Push-button thoughts

2010-03-25T04:04:00.001-07:00

Creep by Radiohead

Score:
http://sheetmusicpalace.blogspot.com/2009/07/blog-post.html

Background of Creep
This is a classic song by band, Radiohead, which was made famous in 1993's album Pablo Honey. It depicts a man’s strong unspoken feelings for a girl as to how much he adores and admires different aspects about her. (“When you were here before, couldn’t look you in the eye. You’re like an angel, your skin makes me cry.”)

However, his feelings become too overwhelming, that he is now desperate to have her attention. ("I don't care if it hurts, I want to have control. I want a perfect body, I want a perfect soul.”) Reaching the climax of the song, it seems like he has confessed his feelings but unfortunately, has been rejected by the girl. His obsession of controlling the girl has caused the girl to avoid him. (“Oh.oh. She’s running out again. She’s running out. She run, run, run, run.)

Not able to win the heart of the girl he loves, it is seen that the man decides to give up. The feeling of melancholy sets into the song as the man feels a sense of inferiority and loss. ("Whatever makes you happy, whatever you want. You're so very special, I wish I was special.")

Few musical concepts worth mentioning:

1) Ostinato
With a glance at the score, the song is made up of simply one chord progression – G B C Cm, or I (Major) – III (Major) – IV (Major) – iv (Minor) which is played by arpeggiated chords throughout the verse and chorus of the song. The use of this repetitive motif portrays the man’s extensive obsession for the girl, where he keeps thinking about her incessantly, longing to be with her.

2) Tonal ambiguity
One can identify the key of this song is G major by looking at the key signature of this score. However, the establishment of this key centre is an ambiguous and less obvious one as compared to the clear establishment of keys seen in Classical songs. Tonal ambiguity can be explained by the following:

Absence of common cadences

Looking from the chord progression or [ I (Major) – III (Major) – IV (Major) – iv (Minor)], there is no indication of any forms of punctuations in the musical syntax (ie. a comma, a full-stop in writing language). There is zero use of common cadences (ie. V-I, IV-I); where these common chord progressions are easily captured by our musically trained ears. Therefore, as one listens to it, it is relatively difficult to identify the key centre of the entire song. One maybe able to capture the slight reminiscence of a “somewhat” Plagal Cadence (from iv- I), which does not fully establish the key.

Weak establishment of key in the beginning (bar 8)

While in the usual classical pieces that we’ve heard or played, the key is usually established on the first chord or in the first bar. However, looking at this song, it started off with iv (Minor), indicating tonal ambiguity that is present throughout the song.

3) Mixture harmony
The chord progression: I (Major) – III (Major) – IV (Major) – iv (Minor) shows a use of borrowed chords, thereby a mixture harmony is heard in this song.

The borrowed chords are:
· III (Major), which in its original key is iii (Minor)
· iv (Minor), which in its original key is IV (Major)

Hence:
I (Major) – III (Major) – IV (Major) – iv (Minor)
Borrowed Borrowed

The alternation of borrowed and diatonic chords greatly drives the music. In a way, the borrowed chords provided the element of “surprise”. Since these chords are sandwiched in between the common diatonic chords, a musical contour is hence created. One will not be satiated with the song as there is often constant element of “surprise”, thus propels the listener to listen to the song continuously.

4) Change of mode [IV (major) to iv (minor)]
Typically, our ears are tuned in such a way that major chords bring about happy moods, while minor chords bring out the opposite. The change of mode from IV to iv (major to minor) is used for an expressive purpose, reflecting musically the meaning of the text.
As one observes the text carefully, this change of mood corresponds with the change in feelings of this man. He is in love the girl, so much so that his overwhelming feelings are unexpressed. Hence, at the same time, he is experiencing agony and pain as his feelings are not portrayed to her.

And when he finally confessed his feelings, he was rejected. Thus, the sense of inferiority and rejection were expressed when iv (Minor), which corresponds with the lyrics.

5) Common tone
Perhaps what makes the unique chord progression sound “smooth” and acceptable by our musical ears is the common tone employed by the adjacent chords. Chords I and III has the common tone of B, and this common tone has the voice-leading tendency to move upwards, hence a common tone of C established in chord IV and iv.

6) Chromatic line, D - D# - E– Eb (5 – 5# - 6 – 6b)
A subtle chromatic line, D - D# - E– Eb (5 – 5# - 6 – 6b), is seen throughout the song. It reflects musically the emotions emphasized in the song. An instance of such is seen in bar 18- 19 (5 – 5#), and the “descending” contour of chromatic line in bar 21-23 (6 – 6b).
It can be explained as such - This line “creeps” upwards (G – G#) in the light of joy, anticipation for the girl. On the contrary, as the man is thrown back in despair and rejection, this chromatic line “descends” (from 6 – 6b).

Pardon the vulgarities seen in the lyrics! :) Personally, this is one song that I’ve been listening to for years! Never realise that such a beautiful song is made up by a simple chord progression, which can bring out the complex feelings and emotions portrayed in the song.

2009-12-14T18:13:00.000-08:00

Had the adrenaline to write.

My 'I-compare-this-with-that' syndrome hasn't been acting; been really satisfied with what I've, even if they aren't the best for me, I learn to accept and be happy. God is faithful; He has been supplying my needs. Sem 1 was a roller coaster ride. Through doldrums and sad moments He taught me the value of friendships. I opened up my mind to seeking comfort in groups of friends, and I enjoy big group company even more than before.

He takes away too, He took away my expectations of people, my perspectives of events, my pride. But through this, I gained. I gain to be closer to the Jasmine that He created me to be.

Sem 1 was indeed a good start. Looking forward to what God can do in Sem 2! :)

2009-10-04T17:54:00.000-07:00

The original (performed by The Carpenters):

"Jazzed-up version"

(They Long To Be) Close To You

2009-10-04T17:11:00.000-07:00

(They Long to Be) Close To You

To download score: http://www.scribd.com/doc/5056177/Carpenters-Close-to-you-piano-sheet-music

Music by: Burt Bacharach

Key: Eb major

This song, first made famous by The Carpenters, is certainly a popular hit among couples. It has a simple and easy-to-catch melody, yet it has a groovy, jazzy harmony which sets one to sing it over and over again.

Several features worth pointing out:

Form
Extended binary form ll:A::B A’ :ll is displayed in this song. It is structured as follows:

ll:A:ll - Bars 1 to 8, which this theme is repeated from bars 8 to 15, which ends with a plagal (IV -I) cadence

ll:B A’ :ll
1. ‘B’ section – Bars 17 to 23. This section is clearly seen as an extension of the previous ‘A’ section, hence employs the organic principle. This section is left harmonically open – imperfect cadence (IV-V) seen at bar 21-22. This cadence marking exemplifies that this section is not a ‘self-contained’ section, that there is another section ‘coming up’ to tie up the whole song.

2. ‘A’ section – Bars 24-28. This section is an exact duplicate of the first ‘A’ section

Sentence structure

This song clearly follows a rhythmic profile of 2+2+4 sentence structure, or ‘short short long’ structure as below:

Short: “Why do birds suddenly appear” bar 1-2
Short: “Every time you are near” bar 3-4
Long: “Just like me, they long to be close to you” bar 5-8

This structure is also seen at:

Short: “On the day that you were born the angels got together and” Bar 17-18
Short: “decided to create a dream come true” Bar 19-20
Long: “So they sprinkled moon dust in your hair of gold and starlight in your eyes of blue.” Bar 20-23

Such 2+2+4 sentence structure gives a stable and predictable rhythmic pace, allowing listener to tap their feet easily along with the music.

Chromatic lines
The composer uses chromaticism evidently in this music. Such feature creates the following elements:
1. Groovy harmony

This is attained by the play of the descending chromatic lines, which their harmonies are part of T (Tonic) expansion. For instance, at bs 2-3: G7(sus4)- G7- Gm7 , indicates descending C-B-(implied)Bb in the lower voice. This is a T expansion of III chord. Such expansion is also seen at b 20: C9(sus4)- C9- C7 leading a F-E-Eb in the lower voice.

Similarly, Bs 21-22: Ab(add2)- Abmaj7- Ab6 reveals a subtle descending line in the middle voice Bb- A- G. This descending line takes the role of a PD expansion, giving a ‘smooth’ landing to the ‘F’ of the dominant Bb chord, which is the D (dominant) in this phrase structure.

2. Smooth links between sentence structures

The composer utilizes chromatic auxiliary lines to link from the end of a phrase structure to a start of new phrase structure. This is seen at b 15-16, T expansion of Eb6- Ebmaj7-Eb6-Eb7. The Eb6- Eb7 creates a hidden melodic line of C-Db, moving on to ‘C’ at bar 17 of the Ab chord. Hence, the clever use of Eb7 chord stimulates the listener that the music has not stopped but ‘there is more to come’, creating a smooth transition from one phrase structure to another.

In all, the use of chromatic lines allows the melodic line to not sound mundanely bonded to a particular scale. Hence, it sets music moving, bringing listeners into the realm of magical love.

Chord progression
The song is basically made up of the following progression: I-IV-III-vi-IV-I for the ll: A:ll section. This progression is displays a different harmonic phrase structure as follows:

I - IV- III- vi - IV- I

T------------------- PD- T

In the usual tonal music, IV-I is usually a tonic (T) expansion of the harmonic phrase structure, where a perfect cadence (V-I) precedes before this cadence. However, in this song, the absence of such cadence causes IV-I to take up the function of PD-T.

The ll:B:ll section comprises of IV-iii-VI-IV-V. The alternation of major to minor chords influences the overall flow of the song. As major and minor chords bring in different colours to the music, it ensures that the music is least boring, that one would want to sing it over and over again.

I enjoy listening and singing to this song. It is amazing how the use of the abovementioned harmony can create the atmosphere associated with the lyrics of the song, even without the alteration of rhythm (Simple quaver beats are used throughout the whole song).

The 2nd video above is a more 'jazzed up' version of this song.

Feel free to comment, and enjoy this song!