Teori och Analys A

Mattias Skld och Bill Brunson

19 Dec 2014

Good Morning Love!

Its springtime in my heart
An analysis on the piece of Kim Heds

After hearing and listening to Good Morning Love! Its springtime in my heart, I divided it in 4
parts: introduction (first 30 seconds of music), first section, faster, more rhythmical and with
characteristic elements (from second 30 to 2 minutes and 17 seconds), second section, with
textural slow sounds and a few attacks in the end (from 217 to the forth minute and 12
seconds) and a third section that conducts the piece till the end, being a mixture of elements
from the first and second parts.
As for layers, most of the piece is constituted by no more than 3 layers: a background
sound, attacks and another longer sound. The most part is constituted by only 2 layers.
The introduction begins with a medium pitch sound that remembers a bowed
suspended cymbal. Another, higher in pitch, comes and, in between, a vibrato sound,
transporting one to the other. Then, at 8 seconds, there is an attack and the sound is stretched
and seems to slowly die when another sound comes up. This sound is a metal wind-chimeslike sound, where the high frequencies leave themselves vibrate and resonate. Then there is a
series of two small attacks and a new stretched sound (rubber-like), then two short high notes,
a new attack and another high note. The stretched sound evolves to a continuous sound that
opens fast and then decays in a slower way. During the attenuation, another, higher pitched
sound like the first appears on top of the now background sound. This sound cuts to a new
part constituted by electric guitar accentuation that extend for about 15 seconds. Some noise
appears at 57 and another higher pitch sound, not so much as the firsts, as it in not so
continuous, shifting a bit in pitch and volume. Then, there are two curvy train-like sounds
following one another, and after some decrement in the sound (it appears more as
background), there are another two attacks of the same kind of sound. At 115, there are
three more short attacks and at 116, an attack with immediate decrement and
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intensification, followed by a 3 seconds noise. Another stretched sound, with a higher pitched
sound on the top and a skin-stretching sound to follow. Another higher pitched, not
continuous, vibrating sound and more stretching. Then, another section with electric guitar
accentuations, but this time with the train-like sound as background, sometimes trying to
come over on top but always fading. This background sound continues alone until it merges
in the wind-chimes-like sound. At this time, I consider the end of the first section, even
though it is not quite that clear until some seconds later. Following this sound, there is an
rotation between wind-chimes-like sounds and stretched rubber-like sounds. This second
section has a more mysterious side than the first caused by the slower sounds and the metallike sounds that fade with one another. A lower sound emerges from this rotations and it
intensifies and then becomes background, as new attacks come to life. This are spaced by a
fez seconds each during almost half-a-minute, and the background sound acquires somewhat
the texture of a medium-low pressed string on a cello. There is a new, not constant, higher
sound, similar to the train-like sound, not very long, and the background sound transforms
itself in the wind-chimes sound again. After, it is introduced a new bouncing sound and a
successive amount of attacks follow it. Being as the next 50 seconds are dominated by this
new kind of sound and breaking the textural, tymbrical of the part before, I choose this
moment to start part three, the final part. The bouncing sound gives away to the stretched
sound and 3 closing-a-door short attacks. The new bouncing comes with a wind-like sound
and a bouncing longer sound. There is the intensifying strings-like sound and a train-like,
sound with movement that also has a bit of glister in it (probably as a remembrance of the
wind-chimes-like sound. This sound transforms itself in a new section of electric guitar
accentuations not so clear as before and with a lot more distortion. This finishes with two
more attacks, a background noise of the electric guitar accentuation really dulled, a new
attack and, in the end, a fading of the sounds to nothing that finishes the piece.
It is a stereo piece of music but the panning is not the highest priority and most os the
elements stay on the two channels, although sometimes with more focus on one than the
other. The dynamics are very uniform, without there being very aggressive sounds or almost
unlistenable ones. The mixing process is done very constant, without great disparity. The
spectrum of the sound is neither very lower or very higher, so we can say it stays within
medium registers.
As for sound processes, a great number of sounds are stretched and reversed, but a lot
of them have only been worked on the reverberation. The sounds speak for itself and are

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very clear. Being that most are metal and the pitch is not always identified as a singular
frequency, the music seems to have some kind of reference to the oriental world. As it is a
electroacoustic song, we can hear most of the instruments used in the making of the sounds,
as the bowed suspended cymbal, the wind-chimes, some strings (maybe) and a door.
Ive not found information on the purpose or subject of the work, either social, political,
textual or technical. Looking at the title of the piece, we would say that it is a positive work of
art, with some mystery of the morning and the springtime. We can feel it when we listen to
the music, and I found the music very relaxing in some way, as it has not very loud, nor very
aggressive sounds.
Written in 1994, by swedish composer Kim Heds, Good Morning Love! Its springtime in my
heart received an honourable mention at the Stockholm Electronic Arts Awards (1994) and
was also awarded a residence prize at the Grands prix internationaux de musique
lectroacoustique (Bourges, France, 1994). Kim Kerstin Margareta Heds was born in the 3rd
day of April in 1965 in Hedemora in Dalarna and is actually living in Stockholm. Heds
studied composition and electronic music at the Royal College of Music in Stockholm
1991-97 with Pr Lindgren and, in between 1998 and 2000, was composer in residence "at
Swedish Radio P2. Her breakthrough, in 1994, was with this piece of electro-acoustic music,
Good Morning Love! Its springtime in my heart. Although she started as a mainly electronic music
composer, Heds reverted to a more diversified production, which includes orchestral,
chamber and choral music. She has written works for, among others, oboeisten Helen Jahren,
pianist Dr Ulln, percussion ensemble Kroumata, accordionist Anita Agnas, chamber
ensemble Pearls before swine, and several orchestras as the Gothenburg Symphony
Orchestra. Since the 80s, she has done some works for the theatre and TV productions. In
2011, Heds collaborated with artist Petra Gipp to the sculptural installation at Kivik Art
Centre on Osterlen. Heds has received several artist scholarships, including from the city of
Stockholm and the Royal College of Music. Her music has been performed in several
countries.

Ndia de Sousa Varela de Carvalho

911906
nadia.de-sousa-varela-de-carvalho@student.kmh.se

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