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You Can Get It If You Really Want

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Mapa Mental sobre You Can Get It If You Really Want, creado por Luke Bryan el 09/10/2015.
Luke Bryan
Mapa Mental por Luke Bryan, actualizado hace más de 1 año
Luke Bryan
Creado por Luke Bryan hace más de 10 años
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Resumen del Recurso

You Can Get It If You Really Want
  1. Background Info
    1. Written by Jimmy Cliff
      1. Performed by Desmond Decker and the Aces (1970)
        1. Hit in America
          1. number 2 in the UK
          2. Rocksteady
            1. Sub-genre of reggae
              1. Similar to Ska
                1. Took the world by storm in 1970
                2. About fighting for peace and justice
                  1. Influenced by: Cuban/Mexican trumpet lines, Ska and "doo-wop" music
                  2. Instruments
                    1. Lead Vocals (Desmond Dekker)
                      1. Highly repetitive
                        1. Falsetto in verses 1 and 2, end of instrumental and the closing fade out
                        2. Female Backing Vocals
                          1. Singing in unison, above melody in close harmony
                          2. Bass Guitar
                            1. Repetitive anchored to the first beat of the bar
                              1. Predominately on the root of the chord
                              2. 2 Trumpets
                                1. Played in unison then thirds
                                  1. Repeated Motif
                                  2. Baritone and Tenor Saxophones "the Horns"
                                    1. Brass Tutti
                                      1. Play a simple line, then added parallel harmonies with the trumpets
                                        1. Adds colour and weight to the piece
                                      2. Organ
                                        1. Comping
                                        2. Second Guitar
                                          1. Comping chords
                                          2. Drum Kit
                                            1. Side-Stick
                                              1. Triplet fills at end of phrases
                                                1. Backbeat
                                                2. Tambourine
                                                  1. semiquavers for excitement
                                                3. Texture
                                                  1. Starts with trumpets playing in unison then in thirds
                                                    1. Voices are homorhythmic during choruses
                                                      1. Rhythmic unison
                                                      2. homophonic textures in the rhythm section
                                                        1. Supports vocal line
                                                        2. Instrumental section starts in unison, then harmonises
                                                          1. rhythmic unison
                                                          2. accompaniment drops out at the end of choruses
                                                            1. Stop Time
                                                              1. Allows positive nature of the lyrics to come over
                                                          3. Structure
                                                            1. Intro
                                                              1. Chorus 1
                                                                1. Verse 1
                                                                  1. Chorus 2
                                                                    1. Verse 2
                                                                      1. Chorus 3
                                                                        1. Instrumental
                                                                          1. Chorus 4
                                                                            1. Coda/Fade
                                                                              1. 54-end
                                                                              2. 44-53
                                                                              3. 36-43
                                                                              4. 26-36
                                                                              5. 14-25
                                                                              6. 26-14
                                                                              7. 14-25
                                                                              8. 4-14
                                                                              9. 1-4
                                                                              10. Verse Chorus
                                                                              11. Tonality
                                                                                1. D flat major
                                                                                  1. no modulations
                                                                                2. Harmony
                                                                                  1. Based around primary chords
                                                                                    1. Intro has semitone steps ( C-Db)
                                                                                      1. Sliding Barre chords
                                                                                      2. Chorus uses a I-IV alternation
                                                                                        1. Finishes with V,IV,V7
                                                                                        2. Verse introduces chromatic chords
                                                                                          1. adds variety
                                                                                          2. Instrumental uses unrelated chords
                                                                                            1. Descending whole tone scale
                                                                                          3. Melody
                                                                                            1. Main "hook" uses F, Eb and Db with a major third variation
                                                                                              1. Second half of the chorus adds Bb and Ab
                                                                                                1. Pentatonic Scale
                                                                                                2. Verse uses the leading not (C) but is mostly similar to the chorus
                                                                                                  1. End of verse uses high falsetto
                                                                                                  2. 2 Bar phrases
                                                                                                    1. Except second half of the chorus
                                                                                                      1. "But you must try.."
                                                                                                        1. One bar phrases
                                                                                                      2. Begin on the second beat of the bar
                                                                                                        1. Word setting mostly syllabic
                                                                                                          1. Short melismas
                                                                                                            1. "try" bar 12
                                                                                                      3. Rhythm and Metre
                                                                                                        1. 4/4
                                                                                                          1. Backbeats on 2 and 4
                                                                                                          2. Medium slow tempo
                                                                                                            1. Typical of Rocksteady
                                                                                                            2. Bass is on the first beat of the bar
                                                                                                              1. Syncopated accompaniment and melody
                                                                                                                1. Excitement is created by the semiquaver tambourine and muted guitar
                                                                                                                  1. Steady quaver rhythms are threatened by the triplet crotchets at the word "try and "struggle"
                                                                                                                    1. Emphasize the message of the piece
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