Inner Patterns

This article builds upon the concept of the three layers of a song. If you are not aware of this concept please read this article here first.

A inner twined pattern layer is the mark of a well put together song and Hound Dog is no exception. Similar to a figure ground pattern in art by focusing your gaze on different parts you can start to see different pictures. That is why sometimes even when everyone plays the "correct notes" the feel can be off because they are not playing off of the other players in the proper manner.

Try listening to Hound Dog picking out these items in the prescribed manner.

"You ain't nothing but a hound dog"(claps)"Crying all the time" (claps-drum roll)
"you ain't nothing but a hound dog" (guitar notes)"Crying all the time(claps-drum roll)
"Well you ain't never caught a rabbit and you ain't no friend of mine (drum roll-stop)

or you could look at in this way

"You ain't nothing but a hound dog"(arpeggio)"Crying all the time" (arpeggio-drum roll)
"you ain't nothing but a hound dog" (guitar notes)"Crying all the time(arpeggio-drum roll)
"Well you ain't never caught a rabbit and you ain't no friend of mine (drum roll-stop)

The patterns within the parenthesis are the counter patterns of the melody. They occurs in the holes of the melody and important in that give the theme added punch and structure. Try the following experiment to see how the counter melody functions.

First, sing the song a Capella and just breath in the holes.

"You ain't nothing but a hound dog"(breath)"Crying all the time" (breath breath)
"you ain't nothing but a hound dog" (breath)"Crying all the time(breath breath)
"Well you ain't never caught a rabbit and you ain't no friend of mine (long breath)

Now, try the following nonsensical but structured version.

"You ain't nothing but a hound dog"(clap twice)"Crying all the time" (clap twice pause foot stomp)
"you ain't nothing but a hound dog" (clap twice)"Crying all the time(clap twice pause foot stomp)
"Well you ain't never caught a rabbit and you ain't no friend of mine (drum roll on a table-stop)

You should see from this simple exercise the importance of counter melody in the pattern layer.

Pulse and Quant- Elvis' Hound Dog

This article builds upon the concept of the three layers of a song. If you are not aware of this concept please read this article here first.

The pulse layer consists of elements that define the musical space. The quant instrument(s) define the smallest unit. In this Elvis tune, the steady appregiated bass figure played by the bass and guitar defines the smallest unit to the user. However, it leaves out a space in the process leaving a "quant hole." The figure defines for the user the musical space with a gap after the root note. The pulse, a pattern that lays on top of the quant, is define by the clapping figure. This steady pulse pushes the song forward until the "change pattern" of the drum roll following by a "stop pattern". This last two bars of a blues, called the "turnaround", sends the user back to the start and is extermely effective.
The density layer change between the solo and verse on this song is effective in adding tension. Notice on the famous live version of this on the Ed Sullivan song the solo isn't as effective as a tension without the background "ahs."

Also note the different arrangement with the solo following the verse directly in the live version while the recording plays the solo after the third verse. Also notice the choppy nature of the live version due to the fact that the guitar has the quant alone because of the low recording level of the bass.

Some thoughts on best practices for performing this song-

1. Having the solo after the second verse might be more effective as it splits the song up in a more logical fashion
2. The "ahs" over the solo add a lot. If you don't have the vocalist try maybe an organ or other instrument that can sustain over the measures to add the dynamic tension.
3. Doubling the bass figure with bass and guitar will "smooth" out the pulse of the song
4. The clapping adds a lot in the pulse layer, if the claps are absent try to make sure the drummer creates this pulse to push the song forward.