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The Tide Is High
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"The Tide Is High"
Single by The Paragons
from the album On the Beach
A-side
"Only a Smile"
Released
1966
Genre
Rocksteady[1]
Length
2:40
Label
Treasure Isle
Songwriter(s)
John Holt
"The Tide Is High" is a 1966 song written by John Holt, originally produced by Duke Reid and performed by the Jamaican group The Paragons, with Holt as lead singer. The song gained international attention in 1980, when a version by the American band Blondie became a US/UK number one hit.[2] The British girl group Atomic Kitten also had a number one hit with their version of the song in 2002, while Canadian rapper Kardinal Offishall had a minor hit with his interpretation in 2008.
Contents
1 The Paragons version
1.1 Track list
2 Gregory Isaacs version
2.1 Track list
3 Blondie version
3.1 Versions
3.2 Music video
3.3 Accolades
3.4 Track listings
3.5 Charts and certifications
3.5.1 Weekly charts
3.5.2 Year-end charts
3.5.3 Certifications
4 Papa Dee version
4.1 Track listings
4.2 Charts
5 Atomic Kitten version
5.1 Spanish version
5.2 Music video
5.3 Track listings
5.4 Official versions
5.5 Chart performance
5.6 Charts and certifications
5.6.1 Weekly charts
5.6.2 Year-end charts
5.6.3 Certifications
6 Kardinal Offishall version
6.1 Track list
6.2 Remixes
6.3 Charts
7 See also
8 References
9 External links
The Paragons version[edit]
"The Tide Is High" was written by John Holt and originally recorded by the Paragons (the rocksteady vocal trio of which he was a member), and accompanied by Tommy McCook and the Suspersonic Band. It was produced by Duke Reid and released as a 7-inch single on Reid's Treasure Isle and Trojan labels and as the B-side of the single "Only a Smile".[3]
The song features the violin of "White Rum" Raymond,[4] and was popular in Jamaica as well as West Indians and skinheads in the UK when a deejay version by U-Roy was released in 1971. Both tracks from the single were included on the 1970 collection On the Beach.
Track list[edit]
"Only a Smile"
"The Tide Is High" – 2:53
Gregory Isaacs version[edit]
The song was released as a single in 1978 by Gregory Isaacs; this version was produced by Tony "Prince Tony" Robinson. It was released on Isaacs' own African Museum label, and on the Front Line label in Jamaica as a 12-inch discomix featuring a new deejay version by U-Roy.[3] It was also issued on the State Line label in the US.
Track list[edit]
"The Tide Is High" (Gregory Isaacs, U Roy)
"Step It Out a Yard"
Blondie version[edit]
"The Tide Is High"
Single by Blondie
from the album Autoamerican
B-side
"Suzy & Jeffrey"
Released
October 1980
Format
7" single
Recorded
1980
Genre
Reggae[5]
Length
4:39 (album version)
3:54 (single edit)
Label
Chrysalis
Songwriter(s)
John Holt
Producer(s)
Mike Chapman
Blondie singles chronology
"Atomic"
(1980) "The Tide Is High"
(1980) "Rapture"
(1981)
Audio sample
file
help
Music video
"The Tide Is High" on YouTube
"The Tide Is High" was covered by the American new wave band Blondie in 1980, in a reggae style that included horns and strings. It was released as the lead single from the band's fifth studio album, Autoamerican (1980), giving Blondie their third number one single on the US Billboard Hot 100 chart and their fifth in the UK (where it became Blondie's last British number one for 18 years, until "Maria" in February 1999). The track also reached number one in Canada and New Zealand, and was a Top 5 hit on many European charts as well as in countries including Australia and South Africa. The B-side was "Suzie & Jeffrey", which appeared as a bonus track on the original 1980 cassette edition of the Autoamerican album, and was also included on EMI-Capitol's re-issue of Autoamerican in 2001.
Versions[edit]
Official remixes of the Blondie version have been issued twice; first by Coldcut in 1988 on the Blondie/Debbie Harry remix compilation Once More into the Bleach, and the second time in 1995 by Pete Arden and Vinny Vero on the album Remixed Remade Remodeled: The Remix Project (UK edition: Beautiful: The Remix Album).
Blondie re-recorded the song for the 2014 compilation album Greatest Hits Deluxe Redux. The compilation was part of a 2-disc set called Blondie 4(0) Ever, which included their tenth studio album Ghosts of Download, and marked the 40th anniversary of the band's formation.
Music video[edit]
A music video was produced, directed by Hart Perry. It depicts the band waiting out on the street for singer Debbie Harry, who appears to be trapped in a flooding apartment. All the while she is being monitored from outer space by what appears to be a Darth Vader-like alien being. She soon reunites with the band on the street and they drive to a rocket launch and fly into space. They then crash into the spaceship or space station. Harry confronts the alien being and begins dancing with him.
Accolades[edit]
Year
Publisher
Country
Accolade
Rank
1981 Dave Marsh & James Bernard United States "Singles Of The Year 1980"[6] 21
2003 Giannis Petridis Greece "2004 of the Best Songs of the Century"[7] *
2003 NME United Kingdom "117 Songs To Soundtrack Your Summer"[8] *
2003 Paul Morley United Kingdom "Greatest Pop Single of All Time"[9] *
2005 Bruce Pollock United States "The 7,500 Most Important Songs of 1944-2000"[7] *
2005 Toby Creswell Australia "1001 Songs"[7] *
(*) indicates the list is unordered.
Track listings[edit]
7"
"The Tide Is High" (7" Edit) – 3:54
"Suzy & Jeffrey" – 4:09
US 7" (Chrysalis Classics Re-Issue)
"The Tide Is High" (7" Edit) – 3:54
"Rapture" – 4:59
US 7" (promo only)
"The Tide Is High" (7" Edit) – 3:54
"The Tide Is High" (7" Edit) – 3:54
US 7" (Collectables Record Corp. COL 6115)
"The Tide Is High"
"Heart of Glass"
Charts and certifications[edit]
Weekly charts[edit]
Chart (1980–1981)
Peak
position
Australia (Kent Music Report)[10] 4
Austria (Ö3 Austria Top 40)[11] 6
Belgium (Ultratop 50 Flanders)[12] 4
Canada Top Singles (RPM)[13] 1
Finland (Suomen virallinen lista)[14] 19
Germany (Official German Charts)[15] 15
Ireland (IRMA)[16] 2
Netherlands (Dutch Top 40)[17] 4
Netherlands (Single Top 100)[18] 5
New Zealand (Recorded Music NZ)[19] 1
Norway (VG-lista)[20] 7
South Africa (Springbok Radio)[21] 5
Sweden (Sverigetopplistan)[22] 19
Switzerland (Schweizer Hitparade)[23] 5
UK Singles (Official Charts Company)[24] 1
US Billboard Adult Contemporary[25] 3
US Billboard Hot 100[25] 1
US Billboard Hot Dance Club Play[25] 1
US Cash Box[26] 1
US Record World[27] 1
Year-end charts[edit]
Chart (1980)
Rank
Netherlands (Dutch Top 40)[28] 59
Netherlands (Single Top 100)[29] 65
Chart (1981)
Rank
Australia (Kent Music Report)[30] 48
Canada Top Singles (RPM)[31] 10
New Zealand (Recorded Music NZ)[32] 14
US Billboard Hot 100[33] 17
US Cash Box[34] 20
Certifications[edit]
Region
Certification
Certified units/Sales
Canada (Music Canada)[35]
Platinum 150,000^
United Kingdom (BPI)[36]
Gold 500,000^
United States (RIAA)[37]
Gold 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
Papa Dee version[edit]
"The Tide Is High"
Single by Papa Dee
from the album The Journey
Released
23 June 1996
Format
CD
Genre
Dancehall
Length
3:55
Label
WEA
Songwriter(s)
John Holt
Papa Dee singles chronology
"The First Cut Is the Deepest"
(1995) "The Tide Is High"
(1996)
In 1996, Papa Dee covered the song on his album The Journey. It was released only as a CD single and the bonus track is a mix of "Funky Raggamuffin"/"Let the Music Play".
Track listings[edit]
CD Single
"The Tide Is High" – 3:55
"Funky Raggamuffin/Let the Music Play" – 5:01
Charts[edit]
Charts (1996)
Peak
position
Finland (Suomen virallinen lista)[38] 20
Sweden (Sverigetopplistan)[39] 44
Atomic Kitten version[edit]
"The Tide Is High (Get the Feeling)"
Single by Atomic Kitten
from the album Feels So Good
Released
2002
Format
CD single
cassette
Length
3:26
Label
Virgin
Songwriter(s)
John Holt
Producer(s)
Bill Padley
Jem Godfrey
Atomic Kitten singles chronology
"It's OK!"
(2001) "The Tide Is High (Get the Feeling)"
(2002) "Be with You"
(2002)
In 2002, "The Tide Is High" was covered by English girl group Atomic Kitten, and was released as the second single from their second studio album, Feels So Good (2002). Their version of the song also added a new bridge, hence the subtitle "Get the Feeling". The full song was played on Radio Disney from 2002–2004, during the opening credits of The Lizzie McGuire Movie, and was also used for a TV commercial featuring Japanese beer company Asahi Breweries. This was the group's third and final UK number one single. This version of "The Tide Is High" was selected by The Daily Telegraph writer David Cheal as one of his "Top five awful cover versions" in 2002, describing it as "a ghastly, sickly confection that has none of the wistfulness or soulfulness of either Blondie's version or the Paragons' original".[40]
The group performed the track for the first time ever with the original line-up for their 2012 reformation on The Big Reunion, with Kerry Katona performing Jenny Frost's vocals.
Spanish version[edit]
Atomic Kitten also recorded a Spanish version of the single, titled "Ser tu pasión". It was released in Colombia, Mexico and Spain, but failed to chart. However, the song promoted Atomic Kitten's second studio album Feels So Good in Mexico, and as a result, the album peaked at number 69 on the charts there; it was also included on the Spanish version of Atomic Kitten's Greatest Hits album.
Music video[edit]
The music video is Atomic Kitten's most famous due to band member Natasha Hamilton being heavily pregnant at the time. The video begins with the group walking up to the screen. A flashing rainbow can be seen in the background. Whenever the chorus of the song is heard, a dance accompanies it. Hamilton, Liz McClarnon and Jenny Frost do a simplistic dance that they would also perform during live shows. Four men are seen dancing alongside the women with slightly different moves. A sign that reads "Atomic" can be seen flashing throughout the video (and on clips on the "behind the scenes" version showing one girl dancing and three girls dancing). Each group member has a different set for their solo. McClarnon is next to a silver tree, with a purple background and a repeating pattern of the same tree that she is dancing beside. Frost is next to a car while Hamilton is seen in a pink-coloured room with "number 1" signs. At the song's bridge, the three women are seen dancing near fluorescent purple lights.
Track listings[edit]
UK CD1 (Green)
"The Tide Is High (Get the Feeling)" (Radio Mix) – 3:28
"Album Medley" – 5:10
"Dancing In The Street" – 3:39
"The Tide Is High (Get the Feeling)" (Video)
UK CD2 (Red)
"The Tide Is High (Get the Feeling)" (Radio Mix) – 3:28
"The Tide Is High (Get the Feeling)" (Groove Brothers 12" Remix) – 5:27
"The Tide Is High (Get the Feeling)" (Lasgo Remix) – 5:40
UK Cassette
"The Tide Is High (Get the Feeling)" (Radio Mix) – 3:28
"Album Medley" – 5:10
"The Tide Is High (Get the Feeling)" (Groove Brothers Edit) – 3:20
Official versions[edit]
The Tide Is High (Get The Feeling) – 3:27
The Tide Is High (Get The Feeling) (Version en español 'Ser tu pasión eres mi obsesión') – 3:27
The Tide Is High (Get The Feeling) (Groove Brothers Radio Edit) – 3:23
The Tide Is High (Get The Feeling) (Groove Brothers 12" Mix) – 5:37
The Tide Is High (Get The Feeling) (Lasgo Remix) – 5:41
Chart performance[edit]
Atomic Kitten's version of the song proved successful on the charts, selling over 1.5 million copies worldwide. It spent three weeks at number one in the United Kingdom (selling 145,000 copies in the first week; it was eventually certified Gold and has sold over 410,000 copies), and is the group's third and final UK number one. The track also topped the charts in Ireland and New Zealand, and was a Top 5 hit in many other countries, including Australia, Belgium, Germany, the Netherlands and Turkey amongst others.
Charts and certifications[edit]
Weekly charts[edit]
Chart (2002–2003)
Peak
position
Australia (ARIA)[41] 4
Austria (Ö3 Austria Top 40)[42] 3
Belgium (Ultratop 50 Flanders)[43] 5
Belgium (Ultratop 50 Wallonia)[44] 33
Brazil (ABPD)[45] 49
Denmark (Tracklisten)[46] 10
Europe (Eurochart Hot 100)[47] 3
France (SNEP)[48] 42
Germany (Official German Charts)[49] 3
Hungary (Rádiós Top 40)[50] 4
Ireland (IRMA)[51] 1
Italy (FIMI)[52] 21
Netherlands (Dutch Top 40)[53] 3
Netherlands (Single Top 100)[54] 2
New Zealand (Recorded Music NZ)[55] 1
Norway (VG-lista)[56] 11
Scotland (Official Charts Company)[57] 1
Sweden (Sverigetopplistan)[58] 5
Switzerland (Schweizer Hitparade)[59] 4
Turkey (Turkish Singles Chart)[60] 4
UK Singles (Official Charts Company)[61] 1
Year-end charts[edit]
Chart (2002)
Rank
Australia (ARIA)[62] 32
Austria (Ö3 Austria Top 40)[63] 43
Belgium (Ultratop 50 Flanders)[64] 41
Ireland (IRMA)[65] 15
Netherlands (Dutch Top 40)[66] 6
Netherlands (Single Top 100)[67] 15
New Zealand (Recorded Music NZ)[68] 38
Switzerland (Schweizer Hitparade)[69] 37
UK Singles (Official Charts Company)[70] 13
Chart (2003)
Rank
Australia (ARIA)[71] 38
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[72]
Platinum 70,000^
New Zealand (RMNZ)[73]
Platinum 10,000*
United Kingdom (BPI)[74]
Gold 400,000^
*sales figures based on certification alone
^shipments figures based on certification alone
Kardinal Offishall version[edit]
"Numba 1 (Tide Is High)"
Single by Kardinal Offishall featuring Keri Hilson or Rihanna
from the album Not 4 Sale
B-side
"Nina"
Released
September 2008 (Radio)
14 October 2008 (iTunes)
Format
Digital download
CD single
12" single
7" single
Recorded
2008
Genre
Canadian hip hop
dancehall
Length
3:42
Label
Kon Live/Geffen/Black Jays
Songwriter(s)
Jason Harrow
Dwayne Chin-Quee
John Holt
Producer(s)
Supa Dups
Kardinal Offishall singles chronology
"Set It Off"
(2008) "Numba 1 (Tide Is High)"
(2008) "Beautiful"
(2009)
Keri Hilson singles chronology
"Return the Favor"
(2008) Return the Favor2008 "Numba 1 (Tide Is High)"
(2008) Numba 1 (Tide Is High)2008 "Turnin' Me On"
(2008) Turnin' Me On2008
"Numba 1 (Tide Is High)" is a 2008 version of the song, performed by Canadian rapper Kardinal Offishall (featuring Keri Hilson). Produced by Supa Dups, the song – a percussive, dancehall-infused hip hop update – was released in September 2008 as the fourth single from Offishall's fourth album Not 4 Sale.[75] It was released on iTunes on 14 October 2008. In March 2010, the single was certified Gold by the CRIA.[76]
Aside from the version featuring Keri Hilson, there are three other versions of "Numba 1 (Tide Is High)": one version featured Nicole Scherzinger; another featured Rihanna; a third had both Scherzinger and Rihanna, and a further version (as a mash-up interpretation) had Scherzinger, Rihanna and Hilson together.
The music video premiered on 24 October 2008 at Yahoo! Music.[77] It was directed by Gil Green, with Akon making a cameo appearance.[78] The song "Nina" is featured at the end of the video.
Track list[edit]
12" single
"Numba 1 (Tide Is High)" (Radio Version) – 3:41
"Numba 1 (Tide Is High)" (Instrumental) – 3:41
7" single
"Numba 1 (Tide Is High)"
"Nina"
Remixes[edit]
"Numba 1 (Tide Is High) (Dutty South Remix)" (featuring David Banner, Alfamega, Lindo P, Darryl Riley, and Yummy Bingham)[79]
"Numba 1 (Tide Is High) (Dutty Remix)" (featuring Barrington Levy, Busta Rhymes, Lindo P, Darryl Riley, and Yummy Bingham)[79]
Charts[edit]
Chart (2008–09)
Peak
position
Canada (Canadian Hot 100)[80] 38
Canada (Hot Canadian Digital Singles)1[81] 32
Germany (Deutsche Black Charts)1[82] 1
Israel (Airplay Chart)[83] 7
Turkey (Türkiye Top 20)[84] 4
UK Singles (Official Charts Company)[85] 84
1Rihanna and Nicole Scherzinger versions
See also[edit]
List of Billboard Hot 100 number-one singles of 1981
List of Cash Box Top 100 number-one singles of 1981
List of number-one dance singles of 1981 (U.S.)
List of number-one singles of 1981 (Canada)
List of number-one singles from the 1980s (New Zealand)
List of UK Singles Chart number ones of the 1980s
List of number-one singles of 2002 (Ireland)
List of number-one singles from the 2000s (New Zealand)
List of UK Singles Chart number ones of the 2000s
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^ Jump up to: a b "Kardinal Offishall – The Boy Hollywood". Archived from the original on 15 January 2009. . Champ Magazine.
Jump up ^ "Kardinal Offishall Chart History (Canadian Hot 100)". Billboard. Retrieved 11 May 2015.
Jump up ^ "Not 4 Sale – Awards". AllMusic. All Media Network. Retrieved 10 January 2014.
Jump up ^ "Deutsche Black Charts". MTV Germany. Archived from the original on 19 June 2010. Retrieved 5 October 2008.
Jump up ^ "Media Forest: International – Songs – Radio". Media Forest. Archived from the original on 10 January 2014. Retrieved 10 January 2014.
Jump up ^ "Billboard Türkiye Top 20 – Bu Hafta #1". Archived from the original on 5 March 2009. . Billboard.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company. Retrieved 11 May 2015.
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Overtone
From Wikipedia, the free encyclopedia
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"Overtones" redirects here. For other uses, see Overtones (disambiguation).
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Vibrational modes of an ideal string, dividing the string length into integer divisions, producing harmonic partials f, 2f, 3f, 4f, etc. (where f means fundamental frequency).
An overtone is any frequency greater than the fundamental frequency of a sound. Using the model of Fourier analysis, the fundamental and the overtones together are called partials. Harmonics, or more precisely, harmonic partials, are partials whose frequencies are integer multiples of the fundamental (including the fundamental which is 1 times itself). These overlapping terms are variously used when discussing the acoustic behavior of musical instruments.[1] (See etymology below.) The model of Fourier analysis provides for the inclusion of inharmonic partials, which are partials whose frequencies are not whole-number ratios of the fundamental (such as 1.1 or 2.14179).
main tone (110 Hz) and first 15 overtones (16 harmonic partials) (listen)
Allowed and forbidden standing waves, and thus harmonics
When a resonant system such as a blown pipe or plucked string is excited, a number of overtones may be produced along with the fundamental tone. In simple cases, such as for most musical instruments, the frequencies of these tones are the same as (or close to) the harmonics. Examples of exceptions include the circular drum, – a timpani whose first overtone is about 1.6 times its fundamental resonance frequency,[2] gongs and cymbals, and brass instruments. The human vocal tract is able to produce highly variable amplitudes of the overtones, called formants, which define different vowels.
Contents
[hide]
1 Explanation
2 Musical usage term
3 Etymology
3.1 "Overtones" in choral music
3.2 String instruments
3.3 Wind instruments
3.4 Overtone singing
4 See also
5 References
6 External links
Explanation[edit]
Most oscillators, from a guitar string to a flute, will naturally vibrate at a series of distinct frequencies known as normal modes. The lowest normal mode frequency is known as the fundamental frequency, while the higher frequencies are called overtones. Often, when an oscillator is excited by, for example, plucking a guitar string, it will oscillate at several of its modal frequencies at the same time. So when a note is played, this gives the sensation of hearing other frequencies (overtones) above the lowest frequency (the fundamental).
Timbre is the quality that gives the listener the ability to distinguish between the sound of different instruments. The timbre of an instrument is determined by which overtones it emphasizes. That is to say, the relative volumes of these overtones to each other determines the specific "flavor" or "color" of sound of that family of instruments. The intensity of each of these overtones is rarely constant for the duration of a note. Over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note. This is why the timbre of a note may be perceived differently when played staccato or legato.
A driven non-linear oscillator, such as the vocal folds, a blown wind instrument, or a bowed violin string (but not a struck guitar string or bell) will oscillate in a periodic, non-sinusoidal manner. This generates the impression of sound at integer multiple frequencies of the fundamental known as harmonics, or more precisely, harmonic partials. For most string instruments and other long and thin instruments such as a bassoon, the first few overtones are quite close to integer multiples of the fundamental frequency, producing an approximation to a harmonic series. Thus, in music, overtones are often called harmonics. Depending upon how the string is plucked or bowed, different overtones can be emphasized.
However, some overtones in some instruments may not be of a close integer multiplication of the fundamental frequency, thus causing a small dissonance. "High quality" instruments are usually built in such a manner that their individual notes do not create disharmonious overtones. In fact, the flared end of a brass instrument is not to make the instrument sound louder, but to correct for tube length “end effects” that would otherwise make the overtones significantly different from integer harmonics. This is illustrated by the following:
Consider a guitar string. Its idealized 1st overtone would be exactly twice its fundamental if its length were shortened by ½, perhaps by lightly pressing a guitar string at the 12th fret; however, if a vibrating string is examined, it will be seen that the string does not vibrate flush to the bridge and nut, but it instead has a small “dead length” of string at each end. This dead length actually varies from string to string, being more pronounced with thicker and/or stiffer strings. This means that halving the physical string length does not halve the actual string vibration length, and, hence, the overtones will not be exact multiples of a fundamental frequency. The effect is so pronounced that properly set up guitars will angle the bridge such that the thinner strings will progressively have a length up to few millimeters shorter than the thicker strings. Not doing so would result in inharmonious chords made up of two or more strings. Similar considerations apply to tube instruments.
Musical usage term[edit]
Physical representation of third[3] (O3) and fifth (O5) overtones of a cylindrical pipe closed at one end. F is the fundamental frequency; the third overtone is the third harmonic, 3F, and the fifth overtone is the fifth harmonic, 5F for such a pipe, which is a good model for a panflute.
An overtone is a partial (a "partial wave" or "constituent frequency") that can be either a harmonic partial (a harmonic) other than the fundamental, or an inharmonic partial. A harmonic frequency is an integer multiple of the fundamental frequency. An inharmonic frequency is a non-integer multiple of a fundamental frequency.
An example of harmonic overtones: (absolute harmony)
Frequency
Order
Name 1
Name 2
Name 3
1 · f = 440 Hz n = 1 fundamental tone 1st harmonic 1st partial
2 · f = 880 Hz n = 2 1st overtone 2nd harmonic 2nd partial
3 · f = 1320 Hz n = 3 2nd overtone 3rd harmonic 3rd partial
4 · f = 1760 Hz n = 4 3rd overtone 4th harmonic 4th partial
Some musical instruments produce overtones that are slightly sharper or flatter than true harmonics. The sharpness or flatness of their overtones is one of the elements that contributes to their unique sound. Due to phase inconsistencies[4] between the fundamental and the partial harmonic, this also has the effect of making their waveforms not perfectly periodic.
Musical instruments that can create notes of any desired duration and definite pitch have harmonic partials. A tuning fork, provided it is sounded with a mallet (or equivalent) that is reasonably soft, has a tone that consists very nearly of the fundamental, alone; it has a sinusoidal waveform. Nevertheless, music consisting of pure sinusoids was found to be unsatisfactory in the early 20th century.[citation needed]
Etymology[edit]
In Hermann von Helmholtz's classic "On The Sensations Of Tone" he used the German "Obertöne" which was actually a contraction of "Oberpartialtöne", or in English: "upper partial tones". According to Alexander Ellis (in pages 24–25 of his definitive English translation of Helmholtz), the similarity of German "ober" to English "over" caused a Prof. Tyndall to mistranslate Helmholtz' term, thus creating "overtone".[1] Ellis disparages the term "overtone" for its awkward implications. Because "overtone" makes the upper partials seem like such a distinct phenomena, it leads to the mathematical problem described above where the first overtone is the second partial. Also, unlike discussion of "partials", the word "overtone" has connotations that have led people to wonder about the presence of "undertones" (a term sometimes confused with "difference tones" but also used in speculation about a hypothetical "undertone series").
"Overtones" in choral music[edit]
In barbershop music, the word overtone is often used in a related but particular manner. It refers to a psychoacoustic effect in which a listener hears an audible pitch that is higher than, and different from, the fundamentals of the four pitches being sung by the quartet. The barbershop singer's "overtone" is created by the interactions of the upper partial tones in each singer's note (and by sum and difference frequencies created by nonlinear interactions within the ear). Similar effects can be found in other a cappella polyphonic music such as the music of the Republic of Georgia and the Sardinian cantu a tenore. Overtones are naturally highlighted when singing in a particularly resonant space, such as a church; one theory of the development of polyphony in Europe holds that singers of Gregorian chant, originally monophonic, began to hear the overtones of their monophonic song and to imitate these pitches - with the fifth, octave, and major third being the loudest vocal overtones, it is one explanation of the development of the triad and the idea of consonance in music.
String instruments[edit]
String instruments can also produce multiphonic tones when strings are divided in two pieces or the sound is somehow distorted. The Sitar has sympathetic strings which help to bring out the overtones while one is playing. The overtones are also highly important in the tanpura, the drone instrument in traditional North and South Indian music, in which loose strings tuned at octaves and fifths are plucked and designed to buzz to create sympathetic resonance and highlight the cascading sound of the overtones. Western string instruments, such as the violin, may be played close to the bridge (a technique called "sul ponticello" or "am steg") which causes the note to split into overtones while attaining a distinctive glassy, metallic sound. Various techniques of bow pressure may also be used to bring out the overtones, as well as using string nodes to produce natural harmonics. The most well-known technique on a guitar is playing flageolet tones or using distortion effects. The Ancient Chinese instrument the Guqin contains a scale based on the knotted positions of overtones. Also the Vietnamese Đàn bầu functions on flageolet tones. Other multiphonic extended techniques used are prepared piano, prepared guitar and 3rd bridge.
Wind instruments[edit]
Wind instruments manipulate the overtone series significantly in the normal production of sound, but various playing techniques may be used to produce multiphonics which bring out the overtones of the instrument. On many woodwind instruments, alternate fingerings are used. "Overblowing", or adding intensely exaggerated air pressure, can also cause notes to split into their overtones. In brass instruments, multiphonics may be produced by singing into the instrument while playing a note at the same time, causing the two pitches to interact - if the sung pitch is at specific harmonic intervals with the played pitch, the two sounds will blend and produce additional notes by the phenomenon of sum and difference tones. Non-western wind instruments also exploit overtones in playing, and some may highlight the overtone sound exceptionally. Instruments like the didgeridoo are highly dependent on the interaction and manipulation of overtones achieved by the performer changing their mouth shape while playing, or singing and playing simultaneously. Likewise, when playing a harmonica or pitch pipe, one may alter the shape of their mouth to amplify specific overtones. Though not a wind instrument, a similar technique is used for playing the jaw harp: the performer amplifies the instrument's overtones by changing the shape, and therefore the resonance, of their vocal tract.
Overtone singing[edit]
Overtone singing, also called harmonic singing, occurs when the singer amplifies voluntarily two overtones in the sequence available given the fundamental tone he/she is singing. Overtone singing is a traditional form of singing in many parts of the Himalayas and Altay; Tibetans, Mongols and Tuvans are known for their overtone singing. In these contexts it is often referred to as throat singing or khoomei, though it should not be confused with Inuit throat singing, which is produced by different means.
See also[edit]
Harmonic series (music)
Harmonics
Subharmonic
Just intonation
Xenharmonic
Stretched octave
Combination tone
Electronic tuner
Scale of harmonics
Overtone band (in vibrational spectroscopy)
References[edit]
^ Jump up to: a b Alexander J. Ellis (translating Hermann Helmholtz): On the Sensations of Tone as a Physiological Basis for the Theory of Music, pages 24 and 25. 1885, reprinted by Dover Publications, Inc., New York, 1954.
Jump up ^ Elena Prestini, The Evolution of Applied Harmonic Analysis: Models of the Real World, ISBN 0-8176-4125-4 (p140)
Jump up ^ Riemann by Shedlock (1876). Dictionary of Music. Augener & Co., London. p. 143. let it be understood, the second overtone is not the third tone of the series, but the second.
Jump up ^ James Patrick, DS14
External links[edit]
Look up overtone in Wiktionary, the free dictionary.
Overtones, partials and harmonics from fundamental frequency
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The Night of the Iguana
From Wikipedia, the free encyclopedia
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The Night of the Iguana is a stage play written by American author Tennessee Williams, based on his 1948 short story. The play premiered on Broadway in 1961. Two film adaptations have been made, including the Academy Award-winning 1964 film directed by John Huston and starring Richard Burton, Ava Gardner, and Deborah Kerr. The other is a 2000 Serbo-Croatian production.
Contents
[hide]
1 Description
2 Original Broadway production
3 Film versions
4 1976 Broadway revival
5 Other stage productions
6 In popular culture
7 References
8 External links
Description[edit]
In 1940s Mexico an ex-minister, the Reverend T. Lawrence Shannon, has been locked out of his church after characterizing the Western image of God as a "senile delinquent", during one of his sermons. Shannon is not de-frocked, but he is institutionalized for a "nervous breakdown". Some time after his release, the Rev. Shannon obtains employment as a tour guide for a second-rate travel agency. Shortly before the opening of the play, Shannon is accused of having committed statutory rape of a sixteen-year-old girl,[1] Charlotte Goodall, who is accompanying his current group of tourists.
As the curtain rises, Shannon and a group of women arrive at a cheap hotel on the coast of Mexico that had been managed by his friends Fred and Maxine Faulk. The former has recently died, and Maxine Faulk has assumed sole responsibility for managing the establishment.
Struggling emotionally, Shannon tries to manage his tour party, who have turned against him for entering into sexual relations with the minor, and Maxine, who is interested in him for purely carnal reasons. Adding to this chaotic scenario, spinster Hannah Jelkes appears with her moribund grandfather Nonno who, despite his failing health, is composing his last poem. Jelkes, who scrapes by as a traveling painter and sketch artist, is soon at Maxine's mercy. Shannon, who wields considerable influence over Maxine, offers Hannah Jelkes shelter for the night. The play's main axis is the development of the deeply human bond between Hannah Jelkes and Lawrence Shannon.
Minor characters in the play include a group of German tourists whose Nazi marching songs paradoxically lighten the heavier themes of the play but suggest the horrors of World War II;[2] the Mexican "boys" Maxine employs to help run the hotel who ignore her laconic commands; and Judith Fellowes, the "butch" vocal teacher charged with Charlotte's care during the trip.
The Reverend T. Lawrence Shannon was partly based on Williams' cousin and close friend, the Reverend Sidney Lanier, the iconoclastic Rector of St Clement's Episcopal Church, New York.[3] Lanier was a significant figure in the New York theatre scene in the 1950 and 1960s, started a Ministry to the Theatre Arts and would become co-founder of the experimental American Place Theatre in 1962.[4] Lanier resigned from his ministry in May 1965.
Original Broadway production[edit]
The play premiered on Broadway at the Royale Theatre on December 28, 1961, and ran for 316 performances. It starred Patrick O'Neal as Rev. Shannon, two-time Oscar winner Bette Davis as Maxine and Margaret Leighton as Hannah. Davis left the production after four months and was replaced by Shelley Winters.
Davis' role was Maxine, a lusty life-force of a woman, with some good comic lines, who is offstage for a significant part of the play, while Hannah is on. Hannah is a role along the lines of Williams' greatest female characters, like Blanche DuBois and Summer and Smoke's Alma Winemuller, women possessed of extraordinarily refined sensibilities and grace. But for her intrinsic strength of character, Hannah is a departure for Williams. Hannah, a single woman in service to others, serves as an inspiration to Shannon for her inner strength, a strength denied to Blanche and Alma in their plays, although they share other similarities. The play featured Alan Webb as the dying grandfather to whom Hannah is devoted, Louis Guss, Bruce Glover and James Farentino. The production was directed by Frank Corsaro (Bette Davis in her memoir Dark Victory, wrote that she banned Corsaro from rehearsals shortly before opening). The play was nominated for a Tony Award for Best Play. Leighton, as Hannah, won the Tony Award for Best Actress in a Play.
Film versions[edit]
Main article: The Night of the Iguana (film)
The 1964 film version was directed by John Huston and starred Richard Burton as Rev. Shannon, Ava Gardner as Maxine and Deborah Kerr as Hannah. It also featured Sue Lyon, Cyril Delevanti, Grayson Hall (who received an Academy Award nomination for Best Supporting Actress for her performance) and Barbara Joyce (later an acclaimed artist). The screenplay was written by Huston and Anthony Veiller.
The film won the Academy Award for Best Costume Design (B&W), and in addition to Hall's nomination, was also nominated for Cinematography (by Gabriel Figueroa) and for Art Direction. The film removed the Nazi tourist characters from the original stage version. The character of Jake Latta is also eliminated and Shannon is fired through a comical telephone call.
There is also a 2000 Serbo-Croatian film adaptation of the play, directed by Janusz Kica.
1976 Broadway revival[edit]
The 1976 Broadway revival at the Circle in the Square Theatre was directed by Joseph Hardy, scenery and lighting H. R. Poindexter, costumes by Noel Taylor, production stage manager Randall Brooks, and stage manager James Bernadi.
The opening night cast featured Richard Chamberlain (Rev. Shannon), Gary Tacon (Pedro), William Paulson (Pancho), Ben Van Vacter (Wolfgang), Jennifer Savidge (Hilda), John Rose (Herr Fahrenkopf), Amelia Laurenson (Frau Fahrenkopf), Matt Bennett (Hank), Barbara Caruso (Judith Fellows), Allison Argo (Charlotte Goodall), William Roerick (Nonno), Benjamin Stewart (Jake Latta), Dorothy McGuire (Hannah), and Sylvia Miles (Maxine).
Other stage productions[edit]
The Circle in the Square Theatre also staged a 1988 revival starring Nicolas Surovy as Rev. Shannon, Maria Tucci as Maxine and Jane Alexander as Hannah.
In 1996, a Broadway revival was directed by Robert Falls, and featured William Petersen as Rev. Shannon, Marsha Mason as Maxine and Cherry Jones as Hannah. This was based on a 1994 production staged by the Goodman Theatre in Chicago.
In London, a 1992 production at the Royal National Theatre featured performances by Alfred Molina as Rev. Shannon and Eileen Atkins as Hannah. This production was directed by Richard Eyre.
A critically acclaimed 2005 London production at Lyric Theatre starred Woody Harrelson as Rev. Shannon, Clare Higgins as Maxine and Jenny Seagrove as Hannah. This production was directed by Anthony Page.
In 2017, the American Repertory Theater production included James Earl Jones as Nonno, Amanda Plummer as Hannah, Dana Delany as Maxine, and Bill Heck as Rev. Shannon.
In popular culture[edit]
"The Night of the Iguana" is a song by Joni Mitchell from her 2007 album, Shine. It is a thematic and lyrical adaptation of the Tennessee Williams play.
References[edit]
Jump up ^ Kellogg, Dawn. "The Night of the Iguana: A Noise Within Study Guide" A Noise Within (2007/2008)
Jump up ^ Cabello, Juanita (ndg) "'A Summer of Discovery': The Exilic and Touristic Poetics of The Night of the Iguana" The Tennessee Williams Annual Review n.12
Jump up ^ Otten, Ted (January 31, 2014) [http://www.nj.com/times-entertainment/index.ssf/2014/01/actors_net_performs_tennessee.html "Actors' NET performs Tennessee Williams' 'Night of the Iguana'" Trenton Times
Jump up ^ "History & Mission" American Place Theatre website
External links[edit]
The Night of the Iguana at the Internet Broadway Database

[show]
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Works by Tennessee Williams
Plays
Candles to the Sun (1936)
Spring Storm (1937)
Fugitive Kind (1937)
Not About Nightingales (1938)
Battle of Angels (1940)
Auto-da-Fé (1941)
The Glass Menagerie (1944)
You Touched Me (1945)
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A Streetcar Named Desire (1947)
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The Rose Tattoo (1951)
Camino Real (1953)
Cat on a Hot Tin Roof (1955)
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Suddenly, Last Summer (1958)
Sweet Bird of Youth (1959)
Period of Adjustment (1960)
The Night of the Iguana (1961)
The Milk Train Doesn't Stop Here Anymore (1963)
The Seven Descents of Myrtle (1968)
In the Bar of a Tokyo Hotel (1969)
Will Mr. Merriweather Return from Memphis? (1969)
Out Cry (1971)
Small Craft Warnings (1972)
The Two-Character Play (1973)
The Red Devil Battery Sign (1975)
This Is (An Entertainment) (1976)
Vieux Carré (1977)
A Lovely Sunday for Creve Coeur (1979)
Clothes for a Summer Hotel (1980)
The Notebook of Trigorin (1981)
Something Cloudy, Something Clear (1981)
A House Not Meant to Stand (1982)
Novels
The Roman Spring of Mrs. Stone (1950)
Moise and the World of Reason (1975)
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Hard Candy: A Book of Stories (1954)
Three Players of a Summer Game and Other Stories (1960)
The Knightly Quest: a Novella and Four Short Stories (1966)
One Arm and Other Stories (1967)
Eight Mortal Ladies Possessed: a Book of Stories (1974)
Screenplays
The Glass Menagerie (1950)
A Streetcar Named Desire (1951)
The Rose Tattoo (1955)
Baby Doll (1956)
Suddenly, Last Summer (1959)
The Fugitive Kind (1959)
Ten Blocks on the Camino Real (1966)
Boom! (1968)
The Loss of a Teardrop Diamond (1957, filmed 2009)
Non-fiction
"The Catastrophe of Success" (1947)
"A Streetcar Named Success" (1947)
Poetry
In the Winter of Cities (1956)
Androgyne, Mon Amour (1977)
Unfinished
manuscripts
In Masks Outrageous and Austere (1983)
Related
articles
List of one-act plays by Tennessee Williams
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