AS MUSIC TECHNOLOGY Listening & Analysing Name: Class: Teacher: Target Grade:

A Specification at a glance AS Unit 1: Music Technology Portfolio 1  Externally assessed  Availability: June  First assessment: June 2009

*Unit code 6MT01 70% of the total AS marks

35% of the total GCE marks

Content summary Students will learn and use a variety of music and music technology skills in order to complete this unit. MIDI sequencing and multi-track recording as well as arranging skills are all key components assessed through the practical work carried out. Students must complete three tasks which together make the Music Technology Portfolio 1:  Task 1A: Sequenced Realised Performance  Task 1B: Multi-track Recording  Task 1C: Creative Sequenced Arrangement.

Students will also submit a logbook that will provide information on the resources used in each task as well as assessed questions on their creative sequenced arrangement. Assessment Students will produce an audio CD entitled ‘Music Technology Portfolio 1’, containing three tracks of work as specified in the three tasks above. They will also present a logbook. The work is to be done under coursework conditions between the issue of the stimulus material in September and the submission date. The logbook will detail equipment used and be used to answer two assessed questions Specification at a glance on their creative sequenced arrangement.

AS Unit 2: Listening and Analysing  Externally assessed  Availability: June  First assessment: June 2009

A

*Unit code 6MT02 30% of the total AS marks

15% of the total GCE marks

Content summary This unit provides students with an opportunity to study the styles most common in popular music. Students will have the opportunity to demonstrate this knowledge using aural discrimination skills. Students are required to study the development of popular music styles from 1910 through to the present day. This is not intended to be a comprehensive and in-depth study of every popular, jazz or rock music style, but an overview of the main styles and trends during the 4 development Section A © Edexcel Limited 2010 Edexcel GCE in Music Technology of popular music.

Two special focus styles will be selected each year for more in depth study. For the special focus styles, in addition to the main fingerprints of the style, students will be expected to have an extended knowledge and understanding of context. Assessment 1 hour 45 minute listening examination, externally assessed, in the summer of the year of entry. Each student will have a copy of an audio CD supplied by Edexcel, containing recorded excerpts. * See Appendix 7 for description of this code and all other codes relevant to this qualification.

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AS Music Technology Unit 2: Listening and Analysing As well as testing your practical skills, you will also be marked on how well you can listen to music and analyse both musical and technological features. There are two parts to the exam. In section A you will be asked to answer short questions and multiple choice questions about a selection of pieces of music. These could be any style of popular music composed between 1910 and now. In section B you will have to answer longer questions on two specific styles of music, and will be expected to talk about the features and development of these genres in depth. In order for you to revise you need to keep your notes and practice questions together in your folder. This booklet will give you an overview and is a good starting point for you to do more research on your own, but on it’s own will not be enough for you to get a good grade. You will be given resources in your lessons that you can use as a starting point for your own research. Make sure you keep all of these resources together, in conjunction with your own study notes.

What do I Need to Learn? Section A: Popular Music Styles (40 marks) You will study the development of popular music styles from 1910 through to the present day. This is not intended to be a comprehensive and in-depth study of every popular, jazz or rock music style but an overview of the main styles and trends during the development of popular music. Students are expected to have an understanding of these styles and an overview of: • The principal fingerprints of the style in terms of melodic, harmonic, rhythmic and structural elements, • The key features of its instrumentation and arrangement and the technological processes of its recording and production • The main artists, performers, composers, producers and arrangers. Section B: Special Focus Styles (40 marks) Two special focus styles will be selected each year for more in depth study. For 2014 the chosen styles are Heavy Rock, and Ska, Reggae and Dub. In addition to the main fingerprints of the style, you need to have an extended knowledge and understanding of context, which might include: • The origins and development of the style, including the social and cultural conditions that might have influenced this development • Specific musical and technological characteristics associated with the style — melody, harmony, structure, instrumentation, arrangement, production etc • The influence of the style on other artists.

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Audit of Knowledge Quite a lot of the work that you will complete with me this term will need you to understand some music theory. Use the list below to map things you can already do, and things you need to work on. Please answer these honestly. Skill

Confident

INSTRUMENTATION I can read guitar tab, and know about performance techniques specific to the guitar or bass guitar (e.g. palm muting, slides) I can read drum notation and know about performance techniques specific to the drums (e.g. rolls, damping) I know about performance techniques specific to orchestral instruments (e.g. pizzicato - strings, flutter-tonguing – woodwind) I understand chord notation.

NOTATION I can read treble clef notation confidently. I can read bass clef notation confidently. I can read alto or tenor clef notation confidently.

HARMONY I can harmonise a tune using simple primary triads. I can harmonise a tune using a mixture of primary and secondary triads. I can harmonise a tune using primary chords, secondary chords and other chords (e.g. diminished, chords with added notes). I understand what an inversion is. I understand what a cadence is and can describe four different types of cadence.

SCORES I know what the elements of music are, and can use them to describe music. I know how to transpose. I can follow a score or lead sheet as I listen to a piece of music I am good at listening to melodies and writing them down or playing them I can write phrasing and articulation (e.g. legato, staccato) in a score

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Know a bit about

Need to work on

Recognising Musical Styles: Overview You will be expected to recognise a number of different musical styles in your exam, and you should be able to give examples of musicians who perform in each of them. Fill in popular music timeline below, and for each style give an example of a performer and a brief description of its main characteristics – you can use the internet to research any style that you don’t know. GENRE Dixieland Jazz (New Orleans Jazz)

ARTISTS Original Dixieland Jazz Band

Louis Armstong All-Stars (be careful here, Louis Armstrong is famous for lots of types of jazz) Big Band and Benny Goodman Swing Count Basie Orchestra Frank Sinatra

MAIN CHARACTERISTICS • earliest recorded style of jazz • instruments, front line melody (clarinet, trumpet, trombone) and rhythm (guitar, banjo, bass, piano drums) • take a standard and improve around it giving a polyphonic feel (everyone doing different things) • • •

•

Much ‘tighter’ , more organised feel than New Orleans jazz. Popular as dance music during the war and up to the 1950’s. Swing revival in 90’s / 2000’s (Robbie Williams, Swing When You’re Winning, Music to Watch Girls By album) Post swing era singer (e.g. Sinatra) kept the swing style bands as accompaniment, and incorporated many ideas for swing into their music

TIME PERIOD Pre WW2 was very popular, still popular in New Orleans today

The years around the Second World War, up to early 60’s. Revival recently (e.g. Music to Watch Girls By, Swing When You’re Winning)

Blues

Rhythm & Blues

5

Rock and Roll

Soul

Country

60’s British Music – The ‘British Invasion’ bands

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60’s American Rock and Pop

Psychedelic Rock

Progressive Rock

Heavy Rock

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Glam Rock

Disco

Funk

Ska, Reggae and Dub

8

Punk

New Wave

Synth Pop

Hip-Hop

9

Indie Rock

Electronic Dance

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JAZZ In your listening and analysing exam, the primary focus will be on popular music after 1950. There will only be one question on early 20th century music so please bear this in mind when revising. Regardless of this, it is very important to have a broad understanding of the development of the earlier musical styles because of the influence they had on the later styles. You will need to have a more detailed knowledge of the styles that start with the rock and roll era, when the sound of popular music, and the technology started to change rapidly. The origins of popular music can be said to have begun with Jazz music. Jazz music spans over 50 years (from late 1800’s to the 1950’s) and covers a wide range of musical styles. It originated in the American Deep South in cities like New Orleans and St Louis. Key features of Jazz are: • Originally performed by black Americans (African American slaves) • Improvisation (Music created at the time of the performance. ‘On the spot’.) • Technically demanding soloing – often brass players like Sax and Trumpet, however other instruments used for solos could have included piano, guitar, clarinet, trombone, flute and vibraphone. • Some styles of jazz used vocals, whilst others are purely instrumental • The use of blue notes (and the blues scale). These are notes that are flattened or raised to give music a ‘blue’ sound. The blues scale in C uses the notes C, E flat, F, F sharp, G, B flat and C. • Modal scales (ancient scales) and chromatic movement (notes that don’t belong to the key). • Use of extended chords – 6ths, 7ths (dominant and major), 9ths, 11ths and 13ths. These are chords that build on top of a normal triad. • Use of augmented (raised 5th) and diminished (flattened 5th) chords. • Swing rhythms (long short long short) also known as a shuffle rhythms. • Polyrhythm (many layered rhythms) • Syncopation (Off-beat rhythms) Instrumentation: • Big Band, Swing and New Orleans styles used large ensembles with big brass sections, drums acoustic bass, piano and sometimes guitar and/or banjo • Bebop and cool jazz used smaller combos of drums, acoustic bass (usually), piano and one or more lead instrument such as sax or trumpet. • Stride (ragtime) and sometimes Boogie Woogie was for solo piano 11

Stylistic Fingerprints for New Orleans/Dixieland Jazz Instrumentation: • • • • • • • • • •

Brass Band or Marching Band instruments Trumpet Trombone Clarinet Double Bass (or tuba in place of this) Drums Guitar Banjo Piano Sometimes Vocals

Performance and Arrangement Features: • • • • • • • • •

Lively and fast tempo Use of a backbeat (emphasis on beats 2 and 4) Guitar, banjo or piano often play chords in a simple 4/4 style The harmonies used are much simpler than later jazz styles Bass line often avoids a walking bass style, playing 2 beats to a bar. (Walking bass line is when the bass line moves up and down the notes of a chord.) Not much syncopation is used. Use of a ‘head’ structure. The head refers to the main tune/melody followed by sections where melodies are improvised over the chord progression of the head. Improvisation usually occurs between 2 or more soloists, with long scalic quaver runs and very few rests. There is some use of blue and chromatic notes, but not as much as later jazz.

Technology and production features: • •

• •

‘Victor’ recording company made the earliest recordings of jazz in 1917. This was done using a process called mechanical recording, known as acoustic recording. This is a process of recording that involved a live recording of a performance directly on to the recording medium. A large horn was used to capture the band performing. Performers would need to crowd around this and balance was achieved by varying the distance of performers from the cone. Victor was the earliest recording company and successfully marketed gramophone records, signing promising classical and non-classical musicians to exclusive contracts.

Influences: • • • •

Work Songs (sing by slaves) Marching and Brass Bands Ragtime Blues

Key facts and terminology: • • • • • • • •

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Popular in the early 1900’s to 1920’s with a revival in the 50’s. This style is also still popular today. Played in bars and clubs in New Orleans (red light districts). Jazz also spread to other cities with black populations (Chicago, New York and the West Coast) With recordings becoming more accessible, the popularity of jazz spread further. Sheet music also became popular. This music showed a cultural cross over with white musicians performing this music as well as black musicians. Some people think that the European Americans were quick to exploit the commercial potential of the African American artform. Despite slavery being abolished, segregation between black and white people in certain public places still occurred.

Elements of Music Analysing a Song Musically When you are asked to analyse a piece of music you will probably have to talk about the musical elements listed below. After each element I have provided a sample analysis of ‘Wa Wa Wa’ by James ‘King’ Oliver, which is an example of New Orleans Jazz. Timbre/Instrumentation This is an obvious one – what instruments can you hear? Don’t be caught out though, remember that this could include electronic instruments or technological ways of changing sound such as attack, decay, wah pedals, whammy bar or recording effects. Big band, large brass (horn) section (trumpets, tombone, cornet, saxophone (alto) etc…) clarinet. Rhythm Section – Piano, Banjo Drums, Bass. NB: Due to early recording styles bass and high treble are often not as clearly distinguishable. This is known as tape compression Melody (Pitch) Listen carefully to how a tune is constructed. Does it have any repetition? Does the tune develop or change from one verse to the next? Who sings or plays the tune? Is it shared or imitated in any way? What shape does the melody have? What is the range (is it made from a few notes close together, or does it use higher and lower notes?)? Does it use scales and/or arpeggios? In your exam you will also possibly need to fill in missing notes from a melody and identify intervals. This piece uses improvised melodies as a key feature. The opening melody (Head) is based on a three-note motif (pattern) that develops (this then returns during a later section in the piece.) The other sections use improvised solos as the melody line, swapped around to different instruments. The improvised melodies are often fast moving using lot of quavers. The movement also tends to be a combination of smooth and stepwise and some bigger leaps (at the beginning of phrases) Harmony and Tonality (Pitch) This refers to the parts other than the tune. Are they playing chords? If they are playing chords are they major or minor chords? How are these chords used? Are they played straight, on a guitar or piano, or are the notes used in another way? Does the key or tonality change at all? Uses a repeated chord progression, overall major key. Chords are played on the beat and accompany the solo lines. Rhythmic Features The rhythm refers to the length of notes played in each instrument. It also refers to the time signature. Listen out for rhythms that are common in that particular style of music (e.g. off-beats in a reggae piece, ‘swung’ notes in a jazz piece). Does it use triplets, swung rhythms, syncopation etc… 4/4 time signature. Some syncopation used in the melody line with accompaniment being on the beat. Backbeat is used (emphasis on 2nd and 4th beats of the bar.) 13

Texture Texture refers to how the instruments/vocals in a piece are combined. Can you hear a particular ensemble (e.g. a funk band, a swing band, a rock band, a string quartet)? What function does each instrument have? Is there a melody and a chordal accompaniment? Does more than one instrument play a tune? Are there soloists? Are there backing singers and how does their part relate to the melody? Are they singing in harmony, or repeating the tune like an echo in a call and response style? Is the texture dense, sparse or layered? Opening section (Head) is homophonic. Texture for sections then varies. The second section and sections near the end are polyphonc (many lines) as we can hear multiple solo instruments with independent melodies as well as the rhythm section with a chordal accompaniment. Other sections are using melody dominated homophony (melody and accompaniment) Tempo The speed of the music (usually identified in popular music by a metronome marking, or number of beats per minute). Does the tempo change in the piece of music? Moderately fast tempo, maintained throughout the piece, however it slows up towards the end of the piece. Dynamics Louds and softs. Identifying the general dynamic levels within a song. Identifying fades and dynamic shaping within parts and in the overall mix. All dynamics are created by the performers (no mixdown or mastering due to age of the recording). Consistent dynamic level throughout. Structure Recognising the structural elements of the song. In almost all of the pieces you listen to this will need to be given in terms of verses and choruses. There may be other sections, such as a middle 8, intros or outros, instrumental sections etc. Structure of this piece is a ‘Head’ Structure. This is where there is one main melody and then the chord progression is repeated for each new section (usually) with an improvised melody over the top.

YOUR TASK In small groups you are going to create a revision sheet on one style of jazz (like I have done for New Orleans Jazz). You need to create a typed sheet for your classmates containing the stylistic fingerprints of your assigned genre. You must also choose a musical example from that style and create your own analysis of the song (set out using the same layout as I have used for ‘Wa Wa Wa’). Next week you will then present your work to the class, along with the revision sheet. If you email the study notes to me at least one day before the lesson, I will print them off before the lesson. Your revision sheet should be typed using ARIAL SIZE 12 FONT. The styles of jazz are: Big Band and Swing Stride Piano and Boogie Woogie Gypsy jazz Bebop Cool Jazz 14

How IS Technology Used in Music? As well as analysing the musical features of a piece of music, you will also need to be able to identify how technology is used. This is probably the more challenging part of the listening exam – describing what technology has been used to produced a song, and explaining how this was done. You will cover a lot of these things through the completion of your coursework. It is important to take note of what you are doing, so you can then apply this knowledge to your listening examination. You can split these questions into a few different types: Recording You are likely to be asked about how you would go about setting up a recording of a particular voice or instrument, what problems you might come across and how you would overcome these problems. This means that you should be familiar with the best way to record a variety of instruments, and the best microphones to use in these instances. This will be covered when you complete your multi track recording. The use of Music Technology This can cover a range of different characteristic (usually added after recording) such as: • Reverb • Delay/echo • Modulation Effects (chorus, flanger, phaser) • Dynamic Processor (compressor, limiter, gating) • Pan • Filtering and EQ • Sampling and sample manipulation The use of Digital and Electronic Instruments Many pieces, and particularly those produced more recently, use synthesisers. These could be standalone synthesisers, or VST’s attached to sequencing software.

LISTENING LOG Throughout the year, you will need to keep a listening log of music that you have listened to and analysed. You are to use the subheadings listed earlier in this booklet when analysing your pieces. I have also relisted these below so there is no confusion as to how your analyses should be set out. Musical Analysis Subheadings • Timbre/Instrumentation • Melody (Pitch) • Harmony and Tonality (Pitch) • Rhythmic Features • Texture • Tempo • Dynamics • Structure

Use of Technology Subheadings • Recording • Use of Music Technology (e.g. Reverb, Delay/echo, Modulation Effects (chorus, flanger, phaser), Dynamic Processor (compressor, limiter, gating), Pan, Filtering and EQ, Sampling and sample manipulation) • Use of Digital and Electronic Instruments

You should listen to at least one piece a week, and wherever possible this should be related to the work you have done in class. Try and write in sentences, as you will need to do this for the longer questions in your exam. If there is something that you struggle to describe or that you don’t understand then look it up! There are a range of music theory books in the library and a wealth of resources on the Internet. If initially you struggle with the use of technology, begin by listening out for just one interesting technological feature and describe it. It could be the use of effects or synthesisers, or it could be how the piece has been recorded (particularly in older recordings). You may have to look up the history of some of the recording equipment used in older recordings, and again there are plenty of resources in the library or online.

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STYLISTIC FINGERPRINTS FOR THE BLUES Instrumentation: • Early blues: vocals (usually male), acoustic guitar, piano, harmonica, sometimes backing vocals • Electric blues: vocals (usually male), electric guitar, electric or acoustic bass, drums, piano, harmonica, backing vocals • Many ensembles were small, with either electric guitar or piano featured as the main harmony and solo instrument. • Larger ensembles were sometimes used, particularly from 1960’s onwards, including guitars, electric organ, brass sections or solo sax/trumpet. Performance and Arrangement: • 12 bar blues structure • Loud and expressive vocals (moans, wails and shouting) • Elaborated melodies using slides, pitch bends and interjections (e.g. oooo yeah) • Soloing and improvisation • Call and response • Use of stops (instruments on beat 1 only, then vocals on the rests) • Use of blue scale and blues notes (flattened notes) • Major chord harmonies (I, IV and V) with added notes (6ths and 7ths) • Use of shuffle/swing rhythms and an emphasis on the backbeat • Walking bass line • Harmonica uses bent notes and cupped hands creating a “wah” effect Technology and Production th • Early 20 century recordings in studios set up for classical or jazz music (in places like Chicago and New Orleans). Live performances were recorded using primitive microphones on to various types of cylinders, using the “Victor” recording machine, and later metal discs • Alan Lomax known for many of the oldest blues recordings from prisons in the deep south • Post war recording moved to tape, better quality mics and mixing desks. Groups still recorded live. • Major innovation with the use of electric guitar and amplification, developed the sound of overdriven guitar, creating a thicker tone and edge making it more exciting and aggressive. • Blues musicians took pride in their tone, so as recording quality improved their ‘true sound’ could be captured. Despite the improvement in quality, recordings were also still done live. • Guitarists developed the slide or bottleneck technique Influences: • African-American work songs • Ragtime • Spirituals • European and African folk music Key Facts • Originated in southern USA, late 1800’s early 1900’s • A music of the black slaves (plantation workers) • Acoustic blues had different names for regional styles (e.g. delta blues, country blues) • Electric blues also had various styles (Chicago blues, swamp blues) • Little success in the early years with early recordings (1920’s) classed as ‘race music’. • Performed in bars and clubs in the cities • Independent record companies (Sun Records and Chess) emerged promoting blues in the 1940’s • 1950’s saw the blues gaining exposure on local radio and independent radio stations • Blues influenced the emerging rock sound in the 60’s (Beatles, Stones, Jimmy Page, Eric Clapton) • UK 60’s blues bands were Fleetwood Mac, Breakers, Cream, The Animals • Blues popularity with the African Americans declined, however artists like B.B. King and John lee Hooker made a name on the world stage. • Lyrics dealt with relationship issues, money worries, black oppression, lack of opportunity etc… Artists: • Bessie Smith ‘Downhearted Blues’ (Early Blues) • Robert Johnson ‘Cross Road Blues’ (Early Blues) • John Lee Hooker ‘Boogie Chillen’ (Early Blues) • Muddy Waters ‘Hoochie Coochie Man’ (Electric Blues) • T Bone Walker ‘Bobby Sax Blues’ (Electric Blues) • B.B King ‘The Thrill is Gone’ (Electric Blues)

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STYLISTIC FINGERPRINTS FOR Rhythm & BLUES Instrumentation: • Male and Female Vocals • Backing Vocals • Drum Kit • Bass • Guitars • Piano • Horn section also common Performance and Arrangement: • Shares blues features (although more focused on vocals & melody than improv. & solos • Faster than the blues • Forms a link between blues and soul • Larger ensembles and more dance oriented than the blues Influences: • Blues • Boogie-Woogie • Doo Wop • Gospel Key Facts and Terminology • Rhythm and Blues was used to replace the term ‘race music’ in the 40’s and 50’s and was applied to music by black artists • The R&B charts were separate to the mainstream charts • The term is still used to describe urban black music styles, including soul, hip hop and pop • Many blues and soul artists were also classed as R&B artists Artists: • Ray Charles ‘Mess Around’, ‘Georgia on My Mind’ • The Drifters ‘Honey Lovers’ • Sam Cooke ‘Wonderful World’ • Ben E. King ‘Stand by Me’

Ray Charles (pictured) was a blind singer and piano player. He was a pioneer in fusing different influences (blues, gospel, country, R&B) during the 1950’s, and was responsible for laying down the early roots of soul. He released many of his early hits with Atlantic Records and remained popular in the 60’s and beyond.

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STYLISTIC FINGERPRINTS FOR ROCK & ROLL Instrumentation: • Predominantly Male Vocals • • Backing Vocals • • Electric Guitar • • Double Bass or Electric Bass • • Drum Kit • Typically small ensemble (vocals, guitar(s), bass and drums)

Piano Acoustic Guitar (used less frequently) Harmonica Sax (and other brass)

Performance and Arrangement: • Fast tempo (140 bpm +) • Walking bassline (often doubled by elec. guitar) • Energetic (loud vocals, screams and shouts) • Second guitar plays rhythmic chords • Often based on 12 bar blues pattern • Use of stops (as in blues) • Predominantly in a major key (with use of blues scale) • Flamboyant guitar solos • Strong backbeat • Call and response • Shuffle rhythm • Simple backing vocals (unison is common) • Piano plays chord vamps or triplet quavers, lively soloing and left hand plays similar to bass Technology and Production: • Live recording directly to tape with mixing done whilst being performed (on the fly) • Poor quality of instrument capture (poor frequency reproduction), due to poor mic positioning and spill. No multi mic drum set up. Often with just one overhead mic. • Loud Guitars and Drums creating challenges for sound engineers with louder recording levels, leading to altered sound through driving pre-amps hard and tape saturation • Vocals often overdubbed later to improve clarity and minimise spill • Early three track recorders were used in the 50’s. Overdub was achieved using 2 tape recorders • Despite recording limitations, some high quality recordings were achieved, with mics, desks, processing and tape recorders comparable with modern equipment • Music was released on vinyl with wider frequency production and better dynamic range • Use of slap back delay on vocals and guitars • use of echo chambers added to the backing mix • Sound of elec. guitar is crucial in the music – the use of overdriven valve amps hinting at a distorted sound of rock guitar that would soon become popular Influences: • Country • R&B • Blues • Gospel Key Facts: • Mainly produced in 1950’s with widespread popularity and commercial success in UK and USA • Developed in the urban areas of southern USA, in cities such as Memphis • The idea of a pop star being associated with fashion, lifestyle & youth reflected a change in society • People had more money, so music was more accessible (TV, Radio and vinyl) • Although black in origin, musical style was accepted by white performers, promoting its popularity • Built on blues style, with the amplified electric guitar sound being central to the music • Controversial performers (Elvis Presley) gave the music a rebel image • Record labels such as Chess ad Sun promoted Rock and Roll • Rockabilly was rock and roll performed by white performers with a more country influence (Roy Orbison, Everly Brothers, Buddy Holly) Performers: • Bill Haley and the Comets ‘Rock Around the Clock’ ‘See You Later Alligator’ • Little Richard ‘Lucille’ ‘Tutti Frutti’ • Chuck Berry ‘Rock and Roll Music’ ‘Johnny B. Goode’ • Elvis Presley ‘Blue Sude Shoes’ ‘Hound Dog’ ‘All Shook Up’ • Jerry Lee Lewis ‘Great Balls of Fire’ • Cliff Richard ‘Move It’ (considered the first UK Rock and Roll recording)

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STYLISTIC FINGERPRINTS FOR SOUL Instrumentation: • Vocals and backing vocals (male and female) • Elec. Organ • Drumkit • Horn Section (Trumpet, Sax, Trombone) • Bass • String Section • Percussion • Larger ensembles sometimes doubles up drums and guitars • Elec. Guitar • Piano Performance and Arrangement: • Emotional vocal delivery (from forceful to reflective to passionate) • Shared lead vocals are used sometimes • Ensemble Backing Vocals (part of the group e.g. Diana Ross & the Supremes, Jackson 5) • Drumkit and percussion providing a steady backbeat (driving rhythms) • Rythmic, riff based bass lines • Rhythmic chordal parts on piano and/or guitar • Brisk tempo (120bpm) meant for dancing • Some slower tempo ballads • Use of vocal and instrumental hooks • Call and response • Short songs with simple structures (verse/chorus) • Melodies often use pentatonic scales with added blues notes • ‘Lighter’ style of soul sometimes referred to as Motown (also a recording label) Technology and Production • Early us of multi track tapes (4 and eventually 8 tracks) • Live recording of a complete band in one room with Direct Input (DI) guitars and basses and acoustic screens used to provide separation. • Close mic drum recording • Vocals overdubbed • High quality mics with top end ones still being used today. • Use of echo chambers • Plate reverb (e.g. EMT 140) • Classic compressors (Teletronix LA2A) used with gentle settings • Often high quality recordings with clear vocals and deep bass (full range frequency) • Extreme panning (unconventional for today) e.g. all drums and bass on left, vocals and other inst. on right • Electronic instruments like: Hammond organ, Fender Rhodes elec. piano. • Very little use of sound design, focus on was on the natural sound of instruments. Influences: • R&B • Gospel • Jazz Singers (Billie Holiday, Ella Fitzgerald) • Psychedelic Rock (late 60’s) Key Facts • Started in late 50’s and remained popular until mid 70’s (soundtrack for the 60’s) • Came from large cities in southern USA (Detroit, Memphis, Philiadelphia, also New York on the East Coast) • Mainly produced by African Americans • Record Labels/Studios – Motown, Atlantic and Stax • Different subgenres (Memphis soul, northern soul, Philly soul, blue-eyed soul) • Worldwide commercial success (still to this present day) Artists: • Otis Redding ‘Sitting on the Dock of the Bay’ • Stevie Wonder ‘Superstition • Marvin Gaye ‘heard it Through the Grapevine’ What’s Going On’ • Supremes (Diana Ross) ‘Baby Love’ ‘Stop in the Name of Love’ • Jackson 5 ‘ABC’ ‘Never Can ay Goodbye’ • Aretha Franklin ‘Respect’ ‘Natural Woman’ • James Brown ‘I Got You (I Feel Good)’

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STYLISTIC FINGERPRINTS FOR COUNTRY Instrumentation: • Vocals and Backing Vocals • Acoustic Guitar • Electric Guitar • Bass • Drumkit • Violin Performance and Arrangement:

• • • • • •

Banjo Pedal Steel Guitar Harmonica Keyboards Percussion Sometimes Strings and Horns

• Prominent use of acoustic inst. acoustic guitar playing rhythmic strumming, chops or finger-picking • Finger picking style of guitar and banjo are often used • Simple rhythms with a strong backbeat emphasised by snare and guitar • Two to the bar bass line common playing root and fifth figures • Occasional use of 3/4 time • Songs are often vocal led pop • Vocal techniques can include yodelling and switching from normal to falsetto • Some styles are purely acoustic, others use typical rock band inst. Technology and Production

•

Varies through different eras as production methods evolve Country industry in Nashville is renowned for country music production since the 60’s. The focus is on creating clean, clear, accurate recordings of the actual instruments, rather than lots of production tricks. Nashville is noted for its recording of acoustic instruments Electric guitar sound is often clean and slightly twangy

• • •

European folk music Blues Many influences and fusions with other contemporary styles throughout the 20th century

• •

Influences:

Key Facts: th

• • • • • •

Started in early 20 century in Southern USA, originally played by European-origin settlers Associated with cowboys in early years, and truck drivers in more recent Lyrics often refer to rural country life in the southern states of America Many subgenres: bluegrass (fast, acoustic, instruments.) Western Swing (swing and jazz influence) Nashville is one of the biggest recording centres in the world, with rock bands like The Stones recording there Has a huge worldwide following despite not having much chart success

• • • • • • •

Hank Williams ‘Hey Good Lookin’ Johnny Cash ‘I Walk the Line’ ‘Ring of Fire’ Patsy Cline ‘Crazy’ Tammy Wynette ‘D-I-V-O-R-C-E’ ‘Stand By Your Man’ Willie Nelson ‘Georgia On My Mind’ Dolly Parton ‘Jolene’ ‘I Will Always Love You’ Shania Twain ‘Come On Over’

Artists:

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STYLISTIC FINGERPRINTS FOR 60’s UK ROCK & POP

The BEATLES Instrumentation: • Lead Vocals (John Lennon and Paul • Acoustic Guitar McCartney and sometimes George Harrison • 12 String Acoustic and Ringo Starr) • Piano • All singers shared backing vocals • Percussion • Drumkits • Diverse ensemble use (Orchestra, elec. • Bass keyboards, experimental studio sounds and • Electric Guitar world music) Performance and Arrangement: • Early songs based on rock & roll, R&B and Motown/Soul sounds • Energetic, bright and lively, often quite melodic and sweet but sometimes more gritty and rocky • Later works had diverse instrumentation, complex structures, changing time signatures and keys • Use of sonic experimentation – recording ambient sound to mix with the music, reverse tape recordings, use of extreme reverb and delay, effects such as phasing and flange Key Facts: • Formed in Liverpool (hometown) in 1960’s. Played and lived in Germany until being signed to EMI • First band to achieve worldwide recognition • Huge sales of their work continues today • Early sound was known as Merseybeat • Their later sound was more diverse wth strong psychedelic rock elements (drug experimentation) • Stopped performing live by Sgt. Peppers • Rebel image (like rock & roll): sexual expression, drugs, anti-establishment, personal freedom

Selected Albums by The Beatles: • Please Please Me (1963): First album. released after success of ‘Love Me Do’ and ‘Please Please Me’. Captured as a live performance of a live set recorded to two track tape (instruments on one tape and instruments on another) then mixed to mono. Stayed at number 1 for 30 weeks. Lively guitar led, catchy melodic pop. Also included ‘I Saw Her Standing There’ and ‘Twist and Shout’. • With The Beatles (1963): ‘Saw Her Standing There’ ‘I Want To Hold Your Hand’. Showed sophistication in writing and performing. Still rock/pop sound with more diverse instrumentation (percussion, Hammond organ and harmonica. Used sound on sound overdub (adding tracks to pre-mixed recordings using two tapes). Released in mono and stereo (stereo panned wide leaving a hole in the middle). Album marked the start of Beatlemania. • Hard Day’s Night (1964) recorded using four track multi track recording and mixed in mono and stereo. ‘Hard Day’s Night’ ‘Can’t Buy Me Love’ • Beatle’s for Sale (1964) No singles from this album. Early studio experimentation recording songs in several different takes and using a fade in at the start. • HELP! (1965) ‘Help’ ‘Yesterday’ ‘Ticket to Ride’. Made use of improving recording techniques by using more overdub, • Rubber Soul (1965) Used sped up recording of piano and heavy compression • Revolver (1966) Showed experimentation with classical elements ‘Eleanor Rigby’. Also showed a psychedelic influence. ‘Tomorrow Never Knows’ used tape loops, vocal effects and reverse guitar. Also the first album to use automatic double tracking • Sgt. Pepper’s Lonely Heart’s Club Band (1967) Acclaimed as one of the finest albums in terms of songwriting, performances and recording quality. More experimentation with effects like flanging, wah-wah and fuzz. Also a new keyboard instrument called a Mellotron. • Magical Mystery Tour (1967) Experimentation with sound collages. Album not well received • White Album (The Beatles) (1968) ‘Let it Be’ ‘Blackbird’ Double album continuing with psychedelic themes. Their first album recorded on 8-track. Tensions amongst the band arose on this album • Yellow Submarine (1969) Film soundtrack, with B side being an orchestral score by George Martin • Abbey Road (1969) ‘Come Together’ ‘Here Comes The Sun’ Last album before they split. Made use of the Moog synthesiser. Another example of fine songwriting, performing and production • Let It Be (1970) Recording sessions completed before Abbey Road, but released after they split. ‘Let it Be’ ‘Long and Winding Road’ ‘Get Back’

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OTHER 60’s UK ROCK & POP Groups – Rolling Stones Instrumentation: • Vocals (Mick Jagger) • Drumkit • Backing Vocals • Percussion • Elec. Guitar • Piano/Keyboards • Bass • String and horn sections on occasion Performance and Arrangement: • Heavily influenced by Chicago Blues and Chuck Berry’s Rock and Roll guitar • Jagger’s raunchy vocals and Keith Richard’s blues rock guitar give them a edgy, gritty, hard sound • Simple verse chorus structures (although have also produced some experimental work) Key Facts • Rivlas to the Beatles in the 60’s • Part of the ‘British Invasion’ that was popular in the US in the 60’s • Continued to right and perform up to the present day Recordings: • The Stones have released a huge number of albums that have been successful in reaching number one (or very close to). Most songs are of a hard bluesy rock style, however they did release some ballads, using country and other influences. Some notable singles are: ‘(I Can’t Get No) Satisfaction’ ‘Time is on my Side’ ‘Jumpin Jack Flash’ ‘Ruby Tuesday’ ‘Wild Horses’

OTHER 60’s UK ROCK & POP Groups – The Who Instrumentation: • Vocals • Drumkit • Backing Vocals • Percussion • Elec. Guitar • Synthesiser and Keyboards • Bass • Horns Performance and Arrangement: • High energy and aggressive performers, smashed guitars and kit on stage as part of their act • Hard driving rock with melodic bass lines • Some songs used complex instrumentation and structures • Pete Townshend (guitarist) used the term popwer pop for their more mainstream music Key Facts • Associated with Mod culture (sub culture wearing sharp suits and rode scooters, union jack fashion) • Pete Townshend known for windmill guitar style • Developed rock opera with the albums/movies Tommy and Quadrophenia Recordings: • Success with the singles ‘My Generation’ ‘Substitue’ and ‘I can See for Miles’ in early 60’s. Rock opera Tommy in 1969 about a deaf, dumb blind boy ‘Pinball Wizard was a hit from this. Next album (Who’s Next) was experimental using synths for drones and sound effects and the use of an envelope follower on the guitar. Album had a more prog rock style and more complex structures. 1973 as the second rock opera, Quadrophenia. Drummer Keith Moon died of a drug overdose, and then with the birth of punk they struggled to stay together. Other British bands of note are: • The Kinks • The Small Faces • The Animals • The Hollies • The Spencer Davies Group • The Yardbirds • The Moody Blues

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STYLISTIC FINGERPRINTS FOR 60’s US ROCK & POP Bob Dylan – Folk Rock With the British Invasion dominating the US charts, as well as soul, Rock and Roll had lost its popularity, leaving America looking for its own sound. A folk/country rock style emerged. Towards the end of the 60’s a psychedelic rock influence also made an appearance. The most influential performer in this folk rock style was Bob Dylan Instrumentation: • Vocals • Solo Acoustic Guitar • Harmonica • Later version used rock band lineup Performance and Arrangement: • Folk influenced compositions with simple chordal accompaniments • Clever use of melody and chord structures • Vocal tone that was quite nasal and whiny • Poetic lyrics exploring politics and philosophy (message music) Key Facts • ‘Blowin’ in the Wind’ was an early success • Dylan also wrote songs for other artists (The Hollies and The Byrds) • Closely involved with the civil rights movement • Third album ‘Times They Are A Changing’ contained songs about poverty, racism and need for social change • Influence of other bands (Beatles etc..) led to the addition of elec. guitars and a rock band for tracks on the album ‘Bringin’ it All Back’. Album had the tracks ‘Mr Tambourine Man’ ‘It’s All Over Now Baby Blue’ • Subsequent albums used the electric rock style • Further hit songs include ‘Like A Rolling Stone’ ‘Knockin’ on Heaven’s Door’ Other Artists: • Neil Young • Crosby Stills and Nash • Joni Mitchell • The Eagles (Hotel California)

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STYLISTIC FINGERPRINTS FOR Psychedelic ROCK Instrumentation: • Classic Rock Band Lineup • Addition of unusual instruments: Sitar Melletron keyboard (and early sampler) Dulcimer Mandolin Performance and Arrangement: • Guitars prominent as both rhythm and lead • Unusual ‘spacey’ timbres • Songs had loose forms with extended ‘jamming’ and soloing over grooves and chord patterns • Vocal also given a spacey feeling (dreamy sparse and slow moving) • Tempo, Key and Time signature changes created changes in mood • Songs could be long and complex Technology and Production • • • • • •

Guitar sound uses lots of processing (distortion, feedback, fuzz, phaser, echo/delay, Leslie speaker) Melletron Sampler keyboard used for unusual timbres (choir, flute, strings) often used for pads or drones large amounts of reverb and delay used on any part of the mix (vocals, guitar, solo flute etc…) to produce unreal sounding textures Phasers and Flangers popular for similar reasons as above Synthesisers used for their capabilities to produce unusual sounds Tape loops and ambient recordings add strange non-musical sounds and textures

Influences: • UK Rock • Folk Rock • Experimental music like musique concrete Key Facts • • • • • • •

Late 60’s and early 70’s – Linked to the beat generation Use of mind altering drugs let to many musical experiments Lyrical, often surreal, themes. fairy tale or mystical Concept albums – albums linkes with a storyline. Long songs, not great for commercial radio Grateful Dead known for long drawn out solos, popular into the 90’s until singer & guitarist Jerry Garcia died Frank Zappa and Captain Beefheart where two of the era’s most creative artists The Doors combined many different influences to create their version of this style. Their sound featured organ and elec. piano with long improvised solos. Lead singer Jim Morrison very controversial.

Artists: • The Doors ‘The Doors’ • Frank Zappa ‘Freak Out’ • Grateful Dead ‘Grateful Dead’ Some bands were influenced for periods or just on some songs. • The Beatles ‘Day Tripper’ Lucy in the Sky With Diamonds’ • The Who ‘Paint It Black’ • Pink Floyd - Early Albums

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STYLISTIC FINGERPRINTS FOR Progressive ROCK Instrumentation: • Vocals and Backing Vocals • Drumkit • Guitar • Keyboards/Synthesisers • Elec. Organ and Elec. Piano • Sometimes strings, horns and world instruments Performance and Arrangement: • Sometimes musically complex. Instrumental virtuosity is important for long complex passages • Melody and Harmony can be complex and unusual • Use of modes and a classical approach to harmony • Structures can be complex; long songs with many changes • Changes in texture and dynamics (more so than other rock styles) • Time signature and tempo changes used. Also complex time signatures at times • Drum parts can be rhythmically complex Technology and Production • Production tried to achieve highest technical excellence • Use of lush reverbs, delays and ‘expensive sounding’ layered recordings • Guitar sounds covered a wide range. From clean sounds, chorus effects, flanger and phaser, to full on heavy rock distortion and fuzz sounds. • Synthesisers very important. often used for solo work. Moog and Arp synths were new instruments, but were used alongside elec. organs and pianos. Influences: • UK Rock (Beatles, The Who, The Kinks) • Velvet Underground and Psychedelic Rock • Jazz • World Music • Classical Key Facts • Began in late 60’s alongside psychedelic rock. • Also known as prog rock • Continues to be popular during the 70’s, however by the end of the 70’ it was considered outdated • Concept based albums rather than single tracks that could be released on the charts • Many bands evolved to a more commercial sound (Pink Floyd, Yes and Genesis) Artists: • Pink Floyd ‘Dark Side of the Moon’ • Yes ‘Close to the Edge’ • Genesis ‘The Lamb Lies Down’ • The Moody Blues ‘The Day Future Passed’ • Emerson, Lake and Palmer ‘Tarkus’ 25

STYLISTIC FINGERPRINTS FOR Heavy ROCK Instrumentation: • Vocals (usually male) • Two guitarists – Lead and Rhythm • Keyboards • Bass • Drums Performance and Arrangement: • Powerful vocals usually delivered in a high register at a screaming level • Guitars play riffs using Power chords (Root and Dominant chords) • Soloing-fast and with a high degree of technical ability • Pentatonic and blues scales used regularly for riffs and solos, also the prominent use of modal scales and chromaticism • Driving rhythms called ‘Chugging’ used by the guitar, drums and bass. • Keyboards are not used in a prominent / lead role • Drum parts feature lots of cymbals and toms and can be very technical. Technology and Production: • Electric Guitar developments • Distortion and Valve amp sound create a huge guitar sound. • Fuzz, Wah-Wah and Phaser are the main effects used • Feedback and Finger Tapping techniques used • Drums and bass create a thick and heavy sound • Use of Large Reverbs (gates, sprung, digital) Influences: • Blues Music • British Blues • Rock and Roll • R&B • Prog Rock • Psychedelic Rock Key Facts: • Owes its development to blues and R&B of the 40’s – 60’s. • Electric guitar centrepiece to the music, as both lead and rhythm instrument • Blues and Rock and Roll artists helped to make the electric guitar prominent in pop • Distorted tone of guitar is a key characteristic and was very influential for future musicians Artists: • Jimi Hendrix ‘Purple Haze’ • Led Zeppelin ‘Whole Lotta Love, Stairway to Heaven’ • Deep Purple ‘Smoke on the Water’ • Black Sabbath ‘Iron Man’ • Motorhead ‘Ace of Spades’ • Iron Maiden ‘The Trooper’ • Saxon ‘Motorcycle Man’ • Def Leppard ‘Rock of Ages’ • Metallica ‘Enter Sandman’ • Megadeth ‘In The Darkest Hour’ • Bon Jovi ‘Livin on a Prayer’ • Van Halen ‘Jump’

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STYLISTIC FINGERPRINTS FOR GLAM ROCK Instrumentation: • Vocals (predominantly male) and backing vocals • Guitar • Bass • Drumkit • Keyboards • Percussion • Sometimes horns Performance and Arrangement: • Melodic songs with hooks • Simple song structures • Distorted Guitars playing riffs and/or chord patterns based on rock and roll and R&B • Driving rock beats, sometimes using a shuffle rhythm • Camp, Glitzy delivery (make up, sparkly costumes, high heeled boots, alter egos) Technology and Production • Similar to other early 70’s rock productions • Use of distortion and fuzz on guitars, with powerful amplification • Multi track recording producing clear, big sound • Some use of synths and effects (experimentation) • Natural or plate reverbs • Tape echo Influences: • Rock and Roll • Heavy Rock • Psychedelic Rock • 1960’s Pop Key Facts • Popular from 70 – 76 • Some glam rock was commercial, whereas others was deeper and more arty (David Bowie, Bryan Ferry) • 2 Christmas songs are glam rock: ‘Merry Christmas Everybody’ ‘I Wish it Could Be Christmas Everyday’ • Many glam artists are androgynous with uncertain sexuality • Lyrics were light, although often sexually suggestive • Elton John, Queen and Rod Stewart were influenced by Glam rock Artists: • T Rex/Marc Bolan ‘Get it On’ • David Bowie ‘Space Oddity’ ‘Starman’ ‘Life on mars’ • Bryan Ferry/Roxy Music ‘I Wish it Could Be Christmas Everyday’ • Slade ‘Merry Christmas Everybody’ • Gary Glitter ‘Rock and Roll’ ‘I’m The leader of the Gang’ • Suzi Quatro ‘Can the Can’ ‘Devil Gate Drive’

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STYLISTIC FINGERPRINTS FOR DISCO Instrumentation: • Vocal lead genre, often with backing vocals • Bass - Bass guitar or synth • Drums - Live drums or drum machine (such as Roland 808 or 909) • Percussion - often latin influenced - congas, bongos, tambourine - busy syncopated parts • Electric Keyboard - clavinet (Stevie Wonder, Superstition) or fender rhodes or synth (Bob Moog) acoustic pianos • Horn sections - Trumpet, Trombone, Saxes, often augmented with other orchestral instruments • Strings - both use of live string sections and synth strings • Hand Claps • Funky Guitar - wah common Performance and Arrangement: • Up beat tempo tempos often 110-130 • Drums - Four on the floor, Off beat Hi-Hats, drum fills • Percussion, often latin influenced: congas, bongos, tambourine, busy syncopated parts. • Horn section is soul influenced, some call and response, stabs etc…, sometimes harmonic role, supporting harmony. • Bass - Octaves, Syncopation • Guitar - use of 7ths, syncopation, choppy, wah wah, picked lines • Keyboard - choppy chords also syncopated. • Harmony - often quite simple chord sequences but common use of chord extensions - 7ths/9ths etc. • Often thick layered textures, some use of sparse funky textures - bass/drums groove based • Use of horns - call and response, also with vocals • Use of backing vocals harmony • Use of riffs in horns guitar and keyboard Technology and Production: • Use of sequencers and drum machines • Large scale multi track recording • Mainly live but with high use of overdubbing • Reverb and delay, modulation effects - chorus, flanger and phaser • Common use of wah-wah • Big rich sounds - reverb, on vocals/horns/strings • Early use of analogue synths • Extensive use of electric keyboards - Fender Rhodes, Wurlitzer electric piano • Electronic Hand claps • Songs released as 12” singles, a bit longer (usually original version and a remix) Influence: • R&B • Gospel • Soul • Funk • Latin Key Facts: • Started in gay clubs in New York then spread to other American urban centres • Named after French word for nightclub ‘Discotheque’ • Lyrics are mainly love and party songs • Complex things happening in the production of this music, engineers were more involved in this music, with technology playing a very important role • Adopted by the pop scene and dominated the charts in the late 70’s (Village People, Bee Gees) • Disco came to represent everything that was bad about pop to die hard rock fans • Some disco bands had had continued success (Earth Wind and Fire) Artists: • Donna Summer ‘I Feel Love’ ‘Love to Love You • Gloria Gaynor ‘ I Will Survive’ Baby’ • Diana Ross ‘Upside Down’ • Chic ‘Le Freak’ • Bee Gees ‘Stayin’ Alive’ • Earth Wind and Fire ‘Boogie Wonderland’ • Boney M ‘Daddy Cool’ • Sister Sledge ‘We are Family’

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STYLISTIC FINGERPRINTS FOR FUNK Instrumentation: • Similar to Disco • Vocals were not always used and tended to be more raucous then disco (more R&B influenced) • Some ensembles were small but horn sections were common Performance and Arrangement: • Exuberant, energetic and lively • Variation and syncopation in the drumbeats with a heavy backbeat • Syncopated bass line using slap bass technique • Extended groove based sections, little harmonic variation, very melody based • Improvisations and soloing was a feature • Rebellious, anti establishment image Technology and Production • Similar to disco, however more focus was on live recording if real musicians Influences: • R&B • Soul • Jazz (Bebop) • Psychedelic Rock • Latin Key Facts • Began at the end of the 60’s as a development of soul. it’s influenced continued into the 80’s (Prince) • Acid Jazz borrowed heavily from funk through artists like Galliano and Jamiroquai Artists: • James Brown ‘Get up Offs That Thing’ • Isaac Hayes ‘Shaft’ • Sly and The Family Stone ‘Everyday People’ • Stevie Wonder ‘Living for the City’ I Aint Gonna Stand for It’ Jazz Funk and Funk Rock: • Developed in the 70’s • Jazz Keyboard player Herbie Hancock’s album Head Hunters was a landmark album • Miles Davis experimented with this fusion • Janes Addiction and Red Hot Chilli Peppers used many funk influences

STYLISTIC FINGERPRINTS FOR SKA REGGAE AND DUB Instrumentation: • Main Vocals • Horn section – Saxophone, Trumpet or Trombone • Backing Vocals – 3 or 4 part harmonies • Bass Guitar • Guitarists x 2 • Drums and Percussion • Piano, Keyboards, Organ, synthesizers Performance and Arrangement: • The vocals of reggae are expressive • A standard drum kit is generally used in reggae, • The back beat of reggae music is relaxed but rhythmically tight • Reggae drumbeats fall into one of three main categories: One drop, Rockers, and Steppers • Reggae is played in 4/4 time • Recognisable offbeat rhythms • Staccato / choppy chords played by a guitar, piano or both on the offbeats of the measure, often referred to as the skanking • The tempo of reggae is usually slower than ska and rocksteady, approximately 60 to 90 bpm • Heavy use of syncopation • A Melodic riff based Bass lines which plays a dominant role in reggae music • Simple chord progressions • Vocal call and response phrases • Horn sections are frequently used in reggae, often playing introductions and counter-melodies • The toasting vocal style is unique to reggae, originating when DJs improvised spoken introductions to songs • Reggae is noted for its tradition of social criticism in its lyrics, although many reggae songs discuss lighter, more personal subjects, such as love and socialising • Side stick on snare beat 3 • Organ shuffle played in the left hand plays off-beat quavers • A wide variety of percussion is used which includes shaker, tambourine and hand drums Technology and Production: • The bass sound is thick and heavy, and equalised so the upper frequencies are removed and the lower frequencies emphasised, heavily compressed and plays a key part in the performance so is mixed relatively high. • Drums are isolated with the use of gating and compression to achieve a more punchy sound • The snare drum is often tuned very high to give it a timbales-type sound • Piano and guitar chops are EQed to sound unnaturally thin • The horn section is sometimes produced with punchier, louder phrases for a more up-tempo and aggressive sound. • Extensive use of the Delay and reverb effects to give a sense of space Key Facts: • • • • • • •

From Jamaica, created to be played on sound systems Studio Owners had their own sound with Studio One and Treasure Isle being two early studios Ska emerged in late 50’s. off beat chords similar to reggae but at about double the tempo. By the late 60’s the beat slowed down and eventually turned into reggae in UK it was enjoyed by the growing Caribbean community, also by mods and skinheads Dub became popular at the same time, mainly just drums and bass Late 80’s dancehall or raga emerged, using electronic sounds and more aggressive lyrics

Artists: • • • • • •

The Skatalites ‘Guns of Navarone’ Bob Marley and the Wailers ‘I Shot the Sherrif’ ‘Get Up Stand Up’ Dennis Brown ‘Money in My Pocket’ Madness ‘Baggy Trousers’ The Specials ‘Too Much Too Young’ UB40 ‘Red Red Wine’

Influences: • Blues • Rhythm and Blues (R&B) • Jazz • Mento

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• • • •

Calypso Gospel Sole African and Latin American musical influence

STYLISTIC FINGERPRINTS FOR PUNK Instrumentation: • • • • •

Vocals (mainly male) Electric Guitar Bass guitar Drums Keyboards used by some bands

Performance and Arrangement: • • • • • • • • • •

Hard-edged, raw and chaotic – stripped down, small ensembles, basic music with no frills Vocals often delivered at shouting level Simple melodies only covering a few pitches or delivered almost at shouted chants Backing vocals (when used) are similar; no complex harmonies Songs are based around simple chord structures. Three chord tricks like that used in rock n roll. Simple major chords or power chords Fast tempo Drums are loud and trashy with lots of cymbals used Straight forward rhythms, some simple syncopation Songs are often very short If a solo is included it is normally very simple and quick

Technology and Production: • • • • •

DIY ethics to the production Bands used small independent studios Raw unprocessed sound Guitar sound is often distorted, though quite thin and harsh comared to the full tones of heavy-rock distortion and fuzz Effects were still used but producers avoided the polished sound of pop and the psychedelic era

Key Facts: • • • • • • •

Started around 75, 76 in the US and UK but it exploded in 77 Most bands had moved on by the 80’s A reaction against the excesses of technical, highly produced prog rock, and highly polished disco Designed to be aggressive, anti establishment with social and political commentary Some songs and bands were banned from tv Chaotic dancing (pogoing) and spitting was common amongst fans Equipment and venues was often smashed up at gigs

Artists: • • • • • •

Sex Pistols ‘Anarchy in the UK’ ‘God Save The Queen’ The Clash ‘White Riot’ “I Fought The Law’ The Jam ‘Eton Rifles’ The Buzzcocks ‘Ever Fallen in Love (with Someone You Shouldn’t Have) The Damnes ‘Neat Neat Neat’ Siouxsie and the Banshees ‘Happy House’

Influences: • • •

Rock and Roll Hard Rock (Like the Who and Velvet Underground) Early 1960’s pop

STYLISTIC FINGERPRINTS FOR NEW WAVE Instrumentation: • • • • • • •

Vocals (male and female) Backing vocals Guitar Drums Percussion Bass Keyboards

Performance and Arrangement: • • •

Adopted much of the punk DIY ethics; fairly raw and unpolished Wide range of approaches due to varied stylistic influences, from edgy power pop to reggae and disco, so delivery depended on style Song writing became more important, with some clever pop songs, but again avoiding the complexity of progressive rock.

Technology and Production: • • •

Similar to Punk – the aim was to achieve an energetic and unprocessed sound of real musicians The productions were still often a bit more polished than Punk Use of keyboards and more variety in the arrangements often gave more depth to the sound than was usual for punk

Key Facts: • • • • • •

Started in late 70’s, gaining popularity after punks explosion came to an end Continued into early 80’s and then artists continued to have successful careers as pop artists Many acts were signed to independent record companies New York club CBGB’s was an important venue for new wave acts Like punk, anti establishment with lyrics about social and political issues Many British new wave bands did not have massive success in the US

Artists: • • • • • •

Elvis Costello and the Attractions ‘Watching the Detectives’ Ian Dury and The Blockheads ‘Hit Me With Your Rhythm Stick’ The Police ‘Roxeanne’ ‘Message in A Bottle’ The Pretenders ‘Stop Your Sobbing’ ‘Brass in Pocket’ Blondie ‘Heart of Glass’ ‘One Way or Another’ Talking Heads ‘Psycho Killer’ ‘Once in a Lifetime’

Influences: • • • •

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Punk Hard Rock Reggae Funk

STYLISTIC FINGERPRINTS FOR SYNTH POP Instrumentation: • • • • •

Vocals and Backing Vocals Drum Machines Synthesisers Guitars Bass sometimes used

Performance and Arrangement: • • • • •

Often moody and reserved with introspective performance (later more pop oriented) Thin textured in early works, then more polished and fuller in later year Synthesisers took the role of guitars, bass and other harmony parts Use of synth pads (Sustained synth chords playing chord patterns or harmony lines) Angular drum rhythms

Technology and Production: • • • • •

Use of early drum machines, monophonic and polyphonic analogue synthesisers Real time manipulation of synthesis settings such as filter cut-off and resonance, LFO modulation Drum machines had built in sequencers for writing patterns, as well as some synthesisers. Early songs predated MIDI so sequencers used an analogue system called CV gate Return to the use of lush reverbs Use of delay and other effects

Key Facts: • • • • •

Kraftwerk were early pioneers of the style with international hits in the 70’s. Music was based entirely on drum machines and synth ensembles First English bands were known as New Romantics offering an alternative to punk Early bands thrived in the underground scene, Duran Duran and Eurythmics are exceptions Later acts like Pet Shop boys adopted the electronic sound but more pop friendly Many synth pop acts were popular in the gay club scene

Artists: • • • • • • •

Ultravox ‘Vienna’ ‘All Stood Still’ The Human League ‘Don’t You Want Me’ Kraftwerk ‘Autobahn’ ‘Trans-Europe Express’ Tears for Fears ‘Mad World’ ‘Everybody Wants to Rule The World’ A-ha ‘Take on Me’ Eurythmics ‘Sweet Dreams’ ‘Sisters are Doing it For Themselves’ Duran Duran ‘Girls on Film’

Influences: • • • • • •

Kraut Rock Disco Art Rock Glam Rock New Wave Punk

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STYLISTIC FINGERPRINTS FOR RAP & HIP HOP Instrumentation: • • • • • •

Vocals (Predominantly male) Rapping Record decks (Turn tables) Samplers Synthesizers Drum Machine Sometimes live instruments like guitar, keyboards, drums, percussion, bass, saxophone and other horns

Technology and Production: • Later styles also use samplers to create loops • DJ scratching creates unique sounds including reversing, pitch-shifting and filtering • Special effects from synthesizers / non-pitched sound effects • Drum machines used instead of or alongside loops • Original hip-hop artists used two or more record decks to play instrumental grooves – often drum and bass breaks – while mixing in other patterns or short hits from other records • Music often has a lo-fi quality • Deep bass frequencies – often from kick-drum sounds Performance and Arrangement: • Melodic elements are normally short motifs • Use of riffs, often repetitive • Based mainly on repeating rhythmic patterns – loops • Sometimes no bass line • Unique timbres created by DJ scratching techniques • Harmonic elements often have little importance, no large scale chord patterns or complex harmony • Rappers perform over the beats of a DJ • Frequent use of call and response chants • Use of beat boxing • Songs typically have a verse -chorus structure with the chorus based on a refrain with catchy hook, often delivered by several rappers Main Artists: • DJ Kool Herc: influential DJ on the early hip-hop scene • Sugarhill gang: Rappers Delight (1979) • Afrika Bambaataa: Planet Rock (1982), Renegades of Funk (1983) Influences: • Funk • Disco • Soul • R&B • Reggae – toasters on sound systems, dub • Scat singing

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STYLISTIC FINGERPRINTS FOR INDIE Instrumentation: •

Classic rock band lineup

Performance and Arrangement: • • • • •

Guitar is the main harmony instrument Indie guitar sounds are referred to as jangly, light, often using finger picked, sustained arpeggios with effects Understated vocals with a melancholy introspected feel Backing vocals are not a big feature Some songs are loosely structured, almost like extended jams

Technology and Production: • •

Guitar amplifiers and effects play a big part, light sustained tone and use of delays DIY production ethic, low budget recordings based on capture of live performances

Key Facts: • • • • • • • •

The music reflected earlier British styles Bands had big following in the college and university circuit Many acts came from the Manchester area Factory records signed a lot of Indie acts. Owner also had a club (Hacienda Club) where many Indie acts played The Cure were a post punk band who adopted an indie approach, whereas New Order and Joy Division used more electronic sounds Britpop related to this style but still different. This included Oasis, Blur, The Verve, Coldplay Grunge style of Nirvana and Alice in Chains had an influence on Indie music in UK Moder band influenced by Indie are Franz Ferdinand, Arctic Monkeys, Killers, Kaiser Chiefs

Artists: • • • • • • •

The Smiths ‘This Charming Man’ Happy Mondays ‘Wrote for Luck’ Stone Roses ‘One Love’ Blur ‘Country House’ The Cure ‘Wish’ Joy Division ‘Love Will Tear Us Apart’ New Order ‘Blue Monday’

Influences: • • • • •

UK rock (Beatles, The Who, The Kinks) Velvet Underground and Psychedelic Rock Punk Rock Funk House

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STYLISTIC FINGERPRINTS FOR ELECTRONIC DANCE Instrumentation • • • • • •

Drum machines Drums and percussion Synthesizers Samplers Turntables Vocals

Performance and Arrangement: • • • • • • • • • • •

House, trance and techno have up-beat tempos in excess of 120bpm and up to 140bpm Four-to-the-floor bass drum and hi-hat emphasis on the off-beat quavers (similar to disco) Synth stabs or syncopated staccato stabs on piano Use of synth for bass lines Synth riffs and pad chords Samples taken from a range of instrument and vocal recordings Anthemic or epic feel Rapping used on some songs Soul influenced vocals are common Structures are built on building up and breaking down textures and rhythmic elements Drum n bass uses fast syncopated drum patterns combined with elements of dub reggae, soul, funk and jazz

Technology and Production: • • • •

Computer-based sequencers to create the music Cheaper technology makes music production more accessible Electronic instruments used include: Drum machines, samplers and synthesizers Use of a wide variety of effects including: reverb, delay, distortion, chorus, side-chain compression, vocoders

Key Facts: • • • • • • •

Began in mid 80’s with warehouse parties Gained popularity in Europe n the 80’s with raves Electronic music strongly influenced pop like Kylie Minogue, Madonna, Pet Shop Boys Most artists are club DJ’s and music producers, and often remix other artists work Remixes starting in late 80’s became popular House music scene was tied closely to the Indie scene The club scene in Ibiza became important, playing house, trance and new styles at venues there

Artists: • • • • • • •

Marrs ‘Pump up the Volume’ S-Express ‘S-Express’ Aphex Twin Basement Jaxx ‘Where’s Your Head At’ Fatboy Slim ‘Praise You’ ‘Rockafeller Skank’ Prodigy ‘Out of Space’ ‘Smack My Bitch Up’ The Chemical Brothers ‘It Began in Afrika’ ‘Galvanize’

Influences: • • • • • • •

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Disco Reggae and Club Hip Hop Synth Pop Soul Funk Jazz

STYLISTIC FINGERPRINTS FOR DUB STEP Instrumentation: • • • • •

Drum machines Drums and percussion Synthesizers Samplers Grimy distorted vocal samples or Clean ethereal female vocals. (However most dubstep is instrumental only).

Performance and Arrangement: • • • • • • •

•

Usual tempo of 140bpm Takes drum pattern influences from Drum’n'bass. Dubstep rhythms are usually syncopated, and often shuffled or incorporating tuplets with a clap or snare usually inserted every third beat in a bar. In its early stages, dubstep was often more percussive, with more influences from 2-step drum patterns. Tracks frequently use a minor key and can feature dissonant harmonies such as the tritone interval within a riff. Omnipresent sub-bass The main feature of dubstep is the use of a wobble bass: The wobble bass is an extended bass note that has been manipulated rhythmically using an LFO (Low Frequency Oscillator), Filter cutoff and much distortion. The structure of Dubstep tracks incorporate one or more “bass drops”, a characteristic inherited from drum and bass. Typically, the percussion will pause, often reducing the track to silence, and then resume with more intensity, accompanied by a dominant subbass.

Technology and Production: • • • • •

Computer-based sequencers to create the music Cheaper technology makes music production more accessible Electronic instruments used include: Drum machines, samplers and synthesizers Use of a wide variety of effects including: reverb, delay, distortion, chorus, side-chain compression, vocoders. Dirty/grimy production quality, not clean at all (especially in the drops).

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