Introduction
This essay explores the evolution of dissonance in contemporary rock music through a theoretical comparison of melody, harmony, and rhythm in black midi’s “27 Questions” (from the 2022 album Hellfire) and Geordie Greep’s “As If Waltz” (from his 2024 solo album The New Sound). As a music student, I am particularly interested in how these elements reflect broader shifts in post-punk and experimental rock, where dissonance challenges traditional tonal structures. Drawing on music theory, the analysis highlights how Greep, formerly of black midi, adapts dissonant techniques in his solo work. Key points include melodic fragmentation, harmonic tension, and rhythmic irregularity, contextualised within theoretical frameworks such as those discussed by Moore (2012). This comparison reveals dissonance as a tool for narrative intensity, arguably evolving from chaotic ensemble dynamics to more introspective solo expressions.
Melody and Dissonant Fragmentation
In “27 Questions,” black midi employs melody to create dissonant fragmentation, where vocal lines clash with instrumental motifs, evoking a sense of unresolved questioning. The melody features angular leaps and chromatic descents, typical of post-rock experimentalism, which disrupt conventional scalar patterns. For instance, Greep’s vocals often incorporate microtonal inflections, heightening emotional discord. This aligns with theoretical views on melody in popular music, where dissonance serves to subvert listener expectations (Everett, 2008). Indeed, the song’s melodic structure draws from jazz influences, fragmenting phrases to mirror lyrical themes of existential inquiry.
Comparatively, “As If Waltz” refines this approach in a solo context, with Greep’s melody evolving towards a more lyrical yet still dissonant form. Here, the waltz-like phrasing incorporates dissonant intervals, such as tritones, but integrates them into a smoother narrative arc. This evolution suggests a maturation, where dissonance is less abrasive and more integrated, perhaps reflecting Greep’s personal artistic growth post-black midi. However, as Moore (2012) notes, such melodic dissonance in recorded music can limit accessibility, though it enhances thematic depth. Generally, this comparison illustrates how melody in both works uses dissonance to evolve from collective chaos to individual introspection, highlighting limitations in traditional melodic analysis when applied to experimental rock.
Harmony and Tension Building
Harmonically, “27 Questions” builds dissonance through layered, polytonal structures, where guitars and keys create clashing chords that eschew resolution. The harmony often revolves around extended dominants and suspended voicings, fostering a tense atmosphere that supports the song’s dramatic storytelling. This technique echoes theoretical discussions on harmony in rock, where dissonance extends beyond classical consonance-dissonance hierarchies (Temperley, 2018). For example, the track’s use of cluster chords during climactic sections amplifies rhythmic drive, showing awareness of harmony’s role in emotional manipulation.
In “As If Waltz,” Greep’s solo harmony evolves this by incorporating modal mixtures and ambiguous tonalities, yet with greater restraint. The piece flirts with waltz harmony but introduces dissonant substitutions, such as altered ninths, to evoke nostalgia tinged with unease. This shift demonstrates a critical application of harmonic theory, addressing complex problems like balancing innovation with coherence. Furthermore, while black midi’s harmony thrives on ensemble interplay, Greep’s solo work reveals limitations in scalability, as solo arrangements demand more precise dissonance control. Therefore, the evolution here points to dissonance as a maturing device, from raw tension in band settings to nuanced subtlety in individual compositions.
Rhythm and Irregular Pulse
Rhythmically, dissonance in “27 Questions” manifests through polyrhythmic complexity, with irregular time signatures (e.g., shifting from 5/4 to 7/8) that create metric dissonance. This disrupts the steady pulse expected in rock, aligning with theories on rhythm in contemporary music where such irregularities enhance expressive potential (Butterfield, 2011). The band’s tight yet chaotic execution underscores rhythm’s role in dissonance, arguably pushing the boundaries of listener engagement.
By contrast, “As If Waltz” adapts rhythmic dissonance into a more stylized waltz framework, with subtle syncopations and tempo fluctuations that evoke a dreamlike instability. Greep’s approach here evolves the irregularity into something more interpretive, drawing on primary sources like jazz waltzes but applying them to rock contexts. This comparison evaluates how rhythm evolves dissonance from disruptive force to elegant subversion, with implications for genre hybridization.
Conclusion
In summary, the theoretical comparison of melody, harmony, and rhythm in “27 Questions” and “As If Waltz” reveals dissonance’s evolution from black midi’s ensemble-driven chaos to Greep’s refined solo expressions. This progression highlights theoretical aspects of contemporary rock, such as fragmentation and tension, while considering limitations like accessibility. Implications include broader applicability to experimental music analysis, suggesting dissonance as a key indicator of artistic maturation. Further research could explore live performances to deepen these insights.
References
- Butterfield, M. (2011) ‘The Power of Anacrusis: Engendered Feeling in Groove-Based Musics’, Music Theory Online, 17(4). Available at: https://mtosmt.org/issues/mto.11.17.4/mto.11.17.4.butterfield.html (Accessed: 15 October 2024).
- Everett, W. (2008) The Foundations of Rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes”. Oxford: Oxford University Press.
- Moore, A. F. (2012) Song Means: Analysing and Interpreting Recorded Popular Song. Farnham: Ashgate.
- Temperley, D. (2018) The Musical Language of Rock. New York: Oxford University Press.
