David Best 1378287 Dissertation Chapter 2 As the blues, rock and roll and punk followed an almost standardised

harmonic pattern of usin chords !, !" and " within most son s, modern contemporar# rock has adopted its own standardised harmonic pattern within the Aeolian mode$ Before one can start to discuss different e%amples of the Aeolian harmon#, first there has to be a definition of what the Aeolian scale or mode is$ !nherentl# formed from the natural minor scale e$ $ A B C D & ' ($ But how is this related to tonic harmon#) *he Aeolian scale as su ested is formed of the mode startin on A usin all the white notes on the piano$ *he Aeolian cadence+ "! "!! ! or i has been common in rock and pop for man# #ears in both forms$ *he tierce de ,icardie "! "!! ! cadence is famousl# used in 2 different wa#s in the Beatles son -! Am *he .alrus/ 011273 ' ma4or, ( ma4or, A ma4or and C ma4or, D ma4or, & ma4or$ 5et it is the other form, "! "!! !, which has become one of the most commonl# used chord se6uences within the sphere of contemporar# rock, and most importantl# in the enre of emo$ Althou h this dissertation sets out to answer how the Aeolian mode has affected rock harmon#, it is m# opinion that harmonic composition, thou ht and understandin amon rock musicians, bands and son writers tend not to compose, improvise or write a son usin the modal s#stem in particular the Aeolian mode$ !t is in fact an after thou ht amon musicians and musicolo ists how a son or piece of music is written, and in this case to understand and discover the harmonic lan ua e involved within$ At this point a 6uestion has to be asked, 7!s there a conscious decision to compose usin Aeolian harmon#)8 .ithout askin ever# rock musician who has been involved in writin a son over the past 19 #ears whether the# knew about Aeolian harmon#, which would be impossible: it has occurred to me that as previousl# stated in m# introductor# section that musicolo # on this sub4ect is somewhat stereot#pical and little more than a m#th$ Althou h it is false to sa# that ever# rock musician who has been involved in writin a son has had knowled e of tonal s#stems, Aeolian harmon# and modal scales: there are man# rock musicians 0and ! include m#self in this number3 who have do have substantial harmonic knowled e commonl# from classical trainin $ *he reasons for this increase in theoretical musical knowled e is the availabilit# of self tutora e and son books, online dail# tutor pro rams, interest in the instrument to advance and improve in abilit#, b# learnin new techni6ues, scales, modes for soloin , chords and ke#s$ ;owever, to a certain e%tent, the stereot#pical musicolo ical view of bands writin rock music, is one of -4ammin / an idea and usin the musical ear to determine what sounds ood and what doesn/t$ *his still occurs$ 5et, this stud# is to look at the e%tent of the effect of the Aeolian scale within rock and not whether or not the son writer0s3 had knowled e of the theor# behind the music the# had produced$ *herefore the e%tent of m# research starts here$ *he form and structure within son s is one of the first sub4ects ! will discuss and the wa# in which emo shares some aspects and has differences incorporated from other music enres such as metal, punk, rock pop and, stran el#, dance<trance music as su ested b# .interson, =ichol and Bricheno 2993$

B# lookin at the introduction to son s within the emo enre, one can identif# that althou h there are differences in len th, there is one main point that occurs throu hout the enre of emo$ *he first harmon#<chord most commonl# either the tonic+ chord i or the submediant + chord "!$ *here are man# e%amples of this pattern of intros startin on the submediant chord e$ $ >iss and ?ake @p029933: ;ospitalit# 0299A3 b# 'uneral 'or A 'riend 0''A'3, Bittle (irls ,ointin and Bau hin 029933 b# Ale%isonfire 0AC'3 and ,aris !n 'lames 029913 b# *hursda#$ ;avin stated in the previous chapter that a t#pical emo son is .akin @p from the album -Casuall# Dressed And Deep !n Conversation/ 029933, ! will now e%plain this point$ *he son starts on the submediant chord of Bb ?a4or 0sounds A ?a4or because the uitars are tuned a half step down$ ,lease see attached score3 with a D11th consonant dissonance with added 1ths < suspended 2nds added to both Bb and D minor, the tonic$ *he verse consists of Bbsus2 and Dm7 althou h the root of each chord is not in the uitars$ !nstead the harmon# is implied b# the bass line which moves from Bb to D$ *his is an important point as the notes within both chords ' and C remain the same, while the bass chan es$ *his is a t#pical wa# of chan in harmon# within &mo and a techni6ue used b# man# bands such as 'i htstar E ,aint 5our *ar et 029923, ?# Chemical Fomance+ *he (host Cf 5ou 0299G3 Haosin+ *ranslatin *he =ame 0299G3 *hrice+ Don/t *ell And .e .on/t Ask 029933, *hursda#+ Asleep !n *he Chapel 029913$ Iust before the first chorus, the drums and bass stop allowin the uitars to lead in before the bi chan e of d#namics and te%ture 0bar 13+1G3$ *his break is a ver# common device to emphasise the difference between the chorus and verse$ *he chorus chord se6uence 0startin on bar 1G3 is sli htl# unusual in that ! haven/t heard or seen another the same, #et it still reinforces the submediant+tonic relationship within Aeolian harmon# which has had such an impact and effect on harmon# in the enre of emo, almost definin the harmon# as that of Aeolian$ *he chorus starts on the chord of C ma4or, chord "!! within the ke# of D minor$