The function is identical in both songs, where we have a B on a BbMaj13(#11) chord. I see this more like what Herbie Hancock did in Tell Me a Bedtime Story, where the first bar has a G# on a GMaj13(#11) chord. You could make a case for this moment to be “polytonal,” or, two different tonalities existing in the same space. Now, if this was simply A-7|Bb, it would be a full Bb Lydian chord, but the melody really distinctly has a B natural in it. It doesn’t really matter what you call it though, as long as the notes are there. I picked A-9|Bb for visualization purposes, so you could see that the upper structure holds from the 1st to 2nd bars. Or to be a bit simpler, it’s more like an E- triad over a BbMaj9 chord. The 2nd bar contains a really unique moment, an A-9 chord on top of a Bb chord. Starting on A-7 (which sort of mirrors the verse move from F# to D), for six bars the roots move up by mostly half steps (missing only a B chord). After the largely diatonic verse chords that center around the I and the IV, these chorus chords have a non-function, through-composed relationship that is anchored on upwardly chromatic root motion. Here is where “I Love Louis Cole” gets really interesting. It is basically a reharmonization of the expected F#-11 chord: it contains all of the same notes (F#, A, C#, E, G#, B) but the change in root keeps the progression fresh and adds some extra momentum to get to the final satisfying F#(add9).Ī nice detail in the orchestration is the impressionistic strings on the 2nd pass (around 0:37), which tells me that Louis Cole is definitely on this track! Chorus This relatively static chord progression here is a perfect counterbalance for what is to come.
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