Don't Look Back In Anger Flashcards
Features of Britpop.
🔹 4/4 time. 🔹 4 bar phrases. 🔹 Distorted guitars. 🔹 Simple melodies. 🔹 Catchy hooks. 🔹 Riffs. 🔹 Powerchords. 🔹 Fills to highlight ends of phrases (guitars, drums, bass). 🔹 Singing in British accents. 🔹 Simple chord progressions. 🔹 Verse chorus structure. 🔹 Instrumentation - traditional line up - Guitar led, singer, bass, drums, keyboard for Oasis as well. 🔹 Writing own music. 🔹 Playing own instruments. 🔹 Lyrics which refer to 1960s/70s culture and were meant to appeal/be relevant to British Youth - recreating the Kink/ the Beatles. 🔹 'British sound'.
Texture of DLBIA.
🔹 Melody dominated homophony.
🔹 Chordal accompaniments.
🔹 Distortion creates reverbs.
🔹 Low and busy bass part.
🔹 Lots of instruments create a dense wall of sound.
🔹 Guitar licks are added at the end of phrases to add variety to the texture e.g. Bar 10.
🔹 Melody thins at outro, placing emphasis on lyrics.
🔹 Accompaniment provided by guitar, keyboard, baseline, drums and strings during the chorus.
🔹 Powerchords.
🔹 Active rhythms on guitar and keyboard.
Rhythm and Metre of DLBIA.
🔹 Slow tempo.
🔹 4/4.
🔹 Syncopation in the vocal line throughout, e.g. ‘Slip inside’ bar 5 and in chorus e.g. ‘Don’t look back in anger’ bar 30.
🔹 Continuous quavers in the piano part reflect the piano part in John Lennon’s ‘Imagine’ in the intro.
🔹 Tambourine plays continuous semi-quavers.
🔹 Drum fills use sextuplets - bar before 3rd chorus - e.g. end of 52.
🔹 Triplets used in guitar solo during instrumental.
🔹Drums have a continuous 8 beat rhythm from the verse.
Melody of DLBIA.
🔹 Mainly conjunct.
🔹 Occasional use of blues notes, e.g. The E flat on ‘Summertime’ and in guitar solo.
🔹 Title hook - characterised by leaps of 3rds and 4ths - and also ‘and so Sally can wait hook’ - characterised by use of hexatonic notes and an octave jump.
🔹 Melodic repetition, e.g. the title hook reappears in the outro/coda.
🔹 Chorus begins with a distinctive upwards octave leap and is then mainly a descending, conjunct sequence - except for the tittle hook.
🔹 The verse melody is pentatonic (C,D,E,G,A).
🔹 The verse melody has a narrow range of a 6th, G-E.
Vocal Melody of DLBIA.
🔹 Double tracked for a fuller, more distorted sound.
🔹 High tessitura - uses top A many times in title hook and the chorus begins on G.
🔹 Mainly syllabic - except at the ends of phrases e.g. ‘Mind’.
Instrumentation of DLBIA.
🔹 Similar instruments used to that of a Beatles band but with the addition of electronic backing.
🔹 Piano - The opening chords mimic John Lenons Imagine and comprise the only solo piano section of the piece
- plays simple root position chords in quavers and crochets.
🔹 Drum-kit - snare emphasises back beats.
- tambourine plays half way through pre chorus and into chorus.
- Fills lead into chorus and new sections - bar 31.
- drum break at the end of guitar solos - bar 44.
- high hat on every quaver.
🔹 Bass - low tessitura - only plays on bottom 2 strings - E and A.
- Emphasises beats 1 + 3.
- Plays the root of each chord but links into next chord e.g. Bar 22.
🔹 Guitar - fills to link into the chorus and at the ends of phrases.
- bar 53 (last chorus) plays a harmony in the form of a counter melody.
- Guitar licks between vocal phrases - bar 24 - link between pre-chorus and chorus.
- changes timbre.
- high tessitura of over 3 octaves, G - G - A(bar 42) - contrasts with bass.
- ad libs - bar 4.
🔹 Strings - recorded on a mellotron.
Background of DLBIA.
🔹 Oasis was formed by the gallaghers, in Manchester, in 1991.
🔹 Noel was the lead singer.
🔹 They became one of the leading bands in Britpop along with Suede and Blur.
🔹 Oasis were a Britpop band - a band who reacted against the electronic hard rock and distorted sounds of American Grunge by writing music that reflected the British 1960s.
🔹 Britpop was part of ‘alternative rock’ - this is the umbrella term for a genre of music that focuses on the rejection of commercialism of mainstream pop culture.
🔹 DLBIA was released in 1996.
🔹 The 1990s were a time of ‘cool Britannia’ - a period of increased pride in the culture of the United Kingdom throughout most of the 1990s inspired by 1960s pop culture.
🔹 The song was recorded at a slightly high pitch.
Harmony and Tonality of DLBIA.
- C major no modulations - ends on tonic.
- Into - has slow harmonic rhythm - changes chord each bar between I, IV.
- Simple chords used in simple chord progressions.
- The pre-chorus/instrumental uses chromatic chordal movement of F-Fm7 and G-G# dim - these are substitution chords.
- To link into the chorus, the pre-chorus ends with two bars of chord V.
- Chord patterns comprise of 4 bars.
- Verses and chorus are almost completely diatonic - apart for the G# in the E major chord.
- Harmonic rhythm speeds up at the ends of verses - 1 per beat.
- Verses are pentatonic. There is an F sung in the chorus making it hexatonic and there is an E fake sung in the pre chorus and instrumental.
Pattern A of DLBIA.
C G, A E, F G, C Am G - found in verse and chorus -
- This pattern begins like pachelbels canon but uses E instead of Em.
Pattern B of DLBIA.
F Fm7, C, F Fm7, C - found in pre-chorus.
Pattern B1 of DLBIA.
F Fm7, C, G, G#dim.
Pattern C of DLBIA.
Am, F, G, G.
Structure of DLBIA.
🔹 Intro - bars 1-4 - instruments only - pattern B with no Fm7.
🔹 Verse 1 - bars 5-8 - ‘slip inside…mind’ pattern A - bars 9-12 - pattern A.
🔹 Pre-chorus - bars 13-16 - ‘so I’ll start…’ pattern B - bars 17-20 - pattern B1 - bars 21-24 but ends with 2 bars of V.
🔹 Chorus bars 25-28 - ‘and so’ pattern A - bars 29-31 - pattern A.
🔹 Link - bars 32-35 - instrumental only - pattern A.
REPEAT
🔹 Last chorus - bars 53-56 - ‘and so…’ - pattern A - bars - 57-61 - pattern A1 (CG,Am,F,Fm7,Fm7).
🔹 Outro - bars 62-65 - slower tempo - pattern A2 (CG7,AmE,FG#dim,G9,C).
Stylistic features of DLBIA.
🔹 Distortion. 🔹 Verse chorus structure. 🔹 Chromaticism. 🔹 Syncopation. 🔹 Backbeats on snare. 🔹 Powerchords. 🔹 Pentatontic melodic - sometimes hexatonic. 🔹 Melody dominated homophony. 🔹 Slow tempo. 🔹 low, small, high tessitura. 🔹 C major - simple chord progressions - root positions. 🔹 Beatles references. 🔹 Guitar and drum fills. 🔹 Title hooks. 🔹 Tambourine constant quavers. 🔹 Instrumentation. 🔹 4/4 with 4 bar chord patterns - A - CG,AmE,FG,CAmG - B - FFM7,C,FFm7C - B1 - FFM7,C,G,G#dim - C - Am,F,G,G.
