Vocal melodic fragment from Example 14 set in a Type 1 CS. To demonstrate, I will begin with the vocal melodic fragment shown in Example Against this fragment, a single instrumental voice can be added to create a Type 1, 2 or 3 CS. Each type of CS will lead the composer down a different path toward a completed work.
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In employing a Type 1 CS, the composer is primarily concerned not with chord choices, but with creating a melody in counterpoint to the existing vocal line. In order to emphasize the independence of the two lines, only oblique and contrary motion are employed in Example With more parts added to the texture, the instrumental melody E—F—G shown in the bass in Example 15, though it may be moved to another part of the texture or removed entirely at some point may be contextualized in any number of ways.
For example, each note of the melody could be treated as a chord tone these harmonies could be power chords or triads, in root position or inverted. Alternatively, one or more notes of the melody could be turned into non-chord tones. This melody could take on the form of a doubled, developed, or ornamented line; the LIL could be turned into a repeating riff some added rhythmic interest would help to do the trick.
As shown in Example 15, the main distinction of a Type 1 CS from other CS types lies in the fact that the passage is anchored by an independent instrumental melody, rather than a series of vertical harmonies. Vocal melodic fragment from Example 14 set in a Type 2 CS. Vocal melodic fragment from Example 14 set in a Type 3 CS. This bass line is conceived not as a melody, but as a stand-in for root-position power chords or triads. All such embellishment, however, will be woven into the harmonic structure implied by this Type 2 CS.
As shown in Example 16, it is not yet clear whether the E in the vocal line in measure 1. The example now comes across as a single melody reinforced at the octave, with the 9—8 suspension in measure 1. Here, a short vocal melodic utterance is placed in a weak metric position as if to serve as accompaniment to the instrumental melody LIL. A tonic pedal has been added in the right hand, because at least one pedal must be included in the keyboard part in order to employ this technique as Nicks does.
This increases the prominence of the LIL in the bass, as it is the only independent, moving line. In addition, I have illustrated three ways in which Nicks sets a vocal melody in relation to a leading instrumental line LIL within a keyboard accompaniment. The present study offers several tools to aid future inquiries into rock-compositional practices, including those found in demo recordings by Nicks or other artists. Matthew T. Biamonte, Nicole. Brooklyn Mariah.
Bruni, Frank. Burns, Lori. Walter Everett, 63— New York: Routledge Press. Carter, Paul Scott. Covach, John, and Graeme M. Boone, eds. Understanding Rock: Essays in Musical Analysis. New York: Oxford University Press. DeMain, Bill. Westport, CT: Praeger Publishers. De Clercq, Trevor and David Temperley. Doll, Christopher. Everett, Walter. Greenleaf, Vicky and Stan Hyman. Accessed June 20, Jackson, Blair. Kourlas, Gia. Accessed July 7, Margolis, Lynne.
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Middleton, Richard. Studying Popular Music.
Moore, Allan. Rock: The Primary Text , 2nd ed. Aldershot, England: Ashgate Publishing Limited. Reid, Graham.
Smaldone, Valerie. Stephenson, Ken. Temperley, David. The Cognition of Basic Musical Structures. White, Timothy. Wincentsen, Edward. I will refer to conventions of rock harmony as described in Moore , Stephenson , Carter , Everett , and De Clercq and Temperley Return to text. I believe that it is both fair and logical to compare the practices found in these demos to those heard on commercially released recordings.
These raw recordings, most with only minimal instrumental backing, show her tremendous talent for both lyric and melody.
I love her SO much! I wish this was the one that made the albums. Nicks, as early influences. Harmonic practices in rock have been investigated in detail by Moore , , , , Stephenson , Everett , , Carter , Doll and Biamonte , among others. This is fairly common in some styles of rock, as noted by Biamonte , I use PD and D here to refer to pre-dominant and dominant, respectively. The sonority in mm. At the very least, each unit is stable, as the accompaniment provides a harmonic framework built at all times upon perfect intervals.
Covach and Boone , Everett and Burns include the use of Schenkerian techniques to approach linear analysis. Temperley finds centric ambiguity between C and F , ; for Stephenson, the ambiguity is between C and A as possible tonics , 41—2.
It should be reiterated at this point that, as discussed in [4. I have elected to use textless examples here in order to focus solely on the contrapuntal techniques. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author s , and advance notification of the editors of MTO.
Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory. This document and all portions thereof are protected by U.
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That is precisely the reason why this messy, emotional, fascinating group of individuals almost always arrives at a place that is greater than the sum of its parts. Number of versions of this album released: 4 — I used the CD listing so I could hear all the tracks as opposed to the shortened original UK LP tracklisting. Cause for concern: Peter Green is typically wearing robes and a crucifix at this point, as well as taking large doses of LSD and bizarrely trying to convince his band members to give all their money away to charity. None of them are interested in doing this. Two months later, in May, , he quits the band.
Album ranking in terms of artwork: 7 — This cover art was illustrated by Christine McVie before she was even officially in the band. If you can avoid picturing Mrs. Doubtfire doing the recitation, this reading is one to be appreciated. Mick Fleetwood discovers that his then-wife, Jenny, is sleeping with band guitarist, Bob Weston, right before leaving for their US tour in support of the album. Fleetwood fires Weston, cancels the tour, and the band temporarily breaks up. Holy shit.
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Causes for excitement: Cocaine, affairs, dreams. They are also featured in the music video , along with some excellent baton twirling footage of Stevie Nicks. Buckingham and Nicks have both embarked on solo careers, and Christine McVie has just left a two-year relationship with Dennis Wilson. Cause for excitement: This whole album — totally radio-friendly, timeless, soft rock hits.