Mudcat Café message #3839017 The Mudcat Café TM
Thread #161501   Message #3839017
Posted By: The Sandman
15-Feb-17 - 01:13 AM
Thread Name: 3/4 or 4/4 time?
Subject: RE: 3/4 or 4/4 time?
as regards writing songs and speech rhythm why not study Peggy Seeger and MacColl. here is an extract of an interview with them
"The writing of the songs took me about a month or maybe a little longer. Peggy spent another two weeks on the musical arrangements . We then made rough tapes of the songs and played them to Sam Larner, Ronnie Balls and anyone else who was prepared to listen to them. Occasionally they would criticise a word or a line or a phrase or question a piece of information, whereupon I would rewrite the offending line or phrase and go on rewriting it until it met with approval. There were rare and wonderful occasions when Sam or one of the other fishermen would claim to have known all his life a song which I had just written. When this happened, we know we had really come close to capturing the true effect of the fishing life upon these men.

The studio work on JOHN AXON and SONG OF A ROAD had consisted of two days' intensive work with singers and musicians, during which songs and linking/descriptive music would be recorded. The marrying of music, song and actuality was performed by Charles Parker, the producer of the programmes. The studio technique of SINGING THE FISHING was entirely different from that of the previous two Radio Ballads. Actuality was now edited, timed and assembled in sequence on master-tapes and sound effect sequences were built up on additional spools - before the recording of the songs and music. Tape machines for feeding in actuality and sound effects were installed in the performance area of the studio and tape machine operators became members of the musical ensemble. That was Charles' idea and by adopting this procedure it became possible to record complete sequences of SINGING THE FISHING, sequences in which actuality , song, music and sound effects were simultaneously integrated into the final form. Singers and musicians were no longer in the dark but could match their performance to every nuance of speech in the actuality. Singers could now alter vocal density so as to complement or ride with a speaker's change of pitch occasioned by the raising or lowering to the emotional level. Musicians could now learn the breathing patterns in a piece of actuality and synchronise musical entries and exits so that speech and mucic became a single, unbroken line. In the same way, pulses and rhythms of speech could be matched exactly by a musical instrument without destroying the guidelines of the musical arrangements. For the tape machine operators it meant that actuality feed-ins cold be conceived as continuations of a melodic line, that the first heavily accented word in a passage of speech could be made to coincide with the accented beats in a bar of music, that short passages of actuality could be interpolated between the verses of a song in place of musical tags, or that they could be fed between two lines of a stanza and serve as refrains.