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Stan G. Pol

Professor Vincent Meelberg

Music Analysis Harmony

20 November 2023

Surprising Harmony: A Review of Unconventional Harmony in the Pop Genre

Case Study 1: Chorus of Mount St. Helens is About to Blow Up by Bill Wurtz

Bill Wurtz's Mount St. Helens is About to Blow Up creatively mixes elements from

jazz and pop. The song stands out for its innovative use of chords and structure. The chorus

of the song begins with a straightforward pop chord progression, using the I - IV - I pattern in

G-major (G - C - G). This familiar sequence sets a pop-like tone. However, the song takes an

unexpected twist when it modulates to A-major using inner voice movement. Starting from F,

which is the 7th note in the G-major scale, he moves to A and then to B-flat. This B-flat acts

as an extension in the A-Major 7th chord, adding a unique colour to the music.

This approach is unconventional, as it steps away from the typical II - V - I jazz

modulation and is unthinkable in the genre of pop. The song also includes a momentary

pause, a break that allows listeners to absorb the changes before it transitions back to the

original key of G-major through a D7sus4 chord, which acts as the dominant leading back to

G-major. This complex sequence is surprising and a testimony to Wurtz’s genre-defying

compositional character, it keeps the listener on their toes and demands attention to otherwise

general pop music.

Case Study 2: Opening of “Rainbow Road” by Shinobu Tanaka from Mario Kart DS

Throughout the various iterations of the Mario Kart video game series, the “Rainbow

Road” course consistently features a distinctive musical style characterized by certain

recurring harmonic motifs. The introductory section of many “Rainbow Road” tracks follows

a particular harmonic pattern, which can be analysed as I - II/I - bIII/I - IV/I. This pattern
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exhibits a constant upward harmonic progression while maintaining a tonic pedal, generating

a sense of eager anticipation due to the heightened harmonic tension it imparts. It is

noteworthy that all the chords in this progression are presented in their second inversion,

even though this causes the ascending chords to temporarily deviate from the home key of the

tonic, which is called “chromatic parallelism”. In the Mario Kart DS rendition of “Rainbow

Road”, a noteworthy adaptation is introduced in the final chord of this harmonic sequence,

where it takes the form of a V7sus2 chord. This alteration introduces a counterpointal

resolution as the music transitions back to the tonic, effectively solving the jarring transition

of the original motif.

Additionally, the bassline in Rainbow Road adopts a rhythmic pattern reminiscent of

funk music. This rhythmic element serves to alleviate some of the harmonic tension

generated by the original motif, by reducing the prominence of the tonic throughout the

musical measure.

Mario Kart balances familiarity in its “Rainbow Road” music by employing recurring

motifs. The consistent harmonic framework establishes a sense of nostalgia and recognition

for long-time players. Yet, the franchise keeps things fresh and captivating by introducing

unexpected elements in each rendition of the course. These subtle variations inject novelty

and unpredictability into the music, ensuring that even seasoned players are pleasantly

surprised while still enjoying the comfort of the familiar.

Case Study 3: In the Bleak Midwinter by Jacob Collier

Jacob Collier, a contemporary musician known for his adventurous harmonic and

melodic explorations, presents a captivating example of modulation and microtonal

innovation in his rendition of In the Bleak Midwinter. In this song, Collier modulates from

the familiar key of E-flat major to the unorthodox G-half sharp major. To achieve a

distinctively rising and brighter sound.

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To enhance the transformative effect of the modulation, Jacob Collier implements

microtonal adjustments. In this context, microtonal adjustments involve subtly raising the

pitch of individual notes in the chords by fifty cents.

The combination of modulating to G-half sharp major and employing microtonal

adjustments results in a "rising sound" effect and distinctly enhanced brightness that Collier

seeks to convey. G-half sharp major, by itself, possesses a distinct and slightly dissonant

quality due to its unconventional position within the tonal spectrum. Throughout the

modulation, there are unconventional tensions and releases in the inner voice movements of

the individual notes, creating a feeling of being overwhelmed by harmonic complexity. Jacob

Collier calls this “a sense of otherworldly beauty” in his masterclass.