Module 4

The musical listening examples of Module 4 are described below:

“Nancy with the Laughing Face” by Frank Sinatra begins with an introduction with string orchestra and is soon followed by the smooth entrance of Sinatra.  The strings take a backseat and Sinatra takes over the melody.  After the verses there is an interlude where the strings take over again.  After a couple of measures, Sinatra enters again for the final verse, after which the strings complete the song with an outro similar to the intro.  “Choo Choo Ch’Boogie” by Louis Jordan begins with and instrumental introduction with playful imitation of a train by the rhythmic piano and brush strokes used on the snare drum.  This continues throughout the verse and the chorus of the solo.  Next, there is a piano solo that prepares the next verse and chorus.  There is then a saxophone solo that leads into the final verse and chorus. It ends with a tag interplays the vocalist and varying rhythms from the instruments.  Chuck Berry’s, “Mabelline” is an up beat piece that enters with Berry and the accompaniment.  The quick rhythms used for the rather text heavy verses allows the soloist to be more rhythmic in his delivery.  This combined with the 12 bar blues progression adds to the overall Rock feel.  “Long Tall Sally” performed by Little Richard in also an upbeat piece that uses the 12 bar blues structure.  However, this piece alternated between verse and chorus throughout the song with the exception of an instrumental break in the middle and the resolve or concluding material at the end of the piece. “Don’t be Cruel” as performed by Elvis Presley has an interesting form.  It begins with an instrumental section and then begins alternating between verse and chorus, however, after the second verse there is a type of extension or tag added to the chorus that is then used each reoccurring time the chorus is sung.  At the end, however, there is yet another extension added.  Another element that is different with this piece is the use of harmonizing background vocalists singing ‘doo-whopps’ with reverb. In The Coasters’, “Charlie Brown”, perhaps one of the most interesting factors of this song is the lyrics, in my opinion, especially in the beginning (“Fee, fee, fie, fie, fo, fo, fum.  I smell smoke in the auditorium”). This piece utilizes the 12-bar blues as well but the format makes several changes throughout. It alternates between verse and chorus sections and the 12-bar blues structure is heard in the beginning and in the instrumental section.  “Mambo No. 5” is a piece I recall hearing in movies that depict fancy resorts! The backbeat played by the percussion, which includes conga, bongo, and maracas, is enticing. The staccato playing of the horn section was also significant to this piece as they played the culturally reflecting syncopated rhythms. Big Mama Thornton’s, “Hound Dog” was soulful with an edgy vocal.  Yet somehow, all these elements were layered on top of an easy groove.  The Bluesy sound almost puts you in a trance.  It begins with the vocalist and then breaks for an instrumental section.  After this, Big Mama re-enters with the verse followed by the chorus, which leads to the ending of the piece.  “Mama He Treats Your Daughter Mean” as performed by Ruth Brown begins with a short instrumental section, which is then followed by a piercing vocal that effectively reflects the lyrical content.  Brown begins with the chorus and then sings the verse.  The chorus immediately follows with the second verse, right after.  As an indicator of the final time, Brown sings the last chorus with melodic variation.  It’s Mighty Dark to Travel” by Bill Monroe and His Blue Grass Boys enters with an instrumental section comprised of banjos, steel guitar, and fiddle.  We then hear the chorus and later the verse.  However, in between each singing section there is a short instrumental section.  The chorus is harmonized in thirds each time. 

Since were are moving closer to present day in our timeline in the course, I am beginning to hear how several musical choices from these listening examples reflect similar musical choices made today in arrangement, instrumentation and vocalization!