Theory write-up below: Another one of the classic soul themes that sticks to a pedal tone, here the root of F minor mostly, and starts adding layers of voices and motifs upon that. What’s interesting about this one is that the natural minor seventh of the minor scale, the Eb here, is used with purpose. In a lot of souls themes, this seventh is sharpened to create tension, and avoided altogether when that tension isn’t wanted. Here the sharp seven is mostly used at the end of every section larger for a bit of tension & release, until the finale when it’s the center of a melody. Abyss Watchers is in 12/8 time, which can be thought of as 4/4 but divided into 4 sections of 3 notes. You’ll notice the voices playing around with this in different ways. The bass parts often play every note, while accenting the beats, while the high choral melody mostly sings on the beats. The low choral parts then follow the high choral sections, except they often add an eight note before the beat (something like swing feel). This helps to keep the voicings distinguished from each other. For the introduction string part I wanted to let it ring out as much as possible, so I transcribed it to use as many alternating strings as I could. At 00:16 the choral melody is added upon the strings, and this stays mostly the same for the first part of the theme. Notice that the 2nd and 4th scale degree are used a lot and held for tension until release in the next bar, creating a suspended feel. 00:52 the high string section changes, and switches between accenting the 12/8 rhythm with the tonic and quick 1-2-3-2-1 runs. I swapped this to be an octave below melody, and again playing alternating and open string where possible. Then switching tho accompaniment to accent the subtle syncopation in the lower voices. 2:00 I always like doing these multiple voicings parts. There was a bit of that in first hunter as well. The high choir and string sections stay together mostly, with the lower voices taking the front stage, again playing over that pedal tone and with that syncopation. The section end with the voices going to that sharp 7, but instead of a V7 harmony, it’s more of a half diminished iv, again creating a more suspended, less tense feeling. 3:00 The phase change is weird! For 4 bars the music switches to 11/8, feeling like the phrase isn’t finished before the next one drops with the bass accented on the 1st of the bar. Then in the last phrases there’s some elongation with one bar even adding a whole beat over a iv-sus before going into the iv half diminished and resolving. Phase 2 is a showcase of instrumentation. There’s one motif that is kept running for the whole part in the choir, with the accompaniment slowly crescendoing and gaining additional parts. Phase 2 moves away from the pedal tone a bit for more liberal use of the iv chord. For this arrangement this part is an exercise in dynamics, evolving from softly stroking the bass without nails, to strumming it, and then at 4:55 switching to the 1-2-3 quarter notes in the accompaniment, creating strong forward momentum. 5:13 The finale flexes the high notes, here finally making liberal use of the sharp seven, going back and forth with the 2 to create tension towards the tonic. Then without immediately resolving, back to that suspended walk down with 5-4-2 and then fading out with the motif that played during the whole phase.
Theory write-up below:
Another one of the classic soul themes that sticks to a pedal tone, here the root of F minor mostly, and starts adding layers of voices and motifs upon that. What’s interesting about this one is that the natural minor seventh of the minor scale, the Eb here, is used with purpose. In a lot of souls themes, this seventh is sharpened to create tension, and avoided altogether when that tension isn’t wanted.
Here the sharp seven is mostly used at the end of every section larger for a bit of tension & release, until the finale when it’s the center of a melody.
Abyss Watchers is in 12/8 time, which can be thought of as 4/4 but divided into 4 sections of 3 notes. You’ll notice the voices playing around with this in different ways. The bass parts often play every note, while accenting the beats, while the high choral melody mostly sings on the beats. The low choral parts then follow the high choral sections, except they often add an eight note before the beat (something like swing feel). This helps to keep the voicings distinguished from each other.
For the introduction string part I wanted to let it ring out as much as possible, so I transcribed it to use as many alternating strings as I could.
At 00:16 the choral melody is added upon the strings, and this stays mostly the same for the first part of the theme. Notice that the 2nd and 4th scale degree are used a lot and held for tension until release in the next bar, creating a suspended feel.
00:52 the high string section changes, and switches between accenting the 12/8 rhythm with the tonic and quick 1-2-3-2-1 runs. I swapped this to be an octave below melody, and again playing alternating and open string where possible.
Then switching tho accompaniment to accent the subtle syncopation in the lower voices.
2:00 I always like doing these multiple voicings parts. There was a bit of that in first hunter as well. The high choir and string sections stay together mostly, with the lower voices taking the front stage, again playing over that pedal tone and with that syncopation. The section end with the voices going to that sharp 7, but instead of a V7 harmony, it’s more of a half diminished iv, again creating a more suspended, less tense feeling.
3:00 The phase change is weird! For 4 bars the music switches to 11/8, feeling like the phrase isn’t finished before the next one drops with the bass accented on the 1st of the bar. Then in the last phrases there’s some elongation with one bar even adding a whole beat over a iv-sus before going into the iv half diminished and resolving.
Phase 2 is a showcase of instrumentation. There’s one motif that is kept running for the whole part in the choir, with the accompaniment slowly crescendoing and gaining additional parts. Phase 2 moves away from the pedal tone a bit for more liberal use of the iv chord.
For this arrangement this part is an exercise in dynamics, evolving from softly stroking the bass without nails, to strumming it, and then at 4:55 switching to the 1-2-3 quarter notes in the accompaniment, creating strong forward momentum.
5:13 The finale flexes the high notes, here finally making liberal use of the sharp seven, going back and forth with the 2 to create tension towards the tonic. Then without immediately resolving, back to that suspended walk down with 5-4-2 and then fading out with the motif that played during the whole phase.
Wow! Just watching your videos for the first time - great array of arrangements and amazing playing!
Always like this mood of music👏👏
Awesome man , growing up my old was into classical music and often played stuff like this and flamenco .
Sounds beautiful ❤
beast