So Close Jon Mclaughlin Piano Sheet Music Pdf Free -
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"So Close" was written by composer Alan Menken and lyricist Stephen Schwartz.[1][2] Menken and Schwartz based "So Close" on the title song from Beauty and the Beast (1991), a song Menken himself had written the music for.[3] In addition to conceiving the song's title,[4] director Kevin Lima specifically asked that the song's final lyrics be "So close and still so far" to mirror the idea that this appears to be Enchanted's main characters Giselle and Robert's final moment together.[3] The songwriters enlisted Robbie Buchanan to produce the track; Buchanan had previously arranged and produced the single version of "Beauty and the Beast", as well as "A Whole New World" and "Colors of the Wind" from Aladdin (1992) and Pocahontas (1995), respectively.[5]
Menken recorded an early demo version of the song before it was forwarded to Buchanan, who created its backing track.[6] In addition to Buchanan, many musicians contributed to the track before it was finally returned to the producer, and then Menken.[6] Menken proceeded to use Buchanan's track to orchestrate the song while developing an instrumental "middle section" during which the characters would dance.[6] Menken and Schwartz co-produced.[7] Although arranger Danny Troob contributed some orchestration to the song, he attributes the majority of its arrangement to Buchanan.[6] "So Close" was recorded by singer-songwriter Jon McLaughlin, who was recruited from his record label by the film's music supervisor after Menken and Schwartz began searching for a suitable singer.[8] Instrumentalists on the track include bassist Neil Stubenhaus, drummer John Robinson and guitarist Michael Landau, while Buchanan himself contributed both piano and synthesizer.[7]
Menken had written an alternative version of "So Close", which the filmmakers enjoyed but ultimately rejected in favor of the final version used in the film.[5] Additionally, a song originally written for the villain Queen Narissa (Susan Sarandon) was eliminated from the film because Lima felt that the musical number would occur too close to "So Close", wanting to prevent the film from becoming a "full out" musical.[9] The song was released on November 20, 2007 as part of the film's soundtrack.[10]
According to the song's official sheet music published by Walt Disney Music Publishing on Musicnotes.com, "So Close" was written in the key of E major, performed "slowly" in common time.[25] The track lasts a duration of three minutes and forty-nine seconds.[7] According to The Musical Theater of Stephen Schwartz: From Godspell to Wicked author Paul R. Laird, the song is performed in 4/4 time "with a prevailing triplet motion", thus the ballad is not a waltz since it is not written in 3/4 time.[3][26] Filmtracks.com identified the song as a "modern ... contemporary pop" ballad.[27] Musically, "So Close" resembles Menken's "era of Disney songwriting",[24] with the composer himself describing the track as "a more contemporary, adult ballad" and agreeing that the song is "really in my ballad style".[6][23] Troob described "So Close" as a "very straight-ahead pop ballad" reminiscent of music popular during the 1980s and 1990s.[6] Peter Knegt of IndieWire described the ballad as "mid-1990s slow dance sounding".[28] In addition to being a pop song, the track employs heavy pop orchestration;[6] instruments such as bass, drums, guitar, piano and synthesizer can be heard throughout the piece.[7] Laird described Menken's composition as "a flowing tune with a wide range that takes [McLaughlin's] tenor to a d-flat", which he performs in falsetto.[3] Performing the track using a "melancholic voice",[29] McLaughlin's vocal range on the song spans three octaves, from B3-Db6.[25]
"So Close" is a love song.[30] The song features lyrics that mirror the film and Giselle's relationship with Robert, beginning with "You're in my arms/And all the word is gone/The music playing on/for only two/so close together" and ending "...So close, and still/So far..." to indicate that there is still separation between the two, despite how close they've grown.[24] This last line refers to the characters' close physical proximity to each other but different fates.[14] According to McKinley Catherine Keener of The Odyssey Online, "So Close" briefly suggests that Enchanted may lack a conventionally happy ending, specifically the lyrics "A life goes by, romantic dreams must die."[31] McLaughlin's raspy,[22] sentimental vocals and melody contradict with the song's cynical lyrics.[31] Laird observed that, in addition to conveying the song's dual message, Schwartz is less reliant on rhyming words, but nonetheless uses lyrics such as "happy end" instead of "happy ending" in order to rhyme with "pretend".[3] The ballad's lyrics also consist of puns.[32]
Digital piano sheet music for songs from The Christmas EP. AND the Red & Green album! Available to purchase as complete album or individual songs. The digital .PDF file(s) will be delivered instantly via email after the checkout process is completed for your order.
At the first session of the seminar, the students were offered a variety of musical experiences that introduced them to the possibilities of the seminar. These experiences set a procedural pattern that was followed throughout the seven weeks. Firstly, we experienced music: e.g., after announcing that a march would be played, I played the Brahms's Lullaby on the piano in the meter, tempo, and style of a march. Secondly, we attempted to identify what had happened during the experience. Each person identified what he heard in the music, his physical reactions, his emotions, his thoughts, and what he observed in other participants. The march generated laughter, annoyance, and resentment. Some students recognized that the melody was originally a lullaby; others merely noticed that it was a familiar tune. Thirdly, once these events and feelings were identified, we discussed relations between the events and possible causes for some of the reactions that occurred. We discussed the present feelings of the participants about the events they had identified and about the experience as a whole. Fourthly, we attempted to identify general principles that might have been in operation during the experience. The third and fourth steps of this procedure are illustrated in Wendy's essay:
The waltzed-up, march-type version of Brahms's Lullaby that Dr. Parker played for us on the piano during the first seminar meeting, caused mixed feelings on my part. This was due to the fact that my Grandmother always used to sing that lullaby to me as a child, when I was going to sleep. The fact that my memories of the past, of my childhood, were being threatened by this send-up of the lullaby, caused the mixed feelings in me, harbouring feelings, mainly comprised of resentment, but strangely enough I also laughed. . . . Associations from past experiences play an important part in my response to music.
The first session included a discussion of the four-step procedure (experience, identify, analyze, and generalize); four musical experiences and reflections on these experiences; explicit agreement to the three conditions listed on the description sheet (see no. 5 of the description given above); and discussion of the aims of the seminar, the sorts of topics that might lend themselves to essays for the seminar, bibliography that might be useful, and an assignment for the following week.
Subsequent sessions generally included the sharing of additional thoughts and feelings about what had happened during the previous session, discussions of musical events that had occurred during the prior week (including concerts, piano criticism classes, and practical examinations), and more musical experiences. After the first session, all of the musical experiences were planned by the students. We relaxed on the floor and listened to Indian classical music; we listened to the opening of Bach's Magnificat, a work that many of the seminar members had sung in a performance eleven months prior to the seminar; we composed short melodies; we listened to Debussy's Rhapsody for Saxophone and Orchestra with half of the class free to look at a print of van Gogh's Street in Auvers and the other half not free to do so; and we participated in other experiences with many other types of music.
Wendy: The main observation that I have made about myself during the past seven weeks is that I am definitely not a critical listener. When I listen to music, I hate to dissect it. . . . I don't try to analyze the form of the music, what instruments are playing and when they should come in, specifically look out for elements that annoy or disturb me, and so on. I usually just close my eyes, when possible, and let the music take me. To analyze the music spoils it for me. . . .
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