Anna Ternheim rips Stina off?

[Elforel]

Sorry to the fans of Anna Ternheim, but I just heard the album "Separation Road" and I was so surprised when I heard the song "Girl Laying down"...
Don't you think this is very much inspired by a song by our beloved Stina?
I am not going to give any title since everybody's probably to make fun of me. Hum. And also because I can't really find the song I meant.
But tell me, don't you think that musically, something seems to be just extremely Stinaish ?

[RobB]

hmmm....its got that bossa nova feel of 'Get On With Your Life' in the verses, hasn't it?

Good video....especially like the 'floating' sections.

http://www.youtube.com/watch?v=zG7HPVmSlD8

[sound world]

EXPLANATION,for what it's worth.
Since most musicians,and especially musicians working in the pop/rock field,are addicted to tonality,there are always going to be certain musical devices that become a kind of lingua franca and recur in all sorts of places.Usually because they work!
I guess the borrowing that Elfy refers to is the tonal progression from the key of the piece (F# major) to the semitonal chord above it (G major) and back again,which occurs right at the start (eg where you hear the glissando strings change note,or in the first verse where the chord changes on 'sleeping'. In musical terms,the tonality moves from the Tonic chord to the flattened Supertonic chord (F# to G).
Yes,this is very similar to the start of 'Get on with your life'.The fact that Anna chooses to sing the fifth of each chord (C# /D) at the beginning of the relevant bars makes it even more redolent.
But 'Get on with your life' begins with a piano riff which might remind some people of the beginning of 'Rikki don't lose that number' by Steely Dan,very much so.
Which in turn was borrowed from Horace Silver's 'Song for my Father' (litigation was even invoked).
Horace Silver was a jazz pianist with family roots in Cape Verde.
Cape Verde has a strong Latin connection,originating in the Spanish world.
Spanish gypsy music (and by extension,the music of the common people of massive swathes of Europe,North Africa,Islam and the Indian subcontinent) relies heavily on modes and scales which involve the relationship between the Tonic and the flattened Supertonic.(It's like the standard musical flavour of Flamenco guitars,the shift from eg an E chord to an F chord,very natural on a guitar.It's given rise to a mode called the Spanish Phrygian).
So it's as old as the hills,and Anna won't necessarily have pinched it from Stina at all.It's public property,very much so.

My mate Sarha is writing her PhD about the flattened Supertonic and its pervasive influence in music.You hear it everywhere,without knowing what its called-I could cite you pieces by Black Sabbath,Thelonious Monk,Holst,Led Zeppelin, to name a few off the top of my head, where the whole piece is constructed from the same essentially simple device.
Up and down,but up into something a little dark and dangerous.

[RobB]

EXPLANATION,for what it's worth.

How does 10p sound?

Seriously, thats a very interesting explanation Dave.

Anna didn't try too hard to distance her song from Stina's though,especially given that it was a only a matter of time before someone connected the two.

[sound world]

EXPLANATION,for what it's worth.

How does 10p sound?

You're on.

[Elforel]

Oh, now I get it!
Hum. Did that sound convincing?
Well. Ok. No, I didn't really comprehend what you meant, but at least it seemed very scholar and totally satisfied me.
Also, I am glad I wasn't the only one to see there was a big similarity.

[sound world]

I'm sure you could baffle me with your knowledge of photography,Elfy
How are things,anyway??

[Elforel]

Sure, I know everything about pressing the button in a F# to G supertonic way!
I guess I'm ok, thanks! I'll be really happy to see all of you in London if things work out!

[blue]

EXPLANATION,for what it's worth.
Since most musicians,and especially musicians working in the pop/rock field,are addicted to tonality,there are always going to be certain musical devices that become a kind of lingua franca and recur in all sorts of places.Usually because they work!
I guess the borrowing that Elfy refers to is the tonal progression from the key of the piece (F# major) to the semitonal chord above it (G major) and back again,which occurs right at the start (eg where you hear the glissando strings change note,or in the first verse where the chord changes on 'sleeping'. In musical terms,the tonality moves from the Tonic chord to the flattened Supertonic chord (F# to G).
Yes,this is very similar to the start of 'Get on with your life'.The fact that Anna chooses to sing the fifth of each chord (C# /D) at the beginning of the relevant bars makes it even more redolent.
But 'Get on with your life' begins with a piano riff which might remind some people of the beginning of 'Rikki don't lose that number' by Steely Dan,very much so.
Which in turn was borrowed from Horace Silver's 'Song for my Father' (litigation was even invoked).
Horace Silver was a jazz pianist with family roots in Cape Verde.
Cape Verde has a strong Latin connection,originating in the Spanish world.
Spanish gypsy music (and by extension,the music of the common people of massive swathes of Europe,North Africa,Islam and the Indian subcontinent) relies heavily on modes and scales which involve the relationship between the Tonic and the flattened Supertonic.(It's like the standard musical flavour of Flamenco guitars,the shift from eg an E chord to an F chord,very natural on a guitar.It's given rise to a mode called the Spanish Phrygian).
So it's as old as the hills,and Anna won't necessarily have pinched it from Stina at all.It's public property,very much so.

Stop it, you're turning me on. *geeks out*

[sound world]

,Professor Frink