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Archive for the ‘Songwriting’ Category

“Ready, Able” by Grizzly Bear: A Compositional Analysis

Posted by Keith Freund On November - 14 - 200932 COMMENTS

Key Signature: A minor, C Lydian
Time Signatures: 3/4, 4/4, 6/8
Special Songwriting Devices Used: Three-bar phrases, Polymeter, Polyrhythm, Modal harmony
Structure: Verse-Refrain-Verse-Refrain-C-D-C-D-C-Outro

Hover your mouse over terms underlined with dots (like this) for more information. If you’re following along with the album version rather than the video, subtract 5 seconds from any time stamps listed below to account for the video lead-in.


This blog mostly concerns itself with what can loosely be considered pop music, but today’s song violates what is perhaps pop’s most sacred and universal characteristic: structure. It’s not that “Ready, Able” has no structure, but it certainly isn’t your typical verse-chorus-verse. While a traditional pop song is designed to grab your attention and get to the hook ASAP, Grizzly Bear has no patience for people with no patience. And to those who wait, the payoff is that much sweeter.


A Narrative Of An Average Listener Experiencing This Song For The First Time (click to enlarge:)


A structural analysis of Ready, Able by Grizzly Bear.


“Ready, Able” starts with a sparse and confusing instrumental passage, which you eventually realize is part of the verse. Like the claymation monsters of the video that appear both happy and sad, you can’t tell whether to be scared by the droning, tribal mysteriousness of the rhythm section, or amused by the playful, almost upbeat vocal melody. You’re relieved to hear a chord–the first one in the song–at 0:42. This is the start of a new, more palatable section: the refrain.* Here Grizzly Bear builds anticipation for something that never comes. Right as the music sounds like it’s about to reach the tonic, the whole damn thing cuts back to the verse like a movie that ends on a cliffhanger, cutting to black at the most crucial moment. (And you still have no idea what “Rosebud” means…)

And now you’re brought right back into the verse. A push-and-pull dynamic is created with two different kinds of tension:

  • The verse draws its tension from rhythmic confusion, sparseness, and lack of harmony.
  • The refrain creates tension with full, but unresolved harmony.


After the second refrain, you are led to a surprising, but also cohesive and highly gratifying climax at 1:53 (the C section) which starts on an A minor chord and continues to build throughout the second half. It’s gratifying not only because of the lush production and arrangement elements that kick in, but because it took 2 damn minutes to get to the I chord! As shown in the image above, the music video works in the opposite manner. It starts off a little odd and then morphs into something truly bizarre. To better understand what’s so off about the verses, let’s go right into a rhythmic play-by-play:


Two Time Signatures Simultaneously – Polymeter



Disclaimer: Phil pointed out to me that the verses of this song could be more succinctly written and understood as 12/8, rather than my more complicated explanation of calling it 3/4 and 4/4 (with the later sections in 6/8 half time). If you count the verses in 12/8, they begin to make a lot more sense. I instinctively heard this section in small beat groupings (possibly because of the odd rhythmic patterns and lack of a steady drum beat), however, so I’m keeping this section as is for the sake of posterity.


The verses consist of 24-beat phrases demarcated by a kick drum. It’s hard to tell what’s going on: the vocals don’t quite match up with the percussion and those harp glissandos seem to sneak up and jump out at you from behind the bushes when you least expect them to. What’s going on here?


What you’re hearing is called polymeter–the simultaneous use of 2 or more time signatures sharing a common pulse. The verses in “Ready, Able” juxtapose a 3/4 waltz (the vocals and harp) on top of 4/4 (percussion). In this case, the shared pulse is the duration of the quarter note. Only after 24 beats do both time signatures start their down beats at the same time.


24 is a good number for polymeter because it can be evenly divided by the most common beat groupings: 2, 3, 4, 6, and 8. As a consequence, these 24-beat phrases also transition nicely into the refrain in 6/8 at half tempo. Now let’s move on to polymeter’s evil twin sister: polyrhythm.


Two Types of Beat Divisions Simultaneously – Polyrhythm


Congratulations, you’re about to dive head first into the metaphorical deep end of music theory. Drummers and music nerds, get ready to geek out.


Polyrhythm is when two different kinds of beat divisions are used simultaneously (not to be confused with beat groupings–that’s polymeter). In Western music, beats are typically subdivided in half.** This type of division is called duple meter and looks like this:

One whole note = two half notes = four quarter notes = eight 8th notes = sixteen 16th notes = thirty-two 32nd notes

But there are other types of divisions, the most common of which is a triplet: when two beats are divided into three beats. For example, three 8th note triplets take up the same amount of time as two regular 8th notes.


During the C section (1:53), the lead synth (a Synclavier?) has a tremolo effect that creates 16th note tripets over the regular 16th notes of the other instruments. Here’s a simplified notation of this rhythm (click to enlarge):


UPDATE: I think it’s safe to say that this is an Omnichord, not a Synclavier.


Grizzly Bear "Ready Able" Polyrhythms


Welcome to Polyrhythmville. And what’s really trippy is we’re in 6/8. While 6/8 rhythms are grouped in sets of 3, each beat is still normally subdivided by multiples of two. But here the total number of 16ths per measure is 18–you don’t see that number often in music–and all this on top of 12 beats–a concept so mindblowing that only underline and italics at the same time could possibly come close to expressing the insanity. Half way through the D section, we hear this pattern again with a lofi hi hat sample. We’re beginning to see the number 3 take shape as a major theme in this song: beats grouped in 3s, beats divided by 3, and finally, 3-bar phrases:


Unusual Phrase Lengths
(See our explanation of bars, measures, & phrases for help with this section.)


In pop music, chord progressions and phrases typically last 1, 2, 4, or 8 measures. Deviating from this is a great way to shake up your songwriting without venturing into odd time signatures, which often means sacrificing accessibility. It’s hard for the average music listener to dance or rock to something in 5/4 or 7/8,*** but they will have no problem dancing to 5- or 7-bar phrases in 4/4.


That being said, when great songwriters use a device like this there’s a reason for it, whether they’re aware of that reason or feel its effect intuitively. “Ready, Able” uses 3-bar phrases throughout most of the second half, providing two advantages:

  • Vibe: We’re expecting 4-bar phrases, so 3-bar phrases have a cyclical, hypnotic effect. It feels like the thought is not quite finished.
  • Lyrics: If the D section had 4-bar phrases, there would be a big empty space when the lyrics finish, or they would have had to write more lyrics and extend the melody. By using 3-bar phrases, Grizzly Bear is able to keep interest high while retaining their original lyrical and melodic idea.

But there’s a problem. In addition to being super weird and hip, these odd phrases are leaving people hanging. There seems to be no destination. Solution? A 4-bar phrase at the end of each section. Consider your thirst for finality quenched. There’s also an extra bar at the end of the refrain (normally 4-bar phrases) to make room for a IV-7 (D minor 7) which has a strong pull to I- in this case.


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  • Verse 1: Polymeter … 24-beat phrases
    • Vocals/harp: 3/4 (waltz) … 8-bar phrases
    • Drums/muted guitar/etc.: 4/4 … 6-bar phrases
  • Refrain 1: 6/8 half time … 4 bars+4 bars+1 bar
  • Verse 2: (same as Verse 1 except the first 24-beat phrase is cut short by 1 beat).
  • Refrain 2: (same as refrain 1)
  • C section 1: 6/8 half time … 3 bars+3 bars+3 bars+4 bars
  • D section 1: 6/8 half time … 3 bars+3 bars+3 bars+4 bars
  • C section 2: 6/8 half time … 3 bars+3 bars
  • D section 2: 6/8 half time … 3 bars+3 bars+3 bars+4 bars
  • Outro: 6/8 half time … 3 bars+4 bars

»

  • Bullet With A Butterfly Wings” by Smashing Pumpkins – 6-bar phrases during the choruses.
  • Radiohead‘s “Idioteque” – 5-bar phrases.
  • Just Like You Imagined” by Nine Inch Nails (aka “that song from the 300 trailer”) – bar of 4/4+bar of 12/8.
  • The phrase of OutKast‘s mega-hit “Hey Ya” reads like this (in quarter notes): 4+4+4+2+4+4


Single-Chord Harmony
(See our guides to chord abbreviations, tensions, and modes for help with this section.)


If you follow this blog, you’re already aware of the trend of rap songs without music. To the music snobs and hipsters frowning upon that concept, I am pleased to inform you that Grizzly Bear essentially does the same thing during the first verse of this song–there is no progression, only a vocal melody, lost in an enchanted forest of polymeter and the occasional harp gliss. But of course, context is everything. I doubt we’ll be seeing Ying Yang Twins comparisons any time soon.

“Wait’ll You See My D… minor 7.”


During the second verse, Grizzly Bear seems to have added a very faint guitar or bass on the note C. It seems that the key is now C major, the relative major from A minor. With the vocal melody notes included, the overall harmony of this section seems to be a single, but very colorful chord normally reserved for Jazz: Cmaj9(13) (C, E, G, B, D, A). In other words, every note in the key except F, which would be tension 11. 11 is usually considered an “avoid note” on a major 7 chord.


But listen again. There’s a drum tuned to F#, which would be the tritone of the C major. In the absence of a natural F, I’m prepared to say that we’re not in the relative major at all, we’re in C Lydian and the chord is Cmaj7 (9 #11 13), which includes every single note of the key signature. Lydian mode can be described as foreign and magical-sounding and the second verse of “Ready, Able” is no exception. This mode is often used by film composers for dream sequences. What’s even more bizarre is that the #11 drum is the lowest note in the section, making it sound especially dissonant. I wouldn’t call the chord an inversion though, because the drum comes on very weak beats.


Other than C and tension #11, the lead vocal provides every other note in this chord. Don’t get me wrong: not all melody notes should be considered part of a song’s essential harmony, but in this case the tensions (9 & 13) come on down beats at the beginning of the 8-bar vocal phrases, the strongest beats possible during this section.


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For further reinforcement of this harmony, there’s a background harmony with 3, 9, and 7, and the harp hits 7 on its way down to 13. Also listen for faint pizzicato strings plucking between C and G, with a few interjections of perfect fourth dyads (DG and BE) for some exotic flavor. It’s also worth noting that based on the way these notes are stressed dynamically, the string arrangement sounds displaced by one beat–that is, its down beat begins one beat after the drums and palm-muted guitar. This gives the strings a light, playful feeling but also makes them sound somewhat detached from the rest of the music.


As stated earlier, the refrains create tension by never landing on I-. It’s also worth noting that the vocal melody single-handedly changes the chord progression with a major 6 interval on F, creating a second inversion D minor chord.


The C and D sections use one of my favorite progressions: I-, V-, IV- (see also: “My Love” by Justin Timberlake and “Ayo Technology” by 50 Cent). As I talked about in my Kanye analysis, the V minor usually sounds peculiar in a pop context, but it sounds at home in “Ready, Able.”


I was unable to find good guitar tab or piano transcriptions for this song online, so this will get you started if you’re a Grizzly Bear fan and want to cover this for YouTube:


“Ready, Able” Chords – Simplified For Rhythm Guitar & Piano
(See our chord abbreviation guide for help with this section.)

Verse 1: C (single note only)
Refrain: F, Fmaj7, to E- (plus D-7 during last measure)
Verse 2: Cmaj7(no5)
C section: A-, E-, D- (pianists: start on A-/E)
D section: A-, E-7, D-7


“Ready, Able” Chords – Full Harmony

Verses: Cmaj9(13)
Refrain: F, D-/F, Fmaj7, D-/F, to E-7 (plus D-7 during last measure)
C Section: A-, E-add11, D-
D section: A-9, E-7, D-7(13) (add tension 11 to these chords when the string quartet comes in)


“Ready, Able” Chords – Functional Analysis

Verse 1: Imaj9(13)
Refrain: VI, IV-/3, VImaj7, IV-/3, to V-7 (plus IV-7 during last measure)
C Section: I-, V-add11, IV-
D section: I-9, V-7, IV-7(13) (add tension 11 to these chords when the string quartet comes in)


This concludes my analysis. If you’ve read this far, you’re probably an ultra music nerd like me and for that I salute you. I might be imagining or missing some of tensions, so if you hear anything different or disagree with my analysis, feel free to leave a comment.


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*While some sources refer to choruses and refrains interchangeably (Wikipedia included), but there is a difference. I’m calling this section a refrain because it sounds like an extension of the verse music, whereas choruses typically either repeat the verse music with more production elements, or introduce an entirely new idea altogether. This section is fairly long for a refrain, but more importantly the movement is not harmonically strong enough to be a chorus.


**With the very notable exception of swing and shuffle grooves.


***In some cultures, dancing to odd meters is commonplace (Indian and Greek music, for example).


BONUS: In case you were wondering how much meth I had to smoke to write something this long, there’s method to the madness of those harp glisses:

  • During the instrumental portions of the verses, they come on beat 2 of the 5th and 7th measures of the phrase.
  • During the vocal portions of the verses, they come on beat 3 of the 3rd and 7th measures of the phrase.

Bars, Measures, Phrases, Motifs, Riffs, & Licks

Posted by Keith Freund On November - 11 - 20091 COMMENT

theory-lesson2Some musical terms are so basic and widely used that we never stop to ask ourselves: “Hey, what is a measure? What is a riff? What is a phrase? What’s the difference between a bar and a measure?” This article should answer all of those questions for you and more.


Summary:
• Bar = measure
Phrase = long(-ish) musical idea
Motif = short musical idea
Riff = lick


Bars & Measures


A bar is the same thing as a measure. What determines the length of a measure can vary depending on the time signature of a song, but generally speaking you’re going to be able to tell by the snare pattern. For most pop applications, you’ll be dealing with either 4/4 or 6/8 time.


In almost every song in 4/4 time, there will be 2 snare drum hits per measure. These hits indicate beats 2 and 4. This is called a back beat. In addition to the back beat, there will often be snare accents, but they will not feel as strong as the snare hits on beats 2 and 4. The back beat is so universal that it almost seems silly to provide examples, but here are a couple for your reference.


“And Then What” by Young Jeezy:



“Whatever Happened To My Rock ‘N’ Roll” by Black Rebel Motorcycle Club:



In the first example, each measure is almost twice the length of time of a measure from the second song. In other words, the tempo of the second song is considered about twice as fast and you can tell because of how often the back beat repeats.  For hip-hop, claps and snaps may provide the back beat rather than a snare drum.


In a 6/8 song, the strongest snare hit comes only once per measure, on beat 4. Take D’Angelo’s “Untitled (How Does It Feel?)” for example:



Some people think a measure is just the time in which a chord progression or musical idea repeats, but in fact what they’re really thinking of is called a phrase.


Phrases


Phrases are mysterious creatures. The most basic definition is a musical idea. Doesn’t really explain anything, does it? Well that’s because a phrase can be just about anything. They don’t even necessarily have to be repeated. Songs can have phrases within phrases within phrases. To understand phrases, you just have to learn by example.


It can be daunting to understand what constitutes a phrase in Classical or Jazz context, but when talking about pop music it’s a little more intuitive–generally we’re talking about a section of a song with a chord progression, usually one that repeats. For example, the introduction to “Learn To Fly” by Foo Fighters uses 4-bar phrases:



If you play in a rock or pop band, using the term “phrases” is often much more useful than talking in measures: “Hey, I love that lick you play at the end of every other phrase” is much more concise and less awkward than “Hey, I love that lick you play at the end of every 8-bar section.”


Motifs


A motif is any short, repeated pattern. Usually both the melody and rhythm of this pattern are repeated–also known as a lick or a riff. If you have a motif which is purely rhythmic, it can be called a “rhythmic motif”.


“Today” by Smashing Pumpkins uses a 1-bar guitar riff:



During the introduction to “Meant To Live” by Switchfoot, the riff is the same length as the phrases (2 bars):


Keith’s Guide To Chord Symbols & Shorthand

Posted by Keith Freund On November - 11 - 20092 COMMENTS

theory-lesson2Note: this post requires a basic knowledge of intervals.


To understand why some chords have intervals of 9, 11, and 13, read our explanation of tensions.


This post will give you abbreviations for the most common chords we’ll be dealing with in our Compositional Analysis series. While some of the naming conventions and rules are confusing, this list should get you started. Also note that our analyses usually use Roman numerals instead of note names (e.g. C minor 7 in the key of C would be written I-7). This is called ‘functional analysis.’


Sample:

  • How the chord is written … Full chord name … Notes in the chord, listed by intervallic relationship with the root of the chord. These notes can be in any order.*

*See inversions below.


Triads (three notes):

  • G … G major … 1, 3, 5 (i.e. G, B, D)
  • G- … G minor … 1, b3, 5
  • or Gdim … G diminished … 1, b3, b5
  • G+ or Gaug … G augmented … 1, 3, #5
  • Gsus2 … G suspended 2 … 1, 2, 5
  • Gsus4 … G suspended 4 … 1, 4, 5


Seventh Chords:

  • Gmaj7 … G major 7 … 1, 3, 5, 7
  • G-7 … G minor 7 … 1, b3, 5, b7
  • G7 … G dominant 7 … 1, 3, 5, b7
  • Gø7 … G half diminished 7 … 1, b3, b5, b7
  • Gº7 … G fully diminished 7 … 1, b3, b5, 6


Extended Chords (seventh chords+tensions):

  • Gmaj9 … G major 9 … 1, 2, 3, 5, 7
  • Gmaj9/13 … G major 9 with 13 … 1, 2, 3, 5, 6, 7
  • G9 … G dominant 9 … 1, 2, 3, 5, b7
  • G-9 … G minor 9 … 1, 2, b3, 5, b7
  • G-11 … G minor 11 … 1, 2, b3, 4, 5, b7,
  • G-13 … G minor 13 … 1, 2, b3, 4, 5, 6, b7


Other Common Chords:

  • G5 … G with no third (guitarists: a power chord) … 1, 5
  • Gmaj7(no3) … G major 7 no third … 1, 5, 7
  • Gadd9 or G2 … G add 9 … 1, 2, 3, 5
  • G6 … G major 6 … 1, 3, 5, 6
  • G69 … G69 … 1, 2, 3, 5, 6


Inversions:

  • G/3 or G/B … G major first inversion … 1, 3, 5 – 3rd must be the lowest note, others can be in any order
  • G/b3 or G/Bb … G minor first inversion … 1, b3, 5 – 3rd must be the lowest note, others can be in any order
  • G/5 or G/D … G major second inversion … 1, 3, 5 – 3rd must be the lowest note, others can be in any order


Things To Know…

  • When referring to a note or Roman numeral, the sharp (#) and flat (b) symbols come after the note or Roman numeral they are modifying.
  • When referring to a pitch interval, the sharp (#) and flat (b) symbols come after the number they are modifying.
  • These chord symbols are used by musicians and scholars trained in Jazz (and Pop). The Traditional/Classical school of thought uses a different nomenclature.
  • If you find a chord that is written (chord)/(note other than a chord tone), it’s not an inversion, it’s a polychord, which means you should play both chords simultaneously, with the top chord above the bottom chord. For example, a C/F chord is a C major chord with the note F in the bass.
  • For chords with perfect 5th intervals above the root, these 5ths can generally be omitted and it will still be considered the same chord.


For a more extensive list of chords, check Wikipedia: Types of Chords (they actually did a pretty good job with this one).

Keith’s Easy Explanation Of Chord Tensions

Posted by Keith Freund On November - 11 - 2009COMMENT ON THIS POST

theory-lessonsNote: this post requires a basic knowledge of intervals.


A chord tension is any note in a chord that is not considered integral to the chord (the integral notes are called ‘chord tones’). Tensions are also referred to as ‘added colors’ or ”non-chord tones’ (I try to avoid using the latter term because means something different in Traditional/Classical harmony).


There are only three possible tensions: 9, 11, and 13 (in other words: 2nds, 4ths, and 6th, respectively). But these notes are not considered tensions on every chord–the only way to know for sure is to have a good knowledge of chords (to get started, read our article on chord abbreviations). These tensions may also be modified by a # (sharp) or b (flat).


Chord tensions are written up an octave (by adding 7 to the interval number) because chords can sound muddy or cluttered if the note intervals are too close together. Tensions tend to come in between chord tones, so these notes are often placed in higher octaves to keep things clean (not to say that chord tones are usually all within one octave-they aren’t). The only exception that comes to mind is that a Cadd9 chord (C major chord with a major 2nd added) is sometimes written C2.

Why Being Catchy Isn’t Good Enough

Posted by Keith Freund On September - 2 - 2009COMMENT ON THIS POST

Today I was checking out one of my favorite blogs, Musformation, saw their post on this topic, and got inspired to finish a draft I started earlier in the year. Without further adieu:


Even if you’re not a musician, this scenario will probably be familiar to you: a group of people are debating the merits of a popular song (particularly one which can be considered objectively terrible) and someone* interjects, “but the melody gets stuck in your head.” Everyone nods in agreement because hey, if it’s catchy it must be a well written song. Right?


While a great song with a catchy melody is doubly effective, a terrible song that gets stuck in your head is still worthless. Some of you may remember the children’s show Lambchop’s Playalong, with its devastating outro, “The Song That Doesn’t End.”



But you won’t see Lambchop coming up on my playlist any time soon. In fact I would probably pay iTunes the 99 cents to never hear it again.


In other words, it’s not enough to merely write a memorable hook, and you can’t defend a song by saying it’s catchy. Though it can be tricky to write a catchy melody, catchiness has no value without the substance to back it up.


Catchiness is like a built-in reminder: if your song is great, people will be constantly reminded to buy it, seek it out, go to your show, etc. If your song is annoying, it will only remind people that you’re annoying.


Shari Lewis


*UPDATE: A day later, I’m checking out comments on Asher Roth’s “I Love College” video on YouTube and stumble upon this gem in response to commenters saying he sucks:

Evermorefading (9 hours ago) Show Hide
no but it is catchy and this is what pops up when you search catchy? rap although its not rap

The Answer to “Everything’s Been Done.”

Posted by Keith Freund On August - 25 - 20093 COMMENTS

If you spend a lot of your time around artists and musicians, you’ve probably heard this more than once:

“Nothing is original. Everything has been done before.”

If someone makes this statement in a group of people, one of two things will happen:

  1. Everyone agrees and gets a sheepish look on their face as if to say, “Yeah. I guess we suck.”
  2. Frustrated with the idea of their aspirations hanging in the balance, someone references a specific work or artist as a counterargument. The two people then volley back and forth ad infinitum. Or worse, someone defers to the age old bore-fest “…but what is art, really?” Usually in these cases I just keep my mouth shut. If I’m feeling playful, I’ll chime in with something about collage art and sampling or ask for opinions on how tools affect originality.

But the answer is simple:


Yes, everything has been done. But not everything has been done well.


Now go create.

“Amazing” by Kanye West: A Compositional Analysis

Posted by Keith Freund On August - 20 - 20096 COMMENTS

Key Signature: C minor
Special Songwriting Devices Used: V minor chord, starting the chorus on a chord other than the root

Note: This post requires a basic knowledge of intervals, solfege syllables, and voice leading. If you don’t understand a term underlined with dots (like this), move your mouse over it for the definition.


The other day I was messing around with “Amazing” by Kanye West on guitar and noticed that it uses an often neglected chord in modern pop music, the V minor. Before we get into why the V minor is unusual (and what Kanye has in common with Coolio), here’s the chord progression:


Verse: C minor (2x), G minor, C minor
Chorus: Ab major, C minor, G minor, C minor


Or in Roman numeral analysis form:


Verse: I minor (2x), V minor, I minor
Chorus: bVI major, I minor, V minor, I minor


In “Amazing,” G minor is the diatonic V chord–the triad built on the fifth note of the scale. But V chords in today’s minor key pop songs almost always have either a major third (making it a V major chord borrowed from the parallel major) or no third at all. The diatonic V minor chord is rarely used.


Origins of the V Major Chord in a Minor Key Context


Most American pop stems from jazz or blues harmony, but if there’s one songwriting device that has carried over from classical, it’s borrowing the V major chord from the parallel major key in the context of a minor progression.* In these situations, there is a non-diatonic note: the V chord’s major third, which will always be the leading tone of the key. This note has a very strong tendency to resolve up to the root note by a half step. The result is better voice leading back to the root than a V minor chord would provide. Since a V chord resolving to I (or more specifically, ti going to do within that resolution) is considered the strongest tendency in any key, the voice leading is (apparently) so important here that composers have been using this non-diatonic chord for ages.


But Kanye doesn’t swing that way.


If you’ve ever studied classical music, you know that the concept of proper voice leading is meant to make things sound “smooth.” But smooth can often turn into boring, particularly in the context of non-orchestral music. By using the V minor chord, Kanye adds some much needed harmonic interest to a relatively sparse arrangement.


So rare is the V minor chord in pop** that hearing it played on a single instrument (piano in this case) sounds a bit unusual, even medieval. The expectation of that leading tone over the V is so strong that, even for me, it was difficult to sing the minor 3rd instead of a major 3rd.


Combined with a dragging groove of an upright piano, it ends up sounding more like something to be played in the background of a saloon shoot out scene from a Western/Cowboy flick than a hit single for a mainstream rapper.  In fact, if you remove the characteristic elements from this chorus–play V major instead of V minor and change the first I minor to IV minor (more on this below)–you’ve got Gangsta’s Paradise, choir and all:



Chorus Root Chord Placement


As I talked about in my analysis of “Kids” by MGMT, starting a progression on something other than the root automatically sounds more intelligently written. While pre-choruses and bridges often start on other chords (in order to build tension for the inevitable release into the section that follows), choruses almost always start on the root chord. When one doesn’t, it almost always ends there. “Amazing” is no exception and falls into the latter category.


But what’s interesting is that the chorus also has another root chord: the second one of the progression.  So to expand on what I said in the previous paragraph, here are your root chord placement options for choruses with four chords or less, listed in order from most to least common:

  • Option 1: Starting on the root chord. This option solidly establishes the key from the outset, allowing the chords that follow to create new flavors and define the overall emotional content of the chorus in relation to the root. By far the most common option.
  • Option 2: Ending on the root chord. In these cases, the beginning chords lift the listener up, create tension, and eventually resolve to the root–using the harmony to create dynamics. This is a fairly common option, but also very powerful and can be a good way to shake up your songwriting or cure writer’s block. Examples include “My Hero” by Foo Fighters and “Go With The Flow” by Queens of the Stone Age.
  • Option 3: Using the root as chord #3 out of 4. This technique tricks you into thinking that it’s going to be a three chord progression, then adds a fourth chord which says “nope, it’s still going, the thought/feeling isn’t done yet.” Can create a cyclical feeling. This option is not totally unheard of but it’s rare. MGMT’s “Kids” is one example.
  • Option 4: Using the root as chord #2 out of 4. By far the rarest option and probably for good reason. I have no idea how to characterize what this option does emotionally, but in the case of “Amazing” it’s a defining characteristic.
  • Option 5: No root chord at all. I can’t think of any pop choruses that do this, so if you can, leave it in the comments!

(Note: Although the above is applicable to most choruses, obviously the emotional results may change with different combinations of these options or a greater number of chords. And by the way, you won’t find this list in a text book.)


So not only does the chorus start on a chord other than the root (in this case the bVI major), but the progression goes back to the root on the second of four chords, which is highly unusual. The result is a unique, signature chord progression (in pop you only have to be unique within about 10 years).


Well folks, that about wraps things up. As with all of my analyses I expect some good counter points (ha…) and a healthy dose of “this song sucks” / “this song still sucks” comments. But before we part ways I want to answer a question that Phil posed in his latest blog post:

“When was the last time you at home got a record, sat down, and listened to it? Really listened to it. Didn’t put it on while you clicked through Facebook or checked the local news. Just listened?”

My answer to his question is 808s and Heartbreak. And when “Amazing” came on for the first time, I had no idea Young Jeezy was going to come in because he wasn’t listed in the song title. I’ll be honest, I’ve had mixed feelings about Jeezy since day one, but when I first heard his voice come in over this strange track with the reverse reverb, I thought it was the hardest shit I’d ever heard.*** I got chills. And the fact that I wasn’t expecting it made it 10 times more powerful, supporting Phil’s theory that the less we know and see about the music before we listen, the better.


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*Actually, classical music**** tends to use a V7, which is based on a V major with a minor 7th on it, forming a tritone between the 3rd and 7th of the chord and creating an even stronger pull to I. Though we typically think of classical music as triadic, this is the one 7th chord that classical composers used regularly.


The V7 chord is dominant-functioning, which in layman’s terms means our ears hear it as having a very strong pull to another chord, in this case back to the I major. This movement is called dominant resolution. The V chord builds tension while the root chord releases it. Since we have this strong expectation of resolution from listeners, the voice leading used for this transition is considered to be particularly important.


**The only other recent V minor example I can think of offhand is “Clocks” by Coldplay, although in this case the V minor is used to help establish the song’s Dorian tonality. The opening piano arpeggio can be analyzed as follows: I/3, V-/5, IV/5 or in other words: I major (1st inversion), V minor (2nd inversion), IV major (2nd inversion).


***This transition is shortened on the YouTube version.


****Yes, I’m using the term “classical” in a colloquial manner here; I’m not referring to the Classical period. This is terrible… even my asterisks have asterisks.

Keith’s Easy Explanation of Voice Leading

Posted by Keith Freund On August - 20 - 2009COMMENT ON THIS POST

theory-lesson2Voice leading is a common songwriting or arranging technique which (traditionally) results in smooth-sounding chord transitions.


To use smooth or ‘proper’ voice leading when arranging a chord progression for an ensemble, write each instrument’s part so that the performers will make the smallest note jumps possible or no jump at all if the note occurs in both chords (“common tones”).


This technique is particularly important when writing harmonies for background vocalists because smaller jumps are easier to hear and sing against a melody.


Soloists and lead singers are expected to break from this principle, since larger melodic leaps provide interest and can make a melody more memorable.

Tritones & Why Locrian Mode “Doesn’t Exist”

Posted by Keith Freund On June - 27 - 20099 COMMENTS

theory-lesson2Note: This post requires a basic knowledge of intervals, which you can acquire by checking out my post Keith’s Crash Course On Intervals for Self-Taught Musicians. If you are not familiar with solfege syllables (do re mi fa sol), also read our Solfege Syllables To Intervals Translation chart.


 


 


 


This article comes as a response to a user question left in a comment on my article on modes. The question is:


Why (supposedly) can’t we hear Locrian mode?


Of all the seven modes derived from the major scale, Locrian is the only one considered to be a “theoretical mode”–one that our ears cannot actually hear. While there are supposed examples of Locrian mode, naysayers can argue that while these songs appear to be Locrian on paper, we hear them as a combination of chords borrowed from different parallel modes (“modal interchange”) or as being in a relative key.*


First, let’s explore what makes this particular tonality so interesting. Locrian is the only mode with a tritone interval and no perfect fifth (relative to the root note, not between the other notes of the key–in other words there is fi but no sol [see solfege chart]). This means that the root chord of a Locrian song is a diminished triad, which is comprised of the root, a minor third, and a tritone (the tritone would be called a diminished fifth in this context). It is this tritone that makes a diminished triad inherently unstable. While root chords are supposed to sound like a point of resolution or finality, tritones are so unstable that some say our ears can usually only hear them as going somewhere; we cannot hear a I diminished triad as ‘home.’


The most common place to find a tritone is in a V7 chord (V dominant 7), one of only a few seventh chords regularly used in classical music, and a chord which almost always resolves to I. The reason is because of its tritone. In my Intervals post, I explained that only intervals between the root and other notes are considered essential to a chord, not the relationships between the other notes. Tritones are the exception. This interval is so dissonant that it stands out in any context. The V7 has a tritone interval between its major 3rd and minor 7th. The major 3rd of a V7 chord will always be the leading tone (major 7th of the key or solfege syllable ti) and the minor 7th on the V7 chord will always be fa. When we listen to a V7 chord, our ears hear a strong pull from the leading tone up to solfege syllable do (root of the key) and from fa down to mi (major third of the key). Put do and mi together and you’ve got the I major chord.

Example: in the key of C major, a V7 chord is GBDF. B is both the major 3rd in this G7 chord and the leading tone of C major. F is the minor 7th and fa.

Technically speaking, there are several characteristics that are unique to a tritone. For one, it is the only interval which inverts to itself. For example, if you take the tritone interval from G to Db and flip it you get Db to G–another tritone. Secondly, it is the only interval which is not considered major, minor, or perfect. (It just is, man.) The tritone is in a league of its own.


Each of the 13 possible intervals are considered more stable (“consonant”) or less stable (“dissonant”). The tritone is one of the most dissonant. Played alone, a minor 2nd is more dissonant and jarring. This interval, like a tritone, is in neither the major (Ionian) nor minor (Aeolian) scales. In the context of a chord, however, a minor 2nd can sound quite pretty. In a major 7 chord, for example, the distance from the major 7th up to the root is a minor 2nd. But since we hear the major 7th interval going in the opposite direction, it sounds dissonant in a colorful way. Tritones always sound a little jarring to me (and yes, I’m including dominant chords). In the case of both intervals, our ear wants to hear perfect intervals (a unison and a perfect fifth, respectively), but they fall slightly short.


The latest pop song to come anywhere close to Locrian lately is Ciara’s “Like A Surgeon,” which features fi as the second bass note during the chorus (G in the key of C# minor). You could call this a borrowed chord (bVmaj7 from C# Lydian), but perhaps another brief flirtation with polytonality a la “Single Ladies” (both songs feature the writing and production of The-Dream and Christopher “Tricky” Stewart) because she sings minor 2nd (called a b9 tension in this context) over it, which is not considered an available tension on major 7 chords.



Most common examples of Locrian are riffs (short melodies which are repeated), not songs. The reasons why our ears tend to drift astray when hearing Locrian only apply to chords and harmony. Riffs are not like chords. They are more flexible. Because the notes are not occurring simultaneously (in the case of many rock riffs), our ear does not hear all of the same tendencies that intervals might suggest. All this being said, it’s hard not to hear YYZ as Locrian with the lead riff constantly reinforcing the root.

This Solfege Syllables to Intervals Translation Chart was designed to help self-taught musicians follow along in future FYM Blog posts, particularly our Compositional Analysis series. This guide uses intervals relative to the root note of the key going up in half steps. Also be sure to check out Keith’s Crash Course On Intervals For Self-Taught Musicians.


Solfege Syllables To Intervals Translation Chart

Text (For Copy & Pasting):

* do – Perfect Unison (Root)

* ra – Minor 2nd

* re – Major 2nd

* me – Minor 3rd

* mi – Major 3rd

* fa – Perfect 4th

* fi – Tritone

* sol – Perfect 5th

* le – Minor 6th

* la – Major 6th

* te – Minor 7th

* ti – Major 7th (Leading Tone)

* do – Perfect Octave (Root)


For example: in the key of C, C# is called ra, G is sol, Bb is te, and so forth.


 


 


Also note that some of these intervals can have a different solfege name in certain contexts, but these are the “default” names and they are all you need to know in order to understand our song analyses.


 

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