Rooster (1991) - Aural Setting

Section 2 -

Lady Jane

• The 3 female partners of the main male dancer become associated with the characters in the song (Jane, Anne, & Marie) Enhancement of Character
• The lyrics within the song work to enhance some form of small Narrative within this section of the male with the 3 females- pledging his love to Jane/Anne & Marie both past loves
• There is aristocratic suggestions within the song (names, delivery, content) that are supported by the movement material used (formality/bowing/balletic actions/courtly style partner work)
• Direct Correlation is seen in the use of footwork which mimic the rhythms of the music
• Audible Aspects of Dancing are heard with the slap of a hip, which comes completely out of context within this section and creates a shock moment reinforcing the themes of male chauvinism
• The Instrumentation is played quite differently in this section, with the use of guitar being plucked with a much lighter, more delicate quality adding to the aristocratic feel

Section 1 -

Little Red Rooster

Section 5 -

Paint it Black

• Throughout the section the males' depressive mood and link with the song lyrics is suggested (egs needed) this is also enhanced by the male soloists downward focus
• The solo is driven by the music's ongoing pace and momentum demonstrating Music Visualisation seen in the clear changes in rhythm and pace
• The lyrics "I see the girls walking by", Directly Correlate the walking actions of the trio and a reason for the male's isolation
• The lyrics "I look inside myself" are echoed as he traces his hands on the floor (like a reflection) in Direct Correlation
• The use of Silence highlights the males rejection from the females as he reaches towards them for help. He then proceeds to pull himself together in the prolonged Silence before being faced with Ruby Tuesday and making a swift exit

• A Jazzy syncopation approach is used
• The male soloist begins in Silence, highlighting the key rooster motif and the significance of this character/role
• The movement material of the opening male solo echoes in Direct Correlation that of the lyrics ("I am the little red rooster") as the dancer's movement has animalistic references that draw on rooster like behaviours, shapes and actions (eg's to support)
• Moments of Direct Correlation occur as the movement material reflects the lyrics being sung ('Dogs begin to bark, hounds begin to howl') (specific and detailed eg)
• Music Visualisation occurs as the lead male travels more as the music builds
• The music and movement material work well together to introduce the male roles within the work and their significance as characters
• Instruments used include; electric guitar, percussion, and harmonica- giving a farmyard/hillbilly feel which is supporting the characteristics of the rooster, further enhanced by the spatial setting with pathways and formation

Accompaniment - The Rolling Stones

Section 4 -

As Tears Go By

Section 7 -

Play With Fire

• Childlike and often simple actions and repetitions reflect and Directly Correlate the words in the song ("I sit and watch the children play") (egs of play...)
• The melancholy humour picks up on the Mood created through the tone of the guitar and the song's narrative of a lonely man who feels outside of the happy world which surrounds him
• The vocals in the Music are performed in a higher key, with a less gritty quality than other songs, creating a more childlike feeling of innocence
• Audible Aspects of Dancing are heard with another slap, this time with roles reversed (detailed note needs adding)
• At the end of the section the male almost reluctantly carries the female off in Silence giving the audience a moment of reflection as the female embraces the gesture

Section 6 -

Ruby Tuesday

The 8, well known songs used in Rooster were all recorded in the 1960's and performed by The Rolling Stones, one of the biggest UK bands of this era (along with The Beatles), with an international reputation. As well as their own songs, the band admired and sang covers, two of which are included in Bruce's selection for Rooster ('Little Red Rooster' & 'Not Fade Away')

The songs are often challenging, subversive, politically incorrect, and even offensive at times in the use of lyrics and the aggressive attitude and sullen presentation by the lead singer Mick Jagger. In the use of accompaniment there is a strong representation of the 1960's as an era of both aggressiveness and peace (the Stones were caught up with both), as well as the drug taking, hippy elements of the end of the decade.

• This track takes on a relatively slow pace with a soft delivery - the female being sung about is of wealthy status ('[got your] diamonds, pretty clothes, chauffeur') - further enhanced with the addition of the feather boa to the costume
• Opening shows a rhythmically patterned phrase that responds to the music rhythms in Direct Correlation
• In the chorus, the male really echoes the lyrics with his gestural phrase which is repeated and developed throughout the section (detailed eg needed)

• Many of the lyrics reflect the character within the section and the movement material is representative of this -
• "she just can't be chained" reaching/aspiring upwards (detailed eg needed)
• "catch your dreams" grasping/fist gesture (detailed eg)
• Music Visualisation is seen as the rhythms and instrumentation picks up in the Music and the female dancer's traveling patterns develop- also supported by the lighting which brightens
• Echoing the beat, her steps often Directly Correlate the rhythms of the music

Section 8 -

Sympathy for the Devil

Section 3 -

Not Fade Away

• Instrumentation used includes; percussion, maracas, piano, guitar, backing vocals (used as a layer of instrumentation) - this creates an upbeat, celebratory feel for the final and climactic section
• A feature is made of the main rooster male - presented here as the 'devil'- "hope you guess my name?" Directly correlating with the devil motif
• Direct Correlation is used in connections with the lyrics ('pleased to meet you') (detailed eg)
• Music Visualisation is seen in the instrumental sections as the movement content increases with the build in music
• Prolonged instrumental sections create a traditional climax to the dance with use of coda
• Towards the end of the section the music and movement Directly Correlate as they both fade out together
• The section ends, and closes the dance piece in Silence, as it begun, highlighting once again the significance of the character of the rooster

• The section opens with syncopated clapping that mimics and Directly Correlates with the percussive rhythm of the opening musical phrase. This acts as a complete contrast to the previous section and immediately picks up the energy
• The movement throughout this section is driven by the fast pace of the song (Music Visualisation)
• There is a sense of irony in terms of the words of the song, "love is love and not fade away", because he appears to have completely forgotten his partners presence
• Direct Correlation is seen in the use of footwork which mimics the rhythms of the music
• In Correlation, the movement almost literally fades away at the end of the piece (clear description needed)

Rooster (1991) - Aural Setting