CD Review : Cardington / Lifesigns [アルバム紹介]
1. N
A basically beginning fundamental metric structure of 7/16 rhythm on Bb sus4 chord is composed seven pulses as following [2+2+3]. This motif suggests like ‘Leitmotiv’, it will appear also in the development of other songs later. It’s just like 'implied structure', and it will proceed various developments. Major 3rd note of ‘d’ as lower neighbor note appears immediately after sound of perfect fourth on Bb sus4 chord, it’s certainly longing linear line. Somewhat this sound is like Bb add4-feel that you can not see the dazzling light directly covering eyes with hands.
What we can not see directly means that it is complicated. That’s not easy. John Young provides a variety of chord progression. Even if we have an easy approach which is composed like fifth / fourth progression in the moduration plan, he doesn’t use the way of familiar method like secondary dominant. It means, totally tonal plot has been created very skillfully, Whether it is a type of method in which the relevance of the key is enclosed in relatives, there is much elaboration in it. Of course, it’s obviously special technique that the ingenuity has also been elaborated in the scenes leaping to the diatant tonal relation. As it is harmonically accompanied by a very fertile sound and directing out extraordinary harmony, that’s superb. Besides, gimmick (tonal deception) is, too.
First apparent tonic on Bbsus4 is Bb, finalis (newer deceptive tonic also known as tonal center in modal music) changes to F, soon. We can listen to the moduration of dominant key though, the cause is almost secondary dominant intervened. In fact, however, we can understand that it is a method of without secondary dominant intervention. It is a way of completely different things.It is a way of completely different things.
Normally, we will accept and predict secodary dominant when musical elements and skills are cultivated. The permissiveness when moduration changing to dominant key is a remarkable example. Because, we will be able to hear a note which raises half step alteration as temporary leading-tone against dominant key moduration. when replacing IIm7 to II7, double-dominant (V of V) is including approval of strain as non-diatonic. This strain is certainly raising half-step alteration.
On the other hand, please remember, the moduration to the subdominant key is natural and acoustic relaxation. When hearing single note, hopefully, it is played lower range as usual. Because almost musical instruments are including rich upper overtones. One electric guitarist may play distorted feedback sound via amplifier. I guess that feedback tone will be 4th / 5th overtone, and it must be as tonic. Once we listen a lower range note as tonic carefully, we will notice distant overtones.
Existing of distant overtone means 7th overtone (septimal seventh). This 7th overtone is really outstanding, once we find it, tonica's position suddenly replaces dominant. It’s like a note of C as dominant key in F, and yet it was listened as tonic in C. Whatever region of subdominat key is natural order, way of listening, it involves a little bit training more than listening as a dominant key. Nonetheless, modufation key changing to dominant key without using secondary dominant is as diverse as moduration changing to subdominant key. When our musical elements and skills are cultivated, we can predict without waiting for the appearance of secondary dominant chord. In many scenes, we will be able to tolerate the development of sudden scene-changes.
In general, turning to a dominant can also look over the easiest direction for foreseeing. It’s necessary to give maximum evaluation to presenting the world view of diapente prgression by avoiding the use of secondary dominant. Although there are songs made with many rock music avoiding secondary dominant. It’s necessary to explicitly state that it is not a methodology that just turned away from the chord progression system. Oops, let's say back to the subject. Next, proceeding with a new diapente progression by changing C to finalis. The chord progression here,
Cm6->Ebm6->Gb△7(+11)
The pitch interval of these three kinds chord progression each is separated minor 3rd interval. So, each chord is separated equal minor 3rd interval, and each interval assembled diminished 5th interval. According to Nicholas Slonimsky, he named 'sesquitone prgression' minor 3rd interval progression. Although Paul Hindemith said, tritone is built by 3 whole tones, so tritone is NOT 5th interval (diminished 5th), it must be 4th ineterval (augmented 4th). Indeed, the words of Hindemith are "more accurate".
Although the instruments exemplified by Slonimsky's 'Thesaurus of Scales and Melodic Patterns' are written not to form diminished 5th from C (the beginning of writing), thus, in the score example, dimnished 5th is formed between Eb - A after all. Whatever one octave divides into four equal parts is impossible to divide by seven degrees. Depending on the situation, also we must be aware that there are two aspects that we can ignore in addition to having to comply with Hindemith's words.
One thing which Hindemith wanted to tell is existing two kinds tritones. One tritone is narrow type (7:5 = 582.5cents), another one is wider tritone (10:7 = 617.5 cents). Once one pianist deals with 12TET, both tritones are just enharmonic though, Hidemith had recommended 19TET afterwards, and he was concerned with such that thing before. In theory of harmony, diminished 5th wants proceeding narrow interval. Augmented 4th wants proceeding wider one. Actually, he was worried about handling the pitch wider than one sixth-tone and syntonic comma. However, it's hard to accept adoption of 19TET. I think that there's possibility if 12TET and 19TET coexists for further decoration of 12TET. Still more knowing about ‘sesquitone prgression' , we need to know carefully not to confuse sesqui-tone which also known as microtonal third tone system (18 tone-equal-temperament = 18TET). Just for case, sesqui-flat is also known as 'Tartini-flat'.
Aside from the theorical story, faster 16th sextuplets bass phrases on the coda of the song are so excited. What I talk about is the theorical of music, so it can be misinterpreted as if other instruments are placed outside of subject. I am very satisfied just like direct guitar sounds playing in front of my eyes, stressful sastainable lo-B string sound's bass, dry and 'matt' sounds of drums and Young's instruments through the album. Total image of mixing is very fat and brilliant. This album is mixing reference, too.My mixing reference albums are 'Blow By Blow / Jeff Beck' 'The Nightfly / Donald Fagen' 'Sweetest Illusion / Basia' 'Gran Via / Matt Bianco' 'Hríslan og straumurinn / Eik' 'I Am / Earth, Wind & Fire' 'People Moving / Azar Lawrence' 'Niteflyte / same' 'Winelight / Grover Washington, Jr.' 'Circus Money / Walter Becker' 'John Patitucci / same' 'Hatfield and The North / same' and so on, 'Cardington' has definitely joined.
2. Voices in My Head
Young uses the environmental sound of the DTMF Matrix signal in the background with single note of E as a drone sound. Originally, the environmental sound is unrelated to the instrumental music system, however, the appearance that the environmental sound of the SE (sound effects) at the beginning seems to assimilate as if it melts into the instrumental system of sounds reminds me of psychedelic feeling. DTMF Matrix morphs to musical temperament.The drone of E at the beginning is consequently living a E minor sound though, faster vibrato of bass as played minor-supertonic (F#) triggers the key modulation. This E minor supertonic [CD time 1:35~] is a bridge-note to sesquitone to the subsequent D minor’s subdominant (A). This technique is really heartless for the place which produces a smooth transition feeling without abrupt feeling.At the next scene [2:28~], proceeding to Fm9(11) chord, here you can also confirm this scene, it is sesquitone cadence. In the 2 voices-layered scat part of proceeding to minor submediant (bIV), beautiful sounds will immerse your heart in your indulgence. This rich harmony appears ‘bVII△/bVI△’ as polychord. Besides, the fact that one of the two is singing Bb note will form an important harmony in the next verse that appears after this.
Here [3:21~] a very special bitonal chord appears as ‘Bb△7aug/Em’. A reason to show Bb△7aug at upper voice is the preceding one voice part was sung Bb. The preceding reverberation creates complicated harmony as bitonal chord. It also appears as a suspention. This is NOT due to coincidence, this scene is his special tonal plot (including key moduration) has succeeded. Please remember, most impossible factors which has been improved in the development of harmony are reverberation of sound, musical suspention and the memory.
In addition, a chord of ‘Db△’ which appeared as the lower voice of polychord ‘Eb△/Db△’ at previous verse, it is also sesquitone cadense to ‘Em’ chord. This technique to make ‘Em11(six-voiced as E, G, B, D, F# and A)’ hear immediately after as a form with Bb omitted from previous bitonal chord has been successful. We will be able to make the preceding that previous bitonal chord feel like a vision of scintillating scotoma flashes. The actual scintillating scotoma involves a headache, but this is accompanied by highly pleasure. This expression is an really expression that compared to the fact that it embodies a glittering vision that you can never see usually. And an abstract word which is hard to describe is a word used for extremely rare expression. Besides, a note of G as minor 3rd which make minor sound shares and corresponds next chord's avairable note as major 9th on ‘Fm7(11)’.
Normally, it’s a distant context key moduration, however it's obviously scene that such voice reading is acting extremely effectively to deliver it naturally to our ears. Here, 2 chords cadence rotation repeat in F minor key as following ‘Im7 ->bVI69’, after that, it is reduced to D minor by motion-sixth (submediant key moduration). If we comprehensively and totally feel this song, we can confirm that many minor keys are progressing as pararrel motion. It’s easier said than done. It’s truly amazing that we are listening to the distant relationship of the context so naturally so far.
Normally, we can say that there's no almost opportunity to use the word 'sesquitone cadence'. On this occasion, the most important thing that I would like to explain loudly is the mediant / flat-submediant key moduration and (temporary) chord progression. In other words, these moduration and progression plans are called 2 whole-steps / 4 whole-steps with acsending and descending. One man who plays saxophone called these 'larger' whole-steps with other meaning, it would be beyond something. He named the song that are using 2 and 4 whole-steps chord progression 'Giant Steps'. As you already know, this saxophone player is John Coltrane. On the other hand, Slonimsky has categorized it as equivalent to augmented 5th interval progression (enharmonic accumulation) as 'Quadritone Progression'.
Once we go back to the old era, we can confirm a technique of mediant / flat-submediant key moduration in F. Chopin's 'Military Polonaises' Op. 40 No. 1 A major. You can see two chords from next example score. A chord of first two measures is 'A7' as dominant 7th chord in D, another one, a chord of 3rd measure changes to 'F7'.
The keys of mediant / submediant are little bit distant-feel comparing with dominant / subdominant key. On the other hand, let's consider a case of using a phrase which has 'specific intervals' and then it acts in non-diatonic counter notes forcery keeping fundamental key without key moduration as mental retention of the tonality. A special phrase which is built some nonchord tones with unavairable tones in tonality, the iteration of phrases that push forwaed is transformed to be recognized as a meaningful phrase. Of course, we shall allow it. Let's talk about there's a chord Gsus4 key in C major. When choose playing a note ascent 'sesquitone-step' from G, the next step is Bb in C major. Further conjunct or disjunct from there, it will appears a note nonchord tone as non-diatonic. Thus, these thrusts are ignoring the tonality and chord tone in the background, and the power of the linear line's pitch interval is added.
In this way, sometimes unexpected non-diatonic pitch interval step demonstrates the driving force as a meaningful phrase. So, I used an unfamiliar musical words. Even if sesquitone progression is not, it will be possible to form various trichords, eventually it will be possible to get chromaticism. In the musical sense, genrally because chromaticism to result transcends the diatonic structure, it shows symmetrical structure and some equal-pitch intervals which are not found in diatonic system. Even in that sense, the Supratonic scale is forming multi-octave beyond octave.
The late Allan Holdsworth also preferred using multi-octave scales, those in mind, it was a really fact of pursuing extreme chromaticism. In addition to leaping forward, Swedish Låtpipa scale is also including sesquitone. I just explained what the kind of meaningful traction in non-diatonic pitch leaping has. I hope you realized that important meaning.
3. Chasing Rainbows
This beginning D minor sound is feel like remaining fragrance of previous song's cadential chord though, it's a quite good example of succeeding in conquering tonal ambiguity (Ernö Lendvai's Axis system). Beginning D minor sound proceeds to Ab△7 as tritone progression, and minor key is having ambiguity with deeply emotion as non-diatonic. The 'Blue-fifth' is flatted fifth tone, and it also known as a part of blue-note. Of course, we are used to some extent to listening to a blue-note as bV imperceptibly, we can accept naturally such harmony before we know.
The sounds of beyond tonality what make us tell are having thrust of some pitch intervals as non-diatonic. If our ears only accept tonality, we may interested in only listening to diatonic harmony and the other stale progressions and some stale chords without any deception. Are we age under three? No kidding! We are not only listening to the songs which be aware tonality but also changing as chromatic transformation in melody when tonality is deceived. That prominent example is old 'musica-ficta'. It's variable alteration known as secondary dominant progression and so on. We feel even secondary dominant sound stale when our ears are get growth.
When the impression of listening to secondary dominant chord progression seems to be stale, surprisingly, it's not easy to guide and hear the emargence of motivic structure to decieve tonality. We can confirm many complicated situations like the appearance of powerful horizontal linear line, feeling of horizontal sounds in harmonic framework as neighbour motive, the chords relation of nonadjacent stepwise motion and so on. In this way, despite the fact that many factors are barriers, John Young will do it even with this song. It could be beyond even intuite.
Of course, it's important that the order of the CD tracks contributing as a fragrance remnant by deeply precise plan. Thus, many figurations are confirmed of John Young's composing technique. Even people who don't know his work in the previous work (ex-album) can examine his charactaristics, I think that they can feel naturally (hard to explain at first), even if they encounter his strange and rarely technique. It means also expansion of initial tonic. In addition, I'm suprised again by the expansion of prescise songs. Remember, a trick of magic is a simply thing.
Originally it seems that the emergence of a non-diatonic strange appearance tritone seems smooth should be magic. It's not a slinky thing listening to tritone and chromaticism. All I exactly want to say is listening to the sensitivity of John Young important. A cadence to Ab△7 is for resolution of relative key as F minor (Fm), I'm surprised that it's a smooth appearance once again.
The primary verse of B-type changes to key in C minor as dominant key moduration of F minor. There's no foreseeing feeling in this moduration and transposition. When the next verse's key moduration changes to D minor, we can see this motive as leitmotiv of beginning 'Dm -> Ab△7'. Listners are breathless enough to wake up, if you notice a trick. The organ riffs and the guitar's obligato are deployment changes intensely, and yet this song length is shorter one than others. Awakening the listener and not allowing relaxation are really my addiction.
4. Different
The main theme's tonic minor chord is obviously appearance of F minor, a note of Ab as minor 3rd for 'Fm' is just accented passing tone on the main melody line. We can listen to characteristic ensembles. For example, piano plays [1:03~ CD time] just open fifth (without 3rd note), and it is layered further upper fifth tone as G on that open fifth (F-C-G). It's a fifth-chord as inversion of fourth-chord. Here, the synth-pad sound is in charge of the added note of G.
This principal melodies show further figuration by singing special motive of a neighbour tone 'B' as #4th. This special note appearance is also a fragment motive like F Hungarian minor scale. It's also slightly change of musical avairable mode scale. Harmonic feeling is light and simple (open fifth), however melody lines are claudcation as non-diatonic like bringing up heavy anker.
Hungarian minor scale haunts a deep emotion. Such both modifications are really admired. A simple harmonic leads just exposition as metaphor, however principal melody changes to clear. Harmony wants the line, also the line wants harmony. We can also get both musical liberations of hersitations. In the middle phase of this song, key changes to C minor for moduration.
Appearance of dominant 7th chord as 'G7' is added natural 11th of passing note, it's exactly neutralization of the fundamental function as dominant. Nontheless, the appearance of such a dominant seventh chord is unusual, so even if you listen to this dominant seventh chord, you may feel even a pursuit.
In the next phase, a deceptive cadence appears as [ V -> VI ]. It deceives tonality as dominant seventh chord appears. If we follow the popular music scene, this deceptive cadence ought to indicate [V7-> bVI△7] using altered degree. However, this chord of 'bVI△7' changed completely to 'IV△7' as subdominant chord in relative major key. And then a chord proceeds to [IV△/V] as a slash chord immediately, tonic major chord (I) 'Eb△7' which in relative major key is important fork.
A glance of that tonic chord which we heard next one is also most important. We shall find extremely special rare chord like 'C7add4 (on D)'. It's just a temporary advantage chord suffix. Sounding added perfect 4th note (F) to 'C7sus4' is a conviction for everyone. The minor submediant tone (bIV) provides natural-minor sound [7:00~ CD time] flavour, and it subdues tonal deceive. We can recognize the goodness of Young's balance feeling in composing like this once again.
5. Impossible
Young shows a rhythmical gimmick technique at begining of the song as break-beats of drums. This break-beats riffs are made as structure of 16th beats, however 16th puleses get entangled in 8th triplets puleses of the acoustic guitar phrases. These polymetric structures provide us confusing and illusion. Any slightly hesitation of our music mind are neccessary impressions for higher phases in music.
A peculiarity slower tempo's 8-beat of main theme will bring us lyrical atomosphere, and it also makes us immerse in a deep emotion. Besides, the chord cadences as following 'Abadd9 -> Eb -> Gb -> Fm' highly exquisite cadences. Especially, the melodies on that 'Eb' chord is indesciribably splendid sound. In a verse of after middle phase, similar motive is slightly changing as following 'Abadd9 -> Eb -> Gb -> Db'. The point that we must grumble is the appearance of fourth chord in those cadences (Db) as tonicized. This tonicized chord is further emphasizing the differences. If this song could only follow in FM broadcasting, it would sounded like a single-cutting of hit tune. and it's pretty good. The quite groovy 16th-beats as half-swing shuffled drums and sextuplets phrases guitar solo are perfection. This guitar will make you cry.
The cadential chord of this song's end is a deceptive cadence as 'bVII△/bVI△'. In normally case, sometimes we will able to see an example of using deceptive cadencial chord as 'bVII△/bVI△' in minor key tonality. It seems like a woman with a crying face turned away without looking straight at troubled man. In other actual scenes other than music, women will predict more than men. However, there is no difference in recognition due to gender difference amongst musical scene of deceptive cadence. I am really surprised by the depth of sensivity of John Young who casually appears such technique.
6. Touch
Please remember 'natural minor feel' as minor submediant chord (bIV). At you all have noticed, from the 4th CD track ('Different'), it's noticeably providing minor submediant chord. We can also feel the consideration which made the outlook vivid by natural-minor's harmony with chromaticism. The leap intervals which made from two structures as mono-portament of synth-lead and lead-guitar are 'dry' sound (thin reverbration etc), we can also confirm it like the 'fact' for awakening from a dream. Both nearer sound images make you reality feels. This song may be a pivot or watershed among reality and dream.
7. Cardington
Beginning main keyborad riffs in 7/8 complex meter of 4 measures are extremely emotional harmony with modal interchange cadences. The modal interchange cadence provides us ambiguity-feel as parallel scenes of major and minor. Some people may feel this complex meter as 7/8 like 7/16. Because this song begins in halves tempo. As the song proresses, you will explicitly recognize the structure of this song once again. Also other instrument's riffs made minuteness in 7/8, it will provide you quite stiff structures, not to make allowance for easy interpretation.
A great encounter is waiting for everyone at 2:08 CD time. At first, this special conventional notation of chord suffix is 'C△7add4 (#9)/F'. It obviously shows augmented 9th and natural 11th on 'normal C△7'. You may know what Marcel Bitsch recommended a special chord is (see 'Professeur au Conservatoire National Supérieur de Musique'. This is a minor-submediant chord added major 7th and augmented 9th (!). It means, this chord appears on bIV degree. For example, it's like 'F△7 (#9)' key in A minor. It is semi-tone raised alterlation as leading-tone from minor subtonic (subtonic is separated major 2nd interval lower than tonic), however this leading-tone is not for dominant chord. As another interpretation to confirm this special one, it's just like 'C' and 'Cm' coexisting, also added a natural 4th note on upper and lower voices. Young adhere to ambiguity so far is like something like showing the back side of the moon. Most of all, the sound immediately after this is so wonderful illusion.
It finally appeared, we can say this situation as the advent of Pelléas. The Pelléas chord has built as bitonal chords which built like 'VII△/I△' Olivier Messiaen named this harmony as 'Pelléas' respecting Debussy's Pelléas et Mélisande. It's amazing to make full use of this harmony. On the other hand, people who just use mediocritic comoposing technique are bored. It's just using only prepared tonality and abiding to use keeping diatonic. Compared such a worth example, you can also see how wonderful the using Pelléas harmony is. To be sure, sometimes we can hear bitonal harmony in the prog rock scene. Dave Lloyd Stewart (Egg, Khan, Hatfield and The North), Eddie Jobson (U.K.), Allan Holdsworth (using multi-octave, the notion of bitonal), Fred Frith (Henry Cow, Art Bears), Dirk Mont Campbell (Egg, National Health), Kerry Minnear (Gentle Giant), Robert John Godfrey (The Enid) and so on. So, I would like to tell many people his greatness works. A majestic sounding just after a strange sound is really preference. The appearance of 'C△/Db△', you will remember it eternally. I feel that singing in such a beautiful harmony is a pleasant experience. I was very satisfied. Thank you, John.
By the way, a structure as a leitmotiv of 7/8 appears again in after middle phase. It will haunt you to follow up. Besides, slash chords cadences are very specacullar as following;
The remarkable from these cadences are lower chord cadences are contrary motion toward ascent motion of upper chords. Even so, it sounded superb [8:05 CD time].
A resolution of 'Cadd9'as tonicization chord is also brilliant from the stunning slash chords bridge. These elabolating motions show us musical coherence for relief. Also next scene shows minor subdominant-feel in even major key's tonicization. This song has an ambiguous looking until the end. There are also many learning points about harmony works and music theorical aspects. Also this song is exquisite to maintain deployment power without being hidden by theory.
Please remember, sesquitones equal accumulation are made tritone. Strangely, on 27th November 2017 is Charles Kœchlin's birth sesquicentenial memorial. His 'The Seven Stars' Symphony (Op. 132) is for seven Hollywood star's name titled. the 1st movement is titled 'Douglas Fairbanks'. At 0:30~ on YouTube (https://youtu.be/YW-1uigZ-14), you can hear four major triads at the same time as 'Eb△/Ab△/A△/D△'. They make us naturaly listen to sounds like complicated bitonal harmony, it's really terrible. They are composing so amazing things so much.
'Cardington', is really learnable, and also our ears are cultivated. I am strongly recommended this. Thank you for reading. Beyond tonality.
A basically beginning fundamental metric structure of 7/16 rhythm on Bb sus4 chord is composed seven pulses as following [2+2+3]. This motif suggests like ‘Leitmotiv’, it will appear also in the development of other songs later. It’s just like 'implied structure', and it will proceed various developments. Major 3rd note of ‘d’ as lower neighbor note appears immediately after sound of perfect fourth on Bb sus4 chord, it’s certainly longing linear line. Somewhat this sound is like Bb add4-feel that you can not see the dazzling light directly covering eyes with hands.
First apparent tonic on Bbsus4 is Bb, finalis (newer deceptive tonic also known as tonal center in modal music) changes to F, soon. We can listen to the moduration of dominant key though, the cause is almost secondary dominant intervened. In fact, however, we can understand that it is a method of without secondary dominant intervention. It is a way of completely different things.It is a way of completely different things.
Normally, we will accept and predict secodary dominant when musical elements and skills are cultivated. The permissiveness when moduration changing to dominant key is a remarkable example. Because, we will be able to hear a note which raises half step alteration as temporary leading-tone against dominant key moduration. when replacing IIm7 to II7, double-dominant (V of V) is including approval of strain as non-diatonic. This strain is certainly raising half-step alteration.
On the other hand, please remember, the moduration to the subdominant key is natural and acoustic relaxation. When hearing single note, hopefully, it is played lower range as usual. Because almost musical instruments are including rich upper overtones. One electric guitarist may play distorted feedback sound via amplifier. I guess that feedback tone will be 4th / 5th overtone, and it must be as tonic. Once we listen a lower range note as tonic carefully, we will notice distant overtones.
Existing of distant overtone means 7th overtone (septimal seventh). This 7th overtone is really outstanding, once we find it, tonica's position suddenly replaces dominant. It’s like a note of C as dominant key in F, and yet it was listened as tonic in C. Whatever region of subdominat key is natural order, way of listening, it involves a little bit training more than listening as a dominant key. Nonetheless, modufation key changing to dominant key without using secondary dominant is as diverse as moduration changing to subdominant key. When our musical elements and skills are cultivated, we can predict without waiting for the appearance of secondary dominant chord. In many scenes, we will be able to tolerate the development of sudden scene-changes.
In general, turning to a dominant can also look over the easiest direction for foreseeing. It’s necessary to give maximum evaluation to presenting the world view of diapente prgression by avoiding the use of secondary dominant. Although there are songs made with many rock music avoiding secondary dominant. It’s necessary to explicitly state that it is not a methodology that just turned away from the chord progression system. Oops, let's say back to the subject. Next, proceeding with a new diapente progression by changing C to finalis. The chord progression here,
Cm6->Ebm6->Gb△7(+11)
The pitch interval of these three kinds chord progression each is separated minor 3rd interval. So, each chord is separated equal minor 3rd interval, and each interval assembled diminished 5th interval. According to Nicholas Slonimsky, he named 'sesquitone prgression' minor 3rd interval progression. Although Paul Hindemith said, tritone is built by 3 whole tones, so tritone is NOT 5th interval (diminished 5th), it must be 4th ineterval (augmented 4th). Indeed, the words of Hindemith are "more accurate".
Although the instruments exemplified by Slonimsky's 'Thesaurus of Scales and Melodic Patterns' are written not to form diminished 5th from C (the beginning of writing), thus, in the score example, dimnished 5th is formed between Eb - A after all. Whatever one octave divides into four equal parts is impossible to divide by seven degrees. Depending on the situation, also we must be aware that there are two aspects that we can ignore in addition to having to comply with Hindemith's words.
One thing which Hindemith wanted to tell is existing two kinds tritones. One tritone is narrow type (7:5 = 582.5cents), another one is wider tritone (10:7 = 617.5 cents). Once one pianist deals with 12TET, both tritones are just enharmonic though, Hidemith had recommended 19TET afterwards, and he was concerned with such that thing before. In theory of harmony, diminished 5th wants proceeding narrow interval. Augmented 4th wants proceeding wider one. Actually, he was worried about handling the pitch wider than one sixth-tone and syntonic comma. However, it's hard to accept adoption of 19TET. I think that there's possibility if 12TET and 19TET coexists for further decoration of 12TET. Still more knowing about ‘sesquitone prgression' , we need to know carefully not to confuse sesqui-tone which also known as microtonal third tone system (18 tone-equal-temperament = 18TET). Just for case, sesqui-flat is also known as 'Tartini-flat'.
Aside from the theorical story, faster 16th sextuplets bass phrases on the coda of the song are so excited. What I talk about is the theorical of music, so it can be misinterpreted as if other instruments are placed outside of subject. I am very satisfied just like direct guitar sounds playing in front of my eyes, stressful sastainable lo-B string sound's bass, dry and 'matt' sounds of drums and Young's instruments through the album. Total image of mixing is very fat and brilliant. This album is mixing reference, too.My mixing reference albums are 'Blow By Blow / Jeff Beck' 'The Nightfly / Donald Fagen' 'Sweetest Illusion / Basia' 'Gran Via / Matt Bianco' 'Hríslan og straumurinn / Eik' 'I Am / Earth, Wind & Fire' 'People Moving / Azar Lawrence' 'Niteflyte / same' 'Winelight / Grover Washington, Jr.' 'Circus Money / Walter Becker' 'John Patitucci / same' 'Hatfield and The North / same' and so on, 'Cardington' has definitely joined.
2. Voices in My Head
Young uses the environmental sound of the DTMF Matrix signal in the background with single note of E as a drone sound. Originally, the environmental sound is unrelated to the instrumental music system, however, the appearance that the environmental sound of the SE (sound effects) at the beginning seems to assimilate as if it melts into the instrumental system of sounds reminds me of psychedelic feeling. DTMF Matrix morphs to musical temperament.The drone of E at the beginning is consequently living a E minor sound though, faster vibrato of bass as played minor-supertonic (F#) triggers the key modulation. This E minor supertonic [CD time 1:35~] is a bridge-note to sesquitone to the subsequent D minor’s subdominant (A). This technique is really heartless for the place which produces a smooth transition feeling without abrupt feeling.At the next scene [2:28~], proceeding to Fm9(11) chord, here you can also confirm this scene, it is sesquitone cadence. In the 2 voices-layered scat part of proceeding to minor submediant (bIV), beautiful sounds will immerse your heart in your indulgence. This rich harmony appears ‘bVII△/bVI△’ as polychord. Besides, the fact that one of the two is singing Bb note will form an important harmony in the next verse that appears after this.
Here [3:21~] a very special bitonal chord appears as ‘Bb△7aug/Em’. A reason to show Bb△7aug at upper voice is the preceding one voice part was sung Bb. The preceding reverberation creates complicated harmony as bitonal chord. It also appears as a suspention. This is NOT due to coincidence, this scene is his special tonal plot (including key moduration) has succeeded. Please remember, most impossible factors which has been improved in the development of harmony are reverberation of sound, musical suspention and the memory.
In addition, a chord of ‘Db△’ which appeared as the lower voice of polychord ‘Eb△/Db△’ at previous verse, it is also sesquitone cadense to ‘Em’ chord. This technique to make ‘Em11(six-voiced as E, G, B, D, F# and A)’ hear immediately after as a form with Bb omitted from previous bitonal chord has been successful. We will be able to make the preceding that previous bitonal chord feel like a vision of scintillating scotoma flashes. The actual scintillating scotoma involves a headache, but this is accompanied by highly pleasure. This expression is an really expression that compared to the fact that it embodies a glittering vision that you can never see usually. And an abstract word which is hard to describe is a word used for extremely rare expression. Besides, a note of G as minor 3rd which make minor sound shares and corresponds next chord's avairable note as major 9th on ‘Fm7(11)’.
Normally, it’s a distant context key moduration, however it's obviously scene that such voice reading is acting extremely effectively to deliver it naturally to our ears. Here, 2 chords cadence rotation repeat in F minor key as following ‘Im7 ->bVI69’, after that, it is reduced to D minor by motion-sixth (submediant key moduration). If we comprehensively and totally feel this song, we can confirm that many minor keys are progressing as pararrel motion. It’s easier said than done. It’s truly amazing that we are listening to the distant relationship of the context so naturally so far.
Normally, we can say that there's no almost opportunity to use the word 'sesquitone cadence'. On this occasion, the most important thing that I would like to explain loudly is the mediant / flat-submediant key moduration and (temporary) chord progression. In other words, these moduration and progression plans are called 2 whole-steps / 4 whole-steps with acsending and descending. One man who plays saxophone called these 'larger' whole-steps with other meaning, it would be beyond something. He named the song that are using 2 and 4 whole-steps chord progression 'Giant Steps'. As you already know, this saxophone player is John Coltrane. On the other hand, Slonimsky has categorized it as equivalent to augmented 5th interval progression (enharmonic accumulation) as 'Quadritone Progression'.
Once we go back to the old era, we can confirm a technique of mediant / flat-submediant key moduration in F. Chopin's 'Military Polonaises' Op. 40 No. 1 A major. You can see two chords from next example score. A chord of first two measures is 'A7' as dominant 7th chord in D, another one, a chord of 3rd measure changes to 'F7'.
The keys of mediant / submediant are little bit distant-feel comparing with dominant / subdominant key. On the other hand, let's consider a case of using a phrase which has 'specific intervals' and then it acts in non-diatonic counter notes forcery keeping fundamental key without key moduration as mental retention of the tonality. A special phrase which is built some nonchord tones with unavairable tones in tonality, the iteration of phrases that push forwaed is transformed to be recognized as a meaningful phrase. Of course, we shall allow it. Let's talk about there's a chord Gsus4 key in C major. When choose playing a note ascent 'sesquitone-step' from G, the next step is Bb in C major. Further conjunct or disjunct from there, it will appears a note nonchord tone as non-diatonic. Thus, these thrusts are ignoring the tonality and chord tone in the background, and the power of the linear line's pitch interval is added.
In this way, sometimes unexpected non-diatonic pitch interval step demonstrates the driving force as a meaningful phrase. So, I used an unfamiliar musical words. Even if sesquitone progression is not, it will be possible to form various trichords, eventually it will be possible to get chromaticism. In the musical sense, genrally because chromaticism to result transcends the diatonic structure, it shows symmetrical structure and some equal-pitch intervals which are not found in diatonic system. Even in that sense, the Supratonic scale is forming multi-octave beyond octave.
The late Allan Holdsworth also preferred using multi-octave scales, those in mind, it was a really fact of pursuing extreme chromaticism. In addition to leaping forward, Swedish Låtpipa scale is also including sesquitone. I just explained what the kind of meaningful traction in non-diatonic pitch leaping has. I hope you realized that important meaning.
3. Chasing Rainbows
This beginning D minor sound is feel like remaining fragrance of previous song's cadential chord though, it's a quite good example of succeeding in conquering tonal ambiguity (Ernö Lendvai's Axis system). Beginning D minor sound proceeds to Ab△7 as tritone progression, and minor key is having ambiguity with deeply emotion as non-diatonic. The 'Blue-fifth' is flatted fifth tone, and it also known as a part of blue-note. Of course, we are used to some extent to listening to a blue-note as bV imperceptibly, we can accept naturally such harmony before we know.
The sounds of beyond tonality what make us tell are having thrust of some pitch intervals as non-diatonic. If our ears only accept tonality, we may interested in only listening to diatonic harmony and the other stale progressions and some stale chords without any deception. Are we age under three? No kidding! We are not only listening to the songs which be aware tonality but also changing as chromatic transformation in melody when tonality is deceived. That prominent example is old 'musica-ficta'. It's variable alteration known as secondary dominant progression and so on. We feel even secondary dominant sound stale when our ears are get growth.
When the impression of listening to secondary dominant chord progression seems to be stale, surprisingly, it's not easy to guide and hear the emargence of motivic structure to decieve tonality. We can confirm many complicated situations like the appearance of powerful horizontal linear line, feeling of horizontal sounds in harmonic framework as neighbour motive, the chords relation of nonadjacent stepwise motion and so on. In this way, despite the fact that many factors are barriers, John Young will do it even with this song. It could be beyond even intuite.
Of course, it's important that the order of the CD tracks contributing as a fragrance remnant by deeply precise plan. Thus, many figurations are confirmed of John Young's composing technique. Even people who don't know his work in the previous work (ex-album) can examine his charactaristics, I think that they can feel naturally (hard to explain at first), even if they encounter his strange and rarely technique. It means also expansion of initial tonic. In addition, I'm suprised again by the expansion of prescise songs. Remember, a trick of magic is a simply thing.
Originally it seems that the emergence of a non-diatonic strange appearance tritone seems smooth should be magic. It's not a slinky thing listening to tritone and chromaticism. All I exactly want to say is listening to the sensitivity of John Young important. A cadence to Ab△7 is for resolution of relative key as F minor (Fm), I'm surprised that it's a smooth appearance once again.
The primary verse of B-type changes to key in C minor as dominant key moduration of F minor. There's no foreseeing feeling in this moduration and transposition. When the next verse's key moduration changes to D minor, we can see this motive as leitmotiv of beginning 'Dm -> Ab△7'. Listners are breathless enough to wake up, if you notice a trick. The organ riffs and the guitar's obligato are deployment changes intensely, and yet this song length is shorter one than others. Awakening the listener and not allowing relaxation are really my addiction.
4. Different
The main theme's tonic minor chord is obviously appearance of F minor, a note of Ab as minor 3rd for 'Fm' is just accented passing tone on the main melody line. We can listen to characteristic ensembles. For example, piano plays [1:03~ CD time] just open fifth (without 3rd note), and it is layered further upper fifth tone as G on that open fifth (F-C-G). It's a fifth-chord as inversion of fourth-chord. Here, the synth-pad sound is in charge of the added note of G.
This principal melodies show further figuration by singing special motive of a neighbour tone 'B' as #4th. This special note appearance is also a fragment motive like F Hungarian minor scale. It's also slightly change of musical avairable mode scale. Harmonic feeling is light and simple (open fifth), however melody lines are claudcation as non-diatonic like bringing up heavy anker.
Hungarian minor scale haunts a deep emotion. Such both modifications are really admired. A simple harmonic leads just exposition as metaphor, however principal melody changes to clear. Harmony wants the line, also the line wants harmony. We can also get both musical liberations of hersitations. In the middle phase of this song, key changes to C minor for moduration.
Appearance of dominant 7th chord as 'G7' is added natural 11th of passing note, it's exactly neutralization of the fundamental function as dominant. Nontheless, the appearance of such a dominant seventh chord is unusual, so even if you listen to this dominant seventh chord, you may feel even a pursuit.
In the next phase, a deceptive cadence appears as [ V -> VI ]. It deceives tonality as dominant seventh chord appears. If we follow the popular music scene, this deceptive cadence ought to indicate [V7-> bVI△7] using altered degree. However, this chord of 'bVI△7' changed completely to 'IV△7' as subdominant chord in relative major key. And then a chord proceeds to [IV△/V] as a slash chord immediately, tonic major chord (I) 'Eb△7' which in relative major key is important fork.
A glance of that tonic chord which we heard next one is also most important. We shall find extremely special rare chord like 'C7add4 (on D)'. It's just a temporary advantage chord suffix. Sounding added perfect 4th note (F) to 'C7sus4' is a conviction for everyone. The minor submediant tone (bIV) provides natural-minor sound [7:00~ CD time] flavour, and it subdues tonal deceive. We can recognize the goodness of Young's balance feeling in composing like this once again.
5. Impossible
Young shows a rhythmical gimmick technique at begining of the song as break-beats of drums. This break-beats riffs are made as structure of 16th beats, however 16th puleses get entangled in 8th triplets puleses of the acoustic guitar phrases. These polymetric structures provide us confusing and illusion. Any slightly hesitation of our music mind are neccessary impressions for higher phases in music.
A peculiarity slower tempo's 8-beat of main theme will bring us lyrical atomosphere, and it also makes us immerse in a deep emotion. Besides, the chord cadences as following 'Abadd9 -> Eb -> Gb -> Fm' highly exquisite cadences. Especially, the melodies on that 'Eb' chord is indesciribably splendid sound. In a verse of after middle phase, similar motive is slightly changing as following 'Abadd9 -> Eb -> Gb -> Db'. The point that we must grumble is the appearance of fourth chord in those cadences (Db) as tonicized. This tonicized chord is further emphasizing the differences. If this song could only follow in FM broadcasting, it would sounded like a single-cutting of hit tune. and it's pretty good. The quite groovy 16th-beats as half-swing shuffled drums and sextuplets phrases guitar solo are perfection. This guitar will make you cry.
The cadential chord of this song's end is a deceptive cadence as 'bVII△/bVI△'. In normally case, sometimes we will able to see an example of using deceptive cadencial chord as 'bVII△/bVI△' in minor key tonality. It seems like a woman with a crying face turned away without looking straight at troubled man. In other actual scenes other than music, women will predict more than men. However, there is no difference in recognition due to gender difference amongst musical scene of deceptive cadence. I am really surprised by the depth of sensivity of John Young who casually appears such technique.
6. Touch
Please remember 'natural minor feel' as minor submediant chord (bIV). At you all have noticed, from the 4th CD track ('Different'), it's noticeably providing minor submediant chord. We can also feel the consideration which made the outlook vivid by natural-minor's harmony with chromaticism. The leap intervals which made from two structures as mono-portament of synth-lead and lead-guitar are 'dry' sound (thin reverbration etc), we can also confirm it like the 'fact' for awakening from a dream. Both nearer sound images make you reality feels. This song may be a pivot or watershed among reality and dream.
7. Cardington
Beginning main keyborad riffs in 7/8 complex meter of 4 measures are extremely emotional harmony with modal interchange cadences. The modal interchange cadence provides us ambiguity-feel as parallel scenes of major and minor. Some people may feel this complex meter as 7/8 like 7/16. Because this song begins in halves tempo. As the song proresses, you will explicitly recognize the structure of this song once again. Also other instrument's riffs made minuteness in 7/8, it will provide you quite stiff structures, not to make allowance for easy interpretation.
A great encounter is waiting for everyone at 2:08 CD time. At first, this special conventional notation of chord suffix is 'C△7add4 (#9)/F'. It obviously shows augmented 9th and natural 11th on 'normal C△7'. You may know what Marcel Bitsch recommended a special chord is (see 'Professeur au Conservatoire National Supérieur de Musique'. This is a minor-submediant chord added major 7th and augmented 9th (!). It means, this chord appears on bIV degree. For example, it's like 'F△7 (#9)' key in A minor. It is semi-tone raised alterlation as leading-tone from minor subtonic (subtonic is separated major 2nd interval lower than tonic), however this leading-tone is not for dominant chord. As another interpretation to confirm this special one, it's just like 'C' and 'Cm' coexisting, also added a natural 4th note on upper and lower voices. Young adhere to ambiguity so far is like something like showing the back side of the moon. Most of all, the sound immediately after this is so wonderful illusion.
It finally appeared, we can say this situation as the advent of Pelléas. The Pelléas chord has built as bitonal chords which built like 'VII△/I△' Olivier Messiaen named this harmony as 'Pelléas' respecting Debussy's Pelléas et Mélisande. It's amazing to make full use of this harmony. On the other hand, people who just use mediocritic comoposing technique are bored. It's just using only prepared tonality and abiding to use keeping diatonic. Compared such a worth example, you can also see how wonderful the using Pelléas harmony is. To be sure, sometimes we can hear bitonal harmony in the prog rock scene. Dave Lloyd Stewart (Egg, Khan, Hatfield and The North), Eddie Jobson (U.K.), Allan Holdsworth (using multi-octave, the notion of bitonal), Fred Frith (Henry Cow, Art Bears), Dirk Mont Campbell (Egg, National Health), Kerry Minnear (Gentle Giant), Robert John Godfrey (The Enid) and so on. So, I would like to tell many people his greatness works. A majestic sounding just after a strange sound is really preference. The appearance of 'C△/Db△', you will remember it eternally. I feel that singing in such a beautiful harmony is a pleasant experience. I was very satisfied. Thank you, John.
By the way, a structure as a leitmotiv of 7/8 appears again in after middle phase. It will haunt you to follow up. Besides, slash chords cadences are very specacullar as following;
The remarkable from these cadences are lower chord cadences are contrary motion toward ascent motion of upper chords. Even so, it sounded superb [8:05 CD time].
A resolution of 'Cadd9'as tonicization chord is also brilliant from the stunning slash chords bridge. These elabolating motions show us musical coherence for relief. Also next scene shows minor subdominant-feel in even major key's tonicization. This song has an ambiguous looking until the end. There are also many learning points about harmony works and music theorical aspects. Also this song is exquisite to maintain deployment power without being hidden by theory.
Please remember, sesquitones equal accumulation are made tritone. Strangely, on 27th November 2017 is Charles Kœchlin's birth sesquicentenial memorial. His 'The Seven Stars' Symphony (Op. 132) is for seven Hollywood star's name titled. the 1st movement is titled 'Douglas Fairbanks'. At 0:30~ on YouTube (https://youtu.be/YW-1uigZ-14), you can hear four major triads at the same time as 'Eb△/Ab△/A△/D△'. They make us naturaly listen to sounds like complicated bitonal harmony, it's really terrible. They are composing so amazing things so much.
'Cardington', is really learnable, and also our ears are cultivated. I am strongly recommended this. Thank you for reading. Beyond tonality.
2017-11-18 20:30
