100 Girlfriends, Part 2
My new song video, Real Girl, contains many examples of consonance and dissonance, tension and resolution. In my last post, I extracted a phrase from the song and slowed it way down to illustrate how the bass and melody dance, creating and resolving tension in several different ways. Here is the last half of that analysis.
When we last left our heroes, they were on the 4 and b6, quite consonant relative to each other, but still unresolved because the ear remembers where the tonic is. Here is that clip:
Now the melody moves back to the 7. This interval, against the 4, is the dreaded tritone, the devil’s interval, and it’s dissonant indeed.
Then the bass moves up to the 1, lessening the dissonance, and the melody soon joins it, and all is consonant.
But there is still a sense of incompleteness, even though both the bass and melody are smack on the tonic, the most consonant interval of all. What’s up?
The answer is that the ear remembers that the root is still the 4, and we aren’t quite home yet. Getting there requires a cadence, or final resolution. Notice that in this next clip the bass note never moves, but the harmonies and the melody signal that the root has now moved to the 1 and we are home. The bass note has magically changed character.
Here is the complete sequence, annotated.
Next: The Blue Tritone