Brayan Uilsonning musiqachiligi - Musicianship of Brian Wilson

Brayan Uilson orqada Birodar studiyalar ' aralashtirish konsol 1976 yilda

Amerikalik musiqachining qo'shiq muallifi Brayan Uilson, hammuassisi va ko'p vazifali rahbar plyaj bolalari, 20-asr oxiridagi eng innovatsion va eng muhimlaridan biri hisoblanadi.[1] Uning qo'shma aranjirovkasi, prodyuserligi va qo'shiq yozish mahorati ham uni musiqa ishlab chiqarish sohasida katta yangilik yaratuvchiga aylantirdi.[2] 1966 yil "Plyaj bolalari sog'lom daho Brayanga juda ko'p ishonadimi?" akasi va guruhdoshi Karl Uilson Guruhning har bir a'zosi o'z g'oyalarini taqdim etgan bo'lsa-da, ularning musiqalari uchun eng ko'p Brayan mas'ul bo'lgan.[3] Dennis Uilson dedi: "Brayan Uilson bu plyaj bolalari. U guruh. Biz uning lanet xabarchilari. U hammasi. Davr. Biz hech narsa emasmiz. U hamma narsa. "[4][5]

Uilson ko'pincha "daho" deb nomlanadi. U yoshligidan o'yinchoq o'ynashni o'rganib, o'z mahoratini oshirdi akkordeon pianinoga o'tishdan oldin. 16 yoshga to'lgan kunida u a Vollensak unga qo'shiqlar va dastlabki guruh vokallarini yozish bilan tajriba o'tkazishga imkon beruvchi magnitafon. Ba'zi kollej kurslari bundan mustasno, uning tushunchasi musiqa nazariyasi o'zini o'zi o'rgatgan. Uning musiqiy kompozitsiyadagi ta'limining aksariyati sevimli vokal guruhining uyg'unligini buzishdan iborat edi, To'rt birinchi kurs talabasi, uning repertuariga qo'shiqlar kiritilgan Jorj Gersvin, Jerom Kern va Koul Porter. Yana bir katta ta'sir Ronettalar '1963 yilgi qo'shiq "Mening chaqalog'im bo'ling ". Keyingi o'n yillar davomida Uilson qaror qildi Fil Spektor "s Ovoz devori "Mening chaqalog'im bo'l" va shunga o'xshash yozuvlarda namoyish etilgan texnika. Uilsonning ba'zi uslubiy belgilariga quyidagilar kiradi slash akkordlari, asosiy modulyatsiyalar, "bosqichma-bosqich tushish ", foydalanish kichik ettinchi akkordlar dan olingan Burt Bacharach, pianino triadalar "bolg'a" sakkizinchi va unga moyillik garmonik progressiyalar tonal markazdan uzoq yurish.

Umumiy ijodiy muxtoriyat bilan o'z yozuvlarini ishlab chiqarish erkinligini qo'lga kiritganida atigi 21 yoshda Uilson Nyu-Yorkni ommabop yozuvlar markazi qilib qo'yib, Kaliforniya shtatidagi o'xshash fikr yurituvchilarning portlashini yoqdi,[6] va uni ishlatgan birinchi tosh ishlab chiqaruvchisi bo'lish diskret asbob sifatida studiya.[7]

Ta'lim va mahorat

Shakllanuvchi yillar

Uilson 1964 yilda Beach Boys bilan elektro-bas gitara chalmoqda

Brayan Uilson ning o'g'li bo'lib tug'ilgan Murri Uilson, qo'shiq muallifi va mashinasozlik sohibi. Brayning birinchi tug'ilgan kunidan oldin g'ayrioddiy musiqiy qobiliyatlari haqida gapirar ekan, Murri, go'dakligida Brayan "Kessonlar dumalab ketayotganda" qo'shig'ini bir necha misra aytilganidan keyin takrorlashi mumkinligini aytdi. Murri: "U juda zukko va tezkor edi. Men shunchaki uni sevib qoldim" dedi.[8] Bir necha yil o'tgach, uning o'ng qulog'idagi eshitish qobiliyati juda pasayganligi aniqlandi. Ushbu eshitish qobiliyatining aniq sababi aniq emas, ammo nazariyalar uning shunchaki qisman tug'ilishidan kelib chiqadi kar aybdor bo'lish uchun otasidan yoki mahalla bezorisidan boshiga zarba berish.[9]

U tez-tez mukammallikchi deb nomlangan bo'lsa-da, Uilson tajribasiz musiqachi edi,[10] va uning tushunchasi musiqa nazariyasi o'zini o'zi o'rgatgan.[11][nb 1] U o'ynashni o'rgangan birinchi asbob o'yinchoq edi akkordeon[12] tez pianinoga, keyin esa bas gitara tomon o'tishdan oldin.[18] Brayan yoshligidanoq g'ayrioddiy mahoratini namoyish etdi musiqani quloq bilan o'rganish klaviaturada.[19] 10 yoshida Brayan "ajoyib" o'ynashi mumkin edi bugi-woogie birodarning so'zlariga ko'ra pianino " Karl Uilson.[20] Karl Brayanga gitara chalishni o'rgatdi. Dastlab, u faqat bosh barmog'i yordamida iplarni silagan, ammo taxminan bir yil o'tgach, pik yordamida foydalanishga o'tgan.[21] Brayanning tajribalari Vollensak magnitafon uning qobiliyatiga oid dastlabki misollarni keltiradi ekzotika va g'ayrioddiy zarb naqshlari va keyinchalik taniqli asarda qayta ishlay oladigan g'oyalarni tartibga solish.[22] 1961 yilda biron bir vaqt u a-ga asoslangan holda o'zining birinchi asl musiqasini yozdi Dion va Belmonts "versiyasiYulduz istaganingizda ". Qo'shiq oxir-oqibat" nomi bilan tanilganSurfer qiz ". Qo'shiqning dastlabki namoyishi 1962 yil fevral oyida yozilgan bo'lsa ham Butunjahon Tinch okean studiyalari, u qayta yozilmadi va 1963 yilga qadar chiqarildi, keyin eng yaxshi o'nlikka kirdi.[23]

Beach Boys uslubining o'ziga xos elementlari orasida ularning ovozlarining burun sifati va ishlatilishi bor edi falsetto ularning ohangdorligi ohangda.[24] Jim Miller "To'g'ridan-to'g'ri rokchilarda ular [Plyaj bolalari] Sevgining etakchisining orqasida qattiq uyg'unlikni kuylashdi ... baladlarda Brayan o'zining falsetasini shov-shuvga qarshi o'ynadi, jazz odatiy bo'lmagan harmonik tuzilmalardan (tosh uchun) tez-tez foydalanadigan ovozlar. "[25] Musiqa nazariyotchisi Daniel Harrison "Ammo Plyaj Boyzining dastlabki uptempo rok-n-roll qo'shiqlaridan eng kam farq qiladiganlari ham ma'lum darajada tuzilishdagi murakkablik izlarini namoyish etadi; Brayan shunchaki konvensiyani yolg'iz qoldirishga juda qiziquvchan va eksperimental edi".[26] Lirik qo'shiqchi Van Deyk bog'lari "Uilson musiqani multfilmdagi kabi oson qildi va shu bilan birga takroriy tinglash bilan mukofotlandi Bax: Eng yaxshi chiziq romanlari klişeni yuqori san'atga aylantirishi mumkin bo'lganidek, eng yaxshi pop musiqasi ham xuddi shunday. Brayan buni qiladi. U oddiy yoki xakerlik materiallarini olib, past joydan eng yuqori darajaga ko'tarishi mumkin va buni tasodifiy kuzatuvchi bilan gaplashadigan tasvir tejamkorligi bilan amalga oshirishi mumkin - bam! Uning bir vaqtning o'zida ishlashi bejiz emas [Endi] Uorxol va [Roy] Lixtenshteyn qilayotgan edilar estrada san'ati."[20] Uilson 1990 yilda yozgan:

Men [1968] yilga kelib tajribali qo'shiq muallifi edim va har bir asosiy kalit men uchun nimani anglatishini bilardim. ... Uyg'unlik odatda bir-biri bilan mukammal, matematik jihatdan 1, 3 va 5 kabi notalarni anglatadi, bu musiqaning asosiy akkordidir. Keyin 1, 3, 5 va 7 mavjud. Bu yanada murakkab akkord. Bu undan ham murakkabroq bo'ladi, lekin men qanchalik murakkab bo'lmasin, uni sodda qilib saqlashga harakat qilaman.[27]

1966 yilgacha Brayan qo'shiq yozishni yaxshi bilishi uning g'alati usulni qo'llashga qodir ekanligini isbotladi garmonik progressiyalar, kutilmagan uzilishlar gipermetr,[28] jaz nazariyasi,[29] temp o'zgaradi, metrik noaniqlik va g'ayrioddiy ohang ranglari pop kontekstida muvaffaqiyatli.[30] U haqida joyida qarorlar qabul qildi eslatmalar, artikulyatsiya va tembr; aralashtirish taxtasida bastakorlik qilish va studiyadan musiqiy asbob sifatida foydalanish.[31] Ishtirok etish orqali Fil Spektor Uchrashuvlar vaqti-vaqti bilan bo'lib, Brayan yozuvlar bo'yicha prodyuser sifatida qanday ishlashni bilib oldi Ovoz devori jarayon.[31] Uning ishlab chiqarishlari rivojlanib borgan sari u o'zining estrada mahorati, vokalni uyg'unlashtirishi, tinimsiz studiya mukammalligi,[32][33] kelajakka mo'ljallangan qo'shiq tuzilmalari,[29] muhandislik va aralashtirish nou-xaulari,[34] va ijodiy ko'p vazifali qobiliyatlari.[35] Shu vaqtdan boshlab Brayan ishlab chiqarish bo'yicha ba'zi maslahatlarni oldi Jan Berri. Ular boshqa san'atkorlar uchun yozilgan va ishlab chiqarilgan bir nechta hit singllarda hamkorlik qilib, keyinchalik ko'rib chiqiladigan narsalarni yozdilar Kaliforniya ovozi.[36][37] Muallif Irvin Chusid Uilsonni "kinoyali" misol sifatida qayd etdi begona musiqa ehtimol uning eng ko'p sotiladigan rassomlaridan biri bo'lish uchun. U Uilsonning qiynoqlar, giyohvandlik moddalarini suiiste'mol qilish va "ilmoqli" materiallar tarixi uni begona rassom sifatida "tasdiqlaganini" tushuntiradi.[38]

Orkestrlar

Brayan o'z aranjirovkalarini yozishi rok guruhlari orasida g'ayrioddiy edi.[39] Bunga lirik hamkori bo'lgan o'zining simli orkestrlari kiritilgan Toni Asher ularning g'alati deb ataladi ovozlar va klassik uslub. U Brayanning tartibga solish qobiliyatini bilib hayron bo'ldi va Brayanning nisbatan kam sonli o'yinchilarni "iqtisodiy" ishlatganligini esladi: "Agar sizda 40 ta tor bo'lsa, kimdir to'g'ri notalarni o'ynaydi. Ammo siz faqatgina 4 yoki 5 yoki oz sonli ovozlar, hammasi eshitiladi va siz yozayotgan narsalardan odamlarning qulog'ini chalg'itadigan narsa yo'q. "[40]

Sessiya basisti Kerol Kaye "Biz boshqa barcha guruhlar uchun [instrumental] qismlarni yaratishimiz kerak edi, lekin Brayan emas edi. Biz Brayandan qo'rqardik".[39] U qo'shimcha qildi: "U oldi bosh yana bir qadam. U buni simfonik orkestrda ajralmas deb bilgan. U boshni xit yozish uchun ramka sifatida ishlatgan. Bass uchun juda kam odam yozishi mumkin, ammo uning yozuvi juda chiroyli edi. Unga hayron bo'lgan jaz musiqachilari juda ko'p. "[41] Ba'zan u bir vaqtning o'zida turli xil tugmachalarda ohangdor chiziqlar bo'lgan jadvallarni yozgan, bu esa sessiya musiqachilarini chalkashtirib yuborgan.[42] "Mana bugun "tomonidan e'lon qilindi AllMusic Donald Guarisoning aytishicha, Uilsonning "orkestr asarining murakkabligini yaxshi pop ohangining dolzarbligi bilan mukammal birlashtirgan" shuhratparast kelishuvlaridan biri.[43]

Do'stim Denni Xatton Brayanning studiyadagi mahoratini ta'kidlab, u bir nechta turli studiya maydonlarini ishlatishda g'ayrioddiy iste'dod deb hisoblagan holda, diskret cholg'u naqshlari va tembrlarni bir-biriga bog'lab turdi. Uning ta'kidlashicha, "kimdir Brayanning mashg'ulotidan so'ng darhol kirib, yozib olishga urinib ko'rishi mumkin edi, va ular hech qachon uning ovozini ololmaydilar. U erda juda nozik narsalar bo'lgan ... Odamlar bu haqda unchalik gapirishmaydi. Ular har doim uning musiqasi haqida gapirishadi, u studiyada ajoyib tovushlarni eshitishi bilan ajralib turardi, siz u erda o'tirardingiz, u ham u edi, u shunchaki qo'lida edi, u musiqani o'zgartirardi. reverb va aks-sado va to'satdan shunchaki bir narsa - voy! - ikki baravar katta va semiz bo'ldi. "[44]

Qo'shiq

2013 yilda Uilson quyidagicha tushuntirdi: "Men o'zimni yaxshi ovozim borligini o'n etti yoki o'n sakkiz yoshimda his qildim va yozuvlar bilan yaxshi qo'shiq aytishga qodir edim. To'rt birinchi kurs talabasi. Ushbu yozuvlarga qo'shiq qilib, men falsetto kuylashni o'rgandim. Kabi qo'shiqlarga qo'shiq aytardim.Men doim kamalakni quvib yuraman,' 'Men aprelni eslayman 'va'Kundan kunga '."[45] 1966 yilda u o'zining eng katta qiziqishi "vokal kesimli ovoz" deb hisoblagan to'rt nafar birinchi kurs talabalariga bo'lgan ovozi bilan zamonaviy vokal uyg'unligini kengaytirish ekanligini e'lon qildi.[46] U yana shunday dedi: "Biz [Beach Boys] ishlab chiqarishi mumkin bo'lgan uyg'unlik bizga o'ziga xoslikni beradi, bu siz qayd etishingiz mumkin bo'lgan yagona muhim narsa - bu hech kimga xos bo'lmagan sifat. Men qo'shiqdagi cho'qqilarni yaxshi ko'raman - Va ularni boshqaruv panelida takomillashtirish. Eng muhimi, men inson ovozini o'zi uchun yaxshi ko'raman. "[31][46] Bir muddat Uilson guruh uchun falsetto kuylashdan qochib, «Men odamlar o'zimni a deb o'ylardim deb o'ylardim peri. ... Guruh menga: "Agar shunday kuylayotgan bo'lsangiz, bu haqda tashvishlanmang", dedi.[47]

Bilasiz Bob Dilan ? Xo'sh, yashang, bilasizmi, u bunday qattiq va jirkanch ovozga ega. Menda shu narsa bor. Men 90-yillarning Bob Dilaniga o'xshayman.

- Brian Uilson Ueyn Koyn 1999 yilgi intervyusida[48]

1966 yilda Uilson kuylashi mumkin bo'lgan eng baland nota D5 ekanligini aytdi.[46] 1970 yilgi sessiyalardan boshlab Surf Up albom, muhandis Stiven Desper Uilsonning doimiy ravishda paydo bo'lgan korroziv ta'sirini eslaydi chekish va kokain foydalanish: "U hanuzgacha falsettalar va narsalar bilan shug'ullanishi mumkin edi, lekin unga yordam berish uchun Karl kerak edi. Yoki yoki men uni lentani sun'iy ravishda balandroq qilish uchun tezlik bilan o'zgartirgan edim, shuning uchun u eski kunlarga o'xshab yangradi."[49]

Musiqiy ta'sirlar

Shuningdek qarang: Beach Boys tomonidan qamrab olingan qo'shiqlar ro'yxati

2015 yilda yozuvchi Richard Goldstayn Uilson haqidagi taassurotini 1967 yildagi uchrashuvga asoslanib aytdi:

Men Beach Boys-da monografiyalarni o'qidim, ularda Uilson o'zini musiqa tarixidan to'liq xabardor, o'zini o'zi anglaydigan rassom sifatida tasvirlangan. Bu mening taassurotim emas edi. U odatdagi rok avtodidakti bilan uchrashdi, u o'zining ijodiy instinktlariga chuqur ishonch bilan qaramasdan, u ishlayotgan qo'shiqlarni sotish uchun juda badiiy ekanligidan qo'rqib ketdi. Ushbu ambivalentsiya natijasida u hech qachon bastakor sifatida o'zining to'liq imkoniyatlarini sezmagan. Ning nurida elektronika va minimalizm, uning g'oyalari naqadar ilg'or bo'lganini ko'rishingiz mumkin, ammo ular o'zini bir butunga safarbar qila olmaydigan ongdan ilhom portlashlari bo'lib qolmoqda. Bu oltmishinchi yillarda rokning katta fojiasi edi. ... Men uning musiqasi o'xshashligiga rozi bo'lish uchun uni bosdim [Gabriel] Fauré Men o'z fikrimni isbotlamoqchi edim Times. U menga pichoq tortganday tuyuldi. "Men u yigit haqida hech qachon eshitmaganman", dedi u ming'irladi.[50]

Beach Boys-ning tengdoshlarining ta'siri Brayanning raqobatbardoshligi bilan birgalikda uni yanada ijodiy cho'qqilarga chiqishga undadi.[51] U aytdi: "Bu menga oson emas. Hayotimda meni juda ko'p narsalar qo'rqitdi - menda qo'rquv, juda ko'p narsalar bor. Aytmoqchimanki, bolam, meni qo'rqitgan barcha yozuvlar. Shuncha yozuvlar faqat mening dunyomni larzaga keltirdi, odam. Bu og'ir. "[52] U nom berdi "Axmoq nimaga ishonadi "(1978) qo'shiq sifatida u" qo'rqinchli yozuv "deb hisoblaydi[52] va bir marta bunga ishongan Prokol Xarum "Oq rangdagi soya "(1967) unga tegishli edi dafn marosimi.[53] 1986 yilda Brayan aytdi Devid Tup: "Men juda ko'p orkestr musiqalarini tingladim. Men ham juda ko'p fokuslarni o'rgandim. Nelson Riddl menga aranjirovka qilish haqida ko'p narsalarni o'rgatdi. "[54] Elis Kuper Uilson bir paytlar an'anaviy standartni ko'rib chiqqan "Qisqa non "U erda yozilgan eng buyuk qo'shiq bo'lishi kerak, chunki Uilsonning izohlashicha:" Bilmayman, bu hozirgacha yozilgan eng yaxshi qo'shiq ".[55]

Klassik musiqa haqida Uilson 2015 yilda uni tinglamasligini aytdi.[56] Of ruhiy musiqa, Brayan keltirdi Smokey Robinzon va Stivi Uonder ta'sir sifatida.[57] Kelsak bemaqsad tosh kashshof Dik Deyl, Brayanning ta'kidlashicha, uning guruhdagi ta'siri Karl va uning gitara chalish uslubi bilan cheklangan.[58] 1965 yilda Brayan bemaqsad musiqasidan nafratlanishini qo'shimcha qildi.[59] Yoqilgan Jimi Xendrix va "og'ir" musiqa, Uilsonning aytishicha, u bu yo'nalishda hech qanday bosim o'tkazmagan: "Biz hech qachon musiqiy darajadagi og'ir sayohatga chiqmaganmiz. Hech qachon kerak bo'lmagan. Bu allaqachon amalga oshirilgan."[48] Of pank-rok, dedi u: "Men hech qachon bunga intilmaganman."[60] O'zidan ta'sirlangan rassomlar haqida fikrini so'raganda, Uilson u haqida hech qanday ma'lumotga ega emasligini aytdi Kraftverk,[60] Stereo ichidagi olma,[61] Shins,[61] Hayvon kollektivi, yoki Fil 6.[iqtibos kerak ] 2015 yildan boshlab, Uilson zamonaviy musiqani tinglamasligini, faqat "oldilar, ammo yoqimli narsalar" ni ta'kidlamoqda.[61][62]

Dastlabki ta'sirlar

Uilsonning dastlabki xotiralaridan biri bu eshitish edi Glenn Miller ning 1943 yildagi yozuvlari Jorj Gersvin "s Rapsodiya ko'k rangda (1924), keyinchalik uni bastakor sifatida rivojlanishida hal qiluvchi ta'sir sifatida baholadi.[63] U shunday esladi: "Uyimiz atrofida, men bolaligimda, ota-onamning yozuvlar to'plamidan shunga o'xshash narsalarni eshitganman Les Pol va Meri Ford, Tennesi shtati Erni Ford, Rozmari Kluni va To'rt birinchi kurs talabasi. Bu mening birinchi ilhomim edi. Har bir ta'sir qanday bo'lganligini aniq ta'riflashga urinish juda qiyin, chunki bu juda nozik, ammo bu mening musiqamni tinglaganingizda seziladi. O'ylaymanki, odamlar Rozemari Kluni mening qo'shiqlarimga qanchalik ta'sir qilganini anglamaydilar. U menga yuragimda muhabbat bilan kuylashni o'rgatdi ... Men ham qo'shiq aytardim ["Salom "], uning iboralarini o'rganib chiqdi va shu tariqa men his bilan qo'shiq aytishni o'rgandim."[63] Jon Sebastyan ning Lovin qoshig'i "Brayan bu vokal palitrasini boshqargan, biz u haqida hech qanday tasavvurga ega bo'lmaganmiz. Biz hech qachon to'rtta birinchi kurs talabalariga yoki doo-wop taroqlariga e'tibor bermagan edik. ekipajni kesib tashlash. Qarang, bundan qanday oltin qazib oldi ".[64] Karl shunday deb taxmin qildi Mayk Sevgi Bruni doo-wop musiqasiga qo'shgan.[20]

To'rt birinchi kurs ijrochilari "Ularning qalblari bahorga to'la edi "(1961) Beach Boys-ning alohida sevimlisi edi.[65] Brayan tushuntirdi: "Onam meni ularga qaratdi. U radioni yoqdi va" Bu qo'shiqni eshitingmi? "Deb nomlangan"Kundan kunga "To'rt birinchi kurs talabasi". Va men tingladim va bordim: "Oh, men buni yaxshi ko'raman, onajon! Bu menga judayam yoqdi!' ... Biz [yozuvlar do'koniga] bordik, u siz bu kichkina kabinalarga yozuvlarni olib, ularni sotib olishni xohlaysizmi yoki yo'qligini bilish uchun o'ynashingiz mumkinligini aytdi. ... Siz sauna hammomida qanday o'tirganingizni bilasiz va terlar chiqadi? Bu xonadagi butun tajriba mana shunday boshlandi. Men har xil axmoqliklarni tozalab, birinchi kurs talabalarini oldim. Bu sehr edi. Jami sehr. "[66] Ularning kelishuvlarini buzish orqali estrada standartlari, Brayan o'zini o'zi tarbiyalagan jaz uyg'unligi.[67] Lambert "Agar Bob Flanigan keyin Brayanga qanday qilib qo'shiq aytishni o'rgatdi Gershvin, Kern, Porter va ushbu panteonning boshqa a'zolari unga qo'shiq yasashni o'rganishda yordam berishdi ".[68][nb 2] Uilson so'zlarini davom ettirdi: "Men ularni bor-barda o'rgandim. Men o'zimning hi-fi to'plamimga borardim va biroz o'ynardim. Keyin to'xtab, buni tushunishga harakat qildim, oldinga va orqaga, orqaga va orqaga, Men butun qo'shiqni tushunib yetgunimcha. "[69]

Fil Spektor

Spektor (markazda) Gold Star Studios bilan Zamonaviy xalq kvarteti 1965 yilda

Ovoz devorini ommalashtirgan yozuvlar prodyuseri Fil Spektorning ishi Uilson uchun fokusli obsesiya edi.[70] Spektor Uilsonni Beach Boys tashqarisida turli xil rassomlarni yaratishga ilhomlantirdi, masalan Jan va Din, Reychel va Revolverlar va asallar.[71] Shuningdek, u xuddi Spektor singari Gollivud studiyalaridan, seans musiqachilaridan va muhandislaridan foydalangan.[72] 1966 yilgi maqolasida u uni "eng nufuzli yagona prodyuser. U abadiydir. U studiyaga kirganida muhim voqeani amalga oshiradi" deb nomlagan.[73] Keyinchalik u shunday fikr yuritdi: "Men Fil Spektorning ishi bilan chindan ham tanishgan paytgacha prodyuser sifatida o'ylay olmadim. Ana shunda men tajribamni shunchaki qo'shiq emas, balki yozuv sifatida yaratishni boshladim".[74][nb 3] U shunday tushuntiradi: "Spektordan oldin odamlar barcha asboblarni alohida-alohida yozib olishgan. Ular ajoyib fortepiano, ajoyib gitara va ajoyib basga ega bo'lishgan. Ammo u qo'shiqni bitta ulkan asbob deb o'ylardi. Bu juda katta edi. Hajmi u uchun juda muhim edi. Hammasi yangradi. Va u men eshitgan eng yaxshi davullarga ega edi. "[79] 1999 yilda u dindormi yoki yo'qmi degan savolga Uilson shunday javob bergan: "Men Fil Spektorga ishonaman".[80]

"Mening bolam bo'l"

Eshitish bilan Uilsonning ijodiy va qo'shiq muallifligi qiziqishlari yangilandi Ronettalar '1963 yilgi qo'shiq "Mening chaqalog'im bo'ling ".[81] "Mening chaqalog'im bo'l" filmi Spektorning Ovoz devorining timsoli hisoblanadi, bu yozuv keyingi bir necha o'n yilliklar davomida Uilsonni hayratga solgan.[82] Birinchi marta u bu qo'shiqni haydash paytida eshitgan va shu qadar hayratga tushdiki, yo'l chetiga o'tib, xorni tahlil qilishga majbur bo'ldi.[79][nb 4] U yozuvni sotib olib, uni yashash xonasidagi jokeboksida saqladi va har doim kayfiyat ta'sir qilganda uni tingladi.[49] Qo'shiqning nusxalari uning uyining hamma joylarida, shuningdek uning mashinasi va studiyasida joylashgan edi.[83] Muallif Luis Sanches xulosa qiladi:

Spektorning barcha asarlari orasida "Mening chaqalog'im bo'l" o'zini Brayanning fikriga singdirdi. O'ziga xos tarzda, bu yozuv Brayanning rassom sifatida qilgan sayohati haqidagi jumboqdir. Yillar davomida u qayta-qayta paydo bo'ldi. intervyular va tarjimai hollarda, har doim chuqur hayratga soladigan mavzular, tasalli manbai va ruhni beparvolik bilan ta'qib qilish ..., hikoyaning yakuniy natijasi va uning tarjimai holi va hujjatli filmlaridan to'plangan o'zgarishlari baxtsizlik tasviri: 70-yillarning boshlarida Brayan Bel Air uyining yotoqxonasida yolg'iz o'zi yopilgan, pardalar yopilgan, katatonik, "Mening chaqalog'im bo'l" ni agressiv ovozda qayta-qayta tinglayotgan, qolganlari singari Beach Boys pastki qavatdagi uy studiyasida nimanidir yozib oladi.[84]

Uchun "Men qilaman "(1964), Uilson tomonidan birgalikda yozilgan va ishlab chiqarilgan Castells, Lambertning ta'kidlashicha, kirish "to'g'ridan-to'g'ri" Mening chaqalog'im bo'l "filmidagi asboblar to'planishidan va undan oldingi Spector ishlab chiqarishidan ilhomlangan. kristallar ' 'Oh Ha Balki Chaqaloq '(1961), o'xshash ritmlar va asboblar kombinatsiyasiga ega. "[86] Bundan tashqari, Uilson tomonidan yozilgan va prodyuserlik qilgan Uilsonning "U qo'g'irchoq" va "Sizga ega bo'la olmaydigan" filmlarida Spektorning ta'siri "osongina" eshitilishi mumkin. qizlar guruhi asallar. "U qo'g'irchoq" filmida Lambert "Brayan nafaqat Spektor" ovozi "bilan, balki Spektorning ichki takrorlash orqali musiqiy o'zaro munosabatlarni yaratishi bilan ham hayratga tushganini" ta'kidlagan. Uilson, shuningdek, "g'oyalarni ajoyib chastotada qayta ishlagan, ammo u shu kabi manbalar uchun turli xil sharoitlarni yaratishga da'vo qilib, ijodiy mushaklarini cho'zgan."[85]

1964 yil dekabr oyida asabiy nosozlikni boshdan kechirgandan so'ng, Uilson "Fil Spektordan o'rgangan narsalarimni olishga va imkoni boricha ko'proq asboblardan foydalanishga intildim. Men basslarni ikki baravar ko'paytirdim va klaviaturalarda uch baravar ko'paytirdim, bu hamma narsani yanada kattaroq va chuqurroq eshitishga imkon berdi".[87] U Spector singari yozuvlarni yozish texnikasidan foydalangan, ayniqsa Uy hayvonlari uchun tovushlar davr.[88][nb 5] Muallif Domenik Priore "Ronettes dinamik versiyasini kuylagan edi Talabalar "1961 yil"Men juda yoshman Uilson bunga to'g'ri keldi, ammo Ovoz devorini boshqa tomonga olib ketdi. Musiqani kakofoniyaning chekkasiga olib chiqish va shu sababli o'ninchi kuchga tebranish orqali Fil to'liq ta'sirga boradigan joyga - Brayan audio ravshanlikni afzal ko'rgandek edi. Uning ishlab chiqarish usuli musiqani yanada ravshan va qulay his qilib, ovoz va aranjirovkani yoyish edi.[3][nb 6]

Musiqiy jurnal Devid Dalton Uilson "Mening chaqalog'im bo'l" ni "yodlagan usta singari" deb tahlil qilganini aytdi Qur'on."[93] 1967 yil iyulda Dalton Uilsonni uyiga tashrif buyurdi, keyinchalik Uilson yotoqxonasida topilgan lenta qutisi haqida yozdi: "Men ularni studiya demolari yoki mos yozuvlar treklari deb taxmin qildim va ularni lenta mashinasiga tashladim. Bu eng g'alati narsa edi ... Barcha lentalarda Brayan magnitofon bilan suhbatlashayotgan edi. Bir necha soatdan keyin hayot mazmuni, rang tebranishlari, taqdir, o'lim, vegetarianizm va Fil Spektor haqida toshbo'ron qilingan ramblinglar. "[94][93] 1970-yillarning birida Uilson Stiven Desperga a yaratishni buyurdi lenta halqasi faqat "Mening chaqalog'im bo'l" xoridan iborat bo'lib, uni Desper "qandaydir" trans."[49] Uning qizi Karni Uilson bolaligida shunday degan edi: "Men har kuni ertalab uyg'onardim boom boom-boom pow! Boom boom-boom pow! Har kuni."[95] Yana bir safar Uilson qo'shiqning barabanini "xonadagilar to'xtatishimni aytmaguncha o'n marta, keyin men yana o'n marta chaldim" deguncha o'ynaganini eslaydi.[79] Mayk Love uni qo'shiqni taqqoslaganini eslaydi Albert Eynshteyn "s nisbiylik nazariyasi.[75]

Spektor va Uilson o'rtasidagi o'zaro bog'liqlik

Aksariyat qaydlar shuni ko'rsatadiki, Spektor Uilsonning musiqasiga bir xil hayratga tushmagan.[96][nb 7] U Uilsonning "Mening chaqalog'im bo'l" degan ashaddiy holatidan xabardor edi va yozuvning ovozini aniqlashga urinib, "[Uilson] chekadigan har bir bo'g'im uchun nikel olishni xohlayman" dedi.[98]

Uilson ikkita kompozitsiyasini prodyuserga topshirishga muvaffaq bo'lmadi: "Xavotir olmang bolam "va"Kichkina singlimga ozor bermang "ikkalasi ham Ronettalarni hisobga olgan holda yozilgan.[99] Spektordan keyin "Siz "Feelin" sevganingizni yo'qotdingiz "uchun birinchi raqamli hit bo'ldi solih birodarlar 1965 yil boshida Uilson qo'shiq mualliflariga shaxsan qo'ng'iroq qildi Barri Mann va Sintiya Vayl buni "hozirgi zamondagi eng katta rekord" deb maqtash.[100] Keyinchalik u qo'shiqning bir nechta (kamida ikkita) versiyasini yozib oldi: biri 1970-yillarda, boshqasi 1990-yillarda.[101]

Garri Nilsson yozgan "Bu tun bo'lishi mumkin "(1966) Uilsonga hurmat sifatida, ishlab chiqarishni Spektor boshqargan.[102] Zamonaviy xalq kvarteti "s Genri Diltz mashg'ulotlar paytida studiyada Uilsonni esladi: "biz uni ovoz yozish kabinasida, kiyimida va terlikida ko'rardik, u erda bizning qo'shig'imizni qayta-qayta chalib o'tirar edi. Uilson uni Nilssonning eng yaxshi kompozitsiyalaridan biri va Spektorning eng yaxshi asarlaridan biri deb bildi va "Xayriyat, ular uchrashgan va kutgan g'oyalar va nihoyat ular sevishgan ... Men bu xabarni yaxshi ko'raman" deb izohladi.[103] Uilson Spektor tomonidan ishlab chiqarilgan sessiyada ham ishtirok etdi "Daryo daryosi - baland tog ' "(1966), u erda" transfixed "va" indamadi "o'tirdi.[104]

1977 yilda Uilson 1950-yillarning uslubidagi sevgi qo'shig'ini yozdi "Mona ", unda lirik xususiyatlar mavjud:" Hodiy, tinglang 'Da Do Ron Ron "endi bilaman, siz Fil Spektorni yaxshi ko'rasiz".[105]

Burt Bacharach

Burt Bacharach 1972 yilda

Uilson keltirdi Burt Bacharach "ehtimol 20-asrning eng buyuk qo'shiq muallifi dahosi va shu jumladan ... Jorj Gersvindan ham yaxshiroq".[106] Muallif Uilyam Farina, Uilson va Baxaraxni "to'g'ridan-to'g'ri raqobatchilar" deb ataydigan, Uilsonning xushomadgo'yligi "ayniqsa, 1960-yillarning o'rtalarida Uilsonning yanada jiddiy va introspektiv musiqiy chiqishlarini o'rganishda" o'z-o'zidan ravshan.[107] Musiqashunos Kristian Matijas-Makka ta'kidlashicha, Baxarax "Brayanning ishiga tez-tez e'tibor bermaydi".[108] Priorening ta'kidlashicha, "nozik" tarzda Uilson pop qo'shig'i Bacharachning dinamikasiga qisman ta'sir ko'rsatgandan keyin qila oladigan imkoniyatlarni qadrlay boshladi.By Walk "(1964), unga" Mening chaqalog'im "singari ta'sirchan bo'lgan qo'shiq, u o'z spektakllari ilhomlanib ishlab chiqarishga yondoshishdan boshlar ekan, o'z yozuvlarida dinamikani his qilishiga bo'lgan intilishini qo'llab-quvvatlaydi.[109] Uilson 1960 yillarda: "Burt Baxarax va Hal Dovud menga o'xshaydi. Ular, shuningdek, bugungi kunda eng yaxshi pop jamoasi. Bacharach prodyuser sifatida juda yangi, yangicha yondashuvga ega ".[110]

Uilson tomonidan ishlab chiqarilgan Beach Boys Bacharachni qamrab oldi "Mening kichik qizil kitobim "va" Walk On By "filmlari 1967 va 1968 yillarda nashr etilgan, ammo yozuvlar chiqarilmagan.[111] Uilson Bacharachning unga bevosita ta'sir ko'rsatganligini aytdi "U meni juda yaxshi biladi ",[112] "Keling, bir oz vaqt ketaylik ",[16] va "Sevgi va rahm-shafqat ".[113] Yozuvchilar Bacharachning Uilsonga ta'sirini turli xil deb atashgan "O'ylaymanki, men soqovman ",[114] "Unga vahshiy yugurishga ruxsat bering,[115][116] va "Men bir paytlar tanigan qizaloq ".[117] "Yo'qolaylik" mavzusini muhokama qilar ekan, Uilson shunday dedi: "U qandaydir narsalarni birlashtirishga o'xshash akkord o'zgarishlari ko'p bo'lgan. Va menimcha, uning musiqasida mening boshimda shunday chuqur narsa bor edi; u meni bir yo'nalishga olib bordi. . "[16] U eslatib o'tadi kichik ettinchi akkordlar ta'sirning o'ziga xos nuqtasi sifatida.[118] Bacharachning ko'plab asarlari singari, "U yugurib yursin" tonnadan tashqari ettinchi akkord bilan ochiladi. Baxaraxning ishidagi shunga o'xshash misollarga "Walk On By", "kiradi.Xotinlar va sevishganlar "(1963) va"Yuragi bo'lgan kishi " (1963).[119]

Bitlz

Bitlz guruhi Jorj Martin studiyada, 1964 yil

The Beach Boys va Bitlz ko'pincha 1960-yillar davomida bir-birlarining musiqiy ishlanmalarini to'g'ridan-to'g'ri qaytargan deb aytishadi.[120] Ikki guruh o'zlarining badiiy va ovoz yozish texnikalari bilan bir-birlarini ilhomlantirdilar va ularni studiyada yanada uzoqlashtirdilar.[121][122] Muallif Devid Moskovits "Men atrofga aylanaman" (1964 yil may) ni Uilsonning ushbu javobga muvaffaqiyatli javobini ifodalaydi Britaniya bosqini va asosan u va "Bitlz" o'rtasidagi norasmiy raqobatning boshlanishi Pol Makkartni.[123] 2002 yilda Uilson, ayniqsa 1964–65 yillarda "Bitlz" ning har bir yangi chiqishi uni "yangi narsalarni sinab ko'rishga" undaganini esladi; u keltirdi "Qiz menga aytma "uning qo'shiq muallifligi bevosita" Bitlz "ning ta'sirida bo'lganligining eng yorqin namunasi sifatida.[124][nb 8] Birinchi tinglovdan keyin Kauchuk qalb 1965 yil dekabrida Uilson "Beatles" ning doimiy ravishda yaxshi original qo'shiqlardan iborat albom yaratish qobiliyatidan "uchib ketdi"[124] va ushbu yutuqni qo'lga kiritishda erishishga qaror qildim Uy hayvonlari uchun tovushlar.[120] O'z navbatida, Beatles prodyuseri Jorj Martin "" Bitlz "ga hech kim Brayannikidan ko'proq ta'sir o'tkazmadi.[126][nb 9]

Uilson shunday dedi: "Bitlz ilhomlangan men. Ular menga ta'sir o'tkazmadilar. "[129] U yoqib qolganida Kauchuk qalb, u quyidagicha tushuntirdi: "Menga hammasi birlashishi yoqdi, barchasi bir narsa edi. Bu menga qiyin bo'ldi ... Bu ularni nusxalashni emas, balki ular singari yaxshi bo'lishni xohladi. Men bir xil musiqa qilishni istamadi, lekin bir xil darajada. "[20] Karl batafsil bayon qildi: "[Fil Spektor] Brayanning eng sevimli tosh turi edi; u unga" Bitlz "ning dastlabki buyumlaridan ko'ra ko'proq yoqardi. U" Bitlz "ning keyingi musiqalarini, ular rivojlanib, aqlli va mohirona musiqa qila boshlaganlarida yaxshi ko'rar edi. Ammo undan oldin Fil u. "[20] Mayk Lovning so'zlariga ko'ra, Karl "Bitlz" ni guruhdagi boshqalarga qaraganda ko'proq kuzatib borgan, ammo Brayan "Bitlz" tomonidan eng "rattled" bo'lib, ular bilan "hamqadam bo'lish" uchun katta bosimni his qilgan.[130] Bir paytlar Brayan o'zini Spektor va Bitlzga "aldangan" va "rashkchi" deb atagan,[131] aytmoq; "Men varaqlayapman. Qanday qilib [Bitlz] ning baqirishi va qichqirishi mumkinligini tushunolmadim. Ular yaratgan musiqa, 'Men sizning qo'lingizni ushlamoqchiman "Masalan, bu juda katta rekord emas edi, lekin ular shunchaki baqirishdi."[132] Boshqa bir safar, u ularning qo'shiqdagi ovozlarining "elektr energiyasidan" ("Bu meni haqiqatan ham yoqdi") hayratda qoldirganini aytdi. U Love bilan u ikkalasi ham Bitlz guruhi tahdidini his qilishganini esladi va "Beach Boys" "Bitlz" tomonidan ijrochilar sifatida yaratilgan hayajonga hech qachon teng kelmasligini bilishini va bu tushuncha uni o'zlarining sa'y-harakatlarini yozuvda ularni ortda qoldirishga harakat qilishga yo'naltirganini esladi. studiya.[124]

Brayan "Bitlz" ga musiqiy yondashuvining asosiy farqini shundaki, ular qo'shiqlarni "skelet shaklida" soddalashtiradi, shu bilan birga u "ularni [ularni] yanada murakkablashtirishga undaydi" va agar u tartibga solsa "Norvegiya daraxti ", u" uyushtirgan, orqa ovozlarni qo'ygan va [ming ishlarni] bajargan bo'lar edi. ”[133] Bitlz mavzusida Revolver (1966), Sevgi bunga javoban: "Yo'q, men unga ta'sir qilmagan deb o'ylayman Revolver. Brayan o'z dunyosida edi, ishoning. Agar u "Bitlz" ning ta'sirida bo'lsa, ko'proq narsa bo'lar edi noaniq ohang va bir nechtasi sitarlar bizning yozuvlarimizda, ammo hech qachon bo'lmagan. "[134][nb 10] Uilson Makkartnining bas ijro etishini maqtab, uni "texnik jihatdan hayoliy, ammo uning uyg'unligi va musiqaga olib keladigan psixologik narsasi orqali amalga oshiriladi. Psixologik jihatdan u juda kuchli ... Men hech qachon ololmaydigan boshqa narsa uning qanchalik ko'p qirrali bo'lganligi edi. ... biz u yoshdagi har xil turdagi qo'shiqlarni qaerdan olganini aniqlashga harakat qilardik. "[137] 2014 yilda Brayan "menimcha"Qulupnay dalalari abadiy "bu" g'alati yozuv edi ... menga yoqdi ", garchi u qo'shiq uni ruhiy jihatdan nogiron qildi degan mish-mishlarni rad etdi.[56] 2015 yilda u ta'kidladi "Do'stlarimning ozgina yordami bilan "favorit sifatida.[138] U ko'radi "Tinch qo'y, hamma narsa o'z holidagiday qo'sin; shunday bo'lsin "bilan taqqoslab, juda tasalli beruvchi qo'shiq sifatida valiy.[139]

Musiqiy bo'lmagan ta'sirlar

Giyohvand moddalar va ma'naviy e'tiqodlar

1964 yil dekabrda Brayan tanishtirildi marixuana tez o'tmasdan oldin LSD 1965 yil boshida.[140] U nomlaydi "Iltimos, meni hayratga solaman "u potda yozgan birinchi qo'shig'i sifatida" bilanU meni juda yaxshi biladi Ko'p o'tmay "va" U yugursin! "[141] Uning birinchi kislota safari,[140] u LSD uni "juda diniy tajriba" ga duchor qilganini eslab, uni ta'riflab bo'lmaydigan falsafalar bilan yoritdi.[142] "Uchun musiqaKaliforniya qizlari "bu birinchi LSD tajribasidan kelib chiqqan,[140] guruhning keyingi ishlarida bo'lgani kabi, ular ro'yxatga olish sessiyalari paytida giyohvand moddalarni iste'mol qilishda ishtirok etishadi.[143] Uilson o'zining LSD safarlaridan "diniy tajriba" sifatida va kapella madhiyasi uchun sessiya paytida gaplashdi.Bizning ibodatimiz ", Brayanning boshqa Beach Boys-dan so'raganini eshitish mumkin:" Yigitlar hali biron bir kislota his qilyapsizmi? "[144] 1993 yilda Uilson qonuniy depozitda guvohlik berdiki, 1965 yilga kelib u kuniga uch yoki to'rtta marixuana sigaretasi va bitta LSD tabletkasini iste'mol qilmoqda.[145] LSD-ni tashlaganidan keyin u ishonadi: "Bu mening fikrimni biroz kengaytirdi, shuning uchun men yaxshiroq qo'shiqlar yozishim mumkin edi ... [Bunga arziydi], men uni boshqa qabul qilmas edim."[146]

1988 yilda bo'lib o'tgan intervyulardan birida uning musiqasiga diniy ta'sir ko'rsatdimi yoki yo'qmi degan savol berilgandan so'ng, Brayan 1962 yilda nashr etilganiga murojaat qildi Zenga qarash"va" oyoq uchi "deb nomlangan narsaga ega ekanligiga ishonishini aytdi, metaforik tarzda" katta maqsad sari borishga imkon beradigan har qanday kichik qadam "deb ta'rifladi. U bu haqda batafsil gapirib berdi: "Men o'sha kitobdan va biron bir odamning hayoti bilan tanishgan odamlardan ... kimdir hayotni tushunadigan, yaxshi tushunadigan deydilar - ular buni boshqa narsaga o'tkazib yuborishlari kerak edi."[147] Yozib olish paytida Uy hayvonlari uchun tovushlar, Brayan ushlab turdi ibodat uchrashuvlari, keyinchalik "Xudo biz [albom] yaratgan vaqt davomida biz bilan bo'lgan ... men bu tuyg'uni miyamda his qilganman" degan fikrni aks ettiradi.[148] 1966 yilda u a ga o'tmoqchi ekanligini tushuntirdi oq ma'naviy tovush, va musiqa sanoatining qolgan qismi ham unga ergashishini bashorat qildi.[149]

Uilson ma'naviy e'tiqodga ega bo'lsa-da, aniq bir dinga ergashmasligini batafsil bayon qildi.[150] 1990 yilda u "musiqa - bu Xudoning ovozi" deb ishonishini yozgan.[151]

Ruhiy kasallik

Shuningdek qarang: Ijodkorlik va ruhiy kasalliklar

Uilson azob chekmoqda shizoaffektiv buzilish o'zini tanasiz ovozlar shaklida taqdim etadigan (eshitish gallyutsinatsiyalari ).[152] Kasallik LSDni birinchi marta iste'mol qilganidan bir hafta o'tgach paydo bo'ldi.[152] Ning asosiy tarkibiy qismini tashkil etdi Bill Pohlad "s Sevgi va rahm-shafqat (2014), a biografik film Uilson gallyutsinatsiyalarini musiqiy ilhom manbai sifatida tasvirlaydi,[153] qisman ular bilan suhbatlashish uchun mo'ljallangan qo'shiqlarni qurish.[154] Uilson ovozlar haqida shunday dedi: "Ko'pincha ular kamsituvchi. Ba'zilari quvnoq. Ko'plari unday emas".[155] Uning gallyutsinatsiyasi "har doim va keyin" qo'shig'iga ilhom berishini qo'shimcha qildi.[156] 2002 yilda Uilson muvaffaqiyatli davolanishni boshlaganini his qildi yozuvchi bloki: "Men uch yildan beri hech narsa yozolmayapman. Menga jinlar yozish kerak deb o'ylayman, lekin jinlar ketdi. Bu meni juda bezovta qilmoqda. Men sinab ko'rdim, lekin ko'rmadim kuy topish uchun. "[70]

Kompozitsion usullar

Qo'shiq yozish

Yozish jarayoni

1966 yilda Uilson o'zining yozish jarayonida pianinoga borishni va "hislar" ni topishni o'z ichiga olgan bo'lib, uni "qisqa nota ketma-ketliklari, g'oyalar parchalari" deb ta'riflagan va "ular mening boshimdan chiqib, ochiq havoga chiqqandan keyin. , Men ularni ko'rib, ularga qattiq teginishim mumkin. Ular endi "his qilishmaydi". "[46] Mayk Lov shunday esladi: "Brayan shu qadar o'z-o'zidan paydo bo'ladiki, agar pianino va atrofda ikki-uch kishi qo'shiq kuylashi kerak bo'lsa, u o'tirib, besh daqiqada qo'shiq yozadi. Ammo agar siz o'sha paytda tushunolmasangiz, u ketadi o'chirib tashlaydi. "[20] Van Deyk Parksning so'zlariga ko'ra, Uilson sakkizinchi nota uchburchagi akkordlarini "bolg'alash" bilan fortepianoga yaqinlashishi bilan noyob bo'lgan.[157] Uilson mavzusida Yotoq xonasi lentalari, Beach Boys arxivisti Alan Boyd kuzatgan: "Bu davrda Brayan yaratgan ko'plab musiqalar to'la edi sinxronlashtirilgan mashqlar va qarshi nuqtalar jirkanch sakkizinchi nota klasterlari ustiga to'plangan va loping yivlarni aralashtirish. Teglar kabi narsalarda bu haqda oldinroq ma'lumotlarga ega bo'lasiz.Kaliforniya qizlari,' 'Yaxshi bo'lmasmidi? "va barchasi davomida Tabassum, ammo bu 70-yillarda deyarli manikalik tomonga ega. "[158]

Shakli va tuzilishi

Birinchi misra va xor uchun akkord progressiyasi va ohangdor tuzilishining ingl.Xudo biladi ".

Uning akkord progressiyalarining aksariyati uning kamida bitta asosiy musiqa ta'siridan kelib chiqadi: rok-n-rol, do-wop va vokal jaz.[159] Uilson kompozitsiyalaridagi umumiy qurilmalarga quyidagilar kiradi.

  • Jazz akkordlari, masalan, ettinchi va to'qqizinchi. Lambert "umumiy uslub" kabi qo'shiqlarning "Biz qochib ketamiz " (1964), "Men ulg'ayganimda (erkak bo'lish uchun) "(1965)," U yirtqich ishga tushirsin "va" Iltimos, meni hayratga soling "-" mashhur me'yorlarga mos keladi ", bunday akkordlarning quyilishi" nafislik va badiiylikni oshiradi ".[160] Hamkor Endi Pley "Men Beach Boys yozuvlarini tinglayotgan bolaligimda, jahannam nima bo'lganini bilishga urinib yong'oq yurgandim. Bu juda oson eshitilardi, lekin siz qaerdaligingizni bilasiz, Iso, bu a asosiy akkord yoki a kichik akkord ? Endi men Brayan bilan studiyada bo'lganimdan, ba'zida u ikkalasini ham o'ynayotganini bilaman. U dahshatli dissonant bo'lib tuyuladigan narsalarni qiladi, ammo barchasi birlashtirilganda, bu juda chiroyli. Bu aslida juda katta falsafa ".[161]
  • Noaniq tonal markazlar,[162] oyat va xorlarning asosiy o'zgarishlari hamda "yuk mashinasi haydovchisining modulyatsiyasi" bilan.[163] Ovoz muhandisi Evgeniy Gearti "Xudo faqat biladi" ni "[Brayan] tugmachadan kalitgacha modulyatsiya qilinganligi" ning mukammal namunasi deb ataydi. U Bitlz guruhiga qaraganda ancha murakkab edi va asosan [Igor] Stravinskiy klaviatura o'zgarib turadigan va kalit markazlari pop-ohang ichida to'rt yoki besh marta o'zgarib turadigan orkestr musiqasida.[164] Yoqilgan Uy hayvonlari uchun tovushlar and other work, author Jim Fussili observed a repeated nuance of Wilson's to "wander far from the logic of his composition only to return triumphantly to confirm the emotional intent of his work".[162] Tony Asher remembered: "one of the things that I really enjoyed, was that first time I'd hear him hunting for a chord change and I'd think 'Man, he's just gone right off the edge because he's not ever gonna get close. He's way out there in some area that's just—he'll never get back. And if he's successful, gets out of there, people are going to say, I've lost my tone center, don't know where the hell I am and stuff. And then, eventually, he'd figure out what it was he wanted to do. A lot of it was just hunting and pecking, the way some of us type."[40]
  • ii – V and I – ♭VII alternations.[165] The ♭VII chord, which is common in the music of the Four Freshmen and popular music in general, is the nondiatonic chord that appears the most in Wilson's compositions. Alternations between ♭VII and I can be heard in "Guess I'm Dumb" and the intro to "California Girls".[166]
  • Stepwise diatonic rises such as I – iii – IV – V.[165]
  • A beshinchi doira run that begins with the mediant (or iii), derived from "Be My Baby".[165]
  • Akkord inversiyalari, especially a tonic with a fifth in the bass.[167] Pol Makkartni commented on Wilson's bosh chiziqlari: "If you were in the key of C, you would normally use–the root note would be, like, a C on the bass ... Brian would be using notes that weren't the obvious notes to use. As I say, 'the G if you're in C–that kind of thing. And [he] also [put] melodies in the bass line."[168]
  • Stepwise-falling melodic lines. As James Perone writes of the second track from Uy hayvonlari uchun tovushlar, "Siz hali ham menga ishonasiz ", "One of the high points of the composition and Brian's vocal performance ... is the snaky, though generally descending melodic line on the line 'I want to cry,' his response to the realization that his girlfriend still believes in him despite his past failures." He describes the "stepwise falloff of the interval of a third at the end of each verse" to be a typically "Wilsonian" feature. The feature recurs alongside a "madrigal sigh motif "in"Bu men emas ", where the motif concludes each line of the verses. This sighing motif then appears in the next track, "Gapirmang (boshimni yelkamga qo'ying) ", a piece inspired by classical music, and once again in the closing "Kerolin, Yo'q ".[169]
  • Sudden breaks into a cappella – another technique borrowed from the Four Freshmen that Lambert calls the "interrupting celestial choir". It occurs in "Salt Lake City" (1965) and "Sloop John B" (1966).[170]

Lirika

Brian didn't write about the Vetnam urushi, but he did capture the era's gestalt when he described how easily his hopes for romance or status or a happy family could be shattered. He refused to abandon those hopes, however, and each time asked a woman named Vendi yoki Rhonda or something else to pick up the pieces and reconstitute the dream.

—Jefri Xims[20]

In most cases, Wilson was forced to rely on outside collaborators when it came to adding lyricism to his compositions. At this stage, Wilson usually worked with bandmate Mayk Sevgi,[171] whose assertive persona provided youthful swagger that contrasted Wilson's explorations in romanticism and sensitivity.[172] Sanchez noted a pattern where Brian would spare surfing imagery when working with collaborators outside of his band's circle, in the examples "Yolg'iz dengiz "va"Mening xonamda ".[173] Wilson has said that he had "never been the type" to preach social messages in his songs.[156]

In early 1964, Wilson began his breakaway from beach-themed music.[174] Albom Bugun plyaj bolalari! (1965) established Wilson's new lyrical approach toward the autobiographical. Nick Kent writes: "In songs like 'U meni juda yaxshi biladi 'va'Aqlimning orqasida ', Wilson's dream lovers were suddenly no longer simple happy souls harmonizing their sun-kissed innocence and dying devotion to each other over a honey-coated backdrop of surf and sand. Instead, they'd become highly vulnerable, slightly neurotic and riddled with telling insecurities."[175]

Recording and arranging

Ishlab chiqarish

Wilson works out "about a third" of the finished arrangement of a song as he's writing it, leaving the rest to studio experimentation.[15] As he writes in 1990: "Making an instrumental track is a whole experience. It starts after you have written a song. As I write a song, I write some of the instrumental piano and pluck some of the different notes for the arrangement. It's impossible to lay the whole arrangement on the piano but you play just enough to get the overall feelin' of the record. It is an art in itself. I always get that bigger picture of my records at my piano before I record them. I go in there prepared."[151] From the very beginning, Wilson handled most stages of the group's recording process, despite Nik Venet being credited for producing their early recordings.[176][177] He preferred mixing live as performances were recorded, as opposed to mixing after the fact.[178] He was open to changes suggested by others while recording, often taking advice and even incorporating apparent mistakes if they provided a useful or interesting alternative.[179][180] Yoqilgan Surfin 'AQSh (1963), Brian began dubletrek.[181] As was practiced by other record producers from the 1960s, most of his mixes ended up in single-channel monaural,[182] believing that varied stereo speaker placement took his control over the sound image away to the listener.[183]

Using major Hollywood recording studios, Wilson arranged many of his compositions for a conglomerate of sessiya musiqachilari norasmiy sifatida tanilgan halokat ekipaji. Their assistance was needed because of the increasingly complicated nature of the material.[178][nb 11] Wilson said that he "was sort of a square" with the Wrecking Crew, starting his creative process with how each instrument sounded one-by-one, moving from keyboards, drums, then violins if they were not overdubbed. Although he had arrangements worked out in his head, they were usually written in a shorthand form for the other players by one of his session musicians.[16] On notation and arranging, Wilson clarified: "Sometimes I'd just write out a chord sheet and that would be for piano, organ, or harpsichord or anything. ... I wrote out all the horn charts separate from the keyboards. I wrote one basic keyboard chart, violins, horns, and basses, and percussion."[16] One of Wilson's favorite techniques was to apply reverb exclusively to a timpani, as can be heard in "Wouldn't It Be Nice", "You Still Believe in Me", and "Don't Talk".[184]

"I Get Around" chorus vocals

Once an instrumental track was completed, vocals would then be ortiqcha dublyaj qilingan guruh tomonidan.[185] Carl said about the Beach Boys' vocal arrangements: "Our vocals were voiced like horn parts, the way those R&B records make background vocals sound like a sax section. It sounded big, because the four parts were all within the same octave; that was really the secret. He used a lot of counterpoint, a lot of layered sound; it had a real depth to it. We didn't just duplicate parts; we didn't just sing at octaves; that would sound really lame, very square."[20]

Studios and engineers

[In the 1960s people] would try whatever they could think of that was unexpected, just for its own sake ... spend three days and call in a bunch of oboe players. Try an instrument just because nobody had ever used it, and in the end, it wasn't in the final mix. That never happened with Brian. He did the same kind of experimenting, not to see if he could accidentally stumble onto something unique, but he did these unique things because that's what he wanted to hear. And most of the time, it ended up on the record.

—Toni Asher[40]

Endi sifatida tanilgan EastWest studiyalari, this building on Quyosh botishi bulvari was formerly known as Western Studio when it was part of Birlashgan G'arbiy yozuvlar and was one of Brian's preferred studios.

Eschewing Kapitoliy studiyalari, which Brian considered inadequate,[186][187][188] muhandis Chak Britz often collaborated with him at Western 3 of Birlashgan G'arbiy yozuvlar,[189] also serving as a buffer between Brian and the oft-berating Murry whenever he was present.[190] Once Britz assembled a preliminary recording setup, Brian would take over the console, directing the instrumentalists from the booth using an intercom or verbal gestures after supplying them with chord charts that were sometimes written incorrectly.[17] According to some reports, even though Britz was responsible for setting up recording, Brian would then adjust his configuration to a large extent.[191] Asher adds: "As unorganized or even unproductive as he [Brian] could be in other situations, when he got into a recording session, you had the sense he had ideas that were gonna get away from him if he didn't get 'em done right away. He was willing to have people be relaxed and joke a little bit, but he wanted to get work done. And he sometimes lost his temper just a little bit if Chuck couldn't find a take."[40]

Da Gold Star Studios, Brian worked mainly with engineers Sten Ross and, with lesser frequency, Larry Levine.[97] Ross said of Brian, "[he] liked the sound Gold Star got on the instrumentation, but he did the voices elsewhere because we were limited to two or three tracks and that wasn't enough for voice overdubbing. ... The tracks were really rhythm pads that would be sweetened after the voices were put on."[192]

Izohlar

  1. ^ In his youth, Brian received a six-week lesson on how to play the akkordeon.[12] According to the Wilsons' mother, "The teacher said, 'I don't think he's reading. He hears it just once and plays the whole thing perfectly.'"[13] Mutaxassisligi bo'yicha psixologiya da El Camino Community College in Los Angeles, he took additional music classes.[14] It is unclear to what extent Wilson is knowledgeable in musical notation. In 2004, Wilson stated that he was unable to read music,[15] while other reports suggest that written notation is a method by which he composes and arranges.[16][17]
  2. ^ The tonal formula of the Four Freshmen was that a bass instrument would sing the tonic note of a chord which freed the vocalists to perform five-part harmony, according to Ross Barbour: "And one of those four voices would sing a 'color note' – an unexpected note, a note that wasn't logical, a note that would surprise the listener and make the song sound more interesting. We were interested in doing music, not just having hits."[69]
  3. ^ Before "Be My Baby", Wilson had known of Spector through the single "U Men sevgan bolaga ishonchim komil " (The Crystals, 1962).[75] Barni Xoskins has speculated, "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector",[76] while James Murphy says that Lou Adler may have introduced Wilson to Spector around June 1963.[77] Wilson remembered that he met Spector only a few days after hearing "Be My Baby".[78]
  4. ^ Other songs that "hit almost as hard" as "Be My Baby" include "Soat atrofida tosh " (Bill Xeyli va uning kometalari, 1955), "A-Knokkinni saqlang " (Kichkina Richard, 1957), "Hey qiz " (Freddi Skott, 1963), and "Siz bu Lovin tuyg'usini yo'qotdingiz " (Solih birodarlar, 1964), but as Wilson says, "it's hard to re-create the feeling of first hearing 'Be My Baby'".[78]
  5. ^ Wilson considers Uy hayvonlari uchun tovushlar bo'lish a kontseptsiya albomi centered around interpretations of Spector's recording methods.[88][89]
  6. ^ The Beach Boys recorded cover versions of several songs penned by Spector, including "Keyin men uni o'pdim ", "Boshqasi yo'q (mening bolam singari) ", "Sevgi cherkovi ", "Hayotimda faqat bir marta ", "Siz "Feelin" sevganingizni yo'qotdingiz ",[90] va "Men musiqani eshita olaman ".[91] Plyaj bolalarining Rojdestvo albomi (1964) was released as a response to Fil Spektorning Rojdestvo albomi (1963).[92]
  7. ^ Muhandisning so'zlariga ko'ra Larri Levin, "Brian was one of the few people in the music business Phil respected. There was a mutual respect. Brian might say that he learned how to produce from watching Phil, but the truth is, he was already producing records before he observed Phil. He just wasn't getting credit for it, something that in the early days, I remember really used to make Phil angry. Phil would tell anybody who listened that Brian was one of the great producers."[97]
  8. ^ Lambert acknowledges similarities with the Beatles' "Ride uchun chipta " (1965), noting "Girl Don't Tell Me" as a "modeling exercise" for Wilson.[125]
  9. ^ 1966 yilda, Jon Lennon named Wilson as the musical person he most admired.[127] Uchun Bitlz antologiyasi, Jorj Xarrison said that, in the mid-1960s, the Beatles felt they were trying to compete with Uy hayvonlari uchun tovushlar.[128]
  10. ^ When asked whether Wilson enjoyed the then-recent use of the sitar in pop music, Wilson responded, "Yeah. I think it's interesting, and if I feel I can make a record that uses an instrument such as a sitar, then I'll do it."[135] On June 8, 1968, an unreleased version of "Men xohlayman " (1970) was demoed at his home studio with a sitar.[136]
  11. ^ Many of the musicians and studios Brian used happened to overlap with those used by Phil Spector.[51]

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Bibliografiya

Qo'shimcha o'qish

  • Cunningham, Don; Bielel, Jeff, eds. (1999). Add Some Music to Your Day: Analyzing and Enjoying the Music of the Beach Boys. Tiny Ripple Books. ISBN  978-0967597300.
  • Desper, Stephen W. (2002). Recording the Beach Boys.
  • McParland, Stephen J., ed. (2001). Brayan Uilson va Plaj Boylari ishtirokidagi studiyada: Bizning sevimli yozuv sessiyalarimiz: Beach Boys tomonidan yozilgan turli xil sessiyalarga qarash, 1961-1970. CMusic Books.