Hi guys, Just let you know I spoke with Psenior and as you could see in the last "Analysing this remix" thread he was kind enough to analyse several remixes there.
This is the continuation since the electronic scene doesn't have an Analysis of the hits so newcomers to music composition like myself can understand music theory better and why/how everything works good together.
Thanks Psenior.
What you think about those 2 songs from Gui Boratto.
huge hit this last summer
His wife is the singer for both songs above...hehee, pretty cool.
his goldfrapp remix,a&e
remix for Pet Shop Boys last hit.
Can you tell me if there is any style in the Boratto's composition,like can you it was made from the same composer?
I know he is a guitar/bass player.
If you could analyse those would be awesome.
I really love all of them.
I would like to hear your personal review of the song as well, like this progression was well done or this progression is so predictable and so overused.Stuff like that.
If you could start with beautifull life, then you can do in any sequence you want.
Thank you.
Analysing Gui Boratto - Beautifull Life and his style
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
Gui Boratto "Beautiful Life"
This song has a simple chord progression of Ab Bbm Db (maybe sometimes Ab/C as a fourth chord). It sounds like an indie rock song done on a MIDI sequencer. I hear a 16th note Ab Ab Bb Bb C C Ab Ab synth line repeating over and over, a drum machine, another synth line that goes Eb F Ab, and yet another synth line that occasionally goes C Bb C Bb C, C Bb C Eb Ab. The entire vocal melody is just the first 3 notes plus the 5th note of the Ab major scale. I couldn't tell that a woman was singing the lead vocal.
I like this tune. It's catchy. I have been hearing a lot of stuff similar to this out there, especially in commercials. My ears keep expecting to hear real drums, bass, and electric guitars kick in, but they never do. I assume the video is making some sort of statement about poverty and homelessness.
This song has a simple chord progression of Ab Bbm Db (maybe sometimes Ab/C as a fourth chord). It sounds like an indie rock song done on a MIDI sequencer. I hear a 16th note Ab Ab Bb Bb C C Ab Ab synth line repeating over and over, a drum machine, another synth line that goes Eb F Ab, and yet another synth line that occasionally goes C Bb C Bb C, C Bb C Eb Ab. The entire vocal melody is just the first 3 notes plus the 5th note of the Ab major scale. I couldn't tell that a woman was singing the lead vocal.
I like this tune. It's catchy. I have been hearing a lot of stuff similar to this out there, especially in commercials. My ears keep expecting to hear real drums, bass, and electric guitars kick in, but they never do. I assume the video is making some sort of statement about poverty and homelessness.
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
Gui Boratto "No Turning Back"
This song starts off with an Fmaj7, voiced E F C. The bass starts playing a D note under our Fmaj7, giving us Dm9. The Fmaj7 voicing starts changing into a Dm chord, voiced D F A D. A synth line comes in playing two notes, A and E, back and forth, over and over.
The D bass note starts playing a 16th note rhythm, then goes to Bb. When the bass goes to Bb, our repetitive synth line notes change to D and A. This suggests Bbmaj7 harmony.
Then, a melody kicks in that sounds like a cross between a voice and an electric guitar. The harmony here is essentially Fmaj7 to Bbmaj9, via the interplay of all synth melodies. Then, we finally get to hear some singing. The song is like halfway done at this point.
One or two musical parts described previously are played again. Then we get to what I guess is the bridge. We have an 8th note bass line which goes Bb A D, and a melodic piano part playing in a minimalist fashion over our previously described Fmaj7 chord voicing. And, there is some synth line playing A G F in descending triplets.
After the bridge, we go back to earlier sections of the song, except the composer has chosen to do variations on the original themes, so the melodies are all slightly different, but the overall harmony being suggested is the same. I find myself getting annoyed at this point, so I will leave it to the reader to figure out the minor inconsequential details from here on out. This is pretty much the end of the song anyway, and with that, I find myself sighing with a bit of relief.
This song annoyed me. Kind of overly long. Definitely not a pop song. Who is going to wait 4 minutes before a vocalist starts singing? I don't like it so it obviously was a huge hit. I find it interesting that there are real guitars in this song and none to be found in "Beautiful Life."
This song starts off with an Fmaj7, voiced E F C. The bass starts playing a D note under our Fmaj7, giving us Dm9. The Fmaj7 voicing starts changing into a Dm chord, voiced D F A D. A synth line comes in playing two notes, A and E, back and forth, over and over.
The D bass note starts playing a 16th note rhythm, then goes to Bb. When the bass goes to Bb, our repetitive synth line notes change to D and A. This suggests Bbmaj7 harmony.
Then, a melody kicks in that sounds like a cross between a voice and an electric guitar. The harmony here is essentially Fmaj7 to Bbmaj9, via the interplay of all synth melodies. Then, we finally get to hear some singing. The song is like halfway done at this point.
One or two musical parts described previously are played again. Then we get to what I guess is the bridge. We have an 8th note bass line which goes Bb A D, and a melodic piano part playing in a minimalist fashion over our previously described Fmaj7 chord voicing. And, there is some synth line playing A G F in descending triplets.
After the bridge, we go back to earlier sections of the song, except the composer has chosen to do variations on the original themes, so the melodies are all slightly different, but the overall harmony being suggested is the same. I find myself getting annoyed at this point, so I will leave it to the reader to figure out the minor inconsequential details from here on out. This is pretty much the end of the song anyway, and with that, I find myself sighing with a bit of relief.
This song annoyed me. Kind of overly long. Definitely not a pop song. Who is going to wait 4 minutes before a vocalist starts singing? I don't like it so it obviously was a huge hit. I find it interesting that there are real guitars in this song and none to be found in "Beautiful Life."
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- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
Thanks Psenior, awesome work.
Can I ask you another favor?
When you descrive other/diferent instruments starting to play, usually diferent notes/chords can you tell the time on the song that those instruments starts so we can follow/understand a little better?
Thanks.
Can I ask you another favor?
When you descrive other/diferent instruments starting to play, usually diferent notes/chords can you tell the time on the song that those instruments starts so we can follow/understand a little better?
Thanks.
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- KVRian
- 1084 posts since 12 Sep, 2008 from Your basement
PSenior, when you're done with that I need you to go ahead and produce a full Schenkerian analysis of the complete works of AphexTwin. Oh, and can you give my dog a bath? It's been a while... 
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- KVRian
- 1084 posts since 12 Sep, 2008 from Your basement
It's like a really bad cold sore on your lip from doing a lot of harmonic analysis...psenior wrote:Honestly, I know absolutely nothing about Schenker. Is that kind of like Schoenberg tone row analysis? Forget it; I really don't want to know.
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- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
I don't see a problem doing that, helping others, helping people new to music theory. Specially in a genre that doesn't have that many musicians, majority are deejays,new to production/engineering, new to music theory.Ogg Vorbis wrote:PSenior, when you're done with that I need you to go ahead and produce a full Schenkerian analysis of the complete works of AphexTwin. Oh, and can you give my dog a bath? It's been a while...
This analysis method is a fun way to learn because is applied to a know music,that works on the dancefloor, instead of throwing a lot of theory out there without known examples.
Several people and books does that analysis,giving examples to known songs but I never found anything for electronic music,club/dance music.
I just wish others who has the gift/knowledge, could help Psenior instead of criticism/sarcasm.
Electronic Music, specially the ones in question doesn't have a lot going on, so explaining the music in blocks, as things starts to happen in the track and putting the time would be easier for others with less knowledge follow and understand. Just an idea.
Something like:
0 to 0:30 chords playing X.
0:30 basslines starts playing Y...with another synth sound playing, making a harmony Z.
1:30 another synth starts to fade in, @ 2:03 that synth plays solo on the track then make an analogy between the notes chords with that synth with the rest of the track.
2:34 kicks in a vocal melody or something, playing x1 notes, together with....
Since several analysis threads/posts I saw, the writer assumes the reader has some knowledge of music theory in our case, if it's done the way I just describe I think would be easier for 100% of the people who reads this thread.
Thanks.
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- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
From the Lady Gaga Thread:
groovesys said:
"It's great to know theory and be able to analyze a particular chord progression, melody, counter melody, harmonies and rhythm. As a musician, I love deconstructing a track to see how a song is built. For me, theory is a useful reference guide, never a rule that must be followed.
In the end, I like a song if I can feel it. Certain chord progressions, melodies and rhythms invoke a strong, positive feeling in me; while other music invokes absolutely nothing, or worse, a negative feeling."
I agree 100%.
groovesys said:
"It's great to know theory and be able to analyze a particular chord progression, melody, counter melody, harmonies and rhythm. As a musician, I love deconstructing a track to see how a song is built. For me, theory is a useful reference guide, never a rule that must be followed.
In the end, I like a song if I can feel it. Certain chord progressions, melodies and rhythms invoke a strong, positive feeling in me; while other music invokes absolutely nothing, or worse, a negative feeling."
I agree 100%.
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- KVRian
- 1084 posts since 12 Sep, 2008 from Your basement
You're right, sarcasm is not the way to go. I was amazed at the incredible level of information Psenior was doling out. He's a thinker and a teacher who I admire and he's a gift to these forums. His posts feel like it's raining gold nuggets.ecsmix wrote: I just wish others who has the gift/knowledge, could help Psenior instead of criticism/sarcasm.
At some point, you'll need to grab a pick and a shovel and start mining some gold for yourself.
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
It's all good. I have seen many informative posts here by several different forum members. I will incorporate the time stamp info in my future posts. Plus, I really don't know that much, but I am willing to freely share what I do know.
I have seen many informative posts here by several different forum members. I will incorporate the time stamp info in my future posts. Plus, I really don't know that much, but I am willing to freely share what I do know.-
- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
Goldfrapp - A & E (Gui Boratto Remix)
0:07 F quarter note ostinato synth bass
0:14 Some kind of synth pad swell and filter sweep.
0:35 Kick drum much more present in the mix. Another synth plays eighth notes back and forth between F and C. Kind of sounds like a bad car alarm, maybe?
1:03 Hi hat eighth note pattern kicks in. I think a compressor is side chained to make it louder on the "and"s. I.e. 1 AND 2 AND 3 AND 4 AND.
1:22 Another synth bass quarter note ostinato pattern on C, maybe an octave higher than where the original. The C is also on the "and"s.
1:37 Snare drum comes on on the 2 and 4.
1:53 A real bass starts playing F in an eighth note ostinato pattern.
2:07 Just kick drum and synth bass playing Db, Eb, F in eighth notes.
2:23 Synth keyboards play Fm, Eb, Fm, Fm7 in a stabbing rhythmic pattern. Occasional high synth "boop" sound on C.
2:39 Some metallic synth starts playing the notes F C F over and over.
2:56 Snare comes back in.
3:05 Girl starts singing.
3:10 Back to just kick drum and synth bass playing Db, Eb, F in eighth notes. Girl continues singing. Rhythmic pattern of Occasional high synth "boop" sound on C changes to off beats.
3:25 Synth keboard chords and snare kick back in.
3:55 Singing stops. I don't know; a lot of indiscernible weirdness here. I guess this is the bridge.
4:14 I hear a kind of a DX7 keyboard patch playing Fm, Eb, and Db chords in the mire.
4:30 More chick singing
4:41 The loud kick and snare come back in, along with most other previous parts. Occasionally, the girl singer says "I want." Yes, whatever it is, I would like some also.
5:13 Everything breaks down to just quiet synth bass, quiet kick, quiet drum machine blip snare, and offbeat synth "boop."
5:28 Synth keyboards play Fm, Eb, Fm, Fm7 in a stabbing rhythmic pattern again.
5:42 Loud kick, loud snare and most other previously described parts kick in. Very dense mix.
5:57 Drum pattern varies slightly (one or two drum fills occur). Electric guitar plays G Ab Bb melody
6:14 Snare drum sample changes slightly. I would guess we are on the
6:30 A weird breathy synth patch play G Ab Bb Ab G quickly over and over.
6:47 More synth pad swell and filter sweep.
7:03 The End!
Not a whole hell of a lot to it. It would be much easier to understand this tune if we could look at the tracks in the DAW. Something like this would be very quick and easy to do in Ableton Live. This song didn't annoy me as bad as the last one.
0:07 F quarter note ostinato synth bass
0:14 Some kind of synth pad swell and filter sweep.
0:35 Kick drum much more present in the mix. Another synth plays eighth notes back and forth between F and C. Kind of sounds like a bad car alarm, maybe?
1:03 Hi hat eighth note pattern kicks in. I think a compressor is side chained to make it louder on the "and"s. I.e. 1 AND 2 AND 3 AND 4 AND.
1:22 Another synth bass quarter note ostinato pattern on C, maybe an octave higher than where the original. The C is also on the "and"s.
1:37 Snare drum comes on on the 2 and 4.
1:53 A real bass starts playing F in an eighth note ostinato pattern.
2:07 Just kick drum and synth bass playing Db, Eb, F in eighth notes.
2:23 Synth keyboards play Fm, Eb, Fm, Fm7 in a stabbing rhythmic pattern. Occasional high synth "boop" sound on C.
2:39 Some metallic synth starts playing the notes F C F over and over.
2:56 Snare comes back in.
3:05 Girl starts singing.
3:10 Back to just kick drum and synth bass playing Db, Eb, F in eighth notes. Girl continues singing. Rhythmic pattern of Occasional high synth "boop" sound on C changes to off beats.
3:25 Synth keboard chords and snare kick back in.
3:55 Singing stops. I don't know; a lot of indiscernible weirdness here. I guess this is the bridge.
4:14 I hear a kind of a DX7 keyboard patch playing Fm, Eb, and Db chords in the mire.
4:30 More chick singing
4:41 The loud kick and snare come back in, along with most other previous parts. Occasionally, the girl singer says "I want." Yes, whatever it is, I would like some also.
5:13 Everything breaks down to just quiet synth bass, quiet kick, quiet drum machine blip snare, and offbeat synth "boop."
5:28 Synth keyboards play Fm, Eb, Fm, Fm7 in a stabbing rhythmic pattern again.
5:42 Loud kick, loud snare and most other previously described parts kick in. Very dense mix.
5:57 Drum pattern varies slightly (one or two drum fills occur). Electric guitar plays G Ab Bb melody
6:14 Snare drum sample changes slightly. I would guess we are on the
6:30 A weird breathy synth patch play G Ab Bb Ab G quickly over and over.
6:47 More synth pad swell and filter sweep.
7:03 The End!
Not a whole hell of a lot to it. It would be much easier to understand this tune if we could look at the tracks in the DAW. Something like this would be very quick and easy to do in Ableton Live. This song didn't annoy me as bad as the last one.
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- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
Thanks psenior, good work!
"2:07 Just kick drum and synth bass playing Db, Eb, F in eighth notes.
2:23 Synth keyboards play Fm, Eb, Fm, Fm7 in a stabbing rhythmic pattern. Occasional high synth "boop" sound on C."
@2:23 Fm(F-Ab-C)over Db on bassline,Eb over Eb and Fm,Fm7 over F right?
Fm over Db, Making a Dbmaj7, right?
@3:40 the bassline continue Db, Eb, F in eighth notes?
Because sounds like she sings a diferent melody but still works with the bassline,right?
Can you tell the relation between the vocal melody and the chords/notes he choose to compose his remix?
I've seen some people on the forum asking ways to harmonize a melody, so this could be a case study of doing this.
What's going on when she sings,with harmony?
Would you compose something diferent? Diferent feel, what would work as well?
Your personal tips for aspiring composers to work with vocal.
Awesome analysis, Thanks again.
"2:07 Just kick drum and synth bass playing Db, Eb, F in eighth notes.
2:23 Synth keyboards play Fm, Eb, Fm, Fm7 in a stabbing rhythmic pattern. Occasional high synth "boop" sound on C."
@2:23 Fm(F-Ab-C)over Db on bassline,Eb over Eb and Fm,Fm7 over F right?
Fm over Db, Making a Dbmaj7, right?
@3:40 the bassline continue Db, Eb, F in eighth notes?
Because sounds like she sings a diferent melody but still works with the bassline,right?
Can you tell the relation between the vocal melody and the chords/notes he choose to compose his remix?
I've seen some people on the forum asking ways to harmonize a melody, so this could be a case study of doing this.
What's going on when she sings,with harmony?
Would you compose something diferent? Diferent feel, what would work as well?
Your personal tips for aspiring composers to work with vocal.
Awesome analysis, Thanks again.