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Revolver
The study of popular/jazz music
| Question | Answer |
|---|---|
| What is the context of "Revolver"? (Who-What-Where-How-Why-When) | WHO: The Beatles WHAT: A psychedelic rock album WHERE: London HOW: Rhythm guitar, lead guitar, bass guitar, drums, strings, percussion instruments and keyboards WHY: Influenced by blues and rhythm performers WHEN: 1966 |
| Describe the melody of "Eleanor Rigby" [3] | Melody of the verse is mainly conjunct (bar 9) Refrain has a distinctive octave leap (bar 20) Vocal range is extended later to a rising tenth (bar 24) |
| Describe the harmony of "Eleanor Rigby" [5] | C major and E minor are the predominant chords throughout Use of A minor (bar 55 to bar 56) Rate of chord change is slow throughout Chromatic descending viola line (bar 19 to bar 26) Appogiatura creates mild dissonance (bar 9) |
| Describe the tonality of "Eleanor Rigby" [2] | Vocal music in the verse is diatonic in the Dorian mode (bar 9) Backing vocal music is Aeolian in character (bar 1 to bar 7) |
| Describe the rhythm of "Eleanor Rigby" [3] | Distinctive pattern of repeated crotchets in strings throughout Sustained semibreves in the refrain (bar 19 to bar 26) Vocal phrases have continuous quaver movement with syncopation (bar 10.4 to bar 11.1) |
| Describe the texture of "Eleanor Rigby" [3] | Strings thicken the texture by playing blocked chords throughout Cellos double the voice (bar 59 to bar 61) Strings play occasional phrases to fill between the vocal lines (bar 1 to bar 8) |
| Describe the instrumentation of "Eleanor Rigby" [4] | Double stopping is often used in the strings throughout Cellos generally play repeated or sustained notes throughout Divisi technique used in the first violins (bar 14 to bar 18) Vocal lines are mainly syllabic throughout |
| Describe the melody of "Here There And Everywhere" [3] | Upwards triadic ideas in the vocal line (bar 1 to bar 3) Disjunct idea in the vocal line (bar 5) Chromatic mandolin descent (bar 15) |
| Describe the harmony of "Here There And Everywhere" [3] | Chromatic slip between B minor and Bb major (bar 1 to bar 2) Rising parallel root position chords (bar 4 to bar 7) Third seventh chord becomes a pivot chord when creating a perfect cadence from Bb major to G major (bar 16 to bar 17) |
| Describe the tonality of "Here There And Everywhere" [2] | G major with excursions to E minor (bar 4 to bar 12) Bb major has a remote key relationship to G major (bar 13 to bar 16) |
| Describe the rhythm of "Here There And Everywhere" [3] | Free rhythm in three bar intro (bar 1 to bar 3) Syncopation in the vocal line (bar 5) Semiquaver note values are introduced (bar 13 to bar 16) |
| Describe the texture of "Here There And Everywhere" [3] | Extra vocals are added to increase the density of the texture (bar 17 to bar 24) Close American barbershop textures throughout Two part texture in main vocal line (bar 21 to bar 22) |
| Describe the instrumentation of "Here There And Everywhere" [4] | Reduced instrumentation throughout American close barbershop singing throughout Spread guitar chords (bar 1 to bar 3) Leslie cabinet has a distinct mandolin timbre (bar 15 to bar 16) |
| Describe the melody of "I Want To Tell You" [4] | Melismatic chant idea almost like a call for prayer (bar 39 to bar 45) Unattractive four bar ostinato figure produced by F natural and E (bar 10) Vocal appogiatura C sharp above (bar 28) Conjunct scalic ideas in vocals throughout |
| Describe the harmony of "I Want To Tell You" [3] | Alternations between tonic and subdominant (bar 1 to bar 4) Dominant harmony with a distinctive minor ninth (bar 10 to bar 13) Diminished chord (bar 28) |
| Describe the tonality of "I Want To Tell You" [2] | Flattened seventh over a pedal A (bar 1 to bar 4) Dissonant key with a minor ninth (bar 10) |
| Describe the rhythm of "I Want To Tell You" [3] | Swung rhythm throughout Frequent syncopation in the vocals throughout Triplets in the guitar (bar 15) |
| Describe the texture of "I Want To Tell You" [3] | Vocals break up into thirds (bar 7 to bar 9) Prominent drums solidify the texture throughout Fading in and fading out the texture appears as a technical feature in this song |
| Describe the instrumentation of "I Want To Tell You" [3] | Conventional with prominent drums throughout Piano provides blocked chords (bar 5 to bar 9) Vocal line has a narrow range throughout |
| Describe the melody of "Tomorrow Never Knows" [3] | Vocal melody is characteristic of major third and flattened seventh throughout Guitar solo uses the blues scale on C with flattened thirds (bar 22 to bar 30) C major triadic descent figure in vocal line (bar 7 to bar 9) |
| Describe the harmony of "Tomorrow Never Knows" [2] | Implied C chord continues throughout Only clearly heard chord is of the flattened seventh B flat (bar 11 to bar 12) |
| Describe the tonality of "Tomorrow Never Knows" [2] | Mixolydian mode in the vocals throughout Blues scale with flattened thirds in guitar's solo (bar 22 to bar 30) |
| Describe the rhythm of "Tomorrow Never Knows" [4] | Continuous rock rhythm on the drums in common time throughout Vocal line produces a number of cross rhythms throughout Three against two crotchet rhythm (bar 4) Lombardic rhythms abound in the chaotic instrumental throughout |
| Describe the texture of "Tomorrow Never Knows" [3] | Tambura drone solidifies the texture throughout Ambience is distorted throughout Artificial double tracking is used for the vocals throughout |
| Describe the instrumentation of "Tomorrow Never Knows" [5] | Pre recorded sitar fills throughout Reverse cymbals on drums throughout Electric guitar solo is distorted using tape techniques (bar 22 to bar 30) Leslie cabinet effect in the vocals throughout Natural sounds such as laughing throughout |
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13hored
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