Simple Slate

iamdedragon · #1 12-11-2008, 04:19 PM

Volume and Tempo: The Dynamic Duo
Volume or dynamics are variations in the loudness or softness in the music. Tempo is the pace of a musical composition. These two elements are often used by bands to create distinction in the music that makes the songs more interesting to the ear. Some examples of songs that make of use dynamics and tempo are Led Zeppelin’s “Babe, I’m going to Leave You” and the Who’s “Behind Blue Eyes.”

“Babe, I’m going to Leave You” begins with haunting arpeggios and chilling vocals separated by stereo sound with Robert Plant threatening to leave the love of his life. The volume of the vocals and guitar are low to emphasize the inner yearning of a pain that has not yet fully surfaced. The dynamics and tempo increase with the rhythm section exploding into a chaotic gallop of Plant’s repressed sadness and anger. This rhythm section (absent of vocals) acts as a response to Plant’s dire need to be free from his tormented relationship. In the second verse, the vocals as well as the arpeggios (enhanced by acoustic leads) become more urgent; they increase slightly in volume and tempo, climaxing into Robert Plant’s ever famous wail that is in a sense, calling him back home to perhaps a more internal place. While the volume and tempo are kept consistent from the previous verse, the arpeggios change slightly in the bridge from the solid resolved chords in the verses to suspended seconds and fourth chords that comprise of confusion as Plant faces his dilemma to leave his lady. As the song crescendos louder and faster, Plant finds the conflict is not with his lady, as he states that he wants to walk in the park with her everyday, but more internal as he need to simply to find himself. The song ends with Robert Plant taking some time off to resolve his internal conflict.

The…Who…in its song… “Behind Blue Eyes” is set to follow this same pathway, and is done so to create a song that is to be performed along those same lines of build up, but, it is in its simplicity that its intricacies are revealed. The song begins with a statement put forth to the listener that says, “No one knows what its like to be the bad man, to be the sad man, behind blue eyes?” This declaration that none of us knows this pain is given to us, the Listener, at the onset of the opening of the song as the guitar is introduced in a low Arpegiatic state, as if to calmly initiate us to this fact. We are then told that “no one knows what its like to be hated or to be fated to telling only lies” {and there is a truth hidden here in this line that we as listeners can associate ourselves with. When we Notice the word is not Faded but Fated, as if to say, Destined to telling only lies, now many a time as human beings we have all felt as if we were hated, but how many of us have ever been so bad off that we feel that only a lie is the plausible answer?}. As the guitar builds slightly into the first hook it beckons to the listener that There is an approaching moment of revelation, and this moment is captured in the first line of the hook stating that, “the dreams-{or let us say-the ambitions and/or goals of the performer}, are not as empty as the Conscience seems to be, for when we are awake we are acutely aware of the hours spent “Only Lonely” that lead us to declare that “Love”, at least to one in this state of mind, “ is a vengeance that is never free. At this point as the original opening arpeggios are laid out they are a bit harder and slightly more forceful in there drive, and lyrically there is a deeper falling away from the norm, and that approaching moment of revelation seems to be short lived as the next verse becomes accusatory, as if one is to blame for these feelings that are held by the performer, and by the end of the second verse, we as the listener begin to wonder if there be any inner strength at all in the one stating these lyrics…and as if on cue the guitar brings us once again to that peak of discovery and the answer to that question is exposed by the guitars build up into its structured form, and by the time we reach the last part of Verse-II we find in it a confession of sorts, that it is born out of some desperate need by the performer to gain control over the opening statement of this verse, almost apologetically he declares as the riff becomes almost exaggerated , that, “ No one bites back as hard On their anger, and that None of the pain and woe Can show through”, but haven’t we, as listeners just been shown these pains in the opening line of this second verse, not to mention in the picking up and dropping off of the rhythm that is by this point so much more prominent in the background then it was at the initial onset, for it is most assuredly pain that has brought on this accusatory remark, and again we come to the revelation contained within the hook, and with it we feel an almost inner rise that this time the revelation may very well be received by the revealing of the thought a second time, this is further announced as being understood by the lyrical and musical build up that is laid as an intro into the third Verse.

As the guitar slows to a near whisper we hear the line “Hmmmmm”- { as if one were reflecting on and gaining acquisition to a new found knowledge or Revelation}- and as this revelation it is revealed to the mind of the performer that he is standing outside of the initial declaration, the guitar drives back in as if to say “HEY, NOW YOU GET IT, NOW YOU SEE THE LIGHT”, and in our endeavor to find out the basis for the initial opening statement, we are shown that even in this state of mind it is left up to us as the individual dealing with this onslaught of reckless abandon to turn to others for help when we are in need, for when we hear the guitar declaring the acceptance of the revealed knowledge we are given another proclamation by the performer who states to those around him who are willing to help, “If my fist Clenches Crack it open before I use it and loose my cool… When I smile, tell me some bad news before I laugh and act like a fool… If I swallow anything evil put your finger down my throat… If I shiver, please give me a blanket Keep me warm, let me wear your coat…” This declaration by the lyricist brings back the feeling of strength that earlier was being searched out and the revelation is reborn out of a picture of obscurity, and upon recognition of this fact The Guitar is there once more to bring us full circle, only this time as the Arpegiatic riff is laid out we are given the opening line with a knew hope and vigor attached to it, almost as if it were a question…and it is with this now lightly placed lyric that we are brought out of the initial thought That No One Knows, and into the realization that some may know, That our strength is only as strong as the rest of the lynx that make up the chains that venture to bind us In the wake of depressed judgment…{Behind Blue Eyes}!

Both “Babe, I’m Gonna Leave You” and “Behind Blue Eyes” use the power of dynamics and tempo changes to convey the emotion deep within the band’s intent. Soft vocals and slow arpeggios crescendo into desperate cries of internal conflict. Loud and fast paced guitar rhythms respond to the anguish presented by the lead singers. Both songs end with the resolve that it is an individual’s responsibility to fight down his or her own demons. The dynamics and tempo of these songs, as well as many others like them, {Silver, blue and gold-Bad Co.- and Born to Run-Springsteen-just to name a few-} are reflective of this fact and are an intricate part of a songwriter’s portrayal to acquaint their experiences with that of his or her audience.

Written by Lori Mortimore and D Gamble

You can hear musical creations written by these artists at Spunjacked.com