Once again, in need of classical music advice, I come to the Dope—my only source for highbrow culture.
This is a two-parter: First, I’m pretty sure there are some rock-era songs whose melodies were swiped from long-ago orchestral-type compositions, but beyond Eric Carmen’s “All By Myself” I can’t think of any. I’ll bet you all can, though.
Second, as a hack songwriter, I’d like to jumpstart my (so-called) creative process by riffing on some of these old-school, public-domain melodies and themes, just like the famous rip-off artists described above. Who are some catchy, melodic composers who might be good to take a look at?
ISTR seeing something about the Journey Song “Separate Ways” (this was back when it was a hit, in '83) indicating that the keyboard riff at the beginning of the song was inspired by a Bach piece. However, I’m now unable to find any modern citation of this, and thus, I’m not going to stake anything on it being accurate.
The chorus of Barry Manilow’s “Could It Be Magic” is lifted straight from Chopin’s Prelude in C Minor. Manilow opens the song with it so I’m sure he wasn’t trying to pull one over on anyone. All the same, one wonders if ol’ Frédéric would have approved.
It’s here in case you haven’t heard it in a while.
Well, Billy Joel used Beethoven’s Pathetique piano sonata for the chorus of “This Night.” And Sting used a snippet from Lieutenant Kije Suite by Prokofiev for the instrumental sections of “Russians.” He also used a melody by composer Hanns Eisler for “Secret Marriage.”
True dat. I recall being embarrassed that I’d been hearing Blues Traveler’s “Hook” on the radio for 15 years before I noticed that it was one of the many offenders.
I love coincidences (you could say I’m Jung at heart…)! I’m also a hack songwriter, and just completed this number this week:
MINUET IN FREE (“Minuet in G”–probably Christian Petzold (not J. S. Bach!))
COPYRIGHT AP 2011 by Sam A. Robrin or whoever the hell it is who writes these things. Go ahead and use it (hey,I lifted the melody), but if you make a little money on it, I want some!
The Tree of Liberty
Must be
Seeded, and watered fre-
quently,
Tend-
ed with strength to bend,
So it’s not expend-
ed in rigid end-
ing.
Leafy and richly gree-
n All the
Seasons of its gene-
ity–
Though
You won’t see them, know:
Generations grow
From seeds it will sow.
The key to liberty:
To be
Free, spread the blessings e-
qually.
Eyes
Firmly on the prize,
We can realize
Dreams within aris-
ing.
E.g.: a guarantee
To de-
cree property and free-
dom se-
cured,
Firmly reassured;
Welcome all aboard
To serene accord.
Knee-
Deep in liberty!
No authority
Forcing us to flee
Slavery.
When we learn to value each other,
We'll all be free.
Live!
Love yourself!
Give
Of yourself!
Be the change that you want to see.
When we learn to value each other,
We will all be free.
Drea-
my? Well, that may be.
Keep it up and see:
We can live ire-
nically.
When we learn to value each other,
We'll all be free.
Live!
Love yourself!
Give
Of yourself!
Be the change that you want to see.
When we learn to value each other,
We will all be free.
Contrary to popular opinion, expressed once more here, AWSOP is NOT, even remotely, based on J.S. Bach’s “Air on the G String” (which in itself is a misnomer).
The melody and the harmonies are akin to Bach’s style in general though, and actually Bach’s Sleepers awake would be a stronger case to claim as an inspiration source.
Some less frequently mentioned that do use classical music melodies:
If I had words by Yvonne Keeley and Scott Fitzgerald (Saint Saens, Symphony 3 “with organ”)
Beach baby by First Class (Sibelius, swan motif from Symphony 5)
Phil Collins, The Mindbenders - A Groovy Kind Of Love (Clementi: Sonatine in G)
Neil Diamond - Song Sung Blue (Mozart: Piano Concerto No. 21 - second movement)
The Farm - All Together Now (I know a lot of songs sound a bit like Pachelbel’s Canon, but this one really sounds like it)
