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Hz)<br /> Indicates a strong sub bass/bass presence https://freight.cargo.site/t/original/i/F1898242557420743601112894563906/Belleville-chrom.png https://freight.cargo.site/t/original/i/C1898242557512977321481442321986/unmerited-suffering-spect.png https://freight.cargo.site/t/original/i/V1898242557476083833334023218754/Boy-s-a-liar-Pt2.-Spect.png https://freight.cargo.site/t/original/i/X1898242557383850112965475460674/2022123-chrom.png G# is persistent throughout the piece and this and it is very chromatic https://freight.cargo.site/t/original/i/L1898242557494530577407732770370/unmerited-suffering-chrom.png https://freight.cargo.site/t/original/i/W1898242557346956624818056357442/Know-chrom.png This song is in the Key of E as all four sharps are present. The use of the D natural and the absense of pitch diversity indicates a heavy reliance on the D, E, and A notes, indicating an Dadd9 without the third or an Aadd11. Could just be a quartal thing. <br /> Interesting that the use of C# points to D but the G# Also points to A https://freight.cargo.site/t/original/i/X1898242557402296857039185012290/2022123-spect.png Interestingly, few frequencies occur above the frequency 2048 (C7).  https://freight.cargo.site/t/original/i/R1898242557217829416302089496130/Barley-chrom.png This graph shows the use of A and G#, indicating that this song is composed in the key of A major https://freight.cargo.site/t/original/i/Q1898242557457637089260313667138/Boy-s-a-liar-Pt.-2-Chrom.png https://freight.cargo.site/t/original/i/R1898242557439190345186604115522/Belleville-Spect.png Right around the 1:30 mark, we see a significant increase of frequencies higher than 2048, which are indicative of fricative sounds in the voice. 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