Gary AllanMini-Bio and Listening Guide

Accompaniment to Gary Allan Paper by Emily Briggs

Music 1010-052 Spring 2014

Images from www.CMT.com

Allan began performing early, at only 13 years

old. For his father’s band Later with his own band, The Honky Tonk

Wranglers. He was encouraged by both parents and

industry scouts. First album recorded in 1996 with Decca

Records. Switched to MCA in 1999 for his 3rd album.

Career Beginnings

Allan co-writes much of his music and is inspired by “real”

life situations and feelings. He views “pop” music as fun and carefree whereas country, in

his view, tends to be focused on everyday life including commitment, love, sorrow, and the simple joys in average life.

Allan’s wife, Angela, died, tragically, after shooting herself in their home.

Angela suffered from severe, untreated depression. Allan’s music has been signi- ficantly influenced by her death.

Inspiration

Image from www.CMT.com

Allan, very purposefully, dedicates time for

writing and producing ideas. He prefers an open and honest atmosphere in

order to get the best quality music possible. He is willing to take criticism and suggestions

from his partners in order to accomplish this most fully.

Process

Albums

Man to Man

1st #1 song (2002)

1st #1 Album (2005)

Album covers from www.wikipedia.com

Used Heart for Sale

It Would Be You Smoke Rings in the Dark

See If I Care

Living Hard Get Off On The Pain

Listening GuidesSmoke Rings In the Dark

0:00

IntroEstablishes Duple meter/simple division9 measures setting the tone with the twang of a steel guitar, cymbals, and snare drum with emphasis on the snare every third beat. Steel guitar, cymbal, snare, bass, electric guitar “twang” which sets the mood for the song. We can tell it will be somewhat somber or expressing disappointment and longing.

0:19

Verse 1Steady beat with snare drum, the emphasized third beat acts as a pick-up for the lyrics. “…I’m a different kind of man.” “man” is taken lower than was the previous “you’re a certain kind of woman.” Illustrating a sense of unchangability.

0:52

Soft, airy, almost scratchy voices “ooooo” with the steel guitar to illustrate the “smoke rings” and to carry the mood.

1:00

Verse 2Same music as verse 1 with different words. This time the lowering of the previous “man” is replaced with “toll” and the music, while same as in verse 1, expresses the emotional distress caused in the story with a very, slight, almost unnoticeable crack in Allan’s voice; emotional exhaustion.

1:21

The word “long” in “the night is like a dagger, long and dark and cold.” is complimented by word painting, taking up almost the whole measure

1:36

ChorusBack-up vocals harmonize with words then with “ooooo” and “ahhhhh”. Pick-up remains on snare, chorus resembles verses but adds a little uncertainty.

Smoke Rings In The Dark Continued…2:21

Single cymbals “tap, tap” to illustrate a lull; defeat, and lead into the last verse.

2:22

Verse 3Same theme as verses 1 and 2 with fewer instrumental accompaniments & with different words, 3 rd beat emphasis remains steady

2:24

Violin adds longing, playing a theme reminiscent of the main theme.

2:57

ChorusBack-up harmony with voice

3:29

Repetitive “ooo” imitating steel guitar

3:35

Voice “oooooo” x2 Soft, airy voice imitates steel guitar from beginning

4:12

CodaFades out

Watch Smoke Rings in the Dark Music Video

Man To Man0:00 Intro

Duple meter/simple division about 5 measures. A quick snare pick up with cymbals and electric guitar.

0:10 Verse 1Setting the mood, the first interval is a descending minor third, electric guitar runs with accompanying theme while Allan sings the melody, snare and guitar lead up to a raised question for the chorus

0:52 Chorus Starts with a descending major second, lifting the sense to a more confident

setting. A wood block with some syncopation expresses a western feel.Phrases which ask questions appropriately end with ascending intervals.

1:09 “Cry” in the chorus is illustrated by ascending then immediately descending interval, painting support for what crying would sound like.

1:20 Electric guitar plays a flowing theme and Allan repeats “man to man” Between Chorus and verse 2 forming a fluid connection.

1:27 Verse 2Same music as verse 1 with different words ending with another ascending interval, asking another question.

2:10 ChorusNo changes in chorus until:

Man to Man Continued…

2:47 Instrumental accompaniment suspends momentarily on “truth” as if to stop and get serious

2:49 Accompaniment continues without introduction

3:19 Instruments continue and Allan sings “…man to man to man to man.”

3:38 CodaThe whole fades out

Watch Man to Man

Songs About Rain0:00 Intro

Only 2 measures of electric guitar, guitar, and cymbal

0:06 Verse 1Triple meter/compound division

0:10 snare and piano pick up the beat the cymbal had established in the intro. “Nothin’ to do.” Is complimented by a slow drawl in the music, which implies boredom or the absence of active thought; forced to think about things which would not typically occupy the mind.

0:48 Back-up voices sing “rain out in Georgia…” as a ghostly left-over of the verse as well as foreshadowing to the upcoming chorus

The constant quarter beat of the cymbal starts to take on a “tit tat” of rain on pavement.

0:53 Verse 2Same theme as verse 1 with different words.

1:35 ChorusIntroduced as a continuation of verse 2 “rain out in Georgia, Kentucky rain…” is sung by Allan now

2:06 Piano brings elements of the theme to a revised, quicker-feeling theme; almost an awakening, as it leads back into verse 3

2:16 Verse 3A more upbeat version of music and theme from verses 1 and 2 at first

2:58 ChorusA more longing, tortured version of the earlier singing of the chorus; same words and theme.

Songs About Rain Continued…

3:26 Instrumental accompaniment suspended for 2 measures

3:55 CodaFades out

Watch Songs About Rain

Learning How To Bend0:00 Intro

Duple meter/simple division Almost 4 measures of violin, electric guitar plucking, and cymbal tapping

0:09 Verse 1

0:20 “your” in “…see thing your way” is elongated which expressed involuntary reluctance

0:48 ChorusSnare is introduced to take the song to another level.Beat is kept by snare and cymbals with the theme repeated

0:59 “tears” is sung in a note which sets up a mini conflict which is then followed by the resolution with “conquer all our fears” in which “fears” is accompanied, and preceded by 1 beat, by a lowering of electric guitar to a base note

1:13 “you” is sung in a high octave which is then reiterated lyrically by the word “high”

1:27 Verse 2 Same theme as verse 1 with different words

1:46 Chorus Same theme as before but the words a very slightly changed in the first few measures

Learning How To Bend Continued…

2:25 last line of chorus repeated

2:32 violin is added again to underscore the first theme; long strides then quick rough strokes for 2 quarter notes followed by sudden change of one octave from low to high

3:25 Coda fades out

Watch Learning How to Bend

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