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Biblical languages
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Biblical languages are any of the languages employed in the original writings of the Bible. Partially owing to the significance of the Bible in society, Biblical languages are studied more widely than many other dead languages. Furthermore, some debates exist as to which language is the original language of a particular passage, and about whether a term has been properly translated from an ancient language into modern editions of the Bible. Scholars generally recognize three languages as original biblical languages: Hebrew, Aramaic, and Koine Greek.
Language of the Hebrew Bible[edit]
The Hebrew Bible (Hebrew: תנ"ך), also known as the Tanakh, consists of 39 books. "Hebrew" in "Hebrew Bible" may refer to either the Hebrew language or to the Hebrew people who historically used Hebrew as a spoken language, and have continuously used the language in prayer and study, or both. The texts were mainly written in Biblical Hebrew, with some portions (notably in Daniel and Ezra) in Biblical Aramaic. Biblical Hebrew, sometimes called Classical Hebrew, is an archaic form of the Hebrew language.
The very first translation of the Hebrew Bible was into Greek. This is known as the Septuagint (LXX), which later became the received text of the Old Testament in the Catholic church and the basis of its canon. This began sometime in the 2nd or 3rd century BC, with the first portion of the Hebrew Bible, the Torah, being translated into Koine Greek. Over the next century, other books were translated (or composed) as well. This translation became known as the Septuagint and was widely used by Greek-speaking Jews, and later by Christians. It differs somewhat from the later standardized Hebrew (Masoretic Text). This translation was promoted by way of a legend that seventy separate translators all produced identical texts.
The Latin Vulgate by Jerome was based upon the Hebrew for those books of the Bible preserved in the Jewish canon (as reflected in the Masoretic Text), and on the Greek text for the rest. Other ancient Jewish translations, such as the Aramaic Targums, conform closely to the Masoretic Text, and all medieval and modern Jewish translations are based upon the same. Christian translations also tend to be based upon the Hebrew, though some denominations prefer the Septuagint (or may cite variant readings from both). Bible translations incorporating modern textual criticism usually begin with the Masoretic Text, but also take into account possible variants from all available ancient versions.
Languages of the New Testament[edit]
Main article: Language of the New Testament
The books of the Christian New Testament are widely agreed to have originally been written in Greek, specifically Koine Greek, even though some authors often included translations from Hebrew and Aramaic texts. Certainly the Pauline Epistles were written in Greek for Greek-speaking audiences. See Greek primacy for further details. Koine Greek was the popular form of Greek which emerged in post-classical antiquity (c.300 BC – AD 300), and marks the third period in the history of the Greek language.[1] It is also called Alexandrian, Hellenistic, Common, or New Testament Greek.
Some scholars believe that some books of the Greek New Testament (in particular, the Gospel of Matthew) are actually translations of a Hebrew or Aramaic original. A famous example of this is the opening to the Gospel of John, which some scholars argue to be a Greek translation of an Aramaic hymn. Of these, a small number accept the Syriac Peshitta as representative of the original. See Aramaic primacy.
However, the received text of the New Testament is Greek and nearly all translations are based upon the Greek text.
References[edit]
Jump up ^ Andriotis, Nikolaos P. History of the Greek language
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A Whiter Shade of Pale
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"A Whiter Shade of Pale"
A-side label of the UK vinyl single
Single by Procol Harum
from the album Procol Harum
B-side
"Lime Street Blues"
Released
12 May 1967
Format
7-inch record
Recorded
Olympic Sound Studios, London, April 1967
Genre
Baroque pop[1][2]
Length
4:03
Label
Deram
Songwriter(s)
Gary Brooker, Keith Reid, Matthew Fisher
Producer(s)
Denny Cordell
Procol Harum singles chronology
"A Whiter Shade of Pale"
(1967) "Homburg"
(1967)
"A Whiter Shade of Pale" is the debut single by the British rock band Procol Harum, released 12 May 1967. The single reached number 1 in the UK Singles Chart on 8 June 1967 and stayed there for six weeks.[3] Without much promotion, it reached number 5 on the Billboard pop chart in the United States.[4] One of the anthems of the 1967 Summer of Love, it is one of the best selling singles in history, having sold sold over 10 million copies worldwide.[5]
With its Bach-derived instrumental melody, soulful vocals, and unusual lyrics – by the song's co-authors Gary Brooker, Keith Reid[6] and Matthew Fisher – "A Whiter Shade of Pale" reached number 1 in several countries when released in 1967. In the years since, it has become an enduring classic. It was the most played song in the last 75 years in public places in the UK (as of 2009),[7] and the United Kingdom performing rights group Phonographic Performance Limited in 2004 recognised it as the most-played record by British broadcasting of the past 70 years.[8] Also in 2004, Rolling Stone placed "A Whiter Shade of Pale" 57th on its list of the 500 Greatest Songs of All Time.
In 1977, the song was named joint winner (along with Queen's "Bohemian Rhapsody") of "The Best British Pop Single 1952–1977" at the Brit Awards.[9] In 1998 the song was inducted into the Grammy Hall of Fame.[10] More than 1000 recorded cover versions by other artists are known.[11][12][13] The song has been included in many music compilations over the decades and has also been used in the soundtracks of numerous films, including The Big Chill, Purple Haze, Breaking the Waves, The Boat That Rocked, Martin Scorsese's segment of New York Stories, Stonewall, Oblivion and Ken Burns and Lynn Novick's documentary series The Vietnam War. Cover versions of the song have also been featured in many films, for example, by King Curtis in Withnail and I and by Annie Lennox in The Net.
The original writing credits were for Brooker and Reid only. On 30 July 2009, Matthew Fisher won co-writing credit for the music in a unanimous ruling from the Law Lords.
Contents
1 Recording and personnel
2 Lyrics
3 Composition
4 Release and reception
5 Promotional films
6 Authorship lawsuit
7 Chart performance
7.1 Weekly singles charts
7.2 Year-end charts
8 Annie Lennox version
8.1 Charts
9 References
10 Sources
11 External links
Recording and personnel[edit]
The song was performed and recorded at Olympic Sound Studios in London, England, with Gary Brooker providing the vocals and piano, Matthew Fisher on a Hammond M-102 organ, David Knights on bass and Ray Royer on guitar. Drums were by session drummer Bill Eyden. A few days later, the song was re-recorded with the band's then newly recruited drummer Bobby Harrison, but that version was discarded, and one of the original mono recordings was chosen for release.
Producer for the record was Denny Cordell, and Keith Grant was the sound engineer.[14] The song was included on the US release of the Procol Harum album, in September 1967, but not on the later UK version.[15]
Lyrics[edit]
Reid got the title and starting point for the song at a party. He overheard someone at the party saying to a woman, "You've turned a whiter shade of pale", and the phrase stuck in his mind.[16][17] The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom also the fourth.[18] The author of Procol Harum: Beyond the Pale, Claes Johansen, suggests that the song "deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act".[17] This is supported by Tim de Lisle in Lives of the Great Songs, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys.[19] Other observers have also commented that the lyrics concern a sexual relationship.[16]
Contrary to the above interpretations, Reid was quoted in the February 2008 issue of Uncut magazine as saying:
I was trying to conjure a mood as much as tell a straightforward, girl-leaves-boy story. With the ceiling flying away and room humming harder, I wanted to paint an image of a scene. I wasn’t trying to be mysterious with those images, I was trying to be evocative. I suppose it seems like a decadent scene I’m describing. But I was too young to have experienced any decadence, then. I might have been smoking when I conceived it, but not when I wrote. It was influenced by books, not drugs.
Structurally and thematically, the song is unusual in many respects. While the recorded version is 4:03 long, it is composed of only two verses, each with chorus. The piece is also more instrument-driven than most songs of the period, and with a much looser rhyme scheme. Its unusually allusive and referential lyrics are much more complex than most lyrics of the time (for example, the chorus focuses on Chaucer's "The Miller's Tale"). Thus, this piece can be considered an early example of progressive rock.[citation needed]
The phrase a whiter shade of pale has since gained widespread use in the English language, noticed by several dictionaries.[20][21][22] As such, the phrase is today often used in contexts independent of any consideration of the song.[23] It has also been heavily paraphrased, in forms like "an Xer shade of Y", to the extent that it has been recognised as a snowclone[24][25] – a type of cliché and phrasal template.
Composition[edit]
The song's distinctive, Bach-inspired organ part was played on a Hammond M102.
The song is in moderate time in C major and is characterised by the bassline moving stepwise downwards in a repeated pattern throughout. In classical music this is known as a ground bass. The harmonic structure is identical for the organ melody, the verse and the chorus, except that the chorus finishes with a cadence. The main organ melody appears at the beginning and after each verse/chorus. But it is also heard throughout, playing variations of its theme and counterpointing the vocal line. As the chorus commences "And so it was, that later ...", the vocal and organ accompaniment begin a short crescendo, with the organist running his finger rapidly down and up the entire keyboard. The final instrumental fades out to silence – a common device in pop music of the time.
A BBC Radio 4 programme in the 2018 series “Soul Music” pointed out the resemblance between the Hammond Organ line of “A Whiter Shade of Pale” and J.S.Bach’s Air from his Orchestral Suite No. 3 BWV1068, (the “Air on the G string”) where the sustained opening note of the main melodic line flowers into a free-flowing melody against a descending bass line:
Bach Air from Suite 3 bars 1-2
Bach Air from Suite 3 bars 1-3
Allan Moore notes “a certain family resemblance” that “creates the sense of [Bach’s] music without actually quoting it.”[26] The similarity is also referred to humorously in the 1982 play The Real Thing by Tom Stoppard[27] and in the 1991 film The Commitments[28]. Other writers have noted similar “family resemblances” to other works by Bach: the Sinfonia which opens the cantata Ich steh mit einem Fuß im Grabe, BWV 156, the organ chorale Prelude "O Mensch, bewein' dein' Sünde groß" (O Man, Lament Your Sin So Great), BWV 622, from the Orgelbüchlein (Little Organ Book) and the Cantata Sleepers Wake, BWV140.
The music also borrows ideas from "When a Man Loves a Woman" by Percy Sledge.[29]
Release and reception[edit]
The single was released on 12 May 1967 in the United Kingdom by Deram Records and entered Record Retailer's chart (later the UK Singles Chart) on 25 May. In two weeks it reached number 1, where it stayed for six weeks. Writing in 2005, Jim Irvin of Mojo said that its arrival at number 1 on 8 June 1967, on the same day that the Beatles' Sgt. Pepper's Lonely Hearts Club Band topped the national albums chart, marked the start of the Summer of Love in Britain.[30]
According to music journalist and author Harvey Kubernik, in the context of the Summer of Love, "A Whiter Shade of Pale" was the "one song [that] stood above all others, its Everest-like status conferred by no less than John Lennon and Paul McCartney, who were enthralled by the Chaucerian wordplay and heavenly Baroque accompaniment".[15] Kubernik also writes that, amid the search for higher consciousness during the flower power era, the song "galvanised a congregation of disaffected youth dismissive of traditional religion but anxious to achieve spiritual salvation".[31] In his 1981 article on the musical and societal developments of 1967, for The History of Rock, sociomusicologist Simon Frith described "A Whiter Shade of Pale" as the year's "most distinctive single", through its combination of "white soul vocal and a Bach organ exercise" and enigmatic lyrics that "hinted at a vital secret open only to people in the right, drug-determined, state of mind".[32]
In the United States, the single reached number 5 on the Billboard Hot 100 and sold over 1 million copies. It also peaked at number 22 on the soul charts there.[33] In the Netherlands, the song entered the chart at number 1 in June 1967 and again reached number 1 in July 1972. A May 1972 re-release on Fly Records stayed in the UK charts for a total of 12 weeks and peaked at number 13.
"A Whiter Shade of Pale" has continued to receive critical acclaim. Along with Queen's "Bohemian Rhapsody", "A Whiter Shade of Pale" was jointly recognised as "The Best British Pop Single 1952–1977" at the BRIT Awards, part of Elizabeth II's Silver Jubilee. In 1998 the song was inducted into the Grammy Hall of Fame. In 2004, it appeared at number 57 on Rolling Stone magazine's list of the "500 Greatest Songs of All Time". British TV station Channel 4 placed the song at number 19 in its chart of "The 100 Greatest No. 1 Singles".[34] In 2018, the song was inducted into the Rock and Roll Hall of Fame in a new category for singles.[35]
Promotional films[edit]
One of the clips for the song was filmed at Witley Court, part of which was gutted by fire in 1937.
The first promotional clip for "A Whiter Shade of Pale" was shot in the ruins of Witley Court in Worcestershire, England.[36] It features four of the five musicians who played on the hit single: Gary Brooker, Matthew Fisher, David Knights and Ray Royer, in performance and walking through the ruins. Only the drummer in the video isn't on the record: early band member Bobby Harrison is seen miming to session man Bill Eyden's drumming. The film was directed by Peter Clifton, whose insertion of Vietnam War newsreel footage caused it to be banned from airplay on the BBC's Top of the Pops TV show.[37]
Procol Harum subsequently made a second promotional clip, using "Scopitone" technology. By this time, Robin Trower and B.J. Wilson had replaced Royer and Harrison in the band, so only three of the five musicians on the recording are represented. No performance footage appears in this film – only scenes of the five musicians cavorting around London and running across fields. The same lineup, with Fisher wearing a monk's cowl, mimed to the song on Top of the Pops, although Brooker sang live. Black-and-white footage of the performance has been shown online. The song represents 1967 on the 2004 DVD release Top of the Pops 40th Anniversary 1964–2004.
There was also a film shot as part of Joel Gallen's Deja-View music video series.[38] Originally airing on various networks in late 1985 through 1986, this video starred Harry Dean Stanton and Bernie Taupin, but featured no member of the band. It has also aired on VH1 Classic, and has recently surfaced online.[39][40]
Authorship lawsuit[edit]
In 2005, former Procol Harum organist Matthew Fisher filed suit in the High Court against Gary Brooker and his publisher, claiming that he co-wrote the music for the song.[41] Fisher won the case on 20 December 2006 but was awarded 40% of the composers' share of the music copyright, rather than the 50% he was seeking and was not granted royalties for the period before 2005.[42]
Brooker and publisher Onward Music were granted leave to appeal, and a hearing on the matter was held before a panel of three judges during the week of 1 October 2007. The decision, on 4 April 2008, by Lord Justice Mummery, in the Court of Appeal upheld Fisher's co-authorship[43] but ruled that he should receive no royalties as he had taken too long (38 years) to bring his claim to litigation. Full royalty rights were returned to Brooker.[44]
On 5 November 2008, Fisher was granted permission to appeal this decision to the House of Lords.[45] Lawyers say it is the first time the Law Lords have been asked to rule on a copyright dispute involving a song.[46] The appeal was heard in the House of Lords on 22–23 April 2009.[47]
On 30 July 2009 the Law Lords unanimously ruled in Fisher's favour. They noted that the delay in bringing the case had not caused any harm to the other party; on the contrary he had benefited financially from it. They also pointed out that there were no time limits to copyright claims under English law. The right to future royalties was therefore returned to Fisher.[48][49] Both the musicological basis of the judgment and its effect on the rights of musicians who contribute composition to future works have drawn some attention in the music world.[50]
Chart performance[edit]
Weekly singles charts[edit]
Chart (1967)
Peak
position
Australia Go-Set 1
Austria 4
Belgium 1
Canada RPM Top Singles[51] 1
Canada RPM Adult Contemporary[52] 1
France 1
Germany 1
Ireland 1
Italy 1
New Zealand (Listener)[53] 1
Norway 3
Poland 2
Spain 1
United Kingdom 1
United States 5
Chart (1972)
Peak
position
Netherlands (Single Top 100)[54] 1
Year-end charts[edit]
Chart (1967)
Ranking
Australia[55] 14
Canada[56] 27
United States[57] 38
Chart (1972)
Ranking
Netherlands (Single Top 100)[58] 18
Annie Lennox version[edit]
"A Whiter Shade of Pale"
Single by Annie Lennox
from the album Medusa
B-side
"Heaven"
"(I'm Always Touched By Your) Presence, Dear"
Released
May 1995
Format
CD single
Length
5:15
Label
Arista
Songwriter(s)
Gary Brooker, Matthew Fisher, Keith Reid
Producer(s)
Stephen Lipson
Annie Lennox singles chronology
"No More "I Love You's""
(1995) "A Whiter Shade of Pale"
(1995) "Waiting in Vain"
(1995)
"A Whiter Shade of Pale" was covered by Annie Lennox for her 1995 album Medusa. It was released as the second single in May 1995 and became a top-forty hit in Europe and Canada.
Charts[edit]
Chart (1995)
Peak
position
Australia (ARIA)[59]
56
Belgium (Ultratop 50 Flanders)[60]
48
Belgium (Ultratop 50 Wallonia)[61]
16
Canada Top Singles (RPM)[62]
37
Canada Adult Contemporary (RPM)[63]
2
Europe (European Hot 100 Singles)[64]
45
France (SNEP)[65]
17
Germany (Official German Charts)[66]
77
Ireland (IRMA)[67]
25
Netherlands (Single Top 100)[68]
39
Scotland (Official Charts Company)[69]
11
Switzerland (Schweizer Hitparade)[70]
26
UK Singles (Official Charts Company)[71]
16
US Bubbling Under Hot 100 Singles (Billboard)[72]
1
US Hot Dance Singles Sales (Billboard)[73]
2
US Hot Singles Sales (Billboard)[74]
66
References[edit]
Jump up ^ Harrington, Joe S. (2002). Sonic Cool: The Life & Death of Rock 'n' Roll. Hal Leonard Corporation. ISBN 978-0-634-02861-8.
Jump up ^ Beckerman, Jim (21 March 2015). "'Walk Away Renee' collaborator Michael Brown of Englewood Cliffs, dies at 65". The Record. Archived from the original on 9 August 2016. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "EveryHit.com". everyHit.com. Retrieved 21 February 2012.
Jump up ^ Whitburn, Joel (2006). The Billboard Book of Top 40 Hits. Billboard Books.
Jump up ^ "Procul Harum Signer Gary Brooker Wins A Whiter Shade of Pale Royalty Court Battle". The Mirror. Retrieved 30 October 2012.
Jump up ^ "Show 49 - The British are Coming! The British are Coming!: With an emphasis on Donovan, the Bee Gees and the Who. [Part 6] : UNT Digital Library". Digital.library.unt.edu. 5 August 2011. Retrieved 21 February 2012.
Jump up ^ "Whiter Shade 'most played' song". BBC News. 13 April 2009. Retrieved 21 February 2012.
Jump up ^ "Procol Harum Shades Rivals in UK Survey". Retrieved 21 February 2012.
Jump up ^ The BRITs 1977". Brits.co.uk. Retrieved 20 October 2012.
Jump up ^ Grammy Hall of Fame Award Grammy.org Retrieved 30 October 2012.
Jump up ^ "A Whiter Shade of Pale Versions – Martin's Collection". Retrieved 21 February 2012.
Jump up ^ "A Whiter Shade of Pale Versions – Martin's Collection (archive)". Archived from the original on 15 October 2004. Retrieved 9 November 2017. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "Cover versions of Procol Harum songs". Retrieved 9 November 2017.
Jump up ^ "Procol Harum Beyond The Pale" by Claes Johansen, pp. 68, 86, SAF Publishing, London, 2000.
^ Jump up to: a b Kubernik 2017, p. 191.
^ Jump up to: a b Paul Simpson, The rough guide to cult pop, Page 249. Rough Guides, 2003, ISBN 1843532298. 15 December 2003. ISBN 978-1-84353-229-3. Retrieved 8 December 2009.
^ Jump up to: a b Claes Johansen, Procol Harum: beyond the pale, pp. 57–62. SAF Publishing, 2000, ISBN 0-946719-28-4. 2000. ISBN 978-0-946719-28-0. Retrieved 8 December 2009.
Jump up ^ "Miscellaneous Keith Reid words". Retrieved 1 August 2009.
Jump up ^ Lives of the Great Songs, Tim de Lisle, Trafalgar Square, 1995, ISBN 1-85793-374-5.
Jump up ^ Knowles, Elizabeth, ed. (2007). "Reid, Keith & Brooker, Gary". Oxford Dictionary of Modern Quotations. Oxford: Oxford University Press. ISBN 978-0-19-920895-1.
Jump up ^ Knowles, Elizabeth, ed. (2004). "Reid, Keith". The Oxford Dictionary of Quotations. Oxford: Oxford University Press. ISBN 978-0-19-860720-5.
Jump up ^ Ratcliffe, Susan, ed. (2006). "Reid, Keith". Oxford Dictionary of Phrase, Saying, & Quotation. Oxford: Oxford University Press. ISBN 978-0-19-280650-5.
Jump up ^ "'A Whiter shade of pale' in common parlance". Retrieved 23 June 2009.
Jump up ^ "The Snowclones Database". Archived from the original on 22 June 2009. Retrieved 29 June 2009.
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Sources[edit]
Kubernik, Harvey (2017). 1967: A Complete Rock Music History of the Summer of Love. New York, NY: Sterling. ISBN 978-1-4549-2052-6.
External links[edit]
Lyrics of this song at MetroLyrics
A Whiter Shade of Pale: authorised lyrics of all four verses
"Procol Harum: The ultimate tale of A Whiter Shade Of Pale", article on the song's 40th anniversary, from Classic Rock magazine
Bill Eyden Obituary
Procol Harum – A Whiter Shade Of Pale, live video from Eagle Rock Entertainment's official channel on YouTube
"A Whiter Shade of Pale" Scopitone film on YouTube
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Studio albums
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Novum
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One More Time – Live in Utrecht 1992
Live at the Union Chapel
One Eye to the Future – Live in Italy 2007
Procol Harum – In Concert With the Danish National Concert Orchestra and Choir
The Spirit of Nøkken
MMX
Some Long Road
As Liquorice John Death
Ain't Nothin' to Get Excited About
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