The closer runs a loop that never plays the home chord. The bass walks E, C#m, D, F#m for the whole track, and the A chord never arrives. The tonic lives in one place only, the singer's mouth, since A is his most-used note. No chord chart exists for this track, so everything derives from the stems.
What'd You Let Go (Racy, Lost) · Hooray For Earth
A major · the loop · V, iii, IV, vi, and the home chord never comes
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 bass walks E (V), C#m (iii), D (IV), F#m (vi), over and over.
In a hundred seconds of bass pitch-track the root A never shows up once.
Every chord in the loop is a neighbor of home, and home never comes.
The melody hovers on G#, the leading tone, rises to B, and slides back down through A to F#.
Hovering on the leading tone over a loop with no tonic chord keeps the whole song leaning.
This is the record's last word on refusing home, the trick Say Enough and 128 play, taken further.
favorite momentA hundred seconds of bass roots with no A in them, the home chord withheld for the whole loop.
No chord chart exists for this b-side. The loop comes from a pitch-track of the bass stem (first 100 seconds, roots E, C#, D, F# only), chord quality from FFT chroma of the guitar and pad stems (all A-major diatonic), the melody from a pyin read of the vocal stem at 0:37 to 0:42. Lyrics are not transcribed for this track, so the vocal staff carries the melody alone. Tempo is estimated.
A major · the withheld tonic · the singer is the only one who plays home
A is the singer's most-used note on the track, a quarter of everything he sings.
The band never plays an A chord, so the tonic exists only in the voice.
Over D (IV) his A is the fifth, open and stable.
Over F#m (vi) the same A is the minor third, the warm center of the relative minor.
So the home pitch keeps landing inside other chords, at home in every house but its own.
The title asks what got let go, and the harmony answers, the tonic did.
favorite momentThe tonic living only in the voice, the band circling an A chord it never plays.
Vocal pitch counts (A 24, C# 21, B 17, E 16 percent) from a pyin read of the vocal stem. The vocal staff carries the melody; lyrics are not transcribed for this track.