There Goes My Heart Complete Video and Analysis

[00:00:02]Hi. In this video, I'd like to explain a little of what I try to achieve in my arrangements. What's the inspiration behind the piece, the method, how certain effects and harmonies are realized.

[00:00:16]In short, I'd like to partially analyze it with you. As they say, it's all in the detail. And hopefully, like me, when you understand that detail by pulling it apart, it makes listening so much more rewarding and engaging when you know what you're listening out for.

[00:00:36]I guess my thoughts change and adapt as the arrangement progresses. I just wanted to lift the lid a little on what I do.

[00:00:45]Um, obviously I cannot go into um every single decision in detail, but I'd like to highlight a few and try and shed shed some light. So, let's dig in.

[00:00:57]This time, I've chosen a song from one of my favorite decades for melodic composition, the 1930s.

[00:01:05]The song, a favorite of mine, is a beautiful ballad written by Benny Davis and Abnner Silva back in 1934.

[00:01:14]It's called There Goes My Heart.

[00:01:19]When I start the arranging journey with a new piece, I generally have no idea where we're heading. Nearly always it ends up veering in completely unforeseen directions. But as I work through the piece, new ideas present themselves and they take me down new unimagined paths.

[00:01:38]I think that well for me harmony content is vital in my arrangements. Harmonies coupled with suitably appropriate registrations are one of the best tools to really touch the listener.

[00:01:52]I always think that a good arrangement should be like a good story. It should go somewhere. It should have highs and lows and really try to touch the listener in some sort of way. If it's a ballad, it should really tug at the heartstrings.

[00:02:09]In this arrangement, for clarity, I've split the piece up into sections like a story board. I'll try to explain a little of what I've arranged as I go through and then I'll present the whole complete arrangement, including my video work at the end. So stay tuned if you want to listen to the analysis or skip to the start of the complete video. I'll try and bookmark that start uh of the complete video arrangement at the top right hand side of the screen now if you want to skip straight ahead. Okay then section one the introduction.

[00:02:47]I believe good introductions should do exactly that and introduce the song.

[00:02:52]Therefore, including main themes or recurring ideas, in my mind are essential in a good intro. The main theme of this piece, if you're unfamiliar with it, is this.

[00:03:19]I've used the first four opening notes of the song as a recurring theme here.

[00:03:27]This theme also happens again at bar four here and also here.

[00:03:34]At the end of bar six, you think it will launch into the main piece, but there's a force repeat of the theme here and then some far out descending harmonies.

[00:03:47]Sorry, I can't resist them. And then at bar 10, there's that theme again here.

[00:03:55]This time it's repeated slightly different three times. Here, here, and here.

[00:04:04]By the way, I absolutely love the harmony at the start of bar 10. Here.

[00:04:10]Finally, the intro has done its job. The scene is set and we now know what song's coming up and we're ready to plunge in.

[00:04:20]And now the start of the main first section. And please note that due to the fact I've chopped this arrangement up for the production of this analytical video, the bar numbers appear to restart at every new page section. So when I say bar four or bar 7, it's referring to the bars on the current page you're seeing and not the bar numbers overall.

[00:04:43]Once again, this section starts with our main theme here, but this time it's shadowed by a sixth in the accompiment.

[00:04:53]Listen to those gorgeous strings swell in bar four here. And also, please notice the descending baseline here moving in cont.

[00:05:04]The beautiful arpeggiated chord at the start of bar 7 is highlighted by the use of a vibrophone. And once again in bars 10 and 11 here and here I've chosen a touch sensitive lead string on the lower to pick out the top notes of the accompaniment in bars 12, 13, and 14. So you have to really push hard and emphasize those top notes only on the accompaniment. In bars 16 and seven, notice the right hand whilst holding onto the C on the upper, it stretches down to replay a variant of that theme. Again, moving on, the third section, for contrast, has much more movement achieved by the use of sequence percussion and a four pedal to the bar pedal pattern. To keep things flowing, I wanted to create a soft brass ensemble with tight harmonies as in the first bar here.

[00:06:04]Notice the octave pedal gando in the first bar here. I love that effect. The soft brass ensemble is complemented by tuned percussion in the accompaniment. I wanted to keep things moving, so I decided to make the accompaniment as fluid as possible.

[00:06:23]Midbar 13, the rhythmic section comes to a close. And I especially like the discord between uh the fifth in the left hand and the raised fifth in the pedal on the first beat of the bar of 14 here.

[00:06:44]Next, the third section is where I wanted to build the arrangement. And as you see in bars 1 through four here, I'm working towards a dynamic key change.

[00:06:57]The first two chords start the change with some dramatic emotional chord swings that slowly but boldly lift you up from B flat major to C major here.

[00:07:10]Then at bar three, you arrive on the fifth of the new key, C major here.

[00:07:18]At the end of bar four, there's a dynamic entry into the new key. The main theme is heard on the upper and the gissando is heard on the lower. Using a great big sound ensemble, this section, although in a simpler key, sounds very dramatic. I've used big brass in the accompaniment to really pick out that counter melodic melody here. This emphasis on the moving accompaniment counter melodic line here continues and builds up even more to the end of this section.

[00:07:52]And finally, we come to the ending. The highs and lows of an expressive arrangement are essential.

[00:08:00]It's the tension and the emotion that pulls at your heartstrings.

[00:08:05]The musical feeling of having the rug pulled from under you or being perched on a high cliff edged suspended in the air in slow motion waiting for that drop.

[00:08:19]You can achieve these contrasting dramatic effects by really building something up as in the last sample page then reaching the climax at full volume and then have a long as rest or as pause as you can get away with. It's like leaving the listener floating or suspended.

[00:08:40]A neat technique is to follow with a completely opposite simple sound. The effect is so sweet and because there's so little going on, your ears hear every detail. It's because you're expecting more of the big stuff from the previous section. Your ears are still set at maximum volume input and expect more of the same. And when that doesn't happen, it makes the listener concentrate, focus, and listen carefully. That's when you really appreciate the subtleties, the harmonies, and the true dance between melody and harmony.

[00:09:16]I always think it's a good idea to go out a similar way you came in. For me, it seems neat. So, in bar one on this page, after all the big stuff on the previous section, we come in with our solo trombone again as we started here.

[00:09:36]The entire arrangement comes to a close at bars three and four with a soft held corden bass whilst the right hand repeats that theme again three times three different octaves here here and here.

[00:09:55]One final thing. On the last note of each repeated scene, here, here, and here, I've assigned a tune chime on each note.

[00:10:09]Well, that was epic. I hope you enjoyed this little glimpse into one of my arrangements. If you did, please leave a comment and maybe I'll do more. Well, maybe.

[00:10:22]Until the next one. Bye for now.

[00:10:45]Heat. Heat.

[00:11:10]Heat. Heat.

[00:11:53]Heat. Heat.

[00:11:57]Heat.

[00:12:13]Heat.

[00:12:46]Oh.

[00:13:00]Oh, you Oh, heat.

[00:13:41]Heat.

[00:13:56]Heat.

[00:14:04]Heat.

[00:14:24]Heat.

[00:14:44]Heat. Heat.