![]() beats are not strange at all for me, it actually makes it familiar, though they are all most every time structured such as: 2/8 + 2/8 + 2/8 + 3/8 or 2/4 + 2/4 + 3/4, what I'm trying to say is something like "2n + 3". Because I'm a Turkish music enthusiast 9/8, 7/4, 5/4 etc. The interesting part for me is that the 5/4 beat separates to 3/4 + 2/4 when I listen to it. Theory wise the melody mostly spikes (hits the higher register note) on the second half beat of each sentence, so that helps the song to be more connected through its part, its a nice pattern. But imo it is not a very complex song, it is very well rounded actually. I think it's like a really delicious meal that never gets old. The song is accessible, catchy, and has a strong soulful groove, but is innovative despite all of that. ![]() Because of all of these things, I feel like the ensemble comes to more than the sum of its parts. The time signature is part of the gimmick of the song, but blends well to keep your brain invested in the pulse- it basically makes sure you have to pay attention, but doesn’t work too much because the song is relatively tonal and easy to “hear” the changes for. The melody does the same thing and is right in the operative range of the saxophone (at least for the ear, I don’t play sax, but I imagine it isn’t too demanding to play). The chords are really tight and “angular” in the A section because they’re heavily built on pentatonic harmony and modalism, while the chords in the B section are built on a descending major scale with a satisfying ii->V to resolve to the relative major at the end, giving sort of a “smooth” transition. The expression is on point, the ratio of long notes to short notes in the melody is simple but it keeps your brain engaged, the register changes between the A section and the B section. ![]() I think it’s definitely gotta be the arrangement and delivery that makes the original better than other people that I hear play the tune, IMO. ![]()
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