Last First is a bright C major that the singer keeps darkening from the top. The chords stay major, F C G Am, and the vocal rises through the flat sixth and flat seventh, Ab and Bb, the blue notes, to land on the tonic C. The major floor and the minor melody rub against each other the whole way. Key confirmed by Brandon; the flat-side color is the vocal's blues, not a change of key.
Last, First · Hooray For Earth
C major · chorus · blue notes climb the flat six and flat seven to land on the tonic
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 chorus runs F (IV), C (I), G (V), Am (vi), all bright and major.
Under socialite the vocal climbs Ab, Bb, up to C, the flat sixth and flat seventh into the tonic.
Those two flats are blue notes, the minor colors sung on top of a major chord.
The Ab over the F chord is the flat third of F, the bluesy bend that fights the major.
Then the line lands on C exactly as the C (I) chord arrives, blues resolving home.
The band never plays a minor tonic, so all the shadow lives in the melody, not the chords.
That rub, major underneath and blues on top, is the whole feel of the song.
favorite momentThe Ab and Bb climbing into C, minor blue notes resolving onto the major tonic as the C chord lands.
Key confirmed as C major by Brandon (the automated read wavered because the pad stem rings flat-side notes, which are the vocal's blues plus pad bleed). Chorus vocal is a pyin read of the isolated stem (1:24, the socialite hook); chords from the Racy chord chart. Guitar and bass carry rendered standard-tuning tab (bass 4-string EADG).
C major · verse · the diatonic descent, I iii vi IV
The verse walks C (I), Em (iii), Am (vi), F (IV), a soft diatonic slope.
It is the gentle four-chord descent that holds up so much major-key pop.
Starting on the tonic keeps the verse grounded around the hook.
The band here is instrumental, so the vocal staff rests, marked tacet.
No blue notes color the verse, so it reads plainer than the chorus.
The brightness of the verse sets up the ache the blues bring back in the chorus.
favorite momentThe plain I iii vi IV slope, the calm major frame the chorus blues push against.
The verse is an instrumental figure, so the vocal staff rests, marked tacet. Chords from the Racy chord chart (C major). Guitar and bass carry rendered tab staves.
C major · outro · the plagal amen turn, IV to I
The outro settles to F (IV) and C (I), the plagal amen turn.
IV to I lands home without a dominant to push it, soft and open.
The song closes on the major tonic, the shadow of the blues gone.
The voice sits out, so the vocal staff rests, marked tacet.
Two chords rock the ending down onto C.
The last word is plain major, the brightness the melody kept bending away from.
favorite momentThe bare F to C at the end, the amen turn closing the song on unclouded major.
The outro is instrumental, so the vocal staff rests, marked tacet. Guitar and bass carry rendered tab staves. Chords from the Racy chord chart.