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Which song is most melancholic ever?

#15

@AsDaGo said in #9:

At first I thought there was a pickup measure of 1 or 3 eighth notes

Yes, this is weirdness. My brain interprets the last eighth note of the bar as "one" in this intro. I can't get this grouping out of my head, even when I look at your transcription (which I know is correct)

@AsDaGo said in #9: > At first I thought there was a pickup measure of 1 or 3 eighth notes Yes, this is weirdness. My brain interprets the last eighth note of the bar as "one" in this intro. I can't get this grouping out of my head, even when I look at your transcription (which I know is correct)
#16

enhypen version: moonstruck, your eyes only, hundred broken hearts, highway 1009, fatal trouble
skz version: hollow, never alone, just a little
chinese version: 最后一页, 晴天

theres more but i cant think of them off the top of my head anyways dont mind the songs in different languages hehe

enhypen version: moonstruck, your eyes only, hundred broken hearts, highway 1009, fatal trouble skz version: hollow, never alone, just a little chinese version: 最后一页, 晴天 theres more but i cant think of them off the top of my head anyways dont mind the songs in different languages hehe
#18

I did it my way ..by Frank Sinatra is very melancholic

I did it my way ..by Frank Sinatra is very melancholic
#19

@MusicGarlic said in #15:

Yes, this is weirdness. My brain interprets the last eighth note of the bar as "one" in this intro. I can't get this grouping out of my head, even when I look at your transcription (which I know is correct)

Yeah, it's weird because you don't expect the quarter notes to land on the off beat. I think at one point when I was trying to figure it out I was saying "1 + 2 3 4 +" with the correct rhythm but of course the counting is incorrect but it's so tempting to put the quarter notes on the beat. But once you count "1 + 2 + (3) + (4) +" it's not so hard. Also each measure does have a pickup except the very first one, so that adds to the confusion a bit.

@MusicGarlic said in #15: > Yes, this is weirdness. My brain interprets the last eighth note of the bar as "one" in this intro. I can't get this grouping out of my head, even when I look at your transcription (which I know is correct) Yeah, it's weird because you don't expect the quarter notes to land on the off beat. I think at one point when I was trying to figure it out I was saying "1 + 2 3 4 +" with the correct rhythm but of course the counting is incorrect but it's so tempting to put the quarter notes on the beat. But once you count "1 + 2 + (3) + (4) +" it's not so hard. Also each measure does have a pickup except the very first one, so that adds to the confusion a bit.
#20

@MusicGarlic said in #15:

Yes, this is weirdness. My brain interprets the last eighth note of the bar as "one" in this intro. I can't get this grouping out of my head, even when I look at your transcription (which I know is correct)

In fact, the opening rhythm can be written more "orthodoxly" like this:

ΠΠ_Π_Π

It's the same rhythmic cell with two eighth notes on the beats and three offset on the weak part of the beat, which gives a slightly echo-like effect.

The original key is probably F major in Western tuning, more convenient for singing, but as is often the case during the studio mixing process, they slightly raised it by a half step to give this tonal color of Gb or F# major, which is a bit of an tribute to K-pop/J-pop, where there are often these things that sound a bit in strange keys to our occidental ears.

I love the motif at the very end, which introduces a particularly interesting disjointed intervallic movement with the minorized sixth of the key.

@MusicGarlic said in #15: > Yes, this is weirdness. My brain interprets the last eighth note of the bar as "one" in this intro. I can't get this grouping out of my head, even when I look at your transcription (which I know is correct) In fact, the opening rhythm can be written more "orthodoxly" like this: ΠΠ_Π_Π It's the same rhythmic cell with two eighth notes on the beats and three offset on the weak part of the beat, which gives a slightly echo-like effect. The original key is probably F major in Western tuning, more convenient for singing, but as is often the case during the studio mixing process, they slightly raised it by a half step to give this tonal color of Gb or F# major, which is a bit of an tribute to K-pop/J-pop, where there are often these things that sound a bit in strange keys to our occidental ears. I love the motif at the very end, which introduces a particularly interesting disjointed intervallic movement with the minorized sixth of the key.

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