---
{
  "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": "2024-09-23",
  "tags": [
    "post-hardcore",
    "screamo",
    "mathrock",
    "Kidcrash",
    "tone-poem",
    "music theory",
    "vocals",
    "electric guitar (321.322-12)",
    "bass-guitar",
    "drumkit"
  ]
}
---

{% figdomain %}
{% endomain 2 %}

<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 long time in the works, and its patient fermentation led to a shocking variety of flavors, both commonplace and strange. After all, with apparently no {% gloss "pitch-material" %} to be had in the vocals, the most 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 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>

{% h2 %}(The) Kidcrash{% endh2 %}

<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>, this band began their career with {% album "New Ruins", "The Kidcrash", "2004", true %}, an album of some sort 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 know &amp; love.
</p>

<p>
  Kidcrash&rsquo;s next major release would be {% album "Jokes", "Kidcrash", "2007", true %} &mdash; an album that, by all apperances, 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 ({% 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 %}

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

<p>
  The album starts 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 especially the album as a whole, special:
</p>

<ul>
  <li>Is Kidcrash &ldquo;painting an image&rdquo; here? If so, 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 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?</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" %}.
</p>

{% fig "intro-harmonics" %}
  <table>
    <thead>
      <tr>
        <th scope="col">prominence</th>
        <th scope="col">harmonics</th>
        <th scope="col">intervals above fundamental</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>medium</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 frequencies 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" %} outlined 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, {% gloss "setclass" %} {% m "4-11" %}, with the emphasis very much on the crunchy {% m "m2" %} {% gloss "interval" %} in the bass.
</p>

<p>
  Perhaps more relevant to the piece 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 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) 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 147&it;&nbsp;<abbr title="beats per minute">BPM</abbr>, this section is marginally faster than the intro. But the <i>ritardando</i> at the end of the intro obscures this relationship anyway. Nonetheless, 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 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 3+3+2 {% 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" %} recast the basic thematic material outlined in the {% headingref "intro-pitch-material-contour" %} section above very faithfully. 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>

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

<p>
  The {% gloss "texture", "musical 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 see &mdash; is typical of Kidcrash, and as I want to argue, typical of much {% gloss "mathrock" %}.</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>" %} and {% m "<1>" %} have &mdash; in pitch-space &mdash; been identified.
</p>

<p>
  With this in mind, we can see (&amp; 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> discernible {% gloss "voice", "voices" %}. Each voice has a <em>functionally</em> (that is, practically &amp; texturally) independent melody, even when <a href="https://en.wikipedia.org/wiki/Counterpoint">contrapuntal</a> independence is absent.</li>
    <li>Only <dfn>quasi-independence</dfn> between voices. Similar {% gloss "motion" %} is common. Parallel motion is somewhat common, but is typically {% enmark "scalewise" %}scalewise{% 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 independence. Classical principles of counterpoint are frequently violated.</li>
    <li>Phrasal independence 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 "[n4 n8 n16 n16]" %}) 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.</li>
  {% endol %}

  <figcaption>
    <p>
      Description of a musical texture that I will provisionally call <dfn>homeophony</dfn>. <strong>Not</strong> to be confused with <i>homophony</i>.
    </p>
  </figcaption>
{% endfig %}

<p>
  This texture is not well-described by any traditional terminology, as can be shown 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>
  </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 (simple example: one voice is purely in eighth-notes, while another is purely in sixteenth-notes), in spite of phrase boundaries &amp; tempi generally being dependent.
    </p>

    <p>
      Moreover, homeophony does not necessarily produce block-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 homeophony 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, homeophony 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;, the satisfaction of {% figref "homeophony", "list", "a", true %} consists in the three guitars (bass included) being independent enough that we hear three simultaneous melodies. Then {% figref "homeophony", "list", "b", true %} is satisfied given that, although the bass is largely independent of the other two voices, the two other guitars are not: the high-pitch gestures of guitars 1 &amp; 2 happen simultaneous&shy;ly, producing clear similar motion. Still, they have plenty of oblique motion as well. All voices have the same tempo and basically identical phrase boundaries, so {% figref "homeophony", "list", "c", true %} is satisfied. 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" %}.
</p>

<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>

{% 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 homeophonic), 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"><abbr title="measures">mm.</abbr></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>{% m "F#-7", "chord" %}</td>
        <td>{% m "Dmaj13" %}</td>
        <td>{% m "B-9", "chord" %}</td>
        <td>{% m "F#inv1" %}</td>
        <td>{% m "Dmaj9#11inv1" %}</td>
        <td>{% m "Dadd2" %}</td>
        <td>{% m "Dadd2/E" %}</td>
        <td>{% m "F#-7b13inv2" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td>{% m "i7" %}</td>
        <td>{% m "bVImaj7" %}</td>
        <td>{% m "iv7" %}</td>
        <td>{% m "Iinv1" %}</td>
        <td>{% m "bVImaj7inv1" %}</td>
        <td colspan="2">{% m "VI" %}</td>
        <td>{% m "i7inv2" %}</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 single-semitone 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>
  The {% m "Iinv1" %} shows up 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; <a href="https://en.wikipedia.org/wiki/Function_(music)">functional</a> 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, making it a source of dissonance already.</li>
  <li>The intended harmonic progression is that of {% m "M3" %}-related major triads, whose efficient voice-leading 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 homeophonic {% 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"><abbr title="measures">mm.</abbr></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;</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" rowspan="4" style="writing-mode: sideways-lr;">voices</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>
  </table>

  <figcaption>
    <p>
      Voice-leading of the guitar&nbsp;1 part of {% m "A", "form" %}. 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 semitones 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 <abbr title="measure">m.</abbr> 8 back to m. 1. This almost certainly lends much of the tonal effect of resolution back to the {% m "i7" %}.
</p>

<p>
  And as a final harmonic remark on {% m "A", "form" %}, we should observe that, although the traditional harmonic analysis is of limited use on its own, it does give us a taste of the vertical &ldquo;flavor&rdquo; (as it were) of this section: a fairly strong preference for <a href="https://en.wikipedia.org/wiki/Minor_seventh_chord">minor seventh</a>- and <a href="https://en.wikipedia.org/wiki/Major_seventh_chord">major seventh</a>-chords.
</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 <abbr title="measures">mm.</abbr> 4 &amp; 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 harmonics of the distortion sounds found at the upper end of 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> hi-hat &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 arrives in the next section.
</p>

{% 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 dist-pitch. Some of the dist-pitch increase is from the guitars &mdash; but not the bass, which maintains a similar (albeit louder) {% gloss "timbre" %} &mdash; 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 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 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. We can see in {% figref "a-prime-drums" %} that the continuous open hi-hats introducing this jump to a much higher dist-pitch start a bit early, on the &ldquo;4&rdquo; of {% m "A", "form" %}&rsquo;s penultimate measure. 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>
  Although all the cymbal hits sound like they&rsquo;re probably on the same physical cymbal, the difference in intensity leads to very clearly audible gradations in dist-pitch. As such, {% figref "a-prime-drums" %} notates three different basic levels: <a href="https://en.wikipedia.org/wiki/Ride_cymbal">ride cymbal</a> = {% m "<0>" %}, accented ride = {% m "<1>" %}, and crash = {% m "<2>" %}.
</p>

<p>
  A somewhat interesting auditory aspect of the cymbals is that the crash hits <i>per se</i> (at least, the {% m "<2>" %} ones) often fail to emerge from the mix, leaving only the wash of pink noise 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 beat 3. More importantly, the final measure is quite different: the 3+3+2 division merely suggested by the snare placements of {% m "A", "form" %} now produce 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 with sections {% m "AA'", "form" %}, {% m "B", "form" %} is primarily homeophonic. But befitting its position further into the piece, this 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">pedalpoint</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 pedalpoint voice, we can statistically characterize the motion in {% m "B", "form" %}:
</p>

{% fig "b-motion", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col" colspan="2">{% gloss "motion", "motion type" %}</th>
        <th scope="col">count</th>
        <th scope="col">prevalence</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" colspan="2">contrary</th>
        <td class="right">25</td>
        <td class="right">20.7%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">oblique</th>
        <td class="right">54</td>
        <td class="right">44.6%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">similar</th>
        <td class="right">26</td>
        <td class="right">21.5%</td>
      </tr>
      <tr>
        <th scope="row" rowspan="2">parallel</th>
        <th scope="row">imperfect</th>
        <td class="right">9</td>
        <td class="right">7.4%</td>
      </tr>
      <tr>
        <th scope="row">perfect</th>
        <td class="right">7</td>
        <td class="right">5.8%</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" colspan="2">[<i>total</i>]</th>
        <td class="right">121</td>
        <td class="right">100.0%</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      Quant&shy;ification of contrapuntal motion in <abbr title="measures">mm.</abbr> 1&ndash;12 of {% m "B", "form" %}. The lower-pitched note of each double-stop 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 voice moves &mdash; of one of the five types of motion are recorded for each movement of any voice (pedalpoint excluded).
    </p>
  </figcaption>
{% endfig %}

<p>
  We now see more clearly what homeophony can look like.
</p>

<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" %}, ignoring oblique motion entirely; this gets a prevalence of 37.3% &amp; 62.7% (a ratio of roughly 3&ratio;5), respectively, which is an impressive showing indeed for a piece not written &ldquo;as counterpoint&rdquo; at all.
</p>

<p>
  But at the same time, there&rsquo;s likely more anticontrary motion, and certainly more perfect parallel motion (5.8%), than we&rsquo;d expect from a piece obeying classical contrapuntal principles. Moreover, the liberal use of voice-crossing and large melodic intervals is also inconsistent with classical principles.
</p>

<p>
  The almost complete lack of phrasal independence among all voices further contributes to the lack of true contrapuntal texture. Nevertheless, the use of sometimes different rhythmic subdivisions in the different voices still produces a decent amount of rhythmic independence <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 counterpoint. 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", "motion type" %}</th>
        <th scope="col">count</th>
        <th scope="col">prevalence</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" colspan="2">contrary</th>
        <td class="right">77</td>
        <td class="right">22.0%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">oblique</th>
        <td class="right">205</td>
        <td class="right">58.6%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">similar</th>
        <td class="right">26</td>
        <td class="right">7.4%</td>
      </tr>
      <tr>
        <th scope="row" rowspan="2">parallel</th>
        <th scope="row">imperfect</th>
        <td class="right">40</td>
        <td class="right">11.4%</td>
      </tr>
      <tr>
        <th scope="row">perfect</th>
        <td class="right">2</td>
        <td class="right">0.6%</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" colspan="2">[<i>total</i>]</th>
        <td class="right">350</td>
        <td class="right">100.0%</td>
      </tr>
    </tfoot>
  </table>

  <figcaption>
    <p>
      Quant&shy;ification of contrapuntal motion in <span itemscope itemtype="https://schema.org/MusicComposition"><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 &ldquo;Turtlelephant&rdquo;. The absolute magnitudes here are larger mostly as a result of the Bach piece having roughly one additional 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>tenfold</em> lower prevalence than in &ldquo;Turtlelephant&rdquo;&rsquo;s {% m "B", "form" %}) &mdash; both of which are parallel {% m "P4" %}s. By making the same dichotomous simplifi&shy;cation, we see that Bach also much more strongly favors contrary motion: 53.1% contrary vs. 46.9% anticontrary. {% enmark "boschloo" %}This is a ratio of roughly 9&ratio;8 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 1.90.{% endenmark %}
</p>

<p>
  In reality, appealing to statistics in this way is no more than a method of confirming one part of what we already hear: that this is no counterpoint, in spite of what are ultimately simultaneous, unstratified, &amp; texturally-independent voices.
</p>

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

<p>
  This section represents the first real 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 <a href="https://en.wikipedia.org/wiki/Time_signature#Complex_time_signatures">irregular</a> {% gloss "hypermeter" %} 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;3+3+3+1), the end of {% m "B", "form" %} rereads this as actually being <span class="music"><span class="no-wrap">&lang;{% m "3/4" %},</span> {% m "3/4" %}, <span class="no-wrap">{% m "2/4" %}&rang;</span></span> sequences 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" %} (<a href="https://en.wikipedia.org/wiki/Metre_(music)#Simple_metre">simple meter</a>), but the snare &amp; guitars (bass included) suggest {% m "6/8" %} (<a href="https://en.wikipedia.org/wiki/Metre_(music)#Compound_metre">compound meter</a>). And in the {% m "4/4" %} measures, the {% m "F#3" %} pedalpoint disagrees with the other voices by continuing the eighth-note displacement, while the others play largely un{% gloss "syncopation", "syncopated" %} {% m "c" %}.
</p>

<p>
  Indeed, the continuation of the metric displacement by &pm;{% m "n8" %}, as seen in all previous sections, is notable: throughout all of {% m "B", "form" %} (excepting the last three measures, unless you count the kickdrum hits), there&rsquo;s always at least one voice that&rsquo;s displaced in this way.
</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 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 "pitchclass", "pitchclasses" %} of {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Minor_scale#Natural_minor_scale">natural minor</a>.
</p>

<p>
  Nonetheless, there is a surprising amount of harmonic dissonance. A decent chunk of this section involves voices harmonizing in <em>seconds!</em> There are also a few explicit vertical statements of the <a href="https://en.wikipedia.org/wiki/Tritone">tritone</a> {% m "{G#,D}" %}, which also appears in {% m "AA'", "form" %} in the form of guitar&nbsp;1 arpeggiating {% m "[C#,D,G#]" %} &in; {% m "3-5B" %}.
</p>

<p>
  Again, this section is melodic and focuses on its homeophony. Thus, traditional harmonic analysis is not particularly useful, and would have {% enmark "everett" %}to treat this section as &ldquo;<a href="https://en.wikipedia.org/wiki/Mode_(music)">modal</a>&rdquo; anyway{% endenmark %}.
</p>

<p>
  As with previous sections, the bass-guitar gives us the most explicitly harmonic expression: roughly {% m "F#--E--A" %}, with an optional {% m "E" %} at the end. Assuming that these are meant to imply {% gloss "chord inversion", "root-position chords" %}, that would be something like {% m "i--bVII--bIII" %}, with an optional {% m "bVII" %} to lead back to {% m "i" %}. Indeed, in beat 3 of m. 9, we get something like an explicit statement of {% m "bIIImaj7inv1" %}, albeit {% gloss "omitted factor", "with the fifth omitted" %} (as is typical in jazz).
</p>

<p>
  But this {% gloss "progression" %} likely serves as little more than a modal outline or <a href="https://en.wikipedia.org/wiki/Ostinato">ostinato</a>, suggesting a largely {% m "F#" %} <a href="https://en.wikipedia.org/wiki/Pentatonic_scale#Minor_pentatonic_scale">minor pentatonic</a> basis upon which the other voices build dissonant homeophony.
</p>

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

<p>
  Indeed, similar to both the intro &amp; the {% m "AA'", "form" %} sections, we observe a penchant for dense diatonic fragments &mdash; <dfn>diatonic clusters</dfn>, if you will. Not only do we hear plenty of harmonization (sometimes at multiple levels) in seconds, but for instance, beat 3 of m. 6 simultaneous&shy;ly strikes all four members of {% m "4-10" %}.
</p>

<p>
  The idea of <i>diatonic clusters</i> 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 chromatically &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 a sufficiently large <a href="https://en.wikipedia.org/wiki/Cardinality">cardinality</a>, there&rsquo;s no particular reason why clusters cannot {% enmark "scalewise" %}be relative to that scale{% endenmark %}, and indeed, the geometric notion of <i>evenness</i> in {% cite "GeomMusic", true %} provides a way to understand generalized clusters: {% enmark "clusters-negatively" %}by minimizing evenness (i.e. by clustering), it&rsquo;s possible to move from {% gloss "chord" %} to chord (or {% gloss "sonority" %} to sonority) with efficient voice-leading, 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 voice-crossing, &amp; small overall harmonic movements, into perfectly ordinary features of the texture.
</p>

<p>
  Thus, the use of diatonic clusters &amp; harmonization in seconds &mdash; among other things, to be sure &mdash; arguably allows Kidcrash to write fundamentally melodic (read: {% gloss "horizontal" %}) homeophonic parts that, in spite of largely defying classical harmony <strong>and</strong> classical contrapuntal principles, manage to sound coherent &amp; tonal.
</p>

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

<p>
  The three 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 "{E,F#,A,B}" %} &in; {% m "4-23" %}, with {% m "E" %} in the bass. This is potentially analyzed tonally as {% m "i11inv3" %} with a conspicuously omitted fifth, or as a kind of <a href="https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony">quartal</a> chord (in {% gloss "integer notation" %}: {% m "{0,5,10,15}" %}). But perhaps it&rsquo;s better taken with reference to Kidcrash&rsquo;s own style&hellip;:
</p>

<ul>
  <li>&hellip;As more evidence that Kidcrash are less concerned with classical harmony in this section than they are with dense diatonic fragments containing so many explicit seconds.</li>
  <li>&hellip;As a <a href="https://en.wikipedia.org/wiki/Suspended_chord">suspended second chord</a> superimposed over the corresponding suspended fourth chord &mdash; both of which are members of {% m "3-9" %}, as inversions of one another. As we&rsquo;ll see, {% m "3-9" %} plays a special role in Kidcrash&rsquo;s pitch-material.</li>
</ul>

{% h3 "b-melodic-contour" %}Melodic contour{% 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; highest pitch that self-differs by {% gloss "interval", "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, 2<sup>nd</sup> beat of m. 9 has {% m "[E,F#,G#]" %} &mdash; ignoring beat 3&rsquo;s high {% m "{C#,G#}" %} in the guitars, because it has no response &mdash; 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>

{% h3 "i-a-a-prime-b-thematic" %}*Thematic material{% endh3 %}

<p>
  So far, we&rsquo;ve basically three contrasting sections: the intro, {% m "AA'", "form" %}, &amp; {% m "B", "form" %}. Given that we&rsquo;re now three distinct sections &amp; <time datetime="PT1M15S">1:15</time> (26.4%) of the way into a piece that&rsquo;s only <time datetime="PT4M44S">4:44</time> in total, we might reasonably wonder what relation these three sections have to one another &mdash; and whether we&rsquo;re about to get some kind of reprise soon.
</p>

<p>
  We&rsquo;ll keep track of thematic material along the way, so here&rsquo;s a start:
</p>

{% fig "i-a-a-prime-b-thematic", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col">category</th>
        <th scope="col">material</th>
        <th scope="col">section(s)</th>
        <th scope="col">manifestation(s)</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td rowspan="2">texture</td>
        <td rowspan="2">homeophony</td>
        <td>{% m "AA'", "form" %}</td>
        <td>All pitched voices.</td>
      </tr>
      <tr>
        <td>{% m "B", "form" %}</td>
        <td>All pitched voices (arguably excluding pedalpoint).</td>
      </tr>
      <tr>
        <td rowspan="4">pitch-material</td>
        <td rowspan="2">diatonic clustering</td>
        <td>intro</td>
        <td>{% m "{C#,D#,E#,F#}" %} &in; {% m "4-11" %}.</td>
      </tr>
      <tr>
        <td>{% m "B", "form" %}</td>
        <td>Various clusters e.g. explicit {% m "4-10" %}; melodic harmonization in seconds; compact voicing of {% m "4-23" %} in mm. 13&ndash;15.</td>
      </tr>
      <tr>
        <td rowspan="2">centrality of {% m "F#" %}</td>
        <td>intro</td>
        <td>Implied {% m "F#" %} diatonic scale.</td>
      </tr>
      <tr>
        <td>{% m "AA'B", "form" %}</td>
        <td>In {% m "F#" %} minor; {% m "F#3" %} pedalpoint.</td>
      </tr>
      <tr>
        <td rowspan="8">melody</td>
        <td rowspan="3">repeating each pitch twice in succession</td>
        <td colspan="2">intro</td>
      </tr>
      <tr>
        <td>{% m "AA'", "form" %}</td>
        <td>Guitar&nbsp;1; degenerate form in guitar&nbsp;2.</td>
      </tr>
      <tr>
        <td>{% m "B", "form" %}</td>
        <td>Guitars 1 &amp; 2 during {% m "3/4" %} measures.</td>
      </tr>
      <tr>
        <td rowspan="2">Parsons <code>*rururdr(d)</code></td>
        <td colspan="2">intro</td>
      </tr>
      <tr>
        <td>{% m "AA'", "form" %}</td>
        <td>Guitar&nbsp;1; degenerate form in guitar&nbsp;2.</td>
      </tr>
      <tr>
        <td rowspan="3">&ldquo;mobile&rdquo; highest pitch self-differs by second (&ne;&nbsp;{% m "A1", "inter" %})</td>
        <td colspan="2">intro</td>
      </tr>
      <tr>
        <td>{% m "AA'", "form" %}</td>
        <td>Guitars 1 &amp; 2.</td>
      </tr>
      <tr>
        <td>{% m "B", "form" %}</td>
        <td>Guitar&nbsp;1: mm. 3 &amp; 6, mm. 9 &amp; 12 (maintaining the internal {% m "AA'BB'", "form" %} format from previous sections); guitar&nbsp;2: mm. 3 &amp; 6.</td>
      </tr>
      <tr>
        <td rowspan="5">rhythm &amp; meter</td>
        <td rowspan="2">displacement by &pm;{% m "n8" %} throughout (hyper)measure</td>
        <td>{% m "AA'", "form" %}</td>
        <td>Non-bass guitars +{% m "n8" %} &ldquo;ahead&rdquo;; bass-guitar, kickdrum, &amp; hi-hat &minus;{% m "n8" %} &ldquo;behind&rdquo;.</td>
      </tr>
      <tr>
        <td>{% m "B", "form" %}</td>
        <td>Non-pedalpoint pitched voices displaced during {% m "3/4" %}; pedalpoint displaced during {% m "4/4" %}.</td>
      </tr>
      <tr>
        <td rowspan="3">extensions of 3+3+2 syncopation</td>
        <td>{% m "AA'", "form" %}</td>
        <td>Snare divides latter half of each measure into {% m "3+3+2/16" %}.</td>
      </tr>
      <tr>
        <td>{% m "A'", "form" %}</td>
        <td>Drumkit in last measure of each hypermeasure.</td>
      </tr>
      <tr>
        <td>{% m "B", "form" %}</td>
        <td>Hypermeter is sometimes interpreted as {% m "3+3+2/4" %} with an &ldquo;extra&rdquo; {% m "2/4" %} measure at the end.</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Thematic material from the intro, {% m "AA'", "form" %}, &amp; {% m "B", "form" %}.
    </p>
  </figcaption>
{% endfig %}

{% 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;BPM from {% m "n4" %} &ap; 147 to {% m "n4" %} &ap; 157, and a switch to {% m "6/8" %}.
</p>

<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 by treating this double-hit as a single unit, we see that the snares are always spaced out by simply a dotted quarter-note.
</p>

<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", "homeophonic texture" %}, while retaining the {% m "F#3" %} pedalpoint.
</p>

<p>
  Given the {% m "6/8" %} meter, the natural inclination for these repeated eighth-notes is either six in a row, or else three. (For textural purposes, we treat a quarter-note as equivalent to two identical eighth-notes in a row.) However, there are quite a few instances where a pitch is interrupted somewhere other than a barline or the midpoint of a measure. This &ldquo;staggering&rdquo; not only has melodic &amp; harmonic effects, but also has textural effects when it turns parallel or similar motion into staggered oblique motions.
</p>

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

{% fig "c-motion", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col" colspan="2">{% gloss "motion", "motion type" %}</th>
        <th scope="col">count</th>
        <th scope="col">prevalence</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <th scope="row" colspan="2">contrary</th>
        <td class="right">8</td>
        <td class="right">10.3%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">oblique</th>
        <td class="right">44</td>
        <td class="right">56.4%</td>
      </tr>
      <tr>
        <th scope="row" colspan="2">similar</th>
        <td class="right">18</td>
        <td class="right">23.1%</td>
      </tr>
      <tr>
        <th scope="row" rowspan="2">parallel</th>
        <th scope="row">imperfect</th>
        <td class="right">4</td>
        <td class="right">5.1%</td>
      </tr>
      <tr>
        <th scope="row">perfect</th>
        <td class="right">4</td>
        <td class="right">5.1%</td>
      </tr>
    </tbody>
    <tfoot>
      <tr>
        <th scope="row" colspan="2">[<i>total</i>]</th>
        <td class="right">78</td>
        <td class="right">100.0%</td>
      </tr>
    </tfoot>
  </table>

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

<p>
  Once again, these statistics are fairly typical of homeophony, and <em>not</em> befitting of counterpoint proper. The contrary vs. {% gloss "anticontrary" %} dichotomy comes out to 23.5% vs. 76.5%; a ratio of roughly 3&ratio;10, as compared to {% m "B", "form" %}&rsquo;s somewhat more counter&shy;point&shy;like ratio of roughly 3&ratio;5. However, note that {% m "C", "form" %}&rsquo;s smaller ratio is in large part due to having much more oblique motion; {% m "C", "form" %}&rsquo;s overall prevalence of anticontrary motion is actually slightly lower than that of {% m "B", "form" %}.
</p>

{% h4 %}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), the sole instance of contrary motion was at the boundary between one {% gloss "hypermeter", "hypermeasure" %} (=&nbsp;8 measures) &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 cadential harmonic relationships (<a href="https://en.wikipedia.org/wiki/Function_(music)">dominant&ndash;tonic, etc.</a>).
</p>

<details>
  <summary>Contrary motion within {% m "C", "form" %}</summary>

  <p>
    Because {% m "C", "form" %} is essentially a sequence of variations, 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 hypermeasure (=&nbsp;4 measures). However, of these four occurrences, half are &ldquo;weakened&rdquo; by the simultaneous presence of perfect parallel motion. Nevertheless, the once-per-hypermeasure effect is similar to that in {% m "AA'", "form" %}.
  </p>
</details>

<p>
  More significantly, the transition from {% m "C", "form" %} to {% m "D", "form" %} is of great structural importance 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 &amp; the first verse-like material of the piece (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 hypermeasures): {% enmark "poly-mot-notation" %}{% m "{c2s}" %}.{% endenmark %} (Moreover, the result is unison between the voices.)
</p>

<p>
  This is perhaps part of the power of homeophony: by plainly lacking general adherence to contrapuntal norms, this texture can make particularly strong polyphonic movement a <strong>mark&egrave;d</strong> gesture, allowing it to buttress points of structural importance.
</p>

<p>
  A composer like Bach has relatively clear harmonic norms to uphold, and not infrequently uses quite weak polyphonic movement to achieve strong (&amp; typically stereotyped) harmonic movement; 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 homeophonic approach, then, perhaps looks &ldquo;primitive&rdquo; by comparison: with far more skeletal harmonic norms, the function of melody <i>qua</i> melody can be forefronted, making the surface-level voice-leading &mdash; and of course, the melodies themselves! &mdash; the subjects of interest.
</p>

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

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

{% fig "c-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">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 class="center" colspan="2">{% m "iv" %}</td>
        <td class="center">{% m "bVIinv2" %}</td>
        <td class="center">{% m "iinv1" %}</td>
        <td class="center">{% m "iv" %}</td>
      </tr>
      <tr>
        <th scope="row">gloss</th>
        <td class="center" colspan="2">{% m "i" %}</td>
        <td class="center" colspan="2">{% m "iv" %}</td>
        <td class="center" colspan="2">{% 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/" %}</td>
        <td class="center">{% m "v5" %}</td>
      </tr>
      <tr>
        <th scope="row">gloss</th>
        <td class="center">???</td>
        <td class="center" colspan="2">{% 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;), 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 functionally aimless. For instance, 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 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" %} showing up, in another 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 pedalpoint 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 complemented by the traditional harmonic gloss.
</p>

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

<p>
  In addition to clearly being driven by homeophonic voice-leading, the sonorities here are sensitive more to their raw {% gloss "interval", "intervallic" %} content than they are to harmonic norms. (But see also: the {% headingref "generalized-clustering" %} section above.)
</p>

<p>
  In this case, 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; (&ldquo;tonic prolongation&rdquo;, &ldquo;subdominants&rdquo;, etc.) function, allowing the other chords to be used in more &ldquo;dominant&rdquo; (not necessarily in the classical sense) ways.
</p>

<p>
  Because we largely have three (maybe four, pedalpoint included) {% gloss "voice", "voices" %} here, this leaves Kidcrash with basically a half-dozen-ish {% gloss "chord", "chords" %}:
</p>

{% fig "normal-3-setclasses", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="col">{% gloss "setclass" %}</th>
        <th scope="col">{% gloss "ic-vector" %}</th>
        <th scope="col">interpretation(s)</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td class="left">{% m "3-6" %}</td>
        <td>{% m "<020100>", "icv" %}</td>
        <td>major trichord (diatonic cluster)</td>
      </tr>
      <tr>
        <td class="left">{% m "3-7A" %}</td>
        <td rowspan="2">{% m "<011010>", "icv" %}</td>
        <td>minor seventh-chord with {% gloss "omitted factor", "omitted fifth" %}</td>
      </tr>
      <tr>
        <td class="left">{% m "3-7B" %}</td>
        <td>minor (or dominant) seventh-chord with omitted third;<br> minor pentatonic trichord</td>
      </tr>
      <tr>
        <td class="left">{% m "3-9" %}</td>
        <td>{% m "<010020>", "icv" %}</td>
        <td>suspended second chord;<br> suspended fourth chord;<br> stacked fourths {% m "{0,5,10}" %}</td>
      </tr>
      <tr>
        <td class="left">{% m "3-11A" %}</td>
        <td rowspan="2">{% m "<001110>", "icv" %}</td>
        <td>minor triad</td>
      </tr>
      <tr>
        <td class="left">{% m "3-11B" %}</td>
        <td>major triad</td>
      </tr>
      <tr>
        <td class="left">{% m "3-12" %}</td>
        <td>{% m "<000300>", "icv" %}</td>
        <td>augmented triad</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      All {% gloss "setclass", "3-setclasses" %} that have similar &ldquo;function&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 augmented triad, on account of it not existing within the diatonic {% 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 seventh-chords (as opposed to triads) towards the minor variety: major seventh-chords have {% gloss "ic" %}&nbsp;1 between seventh &amp; root, dominants ic&nbsp;6 between third &amp; seventh, and (half-)diminished ic&nbsp;6 between root &amp; fifth.</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 shows up so 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 vertical constraints combined with the constraints of homeophony.</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">setclass</th>
        <th scope="col">ic-vector</th>
        <th scope="col">interpretation(s)</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <td class="left">{% m "3-2A" %}</td>
        <td rowspan="2">{% m "<111000>", "icv" %}</td>
        <td>Phrygian trichord (diatonic cluster)</td>
      </tr>
      <tr>
        <td class="left">{% m "3-2B" %}</td>
        <td>minor trichord (diatonic cluster)</td>
      </tr>
      <tr>
        <td class="left">{% m "3-4A" %}</td>
        <td rowspan="2">{% m "<100110>", "icv" %}</td>
        <td>major seventh-chord 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>diminished triad</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      All diatonic 3-setclasses 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 would not generally have: <a href="#generalized-clustering">diatonic clusters become useful voice-leading sonorities in their own right</a>, quartal constructions ({% m "3-9" %} and {% m "3-5" %}) 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 third 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;diatonic&shy;ism</a>&rdquo;, nor anything of the like. Instead, judicious &mdash; but somewhat adventurous &mdash; voice-leading, careful attention to intervallic content, structural use of contrapuntal motion, &amp; nods toward {% gloss "Western classical" %} or {% gloss "popular music", "popular-music" %} tonality, 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>

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

<p>
  Speaking of structural voice-leading, 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" %} sees this as a {% m "iio--V--i" %} of sorts; this is useful as a &ldquo;nod&rdquo; to traditional harmony, but the truth is in the voice-leading.
</p>

<p>
  Admittedly, we have to cross the upper two voices in order 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="col" colspan="8">m. 8</th>
        <th scope="col" class="music">&#x1d100;</th>
        <th scope="col" colspan="2">m. 9</th>
      </tr>
      <tr>
        <td></td>
        <th scope="col">{% m "iio/" %}</th>
        <th scope="col">&delta;</th>
        <th scope="col">*</th>
        <th scope="col">{% m "bVImaj7#11" %}</th>
        <th scope="col">&delta;</th>
        <td></td>
        <th scope="col">{% m "v5" %}</th>
        <th scope="col">&delta;</th>
        <td></td>
        <th scope="col">{% m "bVI" %}</th>
      </tr>
    </thead>
    <tbody>
      <tr>
        <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" colspan="2">{% gloss "motion" %}:</th>
        <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 voice-leading from m. 8 &rarr; m. 9 of {% m "C", "form" %}. The pedalpoint is parenthesized. 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 &ldquo;dominant&rdquo; function</a>.</li>
  <li>Resolve this dissonance to the consonant ic&nbsp;5 between {% m "{C#,G#}" %}, by oblique motion (this produces the {% m "4-16" %} 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 a {% m "iio--V--i" %}, 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 hypermeasure 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 "3-5" %}; 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;really resolved&rdquo; by strong structural voice-leading back to the beginning of the {% gloss "hypermeasure" %}; 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" %} (some kind of &ldquo;<a href="https://en.wikipedia.org/wiki/Suspended_chord">suspended chord</a>&rdquo; in both cases).</li>
</ol>

<p>
  The fact that we observe the same harmonic &amp; voice-leading language &mdash; movement to ic&nbsp;6 &rarr; half-resolution to &ldquo;suspended chord&rdquo; &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, tonal language.
</p>

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

<p>
  Apart from the intro, the only {% gloss "pitchclass" %} that we&rsquo;ve heard so far that&rsquo;s not a member of {% m "F#" %} natural minor 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 diatonic cluster ({% m "4-11" %}) 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 &ldquo;mobile&rdquo; {% 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 descending&rdquo;, or just the major chord. And speaking of chords&hellip;
</p>

{% fig "d-harm", "table" %}
  <table>
    <thead>
      <tr>
        <th scope="row">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>
    </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 "i7no3inv3" %}?</td>
        <td class="center">{% m "bVImaj7" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      Attempted traditional harmonic analysis 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 straight&shy;forward 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">the strong structural voice-leading</a>, and the stereotyped version of this 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 also appeared 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 pedalpoint 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 the discussion in {% headingref "intervalclass-sensitivity" %} above, 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 &mdash; albeit a bit abstractly, in terms of {% m "M3" %}-related major triads &mdash; 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 {% m "I--ii--i" %}.
</p>

<p>
  I hear this motion as intentionally dissonant &amp; 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 melodic major, if you prefer) version of the intro&rsquo;s diatonic cluster tetrachord: {% m "{C#,D,E,F#}" %} &in; {% m "4-11" %}. Compare this to the intro&rsquo;s {% m "{C#,D#,E#,F#}" %} &in; {% m "4-11" %}. The fact that they also happen to be members of the same {% gloss "setclass" %} chromatically is icing on the cake.
</p>

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

<!--
g# g# g# | d
d  d  c# | f#
d  c# c# | d

 1     : df#d                  | D
 2     : c#ac#                 | A(6)/C#;F#-/C#
 3     : bea bf#a              | 057 .. 035;B-7no3(11->5)
 4     : bdf# adf# ac#f# bc#f# | B-, D/A, F#-/A, 057;Bsus2;F#sus4/B
 5     : ef#d ef#e             | cluster
 6     : f#bc#                 | 057;F#sus4;Bsus2/F#
 7     : dea df#a df#b         | 057;Asus4/D;Dsus2, D, B-/D
 8     : ddg# c#dg# c#c#g#     | 06;3-8B (iio?), passing 4-16A, C#5(sus4) | C# D F# G# ~= Dmaj7#11/C#
 9 (1*): c#f#d df#d
10 (2 ): c#ac#
11 (3*): bea bf#a bf#b
12 (4 ): bdf# adf# ac#f# bc#f#
13 (5 ): ef#d ef#e
14 (6 ): f#bc#
15 (7 ): dea df#a df#b
~~~
16: a#a#a#     | F#
17: a#a#a# bbb | F#, B5/F#
18: eae        | F#-7no5/E
19: eae dc#d   | F#-7no5/E, Dmaj7
20:
21: f#a#       | F#
22: f#a# g#b   | F#, G#-7no5/F#
23: ee         | (E,F#)
24: ee dc#     | (E,F#), Dmaj7
-->

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

<p>
  In the intro &amp; {% m "AA'", "form" %}, the basic subphrasal 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 n8 n8]" %}, albeit not all of the same duration anymore. With {% m "C", "form" %}, we&rsquo;ve now basically {% 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 but with a &ldquo;bisected&rdquo; final note.
</p>

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

<p>
  Like {% m "B", "form" %}, {% m "C", "form" %} apparently lacks the <code>*rururdr(d)</code> contour of the intro &amp; {% m "AA'", "form" %}; yet, also like {% m "B", "form" %}, it manages to retain the &ldquo;&lsquo;mobile&rsquo; highest pitch that self-differs by 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 <strong>hyper</strong>barlines.
    </p>
  </figcaption>
{% endfig %}

<p>
  It&rsquo;s perhaps worth also noting that the use of {% m "A#" %} in {% m "D", "form" %} allows for tight chromatic 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)">instrument&shy;ation</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 recapitulating 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 (triad, or melodic major), 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 <a href="https://en.wikipedia.org/wiki/Major_scale#Broader_sense">melodic major</a>) form {% m "{C#,D,E,F#}" %}; both clusters are members of {% m "4-11" %}.</li>
  <li>First return of a guitar-only (bass not included) instrument&shy;ation.</li>
  <li>First return to a {% m "p" %} or {% m "pp" %} {% gloss "dynamics", "dynamic" %}, and to overall {% gloss "dist-pitch" %} {% m "<0>" %}.</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" %}Hypermeter &amp; return of metric material{% endh3 %}

<p>
  This section begins with alternation between contrasting halves, the first of which is relatively quieter. The quieter half is always a single {% gloss "meter", "measure" %} of {% m "3/4" %} (really more like {% m "6/8" %}), but the louder half is either five quarter-notes&rsquo; duration (written in {% figref "e-full" %} as <span class="music">&lang;{% m "3/4" %}, {% m "2/4" %}&rang;</span>), or else six (written <span class="music">&lang;{% m "3/4" %}, {% m "3/4" %}&rang;</span>).
</p>

<p>
  The result has multiple {% gloss "hypermeter", "hypermetric" %} levels: the ordinary measures of {% m "3/4" %} or {% m "2/4" %} (or however you choose to write them) are grouped into alternating {% m "8/4" %} &amp; {% m "9/4" %}; but because of the alternation, we can group these further into hypermeasures (or&hellip; hyper&shy;hyper&shy;measures&hellip;) of {% m "17/4" %}. This extremely irregular (note that 17 is <a href="https://en.wikipedia.org/wiki/Prime_number">prime</a>) hypermeter can be read as {% m "18/4" %} with a single beat missing mid-hypermeasure.
</p>

<p>
  Observe, however, that the measures I&rsquo;ve written as {% m "3/4" %} are almost entirely {% m "6/8" %}, with the exception of the crash &amp; snare in mm. 5, 6, 11, &amp; 12. This allows (or perhaps even requires) Kidcrash to play the <span class="music">&lang;{% m "3/4" %}, {% 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>
  Notably, this section discontinues the use of metric displacement by &pm;{% m "n8" %}.
</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>, signalling the arrival of the first verse-like material, even if the vocals &amp; text that would allow it to be a true &ldquo;verse&rdquo; are not quite present yet &mdash; a <dfn>preverse</dfn>, if you will.
</p>

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

<p>
  Although the rhythmic unit {% m "[n8 n4]" %} (&amp; its variants) sometimes represents two notes (or 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 (m. 13 ff.), however, the bassline becomes arguably the most active part of the texture (excepting possibly guitar&nbsp;2). In this capacity, it clearly presents {% m "<11002200>" %}, which is similar &mdash; save for the swapping of {% m "<0>" %} with {% m "<1>" %} &mdash; to the {% m "<00112211>" %} of the intro &amp; {% m "AA'", "form" %}. But the relationship is a bit distant, given that the apices of this bassline differ by third (specifically {% m "M3" %}), rather than by second.
</p>

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

<p>
  This section represents the second ascent to a very high {% gloss "dist-pitch" %} &amp; general 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 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 counterpoint between guitars 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 plays, the guitars produce chords, and we get crash cymbal 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 break (since the intro) from being primarily {% gloss "homeophony" %}-driven. In a way, the oscillating texture &mdash; and accompanying dynamics &mdash; are a kind of compromise between the homeophony 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;duelling guitars&rdquo; approach of the homeophony in previous sections, even in cases where one or both non-bass guitar parts are essentially just slamming block-chords. The only genuine loss of independence is in 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 quite contrapuntal, with all motion being strictly contrary. Although the texture in mm. 5, 6, 11, &amp; 12 is similarly brief, and exhibits relatively little motion, it is basically <a href="https://en.wikipedia.org/wiki/Homorhythm">homorhythmic</a>; the motion in guitar&nbsp;2 (&amp; in the bass, for that matter) cannot be ignored, as it introduces {% gloss "pitchclass", "pitchclasses" %} otherwise foreign to the region.
</p>

<p>
  And finally, m. 13 ff. is still basically homorhythmic, but is more well-developed to the point that we get a fairly straight&shy;forward version of what usually comes to mind upon hearing the word <a href="https://en.wikipedia.org/wiki/Homophony"><i>homophony</i></a>: melody &amp; accompaniment. It&rsquo;s tempting to hear some kind of homeophony between guitar&nbsp;2 &amp; the bass here, but the complete lack of contrary motion gives more of an impression of quickly-moving accompaniment from the bass.
</p>

<p>
  This array of textures within a single section represents the aforementioned break within the piece, and the aforementioned compromise between homeophony &amp; a more archetypically post-hardcore texture. Perhaps even more interesting, however, is how <strong>material from these various textures is recombined</strong> in m. 13 ff.: the originally contrapuntal melody is synthesized with the chords from originally <a href="https://en.wikipedia.org/wiki/Monophony">monophonic</a> &amp; homorhythmic textures to forge the &ldquo;completed&rdquo; (&amp; fully homophonic) 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 %}Contrapuntal 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 to m. 2 (&amp; from m. 7 to m. 8) can be interpreted as a {% m "bIII--i" %} progression typical of rock, but with the atypical use of a major seventh-chord. As discussed in {% headingref "intervalclass-sensitivity" %} above, the {% gloss "ic" %}&nbsp;1 of major seventh-chords allows them to &ldquo;function&rdquo; as dissonances, 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 simpler &amp; more traditional use of ic-sensitivity as I&rsquo;ve defined it here.
</p>

{% h4 %}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;Viennese trichord&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}" %}, 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#]" %} &in; {% m "{0,1,7}" %} &in; {% m "3-5B" %}. Here we once again see ic-sensitivity in action: although this trichord has no traditional function, its possession of ics 1 <em>and</em> 6 allow it to function as a clear &ldquo;dominant&rdquo; (so to speak) that contrasts with the tonic {% m "F#5", "chord" %}.
</p>

<p>
  But this skeletal form of the &ldquo;dominant&rdquo; chord can also appear with more muscle on its bones. For the most part, we seem to get what we&rsquo;d expect: arbitrary diatonic 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 %}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>appears</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 texture is the simplest yet: some block-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 rhythms interlock. Although this entire section is in {% m "c" %}, its four-measure {% gloss "hypermeter", "hyperbars" %} are characterized by a compressed 1<sup>st</sup> measure that gradually decompresses into the relatively un{% gloss "syncopation", "syncopated" %} 3<sup>rd</sup> &amp; 4<sup>th</sup> measures:
</p>

<ol>
  <li>The 1<sup>st</sup> measure doesn&rsquo;t start at all until the 2<sup>nd</sup> {% gloss "beat" %}, effectively truncating it to a measure of {% m "3/4" %}.</li>
  <li>The only explicit indication of the 2<sup>nd</sup> measure&rsquo;s <a href="https://en.wikipedia.org/wiki/Beat_(music)#Downbeat_and_upbeat">downbeat</a> 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;decompressing&rdquo; into the vacuum left by the missing 1<sup>st</sup> beat of the 1<sup>st</sup> measure.</li>
  <li>The 3<sup>rd</sup> measure decompresses into the other still-missing half, finally putting the downbeat in the expected place.</li>
</ol>

<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 the process repeats.
</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 (&ldquo;Now I&rsquo;m grinding my teeth&rdquo;), which strikes me as the most 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 importance is of course in the final measure (m. 16), where the two vocalists sing at once. 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-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, but also moves closer (macroscopically) to {% m "F#" %} major.
</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 serves as the tonic. 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 bassline&rsquo;s contour, discussed below.
</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 hypermeasure evolves over the course of this section will help:
</p>

{% fig "f-hyperbar-final-chords", "table" %}
  <table>
    <tbody>
      <tr>
        <th scope="row">mm.</th>
        <td style="text-align: center;">3&ndash;4</td>
        <td style="text-align: center;">7&ndash;8</td>
        <td style="text-align: center;">11&ndash;12</td>
        <td style="text-align: center;">15&ndash;16</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "chord" %}</th>
        <td style="text-align: center;">{% m "G#-inv2" %}</td>
        <td style="text-align: center;">{% m "Emaj7no3" %}</td>
        <td style="text-align: center;">{% m "G#-add4inv2" %}</td>
        <td style="text-align: center;">{% m "Emaj13" %}</td>
      </tr>
      <tr>
        <th scope="row">{% gloss "RNA" %}</th>
        <td style="text-align: center;">{% m "iinv2" %}</td>
        <td style="text-align: center;">{% m "bVImaj7" %}</td>
        <td style="text-align: center;">{% m "iinv2" %}</td>
        <td style="text-align: center;">{% m "bVImaj13" %}</td>
      </tr>
    </tbody>
  </table>

  <figcaption>
    <p>
      The ultimate chord of each hypermeasure of {% m "F", "form" %}.
    </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 root-position {% m "i" %}. Then, mm. 7&ndash;8 produces a real dissonance &mdash; namely, an {% gloss "ic" %}&nbsp;1 &mdash; thus suggesting that we once again really have two hypermetric levels: the 4-measure hyperbar &amp; the 8-measure (hyper)hyperbar.
</p>

<p>
  Indeed, the next 8-measure sequence adds a little extra spice at first, by adding a {% m "C#" %} (the perfect 4<sup>th</sup> factor) to the {% m "iinv2" %}, producing the gentle diatonic cluster {% m "{B,C#,D#}" %} &in; {% m "3-6" %}. The effect is <em>subtle</em>, 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 "4-11" %}.
</p>

<p>
  Once again, traditional analysis produces &mdash; in addition to strange constructions like {% m "Eadd2/F#" %}, etc. &mdash; little more than a single tonic prolongation; but this is incongruent with the writing at play here, and also with what the attentive listener actually hears. Only by incorporating attention <a href="#intervalclass-sensitivity">to raw intervallic content</a> &amp; to {% gloss "setclass" %} content can we make sense of Kidcrash&rsquo;s tonal sensibility.
</p>

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

<p>
  But perhaps equally important than pitch-material to understanding the guitar parts (bass included) of {% m "F", "form" %} is the use of contour. Use of the same &ldquo;highest pitch self-differing by {% gloss "interval quantity", "second" %}&rdquo; trope of previous sections is evident in the bassline, where the highest two pitches of each 4-measure hyperbar differ by second from their counterparts in the previous hyperbar.
</p>

<p>
  Undoubtedly, this particular contour is difficult to pick out of the mix. 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 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 &amp; every pair of chords has highest pitches differing by second.
</p>

<p>
  The result is that, even in Kidcrash&rsquo;s apparently most austere textures of pure block-chords, we see that the writing is still spiritually {% gloss "horizontal" %}, rather than vertical.
</p>

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

<p>
  This section generally lowers the 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 crash cymbals &amp; other noisy drum hits is considerably sparser, we can argue that this is made up 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 chords are held out 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 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 %}

{% 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 discussed below.
</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. This is, however, largely where direct similarities end.
</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" %}
  <div class="lyrics">
    <p>
      The shore must be sinking,<br>
      Or Turtlelephant&rsquo;s rising up.<br>
      The tides and tusks,<br>
      Her shallow bust.
    </p>

    <p>
      Jaws that cut lumber;<br>
      Now I&rsquo;m grinding my teeth.<br>
      Great legs &mdash; her pillars &mdash;<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 according to the other {% gloss "hypermeter", "hypermetric" %} division &mdash; that is, into four stanzas, rather than the two in {% figref "f-lyrics" %} &mdash; we see that the text is clearly written for the turn-taking style of vocals employed here, as a kind of call-&amp;-response:
</p>

<ol type="a">
  <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 <i>be sinking</i> &amp; <i>[is] rising</i>.</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>
</ol>

<p>
  On the one hand, we have the ragg&egrave;d poetic meter, the total lack of rhyme, and the irregular musical rhythms. On the other, we have some metric regularity in the text, a clear alignment with <em>both</em> hypermetric 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>

<ol class="fake-ul">
  <li>Line 1, {% ipa "en" %}s&#x2053;&#x283;{% endipa %}: <i>The <mark>sh</mark>ore mu<mark>s</mark>t be <mark>s</mark>inking</i>.</li>
  <li>Line 3, {% ipa "en" %}t; s&#x2053;z{% endipa %}: <i>The <mark>t</mark>ide<b>s</b> and <mark>t</mark>u<b>s</b>k<b>s</b></i>. 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 %}: <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>.</li>
  <li>Line 7, {% ipa "en" %}z{% endipa %}: <i>Great leg<mark>s</mark> &mdash; her pillar<mark>s</mark></i>.</li>
  <li>Line 8, {% ipa "en" %}h{% endipa %}: <i><mark>H</mark>ave some<mark>h</mark>ow given out</i>.</li>
</ol>

{% 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" %} (<abbr title="circa">ca.</abbr> 2<sup>nd</sup>&ndash;4<sup>th</sup> <abbr title="century">c.</abbr> 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 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" %}
  <div class="lyrics">
    <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 %}. *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>will, does, an&rsquo; 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{% 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 (melodic) major 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 dynamic as well.
</p>

{% h4 "g-dynamics-latter-half" %}Latter half{% 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 cymbals, limiting the overall {% gloss "dist-pitch" %}.</li>
  <li>Somewhat sparse notes overall, with the snare 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 dynamic, in addition to preventing 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 compressed form of the same rhythm in mm. 8 {% gloss "ff." %}.
</p>

<p>
  This compressed form is not only two measures rather than four, but is also more &ldquo;straightened 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 compression itself is an even better example of structural <em>ac</em>celeration{% cite "StructAccel" %}, as opposed to the kind of &ldquo;structural <em>de</em>celeration&rdquo; &mdash; more aptly thought of as an <em>elaboration</em> of basic rhythmic units &mdash; <a href="#c-rhythmic-units">heard throughout {% m "AA'BC", "form" %}</a>. The result is a clear increase in rhythmic urgency, without the use of a literal increase in tempo.
</p>

<p>
  In particular, the compressed 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{% endh3 %}

<p>
  Variation (in mm. 8 ff.) between these two versions of the basic rhythmic unit is basically free, and the guitars typically do not agree. Moreover, guitar&nbsp;2 frequently but arbitrarily bisects some of the eighth-notes of the basic unit into sixteenth-notes, again not agreeing with the other voices. These small internal rhythmic variations contribute an almost <a href="https://en.wikipedia.org/wiki/Heterophony">heterophonic</a> feel to the texture, as the melodies played by the non-bass guitars are heard as variations of the same melody (especially due to the lack of contrary {% gloss "motion" %} between them).
</p>

<p>
  Then again, this isn&rsquo;t exactly the archetype of heterophony. We still retain several {% gloss "homeophony", "homeophonic" %} features, and although there&rsquo;s no real contrary motion between the non-bass guitars, there&rsquo;s a decent amount of truly nonparallel motion &mdash; both oblique and similar &mdash; as well as contrary motion from the bass-guitar in mm. 9 &amp; 11 ({% enmark "poly-mot-notation" %}{% m "{c2i}" %} overall{% endenmark %}).
</p>

<p>
  Although this does result in a texture accurately described as homeophonic, the <em>textural</em> reduction from the homeophony and <a href="https://en.wikipedia.org/wiki/Homophony">homophony</a> heard previously to the texture heard here, as well as the reliance on small internal rhythmic variations, 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;uncrossed&rdquo;. Much 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. This results in what look like &ldquo;contrary&rdquo; motions on paper, but which are likely heard otherwise. Nonetheless, I would argue that this is a kind of textural, or perhaps instrument&shy;ation&shy;al, feature that still has musical salience.
</p>

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

<!--
B  D#
G# C#

G# F#
E  D#

B  D#
G# C#

G# E
E  C#

||


-->

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

<!--
<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 "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 "scalewise" %}
  <p>
    See chapter 4 of {% cite "GeomMusic", true %} for a geometric general&shy;ization of this notion of &ldquo;scalewise&rdquo;.
  </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" %} 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>0.0167</mn>
      <mo>&ap;</mo>
      <mfrac>
        <mn>1</mn>
        <mn>60</mn>
      </mfrac>
    </math> (the most common threshold for significance being
    <math>
      <mi>p</mi>
      <mo>&lt;</mo>
      <mn>0.05</mn>
      <mo>=</mo>
      <mfrac>
        <mn>1</mn>
        <mn>20</mn>
      </mfrac>
    </math>).

    <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([[25, 77], [42, 68]], alternative="less")
BoschlooExactResult(statistic=0.02289184850362908, pvalue=0.016748096552770462)
      {% endhighlight %}
    </details>
  </p>
{% enden %}
{% en "everett" %}
  <p>
    See {% cite "SchenkerRock", true %} for a <a href="https://en.wikipedia.org/wiki/Schenkerian_analysis">Schenkerian</a> approach to rock tonality.
  </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? 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 "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.
  </p>
{% enden %}
{% en "strength" %}
  <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 strength in its capacity as a gesture.
  </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 "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 %}

{% refs %}

{% endendomain %}
{% endfigdomain %}
