Tuesday, 18 October 2016

Josie (Steely Dan) - Analysis

When it comes to combining funk, jazz and rock there are few bands who did it as good as Steely Dan. Through their signature use of complex harmonies, syncopated rhythms, and classic timbral tone, Steely Dan created a sophisticated and distinctive sound combining elements of funk, jazz & rock and creating a fantastic cocktail of colourful & groovy music. The song “Josie” from the album Aja, is a classic example this delicate combination of styles, from its strong syncopation and bright tone to its complicated and awesome chordal progressions.



The song features a fairly regular instrumental setup; Electric guitar x2 (Lead & rhythm), Bass guitar, Keyboard, Drum kit, and Vocals, but it also includes a brass section, occasional backing vocals and some chimes. The Bass is smooth, and the Drums are thin, so as to not disturb the colourful and bright sound of the song. The rhythm guitar and keyboard have a chorus and light flanger effect on them creating a bright and dynamic timbrel quality to the music. The guitar however acts as more of a timbrel backbone to the song as it can be heard throughout the whole song, with the keyboard coming in only during the chorus’ (1:02). This bright timbre gives the song its cool & upbeat sound adding to the funky side of the music’s style. The vocals, sung by Donald Fagen, have an energetic & groovy expressiveness to it with the tonal qualities of his well pronounced grainy voice, adding to the songs bright funky sound (1:26).

When it comes to rhythm, the song is in 4/4 at a moderate tempo blah blah blah… but most importantly, it is very syncopated and played with an almost godlike rhythmic accuracy. While the drums and bass guitar play to the strong beats of the rhythm (mostly), the electric guitar and vocals are very syncopated rarely landing on the strong beats of each bar. During the intro to the first verse the electric guitar can be heard playing a very syncopated rhythm over a single chord, playing almost every strum on the off beat except for beat 2 with a very strong funky expressiveness (0:17). This syncopation forces the rhythm of the song forward as you eagerly wait for it to land on a beat, which comes on the not quite so satisfying second beat of every bar. Though this is then satisfied as the vocals come in and land on beat one (0:30), but only every four bars, continuing this groovy syncopated rhythmic feeling. The main sense of satisfaction from this syncopation is at the end of each chorus as each beat of the last bar is accented (1:17), and then goes back into the syncopated verse. This use of syncopated rhythm and groovy expressiveness are what gives the song it's truly funky feel, because it feels almost free of boundaries and it gives you an almost uncontrollable urge to tap your feet to the beat.

The jazzy sound of the song comes from the particular use of a lot of extensions and also several regular triad chords with the fourth of the root note on the bass (eg. Amaj/D and Gmaj/C). An example of the abundance of extended chords can be heard in the quick chordal changes in the intro (0:10), and throughout the chorus (1:02). These uses of chordal extensions such as Maj9, 7#9, Maj7#11, etc create a very interesting jazzy harmonic quality, giving the whole piece a very colourful sound that well reflects its cool & funky nature. Another very interesting use of chords lays in Steely Dan's use of 4ths in the bass notes of regular triad chords. A good example of this can be heard several times in the verses when, within 2 bars, the chord progression goes as follows, A/D G/C, D/G C/F, (0:42) This irregular use of chords gives the piece a very interesting harmonic colour and also provides a sense of freedom and adding to the Jazzy feel.

So as you can probably tell by now, Steely Dan are pretty awesome, and are also very good at what they do. They can combine the styles of Jazz, Funk and Rock into a blend of colourful, groovy and fun sounds because of their in depth knowledge of all of their preferred styles of music, which is something us musicians can certainly take away from them.

Refrences:

Steely Dan - Josie, video, TrixxyKatt, Febuary 16 2016, Viewed 15 October,
<https://www.youtube.com/watch?v=I87efmq_ZYM>
The Swan - Clara Rockmore (Saint-Saens)

The Swan (or le cygne) is originally a movement in a musical suite composed by French composer Camille Saint-Saens called The carnival of animals (Le carnaval des animaux), in which each movement would represent a different animal or animals. The Swan (mov.13) is a gentle piece, originally composed for Cello accompanied by two pianos, which represents the elegant movement of the Swan gliding over the water. It is certainly the most famous movement from the suite as it is the only one Camille allowed to be played in public during his lifetime. However I am going to be looking at a version of the song played on the theremin by Clara Rockmore. The timbrel qualities of the theremin and Clara’s professional expressiveness along with the flowing rhythm of the piece combine with the gentle and graceful melody in order to portray a beautiful musical representation of the swans elegance.



The theremin itself creates a very unadulterated, but somewhat basic sound which can often leave it seeming quite dull, although when played by a professional it can create an incredibly pure sound almost reminiscent of an opera singer. Clara Rockmore is one of these professionals and the sound she creates in the piece sounds extremely pure and smooth which greatly represents the swans embodiment of purity and elegance. The bright, soft and warm sound of the piano also compliments this portrayal. The constant legato from the theremin also gives a smooth and flowing auditory image like that of a swan gliding over the water. Clara Rockmore's fantastic dynamic control throughout the piece furthers this image by giving a sense of wavering movement as she expressively and beautifully adjusts the dynamics of the instrument (0:25), and a similar effect is also achieved via the expressiveness in the rhythm.

In terms of rhythm, the piece is in 6/4 played at relatively slow pace which the composer writes as Andante grazioso. There is a strong use of rubato throughout the whole piece which adds to the image of the swans elegant gliding over the water. Although another interesting thing to note is the functional contrast of rhythm between both instruments. The theremin plays smooth calm flowing rhythmic patterns while the piano plays a consistent sixteenth note pattern. It is said that while the theremin represents the swan itself and its elegant & effortless movement through the water, the piano represents the feet of the swan consistently propelling it along, hidden from view beneath the water. And since the piano is more or less the rhythmic conductor of the piece this furthers this idea of dynamic movement given that the feet are what propels the swan along.


All in all this piece could be perceived as an incredible auditory painting, representing an aspect of nature as it is. Via her beautiful control end expressionism of a pure sound, Clara Rockmore captures what this song was originally meant to represent perfectly.


References:

"Theremin - Clara Rockmore play "The Swan" (Saint-SaĆ«ns)", video, yaoikan1981, May 13 2007, viewed 19 October 2016, <https://www.youtube.com/watch?v=pSzTPGlNa5U>.

Wikipedia, 2016, The Carnival of Animals,
Available at:
https://en.wikipedia.org/wiki/The_Carnival_of_the_Animals#XIII_Le_cygne_.28The_Swan.29

Wikipedia, 2016, Le Cygne, 
Available at: https://en.wikipedia.org/wiki/Le_cygne