Desmond Dekker

Desmond Dekker

1. Melody

   • Main hook in chorus = F, Eb, Db
   • Second half of chorus adds Bb and Ab. Becomes pentatonic scale
   • Verse adds C. Has similar shape to chorus
   • Two bar phrases, but second half of chorus has one bar phrases
   • Phrases start on second beat of bar e.g. b4, b26
   • Mostly syllabic, some melisma e.g. b7, b12
   • Limited range on notes - mainly pentatonic

2. Rhythm, Metre and Tempo

   • Simple quadruple time, medium/slow tempo
   • Strong backbeat, emphasised by snare
   • Melody and accompaniment mainly syncopated
   • Bass - simple crotchets, syncopated quaver on last beat
   • Ties in guitar 2, organ, and vocal parts make syncopation
   • Vitality from tambourine and muted guitar pickings
   • Drums play fills at end of phrases e.g. b17, b39
   • Cross-rhythms in bars 10-11

3. Tonality

   • Db major with no modulations

4. Harmony

   • Limited chords - mainly primary chords
   • Chromatic chords - C major in intro, E B and D major in instrumental
     • Contrast to diatonic nature,
   • Chorus uses primary chords. Verse adds III, F minor and dominant seventh

5. Instruments

   • Vocals
     • Lead and female backing, homorhythm apart from outro
     • Close harmony - typical of 1950s American music
     • Highly repetitive vocals, small range
     • b25 has falsetto in lead
   • Rhythm section - bass guitars, two electric guitars, electronic organ
   • Brass
     • Two trumpets - unison and octaves e.g. intro
     • Baritone and tenor saxes play simple line, then harmonies in intrumental
     • Takes over main hook in fade out
     • Provides colour and weight, especially in instrumental
   • Percussion
     • Tambourine semiquavers = extra excitement
     • Drums play fills at end of phrases
     • Snare and bass drum play backbeat

6. Texture

   • Opening - trumpets in unison, then thirds
   • Melody dominated homophony
   • Voices homorhythmic in chorus e.g. b4, b26
   • Homophonic texture in rhythm supports vocal line
   • Lead and backing always in homorhythm apart from fade out
   • Brass in octaves for first half on intrumental, then homorhythm
   • Stop time at end of chorus - before "You'll succeed at last"
     • Allows positive nature of words to come through

7. Structure

   • Verse-chorus structure
   • Intro = b1 - 4
   • Chorus 1 = b4 - 14
   • Verse 1 = b14 - 25
   • Chorus 2 = b26 - 14
   • Verse 2 = b14 - 25
   • Chorus 3 = b26 - 36
   • Instrumental = b36 - 43
   • Chorus 4 = b44 - 53
   • Coda = b54 - end