1960's Popular Music
- Created by: brownclan123
- Created on: 27-04-15 13:07
View mindmap
- 1960's and Counterculture
- Counter culture
- a rejection of the 1950's society
- sexual liberation
- women's rights
- racial equality
- anti-materialism
- commercialism
- (I Can't Get No) Satisfaction
- 1965
- recorded in America
- frustration with commercialism
- commercialism is maximising profit
- frustration with music industry
- frustration with celebrity industry
- The B side in America was different to the B side in England
- Both B sides were based on the 12 bar blues in contrast to the rock and roll sound of the A sides
- sexual frustration
- lyrics seen as overtly sexual and shocking for the time
- American entertainment show "Shindig" cutting two lines of the song
- frustration with commercialism
- commercialism is maximising profit
- frustration with music industry
- frustration with celebrity industry
- lyrics seen as overtly sexual and shocking for the time
- colloquial
- double negative "can't get no"
- younger audiences understand better
- perhaps why there was a fuss with the producers of "Shindig"
- American entertainment show "Shindig" cutting two lines of the song
- perhaps why there was a fuss with the producers of "Shindig"
- Structure
- intro--chorus--v1--pre-chorus--chorus--v2--pre-chorus--chorus--v3--pre-chorus--chorus
- Timbre
- The released version was the second version to be recorded
- semi shouted lyrics by Jagger
- rhythm instruments are more subdued than lead vocals/guitar
- Guitar riff and lyrics emphasise the frustration of song
- Music Technology
- Fuzzbox to distort guitar sound and produce a saxophone like timre
- Timbre
- The released version was the second version to be recorded
- semi shouted lyrics by Jagger
- rhythm instruments are more subdued than lead vocals/guitar
- Guitar riff and lyrics emphasise the frustration of song
- Timbre
- Fuzzbox to distort guitar sound and produce a saxophone like timre
- Melody
- guitar riff was composed by Keith Richards before the song was
- "Riffmaster"
- the riff is syncopated
- contrasts with four beat drum pattern
- includes a d natural which is the flattened 7th in e major
- heard in verses and last line of the chorus as well as pre-chorus
- also heard in melody line of the vocals
- opening vocal phrase based no ascending diminished arpeggio
- G#-B-D natural
- followed by C#-E-G natural
- Edgy frustrated tone through diminished fifth in opening
- G#-B-D natural
- followed by C#-E-G natural
- Edgy frustrated tone through diminished fifth in opening
- adds to shock to listeners
- Edgy frustrated tone through diminished fifth in opening
- followed by C#-E-G natural
- adds to shock to listeners
- G#-B-D natural
- Edgy frustrated tone through diminished fifth in opening
- followed by C#-E-G natural
- G#-B-D natural
- "Cause I try, and I try, and I try, and I try"
- almost entirely ascending
- increases sense of frustration and desperation
- short, melodic phrases
- increases sense of frustration and desperation
- short, melodic phrases
- almost entirely ascending
- guitar riff was composed by Keith Richards before the song was
- E major
- Harmony
- Very simple
- Chord I
- E major
- Chord IV
- A major
- Chord V
- B major
- Only used in line "and I try, and I try, and I try"
- Sparingly used
- Adds to sense of urgency
- Flattened chord VII
- D major
- Adds harmonic colour to vocals and riff
- Chord I
- No perfect cadences
- Adds to frustration represented
- No resolution
- Adds to frustration represented
- No melodic sense of conclusionor resolution
- Very simple
- Texture
- NOT a melody and accompaniment
- Riff forms an introduction
- important
- Riff competes with vocals
- a rejection of the 1950's society
- The Beatles
- I Want To Hold Your Hand
- 1963
- Structure
- intro-v1-chorus-v2-chorus-||:bridge-v3-chorus:||coda
- Timbre
- squeezing of the dynamic range to unify the loudness of notes or chords
- adds to the tone of sustain
- makes an instrument sound like a different instrument
- over dubbed
- possible through the use of a four-track multi-track recorder
- hand claps
- John Lennon's falsetto vocals
- Melody
- Uses melisma and octave leaps to emphasise the word hand
- Melisma - a vocal technique in which the singer sings several notes to a syllable
- Second verse e.g. I (B3) want (B3) to (B3) hold (B3) your (B3) hand (B4)
- Contrasts
- At the end of each chorus "I want to hold your hand/I want to hold your hand' descends from C5 to C4
- Contrasts
- First line seems less certain, more tentative whereas the second line sounds more purposeful and definite
- Uses melisma and octave leaps to emphasise the word hand
- Harmony
- Major and minor mediant chords
- B minor and major chords
- the contrast between the two chords ads colour to the unusual harmony and gives different endings to the two lines of the verse
- B minor and major chords
- a chord progression that was used in other songs of that era
- I-VI-IV-V-I
- G major key
- not used to form a cadence
- B minor and major chords
- the contrast between the two chords ads colour to the unusual harmony and gives different endings to the two lines of the verse
- B minor and major chords
- not used to form a cadence
- the b major chord is bright and sounds more hopeful and positive and leads more naturally into the chorus
- Major and minor mediant chords
- Texture
- in thirds between Paul McCartney and John Lennon at the word 'hand'
- verse is sung in unison
- Music Technology
- first Beatles song to be recorded using a four-track multi-track recorder
- others had been on two-track
- vocals were separated from basic instruments
- first Beatles song to be recorded using a four-track multi-track recorder
- I Want To Hold Your Hand
- Social commentary
- questions the norms of social norms, authority and policy
- the idea of implementing or promoting change using rhetorical means e.g. "war, what is it good for?"
- aimed at teenagers
- societies could be changed through the music/art produced and received by the public
- The Rolling Stones
- (I Can't Get No) Satisfaction
- 1965
- recorded in America
- The B side in America was different to the B side in England
- Both B sides were based on the 12 bar blues in contrast to the rock and roll sound of the A sides
- sexual frustration
- lyrics seen as overtly sexual and shocking for the time
- lyrics seen as overtly sexual and shocking for the time
- colloquial
- double negative "can't get no"
- younger audiences understand better
- perhaps why there was a fuss with the producers of "Shindig"
- perhaps why there was a fuss with the producers of "Shindig"
- Structure
- intro--chorus--v1--pre-chorus--chorus--v2--pre-chorus--chorus--v3--pre-chorus--chorus
- Music Technology
- Fuzzbox to distort guitar sound and produce a saxophone like timre
- Fuzzbox to distort guitar sound and produce a saxophone like timre
- Melody
- guitar riff was composed by Keith Richards before the song was
- "Riffmaster"
- the riff is syncopated
- contrasts with four beat drum pattern
- includes a d natural which is the flattened 7th in e major
- heard in verses and last line of the chorus as well as pre-chorus
- also heard in melody line of the vocals
- opening vocal phrase based no ascending diminished arpeggio
- "Cause I try, and I try, and I try, and I try"
- almost entirely ascending
- increases sense of frustration and desperation
- increases sense of frustration and desperation
- almost entirely ascending
- guitar riff was composed by Keith Richards before the song was
- E major
- Harmony
- Very simple
- Chord I
- E major
- Chord IV
- A major
- Chord V
- B major
- Only used in line "and I try, and I try, and I try"
- Sparingly used
- Adds to sense of urgency
- Flattened chord VII
- D major
- Adds harmonic colour to vocals and riff
- Chord I
- No perfect cadences
- Adds to frustration represented
- No resolution
- Adds to frustration represented
- No melodic sense of conclusionor resolution
- Very simple
- Texture
- NOT a melody and accompaniment
- Riff forms an introduction
- important
- Riff competes with vocals
- (I Can't Get No) Satisfaction
- Counter culture
- Social commentary
- questions the norms of social norms, authority and policy
- the idea of implementing or promoting change using rhetorical means e.g. "war, what is it good for?"
- aimed at teenagers
- societies could be changed through the music/art produced and received by the public
Similar Music resources:
Teacher recommended
Comments
No comments have yet been made