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Wichita Lineman, Glen Campbell's 1968 single written by Jimmy Webb, is another tune introduced to me by Rick Beato's channel. Had I been around earlier, I would have doubtlessly known it already - it's a legendary composition and performance that (relatively) recently earned it a place in the Grammy Hall of Fame. I'm always looking for harmonically creative songs to cover, and Jimmy Webb made Wichita Lineman just that. As he points out in an interview, though it's set in F major, following the intro "It never goes to F!" but rather modulating to the unexpected D major.
A distinctive feature of the original song are the prominent lines of repeating notes in the string intro, utilizing a feature of Webb's electronic church organ which Campbell snatched over to the recording studio on a whim (an anecdote related by Webb in Beato's video: • Jimmy Webb on Writing ... . The piano is well suited for both replicating such lines and multitasking them alongside accompanying figures and bass. So, while playing the repeated notes, I covered roughly three other elements across the registers of the piano:
1) the treble lead string melody, which I played in octaves in the right hand - occasionally sharing with the left, e.g. 0:02, 0:09, 0:11
2) the accompanying mid-range rhythm chords in the left hand, and
3) the iconic intro bass riff plus core bass notes
Using these in tandem, I working to match the warmth and fullness of the original intro’s orchestral sound.
I ornamented the first verse as I usually do, but this time a focus on secondary melodies and non-octave intervals in the right hand. For the first bar in D major, I implemented a cross-octave arpeggio which I particularly like the sound of (0:31): Dadd4, beginning a downward arpeggio with a mordent on the F#. Laying this over a left-hand melody filled the gap left by a break in the vocals in the original, though it did leave out a neat bass riff in the fourth beat. As the vocals restarted at 0:38, I incorporated bell tones again (an official arranging addiction of mine at this point). Each “bell” note corresponded to the top line of violins in the original. Since these rang on beats 2 & 4, my right hand was free to relieve my left hand of the bass notes on beats 1 & 2, setting my personal record for most hand-crossings in one video to five (including the two in the intro).
For the first half of the second verse (1:07), I chose to go off-script and use a dreamy high-register texture of 16th note arpeggios. This choice differentiated it from the verse before and gave the listener a respite from the enduring bass presence throughout the rest of the song. Reaching the D-major modulation again, I revisited the arpeggio from 0:31, but doubled it with both hands this time, setting up for the heavier and busier sound of the rest of the verse from 1:26 onward.
I had recorded several takes for the outro at 1:44, but had rushed the process to get it done before my vacation. Somewhere along the line, I lost the video for my final take. So, the footage you see for the outro isn't from the performance, but instead belongs to the take before. Whoops! I tried my best to tempo-map it to the audio, but there's only so much you can do (especially as the ritardando kicks in at the end).
My original covers ▸ • My Original Arrangements
(70's-90's western classics)
The Caretaker covers ▸ • The Caretaker on Piano...
(Leyland Kirby's music - Everywhere at the end of time, An empty bliss beyond this world, etc)
Music:
- Played by @boredPianoAdv
- Arranged by @boredPianoAdv
- Original song ▸ "Wichita Lineman" by Glen Campbell / Jimmy Webb
Equipment:
- Keyboard: Casio PX-S3000
- Audio: Pianoteq 8.2 - C. Bechstein DG
- Video: Nikon D3400
#piano #pianocover #countrymusic #glencampbell