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The History of Paul McCartney

The History of Paul McCartney. By Andrew Emrazian. Beginnings. Born James Paul McCartney 18 June 1942 Liverpool, England. An Artistic Family. Jim played the piano in Jim Mac’s Jazz Band His brother Michael recited poetry

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The History of Paul McCartney

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  1. The History of Paul McCartney By Andrew Emrazian

  2. Beginnings • Born James Paul McCartney 18 June 1942 • Liverpool, England

  3. An ArtisticFamily • Jim played the piano in Jim Mac’s Jazz Band • Hisbrother Michael recitedpoetry • Paul played the trumpet, guitar, and painted

  4. Paul turned to Music • Hismother Mary diedwhenhewas14 yrs. old • Jim bought Paul a trumpethopinghewouldturn to music. • He latertraded for a guitar.

  5. A greatpartnershipisformed • Paul met John Lennon at a gardenfete in 1957 • John wasimpressed by Paul’s ‘Be-Bop-A-Lula’ & guitartuningskills • Paul joins the Quarry Men at 15 yrs. old

  6. The Beatles are formed • The Quarry Men • Jim bought Paul a trumpethopinghewouldturn to music. • He latertraded for a guitar.

  7. A songwriting duo • Over 200 of the Beatles songs are co-written by Paul and John • Someadoredsongslike ‘Yesterday’, ‘Let it Be’, and ‘Blackbird’ have been performed by severalartists • ‘Yesterday’ has been recorded in more than 3,000 versions

  8. Beatlemania! • The Beatles became a pop culture phenomenon • The boys style wasunconventional and evenconsideredrebellious

  9. The Beatles fallapart • In 1967 Brian Epstein died • The group lost direction afterEpstein’sdeath • John, Paul, George, and Ringo eachpursuedindividualopportunities

  10. The Wingsare formed • Paul met a fellowmusician Linda at a nightclub in London • Theymarried in 1969 • Paul and Linda formed ‘The Wings’ and led the group together

  11. The Wings are successful • Paulssuccesscontinuedwith the Wings • During the 1970’s Paul and Linda wroteseveral hits that top the charts • ‘MaybeI’mamazed’, ‘Band on the Run’ , and ‘Live and Let Die’

  12. Exploring a variety of music • In June 1991 Paul released a classicalmovement • The ‘ Liverpool Oratorio’, consisted of 8 movements • It wascomposed as a tribute for the 150th anniversary of an orchestra in Liverpool

  13. Life after Linda • Linda, Paul’swife of nearly 30 yearspassedaway in 1998 • He married Heather Mills 2002-2008 • Paul recentlymarried Nancy Shevell in 2011

  14. Broadeninghis horizons • In 2007, Paul released the awarded ‘classical album of the year’ • Wrote for the ballet in New York City • February 2012, Paul released a romantic album ‘Kisses on the Bottom’

  15. Presidentialtreatment • In 2010, McCartney received the Gershwin Prizeat the White House withPresidentObama for his contributions to pop music

  16. Composition History

  17. ‘She Loves You’-The Beatles • ‘She Loves You’ wasrecorded in July 1963 • Wasrecordedwithcrowds of girls bustingthrough the front doors • Released August 1963 • Rolling Stone ranked the song as 64th greatest of all time

  18. ‘Yesterday’- The Beatles • Paul stumbled out of bedwith a completesong in hishead • The band feltthatitwasn’t a songfrom a rock and roll band • It wasreleased a yearlater in August 1965 • Ranked 13th on Rolling Stone list

  19. ‘Let it Be’- The Beatles • The songwasinspired by Paul’smotherwhopassedaway • Releasedas the The Beatles werebreaking • Released in March 1970

  20. ‘Live and Let Die’- Paul McCartney & Wings • In 1973, Paul wasasked to write a song for the new James Bond • Afterreading the novel Paul agreed • The songwas a top ten hit

  21. ‘Band on the Run’- Paul McCartney & Wings • Released in 1974 • The songis about the liberation of the band being in prison

  22. Listening Guide

  23. ‘She Loves You’- The Beatles 0:00- The intro is very short, less than a second. It Consists of a couple fast drum rolls. This sets the tempo fast for the song right from the start. 0:01 - The melody is introduced right away and really is only one short line repeated three times, “She loves you, yeah, yeah, yeah”. The phrase has a higher pitch probably for a tenor and has a narrow range arch with all voices singing melody. The dynamics are probably mezzo forte. The ensemble consists of drums, bass guitar, lead guitar, and unison voices. 0:10 - On the last “yeah” of the melody the harmony of singing split into a triad

  24. ‘She Loves You’- The Beatles 0:13 - The first verse begins. The percussion switches to the cymbals maintaining the same tempo with a fast beat. Bass guitar sounds like each measure plays a half note followed by two quarter notes. Lead guitar almost takes back so far in the song, strumming on a separate beat than the other instruments. The vocals stay close in range however harmony constantly switches between one, two, and three parts. 0:25 - The verse continues after four lines. The drums give you a half beat to remind they’re there in the first line. 0:30 - Lead guitar comes to the forefront at the end of the line and gives us three chords that coincide with the melody.

  25. ‘She Loves You’- The Beatles 0:37 - At the end of four more lines the lead guitar comes back and riffs a bit to add some texture. 0:39 - Verse two begins. The music stays the same. The texture and timbre are smooth. At some points it is hard to distinguish parts and harmonies. The tempo has maintained the same. 1:03 - At the end of verse two all vocals harmonize into a triad again almost like a cadence or accent to verse two. 1:04 - We return to the melody but only two lines are played. Percussions stop hitting the cymbals for each beat. There are two lines added to the melody that are separate from the verses and melody. Vocals go back to singing parts and on the last line we go back to the cymbals.

  26. ‘She Loves You’- The Beatles 1:16 - Lead guitar intro into the third verse. Sort of a Beach Boys sounding phrase. 1:17 - Verse three sounds the same as the previous ones. Eight short lines, vocals switching between one, two and three parts. Form and rhythm are conjunct and tight; smooth and consonant. The song continues to be energetic and feel good. 1:41 - Another verse ending “ooooo” in three parts. The triad gives a unique contrast that adds a lot to the song. 1:49 -The end of the song begins with three phrases repeated. The cymbals return, the bass guitar gives us four notes between each phrase. On the third phrase tempo begins to retard, then beat picks up briefly before continuing to retard. Singing in unison til the last “yeah” which is in harmony.

  27. ‘Yesterday’- The Beatles 0:00 - Acoustic guitar intros with a moderate tempo. 0:05 - Guitar continues a constant beat and the vocal comes in. The guitar chords usually begin with a bass note followed by a duo of harmonic notes on each beat to make up the tempo. First word is drawn out and sets a slower texture to the piece of music despite the moderate tempo. The song starts out mezzo-piano. 0:08 - The first line sounds like it’s a narrow tenor range; his voice is soft and smooth. 0:13 - Line two vocals are descending from where the first line left off and the guitar continues the constant beat gently.

  28. ‘Yesterday’- The Beatles 0:20 - At the end of verse one there are two half notes on “yesterday” giving it a cadence. 0:23 - At the beginning of verse two vocals and guitar are accompanied by string instruments (violins, cello, and or viola). The instruments that are accompanying the guitar are playing almost the same thing. They could be considered to imitate however they offer a few more notes in a more complete sound and feel. 0:40 - Could be considered the song’s chorus, just two lines. 0:53 - A form of homophony is introduced where the singer’s voice is slightly echoed. 0:58 - Violin does an exit of four or five descending notes out of the chorus.

  29. ‘Yesterday’- The Beatles 1:00 - Third verse begins. The three line verse is very similar to the previous. Guitar maintains a simple beat and chords however this verse the other string instruments give a more complex form. They play the motes between the guitar’s chords. 1:38 - The third verse is repeated again. The violin comes in an octave higher and holds the note throughout the verse. The form and rhythm are very elegant in this piece, I think, because of the contrast of the simple tempo and texture. 1:56 - No break after the last verse. He continues straight into the end of the song. It retards fairly quickly. The viola and guitar take it out.

  30. ‘Let it Be’- The Beatles 0:00 - Piano intro sets the tempo slow and smooth, then a rest to introduce the singer. 0:13 -The first verse starts with vocals, also slow and consistent. During the verse when the vocals rest or slow, the piano picks up the beat to keep it conjuct. Vise versa with piano to the vocal. 0:38 - The melody is revealed for next two lines. The dynamics change and the music softens to make way for background “oooo” that are sung by several people. 0:53 - Verse two starts with a cymbal hi-hat. 1:04 - Bass guitar comes in to join percussion, vocal, and piano. A background whisper can be heard in this line too. Still soft dynamics.

  31. ‘Let it Be’- The Beatles 1:18 - Drums come in softly and drive up the dynamics. 1:31 - Drums accent at the end of the line and reintroduce the background “ooooo”. All the parts work smoothly together to create great rhythm. 1:47 - An interlude begins after the second verse. A keyboard plays a descending phrase while drums decrescendo, followed by an organ playing the same phrase with the bass guitar. 2:00 - Lead guitar solo with soft drums and piano. Solo has a wide range and the timbre is kind of psychedelic. 2:28 - Drums change to cymbals and drums. Bass guitar, piano and lead vocals are accompanied by background “aaaaaawwww”.

  32. ‘Let it Be’- The Beatles 2:43 - Verse reintroduced and percussions change again. Drum beat has little complex combos. Piano comes back to the forefront. 2:56 - Small descending guitar solo texture, verse continues and the song has been mezzo-forte. 3:10 - Climax of the song, crescendo into forte. All the parts come together, drums, vocal, piano, bass guitar. 3:25 - Lead guitar takes over accompaniment to vocal melody. 3:40 - End of the verse. The descending keyboard ending quickly retards .

  33. ‘Live and Let Die’ – Wings 0:00 - Piano and bass guitar begin the song on the same beat with a slow tempo and harmonizing in a narrow range. 0:01 - Voice comes in a beat later. The opening line is an arch. The piano is giving the beat to the song. 0:14 - Several background singers harmonize for a few seconds on a steady descending contour. Lead vocal returns for next line. 0:26 - The already slow beat retards 0:29 - The tempo almost stops leaving you waiting briefly with a cymbal a few piano notes and the singer gives the motif of the song.

  34. ‘Live and Let Die’ – Wings 0:33 - Some brass instruments give a small explosion several times with the motif repeated also repeated. 0:46 - Percussion and brass speed up the beat. The dynamics continue to be high and we are in the middle of a high energy sequence. 0:59 - Violins come in to build tension. Percussion and flutes strike off beat with dissonance adding tension. The brass instruments build up to a breaking point. 1:20 - Resolution comes and the form simplifies. The tempo is slightly lower and mood a lot lighter more with simple drum beat bass guitar, keyboard, and a ratcheting sound. 1:31 - A sudden burst of harmonizing voices sends the song into chaos again. Brass instruments carry melody.

  35. ‘Live and Let Die’ – Wings 1:48 - A viola and the piano introduce a slower and softer rhythm. The lead smoothly begins repeating the first verse; several singers softly interject for a few seconds. 2:14 - The slower rhythm retards slows to a crawl. Piano and trombone play three notes with some chimes. 2:20 - The brass instruments burst out and build tension. The flute sends a ascending trill. 2:33 - The tempo and beat speed up with another brass and percussion release. 2:46 - Trumpets repeat the same phrase an octave higher as the intensity grows into fortissimo. More brass instruments shrill. 2:56 - Sudden decrescendos as all the instruments hold the last note.

  36. ‘Band on the Run’ – Wings 0:00 - The lead guitar starts the song several beats before the keyboard and drums introduce a moderate tempo. The cymbals hold the beat. The lead guitar is relaxed and slightly disjunct. The lead guitar is electric and is a little rough in texture not very smooth sounding. The keyboard dances between two notes while the guitar rests like it is completing a short thought. The melody is carried by the lead guitar for awhile. 0:38 - The lead vocal eases into the smooth rhythm. The bass guitar joins the vocals. 0:49 - A harmonizing triad begins as voices comes in. All parts are still disjunct, especially the vocals.

  37. ‘Band on the Run’ – Wings 1:17 - The beat stays the same but the form and rhythm change. The drum beat changes from mainly cymbals to mainly drums and lead guitar is much faster than before. The keyboard, lead, and bass guitar join to add much more energy. 1:33 - The keyboard comes in with long drawn out notes that add a completely different thought to the conversation. Claps are dividing each short phrase from the guitars. 1:48 - Vocals replace the keyboard and imitate the lead guitar. There is another guitar that is sounding off in a different form. 2:02 - A voice joins in harmony, then a trombone builds up with a few ascending measures. 2:15 - An acoustic guitar plays some transitional music solo that sounds more free and natural.

  38. ‘Band on the Run’ – Wings 2:22 - The beat speeds up. The acoustic guitar strums match the beat of the drums offering a more consistent rhythm. The lead singer comes in. 2:38 - The motif of the song (“Band on the Run”) is finally introduced and repeated several times. Each differently stated. 3:07 - The next verse starts. The mood and the form still the same as the last. The dynamics have been mezzo-forte. 3:13 - A guitar gives an accent of waning arch like it’s a fleeting thought. 3:19 - The vocal’s timbre changes from smooth to making a raspy statement.

  39. ‘Band on the Run’ – Wings 3:23 - The main thought returns with accompanying harmony. 3:46 - Only drums and acoustic guitar are playing. They acoustic guitar plays the motif while the drums match the beat of the acoustic guitar. 3:52 - The drums and guitar continue the thought while an electric guitar with a completely different thought has an echoing sound. 4:00 - Vocals return seamlessly to the main theme. 4:15 - The next verse begins. The drums and acoustic guitar slightly change beat at the same tempo.

  40. ‘Band on the Run’ – Wings 4:39 - There’s a slight pause midline to for the singer to hold his note and make an accent in a different way with some cymbals to give some consistency. 4:50 - The main theme is repeated several times again with the electric guitar making different rhythm and texture. 5:04- The form and rhythm carry to the end with a slight decrescendo. Lastly there are some rebellious yells at the very end.

  41. References (n.d.). Retrieved 2 20, 2012, from the guardian: http://www.guardian.co.uk/music/paulmccartney (n.d.). Retrieved 2 18, 2012, from the biography channel: http://www.thebiographychannel.co.uk/biographies/paul-mccartney.html (n.d.). Retrieved 2 18, 2012, from goodreads: http://www.goodreads.com/author/quotes/20127.Paul_McCartney (n.d.). Retrieved 2 18, 2012, from The Beatles Bible: http://www.beatlesbible.com/people/paul-mccartney/ ed. reve.rwevre. Erlewine, S. T. (n.d.). Paul McCartney. Retrieved 2 18, 2012, from allmusic: http://www.allmusic.com/artist/paul-mccartney-p4865/biography

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