Background
This song was written about the pain and loss Clapton felt following the death of his four-year-old son, Conor. Conor fell from window of a 53rd-floor New York apartment building owned by Clapton's mothers' friend on March 20th 1991. Clapton arrived at the apartment shortly after the incident.
Structure and timings
Introduction: 0:00 - 0:13
Verse 1: 0:14 - 0:37
Chorus 1: 0:38 - 0 :57
Link 1: 0:58 - 1:09
Verse 2: 1:10 - 1:34
Chorus 2: 1:35 - 1:53
Link 2: 1:54 - 2:04
Bridge: 2:05 - 2:30
Guitar solo: 2:31 - 2:55
Chorus 3: 2:56 - 3:15
Link 2: 3:16 - 3:26
Verse 1: 3:27 - 3:50
Chorus 1: 3:51 - 4:10
Outro: 4:11 - 4:27
Chords and Lyrics
Intro: A E/G# | F#m7 F#m7/E | D/F# E7sus4 E7 | A |
Verse:
A E/G# F#m7 F#m7/E
Would you know my name
D/F# A/E E
If I saw you in heaven?
A E/G# F#m7 F#m7/E
Would it be the same
D/F# A/E E
If I saw you in heaven?
Would you hold my hand
If I saw you in heaven?
Would you help me stand
If I saw you in heaven?
Chorus:
F#m C#/E#
I must be strong7
A7/E F#7
And carry on
Bm7 Bm7/E
'Cause I know I don't belong
A
Here in heaven
I'll find my way
Through night and day
'Cause I know I just can't stay
Here in heaven
Beyond the door
There's peace I'm sure
And I know there'll be no more
Tears in heaven.
Bridge:
C G/B Am
Time can bring you down,
D/F# G D/F# Em D/F# G
Time can bend your knees.
C G/B Am
Time can break your heart,
D/F# G D/F#
Have you beggin' please,
E
Beggin' please.
Thursday, 21 August 2014
Thursday, 3 July 2014
World Music in Context 2
Compare the
instruments used in this piece with those of a Javanese dance-opera from
Indonesia and a piece of Egyptian folk music.
Instrument Japan - Gagaku Java - Dance-opera Egypt - Folk ensemble
Mouth Organ yes no no
Flute yes yes yes
Oboe no no no
Drums yes yes yes
Multiple Tuned Gongs yes yes no
Bowed strings no yes yes
Plucked strings yes no no
Voice no yes yes
Please excuse the table - I didn't know how to insert one into a blog post! Sorry!!
World Music in Context
Task 1:
Compare the tone quality of the Shakuhachi to that of the Turkish Ney.
A Shakuhachi is a vertical flute which is thought to have been brought back from China in the 18th Century. It is made out of thick bamboo and has four finger-holes on the front and a thumb hole at the back (similar to a clarinet).
The Shakuhachi is an aerophone, so the overall sound is very breathy. Unlike a clarinet (as I referred to above), this piece uses no tonguing at all, but at 0:47, they use an overblown note which gives the piece an airy feel.
Comparing this to the Ney (which is also an aerophone), there are hardly any overblown notes, and the majority of the notes played are clear. The only overblown note I heard was at 0:59 which gives the piece a slight breathy feel, but not as strongly as the Shakuhachi.
Task 2: Compare this music with the Egyptian arghul. What similarities/differences are there in terms of tempo, melodic range, use of rests and texture?
The Egyptian arghul was much more upbeat than the other two. The note durations for this piece were a lot shorter than the long, sustained notes we heard in the other two pieces. The melodic range is more varied than the other pieces, but is still quite small and is an easily sing-able tune.
The rests occur after each phrase, which is similar to the Shakuhachi, but different to the Ney as the performer only rests when he needs to breathe.
On the other hand, the texture is a lot more similar to the Ney as the melodies are accompanied by another instrument. The Shakuhachi is a solo piece and has no accompaniment.
A Shakuhachi is a vertical flute which is thought to have been brought back from China in the 18th Century. It is made out of thick bamboo and has four finger-holes on the front and a thumb hole at the back (similar to a clarinet).
The Shakuhachi is an aerophone, so the overall sound is very breathy. Unlike a clarinet (as I referred to above), this piece uses no tonguing at all, but at 0:47, they use an overblown note which gives the piece an airy feel.
Comparing this to the Ney (which is also an aerophone), there are hardly any overblown notes, and the majority of the notes played are clear. The only overblown note I heard was at 0:59 which gives the piece a slight breathy feel, but not as strongly as the Shakuhachi.
Task 2: Compare this music with the Egyptian arghul. What similarities/differences are there in terms of tempo, melodic range, use of rests and texture?
The Egyptian arghul was much more upbeat than the other two. The note durations for this piece were a lot shorter than the long, sustained notes we heard in the other two pieces. The melodic range is more varied than the other pieces, but is still quite small and is an easily sing-able tune.
The rests occur after each phrase, which is similar to the Shakuhachi, but different to the Ney as the performer only rests when he needs to breathe.
On the other hand, the texture is a lot more similar to the Ney as the melodies are accompanied by another instrument. The Shakuhachi is a solo piece and has no accompaniment.
Thursday, 12 June 2014
Nocturne in C minor, Op. 48 No. 1 - Chopin (Harmonic analysis of bars 1-16)
Nocturne, Op. 48 by Chopin is in the key of C minor and has the time signature of 4/4 and Lento. Chopin wrote Nocturne in C minor, Op. 48 No. 1 in 1841 for the piano.
In bar 1, the left hand plays the chords I, V, I, VI, with accompanies the right hand playing V and VI whilst the left hand plays the chords G and A.
In bar 2, the left hand starts on the note of B which is the leading tone, and the right hand plays a G, which is the dominant. The left hand then plays the dominant 7th chord (G7) followed by the tonic (Cm). In the right hand, a short motif is being played around the supertonic of D. This section contrasts against the tonic and dominant pattern that is played in the left hand.
In bar 3, the right hand goes back to the tonic (Cm), whilst the left hand plays the chord of A (submediant), which puts us into the key of Am. The left hand then plays the subdominant, whilst the right hand plays a D. This causes suspension as it resolves to a C whilst the left hand accompanies with the dominant chord of G.
In bar 4, the second beat consists of the inverted dominant 7th chord (F, G and B), which resolves to Cmajor which we can see on the third beat, whilst the right hand plays a neighbouring note around the note of A.
In bar 5, we have a 2nd inversion diminished Em chord, which is the mediant. This goes to a root position V7 chord in FM, the subdominant. If we look ahead at the next few chords in the LH, which are octaves of Bb, B, and C respectively, it becomes clear that we are moving chromatically up the keys in this section of the piece.
Then in bar 7, the left hand moves up a tone to D, providing a change to the chromaticism. It is clear here that we are in D, because the right hand is playing a motif based around D. Then in the left hand we get Ds and then F and A- a Dm chord. However the F# in the right hand creates a dissonance which resolves to a G in the 3rd beat of the bar and we get a chord of GM.
In bar 9, the left hand descends to Gb followed by F.
In bar 10, the right hand is playing around the submediant (VI) and the subdominant (IV), whilst the left hand chords are: VI-VI-IV-I.
In bar 11, the right hand plays passing notes of A and B between beats 1 and 2, followed by an escape note of C on beat 4. The left hand plays the chords VII-I-II-III along with the interjections of two dominant 7th chords (V7). The left hand descends back to the tonic and leading tone in bar 12.
In bar 12, the left hand plays the dominant 7th (V7) chord again, and resolves to a 2nd inversion of the tonic chord (Ic).
In bar 13, the left hand plays octaves of F, followed by an F major chord. This then ascends to A, followed by the return of the F major chord. Whilst the is happening, it remains in the chord of F (IV) and stays the same for the next bar.
In bar 1, the left hand plays the chords I, V, I, VI, with accompanies the right hand playing V and VI whilst the left hand plays the chords G and A.
In bar 2, the left hand starts on the note of B which is the leading tone, and the right hand plays a G, which is the dominant. The left hand then plays the dominant 7th chord (G7) followed by the tonic (Cm). In the right hand, a short motif is being played around the supertonic of D. This section contrasts against the tonic and dominant pattern that is played in the left hand.
In bar 3, the right hand goes back to the tonic (Cm), whilst the left hand plays the chord of A (submediant), which puts us into the key of Am. The left hand then plays the subdominant, whilst the right hand plays a D. This causes suspension as it resolves to a C whilst the left hand accompanies with the dominant chord of G.
In bar 4, the second beat consists of the inverted dominant 7th chord (F, G and B), which resolves to Cmajor which we can see on the third beat, whilst the right hand plays a neighbouring note around the note of A.
In bar 5, we have a 2nd inversion diminished Em chord, which is the mediant. This goes to a root position V7 chord in FM, the subdominant. If we look ahead at the next few chords in the LH, which are octaves of Bb, B, and C respectively, it becomes clear that we are moving chromatically up the keys in this section of the piece.
Then in bar 7, the left hand moves up a tone to D, providing a change to the chromaticism. It is clear here that we are in D, because the right hand is playing a motif based around D. Then in the left hand we get Ds and then F and A- a Dm chord. However the F# in the right hand creates a dissonance which resolves to a G in the 3rd beat of the bar and we get a chord of GM.
In bar 9, the left hand descends to Gb followed by F.
In bar 10, the right hand is playing around the submediant (VI) and the subdominant (IV), whilst the left hand chords are: VI-VI-IV-I.
In bar 11, the right hand plays passing notes of A and B between beats 1 and 2, followed by an escape note of C on beat 4. The left hand plays the chords VII-I-II-III along with the interjections of two dominant 7th chords (V7). The left hand descends back to the tonic and leading tone in bar 12.
In bar 12, the left hand plays the dominant 7th (V7) chord again, and resolves to a 2nd inversion of the tonic chord (Ic).
In bar 13, the left hand plays octaves of F, followed by an F major chord. This then ascends to A, followed by the return of the F major chord. Whilst the is happening, it remains in the chord of F (IV) and stays the same for the next bar.
Monday, 9 June 2014
Chopin - Nocturne in C minor, Op. 48, No. 1
Chopin was born in Warsaw, Poland, in 1810, and died in 1849. He is most famous for his piano works. This piece is a Nocturne, and it is written just for piano, and we know that by the Romantic period pieces were being written just for single instruments.
This piece is in C minor, with the addition of accidentals which I think have been used for effect. In bar 9, the tonality to changes, and goes major. This section does not last very long, and quickly returns to the minor key. In bar 21, the tonality is unsure as the melody line is a chromatic scale with lots of accidentals.
The melody moves mostly in small intervals, and starts right at the beginning of the piece. There are sections with some large intervals used to create drama and tension in various places, but it is mainly made up of small intervals. Pedal is used throughout the whole extract, and is also legato throughout. None of the phrases are balanced or symmetrical, and it is hard to recognise where the phrases start and end. In bars 3 and 4, the intervals are very similar within the right hand section. Bars 5 to 8 are very similar to the start of the piece, but are slightly different. The note values vary from semibreves to crotchets to semiquavers, and this adds a sense of excitement to the piece.
The left hand accompaniment plays chords throughout throughout the piece which maintains a sense of key/tonality. Its chords are mainly based around octaves, and it keeps the beat with a stable crotchet pattern. The steady pattern helps the listener to recognise the time signature as the 4/4 beat is not clear within the melody line.
The melody moves mostly in small intervals, and starts right at the beginning of the piece. There are sections with some large intervals used to create drama and tension in various places, but it is mainly made up of small intervals. Pedal is used throughout the whole extract, and is also legato throughout. None of the phrases are balanced or symmetrical, and it is hard to recognise where the phrases start and end. In bars 3 and 4, the intervals are very similar within the right hand section. Bars 5 to 8 are very similar to the start of the piece, but are slightly different. The note values vary from semibreves to crotchets to semiquavers, and this adds a sense of excitement to the piece.
The left hand accompaniment plays chords throughout throughout the piece which maintains a sense of key/tonality. Its chords are mainly based around octaves, and it keeps the beat with a stable crotchet pattern. The steady pattern helps the listener to recognise the time signature as the 4/4 beat is not clear within the melody line.
The length of the notes get longer as we go through the piece, which causes the rhythm to increase speed. This development improves the level of interest in the piece.
Sunday, 8 June 2014
Music in Brazil: 'Queluzindo'
'Queluzindo' was inspired by and performed on a vintage viola (guitar with five double-coursed strings).
0:00 - Theme A - We hear that the song is in 4/4, and plays a simple rhythm. This rhythm is repeated for 8 beats before it changes chord.
0:27 - Fingers on wood - There is a knock on the 'and', after beat 3. Theme A is still playing. The end of this theme is signalled by three strums of the final chord.
0:39 - Pause -
0:41 - Theme B - This theme is a lot more adventurous than theme A. It uses techniques such as pulls and hammers, which can be heard very clearly in the audio.
1:00 - Repeat of theme B -
1:23 - Theme A - This is exactly the same as before, along with the knocks on the wood on the 'and' after beat 3. It also ends in the same way with the three strums of the final chord.
2:00 - Pause -
2:02 - Theme C - This theme is completely different to the others, and gives the song a different feel. This theme is still using the plucking 'tradition' which is used throughout this song, but makes a lot more use of strumming the chord.
2:31 - Pause -
2:32 - Theme A - This is exactly the same as before.
3:15 - Final chord - The song ends with the final chord being strummed in a semi-quaver, semi-quaver, quaver rhythm.
This song is solely a solo viola piece which has variation between each of the different themes. The ending of the themes are clearly shown by three strums of the final chord followed by a short pause.
0:00 - Theme A - We hear that the song is in 4/4, and plays a simple rhythm. This rhythm is repeated for 8 beats before it changes chord.
0:27 - Fingers on wood - There is a knock on the 'and', after beat 3. Theme A is still playing. The end of this theme is signalled by three strums of the final chord.
0:39 - Pause -
0:41 - Theme B - This theme is a lot more adventurous than theme A. It uses techniques such as pulls and hammers, which can be heard very clearly in the audio.
1:00 - Repeat of theme B -
1:23 - Theme A - This is exactly the same as before, along with the knocks on the wood on the 'and' after beat 3. It also ends in the same way with the three strums of the final chord.
2:00 - Pause -
2:02 - Theme C - This theme is completely different to the others, and gives the song a different feel. This theme is still using the plucking 'tradition' which is used throughout this song, but makes a lot more use of strumming the chord.
2:31 - Pause -
2:32 - Theme A - This is exactly the same as before.
3:15 - Final chord - The song ends with the final chord being strummed in a semi-quaver, semi-quaver, quaver rhythm.
This song is solely a solo viola piece which has variation between each of the different themes. The ending of the themes are clearly shown by three strums of the final chord followed by a short pause.
Monday, 2 June 2014
Music in Turkey - Sari Gelin/Sari Gyalin
For this blog post, I used the CD from the book called 'Music in Turkey' by Eliot Bates, and this song was track 32. I also got the background information from the book on page 104.
Sari Gelin in Turkish translates to "yellow bride" or "blonde-haired bride." This song is about impossible love, typically between a Christian and a Muslim.
The song opens with a riff from a lute (I believe), which is repeated many times throughout the song, mainly after the words 'Sari Gelin' have been sung. The introduction is very short, and the male and female lead voices enter very swiftly.
I think that they have used a male and female voice as it represents the two lovers who are not allowed to be together. The male voice is quite low and steady, but the female voice is in a mid-register and seems quite shaky and unsteady. There is also another voice/voices in the song, but this voice(s) is mainly in the background and is not a lead voice in the song. The voice(s) seems to be improvising around a few notes that are used by the two lead voices.
At the end of the song a Ney is heard, and this is a type of woodwind instrument. This plays a short melodic sequence that has been taken from the voice part. This is what finishes the song, and is, perhaps, showing the dismissal of the two lovers who are not allowed to be together.
Sari Gelin in Turkish translates to "yellow bride" or "blonde-haired bride." This song is about impossible love, typically between a Christian and a Muslim.
The song opens with a riff from a lute (I believe), which is repeated many times throughout the song, mainly after the words 'Sari Gelin' have been sung. The introduction is very short, and the male and female lead voices enter very swiftly.
I think that they have used a male and female voice as it represents the two lovers who are not allowed to be together. The male voice is quite low and steady, but the female voice is in a mid-register and seems quite shaky and unsteady. There is also another voice/voices in the song, but this voice(s) is mainly in the background and is not a lead voice in the song. The voice(s) seems to be improvising around a few notes that are used by the two lead voices.
At the end of the song a Ney is heard, and this is a type of woodwind instrument. This plays a short melodic sequence that has been taken from the voice part. This is what finishes the song, and is, perhaps, showing the dismissal of the two lovers who are not allowed to be together.
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