Lesson two

• Drop D Tuning

• Delay

• Flanger

• Pizzicato

• Slide

• Drone

• Falsetto

• Power Chords

• Distortion

• Synthesizer

Prep

• Learn the vocab

• Complete the Fact-

Finder sheet

Today you’re going to…

Demonstrate understanding of vocabulary for Jeff Buckley’s ‘Grace’

Analyse the score of Grace

Area of Study 3

Grace

by Jeff Buckley

Vocab Test

Answers!

Write grades in tracking sheets

15 = A* 2CMDs

13-14 = A 1CMD

11-12 = B 2 Merits

9-10 = C 1 Merit

7-8 = D

6 = E

5 = F

4 = G

• There are several common production techniques used in this track:

• OVER DUBBING – This is where parts are recorded several times and MULTI-TRACKED (Layered) to make the texture thicker and more interesting

• EQ – Short for EQUALISATION. This is where certain frequencies of sound are cut or boosted to alter the quality of the sound

• DELAY – This is an effect that repeats the sound multiple times like a complicated echo

• REVERB – A much smoother echo, like the ring you get in a church or large building

• FLANGER – A studio effect that makes a sound swirl and sweep

• PAN – Very simply sending the sound/instrument/voice to either the left or right speaker to create interest and more space in the track

Score Analysis

Word painting... The meaning of the words are reflected in

the music.

Examples...In verse 1 Buckley:

1. moves to his higher register on the words ‘my fading voice’

2. emphasises the word ‘love’ by using a melisma

3. uses cross-rhythms between the bass guitar and his voice on the words 'clicking of time’

How does this relate to the lyrics?

Score Analysis – add this in where appropriate!

• Standard line up– Electric guitar– Bass guitar– Drums

– Vocals

Add this onto the score where appropriate

• Very guitar based– Used a lot of power chords

• Used a lot of guitar effects– Distortion (also known as overdrive)

– Feedback– Flanger– Slide

More key facts

• Rock songs talk about controversial topics– Drugs– Mental illness– Sex– Alcohol

• Lots of musical freedom and fusing with other genres– Grunge, punk & funk

• Started in the 1950s– Heavily influenced by the 12 bar blues

• Developed more in the 1970s– Songs became longer due to advancing technology

Key facts about Grace

• Grace was Jeff Buckley’s debut album

• Time signature is 12 / 8– Unusual because most pop songs are in 4 / 4– The main chord sequence is a power chord

sequence slid across 3 frets

More key facts

More key facts

• Song is based around 4 main riffs and has an unusual chord progression

• The song is based on a dream that Jeff Buckley had.• Features male vocalist (Jeff Buckley himself)

– Very wide vocal range– Extensive use of falsetto

Prep

• Revise for listening test next Monday!

• A-A* grades – extended prep and

further analysis

Analysis of the piece – Introduction - A

• The introduction is split into two sections – A and B

• This is the same as the link – the link is a direct repeat of the introduction!

The opening begins with guitar and synthesizer (other parts enter on the 3rd bar)

The piece has not settled in a sense of key yet – we can tell this because of the accidentals, and because the first chord is an F minor 7th Chord – not found in the key of E Minor!

Accidentals

Chord of F Minor 7th

Ends on a loud chord of E Minor

Analysis – Introduction - B

The introduction is the first time we hear the whole band play.

We are now in D Major, which we can tell by the use of C#’s in the music

A clash is created by the C# in the guitar and the D in the bass

The bass guitar is playing a pedal on D – where one note is emphasised by repetition

This part is repeated several times before leading us into the verse...

A third electric guitar plays a low C# which clashes against the D pedal

The rhythms is driven by the acoustic guitar and hi-hat

Analysis - Verse 1

At this point we have changed key again, and we are in E minor, shown by the use of Bb’s in the melody

The piece uses parallel chords in the verse – all the chords are formed by moving the same hand shape up or down one fret on the guitar

The accompaniment underneath has several elements to it.• Guitar whispers played on the electric guitar• Rhythm guitar plays a pattern following the chords• The second guitar plays broken chord patterns.

The vocal line is: - in the lower register - mainly moving by step - dropping down at the end of the phrases

The sound of the plectrum hitting the strings of the acoustic guitar is used to give effect

Analysis – Pre-Chorus

Electric guitar and acoustic guitar both play chords, moving up the instrument.

The vocal range gets higher

The section is mostly in E minor, but the D naturals give us a hint of the dorian mode based around E

Analysis - Chorus

The vocal line is significantly higher than in the verse

Open strings played by the guitar are used to create a dischord – this is intentional!

Buckley uses a melisma in the last part of the chorus – this is where lots of notes are sung to one syllable

This melisma lasts for two bars.

The melody again consists of several descending phrases

Analysis – Link A and B

Think has the same melodic material as the introduction and there are only two differences between the Link and the Introduction:

1.There is a mandolin effect added on the electric guitar

2.A vocal ‘Oh’ links parts A and B

When we hear the link after the mid 8, it is again the same, thought this time featuring the guitarist hitting the deadened acoustic strings.

Otherwise all the material is in your notes for the introduction!

Analysis – Verse 2 and 3

Whilst the melodic material remains the same, Buckley adds in some extra sound effects to create interest, namely:

1.Descending slide2.Slide on the strings3.Trill on the strings

At this point the strings have been written to imitate the guitar

Verse 3 demonstrates much more use of the cymbal and more special effects being added. The vocal part also becomes higher and harsher.

Analysis – Pre-chorus 2

Again this is almost the same as pre-chorus 1, the only exception being the addition of pizzicato strings (where the strings of the instrument are plucked rather than bowed)

This leads into a repeat of the chorus, followed by a drumroll lead-in to to the Mid-8 Section.

Analysis – Mid-8, Section A

Strings play long sustained notes to fill out the chords (adding in more of the harmony to the section

Multi-tracked vocal harmonies playing in counterpoint (different melodies interweaving)

The drumkit uses more snare to add intensity – this whole section is far more intense than previous sections

Analysis – Mid 8, Section B

This section is based on the chord sequence for the pre-chorus

The instrumental backing is also similar to this.

The main vocal line improvises a wordless melody

A ‘telephone’ EQ effect is applied to the vocals when the lyrics re-enter to give a harsh distant effect

Hummed harmonies follow the chord sequence, opening out into vocal ‘ahs’ at the end to give an angelic quality to contrast with the harsh vocals

Analysis - Outro

• Strings become very important

• Lots of vocal improvisations high in the singers range – use of falsetto

• An electric guitar with flanger effect is added

• The song ends with a short unnaccompanied phrase which clearly shows the influence of Qawwali (a Pakistani devotional chant)

Who was Jeff Buckley?

• http://www.youtube.com/watch?v=HZRK9qrF490 – from 11 mins

• Plus ‘Grace’ official video• http://www.youtube.com/watch?v=AfQzLtOh3so&feature=related• Mainly about how he makes the music• http://www.youtube.com/watch?v=QwiOTC2Y4Cw&feature=related• http://www.youtube.com/watch?v=LhD9wuA9oLs• First page of booklet