The next several posts will be consist of the various steps of an eclectic analysis of the song "She Has No Time" by Keane.
I originally encountered the song as a cover of the song by a college acapella group, the UNC Clef Hangers, and fell in love with it. This drove me to seek out the original recording.
In preparing for the analysis, I also decided to quickly arrange and record a cover of the song. It is entirely vocal, like the Clef Hangers version, but is based more strongly on the original version. However, it is not even close to finished, so that will not be available until later on.
Although none of the following were included in my analysis, I found the following videos interesting:
A video taken from Keane's DVD "Strangers" set to a live recording of the piece.
A recording of the original version of the song (with guitars and everything) complemented nicely with pictures of the band.
A really neat video of Keane performing the song live.
There are also a large amount of covers available on YouTube.
All factual information comes as a synthesis of information collected on Wikipedia and on the FAQ page from Keaneshaped.co.uk.
Thursday, May 1, 2008
Open Listenings 1
In listening to the work, the first thing that is striking about it is the mood. The song seems to have a very melancholy and tranquil feel to it. Yet at the same time, there is a sense of unrest, a sense that there is a problem. This is heightened by the lyrics, which tell, among other things, that "She says she has no time for you now." The song is of a relatively gentle tempo, not too fast but not too slow. Another important and memorable aspect is the lead vocal. It is a clear male voice with a slight accent, which spends a great deal of time in the upper falsetto register for a very pure, almost crystalline effect.
The song is set by a very ambiguous and mysterious introduction, resting primarily on one note (in octaves). The verse begins with a minor chord, on a pad synthesizer that almost melts into the melody. Everything has very hard panning, leaving a very open or hollow sound in parts of the sound stage. When the melody begins, the sadness in the vocal is clear, both by the melody itself and the performer's tone. The addition of drums brings in a more driving feel, along with a rhythmic figure in the piano. When it moves to the chorus, the sound gets much fuller, both in terms of harmony and panoramic sound, and the shift into major chords adds a noticeably brighter touch to the song, perhaps suggesting a cheerier mood. We then have another verse, a repeat of the chorus, and then an instrumental interlude dominated by an analog synthesizer sound. There is then a bridge, which is itself entirely a build into the final repeat of the chorus, fuller and stronger than ever before. The last chorus lets out into an outro based on the end of the chorus, marked by synthesizer sounds and a rhythmic bass which slowly fade to the end.
The song is set by a very ambiguous and mysterious introduction, resting primarily on one note (in octaves). The verse begins with a minor chord, on a pad synthesizer that almost melts into the melody. Everything has very hard panning, leaving a very open or hollow sound in parts of the sound stage. When the melody begins, the sadness in the vocal is clear, both by the melody itself and the performer's tone. The addition of drums brings in a more driving feel, along with a rhythmic figure in the piano. When it moves to the chorus, the sound gets much fuller, both in terms of harmony and panoramic sound, and the shift into major chords adds a noticeably brighter touch to the song, perhaps suggesting a cheerier mood. We then have another verse, a repeat of the chorus, and then an instrumental interlude dominated by an analog synthesizer sound. There is then a bridge, which is itself entirely a build into the final repeat of the chorus, fuller and stronger than ever before. The last chorus lets out into an outro based on the end of the chorus, marked by synthesizer sounds and a rhythmic bass which slowly fade to the end.
Historical Background
Keane is a band hailing from Battle, East Sussex, UK. It consists of three members, Tom Oliver Chaplin (Vocals, Live Keyboards), Tim James Rice-Oxley (Piano, Keyboards, Bass, Backing Vocals), and Richard Hughes (Drums, Live Vocals). Originally, there was also a fourth member of the band, Dominic Scott (Guitars), but he left in 2001. The band was formed originally as a cover band called Lotus Eaters by Rice-Oxley, Scott, and Hughes while they were studying at University College in London. Chaplin, an old friend of Rice-Oxley's (Chaplin and Rice-Oxley's brother Tom were born on the same day, causing their mothers to become good friends), joined later. At that point the band began to do more original songs, and after Chaplin spent a year in South Africa volunteering, they starting touring pubs throughout Great Britain. It was then that the band's name was changed, as Rice-Oxley described in an interview:
TC: Why the name Keane?
Tim Rice-Oxley: We were sitting in this pub in Dublin waiting to play a gig and were told that we needed a name. We hadn't actually gotten round to choosing one at that point, it was just one of those things we kept putting off.
Anyway, we were all reminiscing about this old lady who used to look after us when we were younger, her name was Cherry Keane. So in the end we decided to name ourselves after her. Later on we decided to drop the 'Cherry' part and just be known as Keane. We thought it was a magical name, we really liked it.
TC: So it has some significance then?
Tim Rice-Oxley:Yeah definitely. She was one of those people who really encouraged us to follow our dreams and do the musical stuff we loved rather than worrying about whether we were going to get 'proper' jobs. She was always really nice to us - even when we sounded completely awful! She has a special place in our hearts.
In 1999 and 2001, the band released two singles on their own independent label, Zoomorphic, even though only a small number were made (many of which were simply on unlabeled CD-R's). Soon after the second single, Scott left the group to continue his studies, and soon after that, Keane signed a publishing deal with BMG Publishing. They recorded a few sessions in this time in France, where they started to toy with the idea of using the piano as a main instrument. However, without a recording contract and with few gigs in 2002, they had a rough time.
Soon, the answer came in the form of Simon Williams of Fierce Panda Records, who had discovered Coldplay a few years before. He offered to release the single "This Is The Last Time," a big hit which led to a bidding war between major record labels. The band eventually decided to sign with Island Records in 2003. They released two singles on this label before finally releasing their first full album, Hopes and Fears. Released on May 10, 2004, It consists of twelve songs, including "She Has No Time," a song written by Rice-Oxley supposedly to cheer Chaplin up:
"I always find this quite a hard thing to tell people about, 'cause I don't know how an audience is going to react...but this song is basically about being in love with someone and they're not in love with you, and this was something that happened to me a few years ago...Anyway, this fellow here [Tim] wrote this song, as a way of sort of comforting me at the time. Anyway, it really is a song that means so much to me, because it was basically Tim putting his arm around my shoulder and saying 'Don't worry, this happens to everyone at some stage'."
Also receiving writing credit for the song is James Sanger, who is the reason the band recorded in France in 2002 and who also receives writing credit for the songs "Bedshaped," "This Is The Last Time," "Sunshine," "Walnut Tree," and "To The End Of The Earth." Hopes and Fears hit #1 on the UK charts, and as high as #45 on the US charts. It is estimated that it has sold between 4 and 5.5 million copies worldwide.
Following the success of their first album, Keane embarked on their first world tour. They then released their second album, Under the Iron Sea, in May 2006 and toured for that album as well. Along with successes for their songwriter, Rice-Oxley (he collaborated with Gwen Stefani, has written songs for various films, and won the 2004 Ivor Novello Songwriter of the Year award), the band continues to find success touring the globe, and is currently recording their third album, expected to come out September 2008.
Syntax
In terms of larger structure, "She Has No Time" consists of an Intro, an A section (verses), a B section (choruses), a C section (the bridge), and a Coda. It is arranged in the following order: Intro, A, A, B, A, B', A', C, B', Coda, clearly visible in the structure of the sheet music, which makes good use of repeats and a D.S. al Coda. There is no key change throughout the piece, so it is technically in the same key throughout the entire piece, but the different sections focus on different tonal areas. The focus for the intro and for the verses is likely Dm, although with a look at a chord reduction, one can see that it is by no means a typical chord progression. Normal cadences are almost entirely avoided. Thus, the only way to really get a sense of the tonal center (a few different ones could apply) is by feel. The A section, though abnormal, keeps returning to Dm, implying it as the tonic. 
However, when it moves to the chorus, the center definitely changes. The G major chord at the end of the A section as shown goes directly into a C major chord in root position. This, the G is a pivot chord, becoming the V of C major. Yet even still, the chorus shows an odd chord progression. 
The repeats of the A section have the same chord progression, and the B' sections simply repeat the first four bars of the last example. The bridge, however, is different. It is the only one with a chord progression that makes any sense tonally. It firmly establishes C as the tonal center, and since it comes to the same cadence at the end going into the repeat of the B section, C can be confirmed as the tonic for the chorus.
After the last repeat of the chorus, the Coda sits on the Fmaj7 chord, which, though not tonicized, feels relatively stable.
However, when it moves to the chorus, the center definitely changes. The G major chord at the end of the A section as shown goes directly into a C major chord in root position. This, the G is a pivot chord, becoming the V of C major. Yet even still, the chorus shows an odd chord progression. 
The repeats of the A section have the same chord progression, and the B' sections simply repeat the first four bars of the last example. The bridge, however, is different. It is the only one with a chord progression that makes any sense tonally. It firmly establishes C as the tonal center, and since it comes to the same cadence at the end going into the repeat of the B section, C can be confirmed as the tonic for the chorus.
After the last repeat of the chorus, the Coda sits on the Fmaj7 chord, which, though not tonicized, feels relatively stable.
Sound-In-Time
0:00 - 0:15 A bell-like synthesized sound opens the piece, only on the right channel.
0:15 - 0:28 The synthesizer continues, eventually bridging over to the left channel, but first a pulsing bass drum and whooshing sounds enter on the left channel.
0:28 - 0:56 The pulsating continues close to center as synthesizer pad chords enter in the left channel. A light male vocal is set on top, centered on the sound stage.
0:56 - 1:23 The pulsating, synthesizer pad, and vocals continue. A bass drum, hi-hat, and rim click are added for rhythm, as well as a rhythmic piano figure in the right channel.
1:23 - 1:50 The drums and pad synthesizer continue; the vocal moves into a higher, cleaner register. An addition of bass synthesizer, string synthesizers, and a jumping, rhythmic clavichord-like synthesizer open up the sound for fullness, depth, and warmth.
1:50 - 2:17 The bass and drums continue, the synthesizer pad continues with a slightly brighter sound, and the vocal moves down to a lower register. A rhythmic piano figure is added.
2:17 - 2:56 The drums (with a snare sound in place of a rim click sound now) and pad synthesizer continue; the vocal moves into a higher, cleaner register. An addition of bass synthesizer, string synthesizers, and a jumping, rhythmic clavichord-like synthesizer open up the sound for fullness, depth, and warmth. The effect is loud, sustained, and strong.
2:56 - 2:58 A higher-pitched synthesizer sound fades in on top of everything as that starts to wane.
2:58 - 3:25 The high synthesizer, the drums, bass synthesizer the pad synthesizer, and the clavichord-like synthesizer continue. Everything else leaves.
3:25 - 3:52 The drums and clavichord sound continue. The pad synthesizer sound brightens up some into a more organ-like sound, the male vocal returns in a low register, slowly getting higher. The entire effect slowly gets louder.
3:52 - 4:25 The drums, bass, and pad synthesizer continue; the vocal moves into a higher, cleaner register. An addition string synthesizers brightens the sound considerably. The effect is loud, sustained, and strong.
4:25 - 4:39 The vocal stops. A synthesizer is added in the left channel playing a jumpy, cyclical, steady rhythmic figure. The general effect very slowly starts to decline in strength.
4:39 - 4:46 A sustained, gentle synthesizer sound is added to the right channel.
4:46 - 4:53 Everything continues except the string and pad synthesizers, which stop.
4:53 - 5:43 With a cymbal crash, everything stops except the jumpy synthesizer in the left channel, the sustained synthesizer in the right channel, and the bass synthesizer, which begins to move between the right and left channels. The three very slowly fade into silence.
0:15 - 0:28 The synthesizer continues, eventually bridging over to the left channel, but first a pulsing bass drum and whooshing sounds enter on the left channel.
0:28 - 0:56 The pulsating continues close to center as synthesizer pad chords enter in the left channel. A light male vocal is set on top, centered on the sound stage.
0:56 - 1:23 The pulsating, synthesizer pad, and vocals continue. A bass drum, hi-hat, and rim click are added for rhythm, as well as a rhythmic piano figure in the right channel.
1:23 - 1:50 The drums and pad synthesizer continue; the vocal moves into a higher, cleaner register. An addition of bass synthesizer, string synthesizers, and a jumping, rhythmic clavichord-like synthesizer open up the sound for fullness, depth, and warmth.
1:50 - 2:17 The bass and drums continue, the synthesizer pad continues with a slightly brighter sound, and the vocal moves down to a lower register. A rhythmic piano figure is added.
2:17 - 2:56 The drums (with a snare sound in place of a rim click sound now) and pad synthesizer continue; the vocal moves into a higher, cleaner register. An addition of bass synthesizer, string synthesizers, and a jumping, rhythmic clavichord-like synthesizer open up the sound for fullness, depth, and warmth. The effect is loud, sustained, and strong.
2:56 - 2:58 A higher-pitched synthesizer sound fades in on top of everything as that starts to wane.
2:58 - 3:25 The high synthesizer, the drums, bass synthesizer the pad synthesizer, and the clavichord-like synthesizer continue. Everything else leaves.
3:25 - 3:52 The drums and clavichord sound continue. The pad synthesizer sound brightens up some into a more organ-like sound, the male vocal returns in a low register, slowly getting higher. The entire effect slowly gets louder.
3:52 - 4:25 The drums, bass, and pad synthesizer continue; the vocal moves into a higher, cleaner register. An addition string synthesizers brightens the sound considerably. The effect is loud, sustained, and strong.
4:25 - 4:39 The vocal stops. A synthesizer is added in the left channel playing a jumpy, cyclical, steady rhythmic figure. The general effect very slowly starts to decline in strength.
4:39 - 4:46 A sustained, gentle synthesizer sound is added to the right channel.
4:46 - 4:53 Everything continues except the string and pad synthesizers, which stop.
4:53 - 5:43 With a cymbal crash, everything stops except the jumpy synthesizer in the left channel, the sustained synthesizer in the right channel, and the bass synthesizer, which begins to move between the right and left channels. The three very slowly fade into silence.
Musical and Textual Representation
The lyrics to "She Has No Time" are listed below (or can be found here if you'd rather flip between tabs than scroll).
You think your days are uneventful
And no one ever thinks about you
She goes her own way
She goes her own way
You say your days are ordinary
And no one ever thinks about you
But we're all the same
And she can hardly breathe without you
She says she has no time
For you now
She says she has no time
Think about the lonely people
Then think about the day she found you
Or lie to yourself
And see it all dissolve around you
She says she has no time
For you now
She says she has no time
For you now
She says she has no time
Lonely people tumble downwards
My heart opens up to you
When she says
She has no time
For you now
She says she has no time
For you now
She says she has no time
When first looking at the text, the lyrics may seem a bit vague, though clearly centered on a woman. This is clearly evident by the pronoun use of "She." However, when examining the standpoint that Chaplin described in the quote from the Historical Background, it becomes clearer that the song embodies a person trying to cheer up their friend, who is depressed by an unreturned love. From this perspective, the lyrics and music all fit into place.
The first verse probes the friend's experience, describing how they feel and projecting what those feelings are, i.e. worthlessness or lack of importance. The repetition of the line "She goes her own way" describes how the recipient of the song sees that the woman in question has left and is taking her own path, her own course of life, which evidently does not include the recipient. The first two lines of the second verse continue in this vein, almost literally repeating the first line. But then there is a shift. This is where the cheering up comes in. The third line of the second verse reads, "But we're all the same," which speaks not to the idea that everyone feels the things that have been so far described, but that everyone goes through the experience that the recipient is going through. At some point, everyone will love someone who does not love them back. And yet, the next line implies that she does love him, even if she says she doesn't, "And she can hardly breathe without you." This sets up a question almost, leading the listener to wonder, "Well, if she can hardly breathe without me, why isn't she with me?"
In the chorus that follows, the question is answered. "She says she has no time for you now." She may love you, but she simply does not have the time for a significant other. This theme is common in romantic stories, where a couple will break up because one person wants to focus on their career, or on their family, or whatever. It should be noted that there is some uncertainty implied by the use of "She says," as if the reason she's giving isn't the real reason. However, the song never tackles that question, and it does not need to, for reasons that will be discussed later.
Then, the singer starts to take over the thought process. "Think about the lonely people / and think about the day she found you." He asks the friend to consider how many people in the world are lonely and without someone to love at all, and how meeting this girl removed him from that pool. It may remind the listener of the saying, "It is better to have loved and lost than never to have loved at all." He then says, "Or lie to yourself / and see it all dissolve around you." He forces the point with this, saying that the recipient could simply lie to himself by believing that he would have been better off never meeting the girl, because of the pain he's in. If he does, the singer asserts, the very fact that he has met someone and been removed from the population of lonely people will completely disappear; he will become a lonely person if he does not recognize the fact that he is better for having loved, even if it isn't returned.
He then repeats the chorus, reminding us that the girl has no time for him now, although this time, it is lengthened by one repeat of that phrase. This could be to emphasize the point further, or it could be a reference to the concept of time. The girl has no time, so I as the singer will spend more time with you.
Then, we reach the bridge, where we hear, "Lonely people tumble downwards." Although metaphorical in nature, this is a fairly clear statement. People who are lonely--the people who have never loved, and what the recipient will become if he does not recognize the girl's positive influence on his life--continue to sink further into their depression, their loneliness. However, "lonely" in this case can also refer to the simple concept of someone who does not have anyone to help them through things, considering the next lines (which run into the first part of the chorus), "My heart opens up to you / when she says she has no time." The singer is saying, "I am here for you. When she has put you down like this because of whatever she has to deal with, I will be here to help you through it." This then moves into a repeat of the chorus, again lengthened like the second time, as if to prove his intention to stay with the recipient in the way that was implied before.
Musically, everything serves to help the text. The beginning, where the text describes the pain being experienced, is very hollow, ambiguous, and open. It is also characterized by a great deal of minor chords. As the song moves through the progression from the sadness into the cheering up, more instruments are added to create a stronger rhythm and a general fullness and warmth. There is a moment in the middle, the interlude before the bridge, where it moves back to the minor feel and the synthesizer melody wails above. It is as if to suggest that the recipient is still upset, and is wailing and mourning the loss. If imagining the song as a scene with two friends in conversation, the singer is trying to cheer the other up, and when he continues to wail, it compels the singer to move into the bridge, where the strongest message of the song, "My heart opens up to you when she says..." comes out.
There is one particular recurring moment in the song (which is actually missing from the UNC Clef Hangers version) where the music, as if trying to speak for the singer, tries to force a cheer-up. For all of the verses, and the musical interlude, the D chords that we hear are all minor. However, in the chorus, on the words "For you now," the F becomes an F#, making it a glaring D major chord (with an added ninth). It brightens the feel immeasurably, as if trying to force the friend to cheer up.
The end of the song, however, marks a return to the more hollow sound without drums, without chords, and without a singer. At first, one might be compelled to think that the friend has fallen back into the depression, despite the singer's attempts. However, there are some differences that seem to suggest quite the opposite. The bass line, before stagnant, moves from an F up to a G temporarily, and is rhythmic, suggesting motion and activity. Additionally, there is a cyclical keyboard part going through the entire ending. This could be implying the notion of time, moving faster now (it is the fastest continuous rhythm of the entire piece), or it could refer to the same motion and activity that the bass implies. Regardless, the fact that it contains the B natural above the F in the bass suggests the Lydian mode, and results in a much brighter feel. We also hear a synthesizer moving between two notes, with just the sort of inflection that suggests, at least in my opinion, the words, "Thank you." The friend, although not completely cured of his pain, feels better about the situation with the help of the singer, and is responding by thanking him.
You think your days are uneventful
And no one ever thinks about you
She goes her own way
She goes her own way
You say your days are ordinary
And no one ever thinks about you
But we're all the same
And she can hardly breathe without you
She says she has no time
For you now
She says she has no time
Think about the lonely people
Then think about the day she found you
Or lie to yourself
And see it all dissolve around you
She says she has no time
For you now
She says she has no time
For you now
She says she has no time
Lonely people tumble downwards
My heart opens up to you
When she says
She has no time
For you now
She says she has no time
For you now
She says she has no time
When first looking at the text, the lyrics may seem a bit vague, though clearly centered on a woman. This is clearly evident by the pronoun use of "She." However, when examining the standpoint that Chaplin described in the quote from the Historical Background, it becomes clearer that the song embodies a person trying to cheer up their friend, who is depressed by an unreturned love. From this perspective, the lyrics and music all fit into place.
The first verse probes the friend's experience, describing how they feel and projecting what those feelings are, i.e. worthlessness or lack of importance. The repetition of the line "She goes her own way" describes how the recipient of the song sees that the woman in question has left and is taking her own path, her own course of life, which evidently does not include the recipient. The first two lines of the second verse continue in this vein, almost literally repeating the first line. But then there is a shift. This is where the cheering up comes in. The third line of the second verse reads, "But we're all the same," which speaks not to the idea that everyone feels the things that have been so far described, but that everyone goes through the experience that the recipient is going through. At some point, everyone will love someone who does not love them back. And yet, the next line implies that she does love him, even if she says she doesn't, "And she can hardly breathe without you." This sets up a question almost, leading the listener to wonder, "Well, if she can hardly breathe without me, why isn't she with me?"
In the chorus that follows, the question is answered. "She says she has no time for you now." She may love you, but she simply does not have the time for a significant other. This theme is common in romantic stories, where a couple will break up because one person wants to focus on their career, or on their family, or whatever. It should be noted that there is some uncertainty implied by the use of "She says," as if the reason she's giving isn't the real reason. However, the song never tackles that question, and it does not need to, for reasons that will be discussed later.
Then, the singer starts to take over the thought process. "Think about the lonely people / and think about the day she found you." He asks the friend to consider how many people in the world are lonely and without someone to love at all, and how meeting this girl removed him from that pool. It may remind the listener of the saying, "It is better to have loved and lost than never to have loved at all." He then says, "Or lie to yourself / and see it all dissolve around you." He forces the point with this, saying that the recipient could simply lie to himself by believing that he would have been better off never meeting the girl, because of the pain he's in. If he does, the singer asserts, the very fact that he has met someone and been removed from the population of lonely people will completely disappear; he will become a lonely person if he does not recognize the fact that he is better for having loved, even if it isn't returned.
He then repeats the chorus, reminding us that the girl has no time for him now, although this time, it is lengthened by one repeat of that phrase. This could be to emphasize the point further, or it could be a reference to the concept of time. The girl has no time, so I as the singer will spend more time with you.
Then, we reach the bridge, where we hear, "Lonely people tumble downwards." Although metaphorical in nature, this is a fairly clear statement. People who are lonely--the people who have never loved, and what the recipient will become if he does not recognize the girl's positive influence on his life--continue to sink further into their depression, their loneliness. However, "lonely" in this case can also refer to the simple concept of someone who does not have anyone to help them through things, considering the next lines (which run into the first part of the chorus), "My heart opens up to you / when she says she has no time." The singer is saying, "I am here for you. When she has put you down like this because of whatever she has to deal with, I will be here to help you through it." This then moves into a repeat of the chorus, again lengthened like the second time, as if to prove his intention to stay with the recipient in the way that was implied before.
Musically, everything serves to help the text. The beginning, where the text describes the pain being experienced, is very hollow, ambiguous, and open. It is also characterized by a great deal of minor chords. As the song moves through the progression from the sadness into the cheering up, more instruments are added to create a stronger rhythm and a general fullness and warmth. There is a moment in the middle, the interlude before the bridge, where it moves back to the minor feel and the synthesizer melody wails above. It is as if to suggest that the recipient is still upset, and is wailing and mourning the loss. If imagining the song as a scene with two friends in conversation, the singer is trying to cheer the other up, and when he continues to wail, it compels the singer to move into the bridge, where the strongest message of the song, "My heart opens up to you when she says..." comes out.
There is one particular recurring moment in the song (which is actually missing from the UNC Clef Hangers version) where the music, as if trying to speak for the singer, tries to force a cheer-up. For all of the verses, and the musical interlude, the D chords that we hear are all minor. However, in the chorus, on the words "For you now," the F becomes an F#, making it a glaring D major chord (with an added ninth). It brightens the feel immeasurably, as if trying to force the friend to cheer up.
The end of the song, however, marks a return to the more hollow sound without drums, without chords, and without a singer. At first, one might be compelled to think that the friend has fallen back into the depression, despite the singer's attempts. However, there are some differences that seem to suggest quite the opposite. The bass line, before stagnant, moves from an F up to a G temporarily, and is rhythmic, suggesting motion and activity. Additionally, there is a cyclical keyboard part going through the entire ending. This could be implying the notion of time, moving faster now (it is the fastest continuous rhythm of the entire piece), or it could refer to the same motion and activity that the bass implies. Regardless, the fact that it contains the B natural above the F in the bass suggests the Lydian mode, and results in a much brighter feel. We also hear a synthesizer moving between two notes, with just the sort of inflection that suggests, at least in my opinion, the words, "Thank you." The friend, although not completely cured of his pain, feels better about the situation with the help of the singer, and is responding by thanking him.
Virtual Feeling
In listening to this piece, I experience various emotions that can be described with the notion of Virtual Feeling. In fact, I see the piece as being a progression of virtual feelings. At the beginning, most certainly the prevailing feeling is sadness and melancholy. As the piece progresses, the melancholy remains--the general mood of loving without return stays throughout the entire song--but the sadness slowly disappears. As the singer urges to consider that loving the girl has been a good thing, the feeling is more one of nostalgia perhaps, or maybe something closer to happy reminiscence. Then, when the singer reveals that he will be there for his friend to help him out, the feeling of sadness is almost entirely replaced with feelings of gratefulness. I feel grateful that this person has someone so caring and helpful in their life, and that they have someone to lean on in times of trouble. Again, the melancholy is still there, but it is no longer oppressive and coupled with a sadness that feels inescapable. There is now hope.
Onto-historical World
Keane, though established as a group in 1995, were all born in the mid-seventies. As a result, the music around them as they were growing up and which influenced them heavily were the things that were popular during the late eighties and early nineties. However, it is also evident that they reached back to listening to music before their time, as the band noted in an interview,
"We grew up listening to The Beatles, Paul Simon, The Pet Shop Boys, Michael Jackson, Queen, and then got into U2, R.E.M, The Smiths, and Radiohead. I guess it's classic song writing that is the main influence rather than one band in particular - we love people like Nick Drake who can convey so much emotion and write songs and albums that will be loved and cherished for many years - the things that will be in people's record collections for their whole lives."
Thus, their style emerged out of the very notion of songwriting. The fact that they were able to center their music around the piano rather than the guitar (which was typical of the age), although significant, was entirely a result of losing one of their members. By any other means, they would be just like any other rock band with guitar-heavy music. The fact that so much music was dominated by the guitar made the fact that their music was not so important to their success. It is also important to notice the timing of their success. The band came to fame in the late nineties/early millennium, when recording technology was starting to become commonplace enough that anyone could create songs. In fact, that is just what they did--their first few singles were released independently, something that could never have been done had the band emerged even a decade earlier.
"We grew up listening to The Beatles, Paul Simon, The Pet Shop Boys, Michael Jackson, Queen, and then got into U2, R.E.M, The Smiths, and Radiohead. I guess it's classic song writing that is the main influence rather than one band in particular - we love people like Nick Drake who can convey so much emotion and write songs and albums that will be loved and cherished for many years - the things that will be in people's record collections for their whole lives."
Thus, their style emerged out of the very notion of songwriting. The fact that they were able to center their music around the piano rather than the guitar (which was typical of the age), although significant, was entirely a result of losing one of their members. By any other means, they would be just like any other rock band with guitar-heavy music. The fact that so much music was dominated by the guitar made the fact that their music was not so important to their success. It is also important to notice the timing of their success. The band came to fame in the late nineties/early millennium, when recording technology was starting to become commonplace enough that anyone could create songs. In fact, that is just what they did--their first few singles were released independently, something that could never have been done had the band emerged even a decade earlier.
Open Listenings 2
In having explored the various forms of musical analysis for this song, I found that listening to it was a very different experience. Not only could I appreciate the sounds for themselves, but I could really feel and relate to the lyrics in a way that I wasn't able to before. While listening, I found myself remembering times when I have been in a situation of unreturned love, and I found myself persuaded by the song to look at them positively. I also found myself picturing the people who I know would be there for me in the way the singer describes.
I also picked up on a few things I hadn't noticed before, like the intensity in the singer's voice during the last repeat of the chorus, so much more than it ever was before. And, although I had been aware of the hard panning of the various elements, I found myself able to put them together and listen in a total field manner, rather than merely two dimensional. It heightened the emotion conveyed by the piece.
I also, for the first time, thought about how heavily electronic the song is, and yet when one might think that would detract from a song of this type, it rather heightens the effect, because it allows the artist to open up certain areas of the frequency spectrum with more control and accuracy than can be achieved with acoustic instruments. Conversely, it allows the artist to fill up a larger part of the frequency spectrum, and with more control and accuracy than can be achieved with acoustic instruments. It makes for a wonderful package.
I also picked up on a few things I hadn't noticed before, like the intensity in the singer's voice during the last repeat of the chorus, so much more than it ever was before. And, although I had been aware of the hard panning of the various elements, I found myself able to put them together and listen in a total field manner, rather than merely two dimensional. It heightened the emotion conveyed by the piece.
I also, for the first time, thought about how heavily electronic the song is, and yet when one might think that would detract from a song of this type, it rather heightens the effect, because it allows the artist to open up certain areas of the frequency spectrum with more control and accuracy than can be achieved with acoustic instruments. Conversely, it allows the artist to fill up a larger part of the frequency spectrum, and with more control and accuracy than can be achieved with acoustic instruments. It makes for a wonderful package.
Performance Guide
Anyone trying to perform the piece must attend to one thing above all: expression of emotion. This song is very much about providing a progression from sadness to hopefulness, and every performance choice must be made with that intention in mind. For some more specific points along those lines:
- If using the original instrumentation, then much of this will be achieved on its own, but there must be a clear distinction between the sections in terms of feel. The choruses are brighter and stronger than the verses, but the verses should have a clear progression into brighter and stronger realms as the song goes on.
- The bridge should start soft and grow to be loud and more intense, as the bridge reflects the progression of the entire piece within itself, both musically and textually.
- The change to the D major chords in the choruses should be emphasized.
- The vocal should never be heavy; it should float above the accompaniment.
- Special care should be taken to sing the exact lyrics. Every word (even small conjunctions and articles) seems to have been carefully chosen to produce the right meaning.
- While there should not be too little action, i.e. no movement whatsoever, there should not be large amounts of motion, so as to not distract from the lyrics, which are of prime importance.
- Special attention should be given to the tempo. If the piece speeds up or slows down at all, it could ruin the musical affect of the piece.
Meta-Critique
First, I'd like to note that I dislike the heading for this section of the analysis. The use of "Meta" seems entirely appropriate, as it is used in the context of "beyond." That is most definitely what this section is supposed to do--to go beyond the critique. But that's the problem I have right there: the word "Critique." It implies that in performing an eclectic analysis, I am in some way passing judgment on the work; that I am deciding if it is a good or bad piece. I suppose in some way I do pass judgment on the work throughout my analysis, but since the intention of the eclectic analysis, or at least in the elements inspired by Husserl, is to bracket out preconceived ideas and notions about the work, it feels entirely wrong to call the analysis a critique. It is an analysis. Of course, it is not an analysis in the normal, conventional sense of an analysis, but it is an analysis, and most certainly not a critique. Therefore, the heading for this section, in my opinion, should be "Meta-Analysis," or something else to that effect.
But on to the actual point of this section.
The present analysis is an attempt to get at the heart of the piece by attacking it from all directions, and to provide the analyst with a more comprehensive appreciation of the work at all levels. While I most certainly feel that this happened, it is possible that I got myself stuck into the mindset for the piece that the composers had when writing it. While I feel this is important to do at some point, since the text was carefully chosen by them to express their intentions, it is possible that there are radically different ways to interpret the song that I may not have noticed. It is also possible that more referential elements could have emerged with more research.
However, it does feel that each level of analysis was carefully attended to, so the fact that the mindset that I may have gotten stuck in held up to all levels should attest to its possible accuracy. At the very least, a large amount of data was generated regarding this song, which could assist another analyst in their work should they try to analyze the same song.
But on to the actual point of this section.
The present analysis is an attempt to get at the heart of the piece by attacking it from all directions, and to provide the analyst with a more comprehensive appreciation of the work at all levels. While I most certainly feel that this happened, it is possible that I got myself stuck into the mindset for the piece that the composers had when writing it. While I feel this is important to do at some point, since the text was carefully chosen by them to express their intentions, it is possible that there are radically different ways to interpret the song that I may not have noticed. It is also possible that more referential elements could have emerged with more research.
However, it does feel that each level of analysis was carefully attended to, so the fact that the mindset that I may have gotten stuck in held up to all levels should attest to its possible accuracy. At the very least, a large amount of data was generated regarding this song, which could assist another analyst in their work should they try to analyze the same song.
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