While an emergent pattern is of course open to individual interpretation, the perception of even a typical formal scheme like an arch form depends upon our ability to process such patterns. About this song: Still Crazy After All These Yeas (easier). Transpose chords: Chord diagrams: Pin chords to top while scrolling. 6, 8 and 9 comprise a stepwise descent from C major through and A major and on to minor at the beginning of "Silent Eyes. " Analyses of individual songs, albeit within broader contexts, include Don Michael Randel, "Crossing Over with Rubén Blades, " Journal of the American Musicological Society 44, no. 25 Lyrically, the song is dialogue-like: in the verses the protagonist broods over how to leave his lover ("The problem is all inside your head / She said to me... "); while in the chorus his confidante tells him to just leave and forget about it ("Just slip out the back, Jack... ").
In simplest terms, for the former a pattern is stated, typically at the opening of a work in prominent fashion, and later is replicated, possibly transformed and expanded; hence the subsequent completion of the pattern may be weighed against its original statement. In more specific terms, this interpretive choice in turn helps illuminate the structure of, say, "Silent Eyes, " whose ambitious stretching of the pop song format makes sense in terms of its broad function of tying the whole album together with respect to narrative, tonality and formal balance. And, like the first chorus, the progression modulates down a fourth from F to C major. The musical setting matches the narrative dialogue: the verses feature a chaconne-like descending tetrachord in E minor and flowing melodic line, underpinned by the famous snare-drum ostinato; the chorus by contrast shifts to G major and cut time, substituting for the legato melody and snare-drum part a driving rock groove underpinned by the simple three-chord progression I--IV-I. In conclusion, I shall suggest that "Still Crazy After All These Years" and selected earlier cycles of Schumann and Mahler bear striking similarities with respect to modal strategy and the use of tonal pattern completion. Reprinted by permission. "Simon's new album firmly establishes him as one of our most valuable and accessible artists.
Also, I believe that the song has the hidden and serious undertones noted below, notwithstanding its origin as a rhyming game Simon played with his son ("Just slip out the back, Jack / Make a new plan, Stan" etc. Continuing in the vein of the opening song, Part I of the album is associated with the jazz-influenced ballad, slow to medium in tempo, and harmonically complex. Arthur Komar (New York: Norton, 1971), 63-94. Although disguised at first, the music transposes the opening progression of B1 up a semitone. Perhaps more striking, however, was Simon's lyrical approach. In "Still Crazy After All These Years, " that title phrase came to me first and it didn't come with melody either.
In short, the words of Simon's protagonist in the opening song, "I ain't no fool for love songs / That whisper in my ears, " turn out to be too true, and the "slip out the back, Jack" of "50 Ways To Leave Your Lover" becomes a slip into a spiritual abyss. American Songwriter wrote a feature on Still Crazy After All These Years earlier this year - and there was some reflection from Simon himself: "Sometimes, as Simon reveals, the process can be uncomfortable, as the songwriter is forced to confront aspects of his own life he'd rather avoid altogether. At this point the gospel chorus enters, substituting a warm comforting blanket of sound and simple plagal progression closing in A major for the convoluted music that preceded it. In a sense, the basic message of the song is that things in reality are not as they appear to be. 10 By contrast, in "Still Crazy After All These Years" association connects tonal idiom and musical genre with the narrative, which, as we shall see, conveys aspects of narrative meaning in deep and at times ironic ways. 18 The lyrics read "I met my old lover / On the street last night / She seemed so glad to see me / I just smiled / And we talked about some old times / And we drank ourselves some beers / Still crazy after all these years. " Two examples, one from Schumann's Dichterliebe, the other from Mahler's Lieder eines fahrenden Gesellen, will demonstrate similar means of large-scale closure. The Kids Aren't Alright.
"Love Me Like A Rock" is the zenith of this approach, the Dixie Hummingbirds singing over Simon's playful vocals, Roger Hawkins' drums arcing from channel to channel. While the possibilities are virtually limitless, in the nineteenth century the predominating associations link tonality with character (or image, or idea); this is most clearly operative in opera, but is also crucial to Schubert's song cycles as well. D#dim A. Oh, still crazy. 28 All but "You're Kind" also eschew AABA song form in favor of an even simpler alternation of verse and chorus (AAB). Moreover, in the last verse, the narrative voice shifts from first to third person. Even though Simon was only in his thirties when he wrote the songs on Still Crazy After All These Years, you get the sense of a somewhat aged and more contemplative songwriter; someone who was, perhaps, feeling a little bit of strain and the years getting to him. Musically, the cyclic tendencies of the album grow out of the general correspondence between narrative division, musical association and pattern completion. One subject which has received little attention, however, is the presence of large-scale structural principles spanning a whole album or CD. "I felt comfortable in listening to some piece of music that was not from my neighborhood.
Tonally, the song hinges on the conflict between the keys of G major and A major, and the progression of descending fifths, E-A-D-G. Like many songs on the album, "Still Crazy After All These Years" is based on 32-bar song form, A A B A. Layered vocals, stereo panned drums and percussion, horns with bite this a very dynamic, rich, even lush recording that begs you to turn it up. Thursday's extravaganza is a moment of musical good cheer in New York, a once-vibrant hamlet battered by crime, red ink, rising taxes and constantly lowering expectations. Significantly, Side 1 closes with a fable, Side 2 with an epilogue, thereby engendering a sense of formal symmetry. After three back-to-back successful studio albums, Simon wrote music for the film Shampoo and acted in Woody Allen's Annie Hall.
On Thursday, Simon and a 17-piece band drawn from five nations will step on stage in Central Park for a free concert of almost three hours. These 180 gram reissues are outstanding, both physically and generally speaking, sonically. She seemed so glad to see me. When I lie upon your breast / a heavenly happiness comes over me; / but when you say: I love you! In fact, now it has almost no relevance on a personal level to me. RELEASED forty-five years ago…. The wait made him a student again, not only of theory and harmony, but of voice, classical guitar and Brazilian music, particularly "a lot of Jobim music. " That is quite a coughing-up, and a very long way from the innocent, low-budget doo-wop days of the '50s in Queens, New York, when he considered himself lucky to get booked at a teen dance in a church basement. 32 Philip Tagg makes a compelling case for this sort of analysis which he refers to as "interobjective comparison" in "Analysing popular music": 48ff. 25 In making this claim I am assuming that Simon, as co-producer of the album with Phil Ramone, made the decision as to the order of the song. Then I must weep bitterly. " But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Following a short transition, once more by fifths progression back to G, the final section brings the emphasis on A to a logical conclusion by modulating to and closing in A major; this underscores the song's punchline that "I would not be convicted by a jury of my peers" even if the protagonist resorts to violence. After Simon & Garfunkel's breakup in 1970 Paul Simon taught songwriting (of all things) at New York University.
But then, it would look silly if Paul Simon, author of "The Sounds of Silence, " started screaming music at this stage of the game. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. 4 These are too numerous to cite here. And as much as I love the verses of "50 Ways to Leave Your Lover" with their dreamy chords and innovative drumming, the song's smug disco beat chorus and litany of rhyming "plan, Stan; bus, Gus; coy, Roy" couplets feels as smarmy as snorting white powder off a woman's belly in the bathroom at Studio 54. The music dissolves into what sounds like the end, concluding in F major. I shall then focus on two musical principles—association and pattern completion—that, together with the narrative, contribute to large-scale musical coherence and closure.
INCA, que ha participado en el movimiento desde 2010, promueve eventos técnicos, debates y presentaciones sobre el tema, además de producir materiales educativos y otros recursos para difundir información sobre factores protectores y detección temprana del cáncer de seno. Diamonds On The Soles Of Her Shoes. 9 See, for example, Schumann's Carnaval and the Heine, Liederkreis, Op. 26 Significantly, this chorus marks the first time that the album breaks out of its slow-medium ballad feel and gets funky. Nobody Does It Better.
This strategy of noting similarities between contemporary popular music and earlier Western art music is nothing new to popular music criticism. I was stepping into a shower when the thought came to me, and I wasn't very happy about it either. 16 This sketch, as well as those in subsequent examples, adopts Schenkerian analytical conventions, in that rhythmic values denote relative structural importance rather than duration (thus, stemless noteheads are least important, half notes most important); notes beamed together denote a significant linear/harmonic pattern, and dotted lines indicate the prolongation of a single pitch. The resultant disjunction between narrative statement and embodied meaning of the musical progression is not only a conventional means of conveying irony in text settings in general; here the specific intrusion of C minor foreshadows the end of the album, which, as we shall see, similarly depends on the modal shift from major to minor and an embodied musical meaning deliberately at odds with the text. Composer: Lyricist: Date: 1974. Following the conclusion of the narrative proper in "You're Kind, " the final epilogue-like song, "Silent Eyes, " offers visions of sorrow, hopes of redemption, and the ominous prospect of Judgment Day (Example 6). Finally, it is worth noting that the album coincided with the filming of the Hal Ashby movie "Shampoo" starring Warren Beatty and Julie Christie. Four in the morning. What is the role of the producer regarding song order, instrumentation, and so forth? "Kodachrome" bounds out of the gate with deep bass, chattering percussion, detailed and springy-sounding and resonant acoustic guitars and joyous good vibrations. Further, by revoking the notion of Schenkerian deep structures for intermovement relationships, we remove the condition of necessarily having all movements subscribe to a single pattern, provided there is some operative principle that explains which movements participate in the pattern and which are excluded. That freedom spawned top ten hits in the reggae tinged "Mother and Child Reunion" and the joyful "Me and Julio Down by the Schoolyard. " I could still hear that it was pretty, or arresting, or whatever.
And that's what you do with those things, and that makes it something else. The late Christopher Lewis demonstrated convincingly the relevance of this concept to Schubert's Die schöne Müllerin and Die Winterreise in "Text, Time and Tonic: Aspects of Patterning in the Romantic Cycle, " Intégrale 2 (1988): 38-74. The music for the verses, as he shows, came from the chords he played on guitar, all of which were informed and expanded by his study of jazz, as he discusses. 20 This symmetry is further supported by the change in narrative point of view: that is, the remaining eight songs are first-person accounts, while these two ending songs are uniquely in third person (with the exception of one line in "Silent Eyes" to be taken up later). Each additional print is $4. It isn't a small one. I hope this paper has suggested some possible approaches toward that end. 50 Ways To Leave Your Lover. And we talked about some old times. Cyclic closure by means of pattern completion, summary statement, or other means. If, however, there exists a correlation between the narrative and musical progression, as I believe to be the case here, then the pattern completion serves a larger function and is more than mere coincidence.
In 1980 Simon released One-Trick Pony, which produced his last big hit with "Late in the Evening, " an upbeat song fueled again by the inventive rhythms of drummer Steve Gadd. Example 7 summarizes the key succession of Side 2 and the tonal progression of "Silent Eyes. Simon's revision of the original version of the song carries the prospect of salvation almost to the point of realization, in spite of the lack of commitment to love in the preceding song.
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