Songs without Words

Despite the general teaching that only V and IV can lead to the tonic at a cadence, almost all chords can function in their place if properly substituted.  The most compelling cadences often make use of either the raised 7th scale degree or lowered 6th, or both, but cadences can do fine without either.

Broadly speaking, chords which can substitute for the dominant have their root on an “odd number” – that is, 3, 5, and  7.  Likewise, chords which can substitute for the subdominant are “evens” – that is, 2, 4, and 6.  I would rank the difficulty of cadencing using each of these scale degrees as follows: 5 < 4 < 7 < 2 < 6 < 3.  The challenge in working with 6 and 3 is that they are traditionally treated as pre-pre-dominants or pre-pre-pre-dominants.  &#X266DVI is easily used if bridged by &#X266DVII, and iii may function as a passing escape-tone chord from V.  Otherwise, &#X266DVI and &#X266DIII can be used as third-relation chords.  iii and vi on their own are so close to the tonic, note-wise, that it is nearly impossible to construct a compelling cadence with them.

Dominant-functioning chords for cadences: &#X266DIII, iii in passing, V, v, &#X266DVII, &#X266DVII, vii^o7.

Subdominant-functioning chords: &#X266DII (N), ii^o, IV, iv, &#X266DVI

In total, the chords which I have found to compellingly cadence to the tonic in a piece ending scenario are: &#X266DII, ii^o, &#X266DIII, IV, iv, V, v, &#X266DVI, &#X266DVII, &#X266Dvii, vii^o7.

Now, isn’t that a much more fun selection to play with?

Cadence Demonstration

In order:  Subdominants: IV, iv, &#X266DVI, ii^∅7, &#X266DII.  Dominants:  V7, v7, vii^o7, &#X266DVII.

A project I’ve been thinking about undertaking for awhile is a “musical family tree” of Western musical styles, detailing the evolution and cross-pollination of musical styles over time. There already exist several charts to this effect, but I have yet to find one that really explains all the relationships that I’ve noticed over the years.

But without fully embarking on this endeavor, I did want to at least introduce a basic concept here to explain an important dichotomy of music, namely: music that leads from the pre-dominant to the tonic, and music that leads from the dominant to the tonic. This concept is important because a straight musical genealogy would classify heavy metal and soft rock as descendants of rock-and-roll (which instrumentally, they are), whereas I would actually place them as the closer successors of classical music than contemporary classical music itself.

Without further ado:

Dominant or Dominant Substitute –> Tonic (V to I (i), VII to I (i), III (iii) to I (i))

Baroque
Classical
Romantic
Song
Bluegrass
Country
Musicals
Soft Rock
Heavy Metal
Pop
Pop Rock
Film Scores
Video Games
Smooth Jazz
Techno and Electronica
Latin

Predominant –> Tonic (IV (iv) to I (i), ii (II) to I (i))

Church Hymns
Gospel
Blues
Folk
Early Jazz
Classic Rock ‘n Roll
Soul
Funk
R&B
Hip-Hop (falls into both, actually)

Neither

Contemporary Classical
Free Jazz

The heroine from my new old story, “Beautiful Cattail Sorceress Heart.” I wrote three chapters years and years ago, but I’m updating the story now. Among other things, the original is written in a jumbled grammar of comparable sense as the title, which I’ve decided to do away with this time around.

Nice and gothy!

Original sketch

This is actually more influenced by Lucu Lucu than by the Gorillaz … but you probably don’t believe me, do you … . Also stylistically influenced by the end-credits style in Bakemonogatari and of course all the lovely Goths who inhabited my high school (where did they all go???).

It’s been 8 years since I wrote a boss theme. The boss theme differs from the battle theme in that it is allowed to have more “distinctive” elements which would not make it into a normal battle theme, which because of its frequent use, has to be mundane enough to be tolerable in the long-term. The boss theme, on the other hand, can feature prolonged introductions (which would otherwise occupy the entire battle theme’s duration) for dramatic effect as well as surprises, which are emotionally a one-time deal and therefore reserved only for rare circumstances.

The concept here is simple – rhythmic pulse from the 6/8+3/4 meter with overlaid rhythmic tension from unstable subdivisions of the bar in the melody. The harmony is simple but emphasizes positive fighting spirit over a depiction of evil.

Me – Boss Theme (2010)

Instrumentation: Full Strings, 2 Horns, Synthesizer (Charang, Goblins), Electric Guitar, Synth Bass, Synth Choir, Perc: Standard Drum Kit, Taiko Drums, Music Box, and Tubular Bells.

For comparison, you can listen to my older boss theme. It’s primitive but one of my personal favorites, with the rock organ gliding over the 13/16 groove:
Old Boss Theme (2002)

The recent trend in boss themes is the incorporation of a more realistic rock/metal sound, along with allowances for the introduction of more “popular” harmonies. It has been over a decade since the Beethoven moment was breached – the introduction of voice into the boss theme. Nevertheless, innovation continues, and it’s fascinating to hear the ways that classical music, rock, and techno are blended together (or not) to create the cinematic effects of final boss themes.  I have yet to listen to the effective incorporation of jazz or hip-hop, but I’m sure it’s only a matter of time.

Some nice listens, in no particular order:
Blue Dragon – The Seal is Broken (Nobuo Uematsu) – operatic rock
Atelier Iris – Deceitful Wings – pop metal
Tales of Symphonia (Motoi Sakuraba)
Final Fantasy XIII – Nascent Requiem (Masashi Hamauzu) – symphonic chorale, think Orff
Final Fantasy VII/Advent Children (remix) – One-Winged Angel (Nobuo Uematsu) – practically atonal at times

Definitely have to give thanks to David McGuire (Gastrophobia) and B1nd1 at DevArt for stylistic influences on this one.

Love and !Love

Original pencil sketch

Yes yes, I know that my obsession with lime green has gone on for way too long, but goodness there’s so much to do with it.  Lime green is the color of pastoral landscapes and glass and crisp jade.  It’s just so elegant!

And of course there’s also my obsession with jeans.  Over the past few months, I’ve painted gray jeans, purple jeans, orange jeans, black jeans, faded blue jeans … but by far the most alluring pair a girl can wear has got to be the classic overdyed midnight blue jeans with golden thread detailing.  The deep blue is so elegant and refined while the gold boasts a sassy gleam, the two paired to represent night and day — dusky romance and sparkling charm.

I promise I’ll try something different next time!