Note how Ligeti starts from a very low register, at a very quiet dynamic (pianissimo) and with staccato articulation (0:24). The pedal in the left hand forms gradually from a fragmented rhythm until it unfolds in a continuous stream of staccato eighth notes (0:42). Superimposed on this low A pedal is a rhythmic motif in the right hand (0:46). Ligeti shows here great mastery in rhythmic variation. This rhythmic fragment is created by accumulation and extension of a first cell which is elongated and then further fragmented in this fashion.
His yodeling obsession was accompanied by a love of obscure stringed instruments like the zither and hammered dulcimer, both of which he taught himself as a child. In his teens, Ischi taught himself to yodel by listening to Franzl Lang records and imitating what he heard. In case you aren’t familiar, Lang is one of yodeling’s most revered figures and is widely known as the “Yodel King.”
One chart taught me love / one chart taught me patience / one chart taught me pain / this is amazing / thank u, next / I’m so freaking grateful for these pop-song specs.
One final note is looking at contrasting the delivery of words per second for an audience. High-speed, high-energy lyrics need careful delivery to hit the spot for a first time listener and one of the ways songwriters can meet the hunger for surprise, sass, and audibility is highlighted in this song by Lizzo, called “Jerome.”
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Another common issue is sibilance — or excessive “s,” “t,” and “z” sounds — often exacerbated by cheap condenser microphones. Sometimes this issue can be solved using an equalizer to remove the offensive frequencies in the 5-10 kHz range, but this approach often leaves the vocal sounding dull and flat. A much more effective solution is to use a de-esser to attenuate the specific frequencies causing the sibilance. This way, the frequency is only attenuated when it becomes excessive, leaving the vocal sounding bright and clear the rest of the time.