Song Title: Some
Aims And Objectives:
Our primary goal was to achieve a tight and structured groove-based rhythm while accurately executing the difficult chords in a 16th pattern. It was crucial that we were all perfectly in sync and kept the tempo consistent, especially due to this being a more raw song in terms of effects (distortion, overdrive, etc.). We couldn’t cover up sloppy mistakes with effects like we could with the others.
My main vocal aim was to have a strong, soulful timbre, specifically focusing on the control needed for my vocals to sound smooth and powerful. I planned to achieve this by engaging my diaphragm when singing, which “improves vocal projection, control, and stamina by providing a steady, consistent airflow.” By practicing this technique, even when just singing along to songs at home, I always ensured I was working on strengthening my core. I also focused heavily on Interpretation and Style by studying Steve Lacy’s original vocal phrasing. I did this by listening to his song loads and singing along. Vocal phrasing is important because it emphasises certain melodic lines for the instruments and the vocals so that it sounds better, but without needing more vocal skill. I did focus on my Technique as well by ensuring I had clean vocal agility during the verse where I had to use a wider range, switching between my chest voice and my mixed register.
Technical and Musical Preparation:
Harmony
“Some” is in the key of A minor, but uses many different voicings and non-diatonic notes, leaving many people confused about the key. The vocals are paired with multi-track backing vocal harmonies, creating a rich, enveloping sound that both complements and builds tension with the underlying instrument chords. We plan to replicate this by the guitarist volunteering to be the backing vocalist.
Melody
The vocal melody mostly follows the A minor scale. However, his vocal lines are often flexible and he makes use of his wide range. He finds different ways to make his melodies interesting, like sliding between major and minor tonalities. He’ll often sing a “blue note” (like a flattened 3rd or 7th) in an otherwise major context. This makes his melodies slightly jazzy, which separates him from many other artists using a more predictable melody.
Another thing that I love about his melodies is his loose rhythm that feels like melodic talking rather than singing perfectly on beat. He does this by leaving pockets of silence or delaying notes; he does this on the line “but I swear they’re not as cool, as me.” I enjoy melodic choices like this because it gives the listener time to think. Claude Debussy once said, “Music is the space between the notes,” which I think is correct in almost all circumstances.
Structure and Form
The song’s structure is: Intro, Verse, Hook, Verse, Hook, Outro, but we chose to leave the outro out as we felt it didn’t match my vocals or the context of the gig. The structure of the song is loose but intentional; it gives room for Steve Lacy to use the repetitive structure and make it interesting through his use of other musical choices. Each section feels distinct because of shifts in melody and rhythm, even though the instruments barely change. It’s obvious that this was intentional because it causes the song to have direction but to keep the repetitive, dreamy, looping vibe.
The simple instrumental (guitar loop, bass, light percussion) makes the melody stand out, not because of new instruments but because of shifts in melody that also add dynamics without needing extra layers.
DRSMITH Analysis:
- Dynamics: In my performance, I plan to start mezzo forte in the verse then decrescendo down to a mezzo piano for the hook to add more emotional variety through the dynamics.
- Rhythm and Tempo: I have been practicing singing along to a backing track to use Steve Lacy’s pauses effectively and on time. I also sometimes improvise melodies or sing phrases slightly behind the beat to achieve an authentic R&B feel.
- Style & Mood: I’m trying to achieve an authentic R&B style by adding vibrato and emotional inflection to create a sense of yearning that matches the lyrics.