Tue Nov 07, 2017 6:51 am
Thu Nov 23, 2017 3:30 am
Thu Nov 23, 2017 3:32 am
Geogandhi wrote:This is pretty cool, even though parts are slightly above my head.
Do you think BoC even work with any of this in mind or just make what sounds good to them?
I'd love/be really interested to see an analysation of some of my music as i'm in the latter camp where I just play what I think.
Thu Nov 23, 2017 4:04 am
Thu Nov 30, 2017 5:20 pm
15Dreams wrote:Absolutely no promises on any of these because loops are confusing and the song is way too complex to analyze perfectly but here's my best guess at
Jacquard Causeway List of Loops (tuning A445):
(H) indicates high-range
(M) indicates mid-range
(B) indicates bass-range
0:02 - B F# E A (lower F# held) (H)
0:08 - A G F# (H)
0:14 - B C# (H)
0:19 - D B (M)
0:28 - E F# (M)
0:36 - A B B(octave lower) (M)
0:40 - E D A B (H)
0:46 - B (with delay) (H)
0:50 - D C# (H)
0:55 - E B (H)
1:03 - A E A F# (H)
1:06 - B (B)
1:13 - B G (B)
1:39 - D F# B (M)
1:41 - A F# E (M)
1:43 - B E (H)
1:53 - G F# E G A (H)
1:59 - D-G (interval, perfect 4th) (M)
2:08 - F# (H)
2:10 - B G (B)
2:15 - B A (H)
2:31 - F#-B (interval, perfect 4th) (M)
2:43 - F# D C# (H)
2:50 - F# D (M)
2:56 - B G F# (H)
3:11 - A G(octave up) B(next to the A) (M)
3:18 - A D E (M)
3:27 - B B E (H)
3:37 - B C# (H)
3:46 - D C# (H)
3:46 - pads begin (Bm9, GM9) - note: at this point the mid-range ones become a lot harder to hear and I probably start missing most of them
4:01 - B E F# (M)
4:12 - B E C# (H)
4:24 - C# A G A (H)
4:26 - F# (H)
4:32 - E F# (H)
4:39 - B D E (M)
4:41 - B F# (H)
4:55 - B A G F# (H)
5:12 - D (H)
5:15 - some weird sonar-ping-esque B (M)
5:20 - B (M)
5:36 - B C# D(octave down) E(octdown) (H)
5:58 - E A D (H)
The 5:36 loop and the pads seem to be the only ones making it out alive after the final drum hit at 6:06.
Fri Dec 01, 2017 8:06 pm
15Dreams wrote:A few other quick mentions that I saw requested somewhere but can't find in this thread...
Tue Dec 05, 2017 9:55 pm
Fri Dec 08, 2017 12:06 pm
Sat Dec 09, 2017 1:38 am
jm031689 wrote:The Friendly Signal sounds incredible 15Dreams. I'm regularly amazed by some of the talented people around here.
Evenflow wrote:
@ 15Dreams I hope you can squeeze a few more in , it's two songs that I think are some of the most underrated and it happens to be the two that haunts me with their beutiful chord progressions and melody . Can you please do " 84 Pontiac Dream " and " Nothing is Real " ?
Thanks
chodytaint wrote:I was playing around with my guitar and came up with this arrangement for the guitar intro to Peacock Tail. Not sure how accurate it is, but I think it sounds pretty close... especially with some delay. Tuning is drop D, I have a capo on the first fret to make the second and third bars a little easier.
Sat Dec 09, 2017 2:09 am
Sat Dec 09, 2017 2:23 am
Mon Dec 11, 2017 11:16 pm
15Dreams wrote:'84 Pontiac Dream:
(tuned down to around A430 as per usual)
The first 5-chord sequence consists of Cminadd9 (just C minor but with a D on top), EbMaj7, Dm, Am, EbMaj7. Unfortunately I can't transcribe the sequence of notes at 0:24, but at 0:27 a synth plays a sequence of ascending perfect fifths: Eb Bb F C G over the EbMaj7 chord. This is another testament to BoC's use of quintal chords, chords built around 5ths.
There are a couple more bits and bobs until the first real "lead" synth comes in at 0:59, playing the following:
- Spoiler: show
(note that on the last two measures, a higher synth plays C A G over it)
The rest is just the same 5-chord sequence, with melodic variations on top. The guitar bit beginning at 3:03 is actually the same chord progression, though treated differently.
Once again the progression drifts between Cm/Eb Major and D minor in terms of key. I wrote the synth part in Cm/Eb since the melody seemed to follow that. The 5th chord, the EbMaj7, comes at an interesting position, after the Am, making it a tritone leap. Wild stuff, and certainly fits the bill for "the magic unexpected 5th chord" mentioned earlier.
Something else that seems notable here is the overall form of the piece, you've got 3 loops of the progression at the start, then 2 with the synth melody, then 1 less dense loop without as much melody, then 1 more like the beginning, then 2 more with melody, then 1 like the beginning. Then 2 that fade with the guitar bit to close us out. It has much more of an almost classical-like ABA pattern with a coda. This is pretty out of the norm for BoC as most of their pieces seem to rely on building up the same kind of section dynamically.
Tue Dec 12, 2017 5:51 pm
Evenflow wrote:15Dreams wrote:'84 Pontiac Dream:
(tuned down to around A430 as per usual)
The first 5-chord sequence consists of Cminadd9 (just C minor but with a D on top), EbMaj7, Dm, Am, EbMaj7. Unfortunately I can't transcribe the sequence of notes at 0:24, but at 0:27 a synth plays a sequence of ascending perfect fifths: Eb Bb F C G over the EbMaj7 chord. This is another testament to BoC's use of quintal chords, chords built around 5ths.
There are a couple more bits and bobs until the first real "lead" synth comes in at 0:59, playing the following:
- Spoiler: show
(note that on the last two measures, a higher synth plays C A G over it)
The rest is just the same 5-chord sequence, with melodic variations on top. The guitar bit beginning at 3:03 is actually the same chord progression, though treated differently.
Once again the progression drifts between Cm/Eb Major and D minor in terms of key. I wrote the synth part in Cm/Eb since the melody seemed to follow that. The 5th chord, the EbMaj7, comes at an interesting position, after the Am, making it a tritone leap. Wild stuff, and certainly fits the bill for "the magic unexpected 5th chord" mentioned earlier.
Something else that seems notable here is the overall form of the piece, you've got 3 loops of the progression at the start, then 2 with the synth melody, then 1 less dense loop without as much melody, then 1 more like the beginning, then 2 more with melody, then 1 like the beginning. Then 2 that fade with the guitar bit to close us out. It has much more of an almost classical-like ABA pattern with a coda. This is pretty out of the norm for BoC as most of their pieces seem to rely on building up the same kind of section dynamically.
Amazing , thank you !
Are any of these ambiguous ?
Thats something new I learned researching there music is the use of ambiguous chords (meaning not major or minor ) .
Even if they don't use them in the two songs I asked about can you talk about BOC use of ambiguous chord progressions . I think I read somewhere that they used them often or maybe it was Sus chords not sure if sus chords are considered ambiguous .
Would luv to hear your thoughts on this .
Thu Dec 21, 2017 3:00 am
Evenflow wrote:Are any of these ambiguous ?
Thats something new I learned researching there music is the use of ambiguous chords (meaning not major or minor ) .
Even if they don't use them in the two songs I asked about can you talk about BOC use of ambiguous chord progressions . I think I read somewhere that they used them often or maybe it was Sus chords not sure if sus chords are considered ambiguous .
Would luv to hear your thoughts on this .
ScienceGuy wrote:
I asked for an analysis of Skyliner a while back specifically because of the sheer number of suspended chords that track makes use of. Can't blame 15Dreams for taking a long time, it's one of the more difficult BoC tracks to make sense of (also I think he [she?] might have forgot, this is a reminder ).
Thu Dec 21, 2017 3:27 am
Thu Dec 21, 2017 3:48 am
Thu Dec 21, 2017 9:42 am
Thu Dec 21, 2017 10:00 pm
15Dreams wrote:Chords for Skyliner (tuned up around A452ish):
Best guess at a key is F Minor...sort of
- Spoiler: show
Phrasings are my best guess but the timing is a bit weird so I can't be sure. I think the add2 & add4 chords are obviously where ScienceGuy heard most of the suspended chord sounds but the F quintal chord has it in a more subtle way too.
The interesting thing about the word suspended in this context is that normally a suspension is a type of nonharmonic tone (meaning doesn't belong in the chords) that resolves immediately afterward - for example, a V with a 4-3 suspension resolving to the I. The idea of having an actual chord be suspended didn't really come about until around the 18th or 19th century when composers stopped resolving their suspensions and just left them in the chords. Boards are clearly doing that here as none of these chords, or their suspensions, really resolve properly.
I've never cared much for this song, probably due to the erratic and changing progressions that don't really go anywhere (IMO). But it was interesting to analyze.
Fri Dec 22, 2017 6:32 pm
Sun Dec 24, 2017 11:52 pm