structure ideas and a kind i enjoy 19.05.22

story structure:

1 a promise is made. (intro)
2 the anxiety but hopefullness of a promise made.
3 the moment before the receiving of the promise.
4 the recieving of the promise OR betrayel
5 post promise bliss OR collapse
6 the memory of a promise. (epilogue)

the alternate routes in 4/5 define tragedy.

miles davis: elongated stasis at stage 3
unknown was her: fluctuation between stage 2 and 4
scissor: extended and repeated stasis at stage3 before short bouts of stage 4.
sping pong: a dramating upward rising of stage 2, a clear period of stage 3 before moving into stage 4 but leaning heavily on the boundary between betrayal creating a unique sensation of delayed promise and extended shooting feeling in the brain defined by strain and intense.
spider dance: upward rising action in stage2, brief clear stage 3, standard stage 4 with an extended longer than usual stage 5.

my personal favorie kind of song, or one i at least want to highlight, is the scissor type where you have discordant noises then brief good part. the song structure of breaking out of extended monotonous dissonances into brief moments of beautiful melody and color. here's a prototypical example i made:

other examples:


how is promise created?
stage 2: repetition, habit, mild dissonances, feeling of something that is coming created through addition of new elements creating the prediction that at some point no new elements can be added and something must happen as a result, odd ryhtms, low frequencies.
stage 3: extreme dissonance, a sudden confusing change, a sudden removal of almost everything
stage 4: dramatic change, consonant harmonies, destruction of previous habits and repitions, even ryhtms, high frequencies.

not all works operate on bdsm principles. the following is more fundamental.

change and stasis:
1 something is happening.
2 nothing changes OR something slightly different happens OR something dramatically different happens.
this two step process repeats indefinitely. this is not useful for analysis art really, but this is the bottom of how time art works i think. upon this fundamental you may build your system of art for good or ill.

Confessions of a Frigid Man

I'm just gonna post any Akiko Yano stuff here. dec 16

How can I be sure

A nice modulation, she goes from a 3-6-2-5 loop in G to a 1-6-2-5 in Bb, the Ddominant resolves to Bbmajor7, I think of it as halfway between resolving to Gminor7 and Bminor7, if that makes sense.(Here's Yasuhisa Watanabe doing the same trick) She returns to the key of G because the 5 of Bb(F) acts as a backdoor(look up backdoor 2-5-1). Her Modulation works much nicer than "theory" explains simply because her melody works over both keys, so the familiar gets placed on top of the novel, Akiko Yano does this technique a lot.


So cute... A similar cute moment happens in here with Taeko (1:55)

Crazy little interlude


Flowers in ChaniaFlowers in Chania Flowers in Chania Flowers in Chania

Rest easy Barry Harris

A beautiful live performance with audience participation.

Just a fun time

Barry Harris brings a shy girl up to the piano, very funny and smile-spurring.

To me, this is his best song. His special talent I think are the multiple melody lines that he would improvise over eachother.

Chronologically downward from here

The power of inversions

So I read a person say something like "It's so interesting how the major6 is an inversion of the minor7, I don't think there's any other chord where just by being inverted it acts as a different chord" And everyone stood up and clapped, but that made me curious and so I found that you can play a major7 with the third in the bass and it acts as a dominant chord. Obviously not exactly what he was talking about, but whatever. Here's an audio example of it in some contexts:

The most beautiful chord progression

Sora no Sakana

The final track on 001: a galaxy oddysey, is the only true send off there could have been. The only song that could somehow shine brightest even after every song that came before. There's a lot that makes this song special, but I'll only speak on one aspect.

The progression goes CMaj-Bdom-Emin-Adom, a 4-3-6-2 in G. I've talked about this progression on this site but where this song is unique is in the upper extensions. The first chord is a Cmaj9 and that D stays when it moves to the Bdom making it a #9, the sweet natural nine becoming splitting and yearning, is just amazingly pretty, and it resolves to the Emin9, which is sorrowful in it's own way, since the 9 is brushing up against the third of the chord.

The same re-contextualising of the top note happens again, this time the 9 from Eminor becomes the 13th of Adominant, and leads back to the beginning. This song has this profound feeling and I think it's in part because of the top note being reharmonized with a dominant chord that's outside the scale, making that note that was once sweet become slightly dissonant. It's so good that it's the only chord progression in the whole song, not changing at any point, and it doesn't get old at all for the 5 minute runtime. It hasn't gotten old for all the hundreds of times I've listened to it.

Sora no Sakana was published September 14th 2010. Powapowa-P died on July 23rd 2015 at age 20

My favorite jazz standards / renditions

sweetheart of my dreams 5/5 kino, my #1 favorite jazz song
girl of my dreams 5/5
until there was you 5/5
have yourself a merry little christmas 5/5 S O U L
after you've gone 4/5
myself when i am real 2/5
moon river 2/5
nostalgia in times square 3/5
it could happen to you 1/5
don't be afraid, the clown's afraid too 3/5
have you met miss jones 4/5
ruby my dear 1/5
evidence 3/5
celia 1/5
smile darn ya smile 2/5
round midnight 4/5 soul-crushing
just friends3/5
i get a kick out of you 2/5
japanese folk song 2/5
i didn't know what time it was 3/5 We in the KNOW (MONK spelled backwards turning the W upside down) are truly BLESSED to have DR. BARRY HARRIS in our lives!!!!
but not for me 3/5
alice in wonderland 1/5 cringe evans
a foggy day 3/5

As you can see, Charles Mingus and Thelonius monk are big favorites of mine. Scatman Jones too.


Hisasihi is known for his rich harmonies, but in summer they're pretty much absent. the main melody for summer is harmonized only with a bass note octave and a perfect fifth, the simplest and least communicative harmony possible. It's this "basicness" that gives Summer it's captiveness, I think.
If you try and play triads where the bass notes are, you destroy the songs character completely. When people talk about Summer, they talk about it's nostalgic feeling, for childhood particularly. The opening for summer is the westminster chimes, the end of school day chime in japan and other east asian countries, it states this nostalgia for simpler days overtly, even westerners who know that melody only from anime will get a tug at the heart, that association for the end of school is so strong.
Children's songs, lulabies, all use very basic melodies and harmonies, avoiding difficult intervals and sticking to notes that are easy to sing. This has the effect of making them palatable for children, who haven't become aclimated to more dissonant sounds yet but also to be more catchy and memorable. A song that's easier to sing, and remember, is going to naturally imprint itself in your memory better.
Summer manages to capture the spirit of children's music by utalizing basic harmonies, while still having a sophisticated side to it.


あなたの隣りに坐りたい それだけ
話を聞かせてほしいだけ 一緒に

横顔 見つめてるの

何故か私も楽しくなる 不思議ね

私を覚えていないのね やっぱり
誰も知らない あの時の横顔
昔のあなた見失って ほしくないの

A face in profile

Taeko Ohnuki

Emaj7 1625 progression
Emaj7 Jpop progression
Jpop progression again except this time on the b7 the b7 resolves to Bmaj(11.13 on further listening, im unsure if this is a dominant or a major, sorry, my ears aren't the best... neither the major 7 or minor 7 sound good when playing over the recording, could be a sus?), and this begins the next section.
Bmaj - Emaj7(1-4(11.13 or 5-1)-Bmaj7-Bmin7-Edom-Amaj and it goes 36251
Now, the Akiko Yano cover of this song is very interesting I'll go over that now.

Akiko Yano

Begins on Bbmaj7 and goes between Aflatmaj7 and Bbmaj7 while using Bb as a pedal tone for the intro. This is changing the quality from Major to suspended Dominant, it's very pretty.
Then the main progression goes Bbmaj7 - Aflatmaj - Gdominant - cminor. And then continues as if it's a Jpop progression, at the end resolving Bbdominant to Bbmajor7. So it's a way of beginning the Jpop progression by starting on the 5 of your key.
Roman Numerals: 5maj7 - 4 - 3dom - 6
Also, I lied when I said it continues on the Jpop progression, when it reaches the 6 chord(the cminor) the bass walks down to the 2 while keeping the upper structure of the 6 chord, and then it goes from the 2 to a 3-6-2 and then 5 and back to 1. This is in both Taeko's and Akiko's. So, a very cute twist on the tried and true. Jazz girlbosses.

Now a little afterword. For the longest time I thought this song just used the Jpop progression. Then in a Zen huxtable video he says it's very similar to the jpop progression, and this got under my skin so I looked at the song a bit more closely. Then I found it began completely differently, and used a little walk down, and ended completely differently, and I'm like "Oh I'm an idiot wow." But then after a few days a new thought got under my skin. "Why did Zenny say it was very similar? They're nothing alike!" So I looked at the song again, and then that's when I saw it was just a modified version. So I was made to look the fool time after time when it came to this song. So now I publish this, with the small thought at the back of my mind. "I'm probably wrong again about something...."

About the song, it's so beautiful. I don't usually look up lyrics to japanese songs, but the lyrics to this song are so romantic, it's really raised my opinion of the song greatly. And it's really just so pleasant to listen to, I love all the arrangements Akiko Yano and Taeko Ohnuki have made of it, from barebones piano and voice to french-style light jazz, mwuah, top tier song totally.

Jesus christ transcribing chords is so hard 11.7

Figuring out a chord's quality is fairly simple, thank you bass players who play the root, but figuring out voicings? Impossible. I think the chord in Happy Birthday 1975, the "weird minor chord" is an FdimMaj7? But I really can't say with confidence. And when it comes to figuring out voicings, it's just a pain, having to rewind and play back a recording over and over. Over time I got better at figuring out what the chords even were in their most simple form, so hopefully I get better going forward. But god what a pain.

tenney - something to listen to at least once.
Ernst Krenek - I adore these pieces.
cecil - kookoo jazz!
scho en - short and sweet. - very fun and short.
sagisu - crazy string writing here.
ravel - best waltz ever.
scriabin - wonderfully sad and strange.