Music Theory Analysis: The Forbidden Riffs
Led Zepplin, “Stairway to Heaven,” (Page, Plant) (c)1970.
Carlos Santana, “Smooth” (Shur, Thomas) (c)1999
I do not own the rights to these works. References to these works are used without permission.
Music Theory Analysis: The Forbidden Riffs
Intro: Music Theory Primer
Videos:
1. Song Analysis
1. Für Elise (Beethoven, L. V., 1865)
2. Autumn Leaves (Mercer, J., 1947)
2. Stairway Analysis, “Stairway to Heaven” Chord Structure Analysis Levels 1 & 2
3. Comparative Analysis: Carlos Santana, “Smooth” (Shur, Thomas) (c)1999
4. Stairway Analysis, Chord Structure Level 3: The Sequence Model
5. Borrowing the Sequence Model: Reharmonize and Differentiate
6. Reharmonization: Super Imposing Melodies and Lyrics
7. Discussion on Chord Sequence vs. Intellectual Property issues
Table of Contents
00:12 Discussion: Superimposing and improvisation of a known melody
01:36 Demonstration: Superimposing a known melody
Structural and stylistic analysis based in whole or in part on the methods presented in the following publication:
Laitz, Steven G. (2016). The complete musician : an integrated approach to tonal theory, analysis, and listening. New York : Oxford University Press
References to song titles such as “Stairway” references both musical and cultural examples that are ubiquitous to the guitar industry. They are intended to be satirical in nature, are brief within the context of this original work, and are not intended to infringe on the copywrites of well known classic rock songs. Critiques of a work’s musical structure, and similarities between other works, along with satire, are protected under 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.
Performances of chord structures are conducted plainly, without reference to other’s intellectual property as legally defined as the melody, lyrics, or stylistic accoutrements of the original artists’ works. Any similarity to the legal intellectual property of another artist is unintentional. The chordal performances include minimal instrumentation, differentiated from the original work, out of rhythm in situations where the chordal performance may be deemed to be the melody, and deliberately without a commercially appealing style. These works are not subject to intellectual property ownership, as explained throughout the video through the use of historical comparison to public domain music. This is a point that the original artists in some cases have established in their own personal and professional legal disputes. The material is presented for educational use and critique, and is protected under 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.
Critique of the similarities and differences between the intellectual properties of the original artists is not intended to disparage those individuals or suggest wrong doing. In specific examples, the discussion is meant to detail a means to correctly differentiate one musical property from another, using the chromatic tools.
Submitted with respect to the original works.
…and Rick Beato has a point.
(C)2024 Frets, Strings & Things Music and Arts
11 окт 2024
