Was ‘One More Try’ George Michael's ‘Stairway To Heaven’ ? - Part 2 of 2

1987 George Michael - Faith (US version)
(CBS/Epic Records catalog #460000)
Side A - track #4 : One More Try

 

 

 

 

 

 

 

Was ‘One More Try’ George Michael's ‘Stairway To
Heaven’ ? - Part 2 of 2

(continued from Part 1 of 2)

Surprisingly, what seems hasn`t been detected or thorou-
ghly examined by neither the mainstream nor nonmain-
stream media in George Michael’s Masterpiece (as defined
by Billboard), are those ‘One More Try’ goosebump spots
which have energized most of Afro-Americans’ hearts and
have driven the attention of their community (perhaps
Georgios Kyriacos Panayiotou inherited Aristotle’s
Pathos, one of the 3 means of persuasion).

To put these climaxes in context, let’s see how he manage
the phrasing (phrasing refers to how you sing the words in
the time, or rhythm of a song) when singing the lyrics:

 

 

 

 

 

 

 

 

 

‘One More Try’ goosebump spots ( '¹' . hold you  '²'.
touchin’ you  '³' . . .   '⁴' . * .   '¹' . . .  ) are always in the
1st measure of Phrase #4 (1st line of strophe/stanza/verse)
of Periods #2, #4 and #6.
The harmonic context of this climax in Period #2- Phrase
#4 is shown below:

 

 

 

 

Focusing in that emotionally mezmerizing moment when
the note C5 descends to Bb4 (last beat measure 17 and
marked '⁴' . * . in the lyrics illustration) which he sustains
to the first beat of next measure 18:
The first impression some will get is that George Michael
is creating tension by prolonging a Non-harmonic tone
(aka non-chord tone) to the next strong beat (where the
underlying harmony changes) and hence they are experien-
cing a ‘melodic Suspension’. Further, all those who chose
this ‘non-harmonic tone’ thesis statement, may have thought
about consulting some credible source to support it with
substantial evidence, i.e. Harvard Dictionary of Music
(Page 492 - Nonharmonic tones)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

But ‘melodic Suspension’ isn`t listed in Harvard Dic-
tionary of Music in the 1st category I. Rythmically weak
notes occurring between two “harmonic” notes; the
dictionary lists Suspension separately in Page 719:

 

In (1), the dictionary forwards the reader to the 2nd catego-
ry of Non-harmonic tones: II. Rythmically strong notes
occurring in the place of a harmonic note (illustration
above). However, George Michael’s artistry doesn`t fall
into this category, because the note C5 doesn`t descend to
the Bb4 (last beat measure 17 and marked  '⁴' . * .  in the
lyrics illustration) on a strong (beat) note.
The best guidance Harvard Dictionary of Music can give
to all those who chose the ‘non-harmonic tone’ thesis state-
ment, is example (2) Anticipation, under category I. Ryth-
mically weak notes occurring between two “harmonic”
notes.

As a matter of fact and for clarification purposes, another
example of an emotionally mezmerizing moment (a true
Bb4 Suspension), may be found in the Classical genre, in
Violin I voice - measure 2, of Samuel Barber’s  ‘Adagio
for Strings’: 

 

Below is Samuel Barber’s (Molto) ‘Adagio for Strings’ full
score with Strings layout:

 

Notwithstanding of the supporters of the ‘Non-harmonic
tone’ thesis statement, after a harmonic close-up analysis
of ‘One More Try’ goosebump spots ( '¹' . hold you  
'²'. touchin’ you  '³' . . .   '⁴' . * .  '¹' . . .  ), when the note C5
descends to Bb4 (last beat measure 17 and marked '⁴' . * .
in the lyrics illustration) which George Michael sustains to
the first beat of next measure 18: would be appropriate to
suggest (academically speaking) that although this may
sound alike, it isn`t neither a Suspension nor an Anticipa-
tion.

Please refer to Appendix II: About ‘Cosmic american blog’
quote (D), glossary item (11) [harmonic sequence structure
based on a Period = 8 measures illustration] located in
Part 1 of 2, and the specific harmonic context of the climax
[Period #2- Phrase #4 illustration] located in Part 2 of 2:

The Bb4 is a Common-tone between the dominant area V7
(C/E - C7/E) of 2nd half of measure 17 and the secondary
dominant area viiº/vi (C#º/E of Dm) of 1st half of the follo-
wing measure 18.
Isn`t a Suspension because Bb4 isn`t a foreign note (non-
harmonic tone) in the secondary dominant area viiº/vi (C#º/E
of Dm). Isn`t an Anticipation because Bb4 isn`t a foreign
note (non-harmonic tone) in the dominant area V7 (C/E –
C7/E).
This second impression shows George Michael is creating
tension by prolonging a Harmonic tone (a tone within the
scale) to the next strong beat, where the underlying harmony
changes to the minor harmonic scale of D minor (the relative
minor of the song’s F major key) from where the chord
viiº/vi (C#º/E of Dm) comes from.

Needless to say, talented musicians don`t usually sit down to
analyze the components of their "Masterpiece" before they
immerse themselves into the compositional process:
 i) Seven Fundamental Elements of Music
      a) Pitch
      b) Duration
      c) Dynamics
      d) Timbre
      e) Texture
      f) Tempo
      g) Structure
          Or the
 ii) Five essential elements of a melody
      a) Pitch
      b) Duration
      c) Loudness (Dynamics)
      d) Timbre
      e) Texture
          Or the
iii) Four basic properties of sound
      a) Pitch
      b) Duration
      c) Dynamics
      d) Timbre: quality of a tone that distinguishes it from
                        other tones of the same pitch.

Nevertheless, those doing George Michael’s ‘One More
try’ cover might need to check, besides the correct lyrics
Phrasing, some of above mentioned elements to ensure that
those goosebump spots are as effective as when performed
by its creator. 

 

Note: soundtrack of this vid will enhance in the near future.

In retrospective, but firstly rewinding to ‘Cosmic american
blog’ quote (B) excerpt: “It's George, an organ, a drum ma-
chine, and God, alone in a room, face to face, battling it
out for the sanctity of one man's soul”.
Quite a statement in view of username little earl, which
prompted, secondly, identifying hidden similarities between
two different musical ideas by cross-referencing ‘One More
Try’ with a Progressive Rock (true) Masterpiece: Robert
Anthony Plant’s & James Patrick Page’s ‘Stairway to
Heaven’ (Quinquagenary Anniversary 1971-2021).

Jimmy Page started writing the music in May 1970 and
Robert Plant wrote 80% of the lyrics a few weeks later.
Recording of the song began in December and was finished
in 1971. Some people saw some portents with ‘One More
Try’, a song that George Michael will always going to be
associated with, much as Led Zeppelin will always be
associated with their anthem ‘Stairway to Heaven’.
Both very deep yet, soothing songs.

In regard to ‘Stairway to Heaven’ YouTube username
Jasbad Sirron wrote:
“The whole song is about the deep level Gnostic / Occult /
Christ knowledge of mankind and how we move from an
unawakened state of being into awakening - hence, mani-
fest the Kingdom of Heaven on Earth.
And if you listen very hard, the truth will come to you at
last.... if you have eyes to see and ears to hear. Maybe if
your hedgerow has been bustled ?
Hedgerow is your third eye - your brow - hedgerow.  
Have you had the I AM moment ?
Have you asked the question to yourself about the nature
of your reality and existence?
Has your perception of reality exploded all of a sudden
and it was as if you could see the world from 60,000ft?
If yes, then there’s been a bustle in your hedgerow. Etc.!

“Looking to the West represents mankind’s journey/pro-
gress through our righteous path out of ignorance, duality
and density (the East - where our Sun/Sol rises) and into
unity and back to the light a Aka Heaven - of where the
Sun sets meaning the end of mankind’s remembering who
we are and our ascension out of ignorance, suffering and
poverty (spiritually) and into oneness or unity or harmony.”  

“The writers of this song know exactly what it’s about.
The purpose for putting it into a song is so they aren’t
‘burnt at the stake’ by egotistical know it all religious
zealous narcissists because they shared some extremely
deep truths about who we are and why we are here – which
directly contradicts the fear based literal interpretations of
the holy scriptures that religious institutions have implan-
ted into our minds.” 

“The same fear that led the Pharisees to plot against the tea-
chings of the Christ which lead to his ‘death’ by the hands
of those trapped in duality and fear.
Do you see what humans do to those who try and awaken
them from their deep sleep they think is real ?
Do you now know why truth is hidden in parables and
always has double meanings ?
‘Because you know sometimes words have two meanings’.”

“All along the watchtower tower is about the same thing.
Sound of Silence is about the awakened humans having to
suffer a subconsciously passive aggressive nihilistic and
narcissist mankind who are blind to the truth and stuck in
a state of cognitive dissonance who kill and hate those who
try to awaken the unawakened narcissists to the plight of
their suffering due to their deep set spiritual ignorance.
I’ll do the whole song if you want ?
I’d recommend listening to Neville Goddard, Manly P Hall
and Rudolph Steiner, dropping any ego and expand your
perception. Good day and God bless.”

‘Stairway to Heaven’ mainstream reviews give us also a
traditional outlook of Led Zeppelin IV’s milestone state of
mind:
1) Genius
     Led Zeppelin – Stairway to Heaven lyrics
 “ ‘Stairway to Heaven’ is one of Led Zeppelin’s most
famous recordings, with many considering it the greatest
rock song of all time. It tells the story of a greedy woman
who is overly optimistic about her unpromising future.
The song resonated with young listeners, opening up a
door to a different realm of spirituality and transporting
them into a more mystical view of life. The vagueness of
the lyrics also allows listeners to interpret the song in their
own way, adding to the magic and mystery of the track.”
2) Rolling Stone
    500 Greatest Songs of All Time
 “All epic anthems must measure themselves against
‘Stairway to Heaven’", the cornerstone of Led Zeppelin IV.
The acoustic intro sounds positively Elizabethan, thanks to
John Paul Jones' recorder solo and Plant’s fanciful lyrics,
which were partly inspired by Lewis Spence's historical
tome Magic Arts in Celtic Britain. Over eight minutes, the
song morphs into a furious Page solo that storms heaven's
gate.”
“Page said the song ‘crystallized the essence of the band. It
had everything there and showed us at our best. It was a
milestone. Every musician wants to do something of lasting
quality, something which will hold up for a long time.
We did it with Stairway’."

YouTube title links:
Led Zeppelin - Stairway to Heaven Live
Stairway to Heaven Led Zeppelin Lyrics
Led Zeppelin - Stairway To Heaven // Sub. Español
Jimmy Page: How Stairway to Heaven was written