The following essay will provide a succinct understanding and analysis of the piece 'Rainy Day Women 12 35' by Bob Dylan. Throughout this analysis it will become quite clear the overall form of the piece, the variety of musical parameters, within the piece, as well as an understanding through a well thought research an explanation of the meaning, mood and atmosphere, which is present as well as how these elements, are achieved. A sufficient indication of style and genre will be evidently depicted; in turn the above outcomes will develop sufficient understandings of time and place of the recording with an overall affect of the reception it perceives for the listener. All the above ideas will be notably supported through the variety of study readings as well as personal research into the topic.
In regards to form, overall it is quite simplistic whereby there is a lack of development between sections whereby it is quite clear that there are only two main sections which consist of a verse 'They'll stone ya…' and a refrain 'But I could not be all alone…' which are repeated throughout with the exception of the introduction and the two instrumentals which are an expansion of the verse material.
Intro - Snare/Bass drum followed by band entry
Verse - Eight Bars
Refrain - Four bars
Verse - Eight Bars
Refrain - Four bars
Verse - Eight Bars
Refrain - Four bars
Instrumental (Verse Based)
Verse - Eight Bars
Refrain - Four bars
Instrumental (Verse Based
Verse - Eight Bars
Refrain - Four bars
Final Instrumental (Verse Based) Fade out
As it has been demonstrated there are only two distinctly obvious sections thus it will be quite sufficient enough to define the form as 'single cell form'. There are multiple reasons why this term is most notably suitable. As stated above the idea that there are only two distinct sections which are completely comprised of a single tonal area which practically remains the same throughout which in turn takes the form of a repeated chord progression which creates a 'sense of home' and repeated musical ideas that being the standard I, IV and V Blues chord progression adds to the blues genre. In association with this repeated idea are the varying repeated motifs, which are present thus demonstrating a lack of change, and movement and indicating a more overall repetitive feel within the piece. In turn this creates a sense of a lack of narrative thoroughly highlighted by the lack of development and harmonic movement thus creating a prolongation of a single moment.
The reason as to why the term 'verse' is the best term to describe one of the sections, is primarily due to the obvious use of the same repeated chord progression and as a result each return to the verse returns with differing lyrics with the same accompanying melody line. The constant reiteration of the word 'stoned' provides somewhat of a lyrical hook throughout each verse. In regards to the choice of allocating a refrain the same repeated vocal line reappears with the same melodic and lyrical content 'But I could not be all alone…' According to Stephenson it is suitable to indicate this section as a refrain primarily as it ends a verse. Another interesting element is that it is consists of two lines of lyrical content a common element when defining a section as a 'refrain'. Interestingly enough it seems as though the lack of title creates somewhat of an ambiguous feeling with this unique title which does not denote any connotations to the piece, creating a variety of interest as it seems to have no relevance. The lack of chorus within the structure may be strange but in actual fact is a very common element within folk music.
In delving deeper into the piece it is essential to understand how form is articulated within the piece. Firstly, it is important to develop an understanding of the sound mass which includes; Piano, Harmonica, Snare and Bass drum, Tambourine, Hand Cymbals, Double Bass, Vocals, Trombone and Tuba. This is quite a unique and peculiar choice of instrumentation. In response to the dynamics the piece remains at quite a moderate level throughout evidently lacking any dynamic shifts, with the exception of the fade which we hear at the end of the piece. In regards to rhythmic elements all instruments keep quite a simplistic rhythm. Furthermore the double bass predominantly plays a 'walking bass' crotchet feel a technique commonly associated with the blues genre, consisting of descending fourths to the tonic during the verse, in sync with the tambourine crotchet patterns, also in the background the hand cymbals are also playing crotchet patterns. The drums primarily consist of the bass drum and heavy snare drum emphasis utilising a combination repeated quaver patterns thus adding to that desired marching feel. This marching feel also links inextricably with the desired protest feel.
In contrast, the piano is playing a repeated sequenced triplet pattern over the chord progression creating somewhat of a sequenced motif 'flutter' effect with the added crushed note effect. There is a contrast between the first verse and post verses as the brass section enters on every second verse further more adding to the timbral contrast. The brass section appears to play an accented sustained tone when entering followed by a descending sequenced semitone pattern as well as other stepwise movements which move in accordance with the chord progression. The harmonica utilises a vast amount of articulated techniques which furthermore enhance and add to the designation of a particular genre, such as the use of glissandos specifically with reference to the blues note as well as the use of vibrato. All of these elements create soulful sound, common elements of the blues genre whereby such effects are utilised to enhance the determining of such a genre.
The piece is somewhat of a unique juxtaposition of timbres and chosen instrumentation as it contains a contrast of instrumentation depicted by the use of Brass instruments, Strings, Percussive and Rock band ensemble instrumentation whereby these layers of instrumentation build throughout. Largely contrasting is the Brass and Strings which in actual fact are not prominent in blues music especially at this particular time where it would be quite unusual and unheard of. This possible clash of instrumentation choice may possibly be a metaphor for the meaning behind the song denoting through the instrumentation a confused state of being 'stoned'. Obviously not a definite response, but highly likely the choice of instrumentation was somewhat alluding to these connotations. Another interesting note is the varying vocal tessitura evidently highlighted by the rough 'howling' and somewhat out of tune vocals which in turn link with the confusion of being 'stoned'. The vocals overall create somewhat of a dissonance within the piece in comparison to the instruments played primarily as it is quite obvious that Dylan is singing out of key. In regards to syllable structure there is a lack of contrast which overall adds to that 'marching' feel. It remains very constant as though the actual vocals are also a symbol for walking and movement. This feeling creates a very dense vocal texture allowing room for space. The fact that there is also only one vocalist furthermore adds to this dense textural element.
Overall it is quite obvious that the genre of the piece is somewhat of a folk rock/blues piece. These two genres seem to be most suitable primarily because of the standard blues chord progression and the reference and impact which the twelve bar blues has on the piece. As well as the harmonicas use of the pentatonic blues scale and reference to the added diminished fifth which overall creates that distinctively blues tonality in association with the double bass which mostly moves in descending fourths from the sub dominant to the tonic. It should be noted that the harmonica is also a common desired instrument/timbre prominent in blues music. In regards to the reasons as to why it would be classed as a folk song, is as previously mentioned there is a lack of structural contrast and it is quite prominent within folk music to not have choruses as is evident within this particular piece. The spontaneous lyrics are also a major influence in determining that the piece is of a blues nature. Primarily as early blues had deep meaning thus the idea Dylan presents with his associated protest feeling.
Another important aspect is that the recording seems to lack any major production developments, despite the time of the piece it is quite clear that all the instruments were recorded simultaneously. Something that seems to be purposely done, in order to create that live atmosphere evidently demonstrated by the clapping and laughing. It is as though Dylan was trying to create some sort of bar type atmosphere, hence the utilisation of the out of tune harmonica which creates a widely varied tonality, as well as adding to that feeling of a drunken bar type jam. Blues was quite popular within bars and pubs so it seems this may be a possible way of creating a more authentic texture and timbre within the piece.
In response to the meaning, mood and atmosphere which is evoked throughout the piece, it can evidently be seen that the mood is quite free, relaxed and happy particularly highlighted by the drug induced feel throughout as well as the combination of crowd elements such as the laughing, clapping and yelling in the background evidently demonstrating that there is no possible serious tone involved especially when the lead vocals tend to occasionally laugh and carry on. Furthermore indications of such moods are evident particularly through the out of tune harmonica and vocals which demonstrates a lack of seriousness as well the combination of the out of time feeling whereby it evokes somewhat of a bar type atmosphere. This idea of a bar type atmosphere comes about primarily due to the crowd which is in the background. The idea that the piece is drug induced also adds to this, primarily due the low production value and messy structure and instrumentation. It seems as though it is basically a jam session similarly to a Billy Joel 'Piano Man' type feel or a Bon Jovi 'Love for Sale'. Overall this creates a disorderly, random and spontaneous tonality behind the music. Through a variety of readings it has been proven that Dylan was known to take drugs prior to the performance of the piece as well as encouraged the elicitation of drugs whilst recording the piece. This evidently highlights the point in regards to the lack of production value, as it is quite obvious to hear that all the instruments seems to be recorded simultaneously within one room as well as a clash of levels and balance seems to be audible thus creating the obvious messy homophonic texture.
Through a vast amount of further investigation and research into the piece there were many plausible understandings for the meaning of the piece. Evidently many people denoted differing connotations towards the piece the two main elements being that the song actually refers to getting 'stoned' which is the more colloquial term used for people getting 'high' or utilising drugs particularly marijuana or the possibility that no matter what you will do you will face consequences of getting 'stoned' as in the form of cruel punishment. On the other hand there was the idea of global oppression and alienation and the assumption Dylan was attempting to make racial points and emphasising the authority at the particular time. The overall meaning is achieved primarily through the lyrical content as well as the incorporation of particular musical elements primarily the protest marching feeling depicted by the snare and bass drum. The drug meaning is achieved primarily through the messy homophonic texture in association with the disorderly timbre and out of time and tune state of particular instruments.
Interestingly enough there is most notably some unique significance to the time and place of the recording. Evidently this would be the Sixties whereby drug taking was quite a common phenomenon. Overall this may demonstrate a political point of view towards the listener as well as inform the major impact which such a drug epidemic was having on America at the time. On another notion the song demonstrates possible arguments towards freedom basically indicating a 'do as you feel' notion such as engaging in illegal drugs which the song seems to encourage primarily highlighted by the emphasis and repetition of 'stoned' and 'everybody get stoned'. The ideas and imagery of the marching feel created through the variety of parameters also poses the possible notion of activism which was quite prominent during this particular period of time. Through the developed understanding of such ideas it can be noted that opinions and ideas towards the piece have significantly changed primarily developing a major understanding to the deeper material which the piece stands for.
In essence it is hoped that this particular essay has provided an in depth musical understanding of the piece. Through an analysis of the explored parameters a variety of understandings were able to be achieved and turn providing an understanding of the depicted mood and meaning as well as an understanding in determining the desired genre. Overall it is quite unique to say that at first hearing the piece many connotations emerge, but as a result of such analysis it can be understood the significance which the piece seems to have. The overall effect of the piece demonstrates America at the pinnacle of the sixties and the issues which were occurring at the time. The purposely utilised techniques overall have enhanced the effects of understanding the true meaning behind the piece and as well as an overall understanding for the time and place. This essays hopes to allow audiences to rethink what they hear and to develop an understanding further than what they are listening.
