The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes

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The Foundations of Rock: From "blue Suede Shoes" to "suite: Judy Blue Eyes"

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The foundations of rock: The latest update to an industry standard - a complete compilation of the best recording techniques and gear currently used by top hit-makers today. The definitive guide to the dark side of the music business. A Life From Beginning to End. Do you want to learn about Elvis Presley?

But don't have the time or patience for a page book? You don't want to miss this! Review "A wide-ranging presentation of rock's fundamental elements compiled lovingly by a committed scholar with deep knowledge of the repertory. Oxford University Press; 1 edition December 9, Language: Related Video Shorts 0 Upload your video.

Try the Kindle edition and experience these great reading features: Share your thoughts with other customers. Write a customer review. There was a problem filtering reviews right now. Please try again later. Walt Everett is a professor of music theory who uses well-known recordings from the 50's and 60's as examples. I'm someone who's played a huge amount of rock and pop and whose music theory is totally self-taught; this book is a big part of my self-teaching.

It's not for everyone - if you're not interested in learning what a deceptive cadence is you'll find it uninteresting though if you already know what a deceptive cadence is you'll find it fun reading all the same. But I found it really engrossing, and I much prefer learning from the examples he gives than from a textbook. I'm reminded a little bit of how Leonard Bernstein used 'Along Comes Mary' to teach the Dorian mode - if you liked that kind of thing, you'll love this book.

I read it in bits and learn as much as I feel like learning at any one time - and I've been reading and re-reading it often since I bought it more than a year ago. A complaint, by the way: Everett doesn't give Ricky Nelson enough credit as a singer. I've also read both volumes of 'The Beatles as Musicians'. I would rate those with five stars as well, but this book is probably more accessible. One person found this helpful 2 people found this helpful.


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I might revisit this review once I finally finish the book, but thought I should let anyone who like myself was about to dismiss this book on the first 5 chapters to keep reading or skip ahead. The first 5 chapters are a shallow discussion of instrumentation. Some actual notation instead of just timestamp locations would be nice, but that may be a legal limitation.

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A comprehensive coverage of Rock music from to and what made the individual artists and groups compositions so popular to the listeners. Mr Everett goes into the mechanics of how each song had a unique sound or musical structure that made people react stop and listen.

One person found this helpful. This is an extremely deep and knowledgeable book about a pretty misunderstood subject, namely the theoretical underpinnings of rock. Too many music scholars either dismiss it as primitive or intuitive, and not really worthy of scholarly attention, or focus solely on its cultural meaning. Everett takes it seriously as music and does a very complete analysis, in terms of rhythm, melody, harmony and form, as well as chapters on the basic instrumentation, recording techniques and other stuff.

It's definitely the most complete work of this kind I've ever seen, based on thousands of songs from roughly There's also a website with tons of photos and audio clips that add a lot to the text. I'm a songwriter, constantly trying to refine my sense of what works and how, and this is an invaluable aid in that.

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That said, there are a few things I could wish were different. Not all of them are the book's fault; some of them are just a matter of scope. One book can't do everything. But for the sake of context: It makes sense to stop there--that's the real "common practice period" for rock, after which a lot of things changed prog rock and various underground scenes in the seventies, and then with punk, post-punk and hiphop things started to really diversify. There's a lot more work to do. But you can only do so much in one book.

This is absolutely bog-standard theory, developed through the common practice period of Western art music right through midcentury Tin Pan Alley songwriting. The trouble is, rock and other blues-based forms in many ways breaks the common practice mold, even inverts it in some ways. Theory, Method and Practice" can be found by googling. Everett doesn't really take this school of thought on systematically, and it would have been great to see what someone so thoughtful would have to say about it.

The early chapters, on drums, guitars, keyboards and so on, are just kind of a catalog of instruments and the noises they can make.

Suite: Judy Blue Eyes

I'm not sure who the audience is for that, but if it has to be there for the sake of completeness, it could be better structured. There are fascinating discussions later that are hard to follow just because they don't have much structure for instance, where Everett discusses periods, open phrase groups, bar forms and so on as ways sections are structured, it's a little hard to figure out exactly which thing he's talking about at times. But if you're willing to work at it a bit, there is so much great stuff in there to be found.

For instance, what I and many musicians known as dominant seventh chords are written as something m7, that is, as a major chord with a minor third on top, which is quite true but at odds with what I'm used to--I usually see C7, Cm7, Cmaj7 where Everett would use Cm7, cm7 and CM7. Not wrong, but nonstandard in my musical world. Let's hope that there are lots more books of this quality to be written about rock and pop music. I've barely had a chance to skim through this since I spotted it at the store and bought it. What's clear so far - and the reason I did buy it - is that obviously reflects a literate, deliberate, and scintillatingly well-provided mind at work on the history and musicology of rock and pop recordings.

Give the book a chance. It's wearing the author's heart on its sleeve.

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