KEITH URBAN: AUSTRALIA'S GIFT TO

AMERICABy: Heather Cabrey

Music 1010

History

• Keith was born on October 26, 1967 in Whangerei, New Zealand.

• Won his first Academy of Country Music nomination and Grammy

• 2001, made first public appearance for But for the Grace of God.

The Early YearsUrban listened to records and picked things up by ear

He also taught himself to learn songs that he heard on the radio

Age fourteen he put together his first band

An Amazing Singer andSongwriter

Keith wrote nine out of the twelve songs from his self-titled album in 1997.

His writing sessions almost “talked to him”, and brought out the melody

Albums

• Keith Urban- 1999• The Ranch- 2002• Golden Road- 2004• Be Here- 2004• Love, Pain & the

whole crazy thing -2006

• Defying Gravity -2009

• Get Closer- 2010

Darker Days…

• Keith had been checked into rehab for drug addiction.

• Nicole supported him through the entire process

• She’s the center for several of his love songs he writes today.

Sunday Rose was born on July7, 2008

Music Composition Histories

• Sweet Thing- March 2009

• Thank You- March 2009

• Shut out the Lights- November 2010

http://www.youtube.com/watch?v=UxwLQmPHkT8&feature=player_detailpage

“Sweet Thing”

• Released March 31, 2009

• An anniversary gift from Nicole became his inspiration for the song

• Moderate Country/Pop genre

“Sweet Thing” Listening Guide 

“Sweet Thing”Written by Keith Urban and Rick KnowlesPerformed by Keith Urban 00:00 Intro

The song opens with Keith establishing the tempo by counting out loud. This is the “pickup” beat for the song. The pickup is established as soon as it starts, but has no prior strong beat to it. The genre is moderate country/pop, which becomes familiar to the listener quickly after hearing the acoustic guitar play a quadruple compound meter, with a heavy beat that moves right into quadruple simple. The intro is played for 6 measures.

  0: 17 Verse 1The first verse of this popular song starts, and gives the listener an idea of what the song will be about. This first verse gives you a “serious” feeling that starts in B3 vocal range, ascends up, then abruptly back down, and follows this pattern throughout both the first and second verse.The entire song is played with only one acoustic guitar, with no electric amplification present throughout the entire piece. After the 6th line the guitar is strummed heavily 4-6 times.

“Sweet Thing Listening Guide (cont.)

0:34 ChorusThe singer hits the A5 vocal range with “sweet” and continues it through most of the chorus, emphasizing on the end words of each line like, “me”, and “thing”.

 0:52 Chorus add on 1

There is a short piece of syncopation, or “off-beat” present when he says “the world is”, but the acoustic guitar is able to hold steady to the main rhythm, despite the off beat.

 1:02 End of chorus

The word “thing” is emphasized and carries a steady note with an entire 4 beats, followed by a short musical motif of “ya ya ya”, still in quadruple simple and lasts for 16 beats, 4 measures.

“Sweet Thing” Listening Guide (cont.)

1:18 Verse 2The second verse sounds the same as the first. At the end of line 6 there is a pause for a short 2 beats at “long”.

 1:22 Verse 2 add on1

The “o” sound on Romeo is emphasized, and the last line ascends with the word “crime” at one octave higher, and 4 whole beats/a one measure pause. This effect leads the listener into the chorus once again.

  1:29 Chorus

Syncopation is present again with “while the world”, creating the off-beat.

2:00 Musical motifThere is a musical motif of 15 seconds of 6 measures, still in quadruple simple meter, but contain an overtone chord from the guitar. The listener can count to themselves to keep the rhythm, but it is not needed because the continued beat is easy to remember.

 

“Sweet Thing” Listening Guide (cont.)

2:26 Chorus add on 1Tempo speeds up briefly when he says “tell me I’m not dreamin”, then quickly returns back to quadruple simple meter. Another add on comes back again at the word “while”, pauses for 2 beats, then resumes to the previous beat.

 2:44 Vocal motif

The rhythm continues while quick high-pitched sounds like “whooh!”, and “uh”, “yah, yah, yah” are interjected throughout the motif for 15 seconds, for a total of 7 measures.

 3:00 Vocal motif

Another vocal motif is interjected with “do, do” for another 8 measures, and ends with “oh” fading out. A fade out is when the harmony slowly fades away by getting quieter.

“Thank You”

came from some of his

darkest moments…

http://www.youtube.com/watch?v=mVE5ayhEIEk

“Thank You” Listening Guide

“Thank You”Written by Keith Urban and Rick KnowlesPerformed by Keith Urban 00:00 Intro

The song opens with a solo electric guitar playing in the background lightly with what’s called a “pickup”, or “upbeat”. A “pickup is music that’s played prior to the strong beat of a measure; with no strong beat prior to the pickup.

 0:10 Second piece of the introThe piano strikes a sharp D note, playing in mezzo-forte, or medium to strong sound. An electric keyboard plays what sounds like a snare drum and keeps the rhythm throughout the rest of the song. The meter is quickly identified as quadruple simple, and plays for a total of 32 beats. The notes ascend every other half-note, followed by a short pause, and plays for 8 measures. The piano plays a short motif, but very effective and sets the mood of the song.

 

“Thank You” Listening Guide (cont.)

0: 33 Verse 1The first verse of this popular song starts, and tells a story about his past. A popular song often has music that is used 2 or 3 different times to tell the story. There is a definite feeling of sadness to the melody, which you quickly gather by the words. The shape of the melody is a wide arch, which slowly ascends up, and then back down.

 0:53

Solo guitar with a mezzo pitched whaling starts, supported by 4 seconds of a homophonic melody of background singers humming softly. The piano starts again with the same sharp note as in the intro and plays for 4 measures. The meter is still quadruple simple.

 1:04 Verse 2

The second verse sounds almost exactly the same as the first, with the arch melody. Keith is the only vocalist, but follows well with the piano melody.

“Thank You” Listening Guide (cont.)

1:15 Verse 2 add on 1For just a few seconds the electric guitar plays a simple note in C, which tells you to “keep listening to the song, because the story gets better”.

 1:25 Verse 3

The singer is in a minor note now and the same melody is the same as each of the verses, but the feeling is happier. There is a short cadence, or musical phrase giving you the feeling that there’s something to come. The idea presents itself in a lighter mood, but pauses so you can get ready for the next idea to start. He uses syncopation in the last line to emphasize the off-beat when he says, “yes I do”.

 1:47 Chorus

The chorus is still in quadruple simple meter. In contrast to the beginning of the song, the singer is in a much happier light. The ending words of each line like “heart” and “life” are emphasized with a higher pitch, and let you know that they are very important to him. The way the words are emphasized creates an emotion inside of wanting to reflect on your own past.

“Thank You” Listening Guide (cont.)

2:07 Chorus/add on 1The words are repeated, “thank you, I thank you”, then quickly followed by the electric guitar again, whaling a higher pitched echo for one whole measure.

 2:19 Verse 5

The mood becomes somewhat dark again, and coincides with the lyrics, and sharper overtones. It makes you wonder if the song is starting over again, but as the guitar pickup begins, you know it isn’t.

 2:40 Verse 6

The melody ascends again with a lighter tone, and higher vocal pitch. Words like, “started”, and “you” are emphasized once again, but are accompanied by a high pitched chord from the electric guitar for an entire measure. The off-beat is once again emphasized also, leading you into the chorus.

“Thank You” Listening Guide (cont.)

3:02 ChorusThe electric guitar plays a short motif. It creates an image of a light bulb flickering; almost ready to die out. The word “thank” is emphasized again, reminding you of the grateful feeling the singer has.

 3:36 Bridge

The melody is brighter again, and followed by a strong emphasis placed on “your”. A short pause follows for one full measure. The “thank you” again is repeated twice, and supported by the electric guitar.

 3:46 Chorus

The snare drum stops completely. No guitar is played either. Only the piano play slows its tempo, the drum beat is again introduced, and the piano picks up the original beat, along with the electric guitar playing a high-pitched flickering sound.

“Thank You” Listening Guide (cont.)

4:05 Chorus/add on 2Syncopation comes in once again, changing the words to the last line of the chorus a little with an off-beat. The meter is quickly identified again as quadruple simple, and easily followed along.

 4:33 Chorus/add on 3

Electric guitar plays in background, supporting the vocals. There is a short pause, and then background singers join in for a short measure.

 4:52 Fade out

Electric guitar fades out, singer hums, and the electric keyboard holds a note for a single measure.

  

“Shut out the Lights”

http://www.youtube.com/watch?v=797CDt_hDxY

“Shut out the Lights” Listening Guide

“Shut out the Lights”Written by Keith Urban and Rick KnowlesPerformed by Keith Urban 00:00 Intro

The song opens with a single acoustic guitar establishing the tempo. The guitar plays a “mezzo- forte” rhythm, or medium/strong. This is called the “pickup” beat for the song. The pickup is established as soon as it starts, but has no prior strong beat to it. The meter is easily established as quadruple simple, with the genre being moderate/country pop. The intro is played for 8 measures, with the keyboard vibrating 3 descending notes at 0:05.

0: 15 Verse 1 The verse sets up the contour of the song with an ascending harmony, but at the 1st, 2nd and 3rd lines is an abrupt drop back to the beginning note. At the end of the last line, there is a short pause, which lets you know that there is more that follows to the story.

 0:30 Verse 2The second verse has the same contour as the first, and continues the same meter.

“Shut out the Lights” Listening Guide (Cont.)

0:44 ChorusThe drums are introduced with a strong beat and the tempo

changes quickly from quadruple simple, to quadruple compound. Four measures are played, while the drum supports the beat, especially at the end of each line, interjecting one beat. The vocal pitch is much higher also.

 0:59 Chorus add on 1The vocal tone returns to the harmony that’s established at the

beginning of the song, and the meter quickly returns to quadruple simple.

 

“Shut out the Lights” Listening Guide (Continued)

1:15 Musical motifA “yah” is interjected, followed by the guitar playing a solo of 4 measures, 16 beats. The drums accompany the guitar.

 1:23 Verse 3

The verse is much like the other 2, but is followed by a long pause and increased emphasized pitch at “down”. It gives the listener the feeling of “what’s coming next?” The guitar strums through the entire 6 strings from the lowest to highest notes, creating a natural overtone.

 2:00 Chorus

“Shut out the lights, wait ‘til the mornin’,” is repeated again, followed by a short pause.

 2:08 Bridge

The meter changes quickly to quadruple compound for 14 measures, carries an ascending harmony. The feeling of anxiety is created, which leads you into another musical motif.

“Shut out the Lights” Listening Guide (Continued)

2:19 Musical motifThe electric guitar plays a solo with an almost “whaling” high pitch that

ascends, then falls, ascends again, then falls again. This continues for 8 measures and then abruptly stops, while the electric guitar’s overtone carries the listener into the chorus again.

 2:35 ChorusThe meter returns once again to quadruple simple. At the beginning of the

chorus this time only the vocals and strum of the guitar through the entire 6 strings is heard for 2 measures. The electric guitar carries the “whaling” overtone.

 2:43 Chorus add on 2The acoustic guitar strums to 16th beats while the electric guitar supports

the melody, and the drums keep the quadruple simple meter.

“Shut out the Lights” Listening Guide (Continued)

2:59 Chorus Vocal is one octave higher at “shut”, followed by a one measure

pause after “morning”. The drums and guitars support in background.

3:27 Musical motifElectric guitar solo plays again, but on a higher note to start. Short

word interjections are said throughout the 8 measures. An electric keyboard plays between the measures, causing the electric guitar to pause, hits a series of 3 notes that descend, and carries the overtone until the guitar is introduced again.

 3:45 Musical motifElectric guitar solo plays for 10 measures, while small words and

hums are interjected. The keyboard plays the 3 descending notes.

 4:06 Fade outThe words “need you” are repeated then followed by a fade out

from the electric guitar. The overtone slowly gets quieter and you know the song is over.

Bibliography  

Childs, Z. (2010, August 26). Keith Urban,Down-Under, Uber-Picker. “Retrieved http://www.vintageguitar.com/features/artists/details”, from February 12, 2011.

 Honick, M. (2001, May 1). The urbanization of america. “Retrieved

www.americansongwriter.com/keith-urban-the-urbanization-of-america”, from, January 10, 2011.

 Maher.C. (2010, November 15). Keith urban’s ‘track-by-track’ commentary. “Retrieved

http://www.theboot.com/2010/11/15/keith-urban-get-closer-songs/” from, January 18, 2011. Nudd, T. and Clever, H. (2007, January 22). Keith urban: life was unmanageable before rehab.

“Retrieved www.people.com/people/archive/article/0,,20009269,00.html”, from, January 23, 2011.

 Roland, T. (2010, November 5). Keith urban: the billboard cover story. “Retrieved

http://www.billboard.com/news/keith-urban-the-billboard-cover-story-1004125608.story#/news/keith-urban-the-billboard-cover-story-1004125608.story” from, January 18, 2011.