Breaking up is Hard to do

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    06-Oct-2015

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Ford Kelly-Riley

Neil Sedaka- Breaking Up Is Hard To Do

Breaking up is hard to do

ADon't take your love away from me

bDon't you leave my heart in misery

bIf you go then I'll be blue

a'Cause breaking up his hard to do

A

Remember when you held me tight

cAnd you kissed me all through the night

cThink of all that we've been through

a And breaking up is hard to do

A

They say that breaking up is hard to do

ANow I know, I know that it's true

ADon't say that this is the end

DInstead of breaking up I wish that we were making up again

D

I beg of you, don't say goodbye

ECan't we give our love another try

ECome on baby, let's start anew

A'Cause breaking up is hard to do

A

They say that breaking up is hard to do

ANow I know, I know that it's true

A Don't say that this is the end

DInstead of breaking up I wish that we were making up again

DI beg of you, don't say goodbye

ECan't we give our love another try

ECome on baby, let's start anew

A'Cause breaking up is hard to do

A

ORDER OF STRAINS: A A B A B A Our limited notational style presents us with a couple of difficulties when it comes to this song. First of all, the final four stanzas of the song are all refrains, with the words and music of each section repeated at least one other time in the track. Where we run into confusion with this, however, is when we realize that two of these stanzaic refrains end with the line 'Cause breaking up is hard to do, which is a refrain in and of itself. Interestingly, there is some overlap between the final line refrains of the first two full stanzas and the final lines of the aforementioned stanzaic refrains. Our notational system does not really present an ideal way to acknowledge this overlap, forcing us to notate each of the final 16 lines in the song with a capital letter, since each line is technically a refrain.

Furthermore, the two B strains in this song, although lyrically the same, are not exact copies of one another. In the second B strain, Neil Sedaka accompanies a female singer in a call-and-response fashion. I have notated each of the lines in these two B strains as refrains, as they are musically and lyrically identical with the exception of this one difference. However, the notational system I have implemented has no way of giving any indication that there is a difference at all.

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