{"id":1548,"date":"2013-08-22T12:41:19","date_gmt":"2013-08-22T19:41:19","guid":{"rendered":"http:\/\/www.garygarrett.me\/?p=1548"},"modified":"2017-08-30T15:16:21","modified_gmt":"2017-08-30T22:16:21","slug":"100-girlfriends","status":"publish","type":"post","link":"https:\/\/www.garygarrett.me\/?p=1548","title":{"rendered":"100 Girlfriends"},"content":{"rendered":"

There is a passage, in my song Real Girl<\/a>, that clearly showcases both kinds of dissonance<\/a> — the kind that comes from harmonic distance<\/a>, and the kind that comes from reverse polarity<\/a>.<\/p>\n

This melodic passage occurs many times in the song, and it contains a rather dizzying series of tensions and resolutions. My friend Jody Mulgrew<\/a>, who has an exquisite sense of pitch, experienced actual nausea the first time he heard the song. He told me, “I was wondering how to tell my friend Gary that I didn’t like his new song. Then, before the chorus, it started to sweeten up, and when the song was over I immediately hit the ‘replay’ button. I realized it was just tension and resolution.”<\/p>\n

I think my friend was experiencing what I call tonal vertigo. His comment spurred some of my thinking on the nature of harmony, how it may be a byproduct of our orientation software<\/a>. The “100 girlfriends” section is a roller coaster ride in the tonal gravity<\/a> field. Here it is in its original form:<\/p>\n