with Katie Noonan live, online and interactive at the Australian Centre for the Moving Image Federation Square, Melbourne 16th November, 2012 STUDENT RESOURCE NOTES MUSICA
A VIVA ACK
KNOWLEDG
GES THE FO
OLLOWING
G ORGANISSATIONS FOR THEIR
R ONGOING
G SUPPORT
T
NATIO
ONAL SUPPO
ORTERS MUSICA V
VIVA HAS BEE
EN ASSISTED BY THE AUSTRALIAN GO
OVERNMENT THROUGH THE
E AUSTRALIA
A COUNCIL, IT
TS ARTS FUN
NDING AND A
ADVISORY BO
ODY. MUSICA VIVA IS ASSI STED BY THE
E NSW GOVERNMENT OUGH ARTS NSW. THRO
STA
ATE SUPPORT
TERS SPE
ECIAL PROJECTS 2
WELCOM
W
ME to A
ANATO
OMY off MUSI C, where w
w
we pull the mu
usic apaart so t
that you can p
put it to
ogether. The Vision A fu
uture for A
Australia s
shaped byy the creattivity and imagination of its p
people, in
n which mu
usic plays an esseential insp
pirational r
role. The Missio
on To inspire Au
ustralians through t
the uniquee intimacyy of small musical e
ensembless. Music is o
M
our passion. Ourr goal is t
to bring it to as many peeople ass possible. Live in Melbourne , onl ine to the regions a
and intera ctive @ ACMI, Federatio
on Square
e, Melbourrne | Ballarat High School | B
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nergyanatoomy 3
KATIE NOONAN Katie Noonan’s technical mastery and pure voice make her one of Australia’s most versatile and beloved vocalists. A mother, singer, producer, songwriter, pianist and business woman, this 4 x ARIA Award winning and 6 x platinum selling songstress first received widespread praise as the angel‐voiced songstress of indie‐pop band George and has since taken audiences on sublime excursions through Jazz, Pop and Classical music. Her various releases include her folk trio’s self titled album ‘Elixir’, the No. 1 selling classical album ‘Two of a Kind’ with her mother Maggie, her gold‐selling top ten solo album ‘Skin’ and the acclaimed ‘Songs of the Southern Skies.’ She has also worked with the country’s top orchestra’s including her fruitful collaboration with Richard Tognetti and the Australian Chamber Orchestra. Katie’s affinity with Jazz shone through on the ARIA award winning album, ‘Before Time Could Change Us’. Recorded with revered pianist Paul Grabowsky, it captured the breathtaking beauty and emotion that characterises her work. In Noonan’s 2009 ARIA winning release ‘Blackbird’, she collaborated with an historic ensemble of iconic jazz players including Joe Lovano, Ron Carter, Lewis Nash and John Scofield. With her band The Captains (Cameron Deyell, Stu Hunter and Declan Kelly) Katie’s 2010 release ‘Emperor’s Box’ saw the songstress sail towards a lush and organic band sound, with her trademark strong and inspired personal stories. For this album, Katie co wrote with a host of Anzac luminaries including Tim Finn, Don Walker, Sia Furler, Josh Pyke, Tom Shapcott and her fellow ‘Captains’ band mates. Co ‐produced by Katie and Grammy award winning producer Nick Didia this album was widely acclaimed. In 2011, Katie’s sublime Folk/Jazz trio of 14 years Elixir released their long awaited 2nd album ‘First Seed Ripening‘. Reflective, brooding and ravishingly beautiful, Elixir features Katie’s saxophonist husband Zac Hurren (winner of the National Jazz Award 2009) and Steven Magnusson, regarded by many as Australia’s finest jazz guitarist (Paul Grabowsky, Paul Kelly, Vince Jones). ‘First Seed Ripening’ is largely inspired by the words of legendary Australian poet Thomas Shapcott. The album spent over 13 weeks at Number 1 on the Australian Jazz Charts and won the ARIA award for best Jazz Album 2011. Always extending herself creatively, Katie continued to explore new ground in 2012 by devising and composing a song cycle, which was the basis for collaboration with contemporary Circus group Circa. Together they melded this cycle into a remarkable physical theatre piece called Love‐Song‐Circus, which premiered to rave reviews at the 2012 Adelaide Cabaret Festival. Katie’s latest project is in duo with classical guitarist Karin Schaupp. ‘Songs of the Southern Skies’, features an abundance of heart breakingly beautiful re‐creations of iconic Australian and New Zealand’s compositions – both classical and contemporary. With special appearances from Iva Davies, Gurrumul, Maori diva Whirimako Black, Sydney Symphony oboist Diana Doherty, young members of Brisbane’s Voices of Birralee, Clare Bowditch and The Living End’s Chris Cheney, this album leads us down an incredible path of emotion that only the intimate combination of Noonan’s angelic and versatile voice and Schaupp’s lyrical and fiery guitar can render. Always looking forward to new creative opportunities, Katie Noonan’s tireless unpredictability is matched only by her limitless versatility. www.katienoonan.com www.facebook.com/katienoonan 4
www.myspace.com/katienoonan
_________________________________________________________________________
1. KATIE NOONAN SINGS
Bluebird
This rhapsody of tension has lifted from my chest
As my flying cannot destroy the nest
It is merely a new chapter of this dream
Shining Brightly does not quell the flame
It merely adds to the symphony of colour
That is this tapestry we weave
And I don't believe it sings any louder or soars any higher
But it will not fly at all if not given freedom to be
Bluebird fly, bluebird fly,
Bluebird fly, bluebird fly
At each turn there's more to ignore, more to pretend isn't there
More of the cons on the lists I fear they make
My wings slowly curl out of this cracked shell, ‘cause I need to be taught
I need you to hold my hand, baby steps on this new flight
And I don't believe it sings any louder or soars any higher
But it will not fly at all if not given freedom to be
Bluebird fly, bluebird fly,
Bluebird fly, bluebird fly
I hope you don't want to pretend it's all the way it was
Cause I cried more than you think of
But now I'm trying to let go of our past
The nest we've made is stronger then you think
And though we all fly we still come home
Guilt is a dark room I cannot live there
And I don't believe it sings any louder or soars any higher
But it will not fly at all if not given freedom to be
Bluebird fly, bluebird fly,
Bluebird fly, bluebird fly
5
Reflections on Bluebird,
from the debut solo album Skin, released 2007
Festival Mushroom Records, Warner Bros. Records
Comment on how the lyrics are reflected in the song:
Shape and pitch of the melodic line
Duration and rhythm of particular words
Phrasing and breath
Structure
What does Katie say about this song?
6
_______________________________________________________________________
2. THE STARTER CULTURE
A pathway to songwriting: personal reflections
Katie Noonan’s early musical life – her experiences, memories and influences.
Katie Noonan’s starter culture
My starter culture
A song which was inspirational to Katie - Don’t dream it’s over by Neil Finn
What can I add to boost my songwriting STARTER CULTURE?
7
_______________________________________________________________________
3. SONG MODELS – KATIE’S EXAMPLE
Katie took an existing song and made it her own.
We can use models to learn about and to practice songwriting. Here is one of Katie Noonan’s
re-created songs.
Goodbye Yellow Brick Road
"I've known that song since I was little. My mum used to play it to her music students when she was
teaching and Ty and I used to play it on the piano. And I think Elton John and Bernie Taupin are an
incredible songwriting team - they're at the pinnacle of pop music writing.
And for Elixir, who are not so pop, who are very acoustic and jazzy, to do it was quite a challenge.
We took that out of 4/4 time and put it into 5/4. If you don't put your own personality into someone
else's song then what's the point of doing it? And with Goodbye Yellow Brick Road, the original is
just so great …" 1
1. Describe how Katie approached ‘making this song her own’.
2. What musical changes did she make and why?
3. Compare and contrast the original with Katie’s version from her band Elixir.
1
8
Drinking it slowly: Our Brisbane online music guide review 7/5/03
Goodbye
e Yellow Brrick Road
Mu
usic: Elton Jo
ohn, Lyrics: Bernie Tau
upin
When
W
are y
you gonna come
c
down
When arre you going to land
I should ha
ave stayed on the farm
m
I should have
e listened to
o my old man
m
Yo
ou know yo
ou can't hold me forev
ver
I didn' t sign up with
w you
I'm not
n a prese
ent for your friends to open
o
This boy's too yo
oung to be singing the
e blues
Chorus
So goodb
bye yellow brick
b
road
Where the
e dogs of so
ociety howll
You can't pla
ant me in yo
our penthou
use
I'm going
g back to my
m plough
Back
k to the how
wling old owl in the woods
Hunting tthe horny back
b
toad
Oh
h I've finally
y decided my future liies
Beyond th
he yellow brick
b
road
What do yo
ou think yo
ou'll do then
n
I bet that'll sshoot down
n your plane
It'll ta
ake you a c
couple of vo
odka and tonics
t
To set you
u on your fe
eet again
Maybe you
u'll get a re
eplacement
There's
T
plen
nty like me to be found
Mongrels w
who ain't got a penny
y
Snifffing for tidb
bits like you
u on the gro
ound
[re
epeat chorus]
© 19
973 Dick Jam
mes Music Limited.
L
Ava
ailable on th
he album Goodbye
G
Ye
ellow Brick Road
9
VERSION 1 – ORIGINAL
Goodbye Yellow Brick Road
Elton John and Bernie Taupin
3’ 07”
Introduction
Four bars of piano solo, chords: 4/4 F C | Dm C | Bb C | F ____
Establishes F major key and straight forward four in the bar feel.
Verse 1
0:07
4/4
Gm
C
F
Bb
Gm
C
F
F
Standard 8 bar phrases
Gm
C
F
Bb
Eb
C
F
F
Laid back chord changes
Solo voice with accompaniment of piano and sustained string synth.
Bass guitar plays a simple bass line emphasising the root of each chord, and
therefore reinforcing the chord progression
Bridge 1
0:39
Db
Eb
Ab
Db
Db
C7
Produced voice sings sustained syllables, joining the instrumental texture.
Drums introduced. Straight beat.
Chorus 1
0:51
4/4
F
A7
Bb
F
D7
Gm
C
F
Dm
A
Bb
Db
Db Eb
F C/E
Dm C
Bb C
Piano part becomes more active, song gathers pace and energy
Bridge 2
1:22
Verse 2
1:38
Bridge 3
2:10
Chorus 2
2:22
Bridge 4
2:54 – 3:13
Db
Eb
Ab
Db
Db
C
F
Louder dynamics than first bridge, as song maintains the build up of the previous
Chorus
Return to softer dynamics. Return to restrained accompaniment with some new
synth sounds for variety
Simple drum fill once again defines structure, anticipating the progression to the
next section – in this case the Bridge.
Similar to the first bridge, but slightly louder.
Chorus with increased dynamics and energy in the accompaniment, compared to
Chorus 1
Final Bridge acts as a Coda, with a sustained synth chord to finish the song.
Additional points:
 4/4 time, which is more characteristic of a rock/popular song than the 5/4 of Elixir.
 Band opens with the chord progression played once through with changes on every second
beat of the bar.
 Melody is sung in short 2 bar phrases, with some syncopation at the end of phrases
e.g. 'my old man'. (CD Track 8 cue 0:20).
 Voice is overdubbed throughout the whole recording and effects added to create a fuller sound.
 Elton John sings the bridge section in falsetto
 Accompanied by backing vocal harmony and drum kit. (CD cue 0:39)
 He continues to use even 2 bar phrase lengths throughout, without melodic variation.
 Chorus: he stays in his lower register on the word 'toad' (Katie Noonan leaps up the octave).
 Second verse: the phrase 'set you on your feet again' is emphasized by a backing vocal
harmony above the main melody.
10
VERSION 2

Verse 1
Goodbye Yellow Brick Road
Elixir - arranged by Katie Noonan
4’ 19”
Katie Noonan is accompanied by the nylon string acoustic guitar playing an
ascending melodic figure in 5/4 in the following rhythm:
Vocal quality: slightly husky and breathy at first.
Phrasing is legato and sustained, often stretching across the bar line e.g. in the
following two lines Elton John takes a breath after 'farm' at the end of the line:
(CD cue 0:09) 'I should have stayed on the farm___ I should have (breath)
listened to my old man.' Katie Noonan sings through the phrase and breathes
after the word 'have'.
This places more emphasis on the phrase 'listened to my old man' enhancing the
meaning of the text. She uses the same technique in the following two lines: (CD
cue 0:23) 'I didn't sign up with you___I'm not a (breath) present for your (breath)
friends to open'. The breathing here adds a sense of distress to the line, again
giving the text more meaning.
Bridge
0:36
Chorus
0:50
Bridge
1:26
Verse 2
1:43
Guitar pattern changes to strummed chords in the bridge, emphasizing the beat
more strongly, and also plays some of the vocal figures.
Vocal line is sung in head voice with a light operatic tone quality and without
vibrato. Tenor saxophone provides a soft discreet harmony underneath the
voice.
The classical guitar strumming on each beat in the chorus provides rhythmic
support. A second guitar improvises around the rhythmic figure used at the
beginning. Katie's vocal technique allows her to move freely between octaves
without any discernable break
e.g.: the leap between 'back' and 'toad' on the phrase 'horny back toad' (CD
cue 1:15).
There is a slight portamento on the words 'dogs' and 'howl' creating an effect of
word painting (CD cue 0:55).
The last word of the chorus - 'road' - is treated in the same way as the bridge,
with long sustained vocal notes without vibrato, supported by the low
saxophone harmony and this time with the addition of vocal harmony above
the solo voice.
Sustained vocal harmony is accompanied by the two guitars maintaining
accompaniment and counter melodic roles.
Katie’s freely expressive and flowing vocal melody contrasts with the strictly
rhythmic guitar accompaniment. The second verse develops the use of
individual phrasing, with a strong sense of personal interpretation. Katie uses
melisma, vibrato and weaving around the registers with vocal ease. The use of
flattened notes in the melody reflects a jazz influence. For example, on the word
'lies' in the line 'I finally decided my future lies'. The guitar accompaniment
continues the rhythmic ‘4 in the bar’ chords from the chorus, and the second
acoustic guitar continues the melodic improvisation around the opening
rhythmic figure.
11
Bridge
2:21
Instrumental
2:37
Bridge
Sustained vocal harmony is accompanied by the saxophone and two guitars
maintaining accompaniment and counter melodic roles.
Improvised electric guitar solo, over the continuing chord accompaniment of
the acoustic guitar.
Descant-like vocal melody over the continuing guitar solo.
3:11
Chorus
3:24
Bridge
Voice accompanied by the two guitars, with the four beats per bar strum
contrasted with the swung improvisation around the vocal melody.
Vocal harmonies with guitar accompaniment and jazz harmony.
4:01
Katie Noonan delivers a completely individual interpretation of this Elton John song.









Changes
Unique phrasing
melismatic lines
wide vocal range
contrast in vocal quality
effective instrumental arrangement
portamento
changed the time signature
slowed down the tempo
varied the structure
Concepts of Music
dynamics and expressive devices
pitch – contour. Also expressive device
pitch - range
timbre / tone colour
timbre / tone colour; texture
duration - tempo
duration - metre
duration - tempo
structure
Katie Noonan has created a powerful new setting while still retaining the basic harmonic structure and
the integrity of Elton John's composition.
Can you add to this list?
12
___
_______________________
_______________
________
_______________
__________
4. SONG M
MODELS
S – YOU
UR TURN
N
Somebody
y That I Use
ed To Know
Gotye
Now and then I thiink of when
n we were together
t
Like when
n you said yyou felt so happy
h
you could die
Told myself th
hat you werre right for me
But
B felt so lo
onely in you
ur company
But that was
w love a nd it's an ache
a
I still re
emember
Wha
at can I HEA
AR in this so
ong? What do I THINK?
? What is my
m RESPONS
SE?

Introduction:
What iss the metre?
How many layers are there?
be the tone
e colours.
Describ
uction structured?
How is tthe introdu

y
Melody
Do you
u think the melody
m
reflects the texxt? Why do
o you think this?
Describ
be the rang
ge and regiister?
Describ
be the word
d rhythms? Is the word
d setting syllabic or me
elismatic?

Accom
mpaniment
Compa
are the acc
companime
ent to the iintroduction. In what ways
w
does the accom
mpanimentt
reflect the text an
nd provide a sense of unity?
13
WORKSHOP ACTIVITY
Ask yourself, “I WONDER what can be done to re-imagine this song, and create a new
version? Taking cues from the process Katie used to transform “Goodbye Yellow Brick
Road”, form a collaborative group and play around with the song. Be ready to perform
your new version at morning tea and be in the running for selection by your teachers to
perform to your peers around NSW, Live and Online, at the end of morning tea. Enjoy!
Capture your ideas on the table below, and on your hand held device or laptop if you
wish. List the names of the people in your group:
Changes / Why / Musical result
Concepts of music and
compositional devices
Structure plan of the new piece
TAKE A BREAK (AND CREATE!)

Collaboration and Morning Tea Time
Keep the Tweets happening!
14
_______________________________________________________________
5. WELCOME BACK!
6. SHARING SOME MUSIC - Live, online and interactive across NSW.
Let’s hear some performances of our Morning Tea creations.
Write your responses and reflections on these pieces here:
7. QUESTIONS & ANSWERS
Katie Noonan responds to your questions and comments on Twitter #katieanatomy.
Note interesting stuff from the Q&A in this space:
15
_________________________________________________________________
8. COMPOSING and COLLABORATING
Katie Noonan responds to your questions and comments delivered live and online by Twitter. Will
reveal the genesis and anatomy of not one, not two, but three versions of a song.
This song started as a poem written for Stu and Ashlie Hunter's wedding day and evolved into this
song (Page One) as a co-write with Cameron Deyell and Don Walker and then into the
arrangement with the band (with Stu Hunter and Declan Kelly) Katie Noonan
Katie Noonan And The Captains
Page One
Here I stand before you my heart raw like a steak in plastic
here I kneel before you my hands open to receive you
plump like a peach your love ripens me my skin wants to glisten
between your eyes and mine lies a well of beginnings a blaze of intention
my eyes unzip you as you fall to the floor
I offer all I can here beside you
As the moon falls on the bed and I hear you whisper my name
Here we lie receiving the turn the turn of page one
Page one
To savour slowly over time you are a feast for me alone
You are the sun to my compass I gaze beside you and I know
This revolution is ours to start as were engorged with freedom
Your eyes unzip me as we peak at the light through the cracks
You sing me through the night sing my through the night 'til dawn
As the moon falls on the bed and I hear you whisper my name
Here we lie receiving the turn the turn of page one
Page one
I breathe you in and I bathe in your light
You sing me through the night sing my through the night 'til dawn
As the moon falls on the bed and I hear you whisper my name
Here we lie receiving the turn the turn of page one
As the moon falls on the bed and I hear you whisper my name
Here we lie receiving the turn the turn of page one
Page one
Co-written by: KATIE NOONAN, CAMERON DEYELL, DON WALKER;
Lyrics © CHRYSALIS MUSIC GROUP, Sony/ATV Music Publishing LLC
16
Page One
Co-written by: KATIE NOONAN, CAMERON DEYELL, DON WALKER
Version accompanied by guitar and the ACO
0:00
0:34
0:51
1:07
1:32
1:55
2:12
2:26
Verse 1
16 bars
Pre-Chorus 1
8 bars
Chorus 1
8 bars
F minor. Time
signature 6/8
throughout.
Voice and acoustic
guitar accompaniment,
picking with a clear
bass line in a classical
guitar style.
Light texture, mp
F major Solo voice
accompanied by
guitar
Voice and Guitar
continue
Light texture, mp
Contrasting key
Ab major – relative of
F minor and
contrasting tonality
Voice and guitar
Return to F min.
Guitar solo, based on
the accompaniment
from earlier sections.
Vocals continue into the
section for several bars,
improvising sustained
and melismatic notes
on the words ‘page
one’
F minor
Voice and guitar. Katie
interprets the melody by
changing and
emphasising or
lengthening some
notes.
Increasing
dynamics and
intensifying vocal
delivery .Increasing
tension
Ab major
Sustained strings are
added to the
accompaniment
A rolling 6/8 feel,
with a fuller
instrumental texture.
Gb major - Voice
sustains/overlaps on
word “one” for 3 bars
into the Instrumental
Hemiola & Cross
rhythms
Agitated string playing
one of:
sixteenth note
arpeggios, grouped in
fours then 6s OR
Dotted quarters (2
groups of three eighths)
OVER
Use of subdivision
and groupings to
create increased
rhythmic complexity
and a darker, dense
texture.
Instrumental
10 bars
Verse 2
12 bars
Pre-Chorus 2
Melody reaches to high
f on the words ‘eyes’
and ‘I’
Voice and guitar with
sustained strings added
F major
8 bars
Chorus
6 bars
Bridge
(Instrumental)
6 bars
Cellos and Basses
playing repeated notesSixteenth notes grouped
in 6s
Also dissonant
harmonies.
Musical climax
Dynamic: f
17
Key F major
2:59
Voice re-enters, pausing
on the word ‘breathe’
on high f
The forward motion of
the piece is interrupted
with the vocal pauses
and the one single
chord sand rests in each
bar, before resuming a
new sixteenth note
accompaniment.
Rhythms return to
simplicity
Key Ab major
Lighter, sixteenth note
string accompaniment
continues
Dynamic mf
Melodic line
repeated
Katie varies and
interprets the return of
the vocal line with
decoration and
melisma
Sustained string lines
balance the more
elaborate vocal
interpretation
Flowing, sustained vocal
improvisations and
sustained string lines
give way to a guitar
solo
Textures gradually
reduce to unison
guitar
Pre-Chorus 3
8 bars
3:16
Chorus 3
15 bars
3:30
Key: F minor
3:49
Coda
24 bars
Texture and intensity
lighten.
Dynamic: mf
Dynamic mf
Dynamic mp > p
Compare and contrast the above (‘ACO’) version of the song with the distorted guitar, drums and
orchestral accompaniment of the Captains Version
Page One
Katie Noonan,
co-written with Cameron Deyell and Don Walker
Instrumentation: piano, guitar, alto sax, tenor sax, baritone sax, horns in F (1&2), Trombones
(1&2), Drums, Violin I, Violin II, Viola, Cello, Double Bass.
18
Intro
Toy piano sound, one bar of 4/4
0:04
Verse 1
F minor. Time signature 6/8 - 16 bars
0;37
Pre-Chorus 1
F major – 8 bars
0:55
Chorus 1
Ab – 8 bars
1:11
Instrumental
F min. Voice sustains/overlaps on word “one” for 5 bars into the
Instrumental – 10 bars.
1:32
Verse 2
F min. - 12 bars
1:58
Pre-Chorus 2
F maj. - 8 bars
2:15
Chorus
Ab maj. – 6 bars
Bridge
(Instrumental)
Gb maj. - Voice sustains/overlaps on word “one” for 3 bars into the
Instrumental – 16 bars.
3:02
Pre-Chorus 3
Key F major. – 8 bars.
3:20
Chorus 3
Key Ab major – 15 bars
Coda
Key: F min. 24 bars
Write your notes and reflections on Katie Noonan’s co-written song Page One in this
space.
_________________________________________________________________________
19
Songwriting
FROM LIFE to WORDS to MUSIC
Something to sing about:
experience, thought, poem, lyrics, verse, narrative …..
Express the words:
word rhythm, phrase, tempo, momentum …..
breath …..
mood, style, energy, drama …..
word painting – which words imply a response of duration, pitch,
dynamics, technique or tone colour? …..
How much is enough? Trim, cut, SIMPLIFY …..
Capture: pencil and paper, smart phone, laptop, garage band …..
Collaborate, share: develop your ideas - in your house or garage, share on SoundCloud
20
Concepts of music
Not an exhaustive list, but a prompt or memory aid, to get you started.
Use these words to help expand your musical choices when writing a song.
Duration: The flow of music in time, how long it takes, the types of notes/patterns used and the speed or
movement.
word rhythms: the intrinsic (‘natural’) rhythm of the text, which can be used in the melody or for selected
motifs in the accompaniment, for example.
harmonic rhythm: the rate at which chords change
metre & phrasing
rhythmic patterns
tempo
Describe the mood e.g. lively, animated, dramatic, constant motion
rhythmic devices
e.g. Syncopation, triplets, duplets, ties, anacrusis
Pitch:
The frequency (high or low) of the sound.
Remember, pitch is not just the melody - it is the harmony and bass line too!
Some other ‘pitch’ words:
major, minor, mode, consonance, dissonance
harmony
soprano, alto, tenor, baritone, bass,
range, register, tessitura, melisma, portamento
melody, countermelody
Structure: The order of themes, melodies, sections and events in the song
phrase, motif, riff, and ostinato
themes and where these themes re-occur
repetition
Development of themes or motifs throughout the song
repetition, imitation, variation, contrast
sequence, phrase, theme, improvisation
Does the Structure contribute to:
Unity: The repetition of melody, rhythm or sections, or features of the song which
remain constant or recur throughout
Contrast: Any features of the music which change or are different
Balance: The amount of a given idea or layer in the texture.
foreground and background sounds; relative dynamics
Texture:
The layers of sound in a composition
Do the numbers of layers change or stay the same during the song
Are the layers of rhythm the same or different?
Is there imitation or other sharing of material between the voice and the accompaniment?
Changing the texture can make the song interesting!
Some texture words:
rich, thick, full, dense, light, airy, sparse
contrast and variety
foreground, middle-ground, background
Dynamics & Expressive Techniques: Dynamics: The strength or volume of the sound.
Expressive Techniques: How a singer (or instrumentalist) changes their sound to make
it more evocative or colourful.
Expressive Techniques for Voice: Vibrato/no vibrato; falsetto, glissando, portamento,
trill
Tone Colour: The quality & ‘colour’ of sound created by a vocal style or various combinations
of instruments/vocals
Tone Colour or timbre is a voice’s (or instrument’s) own sound. But this ‘sound’ can be
altered through effects or special performance techniques
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Some songwriting words and phrases
1. Inspiration, starting point, genesis, motivation, occasion, story,
2. Lyrics, poem, verse
3. Collaboration: Many heads are better than one and you’ll learn so much form each other’s
specialist knowledge and musical ideas.
4. Intro: A ‘get into the groove’ or ‘get ready’ section before the main composition.
5. Pre-Chorus or Channel: typically consists of two or sometimes four lines that act as a melodic
transition from the verse to the chorus
6. Chorus: The recurring text and melody, usually (not always exactly) the same each time and
often (not always (contrasting the verse.
7. Middle 8: The B section. Also referred to as the bridge and sometimes as the release. Often has
a simple modulation and ends on chord IV, preparing for the return of the verse.
8. Bridge: usually comes after the second chorus as in verse/chorus, verse/chorus, bridge, chorus.
Melodically, the bridge changes rhythm and lyrically resolves the story of the song. The idea is
to introduce a change to keep the listener engaged.
9. Hook: refers to the repeated phrase that the listener remembers. A riff is an instrumental hook.
10. Outro: Usually in pop music. A section of the music that plays while the music fades, or until it
ends.
11. Writers block: Stuck for an idea.
12. Scratch Track: may also be called a rough, as in your homemade version of the melody and
lyrics.
NOTES:
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Some words and phrases used in the studio
1. Demo: finished studio or home-recorded track that you use to pitch the song. Demos can be
just singer with piano or guitar, but they must sound professional and polished with a great
vocal and instrumental.
2. Feel Track: is the style you hear for the demo. If you're not a very good singer or player, a feel
track can help musicians better understand your vision for the song.
3. Overdub or Sweetening: comes after the basic song is recorded when the guitarist or pianist
makes another pass to add an extra layer to the track.
4. Dynamics: refers to variations in the vocal delivery such as full voice versus head voice.
5. Backgrounds (BGVs) – background vocals
6. Call and response – part of a song where a line is sung and there is an answer line
7. Comp (comp track) – the best takes from the song made into a compilation track that is ready
to be mixed by the engineer
8. Filter/ Pop Screen – the mesh screen in front of the mic that dampens consonants, such as ‘P’,
‘B’, and ‘S’
9. Headphones (cans) – how you hear the recorded music AND your voice in the vocal booth
10. Hot – voice is too loud; you may have to step back a little from the mic
11. Levels – Volume levels get checked so that everything has a good balance
12. Producer (often also the Engineer); pulls everything together. A producer works with the artist
and the engineer.
13. Punch (Punch In/ Out) – re-record part of a track.
14. Roughs – comp-ed (compilation) tracks before mixing
15. Scratch track – (vocal) recording that is only for reference
16. Stack – recording the exact same vocal part on a second track to match the first track
17. Take – a take is one of (usually) a series of recordings od a song
18. Vocal booth – isolation area where the vocals are recorded
NOTES:
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KATIE NOONAN: RECORDINGS
EVENTS
Katie Noonan and Karin Schaupp
Guest Vocals on Pete Murray’s new album.
Bangalow Music Festival – Little Green Road to
Fairy Land and Wild Swan Suite (Elana Kats
Chernin) August 2012
Australian Festival of Chamber Music,
Townsviille. August 2012
Festival of Voices, Hobart (July 2012)

Songs of the Southern Skies (2012)

Katie Noonan - Solo projects
▪ Skin (2007) - #6 Australia
▪ Second Skin (2008)
Love Song Circus Song Cycle, Adelaide. (June
2012)
▪ Blackbird: The Music of Lennon & McCartney
(2008)
Melbourne International Jazz Festival (June
2012)
EDx Sydney (May 2012)
Katie Noonan and The Captains
Musica Viva In Schools - Anatomy of Music
New South Wales (May 2012)
Victoria (November 2012)
▪ Emperor's Box (April 2010) - #21 Australia
george
▪ george (1998)
▪ You Can Take What's Mine EP (1999)
LINKS
▪ Bastard Son/Holiday EP (2000)
▪ Polyserena (2002) - #1 Australia (2x Platinum)
▪ Unity (2004) - #5 Australia
Elixir
▪ First Seed Ripening (2011)
YouTube:
Search for Katie Noonan
Website:
Katie Noonan http://katienoonan.com/
George http://www.george.net.au/
▪ Live at the Cornish Arms (2005)
▪ Elixir (2003)
Katie & Maggie Noonan
▪ Two of a Kind (2004)
Paul Grabowsky & Katie Noonan
▪ Before Time Could Change Us (2005)
Guest vocals, duets and samples
▪ Pound System - "Know Who You Are" (2001)
▪ Katalyst - "What's Happening" - "To Dust"
(2007)
▪ Katie Noonan and the Captains - "Sweet One"
(Duet recorded with Sia Furler in 2005)
Soundtracks and compilation contributions
Garage Days soundtrack - "Garage Days"
(featuring David McCormack & Andrew Lancaster
(2002)
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MySpace:
Katie Noonan
Free Music, Tour Dates, Photos, Videos
www.myspace.com/katienoonan
Sound Cloud:
Katie Noonan
Acknowledgements
MUSICA VIVA
John Hibbard
National Manager, Teaching and Learning
Barbara Stone
Helenka King
Danielle Asciak
National Business Development Manager, Education
Victorian State Manager
Victorian State Coordinator
Danny Condon
Kevin Drieberg
Roland Kay-Smith
MVIS Marketing Manager
Digital Marketing Manager
Geek in Residence
Merridee Arratoon
Education Assistant
Jarron Aizen
Production Coordinator
ELECTROBOARD
Milena Cooper
Andrew Winduss
Elliot Seeto
Education Consultants Manager, Victoria
Service Technician
Unified Conferencing Engineer
SUM MANAGEMENT
Jesse Flavell
Director
AUSTRALIAN CENTRE OF THE
MOVING IMAGE, ACMI
Joanne O’Hara
Kristen Eckhart
Mark Bollenberg
Acting Events Team Leader
Marketing Manager
Media Technologies Manager
Polycom
Lynette Whinfield
Appreciation
Val Freda
Director Education Industry Solutions, Asia Pacific
Channel Manager
Service Delivery Manager, Department of Education and
Early Childhood Development
_____________________________________________________________________________________
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