Embed Size (px)
DESCRIPTION
This Dissertation is a study into how simple parts amalgamate to form complexgrooves through the use of rhythmic layer and weave in the dance music of Michael Jacksonfrom 1982-1987.
Citation preview
University of Surrey
Faculty of Arts and Humanities School of Arts
BMus Music (3-year)
HE3 Dissertation C
‘Groove Weaver’
Stuart Mark Saville
May 2012
2
Groove Weaver
Stuart Saville
Abstract
This Dissertation is a study into how simple parts amalgamate to form complex
grooves through the use of rhythmic layer and weave in the dance music of Michael Jackson
from 1982-1987. I have first given a brief background of Jackson, along with some of my
thoughts around the subject in question: his music and its effectiveness. After this I
construct a terminology section, in which the meaning (or my subjective use) of words
which are of high relevance to this study are outlined, namely layer, groove, flow, latency
and weighting. Following this, I provide a brief methodology, so as to demonstrate that
each track has been approached and analysed in a similar manner.
Whilst analysing the chosen tracks I discovered that, with each being distinctly
different, it would be more pertinent to study particular areas in each with more detail. As
such, ‘Wanna Be Startin’ Somethin’’ focuses on examples of Signifyin(g) and African-
American cultural tendencies found in the music. ‘Billie Jean’ looks at how small latency
and weighting variations give a groove its flavour, and the importance of the corresponding
music video. ‘The Way You Make Me Feel’ reveals Jackson as an individual who can
demonstrate both sides of the African individuality and collectivity concept, and sexuality,
within the space of a single song. Finally, ‘Another Part Of Me’ shows the manner in which a
short, repeated groove can maintain interest throughout the length of an entire song.
3
Contents
List of Musical Examples, Figures and Tables ............................................................................ 4
List of Accompanying Recordings .............................................................................................. 5
Introduction ............................................................................................................................... 6
Individual .................................................................................................................................. 10
a. Character ....................................................................................................................... 10
b. Race Issues .................................................................................................................... 11
c. Working Practice ........................................................................................................... 12
Terminology ............................................................................................................................. 15
Methodology ............................................................................................................................ 21
Study 1: ‘Wanna Be Startin’ Somethin’’................................................................................... 23
Study 2: ‘Billie Jean’ ................................................................................................................. 31
Study 3: ‘The Way You Make Me Feel’ .................................................................................... 38
Study 4: ‘Another Part Of Me’ ................................................................................................. 45
Conclusion ................................................................................................................................ 51
Bibliography ............................................................................................................................. 55
Discography .............................................................................................................................. 57
Videography ............................................................................................................................. 57
4
List of Musical Examples, Figures and Tables
Musical Examples
1. Main groove bass layer in ‘Wanna Be Startin’ Somethin’’..........................................24
2. Main groove guitar layer in ‘Wanna Be Startin’ Somethin’’........................................26
3. Chorus guitar-bass-vocals relationship in ‘Wanna Be Startin’ Somethin’’..................28
4. Main groove bass layer in ‘Billie Jean’.........................................................................34
5. Bridge bass layer in ‘Billie Jean’...................................................................................35
6. Verse 1 vocals in ‘Billie Jean’.......................................................................................35
7. Chorus vocals in ‘Billie Jean’........................................................................................36
8. Main groove bass layer in ‘The Way You Make Me Feel’............................................40
9. Verse 1 vocals in ‘The Way You Make Me Feel’..........................................................42
10. Verse 1 vocals in ‘Another Part of Me’........................................................................49
Figures
1. Terminology relationships...........................................................................................18
2. Groove analogy...........................................................................................................19
Tables
1. Track listing...................................................................................................................8
2. Form of ‘Wanna Be Startin’ Something’’.....................................................................23
3. Instrumentation in ‘Wanna Be Startin’ Somethin’’.....................................................23
4. Main Groove TUBS in ‘Wanna Be Startin’ Somethin’’.................................................24
5. Chorus instrumental variation in ‘Wanna Be Startin’ Somethin’’...............................25
6. Verse 1 instrumental variation in ‘Wanna Be Startin’ Somethin’’..............................26
7. Chorus TUBS in ‘Wanna Be Startin’ Somethin’’...........................................................26
8. Form of ‘Billie Jean’.....................................................................................................31
9. Instrumentation in ‘Billie Jean’....................................................................................31
10. Main groove TUBS in ‘Bille Jean’.................................................................................32
11. Form of ‘The Way You Make Me Feel’........................................................................38
12. Instrumentation in ‘The Way You Make Me Feel’.......................................................38
13. Main groove TUBS in ‘The Way You Make Me Feel’...................................................39
14. Form of ‘Another Part of Me’......................................................................................45
15. Instrumentation in ‘Another Part of Me’....................................................................46
16. Main groove TUBS in ‘Another Part of Me’.................................................................46
5
List of Accompanying Recordings
1. ‘Wanna Be Startin’ Somethin’’
2. ‘Wanna Be Startin’ Somethin’’ main groove half speed
3. ‘Billie Jean’
4. ‘Billie Jean’ main groove half speed
5. ‘The Way You Make Me Feel’
6. ‘The Way You Make Me Feel’ main groove half speed
7. ‘Another Part Of Me’
8. ‘Another Part Of Me’ main groove half speed
6
Introduction
“Music is tapestry,” he explained, “It’s different layers, it’s weaving in and out, and if you
look at it in layers, you understand it better.” (Michael Jackson)1
Michael Jackson (1958-2009): global superstar, mass media victim, misunderstood
phenomenon. Upon starting this project I found it quite bizarre that Jackson, a hugely
popular and successful artist, had relatively little scholarly study done on his music; in fact it
was practically non-existent. Why was this? I suggest two reasons: firstly, due to the
high/low art divide which exists amongst classical and popular idioms extensive study of
many deserving popular music artists is often neglected. Secondly, I feel the habitual
listening tendencies of the average popular music consumer2 has facilitated a veil of
ambiguity over this vast art form: people know what music they like, but they don’t know
what it is about it that makes it effective and appealing to them. It is as Negus writes: ‘Such
listening was not because of the inherent stupidity of listeners but due to the way in which
the recording and publishing industries had promoted standardized, repetitive music: songs
that encouraged audiences to make no effort when listening to music. Adorno (1976)
referred to the very successful category of ‘easy listening’, arguing that this was clear
evidence that music was deliberately being created to encourage distracted audience
activity. He asserted that such sounds were made up of the most familiar harmonies,
rhythms and melodies that had a ‘soporific’ effect on social consciousness.’3
While conducting my research, one monumental realisation occurred to me: the
record industry is the undisputed master of developing music which will attract, and profit
1 [Vogel 2011: 11]
2 ‘Following empirical studies of children and young people (a broad age group between 3 and 24 years old)
Celia von Feilitzen and Keith Roe found that, ‘depending on age, 75-90 per cent of all music listening occurs in connection with some other parallel’’ [Negus 1996: 28] 3 [Negus 1996: 10]
7
from, as many people as possible. The development of this industry could even be viewed
in a teleological manner – the marketing (be it in the use of a ‘star commodity’ or otherwise),
and general understanding of consumers has led to formulaic ‘recipes’ for success. Again, to
quote Negus ‘From the ‘plan’ to the details, songs were based around the repetition of 32-
bar sequences, regularly recurring refrains, choruses and ‘hooks’ – another term indicative
of the industry’s intentions of angling to hook the listener. This was done for quite explicitly
commercial reasons, so that the song would imprint itself on the mind of the listener and
then be purchased in its commodity form.’4
As such, there must be something fundamentally appealing about the music
produced. This can be facilitated in many ways; although without trying to make crass
generalisations, I believe there is an overarching relationship between an underlying
primitive attraction5, and the ‘popular music’6 association which overshadows it. This would
be represented in core parameters of music, such as, rhythm, melody or harmony.
I believe there is one striking foundation for the mass appeal, and inherent genius, of
Michael Jackson’s music: his mastery of grooves. By this I mean how individual lines
combine to produce greater things: very much a case of collective simplicity producing
complexity7. The importance of this foundation cannot be emphasised enough; it gives rise
to the structural, melodic and harmonic framework within the music. Furthermore, this
foundation is especially important within popular music – memorable melodies and hooks
can be delivered inside or outside of a groove to different effect.
4 [Negus 1996: 37]
5 By which I mean a component of the music which is appealing to homo sapien.
6 ‘Used as an adjective, ‘popular’ indicates that something – a person, a product, a practice, or a belief – is
commonly liked of by a large audience or the general public.’ [Shuker 1994: 3] 7 Refer to Terminology
8
An essential point to note is, while Michael is credited as the composer, there must
be a certain amount of contribution from the producer and perhaps session musicians used
in each recording (although it is impossible to ascertain the exact amount). Collaboration
relates specifically to the concept of collective individuality which is integral to much African
American music. This is quite well explained in Tim Hughes’ Groove and Flow: the
relationship between the individual and collective voice is mutually interactive towards
producing ‘spontaneous individual expression, manifested through improvisation’8. How
much so has Jackson’s music followed this protocol; or how much so has this been
neglected by the demands of commerciality? Hopefully this will be revealed.
The tracks I have chosen to study in detail are outlined in table 1 below. These
tracks were chosen from Jackson’s entire studio album recordings, using a survey which
considered many of the parameters outlined in Terminology. I considered it important to
only use tracks in which Jackson is credited as the composer9 (this excludes many major hits,
such as, ‘Burn This Disco Out’ and ‘Thriller’.
I have chosen to use the studio recordings, rather than live material, because they
exist as the most consistent artefact of Jackson’s work. It is fundamentally important –
especially when working with such precise grooves – to seek the most reliable source of
8 [Hughes 2003: 3]
9 Track credits and personal taken from [Vogel 2011]
Track Album Year Video
Wanna Be Startin’ Somethin’ Thriller 1982 No
Billie Jean Thriller 1982 Yes
The Way You Make Me Feel Bad 1987 Yes
Another Part Of Me Bad 1987 No
Table 1
9
what the artist wants his work to be represented from. Other key sources which I cannot
avoid are the corresponding music videos for certain tracks, and the associations with dance.
In this study I want to – as far as possible – avoid becoming overly bogged down in
the controversial occurrences in Michael’s personal life, which so often became the focal
point of him as an individual. While my focus is Michael Jackson the artist, I expect Michael
Jackson the man may unavoidably become drawn into the study. It is actually relative to
what Sullivan writes of Beethoven: ‘Beethoven the man and Beethoven the composer are
not two unconnected entities, and the unknown history of the man may be used to throw
light upon the character of his music.’10 Indeed a biographical consideration of any artist can
reveal volumes about their music at specific stages of their life.
10
[Sullivan 1964: 9]
10
Individual
a. Character
It is nigh impossible to make accurate assertions about an individual as sophisticated as
Michael Jackson. Kobena Mercer describes the situation quite well: ‘Neither child nor man,
not clearly either black or white and with an androgynous image that is neither masculine
nor feminine, Jackson’s star image is a ‘social hieroglyph’, as Marx said of the commodity
form which demands, yet defies, decoding.’11 Although, is Jackson’s image a product of
stardom (a concept of huge economic worth to the industry12), or is it more grounded on
the insecurities developed as a consequence of the culture and society in which he existed?
I would suggest a combination of the two.
Jackson was a natural performer – having been surrounded with music in his family
from a very young age – something that was cultured in his work as part of the Jackson 5.
Equally important to Michael was dancing, as is reflected in Vogel’s Man in the Music, for
example, ‘Jackson’s body was his most instinctual canvas. He was a dancer to the core. He
danced in private as a form of exercise and release. He danced while recording in the studio.
On stage, his body seemed to become possessed by the music. “I am a slave to the rhythm,”
he explained. “I am a palette. I just go with the moment. You’ve got to do it that way
because if you’re thinking, you’re dead. Performing is not about thinking; it’s about
feeling.”13
Another hugely important influence towards Jackson’s music was the social and political
environment of America throughout his upbringing. The 1960s-80s offered hugely
11
[Frith 1993: 95] 12
[Goodwin : 103] 13
[Vogel 2011: 2]
11
important events, however the most defining for a young African-American would have
been the events surrounding race issues; such as the African-American Civil Rights
Movement, and Black Power Movement. The experience is hard for us to grasp, with it now
being an historical artefact, and the socio-political delivery of a musical text and its
perceived reception changes even on a daily basis.14
b. Race Issues
So, all things considered, can Jackson’s music be considered black, white, or does it
abide within both territories? Like most African-American music, it can be seen to have
inherited characteristics from both European and African traditions. Some key black
elements are outlined by Frith: ‘black music is a performance music rather than composition
music...[it] is based on the immediate effects of melody and rhythm rather than on the
linear development of theme and harmony... it is improvised – spontaneously composed...
the value of black music derives from its emotional impact... black music is immediate and
democratic – a performance is unique and listeners of that performance become part of it...
– the qualities that are valued in spontaneous music making are emotional rather than
technical...’15 Jackson definitely qualifies with most of these elements, firstly, his love of
performance should be addressed – as Anthony DeCurtis explains: ‘Like everyone who paid
close attention to Jackson, I, of course, understood how he experienced the stage as the
place of his most profound happiness.’16
The hugely expressive, dynamic performances Jackson offered to fans were one of the
factors which made him so popular. Michael acknowledged one main idol, James Brown,
whose performance practice he extensively studied, even learning the dance moves,
14
[Hawkins 2002: 26] 15
[Negus 1996: 101] 16
[Vogel 2011: xiii]
12
routines and vocalizations that Brown was made famous for17. As outlined above, other
black performance elements such as immediacy, spontaneity, uniqueness and audience
engagement are all relevant, especially reflected in his own vocalizations: ‘Indeed, even in
his vocalizing, part of Jackson’s distinctive style is his ability to convey emotion without the
use of language: there are his trademark gulps, grunts, gasps, cries, and exclamations; he
also frequently scats or twists and contorts words until they are barely decipherable. The
idea is to make the audience “feel the song as sense of impression, rather than focusing
entirely on the words.’18 Jackson was quite unique as an artist; in respect that his music was
often heavily produced (something which you would associate with a focus towards
compositional elements), yet there was always a strong performance based nature to it.
I would suggest that music from an African-American tradition would not be complete
without some level of Signifyin(g) within it. In his study I hope to briefly explore how
Signifyin(g) may be represented in Michael Jackson’s music, as it can reveal much on the
reality and intention of a musical text – ‘For in Signifyin(g), the emphasis is on the signifier,
not the signified. In African-American music, musical figures Signify by commenting on
other musical figures, on themselves, on performances of other music, on other
performances of the same piece, and on completely new works of music.’19
c. Working Practice
At this point it is also worth mentioning that, as an artist, Jackson had a highly intricate
attention to detail, as is demonstrated in the documentary This is it (2009), in which he is
rehearsing for a performance of ‘The Way You Make Me Feel’. During the practice, Michael
appears unhappy with the way keyboard player Michael Bearden is playing, requesting him
17
[Vogel 2011: 2] 18
[Vogel 2011: 9] 19
[Floyd 1995: 95]
13
to play with more drag, behind the beat.20 This level to detail is in indeed quite extreme:
‘However, Bearden stabs the third chord of bar 3 playfully, and remarkably, late (13%
latency, around 90ms), which causes Jackson to share a laugh with him…’21 From such an
observation, we can only expect for Jackson to have given his studio albums an
unscrupulous consideration for detail, making them all the more worthwhile for study.
Another highly relevant topic to consider is the way in which Michael Jackson composed
his music. Some writers have commented on the way in which Jackson considered his music
to be pre-existing, and that he simply acted as a “courier” to bring it into this world.22
Evidence for this ‘external pool’ of music is further reinforced by Jackson’s own writing:
‘People ask me how I make music. I tell them I just step into it. It’s like stepping into a river
and joining the flow. Every moment in the river has its song. So, I stay in the moment and
listen. What I hear is never the same. A walk through the woods brings a light, crackling
song: leaves rustle in the wind, birds chatter and squirrels scold, twigs crunch underfoot,
and the beat of my heart holds it all together. When you join the flow, the music is inside
and outside, and both are the same. As long as I can listen to the moment, I’ll always have
music.’23
One essential point to make here is that, as a product of the recording industry, one
would expect producers to be heavily involved in determining the direction and decisions
made throughout the production process, in order to make albums as commercially viable
as possible. Background reading has suggested that this is not always the case with Jackson.
In fact, he seems to be very much in charge –
20
[Mermikides 2010: 134] 21
[Mermikides 2010: 137] 22
[Vogel 2011: 1] 23
[Jackson 1992: 70]
14
‘While he didn’t read music or play instruments proficiently, he could vocally convey
the arrangement, rhythm, tempo, and melody of a track, including nearly every
instrument. “He starts with an entire sound and song,” explains producer Bill Bottrell.
Usually he doesn’t start with lyrics, but he heard he whole arrangement of the song
in his head… He hums things. He can convey it with his voice like nobody. Not just
singing the song’s lyrics, but he can convey a feeling in a drum part or a synthesizer
part. He’s really good at conveying those things.” Often Jackson would vocalize a
new song into a tape recorder until he could get to a studio; other times he would call
a musician or producer and dictate to him or her directly. “One morning [Michael]
came in with a new song he had written overnight,” recalls assistant engineer Rob
Hoffman. “We called in a guitar player, and Michael sang every note of every chord
to him. ‘Here’s the first chord, first note, second note, third note. Here’s the second
chord, first note, second note, third note,’ etc. We then witnessed him giving the
most heartfelt and profound vocal performance, live in the control room through an
SM57. He would sing us an entire string arrangement, every part. Steve Porcaro
once told me he witnessed [Jackson] doing that with the string section in the room.
He had it all in his head, harmony and everything. Not just little eight bar loop ideas.
He would actually sing the entire arrangement into a microcassette recorder
complete with stops and fills.”24
24
[Vogel 2011: 11]
15
Terminology
The concept of rhythm underpins much of the content of this dissertation, so it
would make sense to first offer a description of this musical parameter. I am particularly
fond of the definition Cooper and Meyer offer:
‘Rhythm may be defined as the way in which one or more unaccented beats are
grouped in relation to an accented one.’25
There are a host of other terms which I will relate to within this study, namely:
Layer
The concept of layer can be approached from several directions. For example, from
a Schenkerian perspective a layer is ‘one of a set of polyphonic representations of a piece or
movement in which only some of the piece's harmonic and contrapuntal content is given’26.
While this is still relevant, it is more concerned with structure in terms of background,
middleground and foreground. I am however more concerned with the generative process
in which individual lines are combined and developed into fully fledged grooves. A layer is
an individual part, line, ostinato or riff which combines to produce something greater.
Moore defines layers based on the function they fulfil; he suggests popular songs can
be broken down into four constituents: the explicit beat layer, functional bass layer, melodic
layer and harmonic filler layer27. I would normally adopt such an approach but, given my
focus on rhythm and grooves, I thought it would be more appropriate to consider layers on
an individual instrument basis. On this level it is essential to consider where the
25
[Cooper and Meyer 1960: 6] 26
[Drabkin 2011: par.1] 27
[Moore 2010: 18-19] pre-publication copy
16
fundamental beats lies, so that a pulse28 and then meter29 can be determined. This basis
will allow an appreciation for any polyrhythms which are acting between parts when weave
is considered.
Weave
To me, weave is more of a process than a construct. It is the manner in which
individual layers interact to form grooves. A fundamental distinction should be made here:
is it of concern when a layer is not weaving, so that it is synchronized or in rhythmic unison
with another layer? I would suggest that at such a time, while the layer is not distinct in
itself, through merging with another layer a contribution is still made to the overall groove
as it is reinforced. This can give rise to tension through textural variety. Fundamentally ‘The
interweaving of diverse and multiple rhythms is coherent only when one actively
participates by finding and maintaining a point of reference from which to perceive the
conflicting rhythms as an ensemble.’30
Groove
The origin of ‘groove’ is in African American music, particularly in the Funk
movement spearheaded by James Brown during the 60s and 70s. Groove has a repetitive
nature, just as David Brackett writes in his article James Brown’s ‘Superbad’ and the Double-
Voiced Utterance’: ‘Where the European listener may hear monotonous beating, the African
distinguishes subtle polyrhythmic interplay, tonal distinctions among the various drums, the
virtuosity of the master drummer, and so on.’31 Perhaps the best precise definition of
28
‘A pulse is one of a series of regularly recurring, precisely equivalent stimuli.’ *Cooper and Meyer 1960: 3+ 29
‘Meter is the measurement of the number of pulses made between more or less regularly recurring accents...Beats which are accented are called “strong”; those which are unaccented are called “weak”.’ [Cooper and Meyer 1960: 4] 30
[Chernoff 1979: 117] 31
[Middleton 2000: 122]
17
groove I have encountered is from Mark Spicer: ‘the complex tapestry of riffs—usually
played by the drums, bass, rhythm guitar and/or keyboard in some combination—that work
together to create the distinctive harmonic/rhythmic backdrop which identifies a song.’32
It is important to note that groove is a product of many musical constituents – not
just rhythm – my emphasis is given to rhythm as I believe it is the most primal, yet defining
parameter to consider, as is testified by Cooper and Meyer: ‘To study rhythm is to study all
of music. Rhythm both organizes, and is itself organized by, all the elements which create
and shape musical processes.’33 One must also consider other relative parameters – be it
the pitch, melody, or harmony of the functional layers. To study a groove in more finite
detail requires secondary constituents to be implored, namely: latency, weighting and
polyrhythms.
Another consideration to make is that a groove is repetitive in its very nature; it must
have a specified start and end point. The way in which the cyclical transition is approached
and executed leads to different categories of grooves, such as autotelic, which Hughes
describes quite effectively: ‘Like any successful autotelic groove, it includes three important
characteristics: it creates a sense of stability or continuity, it creates a sense of forward
motion through time, and it has a self generating mechanism.’34 Repetitions of a groove
spread through time to produce flow. While I consider lead vocals to be a layer, I do not
treat them as part of the groove: instead more of a distinct layer which weaves with it.
32
[Spicer 2001: 10] 33
[Cooper and Meyer 1960: 1] 34
[Hughes 2003: 75]
18
Spread
Another process, spread, is the way in which a groove travels through a piece. The
manner in which a groove spreads lends itself to different types of flow, although this
concept is largely outside the scope of this project.
Flow
Flow considers a more macroscopic view of a groove – how does a groove repeat to
produce a sense of form, and even motion, in a song? It is as Tim Hughes writes ‘The
product of a repeated groove is flow, a sense of forward motion’35 As such, the terminology
outlined in the previous paragraphs is all interrelated, as is shown in figure 1 below.
This could be analogized with the process of taking drops of paint, mixing them up,
making a blend, painting, and then producing a work of art – see figure 2 overleaf36.
35
[Hughes 2003: 16] 36
Features internet sensation Nyan Cat http://www.youtube.com/watch?v=QH2-TGUlwu4
Layer > Groove > Flow
(Weave) (Spread)
Microscopic Macroscopic
Figure 1
19
Another key point to mention is the ‘fragile’ nature of this collective whole. Subtle
variations in something, even as innocuous as tempo, can have drastic consequences on the
overall feel of the flow. This is further established in Mermikides’ concept of time-feel, in
which he explores how micro timing variation is produced in jazz through the combination
of the individual components swing, latency and weighting, and how this can result in a
different overall feel.37
On the subject of feel I think it is pertinent to elaborate on the principle that it is
indeed a futile endeavour to attempt to relate one’s own relative impression to someone
else. It is a highly subjective, personal sentiment to explore: being largely based on our own
37
[Mermikides 2010: 89]
Figure 2
20
emotive associations and experiences. Indeed our own listening experience is relative to
temporal things: music source, room acoustics, personal hearing, personal mood etc. All of
these factors could have perceived effect on the reception of the groove, or any other
qualitative component of the music. As such, while I will describe the changes in groove, I
will try to avoid an overtly emotively influenced narrative.
Latency
Latency is a term defined quite effectively by Milton Mermikides: ‘In contrast to
swing, defined here as the offset of the offbeat in an individual’s performance, latency is
concerned with performance in relation to another time reference, be it an ensemble, a
click or a pre-established sense of groove in a solo performance. In other words, latency is
defined as the placement of the performer’s crotchet (onbeat) against a negotiated time-
line…’38
Weighting
I consider weighting to be comprised of both the immediacy of the attack, and the
dynamic with which it is executed. It is also worthy to consider how the weighting of notes
is distributed amongst the groove and also on a finer level within the individual phrases of
layers. In fact, the weighting of the note or phrase in question may reveal much of the
music if it is in contrast to the surrounding weightings it is embedded within (in terms of
both time-linage, and immobilised layer-depth).
38
[Mermikides 2010: 94]
21
Methodology
I should first outline that the tracks I have chosen are quite different beasts, and
each demands to be studied in a slightly different way. That being said, I will try to
systematically approach each in the following manner:
1. Outline the overall form.
2. Outline the instrumentation and its variation.
3. Outline the main groove layers.
4. Consider the weave of the layers.
5. Consider the resulting groove.
6. Relate the vocal weave.
7. Examine the development of the groove and the overall flow.
Note that point 4 must involve consideration for the space/density and
unison/contrast that combined layers produce. This also amounts to an appreciation for
how different layers demand different amounts of attention for many different subjective
reasons.
In terms of notation, I will generally stick to the proven system of conventional
western notation. I should also make it clear that this is not a transcription exercise: I will
only notate what is important relative to the sections I consider to be of interest. In some
situations I will utilize the Time Unit Box System (TUBS), as this provides an effective means
to visualize the combination of the rhythms of different layers. It should be noted that
notation has absolute limitations: music is ephemeral; music is situational; music is an
artefact. Arom consolidates this ideology: ‘Whether it be language or music, writing is
22
responsible for immobilising reality in a univocal way.’39 To exaggerate this notion, one
could recall the famous saying “Writing about music is like dancing about architecture”
which has been attributed to many artists. In many ways I feel that popular musicology is
comparable to dissecting a corpse40.
On the subject of temporality, I should touch on the fact that music is heard in
different environments and used for different situations. This can encompass anything:
from being in the crowd at a huge rock concert, to listening on a Walkman while driving, to
being subjected to music while shopping at a supermarket41. Music is everywhere.
39
[Arom 1991: 170] 40
In that you are trying to analyse a once living thing, although I have no experience of corpse-dissection. 41
[Negus 1996: 7]
23
Study 1: ‘Wanna Be Startin’ Somethin’’
Produced by Michael Jackson and Quincy Jones bpm: 122
This first track has an underlying intimidating – almost threatening – vibe to it. It is
packed with attitude which is directed towards the listener, as if Jackson is challenging you.
Vogel describes it as a ‘timeless dance hit, a psychological confession, an unflinching social
critique, “a subtle black-pride anthem,” and an ecstatic spiritual breakthrough.’42
Essentially the song is built from a relentless main groove, which plays throughout
(except for part of the closing vamp), and then the vocal and instrumental forces which
occur intermittently to provide variation and create form. On the grounds of repetition, this
whole track raises the argument of how many repetitions are too many? In this situation
there appears to be no limit.
Form
Instrumentation
42
[Vogel 2011: 80]
Section Intro Chorus V1 Chorus V2 Chorus Interlude V3 Chorus Interlude V4 Chorus V5 Vamp
Length (bars)
12 12 8 12 8 12 12 8 12 20 8 12 8 40
Table 2
Component Instrumentation
Main Groove Kick Snare/ claps
High Hat
Shaker Bass
Variation Guitar Keys Backing Vocals
Trumpet
Table 3
24
The main groove is a one bar cycle, and can be outlined as follows (note diagram
represents strike of transients, not duration) –
As the diagram represents, the pulse is maintained by the snare, not the kick.
Instead the kick closely mirrors the rhythm of the bass line, which, while not uncommon, is
irregular with such a syncopated line. Already on such a primary level we see how weave is
incorporated: notice how the bass and kick leave space around the snare, so as not to
muddy the pulse keeper.
The layer provided by the bass can be notated as –
Interestingly it starts on beat 4.4.3. Starting the cycle at the end of the bar means
the groove is resurrected each time, preventing a resolution.
At this point it is worthy to mention the combination of electronic and acoustic
sounds in this track, and in particular, how they contribute to and affect the main groove.
Essentially electronic drum sounds are used for: the kick, snare, high hat and clap sounds.
This has far reaching consequences, as – despite being a multi-tracked, individually recorded
43
Up-down motion of shaker gives semiquaver feel.
Beat
1 2 3 4
Laye
r
Kick x x x x x x x Snare x x H. H. x x x x Shaker
43 x x x x x x x x x x x x x x x x
Bass x x x x x x x x
Table 4
Example 1
25
piece – using sequenced sounds in the rhythm section provides a very rigid, “robotic” basis
to expand on. When a live drummer is removed from the equation, micro-timing variation
and human error is eliminated, sometimes attributing to a soulless vibe to the music.
However, I feel this is not the case in ‘Wanna Be Startin’ Somethin’’; it is a collision of
acoustic and electronic worlds which is crammed with soul, mostly from Jackson’s vocals.
This belief is supported in Kobena Mercer’s writings ‘Undoubtedly, it is the voice which lies
at the heart of his appeal. Rooted in the Afro-American tradition of ‘soul’, Jackson’s vocal
performance is characterized be breathy gasps, squeaks, sensual sighs and other wordless
sounds which have become his stylistic signature.’44
In this track it is important to note that, due to the continuous groove, structural
progression is largely defined through changes in instrumentation. Tables 6 and 7 provide
an overview of the bars in the first chorus and verse and distinguish where individual layers
feature. This is the general structure for these sections, although later recurrences have
slight variations.
Verse Bar
1 2 3 4 5 6 7 8
Laye
r
L. Vocals x x x x x x x x B. Vocals x x x x Guitar x x x x Keys x x x x Trumpets
Table 5
44
[Frith 1993: 93]
26
To further this we must first explore how the guitar and keyboard layers weave in
and further build the groove, here taken from the chorus –
Firstly it must be said that nothing particularly drastic happens in the keyboard; just
a two bar cycle between the chords | D | E |.
However, the guitar layer consists of two separate parts (distinguished by tone and
stereo panning45) which function more rhythmically, than harmonically or melodically, and
operate in a call and response fashion.
45
Guitar A is further left in the stereo field, whereas guitar B is more central.
Chorus Bar
1 2 3 4 5 6 7 8 9 10 11 12 La
yer
L. Vocals x x x x x x x x x x x x B. Vocals x x x x x x x x x x x x Guitar x x x x x x x x Keys x x x x x x x x Trumpets x x
Table 6
Beat
1 2 3 4
Laye
r
Kick x x x x x x x Snare x x H. H. x x x x Shaker x x x x x x x x x x x x x x x x Bass x x x x x x x x Keys x Guitar A x x x x Guitar B x x x x x
Table 7
Example 2
27
As can be seen, the guitar parts further establish the rhythmic layer first offered by
the kick drum and bass. To give a layer emphasis from such a wide sonic spectrum of
instruments must give it high importance. If not already apparent, this is because this
rhythm spells out parts of the lyric ‘I said you wanna’ be startin’ somethin’, you gotta be
startin’ somethin’’; it is as if the instruments are ‘speaking’ this lyric to us. This having been
said, it must be noted that there is a slight difference in guitar B: another rhythmic layer is
weaved into the mix, although I still feel it ‘speaks’ words. Furthermore, there is a definite
relationship between the guitars, bass and corresponding vocal lyrics in the chorus, as
example 3 overleaf represents.
28
Example 3
29
As can be seen, the guitars only come in after Michael has stopped singing the first
lyrical section (which spans 4 bars). It is as if the guitars have entered solely to reinforce the
presence of this phrase for the remainder of the chorus.
Vocal Weave
In the chorus we also see Jackson’s variation in weaving his vocal line in and out of
the groove (but which I mean his adherence to the main rhythms established in the
underlying layers); most notably as the lyrics move to the line ‘it’s too high to get over’. This
line marks a transition as Jackson now mostly sings outside the groove rhythms, while the
interspersed backing vocals still maintain the ‘somethin’’ rhythm, but sing ‘yeah yeah’
instead.
In many ways this track is an African American thoroughbred. Throughout we see
numerous examples of the heritage of black music it follows, with characteristics drawn
from the ‘shout ring’ tradition, dating back to times of slavery. Some of these characteristics
are listed by Floyd46:
‘This concern for the continuum recalls Wilson’s formulation. In examining products and
derivatives of the ring, he observed that six tendencies prevail in all African-American music:
1. The approach of the organization of rhythm is based on the principle of rhythmic and
implied metrical contrast. There is a tendency to create musical structures in which
rhythmic clash or disagreement of accents is the ideal; cross-rhythm and metrical
ambiguity are the accepted and expected norms.
2. There is a tendency to approach the singing or playing of any instrument in a
percussive manner, in which qualitative stress accents are frequently used.
46
[Floyd 1995: 262]
30
3. There is a tendency to create musical forms in which antiphonal or call-and-response
musical structures abound. These antiphonal structures frequently exist
simultaneously on a number of different architectonic levels.
4. There is a tendency to create a high density of musical events within a relatively
short musical time frame, or to fill up all the musical space.
5. There is a common approach to music making in which a kaleidoscopic range of
dramatically contrasting qualities of sound (timbre) in both vocal and instrumental
music is sought after. This explains the common use of a broad continuum of vocal
sounds from speech to song. I refer to this tendency as “the heterogeneous sound
tendency.”
6. There is a tendency to incorporate physical body motion as an integral part of the
music-making process (Wilson 1983, 3).’
From this list points 2, 3 and 4 are particularly relevant for this song. Point 3 (call
and response) is not just seen in the instrumental relationships; it features throughout in
the lead and backing vocal lines, particularly prevalent in the chorus (see transcription).
Another example of the African-American basis of this track is seen in the use of black
vernacular – as seen in the title/main theme ‘Wanna Be Startin’ Somethin’’. This reinforces
the black empowerment ideology which Jackson has tapped into. All of these factors can be
seen as Signifyin(g) tropes; something which recalls the ‘cultural memory’ of the African-
American experience, and relates it to the modern day situation individuals can directly
relate to47.
47
[Frith, Straw and Street 2001: 262]
31
Study 2: ‘Billie Jean’
Producers: Michael Jackson and Quincy Jones bpm: 117
Many consider Billie Jean, a pop-infused wild ride of a dance track, to be Michael
Jackson’s masterwork. In fact Vogel goes even further to say it defines Jackson as an artist
‘With its instantly identifiable bass line and dark, mysterious narrative, it contains all the
fascinating tensions and paradoxes of its creator.’48 The lyrics tell a story of Jackson being
accused of fathering the son of a fictional fan called ‘Billie Jean’, an accusation which he in
turn denies.
Form
Instrumentation
Compared to ‘Wanna Be Startin’ Somethin’’, there is a much more rigid, ‘blocky’ feel
to the groove and subsequent flow. At first this seems contrary to expectations, given that
‘Billie Jean’ uses acoustic drums, rather than an electronic drum machine. However
considering it was recorded in an industry renowned studio, to a click track, by a
professional drummer, the issue is somewhat negated. Besides, a groove’s feel should
48
[Vogel 2011: 85]
Section Intro V1 V2 Bridge Chorus V3 V4 Bridge Chorus Interlude Chorus Outro
Length (bars)
14 12 8 8 12 12 8 8 20 12 12 16
Table 8
Component Instrumentation
Main Groove Kick Snare High Hat Shaker Bass Strings
Variation Guitar Synth Trumpet Toms
Table 9
32
always be attributed to the weave of the individual layers, rather than the means of their
generation. Here this is primarily established in the drums with a more traditional kick and
snare relationship49. This groove, as outlined below, features in the intro, verse and chorus.
More specifically, the factors which combine to give this groove its trademark soul
are not as immediately obvious: one must listen closely to both the micro timings and
weightings of certain notes.
We can see from table 11 that there exists a relationship between the steadiness felt
in the kick, snare, high hat and shaker; and an instability felt in the bass and string layers.
Firstly, the bass demonstrates this with the use of weighting. Emphasis is given to beats 1.1
and 2.3, as the red crosses illustrate. These beats are reinforced more so by the addition of
the string part, which only plays on these beats. Furthermore, close listening at half speed
reveals there is a slight trailing behind the 2.3 beat, marked with * (although this is a relative
feeling and could in fact be down to the mechanical nature of the instruments: the
perceived immediacy of a plucked bass string, compared to the more gradual build of
bowing). Regardless, the resulting effect here could be described as a ‘ghostly trail’; the
string layer is quite independent, particularly because of how it ‘creeps’ after the beat.
49
Kick on 1 & 3, snare on 2 & 4.
Beat
1 2 3 4
Laye
r
Kick x x Snare x x H. H. x x x x x x x x Shaker x x x x x x x x Bass x x x x x x x x Strings x x*
Table 10
33
Building on this observation, I would suggest that the strings actually personify the
mythical ‘Billie Jean’ character, or her accusations. It is as if the strings are chasing after
Jackson as he sings:
Billie Jean is not my lover,
She's just a girl who claims that I am the one,
But the kid is not my son,
She says I am the one,
But the kid is not my son.
The string layer is also absent in the first bridge section. This further supports my
theory of personification, given that there is a more reflective stance in the lyrics which
neglects the ‘Billie Jean’ character.
Another way in which the strings are critical is how they add a sense of harmony.
The harmonic palette consists of four chords throughout (except for the bridge sections),
with the rhythms as in table 11 previously. Here the first verse structure is exemplified-
| F#min G#min | Amaj G#min | F#min G#min | Amaj G#min |
| Bmin Bmin | Bmin Bmin |F#min G#min | Amaj G#min |
|Bmin Bmin | Bmin Bmin | F#min G#min | Amaj G#min |
Although the harmony would not imply it, this definitely has some structural basis
derived from the 12 bar blues.
To look at the aforementioned bass line in more detail requires transcription, here
again from the first verse –
34
This visualization reveals how highly effective it really is. The undulating, oscillating
motion really adds a sense of movement to the overall groove; something which is mainly
achieved through the intervallic cadences at the beginning and end. Moving from scale
degrees i - v at the start is imperfect, whereas the v - i jump at the end is perfect. Such a
quick serious of events leaves the listener unable to expect an approaching resolution,
instead a continuous flow is created from the groove which becomes quite absorbing.
Note also the variation in bars 5, 6, 9 and 11, the sustained fourth note creates a
momentary lapse in the groove, resulting in a bigger emphasis placed on the corresponding
string part.
The fact that this layer of the groove is so fundamentally important to the overall
flow is shown each time the track progresses to the bridge section, and the bass line
changes. Although the tempo remains constant, the energy dissipates from the groove
without the main bass line, resulting in the perception of a lower tempo for this duration.
The absence of the bass is actually quite carefully considered: it offers a ‘calm before the
storm’, or in other words, a brief respite before the chorus starts. The change in the bass
layer is shown in example 5 –
Example 4
35
Vocal Weave
The vocal weave is of upmost importance in this song as it is one of the main
distinguishing factors between the verse and chorus. To demonstrate, below are
transcriptions of the vocals from the first verse and chorus –
Verse 1
Example 5
Example 6
36
Chorus
*note: Jackson multi tracks the vocals in the chorus which creates background harmonies on
occasion. Just the main melody is notated here.
As these transcriptions show, both sections consist of five phrases which are also of
similar location and length. Furthermore, neither weaves into the groove particularly well,
and tend to function distinctly as unique rhythmic layers of their own. Despite this, there is
a definite contrast in vocal weave; in the most basic sense, there is a more syncopated
‘outside’ feel to the verse lyrics against the groove. This is most notable if one considers the
weighted notes in the bass layer on beats 1.1 and 2.3: the lyrics do not coincide with these.
An area of this track which cannot be ignored is the accompanying music video,
something which was actually revolutionary for the music industry: before ‘Billie Jean’,
music videos had largely been low budget unsuccessful ventures; overlooked by both record
label and consumer alike50. Now – with the realisation of the potential for MTV – image
became a factor of paramount importance51. This was certainly a major cause for concern,
as Negus explains ‘As video became part of the day-to-day production and promotion of
50
[Vogel 2011: 8-9] 51
[Hawkins 2002: 104]
Example 7
37
popular music during the 1980s, the initial response of many performers, fans and
commentators was to argue that it was trivializing music; the construction of an image had
become more important than the production of sound and the ability of the listener to
imagine their own images had been colonized and replaced by the promotional mechanisms
of the industry.’52
In the context of ‘Billie Jean’, the video simply illustrates the story described by the
lyrics; it does not really add to, or detract from proceedings in any way. Events could be
described as a parallelism, rather than a counterpoint53; as such, in the context of this study,
it does not merit particular in depth analysis.
One final observation to make for this track is that it’s intended for the dance floor.
Furthermore, it was certainly not produced with an audience in mind which is sitting in their
bedrooms, listening through high quality headphones, and also happens to be sober. I have
been listening completely out of context, a view which is supported by Chris Kennett
‘...listening to the same music in different situations, with different purposes and with
different intensity, will affect the analytical meanings which may arise from the
experience.’54 In retrospect, my initial thoughts of the mixing (which I have held back until
now) are testament to this: for example, I perceived the snare to be too loud for much of
the track. However, if I was listening in a club environment, ‘feeling’55 the music – rather
than just hearing it – is desirable.
52
[Negus 1996: 87] 53
‘Parallelism refers to how music directly follows the action in a very predictable way...in contrast counterpoint attempts to add to or interact with the visual narrative in some way.’ *Negus 1996: 90+ 54
[Moore 2003: 197] 55
When sounds reach sufficient amplitude, there is a sensation in which the different frequencies of the sound are felt at different points of your body, for example, kick drum frequencies are often felt in the chest.
38
Study 3: ‘The Way You Make Me Feel’
Producer: Quincy Jones bpm: 114
The album Bad comes five years after Thriller, so in theory this album should show
Jackson to have refined his song writing and developed overall as an artist. Again this is
another dance track close to 120 bpm – note this is a theme which we see occurring in some
of Jackson’s best dance numbers. Thematically this song is quite straightforward: it is about
a love interest, as the title would suggest.
For this track the main groove is established in the introduction, and features
thereafter in the verses and choruses only with slight variations. My analysis focuses on the
introduction and first verse as this shows the groove building in its primary form.
Form
Instrumentation
Again we see an interesting combination of electronic and acoustic forces in this
song. In fact, the main groove is incredibly electronic: notably impacted by the use of an
electronically sequenced bass, this is also seen in the subsequent track in this study
Section Intro V1 Chorus V2 Chorus Instr V3 Chorus Interlude Outro
Length (bars)
16 16 8 16 8 8 8 32 16 12
Table 11
Component Instrumentation
Main Groove Kick Snare High Hat Bass Synth
Variation Guitar Synth Backing Vocals
Trumpet Toms
Table 12
39
‘Another Part of Me’; perhaps the most notable transition from the Thriller to Bad albums.
This forms a very rigid layer underneath everything, revealing just how fundamental to a
groove the bass layer really is.
It is important in this scenario to distinguish the different instruments which
comprise the ‘drums’. While John Robinson is credited as the drummer, Douglas Getschal is
credited as the drum programmer; something which suggests a mixture of electronic and
acoustic elements within the drum kit as a whole. Having said this, it is hard to determine
what exactly is at play from listening alone. A modern recording studio can use heavy
compression on drums to sap all the dynamic energy and acoustic nature out of a recording,
giving it a soulless, electronic feel. As such, the drums in ‘The Way You Make Me Feel’ are a
combination of synthesiser hardware and studio mastering technique. One must consider
what the purpose, and overall effect, of this undertaking is. The most logical conclusion I
can draw is that the production style of this era demanded an edgy tone to the drum layer,
but by using a human drummer to achieve this, a more soulful feel is achieved.
One of the most important factors for this groove is the shuffle feel, primarily outlined by
the high hat with the semi quaver triplets- as best demonstrated in a TUBS diagram-
Note: (*) layers function on a two bar cycle. The first high hat strike on beat one (*) is
distinguished by being an open pedalling. Synth chord changes on (*)
Beat
1 2 3 4
Laye
r
Kick x x x x Snare x x H. H.* x* x x x x x x x x x x x Bass x x x x x x x x Synth A* x* x x* x Synth B* x x
Table 13
40
Attention should be drawn to the emphasis given to the first of each triplet grouping
on beats one and three, through the use of weighting (shown in red). It could be said that
here the high hat provides a counterbalance to the powerful snare sound which dominates
beats two and four. It is an example of how weave involves so many parameters –
something not just defined by the location of notes, but also how the note is played in
relation to those around it.
Table 14 also reveals that there is a relationship between the kick, bass and synth A
layers (shown in green). In essence these instruments are ‘driving’ the beat here: they
emphasise the last triplet in each grouping, resulting in a ‘push’ into the next, yet at the
same time they each still maintain an individual layer which is rhythmically distinct. Another
observation to make here is that, given the very tight nature of the groove, the relatively
slow attack of synth A does not lend itself to this tightness, creating a contrast.
Close listening in an effort to transcribe parts reveals that the reference track56 is not
quite in tune: it is a few quarts flat, for example the starting bass note below is in effect
somewhere between E♭ and D. Regardless I have transcribed anyway to the nearest
semitone, firstly the bass line-
Although it is a single bar cycle, I have chosen to show two bars, so as to more easily
appreciate the transition and regeneration of this bass line. That considered, we can see
56
2001 reissue.
Example 8
41
that in all regards, the bass line moves entirely in step wise motion and only features three
notes, with the regular occurrence of the note F suggesting importance.
The harmonic progression featured in this groove is established in the synth layers,
with synth A playing stabs which outline the chords |F major E♭ major|F major E♭ major|,
with chord changes occurring twice a bar as outlined (*) on table 14 above. Much more
subtlety, synth B plays sustained notes in the background with a sequence |A G|A B♭|,
with a note change again happening twice a bar as the table shows. I should note that
during bars 9-12 of the verse there is a shift up a fourth in both the harmonic sequence and
bassline.
Another interesting relationship to consider is in terms of harmony between the bass
line and synth, as whenever the synth A chord is played, the underlying bass note is always
an F. While this is just the tonic for the F major chord, it creates a more interesting situation
when an E♭ major chord is placed on top: the result could either be viewed as E♭ +9/F or F
sus9. Nevertheless, due to the rapid motion of the bass line, and the short duration of the
synth stabs, this harmonic richness is lost to the listener and could be seen as trivial.
42
Vocal Weave
It is also worthwhile to spend some time looking at how Jackson’s vocals weave into the
underlying groove, particularly in the verse –
This demonstrates that the vocal layer perfectly complements the shuffle rhythms
presented in the main groove. Jackson only sings the lyric syllables on the first and last note
of each triplet group, which lends itself to the swaying motion of a shuffle rhythm and
creates a gentle, bouncy vocal line. The other layer which is most important in developing
the vocal weave here is definitely the bass. Here Jackson’s overlying vocals exhibit an
artfully considered variation between rhythmic cohesion and diversion which allows certain
words or phrase climaxes to be emphasised. This is generally achieved through rhythmic
synchronization on the bass notes E♭ and G of beats one and three, such as with
words/syllables like ‘ba’ (baby), ‘high’ and ‘fe’ (fever).
Example 9
43
On the subject of vocals, it must be noted that we again hear examples of the black
derived call and response tradition in the chorus; albeit against his own, multi tracked voice.
Other tendencies attributed to the African-American shout ring tradition – ‘... the calls, cries,
hollers, riffs, licks, overlapping antiphony, and various rhythmic, melodic, and other musical
practices’57 – can be heard throughout. Interestingly recording engineer Bruce Swedien
chose to leave the sound of Michael dancing (clicking, stomping, spinning and beat boxing)
in the recording in an effort to save its “Earthy charm”58.
Again this track comes with an accompanying music video which was received to
great acclaim, no doubt accelerating album sales. This video also relates to the music in the
aforementioned relationship of parallelism. It depicts the playful efforts of Jackson in
pursuing a girl he meets on the street, an endeavour which sees him encouraged by his
friends, who ultimately feature in the pinnacle moment of the video, a group dance scene.
Indeed, in the context of this video, the dancing can be seen to fulfil two important pillars of
dance in the African-American tradition: individuality and collectivity.
Firstly Jackson’s dancing prowess is showcased; an energetic – even sexual – style
which is wholly unique to him. Both sexuality and individuality in dancing can be traced to
African music traditions, for example, Chernoff interviews his drumming mentor Ibrahim
Abdulai, who remarks ‘There are many different styles of dancing, and you would see all of
them and know them. We have individual dancers and they have individual styles of
dancing, and we know how to play with each man and he will dance according to our
playing. And you will see how we change according to each individual dancer.’59 While the
individuality in Jackson (both as dancer and musician) reveals his black heritage, he is also
57
[Floyd 1995: 7] 58
[Vogel 2011: 118] 59
[Chernoff 1979: 110]
44
an enigma: having combined the role of dancer, choreographer and musician, a very rare
phenomenon indeed. In Jackson we see the traditional relationship in which dancer and
musician are separate entities, which interact and mutually adapt, has been destroyed.
The other concept at play here is the polar opposite of individuality: collectivity. The
group dance scene from the video shows a situation in which individuals follow a routine, in
a sense losing their personal expression and freedom. This certainly fulfils Shank’s belief
that ‘For music to be functionally black, it must bring the black audience and the musicians
together into an embodied group performance of cohesion and unity.’60 Furthermore, the
group dance scene encourages the viewer to participate; it establishes the fact that this is
very much a dance track.
In many ways, modern dance music is built simultaneously on the basis of individual
expression and group cohesion. By engaging with the music in this way, African-American
music became more accessible for the white audience, and allowed a means to openly
express sexuality61 – something which was generally neglected in western dance traditions.
60
[Frith, Straw and Street 2001: 262] 61
[Frith 1978: 180]
45
Study 4: ‘Another Part Of Me’
Producer: Quincy Jones bpm: 106
My series of studies concludes with ‘Another Part of Me’, again a pop fuelled dance
track typical of Jackson’s style. This song has a space age, futuristic edge to it, and while it is
ultimately about peace – ‘The spacey synth-driven groove is about the cosmic power of
music to bring global peace and harmony.’62 – it also reflects on Jackson’s dissatisfactions
with society. Lines such as ‘We’re taking over, we have the truth’ and ‘We’re bringing
brighter days’ show that Jackson is not content with the way the world is, or perhaps in the
way it is ruled. Interestingly the first three bars of the introduction feature a synthesized
crescendo sound – very similar to the THX audio logo from 198363 (perhaps even an
imitation of it). If it is indeed a parody of the logo, one must ask why. I would suggest that
it lies in the revolutionary theme of ‘Another Part of Me’, and the purpose of THX, which
was to offer an improved uniform standard for film reproduction.
Form
*beginning bar of chorus contains the title lyric, but the bar functions alone: it could in
theory be seen as an elision between bridge and chorus.
62
[Vogel 2011: 121] 63
http://www.thx.com/test-bench-blog/28-years-later-how-one-deep-note-changed-entertainment/
Section Intro V1 Bridge Chorus V2 Bridge Chorus Instrumental Bridge Chorus Outro
Length (bars)
11 8 8 5* 8 8 5* 15 8 9 16
Table 14
46
Instrumentation
Like the other tracks I have studied, this one revolves around a main, repeated
groove. This time it functions over four bars –
x= high hat open, rather than closed. x= micro rhythm latency which evades precise notation on a diagram of this fidelity. x= muted guitar, creating percussive sound.
So as table 17 reveals, there is a complex tapestry of individual layers which build
into the groove. Firstly there is nothing peculiar in the high hat (which again provides a
steady stream of quavers, with occasional open pedalling for variation), and the snare
(struck on beats two and four). However, there is an interesting relationship which emerges
between the kick, bass and guitar layers. To elaborate – firstly the kick features a second
(double) strike which is placed before beat three, rather than on it. This is rhythmically
Component Instrumentation
Main Groove Kick Snare High Hat
Bass Synth Guitar
Variation Horns Synth Backing vocals
Toms
Table 15
Bar and Beat
1 2 1 2 3 4 1 2 3 4
Laye
r
Kick x x x x x x
Snare x x x x
H. H. x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
Bass x x x x x x x x x x x x x x
Synth x x x x x x x x
Guitar x x x x x x x x x x x x x x x x
3 4 1 2 3 4 1 2 3 4
Laye
r
Kick x x x x x x x
Snare x x x x
H. H. x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
Bass x x x x x x x x x x x x x x
Synth x x x x x x x x x
Guitar x x x x x x x
Table 16
47
reinforced with the bass layer which again mirrors, and builds on, the basis of the kick drum
by adding the swung climb at the end of the bar (in bars 1, 2 and 3) which regenerates the
groove. Furthermore, the guitar layer also plays this swung figure, and extends it into the
beginning of the next bar. It is as if the kick drum and guitar function independently, and
the bass mediates between both (an analogy would be a sandwich: the bass is a delicious
filling between two bits of bread).
There is one more crucial layer to mention: the synthesizer. This is actually very
important in the construction of the whole groove as it generally functions with rhythmic
independence, yet remains quite prominent in the mix. This is a particularly syncopated
layer, with only one note of the four or five per bar lying on a main beat. Note also the
latency in the last three notes of this layer, something which I feel creates a sense of
uneasiness: they work against the rhythmic patterns established in the other layers, almost
lying between high hat strikes.
This groove is another example of Jackson’s inclination to have certain rhythms
punctuating through the groove more than others. This is connected to Chernoff’s
observation of rhythm in African drumming – ‘A good rhythm, if it is to enhance itself,
should both fill a gap in the other rhythms and create an emptiness that may be similarly
filled.’64 The way the different layers converge and diverge show an appreciation from
Jackson of not cluttering the sound space with too many rhythms at once.
If we consider the groove in a different light in which the inherent call and response
nature of the music is given attention, we see that once more this is of paramount
importance. This is seen especially in the way the synthesizer and guitar lines ‘bounce’ off
64
[Chernoff 1979: 114]
48
each other; something particularly notable as both have melodic value, and are quite
prominent.
The power generated by the black call and response tradition is again acknowledged
by Chernoff’s experiences in Africa: ‘The power of the music is already within the dynamic
way the rhythms are established in relationship; it does not come from any single rhythmic
line.’65 Within the context of ‘Another Part Of Me’ we see just how important the guitar-
synth call and response relationship is to the groove when it dissipates during the bridge
section. For these eight bars the kick, snare, high hat and bass maintain similar lines to the
verse (although there is slight variation), but the synth and guitar change. Essentially the
synth now plays a series of sustained chords for one bar each:
|B♭|Dm|B♭|Dm|E♭|Dm|Em7♭5|A7|. The guitar however has been pushed further into the
background (it actually becomes quite hard to hear accurately) and assumes a more
percussive part with occasional melodic snippets. The resulting effect of this is a section
which contrasts the verse before it, as it has a perceived effect of being less active, even
calmer. This relates to Hughes’ observation: ‘It is not the number of notes being played that
makes these grooves more active, but rather the number of events to which the ear must
attend.’66
The variation between the verse and bridge sections should be elaborated on further,
as it demonstrates something applicable to grooves in general, something which we have
seen in both ‘Another Part Of Me’ and ‘Billie Jean’. Altering or removing just one layer, no
matter how innocuous, can have drastic consequences on the overall vibe of the resulting
groove, and even flow of the piece.
65
[Chernoff 1979: 112] 66
[Hughes 2003: 238]
49
Attention should also be drawn to the fact that this groove features in the verse and
chorus in this track. Furthermore, after the title lyric proclamation in the first bar of the
chorus, the groove runs without any more lyrics for the remaining four bars. These factors
suggest that this groove is the crux of the song.
It is also worth mentioning Jackson’s nonsensical vocalizations which occur
throughout. The commonality of these in all the tracks I have studied show that it’s a
trademark of Jackson as an artist, and forms an important part of his performances.
Vocal Weave There is a similar scheme of highly syncopated phrasing maintained in this track. To
compare it against the primary groove is best demonstrated with a transcription from the
first verse –
This shows just how syncopated Jackson’s vocals are; in fact, he almost tries to evade
singing on the beat for much of this verse. In relation to the groove here it must be said
that generally Jackson weaves his vocals around the guitar part - not quite a call and
response relationship –but more so as to give both layers space to be heard. Also of interest
is the rhythmic unisons which occur between the vocal and synth layers on beats 3.2 and 3.4
Example 10
50
(see table 17) in bars 1, 2, 3, 5, 6 and 7 of this verse. In effect this, at first, seems to gives
emphasis to the corresponding words, which are: ‘we have’, ‘this is’, ‘to see’, ‘not dan-’, ‘this
is’ and ‘you’re one’. It must be said that these words are not particularly evocative, and do
not seem worthy of emphasis, which to me suggests a crucial relationship contrary to
expectations: the rhythmic unison here exists to draw attention and strengthen the groove,
not the lyrics.
It should also be noted that the intricacies of Jackson’s phrasing, and the variation he
consistently uses required substantial slowing down to hear accurately, and even then the
precision of the results are questionable. Complications are also added once Michael’s
tendency to bend notes – sometimes on a microtonal level – is brought into the equation.
Furthermore, the soulful whoops and gasps which frequently occur in the track escape
conventional notation; yet remain crucial in developing the vibe of the recording.
Regardless, it reinforces the fact that notation is not of much relevance to Jackson as a
composer: It is as if the groove and vocals have streamed out of him irrespective of the
complications of visual representation – something relative to the aural tradition of popular
music.
51
Conclusion
So to conclude, I will give a brief overview of my findings, thoughts and an evaluation
of the worth of extra study around this topic.
Firstly I should state that I feel I have achieved the goal of this dissertation. The
studied tracks have been scrutinized and listened to quite intently to reveal that they, in
their repetitive groove driven whole, can be deconstructed into combinations of often
simple layers. Rhythm is of utmost importance. In fact, other parameters, such as harmonic
change, have far less precedence in building Jackson’s signature grooves; something which
makes the harmonic changes which do occur all the more important67, and ultimately makes
the matrix of layers more noticeable rhythmically. Furthermore, it could be said that
forward motion is obtained from rhythmic motion, rather than harmonic motion, in all of
the studied tracks.
My analysis required me to slow each track down to half speed, so as to properly
hear all the nuances in the music. This made me realise that – given the average consumer
would probably never dream of analysing the music in this way – much of the efforts of
Jackson, Quincy Jones and the numerous session musicians goes unnoticed, even to waste.
Although having said that, perhaps this is what marks a multi-platinum selling album from
an average one.
One of my most important discoveries was the sheer number of similarities between
Jackson’s grooves and those of African drumming traditions, something which reveals a
definite heritage. Simha Arom’s writings on the concept of rhythmic counterpoint in Black
African music reveal these similarities: ‘Rhythmic counterpoint (or polyrhythm) is to
67
[Hughes 2003: 149]
52
unpitched instruments as melodic counterpoint (or polyphony) is to voices and pitched
instruments. In Black Africa, this kind of counterpoint is essentially made up of so-called
‘cross-rhythms’ i.e. of different rhythmic patterns interweaving with each other. The
principles of cross-rhythm (a term apparently introduced by Percival Kirby (1934: 54)),
involves the combination of two or more rhythmic figures in such a way that they cross
rather than coincide with one another. There are nonetheless moments when the different
figures correspond, but the overall ostinato pattern that is created emphasises their points
of divergence or their oppositions rather than their points of convergence.’68 My TUBS
diagrams throughout this study exemplify how such rhythmic counterpoint and cross-
rhythms are fundamental to much of Jackson’s music.
During this project I found Jackson to be quite a confusing individual – he is actually
quite an enigma. On a most obvious level this is seen in his gradually changing image; in
that he became increasingly ‘white’ throughout his career. However, as each of my four
studies have shown, Jackson often showed unabashed delight in his black heritage with the
different black tropes forming a fundamental part and characteristic associated with
Michael as an artist (be it vocalisations, dancing, individuality or otherwise).
To me it testifies that Michael Jackson was a misunderstood individual – one
certainly misrepresented and victimised by the media – whose image represented a desire
for equality. This is seen from both sides of the racial divide, as Gottschild confirms – ‘Then
take the flip side of this coin: the numbers of white youth sporting dreadlocks, braids and
wrapped hair. Factor in the persona of rapper-turned-television star, Fresh Prince, cleaned
up and “whitenized,” if you will, to fit the homogeneous television sitcom formula – an
added twist to the “if we are all equal, then we all must appear to be the same”
68
[Arom 1991: 42]
53
mentality.’69 It goes without saying that Jackson was a highly sophisticated individual that is
nigh impossible to psychologically interpret. Having said this, I think the late jazz musician
and composer Sun Ra sums up the situation quite nicely: ‘You can’t have the White House
unless you have a Black House.’ 70
I have also discovered the incredible power a groove can hold. The combination of
simple rhythmic layers can result in a product which can maintain interest for long durations
– even within the context of a whole song – and furthermore raises doubt as to whether
there is even a limit to how many repetitions are too many. Also the accompanying half
speed excerpts I provided transform the listening experience; leading me to wonder how
Jackson and Quincy Jones chose the tempo for the songs (I am sure a change of just a few
bpm would have drastic consequences). In relation to this, and worthy of further academic
exploration, is the relationship between the relative intensity and density of a groove
(perhaps something which amounts to ‘energy’) to the perceived speed of the music.
I would definitely describe Jackson as a ‘groove master’. This is not just limited to his
groove composition, but also the way in which he weaves his vocal melodies around them.
In fact, I believe in many circumstances he defies Dai Griffiths’ writing on such matters:
‘Verbal space is the pop song’s basic compromise: the words agree to work within the
spaces of tonal music’s phrases, and the potential expressive intensity of music’s melody is
held back for the sake of the clarity of verbal communication.’71
Lastly it must be said that Michael Jackson’s music is incredibly diverse. It is certainly
not just limited to groove based repertoire: there is a wealth of songs ranging from gentle
69
[Gottschild 1996: 132] 70
[Gottschild 1996: 167] 71
[Moore 2003: 43]
54
ballads to edgy rock numbers; all being worthy of study. Any musician can take a leaf out of
Jackson’s book –
‘To live is to be musical, starting with the blood dancing in your veins. Everything
living has a rhythm. To feel each one, softly and attentively, brings out its music.’’72
72 [Jackson 1992: 114]
55
Bibliography
Cited Works
Arom, Simha, 1991: African Polyphony and Polyrhythm (Cambridge: Cambridge University
Press).
Chernoff, M. John, 1979: African Rhythm and African Sensibility (Chicago: The University of
Chicago Press).
Cooper, G. and Meyer, L., 1960: The Rhythmic Structure of Music (Chicago: The University of
Chicago Press).
Drabkin, William, 2011: ‘Layer’, Grove Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/16157, accessed
18/10/2011.
Floyd, A. Samuel, 1995: The Power of Black Music (Oxford: Oxford University Press).
Frith, Simon, 1978: The Sociology of Rock (London: Constable).
Frith, Simon, 1993: Sound and Vision the Music Video Reader (London: Routledge).
Frith, Simon, and Straw, Will, and Street, John, 2001: The Cambridge Companion to Pop and
Rock (Cambridge: Cambridge University Press).
Goodwin, Andrew, 1993: Dancing in the Distraction Factory: Music Television and Popular
Culture (London: Routledge).
Gottschild, D. Brenda, 1996: Digging the Africanist Presence in American Performance
(Westport: Praeger).
Hawkins, Stan, 2002: Settling the Pop Score: Pop texts and Identity Politics (Aldershot:
Ashgate).
Hughes, Timothy, 2003: Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder (University of Washington). Jackson, Michael, 1992: Dancing the Dream (London: Doubleday). Mermikides, Milton, 2010: Changes Over Time: Theory (University of Surrey). Middleton, Richard, 2000: Reading Pop: Approaches to Textual Analysis in Popular Music (Oxford: Oxford University Press).
56
Moore, F. Allan, 2003: Analyzing Popular Music (Cambridge: Cambridge University Press). Moore, F. Allan, 2010: Song Means (pre-publication copy). Negus, Keith, 1996: Popular Music in Theory: An Introduction (Cambridge: Polity Press). Shuker, Roy, 1994: Understanding Popular Music (London: Routledge). Spicer, Mark, 2001: British Pop-Rock Music in the Post-Beatles Era: Three Analytical Studies (Yale University). Sullivan, J. W. N. 1964: Beethoven his Spiritual Development (London: Allen & Unwin). Vogel, Joseph, 2011: Man in the Music: the Creative Life and Work of Michael Jackson (New York: Sterling).
Related Reading
Brackett, David, 2000: Interpreting Popular Music (Berkeley: University of California Press).
Brackett, David, 2009: ‘Jackson, Michael’, Grove Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/47207, accessed
18/10/2011.
Feld, Steven, 1988: ‘Aesthetics as Iconicity of Style, or ‘Lift-up-over Sounding’: Getting into
the Kaluli Groove’, Yearbook for Traditional Music, Vol. 20, pp. 74-113,
http://www.jstor.org/stable/768167, accessed 18/10/2011.
Middleton, Richard, 2006: Voicing the Popular: on the Subjects of Popular Music (New York:
Routledge).
Tagg, Philip, 1982: ‘Analysing Popular Music: Theory, Method and Practice’, Popular Music, Vol. 2, pp. 37-67, http://journals.cambridge.org/action/displayFulltext?type=1&fid=2667480&jid=PMU&volumeId=2&issueId=-1&aid=2629156, accessed 30/04/2012.
Wilson, Olly, 1983: ‘Black Music as an Art Form’, Black Music Research Journal, Vol. 3, pp. 1-
22,
http://www.jazzstudiesonline.org/files/3%20Black%20Music%20as%20an%20Art%20Form.p
df, accessed 10/04/2012.
57
Discography
Jackson, Michael, 1997 (1979): Off The Wall. CD. Sony Music Distribution, 83468.
Jackson, Michael, 1982: Thriller. CD. Epic, 38112.
Jackson, Michael, 2001 (1987): Bad. CD. Sony Music Distribution, ESCA6614.
Jackson Michael, 2001 (1991): Dangerous. CD. Sony Music Distribution, M-2VCD49164.
Videography
Billie Jean, 1983: Steve Barron. Michael Jackson. You Tube.
http://www.youtube.com/watch?v=Zi_XLOBDo_Y&ob=av3n.
Nyan Cat. 2011: Christopher Torres. You Tube. http://www.youtube.com/watch?v=QH2-
TGUlwu4.
The Way You Make Me Feel, 1987: Joe Pytka. Michael Jackson. You Tube.
http://www.youtube.com/watch?v=HzZ_urpj4As&ob=av2n.
This Is It, 2010: Kenny Ortega. Michael Jackson. DVD. Sony Pictures Home Entertainment.
