Mystery of Love (Sufjan Stevens)
How Sufjan Stevens uses progressive storytelling on all parameters to write the perfect song and soundtrack (Mystery of Love song analysis).
I divided my analysis into three topics which are: Arrangement, Lyric writing techniques, the beautiful chord progressions.
The Arrangement techniques:
The structure of the song is as follows: Verse 1, Chorus, After Chorus, Minor interlude, Verse2, Chorus, After Chorus, Minor interlude, Verse 3, Chorus, Afterchorus.
Verse 1 and 2 they are similar in the sense that they both have active picking patterns that create a nice rhythmic dance. But where Verse 1 evokes uncomplicated 'happy' emotions, Verse 2 feels a lot more urgent. This is due to one of the picking patterns becoming more agitated and repeating Bm and Em. And also due to the added bass.
Then verse 3 and Chorus 3 are absolutely amazing if you ask me. Here the complete sense of rhythm is taken away. All that we are left with is the bassline, long notes of clarinets and angelic voices in the background. An off beat pluck in the background creates just some subtle movement.
The chorus always takes me up into the clouds with the beautiful pads in the background and the bassline that finally breaks free from its 3 note pattern. This sense of euphoria and bliss, is sweetened up by the nice after chorus that has a celebratory feel to it due to the simple melodies and Major oriented chord progression.
Lyric writing techniques:
In the lyric department Sufjan Stevens also finds great ways to accentuate the feel and aesthetics of the song (and movie) Just like the movie the song portrays the emotion of going from happiness to sorrow.
Each verse slowly becomes more desperate and darker.
The unexpected thing about the choruses is that also there we have a lyric that changes. Only the first sentence of each chorus is the same. This automatically enhances the momorability and singability, since first and last lines are very important and weigh more heavily.
The chord progressions:
During the verses the chord progressions to me they never seem to resolve to anything.
And even though they use the notes of the G major scale i don't feel that it is in the tonality of G major. This is because the chord progressions circle around the C major chord, which is on the fourth scale degree.
Finally the song ends on a D major chord which in G major should be the dominant. It creates tension, ambiguity and a positive ending to the song.
Now a technique that really shines in this song is the use of chord inversions. This happens in the verses and the short minor interludes before verse number two and three. And what this does is this creates a lot of variation and different colors while you're using the same chords.
The song starts with a light picking pattern and it suggests this chord progression: C - D - Em/B
Then when the other high picking pattern joins in this one plays different notes and now the suggested chord progression becomes this: Cmaj7- Bm/D - Em/B
A round later when the piano joins in, it confirms the first two chords but the third chord it changes, because now the root note of E is played: Cmaj7 - Bm/D - Em