3. Today you’re going to…
Demonstrate understanding of vocabulary for
Jeff Buckley’s ‘Grace’
Analyse the score of Grace
Area of Study 3
Grace
by Jeff Buckley
8. Write grades in
tracking sheets
15 = A* 2CMDs
13-14 = A 1CMD
11-12 = B 2 Merits
9-10 = C 1 Merit
7-8 = D
6 = E
5 = F
4 = G
9. • Thereareseveral common production techniquesused in
thistrack:
• OVER DUBBING – Thisiswherepartsarerecorded
several timesand MULTI-TRACKED (Layered) to make
thetexturethicker and moreinteresting
• EQ – Short for EQUALISATION. Thisiswherecertain
frequenciesof sound arecut or boosted to alter thequality
of thesound
• DELAY – Thisisan effect that repeatsthesound multiple
timeslikeacomplicated echo
• REVERB – A much smoother echo, likethering you get in
achurch or largebuilding
• FLANGER – A studio effect that makesasound swirl and
sweep
• PAN – Very simply sending thesound/instrument/voiceto
either theleft or right speaker to createinterest and more
spacein thetrack
20. Word painting...
The meaning of the words are reflected in
the music.
Examples...
In verse 1 Buckley:
1. moves to his higher register on the words ‘my
fading voice’
2. emphasises the word ‘love’ by using a melisma
3. uses cross-rhythms between the bass guitar and
his voice on the words 'clicking of time’
22. Score Analysis – add this in
where appropriate!
• Standard line up
– Electric guitar
– Bass guitar
– Drums
– Vocals
23. Add this onto the score where
appropriate
• Very guitar based
– Used a lot of power chords
• Used a lot of guitar effects
– Distortion (also known as overdrive)
– Feedback
– Flanger
– Slide
24. More key facts
• Rock songs talk about controversial topics
– Drugs
– Mental illness
– Sex
– Alcohol
• Lots of musical freedom and fusing with other genres
– Grunge, punk & funk
• Started in the 1950s
– Heavily influenced by the 12 bar blues
• Developed more in the 1970s
– Songs became longer due to advancing technology
25. Key facts about Grace
• Grace was Jeff Buckley’s debut album
• Time signature is 12 / 8
– Unusual because most pop songs are in 4 / 4
– The main chord sequence is a power chord
sequence slid across 3 frets
27. More key facts
• Song is based around 4 main riffs and has an unusual
chord progression
• The song is based on a dream that Jeff Buckley had.
• Features male vocalist (Jeff Buckley himself)
– Very wide vocal range
– Extensive use of falsetto
28. Prep
• Revise for listening test next Monday!
• A-A* grades – extended prep and
further analysis
29. Analysis of the piece – Introduction
- A
• The introduction is split into two sections – A and B
• This is the same as the link – the link is a direct repeat
of the introduction!
The opening begins with guitar and
synthesizer (other parts enter on the 3rd
bar)
The piece has not settled in a sense of
key yet – we can tell this because of the
accidentals, and because the first chord
is an F minor 7th
Chord – not found in the
key of E Minor!
Accidentals
Chord of F Minor
7th
Ends on a loud chord of E Minor
30. Analysis – Introduction - B
The introduction is
the first time we
hear the whole
band play.
We are now in D
Major, which we
can tell by the use
of C#’s in the music
A clash is
created by the
C# in the guitar
and the D in the
bass
The bass guitar is
playing a pedal on D –
where one note is
emphasised by
repetition
This part is repeated
several times before
leading us into the
verse...
A third electric guitar
plays a low C# which
clashes against the D
pedal
The rhythms is
driven by the
acoustic guitar
and hi-hat
31. Analysis - Verse 1
At this point we have changed key
again, and we are in E minor, shown
by the use of Bb’s in the melody
The piece uses parallel chords
in the verse – all the chords
are formed by moving the
same hand shape up or down
one fret on the guitar
The accompaniment
underneath has several
elements to it.
• Guitar whispers played on
the electric guitar
• Rhythm guitar plays a pattern
following the chords
• The second guitar plays
broken chord patterns.
The vocal line is:
- in the lower register
- mainly moving by step
- dropping down at the end of the
phrases
The sound of
the plectrum
hitting the
strings of the
acoustic guitar
is used to give
effect
32. Analysis – Pre-Chorus
Electric guitar
and acoustic
guitar both play
chords, moving
up the
instrument.
The vocal range gets
higher
The section is
mostly in E
minor, but the D
naturals give us
a hint of the
dorian mode
based around E
33. Analysis - Chorus
The vocal line is
significantly higher
than in the verse
Open strings played by the
guitar are used to create a
dischord – this is intentional!
Buckley uses a melisma in the last part of the
chorus – this is where lots of notes are sung to
one syllable
This melisma lasts for two bars.
The melody again
consists of several
descending phrases
34. Analysis – Link A and B
Think has the same melodic material as the
introduction and there are only two
differences between the Link and the
Introduction:
1.There is a mandolin effect added on the
electric guitar
2.A vocal ‘Oh’ links parts A and B
When we hear the link after the mid 8, it is
again the same, thought this time featuring
the guitarist hitting the deadened acoustic
strings.
35. Analysis – Verse 2 and 3
Whilst the melodic material remains the same,
Buckley adds in some extra sound effects to
create interest, namely:
1.Descending slide
2.Slide on the strings
3.Trill on the strings
At this point the strings have been written to
imitate the guitar
Verse 3 demonstrates much more use of the
cymbal and more special effects being
36. Analysis – Pre-chorus 2
Again this is almost the same as pre-chorus
1, the only exception being the addition of
pizzicato strings (where the strings of the
instrument are plucked rather than bowed)
This leads into a repeat of the chorus,
followed by a drumroll lead-in to to the
Mid-8 Section.
37. Analysis – Mid-8, Section A
Strings play long
sustained notes to fill out
the chords (adding in
more of the harmony to
the section
Multi-tracked vocal harmonies
playing in counterpoint (different
melodies interweaving)
The drumkit uses more snare to
add intensity – this whole
section is far more intense than
previous sections
38. Analysis – Mid 8, Section B
This section is based on
the chord sequence for
the pre-chorus
The instrumental backing
is also similar to this.
The main vocal line
improvises a wordless
melody
A ‘telephone’ EQ effect is applied to the vocals
when the lyrics re-enter to give a harsh distant effect
Hummed harmonies
follow the chord
sequence, opening out
into vocal ‘ahs’ at the end
to give an angelic quality
to contrast with the harsh
vocals
39. Analysis - Outro
• Strings become very important
• Lots of vocal improvisations high in the
singers range – use of falsetto
• An electric guitar with flanger effect is
added
• The song ends with a short
unnaccompanied phrase which clearly
shows the influence of Qawwali (a
Pakistani devotional chant)
40.
41. Who was Jeff Buckley?
• http://www.youtube.com/watch?v=HZRK9qrF490
– from 11 mins
• Plus ‘Grace’ official video
• http://www.youtube.com/watch?v=AfQzLtOh3so&featu
• Mainly about how he makes the music
• http://www.youtube.com/watch?v=QwiOTC2Y4Cw&fea
• http://www.youtube.com/watch?v=LhD9wuA9oLs
• First page of booklet
Notes de l'éditeur
when a guitar plays quietly with a reverb effect to produce a sound like the guitar is whispering.
