Studies in song: Joni Mitchell's 'Both Sides, Now' (2)

Read Part 1 of this post

As is the case with many of her early recordings, ‘Both Sides, Now’ comprises a single instrument (the acoustic guitar, in this instance) and Mitchell’s vocals; consequently, it reflects how the song was performed in a live setting, imbuing it with an aura of authenticity and intimacy reminiscent of the work of many influential singer-songwriters of the era, such as Leonard Cohen. On the other hand, the song boasts many of the stylistic features and traits that rendered Mitchell’s sound distinct and unlike that of contemporary singer-songwriters of the acoustic-folk tradition: suspended and major-seventh chords, unusual rhythmic patterns, and the usage of non-standard guitar tunings, to highlight but a few.

The 1969 recording of ‘Both Sides, Now’ is in the key of F# major. This was most probably achieved by tuning the guitar to an open D major chord and placing a capotasto at the fourth fret. As Lloyd Whitesell (2008) has observed, F# major was a recurring choice of key in Mitchell’s early works. The song ‘Cactus Tree,’ for example, from Song to a Seagull (1968) is in F# major, as is ‘Conversation’ from Ladies of the Canyon (1970). It should be noted, however, that when ‘Both Sides, Now’ was performed live in the late-1960s and early-1970s, it was frequently, if not always, transposed up a semitone, to the key of G major.

In addition to displaying her skill and originality as a musician, ‘Both Sides, Now’ showcases Mitchell’s talent as a vocalist. On her early albums, Mitchell tended to sing in a high register, which, the artist has stated, was influenced by popular female singers of the era, such as Joan Baez (Marom, 2014). The lyrics of ‘Both Sides, Now’ are sung in a dulcet and delicate tone, with fluttering cadences that create an air of vulnerability and fragility. In an analysis of the myriad vocal styles and personae which have made an appearance over the span of Mitchell’s career, Whitesell (2008, p.62) notes that in ‘…certain performances, Mitchell foregrounds the beauty of her voice as an aesthetic object. Expressive power is secondary to timbral sweetness, purity, and technical confidence. Such a polished persona makes an appearance in “Both Sides, Now.”’

References:

Marom, M. (2014). Both Sides Now: Conversations with Joni Mitchell. London: Ominbus Press.

Whitesell, L. (2008). The Music of Joni Mitchell. New York: Oxford University Press.

Carl Stevens is an English language specialist, creative linguist and travel writer based in Siena, Italy. He has a BA in Creative Writing and English Literature and an MA in Songwriting from Bath Spa University, Bath, UK. He also has a surfboard and a Siamese cat.