Embedded Files
Music Theory Analysis #6
As always, I strongly suggest listening to this track before watching my music theory analysis video (if you are not already familiar with it).
For your convenience, I have pulled the sheet music, chord charts, and any other especially salient diagrams from the analysis and posted them below.
1: Whole-Tone Refresher (1/2) The translational symmetry of the whole-tone scale, compared to (e.g.) the major scale.
2: Whole-Tone Refresher (2/2) The augmented chords contained within each whole-tone scale (and their translational symmetry).
3: A Section Alternating whole-tone scales with a few 'exception notes' give the passing impression of normal harmony.
4: B Section (1/2) A new cycle of chromatic mediants over a minor 3rd, with some downward chromatic and polyvalent features.
5: B Section (2/2) Major 3rd and chromatic movements in the melody, and a hidden augmented chord leading into the A section.
6: C Section (1/3) A major third movement of major chords this time, as well as a subtle polyvalence akin to that of the B section.
7: C Section (2/3) The whole-tone scale pattern in the C section mirrors that of the A section.
8: C Section (3/3) Alternate C section chords, which break from the original whole-tone pattern and polyvalence.
9: D Section (1/3) Tritone resolution into the D section, where all chords are strictly separated by major 3rds.
10: D Section (2/3) Similar harmonic features in the B section and the D section.
11: D Section (3/3) Another Dbm to Bbm change; also, contrasting features between the C section and D section.
12: E Section Mostly diatonic chords, with one unusual augmented at the end that is hard to ascribe a function to.
13: F Section Very diatonic, with a re-used guitar part that doesn't quite meet the criteria for polyvalence.
14: Concluding Remarks The general features of Altopiano Celeste, and how they can be generalized to harmony used throughout metal.
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