Images:
https://en.wikipedia.org/wiki/Drops_of_Jupiter#/media/File:Train_Drops_of_Jupiter.jpg
http://images.45cat.com/bob-marley-and-the-wailers-three-little-birds-island-4.jpg
https://debate.uvm.edu/dreadlibrary/Turk03_files/image004.jpg
http://media.onlinedrummer.com/wp-content/uploads/2015/07/Drops-Of-Jupiter-Train-Transcription.jpg
https://upload.wikimedia.org/wikipedia/commons/thumb/6/60/One_drop_sixteenth-note_pattern.png/300px-One_drop_sixteenth-note_pattern.png
http://castle.eiu.edu/~ddavis/chapter_12/x_12.10.jpg
http://img2-ak.lst.fm/i/u/arO/8273a00f8a094b9
http://img2-ak.lst.fm/i/u/arO/498ab08a687641d2b321e2892f38e2ba
Sources:
https://debate.uvm.edu/dreadlibrary/Turk03.htm
http://www.how-to-play-reggae.com/What-are-the-characteristics-of-reggae.html
https://en.wikipedia.org/wiki/Pop_rock
https://en.wikipedia.org/wiki/Reggae
https://en.wikipedia.org/wiki/Three_Little_Birds
https://en.wikipedia.org/wiki/Drops_of_Jupiter_%28Tell_Me%29
https://en.wikipedia.org/wiki/Syncopation
https://en.wikipedia.org/wiki/Timbre
Videos:
https://www.youtube.com/watch?v=zaGUr6wzyT8
https://www.youtube.com/watch?v=7Xf-Lesrkuc
Wednesday, April 27, 2016
Conclusion
Reggae and pop rock sound nothing alike. They come from two entirely different cultures, so this is hardly surprising. In fact, it would be expected. However, these two genres utilize certain musical elements similarly: rhythm and timbre. Reggae's "Three Little Birds" and pop rock hit single "Drops of Jupiter" clearly demonstrate these links. They depend on rhythm to create energy within the song. They also depend on timbre, or color, to make each song unique and appealing. The similarities between these two charts reveal that, disregarding the details, music is universal and musicians all over the world have commonalities in how music is approached.
Timbre
The different tones of these two pieces are part of what make them each unique. Tone quality, or timbre, is what makes two sounds, which may be at the same pitch and volume, sound different. It is what enables a listener to differentiate between instruments playing the same notes. Also called color, this tone quality is determined by the distinct combination of frequencies that are heard with each sound. Tone quality is extremely influential to the overall impression of a piece of music.
With regards to the number of instruments used, "Three Little Birds" is quite minimalist. It comprises of a relatively few parts: lead guitar, rhythm guitar, bass, drums, keyboard, percussion, lead vocals, and background vocals. While these instruments by themselves are not atypical in contemporary music styles, the sum of the parts and the way they are played gives "Three Little Birds" its reggae flair. The bass, equalized to make its already full, deep sound even fuller and deeper, works with the drum set to set the groove. The drummer focuses on the high-hat and also uses the cross-stick technique for the snares. The combination of these two techniques, along with the specific rhythm being played creates a light, laid back mood. The rhythm guitar is "chopped" or "chucked" at to produce an easily recognizable sound. The chords are hit and then quickly muted, which makes the guitar seems as if it is being used for percussion. The keyboard is made to sound like an organ; it has unique color with a bright sound and is used to play upbeat riffs. The vocalists, especially Bob Marley, all sing in a gentle, relaxed fashion. The combination of all these sounds, which by themselves are not extremely unlike what is found in mainstream music, creates a song with a distinguished and different style: reggae.
On the other hand, "Drops of Jupiter" incorporates a plethora of different sounds. Beyond Train themselves, the song required another twelve musicians. Its instrumentation includes lead and backing vocals, two percussion, saxophone, trumpet, mandolin, harmonica, vibraphone, two basses, drums, lead guitar, two rhythm guitars, two keyboards, three cellos, two violins, two viola, and piano. This song won, in addition to a Grammy for Best Rock Song, a Grammy for Best Instrumental Arrangement Accompanying Vocalist(s). This was for how well all of its sounds were blended. The inclusion of the string section really made the difference. The strings provide a smooth background, and the horns and piano provide another smooth layer of sound. Together, they successfully make the song feel full and complex while preserving its lighthearted mood. The guitar and vocals add a top layer to that background, and the drums, percussion, and basses give the song a strong groove. The arrangement incorporates all of these accompanying sounds together, and balances them against each other. No one section is too overwhelming, and the end result sounds like one complete song rather than a plethora of different parts mashed together. This blend and balance gives "Drops of Jupiter" its timeless appeal.
While the colors of "Three Little Birds" and "Drops of Jupiter" are completely different, they are alike in the major role that timbre plays. "Three Little Birds" creates the color that is characteristic in its genre, and this color is what had made it so popular with reggae fans. "Drops of Jupiter" got its recognition and popularity by skillfully balancing the multitude of instruments used in order to create a pop rock song that, simply put, sounds good.
 |
| Different instruments have different timbres |
On the other hand, "Drops of Jupiter" incorporates a plethora of different sounds. Beyond Train themselves, the song required another twelve musicians. Its instrumentation includes lead and backing vocals, two percussion, saxophone, trumpet, mandolin, harmonica, vibraphone, two basses, drums, lead guitar, two rhythm guitars, two keyboards, three cellos, two violins, two viola, and piano. This song won, in addition to a Grammy for Best Rock Song, a Grammy for Best Instrumental Arrangement Accompanying Vocalist(s). This was for how well all of its sounds were blended. The inclusion of the string section really made the difference. The strings provide a smooth background, and the horns and piano provide another smooth layer of sound. Together, they successfully make the song feel full and complex while preserving its lighthearted mood. The guitar and vocals add a top layer to that background, and the drums, percussion, and basses give the song a strong groove. The arrangement incorporates all of these accompanying sounds together, and balances them against each other. No one section is too overwhelming, and the end result sounds like one complete song rather than a plethora of different parts mashed together. This blend and balance gives "Drops of Jupiter" its timeless appeal.
While the colors of "Three Little Birds" and "Drops of Jupiter" are completely different, they are alike in the major role that timbre plays. "Three Little Birds" creates the color that is characteristic in its genre, and this color is what had made it so popular with reggae fans. "Drops of Jupiter" got its recognition and popularity by skillfully balancing the multitude of instruments used in order to create a pop rock song that, simply put, sounds good.
Saturday, April 23, 2016
Rhythm: Similarities and Differences
Both Bob Marley and the Wailers and Train rely on syncopation to give their respective songs energy and make them interesting. In "Three Little Birds," syncopation is applied in the piece as a whole to take away the strength of the first beat. This unique technique, called One Drop, makes syncopation the norm. The audience comes to expect the unexpected nature of syncopation.
As a result of this, "Three Little Birds" feels drastically different than typical Western songs. In contrast, syncopation in "Drops of Jupiter," while still prevalent throughout, is used much more sparingly.
The syncopation, rather than being an inherent part of each musical part, is present mainly in the vocals and the piano. Instead of being a characteristic feature of the piece like in "Three Little Birds," syncopation in "Drops of Jupiter" is an embellishment. Without syncopation in "Three Little Birds," the song would be nearly unrecognizable. In "Drops of Jupiter," however, removing the syncopation would leave the song more or less the same, albeit not nearly as pleasing to the ear. Both songs depend on syncopation and energetic rhythms to build up momentum and energy for the audience.
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| One Drop d-emphasizes the strong, first beat throughout the song |
As a result of this, "Three Little Birds" feels drastically different than typical Western songs. In contrast, syncopation in "Drops of Jupiter," while still prevalent throughout, is used much more sparingly.
 |
| Syncopation in "Drops of Jupiter" is found primarily in the melody |
Rhythm in "Drops of Jupiter"
The rhythm in "Drops of Jupiter" is essential to the chart and is part of what made it so incredibly popular when released. The driving force from the piano and vocals is highlighted by the string section's majestic-sounding held chords to create a pulsing, insistent sound.
Heavy use of syncopation drives the song and gives it energy. The introduction features the orchestra and piano, and it is clear from the first few bars that syncopation will be utilized. There are no drums or other rhythmic instruments at this point, so the beat is dictated by the timing of the chord changes in the piano. Listening and counting along to the piano can mislead the audience to believe the chart is in 3/4 time, but this is in fact a heavily syncopated 4/4 meter, which is discovered by listening to the chord changes in the strings. Setting the piano with a 3/4 feel against the string section playing whole note chords muddies the lines between individual measures (which makes the chart flow more smoothly) and creates energy and tension.
The slow, syncopated chord changes in the piano are then set against the melody. The vocalist creates energy also with syncopation; Pat Mohanan accents and clearly articulates syllables on the upbeats, which can be clearly heard in the first verse.
"Now that she's back in the atmosphere
With drops of Jupiter in her hair, hey, hey, hey
She acts like summer and walks like rain
Reminds me that there's a time to change, hey, hey, hey
Since the return from her stay on the moon
She listens like spring and she talks like June, hey, hey"
At the end of every other line, the phrase "hey, hey, hey" is heavily syncopated. Each instance of the word "hey" is short, accented, and placed on an upbeat. In some cases, like at 2:35 when Mohanan sings, "Can you imagine no love, pride, deep-fried chicken," the melody does not change in pitch. This draws more attention to the rhythm and how the notes are shifted off the traditional beats, which again makes the song more energetic and pushes it forward.
The song is also made more energetic by adding in denser rhythms. The entrance of the vocals is one example. Prior to the addition of vocals at 0:11, the song had consisted of just the strings and piano, none of which played anything shorter than a dotted quarter note in a series. As soon as the melody entered, the entire mood of the song was lifted. The same effect takes place at 0:45. The piano plays a series of short eighth notes, making it more energetic. Then at the drums' entrance at 0:48, the song's energy once again jumps up. By increasing the speed of the rhythms, the song becomes more energetic and seems to be faster without actually increasing its tempo.
Heavy use of syncopation drives the song and gives it energy. The introduction features the orchestra and piano, and it is clear from the first few bars that syncopation will be utilized. There are no drums or other rhythmic instruments at this point, so the beat is dictated by the timing of the chord changes in the piano. Listening and counting along to the piano can mislead the audience to believe the chart is in 3/4 time, but this is in fact a heavily syncopated 4/4 meter, which is discovered by listening to the chord changes in the strings. Setting the piano with a 3/4 feel against the string section playing whole note chords muddies the lines between individual measures (which makes the chart flow more smoothly) and creates energy and tension.
The slow, syncopated chord changes in the piano are then set against the melody. The vocalist creates energy also with syncopation; Pat Mohanan accents and clearly articulates syllables on the upbeats, which can be clearly heard in the first verse.
"Now that she's back in the atmosphere
With drops of Jupiter in her hair, hey, hey, hey
She acts like summer and walks like rain
Reminds me that there's a time to change, hey, hey, hey
Since the return from her stay on the moon
She listens like spring and she talks like June, hey, hey"
At the end of every other line, the phrase "hey, hey, hey" is heavily syncopated. Each instance of the word "hey" is short, accented, and placed on an upbeat. In some cases, like at 2:35 when Mohanan sings, "Can you imagine no love, pride, deep-fried chicken," the melody does not change in pitch. This draws more attention to the rhythm and how the notes are shifted off the traditional beats, which again makes the song more energetic and pushes it forward.
The song is also made more energetic by adding in denser rhythms. The entrance of the vocals is one example. Prior to the addition of vocals at 0:11, the song had consisted of just the strings and piano, none of which played anything shorter than a dotted quarter note in a series. As soon as the melody entered, the entire mood of the song was lifted. The same effect takes place at 0:45. The piano plays a series of short eighth notes, making it more energetic. Then at the drums' entrance at 0:48, the song's energy once again jumps up. By increasing the speed of the rhythms, the song becomes more energetic and seems to be faster without actually increasing its tempo.
Rhythm in "Three Little Birds"
In "Three Little Birds," the first few bars serve as a good model for the rest of the chart, rhythmically speaking.
The instrumental parts shown are all syncopated and serve to de-emphasize the first, traditionally "strong" beat. The guitar plays on the second and fourth beat of every measure. Due to the nature of the song, which feels more like it is in half time, these chords feel like they are placed on the upbeat of every beat, giving the song an positive, energetic vibe. The bass, characteristically of reggae, serves as a percussion instrument. Every other measure, it begins its phrase on the third beat, which feels like the off beat. The drum set emphasizes also the third beat of every measure, with a bass hit, but the more important effect of the drums is created by the high hat. The high hat is played on the back end of each beat, furthering the syncopation used. It also, towards the ends of the measures, switches between being quickly cut off and being allowed to vibrate longer, which creates variety and interest.
The organ/keyboard utilizes syncopation to create energy. In the introduction, this is the only part with a moving line, a line that is felt just as much as it is heard. The moving eighth note refrain shown above drives the beat forward. The impact of this line is created especially by the held eighth note before the downbeat of the next measure. This held note makes the measures flow more smoothly by connecting the end of one measure to the start of the next, so the song feels like it is non-stop and always pushes on. When the vocalists sing, "Cause every little thing," the first time occurring at 0:20, the organ plays a different phrase.
This new phrase sounds like it consists of an eighth note starting on an upbeat leading to a dotted quarter note, leading again to another eighth and dotted quarter, then another eighth to a staccato quarter note, and finally to two eighth notes.Similar to how the held eighth note in the main riff makes the song flow, so too do the eighth notes used in this pattern. In addition, the longer dotted quarter notes provide a smooth background against the harsh eighth notes of "ev-ery li-ttle thing."
Speaking of the vocals, the melody in "Three Little Birds" switches its rhythmic style between the chorus and verse (of which there is only one, making analysis fairly simple). The chorus consists of these lyrics:
"Don't worry about a thing
'Cause every little thing gonna be alright
Singing' "Don't worry about a thing
'Cause every little thing gonna be alright!"
The only other verse consists of these lyrics:
"Rise up this mornin'
Smiled with the risin' sun
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true
Saying', ("This is my message to you")"
Bob Marley sings the chorus in a more broken fashion. Each syllable is heavily articulated, and there is space in between each one. In contrast, the verse, while not extremely smooth, is articulated more smoothly and sung more legato than the verse. In the harmony, this switch is reversed. The foundation of the song remains the same, but the smooth organ in the introduction and chorus is replaced in the verse by a choppier guitar lead.
The instrumental parts shown are all syncopated and serve to de-emphasize the first, traditionally "strong" beat. The guitar plays on the second and fourth beat of every measure. Due to the nature of the song, which feels more like it is in half time, these chords feel like they are placed on the upbeat of every beat, giving the song an positive, energetic vibe. The bass, characteristically of reggae, serves as a percussion instrument. Every other measure, it begins its phrase on the third beat, which feels like the off beat. The drum set emphasizes also the third beat of every measure, with a bass hit, but the more important effect of the drums is created by the high hat. The high hat is played on the back end of each beat, furthering the syncopation used. It also, towards the ends of the measures, switches between being quickly cut off and being allowed to vibrate longer, which creates variety and interest. The organ/keyboard utilizes syncopation to create energy. In the introduction, this is the only part with a moving line, a line that is felt just as much as it is heard. The moving eighth note refrain shown above drives the beat forward. The impact of this line is created especially by the held eighth note before the downbeat of the next measure. This held note makes the measures flow more smoothly by connecting the end of one measure to the start of the next, so the song feels like it is non-stop and always pushes on. When the vocalists sing, "Cause every little thing," the first time occurring at 0:20, the organ plays a different phrase.
This new phrase sounds like it consists of an eighth note starting on an upbeat leading to a dotted quarter note, leading again to another eighth and dotted quarter, then another eighth to a staccato quarter note, and finally to two eighth notes.Similar to how the held eighth note in the main riff makes the song flow, so too do the eighth notes used in this pattern. In addition, the longer dotted quarter notes provide a smooth background against the harsh eighth notes of "ev-ery li-ttle thing."
Speaking of the vocals, the melody in "Three Little Birds" switches its rhythmic style between the chorus and verse (of which there is only one, making analysis fairly simple). The chorus consists of these lyrics:
"Don't worry about a thing
'Cause every little thing gonna be alright
Singing' "Don't worry about a thing
'Cause every little thing gonna be alright!"
The only other verse consists of these lyrics:
"Rise up this mornin'
Smiled with the risin' sun
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true
Saying', ("This is my message to you")"
Bob Marley sings the chorus in a more broken fashion. Each syllable is heavily articulated, and there is space in between each one. In contrast, the verse, while not extremely smooth, is articulated more smoothly and sung more legato than the verse. In the harmony, this switch is reversed. The foundation of the song remains the same, but the smooth organ in the introduction and chorus is replaced in the verse by a choppier guitar lead.
Tuesday, April 19, 2016
Introduction
Reggae developed in 1960's Jamaica out of ska, rocksteady, American Jazz, R&B, and Jamaican folk genres, which can be traced back to African music introduced to Jamaica through the slave trade. Reggae has an extremely recognizable sound which is characterized by its use of the bass as part of the rhythm, its syncopated guitar and piano chords, and its offbeat percussion. Pop rock developed as a fusion genre between pop and rock, and has been described as an upbeat, more mellow sub-genre of rock. Like reggae, it also originates in the 1960's. These two musical cultures are distinct and drastically different, but there are similarities that link them together: the use of rhythm to create mood, and the overall tone. These two links will be explored through the reggae song "Three Little Birds" by Bob Marley and the Wailers from 1980 and the pop rock chart "Drops of Jupiter" by Train from 2001.
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| Bob Marley and the Wailer's "Three Little Birds" |
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| Train's "Drops of Jupiter |
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