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Maybe to the extent one wants or needs to take the music apart for specific purposes, certain tonal effects (over time) can and are given specific names--music theory is the study of all that. It depends what the focus is maybe--as you say. Also, I suppose that overtones (as I understand them--I mean, those extra tones that appear around the original tone) create an automatic harmonic structure for any series of tones--I was thinking of using a piece with someone whistling, as "the bit you can whistle" is one version ("Bloody racket. Where's the tune? You can't whistle that, can you?") of what the melody is. There's a piece by Neil Finn called "Try Whistling This"--a test of whistling skill?
Don't fight forces, use them R. Buckminster Fuller.
I can hear:
Bass line (it's there, and it's sort of independent, but it's not that interesting) Keyboard elements - lots of filled out harmonies and a couple of extra lines Backing vocal harmonies - quite complicated Extra guitar lines - one part where it plays a very simple line which is mostly a held note and some embellishments And more...
Most of this is already happening before the bass and main drums come in at around 18s, and you could easily spend some time playing that section over and picking apart everything that's on the track.
There's a surprising amount going on - as there is in a lot of chart music.
People tend to remember the melody line and aren't consciously aware of the rest, so they'll either not hear it at all or hear it as filler. But listening to it can be - interesting.
Also interesting that you don't like the beat. Caroline Corr often seems to drag the snare beat slightly and make it late. It's probably my least favourite thing about the band.
Meanwhile ¨Try whistling this¨ is a bit of a cheat. I'd hear it as:
Voice melody Piano countermelody (which sometimes disappears) Piano harmony and colour around the countermelody Occasional embellishments and decorations
You couldn't whistle it because a lot of the movement and interest is in the countermelody, hidden under the sung part which is simpler and not as interesting - as you can hear when he stops singing.
It's not something I can explain though--but it could have something to do with lateness--or even just thumping the beat on the beat, not much movement around it. I'd compare it to the drummer playing Shoreline 7/4 in the Part III diary, who--for my ears--gave that lovely rush--and I have to say, watching the jazz trios and quartets, the sounds of those kits in the late fifties early sixties--
But a triple-gah because that's a discussion for the other diary! All the various elements come together in my head, start with one thread, keep following and soon enough I jump threads somehow--
Any theories about that four beat? Listening to that piece again, there's a lot of musical ability being squashed by that...clumpiness. Thing is, when other pop songs do muck about with the internals I still get that overall sense of clump rather than dance. (While I've been noticing that dance tracks which I presume--it's been a while--are specifically designed for audiences that dance go for the two--oom pah oom pah. Boom chit boom chit, or even just the boom boom, boom boom. Do fiendish wizards have theories about these four beats that they apply because in order to do X (sell product, I suppose)...for some reason the clumpy-four....turns minds to thoughts of consumption?
Or maybe it's just me ~:) Don't fight forces, use them R. Buckminster Fuller.
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