Arranging and Revisiting a Song #2
05/07/2011
L’articolo in lingua italiana si trova su
Chitarra Acustica, n. 3, Giugno 2011,
oppure sul blog di Fingerpicking.net
In this second article exploring arrangements and cover versions we will present several examples of interpretations of well-known pieces. So we will see how some great artists knew how to go beyond original versions with class to create nothing less than masterpieces. We would like to pause for a moment on these cases in order to highlight in particular the elements that were used each time to create an effective re-interpretation. In order to facilitate listening to the pieces we are going to look at, we have also included a link to YouTube for each one. While obviously taking the guitar into consideration, we thought it would be a good idea to include references to artists who were not guitarists since sometimes you can gather inspiration and very interesting ideas from them. Furthermore, it’s important to underline how frequently great artists demonstrate that it’s often enough to knowingly change only a few, simple elements to give your own touch to the pieces you are tackling.
Among the first aspects to evaluate when taking on a cover version is the rhythm, the speed and the accenting. In the original version of “So What” by Miles Davis (1959) the accompaniment on the drums during the theme played on the counterbass follows a classic jazz style accompaniment. However, Marcus Miller decided to give it a more energetic cut with a taste of R&B inserting a groove on the drums with a strong beat on the 2nd and 4th crotchet of the bar given by the snare drums. The speed has been increased with respect to the original and the energy of the piece is emphasised by the response to the theme on the bass offered by the wind section that’s much more present than in Davis’ version.
Miles Davis, “So What” (1959)
Marcus Miller, “So What”
Staying in the realm of bass players, the great Jaco Pastorius created his very own, very personal version, making it much more ‘bebop’ in character and exploiting one of the fundamental characteristics of this style of jazz – the speed. In this execution of the piece inserted in a medley, Jaco eliminated the presence of wind instruments in the response to the theme, substituting them with a keyboard (in pure ’80s style) and consequently giving greater attention to the bass.
Jaco Pastorius, “So What”
At other times it’s possible to elaborate on an effective cover version of a piece exploiting the characteristics of your own instrument you have to hand. Amongst the innumerable versions of “Blue Moon” we would like to mention how Ella Fitgerald (1973) and Elvis Presley (1954) gave life to their own interpretations trusting themselves to their own respectively extraordinary voices and to the capabilities of this instrument to create tender, long-lasting sounds.
Ella Fitzgerald, “Blue Moon” (1973)
Elvis Presley, “Blue Moon” (1954)
Their interpretations are undoubtedly much broader than Tommy Emmanuel’s who in his more rhythmic and lively version (1995) could give more space to the possibility offered by the guitar to produce melody and accompaniment simultaneously. And he managed really well. If we exclude that which could be created by a man of indisputable talent such as Tommy Emmanuel, it’s difficult to think of a guitar interpretation that’s as convincing and effective as “Blue Moon” played at the speed of Fitzgerald’s or Elvis’ recordings.
Tommy Emmanuel, “Blue Moon” (1995)
While we’re at it, let’s highlight some noteworthy recordings that it could be worth while taking a longer look at: Stéphane Grappelli (1990), The Marcels (1961), Frank Sinatra (1961), Django Reinhardt (1935, Louis Armstrong (1955), Dizzy Gillespie and Tori Amos (1996).
Stéphane Grappelli, “Blue Moon” (1990)
A similar line of thought can be applied to the famous “Somewhere over the Rainbow”. With respect to the original sung by Judy Garland (1939), Eva Cassidy gave the piece new breath and air by rhythmically stretching the phrases, exploiting her own vocal talents to the full. The arrangement here is bare, which helps the melody to emerge. Referring back to Tommy Emmanuel once again, you can see how he places his trust in effects that are purely guitar based in order to create his own interpretation. The theme is introduced first with harmonics and through the use of delay and then expanded in a traditional way. The piece could perhaps be considered more of an excellent arrangement than a new interpretation in its own right.
Judy Garland, “Somewhere over the Rainbow” (1939)
Eva Cassidy, “Somewhere over the Rainbow”
Tommy Emmanuel, “Somewhere over the Rainbow”
Finally we are going to examine what is probably the most interesting among the examples given – the interpretation of a piece of classical music by a modern performer. Specifically, we are going to analyse Django Reinhardt’s version of the famous piano piece “Liebesträume No. 3” (1850) by Franz Liszt (1811-1886). The great Django took on the arduous task of interpreting classical music and he did it by adapting it perfectly to his style. Here is the original and Django’s version.
“Liebestraum No. 3” di Franz Liszt
Django Reinhardt, “Liebestraum No. 3”
The key to the cover’s success this time lies in his picking up on a few of his own elements in the original and using these within the piece. He completely de-structures the piano score, taking it apart bit by bit and adapting it with a result that is certainly very effective. Django has taken up the theme, modified it according to his rhythmic and melodic point of view and then filled it with improvised phrases. He has actually only used a fragment of it. This fragment has taken on the function of a ‘glue’ that holds the piece together. The introduction has been picked up on again at the end to give a better sense of completeness to the whole piece. The final result is a version that has lost its dramatic and romantic character that Liszt gave to the piece (Liebesträume means ‘dreams of love’) but it has gained rhythm and freshness. Django acted in complete liberty, demonstrating that by freeing yourself from the original with intelligence and personality, it’s possible to create excellent interpretations, albeit notably different from the author’s intentions for the piece.
For whoever would like to analyse Django’s version with the help of the original score for piano, it’s possible to download it legally at the following link:
http://erato.uvt.nl/files/imglnks/usimg/2/22/IMSLP00615-Liszt-_Liebestraum_No_3.pdf
Till next time!
Bruskers
This article is in Chitarra Acustica, n. 3, June 2011, p. 17.
