1970's
- Created by: TaraPorter
- Created on: 30-05-15 14:41
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- 1970's
- Sex Pistols - God Save the Queen
- Background
- Record sleeve featuring Queen Elizabeth II on a union flag background
- 1977
- Structure
- intro - verse 1 - chorus 1 - verse 2 - chorus 2 - verse 3 - bridge - verse 4 - outro
- Timbre & Melody
- guitar sound of the sex pistols was created by a punk guitar powerhouse Steve Jones
- Chuck Berry-style double-stop licks and metallic power chord progressions became standard for punk guitar
- guitar sound of the sex pistols was created by a punk guitar powerhouse Steve Jones
- Harmony
- verses centred on chords of A and D
- creates a barre sound as there is no dominant, E
- choruses centred on E and B, dominant and its dominant
- gives the chords a much brighter sound
- outro creates a sense of despair
- descending melody line at each statement of 'no future'
- harmonised with descending chords D-C sharp minor-B-A
- verses centred on chords of A and D
- Texture
- guitar, bass and drums
- DIY ethos of punk influenced the use of power chords and sliding, parallel chords
- gave youthful, rawness to the sound without musical shaping
- Background
- Pink Floyd - Another Brick in the Wall
- Background
- Part of a rock opera and the double album The Wall
- Describes the life events of Pink, a character loosely modelled on Roger Waters
- Reference to to Bassist Roger Waters' disillusionment with touring and publicity, performing in stadiums and feeling isolated
- protest song about education
- Part of a rock opera and the double album The Wall
- Structure
- verse 1 - chorus - verse 2 (same lyrics) - chorus - solo guitar - fade out
- Timbre
- disco beat was the idea of producer Bob Ezrin
- made the song more marketable as a single
- use of children's voices was suggested by Bob Ezrin
- track was originally too short to be a single so the verse was repeated with children's voices to vary the timre
- previously used on an Alice Cooper track by Bob Ezrin
- gives the single grittiness with the use of a North London accent of untrained school children
- the guitar solo has a clean sound, less heavily distorted that the guitar sound of the two verses and choruses
- the final fade out sound is an unanswered phone ringing
- disco beat was the idea of producer Bob Ezrin
- Melody
- melody of the verses is very limited
- melody of the first four lines is a minor third, D to F
- 5th line is semi-shouted with the words 'Hey, teacher, leave them kids alone', and ascend to A, angrier in comparison with the first four lines
- melody is scalic, adding a menacing quality of controlled anger and resentment
- melody of the first four lines is a minor third, D to F
- chorus has a range of a 4th from F down to C
- the use of C natural with D minor make the song modal
- in the Dorian mode, the mode beginning on D and using only natural notes
- gives the song a sense of darkness and an older quality, in contrast with the 1970's disco beat
- in the Dorian mode, the mode beginning on D and using only natural notes
- the use of C natural with D minor make the song modal
- melody of the verses is very limited
- Harmony
- the song begins with D minor chords in the Dorian mode
- first two verses only use two chords, D minor and G major
- choruses have two repeated lines, each set to the chords F-C-Dm
- song doesn't have any perfect cadences, with is common in modal music
- the plagal cadence in the verses adds to the modal quality of the song
- the song begins with D minor chords in the Dorian mode
- Texture
- melody and accompaniment, both in the sung sections and the guitar solo
- Music Technology
- recorded in France due to a tax problem with the band had encountered
- sent to the UK via courier to be mixed
- 24 track multi-track recorder
- gave clarity and definition between parts
- recorded in France due to a tax problem with the band had encountered
- Background
- Sex Pistols - God Save the Queen
- guitar solo is the most melodic part of the track
- 32 bars of melodic shaping and clean guitar sound
- Melody
- melody of the verses is very limited
- melody of the first four lines is a minor third, D to F
- 5th line is semi-shouted with the words 'Hey, teacher, leave them kids alone', and ascend to A, angrier in comparison with the first four lines
- melody is scalic, adding a menacing quality of controlled anger and resentment
- melody of the first four lines is a minor third, D to F
- chorus has a range of a 4th from F down to C
- the use of C natural with D minor make the song modal
- in the Dorian mode, the mode beginning on D and using only natural notes
- gives the song a sense of darkness and an older quality, in contrast with the 1970's disco beat
- in the Dorian mode, the mode beginning on D and using only natural notes
- the use of C natural with D minor make the song modal
- melody of the verses is very limited
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