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.
| Drums | |
| Percussion | |
| Strings | |
| Synthesizers | |
| Electric piano | |
| Electric guitar 1 | |
| Bass guitar | |
| Vocals |
| 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 |
Home
FR
EN
ES
CN
Shop 
