The Lost-sessions b-side sings a falling line and keeps landing one step above home. The phrase walks A, F#, E, D, then lifts back to E, the ninth, refusing to sit on the root. Underneath, the floor drops D to C, the flat seven, and that held E flips from a ninth into the major third of C. No chord chart exists for this track, so everything derives from the stems.
Wayout (Racy, Lost) · Hooray For Earth
D major · the descent · five, three, two, one, and back up to the nine
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 sung phrase falls A, F#, E, D over the D (I) chord, fifth, third, second, root.
It touches the root and refuses to stay, lifting back up to E, the ninth.
So every phrase ends hanging one whole step above home.
The pyin read shows the same shape at 0:14 and again at 0:19, the figure that runs the song.
E and A are the singer's two most-used notes on the track, 22 and 20 percent.
A line that keeps ending on the nine is a line that never finishes its sentence.
favorite momentThe last note of the phrase, E over D, the ninth hanging one step above the root it just touched.
No chord chart exists for this b-side. The melody is a pyin read of the vocal stem (the phrase at 0:14 and 0:19); the D tonic comes from a pitch-track of the bass stem, and the chord quality from FFT chroma of the guitar and pad stems (C natural present, C# and D# weak). Lyrics are not transcribed for this track, so the vocal staff carries the melody alone. Tempo is estimated.
D major · the whole-step drop · the held nine becomes the third of the flat seven
The floor walks down a whole step at a time, D (I), C (♭VII), Bm (vi).
C natural is the flat seven of D, the borrowed chord this record keeps reaching for.
The chroma shows C, E, and G together and no C#, so the ♭VII is a plain major triad.
The singer's held E is the ninth over D, tense and bright.
When C arrives the same E becomes the major third, the sweetest note in the chord.
Over Bm (vi) it turns into the fourth and leans once more.
One held note, three jobs, and the flat seven is where it finally sounds at home.
favorite momentThe held E landing as the major third of the ♭VII, the borrowed chord treating the tension better than home did.
The D, C, B bass roots come from a pitch-track of the bass stem in the stable region (0:45 to 1:35); chord quality from FFT chroma of the guitar and pad stems. The vocal staff carries the melody; lyrics are not transcribed for this track.