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#- ||
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.
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