An Introduction to America’s Music

484 PART 4 | SINCE WORLD WAR II

Listening Guide 19.4

Birds of Fire

CD 4.3 MAHAVISHNU ORCHESTRA

WHAT TO LISTEN FOR

• emphasis on electronic and electrically
  amplifi ed sounds


• complex rhythm and structure that
  encourage close listening


• rock-style guitar distortion


• simple alternation of two scales a whole step
  apart, each lasting one bar

composer: John McLaughlin

date: 1973

performers: John McLaughlin, guitar;

Jerry Goodman, violin; Jan Hammer,

keyboards; Rick Laird, bass; Billy Cobham,

drums

genre: jazz-rock fusion

meter: nine beats per bar, divided 4 + 5

form: head (aaa' b) alternating with solos

timing section comments

0:00 introduction Widely spaced cymbal crashes are electronically altered to sound like

gongs.

0:17 2-bar riff is stated twice in electric guitar, then twice again by guitar and

synthesizer in unison.

0:41 A new 2-bar riff, in violin and bass, is added over guitar and synthesizer

riff; drums join in to complete the texture.

1:04 head (partial

statement)

a Guitar and violin state 4-bar melody in unison; bars 1 and 3 employ

pentatonic scales and blues notes, while bars 2 and 4 are sustained notes.

1:15 a 4-bar melody repeats.

1:26 guitar solo Solo begins in middle register then climbs slowly, with increasing reverb,

for 8 bars.

1:48 Violin and bass riff enters quietly, then grows in volume over 12 bars as

guitar solo becomes more frenetic.

2:18 head a Violin joins guitar for unison statement of 4-bar melody.

2:28 a Melody repeats.

2:39 a' Third statement of melody varies: the last bar is an upward fl urry of rapid

notes.

2:48 b New melody rises slowly, in durations that create a triple polymeter over

the accompaniment.

3:00 synthesizer

solo

Solo begins softly and is quickly submerged under violin and bass riff.

3:11 Synthesizer re-enters loudly, now with distorted timbre and pitch bending

that resemble electric guitar more than traditional keyboards. Like the

guitar solo, this one also begins in middle register and slowly climbs

upward, as riff fades into background.

3:51 As solo increases in intensity, riff returns to foreground as preparation for

last statement of head.

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