The b-side runs one loop the whole way: B, C#m, and the flat-seven A, the same Mixolydian floor Say Enough walks. The vocal camps on F#, E, and D#, the fifth, fourth, and third of B, and holds a long E over the A plateau. No chord chart exists for this track, so everything here is derived from the stems.
128 (-Keys- bside) · Hooray For Earth
B major · the loop · B, C#m, and the flat-seven A, two-one-three
Reading the numbers over each vocal note: 1 root, 3 major third, 5 fifth, 7 major seventh, 9 ninth, 11 the fourth sung as a color tone, 13 thirteenth (the sixth), b7 / b3 the lowered seventh and third, #11 / b9 the raised fourth and lowered ninth. Every label is the interval that sung note makes against the chord sounding beneath it in the staff directly below.
The whole song rides one loop, B (I), C#m (ii), A (♭VII), in a two-one-three bar shape.
The bass stem states it plainly, B for two bars, C# for one, A for three, over and over.
A natural is the flat seven of B, the same Mixolydian floor Say Enough walks on this record.
The chroma of the guitar and pad stems shows E natural and no E#, so the ii chord is minor, C#m.
The vocal falls E, D#, C#, the fourth sliding through the third to the second of B.
Then it peaks on F#, the fifth, and settles back to D#, the major third, home color.
The fall keeps re-running against the loop, a small tide going out and coming back.
favorite momentThe E to D# fall, a suspension melting onto the major third every time the loop turns over.
No chord chart exists for this b-side. The loop and its bar shape come from a pitch-track of the bass stem (first 90 seconds), the chord quality from FFT chroma of the guitar and pad stems (E natural strong, E# absent), and the melody from a pyin read of the vocal stem at 1:33 to 1:41. Lyrics are not transcribed for this track, so the vocal staff carries the melody alone. Tempo is estimated from the bass loop period.
B major · the plateau · three bars of the flat seven under one held E
Every pass through the loop parks on A (♭VII) for three bars, half the loop.
The singer answers with the longest note on the track, an E held close to three seconds.
Over A that E is the fifth, plain and open, floating on the borrowed chord.
When the loop turns back to B (I), the same E becomes the fourth and leans again.
So the resting note and the resting chord line up once per loop, and then both move.
Half the song lives on the flat seven, which is why it never quite feels parked at home.
favorite momentThe three-second E over the A plateau, the fifth of the borrowed chord, the calmest spot on the track.
The held E is grounded at 1:51 of the vocal stem (2.7 seconds by the pyin read) while the bass sits on A. The vocal staff carries the melody; lyrics are not transcribed for this track.