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Fri, 05 Jul 2024 09:54:03 +000013 Paul Simon, when asked some eight years after the release of "Still Crazy After All These Years" whether the album was his best work, responded "I felt I was defining a real identity. 26 Significantly, this chorus marks the first time that the album breaks out of its slow-medium ballad feel and gets funky. If pattern completion is a logical-syntactical principle for cycles, then association—here defined as the consistent grouping of musical (along with narrative) features—is more an expressive principle. Start the discussion! Possible reasons for this neglect of musical patterns governing the whole are not difficult to discern.
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38 Donald Mitchell, in his analysis of "Die zwei blauen Augen, " does not mention this aspect of the tonal strategy and its relation to the text. "I seriously studied harmony, theory, learned about chord substitution, modulation, changing time signatures, how the bass line affected the sound of the chord. Narratively, the song sets out the themes of the protagonist's stasis and his inability to love (Verse 2: I'm not the kind of man / who tends to socialize / I seem to lean on / Old familiar ways / And I ain't no fool for love songs / That whisper in my ears / Still crazy after all these years). Composer: Lyricist: Date: 1974. All, all was well again, All, all—love and pain, And world and dream! Moreover, in the last verse, the narrative voice shifts from first to third person. Cyclic closure by means of pattern completion, summary statement, or other means. INCA, que ha participado en el movimiento desde 2010, promueve eventos técnicos, debates y presentaciones sobre el tema, además de producir materiales educativos y otros recursos para difundir información sobre factores protectores y detección temprana del cáncer de seno. That whisper in my ears. Em B C. I'll never worry. Simon's revision of the original version of the song carries the prospect of salvation almost to the point of realization, in spite of the lack of commitment to love in the preceding song. And we drank ourselves some beers. 33 The text reads "When I look into your eyes / all my sorrow and pain disappear; / but when I kiss your mouth, / then I become wholly well. Layered vocals, stereo panned drums and percussion, horns with bite this a very dynamic, rich, even lush recording that begs you to turn it up.Still Crazy After All These Years Chords In D Chords
Thus, despite the sorrow and loss of love in this and the previous songs of the cycle, and in spite of the prevailing motion of major to parallel minor with each section change, it appears as if redemption of a sort can be won, signified simply by the major-mode conclusion. Section A3 then proceeds as before until the words "Halfway to Jerusalem, " where the progression leads to 9, initiating the motion away from A major. Remastered at Sterling Sound and pressed at RTI, these are beautiful pressings with equally pristine covers, also restored to their original colors. For Simon, they were when Alan Freed ruled the New York radio roost, and he was learning his trade, a small, skinny kid making the rounds of record companies in Manhattan, doing demonstration records of songs by others. And we talked about some old times. Since that applies to the entire history of Western music, let us focus more pointedly on a single aspect relating to song and song cycle composition: the possibility of not confirming the modality of the song until the very end. An insular record made with producer Phil Ramone and a handful of New York session players, it's also rather monochromatic sounding, the muted drums and flat acoustic guitars perhaps mirroring Simon's state of mind. Simon said he didn't invite him, but insists it's not because of troubled waters over which there is no bridge. The example sketches the basic tonal progression in the form of a bass line sketch. But then, it would look silly if Paul Simon, author of "The Sounds of Silence, " started screaming music at this stage of the game. See Timothy White, Rock Lives: Profiles and Interviews (New York: Henry Holt, 1990), 373. "Every narrative in fact comprises two kinds of representations, which however are closely intermingled and in variable proportions: on the one hand, those of actions and events, which constitute the narration in the strict sense, and, on the other hand, those of objects or characters that are the result of what we now call description. " 35 Except for the first song which involves two keys, this is the only one of the remaining songs in Dichterliebe that, following the opening statement of the tonic chord, delays its reappearance until the concluding structural cadence. 10 By contrast, in "Still Crazy After All These Years" association connects tonal idiom and musical genre with the narrative, which, as we shall see, conveys aspects of narrative meaning in deep and at times ironic ways.
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2 Philip Tagg, "Analysing popular music: theory, method and practice, " Popular Music 2: Theory and Method (1982): 19ff. 27 From "50 Ways To Leave Your Lover, " Copyright ©1975 Paul Simon. Unlike individual songs, however, cycles are a more elusive thing to draw as likenesses, since here we are speaking more of general patterns and strategies than of specific progressions. For a survey of interpretations see Nicholas Marston, "Schumann's Monument to Beethoven, " Nineteenth-Century Music 14, no. The title song opens the album and introduces important narrative and musical ideas for the work as a whole (Example 1a and b). Produced by longtime Simon & Garfunkel confederate Roy Halee, and performed by such studio ringers as Airto Moriera, Ron Carter, Larry Knechtel, and Hal Blaine, Paul Simon was a definitive stylistic left turn, the evolutionary next step of a gifted artist exploring new sounds. American Songwriter wrote a feature on Still Crazy After All These Years earlier this year - and there was some reflection from Simon himself: "Sometimes, as Simon reveals, the process can be uncomfortable, as the songwriter is forced to confront aspects of his own life he'd rather avoid altogether. These 180 gram reissues are outstanding, both physically and generally speaking, sonically. Like "50 Ways, " each song is relatively up-tempo, and each is based on a simple three-chord I-IV-V progression related to its genre: gospel for "Gone At Last, " 8-bar blues for the other two songs. Goes Out newsletter, with the week's best events, to help you explore and experience our city. Who tends to socialize. I love so many of Paul Simon's albums, but I think Still Crazy After All These Years is one of my favourites – though nothing can defeat the mighty Graceland of 1986!
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13 The album also coincided with the breakup of Simon's first marriage. 11 At the same time his lyrics take on a much harder and more personal edge, largely leaving behind the adolescent goopiness of Simon and Garfunkel. The modal strategy at the close of Simon's work, however, is more analogous to that of "Die zwei blauen Augen" from Mahler's Lieder eines fahrenden Gesellen. I had to learn different ways of holding the guitar. And I aint no fool for love songs. The Sounds of Simon: Singer Returns To Central Park (Without Garfunkel) For HBO Concert. Paul Simon topped the charts in the United Kingdom, Japan and Norway, and the U. S. Recorded in Kingston, Jamaica, Paris, Los Angeles and New York, Paul Simon offers warm sound and decent dynamics but in absolute audio terms it's a 1960s recording. I didn't say, "Oh, that's clever, that's a good one, I can use that. " It's bizarre how dynamically clipped this LP sounds. C#dim G D7 Cm D7 G C. Oh, still crazy after all these years. The fourth song from Dichterliebe, "Wenn ich in deine Augen seh, " beautifully exemplifies Heine's scathing irony and Schumann's subtle but effective musical realization. "I felt comfortable in listening to some piece of music that was not from my neighborhood. Example 2 provides a synopsis of the narrative and tonal progress of the album.
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8 Because they entail so broad a range of possibilities, the following general conditions will guide the analysis. In the latter, there is no initial statement; rather, both the pattern and its completion are inferred contextually from the music. 11 Some of this tendency actually began with the last Simon and Garfunkel album, "Bridge Over Troubled Water. Four in the morning.
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However, hope once more gives way to sorrow with the turn to the parallel A minor at the start of the next verse, a semitone higher than the opening. Product #: MN0107318. Amaj7 Emaj7 Emmaj7 Am7 Cmaj7. As the durational reduction of the bass line shows, each 8-bar unit avoids resolution to G by the elision from D7 to E7 (end verse 1), or by the motion to minor (end verse 2 and break). "It just seemed like a good idea, " Simon said, deadpan. In Simon's album, the most important of the above strategies are pattern completion and association, since they subsume most of the other properties. Carolina In My Mind. After three back-to-back successful studio albums, Simon wrote music for the film Shampoo and acted in Woody Allen's Annie Hall. Scarborough Fair - Canticle. 7 We shall assume that certain works generally considered to be cycles—e. Hence the association of Part I of the narrative with the complex ballad and Part II with the simpler genres helps convey the two sides of the protagonist's personality: the sensitive soul trying to rationally understand his dilemma, and the man of action who wishes to stop thinking so much and just live his life.
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Although disguised at first, the music transposes the opening progression of B1 up a semitone. If, however, there exists a correlation between the narrative and musical progression, as I believe to be the case here, then the pattern completion serves a larger function and is more than mere coincidence. 29 The bridge then modulates to D major, its climax corresponding with the rather unfortunate rhyme "She burns like a flame / And she calls my name. " Simon greets them white man blues in "Panorama Blues"; takes a seminal South American excursion in the lovely "Duncan, " then wins us over completely with the infectious hits "Mother and Child Reunion" and "Me and Julio Down by the Schoolyard, " which still sound fantastic. Example 4a: "I Do It For Your Love" ©1975 Paul Simon. Continuing in the vein of the opening song, Part I of the album is associated with the jazz-influenced ballad, slow to medium in tempo, and harmonically complex. Part II begins with a post-marital affair, in which the protagonist seeks a kind of personal rebirth, and then depicts his egoism and finally the breakup of the affair. Musically, I was beginning to put together a kind of New York rock, jazz influenced, with a certain kind of lyrical sophistication.... " Playboy 31, no. While a few of the songs are directly autobiographical, more importantly the marital breakup provides a kind of psychological backdrop for the album and contributes to a sense of unified narrative. April Come She Will. But, with the final turn of the chorus to C minor, the album ends on a note of resignation to a lonely and depressive fate. It just came as a line, and then I had to create a story.
7 One of the first analyses of large-scale musical unity in cycles is Arthur Komar's groundbreaking essay, "The Music of Dichterliebe: The Whole and its Parts, " in Schumann, Dichterliebe, ed. Together they flesh out the narrative conflict introduced in "50 Ways, " leading respectively from the start of an affair, to egoistic desire by the protagonist, and finally to the breakup of the affair. Coming Around Again. Includes 1 print + interactive copy with lifetime access in our free apps. But the chromaticism of Part I is balanced by the relative simplicity of Part II, which is bound up with the genres Simon freely adapts: gospel, blues and a hint of funk. Thus the final two lines—"but when you say: I love you! Arthur Komar (New York: Norton, 1971), 63-94.
We shall see that this song provides both a musical and narrative bridge to Part II. Example 3 shows in greater detail how the principal tonal progressions of the opening song—the motion by descending fifths from E to G, and the modulation from G to A major—provide a structural frame for Part I of the album. Sometimes there are second verses, and I say, "Oh, that's really not a second verse; it's a first verse. These songs were more lighthearted, infectious and musically buoyant than anything in the Simon & Garfunkel catalog and set the template for later musical explorations that would practically become Simon's trademark. Further, by revoking the notion of Schenkerian deep structures for intermovement relationships, we remove the condition of necessarily having all movements subscribe to a single pattern, provided there is some operative principle that explains which movements participate in the pattern and which are excluded.
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