*
Plunk* *
splush*... See The Sky About to Rain - The raindrop wurlitzer pulloping reluctantly segueing into Neli Young's sad song.
Place To Be - A chord progression revolving around a tonic chord, as they all do, the guitar weaves out and weedles back in, circling the melody, lost, matching the lyric's sense of non-placement.
At The Chime of a City Clock - The guitar welds a fence around the narrative. Don't even mention From The Morning.
So, yes, prosody ("the intuitive ability to match words with music so they work together") - words mirrored in music. Do you pay any attention in it when listening/reviewing a record [I've found myself reach for it a few times]? Rockist? Does it drive to the heart of the songcraft argument? Or is it merely one facet? Is admiring the match of music and lyric mechanicalising the process, stepping back from the finalised product, dissect it, its gelled we're pulling it apart... (i.e. Looking at it as a collection of Means and not an End!).
Prosody? Does anyone care?
― david h, Sunday, 14 April 2002 00:00 (twenty-four years ago)
The concept was dealt a mortal blow for me by all those ringing
clocks on Pink Floyd's - wait for it, this is clever -
"Time". 'Prosody' as mediocre artists 'understand' it is far too
easy to do simplistically, maybe that's why nobody wants to mention
it.
(Although - for a great example, see my thread on Steely
Dan's "Time Out of Mind"!)
― dave q, Sunday, 14 April 2002 00:00 (twenty-four years ago)
...which ties into my other suspicion, "Succesful prosody achieved
directly proportional to experience in field" - maybe why bands start
off playing genre-defined music that everyone loves and 'serious'
crits find boring, and end up playing 'self-indulgent' (i.e.
interesting) stuff that genre fans hate or feel betrayed by?
― dave q, Sunday, 14 April 2002 00:00 (twenty-four years ago)