2024
Harmonic Analysis
I constructed a code that would read an mp3 file, analyze the file’s data, and output a spectrogram and a chromagram, whose definitions follow.
Spectrogram analyzes the amplitude (represented by the color --white = loud, black = soft) of a frequency (represented by the y axis) at any given time (represented by the x axis). These are useful for a variety of reasons including audio analysis, speech analysis, and machine learning.
A chromagram analyzes the pitches used in an audio signal by aggregating them all into one octave, and displaying how frequently they occur within a piece of music.
I’ve chosen a few of my favorite songs of 2023 to analyze, two of which will feature an analysis conducted by yours truly.
Spectrogram
Y: frequency
X: time
Color: indicates amplitude of a frequency at a given time.
white = loud black = quiet
Chromagram
Y: pitch
X: time
Color: red, intensity/occurring, blue = not occurring
Indicates a strong sub bass/bass presence
Interesting that the use of C# points to D but the G# Also points to A
Boy’s a Liar Pt. 2
CHORDS USED
F: IV∆7 → ii-7 → V7
(Bb∆) (G-7) (C7)MODALITY
FULL TRANSCRIPTION AVAILABLE AT:
ANALYSIS
Synopsis:
Boy’s a Liar Pt. 2 is a collaboration between Ice Spice and Pink Pantheress that arguably brought the already rising star into superstardom.
This song is heavily electronic, giving it a bubblegum pop feel with its fleeting melodic runs and supporting lines.
What makes this song special:
Interestingly, this song utilizes the Bb major to make us feel “home” but the extensive use of the E natural indicates a Lydian tonality from the F major parent key. The listener perceives Bb as the tonic chord, but a proper cadence isn't provided until bar 32, where a D-7 (vi-7) is introduced. This D-7 doesn't feel like the tonic chord to me, as it's played briefly and functions more as a deceptive cadence, shifting from V7 to vi-7. Additionally, an F is repeated in the final notes of the song, giving the listener a sense of closure.
To further elaborate on this point, the chromagram to your left shows the frequency of the pitches contained in a song, reduced to one octave. We can see that the most consistent pitch used is the F from start to finish, and D is sparingly used.
Notes
There’s a notable detection of the Ab in the choruses of the song according to the chromagram. I personally disagree with this assessment because after several testing procedures, I do not hear an Ab in this song. I am assuming that there is a hidden frequency, perhaps produced by the percussive or electronic elements of the song, that produce this pitch.
It’s worth mentioning that sending this song through stem splitters and BasicPitch will confuse the program. This is most likely due to the noisey nature of the song that has an extremely wide range of frequencies (as seen on the spectrogram). This frequency range confuses the program into thinking that pitches are occurring, even though they are not. This also happens with MIDI readers in ProTools and Ableton, as displayed.
CHORDS USED
This song’s tonal center lies around A...
ANALYSIS
Synopsis:
Unmerited suffering is not your average song. With heaviness right off the bat, the listener is launched into a fury of noise sourced by a screaming man, a crunchy downtuned guitar, crashy crashes and low tuned toms. This song features several breakdowns and gives the listener a lot to chew on.
What makes this song special:
The breakdowns (listed and played to your left) are interesting.
Breakdown A (34 sec to 45 sec)
This portion of the song is the main riff that introduces us to the theme of the song. Right off the bat, I can tell that the guitar is down-tuned to an open A string in the bass – this gives the guitar a much wider range and allows for a heavier sound. We hear a heavy grunt and a lead guitar strumming an open A string and its octave with a hammer onto the B. Tonality has not been established yet, but an emphasis has been placed on the A. This breakdown occurs 14 times before completing its course and moving on to Breakdown
Breakdown B (46- 1:04)
This breakdown exhibits the use of the following pitches: B, Eb. E , D, and F. The major second, minor third, and minor 6th are used frequently throughout this breakdown. Because the intervals are close together, in distance and do not form a conventional triad, dissonance and tension are this breakdown’s greatest strength.
Breakdown C (46- 1:04)
While this breakdown seems simple and sounds simple in its recreation, it deceives the reader. It’s extremely difficult to deciper the exact pitches that Simon plays. I reached out to ask about this breakdown in particular and he explained that he doesn’t remember what he played because he tuned a guitar to a random tuning and just played. While this is the best I could do with this section, it still doesn’t feel accurate.
Breakdown A’ (1:52 - 2:17)
It has a similar movement as breakdown A but includes some new harmonic material that leads. In the second bar of this breakdown, Simon plays a lick that alludes to an E Phrygian modality (using notes E, F, and A). His utilization of the half step between E and F secures this for me. These notes also point back to A, highlighting two out of four of the most important notes in an E7b9 chord.
In the second measure of tune in the fourth bar, Simon uses chromaticism to induce the feeling of insanity and to lead us back using a chromatic walk down from Db. The breakdown is repeated until the song comes to an end.