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At most, I'd say it's the tempo and rhythm along with the ambiguity that creates a feeling of rush or stress.īut to the point, Uematsu regularly lifts from baroque/classic music, but narrowing it down to a descending major 7 arpeggiation is a little too granular to have any real meaning without including context of the rest of the music.“I saw his ship sail into New York Harbor that day in 1891 – past the Statue of Liberty, past the hundreds of people cheering on the shore. I would say it has to do with the ambiguity you mentioned, but there are countless examples of misdirected key centers / ambiguous phrasing of passages that don't really create the intensity this opening can have, though this might be a quality of the inversion it's using (that flat 6 to run down a minor chord does feel more minor sixthy than major 7thy). I would say the stress of the song is in the rhythm+tempo presented (particularly bringing the drums into context).
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is pure dissonance whether you keep them spread out or group them up into minor 2nds).
#TCHIA CLASSICAL MUSIC FULL#
The real crux, though, is that an intro arpeggiating down a major7 chord doesn't have an established key center to begin with, but would at first impression imply that chord itself is the key center, and so any tension you think you hear has to be a quality of the chord itself (and yea, a major 7 interval is incredibly dissonant, to see their full glory, stack a bunch on top of each other, so C + B + Bb + A for example. So utilizing a VI in a minor key doesn't really create much stress with the tonal relationship to the key center, again less so when the maj7 is involved. Remember, D minor is the iii in the key of B-flat, and that motion has very little stress (why the IV-I-ish analysis doesn't really work, or why the I6 is used to soften a resolution). It could also be coincidence-I doubt Tchaikovsky was the first person to write something like this either.Ī Bb wouldn't give much stress for a D minor key.? Any more than a maj7 already has that highly dissonant maj7 interval.ĭ minor and F major are basically the "same chord," and the B-flat is that weaker IV-I resolution in F and it often works much the same with the D minor chord, so you'd think there might be a little bit of tension from that implication (there isn't a whole lot in actuality due to them not being exactly the same chord, and that's one of the big uses of a I6 or Iadd13 depending on how you term it, in softening resolutions and the chord quality itself), but we're talking about a Bb maj7, so the top half is literally a D minor chord which gets rid of any real feel of that IV-I resolution that might be there and has no significant stress in D minor (if you resolve to a Dmin7, that IV-I-ish feel sort of comes back but still not really close to being as strong since the voice leading is up and is a single note change out of four). So Uematsu could have been inspired by Tchaikovsky. And this is a very distressed portion of the music, so the harmonic gymnastics here add to that. It looks like an A major 7 arpeggio, but listening to it makes me think that C-sharp is actually the root, making it a C-sharp minor chord with a flat 6. The passage from 1812 passage uses the same arpeggio starting from the root and descending, but obviously in a different key.
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We need to hear the rest of the music before we know what the chord actually is, although once you're familiar with it your brain will actually fill in that information for you. It's possible to hear the chord as D minor with a flat added 6, or as B-flat major 7. It also begins on the root (B-flat), but lands on the 3rd (D), so it creates some confusion about the key. This contributes to the the sense that something is "wrong" when hearing the theme music. In this case, the chord is built on B-flat, which cause a lot of stress in the music because the home key is D minor. So the motive from J-E-N-O-V-A is what's called a "major 7" arpeggio, meaning it is a major triad with the major 7th added to that.