Music theory of EF
- David Ryle
- Posts: 66
- https://mapa.targeo.pl/kuchnie-na-wymiar-warszawa-ladna-41-97-500-radomsko~20490206/meble-wyposazenie-domu-sklep/adres
- Joined: Sat Oct 13, 2007 1:25 am
- Location: The present bifurcation
- Contact:
Music theory of EF
That said, it occurred to me that I haven't read a dialog on Edgar's music in terms of the theory behind "his sound". As with most original artists, there are many essential parts that make up the style. I would like to point out at least one of these "tools". If there are any educated music theorists among us, feel free to add or correct any wrong assumptions I may put forth.
I keep hearing Edgar use a major triad a half step up from the root of a minor triad, thereby forcing a momentary diminished (?) seventh chord. For instance, an E min triad (E,G,B) is sustained, the third (G) is dropped and the major triad of F (F,A,C) is inserted over the E minor. Of course stacking is varied (such as the 5th below all, etc.) and leads to other technical discriptions, but in essence the same feel of a major seventh with the fourth emerges.
This is nothing new or unusual, what is unique to EF is that it is done in a measured way and not in the usual passing tone manner. Take "Daughters of Time" as an example. There are countless other songs which this occurs in but my memory fails. I also will admit I may be grossly over-simplifying here and Edgar himself would probably laugh, but what-the-heck.
This topic was pointed out to me many years ago (1982 I believe) by a music major friend of mine. He wasn't much of a TD fan until he heard Edgar's "Stuntman". He then became a big fan and I was subsequentially harrassed by him for all my albums so he could study up. He would jump up and point out the portions of Edgar's stuff that would grab him. His opinion was that Edgar was a genious at putting together notes in unfamiliar contexts.
This I have discovered too over the years and is part of what sets his "sound" apart from almost anyone else out there. I have often annointed him with the coveted "Modern Mozart" moniker for this reason. His genious is not in invention, but in execution of melody. He will use what is usually just a normal passing tone in, for instance blues, and apply it as a sustaining tone for the bar. This is indeed surreal and in keeping with everything else in EF's style (graphic and life philosophy inclusive). And the best compliment of all is that it has been used by many since TD became so popular. History will be kind to Froese.
-David Ryle