Utilisateur:Delhovlyn/Brouillons/The Beatles

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[modifier] Particularités musicales/Caractéristiques artistiques/Style musical et artistique/... (titre à méditer)

Quand on écoute l'oeuvre des Beatles, on constate une évolution frappante de leur style au fil du temps. (blabla)

  • Vérifier la pertinence des périodes (et mettre des dates)

[modifier] Période Please Please Me, With the Beatles, A Hard Day's Night, Beatles For Sale, Help!

  • Style : Blues, Country.
  • Instruments :
    • Harmonica
    • Guitare blues/country (électrique + acoustique → cordes métal) → jsais pas comment dire.. « aride » ? « sec » ?
    • Voix : choeurs
    • Batterie : balais ? (Enfin genre.) Et puis beaucoup de charleston/cymbales/ride bell.
  • Parler du « look » → « souriants, polis, bien habillés »
  • Niveau technique : voix plus ou moins lointaines, réverbération (voix et instruments)
Cette section est vide, pas assez détaillée ou incomplète. Votre aide est la bienvenue !

[modifier] Période Rubber Soul, Revolver, Sgt. Pepper's Lonely Hearts Club Band


Cette section est vide, pas assez détaillée ou incomplète. Votre aide est la bienvenue !

[modifier] Période The Beatles, Yellow Submarine, Abbey Road, Let it be

  • Plus « moderne » ? (c'est vague)
Cette section est vide, pas assez détaillée ou incomplète. Votre aide est la bienvenue !


[modifier] Ressources

[modifier] Depuis en: → Musical evolution

See also: en:The Beatles' influence on music recording

The Beatles' constant demands to create new sounds on every new recording, combined with George Martin's arranging abilities and the studio expertise of EMI staff engineers such as Norman Smith, Ken Townsend and Geoff Emerick, all played significant parts in the innovative sounds of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967).

The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries. Among those influences were Bob Dylan, who influenced songs such as "You've Got to Hide Your Love Away" and "Norwegian Wood (This Bird Has Flown)".[1] Other contemporary influences included the Byrds and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.[2] Beatles producer George Martin stated that "Without Pet Sounds, Sgt. Pepper wouldn't have happened... Pepper was an attempt to equal Pet Sounds."[3] After Sgt. Pepper was released, Beach Boys' leader Brian Wilson was so despondent that he went to bed for months.[4] Lennon also named Elvis Presley as a spark that interested himself in music:

“ It was Elvis who really got me buying records. I thought that early stuff of his was great. The Bill Haley era passed me by, in a way. When his records came on the wireless, my mother used to hear them, but they didn’t do anything for me. It was Elvis who got me hooked on beat music. When I heard 'Heartbreak Hotel', I thought ‘this is it’ and I started to grow sideboards and all that gear...."[5] ”

Along with studio tricks such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, The Beatles began to augment their recordings with instruments that were unconventional for rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar as in "Norwegian Wood (This Bird Has Flown)" and the swarmandel as in "Strawberry Fields Forever". They also used early electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the intro to "Strawberry Fields Forever", and the ondioline, an electronic keyboard that created the unusual oboe-like sound on "Baby You're a Rich Man".

Beginning with the use of a string quartet (arranged by George Martin with input from McCartney) on "Yesterday" in 1965, The Beatles pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). A televised performance of Bach's Brandenburg Concerto No. 2 directly inspired McCartney's use of a piccolo trumpet on the arrangement of "Penny Lane". The Beatles moved towards psychedelia with "Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967.

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