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LE MAL DE VIVRE - Coggle Diagram
LE MAL DE VIVRE
NUMBER 1:
Verse 1
16 bars
F minor/Ab major
The song begins with no introduction
Greeted with Salvant's voice and quiet chords from the piano on the first beat of each bar that outline the chord changes
Extended upbeat bar before the first chord is heard
The tempo is flexible and melodic rhythms are loose, following the rhythms of the words
Vocal phrases are short, almost as if Salvant is speaking
Piano keeps the pulse
NUMBER 2:
Chorus 1
16 bars
E minor
Stark switch from the dominant of F minor to E minor
The piano plays more melodically, sticking to crotchet beats
Vocal phrases remain short, starting towards the end of four-bar units
Number 10
Outro
16 bars and cadence
E minor-E major
The brighter mood continues and piano lines adopt a faux Baroque style, outlining the chords with conjunct movement
The tempo has been steadily increased and is now closer to 126bpm
A significant ritenuto leads to a protracted trill over the dominant chord
The expected perfect cadence resolves onto the subdominant chord (A minor) becoming a Baroque-style plagal cadence played by piano and ending in a tierce de Picardie, an unexpected major tonic chord
The move from the darkness into light is complete
NUMBER 3:
Verse 2
16 bars
F minor
Abrupt switch from the dominant of one key to another, unrelated tonality
This verse is like the previous one but with greater dynamic contrast
NUMBER 4:
Chorus 2
16 bars
E minor
Like the previous chorus but with longer notes from Salvant
There is a crescendo into the next verse
NUMBER 5:
Verse 3
16 bars
F minor
Chords are more prominent and alternate from the lower to the middle part of the register
There is a sudden change to a quiet dynamic level in the last phrase
NUMBER 6:
Verse 4
16 bars
F minor
Another verse, instead of a chorus
Similar in design to the last but with greater variety of timbral colour and singing style from Salvant
NUMBER 8
Verse 1 (reprise)
16 bars
F minor
The words are slightly altered to reflect a more positive outlook
Piano becomes more decorative and melodic, now the bass and drums are supporting
Chord substitution in the third phrase- the Eb chord becomes Cb9/E
NUMBER 7
Chorus 3
16 bars
E minor
Bass and drums enter, bringing warmth to the structure
Salvant delays her first line until the third bar
Drums keep a simple, triple-time pulse on hi-hat with "brushing" on the snare drum
The bass largely plays root notes on the first beat of each bar, along with the kick drum
NUMBER 9
Chorus 4
16 bars
E minor
The outlook becomes more positive
Salvant sings about "joie de vivre"
Piano phrases are brighter and more detached
The bass explores dotted rhythms and syncopation
Drums adopt a more "walking" groove
To contrast with this, Salvant's phrases are long and drawn out, decorated with colourful vibrato
She repeats the word "viens" with character, cutting across the beat in an example of beat displacement