Kate Bush 'Hounds'

Kate Bush 'Hounds'

1. Kate Bush

   • 1958, Kent, Wuthering Heights first album, First female to be no.1, based on Emily Bronte, inspirations rock folk electronia, classical,

2. THE SONG

   • CONCEPT ALBUM, 1985, HER OWN STUDIO, COMPOSER, PEFORMER AND PRODUCER, KATE LEAD AND PIANO AND FAIRLIGHT, BROTHER PADDY VIOLIN, BALLALIKI, BOUZUKI, WHISTLES, UTILLEAN PIPES, EXTRA MUSICAL INSPIRATION
     • MUSIC LANGUAGE IS TONAL - TONALITY IS ALWAYS CLEAR - LITTLE EVIDENCE OF TONALITY
       • HARMONIC LANGUAGE BASED ON CLEAR ELEMNTS OF DIATONIC FUNCTIONAL SYSTEM - SELF TAUGHT - CONSTRAINED BY FUNCTIONAL RELATIONSHIPS - FEW PERFECT CADENCES - PRIMARY CHORDS = REPEATED CHORD SEQUENCES
         • ADDED NOTES AND EXTENSION CHORDS - SUS CHORDS - SLASH CHORDS
         • FUNCTION OF THE TEXTURE IS TO SUPPORT AND EMPHASISE THE MELODY
         • MELODIES ARE FREE FLOWING, QUIRKY AND UNPREDICTABLE - ONSTRUCTED IN CHORT PHRASES, NOT ALWAYS EQUAL AND CAN SOUND IMPROVGISASED - REPEITIO KEY FEATURE AND LARGER INTERVALS
         • CHANGES OF METRE - SYNCOPATIONS AND ANTICIPATIONS AND RETARDATION AND SUSPENSIONS

3. DISTINCTIVE VOICE, FAIRLIGHT CMI, CLASSICAL STRING SEXTET

   • CLOUDBUSTING: NO BASS, NO ELECTRIC GUITAR, RESTRAINED PERCUSSION, SHORT STOCATTO CHORDS, VIOLIN RIFF, VIOLIN COUNTER, TRESTED VOCAL SAMPLE, TWO SAMPLED TRACKS, STEM ENGINE SOUNDS, RANGE OF A TENTH, SYLABBIC, WORDLESS BACKING SINGERS, DRUMS SPARIGLY, BALALIKI LINE
     • AND DREAM, COICE AND PIANO, BOUZUKI, IRISH WHISTLE, PIANO STYLE, SPOKEN VOCAL SAMPLE
       • UNDER ICE, SYNTHESISED/SAMPLED SOUND, LOW TESSITURA, VOCAL PERFECT 5TH RANGE, LEAD VOCALS HARMONISED BY LOWER QUAIETR MALE, SYLABBIC, MELISMAS, WORD PAINTING

4. CLOUDBUSTING: EXTENDED CONVENTIONAL, LACK OF INTRO, C # MINOR, HOMORHYTHMIC STRINGS START, REGULAR METRE CHANGE, VIOLIN RIFF, HOOK IDEA, MORE CONTINUOUS, DRUMS DONT ENTER DRAMATICALLY, VIOLIN OCATVES, BASED ON 2 BAR PHRASE, MILLITARY SNARE DRUM, IMPROVISIONARY

   • AND DREAM OF SHEEP: VOICE AND PIANO AT START, C # MINOR, MOVES TO E, SIMPLE PIANO CHORDS OVER TONIC PEDAL, LEODY RESTCITED IN RANGE, MINOR THIRD, SHIPPING FORECAST, BOUZUKI, REPEATED VOCAL IDEA, PAUSE AT 47, AMBIGUOUS FINAL CHORD, RIT AT END, B51 EXTENDED FOR DRAMATIC EFFECT
     • UNDER ICE - MODAL A MINOR - OSTINATO IN FIFTHS - CHANGE OF METRE - 3-4 - USES 2 QUAVER 1 CROTCHET IDEA - PENTATONIC IDEAS - LEAD VOCALS HARMONISED - EXTENSION IN REFRAIN - DIALOGUE BETWEEN LEAD VOCALS - FINAL HIGH CRY - WHISPERED WAKE UP
       • ARTICULATED BASS PEDAL - OSTINATO OPEN FIFTH TEXTURE - DIALOGUE - HOMORHYTHMIC
         • MODAL A MINOR - NO KEY CHANGES - FINISHES ON AMBIGUOUS ASUS2 CHORD
           • BASED ON THIRDS - SCALE OF A NATURAL MINOR
             • QUASI PENTATONIC - PORTAMENTO
               • BEGINS SLOWLY 65 THEN ACCELERATES TO 100 AND THEN TO 108 - ENDS SLOWS - REPEATED 10 BAR RHYTHMIC UNIT - ACCOMPANIEMTN OSTINATO
     • FOCUS ON VOACL LINE - TONIC BASS PEDAL - ACCOMPANIEMNT BY MID RAMGE BLOCK CHORDS
       • VERSES IN MODAL C SHARP MINOR - REFRAIN AND BRIDGE IN E MAJOR - ENDS INCONCLUSIVELY
         • CONVENTIONAL 1-11-V-1 - TONIC BASS PEDAL
           • RISING FIFTH - MELODIC SEQUENCE - MINOR THIRDS - RISING MAJOR SIXTHS - WORK PAINTING - UNRESOLVED DOMINANT CHORD
             • SLOW BALLAD 65 TEMPO THEN TO 108 - USES SYNCOPATION - VOCAL MATERIAL STARTS ON FIRST BEAT OF THE BAR - ANACRUSIS PICKUP - USES TRIPLETS LOMBARDIC RHYTHMS - ENDS WITH RITARDANDO
   • TEXTURE - HOMORHYTHMIC - SCALLIC COUNTERMELODY - IN OCTAVES - VOCAL SAMPLE - POLYPHONIC FEEL IN CHORUS - LEAD VOCALS - KB2 AND WORDLESS BACKING VOCALS ALL POLYOHONIC IN OUTRO
     • MODAL C SHARP MINOR
       • MODAL CHORD SEQUENCE
         • TRIADIC SHAPE - CHORUS HOOK - MINOR SEVENTH LEAP - SUPERTONIC AND SUBDOMINANT
           • FAST MEDIUM TEMPO 112 - 3/2 BRIDGE - USES QUAVER CROTCHET FIGURE - ANTICIPATORY SYNCOPATION AND RAPID REPEATED NOTES