphis hornsThe lead vocals are very unrestrained, improvisatory, and full of melismasThe timbre is raw and powerful, sounding impassionedNote the elements that don’t belong to the STAX sound, but are clearly from gospel via doo-wop and the blues:Backup singersCall and responseThe song was originally written by Otis Redding and is about conjugal respect, but the song became an anthem for women’s and civil rights.?Got a Brand New Bag, Pt. 1– James BrownListening GuideFORM: modified simple verse. The 12-bar verses return without alterations (except for new lyrics) and are based on the 12-bar blues structure. The 8-bar bridge enters after two verses, and this might seem to indicate an AABA form, especially since a verse returns right after the bridge. The bridge, however, is static, vamping on a single chord and not really driving toward the return of the verse as bridges typically do in an AABA form. The structure of this some is best viewed as verse-verse-bridge structure, which is then repeated with the bridge serving as the ending while the song fades. The form of this track thus turns out to be closest to a simple verse form, though one might also see it as a hybrid of simple verse and AABA forms.TIME SIGNATURE: 4/4 Note the precise interplay between the instruments and how they work together to project an intricate rhythmic background over which Brown delivers his lead vocalINSTRUMENTATION: electric guitar, bass, drums, horns, and lead vocals. Online NotesProduced by James BrownThis song is an example of both southern soul and proto-funk.The proto-funk element of this song is its “groove.” A groove is a multi-layered collection of riffs and rhythms, played by different instruments, intended to be the support structure for vocals. A groove can be interesting to listen to in itself (as it is in this case): a showcase of rhythms and timbres. The groove is an important element of funk and eventually rap and hip-hop. The rhythms in the groove are very syncopated, a feature that grabs the listener’s attention.Brown combines elements from both Motown and STAX in this recording. From STAX he borrows:The rough, impassioned, vocal timbreThe delayed back beatThe lack of backup singersThe Memphis hornsFrom Motown he borrow the high degree of polish on live performances, which translates to:Precision in the instrumental parts, especially those laying down the grooveChoreographed dance steps ................
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