Ray Lynch @ spotify
Ray Lynch @ discogs.com
Ray Lynch - Deep Breakfast
1. Celestial Soda Pop
||
C#- | C#- | B maj | C#- |
|
C#- | C#- | G#- | C#- |
|
C#- | E maj | B maj | E maj |
|
Bmaj | C#- | G#- | A maj |
| A maj B
maj | C#- ||
Call
Me!
C# minor
melody mainly just ascending and then descending the scale (C#, D#, E, F#, G#,
A, B).
With
each repetition a new instrument plays the melody.
2. The Oh of Pleasure
|| Ab maj | | C-/G | |
|
F-9 | | Db maj | |
|Ab maj | ||
Huge,
vast oceany stretches of arpeggios. The
Ab major sets up nicely so that the C- chord sounds like an extension of the Ab
major, making it feel like a huge stretch of Abmaj7. Ab maj contains (Ab, C, Eb) and C- contains
(C, Eb, G) and Abmaj7 is (Ab, C, Eb, G).
So the first two chords are kind of like one long Abmaj7 chord,
especially coz of the G in the bass. An
extra zinger is thrown in when the arpeggio over C-/G emphasizes the 9 (D natural)
to give a heart twisting pain. OUCH!
Similarly,
the arpeggio for F- focuses on the 9 (G natural) in certain flourishes.
Lots of similar coral
intricacies in these oceans.
3. Falling in the
Garden
||B
maj |B maj | B maj
| B maj |
|D#- |G#- | E maj | B maj |
Then
other chord changes happen within the B major scale.
The main
melody plays this innocent and planty: B, Bb, F#, E. Which implies like B maj11 which in the
theory world is a no no, but in the sounds good world is a yes yes! Usually for a major chord it’s #11.
Something
about major11 chords are filled with chlorophyll. I think this Terranigma song, Evergreen,
does something similar.
4. Your Feeling
Shoulders
Opens with
a big E minor arpeggio, like: E, up to E, up to B, up to G, up to E…etc.
climbing and climbing.
In the
first section, very Japanese koto like arpeggiations, is basically E- and D
major back and forth a little, then eventually C major 7 makes a Bjorkish entrance.
Then there is a wonky key change to
Bb major, Eb major back and forth a few times, and eventually resolving to G
major which helps set us up in E minor, since G major is the relative major of
E minor.
Briefly there is a suspended motion
on F minor, before getting into…
…The big
riff at around the 16:08 mark there’s a sweet Arabic(?) sound riff that’s
roughly alternating between C7 and Db major.
The descending melodic line is vaguely Bb, G, F, E, Db, C, while the
bass underneath alternates between C and Db.
But a C drone in the bass also works.
The scale is C, Db, E, F, G, Ab, Bb….C Phrygian Dominant I believe. This fancy riff descends into like G major
and D major, some B-, then lands on E- and loops us back to the beginning. Excellent seamless transition.
5. Rhythm in the Pews
Very Pachelbel. A section:
||D
maj | A maj | B-
| G maj |
|D
maj |
E-/B C maj | G
maj | G
maj ||
B
section:
|| E- | C maj | E- | C maj |
| E- | C maj | Gmaj
| Gmaj |
| E- | Dmaj | E- | D maj |
Then
like an alternating between B- and G major…and towards the end somewhere F#-
thrown in.
6. Kathleen’s Song
Kathleen,
what did you to do deserve that freaky ass tritone/whole tone intro?? Intro melody B, F#, B, F repeats a few times,
then D#, G, A which trails off into a whole tone scale (B, C#, D#, F, G,
A).
Then a
very beautiful:
||G maj | G maj | D maj7 |
D maj7 |
|G maj | G maj | D maj7
| D maj7 |
|G maj | G maj | F#-
| F#-
|
| G maj | G maj | E-
| A7
|
| D maj7 | D maj7 | D maj7 | D maj7 ||
Melody
focuses a lot on C#, flavoring the G chords Lydian and really flourishing D
major with the major 7. C#, Interestingly, the Verse melody starts on the
B note, which is shared by the B whole tone scale that was previously getting
zany. Verse Melody: B…C#, D, E, C# down to B.. over the G
major. And F#, A, B, C#, F# over the D
major.
The D
major7 towards the end of the form especially washes over you like the tide of longing
nostalgia via Kingdom Heart's, "Dearly Beloved".
Fades
out on G major to F#-.
7. Pastorale
You can
practically hear the sheep being herded in this track. C# major sometimes switching over to C#
mixolydian via B maj (bVII).
Bass
pattern is: C#, G#, D#, G#, F, G#, F#,
G# outlining C#maj and C#7sus4.
B
section is key change to F#7 (F# mixolydian).
C
Section:
|| Bb- | |
F- | |
| Gbmaj | Eb- | Ab7 | |
|
Bb- | Gbmaj || C#maj
||
8. Tiny Geometries
This bit
repeats for a while in F major:
||
Fmaj | | D- | |
| Bbmaj | |
Fmaj | ||
Then, in
F Dorian (or C minor):
|| C- | | Abmaj | |
| F - | | Abmaj | |
|Bbmaj | | G- | |
|Bbmaj | | G- | |
Then
like D minor….eventually to Abmaj….then C major….F major…. D minor…. Bb major….F
major…a little hard to follow, this like some Terje
Rypdal shit right here.
