In this analysis, let's pay tribute to Mickael Jackson who still remains one of the best musician, performer, dancer and actor of his generation. The tune « Black and white », big success of the 90's is published by Epic, distributed by Sony music and composed and produced by M. Jackson and Bill Bottrell, with an exceptional guest star, the guitar player Slash, appearing here with the courtesy of Geffen Records.
| Intro 1 | Free |
| Intro 2 | 8 bars |
| Verse 1 | 4 bars |
| Bridge | 2 bars |
| Break | 4 bars |
| Chorus | 2 bars |
| Break | 4 bars |
| Verse 2 | 4 bars |
| Bridge | 2 bars |
| Break | 2 bars |
| Chorus | 2 bars |
| Break | 8 bars |
| Theme 2 | 9 bars |
| Theme 3 | 8 bars |
| Bridge | 2 bars |
| Break | 2 bars |
| Chorus | 2 bars |
| Break | 2 bars |
| chorus | 2 bars |
| Break | 2 bars |
| Chorus | 2 bars |
| Break | 8 bars |
| Break | 11 bars 1/2 |
| Verse 1 : | The first theme is placed in the verses 1 and 2 over 4 bars and is divided into 2 similar phrases of 2 bars each. In the medium register of the voice, it shows an ambitus* of a minor 7th and is based on an E major arpeggio, in which the 5th (B) is both a starting and finishing point :
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| Bridge : | The 2nd theme is the bridge over 2 bars, having a shorter ambitus of a minor 6th (B to G#). Placed in the medium register of the voice, this motive is divided into 2 similar phrases of 1 bar each :
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| Chorus : | The 3rd theme of the chorus has 2 bars only and enlarges its starting interval to the perfect 5th. It finishes on the E note (tonic of the key) and has a more conclusive mood than the previous :
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| Break : | This last theme is different from the others and presents a small cell of 3 beats only, repeated 8 times. This motive is built on the E blues scale in the high register of the lead voice, with an ambitus of a minor 7th :
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The harmonic progression is mainly based on a guitar riff that includes 2 chords only, in the introduction 2 and the breaks :
| Verse | Amaj/E Emaj | Bmaj/E Emaj | Amaj/E Emaj | Amaj/E Emaj | ||||
| Bridge | A maj | A maj | ||||||
| Chorus | B maj | B maj | ||||||
| Break 1 | E7 (#9) | E7 (#9) | E7 (#9) | E7 (#9) | ||||
| Breaks | Amaj/E Emaj | Amaj/E Emaj |
The chord progression is simple and includes the tonic chord I ( E major ), the sub-dominant chord IV ( A maj ) and the dominant chord V ( B major ). We can also notice a tonic pedal note ( E ) in the introduction and the instrumental breaks, with a plagal cadence ( IV I ), preceding the return of the tonic chord. The composer also uses the E blues chord with an augmented 9th ( G ) in the theme 3. The chords are generally very simple : perfect triads in the bridge and choruses, reversed or not, and sometimes some 7th dominant chords with a blues 3rd ( themes 2 and 3. ).
On a rhythmic point of view, all 4 « blues » themes use rhythms placed on the beats, with a binairy beat based on the eighth note. In the verses, bridges and choruses, the themes start with an anacrusis* before beats 1 and 4. In the instrumental breaks, the pulse evoluates to the sixteenth note specially in the percussions. The 4/4 time signature and a tempo of a quarter note = 115 keep on a dance rhythm.
| Guitars | The electric guitar with a distorsed sound opens the piece with special effects, and finishes it on a tonic E note followed by a descending glissando :
The guitar plays a repeated gymick over the whole song, between the vocals and mainly in the verses and choruses :
This "riff" is 2 bar long and made of 2 note chords : E for the lowest and A & F# for the highest. These notes are the lower and upper neighbour tones of the 3rd (G#).
In the choruses, the process goes on on the roots of the chords :
In the break, the guitar plays a repeated motive of sixteenth notes in the low register :
Another guitar play a 1 bar "funky" accompaniment on the "rap" theme :
An acoustic folk guitar plays 2 rhythmic chords each 2 bars in the introduction 2, the verses and the breaks :
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| Drums | The snare drum introduces the introduction 2 with 3 syncopated sixteenth notes :
The drums enter in the introduction 2 on beats 2 & 4, reinforced by electronic claps :
The percussions include different bells that are combined together in order to give continuous sixteenth notes :
The hihat cymbals plays constant sixteenth notes too, with an open position on the first beats :
Small "techno" percussions are inserted on the 2 last beats of the choruses :
A muted triangle is merged to the syncopated rhythm of theme 3 :
A special noise is placed on beats 4 :
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| Bass guitar | In the verses, the bass guitar plays spaced punctuations with a round and deep sound.
In the bridges, the bass plays on the first beats only :
In the choruses, also on the first beats :
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| Synthesizers | Some synthesizers string chords give the 2 only chords of the chorus in the high register :
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| Sound | Panorama | Effects | |
|---|---|---|---|
| Distorsed electric guitar | Center | Distorsion + light flange | |
| Snare drum / intro 1 | Left | Long gate reverb | |
| Bass drum | Center | ||
| Snare drum | Center | Short gate reverb | |
| Bells | Center | Short gate reverb | |
| Tech percussions | Left + right | Delay in sixteenth notes | |
| Hihat cymbals | Center | ||
| Bass guitar | Center | Light flange | |
| Synthesizer bass | Center | Light flange | |
| Clap | Right + left | Long gate reverb | |
| 2nd electric guitar | Right | Chorus + early reflexions | |
| Acoustic guitar | Right + left | Hall reverb | |
| Sound effect | Center | ||
| Electronic clap | Left | Gate reverb | |
| Synthesizer strings | Right + left | Hall reverb | |
| Lead voice | Center | Short reverb + delay | |
| Vocals | Right + left | Short reverb |
| Title | Duration | Tempo | Style | Measure | Tonality | Parts |
|---|---|---|---|---|---|---|
| Black or white | 3'22'' | 115 | Rock Rap Funk Soul | 4/4 90小节 | E大调 | 17 |
| Anacrusis | A melody or a rhythm starting on the offbeat |
| Diatonic ornamental chords | A chord that do not belong to the harmonic progression, being placed 1 tone or a semi-tone above or below the real chord |
| Pedal note | Sustained or repeated single note |
| Perfect triad | Simple 3 note chord : Root / third / perfect 5th |
| Range | Distance between the lowest and the highest notes of a melody |
| Structure | Structure of a piece |
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