Listening Guide Adam Young

By: Jacob Hansen Murdock

Songs:

1. My Everything

2. Not all Heros Wear Capes

3. In Christ Alone

4. Steady as She Goes

1
Composition Title: My Everything Composer: Adam R. Young

Composition History

My Everything was written and composed by Adam Randall Young. He produced it through his
producing company Universal Music Publishing Group. And together they published it on July 5th, 2015,
5 days before the albums release it was a part of. Young recorded the song with the help of Abby
Olmstead as backup vocalist, and Christopher Stevens as Mixer with Bryan Fowler as Mixing Assistant. It
was recorded in his home studio; Sky Harbor Studios, Owatonna, Minnesota. Adam was the main
vocalist and played guitar, percussion, xylophone, electrophone (synthesizer), and the piano.

On his commentary video-interview about My Everything, Adam Young says that it is his 3attempt at
summing up how important his faith is to (him) and how much it influences the decisions (he)
makes...certainly not just creatively as an artist but every area of (his) lifeacross the whole board.
1
My Everything was part of Owl Citys album Mobile Orchestra. 3Young says of the song that his
purpose is to encourage those who are weary in their faith and strengthen them. The song was
released as a single before the album it is featured in came out. The second of just two songs in the
album to be released prior to the Album being released as a whole.

Why is this song important to Young? 2Concerning the song's meaning, Young (on his record's website)
says that My Everything is a simple realization and confirmation that Jesus is enough . . . There is
something so powerful about the moments in life when you are at such a loss for words, all you can do
is fall to your knees and sing hallelujah to God. There is a real power and poignancy in the word
hallelujah, and it feels beautifully sacred to say it over and over again as verbal praise to the Lord.

In an interview in Canada, Young advises young artists, Make sure that whatever you're doing is
sincere. He argues against commercialism and tells young artists to do whatever your heart says-
advice that he seems to follow in My Everything.

I admire deeply the courage and kindness with which Adam displays his faith in Christ, it gives me
courage to do the sameto be myself, in whatever instance I am in in life and to give credit to my God
and my Savior as Young has done. Indeed at least for me, and I am sure many others, Youngs stated
goals were most definitely accomplished in the production and release of this song.
Time Mark: Form: Descriptions: Rhythm, Melody, Harmony, Dynamics, Timbre,
Texture
0:00 Intro Theme A Piano leads with motif variation that is classic of most
introductions to songs. The Synthesizer adds two long held out
high notes as a harmony to create a calm and flowing feeling.
The last beat is a cadence into the verse, it is a long held out
note. It also goes from quiet to loud to create a sort of build-
up.
0:10 Theme B Verse 1 Begins, duple/simple meter. Harmony by back-up
vocalists on words and you alone. The Drums set up the
rhythm with
0:21 Theme B Repeated.
0:32 Theme C Intro to Chorus, Percussion gives a loud base-drum 4-beat
intro at the end to signal the movement into the chorus.
0:42 Theme D Chorus, dynamics are much louder in the chorus
0:49 Theme D Repeat different words, still chorus. The dynamics go back
down to meso-forte.
0:53 Theme D Variation of Theme with 2 Measure addition/embellishment at
the beginning and a 1 measure conclusion at the end. This
ends the chorus. It is arguable that this should be an entirely
new theme rather than just a variation, but for this authors
sake he will represent it as a variation.
1:04 Theme A Theme A plays starting 2 beats before the note ending them D
ends. This blend creates variety to an otherwise simply
restated Theme A.
1:14 Theme B Verse 2 Starts, as before the same background harmony is
added and Theme B is then repeated a second time to finish
the verse. Synthesizer is added to the end of the theme the
first time in the verse.
1:36 Theme C Exact same.
1:46 Theme D Chorus starts. It is the same as the first chorus Theme D is
repeated again. This time it is a little bit louder throughout.
1:56 Theme D The Harmonizing vocals are louder this time. The Theme is cut
short 1 measure to go into the bridge.
2:09 Theme E Bridge. No harmonizing vocals
2:20 Theme E The only variation is that the pitch does a three note ascent at
the end with a crescendo to blend into. Background vocals
added.
2:32 Theme D Coda begins. Chimes give a downward trill, which accompanies
the lessening of musical instruments and the descending
dynamics into a softer, quieter theme introducing you into the
coda and creating a stark contrast to the loud crescendo of all
the instruments joining in in the previous theme. This is, in a
way, an effect of dissonance and consonance. It prepares the
listener for the end of the song. Only the piano and the
synthesizer softly accompany the vocals in the theme here.
Although the dynamics are meso-forte the vocalist creates a
 whisper-feeling with the timbre change he uses in his voice to
add to this feeling of consonance.
2:42 Theme D Xylophone and body percussion idiophones are added. And
there is a build-up/dynamics-crescendo that occurs with
backup vocalists to lead into a louder and more dramatic
theme D. I must take time here to say that its impressive that
the composer thought to have different instruments perform
the transitions between themes, almost EVERY time! Note
how it has ranged in this song from the piano, to the guitar, to
the synthesizer, to the vocalists, to chimes. Indeed that had to
have been intentional!
2:53 Theme D The snare drum keeps rhythm again. The snare drum has been
the most common of drums used other than perhaps the bass-
drum, which is not nearly as loud or prevalent.
3:04 Theme D All dynamics have reached a sort of apex in the song at this
point to signal the end. The last measure of theme D is cut off
to allow for the theme to be repeated a second time before
cutting off and without sounding utterly redundant.
3:14 Theme D Full theme played. Chimes come into the theme in second to
last measure to lead into the blending of the two themes D
and A together and the conclusion of the song.
3:25 Theme A This overlaps in the background with theme D continuing for
another measure and then again the Vocalist adding motif
from theme D last measure again as the Piano takes theme A
dominantly to close the song, creating the feeling almost of a
chiasmic form in the musical development, this adds a feeling
of resolution and finality to the song as a whole to come back
to that theme.
3:44 End-

Not all Heroes Wear Capes was a very special song to Adam Young. He wrote it for his father for
fathers Day and released it just before-hand just this year (2017). The song is in Simple/Duple Meter
with a classic 4/4 time signature. Adam self produced this song once again from his studio at home Sky
Harbor Studios in Owatonna. He performed, engineered, and the mixed the song by himselfperhaps so
his father wouldnt suspect the surprise?!

Composition Title: Not all Heroes wear capes

Composer: Adam R. Young

Composition History
6
For this Fathers Day, I wrote Not All Heroes Wear Capes to tell my dad I love him, Young says of
the one-off song, available to stream or purchase Friday. As an introvert, Ive havent been overly
vocal in telling the people in my life that I cherish them. This song is just my way of telling my dad
how much I respect and appreciate him. I only hope to someday be as good of a man as he is. To
everyone else, he is a normal guy, but to me he is a hero, and I just wanted to write him a little song
to tell him so.
Young says 7that his relationship with his dad is one of the most essential relationships to him in his life
and although others may view him as normal he means everything to him and is his hero. So, for this
year for Fathers Day Adam sat down and wrote out this song for his father.

The power of pop artists influencing society is a study that ought to receive more research and
recognition. Those in position to influence others can do great things and should. Young, in this specific
song addresses a powerful and silent problem we are facing as a society that of the diminishing family
unit within and among society. I know that Fatherhood is being degraded and attacked in society and I
believe that this song brought more attention to Fathers Day and helped many young people, the main
audience here, to think about the importance of the role of a Father hopefully their own, but definitely
the one that they will either one day become or marry.

I personally am grateful for the ability this song gave me to study Youngs personal methods. I feel like I
got a look into his music-brain as I analyzed the piece. He definitely put a lot of thought and effort into it
for his father. The time and placement of every instrument, every theme, every motif, and every
dynamic, is each very intentional and has a beautiful pattern and art to it that is anything but abstract.
But by the level of detail that is in it one might assume that it was. It is absolutely brilliant and it shows
to me that you can never put in too much work to show your love to those who matter most in your life.

0:00 Indeterminate Sounds of him as he opens the door to his studio and sets up
music used at different instruments.
before intro
0:28 Intro. Theme A Two acoustic guitar tracks played over each other. A 6-note
motif and a 3-chord base-line accompaniment are both played
in repeat and then the first (6 note motif) is altered and held
out as a sort of cadence into the first verse. Theme is repeated
twice to make up the introduction.
0:41 Theme B 1st verse starts. Same 3-chord base line is played to keep
rhythm. The theme is repeated with minor variation at the
beginning.
1:05 Theme A In-between verses. This time a synthesizer is added to
accompany the bass-line guitar track. The timbre is changed
dramatically just by adding that.
1:16 Theme B 2nd Verse, Theme A is over-laid on top of the second half of the
verse using just the 6-note motif to add variety to the second
verse.
1:40 Theme C Chorus repeated and second time the1-measure motif from
the end of theme B played and it begins to have a sort of
ritornello effect. Although it is very short, it could possibly be
considered a theme if it has this sort of effect on the song and
turns it into a retando/ritornello form of song!
2:01 Theme A This time there is louder percussion and the bass line guitar
track gives the 6 chord motif transition into the third verse.
 The xylophone is used here to play the theme harmony. One
note from the xylophone plays into the next theme.
2:13 Theme B 3rd verse this time percussion is added and takes over the
rhythm role that the bass-line guitar track had the first few
times the theme is played. Its a little louder on the
percussion. There isnt the background tenor-line guitar this
time until the second time the theme is repeated to finish the
verse. The theme is repeated once again with minor variation
at the beginning of the theme and end. The second time the
theme is played there is a light-timbre and meso-piano guitar
accompaniment added of the 6-note motif that seems to be
symbol or trademark of this song.
2:36 Theme C Chorus, the 6-note motif played by the guitar starting last
theme is continued to be played through the chorus.
It is important to note, as it was here noted by the author, that
to create the chorus, Theme C is repeated 3 times and on the
third time the theme is changed. It is for this reason that
Theme C could actually be broken up into the following:
Theme C, Theme C (repeated), Theme C (variation).
2:54 Theme A Bridge, Synthesizer takes melody. Theme overlaps theme C to
start by about 3 seconds.
3:20 Theme C Chimes lead into chorus. This time the first two times that
theme C is played in the chorus, the only accompaniment is
just the lead-guitar track playing the songs classic motif.
3:40 Theme A Almost a second bridge into the coda, but Theme A is also
(possibly almost the beginning of the coda as it continues through to
beginning of the end.
coda)
3:52 Coda, Motif from Added into the repeating Theme A, two times at these times
4:01 Theme C for 5 seconds with vocal singing the theme. There is a variation
in the second time the motif is played, which is also second to
last, that variation is that the last note by the vocalist is
embellished and there is a descending modulation that creates
the feeling of a cadenza.
4:06 End- There are sounds of Seagulls and ocean waves that continue
after the final notes fade out.

In Christ Alone

I feel like the song is ritornello in form as well as the pop song form that it fits so clearly (theme &
variation.). Theme B seems to be the recurring theme.

Composition Title: In Christ Alone (I Stand)

Composer(s): Keith Getty (music)Stuart Townend (lyrics), original version. This version by Adam R. Young (music and lyrics
changed).
Composition History

In Christ Alone was originally Published in 52001 and Owl City released his rendition of the song on
October 25, 2010. Recorded at home, Sky Harbor, Youngs variation; In Christ Alone (I Stand) was
created, produced, published and engineered all by himself.
4
In 2010, Owl City's Adam Young recorded a version and offered it through his blog. About the song he
wrote: "I'm twenty four years old, yet something about this song makes me bawl like a baby. The way the
melodies and lyrics swirl together is so poignant and beautiful. If I were to count on one hand, the number of
songs that have ever deeply moved me, this one would take the cake. Last night I probably spent more time
actually crying at the piano than I did recording it. Such are the secret confessions of a shy boy from
Minnesota.

The song was a single not featured in any album and yet has reached over 9.6 million views on you-tube.
There was a controversial aura about the song from when it was first released in original version in 2001
by Getty and Townend. The Presbyterian Church had counseled not to have it accepted as part of their
hymnal or/and possibly to be even titled as a Christian song because it disagreed with a few of the lyrical
contents that seemed to describe God as having any wrath/judgement at all (I personally think this
argument is a little ridiculous for someone who claims to believe in the bible). I think that Youngs
release of this composition/rendition is a very powerful way of expressing his support of the song
despite the debate it has had.

I think that Owl City did more here than might have been intended. He completely ignored the social
debate about the song and just simply carried out his own gratitude and appreciation for it in his
personal variation and production of In Christ Alone (I Stand). It shows to me that we can quietly end
arguments by reminding people about whats important. Why should two Christians ever spend energy
arguing about a testimony of their God? Should not they come together and celebrate their faith in the
same Being whom they love? This is why I have come to love the standards and church-wide beliefs of
The Church of Jesus Christ of Latter Day Saints. Their leaders are always encouraging their members to
remember charity and to focus on common faith. When they pay for a station spot on Sundays on FM
100.3, they feature artists and songs from many different faiths to praise and give glory to God. Young
does the exact same thing. This is not to dis on those who do not have a faith in God, but simply to
show that we need to look for commonalities and things to join hands in and stop fighting the people
around us. As a society we need to grow strong by celebrating our similarities.

0:00 Intro- Theme A Theme A repeated again with a second piano track added.
0:17 Theme B Verse 1 Piano Harmonizes with chords every first note of each time
the vocalist makes a change of more than two note difference
and its held out until the next change, its about every first
and second beat of the measure for two measures then just
the first note of the third measure then the pattern is
repeated. The Piano also acts to keep the rhythm.
0:29 Theme B repeats, Piano continues to harmonize, synthesizer adds in.
Verse 1
0:41 Chorus starts, Echoes used and held out and repeated over each other as
theme C back-up vocals. Timbre is very reverent in tone and effect.
0:53 Chorus continues Echoes continue into the first measure to two measures of
with Theme B Theme B. and then just the Piano is harmonizing.
1:07 Theme A, Two piano tracks played over each other, then the second
interlude time the them is played to complete the interlude there is a
third piano track added. This acts as a build up to Verse 2.
1:24 Theme B Verse 2 Theme B is transposed from key of C (major) to key of F#
1:36 Theme B At time mark 1:40 there is a modulation that mirrors the
repeats, Verse 2 regular pattern of the last three notes of the second to last
measure in the theme in the theme that adds variety and an
element of anticipation as it grows louder with a crescendo at
that same moment. The purpose of this key change and build
up in the interlude is to symbolize the resurrection of Jesus
Christ.
1:48 Theme C (Chorus There is a joyful feeling to the chorus, the vocalist track and
in key of F#) the piano track both seem to have slightly shorter held notes
to add a feel of energy/excitement/or joy.
2:00 Theme B There is a track added of a back-up vocal that is the harmony.
(Chorus)
2:13 Theme B (Verse Transposed up again to key of G, this time making a 1.5 step in
3) notes instead of just a step, the key is now a lot higher. The
starting note is E by vocalist as compared to C in the first verse
and C# in the second. This continual transposing adds an
element of increasing power and passion to the song without
a need for dramatic increase in dynamics. The secondary piano
track adds the harmony back.
2:25 Theme B (Verse As with verse 2, the same mirrored/crescendo modulation is
3) made to the second to last measure of the theme/verse to add
anticipation and build-up/cadence.
2:36 Theme C Backup vocal track starts a crescendo into the chorus. The
(Chorus) leading vocalists timbre changes to sound very sure and
confident, very determined and powerful and peaceful as well.
It is beautiful. Each instrument is louder in dynamics.
2:49 Theme B The instruments begin to fade out in loudness each actually
(Chorus) begins to drop off, first synthesizer and then third piano track
leaving just the vocal and one piano track to lead into the
coda.
3:02 Theme B Coda All instrumental accompaniment is cut off except the piano
plays softly a harmony to keep rhythm and the violins hold out
their last note to the end of the song.
3:14 Theme B Last two measures from theme B are repeated to give
emphasis and bring back to the main purpose of the song and
focus of the song.
3:30 End-
Steady as She Goes Sky Sailing

Composition Title: Steady as She Goes

Composer: Adam Young

Composition History

Steady as She Goes was published on July 13, 2010 as part of Sky Sailings Album; An Airplane Carried
Me to Bed. Adam Young, the mastermind behind the project Sky Sailing, was the producer, engineer
and sole performer for this specific song.

Of the Album and its release, and giving reasons behind it, Adam said to American Song Writers Erin
Carson, that 8It was one of those things, given the timeline, that just felt right. I had a secret album
in the can, just sitting there collecting dust. It wasnt doing anything but taking up space on my hard
drive so I did a bit of polishing and released it. The recordings are pretty sentimental to me because
they were the first songs Id put together, and specifically, the first songs Id ever written lyrics for. I
started out as an instrumentalist producing super ambient/experimental stuff. Sky Sailing was a
whole new world at the time.

Sky Sailing is a project by Adam Young to feature some of his early productions before he started Owl
City. This song was part of an album Sky Sailing released titled An Airplane Carried Me to Bed. It was
among his very first compositions as an artist.

I think this song is important because its one of the more popular songs from Adam Youngs Sky Sailing
and shows artists that theres always stages before really succeeding and that those are important too. I
think it also shows that if youre popular what you do is more recognized and just because he wasnt
popular yet didnt mean those werent good songs. Obviously, they have now received much more
recognition. Indeed Young teaches an important lesson in the creation of this album, that true talent
doesnt have to be recognized to be thereand it takes a lot of work and effort beforehand, and that
should receive recognition too, not just the end result, but the JOURNEY!

TIME MARK: FORM: DESCRIPTION: (RHYTHM, HARMONY, MELODY, DYNAMICS,

TIMBRE, TEXTURE)
0:00 Theme A Verse There is a very short, what could be considered an intro to the
1 song, the guitar plays 3 8th notes quickly to start the song. A
second guitar track is played very quietly (pianissimo) in the
background to harmonize. Guitar 1 that began the song with a
short intro is now giving a lively accompaniment close to the
chord progression of the melody and at some places the same
just an octave lower.
0:14 Theme A (verse The second to last measure is inverse, or mirrored, to the note
1) pattern of the original theme.
0:28 -- Last measure of theme A repeated, this is part of what
changes to make Theme A a variation of Theme A.
0:32 Theme B Verse Piano adds in and the piano and guitar take the rhythm with a
2 lively one measure repetitive motif that varies in different keys
to vary slightly piano vs guitar. At this point the piano is
moderato in dynamics and the guitar accompaniment has
 become a little softer/piano, and the background guitar
harmonizing continues and grows a little louder/ now piano as
well.
0:46 Theme B (verse As with theme A, the second to last measure is mirrored from
2) that of the original theme B. Piano picks up the same motif as
the guitar more consistently without as much variety and trills,
and the harmony is still a quiet background guitar playing
notes along with the vocalist.
1:01 Theme A Verse Synthesizer is harmonizing and playing the first note of the key
3 that the guitar accompanist is in. This is taking over the roll the
guitar has had and its hard to notice because theyre both
playing the same notes and both are done piano. Now the
synthesizer gets slightly louder in the harmony chords than the
guitar has been. They produce a very similar timbre. But the
synthesizer takes over here as the harmony.
At this point the dynamics of the accompanying piano and
guitar with the trills/quick 8th note motif both become about
the same volume as the synthesizer piano.
1:15 Theme A (verse Bass line guitar plays the melody line for first two measures.
3) Instead of giving a descending accompaniment like normal.
This makes it a little more interesting to listen to.
1:34 Theme B Verse Piano comes in again after three measures into the theme.
4 And this time it is more prevalent than that of the guitar.
1:48 Theme B (verse Piano plays trills through the whole theme this time, these
4) trills that are played originally by the guitar seem to be
keeping the rhythm.
2:03 Theme A Coda Piano goes away, and synthesizer comes in as with the second
time Theme A is played. Guitar takes the rhythm keeping back.
2:19 -- Last measure of theme A repeated an extra time, last notes
played by synthesizer and guitar are played again after the
vocalist finishes and then are held.
2:30 End-

-The End-

Bibliography:

1. https://en.wikipedia.org/wiki/Mobile_Orchestra
2. https://www.popsongprofessor.com/blog/2015/06/12/what-does-my-everything-by-owl-city-
mean
3. https://www.youtube.com/watch?v=YvkF7Fd0CHs
4. https://en.wikipedia.org/wiki/In_Christ_Alone
5. https://en.wikipedia.org/wiki/All_Things_Bright_and_Beautiful_(album)
6. http://people.com/music/owl-city-not-all-heroes-wear-capes-fathers-day-video/
7. https://www.deseretnews.com/article/865683297/The-Clean-Cut-Owl-City-pays-tribute-to-
fathers-with-new-music-video.html
8. http://americansongwriter.com/2010/08/writer-of-the-week-adam-young-sky-sailingowl-city/