Editing Jangle

{{Short description|Guitar sound and technique}}
{{for multi|the related music genre|Jangle pop|other uses|Jangle (disambiguation)|and|Jingle Jangle (disambiguation)}}
{{Use American English|date=July 2016}}
{{Use mdy dates|date=July 2016}}
[[File:1967 Rickenbacker 360-12 12 string electric guitar owned and photographed by Greg Field.jpg|thumb|upright=1|A [[Rickenbacker 360/12]], one of the most common guitars  used to produce "jangly"  sounds in the 1960s]]
'''Jangle''' or '''jingle-jangle''' is a sound typically characterized by undistorted, [[treble (sound)|treble]]-heavy electric guitars (particularly [[twelve-string guitar|12-string]]s) played in a [[drone (music)|droning]] [[chord (music)|chordal]] style (by strumming or [[arpeggio|arpeggiating]]). The sound is mainly associated with [[pop<!--- Source states that the term "implies a more pop, mainstream approach" and is heavily connoted with "indie pure pop" ---> music]]<ref name="Bannister"/> as well as 1960s guitar bands, [[folk rock]], and 1980s [[indie music]]. It is sometimes classed as its own subgenre, [[jangle pop]]. Music critics use the term to suggest [[guitar pop]] that evokes a bright mood.<ref name="KampDaly2005"/>

Despite forerunners such as [[Jackie DeShannon]], [[the Searchers (band)|the Searchers]] and [[the Everly Brothers]], [[the Beatles]] and [[the Byrds]] are more commonly credited with launching the popularity of jangle. The name derives from the lyric "in the jingle-jangle morning, I'll come following you" from the Byrds' 1965 rendition of [[Bob Dylan]]'s "[[Mr. Tambourine Man]]". Although many subsequent jangle bands drew significantly from the Byrds, they were not necessarily folk rock as the Byrds were.

Since the 1960s, jangle has crossed numerous genres, including [[power pop]], [[psychedelic music|psychedelia]], [[new wave music|new wave]], [[post-punk]], and [[lo-fi music|lo-fi]]. In the 1980s, the most prominent bands of early [[Alternative rock|alternative]] and [[indie rock]] were jangle pop groups such as [[R.E.M.]] and [[the Smiths]].<ref name="Bannister"/>

==Definition and origins==
[[File:McGuinn 1972 cropped (2).jpg|thumb|upright|[[Roger McGuinn]] of [[the Byrds]] playing his 12-string, 1972]]

"Jangle" is a noun-adjective that music critics often use in reference to [[guitar pop]] with a bright mood.<ref name="KampDaly2005"/>  The verb "to jangle", of Germanic origin, means "to sound discordantly, harshly or unpleasantly".<ref>{{cite book|title=Collins Dictionary of the English Language|edition=2nd|location=London|year=1986|bibcode=1986cdel.book.....H|last1=Hanks|first1=Patrick}}{{page needed|date=August 2019}}</ref> The more modern usage of the term originated from the lyric "in the jingle-jangle morning, I'll come following you" from [[the Byrds]]' 1965 rendition of [[Bob Dylan]]'s "[[Mr. Tambourine Man]]", which was underpinned by the chiming sound of an [[electric 12-string guitar]].<ref name="KampDaly2005">{{cite book|last1=Kamp|first1=David|last2=Daly|first2=Steven|title=The Rock Snob's Dictionary: An Essential Lexicon Of Rockological Knowledge|url=https://archive.org/details/rocksnobsdiction00kamp|url-access=registration|year=2005|publisher=Broadway Books|isbn=978-0-7679-1873-2|page=[https://archive.org/details/rocksnobsdiction00kamp/page/54 54]}}</ref> According to academic/musician [[Matthew Bannister (musician)|Matthew Bannister]], the term "implies a more pop, mainstream approach" that is heavily connoted with "indie pure pop". He writes:

{{quote|Jangle can be understood as a subspecies of drone: trebly, relatively clean (undistorted) guitar sound played in (often) a chordal style: either strummed or arpeggiated (sounding each string in a chord separately) but generally repeating notes (pedal) over the top of a chord sequence. Pedals are normally open strings that also resonate overtones ...  This style was strongly identified with 1960s guitar bands, especially the Byrds [and has since] characterised the sound of acts like [[R.E.M.]] and [[The Smiths]] ...<ref name="Bannister">{{cite book|last=Bannister|first=Matthew|title=White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock|url=https://books.google.com/books?id=Lt2hAgAAQBAJ|year=2013|publisher=Ashgate Publishing, Ltd.|isbn=978-1-4094-9374-7|pages=71–72, 87, 124–125|author-link=Matthew Bannister (musician)}}</ref>}}

It is also deployed in the context of its own music subgenre, "[[jangle pop]]", which is characterized by trebly, ringing guitars (usually 12-string electrics) and 1960s-style [[pop music|pop]] melodies.<ref name="Gazette 2015">{{cite web |url=http://www.dailygazette.com/news/2015/aug/19/british-band-life-film-sounds-jangle-pop/ |title=British band Life in Film sounds off on 'Jangle Pop' |last=Wilkin |first=Jeff |publisher=[[The Daily Gazette]] |date=August 19, 2015 |access-date=July 24, 2016}}</ref> [[The Everly Brothers]] and [[The Searchers (band)|the Searchers]] laid the foundations for jangle in the late 1950s to mid 1960s, with examples including "[[All I Have to Do Is Dream]]" (1958) and "[[Needles and Pins (song)|Needles and Pins]]" (1964), [[John McNally (musician)|John McNally]] of the Searchers speculated that the Byrds may have been influenced by the guitars in "Needles and Pins" and said that the sound of the song "was a total mistake, and it wasn't even done with 12-string guitars. We used two regular six-string guitars playing the same riff and added a little echo and reverb ... and everyone thought we were using 12-strings."<ref>{{cite web |last1=Brinn |first1=David |title=THE SEARCHERS STILL ON 'NEEDLES AND PINS' |url=https://www.jpost.com/Israel-News/Culture/The-Searchers-still-on-needles-and-pins-462767 |website=[[The Jerusalem Post]] |date=July 30, 2016}}</ref>

==Popularization==
Despite coming after the Everly Brothers and the Searchers, [[the Beatles]] and the Byrds are commonly credited with launching the popularity of jangle pop, in the mid-1960s, the Beatles inspired many artists to purchase [[Rickenbacker]] [[12-string guitar]]s through songs such as "[[A Hard Day's Night (song)|A Hard Day's Night]]" (July 1964), "[[Words of Love]]"  (October 1964), "[[What You're Doing]]" (December 1964), and "[[Ticket to Ride (song)|Ticket to Ride]]" (June 1965).<ref name="How Rickenbacker Changed Music"/> Rickenbacker guitars were expensive and rare, but could create a clear, ringing sound that could not be reproduced with the more "[[twang]]y" [[Fender Telecaster|Telecaster]] or the "fatter, less sharp" sound of the [[Gibson Les Paul|Les Paul]].<ref name="How Rickenbacker Changed Music" /> Lead guitarist [[George Harrison]]'s use of the Rickenbacker helped to popularize the model,<ref>{{cite book|last1=Babiuk|first1=Andy|editor1-last=Bacon|editor1-first=Tony|title=Beatles Gear: All the Fab Four's Instruments, from Stage to Studio|year=2002|publisher=Backbeat Books|edition=Revised|isbn=978-0-87930-731-8|url=https://books.google.com/books?id=Eo743Uh2UOEC|page=120}}</ref> and its jangly sound became so prominent that ''[[Melody Maker]]'' termed it the Beatles' "secret weapon".<ref>{{cite book|last=Leng|first=Simon|title=While My Guitar Gently Weeps: The Music of George Harrison|publisher=SAF Publishing Ltd|year=2006|orig-year=2003|isbn=978-1-4234-0609-9|url= https://books.google.com/books?id=NRoFPFvI1joC|page=14}}</ref>

Harrison appeared playing his Rickenbacker in the Beatles' 1964 film ''[[A Hard Day's Night (film)|A Hard Day's Night]]''; upon seeing the film, Byrds guitarist [[Roger McGuinn]] immediately traded his 6-string acoustic for a 12-string Rickenbacker.<ref name="guitarworld">{{cite web |last1=Fanelli |first1=Damian |title=Roger McGuinn Talks Byrds, Rickenbackers, New Album and Touring with Chris Hillman |url=https://www.guitarworld.com/artists/roger-mcguinn-talks-byrds-rickenbackers-new-album-and-touring-with-chris-hillman |website=[[Guitar World]] |access-date=April 27, 2019 |date=October 17, 2018}}</ref> The Byrds modeled their sound on the Beatles and prominently featured a Rickenbacker electric 12-string guitar in many of their recordings.<ref name="How Rickenbacker Changed Music">{{cite web |url=http://sandiegotroubadour.com/jingle-jangle-revolution-how-rickenbacker-guitars-changed-music/ |title=Jingle-Jangle Revolution: How Rickenbacker Guitars Changed Music |last=Kocher |first=Frank |date=September 2012 |access-date=July 24, 2016}}</ref> What would become popularly known as the "jingle-jangle"<ref>{{cite web|last=Baine|first=Wallace|date=September 30, 2015|url=http://www.santacruzsentinel.com/arts-and-entertainment/20150930/hey-mr-rickenbacker-man-roger-mcguinns-lasting-influence-on-popular-music|title=Hey, Mr. Rickenbacker Man: Roger McGuinn's lasting influence on popular music}}</ref> or "jangle" sound<ref name="mcguinn2016">{{cite web|last=Toh|first=Christopher|date=April 1, 2014|url=https://www.todayonline.com/entertainment/music/roger-mcguinn-full-interview|title=Roger McGuinn: The full interview|website=TODAYonline}}</ref> was unveiled with the Byrds' debut record "Mr. Tambourine Man", released in April 1965.<ref name="Ruhl"/>

By June, the single had topped the national charts in the US and UK, helping to spark the [[folk rock|folk-rock]] trend. [[AllMusic]] critic William Ruhlmann writes that, following the song's success, "it seemed half the recording acts in L.A. either raided the Dylan repertoire for material ... or wrote and recorded material that sounded like it".<ref name="Ruhl">{{cite web |last1=Ruhlmann |first1=William |title=Mr. Tambourine Man |url=https://www.allmusic.com/song/mr-tambourine-man-mt0006393085 |website=[[AllMusic]] |access-date=April 27, 2019}}</ref> Harrison himself copied McGuinn's playing style for the Beatles' song "[[If I Needed Someone]]", released on the December 1965 album ''[[Rubber Soul]]''.<ref name="guitarworld" />

==The Byrds' technique==

To create the Byrds' jangle, McGuinn drew from his prior experience as a banjoist and played a picking style of rising arpeggios.<ref name="brab"/> According to him, the other crucial component was the heavy application of [[dynamic range compression]] to compensate for the Rickenbacker's lower amount of [[sustain (music)|sustain]].<ref name="mcguinn2016"/><ref>{{cite book|last1=Kubernik|first1=Harvey|last2=Calamar|first2=Scott|title=Canyon of Dreams: The Magic and the Music of Laurel Canyon|url=https://books.google.com/books?id=bANZjtz2qUkC&pg=PA68|year=2009|publisher=Sterling Publishing Company, Inc.|isbn=978-1-4027-6589-6|pages=68}}</ref> He explained:

{{quote|[Compression is] how I got my "jingle-jangle" tone. It's really squashed down, but it jumps out from the radio. With compression, I found I could hold a note for three or four seconds, and sound more like a wind instrument. Later, this led me to emulate John Coltrane's saxophone on "[[Eight Miles High]]". Without compression, I couldn't have sustained the riff's first note.<ref>{{cite web|title=Byrds' Roger McGuinn gets to root of his music passion at folk conference|url=http://www.gomemphis.com/news/2009/feb/14/mcguinn-at-roots-of-folk/|work=Space Times News|publisher=cripps Interactive Newspapers Group|access-date=March 17, 2011|author=Bob Mehr|date=February 14, 2009}}</ref>}}

In addition, McGuinn did not usually play solos, and instead played the 12-string continuously throughout the arrangement. Of other elements in the overall piece, vocals were sung in an impersonal, detached manner.<ref name="Bannister"/> He also spoke of the Byrds' music as exploring "mechanical sounds" such as jet airplanes. Bannister acknowledges that the "continuity of sensation of drone/jangle combined with emotional detachment may give an affect that can perhaps best be compared to travel, a defining experience of modernity. ...  The idea of continual movement connects to young men, associated in modern culture with fast cars, just as rock music and counterculture is associated with 'the road'."<ref name="Bannister"/>

==Legacy==

The jangle sound has since become regarded as emblematic of the 1960s<ref name="brab">{{cite book|last=Brabazon|first=Tara|author-link=Tara Brabazon|title=Thinking Popular Culture: War, Terrorism and Writing|url=https://books.google.com/books?id=pQqoDQAAQBAJ&pg=PT29|year=2016|publisher=Taylor & Francis|isbn=978-1-351-87949-1|page=29}}</ref> and of the decade's [[folk rock]] movement.<ref>{{cite book|last1=Einarson|first1=John|last2=Furay|first2=Richie|title=For What It's Worth: The Story of Buffalo Springfield|url=https://books.google.com/books?id=vIdR--aAoAsC&pg=PA43|year=2004|publisher=Cooper Square Press|isbn=978-0-8154-1281-6|page=43}}</ref> In 2018, ''[[Guitar World]]'' contributor Damian Fanelli cited McGuinn's "distinctive 12-string Rickenbacker jangle" as among the "most influential and imitated guitar sounds of the past 53 years."<ref name="guitarworld" />  Bannister writes that the sound became ideal for bands with one guitarist who wished to fill out their sound and affect a sense of continuity throughout their music.<ref name="Bannister" /> However, few of the subsequent Byrds-influenced jangle bands were folk rock as the Byrds were.<ref name="Unterberger2003">{{cite book|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=Eight Miles High: Folk-rock's Flight from Haight-Ashbury to Woodstock|url=https://archive.org/details/eightmileshighfo00sanf|url-access=registration|year=2003|publisher=Backbeat Books|isbn=978-0-87930-743-1|page=[https://archive.org/details/eightmileshighfo00sanf/page/293 293]}}</ref>  

Since the 1960s, jangle pop crossed numerous genres, including [[power pop]], [[new wave music|new wave]], [[post-punk]], [[psychedelic music|psychedelia]] and [[lo-fi music|lo-fi]],in the 1980s, the most prominent bands of early [[indie rock]] were "jangle pop" groups such as R.E.M. and the Smiths.<ref name="Bannister"/> "[[New Sincerity]]" was also loosely used for a similar group of bands in the [[Austin, Texas]] music scene, led by [[The Reivers (band)|the Reivers]], [[Wild Seeds]] and True Believers.<ref name="newsincerity">{{cite web|last=Caldwell|first=Rob|date=June 1, 2014|url=https://www.popmatters.com/180466-spindizzy-jangle-the-reivers-in-your-eyes-2495671650.html|title=Spindizzy Jangle: The Reivers' "In Your Eyes"|website=PopMatters}}</ref> Interest in the jangle sound came to be supplanted by a preference for pure drone, a device that became common to [[grunge]]. This type of drone was regarded as more [[Rockism and poptimism|"authentic" for rock music]]. It is exemplified mainly by [[The Pixies (band)|the Pixies]]' technique of contrasting a song's minimalist verses with loud guitar drones in the chorus.<ref name="Bannister" />

In the early 2010s, the term "New Melbourne Jangle" was coined to describe a proliferation of indie pop bands in [[Melbourne]], Australia, including [[Twerps (band)|Twerps]] and [[Dick Diver]]. These and other Australian groups were subsequently branded as "[[dolewave]]", jangly guitars being a defining characteristic.<ref>[[Everett True|True, Everett]] (28 March 2014). [https://www.theguardian.com/music/australia-culture-blog/2014/mar/28/dolewave-australian-indie-music "How dolewave put Australia's music writers to work"], ''[[The Guardian]]''. Retrieved 22 December 2018.</ref> In a similar way, the term "pop de guitarras" (guitar pop) was used to brand the indie scene of [[Santiago]], Chile, during mid 2010s.<ref>{{cite thesis |last=Villanueva Vergara |first=Javier |date=November 2019 |title=Proyectos de identidad sociomusical en la escena indie-pop santiaguina (2015-2018) |url=https://repositorio.uchile.cl/handle/2250/187797 |type= |chapter= |publisher=Universidad de Chile |docket= |oclc= |access-date=17 June 2023 |language=Spanish |pages=31–32}}</ref>

==See also==
*[[List of jangle pop bands]]
* ''[[C86]]''
* [[Glide guitar]]
* [[Paisley Underground]]

==References==
{{Reflist}}
{{Wiktionary}}

{{Pop rock}}
{{Alternative rock}}
{{Pop music}}

{{DEFAULTSORT:Jangle Pop}}
[[Category:Jangle pop| ]]
[[Category:1960s in music]]
[[Category:American styles of music]]
[[Category:Guitar performance techniques]]
[[Category:Ornamentation]]
[[Category:Pop rock]]