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Little Richard

Little Richard. Little Richard. The purest prototype of hard, mainstream rock was Little Richard Early years Specialty Records. Tutti Frutti. Chorus twelve-bar blues Instrumentation and performers Performance style Religion. Chuck Berry. Chuck Berry. Early years

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Little Richard

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  1. Little Richard

  2. Little Richard The purest prototype of hard, mainstream rock was Little Richard Early years Specialty Records

  3. Tutti Frutti Chorus twelve-bar blues Instrumentation and performers Performance style Religion

  4. Chuck Berry

  5. Chuck Berry Early years Muddy Waters and Chess Records Musical hits

  6. Maybelline Created beat of rock and roll from two blues sources Backbeat Boogie woogie Little Richards Listen for boogie woogie rhythm in electric guitar (normally in pianist)

  7. Maybelline “Ida Red” heavy back beat; prominent guitar “voice”; honky-tonk transformed refrain-frame form one chorus conventional blues verses are interpolated

  8. Buddy Holly

  9. That’ll be the Day Chuck Berry’s “Maybellene” Blues chords Unusual sequence

  10. Not Fade Away Not dance music 3 regular rhythms unconventional drumming clave rhythm

  11. Not Fade Away accents play against the beat backup vocalists strong accent No bass or rhythm guitar

  12. Not Fade Away No one marks time Rhythmic bearing Rock and roll can be more than dance music

  13. Elvis Presley

  14. Mystery Train Rockabilly Two-beat Imitation of a locomotive Perform twice as fast, backbeat Light instrumentation

  15. Heartbreak Hotel • First RCA session • Bob Ferris constructed an echo chamber • Label feared it was a terrible mistake • Elvis’ first #1 hit

  16. Heartbreak Hotel • Elvis produced and directed almost all his own music • Never really interested in trying to improve his playing skills • Unfailing ear

  17. Revolver Eleanor Rigby

  18. Revolver Eleanor Rigby • Unprecedented topic • Broke sharply with pop song conventions • Detached delivery • Time passes, without apparent purpose

  19. Revolver Eleanor Rigby • Musical setting as bleak as the words • String octet (four violins, two violas, two cellos) • String sound is sparse

  20. Revolver Eleanor Rigby • Chord progressions emulate rock accompaniment • Static melody and harmony • Repetitive rhythm of accompaniment

  21. Revolver Eleanor Rigby • Pop becoming Art? • Classical-style string accompaniment • Comparable to Schubert’s art songs

  22. The Rolling Stones

  23. Sympathy for the Devil • Basic harmonic vocabulary • Chorus consists six phrases • Repetitions • Five-bar phrase

  24. Sympathy for the Devil • Intro on drums (add maracas on bar 4) 10 bars • Lead vocal and full accompaniment enter • Chorus 1 (aaaa) 17 bars + (bb) 8 bars (fourth statement of a is 5 bars long) • Chorus 2 (aaaa) 17 bars + (bb) 8 bars

  25. Sympathy for the Devil • Chorus 3 (aaaa) 17 bars + (bb) 8 bars (add background vocals) • Chorus 4 (aaaa) 17 bars + (bb) 8 bars • (add guitar lead in a-section; lead vocal re-enters in b-section) • Chorus 5 (aaaa) 17 bars + (bb) 8 bars

  26. Sympathy for the Devil • Closing Section (aa) 8 bars • Vocal interjections over guitar lead (with piano) • Repeat and fade-out

  27. Sympathy for the Devil • Samba beat • Timbral changes • Visceral • Stone’s simplicity and repetiveness

  28. Bob Dylan

  29. Dyaln’s Significance Lyrics • Symbolism, internal ironies, sarcasm, thought-provoking messages, dry wit, surrealism, and graceful flow

  30. Janis Joplin

  31. Ball and Chain • Stutters, reiterations • Melismas, interpolations • Hommange to Smith? • Hisses “sitting” • Necessary embellishments

  32. Ball and Chain • Joplin’s voice not as rich as Smith’s • Tempo of the song slower • Musical space must be filled • Progressively less restrained

  33. Frank Zappa

  34. Help I’m a Rock A "It can't happen here"—non-metric, non-tonal vocal expanding this lyric B "Who could imagine"—(1) "freak out in Kansas" (followed by improvisation on "Kansas") (2) "freak out in Minnesota" (followed by improvisation on "Minnesota") C: Instrumental section—piano and drums in a fragmented, non-tonal, pointillistic style

  35. Help I’m a Rock B: "Who could imagine"—"freak out in Washington, D.C." (followed by improvisation on "D.C.") A: "It can't happen here"—enters underneath previous section, but begins to dominate D: "I remember"—metric; three phrases

  36. Help I’m a Rock A: "It couldn't happen here"—brief return E: Suzy Creamcheese—dialogue with semi-fictional Zappa character A: "It can't happen here"—brief return; filtered voices

  37. Help I’m a Rock • Combines two common classical forms: the arch form and the rondo. C B B A A • Improvisation • Experimentation with textures

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