Tag: acoustic

Dar Williams | Write This Number Down

Acoustic/folk singer/songwriter Dar Williams “fits short stories into song,” reports Seattle’s The Stranger, “assesses the moral magnetic compass of the Xer generation, at least, and stays so catchy that you barely realize you’re being tested. Until you get the CD home and check out the lyrics.”

A review in The New Yorker praised Williams: ” … her songs are beautiful. Some are like finely crafted short stories. They are, variously, devastatingly moving, tenderly funny, subtle without being in any way inaccessible, and utterly fresh—not a cliché or a clunker in her entire songbook, which now numbers around a hundred recorded original compositions.”

Williams’ 2012 release “Write This Number Down,” submitted by frequent contributor JB, begins in Eb major. After several short and deliberate verses, the tune finds a more open vista during a brighter, fuller bridge (1:45) as it climbs up to F major. A step back down to Eb accompanies another verse at 2:10. But the musicality of the tune aside, JB calls particular attention to the civics-centered lyrics, a commonplace in Williams’ work:

A vote for one, a vote for all
A right to silence, one free call
You’ll need a warrant for that
No, she won’t sit in the back,
And yes, we’re still abolishing all slavery
Every kind of slavery

Celso Fonseca | Sem Resposta

Time Out Sao Paolo defines Música Popular Brasileira (Popular Brazilian Music or MPB), as “a trend in post-Bossa Nova urban popular music in Brazil that revisits typical Brazilian styles such as Samba … and other Brazilian regional music, combining them with foreign influences, such as jazz and rock … The term is often also used to describe any kind of music with Brazilian origins and ‘voice and guitar style’ that arose in the late 1960s.”

Celso Fonseca, a Brazilian composer, producer, guitarist and singer, has been active within MPB since the 1980s. Starting as an accompanist, composer, and producer, he added solo artist to his resume in the 1990s. The BBC praises Fonseca: “although (he) has played a significant part in producing much of what is good in contemporary Brazilian music, he is hardly a household name abroad.”

“Sem Resposta” (1999), which roughly translates to “No Response,” features an intro (through 0:20) in D major; a verse in D minor (heard for the first time 0:20); and a chorus in D major (0:40). The pattern continues from there.

Tommy Emmanuel | I Have Always Thought of You

Australian solo acoustic fingerstyle guitarist Tommy Emmanuel has made a global career for himself over the years, covering melody, bassline, and accompaniment alike. The readers of Guitar Player magazine have twice voted him “Best Acoustic Guitarist” (2008 and 2010).

The Las Vegas Review/Journal quotes Emmanuel as saying “Chet Atkins actually said something in an interview about me that struck a chord with me. He said, ‘This guy’s the most fearless musician I’ve ever seen. I’ve never seen another player who can go jam with a jazz band and then play Django (Reinhardt) tunes and then play Spanish music and then play all of my stuff.’ I don’t know whether it’s my ignorance or my innocence, but I’ve always felt that if I understood anything at all (about a certain style of music), I’d be ready to jump in and you can throw me a solo and I’ll have a go at it.”

According to Emmanuel’s website, the respect was mutual from the moment Emmanuel, at age six, heard Atkins playing on the radio. “…Like Dylan, who made a pilgrimage from the Midwest to New York to meet his idol, Woody Guthrie, Tommy always knew he had to get to Chet. To let Chet hear his music, which had been so shaped by his years listening, and absorbing, Chet’s genius. When he finally made that trek around the globe to meet the man himself, in Nashville, their bond was immediate, and like their music, existed beyond words. Chet picked up his guitar, and the two men jammed joyously for hours. It started a lifelong friendship which shaped Tommy’s music forever.”

2000’s “I Have Always Thought of You” starts in D major but modulates to C# minor from 1:22 – 1:44 and again from 2:17 – 2:38.

Tom Lehrer | We Will All Go Together When We Go

Today we feature a guest post from frequent MotD contributor Jonathan Jharms Harms — Tom Lehrer’s “We Will All Go Together When We Go” (1967).

“Lots of unprepared modulations to communicate the unhinged nature of the song, while still keeping the ‘high propriety’ style intact to mask the insanity. Guess I’m specifically referencing verses 3 and 6. Those two have unnatural unprepared modulations that both evoke military marches and unstable harmonic shifts, but they’re mixed in with more natural 1/2 step increases from verse to verse, a much more normal form of modulation.”

Jacob Collier | Hallelujah

I have posted Jacob Collier singing a different arrangement of this same song here before, but I came across this rendition today, filmed a few days ago, and it is so transcendent that I have to share it again. As Collier says before he begins, “It starts in C Major, but we’ll see where it ends up,” making it particularly fitting for this page.

Emmylou Harris | Bluebird Wine

A guest contribution from our Twitter follower Richard Alan Searle (@richardalansear):

“‘Bluebird Wine’ kicks off Emmylou Harris’s 1975 album Pieces of the Sky. The song was written by Rodney Crowell, who went on to become a member of Harris’s band and a long-time collaborator.

The tune’s harmony could hardly be simpler. The verse chugs along over C major, then breaks out in a chorus which alternates F major and C. The magic happens at the end of the second chorus: Emmylou and her backing singers extend and embellish the final line ‘drunk on bluebird wine,’ and the last syllable lands on a Bb major chord over a held C in the bass (2:11). Immediately, the voices begin to slide the whole Bb chord up to the home key of C for a satisfying ending…

…except they don’t stop when they hit C. They pass though it and keep going up until they hit D, at which point the band joins them for a coda in the new key of D (2:15). For added surprise value, the modulation takes place over the course of three bars, breaking the song’s pattern of four-bar phrases.”

Mathieu Boogaerts | Où?

Quentin, a reader of the MotD blog, sends this contribution:

“I just discovered your blog and I love it. I immediately thought about the song ‘Où?’ by Mathieu Boogaerts (1998). This song uses modulation paired with a fade-out in the outro to signify the loss of references, the feeling of not knowing where we are…the lyrics are ‘Où allons nous? J’y comprends rien.’ (‘Where are we going? I don’t understand anything.’)

The modulation ladder starts at 2:27; we can hear four modulations before the sound completely fades. Boogaerts is a French musician, composer and writer; the lyrics of his own songs have a really unique style.”

Merle Hazard | (Gimme Some of That) Ol’ Atonal Music

Weekend bonus mod: Merle Hazard is billed as “America’s foremost country singer/economist.” According to his website, his songs have appeared in The Economist and the Financial Times; on the PBS NewsHour and on radio; and in college classrooms.

Hazard explains: “I love Tom Lehrer and Cole Porter. In some ways, they are my natural musical home, more than country. I listened to a lot of Tom Lehrer and Top 40 pop, growing up. The name ‘Merle Hazard’ is first and foremost a pun on the economic concept of ‘moral hazard.’ It is also a tip of the cowboy hat to the Merles who preceded, particularly Merle Travis and the late, great Merle Haggard.”

“(Gimme Some of That) Ol’ Atonal Music” (2019) modulates at 1:36 and 2:22.

Rufus Wainwright | Cigarettes and Chocolate Milk

Vocalist/pianist/composer Rufus Wainwright released “Cigarettes and Chocolate Milk,” the first track on his sophomore album Poses, in 2001. Wainwright benefited from classical piano and composition training and has carved out two career niches: a unique brand of chamber pop and opera composition. From AllMusic‘s review: the tune “combines classic Gershwin/Brian Wilson pop feels along with a strong sense of French cabaret show tunes” — nowhere more clearly than in this live version.

Starting in E major, a modulation to E minor hits at 0:50 and reverts to E major at 1:26; the pattern continues from there.

Sting | Shape of My Heart

In 1993, Sting released “Shape of My Heart,” a track from the album Ten Summoner’s Tales. Sting said of his guest soloist: “One of the greatest harmonica players this century, Larry Adler … he’s played with George Gershwin, he’s had symphonies written for him, he’s a classical player. He was blacklisted by the McCarthy people in the late ’40s, left the US to live in London, and he’s been there ever since.” Adler passed away in 2001 at the age of 87.

The track modulates for the instrumental bridge (2:24 – 2:53), then reverts back to its original key.