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Sir Duke - Coggle Diagram
Sir Duke
Structure
- Intro, Verse, Pre Chorus, Chorus, Instrumental Link, Verse, Pre Chorus, Chorus x2, Instrumental link, Chorus x3, Instrumental link/finish
- Multiple repetitions of the chorus x5
Harmony and Tonality
- B major throughout, lots of chromaticism and non diatonic chords e.g Eb9, Gb9, Ab
- Use of major, minor, 7th, 9th and slash chords throughout, the use of mainly 9th chords in the pre-chorus supports the build up towards the chorus e.g. F9, E9, Eb9, D9
- Chords in pre-chorus descend in semitones, from F9 to D9, then rise back up again to an F9, but in the second phrase it rises all the way to a G9, firstly creating a perf cadence into the chorus, but also creates the sense the pre-chorus is always rising higher, adding to the drive into the chorus.
Melody and Texture
- Pentatonic/ conjunct melody in verses, some use of chromaticism towards the end of verse "sing, dance and..." on Ab chord
- Intro uses loosely triadic melody, with lower auxiliary notes on D#
- Countermelody in the bass sequences throughout, prominently in the introduction and chorus
- Use of octaves in instrumental, mimics improvisation
- The instrumental is very fast moving and complex.
Rhythm and Metre
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- Light shuffle across semiquavers, inspo from jazz
- Rate of harmonic change quickens in pre-chorus and the rhythm becomes more complex, with more use of semiquavers and syncopation, from once a bar to almost every quaver in the final bar of the pre-chorus. Allows the chorus to feel more prominent and grand when more sustained chords return
- Drum fills, Horn stabs at the end of pre-chorus, further supports build up to chorus
- Off beat chords in verse and chorus, shows influences from blues and reggae
Timbre, Articulation, Dynamics
- Vocals, piano, bass, drums, rhythm guitar, lead guitar, horn section, slide whistle
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- Melismas "over" in the chorus and syllabic writing "opportunity" v1 then "pioneers" v2
- Staccato chords in PC, emphasis on the falling and rising chromatic scales, allows the chorus to feel more prominent when more legato and sustained chords return