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SET WORK 8: JEFF BUCKLEY GRACE
Dynamics The clean sound of the electric guitar comes out as a perhaps mf dynamic.
The A section of the intro ends with a loud unison chord of E minor which breaks
this `medium' dynamic. As we enter the B section, this loud dynamic continues
due to the added instrumentation.
Here, we lose the thick texture, and so the dynamic returns to its original
position of mf. Entering the prechorus, this dynamic becomes even softer, due
to the extended use of higher pitches from the vocals.
The chorus is a `surprising' contrast to the prechorus, as it uses loud
dynamics, e.g. forte. The dynamics continue in this arrangement for the valid
Rhythm The opening introduction uses a combination of fast semiquaver patterns. Also,
we can see in this section, in bar two we immediately see the use of
acciaccaturas (an ornament). Dotted rhythms are used very often, for example
for the most part of the introduction.
For the verse, we can see that the electric guitar plays chords, whilst another
plays the rhythm.
In the prechorus, the electric guitar then plays the same rhythm as the acoustic
At the chorus, the drum part stops using the toms as extensively, hence there
is more of a straight rhythm.
The use of delay for example in verse two emphasises the off beat and different
rhythms. There is further use of rhythmic devices such as triplets in bar 47 and
appoggiaturas in bar 48.
Structure The piece opens with an introduction, divided into an A and B section. This is
followed by verse 1 from bars 813 and a prechorus that lasts just five bars.
The chorus is very short and lasts from bars 2024. There is a link between the
chorus and verse 2, which also consists of an A and B section. We have then a
similar structure for verse 2, pre chorus 2, and the repeat of the chorus.
We then have a Mid 8, which involve ten bars contrasting the previous sections
seen. The Mid 8 is divided into an A and B section.
We then finish with a link (bar 6066), verse 3 (6771), and finally an outro
Context The piece emphasises the introduction of rock and pop music in the early
1990s. Rock music, including the use of electric guitars, drum kits and more
became extensively used.
At the time, and even today, record companies were the best way to get
recognised. This allowed artists to be marketed correctly.
Marketing was becoming an important feature, so channels such as MTV
became more important music videos were important for promotion of music.
Also, producers began to have an even more important play, as they could bring
about the desired feeling or sense, e.g. in a rock song or cinematic song.
It took Buckley and his band up to 19 takes just to get the basic track down.
The recording used overdubs in particular to layer recorded parts, and so
emphasise specific features.
Harmony At the beginning, the key is unclear it is just a series of chords. However, for
part B of the introduction, we see a clear D major sound.
For verse one, and generally throughout the piece, the harmony is modal, and E
is the tonic. In bar 9, the guitar chords have no third, emphasising the power
Arjun Paliwal 11P
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SET WORK 8: JEFF BUCKLEY GRACE
In the chorus, the harmony is based on the chord pattern. The open strings
create an intentional discord.
At the Mid 8, we begin to see multitracked vocal harmonies in counterpoint. In
the B section to this, we get `beautiful, hummed' harmonies that follow the chord
The piece ends with an unaccompanied modal phrase in the vocals.
Melody The melody in the opening can be described as a `ripple of notes' playing on a
clean electric guitar sound.…read more