The Logic of Six-Based Minor for Harmonic Analyses of ...
Transcript of The Logic of Six-Based Minor for Harmonic Analyses of ...
Trevor de Clercq
SMT Conference November 5, 2021
Virtual
The Logic of Six-Based Minor for Harmonic Analyses of Popular Music
“Down Under” (Men at Work), Verse
i
B‹
Tra vel lin’ in a fried
bVII
A
out com bie,
i
B‹
bVI
G A
bVII i
B‹
On a hip pie trail,
bVII
A
head full of zom
i
B‹
bie.-
bVI
G A
bVII
44&
##
0:11
‰œ œ œ œœ
œ œ œ œ œŒ Ó ‰
œœ œ œœœ œ œ œ œ œœ
Œ Ó
Minor Tonic = i
(Doll 2011)
“Down Under” (Men at Work), Verse
i
B‹
Tra vel lin’ in a fried
bVII
A
out com bie,
i
B‹
bVI
G A
bVII i
B‹
On a hip pie trail,
bVII
A
head full of zom
i
B‹
bie.-
bVI
G A
bVII
44&
##
0:11
‰œ œ œ œœ
œ œ œ œ œŒ Ó ‰
œœ œ œœœ œ œ œ œ œœ
Œ Ó
“Down Under” (Men at Work), Chorus
I
D
Do youcome from a land
V
A
downun der?
vi
B‹
IV
G A
V I
D
Wherewo menglow
V
A
andmenplunder?
vi
B‹
IV
G A
V
44&
##
0:29
‰œ œ œ œ œ
œ œ œœ œŒ Ó ‰™
œ
rœ œ œ œ
œ œ œ œ
Œ Ó
Minor Tonic = i
(Doll 2011)
“Down Under” (Men at Work), Verse
i
B‹
Tra vel lin’ in a fried
bVII
A
out com bie,
i
B‹
bVI
G A
bVII i
B‹
On a hip pie trail,
bVII
A
head full of zom
i
B‹
bie.-
bVI
G A
bVII
44&
##
0:11
‰œ œ œ œœ
œ œ œ œ œŒ Ó ‰
œœ œ œœœ œ œ œ œ œœ
Œ Ó
“Down Under” (Men at Work), Chorus
I
D
Do youcome from a land
V
A
downun der?
vi
B‹
IV
G A
V I
D
Wherewo menglow
V
A
andmenplunder?
vi
B‹
IV
G A
V
44&
##
0:29
‰œ œ œ œ œ
œ œ œœ œŒ Ó ‰™
œ
rœ œ œ œ
œ œ œ œ
Œ Ó
Minor Tonic = i
(Doll 2011)
vi
B‹
Tra vel lin’ in a fried
V
A
out com bie,
vi
B‹
IV
G A
V vi
B‹
On a hip pie trail,
V
A
head full of zom
vi
B‹
bie.-
IV
G A
V
44&
##
0:11
‰œ œ œ œœ
œ œ œ œ œŒ Ó ‰
œœ œ œœœ œ œ œ œ œœ
Œ Ó
“Down Under” (Men at Work), Verse
“Down Under” (Men at Work), Chorus
I
D
Do youcome from a land
V
A
downun der?
vi
B‹
IV
G A
V I
D
Wherewo menglow
V
A
andmenplunder?
vi
B‹
IV
G A
V
44&
##
0:29
‰œ œ œ œ œ
œ œ œœ œŒ Ó ‰™
œ
rœ œ œ œ
œ œ œ œ
Œ Ó
Minor Tonic = vi
Nashville Chart“Down Under” (Men at Work)
“Don’t Forget Me” (Red Hot Chili Peppers)
A5
I'm an o cean-
F5
in your bed room,-
C5
make you feel warm, make
G5
you want to re sume.-
C&
‹
C=1
A=1
0:15
^
^vi
i bVI
IV
bIII
I
bVII
V
Œ œœœ
œ Œ œœ
œœ Œ œ
œœ œ
œœ
œœœœœ œ œ
A = 1 i bVI bIII bVIIC = 1 vi IV I V
Tonal Ambiguity: The “Axis” Progression
Nobile (2020)
Double-Tonic Complex
Example 7: The Aeolian progression’s kinship with IV–V–I allows the possibility of combining the two, forming a double-tonic complex (a–b reproduced from Biamonte 2010, 101).
IV V I bVI bVII i
C:a:
Double-Tonic Complexes in Rock Music
Forthcoming in Music Theory Spectrum
EXAMPLES
e - v’ry move. Pri - vate eyes, they’re watching you. Pri - vate eyes
you what my head overlooks the senses will show to my heart when it’sI’m if you’re letting me in or letting me go, don’t lie when you’re
Prechorus
gon - na knowto knowgot
Example 3: Daryl Hall and John Oates, “Private Eyes” (1981): simplified transcription of verse, prechorus, and chorus
Example 3 (cont’d):
Example 5: Possible monotonal reading of “Private Eyes” in A minor.
Bridge
Ooh, why you try to put up a front for me? I’m a spy, but on your side, you see. Slip on into
starts at 2:01
Example 4: “Private Eyes,” bridge
Example 6. The double-tonic complex plotted on Gottfried Weber’s table of key relations. C minor and A major are both one step away from the A/C complex.
f
c
g
d
F
C
G
D
d
a
e
b
D
A
E
B
DTC
DTC modal mixture in “Private Eyes”
You
neve
r gi
ve
me
your
m
oney
Sun
Kin
gM
ean
Mr.
Mus
tard
Bat
hroo
m
Win
dow
“out of college,
money spent” “one sweet
dream”“all g
ood children
go to heaven”
“here comes
the Sun……King!”
Poly
then
e Pa
m
“oh yeah!”
A-C
-E-G C-m
ajor
tria
dA
-maj
or tr
iad
Alte
rnat
ion
of C
- an
dA
-maj
or tr
iads
=
com
pose
d-ou
t A-C
-E-G
four
diff
eren
t kin
ds
of to
nic
with
in D
TC
V/A
V/C
Gol
den
Slum
bers
Car
ry th
at
Wei
ght
The
End
“golden slumbers
fill your eyes”
recap of “You Never
Give Me Your M
oney”
“boy, you’re gonna
carry that weight”
clim
actic
sta
tem
ent
of A
-C-E
-G s
onor
ityA
-C-E
-G
Exam
ple
16
: The
Bea
tles,
med
ley
from
Ab
bey
Road
(196
9), r
educ
tion.
As
in B
aile
y’s
19th
-cen
tury
ex
ampl
es, b
oth
C a
nd A
are
cen
tral
for
port
ions
of t
he m
edle
y, b
ut n
eith
er e
mer
ges
as th
e gl
obal
toni
c.
One sweet dream
Example 17: Four types of tonic in “You Never Give Me Your Money”
You never give me your money You only give me your funny paper And in the middle of negotiations, you break down.
circle-of-fifths sequence in A minor
C is tonicized within sequence
Out of college, money spent See no future, pay no rent All the money’s gone, nowhere to go
descending-thirds sequence in C major
A is tonicized within sequence
a) “You never give me your money” theme (0:22): Am7 chord as tonic
b) “Out of college” theme (1:08): CM chord as tonic
c) “One sweet dream” theme (2:27): AM chord as tonic
(2:57): alternation of CM and AM chords
came true today,yes it did! Na guitar
A in melody over CM triad
Once there was a way
piano
bass
vocal
Example 18: Opening of “Golden Slumbers”
watching you, watching you, watching you, watching you You play with words
A♭
E♭
C
B♭
G
E♮
C
AThis riff continues into the next verse, but the bass note changes from A to C
Semitonal voice leading cadencing into the four-
note tonic sonority
watching for lies, wellyou can’t escape my Pri - vate eyes, they’re watching you, they see yourhurting inside, ’cause
ChorusUpper voices project C major;
bass is centered on APrechorus introduces chord structure of a major triad plus a different bass note
Chorus begins with A-C-E-G sonority
I see you, and you see me watch you blowin’ the lines, when you’re making a scene, oh girl,you play with love you can twist it around, baby that ain’t enough, cause girl,
Verse
10
Verse solidly establishes C major; most chords are triads
Chorus
a - ny disguise, I’ll still know you. Look in - to my pri - vate eyes, they’re watching you
G#Gn
Domestic animal
Pet dog
Pet cat
“I have five pets”
Petdog
Weimaraner Corgi
“I have five dogs”
Petdog
Weimaraner
“I have five Weimaraners”
???
RiverbankFinancial institution
“I am arriving at the bank”
Example 19: Cognitive engagement occurs at different conceptual levels depending on the word used in a given sentence
a) Linguistic indeterminacy: “pets” does not signify dogs and cats but rather a single abstract concept
b) Linguistic ambiguity: two potential meanings are not reconcilable into a single abstract concept
???
A minor C major
a) Tonal ambiguity
A/C complex
A minor C major
b) Double-tonic complex
Example 20: Tonal ambiguity, like linguistic ambiguity, involves two potential keys that are mutually exclusive. The double-tonic complex is analogous instead to linguistic indeterminacy, where cognitive engagement occurs at a more abstract conceptual level.
Domestic animal
Domestic animal
a) Wagner, Tristan und Isolde, “Was träumte mir von Tristans Ehre?,” Act 1, Scene 5
Example 14: Sarah McLachlan, “Building a Mystery” (1997)
Example 15: Harmonic reduction of “Building a Mystery” showing prolonged four-note chords giving rise to a double-tonic complex
Table 1: Previous tonal interpretations of “Building a Mystery”
Verse
You come out at night and the dark side’s light, and the vampires roamThat’s when the
energy comes,
etc.
0:12
Tonic
Prechorus
You’re so beautiful charm and, and so careful when I’m in your armswith anedge (and)
1:11
Subdominant Dominant
building a mys - tery Hold - ing on and hold - ing it in
Chorus
1:23Tonic
’cause you’re working,
etc.
Koozin 2008D major with “competing modal/linear pattern around B minor”
Doll 2011Verse is in B minor (although D “threatens to break through”);
choruses are in D
Richards 2017aTonal center changes from phrase to phrase in verses; choruses are in D
Attas 2011“Circular chord progression …
does not make a particular tonality clear”
de Clercq 2012,96–98
D major, with B minor an acknowledged alternative
Osborn 2017,67
D major
Example 13: The Axis progression seen as prolonging a four-note sonority with stepwise voice leading
has 6 of both A and C
has 7 and 2 of both A and C
Am F C G Am
Tonic
Subd
omin
antD
ominant
C/Am
F
Dm
(Bº)
G
(Em)
b) Mahler, Das Lied von der Erde, end
Example 1: Nineteenth-century examples of four-note sonorities functioning as tonic within a double-tonic complex. Both are built from the union of A-minor and C-major triads.
Example 2: Elliott Smith, “Everything Means Nothing to Me” (2000): a four-note sonority built from the union of two triads functions as prolonged tonic (after Schultz 2012).
melody prolongs A#
tonic sonority is union of A#m
and C#M triads
Example 8: LMFAO, “Party Rock Anthem” (2011): combination of I–V–IV and i–bVII–bVI, where the tonic chord is a four-note union of F-minor and Ab-major triads.
at 1:13
Example 9: Tina Turner, “What’s Love Got To Do With It?” (1984), prechorus into chorus: the chorus’s opening tonic contains the notes of G#m but the bass and instrumental texture hint at a B-major possibility.
Example 10: “What’s Love Got To Do With It?,” beginning of solo section (transcribed a whole step below the sounding pitch to facilitate comparison with previous example): the B-major possibility is strengthened by the solo line.
Example 11: “What’s Love Got To Do With It?,” bridge (again transcribed a whole step below the sounding pitch): this section moves away from G# minor, and when it leads back to the chorus it strongly projects B major.
Example 12: Melodic tendencies and harmonic categories within a double-tonic complex
at 0:46
Chorusend of prechorus…
Bass and guitar hint at a B chord, while e. piano plays G#m
e. guitar
e. piano
bass
After the first phrase, there is no
G# on the downbeat
at 2:02
The solo line completes aB-major triad on the first beat, forming the four-note sonority B-D#-F#-G# on the second beat
synth. harmonica
Solo
The bridge ends on a B chord, though it sounds
a bit like V of E major
etc.
When the chorus returns immediately following the bridge’s final B chord, the first chord’s B-major possibility is
especially potent
Chorus
Bridge
The bridge begins with the song’s first significant emphasis on B major
at 2:21
Example 11, cont’d
a) Non-tonic notes gravitate stepwise toward tonic notes; G and A, both members of the four-note tonic sonority, can move stepwise to one another.
b) Tonic, subdominant, and dominant functional categories are explicitly defined for diatonic triads. Songs exhibiting an Aeolian-Ionian double-tonic complex do not usually contain the chords in parentheses. (This diagram adapts Biamonte 2010’s functional diagrams, which in turn adapt those from Agmon 1996.)
iAb:
f: bVII bVII V IV
i bVII bVII V IV
at 0:29
T D S T D S
Melody outlines Ab major
(3 2 1)
Example 7: The Aeolian progression’s kinship with IV–V–I allows the possibility of combining the two, forming a double-tonic complex (a–b reproduced from Biamonte 2010, 101).
IV V I bVI bVII i
C:a:
Double-Tonic Complexes in Rock Music
Forthcoming in Music Theory Spectrum
EXAMPLES
e - v’ry move. Pri - vate eyes, they’re watching you. Pri - vate eyes
you what my head overlooks the senses will show to my heart when it’sI’m if you’re letting me in or letting me go, don’t lie when you’re
Prechorus
gon - na knowto knowgot
Example 3: Daryl Hall and John Oates, “Private Eyes” (1981): simplified transcription of verse, prechorus, and chorus
Example 3 (cont’d):
Example 5: Possible monotonal reading of “Private Eyes” in A minor.
Bridge
Ooh, why you try to put up a front for me? I’m a spy, but on your side, you see. Slip on into
starts at 2:01
Example 4: “Private Eyes,” bridge
Example 6. The double-tonic complex plotted on Gottfried Weber’s table of key relations. C minor and A major are both one step away from the A/C complex.
f
c
g
d
F
C
G
D
d
a
e
b
D
A
E
B
DTC
DTC modal mixture in “Private Eyes”
You
neve
r gi
ve
me
your
m
oney
Sun
Kin
gM
ean
Mr.
Mus
tard
Bat
hroo
m
Win
dow
“out of college,
money spent” “one sweet
dream”“all g
ood children
go to heaven”
“here comes
the Sun……King!”
Poly
then
e Pa
m
“oh yeah!”
A-C
-E-G C-m
ajor
tria
dA
-maj
or tr
iad
Alte
rnat
ion
of C
- an
dA
-maj
or tr
iads
=
com
pose
d-ou
t A-C
-E-G
four
diff
eren
t kin
ds
of to
nic
with
in D
TC
V/A
V/C
Gol
den
Slum
bers
Car
ry th
at
Wei
ght
The
End
“golden slumbers
fill your eyes”
recap of “You Never
Give Me Your M
oney”
“boy, you’re gonna
carry that weight”
clim
actic
sta
tem
ent
of A
-C-E
-G s
onor
ityA
-C-E
-G
Exam
ple
16
: The
Bea
tles,
med
ley
from
Ab
bey
Road
(196
9), r
educ
tion.
As
in B
aile
y’s
19th
-cen
tury
ex
ampl
es, b
oth
C a
nd A
are
cen
tral
for
port
ions
of t
he m
edle
y, b
ut n
eith
er e
mer
ges
as th
e gl
obal
toni
c.
One sweet dream
Example 17: Four types of tonic in “You Never Give Me Your Money”
You never give me your money You only give me your funny paper And in the middle of negotiations, you break down.
circle-of-fifths sequence in A minor
C is tonicized within sequence
Out of college, money spent See no future, pay no rent All the money’s gone, nowhere to go
descending-thirds sequence in C major
A is tonicized within sequence
a) “You never give me your money” theme (0:22): Am7 chord as tonic
b) “Out of college” theme (1:08): CM chord as tonic
c) “One sweet dream” theme (2:27): AM chord as tonic
(2:57): alternation of CM and AM chords
came true today,yes it did! Na guitar
A in melody over CM triad
Once there was a way
piano
bass
vocal
Example 18: Opening of “Golden Slumbers”
watching you, watching you, watching you, watching you You play with words
A♭
E♭
C
B♭
G
E♮
C
AThis riff continues into the next verse, but the bass note changes from A to C
Semitonal voice leading cadencing into the four-
note tonic sonority
watching for lies, wellyou can’t escape my Pri - vate eyes, they’re watching you, they see yourhurting inside, ’cause
ChorusUpper voices project C major;
bass is centered on APrechorus introduces chord structure of a major triad plus a different bass note
Chorus begins with A-C-E-G sonority
I see you, and you see me watch you blowin’ the lines, when you’re making a scene, oh girl,you play with love you can twist it around, baby that ain’t enough, cause girl,
Verse
10
Verse solidly establishes C major; most chords are triads
Chorus
a - ny disguise, I’ll still know you. Look in - to my pri - vate eyes, they’re watching you
G#Gn
Domestic animal
Pet dog
Pet cat
“I have five pets”
Petdog
Weimaraner Corgi
“I have five dogs”
Petdog
Weimaraner
“I have five Weimaraners”
???
RiverbankFinancial institution
“I am arriving at the bank”
Example 19: Cognitive engagement occurs at different conceptual levels depending on the word used in a given sentence
a) Linguistic indeterminacy: “pets” does not signify dogs and cats but rather a single abstract concept
b) Linguistic ambiguity: two potential meanings are not reconcilable into a single abstract concept
???
A minor C major
a) Tonal ambiguity
A/C complex
A minor C major
b) Double-tonic complex
Example 20: Tonal ambiguity, like linguistic ambiguity, involves two potential keys that are mutually exclusive. The double-tonic complex is analogous instead to linguistic indeterminacy, where cognitive engagement occurs at a more abstract conceptual level.
Domestic animal
Domestic animal
a) Wagner, Tristan und Isolde, “Was träumte mir von Tristans Ehre?,” Act 1, Scene 5
Example 14: Sarah McLachlan, “Building a Mystery” (1997)
Example 15: Harmonic reduction of “Building a Mystery” showing prolonged four-note chords giving rise to a double-tonic complex
Table 1: Previous tonal interpretations of “Building a Mystery”
Verse
You come out at night and the dark side’s light, and the vampires roamThat’s when the
energy comes,
etc.
0:12
Tonic
Prechorus
You’re so beautiful charm and, and so careful when I’m in your armswith anedge (and)
1:11
Subdominant Dominant
building a mys - tery Hold - ing on and hold - ing it in
Chorus
1:23Tonic
’cause you’re working,
etc.
Koozin 2008D major with “competing modal/linear pattern around B minor”
Doll 2011Verse is in B minor (although D “threatens to break through”);
choruses are in D
Richards 2017aTonal center changes from phrase to phrase in verses; choruses are in D
Attas 2011“Circular chord progression …
does not make a particular tonality clear”
de Clercq 2012,96–98
D major, with B minor an acknowledged alternative
Osborn 2017,67
D major
Example 13: The Axis progression seen as prolonging a four-note sonority with stepwise voice leading
has 6 of both A and C
has 7 and 2 of both A and C
Am F C G Am
Tonic
Subd
omin
antD
ominant
C/Am
F
Dm
(Bº)
G
(Em)
b) Mahler, Das Lied von der Erde, end
Example 1: Nineteenth-century examples of four-note sonorities functioning as tonic within a double-tonic complex. Both are built from the union of A-minor and C-major triads.
Example 2: Elliott Smith, “Everything Means Nothing to Me” (2000): a four-note sonority built from the union of two triads functions as prolonged tonic (after Schultz 2012).
melody prolongs A#
tonic sonority is union of A#m
and C#M triads
Example 8: LMFAO, “Party Rock Anthem” (2011): combination of I–V–IV and i–bVII–bVI, where the tonic chord is a four-note union of F-minor and Ab-major triads.
at 1:13
Example 9: Tina Turner, “What’s Love Got To Do With It?” (1984), prechorus into chorus: the chorus’s opening tonic contains the notes of G#m but the bass and instrumental texture hint at a B-major possibility.
Example 10: “What’s Love Got To Do With It?,” beginning of solo section (transcribed a whole step below the sounding pitch to facilitate comparison with previous example): the B-major possibility is strengthened by the solo line.
Example 11: “What’s Love Got To Do With It?,” bridge (again transcribed a whole step below the sounding pitch): this section moves away from G# minor, and when it leads back to the chorus it strongly projects B major.
Example 12: Melodic tendencies and harmonic categories within a double-tonic complex
at 0:46
Chorusend of prechorus…
Bass and guitar hint at a B chord, while e. piano plays G#m
e. guitar
e. piano
bass
After the first phrase, there is no
G# on the downbeat
at 2:02
The solo line completes aB-major triad on the first beat, forming the four-note sonority B-D#-F#-G# on the second beat
synth. harmonica
Solo
The bridge ends on a B chord, though it sounds
a bit like V of E major
etc.
When the chorus returns immediately following the bridge’s final B chord, the first chord’s B-major possibility is
especially potent
Chorus
Bridge
The bridge begins with the song’s first significant emphasis on B major
at 2:21
Example 11, cont’d
a) Non-tonic notes gravitate stepwise toward tonic notes; G and A, both members of the four-note tonic sonority, can move stepwise to one another.
b) Tonic, subdominant, and dominant functional categories are explicitly defined for diatonic triads. Songs exhibiting an Aeolian-Ionian double-tonic complex do not usually contain the chords in parentheses. (This diagram adapts Biamonte 2010’s functional diagrams, which in turn adapt those from Agmon 1996.)
iAb:
f: bVII bVII V IV
i bVII bVII V IV
at 0:29
T D S T D S
Melody outlines Ab major
(3 2 1)
Tonal Ambiguity
Am C Dm Em F G
A minor T T S D S DC major T T S D S D
Aeolian-Ionian Complex
“Don’t Forget Me” (Red Hot Chili Peppers)
A5
I'm an o cean-
F5
in your bed room,-
C5
make you feel warm, make
G5
you want to re sume.-
C&
‹
C=1
A=1
0:15
^
^vi
i bVI
IV
bIII
I
bVII
V
Œ œœœ
œ Œ œœ
œœ Œ œ
œœ œ
œœ
œœœœœ œ œ
A = 1 i bVI bIII bVIIC = 1 vi IV I V
Double-Tonic Complex (Nobile 2020)
“Don’t Forget Me” (Red Hot Chili Peppers)
A5
I'm an o cean-
F5
in your bed room,-
C5
make you feel warm, make
G5
you want to re sume.-
C&
‹
C=1
A=1
0:15
^
^vi
i bVI
IV
bIII
I
bVII
V
Œ œœœ
œ Œ œœ
œœ Œ œ
œœ œ
œœ
œœœœœ œ œ
A = 1 i bVI bIII bVIIC = 1 vi IV I V
Double-Tonic Complex (Nobile 2020)
||: vi I V IV :||||: vi V I IV :||||: vi I IV V :||||: vi IV I iii :||||: vi I V iii :||||: vi I V ii :||||: ii vi I V :||
A Few Other Double-Tonic Complex Loops
A Few Other Double-Tonic Complex Loops||: vi I V IV :||||: vi V I IV :||||: vi I IV V :||||: vi IV I iii :||||: vi I V iii :||||: vi I V ii :||||: ii vi I V :||
• “Jar of Hearts” (Christina Perri) • “Set Fire to the Rain” (Adele) • “Prayer in C” (Lilly Wood and the Prick)
vi
B‹
Tra vel lin’ in a fried
V
A
out com bie,
vi
B‹
IV
G A
V vi
B‹
On a hip pie trail,
V
A
head full of zom
vi
B‹
bie.-
IV
G A
V
44&
##
0:11
‰œ œ œ œœ
œ œ œ œ œŒ Ó ‰
œœ œ œœœ œ œ œ œ œœ
Œ Ó
“Down Under” (Men at Work), Verse
“Down Under” (Men at Work), Chorus
I
D
Do youcome from a land
V
A
downun der?
vi
B‹
IV
G A
V I
D
Wherewo menglow
V
A
andmenplunder?
vi
B‹
IV
G A
V
44&
##
0:29
‰œ œ œ œ œ
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œ
rœ œ œ œ
œ œ œ œ
Œ Ó
Shifting Between Relative Tonal Centers
From Minor (Verse) to Relative Major (Chorus)
“Innocence” (Avril Lavigne)
From Minor (Verse) to Relative Major (Chorus)
“Innocence” (Avril Lavigne)
C#m
From Minor (Verse) to Relative Major (Chorus)
“Innocence” (Avril Lavigne)
C#m
E
From Minor (Verse) to Relative Major (Chorus)
“Innocence” (Avril Lavigne)
C#m
AB
E
A mer- i- can- glo-
ry
B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
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##
0:24
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fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
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less,- ripped up my prom dress run ning- through rose
1
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thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
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“Miss Americana….”
(Taylor Swift)
A mer- i- can- glo-
ry
B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
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&
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* * *
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B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
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0:24
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B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
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“Miss Americana….”
(Taylor Swift)
A mer- i- can- glo-
ry
B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
&
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B‹
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A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
&
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&
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B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
&
‹
##Vr)
&
‹
## ∑
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&
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&
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* * *
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“Miss Americana….”
(Taylor Swift)
A mer- i- can- glo-
ry
B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
‹
##
0:24
&
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&
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B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
22&
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œœ œ
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J
œ œ œ œ œœ œ
‰œ
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œ œ œ œ œœ œ œ œ œ œ œ
Œ
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jœ
œ œœ œ œ œ
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j
œ œ
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J‰ œ œ œ œ
œœ œ
A mer- i- can- glo-
ry
B‹
fa ded- be fore- me, now I'm feel ing- hope
A
less,- ripped up my prom dress run ning- through rose
1
G
thorns, I saw the score board- and ran for my life.
A5
G
No cam era's- catch my pag eant- smile;
B‹
I coun ted- days,
A
I coun ted- miles
9
G
to see you there, to see you there. It's been a long time com ing,- but. . . .
13
G
It's you and me, that's
B‹
my whole world. They whis
A
per- in the hall way,- "She's a bad, bad girl."
B‹17
G
The whole school is roll
B‹
ing- fake dice. You play
A
stu pid- games, you win stu pid- pri zes.-
21
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* * *
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jœ
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j
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J‰ œ œ œ œ
œœ œ
“Miss Americana….”
(Taylor Swift)
Vocal
Night
D5
falls
C(„ˆˆ2) G/B
and I'm a lone.-
D5 C(„ˆˆ2) G/B
Skin,
D5
yeah, chilled
C(„ˆˆ2)
me to
G/B
the bone.
D5 C(„ˆˆ2) G/B
44&
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0:12
∑
&
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œ œ ™ Œ Ó˙
‰™
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r œ œ œ œœ ™
Œ Ó
œ œ ™ Œ Œ ‰ œ œ œ ™œn
jœ œ ™
œ œ œ
j ‰ Œ Ó
“Blue on Black” (Kenny Wayne Shepherd Band)
Double–Parallel Tonics
I / i bVII IV6 I / i bVII IV6
The Triple-Tonic Complex
C major
A minor C minor
I
D
Ooh
bVII
C(„ˆˆ9)
ooh yeah
IV
G
You and me, ba by,- mak in'- love
bVI
B¨
like go ril
bVII
C
- las
44&
##
0:54
Óœ œ œ
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A Triple-Tonic Complex“Gorilla” (Bruno Mars), Chorus
I
D
Ooh
bVII
C(„ˆˆ9)
ooh yeah
IV
G
You and me, ba by,- mak in'- love
bVI
B¨
like go ril
bVII
C
- las
44&
##
0:54
Óœ œ œ
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œ
‰ œ œ œ œnœ
Œ Óœ œ# œ œ œ œ œ œ œ œ œ œ œ
Ooh
vi
i
B‹
I got a bot tle- full of liq uor- with a co
I
caine
6$
6$
D/A
- kick er- and I'm feel ing- like I'm thir ty- feet tall,
IV
GŒ„Š7
so lay
bVI
B¨
it down,
C
lay
bVII
bII
it down.
44&
##
B=1
D=1
0:06
^
^
b III bVI
bVI/bIII
VII
or
bVII/bIII
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ ™ œ œ œ
j ‰ ‰™
œ
rœn œ œ
Œœ œ œ œ
j ‰
A Triple-Tonic Complex“Gorilla” (Bruno Mars), Chorus
“Gorilla” (Bruno Mars), Verse
Three Harmonic PalettesSt
ephe
nson
(200
2)
Three Harmonic PalettesSt
ephe
nson
(200
2)
Three Harmonic PalettesSt
ephe
nson
(200
2)
Three Harmonic PalettesSt
ephe
nson
(200
2)Triple-Tonic C
omplex
I'm wak ing-
up,
B‹
I feel it in
D
my bones, e nough
A
- to make my sys
E
tems- blow.
1
Wel
B‹
come- to the new age,
D
to the new age, wel
A
come- to the new age,
E/G©
to the new age.
5
C&
‹
##
0:55
&
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##
&
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##
œ œ œ
œ
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œ œ
œ œ œ œ# œœ
Œ
œ œ œ œ œœ Œ
œ œ œœ
œ œ œ œ œœ Œ œ œ œ
œ
“Radioactive” (Imagine Dragons), Chorus
B = 1 i bIII bVII IV6
D = 1 vi I V II6
I'm wak ing-
up,
B‹
I feel it in
D
my bones, e nough
A
- to make my sys
E
tems- blow.
1
Wel
B‹
come- to the new age,
D
to the new age, wel
A
come- to the new age,
E/G©
to the new age.
5
C&
‹
##
0:55
&
‹
##
&
‹
##
œ œ œ
œ
œ œ œ œ œœ
œ œ
œ œ œ œ# œœ
Œ
œ œ œ œ œœ Œ
œ œ œœ
œ œ œ œ œœ Œ œ œ œ
œ
“Radioactive” (Imagine Dragons), Chorus
B = 1 i bIII bVII IV6
D = 1 vi I V II6
I'm wak ing-
up,
B‹
I feel it in
D
my bones, e nough
A
- to make my sys
E
tems- blow.
1
Wel
B‹
come- to the new age,
D
to the new age, wel
A
come- to the new age,
E/G©
to the new age.
5
C&
‹
##
0:55
&
‹
##
&
‹
##
œ œ œ
œ
œ œ œ œ œœ
œ œ
œ œ œ œ# œœ
Œ
œ œ œ œ œœ Œ
œ œ œœ
œ œ œ œ œœ Œ œ œ œ
œ
“Radioactive” (Imagine Dragons), Chorus
B = 1 i bIII bVII IV6
D = 1 vi I V II6
Dorian–Lydian Complex
The Three Modal ComplexesAeolian-Ionian: A, B, C, D, E, F, G
6 7 1 2 3 4 5
Dorian-Lydian: A, B, C, D, E, F#, G 6 7 1 2 3 #4 5
Phrygian-Mixolydian: A, Bb, C, D, E, F, G 6 b7 1 2 3 4 5
Vr)_ Am Am D/A D/A
F F G G
Pre)_ Bb Bb F F
Am C/G F F
Ch)_ G Am F G G Am F G
G Am F G G Am F G
“Save Me” (Fleetwood Mac)
Phrygian-Mixolydian Complex
“Save Me” (Fleetwood Mac)
Chas Williams (Session Musician)
Nashville Chart
BibliographyBiamonte, Nicole. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory Spectrum 32 (2): 95–110. ———. 2017. “Pop/Rock Tonalities.” In Tonality Since 1950, ed. F. Wörner, U. Scheideler, and P. Rupprecht, 89–101. Franz Steiner. Capuzzo, Guy. 2009. “Sectional Tonality and Sectional Centricity in Rock Music.” Music Theory Spectrum 31 (1): 157–74. Clement, Brett. 2013. “Modal Tonicization in Rock: The Special Case of the Lydian Scale.” Gamut 6 (1): 95–142. ———. 2014. “A New Lydian Theory for Frank Zappa’s Modal Music.” Music Theory Spectrum 36 (1): 146–66. ———. 2020. “Convention and Invention in Harmonic and Melodic Theories for Rock Music.” In The Bloomsbury Handbook of Rock
Music Research, ed. Allan Moore and Paul Carr, 107–27. Bloomsbury Academic. de Clercq, Trevor. 2015. The Nashville Number System Fake Book. Hal Leonard. ———. 2016. “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music
Theory Online 22 (3). ———. 2019. “The Nashville Number System: A Framework for Teaching Harmony in Popular Music.” Journal of Music Theory
Pedagogy 33: 3–28. de Clercq, Trevor and David Temperley. 2011. “A Corpus Analysis of Rock Harmony.” Popular Music 30 (1): 47–70. Doll, Christopher. 2011. “Rockin’ Out: Expressive Modulation in Verse-Chorus Form.” Music Theory Online 17 (3). ———. 2017. Hearing Harmony: Toward a Tonal Theory for the Rock Era. University of Michigan Press. Duinker, Ben. 2019. “Plateau Loops and Hybrid Tonics in Recent Pop Music.” Music Theory Online 25 (4). Everett, Walter. 2004. “Making Sense of Rock’s Tonal Systems.” Music Theory Online 10 (4). Moore, Allan. 1992. “Patterns of Harmony.” Popular Music 11 (1): 73–106. ———. 1995. “The So-Called ‘Flattened Seventh’ in Rock.” Popular Music 14 (2): 185–201. Nobile, Drew. 2016. “Harmonic Function in Rock Music: A Syntactical Approach.” Journal of Music Theory 60 (2): 149–80. ———. 2020a. “Double-Tonic Complexes in Rock Music.” Music Theory Spectrum 42 (2): 207–26. ———. 2020b. Form as Harmony in Rock Music. Oxford University Press. Osborn, Brad. 2017. “Rock Harmony Reconsidered: Tonal, Modal, and Contrapuntal Voice-Leading Systems in Radiohead.” Music
Analysis 36 (1): 59–93. Riley, Jim. 2010. Song Charting Made Easy: A Play-along Guide to the Nashville Number System, 2nd ed. Hal Leonard. Richards, Mark. 2017. “Tonal Ambiguity in Popular Music’s Axis Progressions.” Music Theory Online 23 (3). Spicer, Mark. 2017. “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” Music Theory Online 23 (2). Stephenson, Ken. 2002. What to Listen for in Rock: A Stylistic Analysis. Yale University Press. Temperley, David. 2007. “The Melodic–Harmonic ‘Divorce’ in Rock.” Popular Music 26 (2): 323–42. ———. 2011. “The Cadential IV in Rock.” Music Theory Online 17 (1). ———. 2018. The Musical Language of Rock. Oxford University Press. Temperley, David and Trevor de Clercq. 2013. “Statistical Analysis of Harmony and Melody in Rock Music.” Journal of New Music
Research 42 (3): 187–204 Williams, Chas. 2017. The Nashville Number System Gigbook. Chas Williams.
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