Buy essay on Frank Zappa: “Peaches en Regalia”

Every mode has its own system of whole and half steps that makes it different from others. As an example, the phrygian mode has the system of whole and half steps: half step, whole step, whole step, whole step, half step, whole step, and whole step. There are people who are sure that Zappa copied this system of whole and half steps but instead of beginning it on E, started it on F sharp. Anyway, since the key signature of the Zappa’s composition is F# minor and the phrygian scale uses a half step as its first interval (which F# minor does not with a G sharp) the G sharp must be lowered in order to create the scale. It was done by Frank Zappa in the A theme (James 2002).

The form of Peaches En Regalia. While listening to the Peaches En Regalia for the first time, the form can seem rather deceiving. From the first hearing, some people can easily understand that the first section of the composition is repeated again at the end of it but the sections that are in between are not as obvious to identify. During the time, music has been developed from very simple forms and melodies to music that doesn’t have the form at all. The common forms of music include sonata, and through-composed forms, binary, and rondo. So, the sonata form was one of the most important musical structures during the classical period of music. A composition written in sonata form consists of three key sections: exposition, development, and recapitulation. In the exposition, the main theme of the composition is stated and then repeated.  In the development section, thematic material from the exposition is used and spread on the new; smaller themes and ideas are made from it. The recapitulation is just a return of the exposition of the composition (Shuker 2001).

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Checking the call chart that is below, we understand that the composition almost takes the shape of sonata form. I say almost, because every new theme vividly has its own thematic materials which are different in some way and doesn’t incorporate material from the exposition. Some people can argue that there is no development of theme A. However, the form does still resemble that of sonata form. Using the letters to represent the parts of the sonata form, it can look like this: A, A, B, A’. So, the exposition of the main scene is repeated the same as it is repeated in Peaches En Regalia. The development section is the B which can correspond to themes B, C, and D together acting as a development of theme A. The recapitulation is presented by the A even though we call this A prime because it is not totally the same as the first A. The chart shows that a rough version of this form is used in Peaches En Regalia also.

Expressive Elements of Peaches En Regalia. Wishing to add different shades, some colors and textures to the composition, Zappa implements many different instruments. He vividly uses a lot of instrumentation on most of his pieces. There are some parts in which he has two separate drummers, drummer A and another drummer B. In the composition Peaches En Regalia we also can see the usage of saxophones which Zappa was fond of. The tune in the theme C is played by guitar and flute. These instruments play in octaves, so using the unorthodox instrument pairing adds the tune a very interesting texture. Frank Zappa uses the synthesizers in the transitional parts of the composition between sections. When the Peaches En Regalia was played the first time, synth technology was just appearing and Zappa used it widely in this composition. The change in the tone and sound of an instrument, which is called the timbre, from the plucking sounds of a guitar to the sound of electronic synthesizer make interesting tonal effect in composition (Fisher Lowe 2007).

So, summarizing, I should say that “Peaches en Regalia” is one of the most immortal melodies of Frank Zappa. This instrumental rock composition the first time appeared as the opening composition on the LP Hot Rats in 1969. The Drum fill that was in introductory part has become classic and none of musicians could the original cue-in fill. It has become an instantly recognizable tag, only equaled in the composer’s book to the one starting “Montana.” It often was a show opener during 1976-1977 and as an encore in 1980. The composition “Peaches en Regalia” is famous and loved all over the world.

Bibliography

Fisher Lowe, K. 2007. The Words and Music of Frank Zappa.University of Nebraska Press. USA. Pp. 78-79.

James, B. 2002. Necessity Is: The Early Years of Frank Zappa and the Mothers of Invention. SAF Publishing Ltd. England. London. pp. 78-79.

Nelson, E. 2009. Frank Zappa: Peaches En Regalia. Retrieved from http://courses.wcupa.edu/frichmon/mue332/spring2002/eriknelson

Rosen, S., Zappa, F.  2004. Frank Zappa: the classic interview. p. 12. Print and CD

Shuker, R. 2001. Understanding Popular Music. 2^nd Edition. Taylor and Francis Books Ltd. Great Britain. Pp. 45-47.