1970's

Created by: TaraPorter
Created on: 30-05-15 14:41

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1970's
- Sex Pistols - God Save the Queen
  - Background
    - Record sleeve featuring Queen Elizabeth II on a union flag background
    - 1977
  - Structure
    - intro - verse 1 - chorus 1 - verse 2 - chorus 2 - verse 3 - bridge - verse 4 - outro
  - Timbre & Melody
    - guitar sound of the sex pistols was created by a punk guitar powerhouse Steve Jones
      - Chuck Berry-style double-stop licks and metallic power chord progressions became standard for punk guitar
  - Harmony
    - verses centred on chords of A and D
      - creates a barre sound as there is no dominant, E
    - choruses centred on E and B, dominant and its dominant
      - gives the chords a much brighter sound
    - outro creates a sense of despair
      - descending melody line at each statement of 'no future'
      - harmonised with descending chords D-C sharp minor-B-A
  - Texture
    - guitar, bass and drums
    - DIY ethos of punk influenced the use of power chords and sliding, parallel chords
      - gave youthful, rawness to the sound without musical shaping
- Pink Floyd - Another Brick in the Wall
  - Background
    - Part of a rock opera and the double album The Wall
      - Describes the life events of Pink, a character loosely modelled on Roger Waters
    - Reference to to Bassist Roger Waters' disillusionment with touring and publicity, performing in stadiums and feeling isolated
    - protest song about education
  - Structure
    - verse 1 - chorus - verse 2 (same lyrics) - chorus - solo guitar - fade out
  - Timbre
    - disco beat was the idea of producer Bob Ezrin
      - made the song more marketable as a single
    - use of children's voices was suggested by Bob Ezrin
      - track was originally too short to be a single so the verse was repeated with children's voices to vary the timre
      - previously used on an Alice Cooper track by Bob Ezrin
      - gives the single grittiness with the use of a North London accent of untrained school children
    - the guitar solo has a clean sound, less heavily distorted that the guitar sound of the two verses and choruses
    - the final fade out sound is an unanswered phone ringing
  - Melody
    - melody of the verses is very limited
      - melody of the first four lines is a minor third, D to F
        5th line is semi-shouted with the words 'Hey, teacher, leave them kids alone', and ascend to A, angrier in comparison with the first four lines
      - melody is scalic, adding a menacing quality of controlled anger and resentment
    - chorus has a range of a 4th from F down to C
      - the use of C natural with D minor make the song modal
        in the Dorian mode, the mode beginning on D and using only natural notes
        gives the song a sense of darkness and an older quality, in contrast with the 1970's disco beat
  - Harmony
    - the song begins with D minor chords in the Dorian mode
      - first two verses only use two chords, D minor and G major
      - choruses have two repeated lines, each set to the chords F-C-Dm
    - song doesn't have any perfect cadences, with is common in modal music
      - the plagal cadence in the verses adds to the modal quality of the song
  - Texture
    - melody and accompaniment, both in the sung sections and the guitar solo
  - Music Technology
    - recorded in France due to a tax problem with the band had encountered
      - sent to the UK via courier to be mixed
    - 24 track multi-track recorder
      - gave clarity and definition between parts
guitar solo is the most melodic part of the track
- 32 bars of melodic shaping and clean guitar sound
- Melody
  - melody of the verses is very limited
    - melody of the first four lines is a minor third, D to F
      - 5th line is semi-shouted with the words 'Hey, teacher, leave them kids alone', and ascend to A, angrier in comparison with the first four lines
    - melody is scalic, adding a menacing quality of controlled anger and resentment
  - chorus has a range of a 4th from F down to C
    - the use of C natural with D minor make the song modal
      - in the Dorian mode, the mode beginning on D and using only natural notes
        gives the song a sense of darkness and an older quality, in contrast with the 1970's disco beat

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1970's

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