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Jean jacques Goldman

Puisque tu pars

Puisque tu pars


This new analysis looks at one of the many hits written by Jean Jacques Goldman, "Puisque tu pars", which was released in 1987, and occupied the first places of our many national hits
. This piece is made in the purest tradition of French song which retains the melodic and harmonic qualities and orchestral rhythmic simplicity; a simplicity that J.J. Goldman previously accustomed us to the very image of his previous songs such as: "Là bas" or "Laura" (for J.hallyday) etc ...
the composition, arrangements and lyrics of "Puisque tu pars" are from J.J. Goldman who shares the achievement of the title with Marc Lumbroso.
The musicians themselves, are handpicked. on the Synths, Roland Romanelli, who, as is known, remains one of the most awarded French musicians-composers-arrangers and more, in the fields of film music and the international songwriting; Michael Jones (Jean Jacques's Old sidekick ) on guitars, J.Hammer programming the Fairlight, Claude Deschamps on drums and A.Scott for the the sound.
The sound, the arrangements are made at Studio Gang in Paris, the RRR Vaucouleur in Montchauvet (Yvelines, and Plus30 and Digital services studios in Paris.
Finally, the 45 laps of the day was made by CBS France S.A. and distributed in 1988.


Introduction 2 bars
Verse 16 bars
Solo break1 4 bars
Chorus 16 bars
Instrum. break2 2 bars 1/2
Verse 8 bars
Guitar solo 4 bars
Chorus 8 bars
Chorus 16 bars
Ad libitum x bars


Theme 1 verse

The vocal themes of verses and choruses appear absolutely identical, repeated 2 times on 8 bars long and transposed into the chorus.
This unique theme is divided into two sentences of four bars each, the first being "open" (question) and the second "closed" (answer).
These phrases are organized into sequences as in the first and second bars for example.
The melody is joint and proceeds by successive intervals of second and exceptionally by intervalsof of fifth and minor sixth at the end of bar 6.
Note also the low vocal range (range between the lowest note and the highest note of the theme) that here is an octave (B3 to B4).


Theme 2 chorus

The second vocal theme of this title goes to the choir, located in the last part of the song, which will be superimposed on the previous theme, in the last chorus ad libitum.
The second theme covers 4 bars and is built on a cell of 4 notes repeated 4 times at different pitches.
Unlike the first theme, it uses disjoint wider intervals (fifth, fourth, third and second). It has also a minor ninth ambitus (E3 to F4).



Unlike the structure, the harmony of this tune is of interest in terms of chord progresion, the constitution of such chords and the sometimes surprising progresion of modulations.
Indeed, the primary key of the song seems to be D major in the first part, and after that, a transposition in the key of C major (2nd part and coda).
Here are the chord progressions of this arrangement:

Introduction A7 sus4 A7
Verse Dmaj Dmaj/C# Bmin Bmin/A Gmaj Gmaj/F# Emin Emin/D Amaj Amaj/G Dmaj/F# Gmaj Emin Emin/D Emin/A Amaj
Break 1 Dmaj Dmaj/C# Bmin Bmin/A Gmaj Gmaj/F# Emin Emin/D Gmaj/D
Chorus Cmaj Cmaj/B Amin Amin/G Fmaj Fmaj/E Dmin Dmin/C Gmaj Gmaj/F Cmaj/E Fmaj Dmin Dmin/C Dmin/G Gmaj
Break 2 Cmaj Cmaj/B Amin Fmaj 2/4 Fmaj Fmaj/G
Guitar solo Cmaj Cmaj/B Amin Amin/G Fmaj Fmaj/E Dmin Fmaj/G

The general harmonic frequency is the half note, that is, of two chords per bar.


On a rhythmic point of view, we can analyze a type of slow to medium tempo, located near around (quarter note = 63) in a 4/4 time signature, with the exception of the 3rd bar of the 2nd instrumental break in 2/4.
The beats remaining binary, are divisible by 2 or multiples of 2.
The general pulse of the piece lies in both the eighth note into the instrumental and vocal parts (except for the toms toms playing ternary sextuplets in the coda ad libitum.
the dynamics are very different between the verse (p) and a tighter more responsible chorus (ff).
In a general way, the rhythms are organized around the half note and quarter note.


Electric piano
Electric guitar 1
Bass guitar


Sound Panorama Effects
Lead voice centre Reverb + delay
Synthesizer Spatial Inside reverb.
Electric piano Right + Left Reverb + slight delay
Hi hat Centre None
Strings Spatial Large hall reverb.
Bass guitar Centre Flange
Solo guitar Right + Left Reverb + elay + saturation
Saturated guitar Centre Large hall reverb


Title Duration Tempo Style Measure Tonality Parts
Puisque tu pars 4'50'' 63 Song Ballad 4/4 Ré majeur / Ut majeur 15


Ad libitum Latin term for the musician, a certain freedom of movement or repetition of a musical phrase.
Cell Small fragment of a theme or a rhythm.
Counterpoint A music process consisting of superimposing different and independant melodic lines
Harmonic frequency Number of chords per bar
Harmonic sequence Transposition of the same musical passage to other pitches.
Harmonic syncopation Chord extended from a weak part to a strong part of a bar.
Modal Melodic or harmonic musical language based on the ancient greek modes, and used between the antic and baroque eras.
Modulation Passing from one key to another, and (or) from one mode to another in the course of a song.
Motion by step Melodic motion proceeding by successive neighbour notes.
Neighboring tone Tones with only a difference of one accidental.
Non harmonic note Melodic note which is not part of a chord.
Range Distance between the lowest and the highest notes of a melody
Structure Structure of a piece