Bismillahi 'Rrahman 'Rrahim, 1 step down
Voluptuous bubbling from crescent turquoise spring, lazy steam rises to become night’s sky. Bath house surrounded by bamboo, shoots indescriptively chatter in the darkness of the grove. The cool air chills shoulders. Light suffusing only from ethereal wafting of ghosts, and the moon. Onsen of the spirits; a resting spot on their way through eternity.
Oscilation Circuit @ discogs.com
wriggle under holly bush
peering through frosted leaves
marvelous winterscape
Crystalline static, fresh powdered blanket hum of Eb, then an octave of Eb crisping back and forth.
Three repeating riffs make up the blissard:
First riff is simple back and forth between high D and low Bb.
Second riff is a chord of D and F, then D note, chord of Ab and Eb, chord of Bb and D. The second note on each chord is the higher note!
Third riff is G evaporating towards Ab, this also jumps down to the bass line occasionally, creating a suspended chord motion.
The interplay between the riffs create an overall chord like Bb7(11), where the Ab and Eb jives against D to create that mystical airy sound, like Bb major triad with Ab or Eb in the bass. Or like Eb major7(11). The scale used is Eb major without the C (Eb, F, G, Ab, Bb, D).
Enjoy!
Poison Girlfriend – Melting Moment
Poison Girl Friend @ discogs.com
1. Hardly Ever Smile (Without You)
Romantic handwritten love letter by candlelight in rainy French province. Only her desperate whispers can permeate the clouds, yearning for sun.
PHAT SYNTH parks it on F major 7 for a little, drums join, then guitar strumming. Once guitar comes in the form starts, F major 7 for two bars then G major. Good voicings for these chords on guitar: x33210 for F major 7, and move the shape up for G: x55430.
Then a bleeding heart string riff :’O which is E, higher octave E, A, higher octave A, E, D, G all downward. Repeat is E, higher octave E, A, higher octave A, C, E. Coolest riff I’ve ever heard using that many octave jumps!
Verse:
||F maj7 | F maj7 | G maj | G maj |
| E7 | E7 | F maj7 | F maj7 |
||F maj7 | F maj7 | G maj | G maj |
| E7 | E7 | F maj7 | F maj7 ||
Chorus:
||F maj7 | G maj | E7 | A- |
|F maj7 | G maj | E7 | A- ||
Heavy on the reverb vocals! Love confession right up in your ears <3
Bridge with strings in quartal harmonies! I can vaguely make out this approximation on guitar: x55577 (D13), x33455 (Cmaj13 add 11), x77788 (E-11 sort of), x10.10.11.12.12. (G major 13 add 11).
Something like that! Just stack the fourths and it comes together! Later on when this section plays again, I think they descend the C major scale, but passing through B-7, Bb major 7, and possibly E-9. It’s hard to make out. Also the line is somewhat similar to twinkle twinkle little star??
Hoooow iiiii wonnnnnderrr whaaat youuu arreeeee
Fade out chill F major 7, remorseful vocals, heart ripping strings.
2. Fact 2
Icy truth cracking from sky, French Goddess dials her telephone. Engage in rave. “C’est fini, mon amore”. “It’s over, my love”.
Intro is A-9, A-9, E major 7, F# major, all sparsely.
Little telephone riff is funky rhythm with F#, F#, D#, then hitting a high B. Play around with it to get the exact notation!
Main jam is G#-, G#-9, E major7, F# major.
Main bass jam goes: G#, D#, C#, D#. And repeats that motif but with E, then F# replacing the G#.
Telephone screeches and beeps in A#, the 9th of G#-.
Later on bass changes to G#, B, A#, B.
3. The Future is Now
Intro:
|| A major7 | A major7 |C#7b9 (D dim7) | C#7b9 (D dim7) |
|F# - |F# - |F dim 7 |F dim 7 |
|C major 7 | C major7 |F7 |F7 |
|C major 7 | C major7 |F7 |F7 |
|C major 7, drums come in, play for a while||
Verse:
||A- |G major |F major |E7 |
|A- |G major |F major |E7 |
|C major |G major |A- |E- |
|C major |G major |A- |E- |
|One bar of drums ||
At the C major chord things gets baroque!
Chorus:
||C major |G major |A- |E maj |
|F maj |G major |F maj |G major |
|C major |G major |A- |E maj |
|F maj |G major |F maj |G major |
|A -9 || Then the form slinks back to intro. Lots of 3rds used in the melody!
4. Those Were The Days
Intro/Chorus:
||C#- G#- |Amaj Emaj| |C#- G#- | Amaj Emaj|
|C#- G#- |Amaj Emaj| |C#- G#- | Amaj Emaj ||
Synth riff in here goes C#, C# C# lower G#, B, C#. Like a funk bass riff!
Preverse parks on C#- for a little.
Verse/Vocals without drums, lose harmonic rhythm!:
||C#- | | | A major |
|A major | | C#- | |
|B major | | G#7 | ||
The WOOOOOOOO WOOOOOOOO, is a chord made up of G# and C#, played with wailing blues energy.
Verse with drums, more defined:
||C#- | | A major | |
|B major | | G#7 | |
|A major | | C#- | |
|G# major | |C#- | ||
Vibes of Legend of Legaia - Light of the Town
After a few times through the form , she bumps the key up to D#-, shift up all chords a whole step and there you go!
5. Quoi
What, Why? This is what happens when we play Chopsticks underneath jazz standard All of Me.
Recurring piano riff is chord of E and F#, then E and G. Cool to hear it underneath of the chord changes!
A section:
||:G major 7 | |A major | |
|G major 7 | |A major | |
|F#-7 | |G major 7 | |
1st |E- |A7 :||
2nd |E- |A7 |D major7 | ||
B section:
||B-7 |E-7 |A major |F#- |
|B-7 |E-7 |A major |B- |
|E- |A major |F#- |B- |
|A major | |B- |E7 |
|A major |D major | | ||
6. Melting Moment
Intro is a lot of go between F major7 and C major7, with the last bar being E-7 A7 to set up the vocals.
Gorgeous piano riff, again with lots of octaves: G down to C, D C up to B. Then G down to C, D down to G, high B.
Vocals/Verse:
||: F major 7 | | C major 7 | |
|F major 7 | | C major 7 | |
|D-7 G7 | Cmajor Fmajor7 |1st B-7b5 | E7 :||
2nd|A major 7 | | F major 7 | |
|Bb major 7 | ||
Bridge:
||D-7 | G maj F maj |E- |A- |
|F major7 |Fmaj 6? |E7 |E7 |
|F major7 | |Bbmajor7 | ||
Luxurious, new age fade out. “You will never know” reverberating for infinity. Poison Girl Friend’s emo trance hop diary comes to a close.
