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A Star Is Born (2018 film)
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A Star Is Born
Theatrical release poster
Directed by
Bradley Cooper
Produced by
Bill Gerber
Jon Peters[1]
Bradley Cooper
Todd Phillips
Lynette Howell Taylor[2]
Screenplay by
Eric Roth
Bradley Cooper
Will Fetters
Based on
A Star Is Born
by William A. Wellman
Robert Carson
Dorothy Parker
Alan Campbell
Starring
Bradley Cooper
Lady Gaga
Andrew Dice Clay
Dave Chappelle
Sam Elliott
Cinematography
Matthew Libatique[2]
Edited by
Jay Cassidy[2]
Production
companies
Warner Bros. Pictures
Live Nation Productions
Metro-Goldwyn-Mayer Pictures
Gerber Pictures
Peters Entertainment[3]
Joint Effort[4]
Distributed by
Warner Bros. Pictures[5]
Release date
August 31, 2018 (2018-08-31) (Venice)
October 5, 2018 (2018-10-05) (United States)
Running time
135 minutes[6]
Country
United States
Budget
$36–40 million[7][8]
Box office
$255.9 million[9]
A Star Is Born is a 2018 American music-themed romantic drama film produced and directed by Bradley Cooper (in his directorial debut) and written by Cooper, Eric Roth and Will Fetters. A remake of the 1937 film of the same name, it stars Cooper, Lady Gaga, Andrew Dice Clay, Dave Chappelle, and Sam Elliott, and follows a hard-drinking musician (Cooper) who discovers and falls in love with a young singer (Gaga). It marks the fourth remake of the original 1937 film, after the 1954 musical, the 1976 rock musical and the 2013 Bollywood romance film.
Talks of a remake of A Star Is Born began in 2011, with Clint Eastwood attached to direct and Beyoncé set to star. The film was in development hell for several years with various actors approached to co-star, including Christian Bale, Leonardo DiCaprio, Will Smith, and Tom Cruise. In March 2016, Cooper signed on to star and direct, and Lady Gaga joined the cast in August 2016. Principal photography began at the Coachella Valley Music and Arts Festival in April 2017.
A Star Is Born premiered at the 75th Venice International Film Festival on August 31, 2018, and was theatrically released in the United States on October 5, 2018, by Warner Bros. The film has grossed over $255 million worldwide and received critical acclaim, with praise for Cooper, Gaga and Elliott's performances and Cooper's direction, as well as the screenplay, cinematography and music.
Contents
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Music
4 Release
5 Reception
5.1 Box office
5.2 Critical response
5.3 Accolades
6 See also
7 References
8 External links
Plot
Jackson Maine, a famous country music singer privately battling an alcohol and drug addiction, plays a concert in California. His main support is Bobby, his manager and significantly older half-brother. After the show, Jackson happens upon a drag bar where he witnesses a performance by Ally, a waitress and singer-songwriter. Jackson is amazed by her talent; they spend the night speaking to each other, where Ally discloses to him the troubles she has faced in pursuing a professional music career.
Jackson invites Ally to his next show. Despite her initial refusal she attends and, with Jackson's encouragement, sings on stage with him. Jackson invites Ally to go on tour with him, and they form a romantic relationship. In Arizona, Ally and Jackson visit the ranch where Jackson grew up and where his father is buried, only to discover that Bobby sold the land. Angered at his betrayal, Jackson punches Bobby, who subsequently quits as his manager. Before doing so, Bobby reveals that he did inform Jackson about the sale, but the latter was too inebriated to notice.
While on tour Ally meets Rez, a record producer who offers her a contract. Although visibly bothered, Jackson still supports her decision. Rez refocuses Ally away from country music and towards pop. Jackson misses one of Ally's performances after he passes out drunk in public; he recovers at the home of his friend Noodles, and later makes up with Ally. There he proposes to Ally with a ring made from a loop of guitar string, and they are married that same day.
During Ally's performance on Saturday Night Live, Bobby reconciles with Jackson. Later, Jackson and Ally fight after he drunkenly voices his disapproval of Ally's new image and music, which is nominated for Grammy Awards. At the Grammys, a visibly intoxicated Jackson performs in a tribute to Roy Orbison, and Ally wins the Best New Artist award. When she goes up on stage to receive her award, Jackson follows her, where he wets himself and passes out. Ally's father Lorenzo berates Jackson and Ally helps him sober up. Jackson joins a drug rehabilitation program shortly thereafter.
Jackson recovers in rehab, where he discloses to his counselor that he attempted suicide as a teenager. He tearfully apologizes to Ally for his behavior, and returns home. Ally wishes to bring Jackson to perform with her on the European leg of her tour; Rez refuses, prompting Ally to cancel the remainder of the tour so she can care for Jackson.
Rez later confronts Jackson, informing him of Ally's decision to cancel her tour and accusing him of holding Ally back. That evening, Ally lies to Jackson, and tells him that her record label has cancelled her tour so she can focus on her second album. Jackson promises that he will come to her concert that night, but after Ally leaves, he hangs himself in their garage.
Ally becomes inconsolable after Jackson's death. She is visited by Bobby, who explains Jackson's death was his own fault and not hers. Ally takes a song that Jackson had written but never performed and sings it at a tribute concert, introducing herself as Ally Maine.
Cast
Bradley Cooper as Jackson Maine, an established singer-songwriter and alcoholic. He is Ally's mentor and love interest.
Lady Gaga as Ally Campana-Maine, a nightclub singer-songwriter who is discovered by Jackson.
Sam Elliott as Bobby Maine, Jackson's older brother and manager.
Dave Chappelle as George "Noodles" Stone, Jackson's close friend, himself a retired musician.
Andrew Dice Clay as Lorenzo Campana, Ally's father.
Anthony Ramos as Ramon, Ally's friend.
Michael Harney as Wolfie, a limo driver and friend of Lorenzo.
Rafi Gavron as Rez Gavron, a music producer and Ally's manager.
Additionally, Rebecca Field appears as Gail, Shangela Laquifa Wadley as the drag bar emcee, Willam Belli as drag queen Emerald, Greg Grunberg as Jackson's driver Phil, and Ron Rifkin as Carl. Lukas Nelson & Promise of the Real appear as Jackson's band, Eddie Griffin appears as a local preacher and Luenell appears as a cashier. Marlon Williams, Brandi Carlile, Halsey, Alec Baldwin, and Don Roy King cameo as themselves.
Production
Development
In January 2011, it was announced that Clint Eastwood was in talks to direct Beyoncé in a third American remake of the 1937 film A Star Is Born; however, the project was delayed due to Beyoncé's pregnancy.[10] In April 2012, writer Will Fetters told Collider that the script was inspired by Kurt Cobain.[11] Talks with Christian Bale, Leonardo DiCaprio, Tom Cruise, Johnny Depp, and Will Smith to play the male lead failed to come to fruition. On October 9, 2012, Beyoncé left the project, and it was reported that Bradley Cooper was in talks to star. Eastwood was interested in Esperanza Spalding to play the female lead.[12]
On March 24, 2015, Warner Bros. announced that Cooper was in final talks to make his directorial debut with the film, and potentially to star with Beyoncé, who was again in talks to join;[13] Cooper did become the male lead.[14][15][16] On August 16, 2016, it was reported that Lady Gaga had officially become attached and the studio had green-lit the project to begin production early 2017.[17] It marks the fourth remake of the original 1937 film, after the 1954 musical, the 1976 rock musical and the 2013 Bollywood romance film.[18] On November 9, 2016, it was reported that Ray Liotta was in talks to join the film in the role of the manager to Cooper's character, though he ultimately was not involved.[19] On March 17, 2017, Sam Elliott joined the film,[20] with Andrew Dice Clay entering negotiations to play Lorenzo, the father of Lady Gaga's character.[21] Clay was selected over Robert De Niro, John Turturro and John Travolta.[22] In April 2017, Rafi Gavron, Michael Harney, and Rebecca Field also joined the cast.[23]
Filming began on April 17, 2017.[2] In May, Dave Chappelle was cast in the film.[24] In April 2018, it was announced that Halsey would have a small role.[25]
Music
Main article: A Star Is Born (2018 soundtrack)
After seeing him perform at Desert Trip festival, Cooper approached Lukas Nelson (son of country music singer Willie Nelson) and asked him to help work on the film. Nelson agreed and wrote several songs, which he sent to the producers.[26] Nelson subsequently met Lady Gaga and began writing songs with her and she, in turn, provided backing vocals on two tracks on his self-titled 2017 album.[27] The soundtrack, performed by Gaga and Cooper, was released on October 5, 2018, by Interscope Records. The studio announced that the album "features 19 songs in a wide range of musical styles + 15 dialogue tracks that will take you on a journey that mirrors the experience of seeing the film."[28]
Release
A Star Is Born had its world premiere at the Venice Film Festival on August 31, 2018.[29][30] It also screened at the Toronto International Film Festival,[31] the San Sebastián International Film Festival, and the Zurich Film Festival in September 2018.[32][33] The film was theatrically released in the United States on October 5, 2018,[34] distributed by Warner Bros. Pictures, after initially having been set for September 28, 2018, and May 18, 2018, releases.[35][36]
Reception
Box office
As of October 29, 2018[update], A Star Is Born has grossed $149.9 million in the United States and Canada, and $106 million in other territories, for a total worldwide gross of $255.9 million, against a production budget of $36–40 million.[9]
In the United States and Canada, A Star Is Born grossed $1.35 million from select Tuesday and Wednesday night screenings, and $15.8 million on its first day, including $3.2 million from Thursday night previews. It went on to debut to $42.9 million for the weekend and finished second at the box office, behind fellow newcomer Venom.[8] The film remained in second place in its second, third and fourth weekends, grossing a respective $28 million, $19.3 million and $14.1 million.[37][38][39]
Outside North America, the film was released day-and-date with the U.S. in 31 other countries, and made $14.2 million in its opening weekend; its largest markets were the United Kingdom ($5.3 million), France ($2.1 million) and Germany ($1.9 million).[40]
Critical response
The performances of Bradley Cooper, Lady Gaga, and Sam Elliott (all three seen here at the film's screening at the 2018 Toronto International Film Festival), as well as Cooper's direction, garnered widespread critical acclaim.[41][42]
On review aggregator Rotten Tomatoes, A Star Is Born holds an approval rating of 90% based on 394 reviews, with an average rating of 8.1/10. The website's critical consensus reads, "With appealing leads, deft direction, and an affecting love story, A Star Is Born is a remake done right—and a reminder that some stories can be just as effective in the retelling."[43] On Metacritic, the film has a weighted average score of 88 out of 100, based on 60 critics, indicating "universal acclaim".[44] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale,[45] while PostTrak reported film-goers gave it a 90% positive score.[8]
Alonso Duralde of TheWrap gave the film a positive review, saying, "Cooper and Lady Gaga are dynamite together; this is a story that lives and dies by the central relationship and the instant chemistry that must blossom between them, and these two have it in spades," and praised the musical numbers, describing them as "electrifying".[46] Owen Gleiberman of Variety lauded Cooper's directing, co-writing, and acting, and called the film "a transcendent Hollywood movie".[47] Leah Greenblatt of Entertainment Weekly gave the film a B+, singling out Gaga's performance, saying, "she deserves praise for her restrained, human-scale performance as a singer whose real-girl vulnerability feels miles away from the glittery meat-dress delirium of her own stage persona."[41] Stephanie Zacharek of Time magazine found the film superior to its previous iterations and similarly praised Cooper's direction, the writing, as well the performances and chemistry of Cooper and Gaga. She stated: "You come away feeling something for these people, flawed individuals who are trying to hold their cracked pieces of self together–or to mend the cracks of those they love," also describing Gaga's performance as a "knockout."[48]
In his review for Los Angeles Times, Justin Chang called the film "remarkable," and praised Cooper for his fresh take on the well-worn formula of 1937 film, as well his direction, the performances, writing, and the cinematography.[42] Peter Travers of Rolling Stone gave the film 4.5 out of five stars, and deemed it as a "modern classic," hailing the performances of Cooper and Gaga, and Cooper's direction. He found the film's screenplay and the original songs "seamless" and "terrific," and also called the film a major Oscar contender of the year and one of the year's best films.[49] The Washington Post's Ann Hornaday described the film as "lavishly delightful" and "earthly convincing," and added that it "offers a suitably jaundiced glimpse of starmaking machinery at its most cynical, but also its most thrilling and gratifying." She similarly praised Cooper's direction, the performances and chemistry of Cooper and Gaga, and the supporting performances, particularly Andrew Dice Clay and Sam Elliott.[50]
While praising the direction, acting, and writing, Michael Phillips in the Chicago Tribune argues that a A Star is Born's formula has always been very seductive to audiences, even when it has been written poorly, and Cooper's few missteps include being a bit of a scene hog.[51] Admitting audiences love it, and he just liked it, Phillips drew attention to a skeptical review by Lindsey Romaine of Medium.com who criticized the story's marginalization of the Gaga character in dealing with Cooper's manipulative addict. She at least wanted a scene where Gaga's character processed her behavior of letting the addict boyfriend get away with it. Phillips argued that it is in part the skillful musicianship which gets audiences to blow past such flaws.[52]
Accolades
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref(s)
Hollywood Music in Media Awards November 14, 2018 Best Original Song – Feature Film "Shallow" by Lady Gaga, Mark Ronson, Anthony Rossomando, and Andrew Wyatt Pending [53]
Outstanding Music Supervision – Film Julianne Jordan and Julia Michels Pending
Best Soundtrack Album A Star Is Born Pending
Venice Film Festival September 8, 2018 Smithers Foundation Award A Star Is Born Won [54]
See also
Book: A Star Is Born (2018 film)
List of films featuring the deaf and hard of hearing
References
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^ Jump up to: a b c d Perry, Spencer (April 17, 2017). "First Look at Lady Gaga in A Star is Born Remake". ComingSoon.net. Retrieved April 18, 2017.
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Jump up ^ "A Star is Born". Toronto International Film Festival. Retrieved July 24, 2018.
Jump up ^ Kilday, Gregg (August 22, 2018). "How 'A Star Is Born' Re-created the "Man's World" of Music, Coachella Concert Scenes". The Hollywood Reporter. Retrieved September 17, 2018.
^ Jump up to: a b c D'Alessandro, Anthony (October 7, 2018). "'Venom' Still Showing $80M Fangs; 'A Star Is Born' Hitting $42M+ High Note In Record October Weekend". Deadline Hollywood. Penske Business Media. Retrieved October 7, 2018.
^ Jump up to: a b "A Star Is Born (2018)". Box Office Mojo. Retrieved October 30, 2018.
Jump up ^ Magrath, Andrea (January 21, 2011). "A Star Is Born... again: Clint Eastwood in talks to direct Beyonce in yet another remake of Hollywood classic". Daily Mail. London. Archived from the original on January 22, 2011.
Jump up ^ Chitwood, Adam (April 1, 2012). "Screenwriter Will Fetters Talks Clint Eastwood's A STAR IS BORN; Says Script Was Inspired by Kurt Cobain". Collider.com. Retrieved April 5, 2015.
Jump up ^ Kroll, Justin (October 9, 2012). "Beyonce exits Eastwood's 'A Star Is Born' (Exclusive)". Variety. Retrieved April 5, 2015.
Jump up ^ Fleming Jr, Mike (March 24, 2015). "Bradley Cooper To Make Directing Debut, Hopes To Star With Beyonce In 'A Star Is Born' For Warner Bros". Deadline Hollywood. Retrieved April 5, 2015.
Jump up ^ Bart, Peter; Fleming Jr, Mike (May 2, 2016). "Bart & Fleming: Bradley Cooper & Lady Gaga Road Test 'A Star Is Born' Team-Up". Deadline Hollywood. Retrieved June 18, 2016.
Jump up ^ Fleming Jr, Mike (June 16, 2016). "Lady Gaga Looking Like A Strong Match With Bradley Cooper In 'A Star Is Born'". Deadline Hollywood. Retrieved June 18, 2016.
Jump up ^ Kroll, Justin (June 16, 2016). "Lady Gaga Joins Bradley Cooper's 'A Star Is Born' Remake". Variety. Retrieved August 17, 2016.
Jump up ^ Fleming Jr, Mike (August 16, 2016). "'A Star Is Born' Gets Warner Bros Green Light; Bradley Cooper Directs, Stars With Lady Gaga". Deadline Hollywood. Archived from the original on August 17, 2016. Retrieved August 17, 2016.
Jump up ^ Noelfi, Joel (April 18, 2017). "How Lady Gaga's A Star Is Born evolved with Jennifer Lopez, Beyoncé, more". Entertainment Weekly. Retrieved October 11, 2018.
Jump up ^ Galuppo, Mia (November 9, 2016). "Ray Liotta in Talks to Join Lady Gaga in 'A Star Is Born' Remake". The Hollywood Reporter. Retrieved November 11, 2016.
Jump up ^ Busch, Anita (March 17, 2017). "Sam Elliott Joins Bradley Cooper & Lady Gaga In 'A Star Is Born'". Deadline Hollywood. Retrieved April 19, 2017.
Jump up ^ Busch, Anita (March 23, 2017). "Andrew Dice Clay In Negotiations To Join 'A Star Is Born' In Key Role". Deadline Hollywood. Retrieved April 19, 2017.
Jump up ^ Andrew Dice Clay Says He Beat Robert De Niro, John Travolta for ‘A Star Is Born’ Role
Jump up ^ N'Duka, Amanda (April 28, 2017). "'A Star Is Born' Adds Rafi Gavron & Michael Harney". Deadline Hollywood. Retrieved April 28, 2017.
Jump up ^ Hipes, Patrick (May 5, 2017). "Dave Chappelle Joins 'A Star Is Born' Redo". Deadline Hollywood. Retrieved December 31, 2017.
Jump up ^ Fleming Jr, Mike (April 26, 2018). "Sony Pictures Makes Deal With Halsey For Movie Inspired By Singer's Life". Deadline Hollywood. Retrieved April 26, 2018.
Jump up ^ Finn, Timothy (February 2, 2018). "He's worked with Neil Young, Gaga and his dad, Willie Nelson. Now he's coming to KC". The Kansas City Star. Retrieved April 5, 2018.
Jump up ^ Stephens, Samantha (September 18, 2017). "How Lady Gaga Brought Lukas Nelson and Promise of the Real's "Find Yourself" to Life". CMT. Retrieved April 5, 2018.
Jump up ^ @Interscope (August 30, 2018). "#AStarIsBornSoundtrack features 19 songs in a wide range of musical styles + 15 dialogue tracks that will take you on a journey that mirrors the experience of seeing the film" (Tweet). Retrieved August 30, 2018 – via Twitter.
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Jump up ^ Wiseman, Andreas (August 14, 2018). "Damien Chazelle's 'First Man', Alfonso Cuaron's 'Roma', Bradley Cooper's 'A Star Is Born' Head To San Sebastian Fest". Deadline Hollywood. Retrieved August 14, 2018.
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Jump up ^ D'Alessandro, Anthony (October 14, 2018). "'Sony Swings Past $1 Billion As 'Venom' Bites $35M+; 'First Man' Lands Third With $16M+ – Sunday AM". Deadline Hollywood. Penske Business Media. Retrieved October 14, 2018.
Jump up ^ D'Alessandro, Anthony (October 21, 2018). "'Halloween' Scares Up Second-Best October Opening With $77M+; Best Debut For Blumhouse & Carpenter Canon; Great Launch For Miramax". Deadline Hollywood. Penske Business Media. Retrieved October 21, 2018.
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Jump up ^ Tartaglione, Nancy (October 7, 2018). "'Venom' Sinks Teeth Into $205M Global Bow; Sets Biggest October Debut WW – International Box Office". Deadline Hollywood. Retrieved October 7, 2018.
^ Jump up to: a b Greenblatt, Leah (August 31, 2018). "Lady Gaga and Bradley Cooper make (mostly) beautiful music in A Star Is Born: EW review". Entertainment Weekly. Retrieved August 31, 2018.
^ Jump up to: a b Chang, Justin (September 8, 2018). "'A Star Is Born,' 'Beautiful Boy' bring stories of love and addiction to Toronto". Los Angeles Times. Retrieved September 14, 2018.
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Jump up ^ Gleiberman, Owen (August 31, 2018). "Venice Film Review: Bradley Cooper and Lady Gaga in A Star Is Born". Variety. Retrieved August 31, 2018.
Jump up ^ Zacharek, Stephanie (August 31, 2018). "Lady Gaga Delivers a Knockout Performance in A Star Is Born". Time. Retrieved September 14, 2018.
Jump up ^ Travers, Peter (October 1, 2018). "'A Star Is Born' Review: Cooper, Lady Gaga Hit All the Right Notes". Rolling Stone.
Jump up ^ Hornaday, Ann (September 21, 2018). "Bradley Cooper and Lady Gaga's hotly anticipated 'A Star is Born' is here — and it is lavishly delightful". The Washington Post. Retrieved October 6, 2018.
Jump up ^ Phillips, Michael (October 1, 2018). "'A Star is Born' review: Bradley Cooper goes Gaga in directing debut". Chicago Tribune. Retrieved 2018-10-21.
Jump up ^ Phillips, Michael (October 18, 2018). "How destructive male behavior in 'A Star is Born' is eclipsed by beautiful music". Chicago Tribune. Retrieved 2018-10-21.
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Jump up ^ "Collateral Awards of the 75th Venice Film Festival". Venice Biennale. September 7, 2018. Retrieved October 19, 2018.
External links
Film portal
Lady Gaga portal
Official website
A Star Is Born on IMDb
A Star Is Born at the TCM Movie Database
A Star Is Born at Box Office Mojo
A Star Is Born (trailer) on YouTube
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Dynamics (music)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Crescendo" redirects here. For other uses, see Crescendo (disambiguation).
"Fortissimo" redirects here. For other uses, see Fortissimo (disambiguation).
"Diminuendo" redirects here. For the Lowlife album, see Diminuendo (album). For the Thoroughbred racehorse, see Diminuendo (horse).
Same motif repeated at various quiet and loud dynamics Play (help·info)
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance a piano (quiet) marking in one part of a piece might have quite different objective loudness in another piece, or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato.
Contents
[hide]
1 Purpose and interpretation
2 Dynamic markings
2.1 Changes
2.2 Extreme dynamic markings
3 History
4 See also
5 Notes
6 References
Purpose and interpretation[edit]
Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling.
Dynamic markings are always relative.[1] p never indicates a precise level of loudness, it merely indicates that music in a passage so marked should be considerably quieter than f. There are many factors affecting the interpretation of a dynamic marking. For instance, the middle of a musical phrase will normally be played louder than the beginning or ending, to ensure the phrase is properly shaped, even where a passage is marked p throughout. Similarly, in multi-part music, some voices will naturally be played louder than others, for instance to emphasis the melody and the bass line, even if a whole passage is marked at one dynamic level. Some instruments are naturally louder than others - for instance, a tuba playing piano will likely be louder than a guitar playing fortissimo, while a high-pitched instrument piccolo playing in its upper register can usually sound loud even where its actual decibel level is lower than that of other instruments.
Further, a dynamic marking does not necessarily only affect loudness of the music. A forte passage is not usually "the same as a piano passage but louder". Rather, a musician will often use a different approach to other aspects of expression like timbre or articulation to further illustrate the differences. Sometimes this might also extend to tempo. It's important for a performer to be able to control dynamics and tempo independently, and thus novice musicians are often instructed "don't speed up just because it's getting louder!". However, in some circumstances, a dynamic marking might also indicate a change of tempo.[a]
In some music notation programs, there are default MIDI key velocity values associated with these indications, but more sophisticated programs allow users to change these as needed. Apple's Logic Pro 9 (2009-2013) and Avid's Sibelius 5 (2007-2009) use the following values: Sibelius 5 defines the following values, though these may be adjusted in Sibelius, within the range 0-127:
Letters
ppp
pp
p
mp
mf
f
ff
fff
Logic Pro 9 dynamics[2] 16 32 48 64 80 96 112 127
Sibelius 5 dynamics[3] 20 39 61 71 84 98 113 127
Sibelius 5 attacks 15 30 50 60 75 90 105 119
Dynamic markings[edit]
See also: Glossary of musical terminology
Scale of dynamic markings[4]
Name
Letters
Level
fortissississimo
ffff maximum
fortississimo
fff
fortissimo
ff
forte
f
mezzo-forte
mf average
mezzo-piano
mp
piano
p
pianissimo
pp
pianississimo
ppp
pianissississimo
pppp
pianississississimo
ppppp
pianissississississimo
pppppp minimum
The two basic dynamic indications in music are:
p or piano, meaning "soft".[5][6]
f or forte, meaning "loud".[5][7]
More subtle degrees of loudness or softness are indicated by:
mp, standing for mezzo-piano, meaning "half soft".
mf, standing for mezzo-forte, meaning "half loud".[8]
più p, standing for più piano and meaning "softer".
più f, standing for più forte and meaning "louder".
Use of up to three consecutive fs or ps is also common:
pp, standing for pianissimo and meaning "very soft".
ff, standing for fortissimo and meaning "very loud".
ppp, standing for pianississimo and meaning "very very soft" (or alternatively pianissimo possibile, "as soft as possible").
fff, standing for fortississimo and meaning "very very loud".[8]
The overall ranking of these is:
ppp pp più p p mp mf f più f ff fff
softest mid dle loudest
Note Velocity is a MIDI measurement of the speed that the key travels from its rest position to completely depressed, with 127, the largest value in a 7-bit number, being instantaneous, and meaning as strong as possible. Play a C major chord at each dynamic from fff to ppp (help·info)
Changes[edit]
"Crescendo" redirects here. For other uses, see Crescendo (disambiguation).
Three Italian words are used to show gradual changes in volume:
crescendo (abbreviated cresc.) translates as "increasing" (literally "growing").
decrescendo (abbreviated to decresc.) translates as "decreasing".
diminuendo (abbreviated dim.) translates as "diminishing".
Signs sometimes referred to as "hairpins"[9] are also used to stand for these words (See image). If the angle lines open up ( ), then the indication is to get louder; if they close gradually ( ), the indication is to get softer. The following notation indicates music starting moderately strong, then becoming gradually stronger and then gradually quieter:
Hairpins are usually written below the staff (or between the two staves in a grand staff), but are sometimes found above, especially in music for singers or in music with multiple melody lines being played by a single performer. They tend to be used for dynamic changes over a relatively short space of time (at most a few bars), while cresc., decresc. and dim. are generally used for changes over a longer period. Word directions can be extended with dashes to indicate over what time the event should occur, which may be as long as multiple pages.
For greater changes in dynamics, cresc. molto and dim. molto are often used, where the molto means "much". Similarly, for more gradual changes poco cresc. and poco dim. are used, where "poco" translates as a little, or alternatively with poco a poco meaning "little by little. Sudden changes in dynamics may be notated by adding the word subito (meaning "suddenly") as a prefix or suffix to the new dynamic notation.
Accented notes can be notated sforzando, sforzato, forzando or forzato (abbreviated sfz, sf, or fz) ("forcing" or "forced"), or using the sign >, placed above or below the head of the note.
Sforzando (sfz) notation
Sforzando (or sforzato, forzando, forzato) indicates a forceful accent and is abbreviated as sf, sfz or fz. There is often confusion surrounding these markings and whether or not there is any difference in the degree of accent. However, all of these indicate the same expression, depending on the dynamic level,[10] and the extent of the sforzando is determined purely by the performer.
The fortepiano notation fp indicates a forte followed immediately by piano. By contrast, pf is an abbreviation for poco forte, literally "a little loud" but (according to Brahms) meaning with the character of forte, but the sound of piano, though rarely used because of possible confusion with pianoforte).[11]
Extreme dynamic markings[edit]
Dynamics softer than ppp or louder than fff are impractical, although theoretically any dynamic is possible.[12]
While the typical range of dynamic markings is from ppp to fff, some pieces use additional markings of further emphasis. Extreme dynamic markings imply an extreme range of loudness, or, alternatively, imply an extremely subtle distinction between very small differences of loudness within a normal range). This kind of usage is most common in orchestral works from the late 19th-century onwards. Generally, these markings are supported by the orchestration of the work, with heavy forte markings brought to life by having many loud instruments like brass and percussion playing at once. An early example of a decrescendo across 72 bars, from f to pppppp, is found in the fifth piece ("The Indian") of Walter William Stockhoff's In the Mountains: 7 Impressions for Pianoforte, op. 2 (1914).[citation needed] For instance, in Holst's The Planets, ffff occurs twice in "Mars" and once in "Uranus", often punctuated by organ.[citation needed] It also appears in Heitor Villa-Lobos' Bachianas Brasileiras No. 4 (Prelude),[citation needed] and in Liszt's Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam".[citation needed] The Norman Dello Joio Suite for Piano ends with a crescendo to a ffff,[citation needed] and Tchaikovsky indicated a bassoon solo pppppp (6 p) in his Pathétique Symphony and ffff in passages of his 1812 Overture and the 2nd movement of his Fifth Symphony.[citation needed]
Igor Stravinsky used ffff at the end of the finale of the Firebird Suite.[citation needed] ffff is also found in a prelude by Rachmaninoff, op.3-2.[citation needed] Shostakovich even went as loud as fffff (5 fs) in his fourth symphony.[citation needed] Gustav Mahler, in the third movement of his Seventh Symphony, gives the celli and basses a marking of fffff (5 fs), along with a footnote directing 'pluck so hard that the strings hit the wood'.[citation needed] On the other extreme, Carl Nielsen, in the second movement of his Symphony No. 5, marked a passage for woodwinds a diminuendo to ppppp (5 ps).[citation needed]
Another more extreme dynamic is in György Ligeti's Études No. 13 (Devil's Staircase), which has at one point a ffffff (6 fs) and progresses to a ffffffff (8 fs).[citation needed] In Ligeti's Études No. 9, he uses pppppppp (8 ps).[citation needed] In the baritone passage "Era la notte" from his opera Otello, Verdi uses pppp.[citation needed] In the full score the same spot is marked ppp.[13] Steane (1971) and others[citation needed] suggest that such markings are in reality a strong reminder to less than subtle singers to at least sing softly rather than an instruction to the singer actually to attempt a pppp.
History[edit]
On Music, one of the ''Moralia'' attributed to the philosopher Plutarch in the first century AD, suggests that ancient Greek musical performance included dynamic transitions - though dynamics receive far less attention in the text than does rhythm or harmony.
The Renaissance composer Giovanni Gabrieli was one of the first to indicate dynamics in music notation, but dynamics were used sparingly by composers until the late 18th century. Bach used some dynamic terms, including forte, piano, più piano, and pianissimo (although written out as full words), and in some cases it may be that ppp was considered to mean pianissimo in this period.
The fact that the harpsichord could play only "terraced" dynamics (either loud or soft, but not in between), and the fact that composers of the period did not mark gradations of dynamics in their scores, has led to the "somewhat misleading suggestion that baroque dynamics are 'terraced dynamics'," writes Robert Donington.[14] In fact, baroque musicians constantly varied dynamics. "Light and shade must be constantly introduced... by the incessant interchange of loud and soft," wrote Johann Joachim Quantz in 1752.[15] In addition to this, the harpsichord in fact becomes louder or softer depending on the thickness of the musical texture (four notes are louder than two). This allowed composers such as Bach to build dynamics directly into their compositions, without the need for notation.
In the Romantic period, composers greatly expanded the vocabulary for describing dynamic changes in their scores. Where Haydn and Mozart specified six levels (pp to ff), Beethoven used also ppp and fff (the latter less frequently), and Brahms used a range of terms to describe the dynamics he wanted. In the slow movement of the trio for violin, horn and piano (Opus 40), he uses the expressions ppp, molto piano, and quasi niente to express different qualities of quiet. Many Romantic and later composers added più p and più f, making for a total of ten levels between ppp and fff.
See also[edit]
Look up fortissimo or decrescendo in Wiktionary, the free dictionary.
Accent (music)
Glossary of musical terminology
Notes[edit]
Jump up ^ For instance, in Schubert's string quartet Death and the Maiden, the dimenuendo marking is followed by a tempo, indicating that the dimenuendo is a reduction in speed as well as in loudness. In the same work Schubert uses decrescendo to indicate a reduction in loudness with no change in speed.
References[edit]
Jump up ^ Thiemel, Matthias. "Dynamics". Grove Music Online (subscriber only access). Oxford University Press. Retrieved 7 July 2017.
Jump up ^ "Apple Logic Pro 9 User Manual for MIDI Step Input Recording". Retrieved 2013-07-29.
Jump up ^ Spreadbury, Daniel; Eastwood, Michael; Finn, Ben; and Finn, Jonathan (March 2008). Sibelius 5 Reference. Edition 5.2. Sibeilus Software.
Jump up ^ Read, Gardner (1969/1979). Music Notation: A Manual of Modern Practice, p.250. 2nd edition. Crescendo Publishing, part of Taplinger Publishing. ISBN 0-8008-5453-5.
^ Jump up to: a b Randel, Don Michael (2003). The Harvard Dictionary of Music (4th ed.). Cambridge, MA, US: Harvard University Press Reference Library.
Jump up ^ "Piano". Virginia Tech Multimedia Music Dictionary. Retrieved 2012-03-19.
Jump up ^ "Forte". Virginia Tech Multimedia Music Dictionary. Retrieved 2012-03-19.
^ Jump up to: a b "Dynamics". Virginia Tech Multimedia Music Dictionary. Retrieved 2012-03-19.
Jump up ^ Kennedy, Michael and Bourne, Joyce: The Concise Oxford Dictionary of Music (1996), entry "Hairpins".
Jump up ^ Gerou, Tom; Lusk, Linda (1996). Essential Dictionary of Music Notation: The Most Practical and Concise Source for Music Notation. Van Nuys, CA: Alfred Music Publishing. pp. 37–38. ISBN 978-0882847306.
Jump up ^ An Enigmatic Marking Explained, by Jeffrey Solow, Violoncello Society Newsletter, Spring 2000
Jump up ^ Gerou, Tom and Lusk, Linda (1996). The Essential Dictionary of Music Notation, p.133. Alfred. ISBN 0-88284-730-9.
Jump up ^ (1965). The Musical Times, Vol. 106. Novello.
Jump up ^ Donington, Robert: Baroque Music (1982) WW Norton, 1982. ISBN 0-393-30052-8. Page 32.
Jump up ^ Donington, Robert: Baroque Music (1982) WW Norton, 1982. ISBN 0-393-30052-8. Page 33.
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I Can't Get Next to You
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"I Can't Get Next to You"
Single by The Temptations
from the album Puzzle People
B-side
"Running Away (Ain't Gonna Help You)"
Released
July 30, 1969
Format
7" single
Recorded
Hitsville USA (Studio A); June 23, June 24, June 27, June 30, July 2, and July 3, 1969
Genre
Funk, psychedelic soul
Length
2:51
Label
Gordy
G 7093
Songwriter(s)
Norman Whitfield
Barrett Strong
Producer(s)
Norman Whitfield
Platinum (RIAA)
The Temptations singles chronology
"Don't Let the Joneses Get You Down"
(1969) "I Can't Get Next to You"
(1969) "The Weight"
(1969)
"Don't Let the Joneses Get You Down"
(1969) "I Can't Get Next to You"
(1969) "The Weight"
(1969)
"I Can't Get Next to You"
Single by Al Green
from the album Al Green Gets Next to You
Released
1970
Format
7" single
Recorded
Memphis, Tennessee; 1970
Genre
Soul
Length
3:48
Label
Hi
2182
Songwriter(s)
Norman Whitfield
Barrett Strong
Producer(s)
Willie Mitchell
Al Green singles chronology
"Right Now, Right Now"
(1970) "I Can't Get Next to You"
(1970) "Driving Wheel"
(1971)
"Right Now, Right Now"
(1970) "I Can't Get Next to You"
(1970) "Driving Wheel"
(1971)
"I Can't Get Next to You" is a 1969 number-one single recorded by The Temptations and written by Norman Whitfield and Barrett Strong for the Gordy (Motown) label. The song was the number-one single on the Billboard Top Pop Singles chart for two weeks in 1969, from October 18 to October 25, replacing "Sugar, Sugar" by The Archies and replaced by "Suspicious Minds" by Elvis Presley. The single was also a number-one hit on the Billboard Top R&B Singles for five weeks,[1] from October 4 to November 1, replacing "Oh, What a Night" by The Dells, and replaced by another Motown song, "Baby I'm For Real" by The Originals.
The single was the second of the Temptations' four number-one hits on the United States pop charts, and was also one of the best-selling singles the group released. Billboard ranked it as the No. 3 song for 1969.[2]
ABC, a song released in the following year by fellow Motown act The Jackson Five, uses the same bridge section, featuring identifiable use of the stated "ya!" as well as the percussion.
The applause that starts the song, which is cut short by Dennis Edwards' spoken "Hold it, hold it, listen" line, was sampled in another Temptations song "Psychedelic Shack."
Contents
[hide]
1 Overview
2 Personnel
3 Covers
4 See also
5 References
6 External links
Overview[edit]
"I Can't Get Next to You" was the second single from the 1969 Temptations LP Puzzle People, with "Running Away (Ain't Gonna Help You)", a ballad led by Paul Williams, as the b-side. The single was a number-one hit on both the Billboard Hot 100 chart and the Billboard Top R&B Singles charts. The song has been frequently covered, with the most notable cover being a 1970 version by Al Green, which strips the composition of its fast pace and multi-lead vocals, and instead renders it as a slow-burning plea for love. Green's cover, the title track of his 1971 LP Al Green Gets Next to You, reached number sixty on the Billboard Pop Singles chart, and number eleven on the R&B chart.
Personnel[edit]
Lead and background vocals by Dennis Edwards (verses; choruses; outro), Eddie Kendricks (verses; choruses), Paul Williams (verses), Melvin Franklin (verses), and Otis Williams (last verse)
Written by Norman Whitfield and Barrett Strong
Produced by Norman Whitfield
Instrumentation by The Funk Brothers.
Covers[edit]
In 1970, The Osmonds (with newly added youngest brother Donny) covered the song on their eponymous MGM debut album as the finale of a medley of Motown hits. They later released a full version of the song on their 1974 album, Love Me for a Reason.
In September 1971 the British group Savoy Brown included a much slower and bluesier version in their album Street Corner Talking which was based on the Al Green version that came out a month before on his album Al Green Gets Next to You.
In 1976, The Jess Roden Band included a version on their album Play It Dirty, Play It Class.
In 1993, the Brazilian blues band Big Allanbik, covered this song on their first release "Blues Special Reserve", with a tinged Savoy Brown influence.
In 1995, Annie Lennox covered the song on her Medusa album, with a slight lyrical alteration to reflect her gender.
In 2000, Westlife used the song for the medley part of their Where the Dreams Come True Tour.
In 2002, Toto covered the song on their album Through the Looking Glass. In the same year, *NSYNC also covered a portion of the song on their Celebrity arena tour as part of a three-song Temptations medley.
In 2006, San Francisco band Thee More Shallows covered the song on their EP Monkey vs. Shark.
In 2008, Lil Wayne sampled parts of the song for his song "Oh I", which was originally intended for Tha Carter II but did not make the final track listing, and had the chorus sung by Reel with different lyrics.
In 2014, David Cassidy posted a download link to the song on David Cassidy's official web site. David originally recorded the track in 2011 with Craig J Snider.
See also[edit]
Hot 100 No. 1 Hits of 1969 (USA)
R&B number-one hits of 1969 (USA)
References[edit]
Jump up ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 571.
Jump up ^ Billboard Year-End Hot 100 singles of 1969
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"Sugar, Sugar" by The Archies Billboard Hot 100 number one single (The Temptations version)
October 18, 1969 (two weeks) Succeeded by
"Suspicious Minds" by Elvis Presley
Preceded by
"Oh, What a Night" by The Dells Billboard's Best Selling Soul Singles number one single
October 4 - November 1, 1969 Succeeded by
"Baby, I'm for Real" by The Originals
[show]
v
t
e
The Temptations
Otis Williams
Ron Tyson
Terry Weeks
Larry Braggs
Willie Green
Melvin Franklin
Eddie Kendricks
Paul Williams
Elbridge Bryant
David Ruffin
Dennis Edwards
Ricky Owens
Richard Street
Damon Harris
Glenn Leonard
Louis Price
Ali-Ollie Woodson
Theo Peoples
Harry McGilberry
Barrington "Bo" Henderson
Ray Davis
G. C. Cameron
Joe Herndon
Bruce Williamson
Studio albums
Meet the Temptations
The Temptations Sing Smokey
The Temptin' Temptations
Gettin' Ready
The Temptations with a Lot o' Soul
The Temptations Wish It Would Rain
Cloud Nine
Puzzle People
Psychedelic Shack
Sky's the Limit
Solid Rock
All Directions
Masterpiece
1990
A Song for You
House Party
Wings of Love
The Temptations Do the Temptations
Bare Back
Hear to Tempt You
Power
The Temptations
Reunion
Surface Thrills
Back to Basics
Truly for You
Touch Me
To Be Continued...
Together Again
Special
Milestone
Phoenix Rising
Ear-Resistible
Awesome
Legacy
Still Here
Cover albums
The Temptations in a Mellow Mood
For Lovers Only
Reflections
Back to Front
Live albums
Temptations Live!
Live at the Copa
Live at London's Talk of the Town
The Temptations in Japan
Other albums
Diana Ross & the Supremes Join The Temptations
TCB
The Temptations Show
Together
On Broadway
The Temptations Christmas Card
Give Love at Christmas
Lost and Found: You've Got to Earn It (1962–1968)
Compilations
Greatest Hits
Greatest Hits II
Anthology
Emperors of Soul
The Ultimate Collection
My Girl: The Very Best of the Temptations
Psychedelic Soul
Singles
(US/UK Top 10)
"My Girl"
"Get Ready"
"Ain't Too Proud to Beg"
"Beauty Is Only Skin Deep"
"(I Know) I'm Losing You"
"All I Need"
"You're My Everything"
"I Wish It Would Rain"
"I Could Never Love Another (After Loving You)"
"Cloud Nine"
"I'm Gonna Make You Love Me"
"Run Away Child, Running Wild"
"I Can't Get Next to You"
"Psychedelic Shack"
"Ball of Confusion (That's What the World Is Today)"
"Just My Imagination (Running Away with Me)"
"Papa Was a Rollin' Stone"
"Masterpiece"
"Let Your Hair Down"
"Happy People"
"Shakey Ground"
"Treat Her Like a Lady"
"The Motown Song"
"My Girl" (reissue)
Related
The Temptations (miniseries)
Discography
The Supremes
The Undisputed Truth
Norman Whitfield
Barrett Strong
Sly Stone
George Clinton
Book
Category
[show]
v
t
e
The Temptations singles discography
1960s
"Oh Mother of Mine" (1961)
"Check Yourself" (1961)
"(You're My) Dream Come True" (1962)
"Mind Over Matter (I'm Gonna Make You Mine)" (1962)
"Paradise" (1962)
"I Want a Love I Can See" (1963)
"Farewell My Love" (1963)
"The Way You Do the Things You Do" (1964)
"I'll Be in Trouble" (1964) / "The Girl's Alright with Me" (1964)
"Girl (Why You Wanna Make Me Blue)" (1964)
"My Girl" (1964)
"It's Growing" (1965)
"Since I Lost My Baby" (1965) / "You've Got to Earn It" (1965)
"My Baby" (1965) / "Don't Look Back" (1965)
"Get Ready" (1966)
"Ain't Too Proud to Beg" (1966)
"Beauty Is Only Skin Deep" (1966)
"(I Know) I'm Losing You" (1966)
"All I Need" (1967)
"You're My Everything" (1967) / "I've Been Good To You" (1967)
"(Loneliness Made Me Realize) It's You That I Need" (1967)
"I Wish It Would Rain" (1968) / "I Truly, Truly Believe" (1968)
"I Could Never Love Another (After Loving You)" (1968)
"Please Return Your Love to Me" (1968)
"Cloud Nine" (1968)
"Rudolph the Red-Nosed Reindeer" (1968) / "Silent Night" (1968)
"I'm Gonna Make You Love Me" (1969)
"Runaway Child, Running Wild" (1969)
"I'll Try Something New" (1969)
"Don't Let the Joneses Get You Down" (1969)
"I Second That Emotion" (1969)
"I Can't Get Next to You" (1969)
"The Weight" (1969)
1970s
"Psychedelic Shack" (1970)
"Why (Must We Fall in Love)" (1970)
"Ball of Confusion (That's What the World Is Today)" (1970)
"Ungena Za Ulimwengu (Unite the World)" (1970) / "Hum Along and Dance" (1970)
"Just My Imagination (Running Away with Me)" (1971)
"It's Summer" (1971)
"Superstar (Remember How You Got Where You Are)" (1971)
"Take a Look Around" (1972)
"Mother Nature" (1972) / "Funky Music Sho Nuff Turns Me On" (1972)
"Papa Was a Rollin' Stone" (1972)
"Masterpiece" (1973)
"Plastic Man" (1973)
"Hey Girl (I Like Your Style)" (1973)
"Law of the Land" (1973)
"Let Your Hair Down" (1973)
"Heavenly" (1974)
"You've Got My Soul on Fire" (1974)
"Happy People" (1974)
"Shakey Ground" (1975)
"Glasshouse" (1975)
"Keep Holdin' On" (1976)
"Up the Creek (Without a Paddle)" (1976)
"Who are You (and What are You Doing the Rest of Your Life)" (1976)
"In a Lifetime" (1977)
"Think for Yourself" (1977)
"Bare Back" (1978)
"Ever Ready Love" (1978)
1980s
"Power" (1980)
"Struck By Lightning Twice" (1980)
"Aiming At Your Heart" (1981)
"Oh What A Night" (1981)
"Standing On The Top - Pt. 1" (1982)
"More On The Inside" (1982)
"Money's Hard To Get" (1982)
"Love On My Mind Tonight" (1983)
"Surface Thrills" (1983)
"Miss Busy Body (Get Your Body Busy)" (1983)
"Sail Away" (1984)
"Treat Her Like a Lady" (1984)
"My Love Is True (Truly For You)" (1985)
"How Can You Say That It's Over" (1985)
"Do You Really Love Your Baby" (1985)
"Deeper Than Love" (1985)
"Touch Me" (1986)
"I'm Fascinated" (1986)
"A Fine Mess" (1986)
"My Girl" (re-issue) (1986)
"Lady Soul" (1986)
"To Be Continued..." (1986)
"Someone" (1987)
"I Wonder Who She's Seeing Now" (1987)
"Papa Was a Rollin' Stone" (re-issue) (1987)
"Look What You Started" (1987)
"Do You Wanna Go With Me" (1988)
"All I Want From You" (1989)
"Special" (1989)
"Loveline" (1989)
1990s
"Soul to Soul" (1990)
"One Step At A Time (Remix)" (1990)
"The Motown Song" (1991)
"The Jones" (1991)
"My Girl" (re-issue) (1992)
"Hoops of Fire" (1992)
"Error of Our Ways" (1994)
"Silent Night" (1995)
"Stay" (1998)
"This is My Promise" (1998)
"How Could He Hurt You" (1999)
2000s
"I'm Here" (2000)
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Can%27t_Get_Next_to_You&oldid=783979282"
Categories:
1969 singles
1970 singles
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Songs written by Norman Whitfield
The Temptations songs
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Song recordings produced by Norman Whitfield
Billboard Hot 100 number-one singles
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Psychedelic soul songs
1969 songs
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text:
List of Allied ships at the Japanese surrender
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
These ships of the Allied navies of World War II were present in Tokyo Bay on Victory over Japan Day (2 September 1945) when the Japanese Instrument of Surrender was signed on board the battleship USS Missouri (BB-63). The only US vessel present at both the Pearl Harbor attack and Tokyo Bay surrender was the USS West Virginia.
Contents
1 Battleships
2 Light aircraft carriers
3 Escort carriers
4 Heavy cruisers
5 Light cruisers
6 Destroyers
7 Destroyer escorts
8 Frigates
9 Sloops
10 Light minelayers
11 High speed minesweepers
12 Submarines
13 Submarine chasers
14 Motor gunboats
15 Minesweepers
16 Motor minesweepers
17 Auxiliary minelayers
18 Amphibious force flagships
19 High speed transports
20 Tank landing ships
21 Dock landing ships
22 Infantry landing craft
23 Medium landing ships
24 Vehicle landing ships
25 Attack transports
26 Transport
27 Attack cargo ships
28 Cargo ships
29 Civilian cargo ships (United States)
30 Stores issue ship
31 Repair ship
32 Landing craft repair ship
33 Oilers
34 Civilian oilers (British)
35 Gasoline tanker
36 Destroyer tender
37 Hospital ships
38 Seaplane tenders
39 Small seaplane tenders
40 Submarine tender
41 Submarine rescue ship
42 Fleet ocean tugs
43 Auxiliary ocean tug
44 Footnotes
45 References
Battleships[edit]
USS New Mexico (BB-40)
USS Mississippi (BB-41)
USS Idaho (BB-42)
USS Colorado (BB-45)
USS West Virginia (BB-48)
USS Iowa (BB-61) (sister ship of USS Missouri and lead ship of the class)
USS Missouri (BB-63) (The ship on which the surrender was signed)
USS Wisconsin (BB-64) (Wisconsin, as part of the occupying force, arrived at Tokyo Bay on 5 September, three days after the formal surrender occurred on Missouri)
USS South Dakota (BB-57)
HMS Duke of York (17)
HMS Anson (79)
HMS King George V (41)
Light aircraft carriers[edit]
USS Bataan (CVL-29)[1]
USS Cowpens (CVL-25)
Escort carriers[edit]
HMS Ruler (D72)
USS Salamaua (CVE-96)
HMS Speaker (D90)
Heavy cruisers[edit]
USS Boston (CA-69)
USS Chicago (CA-136)
USS Quincy (CA-71)
USS Saint Paul (CA-73)
HMAS Shropshire (73)
Light cruisers[edit]
USS Detroit (CL-8)
HMNZS Gambia (48)
HMAS Hobart (I63)
HMS Newfoundland (C59)
USS Oakland (CL-95)
USS Pasadena (CL-65)
USS San Diego (CL-53)
USS San Juan (CL-54)
USS Springfield (CL-66)
USS Wilkes-Barre (CL-103)
Destroyers[edit]
USS Ault (DD-698)
HMS Barfleur (D80)
USS Benham (DD-796)
USS Blue (DD-744)
USS Buchanan (DD-484)[2]
USS Caperton (DD-650)
USS Charles F. Hughes (DD-428)[3]
USS Clarence K. Bronson (DD-668)
USS Cogswell (DD-651)
USS Colahan (DD-658)
USS Cotten (DD-669)
USS Cushing (DD-797)
USS De Haven (DD-727)
USS Dortch (DD-670)
USS Frank Knox (DD-742)
USS Gatling (DD-671)
USS Halsey Powell (DD-686)
USS Healy (DD-672)
USS Hilary P. Jones (DD-427)
USS Ingersoll (DD-652)
USS Kalk (DD-611)
USS Knapp (DD-653)
USS Lansdowne (DD-486)[4]
USS Lardner (DD-487)
USS Madison (DD-425)
USS Mayo (DD-422)
HMAS Napier (G97)
HMAS Nizam (G38)
USS Nicholas (DD-449)
USS Perkins (DD-877)
HMS Quality (G62)
USS Robert K. Huntington (DD-781)
USS Southerland (DD-743)
USS Stockham (DD-683)
HMS Tartar (F43)
USS Taylor (DD-468)
HMS Teazer (R23)
HMS Tenacious (R45)
HMS Terpsichore (R33)
USS Twining (DD-540)
USS Uhlmann (DD-687)
USS Wadleigh (DD-689)
HMS Wager (R98)
USS Waldron (DD-699)
USS Wallace L. Lind (DD-703)
HMAS Warramunga (I44)
USS Wedderburn (DD-684)
HMS Whelp (R37)
HMS Wizard (R72)
USS Wren (DD-568)
USS Yarnall (DD-541)[5]
Destroyer escorts[edit]
USS BURKE (DE-215/APD-65)
USS Goss (DE-444)
USS Kendall C. Campbell (DE-443)
USS Lyman (DE-302)
USS Major (DE-796)
USS Roberts (DE-749)
USS Ulvert M. Moore (DE-442)
USS Waterman (DE-740)
USS Weaver (DE-741)
USS William Seiverling (DE-441)
Frigates[edit]
HMS Derg (K257)
HMAS Gascoyne (K354)
HMS Woodcock (U90)[6]
Sloops[edit]
HMS Crane (U23)
HMS Whimbrel (U29)
Light minelayers[edit]
USS Gwin (DM-33)
USS Thomas E. Fraser (DM-24)
High speed minesweepers[edit]
USS Ellyson (DMS-19)
USS Fitch (DMS-25)
USS Gherardi (DMS-30)
USS Hambleton (DMS-20)
USS Hopkins (DMS-13)
USS Jeffers (DMS-27)
USS Macomb (DMS-23)
Submarines[edit]
USS Archerfish (SS-311)
USS Cavalla (SS-244)
USS Gato (SS-212)
USS Haddo (SS-255)
USS Hake (SS-256)
USS Muskallunge (SS-262)
USS Pilotfish (SS-386)
USS Razorback (SS-394)
USS Runner (SS-476)
USS Sea Cat (SS-399)
USS Segundo (SS-398)
USS Tigrone (SS-419)
Submarine chasers[edit]
USS PC-466
USS PCE(R)-849
USS PCE(R)-848
USS PCE(R)-850
USS PCE-877
Motor gunboats[edit]
USS PGM-16
USS PGM-26
USS PGM-32
Minesweepers[edit]
HMAS Ballarat (J184)[7]
HMAS Cessnock (J175)
HMAS Ipswich (J186)
USS Pheasant (AM-61)
HMAS Pirie (J189)
USS Pochard (AM-375)
USS Revenge (AM-110)
USS Token (AM-126)
USS Tumult (AM-127)
Motor minesweepers[edit]
Numbered ships named and reclassified in 1947
USS YMS-177
USS YMS-268
USS YMS-276
USS YMS-343
USS YMS-362
USS YMS-371
USS YMS-390
USS YMS-415
USS YMS-426
USS YMS-441
USS YMS-461
USS YMS-467
Auxiliary minelayers[edit]
USS Picket (ACM-8)
Amphibious force flagships[edit]
USS Ancon (AGC-4)
USS Mount Olympus (AGC-8)
USS Teton (AGC-14)
High speed transports[edit]
USS Barr (APD-39)
USS Begor (APD 127)
USS Burke (APD-65)
USS Gosselin (APD-126)
USS Hollis (APD-86)
USS Horace A. Bass (APD-124)
USS John Q. Roberts (APD-94)
USS Pavlic (APD-70)
USS Reeves (APD-52)
USS Runels (APD-85)
USS Sims (APD-50)
USS Wantuck (APD-125)
USS William J. Pattison (APD-104)
Tank landing ships[edit]
USS LST-567
USS LST-648
USS LST-707[8]
USS LST-717
USS LST-718
USS LST-789
USS LST-846
USS LST-1083
USS LST-1139
Dock landing ships[edit]
USS Catamount (LSD-17)
USS Shadwell (LSD-15)
Infantry landing craft[edit]
USS LCI(L)-438
USS LCI(L)-441
USS LCI(L)-450
USS LCI(L)-457
USS LCI(L)-458
USS LCI(L)-469
USS LCI(L)-726
USS LCI(L)-752
USS LCI(L)-798
Medium landing ships[edit]
USS LSM-13
USS LSM-15
USS LSM-71
USS LSM-101
USS LSM-208
USS LSM-252
USS LSM-284
USS LSM-290
USS LSM-362
USS LSM-368
USS LSM-371
USS LSM-419
USS LSM-488
USS LSM-180 ?
Vehicle landing ships[edit]
USS Monitor (LSV-5)
USS Ozark (LSV-2)
Attack transports[edit]
USS Bosque (APA-135)
USS Botetourt (APA-136)
USS Briscoe (APA-65)
USS Cecil (APA-96)
USS Clearfield (APA-142)
USS Cullman (APA-78)
USS Darke (APA-159)
USS Dauphin (APA-97)
USS Deuel (APA-160)
USS Dickens (APA-161)
USS Hansford (APA-106)
USS Highlands (APA-119)
USS Lavaca (APA-180)
USS Lenawee (APA-195)
USS Mellette (APA-156)
USS Missoula (APA-211)
USS Rutland (APA-192)
USS St. Mary's (APA-126)
USS Sherburne (APA-205)
USS Sheridan (APA-51)
USS Talladega (APA-208)
Transport[edit]
USS General S. D. Sturgis (AP-137)
Attack cargo ships[edit]
USS Libra (AKA-12)
USS Medea (AKA-31)
USS Pamina (AKA-34)
USS Sirona (AKA-43)
USS Skagit (AKA-105)
USS Todd (AKA-71)
USS Tolland (AKA-64)
USS Whiteside (AKA-90)
USS Yancey (AKA-93)
Cargo ships[edit]
USS Lesuth (AK-125)
Civilian cargo ships (United States)[edit]
SS St. Lawrence Victory
SS Winthrop Victory
Stores issue ship[edit]
USS Cybele (AKS-10)
Repair ship[edit]
USS Delta (AR-9)
Landing craft repair ship[edit]
USS Patroclus (ARL-19)
Oilers[edit]
USS Chiwawa (AO-68)[9]
USS Mascoma (AO-83)
USS Neches (AO-47)
USS Niobrara (AO-72)
USS Tamalpais (AO-96)
Civilian oilers (British)[edit]
Carelia
City of Dieppe
Dingledale
Fort Wrangell
Wave King
Gasoline tanker[edit]
USS Genesee (AOG-8)
Destroyer tender[edit]
USS Piedmont (AD-17)
Hospital ships[edit]
USS Rescue (AH-18)
USS Benevolence (AH-13)
USAHS Marigold (U.S. Army)
HNLMS Tjitjalengka (Dutch)
Seaplane tenders[edit]
USS Cumberland Sound (AV-17)
USS Hamlin (AV-15)
Small seaplane tenders[edit]
USS Gardiners Bay (AVP-39)
USS Mackinac (AVP-13)
USS Suisun (AVP-53)
Submarine tender[edit]
USS Proteus (AS-19)
Submarine rescue ship[edit]
USS Greenlet (ASR-10)
Fleet ocean tugs[edit]
USS Moctobi (ATF-105)
USS Wenatchee (ATF-118)
Auxiliary ocean tug[edit]
USS ATA-205
Footnotes[edit]
Jump up ^ Listed in original source as present but ship's War Diary says she was at sea with the carrier force south of Japan
Jump up ^ Spelled Buchanon in original source
Jump up ^ USS Hughes (DD-410) is listed in the official report as being present for the surrender, but according to the ship's deck log was crossing the international date line en route to Japan at the time. A different ship, USS Charles F. Hughes (DD-428), was sweeping mines that morning. At 10:27 the ship passed Ashika Light. At 10:30 the war ended. At 10:44 the ship made preparations for entering the port and anchored at 12:21 in Tokyo Bay.
Jump up ^ Lansdowne was listed as DD-468 in original source. USS Taylor (DD-468) was also present.
Jump up ^ Spelled Yarnell in original source
Jump up ^ USS Woodcock (ATO-145) is listed in the report, but that ship spent World War II in Central and South American waters.
Jump up ^ Ballarat is listed as K.34 in original source.
Jump up ^ Personal account of Hyrum Richard Willis, gunners mate LST-707
Jump up ^ Listed in original source as present but ship's War Diary says she was in Buckner Bay, Okinawa
References[edit]
Source: Commander in Chief, U.S. Pacific Fleet and Pacific Ocean Areas (CINCPAC/CINCPOA) A16-3/FF12 Serial 0395, 11 February 1946: "Report of Surrender and Occupation of Japan."
U.S. Naval Historical Center - Allied Ships Present in Tokyo Bay During the Surrender Ceremony, 2 September 1945
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_Allied_ships_at_the_Japanese_surrender&oldid=849036541"
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