Madonna: Amazing Discoveries

No, Confessions on a dance floor is not just a good album. This is a real dance symphony. This time I researched it on the topic of musical connections between songs. Honestly, the discoveries that appeared to me frighten me, for this simply cannot be. The entire album, from beginning to end, is built on the same cells, in all the songs it sounds, one might say, the same thing. No, not quite like that - the whole album is a gradual and purposeful development of the same ideas, intonations, problems. The problem is the key word, because I tried to look at this music from the perspective of problem-semantic analysis, which we study only from this course of the conservatory, and which in many ways turned my ideas about music. To make it clearer, I will try to decipher each term that I use. It seems to me that what I write is incredibly interesting, I dawned on this record for a good 2 hours, so if you master this text to the end and write something about this, I will be very pleased :)

So. Firstly, the basis of the melodies here is pentatonic, i.e. the fret is not 7-step, like major or minor, but 5-step. In relation to minor / major, any pentatonic scale has missed a couple of steps. These steps can be different - the essence of pentatonic in the absence of midtones between sounds. Since there are 2 half-tones in natural 7-step frets, then, accordingly, the maximum number of sounds, provided that halftones are avoided, is 5, hence the pentatonic (penta - five). In this case, the option of pentatonicity was chosen, in which, in relation to the minor, the 2nd and 6th steps are missing. And these "holes" are a problem - not of any particular song, but of the entire album as a whole. The term “problem” in this case is used in a purely positive sense - this is the meaning, the essence of the work, what we are talking about throughout it is something without which (from the standpoint of problem-semantic analysis) music simply cannot exist, because meaningless. The problem may or may not be resolved at the end of the work. The solution to the problem for this music would be to fill the “holes” with observance of gravitations - the 3rd step should smoothly (through the 2nd) go to the 1st, and the 7th in a natural fret should smoothly (through the 6th) go to 5 -Yu. And instead of the 2nd and 6th steps, we have those same “holes”, and Madonna strikingly sequentially and accurately avoids these steps. Everywhere? Of course not. In the course of the album, these "holes" are gradually (gradually!) Filled, then reopened. It is interesting that it is precisely the pairs of steps 1-3 and 5-7 that are especially emphasized in music, these “holes” are emphasized systematically and constantly. A perfect illustration of this is the song "Let it will be." There, this gradual filling takes place right during the song. First, the Madonna sings exactly on the 5th, 7th, 1st and 3rd steps (“Just let it be, be” is especially characteristic, where the repetition of the “be” is exactly on the 3rd and 1st steps, this emphasizes a jump instead of a smooth movement). Then, in the middle of the song, a filling suddenly appears where it was not there before, a voice is added where only a smooth movement of 1-2-3 and 3-2-1 is sung all on the same words “Just let it be”. Then the most amazing thing happens - the refrain softly changes! Now there is also a smooth movement between steps 1 and 3 instead of the jump that was there before!

It is because of this cross-cutting issue that the chorus of "I love New-York" sounds so amazingly beautiful, where a smooth descent from 5th stage to the first one is sung, it seems to be the longest movement in the whole album. And that is why Isaac sounds so divine. Isaac is the culmination in solving the problem, because the male voice here behaves quite differently than the Madonna - it is not chained at certain steps and small 3-sonorous tunes, it freely “plows” the entire space of the scale, smoothly filling it, filling all “holes” ", moves in any direction, both smoothly and irregularly, moves in both Dorian and natural frets (more on that below). And it is here that in the chorus, the move 3-2-1 first sounds in the main key in D minor, with which it all began! And Madonna’s voice fills the “hole” in the 2nd step, and the male voice “fills” the 6th step - everything is in its place!

But what happens next? In the next song, the emphasis moves from the 1st step to the 3rd - all the movement goes to her, it is she who sounds to a strong beat (bass - 3-1, without the 2nd step between them), she is the melodic center. And precisely because of this, what happened so surprising me earlier is that the 3rd level turns into an independent tonality, it literally “wins” the 1st. And this is the resolution of the problem in the opposite direction, and precisely because of this, such an unexpectedly dramatic end. And this is exactly what happened, for example, in Chopin - the irreconcilable struggle of the 1st and 3rd steps led to the fact that 3 became an independent key, in which everything ended - this is the 2nd ballad and b-moll sonata (the sonata ends in the main key but the 3rd stage there turns into an independent tonality just constantly). "Turns into tonality" means that he 3rd step becomes, for the new tonality, the 1st, main.

Now about frets. It uses pentatonic, natural minor, Dorian fret and mixolidian major minor. Dorian differs from natural minor in one sound - a high 6th step. Mixolidian major minor from Dorian also differs in just one sound - a high 3rd step, which gives a major paint. Due to this minimum difference between frets, smooth transitions are made from one to another and combinations, especially the combination of major and minor in "Future lovers", "I love New-York" and "Jump" is especially noteworthy, when the 3rd step is high, then low. In exactly the same way, the Dorian and natural minor are compared, where the 6th high and 6th low steps contradict each other. This is stated already in the 2nd song, where, for some reason, a sharp sharp flashes for some reason in the refrain in the upper register in one of the instrumental voices in the refrain, and the sharp sharp there is just the 6th high. In bass, the normal fa-baker is almost at the same time. The culmination of this process where? That's right, in Isaac - there, already quite frankly, a male voice sings in either Dorian or natural minor, and in the chorus in bass in Dorian, and vocals in natural minor - yes, at the same time. And completely harmonious.

The Dorian mood emphasizes one more thing - the 5th step also comes to the forefront, the Dorian makes the 5th step more stable, turns it into a minor tonic. And these attempts to isolate the 5th step into an independent tone, the constant rivalry with the 1st also occurs right from the very first song. In "Forbidden love" the main tonality is generally questionable - in one bar in B minor, in another in F-sharp minor, and so the whole song. Yes, and the accompanying instrumental motif in F Sharp Minor (and the main key is still in B minor). This motive then flows into the next song, so it is easy to hear. And where does this problem find a solution? Ha, right, in Isaac. Everything is in the same chorus. In the second performance, only one note is added to the chorus - Madonna’s voice diverges in the 5th and 1th steps, and this 5th step above does not contradict the 1st one - she is in complete harmony and harmony with her. So, in the very Isaac song that I praised so much, in the refrain alone there are 3 problems that went through the whole album - the problem of steps 1-3 and 5-7, the problem of the relationship between the Dorian and natural minor, the problem of isolation of the 5th steps. Therefore, it caused me such delight - not only as in itself, but as the top of the entire album, the result of the continuous development of a single material.

I repeat once again - this process in this album is total in nature and manifests itself in every song. Each level of the fret has its own, individual role that it carries through the entire album, all stages are in complex relationships with each other. And this is not just amazing - it's unbelievable. What kind of music are you talking about? This is not Beethoven, this is not Chopin, this is Madonna, this is popular music, not just popular - super-popular. The music that is now played in China, New Zealand, Mexico, Zimbabwe, Russia, Malaysia, perhaps even in Antarctica and in space. Here, it seems, such jewelry subtlety, such symphonic thinking, such depth are not needed. Make Madonna just a collection of good songs - it’s unlikely that the album’s popularity would be less than that, everyone would be happy anyway, maybe even more happy - because when a song has no clear beginning and end, it’s inconvenient to listen separately, and how many people listen to albums as a whole? There can only be one incentive - the most persistent pursuit of excellence. Combine an album of easy dance music with one mind, one intonation, one fret system, limit yourself to short pentatonic tunes instead of the wide and beautiful melodies that Madonna oh how elegantly she can sing ("Don't cry for me, Argentina", oh-oh- about ....) - how could one even conceive of such a thing, not to mention embodying it? We are present at the birth of a new genre - dance symphony. And that is wonderful.

Source


October 2005

IGTTYAS

The Beast Within