There are two main reasons for my liking for this particular work. Firstly I will demonstrate how the arrangement technique for this song is a textbook example of being *smooth*, as the flow of the song remains unaffected due to its modular construction of verse, bridge/transition, and chorus. Then I will explain in detail how the song works harmonically with its refreshing modulation between various tonal regions.
First let us listen/watch some examples:
- Niigaki Risa Live performance of Koi no Hana in Hello! Pro Hour
Song structural manifest:
(0:00)Prelude+Chorus->(0:21)Intro->(0:39)Verse 1->(0:55)Transition 1->(1:10)Chorus->(1:27)Bridge ->(1:44)Chorus x2->(2:17)Outro
- Abe Natsumi Studio version (the song is written for her)
Song structural manifest:
(0:00)Prelude+Chorus->(0:28)Intro->(0:45)Verse 1->(1:01)Transition 1->(1:15)Chorus->(1:30)Intro->(1:48)Verse 2->(2:04)Transition 2->(2:18)Chorus->(2:35)Instrumental Break & (2:52)Bridge->(3:08)Chorus x2->(3:40)Outro
As you have seen/heard both clips, the Niigaki live version is almost only half of the studio version’s length. The difference between the versions is that Abe recording has an extra verse in the middle, and an extra instrumental break getting to the bridge, before returning back to the final duo-chorus.
Most if not all successful popular-genre music have this specific similarity: different sections while having various functions are modular in design, and can be arranged in different orders. This can be done only because every section is by itself harmonically complete with closing cadences, which served as pivot points connecting to other parts.
We should keep in mind however that the sections which constitutes this particular song have their tonal region established in related but distinctive positions. The verse is in the key of F pentatonic scale, with C as bass; the transition is in F’s relative minor (D minor) returning back to F major. The chorus used an A flat pentatonic scale, with F as bass, which later modulates and ends in an A flat major cadence. The bridge is the only unstable section with the melody resting between the alternate subdominant chord/supertonic first inversion and the mediant/A flat major tonic first inversion chord.
Despite almost doubled in length the studio version remains fresh. I would suggest its more advanced harmonic progression and modulation designs effectively annuls the dulling effect of repetition. First lets us look at the transition:
Note the immediate change from G major to G minor (the B natural descending to B-flat in the middle voice)is effective as it is an extension of the chromatic gesture in the middle voice: D in the supertonic seventh, then C-sharp in the dominant seventh chord of D minor, followed by the C natural in the dominant seventh chord of G major. In comparison to actually my personal selection of chords, the actual product might be more jarring in sound yet remain structurally sound.
Now for the crucial part: the “flat 6th-flat 7th-tonic cadence” (and in this specific case, D-flat, then E-flat to F) is worth further analysis.
As you can see at the end of the “Verse” section and the “Transition” section the flat 6th-flat 7th-tonic cadence is used. Since the leading tone of F major (1 flat) is flattened, it is now the same as the dominant used in A-flat pentatonic scale (4 flats). The common tone gives an effective linkage between these rather remote tonal regions.
What interests me the most however is the accompaniment during the introduction and the instrumental break. They have very similar designs and have a clearly stated tonal region: A flat pentatonic. However this is where the similarities stop. The instrumental break connects the vocal bridge section, which hovers on the alternating super tonic/tonic seventh chords of A flat major.
However, if you check carefully the introduction section would somehow lead to the F major verse section.
It is important to include the complete passage because the first 2 bars is being repeated at the 5th and 6th bar. While itself a standard compositional application, these bars provided the necessary harmonic stability as the submediant chord is also relative minor chord of the scale, and in this specific case, F. The combined cadence/modulation makes the following tierce de Picadie much more structurally sound because the following verse is sung in a conveniently placed F major.
Lastly let us look at the chorus and see how it has paradoxically created a strong sonic impression through its harmonic ambiguity:
While the vocal line are mostly repetitive the harmonic parts are in constant flux, modulating between scales and modes. Also if you only marked the strong beats (1st and 3rd beat of every bar) you would get this instead: One note melody. (statistically there are also most Bflats)
Another point of interest is the final coda/outro there is a bit of additive synthesis (aka counterpoint if you are old-school). Note the interaction between the blue and pink parts.
There might be more to say later, yet I wanted to commence work on the other song. Hope you enjoy it!
