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19 There are three non-narrative songs which may be categorized as fable ("Night Game"), meditation on the protagonist's psychological state ("Some Folks' Lives"), and epilogue ("Silent Eyes"). But the music for the bridge was a whole other thing, as it was built on all the notes of the twelve-tone scale he hadn't yet used, so as to give it a musical freshness. Other peers of Simon also expressed admiration and some incredulity at this and similar methods employed by Paul. " I opted for my own thicker plastic covers. With A Few Good Friends. From "You're Kind, " Copyright ©1975 Paul Simon. ) 34 Kofi Agawu, "Structural 'Highpoints' in Schumann's Dichterliebe, " Music Analysis 3:2 (1984): 161 and 172-5. Earlier I suggested possible analogies between "Still Crazy After All These Years" and earlier art songs and cycles. 20 Interestingly, when Simon undertook a tour to support the album, "Night Game" and "Silent Eyes" were the only two songs which were not performed; this further implies that they each have a specific role on the album as an ordered entity, a context naturally at odds with the promotional function of the tour. Humphries does not mention that the odd snatches of humming and guitar strumming in the movie account for most of the material of "Silent Eyes.

Many writers have noted similarities involving melodic motives, rhythmic figures, harmonic progressions, or even double tonic complexes, all of which are important in their signifying capacity to corroborate expressive phenomena at once perceptible yet difficult to articulate. Genette further notes that, even in narrative genres in which description may play a quantitatively larger role than the narrative proper, it is still dependent on narrative. God Bless The Absentee. Published online: 1 October 1992. 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. I probably wouldn't think that way at all". Includes 1 print + interactive copy with lifetime access in our free apps. I'm not the kind of man. The climactic section B2 is meant to sound like the conclusion of the album and in effect represents a first ending.

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Released in May, 1973 There Goes Rhymin' Simon "Combined a variety of musical textures (from a touch of gospel to an infectious trace of Jamaican rhythm to a hint of the old Simon and Garfunkel grandeur), " wrote LA Times critic Robert Hilburn. While the possibilities are virtually limitless, in the nineteenth century the predominating associations link tonality with character (or image, or idea); this is most clearly operative in opera, but is also crucial to Schubert's song cycles as well. The question I ask myself is: why is this analogy significant, beyond its mere presence? Two examples, one from Schumann's Dichterliebe, the other from Mahler's Lieder eines fahrenden Gesellen, will demonstrate similar means of large-scale closure. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on "50 Ways to Leave Your Lover, " which became the biggest solo hit of Simon's career. I've long since stopped feeling that way. That started when he was in his teens, checking out Top 40 radio and the early folkies in Greenwich Village or, paying attention when his father Lou, a bass player, fronted a big band that alternated with a Latin band at Roseland, New York's venerable dance hall. In the latter, there is no initial statement; rather, both the pattern and its completion are inferred contextually from the music. By Call Me G. Dear Skorpio Magazine. We shall see that this song provides both a musical and narrative bridge to Part II. HBO will televise it live (tape-delayed on the West Coast). Second, cyclic patterns are contextually defined by the individual work rather than imposed from without. 18 The lyrics read "I met my old lover / On the street last night / She seemed so glad to see me / I just smiled / And we talked about some old times / And we drank ourselves some beers / Still crazy after all these years. " It's bizarre how dynamically clipped this LP sounds.

Simon says the tour will end early next year in Africa after stops in Japan, China, Australia and South America. You may occasionally receive promotional content from the Los Angeles Times. The narrative division is further articulated by two tonal pattern completions which are generally congruent with the grouping by association. Paul Simon – Still Crazy After All These Years. "And that's why, in songs like 'Still Crazy After All These Years' or 'Something So Right, ' I used chord changes that, uh, were not in the lexicon of rock 'n' roll ballads.

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He also studied with Chuck Israels, a jazz bass player. 38 By analogy, in the concluding "Silent Eyes" on "Still Crazy After All These Years, " the possibility of redemption comes with the second entrance of the gospel chorus. In short, the passage of Part I to II progresses from protagonist as passive victim to protagonist as attempting to take charge of his life. Marching Through the Wilderness. As a result, section B2, which began a semitone higher than B1, ends a minor 3rd higher in F minor, and the section concludes with rumbling piano tremolandos signifying the wrath of God. 23 Tonally, the song restates the previous untransposed fifths pattern, the 8-bar introduction (and verse 1) comprising nested fifths progressions from E7 through A7 to D7.

THE true masters of music. 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. Actually, Simon's soundtrack consists entirely of isolated phrases of the chord progression for "Silent Eyes, " with only a nylon-string guitar accompanying Simon's humming the melody. Translation by Philip L. Miller. The Popular Album as Song Cycle: Paul Simon's Still Crazy After All These Years. 24 However, its strategic placement on Side 1 following "I Do It For Your Love" provides both a musical and narrative bridge between the first and second halves of the album. With respect to the song's structure—as well as that of the album as cycle—Simon's most important revision is the recall of the gospel chorus, this time a minor 3rd higher in F major. 13 The album also coincided with the breakup of Simon's first marriage. I take a similar position in speaking of the relative structural subservience of non-narrative songs on the album. The second pattern consists of a stepwise motion away from and back to C spanning Side 2. Bad Bad Leroy Brown. It represents a lot of listening. The Kids Aren't Alright. Schumann's Dichterliebe and Frauenliebe und Leben immediately spring to mind, as the metaphorical and actual deaths depicted in the respective texts are mediated by the poet speaking via the postlude in the major mode.

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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). C. On the street last night. "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. And though you'd be hard pressed to find a songwriter below the age of 40 who cites Simon as an influence, can you name a better pop song than "Kodachrome"? It isn't a small one. 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. "I just saw him yesterday with his baby. Regardless of whether we are addressing "high" or "low" musical culture, the understanding of a multi-movement work as a whole remains a complex and elusive thing.

Nobody Does It Better. He reached a new peak on Graceland and continued putting out phenomenal albums until his final studio album, In the Blue Light, in 2018. "Loves Me Like A Rock" or " Me and Julio Down By Schoolyard"? 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. Thus the final two lines—"but when you say: I love you!

Sometimes there are second verses, and I say, "Oh, that's really not a second verse; it's a first verse. I do hope we have not heard the last of Paul Simon regarding recorded material, but I think he is pretty keen to retire and he has definitely given us more than we deserve! Formally, the song is an expanded 32-bar song form, modified by the gospel chorus following section B1, the transposed and transformed return of the B material, and the return of the gospel chorus immediately following. Finally, it is worth noting that the album coincided with the filming of the Hal Ashby movie "Shampoo" starring Warren Beatty and Julie Christie. 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. How much control does the artist actually have over his work? Simon's tough, " said Randy Newman. 2 (February 1984): 172. This strategy of noting similarities between contemporary popular music and earlier Western art music is nothing new to popular music criticism. Given the extensive literature on the criteria distinguishing multi-movement cycles from mere collections, I shall defer from reevaluating this issue here. Diamonds On The Soles Of Her Shoes. No information about this song.

"I seriously studied harmony, theory, learned about chord substitution, modulation, changing time signatures, how the bass line affected the sound of the chord. The musical setting matches the narrative dialogue: the verses feature a chaconne-like descending tetrachord in E minor and flowing melodic line, underpinned by the famous snare-drum ostinato; the chorus by contrast shifts to G major and cut time, substituting for the legato melody and snare-drum part a driving rock groove underpinned by the simple three-chord progression I--IV-I. The succeeding two songs both begin on E: "My Little Town" leads from E through A to close on D, while "I Do It For Your Love" begins on E dominant 7 and proceeds by fifth to close on (and in) G, completing the fifths pattern and thereby providing large-scale resolution for Part I. Once again assisted by top session cats, from Cornell Dupree, David Spinozza, Barry Beckett, Paul Griffin and Roger Hawkins to Airto Moreira and gospel vocal group The Dixie Hummingbirds, There Goes Rhymin' Simon is carefree and upbeat, track by track, each song a joy. Originally two songs were intended for the soundtrack ("Have A Good Time" and "Silent Eyes"); 14 in the end, however, only one was used, representing a kind of sketch for "Silent Eyes" which, as we shall see, has interesting ramifications for large-scale closure on the album. 16 This sketch, as well as those in subsequent examples, adopts Schenkerian analytical conventions, in that rhythmic values denote relative structural importance rather than duration (thus, stemless noteheads are least important, half notes most important); notes beamed together denote a significant linear/harmonic pattern, and dotted lines indicate the prolongation of a single pitch. Rather, association and pattern completion make compositional sense as constraints in putting together an album, and these constraints may be realized as aurally perceivable patterns. Despite the occasional instances in which a key succession approximates a Schenkerian middleground structure, 9 to thereby insist on this as a model for cycles grossly overstates the case for structural unity.

I Can't Make You Love Me. I fear I'll do some damage.