My Thief - female vocalist
Moderator: mark
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Guest
My Thief - female vocalist
Can anybody tell me the name of the female vocalist who sings at the end of "My Thief"?
The soloist on "My Thief"
That solo is done by lovely soprano, Lisa Taylor. Her extraordinarily pure and winsome soprano is undoubtedly a sonority that Burt loves, as her harmonies can be heard conferring a silvery lining to nearly all the songs on PAINTED.
D.
D.
Central Texas, USA
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Guest
re: "My Thief"
Yes, it's a brilliant song. Like all of Burt's songs, it's got so many refreshing surprises.
What I like most about "My Thief" is the way the melody employs lots of dazzling non-chord tones. (Emphasizing on masculine beats notes which do not belong to the tetrad of the moment, but rather are passing tones, neighbors, appoggiaturi, suspensions, anticipations and échapées).
[N.B. If these musical ideas are new to you, really, you owe it to yourself to study them-- recognizing them will increase your appreciation of Burt's genius a thousand-fold.]
The bridge, based in E Major, especially is one of the nicest pop bridges ever written.
Then, when Lisa comes in, she comes in so unexpectedly on the note "A" (which Burt has very gently "prepped" for her with three piano notes). We've already heard E minor throughout Elvis's vocal, but he has leaned more towards the notes B and E. A is a "new one" on us, so to speak.
Then, when you think Burt and Elvis can spring no more delicacies on us, Burt augments the fifth scale degree of the GMaj7 chord in Lisa's tag... to bring us back into E minor.
Ingenious. Suave. Subtle. Brilliant.
You're right, Mr. "Guest"
Now, what I really want to know is: How much hand in the melody and harmony writing did Elvis have on that album... in proportion to Burt's? Maybe someday, years from now, we'll learn the whole story.
What I like most about "My Thief" is the way the melody employs lots of dazzling non-chord tones. (Emphasizing on masculine beats notes which do not belong to the tetrad of the moment, but rather are passing tones, neighbors, appoggiaturi, suspensions, anticipations and échapées).
[N.B. If these musical ideas are new to you, really, you owe it to yourself to study them-- recognizing them will increase your appreciation of Burt's genius a thousand-fold.]
The bridge, based in E Major, especially is one of the nicest pop bridges ever written.
Then, when Lisa comes in, she comes in so unexpectedly on the note "A" (which Burt has very gently "prepped" for her with three piano notes). We've already heard E minor throughout Elvis's vocal, but he has leaned more towards the notes B and E. A is a "new one" on us, so to speak.
Then, when you think Burt and Elvis can spring no more delicacies on us, Burt augments the fifth scale degree of the GMaj7 chord in Lisa's tag... to bring us back into E minor.
Ingenious. Suave. Subtle. Brilliant.
You're right, Mr. "Guest"
Now, what I really want to know is: How much hand in the melody and harmony writing did Elvis have on that album... in proportion to Burt's? Maybe someday, years from now, we'll learn the whole story.
Central Texas, USA