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God Bless The Absentee. 34 What Agawu does not mention is that the inevitable resolution to tonic is reserved for the punchline; i. e., musical reality in the form of tonic coincides with the realization that unhappiness in love is the poet's lot; conversely, the avoidance of tonic (via tonicization of IV, vi and ii) coincides with the love images and symbolizes an intense but ultimately futile fantasy. The record as a whole has a very wide soundstage peppered with unusual instrumental sounds darting around the mix like scurrying farm animals. 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. Moreover, "Silent Eyes" is the only song that truly combines harmonically complex and simple idioms, thereby placing it on both sides of the musical and narrative divide. It just came as a line, and then I had to create a story. 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. But in the service of the song, such sacrifices get made. Analyses of individual songs, albeit within broader contexts, include Don Michael Randel, "Crossing Over with Rubén Blades, " Journal of the American Musicological Society 44, no. "I felt comfortable in listening to some piece of music that was not from my neighborhood. About this song: Still Crazy After All These Yeas (easier). This was not, as Simon said, the original concept. Something simple and true that has a lot of possibilities is a nice way to begin.

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This LP sounds fantastic. The predominance of the piano, its gospel fervor and the gospel chorus recall "Gone At Last" opening Side 2 and naturally convey the Biblical overtones of the text (see below). In "Still Crazy After All These Years, " that title phrase came to me first and it didn't come with melody either. Tonally this coincides with the arrival of the key succession on G major, which completes the first of two successions by fifth descent spanning the first ten songs. Hence these four songs are interrelated by musical idiom and narrative progression. His stops then were along Broadway, at mid-town addresses he still remembers, the tall, ornate old buildings marked 1650 and 1697. In a sense, the basic message of the song is that things in reality are not as they appear to be.

Aside from the bigger numbers like Still Crazy After All These Years, and 50 Ways to Leave Your Lover, there are so many other gems to be found – including Have a Good Time, and Silent Eyes. His 1972 eponymous album, and 1973's There Goes Rhymin' Simon showed he was just as strong solo as he was with Art Garfunkel; Still Crazy After All These Years boasts some of his best songwriting. Moreover, in the last verse, the narrative voice shifts from first to third person. C#dim G D7 Cm D7 G C. Oh, still crazy after all these years. 12 Both musical and lyrical tendencies reach a kind of culmination in "Still Crazy. " Perhaps more striking, however, was Simon's lyrical approach.

By way of background, "Still Crazy After All These Years, " Simon's third solo album, was both a critical and commercial success, garnering the Grammy award for Best Album and producing the hit single "50 Ways to Leave Your Lover. " The title of the song, as Simon explains, is one that came to him out of nowhere. But another reprise of Simon & Garfunkel "is not what this show is about, " he said. Lieb' und Leid, und Welt, und Traum! "

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The Call of the Wild. Thus the musical unpredictabilities almost subliminally communicate the inner meaning of the text, which is itself hinted at in the double meaning of the title: "You're Kind" also implying "your kind, " i. e., your type of lover who is literally too good to be true. 6 And yet one could also make similar assertions about a number of 19th-century works which are readily accepted as cycles. G., the song cycles of Schubert, Schumann and Mahler—show some sort of coherent compositional plan and correlation between narrative and music. I am going to bring in a review for Still Crazy After All These Years, but I wanted to concentrate on the title track for a moment. I shall then focus on two musical principles—association and pattern completion—that, together with the narrative, contribute to large-scale musical coherence and closure. Nobody Does It Better. 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. "—completely reverse the previous logical progression. In 1970, at about the time he and Garfunkel called it quits, he began evolving from the category called folk-rock, a bag that included their sweetly olde English hit "Scarborough Fair.

The concert is a retrospective of his career, from the simple beginnings to the pulsing South African sounds and rhythms of his 1986 "Graceland" album and the Afro-Brazilian drumming and Antonio Carlos Jobim chord chemistry of his latest, "The Rhythm of the Saints. To review, the narrative songs nos. No information about this song. And, like the first chorus, the progression modulates down a fourth from F to C major. Still Crazy After All These Years has sections analyzed in the following keys: G Major, and E Major. And I watch the cars. Remastered at Sterling Sound and pressed at RTI, these are beautiful pressings with equally pristine covers, also restored to their original colors. The climactic section B2 is meant to sound like the conclusion of the album and in effect represents a first ending. 33 Kofi Agawu notes that the actions in the poem of the protagonist and his lover become progressively more intimate, from the look into her eyes, to the kiss on her mouth, to lying on her breast. Significantly, Side 1 closes with a fable, Side 2 with an epilogue, thereby engendering a sense of formal symmetry. He isn't a big guy and hasn't a big voice, just a light, floating tenor.

But he wasn't crazy about what "Still Crazy" told him about himself. 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. Not that this affects the material. In the middle section, as the wayfarer comes to rest at the lime tree the music turns from C major / minor to F major. 22 Both of these non-narrative songs concern identity: in "Night Game, " the implicit identification of the protagonist with the baseball pitcher who dies before the game is over; in "Some Folks' Lives, " the identification, not with some folks whose lives roll easy, but rather with most folks whose lives do not roll at all.

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And I wasn't very happy that that was my assessment, but I soon turned it into a song. Click on the linked cheat sheets for popular chords, chord progressions, downloadable midi files and more! "Still Crazy, " however, veers back and forth between A major and G major from the introduction to the ending. 1 (Spring 1990): 142-152. 2 Philip Tagg, "Analysing popular music: theory, method and practice, " Popular Music 2: Theory and Method (1982): 19ff. Following the conclusion of the narrative proper in "You're Kind, " the final epilogue-like song, "Silent Eyes, " offers visions of sorrow, hopes of redemption, and the ominous prospect of Judgment Day (Example 6). I take a similar position in speaking of the relative structural subservience of non-narrative songs on the album. When I lie upon your breast / a heavenly happiness comes over me; / but when you say: I love you! Rather, in "Die zwei blauen Augen" the obvious but telling uncertainty of mode until the final chord holds in suspense our emotional response to the cycle. Words & music By Paul Simon 1974.

With a few exceptions (including Robert Gauldin's exemplary analysis of Side Two of the Beatles' "Abbey Road"), current writing on popular music has mainly focused on either general style, socio-cultural issues, or the analysis of individual songs. Nor was he crazy enough to throw it out, and use something less personal. The first pattern spans the first three songs and comprises a descending fifths motion from and back to G, with a strong emphasis on E-A-D-G, first heard in the introduction to the title song; in "50 Ways To Leave Your Lover, " the truncation of this motion to E-G serves as a sort of harmonic summary gesture.

Each additional print is $4. Coming Around Again. 50 Ways To Leave Your Lover. At the concluding words "War alles, alles wieder gut! 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. 6, 8 and 9 comprise a stepwise descent from C major through and A major and on to minor at the beginning of "Silent Eyes. " One Is The Loneliest Number.

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One subject which has received little attention, however, is the presence of large-scale structural principles spanning a whole album or CD. 37 I emphasize that this is only one of many possible interpretations of Dichterliebe as cycle. 35 As we have seen, Simon's "I Do It For Your Love" is strikingly similar in its musical depiction of irony, associating the concluding tonic resolution with the demise of the marriage, and, conversely, the avoidance of tonic with its remembrance. By a jury of my peers. 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. C. On the street last night. This is what AllMusic said when they reviewed the album: "The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon.

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. " Or "An American Tune"? 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. 15 Moreover, by invoking the past, present and future in verses 1, 2 and 4, respectively, the song provides a sort of temporal microcosm for the album. Thursday's show is part of a longer trip, a pause in his marathon "Born at the Right Time" tour of almost 14 months, which includes stops this fall at the Hollywood Bowl and Pacific Amphitheatre in Costa Mesa.

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. First, we may distinguish between a replicated pattern vs. an emergent pattern to be completed. Translation by Philip L. Miller. Wednesday Morning 3 AM. Musically, the harmonic simplicity and driving beat of the chorus of "50 Ways To Leave Your Lover" is taken up by the subsequent narrative songs—i.

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