Louie
Active member
@Mike Greene, please let me know if you have any preference for the format of how to post here, or if posting this video isn’t kosher (NPR Tiny Desk). This post feels maybe a little TLDR, but just posting videos of music we like feels low effort...
I stumbled into Sam Smith on YouTube watching a fantastic live concert filmed in Abbey Road Studio 2 (well worth watching). And then I found this gem arrangement with gospel choir on in the NPR Tiny Desk Concerts.
Form (*repetitive chord progression but never boring)
Intro (piano, choir)
Verse 1
Pre-Chorus (octave jump in lead vocal, call and answer choir)
Chorus (unison singing, groove)
Post-Chorus (transition)
Verse 2
Pre-Chorus (octave jump in vocal, harmonies added to choir)
Chorus (more harmonic richness in choir line)
Post-Chorus (piano/guitar arpeggios in upper register to fill space, add energy)
Chorus (rhythm section break, choir back in, climax)
Post-Chorus Outro (instrumental, ad lib vocal)
*Dynamic Constrasts
Verse through chorus consistently builds to a peak, then comes back down dramatically after chorus to setup next verse. Part of the emotional foundation supporting the lyrics.
*Rhythmic Contrast and Groove:
The pianist is an absolute cream of the crop accompanist. Listen in particular to the rhythmic accents and placements and how they support the vocal melody. And the change in rhythmic and harmonic density in the verse (sparse and light), then gradually getting more active in the pre-chorus through chorus (thick and active, mo’ left hand bass, full on groove—and the touch
)
*Lead vocal register contrast: He moves up an octave in the pre-chorus, but is not anti-climatic to the chorus. The rhythm in the chorus keeps it movin' and groovin'—brilliant.
Vocal Harmonies (gospel choir)
Rustic for modern pop but unique and powerful. *Call and answer with lead vocal. Richness of harmonic texture in the background vocal writing 2nd time around. The way the choir resonance translates through the speakers. The spacing/timing--how they never stomp on the lead vocal.
Rhythm section break in third chorus *Element of surprise. And another great dynamic contrast.
Probably helps the song was originally co-written by Max Martin and Savan Kotecha, not sure who wrote this particular arrangement.
I stumbled into Sam Smith on YouTube watching a fantastic live concert filmed in Abbey Road Studio 2 (well worth watching). And then I found this gem arrangement with gospel choir on in the NPR Tiny Desk Concerts.
Form (*repetitive chord progression but never boring)
Intro (piano, choir)
Verse 1
Pre-Chorus (octave jump in lead vocal, call and answer choir)
Chorus (unison singing, groove)
Post-Chorus (transition)
Verse 2
Pre-Chorus (octave jump in vocal, harmonies added to choir)
Chorus (more harmonic richness in choir line)
Post-Chorus (piano/guitar arpeggios in upper register to fill space, add energy)
Chorus (rhythm section break, choir back in, climax)
Post-Chorus Outro (instrumental, ad lib vocal)
*Dynamic Constrasts
Verse through chorus consistently builds to a peak, then comes back down dramatically after chorus to setup next verse. Part of the emotional foundation supporting the lyrics.
*Rhythmic Contrast and Groove:
The pianist is an absolute cream of the crop accompanist. Listen in particular to the rhythmic accents and placements and how they support the vocal melody. And the change in rhythmic and harmonic density in the verse (sparse and light), then gradually getting more active in the pre-chorus through chorus (thick and active, mo’ left hand bass, full on groove—and the touch
)*Lead vocal register contrast: He moves up an octave in the pre-chorus, but is not anti-climatic to the chorus. The rhythm in the chorus keeps it movin' and groovin'—brilliant.
Vocal Harmonies (gospel choir)
Rustic for modern pop but unique and powerful. *Call and answer with lead vocal. Richness of harmonic texture in the background vocal writing 2nd time around. The way the choir resonance translates through the speakers. The spacing/timing--how they never stomp on the lead vocal.
Rhythm section break in third chorus *Element of surprise. And another great dynamic contrast.
Probably helps the song was originally co-written by Max Martin and Savan Kotecha, not sure who wrote this particular arrangement.
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