Just realized how cool the key change to the solo is in "Don't Fear the Reaper" - A minor to the chromatic mediant key of C minor using common pitches /thread #musictheory#blueoystercult#guitar#songwriting
The song is in an Aeolian A minor but we get that G# sounding like a leading note after the fermata Am chord before the solo enters. The G# and C (from the Am) are reinterpreted as the third (Ab) and 5th of an Fm chord in the first solo arpeggio (F Ab C)
which then moves to a G7/F arpeggio (F-G-B) with the bass now staying consistent - these become iv and V[4/2] in the new key. We then get a solo in a functional C minor, where leading notes are raised.
It ends with a sustained G (^5) - the pedal point in the main A minor riff - as we return to the song.
I've been piecing together my thoughts on this over the last few days. /thread
tl;dr It's a lot better than I expected, great on Schenker; I've got some questions about the first half. #musictheory
It's pretty sophisticated and in-depth, structured around a conversation with @philewell - I only realized after seeing this that the man who sparked the Music Theory Culture War was someone I had dinner with at SMT 2018, as a minority travel grant recipient.
and it got me to go back and read through more of Ewell's paper and presentation. Illuminating to know more of Schenker's racial views and his own view of his ideas about music theory being part of a unified world view, interconnected with his hierarchical views on humanity.
Let's look at the original Getz/Gilberto version in Db, not the fakebook version in F. Here's a faithful transcription of Gilberto's guitar part: hjgs.co.uk/wp-content/upl… . And this is the melody: drive.google.com/file/d/11gZNXD….
The A sections aren't too crazy: essentially, the progression of Db [6/9] - Eb9 - Ebm9 - D7 (or Ab flat9 when the bass enters) - Db [6/9] reduces to a I - ii - V7 - I progression with a chromatic II7 chord produced by an incomplete neighbouring note between the I and ii chords.