SotA Anthology 2015-16
There is often use of string sections or
a single melody violin in tango, which
is not heard here because of recording
constraints. While some instruments can
be recorded using crude technology such
as an iPad, the violin is much harder to
blend and mix; due to its penetrating sound,
it can often sound overbearing and piercing
within a mix. This cover was recorded
using an iPad and Garageband software to
mix and edit the sound files. This means,
to some extent, that the piece has been
mixed, and effects and processing added
to improve the sound of the music. By
adding reverb, the performer has managed
to make the tracks sound more like they
have been recorded in a larger venue, like
a club or a concert venue, where tango
would have originally and contemporarily
been heard. Also by duplicating the guitar
tracks and panning them respectively left
and right, the user has created a fuller and
wider guitar sound. The same has been
done to the bandoneon-esque melodica
part to create a more complete sound. This
recording shows a studio based version of a
tango song, rather than a live performance,
which would have been more common.
Tango’s main function was for dance, so
it was played by orchestras in dance halls
and tea rooms; in that sense this version is
untraditional.
References
Gonzelez M., & Yanes M. (2013) Tango:
Sex and Rhythm of the City. London:
Reaktion Books.
Merrit, C. (2012) Tango Neuvo. Florida:
University Press Florida.
Valentinuzzi, E. (2015)Tango; how its
perception developed over the decades.
IEEE Pulse, 6(2), pp. 51-58.
William Truby, another second-year BA Popular Music student, produced a
flamenco version of The Rembrandts’ I’ll Be There For You
Listen online at: http://joom.ag/Wr9Q
I decided to rewrite the song in 12/8, true to
typical flamenco song style. Though there
are some flamenco compas that are in 4/4,
which would take less effort to transpose,
most songs are in 12/8 and use a compas
in the time signature. This meant that the
melody had to be rewritten in many places,
most notably in the chorus where one
phrase of the melody would originally be
sung over the space of 16 beats, whereas
now it is sung over the space of 24. I decided
to opt for the Bulería compas, one of the
most popular but complex rhythms. I chose
it because it has a great amount of rhythmic
interest; being phrased around two groups
of three beats and three of two betas. I also
found a variation that could be used in the
approach to a section change - this can be
heard before each chorus, where the final
two beats are omitted and the approach
contains more beats. The main riff of the