What to Listen For in Rock: A Stylistic Analysis by Ken Stephenson
By Ken Stephenson
During this research of rock tune, tune theorist Ken Stephenson explores the positive factors that make this the world over renowned tune designated from past tune types. the writer bargains a guided travel of rock track from the Fifties to the current, emphasizing the theoretical underpinnings of the fashion and systematically focusing no longer on rock music's historical past or sociology, yet at the structural elements of the song itself. What constructions often ensue in rock track? What theoretical platforms or versions may well top clarify them? The textual content addresses those questions and extra in chapters dedicated to word rhythm, scales, key decision, cadences, harmonic palette and succession, and shape. each one bankruptcy offers distinct analyses of person rock items from teams together with Chicago; the Beatles; Emerson, Lake, and Palmer; Kansas; and others. Stephenson indicates how rock tune is stylistically distinctive, and he demonstrates how the gains that make it special have tended to stay consistent in the course of the moment half the twentieth century and inside of so much substyles.
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Extra resources for What to Listen For in Rock: A Stylistic Analysis
Sample text
16 The melody also ultimately favors C by ending each section on C. We need not decide ultimately whether the tonic is C or A; it may float between these two relative keys (see “Multiple Keys,” below), an appropriate situation in light of the subject matter of “Dreams” and the sometimes surreal grammar of its lyrics. The point here is that an F Lydian hypothesis suggested by the harmonies must be abandoned once the melody begins. THE PHRASE “IN A KEY” I have avoided until now saying that these pieces are in a key—and in fact have avoided referring to keys.
Woman. Words and Music by John Lennon. MUSIC. All Rights Controlled and Administered by EMI BLACKWOOD MUSIC INC. All Rights Reserved International Copyright Secured Used by Permission 16 PHRASE RHYTHM or even only one. 13, which provides the opening statements of group of thematically related songs, demonstrates just how short these phrases can be. Although many songs begin with a statement of the title line using a first-downbeat phrase, the technique is by no means limited to opening lines. ” But perhaps most often, the first-downbeat model serves as the basis of only one section of a song, as it does in the choruses to Blondie’s “Call Me” (the theme from American Gigolo), the Cars’ “Shake It Up,” the Beach Boys’ “I Get Around,” and Bob Dylan’s “Like A Rolling Stone” (1965).
Rights for Kevin Savigar Music administered by PSO Ltd. All Rights Reserved. Used by Permission. WARNER BROS. S. , Miami, FL 33014 ‡ “Coming Around Again”. © Copyright 1986 By Famous Music Corporation and C’est Music. § SITTIN’ ON THE DOCK OF THE BAY, by Otis Redding and Stephen Cropper. © 1968 (Renewed) and 1975 East/Memphis Music Corp. Assigned to Irving Music, Inc. All Rights Reserved. Used by Permission. WARNER BROS. S. * This song has both a fade-in and a fade-out. Similarly, the singer’s situation is in a continuous cycle.