Rock Journal Examples

8/13/2019 Rock Journal Examples

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Rock Journal Examples

Here are some really excellent examples from semesters past - use these as a model

for your own journal entries, and note how polished the language is. The authors of

these clearly understand the new vocabulary, and have also edited their writing

very carefully. Read your work out loud to yourself, or have it read out loud to you youll find it very easy to see where the prose can be tightened up.

1) Heaven Help MeDeon EstusThis song has a familiar musical form: intro-verse/chorus (twice)-bridge-chorus-

closing. This mild, melodic tune begins with a thick polyphonic texture. Instruments

heard are the string and bass guitar, keyboards, and drums. The texture becomes

thicker when a single trumpet steals the attention, pushing the other sounds into the

background. This beautiful trumpet solo is heard throughout the piece, creating a

nice, musical focus and connection between each thin verse and typically thick

chorus. The smooth, clean voice of Deon Estus tells a heartbreaking story that

dramatically increases in dynamic to match the emotional response and frustrationbrought about by the songs subject. George Michael (former lead singer of Wham!)

sings in the background, which slowly takes the forefront as he and Estus sing the

last few lines of the chorus in harmony. The dramatic climax of the song occurs

during the final chorus when finger snapping replaces the drums. This change forces

the audience to focus on Estus words and feel the desperation conveyed through his

voice. Although he is pleading for divine guidance through this difficult time, he

sorrowfully admits, [not even] the gods of love can help me now. The piece ends

appropriately and abruptly, with a short, four-note trumpet solo, leaving us

abandoned and alone, like collateral damage in the wake of his despair. If we flash

forward two decades, I am shocked at how one song could trigger a flood of feeling

and emotion so intensely, that I feel as though I am experiencing that breakup allover againI just want to cry!

2) Sunday MorningMaroon 5This Maroon 5 classic always makes me feel good. The sound is smooth,

clean, and light textured, with dynamic lyrics and a catchy chorus. Its moderate

tempo, combined with the lead singers crooning voice creates the perfect end song

to play as you drive your date home. Sunday Morning begins with the acoustic

piano after a brief drum solo. The bass line carried throughout the song blurs the

line between pop and R&B, both of which Maroon 5 does exceptionally well. The

piece has the traditional structure of intro-verse/chorus (twice) bridge- chorus,

done in the groups dominant musical form of 8-bar blues. Adams voice ranges fromlow to high through each verse and throughout the song, matching the uphill climb

toward the climax in the lyrics. There is a slight harmony done with backup singers,

giving the song a thicker texture during the chorus. In addition, the lead singer hits

the long notes in the chorus on the first beat of every other bar, slowing the pace of

the section and is in contrast with the verse sections which seem to move a little

faster. One of my favorite parts of the song is guitar solo, followed by the bridge.

Instead of re-singing parts of the verse, he paraphrases parts of each then


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improvises over the chorus. Maroon 5s intricate balance of phenomenal

instrumentation, interesting lyrics, and beautiful musicality make this hybrid

rock/R&B combo a joy to listen to, a welcomed sound that is not heard much in

music today.

3/4)Battle of the Sh-booms a comparison of two recordings of Sh-boomBefore the 1950s, the remaking of songs in a different style was rare. During the mid

1950s, major recording producers quickly remade black R&B originals into white

Pop songs by appropriating the lyrics and instrumentation to appeal to their

consumers. Sh-boom was first recordedin doo-wop style by R&B group The

Chords, and was quickly covered in pop style by The Crew Cuts. The Chordsversion

opens with all members of the group in harmony, verbalizing nonsense syllables.

The backup continues in harmony as the lead singer begins the opening lyrics.

Because this version was created by an independent music label and for black

entertainment purposes, there are several musical elements that are characteristic

of the black R&B sound. One such element is instrumentation. The drums are clearly

felt, creating a strong backbeat. Also present are the guitar and saxophone, the latterof which plays a solo during the bridge. This piece is performed in 12-bar blues,

another element indicative of R&B style, complete with the typical stop time at the

11th bar, when the saxophone plays a few notes. This upbeat version is perfect as

driving music, especially if you are heading towards fun as it transports you back to

the 50s when life was much simpler. The catchy chorus gets stuck in your head until

you have no choice but to sing the words, or make them up as you go along. That

combination was the perfect recipe desired by and covered by white artists. The

Crew Cuts recreated this song with elements typical of pop music. The voice quality

and overall sound is much cleaner, a direct result of sophisticated recording

techniques employed by the major recording studios. The instrumentation is

noticeably different; the drums are not as important, and there is a full band. Thosetwo changes dull the backbeat (which is still present, but not in your face) and

create a sound closely resembling a song worthy of a Hollywood movie. The

saxophone solo is replaced by an extended repetition of Sh boom, and finished off

in a weird gong style, boing! (Twice, hum!) As the intensity of the song increases,

the vocal timbre becomes wider and higher. One subtle difference between the two

versions is that this one is done in 8-bar blues, with the typical break during the last

segments, so the big band can show off. Though the two songs are very different in

approach and overall presentation, the lyrics (and non-lyrics) are much the same. So

this question begs to be answered, Who wins the battleof the Sh-booms? Im sorry

to say that the winner depends on the listener. As for me, I liked the bluesy feel of

the Chords. I think it rocks more and it compels my body to move. Hands down, theChords make me want to Sh-boom more!

4) Losing my Religion R.E.M.

R.E.Ms debut single from their award winning album was a huge hit. Losing my

Religion is wonderfully arranged with a complex mix of musical elements, form,

and lyrics that epitomizes the very definition of modern pop/rock. This piece loses

no time by beginning with a thick texture of drums, acoustic guitar and the riff of an


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instrument that is not easily recognized. Identified as the mandolin, the instrument

in question looks like the hybrid of a violin and a banjo, and at times gives the sound

of violin plucking or the electric string guitar. The two-beat bass line helps to create

a strong backbeat. Although the music has an upbeat dancing tempo, the lyrics are

slow, well thought out, and have a somber feel. The leader sings in a one

dimensional short-of-shouting style throughout the entire piece, transitioning fromverse to chorus without a break. Without vocal dynamics, the song relies on the

short 4-bar mandolin riff solo to build intensity (which, I might add, is a wicked air

guitar bite for the enthusiast.) The lead singer is the only voice heard in the song,

with the exception of a recurring but brief three-word harmony during the

understated chorus. This is a bit unusual and fits the unconventional musical form

used by the band. Although the chorus is in 8-bar phrases, the piece is mostly done

in 16-bar phrases. During the stop time, the music does not cut out; rather, the

opening lyrics of the subsequent section begin and are followed by the mandolin rift.

This experimentation with the subtle stop time makes the bars difficult to count, yet

interesting to listen to. I would be remiss not to mention the meaning of the song.

Though the only ones that can comment on the actual story behind the music areR.E.M. themselves, the fact that music is a connotative art form undoubtedly gives

the listener the right to commentate on what it means to him or her, me included.

R.E.M. successfully merges two generations of listeners by creating a mix of edgy

lyrical content with upbeat dance appeal. This song, without a doubt should be

included in the short list of well-done pieces that combine creative ingenuity and the

flair for the unexpected.

5) Sweet NothinsBrenda Lee

Brenda Lee, the little firecracker who packed a rock and roll punch two decades

before her time, was only eleven years old when she began recording. Not only is

her voice all growed up, but her lyrical content is quite racy, especially when youconsider that popular music was mostly wholesome in the 1950s and 60s. Sweet

Nothins is quite typical of the emerging rock and roll style. The musical form is 12-

bar blues with standard stop time at the 11th bar, where the music pauses and

Brenda Lee speaks in acapella. Backup singers provide occasional nonsense sounds

in connection with the melody, invoking a doo-wop flavor. The classic R&B

instrumentation includes the drums, saxophone, piano, and guitar, each playing a

specific roll. The drums create the backbeat while the piano and guitar fill in the

music. The saxophone plays the melody during the bridge and is worthy of a 50s

sock hop at the local high school or soda pop shop jukebox and reminds me of the

line dancing in the Elton John video, I Guess Thats Why They Call it the Blues.

Although Brenda Lee was considered a softer rockabilly artist, her raspy shouting isclearly a rock and roll characteristic. The widespread appeal of Sweet Nothins

paved the way for future female rock artists such as Pat Benatar and Tina Turner.

Altogether, this song provides a perfect example of crossover success, but the

whispering in thebeginning is a little creepy.

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Rock Journal Examples