SotA Anthology 2015-16 | Page 18

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