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Posts: 123
Apr 26 09 3:26 AM
Glow Worm
Deadman's Hand
The song is in 4/4 standard time in the key of B minor.
The main riff is based off the minor Aeolian scale with a descending pattern going from:
1 ([tonic note] B) - 5 (F#) - flat 7 (A) - 4 (E) - flat 6 (G) - flat 3 (D) - 5 again (F#) - 2 (C#) - 4 (E) - root (B).
Then it reverses and ascends through the same pattern.
Straight after the intro the counterpoint melody occurs between two guitars: one playing a scalic style motif with slides while the other one plays an arpeggiated style motif. This concept continues throughout the verse and drops out to just the bass and arpeggio lines during the chorus. The main ostinato - played by the guitar and bass - almost swings with a triplet feel.
During the chorus section the bass switches to a straight 8 (semiquavers) feel to create more of a pulsing effect. The chorus, which is polyphonic in texture, particularly the third time it appears (2:31 - 2:51), is very dense (texturally) due to the superimposed instruments - namely, keyboards (with reverb); natural feedback harmonics from the guitar (heard in the distance); the thumping bass; driving drums, and the whispery style vocals with reverb - playing multiple melodies, therefore, creating a very full, ambient sound.
After that, all but the drums and guitar are silenced whilst the main ostinato is played again. This highly effective technique of easing the intensity in the music prepares the listener for the peak section of the track: the guitar solo section. Furthermore, it is in contrast to the texturally rich chorus beforehand, so it creates a feeling of suspense - the calm before the storm, leading into the climatic point, i.e., the GSS.
Pangaea
On Angel Street
The song begins with a peaceful pulse on the organ, followed by a looming, scratchy guitar, playing lines in the background. Vocals enter soon after, progressing slowly and building texturally. A keyboard slowly fades in followed by chords being strummed on a very bright and ambient sounding acoustic guitar, intensifying the atmosphere. Volume swells on the guitar deliver a haunting cry similar somewhat to a violin weeping. The music is shaded further by the low growl of the bass, consoling - with its smooth and soft melody lines - the crying guitar. Finally the song almost becomes tribal with the sounds of a bongo playing distantly in the background with the swirling swish of the cymbals in the foreground, and a glassy sounding guitar delivering waves of sound (4:41) accompanied by a murmuring, dancing bass line.
Lunar
An abstract on abstract music
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