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Post by memory on Apr 30, 2012 10:48:20 GMT
Hello! I'm a cellist in a steampunk/folk trio and I've started a little series of blog posts on my favourite songs. Most recently I looked at The Witch's Promise, and it was suggested I post here. I'm not an expert at all and I'm sure there are many people on here that know a lot more than me, but I hope it might be a bit interesting I've reproduced the whole post here, or you can read it on my blog (and listen to the track). pocketwatchtheband.com/great-songs-part-ii-the-witchs-promise-by-jethro-tull/I first heard this song at university when a friend leant me a Jethro Tull cd. I’d never really heard them before, but this song convinced me of their genius. I am by no means an authority on all their music, but I love this song (along with The Whistler and Heavy Horses). I also love the way they manage to combine folk, jazz, classical, funk and rock – not something I’d think was possible. The Witch’s Promise is something else, though, and the more I listen to it, the more I hear in it. The song was first released in 1970 and made it into the top 5; a fact I find very cheering. So, onto why I think this song deserves to be in my list of all time greats… InstrumentsEven though the instruments are all modern, the song still manages to sound both folky and old – despite the funky bass, drum kit, piano and synth strings. No mean feat. The harmonies (which I’ll come onto later) are not so modern, and the writing it strong enough to drag all the instruments into the genre. There aren’t actually as many instruments in this track as I thought there were going to be; only: guitar, piano, flutes, synth strings, bass guitar & drum kit. The bass is incredibly funky! I’d not specifically noticed it until I started listening with headphones, and now it’s one of my favourite elements of the song. It’s the kind of cool bass line that makes you want to take up the instrument (esp from 02’32 onwards…) The piano doubles guitar quite a lot, which isn’t that surprising since Anderson played them both. The strings aren’t overdone, which is nice, and for synth strings they’re not too bad. They play a significant part in the second half of the instrumental section that starts at 01’45 and continue into the next vocal section (often only in two parts, playing in 3rds or 5ths) but aren’t overused when we go back to the big final verse. They throw everything at this verse, but the strings only ever come in on the last, long drawn out words of each line, then drop out again. Inspired. I’m also a sucker for cutting all the backing (02’29) to leave the vocals a capella – then it really packs a punch when the instruments all come back in. This isn’t a million miles away from how Black Velvet by The Lilac Time is structured – starting out low key with only a few instruments, and ending up epic. Key signatureInterestingly, it’s not in a definite major or minor. It’s in A, but the crucial note in the triad (C or C#) is left out, replaced with a B (technically called an A(sus2) chord). I think this contributes to 1. The fluid uncertainty of the song 2. The ‘old’ feeling harmonies, even with modern instruments (piano, flute, electric base, strings). There are very brief flashes of E minor (still with the bass note A underneath) which give a minor-ish feel without ever committing to it. It’s almost like a mode, really. From the very start, the flute flutters avoid playing either C or C# – until the little motif at 00’13 where they play a C#. But! Then the vocals come in (“Lend me your ear while I call you a fooooooool”) – on fool, the chords go through C major, a first inversion G major with a C on top rather than a B, then back to the main A. So we get a sustained C in the top of both the C chord and the G major (which shouldn’t have one) but it gets taken away whenever we return to that uncertain A. So the flute motif plants A major in our ears, whilst the chords going through the last word of each line make us lean towards A minor. Stupidly, it took me ages to realise that Black Velvet starts with EXACTLY THE SAME chord type – an A flat (sus2)… I clearly have a thing for this chord. If anyone can point me in the direction of more songs that start with a sus2, I’d be very happy! Ultimately, I think the interval of the 5th is the most important to them (the A and E together). It’s an interval that evokes images of times gone past and the Medieval period. You hear it in their other songs too. Avoiding a C or C# in the A avoids detracting from the 5th. Lyrics & vocalsThis song creates a very interesting musical setting of the words. The lyrics have a very clear rhythm to them if simply spoken aloud, but that rhythm is subverted by the elongation of the last words of each line into a run of 11 notes. It’s unexpected and very clever, in some ways echoing the fluttering flutes of the opening. As to the meaning of the lyrics, they’re pretty obscure. It seems to me that the ‘you’ being addressed keeps changing. At first it’s the narrator telling his friend that he’s a fool. Later, I think the narrator’s addressing the witch directly (telling her to stop being greedy). I’m inclined to go for a rather literal interpretation but it’s anyone’s guess, really- which is part of its beauty. I’d love to hear anyone else’s interpretation. Anderson’s vocals are double tracked (something he did quite a bit and was pretty common in that era) and I like how that gives his voice a slightly otherworldly quality. Time signatureThe song is in 3/4 but the lengths of phrases within that are uneven, so it feels like the time signature is changing (although it never actually does, which surprised me). For example, at 01’45 the phrases are in several sections of 3 bars then 4 bars, and this continues until the final verse starts. ——- So, that’s why I think The Witch’s Promise is an awesome song. I’m happy for any excuse to listen to it, and as a result of this analysis I’m now able to play it on the guitar, which is more fun than I can express. Maybe there’ll be a Pocketwatch cover sometime in the future…
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Post by onewhiteduck on Apr 30, 2012 13:19:06 GMT
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Post by memory on Apr 30, 2012 13:35:17 GMT
Thanks! Hmmm, interesting... I had got my info from here: www.progarchives.com/album.asp?id=22484which lists Anderson as the pianist - but it could well be wrong! Really helpful to have these things pointed out.
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Post by maddogfagin on Apr 30, 2012 14:33:11 GMT
Hello! I'm a cellist in a steampunk/folk trio and I've started a little series of blog posts on my favourite songs. Most recently I looked at The Witch's Promise, and it was suggested I post here. I'm not an expert at all and I'm sure there are many people on here that know a lot more than me, but I hope it might be a bit interesting I've reproduced the whole post here, or you can read it on my blog (and listen to the track). pocketwatchtheband.com/great-songs-part-ii-the-witchs-promise-by-jethro-tull/I first heard this song at university when a friend leant me a Jethro Tull cd. I’d never really heard them before, but this song convinced me of their genius. I am by no means an authority on all their music, but I love this song (along with The Whistler and Heavy Horses). I also love the way they manage to combine folk, jazz, classical, funk and rock – not something I’d think was possible. The Witch’s Promise is something else, though, and the more I listen to it, the more I hear in it. The song was first released in 1970 and made it into the top 5; a fact I find very cheering. So, onto why I think this song deserves to be in my list of all time greats… InstrumentsEven though the instruments are all modern, the song still manages to sound both folky and old – despite the funky bass, drum kit, piano and synth strings. No mean feat. The harmonies (which I’ll come onto later) are not so modern, and the writing it strong enough to drag all the instruments into the genre. There aren’t actually as many instruments in this track as I thought there were going to be; only: guitar, piano, flutes, synth strings, bass guitar & drum kit. The bass is incredibly funky! I’d not specifically noticed it until I started listening with headphones, and now it’s one of my favourite elements of the song. It’s the kind of cool bass line that makes you want to take up the instrument (esp from 02’32 onwards…) The piano doubles guitar quite a lot, which isn’t that surprising since Anderson played them both. The strings aren’t overdone, which is nice, and for synth strings they’re not too bad. They play a significant part in the second half of the instrumental section that starts at 01’45 and continue into the next vocal section (often only in two parts, playing in 3rds or 5ths) but aren’t overused when we go back to the big final verse. They throw everything at this verse, but the strings only ever come in on the last, long drawn out words of each line, then drop out again. Inspired. I’m also a sucker for cutting all the backing (02’29) to leave the vocals a capella – then it really packs a punch when the instruments all come back in. This isn’t a million miles away from how Black Velvet by The Lilac Time is structured – starting out low key with only a few instruments, and ending up epic. Key signatureInterestingly, it’s not in a definite major or minor. It’s in A, but the crucial note in the triad (C or C#) is left out, replaced with a B (technically called an A(sus2) chord). I think this contributes to 1. The fluid uncertainty of the song 2. The ‘old’ feeling harmonies, even with modern instruments (piano, flute, electric base, strings). There are very brief flashes of E minor (still with the bass note A underneath) which give a minor-ish feel without ever committing to it. It’s almost like a mode, really. From the very start, the flute flutters avoid playing either C or C# – until the little motif at 00’13 where they play a C#. But! Then the vocals come in (“Lend me your ear while I call you a fooooooool”) – on fool, the chords go through C major, a first inversion G major with a C on top rather than a B, then back to the main A. So we get a sustained C in the top of both the C chord and the G major (which shouldn’t have one) but it gets taken away whenever we return to that uncertain A. So the flute motif plants A major in our ears, whilst the chords going through the last word of each line make us lean towards A minor. Stupidly, it took me ages to realise that Black Velvet starts with EXACTLY THE SAME chord type – an A flat (sus2)… I clearly have a thing for this chord. If anyone can point me in the direction of more songs that start with a sus2, I’d be very happy! Ultimately, I think the interval of the 5th is the most important to them (the A and E together). It’s an interval that evokes images of times gone past and the Medieval period. You hear it in their other songs too. Avoiding a C or C# in the A avoids detracting from the 5th. Lyrics & vocalsThis song creates a very interesting musical setting of the words. The lyrics have a very clear rhythm to them if simply spoken aloud, but that rhythm is subverted by the elongation of the last words of each line into a run of 11 notes. It’s unexpected and very clever, in some ways echoing the fluttering flutes of the opening. As to the meaning of the lyrics, they’re pretty obscure. It seems to me that the ‘you’ being addressed keeps changing. At first it’s the narrator telling his friend that he’s a fool. Later, I think the narrator’s addressing the witch directly (telling her to stop being greedy). I’m inclined to go for a rather literal interpretation but it’s anyone’s guess, really- which is part of its beauty. I’d love to hear anyone else’s interpretation. Anderson’s vocals are double tracked (something he did quite a bit and was pretty common in that era) and I like how that gives his voice a slightly otherworldly quality. Time signatureThe song is in 3/4 but the lengths of phrases within that are uneven, so it feels like the time signature is changing (although it never actually does, which surprised me). For example, at 01’45 the phrases are in several sections of 3 bars then 4 bars, and this continues until the final verse starts. ——- So, that’s why I think The Witch’s Promise is an awesome song. I’m happy for any excuse to listen to it, and as a result of this analysis I’m now able to play it on the guitar, which is more fun than I can express. Maybe there’ll be a Pocketwatch cover sometime in the future… Interesting thesis on an iconic Ian Anderson composition memory. Thanks for posting. It was an interesting release from the band back in 1969. Greg Russo's book "Flying Colours" list the personnel as Ian Anderson - flute, vocals Martin Barre - electric guitar Glenn Cornick - bass Clive Bunker - drums John Evans - piano, mellotron It also came in two different label variations, along with some of the early copies being sold with a picture sleeve Some had The Witch's Promise b/w Teacher and others Witch's Promise b/w The Teacher No doubt just a cock-up at the pressing plant. Welcome to the JT Forum - look forward to reading more of your ideas and thoughts about Tull songs in the future.MD/Graham
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Post by steelmonkey on Apr 30, 2012 17:25:48 GMT
A real life musician with a triple-digit I.Q. looking hard and long at a Tull song? ....yes, you qualify, you're in the club...l...can't wait to wallow in your blog.....Sorry to say, i went to Oberlin College where one heard a Cellist joke or three. ( why did the cellist stare at her orange juice? It said 'concentrate', why wouldn't the cellist leave the shower? The shampoo bottle said ' lather, rinse, repeat'.)
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Post by nonrabbit on Apr 30, 2012 18:08:09 GMT
Hello memory and a BIG WELCOME TO THE FORUM from meAnalysising Tull songs - especially the lyrics!! - come and sit at my table The funny thing is though that in all of my forty years listening to Witches's Promise well I tell a lie, I stopped listening to it for a long while as I had "listened it to death" at the start ( a bit like Aqualung and Loco) I had never properly thought about the lyrics in any depth. I recited it rhythmically and with some of the words incorrectly ie I never got "Leaves falling red, yellow, brown" more "He's spoiling red yellow brown. (maybe thats why I never tried to decipher it before) I was however totally caught up in the whole sound of the song and the visual performance of Ian and of course, the magic. "Lend me an ear while I call you a fool You were kissed by a witch one night in the woods..." A great two line opener - if it was the start of a book or a piece of prose it would surely lure you in I remember reading somewhere that the lyrics might be referring to a lost love ie witch - woman as it sounds quite bitter. In the thread Tartan Tull jethrotull.proboards.com/index.cgi?board=general&action=display&thread=1212Ian says that he was given a book as a prize in primary school called 20 Scottish Tales and Legends. This book may very well have started his life long interest in folklore. Every country has tales of meeting witches in forests and the witch tempting the poor traveller with a promise of wealth or love in return for a favour. "Meanwhile leaves are still falling, you're too blind to see..." "Leaves falling "could mean be the passing of time or an imminent change ie love lost. Maybe this all laughable to Ian, in fact, hang on we have a new thread - maybe we should ask him - if he remembers jethrotull.proboards.com/index.cgi?board=questions&action=display&thread=1941Welcome again memory and I look forward to your posts and I will check out your site. Cheers nonrabbit
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Post by steelmonkey on Apr 30, 2012 19:18:04 GMT
Dunno any cellist jokes, Non-Rabbit?
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Post by nonrabbit on Apr 30, 2012 20:17:41 GMT
Dunno any cellist jokes, Non-Rabbit? not any clean ones
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Post by snaffler on May 1, 2012 8:45:54 GMT
Hello! I'm a cellist in a steampunk/folk trio and I've started a little series of blog posts on my favourite songs. Most recently I looked at The Witch's Promise, and it was suggested I post here. I'm not an expert at all and I'm sure there are many people on here that know a lot more than me, but I hope it might be a bit interesting I've reproduced the whole post here, or you can read it on my blog (and listen to the track). pocketwatchtheband.com/great-songs-part-ii-the-witchs-promise-by-jethro-tull/I first heard this song at university when a friend leant me a Jethro Tull cd. I’d never really heard them before, but this song convinced me of their genius. I am by no means an authority on all their music, but I love this song (along with The Whistler and Heavy Horses). I also love the way they manage to combine folk, jazz, classical, funk and rock – not something I’d think was possible. The Witch’s Promise is something else, though, and the more I listen to it, the more I hear in it. The song was first released in 1970 and made it into the top 5; a fact I find very cheering. So, onto why I think this song deserves to be in my list of all time greats… InstrumentsEven though the instruments are all modern, the song still manages to sound both folky and old – despite the funky bass, drum kit, piano and synth strings. No mean feat. The harmonies (which I’ll come onto later) are not so modern, and the writing it strong enough to drag all the instruments into the genre. There aren’t actually as many instruments in this track as I thought there were going to be; only: guitar, piano, flutes, synth strings, bass guitar & drum kit. The bass is incredibly funky! I’d not specifically noticed it until I started listening with headphones, and now it’s one of my favourite elements of the song. It’s the kind of cool bass line that makes you want to take up the instrument (esp from 02’32 onwards…) The piano doubles guitar quite a lot, which isn’t that surprising since Anderson played them both. The strings aren’t overdone, which is nice, and for synth strings they’re not too bad. They play a significant part in the second half of the instrumental section that starts at 01’45 and continue into the next vocal section (often only in two parts, playing in 3rds or 5ths) but aren’t overused when we go back to the big final verse. They throw everything at this verse, but the strings only ever come in on the last, long drawn out words of each line, then drop out again. Inspired. I’m also a sucker for cutting all the backing (02’29) to leave the vocals a capella – then it really packs a punch when the instruments all come back in. This isn’t a million miles away from how Black Velvet by The Lilac Time is structured – starting out low key with only a few instruments, and ending up epic. Key signatureInterestingly, it’s not in a definite major or minor. It’s in A, but the crucial note in the triad (C or C#) is left out, replaced with a B (technically called an A(sus2) chord). I think this contributes to 1. The fluid uncertainty of the song 2. The ‘old’ feeling harmonies, even with modern instruments (piano, flute, electric base, strings). There are very brief flashes of E minor (still with the bass note A underneath) which give a minor-ish feel without ever committing to it. It’s almost like a mode, really. From the very start, the flute flutters avoid playing either C or C# – until the little motif at 00’13 where they play a C#. But! Then the vocals come in (“Lend me your ear while I call you a fooooooool”) – on fool, the chords go through C major, a first inversion G major with a C on top rather than a B, then back to the main A. So we get a sustained C in the top of both the C chord and the G major (which shouldn’t have one) but it gets taken away whenever we return to that uncertain A. So the flute motif plants A major in our ears, whilst the chords going through the last word of each line make us lean towards A minor. Stupidly, it took me ages to realise that Black Velvet starts with EXACTLY THE SAME chord type – an A flat (sus2)… I clearly have a thing for this chord. If anyone can point me in the direction of more songs that start with a sus2, I’d be very happy! Ultimately, I think the interval of the 5th is the most important to them (the A and E together). It’s an interval that evokes images of times gone past and the Medieval period. You hear it in their other songs too. Avoiding a C or C# in the A avoids detracting from the 5th. Lyrics & vocalsThis song creates a very interesting musical setting of the words. The lyrics have a very clear rhythm to them if simply spoken aloud, but that rhythm is subverted by the elongation of the last words of each line into a run of 11 notes. It’s unexpected and very clever, in some ways echoing the fluttering flutes of the opening. As to the meaning of the lyrics, they’re pretty obscure. It seems to me that the ‘you’ being addressed keeps changing. At first it’s the narrator telling his friend that he’s a fool. Later, I think the narrator’s addressing the witch directly (telling her to stop being greedy). I’m inclined to go for a rather literal interpretation but it’s anyone’s guess, really- which is part of its beauty. I’d love to hear anyone else’s interpretation. Anderson’s vocals are double tracked (something he did quite a bit and was pretty common in that era) and I like how that gives his voice a slightly otherworldly quality. Time signatureThe song is in 3/4 but the lengths of phrases within that are uneven, so it feels like the time signature is changing (although it never actually does, which surprised me). For example, at 01’45 the phrases are in several sections of 3 bars then 4 bars, and this continues until the final verse starts. ——- So, that’s why I think The Witch’s Promise is an awesome song. I’m happy for any excuse to listen to it, and as a result of this analysis I’m now able to play it on the guitar, which is more fun than I can express. Maybe there’ll be a Pocketwatch cover sometime in the future… this is an excellent analysis!!! the key signature bit is especially interesting, i doubt in 1970 IA would have known any of the technical terms you refer to though, since part of the genius of the man is because the cant read music or has had any formal music education. its something dee palmer referred to in tv doc once.
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Post by memory on May 1, 2012 8:55:56 GMT
Steelmonkey - where I'm from, those would be viola jokes Thanks for the lovely welcome, guys! Looking forward to delving ever deeper into the wonderful world of Jethro Tull, and definitely hoping to persuade my band to cover The Witch's Promise... Ok, so it's looking increasing likely Ian didn't play piano on that track... Will edit.
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Post by steelmonkey on May 1, 2012 15:29:03 GMT
You mean I've been tricked ? By a viola player who told me those jokes? Jokes on me !
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Post by aqualung on May 1, 2012 20:32:48 GMT
this is an excellent analysis!!! the key signature bit is especially interesting, i doubt in 1970 IA would have known any of the technical terms you refer to though, since part of the genius of the man is because the cant read music or has had any formal music education. its something dee palmer referred to in tv doc once. I agree, a fascinating read. I've often wondered about Ian's claim since his music is so complex...does someone else put it to paper after he's played it out?
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hipflaskandy
Journeyman
OK - this was a while back!
Posts: 223
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Post by hipflaskandy on May 2, 2012 5:37:13 GMT
Thanks for posting a most interesting perspective on one of my all-time fave songs of Ian's. I really enjoyed your contribution. All the best - HFA
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Post by treeborn on May 2, 2012 8:56:07 GMT
perhaps the witches promise was from barren Madge to Gerald the ordinary man that she would have his children.Where as in the end she took him for a ride & he had to live a mundane life in the end?
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Post by maddogfagin on May 2, 2012 14:16:25 GMT
perhaps the witches promise was from barren Madge to Gerald the ordinary man that she would have his children.Where as in the end she took him for a ride & he had to live a mundane life in the end? Possible
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Post by billenplum on Aug 30, 2016 18:44:16 GMT
Hi, I'm sorry to up such an old thread, though it's a really interressing analysis, and it came on the first page on google resaerch about Witch's Promise. That's why I'm here. I have nothing to say about the very good musical analysis, but I think the lyrics are misunderstood.
Actually, the meaning is clear when we understand that the witch is a man, talking to the woman he loved. You can tell by the words "He" or "Him" used in the song. (The witch may be Ian himself). He made a promise to the woman, ( a promise of love, of a life together, something like that ... ) and she said that her feelings were true. But she didn't care about him that much, thinking she owned him yet, searching for something else, for more, a selfish woman, and he was in pain. Finally, time goes by and he decides that it's over, his promise won't happen and he won't be back tonight, she has nothing to wait anymore. It's a break up song. More broadly, it can be heard as the way ones loses his chances, too blind to see.
But, this was released in 1970, with Benefit, and this album is a kind of burn out with the show business. So, the witch may be the artist, that the label is about to lose, because the producers asked too much and always more, looking for money, while the musicians are on their knees.
I just wanted to share this with you, though I won't stay on this forum. I'm french you know, so writing in english isn't easy to me. Just let you know how much I love Jethro Tull too, for sure some of the very best musicians on Earth, IMO.
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Post by bunkerfan on Aug 30, 2016 19:09:07 GMT
Hi, I'm sorry to up such an old thread, though it's a really interressing analysis, and it came on the first page on google resaerch about Witch's Promise. That's why I'm here. I have nothing to say about the very good musical analysis, but I think the lyrics are misunderstood. Actually, the meaning is clear when we understand that the witch is a man, talking to the woman he loved. You can tell by the words "He" or "Him" used in the song. (The witch may be Ian himself). He made a promise to the woman, ( a promise of love, of a life together, something like that ... ) and she said that her feelings were true. But she didn't care about him that much, thinking she owned him yet, searching for something else, for more, a selfish woman, and he was in pain. Finally, time goes by and he decides that it's over, his promise won't happen and he won't be back tonight, she has nothing to wait anymore. It's a break up song. More broadly, it can be heard as the way ones loses his chances, too blind to see. I just wanted to share this with you, though I won't stay on this forum. I'm french you know, so writing in english isn't easy to me. Just let you know how much I love Jethro Tull too, for sure some of the very best musicians on Earth, IMO. Thank you for your interesting analysis billenplum. I hope you change your mind and come back to share your love of Jethro Tull in the future.
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Post by nonrabbit on Aug 31, 2016 21:49:11 GMT
Hi, I'm sorry to up such an old thread, though it's a really interressing analysis, and it came on the first page on google resaerch about Witch's Promise. That's why I'm here. I have nothing to say about the very good musical analysis, but I think the lyrics are misunderstood. Actually, the meaning is clear when we understand that the witch is a man, talking to the woman he loved. You can tell by the words "He" or "Him" used in the song. (The witch may be Ian himself). He made a promise to the woman, ( a promise of love, of a life together, something like that ... ) and she said that her feelings were true. But she didn't care about him that much, thinking she owned him yet, searching for something else, for more, a selfish woman, and he was in pain. Finally, time goes by and he decides that it's over, his promise won't happen and he won't be back tonight, she has nothing to wait anymore. It's a break up song. More broadly, it can be heard as the way ones loses his chances, too blind to see. I just wanted to share this with you, though I won't stay on this forum. I'm french you know, so writing in english isn't easy to me. Just let you know how much I love Jethro Tull too, for sure some of the very best musicians on Earth, IMO. Thank you for your interesting analysis billenplum. I hope you change your mind and come back to share your love of Jethro Tull in the future. Thanks from me too billenplum. I always thought that there were two theories for the lyrics. One of them being that it was about Terry Ellis - I haven't analysed the lyrics word for word on that one. The other one - the one I always went for was a relationship that finished because the woman didn't want it to continue. The bloke was very bitter about it and called her a witch or more precisely a witch who had made promises to him when the relationship was in full bloom. The only other abstract meaning of "Witches Promise" that I can find is from the book "Organisations of Witches In Great Britain" (from Google - not on my bedside table) where they say that a leading witch in covens, mainly American covens had a "Promise" to be the "Queen of Hell" but I don't think that fits into the song. " Lend me your ear while I call you a fool. You were kissed by a witch one night in the wood, and later insisted your feelings were true. The witch's promise was coming, believing he listened while laughing you flew." I think he's talking to himself however the use of the word "he" throws that out a bit but it could always be a mistake.
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Post by jthd35 on Mar 5, 2023 19:01:18 GMT
Hello! I'm a cellist in a steampunk/folk trio and I've started a little series of blog posts on my favourite songs. Most recently I looked at The Witch's Promise, and it was suggested I post here. I'm not an expert at all and I'm sure there are many people on here that know a lot more than me, but I hope it might be a bit interesting I've reproduced the whole post here, or you can read it on my blog (and listen to the track). pocketwatchtheband.com/great-songs-part-ii-the-witchs-promise-by-jethro-tull/I first heard this song at university when a friend leant me a Jethro Tull cd. I’d never really heard them before, but this song convinced me of their genius. I am by no means an authority on all their music, but I love this song (along with The Whistler and Heavy Horses). I also love the way they manage to combine folk, jazz, classical, funk and rock – not something I’d think was possible. The Witch’s Promise is something else, though, and the more I listen to it, the more I hear in it. The song was first released in 1970 and made it into the top 5; a fact I find very cheering. So, onto why I think this song deserves to be in my list of all time greats… InstrumentsEven though the instruments are all modern, the song still manages to sound both folky and old – despite the funky bass, drum kit, piano and synth strings. No mean feat. The harmonies (which I’ll come onto later) are not so modern, and the writing it strong enough to drag all the instruments into the genre. There aren’t actually as many instruments in this track as I thought there were going to be; only: guitar, piano, flutes, synth strings, bass guitar & drum kit. The bass is incredibly funky! I’d not specifically noticed it until I started listening with headphones, and now it’s one of my favourite elements of the song. It’s the kind of cool bass line that makes you want to take up the instrument (esp from 02’32 onwards…) The piano doubles guitar quite a lot, which isn’t that surprising since Anderson played them both. The strings aren’t overdone, which is nice, and for synth strings they’re not too bad. They play a significant part in the second half of the instrumental section that starts at 01’45 and continue into the next vocal section (often only in two parts, playing in 3rds or 5ths) but aren’t overused when we go back to the big final verse. They throw everything at this verse, but the strings only ever come in on the last, long drawn out words of each line, then drop out again. Inspired. I’m also a sucker for cutting all the backing (02’29) to leave the vocals a capella – then it really packs a punch when the instruments all come back in. This isn’t a million miles away from how Black Velvet by The Lilac Time is structured – starting out low key with only a few instruments, and ending up epic. Key signatureInterestingly, it’s not in a definite major or minor. It’s in A, but the crucial note in the triad (C or C#) is left out, replaced with a B (technically called an A(sus2) chord). I think this contributes to 1. The fluid uncertainty of the song 2. The ‘old’ feeling harmonies, even with modern instruments (piano, flute, electric base, strings). There are very brief flashes of E minor (still with the bass note A underneath) which give a minor-ish feel without ever committing to it. It’s almost like a mode, really. From the very start, the flute flutters avoid playing either C or C# – until the little motif at 00’13 where they play a C#. But! Then the vocals come in (“Lend me your ear while I call you a fooooooool”) – on fool, the chords go through C major, a first inversion G major with a C on top rather than a B, then back to the main A. So we get a sustained C in the top of both the C chord and the G major (which shouldn’t have one) but it gets taken away whenever we return to that uncertain A. So the flute motif plants A major in our ears, whilst the chords going through the last word of each line make us lean towards A minor. Stupidly, it took me ages to realise that Black Velvet starts with EXACTLY THE SAME chord type – an A flat (sus2)… I clearly have a thing for this chord. If anyone can point me in the direction of more songs that start with a sus2, I’d be very happy! Ultimately, I think the interval of the 5th is the most important to them (the A and E together). It’s an interval that evokes images of times gone past and the Medieval period. You hear it in their other songs too. Avoiding a C or C# in the A avoids detracting from the 5th. Lyrics & vocalsThis song creates a very interesting musical setting of the words. The lyrics have a very clear rhythm to them if simply spoken aloud, but that rhythm is subverted by the elongation of the last words of each line into a run of 11 notes. It’s unexpected and very clever, in some ways echoing the fluttering flutes of the opening. As to the meaning of the lyrics, they’re pretty obscure. It seems to me that the ‘you’ being addressed keeps changing. At first it’s the narrator telling his friend that he’s a fool. Later, I think the narrator’s addressing the witch directly (telling her to stop being greedy). I’m inclined to go for a rather literal interpretation but it’s anyone’s guess, really- which is part of its beauty. I’d love to hear anyone else’s interpretation. Anderson’s vocals are double tracked (something he did quite a bit and was pretty common in that era) and I like how that gives his voice a slightly otherworldly quality. Time signatureThe song is in 3/4 but the lengths of phrases within that are uneven, so it feels like the time signature is changing (although it never actually does, which surprised me). For example, at 01’45 the phrases are in several sections of 3 bars then 4 bars, and this continues until the final verse starts. ——- So, that’s why I think The Witch’s Promise is an awesome song. I’m happy for any excuse to listen to it, and as a result of this analysis I’m now able to play it on the guitar, which is more fun than I can express. Maybe there’ll be a Pocketwatch cover sometime in the future… Great post, needed this for a writing project
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Post by steelmonkey on Mar 6, 2023 1:11:32 GMT
Original post describes synth strings...had synthesizers been invented in 1970 ?
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