Download The Music and Production of The Raven An analysis of The Alan

The Music and
Production of The
Raven
An analysis of The Alan Parsons Project’s musical
interpretation of Edgar Allan Poe’s “The Raven”
2721QCM - Music Technology 4 - 2011
Marcus Cook – s2701452
Word Count – 2,047
Introduction
In 1975 successful sound engineer Alan Parsons teamed up with songwriter Eric
Woolfson to compose and record music for a concept album whose true aim
would be kept secret from nearly all involved. The resulting album was Tales of
Mystery and Imagination; released in 1976 it was the debut record from The
Alan Parsons Project. The project was a massive undertaking; according to Alan
Parsons it cost a quarter of a million dollars and involved over two hundred
people in the production of the album, which was recorded at Abbey Road
Studios. As stated above the vast majority of those involved were not informed of
aim of the project, which was to retell the poems and stories written by the 19th
century poet and author Edgar Allan Poe.
It has been stated that the avant-garde soundscapes of the album kept it from
being commercially successful and how the album features interesting lyrical
and musical themes (2008, http://www.discogs.com). This paper will look to
examine these so-called avant-garde soundscapes as well as the interesting
lyrical and musical themes. For this analysis the paper will focus on the single
“The Raven” which contains many of these elements that make the record
unique.
Lyrics
The lyrics of The Raven (Fig. 1) are of extreme importance to the track as they
set the scene for the music and through their meaning alone evoke a dark, sad
and macabre feeling, which is typical of Poe’s poems (Sinclair, 1977). The music
therefore must draw from the lyrics and it can be seen how the lyrics therefore
play a key role in the overall success of the song.
The poem tells the story of the narrator whom late one night whist lamenting the
loss of his lover hears a tapping at his door. Opening the door he finds a raven,
and asks the raven questions to which the raven only ever replies “nevermore”.
The poem uses symbolism to elevate the meaning behind the story. The Raven
itself was used by Poe as it was a non-reasoning creature (Hallqvist, 1998). In
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Poe’s own analysis of his work he explains how he decided upon a non-reasoning
creature such as a raven as it would make little sense to use a human, since the
human could reason to answer the questions (Poe, 1850).
In the track “The Raven”, the story is substantially simplified. The original poem
had a total of 18 stanzas whereas the Alan Parsons Project’s interpretation has a
mere 21 lines. The tracks 1st verse sets the scene and introduces the raven, the
2nd verse explains the fate of the narrator and the 3rd chorus and post-chorus
emphasises the narrator’s fate to hearing the raven’s repetition of nevermore for
all eternity.
Although simplifying the original text to a large extent the track’s interpretation
successfully evokes the sad, bleak and macabre nature of the story. “What I find a
success is the interpretative approach for a piece of text so embedded in popular
culture. Avoiding the strong lure of using the original text as is has strong merit.”
(Alvarez, 2008, p. 6) It can be seen how the track’s interpretation of the original
poem successfully simplifies the story whilst still evoking bleakness, darkness
and sadness. This provides a solid foundation for the musical elements of the
track to be built upon.
Structure and Instrumentation
The structure of “The Raven” follows the typical structure of most pop/rock song
with a verse/chorus progression, a bridge and post chorus. (Fig 2.)
Figure 2. Structure - “The Raven” by The Allan Parsons Project
Figure 3. Instrumentation - “The Raven” by
The Allan Parsons Project
The instrumentation (Fig 3.) of “The Raven”
mainly consists of typical rock instruments.
However the track also consists of orchestral elements
with string and brass sections as well as a choral
ensemble. These orchestral and choral elements produce
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Bass
Drums
Electric Guitars
Keys
Piano
Vocoder
Vocals
Backing Vocals
Vocal Ensemble
Brass Section
String Section
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a genre synecdoche, as they go against the rock home style that the structure and
main instruments convey. The brass and choral elements in particular convey a
dark and macabre atmosphere within the track which would otherwise be a
generic rock song, this is especially evident during the final chorus and post
chorus were the choral ensemble and string section sit behind a driving rock
arrangement.
One other element of the instrumentation that is noticeably not from within the
rock style is the vocoder. According to the linear notes of the record this was the
first use of a digital vocoder on a pop/rock record. Once again the inclusion of
this instrument dramatically changes the effect of the music. When combined
with the keys in Part A of the 1st verse the two produce a tactile anaphone,
creating a liquidly feel to the music. The use of the vocoder in this way could be
seen as an attempt to generate the feel of the narrator awakening from his
dream-like state in the 1st verse. However, Alvarez states it also conveys
hallucinogenic properties that may be a tie to Poe’s purported use of opium
during his writing career. (2008, p. 8)
Although the song makes use of many instruments across the track, never do all
instruments feature at any one time (Fig. 4). The instruments are creatively used
to change the mood or add colour and interest to specific sections. An example of
this can been seen in the bridge (Fig. 4) which has a different feel to the rest of
the track due to its exclusive feature of the brass section. Also, examining when
the 2nd electric guitar plays (Fig. 4) it can be seen how this instrument is used
sparingly to add colour and interest to these areas of the song.
The unique instrumentation of the “The Raven” directly contributes to the
unique avant-garde soundscape that is prevalent throughout the song.
Harmony/Melody
The song is in the key of A minor which appropriately produces a sad and
sombre tonal quality in the music. Figure 5 outlines the melody of the 1st verse
but also the chord progression of the two verses, which are simple and in
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keeping with the pop/rock home style of the track. For the choruses and postchorus the key changes to an F Dorian Pentatonic mode subtlety changing the
feel of the track. Figure 6 shows the guitar chords during the chorus and postchorus which again are very simple.
The melody of the two verses share a very similar melodic contour (Fig. 5 & 7)
however the 2nd verse’s melody is 5 semitones higher starting on C as opposed to
G, this allows for the verse to sound familiar to the listener whilst also being
fresh and interesting.
The Rhythm
The rhythmic patterns and themes of “The Raven” are integral to the songs effect
on the listener. The track’s rhythmic patterns and themes are used creatively to
convey extra-musical meaning to the listener. Throughout the song the listener is
exposed to the kinetic anaphone of the raven tapping or knocking on the
narrator’s door. Even though lyrically the song progresses past this part of the
story it is repeatedly brought back to the attention of the listener through
varying rhythmic themes that span multiple instruments and sections.
The kinetic anaphone of the tapping is introduced immediately to the listener
with the solo bass line at the beginning of the song. The bass plays a rhythmic
pattern simulating the sound of tapping/knocking on a door (Fig. 8). The kinetic
anaphone is lost when the rhythmic pattern of the bass line changes in Part B of
the 1st verse (Fig. 9).
The tapping kinetic anaphone returns in the 1st chorus however the rhythmic
pattern is different to that of the original bass line. Although the pattern is
different the tapping/knocking theme is still present and is now more aggressive
and heavy. This is due to the rhythmic pattern (Fig. 10) being played on the drum
kit (in particular the toms) and emphasised with a similar rhythmic pattern
played on the electric guitar (Fig. 11). The use of triplets, syncopation, dotted
notes and varying note lengths, combine to create the new tapping/knocking
rhythmic pattern.
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The bridge sees the return of the original tapping theme from the 1st verse,
however a few added notes varies it slightly (Fig. 12). This rhythmic pattern is
played on bass guitar and also now the piano, which further emphasises it and
creates a more aggressive feel than earlier. Along with this rhythm the drums
emphasise the hits on the 1,2,3 and 4 with a basic rock beat (Fig. 13). These
rhythms work together to substantially communicate the raven’s tapping to the
listener.
The 2nd chorus returns with the same rhythmic pattern as the 1st chorus,
however when this moves into the 3rd chorus the tapping kinetic anaphone is
lost due to a change in drum rhythms. The drum now plays a driving up beat
rhythm (Fig. 14) that turns the chorus into a rock anthem styled chorus.
Without the kinetic anaphones that are created through the various rhythmic
patterns of the song, the effect on the listener would be vastly different. It is
these kinetic anaphones that portray so well to the listener the movement of the
raven. These rhythmic themes further augment the avant-garde soundscape and
are distinct ingredients of the uniquely interesting musical themes that critics
refer to.
Technical Elements, Production and Sound Quality
The production and technical elements of “The Raven” play an important part in
the track’s effect on the listener, using various techniques to further contribute
to the avant-garde soundscape.
The spatial properties of the track are employed well; each instrument is given a
distinct location within the soundstage allowing them to work well together
during the sonically busier sections and also shine during an instruments key
part. Also through the use of slight and subtle movements in panning, the effect
of growing size is conveyed to the listener. An example of this is in the final 4
bars of the 1st verse, which see the choral ensemble move from the centre and
spread wide into both stereo channels (Fig. 15). This technique further builds the
avant-garde soundscape of the track. Figure 15 outlines in detail the panning of
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instruments verse time. It demonstrates how the panning of the track has
contributed to the unique sound of the track and how the subtle use of panning
has created interesting parts that keep the listener subconsciously engaged.
A key production element of the track is the grandness of scale that “The Raven”
evokes. Although it starts out close and small with the dry bass line at the start, it
evolves into an immensely grandiose and powerful performance, at times diving
back to a more intermit feel. The song is able to achieve this effect because of the
choral and orchestra elements. According to the linear notes of the record the
choral ensemble and orchestra were recorded at Kingsway Hall in London. I
believe that it’s the natural ambience captured whilst recording in this space that
paints the entire track into the same distinctive performance space. When
present, the orchestral and choral elements impart their spatial and ambient
properties onto the other instruments in the mix. As the orchestral and choral
elements are added and removed, the size and ambience of the performance
space fluctuates, which is an integral part of the track’s avant-garde soundscape.
Conclusion
Being an interpretation of an Edgar Allan Poe poem, The Alan Parsons Project’s
“The Raven” was most likely always planned to be dark, bleak and macabre. The
lyrics themselves talk of one man’s distress, the loss of his love and his slow
decent into madness, so it would appear that the musical and technical elements
of the song would have been produced in a way that would convey and enhance
these themes and emotions to the listener. It’s apparent these production
decisions are what pushed the song’s instrumentation, sounds and musical
themes towards the experimental realm. Through the analysis undertaken it can
be seen how all of the various elements of “The Raven” have been combined to
create a song that has an avant-garde soundscape containing interesting musical
and lyrical themes. The dark lyrical content, unique instrumentation and strong
extra-musical rhythmic themes all contribute to the final effect upon the listener.
Even 35 years on “The Raven” still sounds fresh, dark and emotional, which may
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well be because of the avant-garde soundscapes and experimental nature that
kept it from being commercially successful in the first place.
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Figure 1. Lyrics - “The Raven” by The Allan Parsons Project
The clock struck midnight
And through my sleeping
I heard a tapping at my door
I looked but nothing lay in the darkness
And so I turned inside once more
To my amazement
There stood a raven
Whose shadow hung above my door
Then through the darkness
It spoke that one word
that I shall hear forever more
Nevermore
Thus quoth the raven, nevermore
And still the raven remains in my room
No matter how much I implore
No words can soothe him
No prayer remove him
And I must hear for evermore
Quoth the raven, nevermore
Thus quoth the raven
Nevermore
Figure 4. Instrumentation vs. Time plot - “The Raven” by The Allan Parsons Project
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Figure 5. 1st verse melody and chord progression- “The Raven” by The Allan Parsons
Project
Figure 6. Guitar in Chorus/Post- Chorus - “The Raven” by The Allan Parsons Project
Figure 7. Melody 2nd Verse - “The Raven” by The Allan Parsons Project
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Figure 8. Bass Rhythm 1st Verse - “The Raven” by The Allan Parsons Project
Figure 9. Bass Rhythm 1st Verse Part B - “The Raven” by The Allan Parsons Project
Figure 10. Chorus Drum beat - “The Raven” by The Allan Parsons Project
Figure 11. Chorus Guitar Rhythm - “The Raven” by The Allan Parsons Project
Figure 12. Bass and Piano Rhythm in Bridge - “The Raven” by The Allan Parsons Project
Figure 13. Drum beat in Bridge - “The Raven” by The Allan Parsons Project
Figure 14. Drum beat in 3rd Chorus/Post-Chorus - “The Raven” by The Allan
Parsons Project
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Figure 15. Panning vs. Time plot - “The Raven” by The Allan Parsons Project
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Reference List
Alan Parson Project, The (1987). Interview with Alan Parsons and Eric Woolfson
1976, On Tales of Mystery and Imagination Deluxe Edition [CD]. EMI
Alan Parsons Project, The – Tales of Mystery and Imagination Review (2008).
Retrieved October 2, 2011, from
http://www.discogs.com/reviews/list?master=4322
Alvarez, G. (2008). Poe appropriation analysis, Retrieved 25th September 2011
from http://thefishery.typepad.com/files/the_raven_allan_parson.pdf
Hallqvist, C. (1998). Edgar Allan Poe’s “The Raven”. Retrieved 25th September,
2011, from http://www.poedecoder.com/essays/raven/
Poe, E.A. (1850). The philosophy of composition. Retrieved 25th September, 2011,
from http://www.poedecoder.com/Qrisse/works/philosophy.php
Sinclair, D. (1997). Edgar Allan Poe. Retrieved October 2, 2011, from
http://www.dsinclaironline.com/pdfs/poe.pdf
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