Yale courses-Listening to Music-Lecture8.Bass Patterns-Blues and Rock

I do want to talk about chords. Last time we worked through this idea of the scale and how you can build triads on each of the members of the scale, and we talked about a triad being a configuration of three pitches where you take the first, the third, and the fifth. The first of the triad, this is a term that we'll be going over today, is called the what? The root of the triad. So if we have C, E, G, the C is the root of the triad. The lowest note of this aggregate of three is the root of the triad. So we can build triads on each of the members of the scale. We said that some of these chords tend to be used a lot more than others, that the tonic is very important, the dominant is important, the subdominant right next to and below the dominant is important. We're going to be talking about the sixth chord today. We could give that a name. We could call it the submediant but that's probably getting too technical. We'll just call it the sixth chord. So we've got a I chord built on the first degree of the scale, a V chord built on the fifth degree of the scale, a IV chord built on the fourth degree, and a VI chord built on the sixth degree. Now I had an interesting discussion in section this past week and a couple of really good questions were asked. I started by saying, could you come up with any kind of, well, you tell me in fifty words or less, what I said in lecture yesterday about harmony? How does harmony work? Can you come up with a visual image of how harmony works? So we tried out a couple of things. One of the things that we discussed was this type of imagery here where you'd have vertically these pillars, if you will, or we could even call them more, I've sort of looked at this, sort of called them tree trunks almost, and these tree trunks were the chords and at the base of each of these chords, at least conceptually, theoretically, is this thing called the root. So I like this tree metaphor here. So we've got the root here of the, and then the trunk, and then up above, of course, this florid canopy would musically be the what? The melody. Okay. So we might think about that. Now in the course of this, a student asked a very good question that I should have pointed out a long time ago, and that is when an orchestra plays or an ensemble plays and they're looking at their music and they're reading their music, do they play a chord? Does the violin play a chord and are the trumpets, each trumpet playing a chord, and the viola, is it playing a chord? What do you think? No. It's just playing one note, one note of a chord, one note of a chord, and once again we, our ears, hear this aggregate of sound and we say, oh, it's got that, that, that, that, and we extrapolate out of that information that it is this particular chord. But if you were to look at what the Y.S.O. has on its stands, nobody is playing a chord. They're just playing individual notes that all together form a chord. And we pointed out, however, that one individual has the music that has all of these parts on it, and that, of course, is the conductor who has the full conducting score, the full score in front of him or her. So that was one interesting question that came up. So keep this in mind if you're wondering about this idea of chords. So we could say this is the root, maybe this is the third and that's the fifth. These other instruments are filling in these things at various spots to produce this aggregate of the chord. Supposing this was, we mentioned this also, this idea, supposing we had other things kind of running around there. Without those other things running around, we would have a good sort of model of homophonic texture, sort of block chords changing in that fashion. If you put in other little strands of melody, it changes it more toward polyphonic texture. Let's review another point and I'll get to a second question that was asked. Why do we have to change chords? We talked about this last time. Why do we change chords? Yeah. Because the melody changes and not all harmonies are concordant with every note. Someone asked me, well, why are some notes consonant and why are other notes dissonant? And the answer has to do with ratios and string sizes and lengths of pipe and things like that, but generally speaking, pitches that are right next to each other, very close to each other, are dissonant. If you get a highly irrational ratio like nine to eight, which is the whole tone, or seventeen or eighteen to nine, seventeen, which is depending upon your interest, tuning is the half-step, those irrational ratios are very dissonant. Or that kind of sound. But if you allow a little space in there, let's say you go to a three to two ratio or a six to five, it gets more consonant. Let's see how this would play out. Here, for example, we have the pitch C and either note to above or below it is dissonant. These are very close together. Now let's play this on the piano. So here's a C. If I play the D above it, it's dissonant. The B below it, it's dissonant. But let's say I go down to the A below it, allowing a little separation between the two pitches now. What about that? Consonant or dissonant? Sounds a lot better. What about this? Now going down to the G against the C. Yeah, almost. Sounds fine. Sounds kind of bland or revenue neutral there. What about this? Yeah, sounds sort of nice. What about this? Yeah, not so much. But if you think about it, so it's not that we're allowing even more space here. What we've done is taken this pitch and played it all the way down an octave below it, so we're actually getting back to this configuration of the pitch right next to it. And we could then, of course, we could go down one more step and we would get the octave, which is a duplication of two to one. So that's a very wide sort of ratio there. So that's something to think about. The closer these pitches are together, the more likely they are to be dissonant and the desire to have some space added there. Questions about that? Okay. Let's go on now to talk about chord progression. Anybody want to do it? What's your understanding of what a chord progression is? If I said chord progression, I think we have that term up on the board today. What is a chord progression? Let's see. You going up? Yeah. Far away. Nice and loud, a little bit louder. You couldn't hear it. Okay, good, excellent. A sequence of chords that sound good together. We could say that sort of marching along in a difficult fashion. That kind of makes sense together. All right? They seem to be going somewhere, and there's this sort of force of pull or gravity in music having to do with some chords wanting to go to other chords. So we've got a chord progression. We've talked about the root of the triad. The root of the triad is the bottommost pitch of that triad. Supposing we didn't go C, E, G, but we decided to start with the E, G, and then put the C up on top. C, E, G, C, well, that'd be what's called a chord inversion. We're not going to get into that because that takes us into heavy-duty music theory, but it's if we don't have root position then we've got some other note of the triad in the bass and we've got some kind of chord inversion. So that's what that particular term means up there. What are we going to do to hear these chords? How do we hear chord progressions? How do we hear harmony? What are we listening for again? Obviously we've talked about it again and again and again. We're going to be listening for the bass. Okay? And all of our musical experience tells us to listen to melody. Melody is beautiful. That's what we want to hear, but now to get a sense of harmony we're going to listen to the bass. And we said last time we want to do two things. We want to figure out if the harmony is changing and if it is changing, whether it's changing at a regular or irregular rate. By regular rate we mean that the amount of time that each chord holds is exactly the same. Every chord holds for the same length of time. If one chord holds twice as long or only half as long, then we have an irregular harmonic change, irregular rate of harmonic change. So let's begin with our first example here this morning. It's from Richard Wagner. It's the beginning of his Ring Cycle and we're going to listen to this. Well, how do we hear the bass? How do we tell if the harmony is changing? What I do is try to sing the bass. I don't know whether it's easier for gentlemen or not because our voices are sort of in the bass, but maybe this is payback time since ladies are always singing the melody. So we'll focus on the bass and we'll try to sing the bass, and if we find that in singing the bass our voice is not changing, probably the harmony hasn't changed. If we have to sing a different pitch, then probably the harmony has changed. So let's try that as an initial modus operandi here and we'll see how it works. So here's an example from Wagner. See if you can find the pitch. Sing it. I want to hear the sound. Louder, please. Did it change? No. He keeps that same E-flat chord for about six minutes at the beginning of the overture to Rheingold, and on the basis of that you know there's going to be a very long opera. He's going to sit there on one chord for that amount of time. He's going to go on for a long period of time. Okay. Let's listen to an example from the realm of pop music this time. What about this one? Is it changing? I think this is Dave Matthews' band. What about this one? See if you can sing the pitch. Sing it. What about that one? Did it change? No. So that one didn't change either. We're going to have some that change and we're going to work through this progressively in just a moment. I want to make one other point before we launch into that, and that is the following, that composers use the rate of harmonic change, whether it's changing or not changing, to sort of make us feel different ways about the music that we are listening to. It gives a sense of what this music is all really all about. And since, as we say, so much classical music doesn't have a text with it, we've got to have some markers in there to know what the composer is trying to communicate to us. Here's a famous example from Mozart's G Minor Symphony, and so on. So if I separate this noodling here, which is just a kind of arpeggio patterning of the chord and just have the chord stay there, All right. So those are the chords underneath. Notice at the beginning, one, two, two, two, three, two, four, two, one, two, two, three, two, four, two. At the beginning, these chords are holding for four measures or a total of eight beats. Then as it goes on, What happens here? Change, change, change, change, change in every beat. Then change, change, change, change, change, change. Then we're getting two changes per beat. So what's happened to the rate of harmonic change here? Is it regular or irregular? Highly irregular. And what is happening to it? It's getting faster and faster and faster. So here in the G Minor Symphony, we feel this, oh, it's full of tension, angst, anxiety, perhaps passion. It's driving somewhere, and one of the things that's driving it is this accelerating rate of harmonic change. The amount of time that each chord is holding is getting shorter and shorter and shorter as we drive into that cadence. Now the cadence is simply the end of a musical phrase, particularly in this case the end of a chord progression, so a point of arrival. The cadence brings us to a point of arrival. So that's a piece of Mozart. Let's turn to a piece of Beethoven now, his Symphony Number Six, the Pastoral Symphony. Let's listen to just a bit of it. Can you pick out the bass? Can you sing the bass pitch? Now we can. Okay. No, that's fine. That's fine. We'll stop right there. Well, it's difficult. It's not easy. Can you pick out the bass? No. I mean, I was having trouble picking out the bass there. So sometimes you can do it and sometimes you can't do it. We're going to focus now on some passages where we can do it. We're going to see how Beethoven is setting up some chord progressions here. So here we've got, let's see, we've got some chords set out and we're going to, let's move it along about 138 or wherever we are there. We've got some chords set out here. We're in the key of C at this point and we're going to hear Beethoven go to a tonic chord, then a subdominant chord, then a tonic chord, then a dominant chord, and so on. We're just going to watch and listen to, maybe even sing along with the bass as he changes chords. We'll hear that again, but as you can see, and then the changes came a little bit faster and faster. So let's listen to that again and we will then get over to here where he's sitting on the tonic chord and we want to see how long he's going to hold this tonic chord. Okay? So he's up to something here with this rate of harmonic change. We almost fell asleep on that tonic chord. He's doing the opposite of what Mozart did. He's trying to relax us here by slowing down the rate of That held for about thirty seconds, that tonic chord. Almost all classical music involves irregular rates of harmonic change. A point I think will become apparent later on. But that is perhaps why this is the Pastoral Symphony, this idea of being relaxed, being outdoors amidst nature and being in a very relaxed sort of state of mind. The rate of harmonic change has slowed down considerably here. Okay. Now for the rest of the session today, what I'd like to do is take examples from the realm of pop music and use them as paradigms for what happens in the world of classical music. Why would I do that? Why, when dealing with harmony and bass lines, do I want to start by focusing on popular music and then apply those principles to classical music? What does pop music do for us that's very helpful? Marcus? Okay. It's not like it is very regular, Marcus. I'm always telling my kids, don't like that. No, it is indeed very regular. So it is indeed very regular. So that's one thing, and by regular we mean these patterns keep repeating again and again. So Marcus is absolutely right. That's the big-ticket item. It's regular. It oftentimes repeats and it can be symmetrical in that sense. Another observation? Roger? Okay. Yeah, that's another point. It's more obvious because there are probably fewer lines there so that you can focus on the primary line, the basic line, the bass line. Yeah. So there's a larger, it's probably simpler in that sense. Any other observations? Well, here's one other that you might not have thought of, and that is that most of the chords in rock music in particular tend to be root-position chords, and for that reason they're easier to hear. When you start getting an inversion of going, what note is it, what chord is it, that obfuscates the issue. So because so much popular music, and particularly rock music, has those chords in root position, we can track them more readily. And then finally we can add the idea that maybe with a lot of electronic basses and things like that, that they tend to play the bass just louder. Okay? So all of these factors, particularly the idea of regularity and repetition. So let's take a couple of examples here. Now let me go over and look at my list. Okay. I think we have something, I've chosen something called Badly Drawn Boy. I had this in my collection. Anybody ever heard of this? Okay. One, two, this is not, okay, three. So this is, is it Badly Drawn Boys or Boy? Boy. What? Singular. Okay. We're going to hear just a few seconds of this, see if you can determine how many chords we have here, whether we have a chord change. If so, how many chords are involved in this chord change, and are they changing at a regular or irregular rate? Before the Corporate Counsel's Office starts getting on my case. What about that? Regular or irregular? Regular, yeah, and then we go on to the next one. And how many chords were involved there? Oh, difference of opinion. So how many? Well, let's hear it again. I think we have, let's do, I'm sorry, Linda, let's do it again and see if we can figure this out. We're, wasn't planning to do this but we have time. Let's do it. So two, okay, so we have just two chords there. We're just changing back and forth through two. Here's another example, Justin Timberlake, sorry, but it's a good example. Let's listen to this. How many chords are involved, regular or irregular? Regular or irregular? How many of you think regular? Raise your right hand. Raise your left hand if you think it's irregular. Yeah, it's regular, and each chord was holding for two beats there in duple meter. How many chords were there altogether? Yeah, I think there were four chords there. So we had change, yes, there was change. It was regular and it happened to involve four chords. Okay, pop music. We've been using some pop music here. We've talked about why we use the pop music. Let's talk about what the difference between pop and classical music is. We touched on this a little bit before, but let's play with this again. Let's say you go home for Thanksgiving break and your grandmother says, what have you been doing at Yale? Well, I've been taking this course on music and we've been studying classical music and some popular music. And she says, what's the difference? Tell me what's the difference between popular music and classical music? How would you explain to your grandmother what the difference is? Maybe six, seven, eight different bullet points here. Who could get us started? We've talked about some of these already having to do with the nature of the harmony, that pop music tends to have simpler harmonies and that those harmonies tend to be more repetitious, that they tend to have harmonies that have chords in root position. And here's one other thing you might not think of, and then I'm going to stop and I'm going to let you add things here. They tend to be just triads, whereas in classical music we could have a triad but we could also add a seventh note, one, three, five, seven, nine, eleven, that kind of thing. It gets more dissonant the more notes that you add there. So classical music does involve more complex chords. Okay. What else? What else here? Oscar. Pop music tends to have a vocal part. Why? Well, because it wants to be popular. It may be a circular argument there. Well, okay, but if you're going to have a singer, what's that singer going to be singing? A melody? Well, classical music has melody. We have a violinist play a melody. If you have a singer, a singer is going to be singing a text. Right? We talked about this before, that classical music, probably eighty-five percent of it, does not involve a text. And that's a whole different ballgame because then you have to communicate meaning in a completely different sort of way. Maybe you communicate meaning by slowing down your harmonic motion to make us feel relaxed, so that each of these, with pop music you would have, you know what the thing means but with the classical music you've got these sort of subliminal symbols in there, subliminal signifiers that we got to pick up on, and we'll be talking more and more about that. So we do have to have a very important point that Oscar raises there. We've got text in pop music that tells us what this music means. Anything else? Caroline. Okay. If you go to a symphony of mid-Beethoven on each movement, it will probably last fifteen minutes. If you put on a CD, you know, we could have what's the timing on the Justin Timberlake thing there, or any one of the tracks? Pick up the Duke of Earl one there. Do they give us timings? Okay. I can't read it, but two minutes and fifty seconds, two minutes. This is only two minutes. Three minutes and twenty seconds, that kind of thing. They're short, whereas Beethoven is mentioned as much longer. What does that opportunity of length provide us? It provides us the opportunity to be more diversified in terms of the mood of the music. So in classical music you can have rather wide mood swings. Remember we had in that one piece and then there was a modulation tying them together, but those were completely different sentiments. Usually with a piece of popular music you get a single ethos, a single feeling, a single mood associated with the piece, and the piece will tend to be shorter. Anything more that we could push on that? Yeah. Okay. That's it. Yeah. Most classical music is written down. We've talked and we've spent a lot of time talking about that, and most popular music, or virtually all of it, although after the fact people try to write it down. You can go buy a score of The Beatles, for example, although they didn't design this initially with music, but after the fact people sort of listen to it and make written, put in written form what had originally been just an orally conceived artistic statement. Anything else? Yeah. Oh, so we've got the difference between acoustical instruments, which are sort of natural wood and strings and that sort of thing, and electronically amplified sound in which it might be sent to a mixer or perhaps a synthesizer that could play with those partials that we talked about and maybe turn a clarinet, somebody playing at a keyboard and you want that keyboard to sound like a trumpet, well you just turn a mixing board and you can get those pitches to sound like a trumpet. Or, for example, let's say you're Cher and you're getting into your early sixties and you really can't hit that high note anymore, you can get electronically that particular sound to be enhanced. And let's say you can't hold that. Let's say Pavarotti at the end of his life couldn't hold notes as long as he could when he was recording in 1978. Well, you can just, an engineer will just sit there and isolate that second of sound and then give a times three command and boom, well look at Pavarotti hold out that note. Well, it's the miracle of the engineer and not the singer. So there are a lot of acoustical things, sort of tricks of synthetic things going on in pop music. Yeah. Student Question. I couldn't say it better myself. Say that nice and loud so everyone can hear it. Right. Exactly. It's not, and that ties in with the harmony also, which is also a lot more predictable. And so generally speaking, when we end up with classical music, it's much more diversified, it's much more varied, it's much more complex. We've got contrapuntal lines operating in it. It has the capacity for expansion. It can take us through the full panoply of human emotions within one particular composition, and it perhaps allows the opportunity for more personal interpretation. Exactly what does this music mean? More personal interpretation because we're not tied to a text, we're not linked in to a particular text that tells us what it's about. So those are just a few ideas as we pursue this. Well, what I'd like to do now is move here to a couple of additional pieces, and we're going to use an example of pop music now with a three-chord chord progression. We've heard, I guess it was Badly Drawn Boys there with a two-chord chord progression. Now we're going to hear Beach Boys, I guess, with a three-chord chord progression, and it's going to be subdominant, dominant, tonic. Is it regular or irregular? Let's try to sing the bass. Stop it there. Can you sing that bass? You sing it for me. Here's the tonic. Good. Louder. That's it. Okay. So that's all you've got to do, and you can hear the holding for twice as long as the others, so you've got irregular rate of harmonic change. So that's one, four, five, one. Let's go to a little bit more of Beethoven. We're going to go now to the last movement of his Pastoral Symphony, and I keep hitting on the Pastoral Symphony because in two weeks or maybe three weeks we're going to go here. I guess the Seabrook Orchestra play the Pastoral Symphony, so I'm spending a little extra time on the Pastoral Symphony here, and the last movement opens with this sort of sound. We have these pitches and I'll listen and you can tell me what instrument is playing it. So we have those sorts of sounds and then another instrument will come in with and play that. It's all, these are all notes of a C triad, C, B, G, C, B, all notes of the C triad, Now we happen to be in the key of F here, so that means he's starting out with the dominant, which gets us to the point that all pieces have to end in the tonic one way or another, but not all pieces begin with the tonic. So this one happens to begin with a sort of dominant chord. So this is a little bit of dominant preparation. So tell me what instruments are playing here. And then the strings come in, so let's pause it right there. So what was the first instrument? Anybody pick that up in that one blank on the quiz or the test next week or on Thursday, we'll give you three, at least three blanks. Robert? Clarinet. Yes, it was a clarinet up there, nice and high. And then another instrument came in with, what instrument was that? French horn, yeah. But notice that if we take this aggregate, well, we're back to that same idea of the octave, the fifth, the fourth and the third, sort of, so it's again sort of primordial, this particular acoustical basis of so much of music. So that's our dominant preparation and then the melody starts. So let's listen to this. Let me play it here a little bit. So it has a kind of antecedent-consequent phrase structure with the, well, once we get up there, that's sort of the end of the antecedent phrase and we'll have a chord change. What we're working with here are the same chords. We've sort of gone from the Beach Boys to Beethoven here. We've got the same chords operating. It's going to be a I chord, then a IV chord, and we'll drop down to the IV chord, then we'll come to a V chord, to a I chord, to a IV chord, to a V chord, to a I chord, just as we were doing with the Beach Boys. So let's just continue, I think, with this. Yeah, with the Beethoven, sorry. Oops, did we lose our friend Beethoven? Well, we'll resuscitate Beethoven here. How many of you have ever heard this before while Linda's getting this set? Let's see if we could sing it together because we're going to do this in a different way and say, La, la, la, la, la, la, la, la, la la la, la, la, okay, so let's sing this. That's the melody and we're going to sing lump-uhm, bumb-uhm, bum beneath. We're going to sing Beethoven's base beneath Beethoven's melody. Okay. This is the intro. That's fine. We'll listen to it. Here comes the horn. That's an example of a classical composer, admittedly in a pretty straightforward situation, using the same three-chord chord progressions we find in the Beach Boys. Let's enlarge this further. Let's move to a four-chord chord progression. We're going to switch the board. Jacob, if you could give me a hand just taking that around. And we're going to go to the kind of music that I grew up with as a kid. It's always fun. This is Gene Chandler and the Duke of Earl. So we're going to listen to a little bit of it and we're going to chart the bass here. I'm trying to remember. I think actually he's in the same key as Beethoven. And then we'll see exactly what it is that he's doing here. So we're going to try to lock in on the bass. Here we go. Duke of Earl. As I walk through this world, nothing can stop a Duke of Earl. Let's move it up to about 30. So we've got four chords operating here and they're changing regularly. What are those four chords? Well, we talked a little bit about this before. Now we have what's called a sixth chord. We're not moving directly to the fourth chord. We're moving to another chord here, a sixth chord, which happens to be a minor chord. There's the fourth chord and there's back to the one. So you sing this nice and loud for me, please. There's the tonic. Why don't you go, la, good. One more time, la, louder, la, okay. Now watch what happens as we continue with this one-sixth, four-five-one progression. Do we have a regular or irregular rate of change here? Let's go on to the next section. Yes, I, so hey, yeah, yeah, yeah, and when I hold you, you are my Duchess, Duchess of Earth. We all walk through the shade. Yes, I. So we stop it there. So what happened in that middle section? Yeah. Good, yeah. If we're, yeah, and then we went on and on and on and on, but it was the same pattern. He just elongated each measure by its same amount. So we had harmony changing on each measure, and then in that middle section, each chord was changing at the rate of two measures. So the whole piece then would be a piece involving irregular rate of change, irregular rate of change, the entire piece. Okay. So that's the Duke of Earl progression, the basic one-sixth four-five-one. Now I'm going to play a passage of Mozart, a symphony by Mozart here, that he wrote at the ripe old age of nine years. This is Mozart at age nine. He'd actually written a couple of symphonies by this time. This is Symphony No. V in B-flat. So let's listen to this. We're just going to listen and see if anything strikes you as interesting. Okay. We're going to pause it there. I think we're just going to keep right on going, just to get the point across. Let's let it run. So you could sing this base. So that's Mozart using the Duke of Earl harmony. Not really. This was a point I brought up in my section the other day. There are lots of legal cases where people try to sue somebody else for stealing a song. They try to sue them for stealing a bass line or something like that. You can get away, you can sue people for stealing melody. You can never, there's a strong legal precedent for not being able to make a claim about a stolen bass because these basses are limited in number, they involve rather simple harmonic progressions, and they've been used over the centuries. It's not as if Gene Chandler sat around here studying Mozart's symphonies. I don't know. Maybe he did. He said, oh, I like that harmonic progression. I'm going to use that here. No, everybody's been using that sort of since time immemorial, or at least since the sixteenth century. Now let's go on here to listen to some music of Rossini, a composer, Giacomo Rossini, coming after Mozart, and he likes chord progressions too. So we're going to listen to a passage of Rossini and see what he does by way of his chord selection. So the point of this is once you get these kind of progressions locked in your ears, you go to a concert and you can begin to chart what the piece is doing in terms of its harmony. Now, you're not going to be able to hear all of it, and indeed you may not be able to hear most of it. I don't hear most of it, but there are moments, and there are moments that give me pleasure when I can say, oh, yeah, that's what he's doing there. I might not know what key he's in. I don't really care what key he's in because I don't have absolute pitch. But I can find, well, maybe it's a I-VI-IV-V-I chord progression or I-V-I progression or I-IV-V-I. You get different kinds of patterns. A Pachelbel bass pattern is another one. So let's listen to a pattern that Rossini is using here in this opera overture. So the first thing we've got to do is sort of lock on to the tonic. It's taking me a while. Let's stop it right there. It's taking me a while to lock on to that tonic. I don't know. The bass isn't as loud as in some of the pop music, but I think it's, but I think that's what the tonic is. So don't despair if you don't initially land on the tonic here. It takes a while. So but I think we've got it identified. All right. Let's go on. That's it right there. So you're going to bom, bom, bom, bom. What would you guess those two chords are? You said this is the tonic. Bom. The other one's probably going to be the dominant. You ever hear music rocking back and forth repeatedly between two chords? It's probably tonic, dominant, tonic, dominant. Remember we had that even with the Strauss. The timpani played that tonic, dominant, tonic, dominant, tonic, dominant. So if you're two chords rocking, it's probably tonic and dominant. Okay. Let's see how he expands this a little bit. So what was that? Well, that's the Duke of Earl passage, right? So you're sitting there in Woolsey Hall in the New Haven Symphony or whatever, New York Philharmonic. Oh, yeah, it's the Duke of Earl passage. So yes, it was the one, six, four, five, one progression. All right. Let's see what happens next. So what happened next was he then started to run that faster, bom, bi, bi, bom, bom, bom, twice as fast as it had been before, changing rate of harmonic pattern. Okay. Right there, what was that? Bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom. What chord's there probably? Daniel, what do you think? What chord's there? Just dominant, tonic. Bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom. And then what happens? The end of that was all just a tonic. He just sat there on the tonic forever. It's a good example of sort of real-time and psychological time in music. You knew it was time to start clapping. As soon as that chord hit that, it stopped going back to the four-tonic dominant, just sitting there. That piece is over. The rest is just a big mud pie in your face. Okay. It's just tonic or maybe throwing an anchor overboard to bring this ship to an end, whatever sort of analogy or visual image you want to bring to it. But it's the piece has ended. Even though we are continuing to hear sound harmonically, psychologically, we know we're finished when he hits that particular tonic. Okay. I think our time is up. I'll see you Wednesday evening and look for an e-mail early this afternoon about individual help tomorrow afternoon.