The song “You Raise Me Up” is a little bit philosophical; this music shows the pain of people’s lives, and the belief that God will help them.
"You Raise Me Up” starts with the smooth sound of a piano. The vocalist, Josh Groban, then enters and sings softly, “When I am down and, oh my soul, so weary when troubles come and my heart burdened be”. These lines introduce the reason for the song’s title. People always have problems facing their own weaknesses of mind and worry about their problems. Brendan Graham, through his lyrics, tries to feel and explain what people deal with every day in their normal lives. The first line mentions some insecure words like ‘down’, ‘weary’, ‘troubles’, and ‘burdened’, which describe the negative feelings and mindsets that people might have. Therefore, “You Raise Me Up” serves the purpose of touching the hearts of people and empathising with them.
"Then, I am still and wait here in the silence until you come and sit a while with me” is one part of the song which speaks calmly but firmly to people. This line brings out the main theme of the song: that there is somebody – it could be God – that can take care of and help people when they are in trouble and sorrow. ‘I am still and wait here in the silence’ gives the impression of the song being sung in a church setting. Whenever people need help and want to have peace in their mind, they might go to a church or silent room to pray, so that God can hear them, and they can listen to him. The line ‘until you come and sit a while with me’ expresses how strongly Brendan Graham believes in God, that being with God is consoling and makes one comfortable.
The word ‘mountains’ can be interpreted into different meanings. It can mean achieving the highest grade for students, good health for sick people, and all-around well-being for everybody else. In his lyrics, Brenhan Graham gives all honour to God. Because God gives his shoulder to people, so that they have something to lean on, people can thus gain the courage to take a step forward in this scary world and overcome their obstacles. This could be why the vocalist Josh Groban sings the full part of the chorus several times with a passionate and powerful voice and emphasizes the following verse again at the end: “You raise me up, to more than I can be”. It connotes hope and praise to God, which allows people to overcome hardship and finally be peaceful.
Monday, April 5, 2010
(8) You Raise Me Up - Rhythmic & Metrical Analysis
1. Rhythm
The rhythm is largely even, with a constant flow of quavers and semiquavers in the melody, and a constant flow of quavers and crotchets in the piano accompaniment part.
2. Meter
The song is largely in the simple time of 4/4 with one exception in bar 3, where it becomes 6/4.
The rhythm is largely even, with a constant flow of quavers and semiquavers in the melody, and a constant flow of quavers and crotchets in the piano accompaniment part.
2. Meter
The song is largely in the simple time of 4/4 with one exception in bar 3, where it becomes 6/4.
Sunday, April 4, 2010
(7) You Raise Me Up - Analysis of Melody & Vocal Characteristics
The melody of the song is largely diatonic.
1. Use of melisma
There is the use of melisma in this song, whereby the vocalist sings 2 or more consecutive pitches to a given syllable of the lyrics.
One example would be the melisma on the syllable “tains” in the word "mountains”. Josh Groban sings the notes G, F and Eb for this syllable in bar 22.
Another example would be the melisma on the word “raise”. He sings the notes F and Eb for this word in bar 22, the notes G and F for the same word in bar 38, and notes Ab and Gb in bar 47.
Yet another example would be the melisma on the syllable “y’ in the word "stormy”. He sings the notes Ab and Bb for this syllable in bar 23, the notes Bb and C for the same word in bar 39, and the notes C and Db in bar 48.
2. Vocal Characteristics
According to the score, this song is in a higher tessitura for soprano. However, the vocalist Josh Groban sings it within his tenor range.
1. Use of melisma
There is the use of melisma in this song, whereby the vocalist sings 2 or more consecutive pitches to a given syllable of the lyrics.
One example would be the melisma on the syllable “tains” in the word "mountains”. Josh Groban sings the notes G, F and Eb for this syllable in bar 22.
Another example would be the melisma on the word “raise”. He sings the notes F and Eb for this word in bar 22, the notes G and F for the same word in bar 38, and notes Ab and Gb in bar 47.
Yet another example would be the melisma on the syllable “y’ in the word "stormy”. He sings the notes Ab and Bb for this syllable in bar 23, the notes Bb and C for the same word in bar 39, and the notes C and Db in bar 48.
2. Vocal Characteristics
According to the score, this song is in a higher tessitura for soprano. However, the vocalist Josh Groban sings it within his tenor range.
Friday, April 2, 2010
(6) You Raise Me Up - Structural Analysis
1. Structure in terms of Form
Here is the outline of my analysis of the structure of the song in terms of the form.
A – Introduction (Bars 1 to 12)
A’ – Verse (Bars 12 to 20)
B – 1st Chorus (Bars 20 to 28)
A’ – Violin solo (Bars 28 to 36)
B’ – 2nd Chorus (Bars 36 to 44)
B’ – 3rd Chorus (Bars 45 to 53)
B’ – 4th Chorus (Bars 53 to 62)
C – Outro in the form of a Cadential Extension (Bars 62 to 66)
As shown above, the song mainly consists of 2 distinct sections of musical material, A and B. Both sections A and B take turns to be repeated, with some modifications in some instances, but still maintaining the similar musical material overall.
The song only has one verse, but the chorus is repeated four times, possibly because Brendan Graham felt it was important to send this hopeful message through the song;
You raise me up, so I can stand on mountains
I am strong, when I am on your shoulders
You raise me up, to more than I can be.
The chorus talks about what people can do with God’s strength. In this verse, one can interpret how hard the lives are for those who are waiting for God. Ultimately, God comes and raises them up to high positions.
The last section, section C, is the Outro in the form of a cadential extension. I decided to label it as “C” because I feel that the musical material is actually a hybrid of the material from sections A and B. The lyrics in section C is derived from the chorus in section B, while I feel that harmonic aspect of the music in section C is actually more similar to that of section A. Hence my conclusion that section C is a hybrid of the musical material from both sections A and B.
2. Structure in terms of Phrasing
Here is my analysis of the structure of the song in terms of the phrasing. The essential phrase structure of the song is seen to be maintained for most of the song. Let us take a look at the phrase structure of the Introduction (bars 1 to 12) as an example.
There appears to be what seems like a 2-2-4 type of sentence structure in the Introduction section. The first “2-bar” sentence occurs from bar 1 to the second half of bar 3. The next “2-bar” sentence occurs from the second half of bar 3 to the end of bar 5. The final “4-bar” sentence occurs from the second half of bar 6 and leads to a perfect cadence at the start of bar 11. These would leave about 2 bars before we reach the end of the Introduction; these remaining music would then constitute as a single unit on its own, and can be considered as a short transition linking the beginning of the piece to the Verse section when the vocalist starts to sing.
This basic 2-2-4 sentence structure is seen to be maintained for the rest of the song, except for the music towards the end of the song, from the 4th Chorus onwards, where there are a few remaining bars towards the end of the song that does not fit into the 2-2-4 sentence structure as before. These remaining bars would then constitute as a single unit on their own, as the song's Outro in the form of a cadential extension.
Here is the outline of my analysis of the structure of the song in terms of the form.
A – Introduction (Bars 1 to 12)
A’ – Verse (Bars 12 to 20)
B – 1st Chorus (Bars 20 to 28)
A’ – Violin solo (Bars 28 to 36)
B’ – 2nd Chorus (Bars 36 to 44)
B’ – 3rd Chorus (Bars 45 to 53)
B’ – 4th Chorus (Bars 53 to 62)
C – Outro in the form of a Cadential Extension (Bars 62 to 66)
As shown above, the song mainly consists of 2 distinct sections of musical material, A and B. Both sections A and B take turns to be repeated, with some modifications in some instances, but still maintaining the similar musical material overall.
The song only has one verse, but the chorus is repeated four times, possibly because Brendan Graham felt it was important to send this hopeful message through the song;
You raise me up, so I can stand on mountains
I am strong, when I am on your shoulders
You raise me up, to more than I can be.
The chorus talks about what people can do with God’s strength. In this verse, one can interpret how hard the lives are for those who are waiting for God. Ultimately, God comes and raises them up to high positions.
The last section, section C, is the Outro in the form of a cadential extension. I decided to label it as “C” because I feel that the musical material is actually a hybrid of the material from sections A and B. The lyrics in section C is derived from the chorus in section B, while I feel that harmonic aspect of the music in section C is actually more similar to that of section A. Hence my conclusion that section C is a hybrid of the musical material from both sections A and B.
2. Structure in terms of Phrasing
Here is my analysis of the structure of the song in terms of the phrasing. The essential phrase structure of the song is seen to be maintained for most of the song. Let us take a look at the phrase structure of the Introduction (bars 1 to 12) as an example.
There appears to be what seems like a 2-2-4 type of sentence structure in the Introduction section. The first “2-bar” sentence occurs from bar 1 to the second half of bar 3. The next “2-bar” sentence occurs from the second half of bar 3 to the end of bar 5. The final “4-bar” sentence occurs from the second half of bar 6 and leads to a perfect cadence at the start of bar 11. These would leave about 2 bars before we reach the end of the Introduction; these remaining music would then constitute as a single unit on its own, and can be considered as a short transition linking the beginning of the piece to the Verse section when the vocalist starts to sing.
This basic 2-2-4 sentence structure is seen to be maintained for the rest of the song, except for the music towards the end of the song, from the 4th Chorus onwards, where there are a few remaining bars towards the end of the song that does not fit into the 2-2-4 sentence structure as before. These remaining bars would then constitute as a single unit on their own, as the song's Outro in the form of a cadential extension.
Thursday, April 1, 2010
(5) You Raise Me Up - Harmonic Analysis
1. Chords and their functions
For my harmonic analysis, I focused more on the music in bars 1-28 and bars 60-66, because the harmonic analysis in between these 2 sections is very similar to that of the front sections of the song. Here is my analysis of the chords and their functions for the respective sections of the song.
The harmony of the song is largely diatonic.
1 a. Introduction – Bars 1 to 12
The song begins in the key of E flat major.
As shown above, we see the use of some Classical harmonic clichés at cadential points; however, they occur in a way that might be termed as a "reinvention", if I might put it in this manner.
For example, in bar 5, there is a suspended Eb over the Bb chord V in Eb major. We expect the suspended Eb to resolve to a D, however, the Eb is suspended and help throughout bar 5 until the first half of bar 6, and the D only appears as the last note of bar 6. Even then, it did not appear in the same voice as the suspended Eb.
There is a similar case of a "reinvention" of the suspension in bars 9 to 10. In bar 9, the Eb is somewhat prepared by the reiteration of the same note in the first half of bar 9; however, the G does not seem to have been prepared in any way. While the G is implied to be suspended and somewhat momentararily resolved to F over the chord V in bar 10, the Eb, which is suspended, does not resolve, and still continues to sound in the second half of bar 10.
1 b. Verse – Bars 12 to 20
The song is still in Eb major in this section.
In this section, we again come across the “reinvention” of a Classical harmonic cliché at cadential points.
In bar 13, there appears to be an implied suspension of an Eb in the Bb chord V. However, this Eb does not resolve to the expected D. All this happens over a tonic pedal in the bass.
1 c. 1st Chorus – Bars 20 to 28
The song is still in Eb major in this section.
In this section, we again come across the “reinvention” of a Classical harmonic cliché at cadential points.
For example, in bar 27, there appears to be a suspended Eb and G. While the Eb appears to resolve to a D in the second half of the bar, the G is only implied to be suspended, as there is no obvious resolution of the note to the expected F.
1 d. Violin solo – Bars 28 to 36
In terms of the harmony, what I found in the Verse in bars 12 to 20 is around the same in this violin solo section. The main difference is that the key of the song changes from Eb major to Bb major in this violin solo section.
1 e. 2nd Chorus – Bars 36 to 44
The chorus comes back for a 2nd time in bars 36 to 44. The harmony found in the 1st Chorus in bars 20 to 28 is very similar to that of this 2nd Chorus. The main difference is that this 2nd chorus is in the key of Bb major.
1 f. 3rd Chorus – Bars 45 to 53
The chorus is sung again for the 3rd time in bars 53 to 61. Once again, the harmony found here is similar to the previous 3 choruses. This time, however, the chorus appears in the key of Gb major, as the music changes from Bb major to Gb major in bar 45.
1 g. 4th Chorus – Bars 53 to 62
The chorus is sung for the last time in bars 53 to 61. In terms of the harmony, the last chorus in this section is also rather similar to all the other previous occurrences of the chorus in the song. The key in this section remains in Gb major. However, there is one striking difference in this section which distinguishes it from the rest of the other sections, and that is the use of what seems to be a deceptive resolution of V at the end of this section. This is a common type of cadential extension. Let us take a look at the chords leading up to the resolution of this section.
Instead of resolving the V7 directly to I in a perfect cadence which could have ended the phrase (and the song itself), the composer chose to resolve to the submediant chord, vi, instead. This gives an element of surprise to the listener, who would be expecting the conventional resolution to the tonic chord, especially after hearing several instances of that in the previous reprises of the chorus. The resolution from V7 to I is then followed a chord IV, which appears to have the function of prolonging the “tonic” before that.
I h. Outro in the form of a Cadential Extension – Bars 62 to 66
The Outro is what is known as the "lead-out" or ending to a song. Here, the music continues in the key of G flat major, and eventually closes in this key. The Outro seems to be in the form of a cadential extension , a common feature of songs. The cadential extension takes the form of reiterations of the cadences leading up to a perfect cadence once again, as if to confirm that is indeed that final cadence.
For my harmonic analysis, I focused more on the music in bars 1-28 and bars 60-66, because the harmonic analysis in between these 2 sections is very similar to that of the front sections of the song. Here is my analysis of the chords and their functions for the respective sections of the song.
The harmony of the song is largely diatonic.
1 a. Introduction – Bars 1 to 12
The song begins in the key of E flat major.
As shown above, we see the use of some Classical harmonic clichés at cadential points; however, they occur in a way that might be termed as a "reinvention", if I might put it in this manner.
For example, in bar 5, there is a suspended Eb over the Bb chord V in Eb major. We expect the suspended Eb to resolve to a D, however, the Eb is suspended and help throughout bar 5 until the first half of bar 6, and the D only appears as the last note of bar 6. Even then, it did not appear in the same voice as the suspended Eb.
There is a similar case of a "reinvention" of the suspension in bars 9 to 10. In bar 9, the Eb is somewhat prepared by the reiteration of the same note in the first half of bar 9; however, the G does not seem to have been prepared in any way. While the G is implied to be suspended and somewhat momentararily resolved to F over the chord V in bar 10, the Eb, which is suspended, does not resolve, and still continues to sound in the second half of bar 10.
1 b. Verse – Bars 12 to 20
The song is still in Eb major in this section.
In this section, we again come across the “reinvention” of a Classical harmonic cliché at cadential points.
In bar 13, there appears to be an implied suspension of an Eb in the Bb chord V. However, this Eb does not resolve to the expected D. All this happens over a tonic pedal in the bass.
1 c. 1st Chorus – Bars 20 to 28
The song is still in Eb major in this section.
In this section, we again come across the “reinvention” of a Classical harmonic cliché at cadential points.
For example, in bar 27, there appears to be a suspended Eb and G. While the Eb appears to resolve to a D in the second half of the bar, the G is only implied to be suspended, as there is no obvious resolution of the note to the expected F.
1 d. Violin solo – Bars 28 to 36
In terms of the harmony, what I found in the Verse in bars 12 to 20 is around the same in this violin solo section. The main difference is that the key of the song changes from Eb major to Bb major in this violin solo section.
1 e. 2nd Chorus – Bars 36 to 44
The chorus comes back for a 2nd time in bars 36 to 44. The harmony found in the 1st Chorus in bars 20 to 28 is very similar to that of this 2nd Chorus. The main difference is that this 2nd chorus is in the key of Bb major.
1 f. 3rd Chorus – Bars 45 to 53
The chorus is sung again for the 3rd time in bars 53 to 61. Once again, the harmony found here is similar to the previous 3 choruses. This time, however, the chorus appears in the key of Gb major, as the music changes from Bb major to Gb major in bar 45.
1 g. 4th Chorus – Bars 53 to 62
The chorus is sung for the last time in bars 53 to 61. In terms of the harmony, the last chorus in this section is also rather similar to all the other previous occurrences of the chorus in the song. The key in this section remains in Gb major. However, there is one striking difference in this section which distinguishes it from the rest of the other sections, and that is the use of what seems to be a deceptive resolution of V at the end of this section. This is a common type of cadential extension. Let us take a look at the chords leading up to the resolution of this section.
Instead of resolving the V7 directly to I in a perfect cadence which could have ended the phrase (and the song itself), the composer chose to resolve to the submediant chord, vi, instead. This gives an element of surprise to the listener, who would be expecting the conventional resolution to the tonic chord, especially after hearing several instances of that in the previous reprises of the chorus. The resolution from V7 to I is then followed a chord IV, which appears to have the function of prolonging the “tonic” before that.
I h. Outro in the form of a Cadential Extension – Bars 62 to 66
The Outro is what is known as the "lead-out" or ending to a song. Here, the music continues in the key of G flat major, and eventually closes in this key. The Outro seems to be in the form of a cadential extension , a common feature of songs. The cadential extension takes the form of reiterations of the cadences leading up to a perfect cadence once again, as if to confirm that is indeed that final cadence.
Monday, March 8, 2010
Sunday, February 21, 2010
(3) You Raise Me Up – Video performances of song
Video 1
Josh Groban sings "You Raise Me Up" on the Ellen deGeneres show.
Watch it at: http://www.youtube.com/watch?v=W_l_A6-7td0
Video 2
Josh Groban sings “You Raise Me Up” at a concert.
Watch it at: http://www.youtube.com/watch?v=quZTdeUgiV8
Josh Groban sings "You Raise Me Up" on the Ellen deGeneres show.
Watch it at: http://www.youtube.com/watch?v=W_l_A6-7td0
Video 2
Josh Groban sings “You Raise Me Up” at a concert.
Watch it at: http://www.youtube.com/watch?v=quZTdeUgiV8
(2) You Raise Me Up – Lyrics of song
When I am down and, oh my soul, so weary;
When troubles come and my heart burdened be;
Then, I am still and wait here in the silence,
Until you come and sit awhile with me.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
There is no life - no life without its hunger;
Each restless heart beats so imperfectly;
But when you come and I am filled with wonder,
Sometimes, I think I glimpse eternity.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
When troubles come and my heart burdened be;
Then, I am still and wait here in the silence,
Until you come and sit awhile with me.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
There is no life - no life without its hunger;
Each restless heart beats so imperfectly;
But when you come and I am filled with wonder,
Sometimes, I think I glimpse eternity.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
You raise me up, so I can stand on mountains;
You raise me up, to walk on stormy seas;
I am strong, when I am on your shoulders;
You raise me up: To more than I can be.
(1) You Raise Me Up – Background of song
"You Raise Me Up" is a popular song in the inspirational mould. The music was written by Secret Garden's Rolf Løvland and the lyrics by Brendan Graham. The song has now been covered more than 125 times.
The song was originally written as an instrumental piece and titled "Silent Story." The melody is based on a traditional Irish tune (especially the opening phrase of its chorus), the Londonderry Air, which is best known as the usual tune to the 1910 song Danny Boy. Løvland approached Irish novelist and songwriter Brendan Graham to write the lyrics to his melody after reading Graham's novels. It was originally released on the 2002 Secret Garden album "Once in a Red Moon," with the vocals sung by Irish singer Brian Kennedy, and sold well in both Ireland and Norway. Originally, Brian Kennedy was supposed to follow Secret Garden on their Asian tour in 2002, but fell ill, and could not attend. He was replaced by Norwegian singer Jan Werner Danielsen, who also later recorded the song together with Secret Garden, but it was never released.
In 2003, David Foster decided to produce the song after being introduced to it by Frank Petrone of peermusic, the song's publisher. He chose the up-and-coming Josh Groban to record the song, which was accompanied by the great tenor Craig Von Vennik of the Establishment, which proved very popular in the US. His version made it to the top of the Billboard adult contemporary chart and remained there for six weeks. Groban also performed it at Super Bowl XXXVIII, in a special NASA commemoration for the crew of the Space Shuttle Columbia disaster. A special surprise performance by Groban, for Oprah Winfrey's 50th birthday, also gave "You Raise Me Up" massive international prominence. The Groban recording also was nominated for a 2005 Grammy award. Groban also performed it at the first Idol Gives Back Concert, along with the African Children's Choir.
Source: http://en.wikipedia.org/wiki/You_Raise_Me_Up
The song was originally written as an instrumental piece and titled "Silent Story." The melody is based on a traditional Irish tune (especially the opening phrase of its chorus), the Londonderry Air, which is best known as the usual tune to the 1910 song Danny Boy. Løvland approached Irish novelist and songwriter Brendan Graham to write the lyrics to his melody after reading Graham's novels. It was originally released on the 2002 Secret Garden album "Once in a Red Moon," with the vocals sung by Irish singer Brian Kennedy, and sold well in both Ireland and Norway. Originally, Brian Kennedy was supposed to follow Secret Garden on their Asian tour in 2002, but fell ill, and could not attend. He was replaced by Norwegian singer Jan Werner Danielsen, who also later recorded the song together with Secret Garden, but it was never released.
In 2003, David Foster decided to produce the song after being introduced to it by Frank Petrone of peermusic, the song's publisher. He chose the up-and-coming Josh Groban to record the song, which was accompanied by the great tenor Craig Von Vennik of the Establishment, which proved very popular in the US. His version made it to the top of the Billboard adult contemporary chart and remained there for six weeks. Groban also performed it at Super Bowl XXXVIII, in a special NASA commemoration for the crew of the Space Shuttle Columbia disaster. A special surprise performance by Groban, for Oprah Winfrey's 50th birthday, also gave "You Raise Me Up" massive international prominence. The Groban recording also was nominated for a 2005 Grammy award. Groban also performed it at the first Idol Gives Back Concert, along with the African Children's Choir.
Source: http://en.wikipedia.org/wiki/You_Raise_Me_Up
AAI 104 Pop Song Blog Analysis
You Raise Me Up
In this analysis, we will be focusing on the version sung by Josh Groban.
In this analysis, we will be focusing on the version sung by Josh Groban.
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