ROUNDUP #1 - Okonski, Miley Cyrus, Gipsy Kings, Winter (ft. Hatchie), Royel Otis, Gracie Abrams ============================================== 1. Okonski - October ============================================== [NOTE: This song is in the key of Eb major, but I'll treat it like it's in E major because it's easier for me to parse.] * In the chord progression, the E goes to what I think is Eaug. I wasn't sure if this was Euaug or Am at first, but there's definitely a dissonance that makes me think it's Eaug. - When the song really lifts off the ground, the progression goes: E, G#, C#m, C#m7, E7, A, G#m, F#m7 (not sure if F#m or F#m7, but I prefer the latter.) * The C#m7 here is voiced in a way that the root note goes lower (as opposed to on a guitar where it'd just be x46454.) * What I find *particularly* interesting is the use of E7 as a way to move from C#m7 down to A. Very tasteful choice. * I like the single, sparse piano notes, and their function as a transition. ---------------------------------------------- > QUESTIONS I HAVE: ---------------------------------------------- * What are those piano flutters called? * What are the drums doing in the beginning? * Is that a cello? ============================================== 2. Miley Cyrus - The Climb ============================================== - There are subtle strings underscoring the piano. * There's a real subtle kind of sound, like underneath when she sings, "There's a voice inside my head saying" * The piano chords are not each played at the same rhythm, there are times when the chord is allowed breathing time. * At 1:09, it's like the "test run" of the drums come in, but after the drum fill at 1:14, it's like the "real" drums finally kick in. - Harmonies start to come in around ~1:20. - There's a Pentatonic bass lick at 1:55. - Triplets at 2:47, but I don't currently know how to tab those on TuxGuitar. - I didn't realize how much the rock parts sound like Coldplay and Post-Britpop, but with twangy slide guitar. [I tabbed out the drum fill at ~1:12.] ============================================== 3. Gipsy Kings - Volare (Nel Blu di Pinto di Blu) ============================================== * A significant part of the song is centered around a ii V7 I progression. * At the start, the guitar plays what I can best describe right now as an arpeggiated 0241xx. - At 0:37 and 1:47, it sounds like both the guitar and the piano are playing the C#m7. It sounds like a x46457 voicing. - Wow, the reverb at 0:59! * At some point in the chord progression, it comes from the relative minor (C#m) to a minor IV (Am), and then to a G (!!!), and then to a V7 (B7). ============================================== 4. Winter (ft. Hatchie) - atonement ============================================== * She is seen holding the whammy bar while doing the first strums of the song, immediately setting the stage for a dreamy atmosphere. - The bass sounds like New Order, but has a more direct quality to it. * Right before the first chorus, there's a section where the low end shrinks and you hear the high-end of the drums and the bass. * The song is in the key of Cm, I think. There's an overt dissonant note at 2:46, after the Bb chord. The dissonant note is a B. Then comes the Eb chord. - After this, it sounds like there's an additional guitar track. What effect is that? - There's delay on the vocals towards the end of the song. - What is that effect on the drums towards the end of the song? ============================================== 5. Royel Otis - say something ============================================== - The song seems to be in the key of C Major. The chord progression is F, C, Am, Em. Despite being in the key of C Major, the first chord isn't C. - The vocal melody is quite melodically conservative. - The song itself sounds fine, but there are no distinct features of it aside from the guitar riff (the one opening the song.) - The drums briefly drop out around 0:57. [TROPE: Drums Drop Out] - Lyrics feel banal, but without a great melody to justify them. One example is ”not enough time, not enough time, never enough” * The bassline is mostly root notes, but instead of playing the lowest notes of how the chords would typically be played on guitar, each note is played on the A string. (For instance, instead of playing an open low E string, the 7th fret on the A string is played.) ============================================== 6. Gracie Abrams - I miss you, I’m sorry ============================================== - The warm pads seem to hold the top G and D notes, unchanging as the root note of G major switches to the root note of E minor, its relative minor. - Before the verse starts, there's like a weird synth thing that does this zig-zag panning thing. - There's a light kick that comes in at ~0:45. - Arrangement-wise, it sounds like there are muffled pizzicato strings. - ~0:52 There is the sound of a string instrument (violin?) muffled. This isn't the only time it shows up in the song. - ~1:19 is when the "cinematic" kicks come in. - "I'm sorry" being the acapella moment makes sense from a songwriting standpoint, but it's also a weak moment, for every reason. It just does not work for me and what sounds like bad audio editing on that part does not help matters. - Shortly after the cinematic kicks come in, it starts going into like, Jungle Mode (don't know how else to explain that.) - There's this cacophonous overlap towards the end. It does not work, it just sounds like a mess. - ~2:24 There's clear double-tracking here, seemingly with the vocals being panned to the left and the right. Finally, a mainstream song that double tracks the only way I know how! (I'm used to double-tracking I hear sounding different, which I don't currently know how to pull off.) - "Happy together" -> "sick to your stomach" creates an instant lyrical contrast. - Lyrics such as "I miss fightin' in your old apartment" and "Breakin' dishes when you're disappointed" give the song a slight specificity. - The melody is banal, but it employs dynamics (verses are low, chorus is high.) The production and arrangement is banal, but ultimately inoffensive. The lyrics are simple, but well-executed enough that it makes sense why this resonated with so many people.