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GMH discusses anime/J-pop songs and other music from a music theory perspective

in Media
Creature - Florida Dragon Turtle Human
Let's put all my ramblings about this stuff into one place.

Note: I'm particularly interested in issues of harmony and tonality, so these will be focuses of this thread. But, feel free to talk about other aspects.

Comments

  • Creature - Florida Dragon Turtle Human
    "Expose", from the Blue Field character song album (associated with Arpeggio of Blue Steel), is somewhat of a nightmare to analyze with regards to deciding what key it's in.

    Well, the key signature is easy enough. It's obviously in either D major or B minor. Or both I guess. The tricky question is, can it be narrowed down further than that.

    This is one of those j-pop/anime songs that seems to constantly skirt the line between the two, with frequent usage of progressions that in minor would be no-leading-tone authentic cadences but in major would be deceptive cadences. (The leading-tone in this case is A#, so you're gonna see a lot of lack of that -- in other words, we've got a ton of A major chords and F# minor chords, and nearly no F# major and F#7 chords.)

    And, unlike "Oyasumi" by Little Viking, which has a similar relative-key-skirting as this song but conclusively ends on an E major chord, "Expose" does not give us this benefit.

    Let us examine the chords and the melody:

    Intro:

    Gmaj7
    F#min7, Bmin11-Bmin9
    Gmaj7
    F#min7, Bmin9-Bmin7

    Yeah, this is gonna keep happening. The song is built around this progression.

    One could say that this is minor v to minor i cadence in B minor. But then we have the melody.

    See, on top of this intro, we build more and more texture (we already have 7th chords up the wazoo, why not just get more of these beautiful layers of textures making up a pastel-like tonal ambiguity? I mean, we have to have them for proper trancepop anyway), and add this melody:

    B F# D B A A G F# D B
    A F# D A A A G F# D A
    B F# D B A A G F# D B
    A F# D A A D C# E D# F#

    I didn't include the different octaves the notes fall into, but this by itself sounds like B minor then D major -- both the chords (Bmin and D) and the keys by those names. Of course, the Gmaj7 chord is actually just G + Bmin anyway. And Bmin7 (which is included in Bmin9 and Bmin11) is Bmin + D.

    It can be argued that the melody is showing tendency toward a tonal center of D, but the harmonization gives it the quality of a repeated series of deceptive cadences -- i.e. cadences ending on the vi chord -- in this D major's case, Bmin.

    The first few phrases of the verse's vocal melody use this same harmonization, with the following melody:

    [Gmaj7] B C# D D D D D D D D D C# B B
    [F#min7] B C# D D D D D C# D E [Bmin7] F# G F# E D
    [Gmaj7] B C# D D D D D D D D D C# B B
    [F#min7] G F# E F# D C# D [Bmin7] E F# E F# E D

    [Gmaj7] B C# D D D D D D D D D C# B B
    [F#min7] B C# D D D D D C# D E [Bmin7] F# G F# E D
    [Gmaj7] B C# D D D D D D D D D C# B B
    [F#min7] G F# E F# D C# D [Bmin7] E F#, A G F# G (<-- these last four notes are the lead up to the next phrase)

    [Gmaj7] F#, D D A D, D A G F# G
    [F#min7] F#, D D A D [Bmin7] E F# G F#, D
    [Cmaj7] A D D D D, A [Bmin7] A, D D D D F# E
    [A 4-3] (the E is held)

    A 4-3 means we have an A D E chord resolving to an A C# E chord.

    This is the end of the verse. THIS is the big chord it arrives at -- in a proper B minor song, even if there were no-leading-tone cadences in the rest of the verse, it would be common to FINALLY put the leading tone here, such as in an F# (major) chord, or some substitute to that chord (e.g. F#4, or F# B C#). This would also clearly be a V chord of the minor key, or a variant thereof. Examples of this include Nana Mizuki's "Sacred Force", Mai Kuraki's "Time After Time", and Iori Nomizu's "Black or White". All of these songs are in B minor (well, Black or White technically starts in B phrygian) and lack F#-based chords in the verse except the very last chord that is used to lead into the refrain. (Examples abound in other keys too but it's easiest for me to point to songs in this same key.)

    But instead, we have a V chord of the major key -- an A-based chord.

    Sure, we could treat this as the subtonic chord (the VII, or sometimes called bVII) of the minor key. But...

    Well anyway, let's look at the melody of the refrain:

    F# [Gmaj7] F# F# E F# F# F# E F# G A E# D, E
    [F#min7] E E D E E E D [Bmin] D E F# E D, B C#
    [Emin7] D F# E A [F#7] A# F# E F#
    [Bmin] E D C# D E F# G [D/A] F#

    This is the first half of the refrain. The D/A is probably just the bass line going from B to A while none of the other notes move, honestly, so it's not really a separate chord.

    HOLY CRAP WE HAVE AN A#. So we have an authentic cadence in B minor, finally!...but wait, this isn't the end of the refrain. This is the middle, where music wanders before it arrives.

    What's the second half of the refrain?

    F# [Gmaj7] F# F# E F# F# F# E F# G A E# D, E
    [F#min7] E E D E E E D [Bmin] D E F# E D, E
    [Emin7] D, F# G [F#min] A D C# A A B
    [G] A, F# G A [no chord] F# E F# E E

    [Gmaj7] D (and the bridge to the next verse starts here)

    Yeah, it's not arriving at B minor. The "no chord" implies an A major chord, and is actually filled in with an A major chord in the second instance of the refrain. But it resolves the exact same way -- to a Gmaj7.

    Emin F#min G A -- i.e., ii iii IV V -- is a strong progression in the major key with a strong inclination toward D (I). But it's never resolved properly. But it is set up.

    And V to IV7 could be analyzed as a deceptive cadence in the major.

    The bridge gives no extra information other than ending itself on a Gmaj7 to A 4-3, again.

    The song ends on Gmaj7.



    So basically, this song sounds like it's not in B minor, but doesn't want to be in D major, by virtue of the fact that it just never has a clear D major chord, much less doesn't ever resolve to one in a cadence -- even though it keeps on setting up cadences toward D major chords.
  • Creature - Florida Dragon Turtle Human
    ooh that's an interesting progression

    Am7 Bmaj7 Am7

    (from the first episode of Circlet Princess, around 4:45)
  • Creature - Florida Dragon Turtle Human
    The OP of Bofuri is pretty interesting. The very beginning of it has the following chords:

    F#
    G#/F# (so basically G#7/F#)
    A#m/F# (so basically F#M7)
    E/F#
    D
    F#
    etc.

    The D to F# is meant at least somewhat cadentially, and this can be interpreted in the sense of an E D F# cadence. This is in contrast to the usual whole-step ascending major chords cadence (i need to find a better name for this) which would here be D E F#, but it's similar.

    Then, the next few chords we have are...
    F#
    A#m
    G#m
    C#
    D
    E
    ...hey, we're building up to a D E F# cadence!
    A
    B
    G#m
    C#m
    OH WAIT, YOU GOT PRANKED, that used the (flat) submediant and *subtonic* chords of F# major, D and E, as the pivot chords to a subtonic to tonic cadence in E major! Now we're in E major, and starting the verse with a 4536 progression.

    (I'm tempted to call the 4536 progression the "third-phrase progression" since it often (though nowhere near exclusively) occurs in such a position, i.e. halfway through a verse, but obviously that's not the case here, though this same progression does ALSO start the third phrase of the refrain.)

    So, later, how do we get back to F# major, for the refrain?

    Well, the verse ends with the following chords:

    F#m
    E/G#
    F#halfdim/A
    A/B to B

    The bass line clearly goes F# G# A B and we end on a B chord. Pretty conventional.

    Then we get the key transition:
    half of it has no chords but just the melody D C# D E D E (doubled at the third for F# E F# G# F# G#)
    the other half of it sequences this upward and has F# E# F# G# (doubled below at the third for D# C# D# E#), over a C# chord

    And of course the song just continues in F# major as if nothing funny happened.
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