Come Here Go There by Harakami Rei

I created a Form Diagram for the song come here go there by Harakami Rei. This music is best classified in the genres of techno, electric, or house music. The general form follows a standard techno layout being separated into 6 sections. The Intro, Core, Breakdown, Build/Restatement, Core, and Outro. I found that the overall form can be expanded even further into a 3 section Compound ABA form. The intro begins with delayed chords that echo in rhythm and provide a rising effect that carries you into each new phrase. This is followed by the entrance of the Core or Basic Idea of the piece signaled by the increase in melody of the bassline. At the 1:04 mark we can hear the soprano begin the main melody of the first verse. The following B section begins at the breakdown or bridge with the decrease in harmonic, melodic, and rhythmic activity.

A rise in musical activity begins to occur at 2:56 followed by a restatement of the core/verse and leads to the A’ section or climax. If we take a deeper look into the climax section of this composition beginning at 4:15 you will see certain features that relate to Caplin’s form analysis. The chorus section is a 32-bar period with an antecedent and consequent phrase containing fragmentation. It begins by slowly increasing rhythmic activity with the entrance of the snare drum for 8 measures. Both high hats and increased melody is added in the next 8 measure phrase. Followed by a repeating kick drum that drives the song forward until finally arriving in a double time feel and bringing the consequent to a close.

The classical music example of a period I chose was 3.22 Beethoven, String Quartet in B-flat. This period begins with the antecedent phrase and a basic idea followed by a contrasting idea ending on a half cadence. This half cadence gives the phrase a sense of rising and falling into the consequent phrase that also increases in harmonic and rhythmic surface activity closing on a Perfect Authentic Cadence. Both phrases are similar in nature, but it is the characteristics of fragmentation that clearly set them apart. Much like what is happening in the climax phrase of our 21^st century composition. I would classify both examples as being closely knit because it emphasizes tonic with symmetrical grouping structures and conventional thematic design.

The harmony of the climax section in come here go there repeats this pattern: iii, II, V, and I. Comparing this period with the period of Beethoven you can see many similarities for instance both antecedent phrases have a sense of rising leading into the consequent and both consequent phrase feature fragmentation. This increase in surface activity is powerful in both classical music and in modern genres such as electro, pop, rock, and much more. It gives the sense of progression by reducing the length of units but retaining the same harmonic structure of the piece.

Other similarities between Caplins style of analysis such as having a contrasting middle can be found in this piece. The B section loosens the prevailing organization, emphasizes the dominant and is more loosely knit. The return of the A’ section or recapitulation is model closely to the exposition on the beginning section. The whole album by Rei Harakami entitled Lust displays his incredible musicianship, sound design, mixing, texture creation, and orchestration. It is quite literally a symphony of noise and an additional fun fact about this album is that it was created entirely with the Roland SC-88 pro, SK-88 pro, and the VS-2000 CD. A single desktop synthesizer, keyboard, and mixing/mastering station for the entire album. Tragically Rei died in 2011 at the young age of 40 due to a brain hemorrhage. However, his music will live on, and he will be one of my favorite artists who I listen to for the rest of my life.