Grace Lesson Three
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The document provides guidance for students to analyze the song "Grace" by Jeff Buckley. It includes: 1. A detailed analysis of the song's structure, melody, harmony, texture, and instrumentation. Examples are given of how Buckley uses word painting and changes in vocal range. 2. Suggested sentence starters for students to write an extended question answering multiple paragraphs on the song's structure, melody, harmony, texture, and instrumentation. 3. Biographical information on Jeff Buckley and videos about his musical influences are listed to help students understand his background and approach to making music.
Grace Lesson Three
- 1. Prep last week… • Complete the Fact-Finder sheet • A-A* grades – challenge prep and further analysis
- 3. Today you’re going to… Analyse the score and lyrics of Grace Understand how to write an extended question Area of Study 3 Grace by Jeff Buckley
- 4. 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’
- 5. How does this relate to the lyrics?
- 6. How to write an Extended Question
- 7. How to write an Extended Question
- 9. Write one point under each bubble
- 10. • Make 5 more key points, but under any bubble you want to • You do not have to have two for each • You must have one key point for each bubble, and then 10 points altogether
- 11. Now to write your extended question! • Use full written prose (not bullet point) • Use the correct punctuation, grammar and spelling • Structure your answer for a paragraph per ‘bubble’ • As you answer each bubble, tick it off the question paper.
- 12. First paragraph - Structure Use these sentence starters if you want to (you don’t have to) •The structure of Jeff Buckley’s Grace is… •It has a… and a … •Tick it off the question paper.
- 13. Second paragraph - Melody Use these sentence starters if you want to (you don’t have to) •The melody of Grace uses…
- 14. Third paragraph - Harmony Use these sentence starters if you want to (you don’t have to) •Grace uses chords such as… •The key of Grace is…
- 15. Fourth paragraph - Texture Use these sentence starters if you want to (you don’t have to) •The main texture of Grace is… •Some parts drop out such as…
- 16. Fifth paragraph - Instrumentation Use these sentence starters if you want to (you don’t have to) •The instruments in Grace are… •Guitar effects used are…
- 17. Use the Mark Scheme to mark your extended question
- 18. IMPORTANT On Monday 15th July: 1.Trial Exam of all Set Works studied 2.Hand in a draft 2nd composition 3.Complete either one solo or one ensemble performance DO NOT MAKE ME CHASE YOU FOR COURSEWORK!
- 19. Prep • Revise for listening test Friday 5th July • A-A* challenge: add extra score analysis from next slides • If not complete, complete your extended question
- 20. 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
- 21. 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
- 22. 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
- 23. 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
- 24. 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
- 25. 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. Otherwise all the material is in your notes for the introduction!
- 26. 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 added. The vocal part also becomes higher and harsher.
- 27. 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.
- 28. 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
- 29. 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
- 30. 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)
- 31. 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