---
{
  "layout": "article.njk",
  "title": "Tone-poetry & post-hardcore punk: Kidcrash\u2019s \u201cTurtlelephant\u201d",
  "titleHeading": "Tone-poetry &amp; post-hardcore punk: <span class=\"track\" itemscope itemtype=\"https://schema.org/MusicRecording\"><b class=\"personage\" itemprop=\"byArtist\" itemscope itemtype=\"https://schema.org/MusicGroup\"><span itemprop=\"name\">Kidcrash</span></b>&rsquo;s &ldquo;<span itemprop=\"name\">Turtlelephant</span>&rdquo;<meta itemprop=\"inAlbum\" content=\"Jokes\" /><meta itemprop=\"datePublished\" content=\"2007\" /></span>",
  "date": "2024-11-30",
  "tags": [
    "post-hardcore",
    "screamo",
    "mathrock",
    "Kidcrash",
    "homeophony",
    "voice-leading",
    "tone-poem",
    "through-composition",
    "melodic contour",
    "hypermeter",
    "tonality",
    "timbre",
    "musical dynamics",
    "dist-pitch",
    "vocals",
    "electric guitar (321.322-12)",
    "bass-guitar",
    "drumkit"
  ]
}
---

{% figdomain %}
{% endomain 2 %}

{% h2 "reading-this-essay" %}How to read this essay{% endh2 %}

<p>
  Most readers should skip the bulk of this essay, which is dedicated to a thorough analysis of the piece in question. The {% headingref "putting-it-all-together" %} section does <strong>not</strong> assume that the reader has read anything else, and importantly, provides hyper&shy;links back into the bulk of the essay, for the benefit of readers who want or need additional explanation, detail, &amp;/or argumentation.
</p>

<p>
  For readers already familiar with {% gloss "screamo" %} &amp;/or with {% band "Kidcrash" %}, the {% headingref "historic-background" %} section may be skipped, so that reading begins at {% headingref "putting-it-all-together" %}.
</p>

{% h2 "historic-background" %}Historic background{% endh2 %}

<p>
  {% enmark "emo" %}The term <i>screamo</i> would seem to imply little more than a particular vocal style.{% endenmark %} But the maturation of screamo was a relatively long time in the works, and its patient fermentation led to an impressive variety of flavors, both commonplace and strange. After all, with {% enmark "screamed-pitch" %}<em>apparently</em>{% endenmark %} no {% gloss "pitch-material" %} to be had in the vocals, a fundamental function of one of the most basic instruments in {% gloss "popular music" %} had been brazenly severed from it. Although this wouldn&rsquo;t make screamo the first niche of popular music to do away with explicitly melodic vocals, it still meant that the vacuum left behind had to be addressed somehow.
</p>

<p>
  Innovated in <a href="https://en.wikipedia.org/wiki/California">California</a> in the early&ndash;mid 1990s, screamo would take on greater dissonance (in both pitch-material &amp; {% gloss "timbre" %}), faster tempi, and more mercurial {% gloss "form", "song structures" %} than its hardcore &amp; {% gloss "emocore" %} forebears. {% enmark "pop" %}By {% album "01010101", "Portraits of Past", "1996" %}{% endenmark %}, a style of elaborate forms, wide-ranging {% gloss "dynamics" %}, highly-melodic material carried exclusively in guitars, and the palpable influence of {% gloss "post-rock" %} had already developed.
</p>

{% snip %}

<p>
  Some later acts of the more well-known screamo era would elaborate upon the elements borrowed by Portraits of Past from post-rock: {% band "Envy" %} would bring the sounds of bands like {% band "Mogwai" %} more explicitly into the genre, {% band "City of Caterpillar" %} would create music that was as much a post-rock masterpiece was it was a screamo one, and <a href="https://en.wikipedia.org/wiki/France">French</a> bands like {% band "Mihai Edrisch" %}, {% band "Da&iuml;tro" %}, &amp; {% band "Sed Non Satiata" %} would refine the use of {% gloss "chord", "chords" %} to incredible expressive precision.
</p>

<p>
  Others would pave different paths. Bands like {% band "Jeromes Dream" %}, {% band "Orchid" %}, &amp; {% band "Ampere" %} would incorporate the extreme tempi and short, violent bursts of {% gloss "powerviolence" %} to produce short songs (or even miniatures) with a frenzied, {% gloss "through-composition", "through-compositional" %} approach frequently drawing upon the {% gloss "rhythm", "rhythmic" %} complexity and general &ldquo;angularity&rdquo; of {% gloss "mathrock" %}. {% band "Saetia" %}, &amp; later {% band "Off Minor" %}, would draw explicitly upon jazz for harmonic material, melodic material, and more.
</p>

{% h3 %}(The) Kidcrash{% endh3 %}

<p>
  But still others are yet further off the beaten path. Formed in <time datetime="2000">2000</time> somewhere in the <a href="https://en.wikipedia.org/wiki/United_States">U.S.</a> ({% enmark "olympia" %}probably <a href="https://en.wikipedia.org/wiki/New_Mexico">New Mexico</a>{% endenmark %}) as <i><em>The</em> Kidcrash</i>, {% enmark "the-kidcrash-s-t" %}this band began their career with {% album "New Ruins", "The Kidcrash", "2004", true %}{% endenmark %}, an album of a kind of {% gloss "pop-punk" %}&ndash;{% gloss "mathpop" %} hybrid.
</p>

<p>
  Although <cite>New Ruins</cite> contained some fruitful (if perhaps ungerminated) seed, it wasn&rsquo;t until this band moved to <a href="https://en.wikipedia.org/wiki/Portland,_Oregon">Portland, Oregon</a> and started playing screamo that they became the <i>Kidcrash</i> (not the <i>The Kidcrash</i>!) that we&rsquo;re interested in here.
</p>

<p>
  Kidcrash&rsquo;s next major release would be {% album "Jokes", "Kidcrash", "2007", true %} &mdash; an album that, by all appearances, would be even less self-serious than their previous efforts. With a name like <cite>Jokes</cite>, song titles like {% track "Ron Ghousley&rsquo;s Fucked Up Dream (Ron To The Hills, Ron For Your Life)", "Jokes", "Kidcrash", "2007" %} and {% track "Life Was Real. Vital. Urgent. Important/Bum Guts", "Jokes", "Kidcrash", "2007" %}, and sketchy hand-pencilled album artwork (see {% figref "album-art" %}), the first-time listener would be forgiven for expecting nine tracks&rsquo; worth of goofy {% gloss "mathrock" %} or similar.
</p>

{% fig "album-art" %}
  {% img "cover-cd.jpeg", "Cover art for the CD release of Jokes (2007)" %}
  {% img "cover-lp.jpeg", "Cover art for the LP release of Jokes (2007)" %}

  <figcaption>
    <p>
      Cover art for the CD &amp; LP releases of {% album "Jokes", "Kidcrash", "2007", true %}, respectively.
    </p>
  </figcaption>
{% endfig %}

{% note %}
  <p>
    Most readers should skip ahead to {% headingref "putting-it-all-together" %} at this point. Hyperlinks back into the bulk of the essay will be provided, for the benefit of readers who want or need additional explanation, detail, &amp;/or argumentation.
  </p>
{% endnote %}

{% h2 %}Lines of enquiry{% endh2 %}

<p>
  The album begins with {% track "Turtlelephant", "Jokes", "Kidcrash", "2007" %}, clocking in at <time datetime="PT4M44S">4:44</time>. By carefully investigating this opening piece, I hope to answer at least a few questions about what makes this track, and the album as a whole, special:
</p>

<ul>
  <li>Is Kidcrash &ldquo;painting an image&rdquo; here? If so, then what is it like? How does such a &ldquo;painting&rdquo; compare to the {% gloss "Western classical" %} notion of &ldquo;<a href="https://en.wikipedia.org/wiki/Symphonic_poem">tone-poem</a>&rdquo; (<i lang="de">Tondichtung</i>)?</li>
  <li>If Kidcrash was (during this era) ostensibly a <i>{% gloss "screamo" %}</i> band, then how does their music relate &mdash; or not relate &mdash; to other works in the genre?</li>
  <li>Those familiar with Kidcrash have wondered: how are they so &ldquo;heavy&rdquo; &amp; yet so &ldquo;melodic&rdquo; at the same time? What would that even <em>mean?</em> Why does it seem like no other band writes music that comes anywhere close to Kidcrash&rsquo;s style?</li>
  <li>Can we make sense of Kidcrash&rsquo;s {% gloss "form", "song structures" %}? By drawing upon the experiment&shy;al&shy;ism of much post-hardcore, Kidcrash&rsquo;s music seems to venture quite far from the verse&ndash;chorus structures of much {% gloss "popular music" %} &mdash; as well as its {% gloss "rhythm", "rhythmic" %} structures. To what extent, if any, is Kidcrash&rsquo;s music {% gloss "through-composition", "through-composed" %}?</li>
  <li>Are there any {% gloss "texture", "textural" %} features that define Kidcrash&rsquo;s sound on this album? {% gloss "pitch-material", "Pitch-material" %} features? {% gloss "timbre", "Timbral" %} features?</li>
  <li>Kidcrash was also associated with <i>{% gloss "mathrock" %}</i>. What about their use of drumkit, rhythm &amp; {% gloss "meter" %}, and perhaps texture contributes to this genre association?</li>
</ul>

{% h2 "introductions" %}Introductions (<time datetime="PT0M0S">0:00</time> to <time datetime="PT0M15S">0:15</time>){% endh2 %}

<p>
  The beginning of the album is a quiet, ominous theme:
</p>

{% fig "intro" %}
  {% ly "intro", "Transcription of the intro to &ldquo;Turtlelephant&rdquo;" %}

  <figcaption>
    <p>
      Introductory gesture. Note that the guitar is tuned to <a href="https://en.wikipedia.org/wiki/Guitar_tunings#Dropped_tunings">drop</a> {% m "C#" %}.
    </p>
  </figcaption>
{% endfig %}

{% h3 "intro-timbre-and-texture" %}Timbre &amp; texture{% endh3 %}

<p>
  Although the introductory gesture in {% figref "intro" %} is played on an {% tag "electric guitar (321.322-12)", "electric guitar" %}, its sound is somewhat indistinct, and has a strange reverberation about it. The immediate impression is that the listener is hearing the guitar only from a great distance, presumably through some sort of barrier that&rsquo;s gently muffling the sound. Indeed, analyzing a <a href="https://en.wikipedia.org/wiki/Spectrogram">spectrogram</a> reveals a strange hierarchy of {% gloss "harmonic", "harmonics" %}, shown in {% figref "intro-harmonics", "table" %}.
</p>

{% fig "intro-harmonics", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col">pro&shy;mi&shy;nence</th>
        <th scope="col">har&shy;mo&shy;nics</th>
        <th scope="col">in&shy;ter&shy;vals a&shy;bove fun&shy;da&shy;men&shy;tal</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td>loud</td>
        <td>1<sup>st</sup>, 2<sup>nd</sup>, 5<sup>th</sup></td>
        <td>{% m "P1" %}, {% m "P1" %}<sup>(1)</sup>, {% m "M3" %}{% m "&minus;", 0 %}<sup>(2)</sup></td>
      </tr>
      <tr>
        <td>me&shy;di&shy;um</td>
        <td>6<sup>th</sup>, 9<sup>th</sup>, 10<sup>th</sup></td>
        <td>{% m "P5" %}<sup>(2)</sup>, {% m "M2" %}<sup>(3)</sup>, {% m "M3" %}{% m "&minus;", 0 %}<sup>(3)</sup></td>
      </tr>
      <tr>
        <td>faint</td>
        <td>3<sup>rd</sup>, 4<sup>th</sup>, 7<sup>th</sup>, 8<sup>th</sup></td>
        <td>{% m "P5" %}<sup>(1)</sup>, {% m "P1" %}<sup>(2)</sup>, {% m "m7" %}{% m "&darr;", 0 %}<sup>(2)</sup>, {% m "P1" %}<sup>(3)</sup></td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      {% gloss "partial", "Partials" %} (all of which are {% gloss "harmonic" %}) making up the {% gloss "timbre" %} of the guitar playing {% figref "intro" %}. Harmonics above the 10<sup>th</sup> are faint anyway, and so aren&rsquo;t considered here.
    </p>

    <p>
      All {% gloss "interval", "intervals" %} have been octave-reduced to be smaller than {% m "P8" %}, with the number of suppressed octaves given in superscript parentheses. Some intervals are smaller than their {% gloss "12 EDO", "12&nbsp;EDO" %} counterparts, and are marked as such; the &ldquo;{% m "m7" %}{% m "&darr;", 0 %}&rdquo; is a <a href="https://en.wikipedia.org/wiki/Harmonic_seventh">harmonic seventh</a>, which is considerably (&ap;{% m "31.2c" %}) flatter than a 12&nbsp;EDO {% m "m7" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  There&rsquo;s no particular preference for even or for odd harmonics; and yet, the harmonics are muffled seemingly at random, as if the fog that the sound is traveling through absorbs certain wavelengths better than others. The result is a strong emphasis on the {% m "M3" %}{% m "&minus;", 0 %}, and an unusual preference for the {% m "M2" %} over the less-dissonant {% m "m7" %}{% m "&darr;", 0 %} two harmonics below it.
</p>

<p>
  {% figref "intro" %} includes <a href="https://en.wikipedia.org/wiki/Tablature">tablature</a>, due to the significance of the open notes (i.e. notes played on unstopped strings, denoted by &ldquo;0&rdquo; in tablature). Open notes naturally have a shinier, more chimelike quality to them.
</p>

<p>
  Bells are known for their {% gloss "inharmonicity" %}, and <a href="https://en.wikipedia.org/wiki/Strike_tone">their bizarre distribution of amplitudes among their partials</a>. Ultimately, the scene painted by this short introductory figure is one of bells being rung in a belfry in the distance:
</p>

<ul>
  <li>{% gloss "timbre", "Timbral" %} structure, including the clear {% gloss "attack" %}, strange amplitude distribution of partials, and focus on {% m "M3" %}{% m "&minus;", 0 %} partials &amp; the dissonant {% m "M2" %} partial.</li>
  <li>Notes are left to ring, which also causes clearly-audible inharmonic <a href="https://en.wikipedia.org/wiki/Beat_(acoustics)">beating</a> effects.</li>
  <li>Slow pace (half-notes).</li>
  <li>Use of only four distinct pitches (even without {% gloss "pitchclass", "octave equivalence" %}).</li>
  <li>The <i>ritardando</i> toward the end.</li>
</ul>

{% h3 "intro-pitch-material-contour" %}Pitch-material &amp; contour{% endh3 %}

<p>
  The {% gloss "pc", "pcs" %} presented are {% m "{C#,D#,E#,F#}" %}. Although played rather like {% gloss "chord", "chords" %} (note the <i>laissez vibrer</i> indication), this is, pc-wise, just a diatonic <a href="https://en.wikipedia.org/wiki/Tetrachord">tetrachord</a> &mdash; perhaps implying {% m "F#" %} major. In particular, {% enmark "setclasses" %}{% gloss "setclass" %} {% m "4-11B" %},{% endenmark %} with the emphasis very much on the crunchy {% m "m2" %} {% gloss "interval" %} between {% m "E#" %} &amp; {% m "F#" %} in the bass.
</p>

<p>
  Perhaps more important is the {% gloss "melodic contour" %} of this figure:
</p>

<ul>
  <li>Each note is repeated twice in immediate succession.</li>
  <li>The melody repeats the following overall contour: go up twice, then down twice.</li>
  <li>When it re&auml;ppears, the &ldquo;mobile&rdquo; highest (read: most melodically prominent) note has descended by {% m "M2" %}.</li>
</ul>

<p>
  Some of this can be summarized by the <a href="https://en.wikipedia.org/wiki/Parsons_code">Parsons code</a> <code>*rururdr(d)</code>. All of this will be relevant to the rest of the piece.
</p>

{% h2 "the-a-section" %}The {% m "A", "form" %} section (<time datetime="PT0M15S">0:15</time> to <time datetime="PT0M41S">0:41</time>){% endh2 %}

<p>
  The intro opens up into {% m "A", "form" %} with a <a href="https://en.wikipedia.org/wiki/Snare_drum">snare</a> run (see: <i>{% gloss "drum notation" %}</i>):
</p>

{% fig "a-sect-full" %}
  {% ly "a-reduc", "Reduction of the &Lang;A&Rang; section" %}

  <details>
    <summary>Full score for the first iteration of this section</summary>

    {% ly "a", "Transcription of the &Lang;A&Rang; section" %}
  </details>

  <figcaption>
    <p>
      Reduction of (&amp; full score for) the {% m "A", "form" %} {% gloss "section" %}. Note that all guitars (including bass-guitar) are in drop {% m "C#" %}. Parentheses indicate ghost notes (played more softly than other notes), whereas square brackets indicate notes that have inconsistent presence.
    </p>
  </figcaption>
{% endfig %}

{% h3 "a-rhythm-and-meter" %}Rhythm &amp; meter{% endh3 %}

<p>
  At a tempo of roughly {% m "n4" %} &ap; 147, this section is marginally faster than the intro. But the <i>ritardando</i> at the end of the intro obscures this relationship anyway. Nevertheless, owing also to the change from {% m "c/" %} to {% m "c" %}, we get the feeling of a sudden increase in pace.
</p>

<p>
  The immediately striking aspect of {% m "A", "form" %} is its built-in {% gloss "meter", "metric" %} displacement: the drumkit &mdash; &amp; to a lesser extent, the bass-guitar &mdash; often follow the &ldquo;true&rdquo; meter (particularly, its <a href="https://en.wikipedia.org/wiki/Beat_(music)#Downbeat_and_upbeat">downbeats</a>); on the other hand, both guitars are a single eighth-note &ldquo;ahead&rdquo;, meaning that their &ldquo;downbeat&rdquo; is on {% gloss "counting", "the &ldquo;&amp; of 4&rdquo;" %}. The drumkit &amp; bass-guitar also flirt with this displacement as well, with the drumkit consistently placing a <a href="https://en.wikipedia.org/wiki/Bass_drum">kickdrum</a> hit on both the &ldquo;1&rdquo; <em>and</em> the &ldquo;&amp; of 4&rdquo;.
</p>

<p>
  Interestingly, the drumkit &amp; bass also flirt with the opposite displacement: the bass often comes down to its target bass note only just on the &ldquo;&amp; of 1&rdquo;, and the drumkit consistently emphasizes both the &ldquo;1&rdquo; and the &ldquo;&amp; of 1&rdquo; with kickdrum-backed open <a href="https://en.wikipedia.org/wiki/Hi-hat">hi-hat</a> hits. The overall effect is a subtly unstable meter that is, apparently, in three places at once.
</p>

<p>
  In most measures, the drumkit places a snare hit on the &ldquo;3&rdquo; and the &ldquo;a of 3&rdquo;, effectively dividing the latter half of each measure into {% m "3+3+2/16" %} = {% m "[n8. n8. n8]" %}.
</p>

{% h3 "a-melodic-contour" %}Melodic contour{% endh3 %}

<p>
  In the first guitar part (<dfn>guitar&nbsp;1</dfn>), the first four measures of {% m "A", "form" %} very faithfully recast the basic thematic material outlined in the {% headingref "intro-pitch-material-contour" %} section above. The only arguable difference is that the {% gloss "contour space", "c-seg" %} (rather than simply &ldquo;contour&rdquo; in the Parsons-code sense) is slightly different, owing to the fact that there are now two &ldquo;middle&rdquo; pitches instead of just one: {% m "<00114422 00113322>" %} instead of {% m "<00113311 00112211>" %}.
</p>

<p>
  The latter half (i.e. the following four measures) takes the basic {% m "<00112211>" %} segment and moves the entire thing up by (an {% gloss "interval" %} of) a second, rather than only moving the highest pitch.
</p>

<p>
  Thus, in addition to inheriting the <code>*rururdr(d)</code> contour of the intro, {% m "A", "form" %} also inherits the &ldquo;&lsquo;mobile&rsquo; melodic prominence self-differing by second&rdquo; aspect, and quadruply so: in guitar&nbsp;2, the high {% m "E" %} is responded to by the high {% m "D" %}; in guitar&nbsp;1, we have the three <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a>&ndash;{% gloss "hypermeter", "hyper&shy;metric" %} relationships illustrated in {% figref "a-periodic-contour" %} below.
</p>

{% h3 "a-texture" %}Texture{% endh3 %}

<p>
  The {% gloss "texture" %} of {% m "A", "form" %} is of particular interest for basically two reasons:
</p>

<ul>
  <li>This general sort of texture &mdash; especially in its more elaborate forms, as we&rsquo;ll later hear &mdash; is typical of Kidcrash, and as I want to argue, typical of much {% gloss "mathrock", "math&shy;rock" %}.</li>
  <li>This general sort of texture is also <strong>not</strong> well-described by any of the traditional textural categories of Western music theory.</li>
</ul>

<p>
  But first, we need to clarify the role of guitar&nbsp;2. We can see in {% figref "a-sect-full" %} that it mostly plays {% m "F#3" %}, and for this reason, {% m "A", "form" %} is not a shining example of this texture. Nevertheless, {% figref "a-sect-full" %} writes the {% m "F#3" %}s in two distinct voices, because those with stems pointing down are played <a href="https://en.wikipedia.org/wiki/Fret">fretted</a> (on the 5<sup>th</sup> fret), and those pointing up are on the open string (this is reflected in the tablature included in the full score in {% figref "a-sect-full" %}). We can think of the part played here by guitar&nbsp;2 as being a degenerate (in <a href="https://en.wikipedia.org/wiki/Degeneracy_(mathematics)">the mathematical sense</a>) version of the basic {% m "<00112211>" %} segment, where the {% gloss "c-pitch", "c-pitches" %} {% m "<0>", "c" %} and {% m "<1>", "c" %} have &mdash; in pitch-space &mdash; been identified.
</p>

<p>
  With this in mind, we can hear that the interplay between the three pitched instruments has the following general character&shy;istics (bearing in mind that more complex &amp; fleshed-out examples exist, and will come later):
</p>

{% fig "homeophony", "list" %}
  {% ol "homeophony", "a" %}
    <li>Two or more <strong>clearly</strong> dis&shy;cern&shy;ible pitched {% gloss "voice", "voices" %}. Each such voice has a <em>function&shy;ally</em> (that is, prac&shy;ti&shy;cal&shy;ly &amp; texturally) in&shy;de&shy;pend&shy;ent melody, even when <em><a href="https://en.wikipedia.org/wiki/Counterpoint">contra&shy;puntal</a></em> in&shy;de&shy;pend&shy;ence is absent.</li>
    <li>Only <dfn>quasi-in&shy;de&shy;pend&shy;ence</dfn> between voices. Similar {% gloss "motion" %} is common. Pa&shy;ral&shy;lel motion is some&shy;what common, but is typically {% enmark "scalewise" %}scale&shy;wise{% endenmark %} rather than fully (i.e. chromatically) parallel. Yet, contrary &amp; oblique motion are <em>also</em> fairly common, lending a considerable part of the feeling of in&shy;de&shy;pend&shy;ence. Classical principles of counter&shy;point are none&shy;the&shy;less frequently violated.</li>
    <li>Phrasal in&shy;de&shy;pend&shy;ence is remarkably limited, and all voices adhere to the same tempo &amp; basic grid of {% gloss "pulse", "pulses" %}. <em>However</em>, {% gloss "rhythm", "rhythms" %} may be constituted differently (e.g. {% m "[n4. n8]" %} vs. {% m "[n8 n4 n16 n16]" %} vs. {% m "[n4 n4]" %}) by different voices &mdash; and this may even extend to the {% gloss "meter" %} being {% gloss "syncopation", "syncopated" %} differently by different voices.</li>
    <li>More-or-less free use of arbitrary melodic {% gloss "interval" %} sizes, from {% m "P1" %} and {% m "m2" %}, all the way up to small <a href="https://en.wikipedia.org/wiki/Interval_(music)#Compound_intervals">compound intervals</a>, and anything in between. For example, dissonances are in no way compelled to resolve by <a href="https://en.wikipedia.org/wiki/Steps_and_skips">step</a>. Entirely arbitrary <a href="https://en.wikipedia.org/wiki/Voice_crossing">voice-crossing</a> is not at all unusual.</li>
  {% endol %}

  <figcaption>
    <p>
      Description of a musical {% gloss "texture" %} that I will provisionally call <dfn>home&shy;ophony</dfn>. <strong>Not</strong> to be confused with <i>homo&shy;phony</i>.
    </p>
  </figcaption>
{% endfig %}

<p>
  This texture is not well-described by any traditional terminology, as can be demonstrated by process of elimination:
</p>

<dl>
  <dt><a href="https://en.wikipedia.org/wiki/Counterpoint">Counterpoint</a></dt>
  <dd>
    <p>
      Per {% figref "homeophony", "list", "b", true %}, voices are only <em>quasi</em>-independent, frequently violating contrapuntal norms.
    </p>

    <p>
      Moreover, per {% figref "homeophony", "list", "c", true %}, the lack of phrasal independence produces further distance from &ldquo;counter&shy;point&rdquo; in the usual sense.
    </p>
  </dd>

  <dt><a href="https://en.wikipedia.org/wiki/Homorhythm">Homorhythm</a></dt>
  <dd>
    <p>
      Per {% figref "homeophony", "list", "c", true %}, voices may have independent rhythms, in spite of phrase boundaries &amp; tempi generally being dependent.
    </p>

    <p>
      Moreover, home&shy;ophony does not necessarily produce block-{% gloss "chord", "chords" %} &mdash; unlike homorhythm, which can be thought of as a sequence of block-chords.
    </p>
  </dd>

  <dt><a href="https://en.wikipedia.org/wiki/Homophony">Homophony</a></dt>
  <dd>
    <p>
      Although some examples of home&shy;ophony can technically be described as homophony (albeit not necessarily usefully so), others cannot, owing to the lack of distinction between &ldquo;main melody&rdquo; and &ldquo;accompaniment&rdquo;. This lack of distinction is even further heightened by {% figref "homeophony", "list", "d", true %}.
    </p>
  </dd>

  <dt><a href="https://en.wikipedia.org/wiki/Heterophony">Heterophony</a></dt>
  <dd>
    <p>
      This is perhaps the most interesting comparison. However, {% figref "homeophony", "list", "c", true %} ensures that there&rsquo;s not enough independence in tempi or phrase boundaries to make the term <i>heterophony</i> useful.
    </p>

    <p>
      Moreover, home&shy;ophony does not necessitate that the voices be variations of a single melody, which is the main requirement for heterophony.
    </p>
  </dd>
</dl>

<p>
  In the specific context of the {% m "A", "form" %} section of &ldquo;Turtlelephant&rdquo;:
</p>

<ol type="a">
  <li>The satisfaction of {% figref "homeophony", "list", "a", true %} consists in the three guitars (bass-guitar included) being in&shy;de&shy;pend&shy;ent enough that we hear three simul&shy;tane&shy;ous melodies.</li>
  <li>Then {% figref "homeophony", "list", "b", true %} is satisfied given that, although the bass is largely in&shy;de&shy;pend&shy;ent of the other two voices &mdash; thus lending an aspect of true counterpoint &mdash; the two other guitars are not: the high-pitch gestures of guitars&nbsp;1 &amp; 2 happen simul&shy;tane&shy;ous&shy;ly, producing clear similar motion &mdash; and indeed, the two melodies have one &amp; the same underlying contour, as discussed above. Still, they have plenty of oblique motion as well.</li>
  <li>All voices have the same tempo and (again, especially in the non-bass guitars) basically identical phrase boundaries, so {% figref "homeophony", "list", "c", true %} is satisfied.</li>
  <li>The freedom of {% figref "homeophony", "list", "d", true %} is evinced by the melodic use of virtually every interval (at least, ignoring {% gloss "interval quality", "quality" %}) from {% m "P1" %} through {% m "P8" %}.</li>
</ol>

<p>
  Traditional texture types do not observe unpitched material. It&rsquo;s nevertheless worth noting that, owing to a rock-music heritage, drumkit is frequently a meaningful part of the texture &mdash; as in this case. Perhaps this is relevant to {% figref "homeophony", "list", "c", true %}.
</p>

{% h4 "a-normalization" %}Normalized motion{% endh4 %}

<p>
  As a result of {% figref "homeophony", "list", "d" %}, poly&shy;phon&shy;ic melodic {% gloss "interval", "intervals" %} should be treated slightly differently in music that makes use of home&shy;ophony. In particular, we&rsquo;ll be using <dfn>normalized motion</dfn>, for which you may refer to {% gloss "normalized motion", "the relevant glossary entry" %}.
</p>

<p>
  In addition to its natural theoretic under&shy;pin&shy;nings, normalized motion makes {% gloss "voice", "voice-leading" %} relation&shy;ships in home&shy;ophon&shy;ic textures clearer.
</p>

<p>
  Throughout this essay, normalized motion will generally be the default. Un&shy;normal&shy;ized motions may also be provided for comparison, and in cases where individual motions are considered, those that are changed in any way by normal&shy;iza&shy;tion will be prefixed with &vArr;.
</p>

{% h3 "a-pitch-material" %}Pitch-material{% endh3 %}

{% fig "a-sect-pitch" %}
  {% ly "a-pitch-reduc", "Pitch-material-only reduction of &Lang;A&Rang;" %}

  <figcaption>
    <p>
      {% gloss "pitch-material", "Pitch-material" %}-only reduction of {% m "A", "form" %}. Guitar&nbsp;1 is represented by <span style="color: #009e73;">blue-green</span> noteheads, guitar&nbsp;2 by <span style="color: #d55e00;">red-orange</span> noteheads, and the bass by black noteheads. Notes whose {% gloss "pitchclass", "pitchclasses" %} are already represented within the same chord have smaller noteheads.
    </p>
  </figcaption>
{% endfig %}

<p>
  Because this {% gloss "section" %} is primarily melodic (in particular, primarily {% gloss "homeophony", "home&shy;ophon&shy;ic" %}), the pitch-material is best described as simply &ldquo;<a href="https://en.wikipedia.org/wiki/F-sharp_minor">{% m "F#" %} minor</a>&rdquo;. The centricity is pretty clear (making this not {% m "A" %} major, nor any other {% gloss "mode" %}), although there is just one non<a href="https://en.wikipedia.org/wiki/Diatonic_scale">diatonic</a> pitch: {% m "A#" %} in the bass. We might try to understand the {% m "A#" %} by appeal to traditional harmonic analysis, but this turns out to be of limited utility:
</p>

{% fig "a-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">1&ndash;2</th>
        <th scope="col">3</th>
        <th scope="col" colspan="2">4</th>
        <th scope="col">5&ndash;6</th>
        <th scope="col">7</th>
        <th scope="col" colspan="2">8</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">{% m "F#-7", "chord" %}</td>
        <td class="center">{% m "Dmaj13" %}</td>
        <td class="center">{% m "B-9", "chord" %}</td>
        <td class="center">{% m "F#inv1" %}</td>
        <td class="center">{% m "Dmaj9#11inv1" %}</td>
        <td class="center">{% m "Dadd2" %}</td>
        <td class="center">{% m "Dadd2/E" %}</td>
        <td class="center">{% enmark "a-m-8-5" %}{% m "F#-7b13inv2" %}{% endenmark %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td class="center">{% m "i7" %}</td>
        <td class="center">{% m "bVImaj13" %}</td>
        <td class="center">{% m "iv9" %}</td>
        <td class="center">{% m "Iinv1" %}</td>
        <td class="center">{% m "bVImaj9#11inv1" %}</td>
        <td colspan="2" class="center">{% m "bVI" %}</td>
        <td class="center">{% enmark "a-m-8-5" %}{% m "i7b13inv2" %}{% endenmark %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Attempted traditional harmonic analysis of {% m "A", "form" %}. Each column corresponds to one bass note in {% figref "a-sect-pitch" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  As analyzed in {% figref "a-harm", "table" %}, none of the harmonic {% gloss "progression", "progressions" %} here are necessarily classically &ldquo;invalid&rdquo;, with the exception of a conspicuously &ldquo;missing&rdquo; {% m "V" %} to connect the {% m "i7inv2" %} at the end to the tonic at the beginning, which would produce a {% m "iinv2--V--i" %} progression typical of classical minor harmony.
</p>

<p>
  But none of this <em>really</em> explains the {% m "A#" %}, and more worryingly, doesn&rsquo;t explain how the pitch-material here still manages to feel like it has meaningful tonal movement, or pull, from start to end &mdash; and, importantly, from end back to start.
</p>

<p>
  Although there&rsquo;s no way to squeeze any kind of dominant chord out of the end of {% m "A", "form" %}, I&rsquo;d argue that what I&rsquo;ve analyzed as a &ldquo;{% m "b13", "fact" %}&rdquo; acts as a semitonal upper <a href="https://en.wikipedia.org/wiki/Nonchord_tone#Neighbor_tone_2">neighbor</a> to the 5<sup>th</sup> factor of the tonic triad (or tonic seventh-chord, in this case). This is particularly significant due to the prominence of {% m "C#" %} in mm. 1&ndash;2. Moreover, the simple fact of the {% m "5^" %} being in the bass already has significant harmonic implications on its own &mdash; even though this is no classical <a href="https://en.wikipedia.org/wiki/Cadence">cadence</a>.
</p>

<p>
  We hear the {% m "Iinv1" %} in a place where we might classically expect {% m "iinv1" %}, making this classifiable as &ldquo;<a href="https://en.wikipedia.org/wiki/Borrowed_chord">modal mixture</a>&rdquo; (in particular, from the <a href="https://en.wikipedia.org/wiki/Parallel_key">parallel</a> major). But given the apparently &ldquo;dominant&rdquo; {% gloss "functional notation", "functional" %} intent, this is roughly as far as you could get from a <a href="https://en.wikipedia.org/wiki/Picardy_third"><i lang="fr">tierce picarde</i></a> &mdash; and I just generally don&rsquo;t think this to be an adequate description. Instead, the effect that we hear comes from two sources:
</p>

<ul>
  <li>The {% m "A#" %} is the only pitch that we hear that isn&rsquo;t diatonic to {% m "F#" %} minor, thus making it a source of some dissonance already.</li>
  <li>The intended harmonic progression is that of {% m "M3" %}-related major triads, whose efficient <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a> is ensured by the near-evenness of major triads{% cite "GeomMusic" %}: {% m "I--bVI" %}. The alteration from {% m "i" %} to {% m "I" %} is what gives this progression its &ldquo;bite&rdquo;: rather than there being a common tone of {% m "An" %}, we have {% m "A#" %} as a chromatic upper neighbor that resolves downward strongly by semitone.</li>
</ul>

<p>
  So, perhaps un&shy;surprising&shy;ly, the behavior of the pitch-material in the home&shy;ophon&shy;ic {% m "A", "form" %} section is driven by <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a>. Let&rsquo;s take a look at guitar&nbsp;1 in particular:
</p>

{% fig "a-gtr-one-vl", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">1&ndash;2</th>
        <th scope="col">&rarr;</th>
        <th scope="col">3&ndash;4</th>
        <th scope="col">&rarr;</th>
        <th scope="col">5&ndash;6</th>
        <th scope="col">&rarr;</th>
        <th scope="col">7&ndash;8</th>
        <th scope="col">&rarr; &#x1d107;</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" rowspan="4">{% gloss "voice", "voic&shy;es" %}</th>
        <td>{% m "C#" %}</td>
        <td class="right">&minus;2</td>
        <td>{% m "B" %}</td>
        <td class="right">&minus;3</td>
        <td>{% m "G#" %}</td>
        <td class="right">+1</td>
        <td>{% m "A" %}</td>
        <td class="right">+4</td>
      </tr>
      <tr>
        <td>{% m "F#" %}</td>
        <td class="right">0</td>
        <td>{% m "F#" %}</td>
        <td class="right">&minus;4</td>
        <td>{% m "D" %}</td>
        <td class="right">+2</td>
        <td>{% m "E" %}</td>
        <td class="right">+2</td>
      </tr>
      <tr>
        <td>{% m "C#" %}</td>
        <td class="right">0</td>
        <td>{% m "C#" %}</td>
        <td class="right">0</td>
        <td>{% m "C#" %}</td>
        <td class="right">+1</td>
        <td>{% m "D" %}</td>
        <td class="right">&minus;1</td>
      </tr>
      <tr>
        <td>{% m "A" %}</td>
        <td class="right">0</td>
        <td>{% m "A" %}</td>
        <td class="center" colspan="5">(0)</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row">{% enmark "poly-mot-notation" %}mot&shy;ion{% endenmark %}</th>
        <td colspan="2" class="right">{% m "{o3}" %}</td>
        <td colspan="2" class="right">{% m "{o2i}" %}</td>
        <td colspan="2" class="right">{% m "{i2p}" %}</td>
        <td colspan="2" class="right">{% m "{c2s}" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      Voice-leading of the guitar&nbsp;1 part of {% m "A", "form" %}. {% gloss "Interval" %} sizes are in semitones. Note that the lowest voice is only present in mm. 1&ndash;4.
    </p>
  </figcaption>
{% endfig %}

<p>
  It&rsquo;s worth noting that none of the voices ever move by more than four semi&shy;tones at a time; that is, they always move by two {% gloss "scale" %} steps or less. More importantly, however, the sole instance of contrary {% gloss "motion" %} (specifically <em>within</em> this part, that is) is at the boundary from {% gloss "m." %} 8 back to m. 1. This almost certainly lends much of the tonal effect of resolution back to the {% m "i7" %}.
</p>

<p>
  In fact, the &ldquo;cadential&rdquo; motion is {% enmark "strength" %}{% m "{c2s}" %}, which is the strongest possible motion between three voices{% endenmark %}. This contrasts strongly with the other motions noted in {% figref "a-gtr-one-vl", "table" %}, which indeed get progress&shy;ive&shy;ly weaker before arriving at the {% m "{c2s}" %}.
</p>

<p>
  I should remark that, although the traditional harmonic analysis is of limited use on its own, it does give us a taste of what is to come. We&rsquo;ll later hear that Kidcrash&rsquo;s pitch-material language is unique enough that it requires non&shy;traditional analytical frameworks, to be developed in later sections.
</p>

{% h3 "a-dynamics" %}Dynamics{% endh3 %}

<p>
  Mutually re&iuml;nforcing the harmonic movement are the {% gloss "dynamics" %} of {% m "A", "form" %}. We get a kind of crescendo during m. 4 &amp; m. 8 (as indicated in {% figref "a-sect-full" %}), followed by a sudden drop back to the usual {% m "mf" %}.
</p>

<p>
  Although we&rsquo;ve yet to arrive at <a href="https://en.wikipedia.org/wiki/Distortion_(music)">distorted</a> guitars, {% personage "Ciro Scotto", false, false, "Person" %}&rsquo;s notion of {% gloss "dist-space" %} is already relevant here:
</p>

{% bq "StructDist" %}
  <p>
    [T]he <a href="https://en.wikipedia.org/wiki/Pink_noise">pink noise</a> spectrum of the <a href="https://en.wikipedia.org/wiki/Cymbal">cymbals</a> underscores, supports, and imitates the sound of the higher {% gloss "harmonic", "harmonics" %} of the distortion sounds found at the upper end of {% gloss "dist-space" %}.
  </p>
{% endbq %}

<p>
  In this case, it&rsquo;s primarily the drummer&rsquo;s switch to strong, <em>continuous</em> hits of the <em>open</em> <a href="https://en.wikipedia.org/wiki/Hi-hat">hi-hat</a> &mdash; as opposed to the rest of the section&rsquo;s soft hits of closed hi-hat, interspersed with similarly soft &amp; brief bursts of open hi-hat &mdash; that transiently swell the song&rsquo;s {% gloss "dist-pitch" %}, producing some intra&shy;sectional dynamism.
</p>

<p>
  The implication is a buildup to something &mdash; along with increased dissonance in want of resolution, further propelling the pitch-material. But that &ldquo;something&rdquo; only really arrives in the next section.
</p>

{% h3 "a-periodicity" %}Periodicity{% endh3 %}

<p>
  The {% m "A", "form" %} section is a good example of a structure that we&rsquo;ll hear throughout the piece: a <a href="https://en.wikipedia.org/wiki/Period_(music)">period</a>-based bifurcating {% gloss "hypermeter", "hyper&shy;metric" %} structure that I will refer to as <dfn>periodic structure</dfn> throughout this essay.
</p>

<p>
  The use of bifurcating methods of {% gloss "timing" %} organization is so common in music that it&rsquo;s built into Western music notation: the whole-note {% m "[n1]" %} divides into two half-notes {% m "[n2 n2]" %}, which each divide into two quarter-notes {% m "[n4 n4 n4 n4]" %}, and so on. At the hyper&shy;metric level, {% gloss "meter", "measures" %} are commonly grouped into <a href="https://en.wikipedia.org/wiki/Power_of_two">powers of two</a>: groups of 4 measures, 8 measures, etc..
</p>

<p>
  But the bifurcation found throughout {% track "Turtlelephant", "Jokes", "Kidcrash", "2007" %} is particularly systematic, frequently having multiple nested layers of hyper&shy;metric bifurcation (reminiscent of a <a href="https://en.wikipedia.org/wiki/Binary_tree#Types_of_binary_trees">perfect binary tree</a>), with a clearly-articulated relationship between the two &ldquo;legs&rdquo; of each bifurcation. This allows for a high degree of internal coherence within each {% gloss "section" %}, even when the section is otherwise complex.
</p>

<p>
  In the case of {% m "A", "form" %}, its structure is outlined in {% figref "a-periodic-struct", "table" %}:
</p>

{% fig "a-periodic-struct", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="4" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="2" class="left">1</th>
        <th scope="col" colspan="2" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" class="left">1.1</th>
        <th scope="col" class="left">1.2</th>
        <th scope="col" class="left">2.1</th>
        <th scope="col" class="left">2.2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col" class="left">1, 2</th>
        <th scope="col" class="left">3, 4</th>
        <th scope="col" class="left">5, 6</th>
        <th scope="col" class="left">7, 8</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "me&shy;ter" %}</th>
        <td class="center music">{% m "4/4" %}, {% m "4/4" %}</td>
        <td class="center music">{% m "4/4" %}, {% m "4/4" %}</td>
        <td class="center music">{% m "4/4" %}, {% m "4/4" %}</td>
        <td class="center music">{% m "4/4" %}, {% m "4/4" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="3">tot&shy;al</th>
        <td class="center">{% m "8/4" %}</td>
        <td class="center">{% m "8/4" %}</td>
        <td class="center">{% m "8/4" %}</td>
        <td class="center">{% m "8/4" %}</td>
      </tr>
      <tr>
        <td colspan="2" class="center">{% m "16/4" %}</td>
        <td colspan="2" class="center">{% m "16/4" %}</td>
      </tr>
      <tr>
        <td colspan="4" class="center">{% m "32/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The periodic structure of {% m "A", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Because of the typically deep nesting, I will be stretching the term <dfn>hyper&shy;beat</dfn> to include groups of one <em>or sometimes more</em> measures, so that the <dfn>hyper&shy;measure</dfn> (AKA <dfn>hyper&shy;bar</dfn>) can sit at a higher level. Then, hyper&shy;beats are numbered &ldquo;<var>h</var>.<var>b</var>&rdquo;, where <var>h</var> is the hyper&shy;measure number, and <var>b</var> is the position within that hyper&shy;measure.
</p>

<p>
  This section is constructed via <dfn>bisection</dfn> (or conversely, doubling): the special case of bifurcation where the two legs are symmetric. Moreover, this bisection continues even at &amp; below the {% gloss "meter", "metric" %} level!:
</p>

<ol class="fake-ul">
  <li>each hyper&shy;beat is bisected into two measures of {% m "4/4" %},</li>
  <li>each of which is bisected into an ascending half &amp; a descending half,</li>
  <li>each of which is bisected into two distinct notes,</li>
  <li>each of which is bisected into a sequence of two identical eighth-notes.</li>
</ol>

<p>
  The result is thus <em>extremely</em> regular, and more straight&shy;forward than some of the more complicated examples that we&rsquo;ll hear later in the piece.
</p>

<p>
  The organization of {% m "A", "form" %} into hyper&shy;beats of <span class="music">{% m "4/4" %}+{% m "4/4" %}</span> is made obvious by the non-bass guitar parts, where each chord takes up two measures each. The periodic structure being eight measures in extent is also obvious, because the whole thing repeats at that point. But it&rsquo;s worth pointing out how the four-measure hyper&shy;measure is also clearly articulated:
</p>

<ul>
  <li>At every hyper&shy;measure transition, we have strong <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a> that resolves some kind of dissonance: from m. 4 &rarr; m. 5, <a href="#a-pitch-material">the {% m "I--bVI" %} discussed above</a>; and from m. 8 &rarr; m. 1, the {% m "{c2s}" %} {% gloss "motion" %} ({% m "i7b13inv2--i" %}) also discussed above.</li>
  <li>The bass&shy;line is clearly divided at the hyper&shy;bar&shy;line, as made explicit by the reduction in {% figref "a-sect-pitch" %}.</li>
  <li>The drumkit part is also clearly divided at the hyper&shy;bar&shy;line, anticipating each such line with the crescendo discussed in {% headingref "a-dynamics" %}.</li>
</ul>

<p>
  Perhaps most notably, the repeated eight-measure grouping is not just a period in name alone. The periodic structure in {% figref "a-periodic-struct", "table" %} is crucially reflected in the melodic contour &mdash; specifically, in responses that differ by second:
</p>

{% fig "a-periodic-contour" %}
  {% ly "a-period-contour", "Reduction of the guitar&ndash;1 part" %}

  <figcaption>
    <p>
      A reduction of the guitar&nbsp;1 part, making explicit the nested periodic structure of the melodic contour. {% gloss "interval", "Intervals" %} are given in semitones.
    </p>
  </figcaption>
{% endfig %}

{% h2 "the-a-prime-section" %}The {% m "A'", "form" %} section (<time datetime="PT0M41S">0:41</time> to <time datetime="PT0M55S">0:55</time>){% endh2 %}

<p>
  This section is very nearly a repeat of the previous section, but at a considerably higher {% gloss "dist-pitch" %}. Some of the dist-pitch increase is from the non-bass guitars now being massively distorted. The guitars in {% m "A", "form" %} were lightly overdriven &mdash; a bit of &ldquo;dirt&rdquo; on them, so to speak &mdash; but now they come in full force.
</p>

<p>
  The distorted guitar {% gloss "timbre" %} used throughout <cite>Jokes</cite> is perhaps jarring when contrasted with the (nearly-)clean timbres used by the same instruments elsewhere in the same work. Kidcrash have no issue going from the shimmering, slightly-jangly clean guitar tones that might be expected of, say, {% gloss "midwest emo" %}, directly into screeching guitars that are fuzzy to the point of near-inscrutability.
</p>

<p>
  There is, however, a lot of nuance to be had here. Not only are the guitar timbres far from binary &mdash; as evidenced by, for example, the light distortion of {% m "A", "form" %} &mdash; but there&rsquo;s frequently no direct correspond&shy;ence between the dist-pitch of the guitars and the dist-pitch of the simultaneously-playing drumkit. Furthermore, we might reasonably wonder: what&rsquo;s up with the &ldquo;screeching&rdquo;?
</p>

{% h3 %}Scooping &amp; screeching{% endh3 %}

{% aside %}
  <p>
    A common descriptor for distorted guitar timbres is that they are <dfn>scooped</dfn>. This means that {% enmark "freq-range-names" %}the mid-range of the guitar&rsquo;s frequency components have been &ldquo;scooped&rdquo; out (by twiddling the knobs on an <a href="https://en.wikipedia.org/wiki/Guitar_amplifier">amplifier</a>, or similar), leaving behind mostly the low &amp; high ranges{% endenmark %}. The basic idea is that the mid-range can give the guitar some (undesirable) &ldquo;honk&rdquo; or &ldquo;tubbiness&rdquo;, whereas the low-range can give the timbre more &ldquo;heaviness&rdquo; or &ldquo;oomph&rdquo;, and the high-range has most of the important artifacts of distortion.
  </p>

  <p>
    The problem with the &ldquo;scooped&rdquo; sound is that, when taken to an extreme, it doesn&rsquo;t work well in <a href="https://en.wikipedia.org/wiki/Audio_mixing_(recorded_music)">a mix</a>: the bass-guitar &amp; kickdrum compete with the remaining low-end, and the drums, cymbals, &amp; potentially vocals compete with the remaining high-end. {% album "&hellip;And Justice for All", "Metallica", "1988" %} infamously has inaudible bass-guitar tracks, at least in part to avoid competition with the other guitars&rsquo; scooped timbres. Indeed, the use of this term is associated almost exclusively with <a href="https://en.wikipedia.org/wiki/Heavy_metal_music">heavy metal</a>; another exemplar is {% album "Cowboys From Hell", "Pantera", "1990" %}.
  </p>
{% endaside %}

<p>
  Putting aside the complexity of the situation (e.g. how much {% enmark "freq-range-names" %}&ldquo;mids&rdquo;{% endenmark %} did the <abbr title="[guitar] amplifier">amp</abbr> have to begin with?) and the deeply subjective nature of what makes a timbre &ldquo;good&rdquo;, Kidcrash are <em>not</em> playing heavy metal, and the highly-distorted guitar timbres on <cite>Jokes</cite> are <em>not</em> represent&shy;ative of &ldquo;scooped tone&rdquo; in the usual sense.
</p>

<p>
  Nonetheless, taking a look at a spectrum visualization for {% m "A", "form" %} and for {% m "A'", "form" %} reveals that {% m "A'", "form" %} has a distinct bump in the 2 to 3&it;&nbsp;k<a href="https://en.wikipedia.org/wiki/Hertz">Hz</a> range, with a peak at &ap;2.5&it;&nbsp;kHz or so. This makes the range from roughly 500&it;&nbsp;Hz to 2&it;&nbsp;kHz sound comparatively &ldquo;scooped&rdquo;. This bump&rsquo;s position is right around the nadir of the usual <a href="https://en.wikipedia.org/wiki/Equal-loudness_contour">equal-loudness contour</a>, meaning that human auditory perception is particularly sensitive to this frequency range. This lends the &ldquo;screeching&rdquo; or &ldquo;nasal&rdquo; sound to the guitar distortion that is typical of the highest {% gloss "dist-pitch", "dist-pitches" %} of <cite>Jokes</cite>.
</p>

<p>
  Another aspect of this same guitar timbre is its &ldquo;fuzziness&rdquo;. This is basically a way of saying that the distortion is so heavily <a href="https://en.wikipedia.org/wiki/Clipping_(audio)">clipped</a> that the intel&shy;ligibility of the result noticeably suffers. In some ways, this is an unfortunate artifact of the way that <cite>Jokes</cite> was produced. Still, the silver linings are that this album has a very distinctive sound, and that its highest dist-pitches can have a special intensity to them.
</p>

{% h3 "a-prime-percussion" %}Percussion{% endh3 %}

{% fig "a-prime-drums" %}
  {% ly "a-prime-drums", "The drumkit part of &Lang;A&prime;&Rang;" %}

  <figcaption>
    <p>
      The drumkit part of {% m "A'", "form" %}. The last two measures of {% m "A", "form" %} are included.
    </p>
  </figcaption>
{% endfig %}

<p>
  The drumkit part does, however, differ from its {% m "A", "form" %} counterpart. The mark&egrave;d use of a snare <a href="https://en.wikipedia.org/wiki/Drum_rudiment#Flam">flam</a> leads into m. 1 of {% m "A'", "form" %}, which switches to a <a href="https://en.wikipedia.org/wiki/Crash_cymbal">crash cymbal</a> in place of the hi-hat.
</p>

<p>
  The intensity differences among cymbal hits leads to clearly-audible gradations in dist-pitch. As such, {% figref "a-prime-drums" %} notates three distinct basic levels: <a href="https://en.wikipedia.org/wiki/Ride_cymbal">ride cymbal</a> = {% m "<0>", "c" %}, accented ride = {% m "<1>", "c" %}, and crash = {% m "<2>", "c" %}.
</p>

<p>
  A somewhat interesting aural aspect of the cymbals is that the crash hits <i>per se</i> (at least, the {% m "<2>", "c" %} ones) often fail to emerge from the mix, leaving only the wash of <a href="https://en.wikipedia.org/wiki/Pink_noise">pink noise</a> that trails them to inform the listener retrospect&shy;ively that they were supposed to have just heard a crash hit.
</p>

<p>
  Otherwise, this part is similar to that of {% m "A", "form" %}, but with two exceptions. One is that the ride sometimes gets a sixteenth-note <a href="https://en.wikipedia.org/wiki/Heavy_metal_gallop">gallop</a> {% m "[n8 n16 n16]" %} on {% gloss "counting", "beat&nbsp;3" %}. More importantly, the final measure is quite different: the 3+3+2 division merely suggested by the snare placements of {% m "A", "form" %} is now elaborated into a fully-fledged measure of {% m "3+3+2/8" %}. By using snare flams, and by placing those flams on the {% gloss "meter", "onbeats" %} (of {% m "3+3+2/8" %}) and the crash-&amp;-kickdrum hits on the offbeats, we get a fairly intense {% gloss "syncopation" %} that forcefully propels the music to the next measure &mdash; and ultimately, the next section.
</p>

{% h2 "the-b-section" %}The {% m "B", "form" %} section (<time datetime="PT0M55S">0:55</time> to <time datetime="PT1M15S">1:15</time>){% endh2 %}

{% fig "b-full" %}
  {% ly "b", "Transcription of the &Lang;B&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "B", "form" %} section.
    </p>
  </figcaption>
{% endfig %}

{% h3 "b-texture" %}Texture{% endh3 %}

<p>
  Like {% m "AA'", "form" %}, {% m "B", "form" %} is primarily {% gloss "homeophony", "home&shy;ophon&shy;ic" %}. But befitting its position further into the piece, this {% gloss "texture" %} is more fully developed. We now have four {% gloss "voice", "voices" %} (sometimes five, when <a href="https://en.wikipedia.org/wiki/Double_stop">double-stops</a> occur) rather than three, enabled by guitar&nbsp;2 producing a rhythmic <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a> on {% m "F#3" %} via the strategic use of that open {% enmark "string-numbering" %}&#x2462;<sup>rd</sup> string{% endenmark %}. We also have a greater variety of {% gloss "motion" %}, although this is somewhat blurred by the fact that the highest three voices (i.e. guitars 1 &amp; 2) are all in roughly the same register, leading to numerous <a href="https://en.wikipedia.org/wiki/Voice_crossing">voice-crossings</a>.
</p>

<p>
  By briefly ignoring the pedal&shy;point voice, we can statistic&shy;ally char&shy;ac&shy;ter&shy;ize the motion in {% m "B", "form" %}:
</p>

{% fig "b-motion", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col" colspan="2">{% gloss "motion", "mot&shy;ion type" %}</th>
        <th scope="col">count</th>
        <th scope="col">pre&shy;val&shy;ence</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" colspan="2">cont&shy;ra&shy;ry</th>
        <td class="right">26</td>
        <td class="right">21.5%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">ob&shy;lique</th>
        <td class="right">54</td>
        <td class="right">44.6%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">sim&shy;il&shy;ar</th>
        <td class="right">23</td>
        <td class="right">19.0%</td>
      </tr>
      <tr>
        <th scope="row" rowspan="2">pa&shy;ral&shy;lel</th>
        <th scope="row">im&shy;per&shy;fect</th>
        <td class="right">10</td>
        <td class="right">8.3%</td>
      </tr>
      <tr>
        <th scope="row">per&shy;fect</th>
        <td class="right">8</td>
        <td class="right">6.6%</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" colspan="2">[<i>tot&shy;al</i>]</th>
        <td class="right">121</td>
        <td class="right">100.0%</td>
      </tr>
    </tfoot>
  </table>

  <details>
    <summary>Un&shy;{% gloss "normalized motion", "normalized" %} version of the above</summary>

    <table>
      <thead>
        <tr>
          <th scope="col" colspan="2">{% gloss "motion", "mot&shy;ion type" %}</th>
          <th scope="col">count</th>
          <th scope="col">pre&shy;val&shy;ence</th>
        </tr>
      </thead>
      <tbody>
        <tr>
          <th scope="row" colspan="2">cont&shy;ra&shy;ry</th>
          <td class="right">25</td>
          <td class="right">20.7%</td>
        </tr>
        <tr>
          <th scope="row" colspan="2">ob&shy;lique</th>
          <td class="right">54</td>
          <td class="right">44.6%</td>
        </tr>
        <tr>
          <th scope="row" colspan="2">sim&shy;il&shy;ar</th>
          <td class="right">26</td>
          <td class="right">21.5%</td>
        </tr>
        <tr>
          <th scope="row" rowspan="2">pa&shy;ral&shy;lel</th>
          <th scope="row">im&shy;per&shy;fect</th>
          <td class="right">9</td>
          <td class="right">7.4%</td>
        </tr>
        <tr>
          <th scope="row">per&shy;fect</th>
          <td class="right">7</td>
          <td class="right">5.8%</td>
        </tr>
      </tbody>
      <tfoot>
        <tr>
          <th scope="row" colspan="2">[<i>tot&shy;al</i>]</th>
          <td class="right">121</td>
          <td class="right">100.0%</td>
        </tr>
      </tfoot>
    </table>
  </details>

  <figcaption>
    <p>
      Quant&shy;ification of poly&shy;phonic motion in {% gloss "m.", "mm." %} 1&ndash;12 of {% m "B", "form" %}. The lower-pitched note of each <a href="https://en.wikipedia.org/wiki/Double_stop">double-stop</a> is ignored for simplicity.
    </p>

    <p>
      <math>
        <mrow>
          <mo>(</mo>
          <mfrac linethickness="0">
            <mn>3</mn>
            <mn>2</mn>
          </mfrac>
          <mo>)</mo>
        </mrow>
        <mo>=</mo>
        <mn>3</mn>
      </math> (pairwise) instances &mdash; or just 2 instances, if only one {% gloss "voice" %} moves &mdash; of one of the five types of motion are recorded for each move&shy;ment of any voice (pedal&shy;point excluded).
    </p>
  </figcaption>
{% endfig %}

<p>
  Even considering classical motion types alone, there&rsquo;s more than enough contrary &amp; oblique motion to keep the three (or four, or five) voices clearly separate. The statistical method in {% figref "b-motion", "table" %} is consistent with, and relies solely upon, pairwise definitions of motion; but it tends to somewhat overrepresent oblique motion. If it helps, we can simplify further by dichotomizing motion into contrary &amp; {% gloss "anticontrary", "anti&shy;contrary" %}, ignoring oblique motion entirely; this gets a prevalence of 38.8% &amp; 61.2% (a ratio of roughly 2&ratio;3), respectively, which is an impressive showing indeed for a piece not written &ldquo;as <a href="https://en.wikipedia.org/wiki/Counterpoint">counter&shy;point</a>&rdquo; at all.
</p>

<p>
  But at the same time, there&rsquo;s likely more anti&shy;contrary motion, and certainly more perfect parallel motion (6.6%), than we&rsquo;d expect from a piece obeying classical contra&shy;puntal principles. Moreover, the liberal use of <a href="https://en.wikipedia.org/wiki/Voice_crossing">voice-crossing</a> and large melodic intervals is also arguably inconsistent with classical principles.
</p>

<p>
  The almost complete lack of phrasal in&shy;depend&shy;ence among all voices further contributes to the lack of true contra&shy;puntal texture. Never&shy;the&shy;less, the use of sometimes different {% gloss "rhythm", "rhythmic" %} sub&shy;divisions in the different voices still produces a decent amount of rhythmic in&shy;depend&shy;ence <em>in general</em>, and results in much of the observed oblique motion.
</p>

<p>
  Just to be absolutely sure, we might want to make a direct comparison with an archetype of classical counter&shy;point. By picking a {% personage "Bach", "Johann Sebastian Bach", false, "Person" %} <a href="https://en.wikipedia.org/wiki/Chorale">chorale</a> at random, we can do just that:
</p>

{% fig "bwv-1089-motion", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col" colspan="2">{% gloss "motion", "mot&shy;ion type" %}</th>
        <th scope="col">count</th>
        <th scope="col">pre&shy;val&shy;ence</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" colspan="2">cont&shy;ra&shy;ry</th>
        <td class="right">73</td>
        <td class="right">20.9%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">ob&shy;lique</th>
        <td class="right">208</td>
        <td class="right">59.4%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">sim&shy;il&shy;ar</th>
        <td class="right">27</td>
        <td class="right">7.7%</td>
      </tr>
      <tr>
        <th scope="row" rowspan="2">pa&shy;ral&shy;lel</th>
        <th scope="row">im&shy;per&shy;fect</th>
        <td class="right">40</td>
        <td class="right">11.4%</td>
      </tr>
      <tr>
        <th scope="row">per&shy;fect</th>
        <td class="right">2</td>
        <td class="right">0.6%</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" colspan="2">[<i>tot&shy;al</i>]</th>
        <td class="right">350</td>
        <td class="right">100.0%</td>
      </tr>
    </tfoot>
  </table>

  <details>
    <summary>Un&shy;{% gloss "normalized motion", "normalized" %} version of the above</summary>

    <table>
      <thead>
        <tr>
          <th scope="col" colspan="2">{% gloss "motion", "mot&shy;ion type" %}</th>
          <th scope="col">count</th>
          <th scope="col">pre&shy;val&shy;ence</th>
        </tr>
      </thead>
      <tbody>
        <tr>
          <th scope="row" colspan="2">cont&shy;ra&shy;ry</th>
          <td class="right">77</td>
          <td class="right">22.0%</td>
        </tr>
        <tr>
          <th scope="row" colspan="2">ob&shy;lique</th>
          <td class="right">205</td>
          <td class="right">58.6%</td>
        </tr>
        <tr>
          <th scope="row" colspan="2">sim&shy;il&shy;ar</th>
          <td class="right">26</td>
          <td class="right">7.4%</td>
        </tr>
        <tr>
          <th scope="row" rowspan="2">pa&shy;ral&shy;lel</th>
          <th scope="row">im&shy;per&shy;fect</th>
          <td class="right">40</td>
          <td class="right">11.4%</td>
        </tr>
        <tr>
          <th scope="row">per&shy;fect</th>
          <td class="right">2</td>
          <td class="right">0.6%</td>
        </tr>
      </tbody>
      <tfoot>
        <tr>
          <th scope="row" colspan="2">[<i>tot&shy;al</i>]</th>
          <td class="right">350</td>
          <td class="right">100.0%</td>
        </tr>
      </tfoot>
    </table>
  </details>

  <figcaption>
    <p>
      Quant&shy;ification of poly&shy;phonic motion in <span itemscope itemtype="https://schema.org/MusicComposition" class="work-mention"><b class="personage" itemprop="composer" itemscope itemtype="https://schema.org/Person"><span itemprop="name">J. S. Bach</span></b>&rsquo;s <span itemprop="musicCompositionForm">chorale</span> setting of <cite lang="de" itemprop="headline lyrics isBasedOn">Da Jesus an dem Kreuze stund</cite> (<abbr itemprop="identifier name" title="Bach-Werke-Verzeichnis">BWV</abbr> 1089)</span>, a piece of similar length to the {% m "B", "form" %} section of {% track "Turtlelephant", "Jokes", "Kidcrash", "2007" %}. The absolute magnitudes here are larger mostly as a result of the Bach piece having roughly one additional {% gloss "voice" %} on average. Statistical analysis is otherwise the same as in {% figref "b-motion", "table" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Bach is far less tolerant of perfect parallel motion, using only two occurrences (0.6%, or <em>eleven&shy;fold</em> lower prevalence than in &ldquo;Turtlelephant&rdquo;&rsquo;s {% m "B", "form" %}; eight- or nine&shy;fold lower when ignoring oblique motion) &mdash; both of which are parallel {% m "P4" %}s. Bach also clearly prefers imperfect parallel motion, moreso than {% m "B", "form" %} &mdash; particularly in preference to similar motion. Almost all of these instances are parallel thirds {% gloss "inversional equivalence", "or" %} sixths, reflecting both Bach&rsquo;s basis in <a href="https://en.wikipedia.org/wiki/Tertian">tertian harmony</a>, and &mdash; as we&rsquo;ll later clearly hear &mdash; Kidcrash&rsquo;s <em>lack</em> of exclusive basis in tertian harmony.
</p>

<p>
  By making the same dichotomous simplifi&shy;cation as before, we see that Bach also more strongly favors contrary motion: 51.4% contrary vs. 48.6% anti&shy;contrary. {% enmark "boschloo" %}This is a ratio of a little over 1&ratio;1, which, when compared to &ldquo;Turtlelephant&rdquo;&rsquo;s {% m "B", "form" %}, gives an &ldquo;<a href="https://en.wikipedia.org/wiki/Odds_ratio">odds ratio</a>&rdquo; (if you will) of 1.67.{% endenmark %}
</p>

<p>
  In reality, appealing to statistics in this way is no more than a method of confirming one small part of what we already hear: the impression that this is not exactly counter&shy;point, in spite of what are ultimately simultaneous &amp; texturally-independent voices with no clear distinction between &ldquo;main melody&rdquo; and &ldquo;accompaniment&rdquo;.
</p>

{% h3 "b-rhythm-and-meter" %}Rhythm &amp; meter{% endh3 %}

<p>
  This section represents the first real {% gloss "meter", "metric" %} break from {% m "c" %} (ignoring my analysis of the intro as being {% m "c/" %}). In particular, we have a repeating three-measure sequence of <span class="music"><span class="no-wrap">&lang;{% m "3/4" %},</span> {% m "3/4" %}, <span class="no-wrap">{% m "4/4" %}&rang;</span></span>, for a distinctly {% gloss "irregular hypermeter", "irregular hyper&shy;meter" %} of {% m "3+3+4/4" %} = {% m "10/4" %}.
</p>

<p>
  Although these are apparently three-measure groupings of {% m "3/4" %} with an &ldquo;extra&rdquo; beat at the end (=&nbsp;{% m "3+3+3+1/4" %}), the end of {% m "B", "form" %} rereads this as actually being <span class="music">{% m "3/4" %}+{% m "3/4" %}+{% m "2/4" %}</span> with an &ldquo;extra&rdquo; {% m "2/4" %} measure at the end to make {% m "3+3+2+2/4" %}.
</p>

<p>
  Whether the (hyper)meter is logically 3+3+3+1, or logically 3+3+2+2, is also disputed by the individual parts. In mm. 3 &amp; 9, the drumkit uses snare flam &amp; cymbal placements to suggest 3+3+3+1; yet in m. 6 (&amp; naturally, m. 12 as well), these same elements are employed to suggest 3+3+2+2.
</p>

<p>
  The division of each {% m "3/4" %} is also conflicted, as the cymbals suggest {% m "3/4" %}, but the snare &amp; guitars (bass included) suggest {% m "6/8" %}. And in the {% m "4/4" %} measures, the {% m "F#3" %} <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a> disagrees with the other voices by continuing the eighth-note displacement, while the others play largely un&shy;{% gloss "syncopation", "syn&shy;co&shy;pat&shy;ed" %} {% m "c" %}.
</p>

<p>
  Indeed, the continuation of the metric displacement by &pm;{% m "n8" %}, as heard in {% m "AA'", "form" %}, is notable: throughout all of {% m "B", "form" %} &mdash; excepting the last three measures, unless you count the kick&shy;drum hits &mdash; there&rsquo;s always at least one {% gloss "voice" %} that&rsquo;s displaced in this way.
</p>

{% h3 "b-melodic-contour" %}Melodic contour &amp; periodicity{% endh3 %}

<p>
  Although this section finally loses the <code>*rururdr(d)</code> {% gloss "melodic contour", "contour" %} of the intro &amp; {% m "AA'", "form" %}, it basically retains both other important aspects of contour from previous sections:
</p>

<ul>
  <li>
    <p>
      Guitars 1 &amp; 2, at least during the {% m "3/4" %} measures, continue with the &ldquo;repeating each note twice in succession&rdquo; part of the contour: they produce a {% m "[n4 n4 n8 n8]" %} sequence of notes of the same pitch. (Recall the {% gloss "meter", "metric" %} displacement by eighth-note, so the sequence starts on {% gloss "counting", "the &ldquo;&amp; of 1&rdquo;" %}.)
    </p>
  </li>
  <li>
    <p>
      We still get a &ldquo;mobile&rdquo; melodic prominence that self-differs by {% gloss "interval quantity", "second" %}:
    </p>

    <ul>
      <li>Guitar&nbsp;1, m. 3 has {% m "B--C#--B--C#--E" %}; {% enmark "b-m-6" %}m. 6 responds with {% m "A--B--A--B--D" %}.{% endenmark %}</li>
      <li>Guitar&nbsp;1, {% gloss "counting", "beat&nbsp;2" %} of m. 9 has {% m "E--F#--G#" %} (ignoring beat&nbsp;3&rsquo;s high {% m "{C#,G#}" %} in the guitars, because it has no response), and m. 12 responds with {% m "D--E--F#" %}.</li>
      <li>Guitar&nbsp;2, m. 3 has a high {% m "C#" %}; m. 6 responds with a high {% m "D" %} in the same {% gloss "voice" %}.</li>
      <li>(There presumably <em>would</em> be a fourth item in this list, but m. 12 is truncated.)</li>
    </ul>
  </li>
</ul>

<p>
  Given the self-differing-by-second relationships, <a href="#b-rhythm-and-meter">the hyper&shy;meter discussed above</a>, and the fact that guitar&nbsp;2 plays a clearly different melody starting at m. 7, we can easily assemble the periodic structure of {% m "B", "form" %}:
</p>

{% fig "b-periodic-struct", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="6" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="3" class="left">1</th>
        <th scope="col" colspan="3" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" class="left">1.1</th>
        <th scope="col" class="left">1.2</th>
        <th scope="col" class="left">1.3</th>
        <th scope="col" class="left">2.1</th>
        <th scope="col" class="left">2.2</th>
        <th scope="col" class="left">2.3</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "me&shy;ter" %}</th>
        <td class="center music">{% m "3/4" %}</td>
        <td class="center music">{% m "3/4" %}</td>
        <td class="center music">{% m "4/4" %}</td>
        <td class="center music">{% m "3/4" %}</td>
        <td class="center music">{% m "3/4" %}</td>
        <td class="center music">{% m "4/4" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="2">tot&shy;al</th>
        <td colspan="3" class="center">{% m "10/4" %}</td>
        <td colspan="3" class="center">{% m "10/4" %}</td>
      </tr>
      <tr>
        <td colspan="6" class="center">{% m "20/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The periodic structure of {% m "B", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Indeed, if we consider mm. 7&ndash;12 to be a response to mm. 1&ndash;6, then we have something like a &ldquo;<dfn>hyper&shy;period</dfn>&rdquo; spanning &mdash; hypothetically &mdash; a total duration of {% m "40/4" %}.
</p>

<p>
  However, m. 12 is clearly truncated, leaving the second period of {% m "B", "form" %} slightly fragmentary. This tactic of truncating what is otherwise clearly a period, in order to gracefully lead into another {% gloss "section" %} or transition, is used throughout the piece. By fraying the end of a period, it becomes less clear where the period&rsquo;s material stops and the new material starts, so that sections are blurred together at the edges, rather than having a crisp &amp; abrupt end-to-start junction (the musical equivalent of a visible seam).
</p>

{% h3 "b-dynamics" %}Dynamics{% endh3 %}

<p>
  From the very high {% gloss "dist-pitch" %} of {% m "A'", "form" %}, we enter {% m "B", "form" %} with an abrupt {% m "sp" %}. However, the {% gloss "dynamics" %} of this section&rsquo;s parts are not all in unison. The four pitched voices vary significantly in their relative dynamic levels as they each fluctuate throughout the section.
</p>

<p>
  Moreover, although the distortion of the guitars is all but removed, the drumkit continues at a surprisingly high dist-pitch, maintaining a mostly constant wash of pink noise from the cymbals.
</p>

{% h3 "b-pitch-material" %}Pitch-material{% endh3 %}

<p>
  This section remains firmly in the key of {% m "F#" %} minor, although this time, the {% gloss "pitch-material" %} is <em>entirely</em> restricted to the seven {% gloss "pc", "pcs" %} of {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Minor_scale#Natural_minor_scale">natural minor</a>.
</p>

<p>
  Nonetheless, there&rsquo;s a surprising amount of {% gloss "vertical" %} dissonance. A good chunk of this section involves {% gloss "voice", "voices" %} harmonizing in <em>{% gloss "interval quantity", "seconds" %}</em>! There are also a few explicit vertical state&shy;ments of the <a href="https://en.wikipedia.org/wiki/Tritone">tri&shy;tone</a> {% m "{G#,D}" %}, which is also heard in {% m "AA'", "form" %} in the form of guitar&nbsp;1 <a href="https://en.wikipedia.org/wiki/Arpeggio">arp&shy;eg&shy;gi&shy;at&shy;ing</a> {% m "[C#,D,G#]" %} &in; {% m "3-5B" %}.
</p>

<p>
  Again, this section is melodic and focuses on its {% gloss "homeophony", "home&shy;ophony" %}. Thus, traditional harmonic analysis is not particularly useful, and would have to treat this section as &ldquo;{% gloss "modal" %}&rdquo; any&shy;way.
</p>

{% h4 "generalized-clustering" %}Generalized clustering{% endh4 %}

<p>
  Indeed, similar to both the intro &amp; the {% m "AA'", "form" %} {% gloss "section", "sections" %}, we observe {% enmark "secundal" %}a penchant for dense <a href="https://en.wikipedia.org/wiki/Diatonic_scale">diatonic</a> fragments &mdash; <dfn>diatonic clusters</dfn>, if you will{% endenmark %}. Not only do we hear plenty of har&shy;mon&shy;i&shy;za&shy;tion &mdash; some&shy;times at multiple levels &mdash; in {% gloss "interval quantity", "seconds" %}, but for instance, through&shy;out {% gloss "counting", "beat&nbsp;3" %} of {% gloss "m." %} 6, we hear all five members of {% m "5-23A" %} si&shy;mul&shy;ta&shy;ne&shy;ous&shy;ly &mdash; an entire <a href="https://en.wikipedia.org/wiki/Pentachord">penta&shy;chord</a>, all at once!
</p>

<p>
  The idea of &ldquo;<i>diatonic clusters</i>&rdquo; may sound preposterous to the reader who&rsquo;s accustomed to using the word <i>cluster</i> exclusively for {% gloss "interval", "intervals" %} that are fully <em><a href="https://en.wikipedia.org/wiki/Chromatic_scale">chrom&shy;atic&shy;ally</a></em> &ldquo;filled in&rdquo; (i.e. every pitch within the interval&rsquo;s bounds that&rsquo;s also within the <a href="https://en.wikipedia.org/wiki/Musical_tuning#Tuning_systems">tuning system</a> is sounded), most notably {% m "3-1" %}.
</p>

<p>
  But for almost <em>any</em> scale of sufficiently large <a href="https://en.wikipedia.org/wiki/Cardinality">card&shy;i&shy;nal&shy;i&shy;ty</a>, there&rsquo;s no particular reason why clusters cannot {% enmark "scalewise" %}be relative to that {% gloss "scale" %}{% endenmark %}; and indeed, the geometric notion of &ldquo;<i>even&shy;ness</i>&rdquo; in {% cite "GeomMusic", true %} provides a way to understand generalized clusters: {% enmark "clusters-negatively" %}by minimizing even&shy;ness (i.e. by clus&shy;ter&shy;ing), it&rsquo;s possible to move from {% gloss "chord" %} to chord (or {% gloss "sonority" %} to sonority) with efficient <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a>, but without dramatically changing the shape of those chords.{% endenmark %}
</p>

<p>
  And really, much of the effect is even simpler than that: use of generalized clusters turns <a href="https://en.wikipedia.org/wiki/Voice_crossing">voice-crossing</a>, &amp; small overall harmonic move&shy;ments, into perfectly common&shy;place features of the {% gloss "texture" %}.
</p>

<p>
  Thus, the use of diatonic clusters &amp; har&shy;mon&shy;i&shy;za&shy;tion in seconds &mdash; among other things, to be sure &mdash; arguably allows Kidcrash to write fund&shy;a&shy;ment&shy;al&shy;ly melodic (read: {% gloss "horizontal" %}) {% gloss "homeophony", "home&shy;ophon&shy;ic" %} parts that, in spite of largely defying classical harmony <strong>and</strong> classical <a href="https://en.wikipedia.org/wiki/Counterpoint">contra&shy;puntal</a> principles, manage to sound coherent &amp; <a href="https://en.wikipedia.org/wiki/Tonality">tonal</a>.
</p>

{% h5 "in-b" %}In {% m "B", "form" %}{% endh5 %}

<p>
  We&rsquo;ll hear plenty of intent use of diatonic clusters through&shy;out the piece, but it&rsquo;s worth empha&shy;sizing the degree to which they&rsquo;re used as chords or sonorities in their own right, rather than as merely &ldquo;passing&rdquo;.
</p>

<p>
  With just four (occasionally five) {% gloss "voice", "voices" %}, we can require a cluster to have at least three distinct {% gloss "pc", "pcs" %}, and call a sonority &ldquo;<dfn>cluster&shy;like</dfn>&rdquo; if it&rsquo;s either a cluster, or a cluster with one added pc. Then:
</p>

<ul>
  <li>Measures 1&ndash;3 are 40% cluster&shy;like (65%, if a bare {% m "2-2" %} is per&shy;mit&shy;ted).</li>
  <li>Measures 4&ndash;6 are 40% cluster&shy;like (65%, re&shy;spect&shy;ive&shy;ly).</li>
  <li>Measures 7&ndash;9 are 35% cluster&shy;like.</li>
  <li>Measures 10&ndash;12 are 19% cluster&shy;like.</li>
</ul>

<p>
  The cluster&shy;like sonorities are typically just plain diatonic clusters; and naturally, the others are not analyzable &mdash; at least, not so easily &mdash; as other types of sonorities. The cluster species heard in {% m "B", "form" %} are as follows (*the asterisked cluster only occurs with an added pc):
</p>

<ul>
  <li>*{% m "3-2B" %}.</li>
  <li>{% m "3-6" %}.</li>
  <li>{% m "4-11A" %}.</li>
  <li>{% m "4-10" %}.</li>
  <li>{% m "4-21" %}.</li>
  <li>{% m "5-23A" %}.</li>
</ul>

<p>
  And we should also note that <em>most</em> of the non-cluster&shy;like sonorities in {% gloss "m.", "mm." %} 1&ndash;12 are still non&shy;<a href="https://en.wikipedia.org/wiki/Tertian">tertian</a>, with many of them being <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">stacked fourths</a>. This brings us to mm. 13&ndash;15.
</p>

{% h4 %}Measures 13&ndash;15{% endh4 %}

<p>
  The three {% gloss "chord", "chords" %} in mm. 13&ndash;15 are all the same {% gloss "pc" %}-wise, but differ in the ascending voicings in guitar&nbsp;1 that produce the {% gloss "progression", "melodic progression" %} {% m "A--B--E" %}. The pcs are {% m "{F#,B,E,A}" %} &in; {% m "4-23" %}, with {% m "E" %} in the bass. This is plainly a <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">quartal</a> chord &mdash; in {% gloss "integer notation" %}: {% m "[0,5,10,15]" %} &mdash; and is emphatically voiced as such (both non-bass guitars play in {% m "P4" %}s). We&rsquo;ll hear this chord importantly resurface later on in the piece.
</p>

{% h2 "the-c-d-sections" %}The {% m "CD", "form" %} sections (<time datetime="PT1M15S">1:15</time> to <time datetime="PT1M45S">1:45</time>){% endh2 %}

{% fig "c-d-full" %}
  {% ly "c", "Transcription of the &Lang;CD&Rang; sections" %}

  <figcaption>
    <p>
      Transcription of the {% m "CD", "form" %} sections. The {% m "D", "form" %} section begins at m. 16.
    </p>
  </figcaption>
{% endfig %}

{% h3 "c-rhythm-and-meter" %}Rhythm &amp; meter{% endh3 %}

<p>
  {% m "C", "form" %} begins with changes in both tempo &amp; {% gloss "meter", "time signature" %}: an increase of roughly 10&it;&nbsp;<abbr title="beats per minute">BPM</abbr> from {% m "n4" %} &ap; 147 to {% m "n4" %} &ap; 157, and a switch to {% m "6/8" %}.
</p>

<details>
  <summary>{% m "6/8" %} vs. {% m "3/4" %}</summary>

  <p>
    The division into {% m "6/8" %}, rather than {% m "3/4" %}, is only questioned briefly by the bass figure in mm. 4 &amp; 12, as well as by the hi-hat&rsquo;s switch to quarter-notes in mm. 9&ndash;15. The <a href="https://en.wikipedia.org/wiki/Hemiola">hemiola</a> between hi-hat &amp; kickdrum in mm. 9&ndash;15 is mediated by the snare: the two sixteenth-notes in succession produce a galloping rhythm that could just as well fit in {% m "3/4" %}, but if we treat this double-hit as a single unit (a bisected eighth-note), then the snares are always spaced out by simply a dotted quarter-note.
  </p>
</details>

<p>
  The switch to {% m "c/" %} for {% m "D", "form" %} recalls the use of the same rhythm &amp; meter in the intro ({% figref "intro" %}).
</p>

{% h3 "c-texture" %}Texture{% endh3 %}

<p>
  In keeping with {% m "AA'B", "form" %}, {% m "C", "form" %} continues developing the {% gloss "homeophony", "home&shy;ophon&shy;ic texture" %}, while retaining the {% m "F#3" %} <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a>.
</p>

<p>
  For {% gloss "texture", "textural" %} purposes, we can think of the nigh-un&shy;inter&shy;rupt&shy;ed stream of eighth-notes in all three guitar parts as being like <a href="https://en.wikipedia.org/wiki/Tremolo">tremolos</a> of (typically) longer notes. This makes it clear that what we have here is not really <a href="https://en.wikipedia.org/wiki/Homorhythm">homo&shy;rhythm</a> at all, but instead, genuinely {% gloss "rhythm", "rhyth&shy;mic&shy;ally" %}-distinct melodies in three {% gloss "voice", "voices" %} (plus a fourth pedal&shy;point voice). But is it <em>really</em> home&shy;ophony, or is it simply <a href="https://en.wikipedia.org/wiki/Counterpoint">counter&shy;point</a>?
</p>

<p>
  For direct comparison with {% m "B", "form" %}, we can perform the same statistical analysis:
</p>

{% fig "c-motion", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col" colspan="2">{% gloss "motion", "mot&shy;ion type" %}</th>
        <th scope="col">count</th>
        <th scope="col">pre&shy;val&shy;ence</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" colspan="2">cont&shy;ra&shy;ry</th>
        <td class="right">16</td>
        <td class="right">20.5%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">ob&shy;lique</th>
        <td class="right">44</td>
        <td class="right">56.4%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">sim&shy;il&shy;ar</th>
        <td class="right">10</td>
        <td class="right">12.8%</td>
      </tr>
      <tr>
        <th scope="row" rowspan="2">pa&shy;ral&shy;lel</th>
        <th scope="row">imperfect</th>
        <td class="right">4</td>
        <td class="right">5.1%</td>
      </tr>
      <tr>
        <th scope="row">per&shy;fect</th>
        <td class="right">4</td>
        <td class="right">5.1%</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" colspan="2">[<i>tot&shy;al</i>]</th>
        <td class="right">78</td>
        <td class="right">100.0%</td>
      </tr>
    </tfoot>
  </table>

  <details>
    <summary>Un&shy;{% gloss "normalized motion", "normalized" %} version of the above</summary>

    <table>
      <thead>
        <tr>
          <th scope="col" colspan="2">{% gloss "motion", "mot&shy;ion type" %}</th>
          <th scope="col">count</th>
          <th scope="col">pre&shy;val&shy;ence</th>
        </tr>
      </thead>
      <tbody>
        <tr>
          <th scope="row" colspan="2">cont&shy;ra&shy;ry</th>
          <td class="right">8</td>
          <td class="right">10.3%</td>
        </tr>
        <tr>
          <th scope="row" colspan="2">ob&shy;lique</th>
          <td class="right">44</td>
          <td class="right">56.4%</td>
        </tr>
        <tr>
          <th scope="row" colspan="2">sim&shy;il&shy;ar</th>
          <td class="right">18</td>
          <td class="right">23.1%</td>
        </tr>
        <tr>
          <th scope="row" rowspan="2">pa&shy;ral&shy;lel</th>
          <th scope="row">imperfect</th>
          <td class="right">4</td>
          <td class="right">5.1%</td>
        </tr>
        <tr>
          <th scope="row">per&shy;fect</th>
          <td class="right">4</td>
          <td class="right">5.1%</td>
        </tr>
      </tbody>
      <tfoot>
        <tr>
          <th scope="row" colspan="2">[<i>tot&shy;al</i>]</th>
          <td class="right">78</td>
          <td class="right">100.0%</td>
        </tr>
      </tfoot>
    </table>
  </details>

  <figcaption>
    <p>
      Quant&shy;ification of poly&shy;phonic motion in {% m "C", "form" %}. The pedal&shy;point is ignored for simplicity.
    </p>
  </figcaption>
{% endfig %}

<p>
  The contrary vs. {% gloss "anticontrary" %} dichotomy comes out to 47.1% vs. 52.9% (a ratio of roughly 8&ratio;9). Overall, the {% gloss "normalized motion", "normalized" %} statistics look quite favorable to hearing the texture as contra&shy;puntal.
</p>

<p>
  On the other hand, the stark contrast with the un&shy;normal&shy;ized statistics hints at a less-than-counter&shy;point&shy;like feature of the texture: resolution of dissonances via rather large <a href="https://en.wikipedia.org/wiki/Steps_and_skips">leaps</a>. Moreover, we might consider a 5.1% incidence of perfect parallel motion to be a bit high for true counter&shy;point.
</p>

<p>
  Further&shy;more, statistical analysis of motion is only one small consideration. The relative lack of phrasal in&shy;de&shy;pend&shy;ence (phrasal boundaries are generally at the {% m "6/8" %} bar&shy;line in all voices) also nudges the texture closer to home&shy;ophony. Normalization of motion is ne&shy;ces&shy;sa&shy;ry to uncover the structurally-important (as we&rsquo;ll see) poly&shy;phonic motions, further suggesting that the texture is heard as home&shy;ophon&shy;ic.
</p>

<p>
  Naturally, we must &mdash; as always &mdash; acknowledge that there are no hard boundaries be&shy;tween texture types, as they&rsquo;re merely useful abstract categories that can (&amp; should) sometimes overlap. In this case, the essential aspects of the texture are as follows:
</p>

{% fig "c-texture-desc", "list" %}
  <ul>
    <li>At least three distinct {% gloss "voice", "voices" %} are clearly discernible at any given time.</li>
    <li>The surface-level melodies may be heard as em&shy;bel&shy;lish&shy;ments of a block-{% gloss "chord" %} pro&shy;gress&shy;ion.</li>
    <li>All melodic {% gloss "rhythm", "rhythms" %} consist of repeated eighth-notes.</li>
    <li>An {% m "F#3" %} <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a> is present.</li>
    <li>Relatively strong <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a> prevails.</li>
  </ul>

  <figcaption>
    <p>
      A description of the {% gloss "texture" %} of {% m "C", "form" %}.
    </p>
  </figcaption>
{% endfig %}

{% h4 "d-texture" %}Texture of {% m "D", "form" %}{% endh4 %}

<p>
  The {% gloss "texture", "textural" %} considerations for {% m "D", "form" %} are quite similar to those for {% m "C", "form" %}, with one major exception: we have true <a href="https://en.wikipedia.org/wiki/Homorhythm">homo&shy;rhythm</a>. This is important to note partly because it highlights the fact that homo&shy;rhythm overlaps with other textural categories &mdash; especially <a href="https://en.wikipedia.org/wiki/Homophony">homo&shy;phony</a>.
</p>

<p>
  In this case, guitar&nbsp;2 seems to be carrying the primary melody; however, given that guitar&nbsp;1 begins in unison with guitar&nbsp;2, the contrast between the paired melodies might be heard as {% gloss "homeophony", "home&shy;ophon&shy;ic" %} or similar. Nonetheless, the texture is simple enough that it&rsquo;s primarily heard as merely homo&shy;rhythmic.
</p>

<p>
  More than anything else, this use of homo&shy;rhythm produces a dramatic effect, giving {% m "D", "form" %} a solemn character. This dramatic effect is intensified when the bass-guitar &amp; drumkit drop out, leaving only the two non-bass guitars to form the texture.
</p>

{% h4 "structural-voice-leading" %}Structural voice-leading{% endh4 %}

<p>
  In the {% headingref "a-pitch-material" %} discussion for {% m "A", "form" %}, I noted that within the eminent part of that section (that is, guitar&nbsp;1&rsquo;s), the sole instance of contrary {% gloss "motion" %} was at the boundary between one <a href="https://en.wikipedia.org/wiki/Period_(music)">period</a> &amp; the next. This essentially melodic (read: <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a>) gesture took on the largest part of what would more traditionally &mdash; that is, in most Western musical traditions &mdash; be the role of <a href="https://en.wikipedia.org/wiki/Cadence">cadential</a> harmonic relationships (<a href="https://en.wikipedia.org/wiki/Function_(music)">dominant&ndash;tonic, etc.</a>).
</p>

<p>
  <a href="#c-melodic-contour">As we&rsquo;ll see</a>, like basically every other section of the piece, {% m "C", "form" %} has a funda&shy;ment&shy;al&shy;ly periodic structure of variations. As part of this structure, it features a regular pattern of contrary motions: always across the barline between the 1<sup>st</sup> &amp; 2<sup>nd</sup> measures of each {% gloss "hypermeter", "hyper&shy;measure" %} (see {% figref "c-periodic-struct", "table" %}), and more importantly, always across the barline between hyper&shy;measures.
</p>

<p>
  These patterns of motion do <em>at least</em> as much work as <a href="#c-pitch-material">the pitch-material</a> does to punctuate &mdash; basically <a href="https://en.wikipedia.org/wiki/Cadence">caden&shy;tial&shy;ly</a> &mdash; the structure of this section, analogous to <a href="#a-gtr-one-vl">the case of {% m "AA'", "form" %}</a>. However, it&rsquo;s also worth noting that the patterns require {% gloss "normalized motion" %}, suggesting that the listener must hear {% m "C", "form" %} as {% gloss "homeophony", "home&shy;ophon&shy;ic" %} on at least some level to get the intended effect.
</p>

<p>
  Still more significantly, the {% m "C", "form" %} &rarr; {% m "D", "form" %} transition is of great structural import for two reasons:
</p>

<ul>
  <li>It&rsquo;s the first time that we get something close to a {% gloss "reprise" %} &mdash; and of the very beginning of the piece, at that.</li>
  <li>Said <i lang="fr">{% gloss "petite reprise" %}</i> anticipates the structural boundary between the initial intro&ndash;{% m "AA'BCD", "form" %} sequence and the first time that we lose the {% m "F#3" %} <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a> (which will be {% m "E", "form" %}).</li>
</ul>

<p>
  It&rsquo;s thus particularly appropriate that exactly this transition evinces {% enmark "strength" %}the strongest possible contrary motion between three voices{% endenmark %} (the same motion as at the end of {% m "AA'", "form" %}&rsquo;s periods): {% enmark "poly-mot-notation" %}{% m "{c2s}" %}.{% endenmark %} (Moreover, the result is {% gloss "interval", "unison" %} between the voices.)
</p>

<p>
  This is perhaps part of the power of {% gloss "homeophony", "home&shy;ophony" %}: by plainly lacking general adherence to classical contra&shy;puntal norms, this texture can make particularly strong poly&shy;phonic motion a <strong>mark&egrave;d</strong> gesture, allowing it to buttress points of structural import.
</p>

<p>
  A composer like {% personage "Bach", "Johann Sebastian Bach", false, "Person" %} &mdash; and especially those after him &mdash; has relatively clear harmonic norms to uphold, and not infrequently uses quite weak polyphonic motion to achieve strong &mdash; &amp; typically stereotyped &mdash; harmonic move&shy;ment. Rather than necessarily being based upon voice-leading <em>as evinced at the surface level</em>, harmonic norms can be based upon voice-leading at a more <em>abstract</em> level.{% cite "GeomMusic" %}
</p>

<p>
  The home&shy;ophon&shy;ic approach, then, perhaps looks &ldquo;primitive&rdquo; by comparison: with more skeletal harmonic norms, the function of melody <i>qua</i> melody can be fore&shy;front&shy;ed, making the surface-level voice-leading &mdash; and of course, the melodies them&shy;selves! &mdash; the subjects of interest.
</p>

{% h3 "c-pitch-material" %}Pitch-material{% endh3 %}

<p>
  That being said, out of all {% gloss "section", "sections" %} so far, {% m "C", "form" %} is perhaps the most amenable to squeezing a traditional harmonic analysis out of it:
</p>

{% fig "c-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">1 &amp; 9</th>
        <th scope="col">2 &amp; 10</th>
        <th scope="col">3 &amp; 11</th>
        <th scope="col" colspan="4">4 &amp; 12</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">{% m "D", "chord" %}</td>
        <td class="center">{% m "F#-inv2" %}</td>
        <td class="center">{% m "B-7no3" %}</td>
        <td class="center">{% m "B-" %}</td>
        <td class="center">{% m "Dinv2" %}</td>
        <td class="center">{% m "F#-inv1" %}</td>
        <td class="center">{% m "Bsus2" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td class="center">{% m "bVI" %}</td>
        <td class="center">{% m "iinv2" %}</td>
        <td colspan="2" class="center">{% m "iv7" %}</td>
        <td class="center">{% m "bVIinv2" %}</td>
        <td class="center">{% m "iinv1" %}</td>
        <td class="center">{% m "ivsus2" %}</td>
      </tr>
      <tr>
        <th scope="row">gloss</th>
        <td colspan="2" class="center">{% m "i" %}</td>
        <td colspan="2" class="center">{% m "iv" %}</td>
        <td colspan="2" class="center">{% m "iinv1" %}</td>
        <td class="center">{% m "iv" %}</td>
      </tr>
    </tbody>
  </table>

  <table>
    <thead>
      <tr>
        <th scope="row">mm.</th>
        <th scope="col">5 &amp; 13</th>
        <th scope="col">6 &amp; 14</th>
        <th scope="col" colspan="2">7 &amp; 15</th>
        <th scope="col" colspan="2">8</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">chord</th>
        <td class="center">{% m "3-6" %}</td>
        <td class="center">{% m "F#sus4" %}</td>
        <td class="center">{% m "D", "chord" %}</td>
        <td class="center">{% m "B-inv1" %}</td>
        <td class="center">{% m "G#o/no3" %}</td>
        <td class="center">{% m "C#5", "chord" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td class="center">???</td>
        <td class="center">{% m "isus4" %}</td>
        <td class="center">{% m "bVI" %}</td>
        <td class="center">{% m "ivinv1" %}</td>
        <td class="center">{% m "iio/7no3" %}</td>
        <td class="center">{% m "v5" %}</td>
      </tr>
      <tr>
        <th scope="row">gloss</th>
        <td class="center">???</td>
        <td colspan="2" class="center">{% m "i" %}</td>
        <td class="center">{% m "iv" %}</td>
        <td class="center">{% m "iio" %}</td>
        <td class="center">{% m "V" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Traditional harmonic gloss of {% m "C", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  This gloss looks enticing: we start at {% m "i" %}, oscillate between {% m "iv" %} &amp; {% m "iinv1" %} (&ldquo;tonic prolongation&rdquo;, <a href="https://en.wikipedia.org/wiki/Cadence#Minor_plagal_cadence">minor plagal cadences</a>, etc.), and then do a perfectly tonal <span class="music">({% m "bVI" %}&ndash;){% m "iv--iio--V--i" %}</span>! Case closed&hellip;
</p>

<p>
  There are some problems, however:
</p>

<ul>
  <li>
    <p>
      We sometimes get quite clearly-stated {% gloss "chord" %} {% gloss "progression", "progressions" %}, but when we do, they seem {% gloss "functional notation", "function&shy;ally" %} aimless. For instance, {% gloss "m.", "mm." %} 4 &amp; 12 give us an explicit {% m "iv--bVI" %}; but this seems like it&rsquo;s going in reverse (we expect {% m "bVI--iv" %}).
    </p>
  </li>
  <li>
    <p>
      Other times, we <em>don&rsquo;t</em> get clearly-stated chord progressions, and we have to squeeze a little harder:
    </p>

    <ul>
      <li>The &ldquo;{% m "G#o/no3" %}&rdquo; in m. 8 is mysteriously {% gloss "omitted factor", "missing its third factor" %}.</li>
      <li>The otherwise clearly-stated {% m "Bsus2" %} at the end of mm. 4 &amp; 12 doesn&rsquo;t meaningfully resolve its suspension &mdash; nor does it really resolve in any way &mdash; in spite of the {% m "D" %} sounding, in a different {% gloss "voice" %}, in the next measure.</li>
      <li>The &ldquo;{% m "C#5", "chord" %}&rdquo; at the end of m. 8 is a <a href="https://en.wikipedia.org/wiki/Power_chord">power-chord</a> at best, although even then, the {% m "F#" %} sounding in the <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a> confuses this analysis.</li>
      <li>What&rsquo;s going on in mm. 5 &amp; 13? Hello&#x203d;</li>
    </ul>
  </li>
</ul>

<p>
  Most importantly, we&rsquo;re missing the point (or at least half of it) with this gloss. What follow are some observations that are more interesting, and which can nonetheless be usefully com&shy;ple&shy;ment&shy;ed by the traditional harmonic gloss.
</p>

{% h4 "intervalclass-sensitivity" %}Intervalclass sensitivity{% endh4 %}

<p>
  In addition to clearly being driven by (roughly) {% gloss "homeophony", "home&shy;ophon&shy;ic" %} voice-leading, the {% gloss "sonority", "sonorities" %} here are sensitive more to their raw {% gloss "interval", "intervallic" %} content than they are to pre&shy;&euml;xist&shy;ing harmonic norms. (See also: the {% headingref "generalized-clustering" %} section above.)
</p>

<p>
  In this case, {% gloss "chord", "chords" %} (in the generalized sense) whose {% gloss "ic-vector", "ic-vectors" %} are 0 in both the first &amp; last positions &mdash; in effect, the most dissonant positions &mdash; are used to represent &ldquo;normal&rdquo; ({% m "T", "fun" %}, {% m "S", "fun" %}, {% m "P", "fun" %}) {% gloss "functional notation", "functions" %}, allowing the other chords to be used in more &ldquo;dominant&rdquo; (not necessarily in the classical sense) ways.
</p>

<p>
  We typically have three (maybe four, <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a> included) {% gloss "voice", "voices" %} here. In such a case, Kidcrash is left with basically a half-dozen-ish &ldquo;normal&rdquo; chord types:
</p>

{% fig "normal-3-setclasses", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col">{% gloss "setclass", "set&shy;class" %}</th>
        <th scope="col">{% gloss "ic-vector", "ic-vec&shy;tor" %}</th>
        <th scope="col">in&shy;ter&shy;pre&shy;ta&shy;tion(s)</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td class="left">{% m "3-6" %}</td>
        <td>{% m "<020100>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Major_scale">major</a> <a href="https://en.wikipedia.org/wiki/Trichord">trichord</a> (<a href="#generalized-clustering">diatonic cluster</a>)</td>
      </tr>
      <tr>
        <td class="left">{% m "3-7A" %}</td>
        <td rowspan="2">{% m "<011010>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Minor_seventh_chord">minor seventh-chord</a> with {% gloss "omitted factor", "omitted fifth" %}</td>
      </tr>
      <tr>
        <td class="left">{% m "3-7B" %}</td>
        <td>minor (or <a href="https://en.wikipedia.org/wiki/Dominant_seventh_chord">dominant</a>) seventh-chord with omitted third;<br> <a href="https://en.wikipedia.org/wiki/Pentatonic_scale#Minor_pentatonic_scale">minor pentatonic</a> trichord</td>
      </tr>
      <tr>
        <td class="left">{% m "3-9" %}</td>
        <td>{% m "<010020>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Suspended_chord">suspended</a> second chord;<br> suspended fourth chord;<br> <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">stacked fourths</a> {% m "{0,5,10}" %}</td>
      </tr>
      <tr>
        <td class="left">{% m "3-11A" %}</td>
        <td rowspan="2">{% m "<001110>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Minor_chord">minor triad</a></td>
      </tr>
      <tr>
        <td class="left">{% m "3-11B" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Major_chord">major triad</a></td>
      </tr>
      <tr>
        <td class="left">{% m "3-12" %}</td>
        <td>{% m "<000300>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Augmented_triad">augmented triad</a></td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      All {% gloss "setclass", "3-set&shy;classes" %} that have similar &ldquo;<a href="https://en.wikipedia.org/wiki/Function_(music)">function</a>&rdquo; insofar as they&rsquo;ve all 0 as the first &amp; last entries of their {% gloss "ic-vector", "ic-vectors" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Indeed, the only chord in {% figref "normal-3-setclasses", "table" %} that isn&rsquo;t used here is the <a href="https://en.wikipedia.org/wiki/Augmented_triad">augmented triad</a>, on account of it not existing within the <a href="https://en.wikipedia.org/wiki/Diatonic_scale">diatonic</a> {% gloss "scale" %}. Already, simply by appealing to ic-vectors, we can explain the things that traditional harmonic analysis cannot:
</p>

<ul>
  <li>This explains the bias in <a href="https://en.wikipedia.org/wiki/Seventh_chord">seventh-chords</a> (as opposed to <a href="https://en.wikipedia.org/wiki/Triad_(music)">triads</a>) towards the minor variety: <a href="https://en.wikipedia.org/wiki/Major_seventh_chord">major seventh-chords</a> have {% gloss "ic" %}&nbsp;1 between 7<sup>th</sup> <a href="https://en.wikipedia.org/wiki/Factor_(chord)">factor</a> &amp; <a href="https://en.wikipedia.org/wiki/Root_(chord)">root</a>, <a href="https://en.wikipedia.org/wiki/Dominant_seventh_chord">dominants</a> ic&nbsp;6 between 3<sup>rd</sup> &amp; 7<sup>th</sup> factors, and (<a href="https://en.wikipedia.org/wiki/Half-diminished_seventh_chord">half-</a>)<a href="https://en.wikipedia.org/wiki/Diminished_seventh_chord">diminished</a> ic&nbsp;6 between root &amp; 5<sup>th</sup> factor.</li>
  <li>{% m "3-9" %} is symmetric &amp; versatile (it has three distinct in&shy;ter&shy;pre&shy;ta&shy;tions in {% figref "normal-3-setclasses", "table" %}), making it less surprising that it&rsquo;s heard often in {% m "C", "form" %} &mdash; including in various instances elided from {% figref "c-harm", "table" %} for ease of analysis.</li>
  <li>Seemingly &ldquo;aimless&rdquo; chord {% gloss "progression", "progressions" %} arise naturally as the result of these {% gloss "vertical" %} constraints combined with the constraints of home&shy;ophony.</li>
  <li>Measures 5 &amp; 13 are significantly less of a mystery.</li>
</ul>

<p>
  The other side of the same coin consists in those chords whose ic-vectors have nonzero first &amp;/or last positions &mdash; particularly the diatonic ones:
</p>

{% fig "dom-3-setclasses", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col">set&shy;class</th>
        <th scope="col">ic-vec&shy;tor</th>
        <th scope="col">in&shy;ter&shy;pre&shy;ta&shy;tion(s)</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td class="left">{% m "3-2A" %}</td>
        <td rowspan="2">{% m "<111000>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Phrygian_mode#Modern_Phrygian_mode">Phrygian</a> trichord (diatonic cluster)</td>
      </tr>
      <tr>
        <td class="left">{% m "3-2B" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Minor_scale">minor</a> trichord (diatonic cluster)</td>
      </tr>
      <tr>
        <td class="left">{% m "3-4A" %}</td>
        <td rowspan="2">{% m "<100110>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Major_seventh_chord">major seventh-chord</a> with omitted fifth</td>
      </tr>
      <tr>
        <td class="left">{% m "3-4B" %}</td>
        <td>major seventh-chord with omitted third</td>
      </tr>
      <tr>
        <td class="left">{% m "3-5A" %}</td>
        <td rowspan="2">{% m "<100011>", "icv" %}</td>
        <td rowspan="2"><a href="https://en.wikipedia.org/wiki/Viennese_trichord">Viennese trichord</a>;<br> stacked fourths {% m "{0,5,11}" %} or {% m "{0,6,11}" %}</td>
      </tr>
      <tr>
        <td class="left">{% m "3-5B" %}</td>
      </tr>
      <tr>
        <td class="left">{% m "3-8A" %}</td>
        <td rowspan="2">{% m "<010101>", "icv" %}</td>
        <td>dominant seventh-chord with omitted fifth</td>
      </tr>
      <tr>
        <td class="left">{% m "3-8B" %}</td>
        <td>half-diminished chord with omitted third</td>
      </tr>
      <tr>
        <td class="left">{% m "3-10" %}</td>
        <td>{% m "<002001>", "icv" %}</td>
        <td><a href="https://en.wikipedia.org/wiki/Diminished_triad">diminished triad</a></td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      All diatonic 3-set&shy;classes whose ic-vectors have nonzero first &amp;/or last positions.
    </p>
  </figcaption>
{% endfig %}

<p>
  Once again, many of the chords here are now ascribed &ldquo;functions&rdquo; that they classically wouldn&rsquo;t generally have: <a href="#generalized-clustering">diatonic clusters become useful voice-leading sonorities in their own right</a>, <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">quartal</a> constructions ({% m "3-9" %}, {% m "3-5A" %}, etc.) have clear implications, major &amp; minor triads needn&rsquo;t fulfil their classical functions, half-diminished chords don&rsquo;t actually need their otherwise-crucial 3<sup>rd</sup> factor, and so on.
</p>

<p>
  When done carefully, as Kidcrash do in this piece, this does <strong>not</strong> have anything to do with &ldquo;<a href="https://en.wikipedia.org/wiki/Pandiatonicism">pan&shy;dia&shy;tonic&shy;ism</a>&rdquo;, nor anything of the sort. Instead, judicious &mdash; but somewhat adventurous &mdash; voice-leading, careful attention to interval&shy;lic content, <a href="#structural-voice-leading">structural use of contra&shy;puntal motion</a>, &amp; nods toward {% gloss "Western classical" %} or {% gloss "popular music", "popular-music" %} <a href="https://en.wikipedia.org/wiki/Tonality">tonality</a>, all combine to produce a distinctive sound that can reasonably be described as &mdash; &amp; is heard by the casual listener as &mdash; a kind of tonality.
</p>

{% h5 "subdominants" %}Subdominants{% endh5 %}

<p>
  A slightly murkier &mdash; but still important &mdash; aspect of ic-sensitivity in Kidcrash&rsquo;s music is the &ldquo;other&rdquo; {% gloss "functional notation", "type of harmonic function" %}: <dfn>subdominant</dfn> (AKA <dfn>pre-dominant</dfn>), denoted {% m "S", "fun" %}. Often, use of this function borrows somewhat from traditional tonality, so that a {% gloss "chord" %} analyzable as something like {% m "iv" %}, {% m "IV" %}, {% m "ii" %}, etc. may be expected to function as {% m "S", "fun" %}. However, there are numerous important con&shy;si&shy;der&shy;a&shy;tions:
</p>

{% fig "subdominant-features", "list" %}
  {% ol "subdominant-features", "a" %}
    <li>Some chords that otherwise have {% m "S", "fun" %} function may be used <a href="https://en.wikipedia.org/wiki/Cadence">cadentially</a> to lead back to {% m "T", "fun" %}. In this case, they are considered to have {% m "P", "fun" %} function (so named for the <a href="https://en.wikipedia.org/wiki/Cadence#Plagal_cadence"><i><b>p</b>lagal cadence</i></a>).</li>
    <li>A chord containing one or more {% gloss "ic", "ics" %}&nbsp;1 or 6 cannot have {% m "S", "fun" %} nor {% m "P", "fun" %} function. For example, both {% m "iio/" %} and {% m "IVmaj7" %} have {% m "D", "fun" %} function.</li>
    <li>
      To function as {% m "S", "fun" %} (or {% m "P", "fun" %}, when used cadentially), a chord must satisfy <em>at least one</em> of the following requirements:

      <ul>
        <li>It&rsquo;s analyzed as having a <a href="https://en.wikipedia.org/wiki/Root_(chord)">root</a>, and that root is <strong>not</strong> any of the following: {% m "1^" %}, {% m "3^" %}, {% m "6^" %}.</li>
        <li>It contains a <a href="#generalized-clustering">generalized cluster</a> of at least three {% gloss "pc", "pcs" %}.</li>
        <li>The chord is a member of {% m "2-2" %}. (This is the <a href="https://en.wikipedia.org/wiki/Degeneracy_(mathematics)">degenerate</a> case of the previous requirement.)</li>
      </ul>
    </li>
  {% endol %}

  <figcaption>
    <p>
      A {% gloss "vertical", "vertically" %}-oriented overview of the use of {% m "S", "fun" %} and {% m "P", "fun" %} functions in {% track "Turtlelephant", "Jokes", "Kidcrash", "2007" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  In effect, ic&nbsp;2 plays a quasi-special role in ic-sensitivity, because of its association with the clearly-mark&egrave;d ic&nbsp;1: both typically have the same {% gloss "interval quantity", "quantity" %}, and differ only in {% gloss "interval quality", "quality" %}. Nonetheless, the presence of ic&nbsp;2 doesn&rsquo;t always preclude {% m "T", "fun" %} function &mdash; the obvious example being {% m "i7" %}. One consequence is that <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">quartal</a> constructions that lack both ic&nbsp;1 &amp; ic&nbsp;6 generally have {% m "S", "fun" %} (or sometimes {% m "P", "fun" %}) function.
</p>

{% h4 "even-more-structural-voice-leading" %}Even more structural voice-leading{% endh4 %}

<p>
  But we still have one crucial bit of {% m "C", "form" %} left to explain: m. 8 and its transition to m. 9. The traditional gloss in {% figref "c-harm", "table" %} analyzes this as a &ldquo;{% m "iio--V--i" %}&rdquo; of sorts; this is useful as a nod to traditional harmony, but the truth is in the <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a>.
</p>

<p>
  Admittedly, we have to briefly <a href="https://en.wikipedia.org/wiki/Voice_crossing">cross</a> the upper two {% gloss "voice", "voices" %} to make this fully work, but said voices are playing in very similar registers anyway:
</p>

{% fig "c-mm-8-and-9-vl", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m." %}</th>
        <th scope="col" colspan="8">8</th>
        <th scope="col" rowspan="2">&#x1d100;</th>
        <th scope="col" colspan="2">9</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "chord" %}</th>
        <th scope="col" colspan="2">{% m "iio/" %}</th>
        <th scope="col">&rarr;</th>
        <th scope="col" colspan="2">*{% m "bVImaj7#11" %}</th>
        <th scope="col">&rarr;</th>
        <th scope="col" colspan="2">{% m "v5" %}</th>
        <th scope="col" colspan="2">{% m "bVI" %}</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" rowspan="4">{% gloss "voice", "voic&shy;es" %}</th>
        <td>{% m "G#" %}</td>
        <td class="right">{% m "1", "fact" %}</td>
        <td class="right">0</td>
        <td>{% m "G#" %}</td>
        <td class="right">{% m "#11", "fact" %}</td>
        <td class="right">0</td>
        <td>{% m "G#" %}</td>
        <td class="right">{% m "5", "fact" %}</td>
        <td class="right">&minus;2</td>
        <td>{% m "F#" %}</td>
        <td class="right">{% m "3", "fact" %}</td>
      </tr>
      <tr>
        <td>{% m "D" %}</td>
        <td class="right">{% m "b5", "fact" %}</td>
        <td class="right">0</td>
        <td>{% m "D" %}</td>
        <td class="right">{% m "1", "fact" %}</td>
        <td class="right">&minus;1</td>
        <td>{% m "C#" %}</td>
        <td class="right">{% m "1", "fact" %}</td>
        <td class="right">+1</td>
        <td>{% m "D" %}</td>
        <td class="right">{% m "1", "fact" %}</td>
      </tr>
      <tr>
        <td>({% m "F#" %})</td>
        <td class="right">{% m "b7", "fact" %}</td>
        <td colspan="2"></td>
        <td class="right">{% m "3", "fact" %}</td>
        <td colspan="2"></td>
        <td class="right">({% m "4", "fact" %})</td>
        <td colspan="2"></td>
        <td class="right">{% m "3", "fact" %}</td>
      </tr>
      <tr>
        <td>{% m "D" %}</td>
        <td class="right">{% m "b5", "fact" %}</td>
        <td class="right">&minus;1</td>
        <td>{% m "C#" %}</td>
        <td class="right">{% m "7", "fact" %}</td>
        <td class="right">0</td>
        <td>{% m "C#" %}</td>
        <td class="right">{% m "1", "fact" %}</td>
        <td class="right">+1</td>
        <td>{% m "D" %}</td>
        <td class="right">{% m "1", "fact" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row">{% enmark "poly-mot-notation" %}mot&shy;ion{% endenmark %}</th>
        <td colspan="2"></td>
        <td>{% m "{o2}" %}</td>
        <td colspan="2"></td>
        <td>{% m "{o2}" %}</td>
        <td colspan="2"></td>
        <td>{% m "{c2p}" %}</td>
        <td colspan="2"></td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      Structural {% gloss "voice", "voice-leading" %} from m. 8 &rarr; m. 9 of {% m "C", "form" %}. The <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a> is pa&shy;ren&shy;the&shy;sized. The upper two voices are crossed at the barline. *The asterisked {% gloss "sonority" %} occurs only in passing.
    </p>
  </figcaption>
{% endfig %}

<p>
  As illustrated in {% figref "c-mm-8-and-9-vl", "table" %}, the procedure is like so:
</p>

<ol>
  <li>Move to the {% gloss "ic" %}&nbsp;6 between {% m "{D,G#}" %} (represented by &ldquo;{% m "iio/7no3" %}&rdquo; in the traditional analysis), <a href="#intervalclass-sensitivity">invoking {% m "D", "fun" %} function</a>.</li>
  <li>Resolve this dissonance to the consonant ic&nbsp;5 between {% m "{C#,G#}" %}, by oblique {% gloss "motion" %} (this produces the {% m "4-16A" %} in passing, or *&ldquo;{% m "bVImaj7#11inv3" %}&rdquo;).</li>
  <li>Treat this momentary consonance as a &ldquo;dissonance&rdquo; to be <em>resolved by strong structural voice-leading</em> {% m "{c2p}" %} from a {% m "P5" %} to a {% m "M3" %}.</li>
</ol>

<p>
  Note that this &ldquo;strongly resolves&rdquo; {% m "C#" %} to {% m "D" %}, which would traditionally not make sense in the context of {% m "F#" %} minor. This double chain of resolutions can be analyzed as &ldquo;{% m "iio--V--i" %}&rdquo;, but only if you squint quite hard.
</p>

<p>
  In fact, this is fundamentally the same procedure as <a href="#a-pitch-material">the one used to go from one period to the next in {% m "AA'", "form" %}</a>:
</p>

<ol>
  <li>{% m "AA'", "form" %}&rsquo;s mm. 5&ndash;6 (specifically, the guitar&nbsp;1 part) presents the {% m "{D,G#}" %} in the form of {% m "3-5B" %} (a &ldquo;<a href="https://en.wikipedia.org/wiki/Viennese_trichord">Viennese trichord</a>&rdquo;); this is analogous to the former half of {% m "C", "form" %}&rsquo;s m. 8.</li>
  <li>This ic&nbsp;6 is resolved to ic&nbsp;5, albeit a different one: {% m "{E,A}" %}.</li>
  <li>The resulting {% m "3-9" %} is then &ldquo;<em>really</em> resolved&rdquo; by strong structural voice-leading back to the beginning of the <a href="https://en.wikipedia.org/wiki/Period_(music)">period</a>; this {% m "3-9" %} is {% m "[D,E,A]" %} in the case of {% m "AA'", "form" %}, and {% m "[C#,F#,G#]" %} in the case of {% m "C", "form" %}.</li>
</ol>

<p>
  The fact that we observe the same harmonic &amp; voice-leading language &mdash; move&shy;ment to ic&nbsp;6 &rarr; half-resolution to {% m "3-9" %} &rarr; non&shy;traditional resolution powered by strong structural voice-leading &mdash; as multiple occurrences in distinct sections indicates not only that said sections have shared thematic material, but also that Kidcrash are making use of a relatively unique, but genuine, <a href="https://en.wikipedia.org/wiki/Tonality">tonal language</a>.
</p>

{% h4 "thematic-reprise-clustering-etc" %}Thematic reprise of diatonic clustering &amp; other pitch-material{% endh4 %}

<p>
  Apart from the intro, the only {% gloss "pc" %} that we&rsquo;ve heard so far that&rsquo;s not a member of {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Minor_scale#Natural_minor_scale">natural minor</a> is the {% m "A#" %} (the major {% m "#3^" %}) in the bass-guitar part of {% m "AA'", "form" %}. Moreover, although the intro did not contain any {% m "A" %}s (sharp or otherwise), it used a <a href="#generalized-clustering">diatonic cluster</a> ({% m "4-11B" %}) to imply an {% m "F#" %} major {% gloss "mode" %}.
</p>

<p>
  In the {% m "D", "form" %} section (m. 16 {% gloss "ff." %} of {% figref "c-d-full" %}), in addition to giving a <i lang="fr">{% gloss "petite reprise" %}</i> of the intro in various other ways (as discussed above &amp; below), we finally get a very explicit statement of {% m "F#" %} major &mdash; albeit not so much of the mode, as of the {% gloss "chord" %}.
</p>

<p>
  Indeed, much like in {% m "AA'", "form" %}, we only get {% m "A#" %}. Although this {% m "A#" %} is clearly &amp; consistently used to produce an {% m "F#" %} major chord, the meticulous insistence upon this being the only mobile {% gloss "pitchclass" %} very nearly suggests {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Aeolian_dominant_scale"><dfn>Aeolian dominant</dfn></a> (the 5<sup>th</sup> mode of {% m "B" %} <a href="https://en.wikipedia.org/wiki/Jazz_minor_scale">melodic minor</a>, or 2<sup>nd</sup> mode of {% m "E" %} <a href="https://en.wikipedia.org/wiki/Acoustic_scale">acoustic</a>); or alternatively, {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Major_scale#Broader_sense"><dfn>melodic major descending</dfn></a>.
</p>

<p>
  In any case, the {% m "F#" %} parallelism is clear &mdash; be it the &ldquo;major&rdquo;, the &ldquo;melodic major&rdquo;, or just the major chord. And speaking of chords&hellip;
</p>

{% fig "d-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m." %}</th>
        <th scope="col">(&hellip;15)</th>
        <th scope="col">16</th>
        <th scope="col" colspan="2">17</th>
        <th scope="col">18</th>
        <th scope="col" colspan="2">19</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">({% m "B-inv1" %})</td>
        <td colspan="2" class="center">{% m "F#", "chord" %}</td>
        <td class="center">{% m "B5inv2" %}</td>
        <td colspan="2" class="center">{% m "F#-7inv3" %}</td>
        <td class="center">{% m "Dmaj7" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td class="center">({% m "ivinv1" %})</td>
        <td colspan="2" class="center">{% m "I" %}</td>
        <td class="center">{% m "iv5inv2" %}</td>
        <td colspan="2" class="center">{% m "i7inv3" %}</td>
        <td class="center">{% m "bVImaj7" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "functional notation", "func&shy;tion" %}</th>
        <td class="center">{% m "P", "fun" %}</td>
        <td colspan="2" class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "P", "fun" %}</td>
        <td colspan="2" class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "D", "fun" %}</td>
      </tr>
    </tbody>
  </table>

  <table>
    <thead>
      <tr>
        <th scope="row">m.</th>
        <th scope="col">21</th>
        <th scope="col" colspan="2">22</th>
        <th scope="col">23</th>
        <th scope="col" colspan="2">24</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">chord</th>
        <td colspan="2" class="center">{% m "F#", "chord" %}</td>
        <td class="center">{% m "G#-7inv3" %}</td>
        <td colspan="2" class="center">{% m "[E,F#]" %}</td>
        <td class="center">{% m "Dmaj7" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td colspan="2" class="center">{% m "I" %}</td>
        <td class="center">{% m "ii7inv3" %}</td>
        <td colspan="2" class="center">{% m "2-2" %}</td>
        <td class="center">{% m "bVImaj7" %}</td>
      </tr>
      <tr>
        <th scope="row">func&shy;tion</th>
        <td colspan="2" class="center">{% m "T", "fun" %}</td>
        <td colspan="3" class="center">{% m "S", "fun" %}</td>
        <td class="center">{% m "D", "fun" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Harmonic gloss of {% m "D", "form" %}. The latter half of the final measure of {% m "C", "form" %} is included in parentheses.
    </p>
  </figcaption>
{% endfig %}

<p>
  Once again, the <em>traditional</em> harmonic analysis is of limited utility. We can interpret the first (but not so much second) {% m "I" %} chord as a <a href="https://en.wikipedia.org/wiki/Picardy_third"><i lang="fr">tierce picarde</i></a>, making m. 15 &rarr; m. 16 a <a href="https://en.wikipedia.org/wiki/Cadence#Minor_plagal_cadence">minor plagal cadence</a>. Indeed, this is a fortuitous alignment between <a href="#structural-voice-leading">strong structural voice-leading</a>, and the stereo&shy;typed version of this {% gloss "voice" %}-leading that&rsquo;s present in classical harmony.
</p>

<p>
  But even putting aside the {% gloss "chord inversion", "inverted" %} <a href="https://en.wikipedia.org/wiki/Power_chord">power-chord</a>, the first problem is the {% m "bVImaj7--I" %} {% gloss "progression" %} (mm. 19&ndash;21), both in root position. The converse of this basic progression is also heard in {% m "AA'", "form" %}, <a href="#a-pitch-material">where I described it in terms of voice-leading, rather than as a <i lang="fr">tierce picarde</i> or &ldquo;chromatic mediant&rdquo;</a>.
</p>

<p>
  Once again, I think that such an analysis is the strongest. In this case, the pedal&shy;point is the only thing supplying the 3<sup>rd</sup> factor of the {% m "bVImaj7" %}, and {% gloss "omitted factor", "the 5<sup>th</sup> is omitted" %}; this leaves only the 7<sup>th</sup> &amp; root &mdash; a {% m "m2" %} apart &mdash; as the real thrust of the {% m "bVImaj7" %}. In combination with <a href="#intervalclass-sensitivity">ic-sensitivity</a>, this paints the major seventh-chord as quite the dissonance &mdash; indeed, if we count the <a href="https://en.wikipedia.org/wiki/Floor_tom">floor-tom</a>, this even produces a <a href="#generalized-clustering">diatonic cluster</a> {% m "3-2B" %}. As a result, we have a dissonance followed by a consonance, with strong voice-leading to connect them.
</p>

<p>
  Then we have mm. 22&ndash;23. Although the 5<sup>th</sup> factor of the {% m "ii7inv3" %} is omitted, I think it&rsquo;s fair to say that its position immediately following the {% m "I" %} makes it likely that the listener hears it as a minor (rather than half-diminished) seventh-chord. And by m. 23, we seem to have the implication of another root-&amp;-7<sup>th</sup>-factor combo &mdash; but with no 5<sup>th</sup> factor, nor even 3<sup>rd</sup>! The bare {% m "M2" %} simply moves directly as {% enmark "arrow-notation" %}{% m "[E,F#,E]" %} {% m "-2,0,-3|{o2s}", "->" %} {% m "[D,F#,C#]" %}{% endenmark %}. Analyzing this <a href="https://en.wikipedia.org/wiki/Dyad_(music)">dyad</a> as a shard of a seventh-chord only produces the less-than-useful progression *&ldquo;{% m "I--ii--i" %}&rdquo;.
</p>

<p>
  I hear this motion as intentionally dissonant, and as evoking <a href="#intro-pitch-material-contour">the pitch-material of the intro</a>. By moving directly &amp; suddenly from {% m "{E,F#}" %} to {% m "{C#,D}" %}, we hear a parallel minor (or <a href="https://en.wikipedia.org/wiki/Major_scale#Broader_sense">melodic major</a>, if you prefer) version of the intro&rsquo;s <a href="#generalized-clustering">diatonic cluster</a> <a href="https://en.wikipedia.org/wiki/Tetrachord">tetrachord</a>: {% m "{C#,D,E,F#}" %} &in; {% m "4-11A" %}. Compare this to the intro&rsquo;s {% m "{C#,D#,E#,F#}" %} &in; {% m "4-11B" %}. The fact that they also happen to be {% gloss "inversional equivalence", "inversion&shy;al&shy;ly equi&shy;valent" %} is just icing on the cake.
</p>

<p>
  This motion between two halves of what is really a larger diatonic cluster partially explains the somewhat awkward voice-leading (although there is, at the very least, no parallel {% gloss "motion" %} of any kind).
</p>

{% h3 "c-rhythmic-units" %}Rhythmic units{% endh3 %}

<p>
  In the intro &amp; {% m "AA'", "form" %}, the basic sub&shy;phrasal unit was a pair of two identical notes: {% m "[n2 n2]" %} in the intro, and {% m "[n8 n8]" %} in {% m "AA'", "form" %}. In {% m "B", "form" %}, this became four notes {% m "[n4 n4]" %} + {% m "[n8 n8]" %} = {% m "[n4 n4 n8 n8]" %}, albeit not all of the same duration anymore. With {% m "C", "form" %}, we&rsquo;ve now basically {% m "[n8 n8]" %} + {% m "[n8 n8]" %} + {% m "[n8 n8]" %} = {% m "[n8 n8 n8 n8 n8 n8]" %}.
</p>

<p>
  The use of repeated notes &mdash; &ldquo;repeated&rdquo; in the sense of being the same pitch, but also the same duration in most cases &mdash; lends a certain coherence to these sections as they go by. But the gradual in&shy;ten&shy;si&shy;fi&shy;ca&shy;tion of the aforesaid rhythmic units &mdash; in combination with the tempo increase at the {% m "BC", "form" %} boundary &mdash; produces what {% personage "Stephen Hudson", 0, 0, "Person" %} calls <dfn>structural acceleration</dfn> (albeit not in the exact same way as in his example).{% cite "StructAccel" %}
</p>

<p>
  This structural acceleration comes to a head not with a breakdown, nor with a chorus, but instead with a return to the intro&rsquo;s rhythmic units in {% m "D", "form" %}.
</p>

<p>
  The reprise of the {% m "[n2 n2]" %} rhythmic unit also brings with it the innovation of {% m "[n2 n4 n4]" %}. These two rhythmic units alternate, but fundamentally, the latter is just the former with a bisected latter note.
</p>

{% h3 "c-melodic-contour" %}Melodic contour &amp; periodicity{% endh3 %}

<p>
  Like {% m "B", "form" %}, {% m "C", "form" %} apparently lacks the <code>*rururdr(d)</code> {% gloss "melodic contour", "contour" %} of the intro &amp; {% m "AA'", "form" %}, frag&shy;ment&shy;ing it to just <code>*r</code>; yet, also like {% m "B", "form" %}, it manages to retain the &ldquo;&lsquo;mobile&rsquo; melodic prominence that self-differs by {% gloss "interval quantity", "second" %}&rdquo; part of the contour:
</p>

{% fig "c-contour-reduc" %}
  {% ly "c-contour", "Melodic reduction of the guitar&nbsp;1 part of &Lang;C&rang;" %}

  <figcaption>
    <p>
      Melodic reduction of the guitar&nbsp;1 part of {% m "C", "form" %}. Barlines are {% gloss "hypermeter", "<strong>hyper</strong>&shy;bar&shy;lines" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  This self-differing by second is indeed <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a>, thus making the full periodic structure of {% m "C", "form" %} evident:
</p>

{% fig "c-periodic-struct", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="8" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="4" class="left">1</th>
        <th scope="col" colspan="4" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" class="left">1.1</th>
        <th scope="col" class="left">1.2</th>
        <th scope="col" class="left">1.3</th>
        <th scope="col" class="left">1.4</th>
        <th scope="col" class="left">2.1</th>
        <th scope="col" class="left">2.2</th>
        <th scope="col" class="left">2.3</th>
        <th scope="col" class="left">2.4</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "me&shy;ter" %}</th>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="2">tot&shy;al</th>
        <td colspan="4" class="center">{% m "12/4" %}</td>
        <td colspan="4" class="center">{% m "12/4" %}</td>
      </tr>
      <tr>
        <td colspan="8" class="center">{% m "24/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The periodic structure of {% m "C", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Although the self-differing by second isn&rsquo;t present in {% m "D", "form" %}, its periodic structure is still evident from how its latter half responds to its former half:
</p>

{% fig "d-periodic-struct", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="8" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="4" class="left">1</th>
        <th scope="col" colspan="4" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" colspan="2" class="left">1.1</th>
        <th scope="col" colspan="2" class="left">1.2</th>
        <th scope="col" colspan="2" class="left">2.1</th>
        <th scope="col" colspan="2" class="left">2.2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col" class="left">16</th>
        <th scope="col" class="left">17</th>
        <th scope="col" class="left">18</th>
        <th scope="col" class="left">19, 20</th>
        <th scope="col" class="left">21</th>
        <th scope="col" class="left">22</th>
        <th scope="col" class="left">23</th>
        <th scope="col" class="left">24, 25</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "me&shy;ter" %}</th>
        <td class="center">{% m "2/2" %}</td>
        <td class="center">{% m "2/2" %}</td>
        <td class="center">{% m "2/2" %}</td>
        <td class="center music">{% m "2/2" %}+{% m "1/2" %}</td>
        <td class="center">{% m "2/2" %}</td>
        <td class="center">{% m "2/2" %}</td>
        <td class="center">{% m "2/2" %}</td>
        <td class="center">{% m "2/2" %}<span class="music">+</span>*{% m "1/2" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="3">tot&shy;al</th>
        <td colspan="2" class="center">{% m "4/2" %}</td>
        <td colspan="2" class="center">{% m "5/2" %}</td>
        <td colspan="2" class="center">{% m "4/2" %}</td>
        <td colspan="2" class="center">{% m "5/2" %}</td>
      </tr>
      <tr>
        <td colspan="4" class="center">{% m "9/2" %}</td>
        <td colspan="4" class="center">{% m "9/2" %}</td>
      </tr>
      <tr>
        <td colspan="8" class="center">{% m "18/2" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The periodic structure of {% m "D", "form" %}.
    </p>

    <p>
      *Measure 25 isn&rsquo;t &ldquo;actually&rdquo; a measure of {% m "1/2" %} (see {% figref "c-d-full" %}, where I&rsquo;ve transcribed it as {% m "6/8" %}), but the sudden tempo increase and the clear periodic symmetry likely cause it to be heard as {% m "1/2" %}-ish.
    </p>
  </figcaption>
{% endfig %}

<p>
  And as a contour-related sidenote, the use of {% m "A#" %} in {% m "D", "form" %} allows for tight <a href="https://en.wikipedia.org/wiki/Diatonic_and_chromatic">chromatic</a> melodic turns like {% m "An--B--A#" %} {% m "<0,2,1>" %} (guitar&nbsp;2, mm. 15&ndash;16) and {% m "A#--B--An" %} {% m "<1,2,0>" %} (guitar&nbsp;1, mm. 17&ndash;18).
</p>

{% h3 "c-dynamics" %}Dynamics{% endh3 %}

<p>
  {% m "C", "form" %} presents a crescendo of {% gloss "dist-pitch" %} in the drumkit part, led by the hi-hats, during mm. 5&ndash;8. This ultimately culminates in a sudden drop from {% m "f" %} to {% m "p" %} or so in the latter half of {% m "D", "form" %} (m. 21 {% gloss "ff." %}).
</p>

<p>
  This marks the first time that we&rsquo;ve been at such a soft dynamic level &amp; dist-pitch since the intro (partly due to the drumkit part in {% m "B", "form" %}). It&rsquo;s also a return to the intro&rsquo;s guitar-only <a href="https://en.wikipedia.org/wiki/Instrumentation_(music)">in&shy;stru&shy;ment&shy;a&shy;tion</a>, as the bass-guitar &amp; drumkit fall completely silent.
</p>

{% h3 "d-reprise" %}Summary of why {% m "D", "form" %} is a <i lang="fr">petite reprise</i>{% endh3 %}

<p>
  I&rsquo;ve been making claims that {% m "D", "form" %} is a <i lang="fr">{% gloss "petite reprise" %}</i> of the intro: not re&shy;ca&shy;pi&shy;tu&shy;lat&shy;ing the intro material exactly, but instead reproducing most of its important thematic material, thus giving the listener the impression &mdash; at the very least &mdash; of &ldquo;return&rdquo;:
</p>

<ul>
  <li>First return of {% m "c/" %} since the intro; first re-use of {% m "[n2 n2]" %} as the basic rhythmic unit.</li>
  <li>First particularly prominent use of {% m "A#" %} to explicitly produce {% m "F#" %} major (<a href="https://en.wikipedia.org/wiki/Major_chord">triad</a>, or <a href="https://en.wikipedia.org/wiki/Major_scale#Broader_sense">melodic major</a>), akin to the intro&rsquo;s implication of the {% m "F#" %} major {% gloss "mode" %}.</li>
  <li>The intro&rsquo;s {% m "{C#,D#,E#,F#}" %} <a href="#generalized-clustering">cluster</a> returns in its &ldquo;descending&rdquo; (in terms of melodic major) form {% m "{C#,D,E,F#}" %}; both clusters are members of {% m "4-11" %}.</li>
  <li>First return of a guitar-only (bass-guitar not included) in&shy;stru&shy;ment&shy;a&shy;tion.</li>
  <li>First return to a {% m "p" %} or {% m "pp" %} {% gloss "dynamics", "dynamic" %}, and to overall {% gloss "dist-pitch" %} {% m "<0>", "c" %}.</li>
</ul>

{% h2 "the-e-section" %}The {% m "E", "form" %} section (<time datetime="PT1M45S">1:45</time> to <time datetime="PT2M05S">2:05</time>){% endh2 %}

{% fig "e-full" %}
  {% ly "e", "Transcription of the &Lang;E&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "E", "form" %} section.
    </p>
  </figcaption>
{% endfig %}

{% h3 "e-hypermeter-and-return-of-metric-material" %}Periodic structure &amp; return of metric material{% endh3 %}

<p>
  As expected, this section has a clear <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> structure. This structure is defined not only by {% gloss "melodic contour" %}, but also by {% gloss "texture" %} &amp; <a href="https://en.wikipedia.org/wiki/Register_(music)">register</a>.
</p>

<p>
  We begin ({% gloss "m.", "mm." %} 1&ndash;12) with alternation between contrasting halves, the first of which is relatively quieter. The quieter half is always a single {% gloss "meter", "measure" %} of {% m "6/8" %}, but the louder half is either five quarter-notes&rsquo; duration (written in {% figref "e-full" %} as <span class="music no-wrap">&lang;{% m "6/8" %}, {% m "2/4" %}&rang;</span>), or else six (written <span class="music no-wrap">&lang;{% m "6/8" %}, {% m "6/8" %}&rang;</span>).
</p>

<p>
  The response given by the latter half of the period is somewhat subtle, but as expected, consists in melodic self-differing by {% gloss "interval quantity", "second" %}: in mm. 5&ndash;6, guitar&nbsp;2 plays {% m "G#--E" %}, whereas in mm. 11&ndash;12, it plays {% m "G#--F#" %}. The resultant periodic structure is shown in {% figref "e-former-periodic-struct", "table" %}:
</p>

{% fig "e-former-periodic-struct", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="8" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="4" class="left">1</th>
        <th scope="col" colspan="4" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" colspan="2" class="left">1.1</th>
        <th scope="col" colspan="2" class="left">1.2</th>
        <th scope="col" colspan="2" class="left">2.1</th>
        <th scope="col" colspan="2" class="left">2.2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col" class="left">1</th>
        <th scope="col" class="left">2, 3</th>
        <th scope="col" class="left">4</th>
        <th scope="col" class="left">5, 6</th>
        <th scope="col" class="left">7</th>
        <th scope="col" class="left">8, 9</th>
        <th scope="col" class="left">10</th>
        <th scope="col" class="left">11, 12</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "me&shy;ter" %}</th>
        <td class="center">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}+{% m "2/4" %}</td>
        <td class="center">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}+{% m "6/8" %}</td>
        <td class="center">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}+{% m "2/4" %}</td>
        <td class="center">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}+{% m "6/8" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="3">tot&shy;al</th>
        <td colspan="2" class="center">{% m "8/4" %}</td>
        <td colspan="2" class="center">{% m "9/4" %}</td>
        <td colspan="2" class="center">{% m "8/4" %}</td>
        <td colspan="2" class="center">{% m "9/4" %}</td>
      </tr>
      <tr>
        <td colspan="4" class="center">{% m "17/4" %}</td>
        <td colspan="4" class="center">{% m "17/4" %}</td>
      </tr>
      <tr>
        <td colspan="8" class="center">{% m "34/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The periodic structure of the former half of {% m "E", "form" %} (mm. 1&ndash;12).
    </p>
  </figcaption>
{% endfig %}

<p>
  This extremely {% gloss "irregular hypermeter", "irregular hyper&shy;meter" %} of {% m "17/4" %} (note that 17 is <a href="https://en.wikipedia.org/wiki/Prime_number">prime</a>) can be heard as {% m "18/4" %} with a single {% gloss "beat" %} &ldquo;missing&rdquo; mid-hyper&shy;measure, <em>or</em> equally well as {% m "16/4" %} with an &ldquo;extra&rdquo; beat at the end.
</p>

<p>
  The {% m "6/8" %} measures are played as such, with the exception of the <a href="https://en.wikipedia.org/wiki/Crash_cymbal">crash</a> &amp; <a href="https://en.wikipedia.org/wiki/Snare_drum">snare</a> in mm. 5, 6, 11, &amp; 12. This allows (or perhaps even requires) Kidcrash to play the <span class="music no-wrap">&lang;{% m "6/8" %}, {% m "2/4" %}&rang;</span> sequences as ambiguously {% m "3+3+2+2/8" %} or {% m "3+3+3+1/8" %}. This is just the same ambiguity as in {% m "B", "form" %}, discussed in {% headingref "b-rhythm-and-meter" %} above.
</p>

<p>
  And naturally, the latter half of {% m "E", "form" %} has a similarly periodic structure, with the latter hyper&shy;measure (mm. 17&ndash;20) contrasting with the former (mm. 13&ndash;16) in the pitches used by guitar&nbsp;2 &amp; the bass-guitar.
</p>

{% h3 "e-rhythmic-units-and-acceleration" %}Rhythmic units &amp; acceleration{% endh3 %}

<p>
  The basic rhythmic unit of this section is clearly {% m "[n8 n4]" %}. The main variants that we hear are augmenting the second note during {% m "2/4" %} measures to {% m "[n8 n4.]" %}, and bisecting the first note to produce {% m "[n16 n16 n4]" %}.
</p>

<p>
  I hear this section as making a break from all previous sections in various ways (several discussed above &amp; below). One of these ways is that any structural acceleration (or deceleration) due to &ldquo;intensifying&rdquo; rhythmic units is no longer relevant; instead, any acceleration in this section is due to the more obvious fact of the tempo increasing from {% m "n4" %} &ap; 157 to {% m "n4" %} &ap; 180.
</p>

<p>
  This break is perhaps to be expected, given that we&rsquo;ve just hit the point of structural importance that is <a href="#d-reprise">the <i lang="fr">petite reprise</i> {% m "D", "form" %}</a>.
</p>

{% h3 "e-contour" %}Melodic contour{% endh3 %}

<p>
  Although the {% gloss "rhythm", "rhythmic" %} unit {% m "[n8 n4]" %} (&amp; its variants) sometimes represents two notes (or {% gloss "chord", "chords" %}) of the same pitch, the participation in a <code>*r</code>-based {% gloss "melodic contour" %} is not evident &mdash; at least, not immediately.
</p>

<p>
  In {% m "E", "form" %}&rsquo;s latter half ({% gloss "m." %} 13 {% gloss "ff." %}), however, the bass&shy;line becomes arguably the most active part of the texture (excepting possibly guitar&nbsp;2). In this capacity, it repeatedly presents {% m "<11002200>", "c" %}, which is similar &mdash; save for the swapping of {% m "<0>", "c" %} with {% m "<1>", "c" %} &mdash; to the {% m "<00112211>", "c" %} of the intro &amp; {% m "AA'", "form" %}. If we {% gloss "normalized motion", "normal&shy;ize the motion" %}, however, we instead hear {% m "<22110011>", "c" %}, which is straight&shy;for&shy;ward&shy;ly an <a href="https://en.wikipedia.org/wiki/Inversion_(music)">inversion</a> of the {% m "<00112211>", "c" %}.
</p>

{% h3 "e-dynamics" %}Dynamics{% endh3 %}

<p>
  This section represents the second ascent to a very high {% gloss "dist-pitch" %} &amp; general {% gloss "dynamics", "dynamic" %} intensity (after {% m "A'", "form" %}). But it goes even further in some ways: we get more dense crash hits &mdash; especially in mm. 2 &amp; 8 &mdash; than ever previously heard, and we get full-blown block-chords from both guitar parts, thus producing even greater <a href="https://en.wikipedia.org/wiki/Intermodulation">inter&shy;modulation</a> distortion.
</p>

<p>
  The dynamics of {% m "E", "form" %} are tied to its {% gloss "texture" %}: during the measures of <a href="https://en.wikipedia.org/wiki/Counterpoint">counter&shy;point</a> between guitars&nbsp;1 &amp; 2 (with no bass-guitar present), we get a lower dist-pitch &amp; overall dynamic level in the drumkit part as well; during other measures, the bass-guitar plays, the guitars produce chords, and we get <a href="https://en.wikipedia.org/wiki/Crash_cymbal">crash cymbal</a> activity.
</p>

<p>
  The ability of {% m "E", "form" %} to oscillate rapidly between these two levels &mdash; rather than, for example, remaining at the highest dist-pitch throughout &mdash; contributes to its higher perceived intensity &amp; forward momentum.
</p>

{% h3 "e-texture-and-internal-structure" %}Texture &amp; internal structure{% endh3 %}

<p>
  The {% gloss "texture" %} of this section is notable for being the first <em>real</em> break (since the intro) from being primarily {% gloss "homeophony", "home&shy;ophony" %}-driven. In a way, the oscil&shy;lating texture &mdash; and ac&shy;com&shy;pa&shy;ny&shy;ing {% gloss "dynamics" %} &mdash; are a kind of compromise between the home&shy;ophony of past sections &amp; the textures more standardly expected of post-hardcore.
</p>

<p>
  In particular, the entirety of {% m "E", "form" %} manages to retain the &ldquo;duel&shy;ling guitars&rdquo; approach of the home&shy;ophony in previous sections, even in cases where one or both non-bass guitar parts are essentially just slamming block-{% gloss "chords" %}. The only genuine loss of in&shy;de&shy;pend&shy;ence is in {% gloss "m.", "mm." %} 2, 3, 8, &amp; 9, during which the parts are identical.
</p>

<p>
  The texture in mm. 1, 4, 7, &amp; 10, while brief, is fairly <a href="https://en.wikipedia.org/wiki/Counterpoint">contra&shy;puntal</a>, with all {% gloss "motion" %} being strictly contrary. Although the texture in mm. 5, 6, 11, &amp; 12 is similarly brief, and exhibits relatively little motion, it is virtually <a href="https://en.wikipedia.org/wiki/Homorhythm">homo&shy;rhythmic</a>. The motion in guitar&nbsp;2 (&amp; in the bass-guitar, for that matter) cannot be ignored, as it introduces {% gloss "pc", "pcs" %} otherwise foreign to the region.
</p>

<p>
  And finally, m. 13 {% gloss "ff." %} is still basically homo&shy;rhythmic, but is more well-developed to the point that we get something like <a href="https://en.wikipedia.org/wiki/Homophony">homo&shy;phony</a>: melody &amp; ac&shy;com&shy;pani&shy;ment. But by {% gloss "normalized motion", "normal&shy;iz&shy;ing motion" %}, we hear some home&shy;ophony between guitar&nbsp;2 &amp; the bass-guitar here: a decent amount of motion&shy;al in&shy;de&shy;pend&shy;ence (contrary &amp; oblique motions, plus some similar), but a total lack of phrasal in&shy;de&shy;pend&shy;ence, and liberal use of large melodic {% gloss "interval", "intervals" %}.
</p>

<p>
  What&rsquo;s more interesting, however, is how <strong>material from these various textures is recombined</strong> in m. 13 ff.: the originally contra&shy;puntal melody is synthesized with the chords from originally <a href="https://en.wikipedia.org/wiki/Monophony">mono&shy;phonic</a> &amp; homo&shy;rhythmic textures to forge the &ldquo;completed&rdquo; (&amp; texturally mixed) form of this section.
</p>

{% h3 "e-pitch-material" %}Pitch-material{% endh3 %}

<p>
  With one slight exception, this section (like most previous sections) adheres to {% m "F#" %} natural minor.
</p>

{% h4 "e-contrapuntal-texture" %}Contra&shy;puntal texture{% endh4 %}

<p>
  The brief contrapuntal textures are notable for outlining a root-position {% m "Amaj7" %} {% gloss "U+2258", "&#x2258;" %} {% m "bIIImaj7" %}. Thus, the progression from m. 1 &rarr; m. 2 (&amp; m. 7 &rarr; m. 8) can be interpreted as a {% m "bIII--i" %} progression typical of rock music, but with the atypical use of a <a href="https://en.wikipedia.org/wiki/Major_seventh_chord">major seventh-chord</a>. As discussed in {% headingref "intervalclass-sensitivity" %} above, the {% gloss "ic" %}&nbsp;1 of major seventh-chords allows them to &ldquo;{% gloss "functional notation", "function" %}&rdquo; as dissonances (more specifically &ldquo;{% m "D", "fun" %}&rdquo;), even when this doesn&rsquo;t align with traditional function.
</p>

<p>
  Also notable is that the only vertical ic&nbsp;1 or ic&nbsp;6 (or even ic&nbsp;2, for that matter) in this phrase is the {% m "m9" %} &#x2258; ic&nbsp;1 between {% m "C#" %} &amp; {% m "D" %}, which occurs at the very end. This is a more straight&shy;forward &amp; traditional use of ic-sensitivity as I&rsquo;ve defined it here.
</p>

{% h4 "e-block-chords" %}Block-chords{% endh4 %}

<p>
  More interestingly, we have the {% m "[A,D,G#]" %} {% gloss "chord" %} that features prominently throughout this section; this is a return of the {% m "3-5" %} (&ldquo;<a href="https://en.wikipedia.org/wiki/Viennese_trichord">Viennese trichord</a>&rdquo;) from {% m "AA'", "form" %}, but this time in a <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">quartal</a> voicing {% m "[0,5,11]" %} &in; {% m "3-5A" %}, instead of a <a href="https://en.wikipedia.org/wiki/Close_and_open_harmony">close</a> {% gloss "inversional equivalence", "inverted" %} voicing {% m "[C#,D,G#]" %} &#x2258; {% m "[0,1,7]" %} &in; {% m "3-5B" %}. Here we once again hear <a href="#intervalclass-sensitivity">ic-sensitivity</a> in action: although this <a href="https://en.wikipedia.org/wiki/Trichord">trichord</a> has no traditional function, its possession of {% gloss "ic", "ics" %}&nbsp;1 <em>and</em> 6 allow it to {% gloss "functional notation", "function" %} as a clear {% m "D", "fun" %} that contrasts with the tonic {% m "F#5", "chord" %}.
</p>

<p>
  But this skeletal form of the &ldquo;dominant&rdquo; chord is also heard with more muscle on its bones. For the most part, we seem to get what we&rsquo;d expect: arbitrary <a href="https://en.wikipedia.org/wiki/Diatonic_scale">diatonic</a> fragments. When {% m "E" %} is added, we can squeeze an {% m "E11", "chord" %} &#x2258; {% m "bVII11" %} (in various inversions) out of it; when {% m "B" %} is added, we can squeeze a {% m "B-13", "chord" %} &#x2258; {% m "iv13" %} out of it (see especially the latter half of m. 12); and perhaps most interestingly, when solely {% m "F#" %} is added (as in the former halves of mm. 12, 16, &amp; 19), we get {% m "4-Z29B" %} &mdash; an <a href="https://en.wikipedia.org/wiki/All-interval_tetrachord">all-ic tetrachord</a>.
</p>

<p>
  Although the {% m "F#" %} of the tonic chord is &ldquo;only&rdquo; avoided 75% of the time, it is notable that the {% m "C#" %} of the tonic chord <em>never</em> occurs as an addition to the basic {% m "[A,D,G#]" %} chord. This is discounting the guitar&nbsp;2 part of m. 13 ff. as being the melody, and thus not part of the accompaniment; but note that guitar&nbsp;2&rsquo;s phrases always end on a long ({% m "n4" %}) {% m "D" %} or {% m "A" %}, thus maintaining the dissonance.
</p>

{% h4 "e-oops" %}Oops{% endh4 %}

<p>
  I suspect that the {% m "Cn" %} &#x2258; {% m "b5^" %} in the guitar&nbsp;2 part of m. 17 is a mistake, especially considering that it&rsquo;s consistently {% m "C#" %} elsewhere. Nonetheless, it fortunately at least <em>seems</em> to fill the role of avoiding {% m "C#" %}, and suggests the usual alteration that forms <a href="https://en.wikipedia.org/wiki/Blues_scale#Hexatonic">the so-called ({% m "F#" %}) <dfn>blues &ldquo;scale&rdquo;</dfn></a>&hellip;
</p>

{% h2 "the-f-section" %}The {% m "F", "form" %} section (<time datetime="PT2M05S">2:05</time> to <time datetime="PT2M27S">2:27</time>){% endh2 %}

{% fig "f-full" %}
  {% ly "f", "Transcription of the &Lang;F&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "F", "form" %} section.
    </p>

    <p>
      One vocalist, <a href="https://en.wikipedia.org/wiki/Panning_(audio)">panned</a> relatively slightly rightward in the recording, has downward <a href="https://en.wikipedia.org/wiki/Stem_(music)">stems</a> and lyrics below the staff; the other vocalist has upward stems and lyrics above the staff.
    </p>

    <p>
      A <a href="https://en.wikipedia.org/wiki/Fermata">fermata</a> with a V-shaped &amp; doubled arc is a &ldquo;very short fermata&rdquo;, indicating a note played slightly long, causing the immediately subsequent note to be played &ldquo;behind the beat&rdquo;.
    </p>

    <p>
      The <a href="https://en.wikipedia.org/wiki/Breath_mark">breath mark</a>, notated as <span class="music"><span class="mus-notes">&#x1d112;</span></span>, indicates that the cymbal is to be forcibly muted (&ldquo;<a href="https://en.wikipedia.org/wiki/Cymbal_choke">choked</a>&rdquo;) by grabbing it with the hand &mdash; rather than being allowed to ring.
    </p>
  </figcaption>
{% endfig %}

{% h3 "f-texture-rhythm-and-meter" %}Texture, rhythm, &amp; meter{% endh3 %}

<p>
  This is the first verse. Perhaps unsurprisingly, the {% gloss "texture" %} is the simplest yet: some block-{% gloss "chord", "chords" %} with effectively a single vocal melody on top.
</p>

{% h4 "f-decompression" %}Decompression{% endh4 %}

<p>
  What really drives this texture, however, is the way in which its {% gloss "rhythm", "rhythms" %} interlock. Although this entire section is in {% m "c" %}, its four-measure {% gloss "hypermeter", "hyper&shy;bars" %} are characterized by a compressed m. 1 that gradually decompresses into the relatively un&shy;{% gloss "syncopation", "syncop&shy;ated" %} mm. 3&ndash;4:
</p>

{% fig "decompression-process", "list" %}
  {% ol "decompression-process", "1" %}
    <li>Measure 1 doesn&rsquo;t start at all until {% gloss "counting", "beat&nbsp;2" %}, effectively truncating it to a measure of {% m "3/4" %}.</li>
    <li>The only explicit indication of m. 2&rsquo;s {% gloss "meter", "downbeat" %} is in the drumkit: although it continues the usual straight quarter-notes (or eighth-notes) in the cymbals, it otherwise fairly consistently delays the downbeat until {% gloss "counting", "the &ldquo;&amp; of 1&rdquo;" %}, thus halfway &ldquo;de&shy;compress&shy;ing&rdquo; into the vacuum left by the missing beat&nbsp;1 of m. 1.</li>
    <li>Measure 3 decompresses into the other still-missing half, finally putting the downbeat in the expected place.</li>
  {% endol %}

  <figcaption>
    <p>
      The rhythmic de&shy;com&shy;pres&shy;sion process.
    </p>
  </figcaption>
{% endfig %}

<p>
  In short: we start by losing a whole beat, then we get half of it back, then we get the other half back, and then rinse &amp; repeat.
</p>

{% h4 "f-rhythm-vocals" %}Vocals{% endh4 %}

<p>
  Against this backdrop, the main point of rhythmic interest is the vocals, which make free use of roughly one measure&rsquo;s worth of material at a time, typically subdivided into eighth-notes. The freeness is apparent from the roughly even split between starting 0, 1, or 2 eighth-notes before the barline; the variety of sometimes inconsistent rhythms used; and even the intentionally &ldquo;behind the beat&rdquo; phrase of m. 10.
</p>

<p>
  That being said, if there&rsquo;s any general rhythmic principle at work in the vocals, then it might be the tendency toward {% m "3+2+3/8" %}. Of the eight vocal phrases, four of them use this metric division, and another two are consistent with it without explicitly stating it in full &mdash; in total, 75% of all vocal phrases.
</p>

<p>
  A particular outlier is mm. 11&ndash;12 (<q><i>Now I&rsquo;m grinding my teeth</i></q>), which strikes me as the most {% gloss "syncopation", "syncopated" %} phrase in this entire section, in addition to being the only vocal phrase that makes use of its particular <a href="https://en.wikipedia.org/wiki/Register_(music)">register</a> (roughly between {% m "C#4" %} &amp; {% m "D#4" %}). The suggested division is pretty clearly {% m "2+3+3/8" %} (preceded by {% m "[n8> n8]" %}; in effect, 2+2+3+3).
</p>

<p>
  But the phrase of greatest import is of course in the final measure (m. 16), where the two vocalists sing in unison. Not only is this the only vocal phrase that subdivides the eighth-note {% gloss "pulse" %}, but it also synthesizes the 3+2+3 division characteristic of this section with the variations on 3+3+2 heard previously: while the measure as a whole is clearly divided as {% m "3+2+3/8" %}, its first half similarly clearly divides as {% m "3+3+2/16" %}.
</p>

{% h3 "f-melodic-contour" %}Melodic contour{% endh3 %}

<p>
  Use of the same &ldquo;&lsquo;mobile&rsquo; melodic prominence self-differing by {% gloss "interval quantity", "second" %}&rdquo; trope of previous sections is evident in the bass&shy;line, where the highest two pitches of each four-measure {% gloss "hypermeter", "hyper&shy;bar" %} differ by second from their counter&shy;parts in the previous hyper&shy;bar.
</p>

<p>
  Undoubtedly, this particular {% gloss "melodic contour", "contour" %} is difficult to pick out of the <a href="https://en.wikipedia.org/wiki/Audio_mixing_(recorded_music)">mix</a>. Nonetheless, it is quite clearly there upon inspection. More importantly, however, the alternation between the second-highest pitch (which lasts much longer than the highest) being {% m "D#" %} and being {% m "E" %} is made much more obvious by the crucial mm. 15&ndash;16, where {% m "E" %} clearly dominates this dissonant {% gloss "chord" %}, rather than being the {% m "D#" %} of the less-dissonant {% m "G#-inv2" %} chords.
</p>

<p>
  Moreover, this contour trope is arguably also present in the guitars, where each pair of chords has highest pitches differing by second.
</p>

<p>
  In any case, with the bass contour in mind, we once again get a <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> structure:
</p>

{% fig "f-periodic-struct", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="4" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="2" class="left">1</th>
        <th scope="col" colspan="2" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" class="left">1.1</th>
        <th scope="col" class="left">1.2</th>
        <th scope="col" class="left">2.1</th>
        <th scope="col" class="left">2.2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col" class="left">1, 2</th>
        <th scope="col" class="left">3, 4</th>
        <th scope="col" class="left">5, 6</th>
        <th scope="col" class="left">7, 8</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "me&shy;ter" %}</th>
        <td class="center music">{% m "4/4" %}+{% m "4/4" %}</td>
        <td class="center music">{% m "4/4" %}+{% m "4/4" %}</td>
        <td class="center music">{% m "4/4" %}+{% m "4/4" %}</td>
        <td class="center music">{% m "4/4" %}+{% m "4/4" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="3">tot&shy;al</th>
        <td colspan="2" class="center">{% m "16/4" %}</td>
        <td colspan="2" class="center">{% m "16/4" %}</td>
      </tr>
      <tr>
        <td colspan="4" class="center">{% m "32/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The periodic structure of {% m "F", "form" %}. Strictly speaking, we <em>could</em> analyze a hyper&shy;period out of the increased dissonance of mm. 9&ndash;16 relative to mm. 1&ndash;8, but that isn&rsquo;t represented in this table.
    </p>
  </figcaption>
{% endfig %}

<p>
  Even in Kidcrash&rsquo;s apparently most austere textures of pure block-chords supporting screamed vocals, we can still hear spiritually {% gloss "horizontal" %} (in this case, contour-based) organization.
</p>

{% h3 "f-pitch-material" %}Pitch-material{% endh3 %}

<p>
  This section moves up from {% m "F#" %} minor to {% m "G#" %} minor. This represents the first real break from {% m "F#" %}-centricity.
</p>

<p>
  The {% gloss "chord", "chords" %} here come in pairs, and those pairs themselves come in pairs. The first pair is always the same: {% m "C#-7no3inv3--G#-" %} &#x2258; {% m "iv7inv3--i" %}. This {% gloss "functional notation", "functions" %} as {% m "T", "fun" %}. The second pair more-or-less alternates between something like {% m "E--G#-inv2" %} &#x2258; {% m "bVI--iinv2" %} and {% m "E--Emaj7" %} &#x2258; {% m "bVI--bVImaj7" %}. This alternation is possible because of the bass&shy;line&rsquo;s {% gloss "melodic contour", "contour" %}, as discussed in the {% headingref "f-melodic-contour" %} section above.
</p>

<p>
  Once again, we see a preponderance of &ldquo;{% m "i" %}&rdquo;, &ldquo;{% m "iv" %}&rdquo;, &amp; &ldquo;{% m "bVI" %}&rdquo;, but no clear indications that this kind of analysis is directly useful. Observing in detail how the final chord of each hyper&shy;measure evolves over the course of this section will help:
</p>

{% fig "f-hyperbar-final-chords", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="2">1</th>
        <th scope="col" colspan="2">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;bar</th>
        <th scope="col">1</th>
        <th scope="col">2</th>
        <th scope="col">3</th>
        <th scope="col">4</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">3&ndash;4</th>
        <th scope="col">7&ndash;8</th>
        <th scope="col">11&ndash;12</th>
        <th scope="col">15&ndash;16</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">{% m "G#-inv2" %}</td>
        <td class="center">{% m "Emaj7no3" %}</td>
        <td class="center">{% m "G#-add4inv2" %}</td>
        <td class="center">{% m "Emaj13" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td class="center">{% m "iinv2" %}</td>
        <td class="center">{% m "bVImaj7" %}</td>
        <td class="center music">{% m "iinv2" %} &sqcup; {% m "3-6" %}</td>
        <td class="center">{% m "bVImaj13" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "functional notation", "func&shy;tion" %}</th>
        <td class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "D", "fun" %}</td>
        <td class="center">{% m "S", "fun" %}</td>
        <td class="center">{% m "D", "fun" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      The ultimate chord of each <a href="#f-periodic-struct">hyper&shy;measure of {% m "F", "form" %}</a>.
    </p>
  </figcaption>
{% endfig %}

<p>
  In mm. 3&ndash;4, any dissonance is at most mild, with merely the bass note of {% m "iinv2" %} suggesting some eventual return to <a href="https://en.wikipedia.org/wiki/Root_position">root-position</a> {% m "i" %}. Then, mm. 7&ndash;8 produces a real dissonance &mdash; namely, an {% gloss "ic" %}&nbsp;1.
</p>

<p>
  The next period adds a little extra spice at first, by adding a {% m "C#" %} (the perfect 4<sup>th</sup> <a href="https://en.wikipedia.org/wiki/Factor_(chord)">factor</a>) to the {% m "iinv2" %}, thus producing the gentle <a href="#generalized-clustering">diatonic cluster</a> {% m "{B,C#,D#}" %} &in; {% m "3-6" %}, with {% m "S", "fun" %} {% gloss "functional notation", "function" %}. The effect is subtle, to be sure, but much less subtle once we arrive at mm. 15&ndash;16. Here, we get a full (read: all factors, except the 9<sup>th</sup> &amp; 11<sup>th</sup>) {% m "bVImaj13" %}, producing the much more significant (albeit more spaced-out) cluster {% m "{B,C#,D#,E}" %}, a member of our familiar {% m "4-11B" %}.
</p>

{% h3 "f-dynamics-and-texture" %}Dynamics &amp; texture{% endh3 %}

<p>
  This section generally lowers the {% gloss "dynamics", "intensity" %} relative to the latter half of the previous section, which I&rsquo;ve notated as a change from {% m "ff" %} to {% m "f" %}. However, it&rsquo;s difficult to evaluate the overall {% gloss "dist-pitch" %} of this section: although the use of <a href="https://en.wikipedia.org/wiki/Crash_cymbal">crashes</a> &amp; other noisy drum hits is considerably sparser, we can argue that this is compensated for by the addition of shouted vocals.
</p>

<p>
  Given that the overall dist-pitch is probably not significantly different from that of the previous section, the real change in intensity seems to come from the guitar parts. Because the individual block-chords are held for upwards of a dotted whole-note at a time, the extra intensity (&amp; noise) of plectrum hitting string is far less present, and the gradual attenuation of the chords as they ring out further removes intensity.
</p>

<p>
  This brings out an aspect of the {% gloss "texture" %}: there&rsquo;s a clear turn-taking (or call-&amp;-response) between the guitars &amp; the vocals, so that the shouting only occurs when the guitars&rsquo; notes are left to ring, and conversely, the guitars only play new chords when a vocal phrase concludes. This produces a local kind of dynamic or dist-pitch uniformity that wouldn&rsquo;t be present if the vocals were written like a more straight&shy;forward verse.
</p>

{% h3 "f-vocals" %}Vocals{% endh3 %}

{% note %}
  <p>
    It should be noted, of course, that the way that vocals are transcribed here &mdash; including, for example, in {% figref "f-full" %} &mdash; does little justice to the actual music. The pitches indicated are ap&shy;prox&shy;i&shy;mate, and any inflections distinctly present in the perform&shy;ance, any changes in <a href="#f-vocal-technique">technique &amp; phonation</a>, etc., are entirely absent.
  </p>
{% endnote %}

{% h4 "first-verse" %}First verse{% endh4 %}

<p>
  Speaking of vocals, given that this album is widely understood as a &ldquo;{% gloss "screamo" %}&rdquo; record, we might be surprised to hear vocals for the <em>first time</em> only a half-dozen {% gloss "section", "sections" %}, and over two minutes, into the piece.
</p>

<p>
  A vocals-free first two minutes or so is not notable on its own. In reality, the screamo genre is noted for its dramatic {% gloss "form", "song structures" %}, quite frequently including lengthy introductions &amp; interludes that serve to build tension and to provide contrast. What makes Kidcrash&rsquo;s songwriting notable in this respect is much more closely related to the fact that we&rsquo;ve had to go through some half-dozen sections to get here.
</p>

<p>
  Indeed, this piece already <em>had</em> a clear introductory section, which &mdash; although of great import &mdash; only actually lasted for 15 seconds or so. The intervening nearly two minutes &mdash; keeping in mind that the entire piece is less than five minutes in total &mdash; between the intro &amp; the first instance of vocals is not meaningfully introductory nor interludic; it <em>is</em> &ldquo;the meat&rdquo; of the piece, that just so happens to not include any vocal parts.
</p>

<p>
  The effect is that, even before the very first verse &mdash; ordinarily the real starting-point of a piece of {% gloss "popular music" %} &mdash; the listener has <em>already</em> been on a whole rollercoaster of emotions &amp; motivic material. This directly relates to the text of the piece, as will be discussed later.
</p>

{% h4 "f-vocal-technique" %}Technique{% endh4 %}

<p>
  On this record, Kidcrash are like many &mdash; albeit not all &mdash; screamo bands in that their arsenal of vocal techniques does not include traditional &ldquo;<dfn>clean</dfn>&rdquo; singing.
</p>

<p>
  In practice, although there are unclean vocal techniques that aren&rsquo;t associated with screamo &mdash; particularly, those especially characteristic of certain <a href="https://en.wikipedia.org/wiki/Extreme_metal">kinds of heavy metal</a> &mdash; the palette is still quite broad. Common descriptions may include highly-inflected shrieks that feature violent changes in <a href="https://en.wikipedia.org/wiki/Vocal_register">vocal register</a>; harsh, noisy screams produced with the <a href="https://en.wikipedia.org/wiki/Cuneiform_cartilages">cuneiform cartilages</a>; <a href="https://en.wikipedia.org/wiki/Sprechgesang"><i lang="de">Sprechgesang</i></a>-esque styles that incorporate aspects of a spoken voice; so-called &ldquo;bird chirps&rdquo; associated with {% album "Seeing Means More Than Safety", "Jeromes Dream", "2000" %}; etc..
</p>

<p>
  On <cite>Jokes</cite>, the technique is perhaps best described as &ldquo;shouted&rdquo;. We can clearly hear the sonic striations produced by <a href="https://en.wikipedia.org/wiki/Aryepiglottic_fold">aryepiglottic</a> manipulation (see below), but the <a href="https://en.wikipedia.org/wiki/Phonation">phonation</a> of the <a href="https://en.wikipedia.org/wiki/Glottis">glottis</a> is &ldquo;clear&rdquo; enough that the technique can sometimes dip into yelling or talking territory. Moreover, the technique carries a decent bit more pitch information than might be expected of a screamo vocal style; not <i lang="de">Sprechgesang</i>, but perhaps <i lang="de">Schreigesang</i>.
</p>

{% aside %}
  <p>
    The actual components of unclean vocal techniques are not widely understood. To my knowledge, the following processes can shape such techniques:
  </p>

  <dl>
    <dt>aryepiglottic constriction</dt>
    <dd>
      <p>
        Constriction of the <a href="https://en.wikipedia.org/wiki/Aryepiglottic_fold">aryepiglottic folds</a>, to produce varying degrees of distortion as a primary or secondary type of phonation. Allows for the important participation of the <a href="https://en.wikipedia.org/wiki/Corniculate_cartilages">corniculate</a> &amp; especially <a href="https://en.wikipedia.org/wiki/Cuneiform_cartilages">cuneiform cartilages</a>. When these cartilages vibrate periodically, we get <a href="https://en.wikipedia.org/wiki/Throat_singing">throat-singing</a>; when they vibrate irregularly, we get distortion.
      </p>

      <p>
        These structures are located roughly at the top of the <a href="https://en.wikipedia.org/wiki/Larynx">larynx</a> (=&nbsp;voicebox), just past the <a href="https://en.wikipedia.org/wiki/Epiglottis">epiglottis</a> (as one descends down the throat).
      </p>
    </dd>

    <dt>{% enmark "vent-incur" %}ventricular incursion{% endenmark %}</dt>
    <dd>
      <p>
        Phonation with the <a href="https://en.wikipedia.org/wiki/Vestibular_fold">vestibular folds</a> (=&nbsp;&ldquo;false vocal cords&rdquo;) is commonly cited as the primary source of screamed or growled vocal techniques, but this doesn&rsquo;t actually occur in a healthy vocalist (although it can occur pathologically as <a href="https://en.wikipedia.org/wiki/Diplophonia">diplophonia</a>). Rather than being a source of phonation, the main role of the vestibular folds in this context is simply to <em>dampen</em> any phonation of the glottis, thus interfering with the role of ordinary phonation in the resulting sound, and probably producing some distortion in the process.
      </p>

      <p>
        Thus, ventricular incursion <em>does</em> occur in many &mdash; but not all &mdash; unclean singing techniques, but only as a further constriction of a larynx already constricted by the aryepiglottic folds. Because the vestibular folds are located above the <a href="https://en.wikipedia.org/wiki/Glottis">glottis</a> and below the aryepiglottic folds, they&rsquo;re typically obscured in <a href="https://en.wikipedia.org/wiki/Laryngoscopy">laryngoscopy</a> by aryepiglottic constriction.
      </p>
    </dd>

    <dt>glottal phonation modes</dt>
    <dd>
      <p>
        Various modes of phonation of the glottis itself &mdash; that is, by the &ldquo;true&rdquo; <a href="https://en.wikipedia.org/wiki/Vocal_cords">vocal cords</a>. On one extreme, we have a totally open glottis: <a href="https://en.wikipedia.org/wiki/Voicelessness"><dfn>voiceless</dfn></a>, as in {% ipa "und", "phone" %}h{% endipa %}. On the other, a totally closed glottis stops airflow entirely, as in {% ipa "und", "phone" %}&#x294;{% endipa %}.
      </p>

      <p>
        Although a totally closed glottis isn&rsquo;t useful in this context, any of the other phonation modes &mdash; especially intermediate ones &mdash; may be relevant.
      </p>

      <p>
        Most relevant is <a href="https://en.wikipedia.org/wiki/Creaky_voice"><dfn>creaky voice</dfn></a> ({% enmark "voqs" %}as in {% ipa "und", "phone" %}&#x259;&#x330;{% endipa %};{% endenmark %} sometimes called <dfn>fry</dfn>), where the glottis is <em>nearly</em> closed, causing the individual folds to be fairly slack. This allows only small amounts of air to get through, and causes the slack-but-compact folds to vibrate irregularly, producing audible distortion. This can allow for unclean vocal techniques that don&rsquo;t rely on &mdash; but may or may not include &mdash; constriction further up the vocal tract.
      </p>

      <p>
        Glottal phonation is not always clearly separable from other aspects of laryngeal articulation. For example, linguistic descriptions of creaky voice also include some amount of aryepiglottic constriction. The similar linguistic descriptor <a href="https://en.wikipedia.org/wiki/Harsh_voice"><dfn>harsh voice</dfn></a> ({% enmark "voqs" %}has no dedicated symbol in the <a href="https://en.wikipedia.org/wiki/International_Phonetic_Alphabet"><abbr title="International Phonetic Alphabet">IPA</abbr></a>, but may be written {% ipa "und", "phone" %}&#x259;&#x1dfd;{% endipa %};{% endenmark %} also called <dfn>pressed voice</dfn>) is defined in terms of supraglottal constriction, but is used alongside glottal phonation categories.
      </p>
    </dd>
  </dl>

  <p>
    Other components of a technique may also affect the result, while still not being located within the oral cavity: retraction of the <a href="https://en.wikipedia.org/wiki/Epiglottis">epiglottis</a>, raising or lowering of the entire larynx, &amp;/or use of <a href="https://en.wikipedia.org/wiki/Pharyngeal_muscles">pharyngeal muscles</a> to change the shape of the <a href="https://en.wikipedia.org/wiki/Pharynx">pharynx</a>. However, these generally don&rsquo;t contribute to the distorted phonation itself.
  </p>
{% endaside %}

<p>
  For these reasons, although I&rsquo;ve used cross-shaped noteheads to indicate shouting, the pitches transcribed in {% figref "f-full" %} really are there, and are fairly audible as well.
</p>

<p>
  This vocal technique locates Kidcrash firmly within the realm of hardcore punk &amp; post-hardcore. Moreover, the duelling vocalists &mdash; especially when shouting together &mdash; evoke the &ldquo;gang vocals&rdquo; of some hardcore punk &amp; of some other punk subgenres.
</p>

{% h3 "f-text" %}Text{% endh3 %}

{% fig "f-lyrics", "verse" %}
  <div class="verse">
    <p>
      The shore must be sinking,<br>
      Or Turtlelephant&rsquo;s rising up.<br>
      The tides and tusks;<br>
      Her shell of rust.
    </p>

    <p>
      Jaws to cut lumber;<br>
      Now I&rsquo;m grindin&rsquo; my teeth.<br>
      Great legs of pillars<br>
      Have somehow given out.
    </p>
  </div>

  <figcaption>
    <p>
      The lyrics of {% m "F", "form" %}. Also given in {% figref "f-full" %}.
    </p>
  </figcaption>
{% endfig %}

{% h4 "f-as-verse" %}As verse{% endh4 %}

<p>
  As befits <a href="#f-rhythm-vocals">the freeness of rhythmic patterns in the vocals</a>, the <a href="https://en.wikipedia.org/wiki/Metre_(poetry)">poetic meter</a> of the text here is irregular: &lang;6, 8, 4, 4; 5, 6, 5, 6&rang; syllables, for a <a href="https://en.wikipedia.org/wiki/Arithmetic_mean">mean</a> of 5.5 syllables per line.
</p>

<p>
  There is nevertheless some regularity even here, given the &lang;5, 6&rang; alternation of the 2<sup>nd</sup> <a href="https://en.wikipedia.org/wiki/Stanza">stanza</a>, the exactly 22 (<a href="https://en.wikipedia.org/wiki/Fundamental_theorem_of_arithmetic">=&nbsp;2&nbsp;&sdot;&nbsp;11</a>) syllables of each stanza, and the fact that the latter two lines of the 1<sup>st</sup> stanza are clearly paired &mdash; including each being a pair of <a href="https://en.wikipedia.org/wiki/Iamb_(poetry)">iambs</a>.
</p>

<p>
  Moreover, if we split the text {% gloss "hypermeter", "hy&shy;per&shy;met&shy;ric&shy;ally" %} instead of <a href="https://en.wikipedia.org/wiki/Period_(music)">period&shy;ic&shy;ally</a> &mdash; that is, into four stanzas, rather than the two in {% figref "f-lyrics", "verse" %} &mdash; we observe that the text is clearly written for the turn-taking style of vocals employed here, as a kind of call-&amp;-response:
</p>

<ul>
  <li>Lines 1 &amp; 2 form a single sentence, with the lines having matching <a href="https://en.wikipedia.org/wiki/Present_continuous">present continuous</a> constructions <q><i>be sinking</i></q> &amp; <q><i>[is] rising</i></q>.</li>
  <li>Lines 3 &amp; 4 are both {% gloss "NP", "NPs" %}, both describing the same thing: physical attributes of Turtlelephant. Moreover, these lines are metrically paired.</li>
  <li>Lines 5 &amp; 6 is call-&amp;-<em>response</em> in a more literal sense: the speaker responds to Turtlelephant&rsquo;s lumber-shredding jaws with trepidation. These lines are also metrically paired, albeit in a different way.</li>
  <li>Lines 7 &amp; 8 form a single sentence, and also have the same meter as lines 5 &amp; 6.</li>
</ul>

<p>
  On the one hand, we have the ragg&egrave;d poetic meter, the lack of rhyme, and the irregular {% gloss "rhythm", "musical rhythms" %}. On the other, we have some metric regularity in the text, a clear alignment with <em>both</em> hyper&shy;metric levels of the music, and a close fitting of the vocal rhythms to the underlying {% gloss "pulse" %}.
</p>

<p>
  From this combination, the listener gets an impression somewhere in between that of a traditional &ldquo;verse&rdquo; (in the musical &amp; poetic senses) and that of freely-exchanged spoken word, especially &mdash; given <a href="#f-vocal-technique">the vocal technique</a> &mdash; the con&shy;front&shy;ation&shy;al shouted vocals typical of hardcore punk &amp; its descendants.
</p>

{% h5 "f-assonance" %}Assonance{% endh5 %}

<p>
  English poetry is typically formalized in terms of <a href="https://en.wikipedia.org/wiki/Accentual-syllabic_verse">accentual-syllabic verse</a>, plus possibly some <a href="https://en.wikipedia.org/wiki/Rhyme_scheme">rhyme scheme</a>. Nevertheless, <a href="https://en.wikipedia.org/wiki/Assonance">assonance</a> &amp; <a href="https://en.wikipedia.org/wiki/Alliteration">alliteration</a> play a significant role, especially <a href="https://en.wikipedia.org/wiki/Old_English_literature#Form_and_style">historically</a> and in <a href="https://en.wikipedia.org/wiki/Rapping">rap</a>. It&rsquo;s thus worth noting at least some use of assonance, whether intentional or not:
</p>

<ul>
  <li>Line 1, {% ipa "en" %}s&#x2053;&#x283;{% endipa %}: <q><i>The <mark>sh</mark>ore mu<mark>s</mark>t be <mark>s</mark>inking</i></q>.</li>
  <li>Line 3, {% ipa "en" %}t; s&#x2053;z{% endipa %}: <q><i>The <mark>t</mark>ide<b>s</b> and <mark>t</mark>u<b>s</b>k<b>s</b></i></q>. Note the {% ipa "en" %}&#x2c8;&#x28c;sP(s){% endipa %} (where {% ipa "en" %}P{% endipa %} is a <a href="https://en.wikipedia.org/wiki/Voicelessness">voiceless</a> <a href="https://en.wikipedia.org/wiki/Plosive">plosive</a>) <a href="https://en.wikipedia.org/wiki/Perfect_and_imperfect_rhymes#Rock_and_punk">slant rhyme</a> with line 4.</li>
  <li>Line 6, {% ipa "en" %}n&#x2053;m{% endipa %}: <q><i><mark>N</mark>ow I&rsquo;<mark>m</mark> gri<mark>n</mark>di<mark>n&rsquo;</mark> <mark>m</mark>y teeth</i></q>.</li>
  <li>Line 7, {% ipa "en" %}z{% endipa %}: <q><i>Great leg<mark>s</mark> of pillar<mark>s</mark></i></q>.</li>
  <li>Line 8, {% ipa "en" %}h{% endipa %}: <q><i><mark>H</mark>ave some<mark>h</mark>ow given out</i></q>.</li>
</ul>

{% h5 %}Pronunciation of <i>Turtlelephant</i>{% endh5 %}

<p>
  Although not of particular import, the {% gloss "phonetic transcription", "pronunciation" %} of the name <i>Turtlelephant</i> is revealed here. Perhaps unexpectedly, it&rsquo;s neither *{% ipa "en" %}&#x2c8;t&#x25c;(&#x279;).tl&#x329;&#x2cc;&#x25b;.l&#x26a;.f&#x259;nt{% endipa %} nor *{% ipa "en" %}t&#x259;(&#x279;)t&#x2c8;l&#x25b;.l&#x26a;.f&#x259;nt{% endipa %}, as the spelling might suggest. Instead, we hear {% ipa "en" %}t&#x259;(&#x279;)&#x2c8;t&#x25b;.l&#x26a;.f&#x259;nt{% endipa %} {% ipa "en", "phone" %}t&#x259;&#x2b4;&#x2c8;t&#x25b;l&#x26a;&#x2cc;f&#x258;nt{% endipa %}.
</p>

{% h4 "f-interp" %}Interpretation{% endh4 %}

<p>
  If taken literally, the Turtlelephant must be some kind of supernaturally gigantic <a href="https://en.wikipedia.org/wiki/Sea_monster">sea monster</a> that&rsquo;s a hybrid of a sea-turtle &amp; an elephant, with the former presumably contributing its marine status, &amp; the latter its size.
</p>

{% h5 %}Archelon{% endh5 %}

<p>
  The largest known turtle is the extinct (dating from the <a href="https://en.wikipedia.org/wiki/Late_Cretaceous">Late Cretaceous</a>, roughly 75 million years ago) {% enmark "chelonioidea" %}marine turtle{% endenmark %} {% species "Archelon", "ischyros", "https://en.wikipedia.org/wiki/Archelon" %}, with its largest specimen being about 4.6&it;&nbsp;m from head to tail, and likely weighing somewhere around &ap;2&#x202f;750&it;&nbsp;kg in life. Although this is undoubtedly an extraordinarily large turtle, it&rsquo;s far from fanciful enough to be identified with Turtlelephant. Nonetheless, it is noted for its powerful jaws, well-suited for both crushing and shearing (as in line 5).
</p>

{% h5 %}Aspidochelone{% endh5 %}

<p>
  A better chelonian comparandum is the {% enmark "aspidocheloonee" %}<a href="https://en.wikipedia.org/wiki/Aspidochelone">aspidochelone</a>{% endenmark %} of the {% litmention "Physiol&oacute;gos", "Book", false, false, true, true, "grc-Latn-alalc97", "https://en.wikipedia.org/wiki/Physiologus" %} ({% gloss "ca." %} 2<sup>nd</sup>&ndash;4<sup>th</sup> {% gloss "c." %} CE). It was described as an island-sized turtle &mdash; or in some cases, whale &mdash; known for tricking sailors into thinking that its shell was land. After disembarking, it wouldn&rsquo;t be long before the aspidochelone dove back into the sea, thus drowning the sailors. This sense of scale, and confusion between turtle-shell &amp; land, is closely mirrored by lines 1&ndash;2.
</p>

<p>
  In English-language literature, the aspidochelone appears &mdash; with the somewhat corrupted name <i>Fastitocalon</i> &mdash; in a similar tale: {% enmark "the-whale" %}{% litmention "The Whale", "Poem" %}{% endenmark %}, an <a href="https://en.wikipedia.org/wiki/Old_English">Old English</a> poem that appears in the {% litmention "Exeter Book", "Book", false, false, true, true, false, "https://en.wikipedia.org/wiki/Exeter_Book" %} (late 10<sup>th</sup> c.).
</p>

{% h5 %}Fastitocalon{% endh5 %}

<p>
  &ldquo;The Whale&rdquo; would then be retold in <a href="https://en.wikipedia.org/wiki/Modern_English">New English</a> by {% personage "J. R. R. Tolkien", "John Ronald Reuel Tolkien", "https://en.wikipedia.org/wiki/J._R._R._Tolkien", "Person" %}, in {% litmention "Fastitocalon", "Poem", "J. R. R. Tolkien", "1962", true %} (a revision of an earlier <span class="work-mention"><time datetime="1927-06">1927</time></span> poem), which takes place in <a href="https://en.wikipedia.org/wiki/Middle-earth">Middle-earth</a>.
</p>

<p>
  In Tolkien&rsquo;s retelling, the Fastitocalon is once again a turtle (rather than a whale), and this poem follows immediately after {% litmention "Oliphaunt", "Poem", "J. R. R. Tolkien", "1962", true, true, false, "https://en.wikipedia.org/wiki/Oliphaunt" %} in {% litmention "The Adventures of Tom Bombadil", "Book", "J. R. R. Tolkien", "1962", true, false, false, "https://en.wikipedia.org/wiki/The_Adventures_of_Tom_Bombadil" %}. Taking the two poems together, we perhaps have *<i>Fastitocal&shy;oliphaunt</i>; or rather, Turtlelephant.
</p>

<p>
  It&rsquo;s worth noting that Kidcrash were not the only {% gloss "mathrock" %} band to (perhaps) take interest in colossal sea-turtles &amp; in Tolkien. The <a href="https://en.wikipedia.org/wiki/Sacramento,_California">Californian</a> band {% band "Ent" %} &mdash; named for Tolkien&rsquo;s <a href="https://en.wikipedia.org/wiki/Ent">Ent</a> creatures, from {% gloss "OE" %} <i lang="ang-Latn">ent</i> &ldquo;giant&rdquo; &mdash; features the track {% track "Archelon Was The Largest Sea Turtle", "Ent", "Ent", "2000", true %} on {% enmark "farewell-metropolis" %}their self-titled &amp; only full record{% endenmark %} (the preceding track is entitled {% track "Underwater They Looked Like Spaceships", "Ent", "Ent", "2000" %}, suggesting a similar idea).
</p>

{% h5 %}Elephant{% endh5 %}

<p>
  But the elephantine features of Turtlelephant are not merely implicit. Line 3 attributes tusks to the creature, and line 7 attributes to it the pillar-like legs characteristic of elephants.
</p>

{% h5 %}Marine horror{% endh5 %}

<p>
  Turtlelephant is clearly depicted as terrifying. However, this wasn&rsquo;t Kidcrash&rsquo;s only work dealing with lurking horrors of the sea. For example, the final track on {% album "Snacks", "Kidcrash", "2009", true %} is {% track "Sleeper Wave", "Snacks", "Kidcrash", "2009" %}, the lyrics of which are about <a href="https://en.wikipedia.org/wiki/Sneaker_wave">exactly what it sounds like</a>:
</p>

{% fig "sleeper-wave-lyrics", "verse" %}
  <div class="verse">
    <p>
      The sleeper wave<br>
      Waits well rested.<br>
      Great sleeper wave,<br>
      We&rsquo;ll see you wake.
    </p>

    <p>
      Patient and dormant,<br>
      Tell now what you dreamt.<br>
      Wait no longer;<br>
      Lay that shit to waste.
    </p>

    <hr>

    <p>
      Useless bodies in the tomb of the sea;<br>
      Flesh and water, the place where we meet;<br>
      Vast and disguised, all belly and no teeth;<br>
      This lonesome ritual will *dozen repeat.
    </p>
  </div>

  <figcaption>
    <p>
      Lyrics sampled from {% track "Sleeper Wave", "Snacks", "Kidcrash", "2009", true %}.
    </p>

    <p>
      *Although there&rsquo;s no {% ipa "en" %}-d{% endipa %} audible in the recording, the end of the final line is also heard as <q><i class="nest">will, does, an&rsquo; <i>[=&nbsp;and]</i> repeat</i></q>. I&rsquo;m not sure which is correct, as either or both may be <a href="https://en.wikipedia.org/wiki/Mondegreen">mondegreens</a>.
    </p>
  </figcaption>
{% endfig %}

{% h2 "the-g-section" %}The {% m "G", "form" %} section (<time datetime="PT2M27S">2:27</time> to <time datetime="PT2M47S">2:47</time>){% endh2 %}

{% fig "g-full" %}
  {% ly "g", "Transcription of the &Lang;G&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "G", "form" %} section.
    </p>
  </figcaption>
{% endfig %}

{% h3 "g-dynamics" %}Dynamics{% endh3 %}

{% h4 "g-dynamics-former-half" %}Former half (mm. 1&ndash;7){% endh4 %}

<p>
  Following hot on the heels of the first verse introducing the titular sea monster, we have another {% m "sp" %} that leaves behind an instrument&shy;ation solely of clean non-bass guitars. Although the previous use of {% m "c/" %} &amp; of <a href="https://en.wikipedia.org/wiki/Major_scale#Broader_sense">(melodic) major</a> aren&rsquo;t present this time, the connection is now clear: this is the deceptively peaceful lurking of Turtlelephant.
</p>

<p>
  It&rsquo;s worth noting that, although this is indeed not {% m "c/" %}, the overall pace of the notes &mdash; often upwards of a dotted whole-note &mdash; is slow enough to evoke the slow pace also characteristic of previous uses of {% m "c/" %}. Naturally, this contributes to the overall soft {% gloss "dynamics", "dynamic" %} as well.
</p>

{% h4 "g-dynamics-latter-half" %}Latter half (m. 8 ff.){% endh4 %}

<p>
  This is followed by a jump back into the full band (minus vocals), with distorted guitars &amp; all. But this jump isn&rsquo;t as dramatic as the foregoing description might make it sound. Instead, there are a number of factors that make the latter half of {% m "G", "form" %} more like a middling {% m "mf" %} or so:
</p>

<ul>
  <li>Relatively very sparse use of <a href="https://en.wikipedia.org/wiki/Cymbal">cymbals</a>, limiting the overall {% gloss "dist-pitch" %}.</li>
  <li>Somewhat sparse notes overall, with the <a href="https://en.wikipedia.org/wiki/Snare_drum">snare</a> taking up most of the latter half of each measure.</li>
  <li>Each guitar (bass included) never sounds more than one note at a time, thus lowering the overall {% gloss "dynamics", "dynamic" %}, in addition to mitigating the inter&shy;modulation distortion that would otherwise be possible.</li>
</ul>

{% h3 "g-rhythm-and-meter" %}Rhythm &amp; meter{% endh3 %}

<p>
  {% m "G", "form" %} is essentially a <a href="https://en.wikipedia.org/wiki/Development_(music)">development</a> of {% m "F", "form" %}. One of the two main elements that are transferred is the four-measure {% gloss "rhythm" %} carried by the guitars. In the first few measures, we get a straight&shy;forward restatement of the rhythm; however, this restatement is abruptly cut short from eight measures to just seven, directly launching into a condensed form of the same rhythm in mm. 8 {% gloss "ff." %}.
</p>

<p>
  This condensed form is not only two measures rather than four, but is also more &ldquo;straight&shy;ened out&rdquo;, so to speak. The increased symmetry results from each measure being divided up in the same way, resulting in a consistent {% gloss "meter" %} throughout mm. 8 ff..
</p>

<p>
  The condensation itself is another good example of structural acceleration{% cite "StructAccel" %}. The result is a clear increase in rhythmic urgency, without the use of a literal increase in tempo.
</p>

<p>
  In particular, the condensed basic pattern is something like {% m "[n8 n8 r8 n8 n2]" %}, with a prominent but slight variation of {% m "[n8 n8 r8 n8 n8 n4.]" %}. This somewhat ambiguously divides the meter up as {% m "3+5/8" %}, although the drumkit more specifically suggests {% m "3+3+2/8" %} in mm. 8&ndash;9.
</p>

{% h3 "g-texture" %}Texture (m. 8 ff.){% endh3 %}

<p>
  Briefly ignoring pitch &amp; phrasal in&shy;depend&shy;ence, we have consider&shy;able disagree&shy;ment between {% gloss "voice", "voices" %}:
</p>

<ul>
  <li>Free variation between the a&shy;fore&shy;mentioned two versions of the basic {% gloss "rhythm", "rhythmic" %} unit.</li>
  <li>Guitar&nbsp;2 frequently, but arbitrarily, bisects some of the eighth-notes of the basic unit into sixteenth-notes.</li>
  <li>The final quarter-note&rsquo;s worth of each measure may or may not be a <a href="https://en.wikipedia.org/wiki/Rest_(music)">rest</a>.</li>
</ul>

<p>
  These small internal rhythmic variations contribute an almost <a href="https://en.wikipedia.org/wiki/Heterophony">hetero&shy;phonic</a> feel to the texture, as the melodies played by the non-bass guitars are heard as variations of the same melody.
</p>

<p>
  Then again, this isn&rsquo;t exactly the archetype of hetero&shy;phony. We still retain several {% gloss "homeophony", "ho&shy;me&shy;o&shy;phon&shy;ic" %} features, e.g. a variety of {% gloss "motion" %} types &mdash; up to &amp; including contrary motions.
</p>

<p>
  Although this does result in a texture accurately described as ho&shy;me&shy;o&shy;phon&shy;ic, the <em>textural</em> reduction from the home&shy;ophony and <a href="https://en.wikipedia.org/wiki/Homophony">homophony</a> heard previously to the texture heard here &mdash; as well as the reliance on small internal rhythmic variations &mdash; both go hand-in-hand with the <em>rhythmic</em> reduction discussed above.
</p>

<p>
  It should be noted that this analysis relies on the non-bass guitar voices having been notionally &ldquo;un&shy;<a href="https://en.wikipedia.org/wiki/Voice_crossing">crossed</a>&rdquo;. Like the vocals in the previous section, the guitars here employ a kind of turn-taking whereby each phrase <a href="https://en.wikipedia.org/wiki/Voice_exchange">exchanges</a> the {% gloss "voice", "voices" %} between the two guitars. Nonetheless, I would argue that such exchanges are a kind of textural, or perhaps in&shy;stru&shy;ment&shy;a&shy;tion&shy;al, feature that still has musical salience &mdash; especially given that the guitars are <a href="https://en.wikipedia.org/wiki/Panning_(audio)">panned</a> in opposite directions.
</p>

{% h3 "g-pitch-material" %}Pitch-material{% endh3 %}

<p>
  {% m "G", "form" %} continues using exclusively {% gloss "pc", "pcs" %} of {% m "G#" %} natural minor. {% m "A#" %} is absent throughout the {% gloss "section" %}, in spite of all six other pcs being presented multiple times each.
</p>

{% h4 "g-pitch-material-former-half" %}Former half (mm. 1&ndash;7){% endh4 %}

<p>
  Because &mdash; as discussed above &mdash; the {% gloss "pitch-material" %} fabric of the piece is <a href="#intervalclass-sensitivity">intervalclass-sensitive</a> and <a href="#a-pitch-material">based</a> <a href="#generalized-clustering">directly</a> <a href="#structural-voice-leading">upon</a> <a href="#even-more-structural-voice-leading">voice-leading</a>, even the mere two-{% gloss "voice" %} {% gloss "texture" %} of the former half of {% m "G", "form" %} can be harmonically analyzed with relative ease:
</p>

{% fig "g-former-half-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m." %}</th>
        <th colspan="2" scope="col">1</th>
        <th scope="col">2</th>
        <th colspan="2" scope="col">3</th>
        <th scope="col">4</th>
        <th colspan="2" scope="col">5</th>
        <th scope="col">6</th>
        <th colspan="2" scope="col">7</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">{% m "B", "chord" %}</td>
        <td colspan="2" class="center">{% m "C#5inv2" %}</td>
        <td class="center">{% m "[G#,F#]" %}</td>
        <td colspan="2" class="center">{% m "[E,D#]" %}</td>
        <td class="center">{% m "B", "chord" %}</td>
        <td colspan="2" class="center">{% m "C#5inv2" %}</td>
        <td class="center">{% m "Einv1" %}</td>
        <td class="center">{% m "C#-inv1" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td class="center">{% m "bIII" %}</td>
        <td colspan="2" class="center">{% m "iv5inv2" %}</td>
        <td class="center">{% gloss "ic" %}&nbsp;2</td>
        <td colspan="2" class="center">ic&nbsp;1</td>
        <td class="center">{% m "bIII" %}</td>
        <td colspan="2" class="center">{% m "iv5inv2" %}</td>
        <td class="center">{% m "bVIinv1" %}</td>
        <td class="center">{% m "ivinv1" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "functional notation", "func&shy;tion" %}</th>
        <td class="center">{% m "T", "fun" %}</td>
        <td colspan="3" class="center">{% m "S", "fun" %}</td>
        <td colspan="2" class="center">{% m "D", "fun" %}</td>
        <td class="center">{% m "T", "fun" %}</td>
        <td colspan="2" class="center">{% m "P", "fun" %}</td>
        <td class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "T", "fun" %}/{% m "P", "fun" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "motion", "mot&shy;ion" %}</th>
        <td class="center">{% m "s", "mot" %}</td>
        <td colspan="2" class="center">{% m "o", "mot" %}</td>
        <td class="center">{% m "i", "mot" %}</td>
        <td colspan="2" class="center">{% m "o", "mot" %}</td>
        <td class="center">{% m "s", "mot" %}</td>
        <td colspan="2" class="center">{% m "o", "mot" %}</td>
        <td class="center">{% m "i", "mot" %}</td>
        <td class="center">{% m "=c", "mot" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Harmonic analysis of the former half of {% m "G", "form" %}. Motions are motions to the following chord.
    </p>
  </figcaption>
{% endfig %}

<p>
  Although we haven&rsquo;t been seeing {% m "bIII" %} previously, we can think of it as a {% gloss "omitted factor", "rootless" %} {% m "iinv1" %}, with {% m "T", "fun" %} {% gloss "functional notation", "function" %} &mdash; and indeed, it corresponds exactly to {% m "i" %} in the latter half of this section. The {% m "[E,D#]" %} of m. 4 clearly has an {% gloss "ic" %}&nbsp;1, and thus has {% m "D", "fun" %} &ldquo;function&rdquo;. And although the {% m "[G#,F#]" %} of m. 3 has no traditional function either, here it clearly functions as {% m "S", "fun" %} (see {% figref "subdominant-features", "list" %}).
</p>

<p>
  The result is a clear <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> structure, re&iuml;nforced by the regular pattern of {% gloss "motion", "motions" %}: similar ({% gloss "anticontrary", "anti&shy;contrary" %}) motion from {% m "T", "fun" %} {% m "|s", "->" %} {% m "S", "fun" %}, oblique motion to a resolutionary response gesture that internally moves by imperfect parallel (anti&shy;contrary) motion, followed by a return to {% m "T", "fun" %} by oblique motion.
</p>

<p>
  In the period&rsquo;s former {% gloss "hypermeter", "hyper&shy;measure" %} (mm. 1&ndash;4), we get an unsatisfactory &ldquo;resolution&rdquo; to ic&nbsp;1; we expect the stronger (oblique) motion to resolve some kind of dissonance or suspension, but it does not, and only really &ldquo;resolves&rdquo; by moving back {% m "D", "fun" %} {% m "|o", "->" %} {% m "T", "fun" %}, again with the stronger motion.
</p>

<p>
  In the period&rsquo;s latter hyper&shy;measure (mm. 5&ndash;7), we get the same structure, but instead arrive at a more satisfactory {% m "ivinv1" %} &mdash; notably not containing any ics&nbsp;1 nor 6. However, this {% m "ivinv1" %} quickly (as a result of the &ldquo;missing&rdquo; m. 8) moves by contrary motion (see below) to an explicit {% m "i" %}.
</p>

<p>
  Thus, the {% m "ivinv1" %} has two functions: {% m "T", "fun" %} in its capacity as a consonance (a bare ic&nbsp;3) that responds (periodwise) to the {% m "[E,D#]" %} of m. 4, and {% m "P", "fun" %} in its capacity as the first chord of a <a href="https://en.wikipedia.org/wiki/Cadence#Minor_plagal_cadence">minor plagal cadence</a> that resolves &mdash; by fairly strong motion &mdash; to {% m "i" %}.
</p>

{% h5 "normalized-motion" %}Chord-as-scale, and normalized motion{% endh5 %}

<p>
  The contrary {% gloss "motion" %} from m. 7 &rarr; m. 8 (in {% figref "g-former-half-harm", "table" %}) is {% gloss "normalized motion", "normalized" %} from {% m "[E,C#]" %} {% m "+7,+2|", "->" %} {% m "[B,D#]" %} to {% m "[E,C#]" %} {% m "-5,+2|=c", "->" %} {% m "[B,D#]" %}. This com&shy;men&shy;su&shy;rates the melodic {% gloss "interval", "intervals&rsquo;" %} absolute sizes, and especially given that bass motion by {% m "P4" %} {% gloss "inversional equivalence", "or" %} {% m "P5" %} is so heavily stereo&shy;typed in <a href="https://en.wikipedia.org/wiki/Tonality">tonal music</a>, the listener quite likely hears this as strong motion.
</p>

<p>
  But we should also note that this hearing is bolstered by the bass {% gloss "voice" %} always &amp; only descending {% m "B--G#--E" %}; that is, a <a href="https://en.wikipedia.org/wiki/Root_position">root-position</a> {% m "E" %} <a href="https://en.wikipedia.org/wiki/Major_chord">major triad</a>. Especially because of the near-even&shy;ness of major triads, this serves as its own kind of three-note (<a href="https://en.wikipedia.org/wiki/Tritonic_scale"><dfn>tri&shy;tonic</dfn></a>) {% gloss "scale" %}.{% cite "GeomMusic" %} Thus, the bass voice is heard as simply continuously descending scale&shy;wise throughout mm. 1&ndash;7 &mdash; and indeed, throughout the entirety of {% m "G", "form" %} (although it becomes the middle voice in m. 8 {% gloss "ff." %}).
</p>

{% h5 "recurring-two-voice-clustering" %}Recurring two-voice &ldquo;clustering&rdquo; gesture{% endh5 %}

<p>
  In the {% headingref "thematic-reprise-clustering-etc" %} section above, I noted that a sudden move&shy;ment from {% m "{E,F#}" %} to {% m "{C#,D}" %} by {% gloss "anticontrary", "anti&shy;contrary" %} motion (actually {% enmark "poly-mot-notation" %}{% m "{o2s}" %}{% endenmark %}) produced the impression of the diatonic cluster {% m "{C#,D,E,F#}" %} {% gloss "U+2258", "&#x2258;" %} <span class="music">&lcub;{% m "5^" %}, {% m "6^" %}, {% m "7^" %}, {% m "1^" %}&rcub;</span> &in; {% m "4-11A" %}. We have the same gesture here in m. 3, where {% m "[G#,F#]" %} suddenly moves to {% m "[E,D#]" %} by anti&shy;contrary motion, producing the impression of {% m "{D#,E,F#,G#}" %} &#x2258; <span class="music">&lcub;{% m "5^" %}, {% m "6^" %}, {% m "7^" %}, {% m "1^" %}&rcub;</span>.
</p>

{% h4 "g-pitch-material-latter-half" %}Latter half (m. 8 ff.){% endh4 %}

<p>
  The latter half of {% m "G", "form" %} adds the bass-guitar part, thus turning the bass voice into the middle voice. The basic harmonic pattern is as follows:
</p>

{% fig "g-latter-half-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">mm.</th>
        <th colspan="2" scope="col">8, 10, 12</th>
        <th colspan="2" scope="col">9, 11</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">chord</th>
        <td class="center">{% m "G#-" %}</td>
        <td class="center">{% m "C#5", "chord" %}</td>
        <td class="center">{% m "E", "chord" %}</td>
        <td class="center">{% m "F#7no3" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td class="center">{% m "i" %}</td>
        <td class="center">{% m "iv5" %}</td>
        <td class="center">{% m "bVI" %}</td>
        <td class="center">{% m "bVII7no3" %}</td>
      </tr>
      <tr>
        <th scope="row">func&shy;tion</th>
        <td class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "S", "fun" %}</td>
        <td class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "P", "fun" %}</td>
      </tr>
      <tr>
        <th scope="row">{% enmark "poly-mot-notation" %}mot&shy;ion{% endenmark %}</th>
        <td class="center">{% m "={c2s}" %}</td>
        <td class="center">{% m "{o2p}" %}</td>
        <td class="center">{% m "{c2i}" %}</td>
        <td class="center">{% m "{c2p}" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Harmonic analysis of the latter half of {% m "G", "form" %}. Motions are motions to the following chord.
    </p>
  </figcaption>
{% endfig %}

<p>
  The pattern of {% gloss "motion", "motions" %} here is clearly <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> &mdash; albeit on a smaller scale than in other sections, thanks to <a href="#g-rhythm-and-meter">the structural acceleration</a>. The first measure moves strongly away from the tonic as {% m "i" %} {% m "|c2s", "->" %} {% m "iv5" %}, but not so far as to make the {% m "iv5" %} {% m "|o2p", "->" %} {% m "bVI" %} feel like a strong motion back to {% m "T", "fun" %} (read: <a href="https://en.wikipedia.org/wiki/Cadence">cadence</a>), and indeed that motion is consider&shy;ably weaker. The second measure echoes the strong motion away from {% m "T", "fun" %}, but differs by moving to the next period with appropriately strong motion, thus effecting a genuine cadence {% m "bVII7no3" %} {% m "|c2p", "->" %} {% m "i" %}.
</p>

<p>
  Note, however, that {% m "bVII7no3" %} does <strong>not</strong> function as {% m "D", "fun" %}; it contains no {% gloss "ic", "ics" %}&nbsp;1 nor 6, thanks to its {% gloss "omitted factor", "missing 3<sup>rd</sup> factor" %}. Per {% figref "subdominant-features", "list" %}, it suggests {% m "S", "fun" %} function; and given that it&rsquo;s plainly used cadentially here, it functions as {% m "P", "fun" %}.
</p>

<p>
  Still, there is <em>some</em> ambiguity in the fact that the {% m "bVII7no3" %} is approached by very strong motion, and lasts longer than the previous &amp; sub&shy;sequent chords.
</p>

<p>
  Measure 13 isn&rsquo;t represented in {% figref "g-latter-half-harm", "table" %}, because it proceeds {% m "E", "chord" %} {% gloss "U+2258", "&#x2258;" %} {% m "bVI" %} (as before) {% m "|s2i", "->" %} {% m "{C#,D#,E}" %}. This weaker (but still decidedly poly&shy;phonic) motion, along with the explicit vertical ic&nbsp;1, dissolves the ambiguity: this is simply {% m "D", "fun" %} function. Indeed, this is yet another explicit <a href="#generalized-clustering">diatonic cluster</a>: a member of {% m "3-2B" %}.
</p>

{% h3 "g-melodic-contour" %}Melodic contour{% endh3 %}

<p>
  The former half of this section of course retains the same basic <code>*durdr</code> {% gloss "melodic contour", "contour" %} (in the upper voice) of the previous section, along with its rhythm.
</p>

<p>
  The latter half of this section still retains the basic shape, but simplified even further. However, it also allows for the true re&auml;ppearance of the <code>*r</code>-based contour previously observed in the intro &amp; in {% m "AA'BCD", "form" %} (&amp; <a href="#e-contour">in {% m "E", "form" %}, to some extent</a>).
</p>

{% h4 "g-periodic-self-differing-by-second" %}Periodic self-differing by second{% endh4 %}

<p>
  On top of the repeated {% m "B--G#--E" %} in the bass in the former half of this section, the other voice produces <span class="music">{% m "D#" %}&ndash;{% m "C#" %}&ndash;<b>{% m "F#" %}&ndash;{% m "D#" %}</b></span> followed by <span class="music">{% m "D#" %}&ndash;{% m "C#" %}&ndash;<b>{% m "E" %}&ndash;{% m "C#" %}</b></span>. Thus, the two halves of the period correspond by exactly the expected {% gloss "interval" %} of a {% gloss "interval quantity", "second" %}.
</p>

<p>
  In the latter half of this section, the upper voice instead holds just a {% m "C#" %} constant, and we have <b>{% m "D#" %}</b>&ndash;{% m "C#" %}&ndash;<b>{% m "E" %}</b>&ndash;{% m "C#" %}. Again, the change is by second. By reducing the constant fragment of the melody &amp; the fragment that self-differs by second, each from two pitches to one, the same structure is restated in a condensed form. This goes hand-in-hand with <a href="#g-rhythm-and-meter">the rhythmic condensation</a>.
</p>

{% h2 "the-h-section" %}The {% m "H", "form" %} section (<time datetime="PT2M47S">2:47</time> to <time datetime="PT3M10S">3:10</time>){% endh2 %}

{% fig "h-full" %}
  {% ly "h", "Transcription of the &Lang;H&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "H", "form" %} section. The &ldquo;&uarr;&frac14;&rdquo; notation indicates that the <a href="https://en.wikipedia.org/wiki/Tremolo">tremolo</a> is to be gradually <a href="https://en.wikipedia.org/wiki/String_bending">bent</a> by very roughly a <a href="https://en.wikipedia.org/wiki/Quarter_tone">quarter-tone</a> (&ap;{% m "50c" %}) over the course of its duration.
    </p>
  </figcaption>
{% endfig %}

{% h3 "h-texture-dynamics-rhythm-and-meter" %}Texture, dynamics, rhythm, &amp; meter{% endh3 %}

<p>
  Ordinarily, we think (&amp; perhaps <em>should</em> think) of {% gloss "texture" %} as being fundamentally momentary: at any given moment within a piece, the listener has some idea of what the current texture of the music is like.
</p>

<p>
  Nonetheless, although the first 14 measures of {% m "H", "form" %} are broadly <a href="https://en.wikipedia.org/wiki/Homophony">homophonic</a>, the <em>particular</em> texture rapidly shifts, never staying in one place for more than two or three short measures at a time (bearing in mind the {% m "n4" %} = 180 tempo). This causes some blurring of textural distinctions into a montage-like effect, which goes hand-in-hand with the shifting {% gloss "dynamics" %}, {% gloss "rhythm", "rhythms" %}, &amp; {% gloss "meter", "meters" %}:
</p>

{% fig "h-texture", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">mm.</th>
        <th scope="col">1&ndash;2, 8&ndash;9</th>
        <th scope="col">3&ndash;4, 10&ndash;11</th>
        <th scope="col">5&ndash;7, 12&ndash;14</th>
        <th scope="col">15&ndash;18</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">text&shy;ure</th>
        <td>gui&shy;tar me&shy;lo&shy;dy on <a href="https://en.wikipedia.org/wiki/Pedal_point">pe&shy;dal</a></td>
        <td><a href="https://en.wikipedia.org/wiki/Homorhythm">ho&shy;mo&shy;rhy&shy;thm</a> in gui&shy;tars (+ bass <a href="https://en.wikipedia.org/wiki/Fill_(music)">fill</a>)</td>
        <td>vo&shy;cals on block-chords, <a href="https://en.wikipedia.org/wiki/Blast_beat">blast&shy;beat</a>-like drums</td>
        <td>punc&shy;tu&shy;a&shy;ted {% gloss "homeophony", "ho&shy;me&shy;o&shy;pho&shy;ny" %}</td>
      </tr>
      <tr>
        <th scope="row">dy&shy;nam&shy;ic</th>
        <td class="center">{% m "ff" %}</td>
        <td class="center">{% m "mf" %}</td>
        <td class="center">{% m "ff" %}</td>
        <td class="center">{% m "f" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "dist-pitch" %}</th>
        <td class="center">high</td>
        <td class="center">me&shy;di&shy;um-low</td>
        <td class="center">ve&shy;ry high</td>
        <td class="center">me&shy;di&shy;um-high</td>
      </tr>
      <tr>
        <th scope="row">rhyth&shy;mic unit</th>
        <td class="center">{% m "[n4. n8]" %}</td>
        <td class="center">{% m "[n8 n8 r8 n8]" %}</td>
        <td class="center"><abbr title="not applicable">n/a</abbr></td>
        <td class="center">{% m "[n8. n8. n8 n4 n8 n8]" %}</td>
      </tr>
      <tr>
        <th scope="row">me&shy;ter</th>
        <td colspan="2" class="center">{% m "c" %}</td>
        <td class="center">{% m "3/4" %}</td>
        <td class="center">{% m "3+3+2/8" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Summary of {% m "H", "form" %}&rsquo;s montage-like overall texture.
    </p>
  </figcaption>
{% endfig %}

<p>
  Although the second (mm. 3&ndash;4, 10&ndash;11) and third (mm. 5&ndash;7, 12&ndash;14) regions are clearly distinct in almost every way &mdash; including rhythmic concerns &mdash; the drumkit part nevertheless ties them together: both feature essentially the same kickdrum part, with hits {% gloss "counting", "on the &ldquo;&amp;&rdquo; of each beat" %}, plus one hit on the &ldquo;1&rdquo; of the initial measure. That being said, the other pieces of the kit are used differently, resulting in the blastbeat-like drumkit part of the third region.
</p>

<p>
  Measure 19 (the final measure of {% m "H", "form" %}) is an intentionally false start, resulting in a lone measure of {% m "3/8" %}. Still, the next measure (m. 1 of {% m "I", "form" %}) is {% m "6/8" %}, so this {% m "3/8" %} measure doesn&rsquo;t (at least, not initially) <em>sound</em> as orphaned as its written transcription might suggest.
</p>

{% h3 "h-pitch-material" %}Pitch-material{% endh3 %}

<p>
  This section presents the key of {% m "C#" %} minor for the first time. Way back in {% figref "intro" %}, I noted that the guitars are tuned to <a href="https://en.wikipedia.org/wiki/Guitar_tunings#Dropped_tunings">drop</a> {% m "C#" %}. The &ldquo;natural&rdquo; &amp; typical key of pieces written for guitars tuned to drop <var>P</var> is <var>P</var> minor; so, in a way, we&rsquo;re &ldquo;finally here&rdquo;. For this reason, and for some other significant uses of <a href="https://en.wikipedia.org/wiki/Musical_tuning#Open_strings">open strings</a>, <a href="https://en.wikipedia.org/wiki/Tablature">tablature</a> has been included in {% figref "h-full" %}.
</p>

<p>
  Personally, I find it unlikely that a listener hears the large-scale harmonic move&shy;ment of the keys throughout the piece as being a {% gloss "progression" %} in its own right, akin to that of an ordinary {% gloss "chord" %} progression. Nevertheless, if we <em>did</em> make this supposition, then the listener would hear {% m "F#" %} minor &ndash; {% m "G#" %} minor &ndash; {% m "C#" %} minor, which is a good ol&rsquo; (minor) <a href="https://en.wikipedia.org/wiki/I%E2%80%93IV%E2%80%93V%E2%80%93I">{% m "iv--v--i" %}</a>. Charming!
</p>

<p>
  With these things in mind, we&rsquo;d expect that &mdash; at least, pitchwise &mdash; the com&shy;mence&shy;ment of {% m "H", "form" %} would represent a point of structural signifi&shy;cance. In retrospect, this perhaps makes the seemingly slight detail of the two non-bass guitars <a href="https://en.wikipedia.org/wiki/Glissando">sliding</a> out in opposite directions &mdash; up &amp; down (or &ldquo;doit&rdquo; &amp; &ldquo;fall&rdquo;) respectively &mdash; bear some significance, in the &ldquo;<a href="#structural-voice-leading">structural voice-leading</a>&rdquo; sense.
</p>

<p>
  In any case, the key change is, naturally, not immediately obvious. The only diatonic change is {% m "A#" %} &map; {% m "An" %}, but we don&rsquo;t hear an &ldquo;<span class="music">A</span>&rdquo; until m. 3&rsquo;s {% gloss "counting", "&ldquo;&amp; of 2&rdquo;" %} &mdash; and then m. 5 hits us right in the face with it. Still, given the largely <a href="https://en.wikipedia.org/wiki/Homophony">homo&shy;phonic</a> textures of most of this section, glossing the harmonic material shouldn&rsquo;t be too difficult:
</p>

{% fig "h-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">1&ndash;2, 8&ndash;9</th>
        <th scope="col">3&ndash;4, 10&ndash;11</th>
        <th scope="col">5, 12</th>
        <th scope="col">6, 13</th>
        <th scope="col">7, 14</th>
        <th scope="col">15&ndash;17</th>
        <th scope="col">18</th>
        <th scope="col">19</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">{% m "C#-" %}, {% m "C#sus2" %}</td>
        <td class="center">{% m "G#5", "chord" %}, {% m "Amaj7inv3" %}</td>
        <td class="center">{% m "Amaj7" %}</td>
        <td class="center">{% m "[C#,G#,B,D#]" %}</td>
        <td class="center">{% m "Einv2" %}</td>
        <td class="center">{% m "Ainv1" %}, {% m "C#-7", "chord" %}</td>
        <td class="center">{% m "Amaj7inv3" %}, {% m "C#-7", "chord" %}</td>
        <td class="center">{% m "A", "chord" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %} (<abbr title="relative to the key of G&sharp; minor" class="music">G&sharp;</abbr>)</th>
        <td class="center">{% m "iv" %}</td>
        <td class="center">{% m "i5" %}, {% m "bIImaj7inv3" %}</td>
        <td class="center">{% m "bIImaj7" %}</td>
        <td colspan="5"></td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td class="center">{% m "i" %}</td>
        <td class="center">{% m "v5" %}, {% m "bVImaj7inv3" %}</td>
        <td class="center">{% m "bVImaj7" %}</td>
        <td class="center">{% m "4-22B?" %}</td>
        <td class="center">{% m "bIIIinv2" %}</td>
        <td class="center">{% m "bVIinv1" %}, {% m "i7" %}</td>
        <td class="center">{% m "bVImaj7inv3" %}, {% m "i7" %}</td>
        <td class="center">{% m "bVI" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Harmonic gloss of {% m "H", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  We hear {% m "v5" %} (AKA {% m "V5" %}) at the beginning of mm. 3 &amp; 10, but not in its traditional {% m "D", "fun" %} {% gloss "functional notation", "function" %}; rather, it signals move&shy;ment away from {% m "i" %} and preparation for {% m "D", "fun" %} &mdash; that is, {% m "S", "fun" %} function (see {% figref "subdominant-features", "list" %}). Then, {% m "bVImaj7inv3" %} (&amp; later, {% m "bVImaj7" %}) provides the {% gloss "ic" %}&nbsp;1 that bears {% m "D", "fun" %} function. It should be noted that this chord is initially heard in very clearly <a href="https://en.wikipedia.org/wiki/Third_inversion">third inversion</a> (that is, with {% m "5^" %} in the bass), and that it would be {% m "bII" %} relative to the key leading into this section &mdash; both of which are suggestive of {% m "D", "fun" %} in traditional <a href="https://en.wikipedia.org/wiki/Tonality">tonal idiomata</a>.
</p>

<p>
  The mm. 5&ndash;7 (&amp; mm. 12&ndash;14) sequence, then, returns to the {% m "i" %} in a somewhat intriguing way. Some of the dissonance of {% m "bVImaj7inv3" %} is neutralized by putting it in <a href="https://en.wikipedia.org/wiki/Root_position">root position</a>. Then, the next chord is ambiguous: although it contains a <a href="#generalized-clustering">diatonic cluster</a> {% m "{B,C#,D#}" %} &in; {% m "3-6" %} &mdash; &amp; indeed, cannot be easily analyzed in a traditional way &mdash; it also <em>doesn&rsquo;t</em> contain any ics 1 nor 6. The following {% m "bIIIinv2" %} is similarly ambiguous, but for a different reason: {% enmark "mediant" %}the traditional function of a <a href="https://en.wikipedia.org/wiki/Mediant">mediant</a> chord is ambiguous, being sometimes associated with {% m "T", "fun" %}, and sometimes with {% m "D", "fun" %}.{% endenmark %}
</p>

<p>
  Given that the {% m "bIIIinv2" %} is in <a href="https://en.wikipedia.org/wiki/Second_inversion">second inversion</a>, we <em>could</em> imagine it being <a href="https://en.wikipedia.org/wiki/Cadence">cadential</a>, emphasizing the step {% m "7^" %} &rarr; {% m "1^" %}; even though this is merely a <a href="https://en.wikipedia.org/wiki/Subtonic">subtonic</a>, rather than a true <a href="https://en.wikipedia.org/wiki/Leading_tone">leading-tone</a>. Moreover, m. 14 makes use of a subtle <a href="https://en.wikipedia.org/wiki/Microtonality">microtonal</a> <a href="https://en.wikipedia.org/wiki/String_bending">bend</a> to heighten anticipation of the {% m "i" %}.
</p>

<p>
  <em>However</em>, given Kidcrash&rsquo;s tonal language, I hear mm. 5&ndash;7 as a path back to {% m "i" %} by way of gradual mitigation of the {% m "bVImaj7inv3" %}&rsquo;s dissonance. In any case, the most salient aspect is the simple fact of ascent: not only do the pitches get higher &amp; higher in <a href="https://en.wikipedia.org/wiki/Register_(music)">register</a>, but the chords trace out an ascending {% m "C#--D#--E" %} melody.
</p>

<p>
  This melodic perspective highlights the <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a>:
</p>

{% fig "h-mm-5-9-vl", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">5</th>
        <th scope="col" rowspan="2">&#x1d100;</th>
        <th scope="col">6</th>
        <th scope="col" rowspan="2">&#x1d100;</th>
        <th scope="col">7</th>
        <th scope="col" rowspan="2">&#x1d100;</th>
        <th scope="col">8&ndash;9</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <th scope="col">{% m "bVImaj7" %}</th>
        <th scope="col" class="music no-wrap">{% m "4-22B?" %}/{% m "1^" %}</th>
        <th scope="col">{% m "bIIIinv2" %}</th>
        <th scope="col">{% m "i" %}</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" rowspan="4">{% gloss "voice", "voic&shy;es" %}</th>
        <td>{% m "C#" %}</td>
        <td class="right">&minus;2</td>
        <td>{% m "B" %}</td>
        <td class="right">(0)</td>
        <td>({% m "B" %})</td>
        <td class="right">(+2)</td>
        <td>({% m "C#" %})</td>
      </tr>
      <tr>
        <td>{% m "G#" %}</td>
        <td class="right">0</td>
        <td>{% m "G#" %}</td>
        <td class="right">0</td>
        <td>{% m "G#" %}</td>
        <td class="right">0</td>
        <td>{% m "G#" %}</td>
      </tr>
      <tr>
        <td>{% m "E" %}</td>
        <td class="right">&minus;1</td>
        <td>{% m "D#" %}</td>
        <td class="right">+1</td>
        <td>{% m "E" %}</td>
        <td class="right">0</td>
        <td>{% m "E" %}</td>
      </tr>
      <tr>
        <td>{% m "A" %}</td>
        <td class="right">+4</td>
        <td>{% m "C#" %}</td>
        <td class="right">&minus;2</td>
        <td>{% m "B" %}</td>
        <td class="right">+2</td>
        <td>{% m "C#" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row">{% enmark "poly-mot-notation" %}mot&shy;ion{% endenmark %}</th>
        <td colspan="2" class="right">{% m "{c2o3i}" %}</td>
        <td colspan="2" class="right">{% m "{co2}" %}</td>
        <td colspan="2" class="right">{% m "{o2}" %}</td>
        <td></td>
      </tr>
    </tfoot>
  </table>

  <table>
    <thead>
      <tr>
        <th scope="row">mm.</th>
        <th scope="col">14</th>
        <th scope="col" rowspan="2">&#x1d100;</th>
        <th scope="col" colspan="3">&#x1d106; 15 &#x1d107;</th>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <th scope="col">{% m "bIIIinv2" %}</th>
        <th scope="col">{% m "bVIinv1" %}</th>
        <th scope="col">&rarr;</th>
        <th scope="col">{% m "i7" %}</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" rowspan="4">voic&shy;es</th>
        <td>({% m "B" %})</td>
        <td class="right">(+2)</td>
        <td>({% m "C#" %})</td>
        <td class="right">&minus;2</td>
        <td>{% m "B" %}</td>
      </tr>
      <tr>
        <td>{% m "G#" %}</td>
        <td class="right">+1</td>
        <td>{% m "A" %}</td>
        <td class="right">&minus;1</td>
        <td>{% m "G#" %}</td>
      </tr>
      <tr>
        <td>{% m "E" %}</td>
        <td class="right">0</td>
        <td>{% m "E" %}</td>
        <td class="right">0</td>
        <td>{% m "E" %}</td>
      </tr>
      <tr>
        <td>{% m "B" %}</td>
        <td class="right">+2</td>
        <td>{% m "C#" %}</td>
        <td class="right">0</td>
        <td>{% m "C#" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row">mot&shy;ion</th>
        <td colspan="2" class="right">{% m "{o2i}" %}</td>
        <td colspan="2" class="right">{% m "{o4i}" %}</td>
        <td></td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      Voice-leading of the {% gloss "chord", "chords" %} in {% m "H", "form" %}&rsquo;s third region (mm. 5&ndash;7, 12&ndash;14) as it leads into its first (mm. 1&ndash;2, 8&ndash;9) and fourth (mm. 15&ndash;18) regions. Parenthesized notes are (notional) doublings of <a href="https://en.wikipedia.org/wiki/Factor_(chord)">factors</a>.
    </p>
  </figcaption>
{% endfig %}

<p>
  As can be clearly seen in {% figref "h-mm-5-9-vl", "table" %}, this gradual mitigation of dissonance also has excellent voice-leading: no melodic {% gloss "interval", "intervals" %} larger than a {% m "M2" %} (with the sole exception of the bass moving by {% m "M3" %} once), good contrary {% gloss "motion", "motions" %}, plenty of oblique motion (read: <a href="https://en.wikipedia.org/wiki/Common_tone_(chord)">common tones</a>, voice-leading parsimony), and no perfect parallel motion.
</p>

{% h3 "h-vocals" %}Vocals{% endh3 %}

<p>
  {% m "H", "form" %} is the second {% gloss "section" %} containing a vocal part, but unlike {% m "F", "form" %}, we get something distinctly less verse-like. They&rsquo;re only really heard in the third of the four regions ({% gloss "m.", "mm." %} 5&ndash;7 &amp; 12&ndash;14), taking advantage of the thick {% gloss "texture" %} in the other instruments to produce perhaps the highest overall {% gloss "dist-pitch" %} in the entire piece. Moreover, we don&rsquo;t have the vocal turn-taking of {% m "F", "form" %} either.
</p>

{% h3 "h-text" %}Text{% endh3 %}

{% fig "h-lyrics", "verse" %}
  <div class="verse">
    <p>
      Thousands of birds, lurkin&rsquo;.<br>
      Shallow waters, sailed too far.
    </p>
  </div>

  <figcaption>
    <p>
      Lyrics of {% m "H", "form" %}. Also given in {% figref "h-full" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  This brief text continues where the previous text (in {% figref "f-lyrics", "verse" %}) left off: describing Turtlelephant. The <q><i>Thousands of birds</i></q> are, presumably, <q><i>lurkin&rsquo;</i></q> on or under&shy;neath Turtlelephant&rsquo;s colossal shell.
</p>

<p>
  Although {% m "F", "form" %} includes the lyric <q><i>Now I&rsquo;m grindin&rsquo; my teeth</i></q>, {% m "H", "form" %} is the first time that we get a distinct sense of narrative: the narrator is at sea, and has realized all too late that they&rsquo;ve sailed into Turtlelephant&rsquo;s territory.
</p>

<p>
  This differs from the <a href="#aspidochelone">aspidochelone</a> or <a href="#fastitocalon">Fastitocalon</a> narrative, insofar as the sailor here is <em>not</em> fooled into believing that the monster&rsquo;s shell (or back) is land, as evidenced by the first lyrics of the piece: <q><i>The shore must be sinking, {% caesura %} Or Turtlelephant&rsquo;s rising up</i></q>.
</p>

{% h2 "the-i-section" %}The {% m "I", "form" %} section (<time datetime="PT3M10S">3:10</time> to <time datetime="PT3M39S">3:39</time>){% endh2 %}

{% fig "i-full" %}
  {% ly "i", "Transcription of the &Lang;I&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "I", "form" %} section. The &ldquo;very short fermata&rdquo; denotes the same thing as in {% figref "f-full" %}. The plus sign &ldquo;+&rdquo; in m. 15 is another <i>ad hoc</i> notation, meaning that the note or phrase is played early (&ldquo;ahead of the beat&rdquo;), thus making it effectively the opposite of the very short fermata.
    </p>
  </figcaption>
{% endfig %}

{% h3 "i-rhythm-and-meter" %}Rhythm &amp; meter{% endh3 %}

<p>
  The most striking aspect of {% m "I", "form" %} is certainly its use of {% gloss "rhythm", "rhythms" %} &amp; {% gloss "meter", "meters" %}. This is doubtless the most rhyth&shy;mi&shy;cally-dis&shy;orient&shy;ing section of the entire piece, such that upon casual listen, it&rsquo;s not at all clear what&rsquo;s even going on.
</p>

<p>
  Upon close inspection, very nearly all notes played here are firmly within the basic grid of {% gloss "pulse", "pulses" %}, with only two or so exceptions, which are marked in {% figref "i-full" %}. Given the rhythmic complexity, &amp; the fact that this was presumably played live (in-studio), this is pretty impressive.
</p>

<p>
  The key here is that the basic meter is expressed by the non-bass guitar parts &mdash; especially guitar&nbsp;1. The drumkit part then elaborates the meter with often quite heavy {% gloss "syncopation" %}. And finally, the bass-guitar plays all its notes quite accurately in-time (relative to the overall pulse), and synchronizes with the other parts at key points, but otherwise plays completely freely (rhythmic&shy;ally speaking).
</p>

{% h4 "i-basic-metric-structure" %}Basic metric structure{% endh4 %}

<p>
  In mm. 1&ndash;4, we mostly have just the non-bass guitars playing, and m. 4 is divided ambiguously, hence the use of &ldquo;{% m "3+7/8" %}&rdquo; in {% figref "i-full" %}. Nevertheless, this sets up the basic structure, which is <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> as usual:
</p>

{% fig "i-metric-desc", "list" %}
  <ul>
    <li>Each period is a pair of hypermeasures.</li>
    <li>Each hypermeasure has two parts, analyzed as hyperbeats.</li>
    <li>The former hyperbeat is always a measure of {% m "6/8" %}.</li>
    <li>The latter hyperbeat is always a measure of {% m "3+2+2+3/8" %} in the former half of each period.</li>
    <li>
      The latter hyperbeat otherwise varies:
      <ol type="i">
        <li>Measure 4 has the ambiguous {% m "3+7/8" %}.</li>
        <li>Measure 8 has {% m "3+3+2+2/8" %}.</li>
        <li>Measures 12&ndash;13 have <span class="music">{% m "6/8" %}+{% m "6/8" %}</span>.</li>
        <li>The final iteration disintegrates into straight&shy;forward {% m "3/8" %}.</li>
      </ol>
    </li>
  </ul>

  <figcaption>
    <p>
      Description of {% m "I", "form" %}&rsquo;s basic periodic structure.
    </p>
  </figcaption>
{% endfig %}

<p>
  A slight sim&shy;pli&shy;fi&shy;ca&shy;tion of {% figref "i-metric-desc", "list" %} can be written in table form, as in {% figref "i-metric-template", "table" %}:
</p>

{% fig "i-metric-template", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">hy&shy;per&shy;pe&shy;ri&shy;od</th>
        <th scope="col" colspan="8" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">pe&shy;ri&shy;od</th>
        <th scope="col" colspan="4" class="left">1</th>
        <th scope="col" colspan="4" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="2" class="left">1</th>
        <th scope="col" colspan="2" class="left">2</th>
        <th scope="col" colspan="2" class="left">3</th>
        <th scope="col" colspan="2" class="left">4</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" class="left">1.1</th>
        <th scope="col" class="left">1.2</th>
        <th scope="col" class="left">2.1</th>
        <th scope="col" class="left">2.2</th>
        <th scope="col" class="left">3.1</th>
        <th scope="col" class="left">3.2</th>
        <th scope="col" class="left">4.1</th>
        <th scope="col" class="left">4.2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col" class="left">5</th>
        <th scope="col" class="left">6</th>
        <th scope="col" class="left">7</th>
        <th scope="col" class="left">8</th>
        <th scope="col" class="left">9</th>
        <th scope="col" class="left">10</th>
        <th scope="col" class="left">11</th>
        <th scope="col" class="left">12, 13</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "me&shy;ter" %}</th>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "3+2+2+3/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "3+3+2+2/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "3+2+2+3/8" %}</td>
        <td class="center music">{% m "6/8" %}</td>
        <td class="center music">{% m "6/8" %}, {% m "6/8" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="3">tot&shy;al</th>
        <td colspan="2" class="center">{% m "8/4" %}</td>
        <td colspan="2" class="center">{% m "8/4" %}</td>
        <td colspan="2" class="center">{% m "8/4" %}</td>
        <td colspan="2" class="center">{% m "9/4" %}</td>
      </tr>
      <tr>
        <td colspan="4" class="center">{% m "16/4" %}</td>
        <td colspan="4" class="center">{% m "17/4" %}</td>
      </tr>
      <tr>
        <td colspan="8" class="center">{% m "33/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The hyper&shy;periodic template for {% m "I", "form" %}.
    </p>
  </figcaption>
{% endfig %}

{% h4 "i-drum-meter" %}Drumkit meter &amp; hyper&shy;metric reversal{% endh4 %}

<p>
  In addition to contributing rhythms not heard in the other parts, the drumkit part contributes alternative inter&shy;pretations of <a href="#i-basic-metric-structure">the underlying metric structure</a>.
</p>

<p>
  In mm. 5&ndash;6, the drumkit plays <span class="music">{% m "6/8" %}+{% m "2/4" %}+{% m "6/8" %}</span>, clearly {% gloss "polymeter", "poly&shy;metric&shy;ally" %} (or at least {% gloss "polyrhythm", "poly&shy;rhythmic&shy;ally" %}) against the meter of the non-bass guitars. (Indeed, the hi-hat pedal is even used to suggest that the <span class="music">{% m "6/8" %}+{% m "2/4" %}</span> (=&nbsp;{% m "3+3+2+2/8" %}) may be heard as {% m "5/4" %}.) This same phenomenon recurs in mm. 9&ndash;10.
</p>

<p>
  Thus, the drumkit is actually <dfn>reversing the hyper&shy;measure</dfn> by playing {% m "3+3+2+2/8" %} <em>first</em>, and <em>then</em> playing the {% m "6/8" %}.
</p>

<p>
  Measures 7&ndash;8 are played in basically the same meter as the non-bass guitars, except that the hi-hat produces ambiguity by suggesting {% m "3+2+2+3/8" %}. And finally, in m. 15, the drumkit defies the underlying meter somewhat by not playing anything on {% gloss "counting", "the &ldquo;1&rdquo;" %}, and then accenting the &ldquo;la of 1&rdquo; (=&nbsp;the 2<sup>nd</sup> eighth-note of the measure).
</p>

{% h4 "i-metric-resolution" %}Metric resolution{% endh4 %}

<p>
  Naturally, all this {% gloss "rhythmic", "rhythm" %} &amp; {% gloss "meter", "metric" %} complexity, combined with the metric freedom of the bass-guitar, produces nothing less than a dizzying effect &mdash; counter&shy;acted only by some of the non-metric aspects discussed below. Thus, with the smooth transition to straight {% m "3/8" %} in {% gloss "m." %} 17 {% gloss "ff." %}, the listener gets a sense of metric &ldquo;resolution&rdquo;, where the smoothing-out represents the metric equivalent of resolving a dissonance to a consonance.
</p>

<p>
  In particular, m. 14 ff. starts by suggesting the beginning of another hyper&shy;<a href="https://en.wikipedia.org/wiki/Period_(music)">period</a>. But its {% gloss "hypermeter", "hyper&shy;beat" %}&nbsp;2.2 (see {% figref "i-metric-template", "table" %}) only gets past its first {% gloss "beat" %} &mdash; that is, its first {% m "3/8" %} &mdash; before all parts are brought into unison to play eight of the same dotted quarter-notes together. This eight-bar sequence is really its own hyper&shy;measure, clearly separated from the rest of {% m "I", "form" %} up to that point by {% gloss "texture" %} &amp; rhythm (and indeed, tempo: the metric manoeuvring additionally serves to cleverly mask the jump from {% m "n4" %} &ap; 170 to {% m "n4" %} &ap; 185).
</p>

<p>
  The result is that the last period is really truncated, but serves to seamlessly transition into the {% m "n4." %} block-{% gloss "chords" %} by simply stubbornly repeating the {% m "3/8" %} beat that the listener expected to be there anyway.
</p>

{% h3 "i-bassline" %}Bass&shy;line{% endh3 %}

<p>
  As mentioned, the bass&shy;line is largely {% gloss "meter", "metrically" %} free, even if nevertheless strictly adhering to the {% gloss "pulse" %}. There are moments of syn&shy;chro&shy;niza&shy;tion, however, which tend to have a similar &mdash; but lesser &mdash; effect to that of <a href="#i-metric-resolution">the metric resolution discussed above</a>:
</p>

<ul>
  <li>The single note of m. 4.</li>
  <li>The note at the end of m. 8.</li>
  <li>The end of the phrase in mm. 9 &amp; 14. (The phrases are identical.)</li>
  <li>All of mm. 12&ndash;13.</li>
  <li>The two quarter-notes of m. 15.</li>
  <li>Measure 18 ff..</li>
</ul>

<p>
  Although the bass&shy;line seems quite free at first, it actually makes use of the same handful of phrases. It even re&uuml;ses some of the same metric place&shy;ments (e.g. in {% gloss "m." %} 9 &amp; m. 14), suggesting a kind of {% gloss "polymeter", "poly&shy;metric" %} feel that is not explicitly notated in {% figref "i-full" %}.
</p>

{% fig "i-bass-reduc" %}
  {% ly "i-bass", "Reduction of the &Lang;I&Rang; section&rsquo;s bassline" %}

  <figcaption>
    <p>
      Reduction of {% m "I", "form" %}&rsquo;s bass&shy;line. Rhythms are approximate. Either of the square-bracketed notes may be present.
    </p>
  </figcaption>
{% endfig %}

<p>
  As expected, the longest &amp; most prominent notes of the two halves of the <a href="https://en.wikipedia.org/wiki/Period_(music)">period</a> (as shown in {% figref "i-bass-reduc" %}) differ by second ({% m "E" %} vs. {% m "F#" %}). Both phrases have clear internal coherence, and it is largely their juxtaposition against the other parts &mdash; &amp; their rhythmic variations &mdash; that produces the confusing texture. &#x24b6; is just scale&shy;wise descent from {% m "A" %} to {% m "E" %}, and &#x24b7; is a {% m "C#" %} <a href="https://en.wikipedia.org/wiki/Pentatonic_scale#Minor_pentatonic_scale">minor pentatonic</a> gesture.
</p>

{% h3 "i-texture" %}Texture{% endh3 %}

<p>
  Given the foundational nature of the non-bass guitar parts, we might describe the primary component of {% m "I", "form" %}&rsquo;s {% gloss "texture" %} as being basically {% gloss "homeophony", "ho&shy;me&shy;o&shy;phon&shy;ic" %}: between these two parts is plenty of {% gloss "anticontrary", "anti&shy;contrary" %} {% gloss "motion" %} and a fairly close phrasal dependence; but at the same time, a good deal of oblique &amp; contrary motion as well. Moreover, we get significantly different {% gloss "rhythm", "rhythmic" %} choices at several points.
</p>

<p>
  Once we also consider the bass-guitar, however, we get something like a genuine &mdash; if perhaps wobbly &mdash; <a href="https://en.wikipedia.org/wiki/Counterpoint">counter&shy;point</a>, with an abundance of contrary motion, oblique motion, &amp; phrasal <em>in</em>dependence.
</p>

<p>
  This is perhaps a strange conclusion to come to, so it may be more effective to think of {% m "I", "form" %} as being <em>primarily</em> home&shy;ophonic. But to that we should also add a reversal of rhythmic duties: the non-bass guitars lay down the basic metric structure, while the drumkit &amp; (especially) bass-guitar are allowed to freely rhythmically innovate within &amp; around that structure.
</p>

{% h3 "i-timbre-and-dynamics" %}Timbre &amp; dynamics{% endh3 %}

<p>
  {% m "I", "form" %} represents one of the quieter full-band {% gloss "section", "sections" %} of the piece &mdash; at least, prior to {% gloss "m." %} 18. Nonetheless, the {% gloss "dist-pitch" %} can tell a different story in some ways: the drumkit part maintains a wash of <a href="https://en.wikipedia.org/wiki/Pink_noise">pink noise</a> with the <a href="https://en.wikipedia.org/wiki/Cymbal">cymbals</a>, and although the guitars are on their low-distortion setting, at moments where guitars&nbsp;1 &amp; 2 play <a href="https://en.wikipedia.org/wiki/Double_stop">double-stops</a> together, we get a palpable increase in distortion (&ldquo;dirt&rdquo;).
</p>

<p>
  This results in a fairly {% gloss "timbre", "timbrally" %}-stratified {% gloss "texture" %}:
</p>

<ul>
  <li>The non-bass guitars&rsquo; double-stops provide distortion that momentarily swells the {% gloss "dynamics", "dynamic" %} of the section.</li>
  <li>The non-bass guitars&rsquo; single notes are clearly separate.</li>
  <li>The bass-guitar occupies a space of its own, as usual; but here the stratification is clearer, as a result of its {% gloss "rhythm", "rhythmic" %} independence.</li>
  <li>The cymbals maintain the stream of pink noise, while also playing often unique rhythms.</li>
  <li>The <a href="https://en.wikipedia.org/wiki/Snare_drum">snare</a> &amp; <a href="https://en.wikipedia.org/wiki/Bass_drum">kickdrum</a> provide the main rhythmic force of the drumkit part.</li>
  <li>The <a href="https://en.wikipedia.org/wiki/Hi-hat">hi-hat</a> is operated with the pedal, providing a sporadic but clearly independent rhythmic channel that easily sticks out whenever present.</li>
</ul>

<p>
  This timbral&ndash;textural stratification perhaps contributes to the disorienting quality of this section, given that it makes the rhythmic complexity more evident: without a clearly overriding stratum, there is no obvious &ldquo;anchor&rdquo; upon which to focus the listener&rsquo;s attention.
</p>

{% h3 "i-relationship-to-b" %}Relationship to {% m "B", "form" %}{% endh3 %}

<p>
  This {% gloss "section" %} is twinned with <a href="#the-b-section">{% m "B", "form" %}</a> in several ways:
</p>

<ul>
  <li>Both feature a primarily {% gloss "homeophony", "home&shy;ophon&shy;ic texture" %} between the guitars, with distortion at a minimum.</li>
  <li>Both juxtapose these clean intertwined guitars against <a href="#i-timbre-and-dynamics">the a&shy;fore&shy;men&shy;tioned constant wash of pink noise from the cymbals</a>, resulting in an unexpectedly high {% gloss "dist-pitch" %}.</li>
  <li>Both have regularly-shifting {% gloss "meter", "meters" %} that culminate in a <a href="https://en.wikipedia.org/wiki/Period_(music)">period</a> whose final iteration is truncated to lead into a &ldquo;resolution&rdquo; of the metric dissonance (to straight {% m "3/8" %} in this case, and to {% m "c" %} in the case of {% m "B", "form" %}).</li>
  <li>Both metric resolutions lead to a {% gloss "texture" %} purely of block-{% gloss "chord", "chords" %}, where all parts play the same {% gloss "rhythm" %}.</li>
  <li>Both have non-bass guitar parts largely in single notes, but with prominent <a href="https://en.wikipedia.org/wiki/Double_stop">double-stops</a> at the end of each {% gloss "hypermeter", "hyper&shy;measure" %}.</li>
  <li>Both make clear use of <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">quartal harmony</a>; specifically the construction {% m "{0,5,10,15}" %} (see the {% headingref "i-pitch-material" %} section below).</li>
</ul>

<p>
  Even to a casual listen, I think that this structural relationship is reasonably evident. Thus, it provides a clear tie between the former &amp; latter halves of the piece, but without actually requiring the {% m "B", "form" %} &amp; {% m "I", "form" %} sections to share any &ldquo;material&rdquo; <i>per se</i>.
</p>

{% h3 "i-melodic-contour" %}Melodic contour{% endh3 %}

<p>
  Perhaps the defining {% gloss "melodic contour", "contour" %} of this {% gloss "section" %} is an ascending {% m "[n8 n8 n8]" %}. But given the prevalence of the &ldquo;<a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> self-differing by {% gloss "interval quantity", "second" %}&rdquo; in previous sections, we want to know to what degree &mdash; if any &mdash; that structure is present in {% m "I", "form" %}.
</p>

<p>
  Indeed, in the first statement of this section&rsquo;s theme ({% gloss "m.", "mm." %} 1&ndash;4, the initial fledgling period), we do get this structure: m. 2 ends with a repeated high {% m "C#" %}, which is responded to in its latter counter&shy;part by the high {% m "D#" %} of m. 4. Later statements contain variations that always retain <em>some</em> trace of this {% m "C#" %}&ndash;{% m "D#" %} response pattern, but the relation&shy;ship becomes obscured.
</p>

<p>
  The bass&shy;line also contains this periodic ascent by second (but instead from {% m "E" %} to {% m "F#" %}), as is made clear by {% figref "i-bass-reduc" %}.
</p>

{% h3 "i-tone-poetry" %}Tone-poetry{% endh3 %}

<p>
  Although the <a href="https://en.wikipedia.org/wiki/Symphonic_poem">tone-poetic</a> significance of {% m "B", "form" %} was perhaps not immediately clear &mdash; partly because of its position near the beginning of the piece &mdash; the significance of its twin, {% m "I", "form" %}, is much clearer: this is the ship at turbulent sea.
</p>

<p>
  We&rsquo;ve just heard <a href="#h-text">the <q><i>Shallow waters, sailed too far</i></q> lyric of the previous section</a>, and now we get:
</p>

<ul>
  <li><a href="#i-basic-metric-structure">The most intensely dis&shy;orient&shy;ing (hyper)metric structures of the entire piece</a>.</li>
  <li><a href="#i-drum-meter">A drumkit part that em&shy;phatic&shy;ally contradicts the basic metric structure</a>, and <a href="#i-bassline">a metric&shy;ally free bass&shy;line</a>.</li>
  <li><a href="#i-timbre-and-dynamics">A constant wash of pink noise from the cymbals, in spite of an otherwise low dist-pitch</a>.</li>
</ul>

<p>
  The chaos of Turtlelephant emerging from the sea is clear in the {% gloss "texture" %}, {% gloss "rhythm", "rhythms" %}, {% gloss "meter", "meters" %}, etc. of {% m "I", "form" %}; and all this is juxtaposed against the pink noise of the crashing waves.
</p>

<p>
  This increase in turmoil is the essential point of dif&shy;fer&shy;enti&shy;a&shy;tion from {% m "B", "form" %}, thus giving a sense of narrative progression felt at least as strongly &mdash; if not more &mdash; in the in&shy;stru&shy;ment&shy;al parts as in the lyrics.
</p>

{% h3 "i-pitch-material" %}Pitch-material{% endh3 %}

<p>
  Like the previous {% gloss "section" %}, we are here <a href="https://en.wikipedia.org/wiki/Diatonic_scale">dia&shy;tonic</a> to {% m "C#" %} natural minor. By focusing on <a href="#i-basic-metric-structure">the basic hyper&shy;periodic structure identified above</a>, we can look past the predominant&shy;ly {% gloss "homeophony", "home&shy;ophon&shy;ic" %} &amp; <a href="https://en.wikipedia.org/wiki/Counterpoint">contra&shy;puntal</a> (read: melodic) {% gloss "texture" %} to never&shy;the&shy;less obtain a reasonable harmonic gloss:
</p>

{% fig "i-harm", "table" %}
  <table>
    <caption><a href="https://en.wikipedia.org/wiki/Period_(music)">Period</a> 1.1 (trun&shy;cat&shy;ed hyper&shy;period)</caption>
    <thead>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th colspan="2" scope="col">1</th>
        <th colspan="2" scope="col">2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m." %}</th>
        <th scope="col">1</th>
        <th scope="col">2</th>
        <th scope="col">3</th>
        <th scope="col">4</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">{% enmark "i11" %}{% m "C#-7", "chord" %}{% endenmark %}</td>
        <td class="center">{% m "Amaj7inv3" %}</td>
        <td class="center">{% m "{G#,C#,F#,B}" %}</td>
        <td class="center">{% m "Emaj7" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td class="center">{% enmark "i11" %}{% m "i7" %}{% endenmark %}</td>
        <td class="center">{% m "bVImaj7inv3" %}</td>
        <td class="center music">{% m "v" %}:&nbsp;{% m "{0,5,10,15}" %}</td>
        <td class="center">{% m "bIIImaj7" %}</td>
      </tr>
    </tbody>
  </table>

  <table>
    <caption>Period 2.1</caption>
    <thead>
      <tr>
        <th scope="row">hy&shy;per&shy;bar</th>
        <th colspan="2" scope="col">1</th>
        <th colspan="2" scope="col">2</th>
      </tr>
      <tr>
        <th scope="row">m.</th>
        <th scope="col">5</th>
        <th scope="col">6</th>
        <th scope="col">7</th>
        <th scope="col">8</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">chord</th>
        <td class="center">{% enmark "i11" %}{% m "C#-7", "chord" %}{% endenmark %}</td>
        <td class="center">{% m "Amaj7inv2" %}</td>
        <td class="center">{% m "{G#,C#,F#,B}" %}</td>
        <td class="center">{% m "Emaj9/F#" %}, {% m "{F#,B,E,A}" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td class="center">{% enmark "i11" %}{% m "i7" %}{% endenmark %}</td>
        <td class="center">{% m "bVImaj7inv2" %}</td>
        <td class="center music">{% m "v" %}:&nbsp;{% m "{0,5,10,15}" %}</td>
        <td class="center">{% m "bIIImaj9" %}, <span class="music">{% m "iv" %}:&nbsp;{% m "{0,5,10,15}" %}</span></td>
      </tr>
    </tbody>
  </table>

  <table>
    <caption>Period 2.2</caption>
    <thead>
      <tr>
        <th scope="row">hy&shy;per&shy;bar</th>
        <th colspan="2" scope="col">3</th>
        <th colspan="3" scope="col">4</th>
      </tr>
      <tr>
        <th scope="row">m.</th>
        <th scope="col">9</th>
        <th scope="col">10</th>
        <th scope="col">11</th>
        <th scope="col">12</th>
        <th scope="col">13</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">chord</th>
        <td class="center">{% m "C#-7", "chord" %}</td>
        <td class="center">{% m "Amaj7inv1" %}</td>
        <td class="center">{% m "{G#,C#,F#,B}" %}</td>
        <td class="center">{% m "{E,F#,G#}" %}</td>
        <td class="center">{% m "Eadd2/F#" %}, {% m "{E,F#,G#,A}" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td class="center">{% m "i7" %}</td>
        <td class="center">{% m "bVImaj7inv1" %}</td>
        <td class="center music">{% m "v" %}:&nbsp;{% m "{0,5,10,15}" %}</td>
        <td class="center music">{% m "bIII" %}:&nbsp;{% m "{0,2,4}" %}</td>
        <td class="center"><span class="music">{% m "bIII" %}:&nbsp;{% m "{0,2,4,7}" %}</span>, <span class="music">{% m "bIII" %}:&nbsp;{% m "{0,2,4,5}" %}</span></td>
      </tr>
    </tbody>
  </table>

  <table>
    <caption>Period 3.1 (both period &amp; hyper&shy;period trun&shy;cat&shy;ed)</caption>
    <thead>
      <tr>
        <th scope="row">hy&shy;per&shy;bar</th>
        <th colspan="2" scope="col">1</th>
        <th scope="col">2</th>
      </tr>
      <tr>
        <th scope="row">m.</th>
        <th scope="col">14</th>
        <th scope="col">15</th>
        <th scope="col">16</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">chord</th>
        <td class="center">{% m "C#-7", "chord" %}</td>
        <td class="center">{% m "Amaj7inv1" %}</td>
        <td class="center">{% m "{G#,C#,F#,B}" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td class="center">{% m "i7" %}</td>
        <td class="center">{% m "bVImaj7inv1" %}</td>
        <td class="center music">{% m "v" %}:&nbsp;{% m "{0,5,10,15}" %}</td>
      </tr>
    </tbody>
  </table>

  <table>
    <caption>Final block-chords</caption>
    <tbody>
      <tr>
        <th scope="row">chord</th>
        <td class="center">{% m "Emaj9/F#" %}</td>
        <td class="center">{% m "Amaj7" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA</th>
        <td class="center">{% m "bIIImaj9/4" %}</td>
        <td class="center">{% m "bVImaj7" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Harmonic gloss of {% m "I", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  As expected by this point, we have a nearly complete avoidance of <a href="https://en.wikipedia.org/wiki/Function_(music)">traditional functional harmony</a>, in spite of the presence of a decent number of <a href="https://en.wikipedia.org/wiki/Tertian">tertian</a> constructions. However, as also expected, we get plenty of <em>non</em>-tertian constructions, and <a href="#intervalclass-sensitivity">the use of particular ics to suggest &ldquo;function&rdquo;</a>.
</p>

<p>
  Unlike previous sections, however, {% m "I", "form" %} leans a little more heavily on certain constructions previously heard only rarely:
</p>

<ul>
  <li>Extensive use of the {% m "bIII" %} &amp; its many variants.</li>
  <li>Considerable use of chords that can be constructed <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">quartally</a> as a stack of three {% m "P4" %}s, i.e. {% m "{0,5,10,15}" %} &in; {% m "4-23" %}. These are found <a href="https://en.wikipedia.org/wiki/Root_(chord)">rooted</a> on {% m "v" %}, as well as on {% m "iv" %}.</li>
  <li>Very explicit sounding of the 2<sup>nd</sup> (or sometimes 9<sup>th</sup>) <a href="https://en.wikipedia.org/wiki/Factor_(chord)">factor</a> in the bass, so that we often have some variation of {% m "bIII/4" %}. This construction is effectively normalized by the time that we get to the former of the final block-chords, at which point it&rsquo;s played eight(!) times in succession.</li>
</ul>

<p>
  Still, especially when keeping <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a> in mind, the chords in {% figref "i-harm", "table" %} are quite neatly classified by the frame&shy;works developed so far:
</p>

{% fig "i-harm-classes", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col">{% gloss "functional notation", "func&shy;tion" %}</th>
        <th scope="col">chord</th>
        <th scope="col">{% gloss "ic-vector", "ic-vec&shy;tor" %}</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% m "T", "fun" %}</th>
        <td class="center">{% m "i7" %}</td>
        <td class="right">{% m "<012120>", "icv" %}</td>
      </tr>
      <tr>
        <th rowspan="4" scope="row">{% m "S", "fun" %} or {% m "P", "fun" %}</th>
        <td class="center music">{% m "v" %}: {% m "{0,5,10,15}" %}</td>
        <td rowspan="2" class="right">{% m "<021030>", "icv" %}</td>
      </tr>
      <tr>
        <td class="center music">{% m "iv" %}: {% m "{0,5,10,15}" %}</td>
      </tr>
      <tr>
        <td class="center music">{% m "bIII" %}: {% m "{0,2,4}" %}</td>
        <td class="right">{% m "<020100>", "icv" %}</td>
      </tr>
      <tr>
        <td class="center music">{% m "bIII" %}: {% m "{0,2,4,7}" %}</td>
        <td class="right">{% m "<021120>", "icv" %}</td>
      </tr>
      <tr>
        <th rowspan="3" scope="row">{% m "D", "fun" %}</th>
        <td class="center">{% m "bVImaj7" %}</td>
        <td rowspan="2" class="right">{% m "<101220>", "icv" %}</td>
      </tr>
      <tr>
        <td class="center">{% m "bIIImaj7" %}</td>
      </tr>
      <tr>
        <td class="center music">{% m "bIII" %}: {% m "{0,2,4,5}" %}</td>
        <td class="right">{% m "<121110>", "icv" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Class&shy;ifi&shy;ca&shy;tion of the chords in {% figref "i-harm", "table" %}, from the perspective of the frame&shy;works developed so far, including the (distant) analogy with <a href="https://en.wikipedia.org/wiki/Function_(music)">tra&shy;di&shy;tion&shy;al func&shy;tion&shy;al class&shy;ifi&shy;ca&shy;tions</a>.
    </p>
  </figcaption>
{% endfig %}

<p>
  Some comments on {% figref "i-harm-classes", "table" %} are warranted:
</p>

<ul>
  <li>The 7<sup>th</sup> <a href="https://en.wikipedia.org/wiki/Factor_(chord)">factor</a> of the {% m "bIIImaj7" %} fairly consistently serves as a kind of &ldquo;<a href="https://en.wikipedia.org/wiki/Leading_tone">leading-tone</a>&rdquo;, insofar as it resolves upward by {% m "m2" %} to an important pitch (e.g. the 3<sup>rd</sup> factor of the {% m "i7" %}).</li>
  <li>The <span class="music">{% m "iv" %}: {% m "{0,5,10,15}" %}</span> is used as {% m "P", "fun" %}, as is perhaps to be expected, given that its root is notionally {% m "4^" %}; that is, we get something resembling a <a href="https://en.wikipedia.org/wiki/Cadence#Minor_plagal_cadence">minor plagal cadence</a>.</li>
  <li>Several <a href="#generalized-clustering">diatonic clusters</a> are used, never with {% m "T", "fun" %} function. Most notably, <span class="music">{% m "bIII" %}: {% m "{0,2,4,5}" %} &in; {% m "4-11B" %}</span> is used with clear {% m "D", "fun" %} function, corresponding to its possession of {% gloss "ic" %}&nbsp;1.</li>
  <li>The &ldquo;<span class="music">{% m "bIII" %}: {% m "{0,2,4,7}" %}</span>&rdquo; is more like an <i>ad hoc</i> notation than it is a root assign&shy;ment. Here, it&rsquo;s quite evidently &mdash; including the {% m "4^" %} in the bass &mdash; <strong>not</strong> used as a {% m "bIII" %} chord in the usual sense, and is instead an extension of the cluster {% m "3-6" %} &mdash; which is also sounded, as &ldquo;<span class="music">{% m "bIII" %}: {% m "{0,2,4}" %}</span>&rdquo; &mdash; both with clear {% m "S", "fun" %} function.</li>
  <li>The {% m "bVImaj7" %} is never properly resolved until the beginning of the next section, thus increasing the tension of this section, and providing a bridge to the next.</li>
</ul>

{% h2 "the-j-section" %}The {% m "J", "form" %} section (<time datetime="PT3M39S">3:39</time> to <time datetime="PT4M21S">4:21</time>){% endh2 %}

{% fig "j-full" %}
  {% ly "j", "Transcription of the &Lang;J&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "J", "form" %} section. The bar of {% m "11/8" %} is presumably intended to be a full {% m "3/2" %}, but it&rsquo;s rushed to the point that virtually an entire {% m "n8" %} is missing.
    </p>
  </figcaption>
{% endfig %}

{% h3 "j-rhythm-and-meter" %}Rhythm &amp; meter{% endh3 %}

{% h4 "telescopic-halving" %}Telescopic halving{% endh4 %}

<p>
  This section is in relatively straight&shy;forward {% m "c" %} until {% gloss "m." %} 28 {% gloss "ff." %}. {% gloss "hypermeter", "Hyper&shy;metric&shy;ally" %}, however, there&rsquo;s a rather interesting phenomenon that we might call <dfn>telescopic halving</dfn> (if you will):
</p>

{% fig "j-telescopic-halving", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col" class="center">1&ndash;2</th>
        <th scope="col" class="center">3&ndash;4</th>
        <th scope="col" class="center">5</th>
        <th scope="col" class="center">6</th>
        <th scope="col" colspan="2" class="center">7</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;beat" %}</th>
        <th scope="col" class="center">1</th>
        <th scope="col" class="center">2</th>
        <th scope="col" class="center">3</th>
        <th scope="col" class="center">4</th>
        <th scope="col" class="center">5</th>
        <th scope="col" class="center">6</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">du&shy;ra&shy;tion</th>
        <td class="center">{% m "8/4" %}</td>
        <td class="center">{% m "8/4" %}</td>
        <td class="center">{% m "4/4" %}</td>
        <td class="center">{% m "4/4" %}</td>
        <td class="center">{% m "2/4" %}</td>
        <td class="center">{% m "2/4" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row">to&shy;tal</th>
        <td colspan="6" class="center">{% m "28/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The anatomy of a single hyper&shy;measure of {% m "J", "form" %}, demon&shy;strat&shy;ing <dfn>tele&shy;scop&shy;ic halving</dfn>.
    </p>
  </figcaption>
{% endfig %}

<p>
  The hyper&shy;meter is thus based upon 7, resulting in a clearly {% gloss "irregular hypermeter", "irregular hyper&shy;meter" %} &mdash; in spite of the {% gloss "meter" %} always being plain {% m "c" %}.
</p>

{% h4 "j-syncopation" %}Syncopation{% endh4 %}

<p>
  In the drumkit, we find {% gloss "syncopation" %} in the &ldquo;{% gloss "meter", "downbeat" %}&rdquo; consistently landing on the {% gloss "counting", "&ldquo;&amp; of 1&rdquo;" %} of every other bar (in the first four bars of each hyperbar), resulting in a kind of {% m "9+7/8" %} feel. This dis&shy;place&shy;ment by {% m "n8" %} recalls the same dis&shy;place&shy;ment as heard throughout {% m "AA'B", "form" %} and {% m "F", "form" %} (although the dis&shy;place&shy;ment in the latter is a result of what I called &ldquo;<a href="#f-decompression">de&shy;com&shy;pres&shy;sion</a>&rdquo;).
</p>

<p>
  With the addition of the <a href="https://en.wikipedia.org/wiki/Tremolo">tremolos</a> in guitar&nbsp;1, we get a distinct {% m "3+5/8" %} division of about half of the measures.
</p>

<p>
  The vocals then provide the additional syncopation heard in {% m "J", "form" %}. The first lyric introduces dotted eighth-notes (m. 9), and in m. 18, we get a clear {% m "3+2+3/8" %} division.
</p>

{% h3 "j-timbre" %}Timbre{% endh3 %}

<p>
  This section is the only one to feature either of two techniques: sixteenth-note <a href="https://en.wikipedia.org/wiki/Hi-hat">hi-hats</a>, and <a href="https://en.wikipedia.org/wiki/Tremolo">tremolo</a> <a href="https://en.wikipedia.org/wiki/Alternate_picking">picking</a> (also in sixteenth-notes). Given that the ways in which these techniques are used don&rsquo;t challenge the prevailing {% gloss "pulse" %} nor {% gloss "meter" %}, they&rsquo;re best thought of as {% gloss "timbre", "timbral" %} effects.
</p>

<p>
  Especially in the first six measures, the sixteenth-note hi-hats contribute greatly to the texture by filling in the space between successive block-{% gloss "chord", "chords" %}. But the way in which they do this does <strong>not</strong> recall the washes of <a href="https://en.wikipedia.org/wiki/Pink_noise">pink noise</a> (from <a href="https://en.wikipedia.org/wiki/Cymbal">cymbals</a>) heard in some previous {% gloss "section", "sections" %}. Although the hi-hat <em>is</em> a cymbal &mdash; or rather, two of them sandwiched together &mdash; the sixteenth-note bursts are relatively controlled (as the hi-hat is firmly closed), resulting in a tight groove that brings attention to the drumkit itself, rather than producing an aural ambiance.
</p>

<p>
  The addition of the tremolos in guitar&nbsp;1 essentially mimic the hi-hat. However, due to the high levels of distortion on the guitars, the resulting timbre is almost impossibly gritty, making the {% gloss "pitch-material" %} &mdash; including how many notes are even being played per chord &mdash; somewhat difficult to make out. In part, this is a simple result of the tremolo picking technique inherently resulting in a timbre dominated by {% gloss "attack" %}.
</p>

<p>
  This combines with the noise of the sixteenth-note hi-hats (&amp; the vocals), to produce a high {% gloss "dist-pitch" %} &mdash; a wall of noise, really &mdash; unusually paired with a sparse {% enmark "freq-range-names" %}low-end{% endenmark %}.
</p>

{% h3 "j-texture" %}Texture{% endh3 %}

<p>
  The {% gloss "texture" %} of this section is essentially that of another verse &mdash; unlike that of {% m "H", "form" %}, which was more of a quasi-verse that only had two lines of text anyway. Thus, apart from the <a href="https://en.wikipedia.org/wiki/Tremolo">tremolos</a> in guitar&nbsp;1, we mostly have block-{% gloss "chord", "chords" %} accompanying single vocal lines, as in typical <a href="https://en.wikipedia.org/wiki/Homophony">homo&shy;phony</a>. Moreover, we get a return of the turn-taking between vocalists that was char&shy;ac&shy;ter&shy;is&shy;tic of {% m "F", "form" %}.
</p>

<p>
  Nonetheless, the texture here is notably &ldquo;sparser&rdquo; than that of {% m "F", "form" %} (the only other true verse in the entire piece), insofar as quite a bit of space is left in between successive block-chords.
</p>

<p>
  We must also note that, because the pitch-material of this section relies on pre&euml;xisting harmonic norms &mdash; and indeed, does so more heavily than any other section in the entire piece &mdash; there is little or no need for convincing surface-level <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a>; and indeed, the empty space between chords lessens any such necessity even further. This allows for the {% gloss "voice", "voicings" %} to be dominated by parallel {% gloss "motion" %} (so-called <a href="https://en.wikipedia.org/wiki/Parallel_harmony"><dfn>planing</dfn></a>), with the addition of only small amounts of similar &amp; oblique motions.
</p>

{% h3 "j-panic-chords" %}Panic chords{% endh3 %}

{% aside %}
  <p>
    Somewhere at the intersection of {% gloss "texture" %} &amp; {% gloss "pitch-material" %} is the <dfn>panic {% gloss "chord" %}</dfn> phenomenon. This part&shy;writing technique is almost uniformly incorrectly analyzed as the purely pitch-material phenomenon of a {% gloss "vertical" %} {% gloss "interval" %} of a {% m "m2" %}. In reality, although this <em>is</em> one component of the panic chord, it must also satisfy at least three other properties:
  </p>

  <ul>
    <li>The chord must be in a high enough <a href="https://en.wikipedia.org/wiki/Register_(music)">register</a> to produce a stark separation from the lower-pitched material that is the primary focus of the texture.</li>
    <li>The {% m "m2" %} dissonance should not &mdash; or at least, need not &mdash; be conventionally &ldquo;treated&rdquo;; that is, it does not exist to be resolved by {% gloss "motion" %} to an appropriate consonance.</li>
    <li>The chord must have a high enough {% gloss "dist-pitch" %} on its own &mdash; typically, but not necessarily, from guitar distortion &mdash; to produce or emulate audible <a href="https://en.wikipedia.org/wiki/Intermodulation">inter&shy;modulation distortion</a> artifacts.</li>
  </ul>

  <p>
    Panic chords are associated with {% gloss "metalcore" %}.
  </p>
{% endaside %}

<p>
  As noted previously, Kidcrash are not playing metal({% gloss "metalcore", "core" %}) here. That being said, the <a href="https://en.wikipedia.org/wiki/Tremolo">tremolo</a>-picked {% m "[D#,E]" %} in {% gloss "m.", "mm." %} 13, 20, &amp; 27 &mdash; and arguably the {% m "[C#,D#]" %} in the previous measure, although it can be disqualified for being {% gloss "interval quality", "a major second rather than minor" %} &mdash; can be compared to a panic chord.
</p>

<p>
  At first blush, it might seem to tick all the boxes &mdash; but there are two problems. For one, the <a href="https://en.wikipedia.org/wiki/Register_(music)">register</a> isn&rsquo;t high enough: its register is no higher than that of the block-{% gloss "chord" %} that immediately precedes it. Moreover, the dissonances of the {% m "[C#,D#]" %} and then {% m "[D#,E]" %} are indeed intended to be treated; specifically, by resolution to ultimately something like an {% m "E" %} <a href="https://en.wikipedia.org/wiki/Major_chord">major triad</a> (but see below).
</p>

<p>
  Indeed, the tremolo-picked parts of {% m "J", "form" %} are just a particularly explicit example of the <a href="#intervalclass-sensitivity">interval&shy;class sensitivity</a> already observed in previous sections: {% m "[E,G#]" %} &in; {% gloss "ic" %}&nbsp;4 &rarr; {% m "[G#,B]" %} &in; ic&nbsp;3 &rarr; {% m "[C#,D#]" %} &in; ic&nbsp;2 &rarr; {% m "[D#,E]" %} &in; ic&nbsp;1 &rarr; resolution.
</p>

<p>
  Although the {% gloss "texture" %} of {% m "J", "form" %} no doubt differs from those of previous sections, the basic {% gloss "pitch-material" %} r&eacute;gime needn&rsquo;t differ quite so much &mdash; in spite of the new absence of surface-level <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a> evidence. Thus, we get a sense of resolution already by the beginning of m. 14 (etc.), in spite of that chord clearly not being <a href="https://en.wikipedia.org/wiki/Function_(music)">a traditional tonic chord</a> (but again, see below).
</p>

{% h3 "j-pitch-material" %}Pitch-material{% endh3 %}

{% h4 "j-voicings-and-pedalpoint" %}Voicings &amp; pedal&shy;point{% endh4 %}

<p>
  As transcribed in {% figref "j-full" %}, there are two suspicious-looking {% gloss "voice", "voicings" %}:
</p>

<ul>
  <li>The {% gloss "chord" %} initially played in {% gloss "m." %} 1 consistently has a {% m "C#" %} in guitar&nbsp;1, instead of the perhaps more expected {% m "B" %} that&rsquo;s transcribed for guitar&nbsp;2. This does indeed give an audible additional &ldquo;crunch&shy;i&shy;ness&rdquo; to this chord, but the effect is subtle. As near as I can tell, the two guitars really are playing different block-chords.</li>
  <li>The chord initially played in m. 6 fairly consistently has a low (but not bass) {% m "C#" %} in both non-bass guitars. This takes advantage of an open string tuned to {% m "C#" %}, and is quite audible (moreso than the above) in the recording.</li>
</ul>

<p>
  The result is that, technically, there&rsquo;s a {% m "C#" %} present in absolutely every chord played within {% m "J", "form" %}. This can be analyzed as a <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a>, albeit <em>only</em> in the {% gloss "pitch-material" %} sense that it arguably shifts between {% gloss "NCT" %} status and {% gloss "CT" %} status, or at least between {% gloss "added-tone" %} status and not. But of course, it&rsquo;s not a &ldquo;pedal&shy;point&rdquo; in the {% gloss "texture", "textural" %} sense.
</p>

{% h4 "j-harmony-and-centricity" %}Harmony &amp; centricity{% endh4 %}

{% fig "j-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">(&hellip;0)</th>
        <th scope="col">1&ndash;4</th>
        <th scope="col">5</th>
        <th scope="col">6</th>
        <th scope="col" colspan="2">7</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %} (<abbr title="in the key of C&sharp; minor" class="music">C&sharp;</abbr>)</th>
        <td rowspan="2" class="center">({% m "Amaj7" %})</td>
        <td class="center">{% m "C#-7inv1" %}</td>
        <td rowspan="2" class="center">{% m "A", "chord" %}</td>
        <td rowspan="2" class="center">{% m "Badd2" %}</td>
        <td rowspan="2" class="center">{% m "F#", "chord" %}</td>
        <td class="center">{% m "C#-7inv1" %}</td>
      </tr>
      <tr>
        <th scope="row">chord (<abbr title="in the key of E major" class="music">E</abbr>)</th>
        <td class="center">{% m "E6", "chord" %}</td>
        <td class="center">{% m "E6", "chord" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %} (<span class="music">C&sharp;</span>)</th>
        <td class="center">({% m "bVImaj7" %})</td>
        <td class="center">{% m "i7inv1" %}</td>
        <td class="center">{% m "bVI" %}</td>
        <td class="center">{% m "bVII" %}</td>
        <td class="center">{% m "IV" %}</td>
        <td class="center">{% m "i7inv1" %}</td>
      </tr>
      <tr>
        <th scope="row">RNA (<span class="music">E</span>)</th>
        <td class="center">({% m "IVmaj7" %})</td>
        <td class="center">{% m "I6" %}</td>
        <td class="center">{% m "IV" %}</td>
        <td class="center">{% m "V" %}</td>
        <td class="center">{% m "II" %} or *{% m "V/V" %}</td>
        <td class="center">{% m "I6" %}</td>
      </tr>
      <tr>
        <th scope="row">{% m "C#" %} <a href="https://en.wikipedia.org/wiki/Factor_(chord)">fac&shy;tor</a></th>
        <td class="center">{% m "3", "fact" %}</td>
        <td class="center">{% m "1", "fact" %} or <span class="music">&#x2214;{% m "6", "fact" %}</span></td>
        <td class="center">{% m "3", "fact" %}</td>
        <td class="center"><span class="music">&#x2214;{% m "2", "fact" %}</span></td>
        <td class="center">{% m "5", "fact" %}</td>
        <td class="center">{% m "1", "fact" %} or <span class="music">&#x2214;{% m "6", "fact" %}</span></td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Harmonic analysis of {% m "J", "form" %}. Includes the final chord of {% m "I", "form" %} as mm. &ldquo;&hellip;0&rdquo;.
    </p>

    <p>
      *The asterisked analysis is not functional, i.e. the &ldquo;<a href="https://en.wikipedia.org/wiki/Secondary_chord#Secondary_dominant">applied dominant</a>&rdquo; is not used as one. The &ldquo;<span class="music">&#x2214;</span>&rdquo; is an <i>ad hoc</i> notation to denote an {% gloss "added-tone" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Whereas the previous section was reasonably un&shy;am&shy;big&shy;u&shy;ous&shy;ly in {% m "C#" %} minor (with only some hints at {% m "E" %} major), I analyze {% m "J", "form" %} as being essentially in {% m "E" %} major, although it is ambiguous enough to allow analysis either way. In favor of {% m "E" %} major, we have:
</p>

<ul>
  <li>{% m "IVmaj7--I6" %} is analyzable as a reasonably traditional tonal cadence &mdash; insofar as <a href="https://en.wikipedia.org/wiki/Cadence#Plagal_cadence">plagal cadences</a> are commonly accepted, at the very least in {% gloss "popular music" %} &mdash; whereas {% m "bVImaj7--i7inv1" %} as a &ldquo;cadence&rdquo; relies on some of the non&shy;tradition&shy;al frame&shy;works proposed here.</li>
  <li>I pretty distinctly hear {% m "I--IV--V" %} in mm. 1&ndash;6, which is a difficult association to shake, even if a &ldquo;proper&rdquo; resolution is consistently avoided.</li>
  <li>The {% m "C#" %} in the tonic chord is somewhat inconspicuous: it&rsquo;s in an inner {% gloss "voice" %}, and at that, only in one part (guitar&nbsp;1).</li>
  <li>{% m "E" %}-centricity implies that the tonic chord is in <a href="https://en.wikipedia.org/wiki/Root_position">root position</a>.</li>
  <li>The first <a href="https://en.wikipedia.org/wiki/Tremolo">tremolo</a>-picked phrase is of the chord {% m "[E,G#]" %}, which more strongly suggests {% m "E", "chord" %} than it does a {% gloss "omitted factor", "rootless" %} {% m "C#-" %}.</li>
</ul>

<p>
  But we can marshal some evidence for {% m "C#" %} minor, as well:
</p>

<ul>
  <li>There&rsquo;s a {% m "C#" %} pedal&shy;point (again, specifically in the pitch-material sense). A pedal&shy;point on {% m "6^" %} would at least be unusual.</li>
  <li>Analyzing the first chord as {% m "i7inv1" %} gives a <a href="https://en.wikipedia.org/wiki/Tertian">tertian</a> {% gloss "sonority" %} with no {% gloss "added-tone" %}.</li>
  <li>Although {% m "I--IV--V" %} is more convincing, approaching the tonic with {% m "bVI--bVII" %} (suggesting an <a href="https://en.wikipedia.org/wiki/Aeolian_mode">Aeolian</a> {% gloss "modal" %} flavor) is not exactly unheard of in popular music.{% cite "SchenkerRock" %}</li>
  <li>The only non&shy;diatonic {% gloss "pc" %} in the entire section is {% m "A#" %}. This pc is &mdash; classically speaking &mdash; native to the key of {% m "C#" %} minor, as a member of {% m "C#" %} <a href="https://en.wikipedia.org/wiki/Minor_scale#Melodic_minor_scale">melodic minor</a>.</li>
  <li>The previous section was in {% m "C#" %} minor. <i>Ceteris paribus</i>, the listener is more likely to hear &ldquo;no detectable difference&rdquo; than anything else.</li>
</ul>

<p>
  Unfortunately, the vocals are really no help, as they&rsquo;re limited to just three pitches of the {% m "E" %} <a href="https://en.wikipedia.org/wiki/Pentatonic_scale#Major_pentatonic_scale">major pentatonic scale</a>, or {% gloss "mode", "equivalently" %}, the {% m "C#" %} <a href="https://en.wikipedia.org/wiki/Pentatonic_scale#Minor_pentatonic_scale">minor pentatonic</a>.
</p>

{% h5 "j-cadential-mitigation" %}Cadential mitigation{% endh5 %}

<p>
  So, naturally, much of the problem comes down to tonic&shy;ization. I&rsquo;ve already noted that the {% m "I", "form" %} &rarr; {% m "J", "form" %} transition favors {% m "E" %} major in this respect. But even more interesting is the <a href="https://en.wikipedia.org/wiki/Turnaround_(music)">turnaround</a> (which we hear several times over):
</p>

<ul>
  <li>
    <p>
      In {% m "C#" %}, we get {% m "bVII--IV--i7inv1" %}. This would be a <q>double plagal cadence</q>.{% cite "SchenkerRock" %}
    </p>

    <p>
      The main complication here is that the tonic chord is minor, meaning that we lose the character&shy;istic downward resolution by semitone from root to 3<sup>rd</sup> factor. Still, we do at least get upward &ldquo;resolution&rdquo; by semitone to the 7<sup>th</sup> factor, which is of some utility.
    </p>
  </li>
  <li>
    <p>
      In {% m "E" %}, we get {% m "V--II--I6" %}. At first blush, this looks more difficult to explain, as *{% m "V--V/V--I6" %} is clearly nonsense.
    </p>

    <p>
      But given the evidence in favor of {% m "E" %}-centricity, it&rsquo;s not difficult to hear this as analogous to the <a href="https://en.wikipedia.org/wiki/V%E2%80%93IV%E2%80%93I_turnaround"><dfn>blues turnaround</dfn></a> {% m "V--IV--I" %}. Both {% m "II" %} (as an altered {% m "ii" %}, or as {% m "V/V" %}) and {% m "IV" %} tradition&shy;ally have {% m "S", "fun" %} {% gloss "functional notation", "function" %}, suggesting that the {% m "II" %} is here used merely to <em>mitigate</em> what is ultimately a {% m "V--I" %}.
    </p>

    <p>
      The fact that {% m "II--I" %} has awkward <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a> (although we do get semitonal ascent from 3<sup>rd</sup> factor to 5<sup>th</sup>) further supports the idea that the {% m "II--I" %} <i>per se</i> lacks functional &amp;/or structural implications.
    </p>
  </li>
</ul>

<p>
  The idea that Kidcrash might be intentionally mitigating what would otherwise be a fairly ordinary {% m "V--I" %} is quite credible, given what pitch-material we&rsquo;ve heard in previous sections.
</p>

<p>
  Although Kidcrash pilfer more-or-less freely from conventional harmonic norms (of {% gloss "popular music" %}, etc.), they are careful not to rely on such pilfered goods for extended segments of the piece; and when they <em>do</em> avail themselves, they do so only in&shy;con&shy;spi&shy;cu&shy;ous&shy;ly. Overt use of the most fundamental idiomata of <a href="https://en.wikipedia.org/wiki/Common_practice_period">Common Practice music</a> is, put simply, too heavy-handed. Stylistically, Kidcrash have no need for this level of unsubtlety, as they&rsquo;ve already developed their own tonal language &mdash; as we&rsquo;ve already heard.
</p>

{% h3 "j-text" %}Text{% endh3 %}

{% fig "j-lyrics", "verse" %}
  <div class="verse">
    <p>
      I keep a valley between us,<br>
      So we can never touch.
    </p>

    <p>
      Wallow &rsquo;round in the desert,<br>
      Or in the trenches sinkin&rsquo;.
    </p>

    <p>
      Either way, you&rsquo;ll meet the same fate<br>
      As a coalmine canary.
    </p>
  </div>

  <figcaption>
    <p>
      The lyrics of {% m "J", "form" %}. Also given in {% figref "j-full" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  This is the final section with vocals, and yet &mdash; perhaps frustratingly &mdash; has the least clear-cut lyrics.
</p>

<p>
  Assuming that this is still on the subject of Turtlelephant, then perhaps the message is that {% enmark "amphibious" %}Turtlelephant is amphibious{% endenmark %} &mdash; as befits a cross between a marine turtle &amp; an elephant &mdash; and that any attempt to really escape it is futile. From valleys, to deserts, to the deepest sea trenches, Turtlelephant <em>will</em> find you &mdash; and then it&rsquo;s all over.
</p>

{% h2 "the-k-section" %}The {% m "K", "form" %} section (<time datetime="PT4M21S">4:21</time> to <time datetime="PT4M44S">4:44</time>){% endh2 %}

{% fig "k-full" %}
  {% ly "k", "Transcription of the &Lang;K&Rang; section" %}

  <figcaption>
    <p>
      Transcription of the {% m "K", "form" %} section.
    </p>
  </figcaption>
{% endfig %}

{% h3 "k-rhythm-and-meter" %}Rhythm &amp; meter{% endh3 %}

{% h4 "k-hypermetric-structure" %}(Hyper)metric structure{% endh4 %}

<p>
  Although not quite as complex as that of {% m "I", "form" %}, {% m "K", "form" %} has its own <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> {% gloss "hypermeter", "hyper&shy;metric" %} structure. Here, the foundational former half of each hyper&shy;measure is <span class="music">{% m "4/4" %}+{% m "4/4" %}</span>; in the latter half, <span class="music">{% m "4/4" %}+{% m "2/4" %}</span> is responded to by <span class="music">{% m "3/4" %}+{% m "3/4" %}+{% m "2/4" %}</span>:
</p>

{% fig "k-metric-struct", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row"><a href="https://en.wikipedia.org/wiki/Period_(music)">pe&shy;ri&shy;od</a></th>
        <th scope="col" colspan="4" class="left">1</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "hypermeter", "hy&shy;per&shy;bar" %}</th>
        <th scope="col" colspan="2" class="left">1</th>
        <th scope="col" colspan="2" class="left">2</th>
      </tr>
      <tr>
        <th scope="row">hy&shy;per&shy;beat</th>
        <th scope="col" class="left">1.1</th>
        <th scope="col" class="left">1.2</th>
        <th scope="col" class="left">2.1</th>
        <th scope="col" class="left">2.2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col" class="left">4, 5</th>
        <th scope="col" class="left">6, 7</th>
        <th scope="col" class="left">8, 9</th>
        <th scope="col" class="left">10, 11, 12</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "meter", "met&shy;er" %}</th>
        <td class="center music">{% m "4/4" %}, {% m "4/4" %}</td>
        <td class="center music">{% m "4/4" %}, {% m "2/4" %}</td>
        <td class="center music">{% m "4/4" %}, {% m "4/4" %}</td>
        <td class="center music">{% m "3/4" %}, {% m "3/4" %}, {% m "2/4" %}</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" rowspan="3">tot&shy;al</th>
        <td class="center">{% m "8/4" %}</td>
        <td class="center">{% m "6/4" %}</td>
        <td class="center">{% m "8/4" %}</td>
        <td class="center">{% m "8/4" %}</td>
      </tr>
      <tr>
        <td colspan="2" class="center">{% m "14/4" %}</td>
        <td colspan="2" class="center">{% m "16/4" %}</td>
      </tr>
      <tr>
        <td colspan="4" class="center">{% m "30/4" %}</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      The periodic structure of {% m "K", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Once again we have the use of 3+3+2, and a prominent one at that. So prominent, in fact, that this section begins with a fragmentary &ldquo;final quarter&rdquo; of a period (a kind of &ldquo;false start&rdquo;), so that it can both begin &amp; end with <span class="music">{% m "3/4" %}+{% m "3/4" %}+{% m "2/4" %}</span>.
</p>

<p>
  The <span class="music">{% m "3/4" %}+{% m "3/4" %}+{% m "2/4" %}</span> cannot be analyzed as <span class="music">{% m "4/4" %}+{% m "4/4" %}</span>. Similarly, the <span class="music">{% m "4/4" %}+{% m "2/4" %}</span> cannot be analyzed as {% m "6/4" %} (although a {% m "3/2" %} interpretation is possible).
</p>

<p>
  In any case, the former of the resulting hyper&shy;measures is {% gloss "irregular hypermeter", "irregular" %} ({% m "14/4" %}), and so too is the overall period ({% m "30/4" %}). Notice, however, that none of the {% gloss "meter", "meters" %} are at all unusual: we have only {% m "2/4" %}, {% m "3/4" %}, &amp; {% m "4/4" %}.
</p>

{% h4 "k-melodic-rhythm" %}Melodic rhythm{% endh4 %}

<p>
  Just by glancing at the transcription in {% figref "k-full" %}, there would seem to be little or no {% gloss "syncopation" %} in this section. However, although the guitar&nbsp;1 part is largely a constant stream of single eighth-notes &mdash; never playing the same note twice in succession &mdash; the recurring gesture of {% m "<0,3,0,-2>" %} anchors guitar&nbsp;1&rsquo;s {% gloss "rhythm", "rhythms" %}.
</p>

<p>
  The gesture begins with <span class="music">0</span>&nbsp;{% gloss "U+2258", "&#x2258;" %}&nbsp;{% m "C#" %}, but is transposed down (both chromatically &amp; scale&shy;wise) by {% m "P4" %} to <span class="music">0</span>&nbsp;&#x2258;&nbsp;{% m "G#" %} starting in {% gloss "m." %} 10. And indeed, this section essentially begins with two presentations of this motif, in mm. 1&ndash;2.
</p>

<p>
  Articulation is important here: as notated in {% figref "k-full" %}, {% enmark "guitar-slide" %}some notes are slid to{% endenmark %} from the previous note (denoted by a <a href="https://en.wikipedia.org/wiki/Glissando">glissando</a> line), others are <a href="https://en.wikipedia.org/wiki/Pull-off">pulled-off</a> to (denoted by a descending <a href="https://en.wikipedia.org/wiki/Slur_(music)">slur</a>), and the rest are plucked in the usual way. This gives the stream of eighth-notes a distinct additional dimension that naturally connects &amp; separates said notes. With the {% m "<0,3,0,-2>" %} motif, we consistently get &lang;plucked, slid, plucked, slid&rang;.
</p>

<p>
  If we count the duration (in quarter-notes) between each successive instance of the motif, we get the sequence in {% figref "k-motif-spacings" %}:
</p>

{% fig "k-motif-spacings" %}
  <p class="center">&lang;3, 4, 3, 4, 4, 3, 3, 3, 3, *3, 3, 4, 4, 3, 3, 3, 3, 4, *3&rang;</p>

  <table>
    <caption>The above, as a table</caption>
    <thead>
      <tr>
        <th scope="col">trans&shy;po&shy;si&shy;tion</th>
        <th scope="col">durations ({% m "n4" %})</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% m "C#" %}</th>
        <td>3, 4, 3, 4, 4, 3, 3, 3, 3</td>
      </tr>
      <tr>
        <th scope="row">{% m "G#" %}</th>
        <td>3, 3, 4, 4, 3, 3, 3, 3, 4</td>
      </tr>
      <tr>
        <th scope="row">{% m "C#" %}</th>
        <td>3</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Durations (in quarter-notes) between successive instances of {% m "K", "form" %}&rsquo;s main motif. *Asterisks denote transposition from {% m "C#" %} to {% m "G#" %}, or vice versa.
    </p>
  </figcaption>
{% endfig %}

<p>
  Clearly, these durations are restricted to either 3 (=&nbsp;{% m "n2." %}) or 4 (=&nbsp;{% m "n1" %}), with 3 being more common. Beyond that, however, there&rsquo;s little that we can say about any potential patterns here. Both transpositions have exactly three instances of a {% m "n1" %} duration; but {% enmark "multiple-of-3" %}given that the duration of a period is {% m "30/4" %}, we&rsquo;d expect the number of {% m "n1" %} instances to be restricted to a multiple of three anyway{% endenmark %}.
</p>

<p>
  I don&rsquo;t hear, nor would I analyze, a pattern in {% figref "k-motif-spacings" %}. But given that there are so few variables here, the apparent random&shy;ness is justified by the structure of the music throughout this section:
</p>

{% fig "k-rhythmic-strata", "list" %}
  {% ol "k-rhythmic-strata", "a" %}
    <li>All {% gloss "beat", "beats" %} are entirely predictable, as the only {% gloss "meter", "meters" %} used are {% m "2/4" %}, {% m "3/4" %}, &amp; {% m "c" %}, with little to no {% gloss "syncopation", "syncop&shy;ation" %} in the usual sense (including no {% gloss "polymeter", "poly&shy;meter" %}, no {% gloss "polyrhythm", "poly&shy;rhythm" %}, etc.).</li>
    <li>The {% gloss "hypermeter", "hyper&shy;metric" %} structure &mdash; including what meters are used when &mdash; is less predictable, as a result of metric changes &amp; {% gloss "irregular hypermeter", "irregular hyper&shy;meter" %}. But the overall <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> structure is quite regular (see {% figref "k-metric-struct", "table" %}), and the listener will likely already understand it after one or two listens at most.</li>
    <li>On top of the regular periodic structure lies a totally random &amp; un&shy;pat&shy;terned distribution of spacings between successive instances of the section&rsquo;s main motif.</li>
  {% endol %}

  <figcaption>
    <p>
      The rhythmic strata that make up {% m "K", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  Thus, we have an unusual sort of &ldquo;syncopation&rdquo; &mdash; arguably a kind of {% gloss "polymeter" %} &mdash; not typically considered (in {% gloss "popular music" %}, at the very least).
</p>

{% h3 "k-melodic-contour" %}Melodic contour{% endh3 %}

<p>
  The most prominent {% gloss "melodic contour" %} of this section is that of the main motif discussed in the {% headingref "k-melodic-rhythm" %} section above. Nevertheless, it is notable that, in mm. 6 &amp; 15, we get something like a return of the <code>*rurur</code> contour (tripled across three octaves in guitar&nbsp;2 &amp; the bass-guitar) from the intro, {% m "AA'", "form" %}, and &mdash; in the most basic <code>*r</code>-based form &mdash; some later sections as well.
</p>

{% h3 "k-texture" %}Texture{% endh3 %}

<p>
  This section is similar to some previous sections in that its {% gloss "texture" %} seems to oscillate between {% gloss "homeophony", "home&shy;ophony" %} &amp; <a href="https://en.wikipedia.org/wiki/Homophony">homo&shy;phony</a>. The homo&shy;phonic texture is used for the found&shy;a&shy;tion&shy;al {% gloss "hypermeter", "hyper&shy;beats" %} of <span class="music">{% m "4/4" %}+{% m "4/4" %}</span> (1.1 &amp; 2.1 in {% figref "k-metric-struct", "table" %}), where guitar&nbsp;2 &amp; the bass-guitar accompany the melody in guitar&nbsp;1 with <a href="https://en.wikipedia.org/wiki/Triad_(music)">triadic</a> block-{% gloss "chord", "chords" %}. Throughout the rest of the section, however &mdash; especially in hyper&shy;beat&nbsp;2.2 &mdash; we get something better described as two-{% gloss "voice" %} home&shy;ophony.
</p>

<p>
  These textural shifts help to punctuate <a href="#k-hypermetric-structure">the periodic&ndash;hyper&shy;metric structure</a>.
</p>

{% h3 "k-drumkit" %}Drumkit{% endh3 %}

<p>
  Moreover, the drumkit plays a significant role in this same punctuation.
</p>

<p>
  Although we heard a <a href="https://en.wikipedia.org/wiki/Floor_tom">floor-tom</a> just briefly in {% m "D", "form" %} for effect, this final section is the only one to make extensive use of <a href="https://en.wikipedia.org/wiki/Tom_drum">toms</a>, and the only one to use non-floor (that is, mounted) toms at all. The drumkit part for hyper&shy;beat&nbsp;2.2 (see {% figref "k-metric-struct", "table" %}) is marked both by the use of toms, and by the use of clearly-accented <a href="https://en.wikipedia.org/wiki/Snare_drum">snare</a> hits (which I&rsquo;ve {% gloss "drum notation", "written" %} in {% figref "k-full" %} as <a href="https://en.wikipedia.org/wiki/Rimshot">rimshots</a>).
</p>

<p>
  Even apart from the exact percussion instruments used, the drumkit part for hyper&shy;beat&nbsp;2.2 is marked by its lack of groove, otherwise heard throughout the rest of the section as a fairly standard rock-&amp;-roll drumbeat. Instead, it directly re&iuml;nforces the guitars, compelling the listener to feel the full force of the hyper&shy;beat&rsquo;s melodies.
</p>

{% h3 "k-pitch-material" %}Pitch-material{% endh3 %}

<p>
  Although <a href="#j-harmony-and-centricity">the previous section was arguably in {% m "E" %} major</a>, it&rsquo;s fairly clear that, whether or not such a detour &ldquo;really occurred&rdquo;, we&rsquo;re back in {% m "C#" %} minor again. Moreover, all pitches in {% m "K", "form" %} are <a href="https://en.wikipedia.org/wiki/Diatonic_scale">diatonic</a> to this key.
</p>

<p>
  <a href="#k-melodic-rhythm">As mentioned above</a>, the guitar&nbsp;1 part has essentially two regions: one centered on {% m "C#" %}, and the other on {% m "G#" %}. In general, all of guitar&nbsp;1&rsquo;s pitches throughout {% m "K", "form" %} are selected from a four-{% gloss "pc" %} subset (omitting just the {% m "5^" %}) of the respective ({% m "C#" %} or {% m "G#" %}) <a href="https://en.wikipedia.org/wiki/Pentatonic_scale#Minor_pentatonic_scale">minor pentatonic scale</a>.
</p>

<p>
  In hyper&shy;beat&nbsp;2.2, the first {% m "n2" %}&rsquo;s worth of each {% m "3/4" %} measure articulates one region, while the rest provides contrast. This uneven split is not made explicit in {% figref "k-harm-gloss", "table" %}.
</p>

{% fig "k-harm-gloss", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row"><a href="#k-metric-struct">hy&shy;per&shy;beat</a></th>
        <th scope="col" colspan="2">1.1</th>
        <th scope="col" colspan="2">1.2</th>
        <th scope="col" colspan="2">2.1</th>
        <th scope="col" colspan="3">2.2</th>
      </tr>
      <tr>
        <th scope="row">{% gloss "m.", "mm." %}</th>
        <th scope="col">4</th>
        <th scope="col">5</th>
        <th scope="col">6</th>
        <th scope="col">7</th>
        <th scope="col">8</th>
        <th scope="col">9</th>
        <th scope="col" colspan="2">&#x1d106; 10[, 11] &#x1d107;</th>
        <th scope="col">12</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row">{% gloss "chord notation", "chord" %}</th>
        <td class="center">{% m "A", "chord" %}</td>
        <td class="center">{% m "G#-" %}</td>
        <td class="center">{% m "C#-" %}</td>
        <td class="center">{% m "G#-" %}</td>
        <td class="center">{% m "A", "chord" %}</td>
        <td class="center">{% m "G#-" %}</td>
        <td class="center">{% m "Emaj7inv3", "chord" %}</td>
        <td class="center music">{% m "A", "chord" %}<sup>({% m 3, "fact" %}&rarr;{% m 2, "fact" %})</sup></td>
        <td class="center">{% m "Amaj9", "chord" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td class="center">{% m "bVI" %}</td>
        <td class="center">{% m "v" %}</td>
        <td class="center">{% m "i" %}</td>
        <td class="center">{% m "v" %}</td>
        <td class="center">{% m "bVI" %}</td>
        <td class="center">{% m "v" %}</td>
        <td class="center">{% m "bIIImaj7inv3" %}</td>
        <td class="center music">{% m "bVI" %}<sup>({% m 3, "fact" %}&rarr;{% m 2, "fact" %})</sup></td>
        <td class="center">{% m "bVImaj9" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "functional notation", "func&shy;tion" %}</th>
        <td class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "P", "fun" %}</td>
        <td class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "P", "fun" %}</td>
        <td class="center">{% m "T", "fun" %}</td>
        <td class="center">{% m "S", "fun" %}</td>
        <td class="center">{% m "D", "fun" %}</td>
        <td class="center music">{% m "T", "fun" %}<sup>({% m "S", "fun" %})</sup></td>
        <td class="center">{% m "D", "fun" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Harmonic gloss of {% m "K", "form" %}.
    </p>
  </figcaption>
{% endfig %}

<p>
  As usual, this style of gloss doesn&rsquo;t work terribly well for the {% gloss "homeophony", "home&shy;ophon&shy;ic" %} {% gloss "texture", "textures" %}. Also as usual, the {% gloss "chord" %} on the {% m "v" %} doesn&rsquo;t have {% m "D", "fun" %} {% gloss "functional notation", "function" %}, partly because it&rsquo;s the diatonic {% m "v" %} rather than {% m "V" %}, and partly because it would have to be {% m "V7" %} &mdash; which has {% gloss "ic" %}&nbsp;6 &mdash; to truly exhibit {% m "D", "fun" %} function in <a href="#intervalclass-sensitivity">this context</a> anyway.
</p>

<p>
  The {% m "bVI" %} takes on {% m "T", "fun" %} or {% m "D", "fun" %} function depending on whether the 7<sup>th</sup> <a href="https://en.wikipedia.org/wiki/Factor_(chord)">factor</a>, &amp; thus ic&nbsp;1, is present. In the latter segment of &ldquo;{% gloss "m." %} &#x1d106; 10[, 11] &#x1d107;&rdquo; (as labeled in {% figref "k-harm-gloss", "table" %}), the &ldquo;<sup class="music">({% m 3, "fact" %}&rarr;{% m 2, "fact" %})</sup>&rdquo; notation indicates that the {% m "[A,B]" %} is analyzed as a &ldquo;sus&shy;pen&shy;sion&rdquo; with the expected {% m "S", "fun" %} function.
</p>

<p>
  The analysis in {% figref "k-harm-gloss", "table" %} of this pair of measures is <span class="music no-wrap">{% m "bIIImaj7inv3--bVI" %}<sup>({% m 3, "fact" %}&rarr;{% m 2, "fact" %})</sup></span>, which implies a bass motion by {% m "TT" %} from {% m "D#" %} down to {% m "A" %}. In m. 19 &amp; m. 20, the {% gloss "counting", "&ldquo;&amp; of 1&rdquo;" %} has an explicit {% gloss "vertical" %} {% m "[D#,F#]" %}. Taken together, we get the implication of {% m "iio" %} (or alternatively, {% m "iioinv2" %}), although Kidcrash are careful to never sound it as a {% gloss "sonority" %}. This re&iuml;nforces the idea &mdash; made obvious by {% figref "k-harm-gloss", "table" %} or by simply listening to the piece &mdash; that <a href="#k-metric-struct">hyper&shy;beat&nbsp;2.2</a> has <em>the</em> {% m "D", "fun" %} function of {% m "K", "form" %}, and also demonstrates how the {% gloss "homeophony", "home&shy;ophony" %} used in Kidcrash&rsquo;s music can be used to imply less-than-obvious harmonies.
</p>

<p>
  And of course, if you were hoping for no more <a href="#generalized-clustering">diatonic clusters</a>, then I&rsquo;ll have to disappoint you by observing that m. 12 (of {% figref "k-harm-gloss", "table" %}) sounds a {% gloss "vertical" %} {% m "{G#,A,B}" %} &in; {% m "3-2A" %}. Moreover, in m. 3 of {% m "K", "form" %}, we get {% m "{F#,B,C#}" %} over the course of just that brief {% m "2/4" %} measure, on top of the static {% m "{G#,A}" %}. Given the <a href="https://en.wikipedia.org/wiki/Arpeggio">arpeggio</a>-like melody, it&rsquo;s not entirely un&shy;reason&shy;able to hear this as {% enmark "5-23a" %}a <a href="https://en.wikipedia.org/wiki/Pentachord">penta&shy;chord</a>!{% endenmark %}
</p>

{% h3 "k-the-end" %}The end{% endh3 %}

<p>
  This final {% gloss "section" %} of the piece is &mdash; perhaps un&shy;expect&shy;ed&shy;ly &mdash; fairly upbeat-sounding. Not only is it <em>literally</em> upbeat at {% m "n4" %} &ap; 175 (albeit not terribly fast compared to the rest of the piece), but we mostly get a standard eighth-note rock drumbeat: eighth-note <a href="https://en.wikipedia.org/wiki/Hi-hat">hi-hats</a>, <a href="https://en.wikipedia.org/wiki/Bass_drum">kickdrum</a> on {% gloss "counting", "the &ldquo;1&rdquo; and &ldquo;3&rdquo;" %}, <a href="https://en.wikipedia.org/wiki/Snare_drum">snare</a> on the &ldquo;2&rdquo; and &ldquo;4&rdquo;. We also get brisk &amp; largely continuous eighth-notes from the other parts. Very little distortion is present, lending the section a &ldquo;jangly&rdquo; sound, especially when the block-{% gloss "chord", "chords" %} are strummed. And perhaps the use of <a href="https://en.wikipedia.org/wiki/Pentatonic_scale">penta&shy;tonic</a> fragments in the guitar&nbsp;1 part lends this section a light-hearted vibe as well.
</p>

<p>
  Measure 21 ends the piece somewhat abruptly, but decidedly. On the one hand, this final measure is just a brief {% m "2/4" %}, and {% enmark "k-m-21" %}ends on the plainly dissonant {% m "bVImaj7" %}{% endenmark %} (having {% m "D", "fun" %} {% gloss "functional notation", "function" %}; see {% headingref "k-pitch-material" %}).
</p>

<p>
  On the other hand, the ending is somewhat fore&shy;shad&shy;owed by the playing of this same {% gloss "hypermeter", "hyper&shy;beat" %} at the very beginning of {% m "K", "form" %} (which is unexpected, given <a href="#k-hypermetric-structure">the periodic structure</a>), the {% gloss "rhythm" %} is strong (and re&iuml;nforced by the snare <a href="https://en.wikipedia.org/wiki/Rimshot">rimshots</a>), and <a href="#structural-voice-leading">the voice-leading is strong, as expected of a moment of structural importance</a>. From the end of {% gloss "m." %} 20:
</p>

<p class="center">
  {% enmark "arrow-notation" %}{% m "[A,A,B]" %} {% m "0,+11,+2|", "->" %} {% m "[A,G#,C#]" %} {% m "0,-2,-7|", "->" %} {% m "[A,F#,F#]" %} {% m "0,+2,+7|", "->" %} {% m "[A,G#,C#]" %};{% endenmark %}
</p>

<p>
  Which can be {% gloss "normalized motion", "normalized" %} to:
</p>

<p class="center">
  {% m "[A,A,B]" %} {% m "0,-1,+2|={co2}", "->" %} {% m "[A,G#,C#]" %} {% m "0,-2,+5|={co2}", "->" %} {% m "[A,F#,F#]" %} {% m "0,+2,-5|={co2}", "->" %} {% m "[A,G#,C#]" %}.
</p>

{% h4 "odyssey" %}Odyssey{% endh4 %}

<p>
  In any case, the perhaps uncharitable interpret&shy;ation is that Kidcrash were done with the song at this point, and so simply ended it.
</p>

<p>
  An alternative interpret&shy;ation goes further by hearing the piece as a kind of odyssey &mdash; either self-contained, or within the context of the album as a whole. In this framing, our setting is the universe within which the titular Turtlelephant lives, each {% gloss "section" %} of the piece&rsquo;s linear &amp; unrepeating {% gloss "form" %} represents an episode, <a href="#intro-timbre-and-texture">the sound&shy;scape painted by the intro</a> is to be taken as illustrative, and the resurfacing of elements of the intro are then evocative of the coast, of the sea, &amp; of Turtlelephant itself.
</p>

<p>
  On this reading, the piece is inherently me&shy;an&shy;der&shy;ing to some degree, and the unresolved ending is either the implication of a limit&shy;less journey, or the untimely death of the subject. This also explains the unusual placement of the song&rsquo;s relatively meagre two-&amp;-a-half verses, as discussed in {% headingref "first-verse" %}: the instrumental episodes are the bulk of how we hear this odyssey, so going through a half-dozen or so episodes before vocals are heard even once shouldn&rsquo;t be terribly surprising. (Indeed, vocal parts only account for roughly one fifth of the overall run&shy;time.)
</p>

<p>
  In any case, the style of music that Kidcrash have developed throughout this piece is well-suited to this textual approach: narrative &amp; to some degree <a href="https://en.wikipedia.org/wiki/Symphonic_poem">tone-poetic</a>, but with none of the features character&shy;istic of a medium like <a href="https://en.wikipedia.org/wiki/Opera">opera</a>.
</p>

<p>
  That is to say: this is <strong>not</strong> a &ldquo;<a href="https://en.wikipedia.org/wiki/Rock_opera">rock opera</a>&rdquo;, nor is it trying to be one. This is the music of three guitarists &amp; a drummer playing in a room together, with the music allowed &mdash; save for a handful of screamed lyrics &mdash; to speak for itself.
</p>

{% h2 "putting-it-all-together" %}Putting it all together{% endh2 %}

<p>
  Now that we&rsquo;ve examined each {% gloss "section" %} of the piece in depth, there&rsquo;s a lot to put together. So let&rsquo;s start by putting those sections together.
</p>

{% h3 "form-and-theme" %}Form &amp; theme{% endh3 %}

{% h4 "through-composed" %}Is {% track "Turtlelephant", "Jokes", "Kidcrash", "2007" %} through-composed?{% endh4 %}

<p>
  The full {% gloss "schema" %} analyzed here is {% m "aAA'BCDEFGHIJK", "form" %}, where {% m "a", "form" %} represents <a href="#introductions">the intro</a>. <a href="#the-a-section">{% m "A", "form" %}</a> and <a href="#the-a-prime-section">{% m "A'", "form" %}</a> are not separated by anything, and share almost entirely the same material, so the split into {% m "AA'", "form" %} (rather than simply {% m "A", "form" %}) is purely for analytical convenience. Thus, we have an entirely serial {% gloss "form", "song structure" %} with no repetition of sections &amp; no re&shy;ca&shy;pit&shy;u&shy;la&shy;tions; by many definitions, this makes {% track "Turtlelephant", "Jokes", "Kidcrash", "2007" %} <a href="https://en.wikipedia.org/wiki/Through-composed_music">through-composed</a>.
</p>

<p>
  However, this tells only one small part of the story. In reality, the piece has numerous long-range inter&shy;relations between its sections, including at least three pairs of sections that are &ldquo;twinned&rdquo; in spite of not re&shy;ca&shy;pit&shy;u&shy;la&shy;ting one another in the strict sense.
</p>

{% h4 "shared-thematic-materials" %}Shared &ldquo;thematic&rdquo; materials{% endh4 %}

<p>
  Some materials are generally shared among many sections. These materials typically don&rsquo;t produce strong, direct relations between sections; however, they often strengthen such relations, and moreover, should be thought of as a kind of sticky substance that helps to ensure that the piece remains highly coherent, in spite of its apparently through-composed nature.
</p>

{% fig "throughgoing-materials", "list" %}
  <dl>
    <dt><code><a href="https://en.wikipedia.org/wiki/Parsons_code">*rururdr(d)</a></code> {% gloss "melodic contour", "contour" %} &amp; fragments thereof</dt>
    <dd>
      <p>
        The intro presents the contour <code>*rururdr(d)</code>, <a href="#intro-pitch-material-contour">first described here</a>. This contour is then taken up &mdash; with other&shy;wise generally different material &mdash; <a href="#a-melodic-contour">by {% m "AA'", "form" %}</a>. Later sections truncate this contour, typically reducing it to its basis in pairs of repeated notes (basically <code>*r</code>), although larger fragments are also heard.
      </p>

      <details>
        <summary>List of occurrences</summary>

        <ul>
          <li>{% m "a", "form" %}: <code><a href="#intro-pitch-material-contour">*rururdr(d)</a></code>.</li>
          <li>{% m "AA'", "form" %}: <code><a href="#a-melodic-contour">*rururdr(d)</a></code>.</li>
          <li>{% m "B", "form" %}: <code><a href="#b-melodic-contour">*r</a></code>.</li>
          <li>{% m "C", "form" %}: <code><a href="#c-melodic-contour">*r</a></code>.</li>
          <li>{% m "E", "form" %}: <code>*rdrurdr(u)</code> ({% gloss "normalized motion", "normal&shy;ized" %}: <code>*rdrdrur(u)</code>) in the bass, <a href="#e-contour">presenting {% m "<11002200>", "c" %} (normalized: {% m "<22110011>", "c" %})</a>, a {% m "<0>", "c" %} &harr; {% m "<1>", "c" %} permutation (normalized: <em>inversion</em>) of the intro&rsquo;s {% gloss "c-seg" %}.</li>
          <li>{% m "G", "form" %}: <a href="#g-melodic-contour"><code>*r</code> in second half</a>.</li>
          <li>{% m "K", "form" %}: <a href="#k-melodic-contour"><code>*rurur</code> during one hyper&shy;beat of each period</a>.</li>
        </ul>
      </details>
    </dd>

    <dt>&ldquo;Mobile&rdquo; melodic promi&shy;nence that <a href="https://en.wikipedia.org/wiki/Period_(music)">period&shy;ic&shy;ally</a> self-differs by {% gloss "interval quantity", "second" %}</dt>
    <dd>
      <p>
        An even more notable use of {% gloss "melodic contour" %} is also <a href="#intro-pitch-material-contour">first heard in the intro</a>: when melodies &amp; phrases are repeated, the most prominent note (typically, the highest in pitch) is shifted by an {% gloss "interval" %} of a second, relative to the previous iteration.
      </p>

      <p>
        This melodic structure is so pervasive throughout the piece that it&rsquo;s intricately tied up in the song structure. As we&rsquo;ll see, the internal structure of each {% gloss "section" %} is ex&shy;tra&shy;ordinar&shy;i&shy;ly regular, always at many nested levels of <a href="https://en.wikipedia.org/wiki/Call_and_response_(music)">call-&amp;-response</a>. This <a href="https://en.wikipedia.org/wiki/Period_(music)">period&shy;ic&shy;ity</a> is as much defined by the &ldquo;melodic self-differing by second&rdquo; as the melodies are defined by the period&shy;ic&shy;ity.
      </p>

      <p>
        For illustrations, see {% figref "a-periodic-contour" %} &amp; {% figref "c-contour-reduc" %}.
      </p>

      <details>
        <summary>List of occurrences</summary>

        <ul>
          <li>{% m "a", "form" %}: {% headingref "intro-pitch-material-contour" %}.</li>
          <li>{% m "AA'", "form" %}: <a href="#a-melodic-contour">At four different levels</a>: in guitar&nbsp;2, and thrice in guitar&nbsp;1 (see: {% figref "a-periodic-contour" %}). Defines <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> structure.</li>
          <li>{% m "B", "form" %}: <a href="#b-melodic-contour">In guitars&nbsp;1 &amp; 2</a>. Defines periodic structure.</li>
          <li>{% m "C", "form" %}: {% headingref "c-melodic-contour" %}. Defines periodic structure.</li>
          <li>{% m "E", "form" %}: <a href="#e-hypermeter-and-return-of-metric-material">In guitar&nbsp;2</a>. Defines periodic structure.</li>
          <li>{% m "F", "form" %}: <a href="#f-melodic-contour">In bass-guitar</a>. Defines periodic structure. (Arguably also in non-bass guitars.)</li>
          <li>{% m "G", "form" %}: <a href="#g-periodic-self-differing-by-second">In upper voice</a>. Defines periodic structure, and in a condensed form (occurring twice as often) in the latter half of the section.</li>
          <li>{% m "I", "form" %}: <a href="#i-bassline">In bass-guitar</a>, and <a href="#i-melodic-contour">in non-bass guitars</a> (the latter obscured in {% gloss "m." %} 5 {% gloss "ff." %}). Participates in periodic structure.</li>
        </ul>
      </details>
    </dd>

    <dt>{% gloss "meter", "Metric" %} variants of 3+3+2</dt>
    <dd>
      <p>
        A {% gloss "rhythm", "rhythmic" %} grouping of {% m "3+3+2/16" %} is <a href="#a-rhythm-and-meter">first heard in {% m "A", "form" %}</a>, which then <a href="#a-prime-percussion">becomes full-blown {% m "3+3+2/8" %} in {% m "A'", "form" %}</a>. Later sections manifest variants &amp; re&shy;&iuml;n&shy;ter&shy;pre&shy;ta&shy;tions of 3+3+2, e.g. ambiguity between (3+3+3)+1 vs. (3+3+2)+2, and use of 3+2+3.
      </p>

      <details>
        <summary>List of occurrences</summary>

        <ul>
          <li>{% m "A", "form" %}: <a href="#a-rhythm-and-meter">{% m "3+3+2/16" %} in snare</a>.</li>
          <li>{% m "A'", "form" %}: <a href="#a-prime-percussion">Measure of {% m "3+3+2/8" %} in drum&shy;kit</a>.</li>
          <li>{% m "B", "form" %}: <a href="#b-rhythm-and-meter">{% m "3+3+3+1/4" %} re&shy;&iuml;nter&shy;pret&shy;ed as {% m "3+3+2+2/4" %}</a>.</li>
          <li>{% m "E", "form" %}: <a href="#e-hypermeter-and-return-of-metric-material">Ambiguously {% m "3+3+3+1/8" %} or {% m "3+3+2+2/8" %}</a>.</li>
          <li>{% m "F", "form" %}: <a href="#f-rhythm-vocals">{% m "3+2+3/8" %} in vocals, synth&shy;e&shy;sized with {% m "3+3+2/16" %} in the final measure (both vocalists at once)</a>.</li>
          <li>{% m "G", "form" %}: <a href="#g-rhythm-and-meter">{% m "3+3+2/8" %}</a>.</li>
          <li>{% m "H", "form" %}: <a href="#h-texture-dynamics-rhythm-and-meter">{% m "3+3+2/8" %} in final four or five measures</a>.</li>
          <li>{% m "I", "form" %}: <a href="#i-rhythm-and-meter">Numerous instances &amp; re&shy;&iuml;nter&shy;pret&shy;a&shy;tions of {% m "3+3+2+2/8" %} and {% m "3+2+2+3/8" %}</a>.</li>
          <li>{% m "J", "form" %}: <a href="#j-syncopation">{% m "3+5/8" %}; vocals later re&shy;produce {% m "3+2+3/8" %}.</a></li>
          <li>{% m "K", "form" %}: <a href="#k-hypermetric-structure">{% m "3+3+2/4" %}</a>.</li>
        </ul>
      </details>
    </dd>

    <dt>Use of {% m "A#" %} to suggest {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Major_scale#Broader_sense">melodic major</a></dt>
    <dd>
      <p>
        <a href="#intro-pitch-material-contour">From the intro</a>, we get a hint of {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Major_scale">major</a>.
      </p>

      <p>
        Then, in {% m "AA'", "form" %} &amp; {% m "D", "form" %} &mdash; both of which are in the <a href="https://en.wikipedia.org/wiki/Key_(music)">key</a> of <a href="https://en.wikipedia.org/wiki/F-sharp_minor">{% m "F#" %} minor</a> &mdash; we hear the consistent use of {% m "A#" %} (the only non&shy;<a href="https://en.wikipedia.org/wiki/Diatonic_scale">dia&shy;tonic</a> {% gloss "pc" %}) to produce {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Major_chord">major triads</a>, <a href="#thematic-reprise-clustering-etc">to the point that {% m "F#" %} melodic major (descending) seems to be implied</a> (as only <a href="#d-harm">a single use</a> is arguably a <a href="https://en.wikipedia.org/wiki/Picardy_third"><i lang="fr">tierce picarde</i></a>).
      </p>

      <p>
        Then, in {% m "J", "form" %} &mdash; which <a href="#j-harmony-and-centricity">is arguably in {% m "C#" %} minor or in {% m "E" %} major</a> &mdash; once again the only non&shy;dia&shy;tonic pc is {% m "A#" %}, where it is again used to form an {% m "F#" %} major triad.
      </p>
    </dd>

    <dt>Recurring <a href="#generalized-clustering">dia&shy;tonic clustering</a> gesture</dt>
    <dd>
      <p>
        <a href="#intro-pitch-material-contour">In the intro, we hear</a> {% m "{C#,D#,E#,F#}" %} &in; {% enmark "setclass-notation" %}{% m "4-11B" %},{% endenmark %} with the notes left to ring out.
      </p>

      <p>
        Then, <a href="#thematic-reprise-clustering-etc">in {% m "D", "form" %}</a>, we hear two {% gloss "voice", "voices" %} emphatically move directly &amp; suddenly from {% m "{E,F#}" %} to {% m "{C#,D}" %}, thus producing the descending (in terms of <a href="https://en.wikipedia.org/wiki/Major_scale#Broader_sense">melodic major</a>) version of the intro&rsquo;s <a href="#generalized-clustering">cluster</a>: {% m "{C#,D,E,F#}" %} &in; {% m "4-11A" %} &mdash; which, naturally, is also {% gloss "inversional equivalence", "in&shy;ver&shy;sion&shy;ally equi&shy;valent" %} to the intro&rsquo;s.
      </p>

      <p>
        Then, <a href="#recurring-two-voice-clustering">in {% m "G", "form" %}, we hear the same gesture again</a>, but <a href="https://en.wikipedia.org/wiki/Transposition_(music)">trans&shy;posed</a> up <a href="https://en.wikipedia.org/wiki/Chromatic_scale">chrom&shy;atic&shy;ally</a> by two <a href="https://en.wikipedia.org/wiki/Semitone">semi&shy;tones</a> (as {% m "G", "form" %} is in {% m "G#" %} minor, rather than {% m "F#" %}).
      </p>
    </dd>

    <dt>{% m "F#3" %} <a href="https://en.wikipedia.org/wiki/Pedal_point">pedal&shy;point</a></dt>
    <dd>
      <p>
        Sections {% m "aAA'BCD", "form" %} all feature a continuous pedal&shy;point on {% m "F#3" %}, enabled by the guitars being tuned to <a href="https://en.wikipedia.org/wiki/Guitar_tunings#Dropped_tunings">drop</a> {% m "C#" %}.
      </p>
    </dd>
  </dl>

  <figcaption>
    <p>
      Materials found through&shy;out many {% gloss "section", "sections" %} of the piece, functioning as the glue that holds it together.
    </p>
  </figcaption>
{% endfig %}

<p>
  Notably, of the six items in {% figref "throughgoing-materials", "list" %}, all but one is first presented in the intro (the remaining one being first presented in {% m "A", "form" %}).
</p>

{% h4 "twinning" %}Twinned sections{% endh4 %}

<p>
  With <a href="#shared-thematic-materials">the generally-shared materials</a> serving to produce cohesion, the role of {% gloss "reprise" %} &amp; <a href="https://en.wikipedia.org/wiki/Recapitulation_(music)">re&shy;cap&shy;it&shy;u&shy;la&shy;tion</a> is taken up by long-range <dfn>twin&shy;ning</dfn> of sections that other&shy;wise share no real &ldquo;material&rdquo; in the literal sense.
</p>

<p>
  Twinned sections can be thought of as <i lang="fr">{% gloss "petite reprise", "petites reprises" %}</i>, such that the connections are quite clear. This requires there to be many com&shy;mon&shy;al&shy;i&shy;ties &mdash; on top of those in {% figref "throughgoing-materials", "list" %} &mdash; between the twins. So {% figref "twins-list", "table" %} merely hyper&shy;links back to explanations, rather than re&shy;pro&shy;ducing them all here:
</p>

{% fig "twins-list", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col" rowspan="2">twins</th>
        <th scope="col" rowspan="2">ex&shy;pla&shy;na&shy;tion</th>
        <th scope="col" colspan="3">sep&shy;a&shy;ra&shy;tion</th>
      </tr>
      <tr>
        <th scope="col">{% gloss "section", "sec&shy;tions" %}</th>
        <th scope="col">run&shy;time</th>
        <th scope="col">of piece</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td class="center">{% m "B", "form" %}&nbsp;&iff;&nbsp;{% m "I", "form" %}</td>
        <td>&ldquo;<a href="#i-relationship-to-b">Relation&shy;ship to {% m "B", "form" %}</a>&rdquo;</td>
        <td class="right">6</td>
        <td class="right"><time datetime="PT1M55S">1:55</time></td>
        <td class="right">40%</td>
      </tr>
      <tr>
        <td class="center">{% m "a", "form" %}&nbsp;&iff;&nbsp;{% m "D", "form" %}</td>
        <td>&ldquo;<a href="#d-reprise">Summary of why {% m "D", "form" %} is a <i lang="fr">petite reprise</i></a>&rdquo;</td>
        <td class="right">*3</td>
        <td class="right"><time datetime="PT1M17S">1:17</time></td>
        <td class="right">27%</td>
      </tr>
      <tr>
        <td class="center">{% m "F", "form" %}&nbsp;&iff;&nbsp;{% m "G", "form" %}</td>
        <td>{% headingref "g-rhythm-and-meter" %} &amp; {% headingref "g-melodic-contour" %}</td>
        <td class="right">0</td>
        <td class="right"><time datetime="PT0M0S">0:00</time></td>
        <td class="right">0%</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      A list of twinned {% gloss "section", "sections" %}, functioning as <i lang="fr">{% gloss "petite reprise", "petites reprises" %}</i>.
    </p>

    <p>
      *Counting {% m "AA'", "form" %} as a single section.
    </p>
  </figcaption>
{% endfig %}

<p>
  And although not a close enough relation&shy;ship to be &ldquo;twins&rdquo;, {% m "AA'", "form" %} &amp; {% m "B", "form" %} are unified by (among other things) their com&shy;mit&shy;ment to {% gloss "meter", "metric" %} dis&shy;place&shy;ment by &pm;{% m "n8" %} (see: <a href="#a-rhythm-and-meter">here</a> &amp; <a href="#b-rhythm-and-meter">here</a>).
</p>

{% h4 "structural-accelerations" %}Struc&shy;tur&shy;al ac&shy;cel&shy;er&shy;a&shy;tions{% endh4 %}

<p>
  Borrowing from {% personage "Stephen Hudson", 0, 0, "Person" %}&rsquo;s notion of <dfn>struc&shy;tur&shy;al ac&shy;cel&shy;er&shy;a&shy;tion</dfn>{% cite "StructAccel" %}, we hear yet another way in which the piece&rsquo;s sections are inter&shy;related. By analyzing each section in terms of its primary melodic material (its &ldquo;<a href="https://en.wikipedia.org/wiki/Subject_(music)">theme(s)</a>&rdquo;), and focusing on the {% gloss "rhythm" %} of that material &mdash; analyzed in terms of what I will call <dfn>(basic) rhythmic units</dfn> &mdash; we can hear structural processes like doub&shy;ling/halv&shy;ing, aug&shy;ment&shy;a&shy;tion/dim&shy;in&shy;u&shy;tion, split&shy;ting/merg&shy;ing, etc.. These pro&shy;cesses build or release musical tension, as <a href="#c-rhythmic-units">most clearly evidenced by the path taken through {% m "aAA'BCDE", "form" %}</a>:
</p>

{% fig "a-e-struct-accel", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col">{% gloss "section", "sec&shy;tion" %}</th>
        <th scope="col"><a href="https://en.wikipedia.org/wiki/Tempo">tem&shy;po</a> ({% m "n4" %})</th>
        <th scope="col">{% gloss "rhythm", "rhyth&shy;mic" %} unit</th>
        <th scope="col">pro&shy;cess</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td class="center">{% m "a", "form" %}</td>
        <td class="right">142</td>
        <td>{% m "[n2 n2]" %}</td>
        <td></td>
      </tr>
      <tr>
        <td class="center">{% m "AA'", "form" %}</td>
        <td rowspan="2" class="right">147</td>
        <td>{% m "[n8 n8]" %}</td>
        <td>4&times; dim&shy;in&shy;u&shy;tion</td>
      </tr>
      <tr>
        <td class="center">{% m "B", "form" %}</td>
        <td>{% m "[n4 n4 n8 n8]" %}</td>
        <td>doub&shy;ling; 2&times; aug&shy;ment&shy;a&shy;tion of for&shy;mer co&shy;py</td>
      </tr>
      <tr>
        <td class="center">{% m "C", "form" %}</td>
        <td rowspan="2" class="right">157</td>
        <td>{% m "[n8 n8 n8 n8 n8 n8]" %}</td>
        <td>split&shy;ting (bi&shy;sec&shy;tion) of for&shy;mer co&shy;py</td>
      </tr>
      <tr>
        <td class="center">{% m "D", "form" %}</td>
        <td>{% m "[n2 n2]" %}</td>
        <td><a href="#twinning">re&shy;ca&shy;pit&shy;u&shy;la&shy;tion</a> of {% m "a", "form" %}</td>
      </tr>
      <tr>
        <td class="center">{% m "E", "form" %}</td>
        <td class="right">180</td>
        <td>{% m "[n8 n4]" %}</td>
        <td>com&shy;plete break&shy;down</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Illustration of struc&shy;tur&shy;al ac&shy;cel&shy;er&shy;a&shy;tion{% cite "StructAccel" %} through the {% m "aAA'BCDE", "form" %} sections.
    </p>
  </figcaption>
{% endfig %}

<p>
  Note that, in this case, gradually-increasing tempi are con&shy;comi&shy;tant with the struc&shy;tur&shy;al ac&shy;cel&shy;er&shy;a&shy;tion, intensifying its effect. Then, at the point of total break&shy;down, we get a sudden leap to a very high tempo of {% m "n4" %} &ap; 180, a break away from the {% gloss "texture", "textures" %} of previous sec&shy;tions, and both very high {% gloss "dynamics", "dynamic" %} ({% m "ff" %}) &amp; {% gloss "dist-pitch" %}.
</p>

<p>
  We get another good example of struc&shy;tur&shy;al ac&shy;cel&shy;er&shy;a&shy;tion &mdash; which also leads to a point of &ldquo;break&shy;down&rdquo; &mdash; from {% m "F", "form" %} to the latter half of {% m "G", "form" %}: <a href="#g-rhythm-and-meter">the basic rhythm of {% m "F", "form" %} &amp; the former half of {% m "G", "form" %} gets &ldquo;condensed&rdquo;</a> from {% m "[n4 n1. n8 n8 r8 n8 n1..]" %} to {% m "[n8 n8 r8 n8 n2]" %}. This truncates off the former half {% m "[n4 n1.]" %}, and also diminishes the final note by a factor of 4&frasl;7 from {% m "n1.." %} to {% m "n2" %}, so that it fits snugly in a measure of {% m "c" %}.
</p>

{% h3 "smaller-scale-struct" %}Smaller-scale structure{% endh3 %}

{% h4 "periodic-struct" %}Periodic structure{% endh4 %}

<p>
  Within each individual {% gloss "section" %}, we hear endo&shy;genous inter&shy;relation&shy;ships that exist at several nested levels, in the form of <a href="https://en.wikipedia.org/wiki/Call_and_response_(music)">call-&amp;-response</a>. I refer to this pervasive type of structure as <dfn><a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> structure</dfn>, first explained in {% headingref "a-periodicity" %} above.
</p>

<p>
  Periodic structures are defined by <dfn>bifurcation</dfn>, so that:
</p>

{% fig "bifurcation", "list" %}
  <ol type="i">
    <li>*A <dfn>hyper&shy;period</dfn> may be bifurcated into two <a href="https://en.wikipedia.org/wiki/Period_(music)">periods</a>.</li>
    <li>A period is bifurcated into two {% gloss "hypermeter", "hyper&shy;measures" %}.</li>
    <li>A hyper&shy;measure is bifurcated into two hyper&shy;beats.</li>
    <li>*A hyper&shy;beat may be bifurcated into one or more additional nested levels.</li>
  </ol>

  <figcaption>
    <p>
      The <dfn>bifurcations</dfn> that define periodic structure. *Asterisked bifurcations do not occur in all examples.
    </p>
  </figcaption>
{% endfig %}

<p>
  The &ldquo;legs&rdquo; of a given bifurcation are in a call-&amp;-response relation to one another, and may be delineated by any combination of one or more of the following:
</p>

<ul>
  <li><a href="#shared-thematic-materials">Melodic prominences that differ by second</a>.</li>
  <li>Melodic <a href="https://en.wikipedia.org/wiki/Subject_(music)">subject&ndash;answer</a>.</li>
  <li>({% gloss "hypermeter", "Hyper" %}){% gloss "meter", "metric" %} cor&shy;re&shy;spon&shy;dence, in the specific case of period&shy;ic&shy;ally-changing meters.</li>
  <li><a href="#structural-voice-leading-2">Structural voice-leading</a>.</li>
</ul>

<p>
  Nearly all sections of the piece clearly exhibit at least those bifurcations in {% figref "bifurcation", "list" %}. The sole exceptions are {% m "H", "form" %} &amp; {% m "J", "form" %}, which also happen to be two of the three sections that have vocals. In any case, said structures bestow a high level of coherence even upon sections that are otherwise complex &amp;/or dis&shy;orient&shy;ing.
</p>

<p>
  Not all periodic structures within the piece have been illustrated, but those that have are listed below:
</p>

<details>
  <summary>Illustrations of some periodic structures</summary>

  <ul>
    <li>{% m "AA'", "form" %}: {% figref "a-periodic-struct", "table" %}, {% figref "a-periodic-contour" %}.</li>
    <li>{% m "B", "form" %}: {% figref "b-periodic-struct", "table" %}.</li>
    <li>{% m "C", "form" %}: {% figref "c-periodic-struct", "table" %}, {% figref "c-contour-reduc" %}.</li>
    <li>{% m "D", "form" %}: {% figref "d-periodic-struct", "table" %}.</li>
    <li>{% m "E", "form" %} (former half): {% figref "e-former-periodic-struct", "table" %}.</li>
    <li>{% m "F", "form" %}: {% figref "f-periodic-struct", "table" %}.</li>
    <li>{% m "I", "form" %}: {% figref "i-metric-template", "table" %}, {% figref "i-metric-desc", "list" %}.</li>
    <li>{% m "K", "form" %}: {% figref "k-metric-struct", "table" %}.</li>
  </ul>
</details>

{% h4 "transition-strats" %}Transition strategies{% endh4 %}

<p>
  So far, we&rsquo;ve spoken of {% gloss "section", "sections" %}, <a href="https://en.wikipedia.org/wiki/Period_(music)">periods</a>, {% gloss "hypermeter", "hyper&shy;measures, hyper&shy;beats" %}, etc. as discrete units. But Kidcrash are very careful in how they transition from one such unit to the next.
</p>

{% h5 "structural-voice-leading-2" %}Structural voice-leading{% endh5 %}

<p>
  One pervasive transition strategy that also has deep implications for {% gloss "texture" %} &amp; for {% gloss "pitch-material" %} is what I call <dfn>structural {% gloss "voice" %}-leading</dfn>, first discussed in {% headingref "structural-voice-leading" %} above.
</p>

<p>
  As we&rsquo;ll later discuss, much of this piece makes use of textures that fore&shy;front <a href="https://en.wikipedia.org/wiki/Polyphony">poly&shy;phonic</a> {% gloss "motion" %}, putting it very much at the surface of the overall sound. This allows Kidcrash to make use of particularly <em>strong</em> (typically contrary) motion as a mark&egrave;d gesture, thus effecting a <a href="https://en.wikipedia.org/wiki/Cadence">cadence</a> from one hyper&shy;measure to the next, a smooth transition from one section to the next, or similar.
</p>

<p>
  Some examples are given in {% figref "struct-vl-eg", "list" %}:
</p>

{% fig "struct-vl-eg", "list" %}
  <ul>
    <li><a href="#a-gtr-one-vl">{% m "AA'", "form" %}</a>: Use of {% enmark "strength" %}the strongest possible {% gloss "motion" %} between three {% gloss "voice", "voices" %}{% endenmark %} &mdash; {% enmark "poly-mot-notation" %}{% m "{c2s}" %}{% endenmark %} &mdash; to transition from one {% gloss "hypermeter", "hyper&shy;measure" %} to the next.</li>
    <li>{% m "B", "form" %}: {% m "[A,F#,F#,B]" %} {% m "|{co4}", "->" %} {% m "[E,F#,A,B]" %} to transition from the former sub&shy;section to the latter ({% gloss "m." %} 12 &rarr; m. 13).</li>
    <li><a href="#even-more-structural-voice-leading">{% m "C", "form" %}</a>: {% enmark "arrow-notation" %}{% m "[C#,C#,G#]" %} {% m "+1,+1,-2|{c2p}", "->" %} {% m "[D,D,F#]" %}{% endenmark %} to transition from one <a href="https://en.wikipedia.org/wiki/Period_(music)">period</a> to the next.</li>
    <li><a href="#structural-voice-leading">{% m "C", "form" %} &rarr; {% m "D", "form" %}</a>: Use of {% m "{c2s}" %} to transition between sections.</li>
    <li><a href="#normalized-motion">{% m "G", "form" %}</a>: Use of {% m "=c", "mot" %} to transition from the former sub&shy;section to the latter (m. 7 &rarr; m. 8).</li>
    <li><a href="#h-pitch-material">{% m "G", "form" %} &rarr; {% m "H", "form" %}</a>: The two non-bass guitars pro&shy;nounced&shy;ly <a href="https://en.wikipedia.org/wiki/Glissando">slide</a> out in opposite directions &mdash; up &amp; down (or &ldquo;doit&rdquo; &amp; &ldquo;fall&rdquo;), respectively &mdash; to effect the transition between sections, and <a href="https://en.wikipedia.org/wiki/Modulation_(music)">modulation</a> to the final <a href="https://en.wikipedia.org/wiki/Key_(music)">key</a> of the piece (<a href="https://en.wikipedia.org/wiki/C-sharp_minor">{% m "C#" %} minor</a>).</li>
    <li><a href="#k-the-end">{% m "K", "form" %}</a>: Repeated use of {% m "={co2}" %} to end the piece.</li>
  </ul>

  <figcaption>
    <p>
      A handful of examples of structural voice-leading.
    </p>
  </figcaption>
{% endfig %}

{% h5 "frayed-periods" %}Frayed periods{% endh5 %}

<p>
  <a href="#periodic-struct">As discussed above</a>, the individual sections of the piece have highly <a href="https://en.wikipedia.org/wiki/Period_(music)">periodic</a> internal structures. This extreme level of rigour affords Kidcrash the ability to clearly <em>imply</em> con&shy;tin&shy;u&shy;a&shy;tions &mdash; typically at the periodic level &mdash; without needing to actually follow through with them.
</p>

<p>
  By fraying the end of a {% gloss "hypermeter", "hyper&shy;metric" %} segment, the point at which that segment&rsquo;s material ends &amp; the new material (or transitional material) begins is obscured. This blurs otherwise crisp junctions between sections, thus avoiding the musical equivalent of a visible seam.
</p>

<p>
  <a href="#b-melodic-contour">Above, an example is given for {% m "B", "form" %}</a>, although this strategy is pervasive.
</p>

{% h3 "texture" %}Texture{% endh3 %}

<p>
  Returning to the general subject of {% gloss "voice", "voices" %} &amp; <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a>, we want to answer another of our initial questions: is Kidcrash&rsquo;s music defined by any {% gloss "texture", "textural" %} features? What do the heard textures have to do with tradition, genre, &amp; style? We&rsquo;ll return to the latter half of this question soon enough, but for now, we&rsquo;ll settle for description.
</p>

{% h4 "homeophony-2" %}Homeophony{% endh4 %}

<p>
  One of the major claims made through&shy;out this essay is that Kidcrash&rsquo;s music (and as we&rsquo;ll see, some other music as well) is defined in significant part by its use of a general type of {% gloss "texture" %} that is <strong>not well-described</strong> by any conventional categories from Western musical traditions.
</p>

<p>
  To cogently make such a claim, we must first ac&shy;know&shy;ledge that the cat&shy;e&shy;go&shy;riza&shy;tion of musical textures does <strong>not</strong> form a <a href="https://en.wikipedia.org/wiki/Partition_of_a_set">partition (in the set-theoretic sense)</a>, for two simple reasons: assuming definitions that aren&rsquo;t use&shy;less&shy;ly general, we&rsquo;ll always be able to present some example that isn&rsquo;t well-described by any of our categories; and assuming definitions that aren&rsquo;t use&shy;less&shy;ly narrow, we&rsquo;ll always have some overlap between categories.
</p>

<p>
  That said, I define a textural category that I call {% gloss "homeophony", "<dfn>home&shy;ophony</dfn>" %} in {% figref "homeophony", "list" %}. Within <a href="#a-texture">that same section of the essay</a>, I defend the claim that home&shy;ophon&shy;ic textures are generally not well-described as merely <i><a href="https://en.wikipedia.org/wiki/Counterpoint">contra&shy;puntal</a></i>, <i><a href="https://en.wikipedia.org/wiki/Homorhythm">homo&shy;rhythmic</a></i>, <i><a href="https://en.wikipedia.org/wiki/Homophony">homo&shy;phonic</a></i>, nor <i><a href="https://en.wikipedia.org/wiki/Heterophony">hetero&shy;phonic</a></i>.
</p>

<p>
  Rather than approach home&shy;ophony from a purely theoretic perspective, it&rsquo;s more useful to make comparisons with other musical traditions, and to approach the texture from how it might&rsquo;ve been <em>synthesized</em>:
</p>

{% fig "homeophony-synth", "list" %}
  <dl>
    <dt>Against <a href="https://en.wikipedia.org/wiki/Rock_music">rock</a></dt>
    <dd>
      <p>
        Compared to {% gloss "texture", "textures" %} typical of rock, {% gloss "homeophony", "home&shy;ophony" %} is unusually <a href="https://en.wikipedia.org/wiki/Polyphony">poly&shy;phon&shy;ic</a> &amp; even <a href="https://en.wikipedia.org/wiki/Counterpoint">contra&shy;puntal</a>. Kidcrash are nigh always taking a kind of &ldquo;duel&shy;ling guitars&rdquo; approach to texture, which frequently extends even beyond the duel to the <a href="https://en.wikipedia.org/wiki/Truel">truel</a> when the bass-guitar is involved.
      </p>

      <p>
        This manifests as several melodic&shy;ally-in&shy;de&shy;pend&shy;ent {% gloss "voice", "voices" %} that make frequent use of non-parallel motion, including the oblique &amp; the contrary. {% gloss "rhythm", "Rhythms" %} may also be worked out differently by different voices.
      </p>
    </dd>

    <dt>Against <a href="https://en.wikipedia.org/wiki/Homophony">homo&shy;phony</a></dt>
    <dd>
      <p>
        Home&shy;ophony makes no particular distinction between &ldquo;ac&shy;com&shy;pa&shy;ni&shy;ment&rdquo; &amp; &ldquo;primary melody&rdquo;, instead inter&shy;mingl&shy;ing multiple in&shy;de&shy;pend&shy;ent melodies.
      </p>
    </dd>

    <dt>Against <a href="https://en.wikipedia.org/wiki/Counterpoint">counter&shy;point</a></dt>
    <dd>
      <p>
        Compared to counter&shy;point, however, several expected features are altered or absent:
      </p>

      <ol type="a">
        <li><a href="https://en.wikipedia.org/wiki/Phrase_(music)">Phrasal</a> in&shy;de&shy;pend&shy;ence is remarkably limited, so that &mdash; in spite of possibly sounding different surface-level rhythms &mdash; the various voices may be heard as playing the same under&shy;lying &ldquo;melodic rhythm&rdquo;, so to speak.</li>
        <li>Melodic {% gloss "interval", "inter&shy;vals" %} are not generally treated contra&shy;puntal&shy;ly. The <a href="https://en.wikipedia.org/wiki/Steps_and_skips">dis&shy;tinc&shy;tion between &ldquo;steps&rdquo; &amp; &ldquo;leaps&rdquo;</a> is not generally relevant, and even when it arguably is, dis&shy;sonances may be resolved by any melodic inter&shy;vals what&shy;so&shy;ever. Melodies may also use an arbitrary number of consecutive leaps. The full range of melodic inter&shy;vals &mdash; from {% m "P1" %} up to small <a href="https://en.wikipedia.org/wiki/Interval_(music)#Compound_intervals">com&shy;pound inter&shy;vals</a> &mdash; is freely per&shy;mit&shy;ted. Entirely arbitrary <a href="https://en.wikipedia.org/wiki/Voice_crossing">voice-crossing</a> is neither preferred nor avoided.</li>
        <li>{% gloss "horizontal", "Horizontal" %} concerns may be allowed to dominate {% gloss "vertical" %} ones, so that surface-level <a href="https://en.wikipedia.org/wiki/Voice_leading">voice-leading</a> is more operative than voice-leading at more abstract &amp; stereo&shy;typed <a href="https://en.wikipedia.org/wiki/Harmony">harmonic</a> levels.</li>
      </ol>
    </dd>

    <dt>As experimental rock</dt>
    <dd>
      <p>
        But we cannot hear this home&shy;ophony as a kind of &ldquo;crippled counter&shy;point&rdquo;. It has an identity in its own right, and that identity follows more-or-less &ldquo;naturally&rdquo; from a rock-music heritage combined with ex&shy;per&shy;i&shy;ment&shy;al in&shy;nova&shy;tion:
      </p>

      <ol type="a">
        <li>If the drum&shy;kit is to be used {% gloss "rhythm", "rhythmic&shy;ally" %}, and its job is to re&shy;&iuml;n&shy;force the guitars, to be re&shy;&iuml;n&shy;forced by the guitars, &amp;/or to play rhythms against the {% gloss "meter" %} kept by the guitars ({% gloss "syncopation", "syn&shy;co&shy;pat&shy;ed&shy;ly" %}, {% gloss "polyrhythm", "poly&shy;rhythmic&shy;ally" %}, {% gloss "polymeter", "poly&shy;metric&shy;ally" %}, etc.), then phras&shy;ally-in&shy;de&shy;pend&shy;ent melodies are unlikely, and may even com&shy;pro&shy;mise the guitars&rsquo; time&shy;keep&shy;ing abilities.</li>
        <li>With guitars (bass &amp; non-bass) being the primary or sole carriers of melody, inter&shy;val&shy;lic freedom is natural: guitars are very frequently used as {% gloss "chord", "chording" %} instruments, and have a special relation&shy;ship with their open strings (which may sound pitches nigh arbitrarily far from those sounded by the same string <a href="https://en.wikipedia.org/wiki/Fret">fretted</a> at the current hand position).</li>
        <li>As we&rsquo;ll see, Kidcrash have developed a unique <a href="https://en.wikipedia.org/wiki/Tonality">tonal language</a> that does not rely upon the stereo&shy;typed harmonic vocabulary of most Western tonal music. This language can be thought of as being both prior to, &amp; a result of, the develop&shy;ment of home&shy;ophony. Hor&shy;i&shy;zon&shy;tal dom&shy;i&shy;nance also allows for the use of certain types of surface-level voice-leading as gestural, as explained in {% headingref "structural-voice-leading-2" %} above.</li>
      </ol>
    </dd>
  </dl>

  <figcaption>
    <p>
      An approach to the historic&ndash;musical synthesis of Kidcrash et al.&rsquo;s {% gloss "homeophony", "home&shy;ophon&shy;ic" %} {% gloss "texture", "textures" %}.
    </p>
  </figcaption>
{% endfig %}

{% h4 "textural-desc" %}Textural description{% endh4 %}

<p>
  With <a href="#homeophony-2">home&shy;ophony</a> in mind,
</p>

{% fig "texture-timeline" %}
  {% img "textures.svg", "oh lord" %}
{% endfig %}

<!--
4-11B, 4-11A, 4-10, 4-21

5 very high
4 high
3 medium-high
2 medium-low
1 low
0 very low

<a href="https://en.wikipedia.org/wiki/Ah!_vous_dirai-je,_maman"><cite lang="fr">Ah&#x202f;! vous dirai-je, maman</cite></a> contour
-->

{% en "emo" %}
  <p>
    Putting aside the less obvious fact that it&rsquo;s a <a href="https://en.wikipedia.org/wiki/Blend_word#Partial_blends">partial blend</a> of <i>scream</i> + <i>emo</i>, the latter of which is in turn a <a href="https://en.wikipedia.org/wiki/Clipping_(morphology)">clipping</a> of <i><b>emo</b>tive hardcore</i> (or <i><b>emo</b>tional hardcore</i>). See: <i>{% gloss "screamo" %}</i>; <i>{% gloss "emocore" %}</i>.
  </p>
{% enden %}
{% en "screamed-pitch" %}
  <p>
    But see: {% headingref "f-vocal-technique" %}.
  </p>
{% enden %}
{% en "pop" %}
  <p>
    Although Portraits of Past had already disbanded by the end of <time datetime="1995">1995</time> (making this a &ldquo;posthumous&rdquo; release), and only re&uuml;nited over a decade later.
  </p>
{% enden %}
{% en "olympia" %}
  <p>
    <cite>Rate Your Music</cite> claims <a href="https://en.wikipedia.org/wiki/Olympia,_Washington">Olympia, Washington</a>. But in any case, the band was definitely based in New Mexico at some point.
  </p>
{% enden %}
{% en "the-kidcrash-s-t" %}
  <p>
    Their actual first release was a self-titled <a href="https://en.wikipedia.org/wiki/Demo_(music)">demo</a> of sorts, dated to <time datetime="2002">2002</time>. Clocking in at around <time datetime="PT31M50S">31:50</time>, it was very nearly a full-length record, but was only ever self-released on <a href="https://en.wikipedia.org/wiki/CD-R">CD-R</a>.
  </p>

  <p>
    {% album "New Ruins", "The Kidcrash", "2004", true, true %} was then published by <a href="https://en.wikipedia.org/wiki/Lujo_Records">Lujo Records</a> in <time datetime="2004">2004</time>, making it their first &ldquo;proper&rdquo; release. Lujo notably also published {% album "The Fall of Troy", "The Fall of Troy", "2003" %} (later re&iuml;ssued by <a href="https://en.wikipedia.org/wiki/Equal_Vision_Records">Equal Vision</a>), another album that &mdash; like {% album "Jokes", "Kidcrash", "2007", true, true %} &mdash; combined {% gloss "mathrock" %} with {% gloss "screamo" %}.
  </p>
{% enden %}
{% en "setclasses" %}
  <p>
    Throughout this analysis, setclasses will usually <strong>not</strong> observe {% gloss "inversional equivalence" %}, unlike in typical <a href="https://en.wikipedia.org/wiki/Set_theory_(music)">set-theoretic</a> treatments. This implies some differences in notation: see <i>{% gloss "setclass" %}</i>.
  </p>

  <p>
    The purpose of this convention is not to reject inversion as irrelevant, but rather, to treat it as a somewhat distant &mdash; but nonetheless very real &mdash; relationship, vaguely similarly to how the <a href="https://en.wikipedia.org/wiki/Interval_vector#Z-relation">Z-relation</a> is treated in typical set-theory. For example, a major <a href="https://en.wikipedia.org/wiki/Triad_(music)">triad</a> is importantly different from the corresponding minor triad; but at the same time, we also acknowledge that their inversional equivalence is of some import.
  </p>
{% enden %}
{% en "scalewise" %}
  <p>
    See chapter 4 of {% cite "GeomMusic", true %} for a geometric general&shy;ization of this notion of &ldquo;scale&shy;wise&rdquo;.
  </p>
{% enden %}
{% en "a-m-8-5" %}
  <p>
    Alternatively, this final {% gloss "chord" %} may be analyzed as {% m "Dmaj9inv3" %} {% gloss "U+2258", "&#x2258;" %} {% m "bVImaj9inv3" %}; but the difference here is immaterial.
  </p>
{% enden %}
{% en "poly-mot-notation" %}
  <p>
    For the notation used here, see <i>{% gloss "collection" %}</i> and <i>{% gloss "motion" %}</i>.
  </p>
{% enden %}
{% en "strength" %}
  <p>
    &ldquo;Strength&rdquo; here is measured only by (in descending order of strength) <i>{% gloss "cosip" %}</i>, but of course this is far from the only way to measure &ldquo;strength&rdquo;. For example, the presence of similar motion implies that one or more {% gloss "voice", "voices" %} are moving by <a href="https://en.wikipedia.org/wiki/Steps_and_skips">leap</a>, which is generally considered weaker than step&shy;wise motion; thus, parallel motion can be &ldquo;stronger&rdquo; than similar motion &mdash; in spite of its weaker in&shy;de&shy;pend&shy;ence &mdash; if it allows for more step&shy;wise motion. However, in the context of Kidcrash spe&shy;cif&shy;ic&shy;ally, <i>cosip</i> is a reasonable point of reference.
  </p>

  <p>
    We can attempt to &ldquo;strengthen&rdquo; {% enmark "poly-mot-notation" %}{% m "{c2s}" %} by upgrading {% m "s", "mot" %} to {% m "o", "mot" %}, but this just results in {% m "{co2}" %},{% endenmark %} which is <em>arguably</em> weaker. At the very least, it has significantly less motion in general, and so lacks some strength <em>in its capacity as a gesture</em>.
  </p>
{% enden %}
{% en "freq-range-names" %}
  <p>
    Informal names for frequency ranges tend to look something like this &mdash; but of course, actual usage varies widely:
  </p>

  <table>
    <thead>
      <tr>
        <th scope="col">name</th>
        <th scope="col">other names</th>
        <th scope="col">usual range (<a href="https://en.wikipedia.org/wiki/Hertz">Hz</a>)</th>
        <th scope="col">notes</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td><i>high</i></td>
        <td><i>treble</i>, <i>sparkle</i>, <i>tweeter</i></td>
        <td class="right">&ge;5&#x202f;000</td>
        <td>Not generally high-amplitude in music (excepting some noisy or electronic music), but its presence is clearly felt as &ldquo;sparkle&rdquo;.</td>
      </tr>
      <tr>
        <td><i>presence</i></td>
        <td>(may be considered part of the mid or high ranges)</td>
        <td class="right">2&#x202f;000 to 5&#x202f;000</td>
        <td>The most sensitive range for human perception; vocals in {% gloss "popular music" %} are <a href="https://en.wikipedia.org/wiki/Audio_mixing_(recorded_music)">mixed</a> to be &ldquo;present&rdquo; in this range especially.</td>
      </tr>
      <tr>
        <td><i>mid</i></td>
        <td></td>
        <td class="right">250 to 2&#x202f;000</td>
        <td>The bulk of most musical recordings lies here.</td>
      </tr>
      <tr>
        <td><i>low</i></td>
        <td><i>bass</i>, <i>woofer</i></td>
        <td class="right">70 to 250</td>
        <td>Although human perception is not particularly strong here, this range is important for a similar reason that the high-range is: its presence is clearly felt as &ldquo;filling out the sound&rdquo;.</td>
      </tr>
      <tr>
        <td><i>sub-bass</i></td>
        <td><i>subwoofer</i>, (may be considered part of the low-range)</td>
        <td class="right">&le;70</td>
        <td>More felt than heard, although human hearing does extend down to &ap;20&it;&nbsp;Hz.</td>
      </tr>
    </tbody>
  </table>
{% enden %}
{% en "string-numbering" %}
  <p>
    Guitar strings are traditionally numbered in ascending order of diameter (generally meaning descending order of pitch), starting at &#x2460;.
  </p>
{% enden %}
{% en "boschloo" %}
  <p>
    For what it&rsquo;s worth, a proper statistical analysis of these little examples can be done with <a href="https://en.wikipedia.org/wiki/Boschloo%27s_test">Boschloo&rsquo;s exact test</a>. A <a href="https://en.wikipedia.org/wiki/One-_and_two-tailed_tests">one-sided test</a> gives {% m "B", "form" %} a higher rate of {% gloss "anticontrary", "anti&shy;contrary motion" %} over BWV 1089 with a <a href="https://en.wikipedia.org/wiki/P-value">significance level</a> of
    <math>
      <mi>p</mi>
      <mo>=</mo>
      <mn>0.0468</mn>
    </math>, just crossing the most common threshold for significance
    (<math>
      <mi>p</mi>
      <mo>&lt;</mo>
      <mn>0.05</mn>
    </math>).
  </p>

  <p>
    Although the statistical result is arguably significant as-is, it bears repeating that such crude statistics are far from the only thing dis&shy;tin&shy;guish&shy;ing textures from one another.
  </p>

  <details>
    <summary><a href="https://www.python.org/">Python</a> code to reproduce the test</summary>

    {% highlight "python" %}
>>> import scipy.stats as stats
>>> stats.boschloo_exact([[26, 73], [41, 69]], alternative="less")
BoschlooExactResult(statistic=0.05970669104701123, pvalue=0.046840440872106676)
    {% endhighlight %}
  </details>
{% enden %}
{% en "b-m-6" %}
  <p>
    If my transcription is accurate, then m. 6&rsquo;s {% m "D" %} is actually in guitar&nbsp;2, rather than guitar&nbsp;1. But either way, it is the highest pitch that sounds. The lower voice of the double-stop also self-differs by second.
  </p>
{% enden %}
{% en "secundal" %}
  <p>
    {% personage "Kostka", "Stefan M. Kostka", false, "Person" %} &amp; {% personage "Payne", "Dorothy K. Payne", false, "Person" %} call this &ldquo;<dfn>secundal harmony</dfn>&rdquo;.{% cite "KostkaPayne" %}
  </p>
{% enden %}
{% en "clusters-negatively" %}
  <p>
    Moreover, we can defend the use of {% gloss "scale" %}wise clusters as an analytical (or compositional) tool negatively, as well: what is the harmonic &ldquo;function&rdquo; of a {% m "4-10" %}, or of doubling a melody at the second? Is <em>everything</em> a passing chord or a tonic prolongation&#x203d; Your guess is as good as mine. And finally, the tuning system ({% gloss "12 EDO", "12&nbsp;EDO" %}, in this case) is itself a scale (the &ldquo;chromatic&rdquo;), and this analytical perspective merely allows other scales to participate.
  </p>
{% enden %}
{% en "arrow-notation" %}
  <p>
    This notation is partly taken from {% cite "GeomMusic", true %}. Melodic distances are <a href="https://en.wikipedia.org/wiki/Sign_(mathematics)#Sign_of_a_direction">directed</a> numbers of <a href="https://en.wikipedia.org/wiki/Semitone">semitones</a>, each being an arbitrary element of <math><mi>&Zopf;</mi></math> (e.g. <math><mn>&minus;27</mn></math>). (In general, when not assuming {% gloss "12 EDO", "12&nbsp;EDO" %}, a distance may instead be an arbitrary element of <math><mi>&reals;</mi></math>, e.g. <math><mo>&minus;</mo><msqrt><mn>2</mn></msqrt></math>; but it still represents a number of 12&nbsp;EDO semitones.)
  </p>
{% enden %}
{% en "vent-incur" %}
  <p>
    This term is taken from {% cite "ThroatValves", true %}.
  </p>
{% enden %}
{% en "voqs" %}
  <p>
    <a href="https://en.wikipedia.org/wiki/Voice_Quality_Symbols"><abbr title="Voice Quality Symbols">VoQS</abbr></a> are somewhat more useful here. Most notably, there are symbols for creak {% ipa "und", "none" %}{C}{% endipa %}, harsh voice {% ipa "und", "none" %}{V!}{% endipa %} (which can be combined into harsh creak {% ipa "und", "none" %}{C!}{% endipa %}), and even aryepiglottic phonation {% ipa "und", "none" %}{V&#x10780;}{% endipa %}. Other potentially useful symbols include creaky voice {% ipa "und", "none" %}{V&#x330;}{% endipa %}, falsetto {% ipa "und", "none" %}{F}{% endipa %}, raised larynx {% ipa "und", "none" %}{L&#x31d;}{% endipa %}, and lowered larynx {% ipa "und", "none" %}{L&#x31e;}{% endipa %}.
  </p>

  <p>
    VoQS are designed for <a href="https://en.wikipedia.org/wiki/Speech%E2%80%93language_pathology">speech&ndash;language pathology</a>, rather than for singing, and so under&shy;determine &mdash; and sometimes awkwardly so &mdash; any given vocal technique. Nonetheless, it&rsquo;s somewhat impressive how much detail it can still encode; consider, for example, {% ipa "und", "none" %}{F&#x330;!&#x10780; L&#x31d;}{% endipa %} &ldquo;creaky harsh falsetto with aryepiglottic phonation and raised larynx&rdquo;!
  </p>
{% enden %}
{% en "chelonioidea" %}
  <p>
    Although {% species "Archelon", "ischyros", false, true %} was certainly a marine turtle, it wasn&rsquo;t <em>quite</em> as closely related to modern sea-turtles as you might think. It was not a member of the <a href="https://en.wikipedia.org/wiki/Taxonomic_rank#Ranks_in_zoology">superfamily</a> {% taxon "superfamily", "Chelonioidea", "Cryptodira", "https://en.wikipedia.org/wiki/Sea_turtle" %} &ldquo;sea-turtles&rdquo;, with the lowest rank shared between {% species "Archelon", "ischyros", false, true %} &amp; {% taxon "superfamily", "Chelonioidea", "Cryptodira" %} (usually) being the suborder {% taxon "suborder", "Cryptodira", "Testudines", "https://en.wikipedia.org/wiki/Cryptodira" %} &ldquo;hidden-necked turtles&rdquo;.
  </p>

  <p>
    Thus, it&rsquo;s possible to make the distinction between <dfn>sea-turtles</dfn> &ldquo;{% taxon "superfamily", "Chelonioidea", "Cryptodira" %}&rdquo; vs. <dfn>marine turtles</dfn> &ldquo;all sea-inhabiting turtles&rdquo;, although the distinction collapses if extinct species are excluded. Furthermore, {% cite "ChelonioidEvo", true %} has {% species "Archelon", "ischyros", false, true %} as a member of the {% taxon "superfamily", "Chelonioidea", "Cryptodira" %} <a href="https://en.wikipedia.org/wiki/Crown_group#Pan-group">pan-group</a>.
  </p>
{% enden %}
{% en "aspidocheloonee" %}
  <p>
    {% gloss "OH" %} <i lang="grc" class="sem-i">&alpha;&sigma;&pi;&#x3af;&sigmaf;</i> &lang;<i lang="grc-Latn-alalc97">asp&iacute;s</i>&rang; &ldquo;shield&rdquo; + <i lang="grc" class="sem-i">&chi;&epsi;&lambda;&#x3ce;&nu;&eta;</i> &lang;<i lang="grc-Latn-alalc97">chel&#x1e53;n&emacr;</i>&rang; &ldquo;tortoise, turtle&rdquo; = <i lang="grc" class="sem-i">&alpha;&sigma;&pi;&iota;&delta;&omicron;&chi;&epsi;&lambda;&#x3ce;&nu;&eta;</i>; &lang;<i lang="grc-Latn-alalc97">aspidochel&#x1e53;n&emacr;</i>&rang;; <a href="https://en.wikipedia.org/wiki/Hellenistic_period">Hellenistic</a> {% ipa "grc" %}&auml;s.pi.do&#x31e;.k&#x2b0;e&#x31e;&#x2c8;l&#x1d2;&#x2d0;.ne&#x2d0;{% endipa %}.
  </p>
{% enden %}
{% en "the-whale" %}
  <p>
    {% gloss "OE" %} <i lang="ang-Latn">&THORN;&emacr; H&#x1bf;&aelig;l</i> {% ipa "ang" %}&theta;e&#x2d0; xw&aelig;l{% endipa %}.
  </p>
{% enden %}
{% en "farewell-metropolis" %}
  <p>
    Their only other official release was {% album "Farewell Metropolis", "Ent", "2002", true %}, which was a <a href="https://en.wikipedia.org/wiki/Single_(music)">single</a>.
  </p>
{% enden %}
{% en "mediant" %}
  <p>
    Indeed, the diatonic mediant chords {% m "iii" %} and {% m "bIII" %} simply don&rsquo;t crop up very often at all in Western tonal music, except as a byproduct of <a href="https://en.wikipedia.org/wiki/Modulation_(music)">modulation</a>.
  </p>
{% enden %}
{% en "i11" %}
  <p>
    May alternatively be analyzed as {% m "Einv1" %} {% gloss "U+2258", "&#x2258;" %} {% m "bIIIinv1" %} or even {% m "C#-11", "chord" %} &#x2258; {% m "i11" %}, but the differences are really immaterial.
  </p>
{% enden %}
{% en "amphibious" %}
  <p>
    In the broad sense of &ldquo;functioning on both land and water&rdquo;, not the narrow sense of &ldquo;having to do with the <a href="https://en.wikipedia.org/wiki/Class_(biology)">class</a> <a href="https://en.wikipedia.org/wiki/Amphibian">Amphibia</a>&rdquo;.
  </p>
{% enden %}
{% en "guitar-slide" %}
  <p>
    Note that, because the guitar is neither <a href="https://en.wikipedia.org/wiki/Fretless_guitar">fret&shy;less</a>, nor being played with a <a href="https://en.wikipedia.org/wiki/Steel_bar">steel bar</a>, this <a href="https://en.wikipedia.org/wiki/Glissando">glis&shy;sando</a> is not continuous; it hits <a href="https://en.wikipedia.org/wiki/Fret">frets</a> along the way.
  </p>
{% enden %}
{% en "multiple-of-3" %}
  <p>
    Because each duration is either 3 or 4 quarter-notes, the total duration is always a multiple of three unless an instance of 4&times;{% m "n4" %} adds &ldquo;an extra one&rdquo;. To maintain divisibility by three, the number of &ldquo;extras&rdquo; must also be a multiple of three.
  </p>
{% enden %}
{% en "5-23a" %}
  <p>
    If you insist upon using the {% gloss "setclass", "set&shy;class" %}, then this is &mdash; in principle &mdash; {% m "5-23A" %}. But using set&shy;classes for {% gloss "pc" %}-sets of <a href="https://en.wikipedia.org/wiki/Cardinality">cardinal&shy;ity</a> greater than four is not altogether that useful here.
  </p>
{% enden %}
{% en "k-m-21" %}
  <p>
    In full: {% m "bVImaj7--iv--bVImaj7" %}.
  </p>
{% enden %}
{% en "setclass-notation" %}
  <p>
    For this notation, see: <i>{% gloss "setclass", "set&shy;class" %}</i>.
  </p>
{% enden %}

{% refs %}

{% endendomain %}
{% endfigdomain %}
