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Jung Kook's "Standing Next To You" Music Theory Explained

Jung Kook's "Standing Next To You" Music Theory Explained
stereogum.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from stereogum.com Daily Mail and Mail on Sunday newspapers.

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Paramore "Running Out Of Time" Music Theory Explained

Paramore "Running Out Of Time" Music Theory Explained
stereogum.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from stereogum.com Daily Mail and Mail on Sunday newspapers.

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Def Leppard's "Photograph" Music Theory Explained

In January of 1983, Def Leppard released their massively influential third album, Pyromania. It’s a masterpiece — made of equal parts hard rock and radio-friendly melodic pop, fusing the raw crunchiness of AC/DC with the tuneful, painstaking sophistication of Boston. Forty years ago this week, the album’s lead single reached its peak on the Billboard Hot 100 (#12) after hitting #1 on the Mainstream Rock chart. That single, “Photograph,” perfectly encapsulates all the maximalist elements that combine to make Pyromania a truly transcendent album. On this 40th anniversary, let’s dive deep into the song’s composition and production elements to explore how it all works.

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Lana Del Rey's "A&W" Music Theory

I never thought of Lana Del Rey as a piano artist per se, but clearly, she is. Though she doesn’t play piano herself, the instrument features prominently in much of her music, and centrally on her newest release, which came out late last month. Did You Know That There’s A Tunnel Under Ocean Blvd is a stunning piano-based album with a weirdly long title (and a conspicuously absent question mark). Created in collaboration with producer Jack Antonoff, this expansive, dreamy album should finally put to rest any lingering notions that Lana Del Rey’s artistry is “inauthentic” (a common critique she faced early in her career). From top to bottom, the album folds inventive textures, harmonies, and musical twists into an enthralling amalgam of the sort rarely heard these days in mainstream pop music. Let’s dive into the album’s intoxicating second single, “A&W,” to examine how it works.

The arpeggiated piano and finger-picked guitar figure we hear at the start of “A&W” establishes the unusual harmonic language that makes the song so alluring. In a previous In Theory article, we discussed how Kurt Cobain used non-functional harmony to create bold and immensely evocative music — an approach integral to Nirvana’s sound. We hear many of the same elements in Lana Del Rey’s “A&W.” Like Kurt Cobain, Lana uses chromatic mediant relationships to invoke a sound that can be alternately unnerving and beautiful — or both at the same time.
Unpredictability
Before diving into Lana Del Rey’s use of chromatic mediants, let’s clarify some key concepts. Functional harmony is the idea that each chord in a piece of music serves a specific purpose. The chords all have pre-determined “roles,” as though they’re archetypical characters in a story. As the chords change, we experience predictable moments of tension and release in the music’s “narrative arc.” A particular chord in a musical phrase might feel unstable, as though it yearns to resolve (which it often does in functional harmony). The classic example is the V7-to-I “authentic cadence,” where the unstable V7 chord feels compelled to resolve “home” to the I chord. See Figure 1, below. An analogy might be the force an iron nail experiences as it’s pulled towards a nearby bar magnet. There’s a similar kind of harmonic “pull” that chords experience in functional harmony, creating expected cycles of tension and release. It’s one of the defining characteristics of most Western pop music — and like with the iron/magnet analogy, it possesses an air of predictability.

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