1. Listening to Music The Builders and The Butchers

2. Ryan Sollee & The Builders and The Butchers Bio: Ryan Sollee grew up in Anchorage, Alaska along with the rest of the members of the band, the Builders and Butchers. The band however was not formed until the group had moved to Portland, Oregon. Having all been friends before they were in Portland, the band got together due to the fact that all members who were in bands that were “winding down” at times. In 2005, the group began performing on street corners, outside of venues, it was not until they performed at a local halloween party that they really decided to moved forward with the group, recalls Sollee in an interview for “Liast.com”. A big part of the music that Sollee write has an underlying tone of to his stories that he creates. In an interview for “Rollogrady.com”, Sollee says “I guess it’s just the thing we all have in common, right?”. Sollee songs have a generally dark and complex narratives mostly derived from old americana folk, depression era blues, southern gospel and some good ol’ fashion rock and roll, all set to the tones of traditional american folk instruments. Throughout their collection of songs an impressive array instruments are incorporated, such Harvey Tumbleson on Mandolin, Banjo, Ray Rude on Clarinet, and Piano, Brandon Hafer on Trumpet and Melodica, Adrienne Hatkin on Accordion. All of these as well Guitar, Drums and Bass. All the musicians listed are also listed as interchanging between all these different instruments, as well as a list of guests recorded on their albums as well. The Builders and the Butchers - Golden And Green

3. Composition History Barcelona, Golden and Green, The Wind Has Come Barcelona, Golden Green and The Wind Has come were all written and recorded in 2005 on the sophomore album of the band, with members Ryan Sollee, Alex Ellis, Brandon Hafer, Adrienne Hatkin, Paul Seely and Paul Seely on Salvation is a Dark Well.

4. Composition History Barcelona, Golden and Green, The Wind Has Come Produced by Gigantic Records, and Chris Funk. Playing this album locally around venues in Portland Oregon for a few years, until they went on tour in 2007, from their they played these songs and this album around the country, then in 2012 the band hopped accross the pond for their first tour in Europe. Gigantic Music

5. Barcelona Form: Verse-Chorus Rhythm&Tempo: Quadruple Meter Melody: Conjunct, Wide Range, Ascending Harmony: A good balance between Dissonance and Consonance, Alot of scales, minor key. Texture: Homophonic Texture Timbre: Several Pitches, but genereally instruments are played at high volume, with short to medium duration in notes. Culture: This song is set with an American Folk centered sound.

6. Listening Guide Barcelona: 0:01: The song starts with a trumpet and guitar, harmonizing with the vocals in the first verse. 0:05: Drums begins as well as tambourine to set the meter (quadruple). 0:07: Mandolin,Violin(fiddle), and Bass now accompany Drums and Tambourine. 0:12: Trumpets reenter for a few bars, and the Mandolin begins the chorus. 0:24: The Chorus begins. 0:52: Verse two begins. 1:16: Second Chorus begins. 1:34: The tempo slows downs and rhythm changes 2:16: Singer used his voice as an intrusment 2:57:The last chorus begins 3:25: Repeats the last line of the chorus 3:39: Ends on Guitar and Trumpet

7. Golden and Green Form: Verse-Chorus Rhythm&Tempo: Quadruple Meter Melody:Conjuct, Narrow Range, Ascending Harmony: Minor Scales, most of the song is repetition, only changing for the chorus. Texture: Homophonic Timbre: Instruments begin to build the tension and gain volume as song progresses Culture: A fairly sad american blues feel.

8. Listening Guide Golden and Green 0:01: A single Piano note opens the song. 0:04: A cassette player or record player is heard being clicked on, for the feedback. 0:11: The introduction of the song begins. 0:19: One Piano Note, different from before is played. 0:33: Chimes can be heard softly ringing. 0:38: Drum Roll starts to help to the melody build. 0:51: A pick is dragged up the strings to create a dissonant feeling, sounding like ripping fabric, again helping to build the drama. 0:53: The first verse begins, the drums are played dramatically, and hard behind, to break into the Rhythm. 1:00: The note played at the beginning of the song is repeated over top the drums.

9. Listening Guide Golden and Green 1:16: The Vocals and Drum begin ascending in pitch, with a drum roll, the tempo begins to speed up. 1:24: Guitar and Fiddle enter, being played quickly along with a sped up drum rhythm. Piano and Tamborine are played underneath to add a more conjunct feel to the measure. 1:52: The Vocals continue building the drama overtop the Rhythm. 2:51: The Chorus Begins 3:03: Silence 3:08: The Bass is played quitely, but begins ascending. 3:12: Vocals and Drum Begin again. 3:15: Violin joins 3: 30: All the instruments are being played, quickly and loudly. 4:13: Chorus begins and is repeated until the end of the song the Rhythm begins to ascend and then stops.

10. The Wind Has Come Form: Ternary form Rhythm: Duple Meter. Melody: Conjuct, Narrow Range, Ascending Harmony:Minor, no scales, repetitive instrumentals. Texture: Homophonic Timbre: Instruments played softly along with vocals, a few varying pitches. Culture: This song has a very low, sad sound again contrived from a depression era blue style.

11. Listening Guide The Wind Has Come 0:01: Violin starts of softly, minor key 0:08: Vocals enter slowly and softly with the first verse. 0:43: Drums enter, and Tambourine. 0:55: The Clarinet enters on top. 1:01: Mandolin enters. 1:39: Guitar enters, being played in a Spanish fashion, very quick picking, ascending in pitch. 2:00: Backup vocal are laid over the lead vocals. 2:18: Castanets enters accenting the crescendo 2:39: Silence very briefly 2:40: The Vocals, Drum, and Mandolin all begin again. 3:19: The Last line of the verse repeats and fades signaling the end of the song.

12. Composition History The Night Pt. 1 The Night Pt. 1 off the self titled album, was written and recorded in 2007, and produced by Bladen County Records. This song was, again, mostly played locally but played throughout their sets between 2007-2014, across the country and in Europe, with the same band mates as their previous album.

13. The Night Pt. 1 The Night Pt.1: Form: Verse-Chorus Rhythm: Duple Meter Melody: The song feels somewhat disjunct, but the music is conjunct. Harmony: Major, very quick and repetitve, changing for the chorus. Texture: Homophonic Timber: Very fast and loud with quick duration. Culture: Feels very southern folk

14. Listening Guide The Night Pt.1 0:01: The song starts with the snare drum, played in Duple Meter accompanied by tambourine. 0:03: Bass Drum is added into the drum beat as well as a wooden crow sounder. 0:09: Vocals enter “Oh the night!”, this is also the first chorus. 0:12: Back up Vocals Respond the first line “Yes, the night!” 0:21: All the Voices sing in unison.

15. Listening Guide The Night Pt.1 0:24: The Chorus is restated. 0:43: The first verse begins. 1:04: The Chorus begins again being stated two times again with harmonizing of vocal at a higher volume. 1:43: The First verse is restated and then stated again. 2:04: The End of the first verse is ended with the first line of the chorus almost as a response.