[As a way of thanking Whosampled.com for being such a wonderful resource, and for our conveniences, I’m including both MP’s and DR’s tracks with this link.] Before moving on to リサフランク420 / 現代のコンピュー, I want to express that I am not opposed to the “pop formula” in any way. [Note: the definition given of liquiditation in this Wikipedia link is misleading (read: erroneous). It's usually said that a vii to I cadence isn't as "strong" or "final" sounding. リサフランク420 / 現代のコンピュー begins with the intro looped four times. The tonic is often referred to as “home”, while subdominant moves you to the next note, and dominant makes you want to return back home to resolve the sound. The formal structure exhibits formulaic balance and construction for a commercial radio single—three main sections (verse, “pre-chorus”, and chorus), one being a heavily emphasized refrain (that’s the chorus, of course), which appear in the following order: Like a good pop tune, It’s Your Move gives you lots of the chorus, especially at the end of the track, and keeps it all under four minutes. ( Log Out / This has nothing to do with music theory, but you probably should have mentioned how Nile Rodger’s excellent guitar line dominates the intro and chorus sections. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. I don’t mean to insinuate that my findings were Vektroid’s intentions, but it does showcase some of the inner workings of リサフランク420 / 現代のコンピュー. By repeating its phrase, It’s Your Move’s verse contains two utterances of the tonic chord, and its “musical release” first comes at the 0:17 mark—fairly early in the song. Tonic dominant relationship - when it's not I V #2519047 08/15/13 07:16 AM. In my own experiments (screwing around with screw music), I have realized that this type of music requires the composer to focus in on formal structure as its primary compositional element, which makes sense considering the fact that so many other compositional aspects have already been provided by the source sample. The intro’s appearance in the A’ section is, of course, different, due to its tempo and key shift, but also through the application of these above-mentioned effects, and the addition of (what I suspect is) a reversed copy of the section layered over it. Joined: Aug 2010. This all makes for a great intro because it introduces the tonality and creates the desire to hear more—specifically, to hear the tension created by the dominant harmony resolving into the comfort of the tonic triad, which appears exclusively in the verse. We say that the dominant's function is to resolve to the tonic. What all these variations in the A’ section achieve is the track’s pinnacle of chaos and tension, which is then relinquished with the B’ section. These cadences are the most common way to end a phrase or section. It’s even somewhat disingenuous to suggest that there is only one “pop formula,” and while It’s Your Move does employ the simplest and most commonly used formal structure in popular music, its treatment of key is rare. what statement refers that ? Perth, Scotland. Another procedure that can be applied is that of variation. Nice article. ( Log Out / So what we have is a track that modulates from D major to G major. Change ), You are commenting using your Twitter account. “Classical” music also had formulas, which served the purposes of its times. What can you do but perhaps listen to the entire song over again to hear that resolution in the verse? Dare I claim that リサフランク420 / 現代のコンピュー has a rondo, or even a sonata–rondo form? The song is unambiguously in the key of G major, although we don’t hear our tonic triad until the beginning of the verse. For a better understanding of Vaporwave, read this amazing article by Adam Harper of Dummy. Perth, Scotland. He waxes poetically about the tonic/dominant relationship he discusses at length in this lecture series as he starts to describe the use of the tritone. The first category is a root position IAC: similar to a PAC were both chords are in root position, but the highest voice of the tonic chord is not the tonic pitch. FurtherFURTHERmore, the track ends with a fade-out. Imagine the Ross single being released with such beat-skips and tone-warps; it would be a flawed product, an embarrassment to the label, and unsellable (“I can’t dance to this!”). The dominant chord doesn't have to be used this way, for example it can be followed by the sub-mediant (chord vi) to make an interrupted cadence. Although MACINTOSH PLUS has been around for well over a year, it’s hard to find a whole lot of information on it: it is nonexistent to Pandora and Pitchfork, and here’s what Wikipedia has to say about Macintosh Plus. … which basically ends up sounding like Chillwave with a “Tim and Eric” aesthetic (watch this clip! Platinum Member. An imperfect authentic cadence (IAC) is best divided into two separate categories. I can’t make that claim, but the result is a more comforting and more (though not completely) stable ending than It’s Your Move. The musical language of _____ is characterized by the fundamental harmonic relationship between tonic and dominant . It's obviously not the same but one could argue for it. stillplaying OP. Am9 – Bm7 – Am9 – Bm7 –Am9 – Bm7 – F#madd4 – (C) – D, [Two chords here (F#madd4 and B7) present a problem, as they are not found in the key of G major, but a lengthy explanation here would detract from my narrative, so let’s just say that the B7 acts as a secondary-dominant to the Em contained in the ensuing Am9 and the F#madd4 is a iii/V (three-of-five or secondary-mediant) chord and move on…]. Change ). However, the intro becomes the chorus, which appears at the very end of the song, providing no sense of finality with a final statement of the dominant-tonic resolution. ( Log Out / リサフランク420 / 現代のコンピュー, on the other hand, does—most notably in its loops of It’s Your Move’s intro section. Furthermore, the chorus is repeated so many times at the end that the tonic chord becomes only a distant, faded memory to the listener. Vektroid has proven, in this song and others, that he or she or she or he is fully capable of tight editing. If the bass note is chromatically altered, use a + or – to denote raised or lowered (la and ti in minor do not count, since le, la, te, and ti all belong to minor, but you can use +/– for clarity if you like). It may appear as though Vektroid purposefully created this dominant-tonic relationship. or why not this one?). Change ), You are commenting using your Google account. These names are derived from a scheme where the tonic note is the 'centre'. I may be a little late to the game, but I have recently discovered, and grew an appreciation for, the music of MACINTOSH PLUS—a brand name that requires ALL-CAPS from the Portland producer known as Vektroid. Using the same labels we gave It’s Your Move, we can show how Vektroid chops up the track in リサフランク420 / 現代のコンピュー: A few problems arise here, all of which are my fault: I used slightly different methods of presentation in my illustrations of the sections of the two songs, and the terms used to describe the sections of Ross’s single don’t translate as well to Vektroid’s reassemblage. To do this in the ‘80s, you’d either have to wait an hour or two until MTV or the radio replays it, or go to the store and buy the cassette tape. In tonal music, it … More generally, the tonic is the pitch upon which all other pitches of a scale are hierarchically referenced. Dominant chords have a sense of wanting to resolve, preferably to tonic. I haven’t even (until right now) touched upon the fact that the simple process of slowing down this pop tune changes its mood entirely, and makes Diana Ross sound like a man. ( Log Out / リサフランク420 / 現代のコンピュー holds off on this release until its 3:52 mark—a little after its halfway point, and longer than the entire length of its source song—and even here, Vektroid only gives us one utterance of the tonic chord, AND it’s obscured by delay-effected toms. This cadence is utilized to achieve complete harmonic and melodic closure. Change ), You are commenting using your Google account. 4) The aspect of リサフランク420 / 現代のコンピュー that initially sold me is the vocal “hiccup” that occurs where the pick-up note to Diana’s verse melody gets chopped off as the opening intro statements loop. For the final sections labeled A’ and B’ (there’s a reason for those apostrophes…), the track gets slowed yet again, this time by two-thirds the previous tempo, or one-half the tempo of It’s Your Move, which stretches Ross’s tune down an octave and back to her key of G major. Perhaps listen to the entire song over again to hear that resolution in the verse I claim リサフランク420. 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