You can get it if you really want: Lesson 1. Jimmy Cliff (1945-)
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1 You can get it if you really want: Lesson 1 Jimmy Cliff (1945-)
2 Lesson 1 Context & Forces
3 Context & Forces Jamaican-born Jimmy Cliff (born 1948) wrote the track was a hit in 1970
4 Context & Forces Desmond Dekker ( ), who performed You Can Get it if You Really Want, first had a No.1 hit with Israelites in 1969.
5 Context & Forces Rocksteady 1960s music from Jamaica and was an early form of Reggae Rare for non-british/non-american music to appear in the charts during 1960s Similarities between this Rocksteady track with Reggae: Clear backbeat Short repeated patterns based on limited number of chords Lyrics are about a struggle against poverty and oppression (in this track, the lyrics are contradicted by an upbeat, tuneful melody)
6 You can get it if you really want: Lesson 2 Jimmy Cliff (1945-)
7 Lesson 2 Instrumentation & Melody
8 nstrumentation & Influences This track has many other musical and cultural influences, which reflect the richness of Jamaican culture : 1950s Doo Wop (close harmony vocals) remained very popular in Jamaica Cuban & Mexican music high trumpet riffs and brass (brass also used in Reggae) Latin-American reflected in tight rhythmic style Caribbean Calypso semi quaver patterns in guitar part
9 Instrumentation: Guitars & rgan Two guitars do not have prominent roles more subsidiary: ne of the guitars used mainly as a rhythm instrument (picked semi-quaver patterns calypso like) Second guitar chordal support, playing the same as electric organ Electric organ = often used in Jamaican Ska, Rocksteady & Reggae
10 Instrumentation: Bass Guitar Bass Guitar low and prominent in the mix and centred on the root of each chord Bass Guitar end of bar 4 onwards, bass part forms a 4-note riff (changes with the harmony but retains same rhythm and basic character for most of the song) Bass Guitar heavy, steady nature reflects the name given to the style of Rocksteady different to Reggae where the bass is usually syncopated (stresses on 2 nd and 4 th beat) and silent on first beat of bar. Bass Guitar no influence of Reggae
11 Instrumentation: Drums Drums Reggae influence can be felt in the prominent back beat (emphasis on beats 2 and 4) of the drum part Drums most of snare-drum part (apart from a few fills) is played cross-stick Drums are supplemented by fast tambourine pattern (very far back in the mix, not always audible)
12 Melody Lead vocal opens with a hook (set to the title so it s a title hook) The hook is formed by decorating a stepwise descent to the tonic (F, E flat, D flat pitches 3, 2, 1 in D flat major) Since the title hook appears in so many bars, it almost becomes riff-like, as the bass part does. The title hook extends to other pitches but mainly keeps to major pentatonic scale (D flat, E flat, A flat, G flat and B flat)
13 Melody Lead vocal mainly narrow range of a 6 th High falsetto notes create more of an impact in bars 25, 43 and 56 because of the mainly narrow range Backing vocals narrow range as well
14 You can get it if you really want: Lesson 3 Jimmy Cliff (1945-)
15 Lesson 3 Tonality, Harmony & Structure
16 Tonality & Harmony D flat major Harmony based mainly on 2 chords (another Reggae feature) Hypnotic alternations of chords I (D flat) and IV (G flat) Sometimes these two chords are supplemented by additional closely-related chords such as the dominant 7 th (A flat major) near the ends of verses and refrains. Leads nicely into the next section.
17 Tonality & Harmony Harmony is predominantly diatonic However, there are harmonic surprises in the instrumental section unrelated chord of E major (bar 37) Chord of E major is followed by a descent down a whole tone scale in bar 39 (A flat, G flat, E, D). This whole tone scale reappears again at bar 43 but now harmonised by brass section in parallel triads. Brief moments of chromatic colour (use of E natural and C chord leaning up to D flat in he intro)
18 Structure Bars Section Number of Bars 1-3 Introduction Chorus Verse Chorus (repeat) Verse 2 (repeat) Chorus Instrumental Chorus utro (repeat to fade)
19 Structure Verse-chorus form After the intro we hear the chorus (with the title hook) before the first verse Instrumental section instead of a third verse The song ends with a fade out
20 Structure The choruses are built in 2 bar units: Progression IV-V7 heard 3 times in bars 4-9 followed by I-V-IV-V7 (one chord per bar). 10 bar chorus Chorus ends on a dominant 7 th flows nicely into the verses Verses are 2 bars longer than choruses as we hear IV-V7 4 times instead of 3 (like the chorus) and they end with iii-iv-v-v7 Dominant chord at the end of the verse links to next section again as does Dekker s use of falsetto for high D flat in bar 25.
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