REVOLUTION NUMBER 9
PT 7
BY IAN HAMMOND

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(c) Ian Hammond 1999
All rights reserved

Section 2:
2.00 Rabble strip
3.00 Kids strip
4.00 Demo strip
4.30 Stretto
This strip concludes the development. Lennon's plan is to go out with a bang on huge climax with a stretto at 4:30. That will take up the second half of this strip. The task of the first half is to introduce that climax.

S1 Exposition S2 Development S3
+----+----+----+----+----+----+----+----+----+----+----+----+
1.1 1.2 XXX 2.1 2.2 2.3 XXX 3.1
Rabble Kids Demo
0:0 1:0 1.30 2:0 3:0 4:0 4.30 5:0

The strip chart below shows the main activity.
4.0 5 10 15 20 25 30 35 40 45 50 55 60
---+----+----+----+----+----+----+----+----+----+----+----+----+
@@@| (Number 9) | | | @@Number 9@@@@@@@| | | |
@@Piano@@ | | | | @@Oboe@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@Waltz | | | | @@Horn@@@@@@@@@@@@@@@@@@@@@@@@@@@
| @@John&George | | @@Fanfare@ooooooooooo@@@@@@@@@@@@
1 |2 3| 45 | |6 7 ##Cymbals########################
| | | ##Demo############################### | | |
| | | ##Alright################### | | | |
| | | | | | @@Agitato@@@@@@@@@@@@@@@@@@@@@@@@
| | | | | | | | | ##Hoses##########
---+----+----+----+----+----+----+----+----+----+----+----+----+
0 5 10 15 20 25 30 35 40 45 50 55 60
1="30" 2="Number 30" 3=Whistle 4=Violin 5=Guitar 6=Guitar 7=Cello

Section 2.3 -- Demo Strip

3.57 (BBb) "Number 9"
(Bb A) JL: [Wounded sounds]
(Bb Ab) "Hoy-tat hoy-tureen"
Synchronous with the repetition of "Number 9"
(e) "Thirty"
(F+D) Stretto choir. Very soft.
E: Backward piano Soft.
4.00 b: Waltz
4.01 (G#E) "Number thirty"
4.04 Whistle
"Number 30"
GH: then there were two of us, prepared to fault
GH: as the headmaster reported to
4.07 JL: You could tell what he was saying,
JL: and his voice was low and his ??? was high and his eyes were low
D10
4.10 (G-Ab) Single violin note
4.11 (B-Bb) Single guitar note, bend, echoes violin
b+e bb+eb bb+c#
There's a lot of filagree work in this fifteen second home area. The introducion of "Number 30" is a nice detail, which returns later.
4.12 Demo crowd
4.14 E-C#) "Alright"
A short transition where the voices of the opening area fade out and Lennon's solitary Alright serves as a cadence.
D12
4.21 (F) Single guitar note (the dominant?)
4.22 JL: [It was] on fire, and the last [thing]
D13
4.25 (F) Single held cello note -- same pitch as guitar note
4.26 JL: This was the...
Twelve seconds of the Demo crowd with the odd dub. The F on guitar and then cello serve as abstracted cadences on to the coming stretto.
Section 2.4 -- Stretto

4.27 (B)xBb Major stretto
(B)Bb Number 9
__ Demo
[a:] Alright
(CDA) Oboe
(ADG) Horn
Bb2 Fanfare
Bb: Agitato
__ Cymbals
The stretto begins with all the regular stretto members blaring. The Cymbals seems to be synchronous with the fanfare, but remains loud even when the fanfare all but fades out.
4.40 Thud
D14 Hoses (white noise)
A dull thud introduces a penetrating white-noise-like voice which sounds like powerful fire or demonstration hoses.
4.43 Alright stops
4.45 Number 9 stops
4.48 Demo stops
Lennon withdraws the vocal voices one at a time leaving the stretto to conclude on the orchestral instruments and Hoses. In doing so he neatly ties a link to the end of the first section and it's stretto.
5.00 Abrupt transition to section three.
At 5.00 Lennon ends the section letting only the new Hoses figure overlap. It becomes the dominating voice of the beginning of the third section.

The stretto develops the material of the first stretto by brute force with a 30 second FFF section. Number nine. Lennon's wounded sounds, Number nine and crowd noises are added to the first 15 seconds.

The B natural of Number nine does battle for the first fifteen seconds, but gives up leaving a clear cadence on (Bb Eb Bb Ab Bb) in the bass and the rising chromatic Bb Agitato figure in the treble. A tempest of Bb with added Ab, Eb, C, F and G. The development may seem crude, but that's the perogative of the artist. The art comes where Lennon follows this climax with an unabated storm at the start of the third section.

Summary
The first fifteen seconds have the home seating. Lennon skips the usual cadence theme and uses the second fifteen seconds for the return area with Lennon's solo voice prominent. Across this first 30 seconds Lennon dubs various single-note figures which serve as a highly abstract cadence onto the stretto.
The concluding 30 second stretto is itself divided into two halves, the first with voices, the second with hoses.

4.0 5 10 15 20 25 30 35 40 45 50 55 60
---+----+----+----+----+----+----+----+----+----+----+----+----+
@@@| (Number 9) | | | @@Number 9@@@@@@@| | | |
@@Piano@@ | | | | @@Oboe@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@Waltz | | | | @@Horn@@@@@@@@@@@@@@@@@@@@@@@@@@@
| @@John&George | | @@Fanfare@ooooooooooo@@@@@@@@@@@@
1 |2 3| 45 | |6 7 ##Cymbals########################
| | | ##Demo############################### | | |
| | | ##Alright################### | | | |
| | | | | | @@Agitato@@@@@@@@@@@@@@@@@@@@@@@@
| | | | | | | | | ##Hoses##########
---+----+----+----+----+----+----+----+----+----+----+----+----+
0 5 10 15 20 25 30 35 40 45 50 55 60
1="30" 2="Number 30" 3=Whistle 4=Violin 5=Guitar 6=Guitar 7=Cello

In the context of the preceding strips, this is quite brilliant work where Lennon's evolved language is used to produce an extended close onto a powerful climax. As usual, the detail work is deftly executed. In the next article we move to section three.

Filling me up with your rules...

I have employed a number of conventions in these articles. You will need to use a fixed size font to read these posts sensibly. In the first column I indicate the time, in minutes and seconds, as it occurs on CD. I'm not always exact to the second when referring to the time in the main text. This is not physics.
1.50 (A) This is something that happened at 1 minute 50 seconds In the second column of titles I use "D" to indicate dubs (e.g. D1) and "L" to indicate loops.
In the second column of examples I indicate the notes, chords or key of a section, using the following conventions:
(A) the note A. (ABC) implies the notes A, B and C.
a the chord a minor
A the chord A major
a: the key a minor
A: the key A major
[A] square brackets enclose almost inaudible sounds The third column may have quoted text, which is preceded by the initials of the speaker, if known. JL, GH, YO and GM are obvious. AT: is Alistair Taylor. The text is highly conjectural in places. In melodic examples, "'" and "_" are used to indicate non-intuitive jumps. "a' b" indicates the "a" is above the following "b". "b_ a" indicates that "b" is below the following "a".