Advanced Pitch Relevance / Counterpoint
Overview
Less is more. This is an example of how basic applications of well-structured motifs and pitch relevance can invoke lots of expression using minimal pattern usage and flair. The clear vision for the chart allowed its design choices to invoke all kinds of nuanced emotions, even one of nostalgia.
Preparation
This song is particularly simple rhythmically, where almost all of the rhythms are straight 8th notes. The highlight of this song is the catchy nostalgic melodic lines, which has a slightly nonstandard form with an excellent narrative, all of which will be brought to the forefront of attention through our pattern choices and motifs.
One duality to pay attention to in this song is the switch back and forth between what we will call "combined hand patterns" and "split hand patterns". Split hand patterns are when there are separate musical ideas being represented by each hand individually, while combined hand patterns is when we follow a single musical idea using columns of both hands. The distinction isn't always perfectly clear, but the goal is to explain how this idea is relevant here and notice the shift in pattern choices.
Analysis
Highlight 1: In the very beginning, we start with a combined hand pattern, since there's really only one melodic line to focus on, the driving synth guitar. The chords that go with each note are chosen very deliberately, with properties that allow the listener to understand its pitch relevance. The first note is [23], which is a gives a closed position following the crash. Every chord following this shares exactly one note from the previous chord, which keeps one finger "anchored", giving the synth guitar its driving bouncy feel, but still changing each note to reflect the moving melody. The first three chords increase in width, from [23] to [24] to [14]. Even though the melodic line continues to trend higher in pitch, it pulls from [14] to [12] in order to set up the largest interval jump to [24]. By precending the jump from [12] to [24] with a strong directional push to the left, it makes the rightward movement feel even more dramatic. The three chords [13][23][12] at the end of this section have a similar concept applied, but with a less dramatic leap, as the melodic phrasing feels like it is relaxing.
Highlight 2: In this next section, the same melody in the beginning is repeated, but this time with a classic dance drum pattern behind it. The melodic phrasing is of the form A B A' B'. Notice that a lot of the same concepts from before are applied, but this time the first significant interval leap in the melody uses [12][34], completely lifting one hand. This pattern feels more "loose", and reflects the more relaxed nature of this section compared to the intro. The intro is like a rocket preparing for lift-off, and this section is as if the rocket has successfully launched into the atmosphere. The next phrase has a similar leap from [34] to [12], in order to pull back some of the initial relaxed excitement and provide some tension. When the A' phrase arrives, while the melody is identical, the bassline/chord under it is different and makes it feel more nervous compared to the original A phrase, so even the significant interval leaps in the melody are placed in a different context now. Where there was an interval jump in phrase B, there is now a surprise downwards turn in B', indicated by the [23][14] pattern, as if to pull on the brakes. The interval jump is no longer a release of energy, it is controlled response to prepare for the next part of the journey. There is a deeper abstract layer of storytelling through the pitch relevance and phrasing of the patterns by controlling the mood and manipulating expectations. The close attention to detail in this kind of patterning is shown throughout, but in the rest of the analysis we will focus more on the motifs and structure.
Highlight 3: This is where we encounter our first split hand pattern. First notice that there is a call and response between the square synth and the bell synth melodies. We will once again label this form, this time with S1 B1 S2 B2 S1 B1 S3 where S refers to the square synth melody calls, and B refers to the bell synth responses. S1 is a split hand pattern because if you focus on the left hand, you will notice that there is a general 1212 repeating 8th note rhythm. The left doesn't fit this pattern perfectly, but that's intentional and still works. The melody is being layered into the right hand, but if this motif is followed too strictly, there is not only not enough room in the right hand, but it will also feel less natural and holistic. Nonetheless, the left hand provides the foundation of the driving drum beat, while the right hand generally dictates the melody, despite the limited space. In B1, you will notice that the left hand no longer follows the 1212 pattern, but instead variations of a 123123 pattern. The phrasing is now broken into three 8th notes instead of two, in order to retain some of the split hand structure while giving the bell melody a lighter feel on the upbeats. S2 is mostly the same idea as S1, but B2 is particularly interesting. Firstly, the bell notes are on downbeats instead of upbeats in B1, so the three 8th note phrasing won't fit. In order to achieve the same light feel but with stronger downbeats, the left hand is relieved from playing 8th notes. Secondly, this is no longer a split hand pattern, it is now a combined hand pattern, which is a significant change from the start of the section! There are two main ways in which this makes sense: The realization that the pattern is struturally different is fitting of the drum fill to signify a transition, but in addition, it doesn't feel out of place because the first B1 phrase exhibits combined hand pattern properties anyways! On one hand, a 123123 repeating pattern can be thought of as a split hand pattern, due to the repeating 12-12- on the left hand. However, the subtle variations on that phrasing crossing over into the right hand is what makes it a combined hand pattern! This ambiguity in phrasing contextualized in two different ways as you are playing through the song is what gives this section so much character. It places a lot of significant meaning and structure behind the bell synth response, which is how it manages to contrast so well against the square synth.
Highlight 4: At this point, we should take notice of the difference between split hand patterns and combined hand patterns are utilized. Split hand patterns tend to be better at tracking more relaxed moods, because the left hand fits into a comfortable groove. Combined hand patterns tend to indicate higher tension points. This also puts into context the loose nature of the section in highlight 2, where it wasn't clear that it was a split hand pattern, but because it exhibited similar properties to the split hand pattern in highlight 3, retroactively puts into context that mood. In this section, we see a little bit of similarity in both of these types. It resembles a split hand pattern in that the kick drum is fixed onto column 1. It also resembles a combined hand pattern because of how column 2 is crossed over into by the melody. Combined with the decrease in note density, this is how the narrative is pulled back a little bit in intensity, kind of like a bridge. Notice that all of the hold notes except the last one are placed into either column 2 or 3 by pitch relevance. Even though the movement between these hold notes is minimal, because of the shaping of the notes around them, it doesn't feel unnatural. This isn't very interesting on its own, but does set up a motif for the next section in highlight 5.
Highlight 5: This is the last section before the climax, and we are revisiting the square synth from earlier in the piece. We want somewhere to build from, so in this more relaxed mood again, we again go back to our split hand pattern, and this time it is most clearly a split hand pattern. While the left hand continues its 1212 repeating pattern, the right hand will alternate between the [34] and 4 hold, and the [34] and 3 hold in the melody. Despite this pattern being very repetitive and dry, it still works because your brain is filling in the melodic contour against the changing notes and chords in the song. It is a remarkably basic and simple pattern that does not feel reductive or bland. It helps that this alternating hold motif was supported in the previous section as well.
Highlight 6 (green): We are at the climax now. The modulation increases the brightness, and we are ready to turn back home after an exhilarating journey, feeling a bit wistful and not quite ready to end the experience. Many of the motifs from earlier in the chart are revisited here. Initially, it is exactly the same as in highlight 5, but the patterns gradually decay from a clear split hand pattern into a combined hand pattern, as the bell synth on the downbeat becomes more and more prominent, alluding to highlight 3's B2. As the patterns transition from split hand to combined hand, it even briefly references the same patterns from highlight 2. Once we hit the long holds, you will notice that the square synth always follows a 432 sequence, and the synth always goes back and forth between 1212, interwoven between the holds. The 432 theme is the opposite of the 123 motif from highlight 3's B1, yet the alternating of the long holds resemble that of sections 4 and 5. The way the left hand has a motif anchored onto column 1 (and 2) while the melody crosses over into column 2 as well also resembles highlight 4. Yet again, remarkably simple patterns are used to represent complex ideas through its structure and motifs. The ambiguity of the split hand pattern versus the combined hand pattern in addition to the many other earlier established motifs utilized in a short melodic phrase just feels like a perfect fit for the ending, a subtle and thoughtful reflection of a memorable experience.
Conclusion
While in some ways outdated, this chart stands out to be a classic that was far ahead of its time in many ways, in particular its usage of very minimal column movement to represent dynamic pitch contour, the density of its motifs as well as their narrative function, and how it successfully executed split hand patterns in only 4 columns without feeling cramped or unnaturally rigid. The intentional, direct, explicit repetition of patterns is what gives the chart its nostalgic feel, where every time a pattern reappears, it feels familiar, and every time the same motif is exercised, you feel like a sense of déjà vu, as if you've played it before. Its construction demonstrated the level of planning and clarity of ideas by how the patterns are far more effective in context of the entire chart, but also demonstrated the incredible effectiveness of said planning and structure.