Section Bar # Chord Rhythm & Harmony Texture & Dynamics

Piano
Intro 1 Am A minor key and Homophonic piano solo, Piano comes in, playing
imperfect consonance of quite quiet a melody that
the 6th chords and incorporates the chord
2 dissonance of the 7th sequence
chords creates an
unresolved, melancholic
3 C/G sound.

5 Am6/F#

7 F6

9 Am Still homophonic, texture

now thicker and slightly
louder, to build up to the
10 first verse.

11 C/G

12

13 Am6/F#

14

15 F6

16

Verse 1 17 Am The shift from the tonic Homophonic, this time Piano plays short,
to the submediant- again, melody is in vocals. slightly syncopated
Starts this interval of a 6th is Quite quiet- this could chords accompanying the
0:16 imperfectly consonant, reflect the unspoken vocals
and is not resolved. The tension and unaddressed
melancholic tone reflects feelings between the
the hopelessness of the lovers
situation, while the
imperfect cadence could
reflect that the singer
Verse 1 Am The shift from the tonic Homophonic, this time Piano plays short,
to the submediant- again, melody is in vocals. slightly syncopated
Starts this interval of a 6th is Quite quiet- this could chords accompanying the
0:16 18 imperfectly consonant, reflect the unspoken vocals
and is not resolved. The tension and unaddressed
melancholic tone reflects feelings between the
19 the hopelessness of the lovers
situation, while the
imperfect cadence could
20
reflect that the singer
feels her relationship isn't
21 Dm/F complete or ready to end.

22

23

24

25 Am The descending intro is

imitated. The descent
could be symbolic of the
26 declining state of the
couple's relationship, and
again, the phrase ends on
27 C/G an unresolved sound.

28

29 Am6/F#

30

31 F6

32

33 F/C The use of clashing Building crescendo- their Plays chords on each
sound of minor 3rds and feelings have bubbled to beat of the bar; chords
major 3rds intervals in the surface and now they are actually alternating
34 the piano chords, in are clashing and arguing between Fm/C, F/C then
tandem with the F5/C
frustrated tone of Janis's
35 G/D voice, gives the
impression of an
argument
 major 3rds intervals in the surface and now they are actually alternating
the piano chords, in are clashing and arguing between Fm/C, F/C then
tandem with the F5/C
frustrated tone of Janis's
G/D voice, gives the
impression of an
argument
36

37 F/C

38

39 G/D

40

41 Am Guitar and piano play Thickest texture of the Plays short chords on
accompanying chords, verse, loudest part- each beat.
bass plays root note reflects the demanding,
42 despairing tone of the
lyrics
43

44

45 E The verse ends on an Volume drops again after Trill on piano

imperfect cadence- the crescendo, maybe
suggesting the argument showing that the
46 is left unresolved argument is being
dropped
47

48

49 Am Same descending chord The texture is like it was Blues style piano fill
sequence. at the beginning of verse
1
50

51 C/G

52

53 Am6/F#
 Am6/F#

54

55 F6

56

Verse 2 57 Am Piano plays short,

0:55 slightly syncopated
chords accompanying the
58 vocals

59

60

61 Dm/F

62

63

64

65 Am

66

67 C/G

68

69 Am6/F#

70

71 F6
 F6

72

73 F/C Plays chords on each

beat of the bar; chords
are actually alternating
74 between Fm/C, F/C then
F5/C
75 G/D

76

77 F/C

78

79 G/D

80

81 Am Again, the crescendo of Plays short chords on

the verse symbolises the each beat.
ultimatum of the
82 argument

83

84

85 E Texture and intensity is Switches to 7th chord

built up instead of halfway through this
dropped again to build up section
86 to the chorus

87

88

Chorus 89 A/E Key changes to A major. Texture is still Piano plays the chords on
1 This phrase is resolved in homophonic. each beat of the bar
1:27 a plagal cadence. This
could be implying that
this idea sits well with
the singer, that this feels
like the end and the
solution to her problems.

The chorus is at a much

higher pitch and
Chorus A/E Key changes to A major. Texture is still Piano plays the chords on
1 This phrase is resolved in homophonic. each beat of the bar
1:27 a plagal cadence. This
90 could be implying that
this idea sits well with
the singer, that this feels
91 B/D# like the end and the
solution to her problems.
92
The chorus is at a much
higher pitch and
93 D intensity, and sounds
jubilant and carefree in
comparison to the verses,
94 showing that the singer is
happy (at a high point in
her life)
95 A/C#

96

97 A/E

98

99 B/D#

100

101 D Most instrumentation is Homophonic. On 'day that I' plays on

on beat. This section each beat
repeats on the
102 subdominant chord
without resolving- gives
the impression that the
103 singer is stuck in a
thought, just before the
shift back to sadness and
104
uncertainty.

105

106

107
 108 Am/C The key changes back to Texture, volume and Piano fill
minor on the word die. pitch all drop- this
This is where the chorus creates a sudden change
109 changes back to sounding in mood from happy to
like the argument-themed melancholic once more
verses. The way that this
110 C/G phrase falls on this shift
could imply that the
singer suddenly wants to
111 stay with her partner
again because she's
afraid to die alone.
112 Am6/F#

113

114 F6

115

Verse 3 116 Am Piano plays short,

1:55 slightly syncopated
chords accompanying the
117 vocals

118

119

120 Dm/F

121

122

123

124 Am

125
126 C/G

127

128 Am6/F#

129

130 F6

131

132 F/C The use of clashing Building crescendo Plays chords on each
sound of minor 3rds and beat of the bar; chords
major 3rds intervals in are actually alternating
133 the piano chords again between Fm/C, F/C then
F5/C
134 G/D

135

136 F/C

137

138 G/D

139

140 Am Instrumentation on beat Thick texture, crescendo Plays short chords on

again in the crescendo of of the verse, but seems each beat.
the verse less intense in
141 comparison to the chorus
after, due to the only on
beat instrumentation?
142

143
Chorus 144 A/E Piano plays the chords on
2 each beat of the bar

145

146 B/D#

147

148 D

149

150 A/C#

151

152 A/E

153

154 B/D#

155

156 D On 'day that I' plays on

each beat

157

158

159

160

161
 162

Chorus 163 A/E Piano plays the chords on

3 each beat of the bar

164

165 B/D#

166

167 D

168

169 A/C#

170

171 A/E

172

173 B/D#

174

175 D Sustained chords

176

177

178

179
 180

181

182 D2/F# The chord progression

changes

183

Outro 184 A/E The song plays repeats Polyphonic? Thickest Chords on every beat.
this happy, resolved and loudest texture and
To chord progression to a intensity of the entire
Fade 185 fade. song.

3:03
186 B/D#

187

188 D

189

190 A/C#

191

192 A/E

193

194 B/D#

195

196 D

197
198 A/C#

199

200 A/E

201

202 B/D#

203

204 D

205

206 A/C#

207

208 A/E

209

210 B/D#

211

212 D

213

214 A/C#

215
216 A/E

217

218 B/D#

219

220 D

221

222 A/C#

223

224 A/E

225

226 B/D#

227

228 D

229

230 A/C#

231

232 A/E

233
234 B/D#

235

236 D

237

238 A/C#

239

240 A/E

241

242 B/D#

243

244 D

245

246 A/C#

247

248 A/E

249

250 B/D#

251
252 D

253

254 A/C#

255
 Instruments
Bass Drums 2 Guitars Organ

Drum fill

Bass comes in, playing The drum plays a 3/4 Organ plays one long,
long, sustained notes that swing for the duration of sustained chord that
descend chromatically the intro. mimics the first lyric of
(down by one tone, then the verse / same pitch as
a semitone, then another the first note of the
semitone); this reoccurs vocals
throughout the song in
the verses. The notes are
the same as the lowest
notes of the chords.

Drum fill to establish

change to verse

Bass plays root note A, Drum continues playing Almost imperceptibly in

with swing beat the background, the
organ plays a sustained A
note
Bass plays root note A, Drum continues playing Almost imperceptibly in
with swing beat the background, the
organ plays a sustained A
note

Bass plays a D, with Sustained F note

alternating between
octaves and fifths.

Guitar fill that slides

upwards- glissando
slide?

Bass descends Sustained E note

chromatically again

Drum fill Guitar fill

Bass moves Drum beat changes Guitar plays some very

chromatically between F distorted, syncopated
and G chords in background.
The guitar sound is
 and G

Guitar fill

Guitar plays some very

distorted, syncopated
chords in background

A note on beat Drums on beat Same, short chords on Short chords on beat.
beat.

Bass fill Drums go back to swing

beat and then play a fill

Guitar fill

Descending Swing beat

chromatically again
Bass plays root note A, Drum continues playing Some short, quiet chords Almost imperceptibly in
with swing beat in the background that the background, the
slightly increase in pitch organ plays a sustained A
and tempo before note
dropping when the chord
changes

Bass plays a D, with Sustained F note

alternating between
octaves and fifths.

Guitar fill that slides

downwards

Bass descends Sustained E note

chromatically again
 Drum fill Guitar fill

Bass moves Cymbal crash when this Syncopated guitar chords

chromatically between F section starts
and G

Guitar fill

Syncopated guitar chords

A note on beat On beat Short chords on beat, that

alternate in pitch

Drum fill

E octave melodic interval Fill that increases in

volume and pitch,
leading into the chorus

Drum fill

Bass ascends Drums change to playing Guitar plays

chromatically something different accompanying chords
 Bass ascends Drums change to playing Guitar plays
chromatically something different accompanying chords

On 'day that I' plays on On 'day that I' plays on On beat chords with
each beat each beat ornaments I think?
 Chromatic descent Same drum beat as
verses

Fill

Bass plays root note A, Drum continues playing Syncopated Almost imperceptibly in
with swing beat accompanying chords the background, the
organ plays a sustained A
note

Bass plays a D, with Sustained F note

alternating between
octaves and fifths.

Bass descends Sustained E note

chromatically again
 Bass descends Sustained E note
chromatically again

Drum fill

Bass moves Drum beat changes Guitar plays some very

chromatically between F distorted, syncopated
and G chords in background.
The guitar sound is

Guitar fill

Guitar plays some very

distorted, syncopated
chords in background

A note on beat Drums on beat Same, short chords on Short chords on beat.
beat.
 Bass ascends Drums change to playing Guitar plays
chromatically something different accompanying chords

On 'day that I' plays on On 'day that I' plays on On beat chords with
each beat each beat ornaments I think?
 Bass ascends Drums change to playing Guitar plays
chromatically something different accompanying chords

Sustained chords Sustained chords Sustained chords

 Fill

Bass plays chorus part Drum is playing every Guitar improvises for the
but playing every beat beat for the first two rest of the song
instead of longer notes repeats, and then reverts
to normal chorus beat
 Notes
Brass Vocals
3/4 timing, 177 bpm.

The song opens on a very

melancholic, wistful
note, setting the tone for
the next verse.

Long, suspended lyric The verses are in a much

'Time--- keeps moving more minor key- in them
on' - Janis expresses anguish,
anger and confusion at a
'Moving on' falls over failing longterm
the change in chord, relationship.
which reflects the change She also vocalises her
suggested by the lyric. It arguments to her partner-
drops to a lower chord, why they should stick it
perhaps creating negative out and make things
 Long, suspended lyric The verses are in a much
'Time--- keeps moving more minor key- in them
on' - Janis expresses anguish,
anger and confusion at a
'Moving on' falls over failing longterm
the change in chord, relationship.
which reflects the change She also vocalises her
suggested by the lyric. It arguments to her partner-
drops to a lower chord, why they should stick it
perhaps creating negative out and make things
connotations, like a low work.
point in life.

Friends---' Volume of
voice rises and grows
increasingly tremolous.

The pitch and volume

then drops for the line
'They turn away',
reflecting the
disappointment and sense
of loss of the lyric.

I keep moving on/ but I

never found out why'-
Rising crescendo and
steadily climbing pitch
building up to the climax
of the verse.
 Rising crescendo and
steadily climbing pitch
building up to the climax
of the verse.

Fastest tempo of the vocals in

the verse. Highest pitch and
volume. Puts emphasis on
lyrics 'I keep pushing so hard
the dream/ I keep trying to
make it right'. Seems like a
couple arguing- one party
angrily saying all they're trying
to do to keep the relationship
going, and despairing that their
partner is making no effort.

The pitch and volume

drops again on 'Through
anther lonely day'- gives
a tone of dejected
acceptance and
loneliness

Whoa, I------' Whoa is an This section marks a

anacrusis to the I. Trails transition between the
off, like the pleading verses. It's very short,
partner is unsure of what and if the verses
to say. represent the couple's
arguments and
resentment, then it could
imply that the peace
between those times is
short and fleeting.
 between those times is
short and fleeting.

Dawn has come at last'

The word 'dawn' is sung
as an A minor scale. 'At
last' sounds almost
agonized. The dawn is
the chance to start again
at the end of a difficult
relationship, bu the Janis
sings it like its a painful
thing- because losing
somebodyis painful, even
if it's for the best.

25 years, honey just in

one night, oh yeah'- this
line sounds like a
desparate plea. It could
be taken to mean that 25
years are being thrown
away in just one night,
and the partner is trying
in anguish to explain
what a waste it is, and
that they need to persist.
 So I know we can't be
right', variation on verse
1 melody, emphasis on
'know' (it jumps higher in
pitch). Sounds like she's
repeating something the
partner said ie. 'I know
we aren't right but we
could try anyway'

But I'm no better babe

and I can't help you no
more'

Than I did when I was

just a girl'- iit sinks in
that the lamenting lover
can't help her partner
anymore, before hte
change to the chorus

The brass plays the chord Aww, it don't make no In contrast with the
progression with long difference babe'- a verses, the choruses are
sustained notes- has a bittersweet acceptance major- in them, Janis
very joyous sound. that this relationship will expresses an acceptance
end no matter what they of the situation and the
do. This fact that things will not
realisation/change in work out with the
attitude occurs on the key partner, but that, in spite
change, reflecting a shift of that, she is going to
in the singer's attitude keep going and enjoying
and feelings. her life.
The brass plays the chord Aww, it don't make no In contrast with the
progression with long difference babe'- a verses, the choruses are
sustained notes- has a bittersweet acceptance major- in them, Janis
very joyous sound. that this relationship will expresses an acceptance
end no matter what they of the situation and the
do. This fact that things will not
realisation/change in work out with the
attitude occurs on the key partner, but that, in spite
change, reflecting a shift of that, she is going to
in the singer's attitude keep going and enjoying
and feelings. her life.
And I know, that I could
always try'

But it don't make no

difference babe, yeah'

Same note, descends on I better hold it now/ I This part is where the
'day that I' better need it yeah' narrator becomes less
certain of her carefree
attitude again and wants
to keep trying with her
partner again.

I better use it til the day

that I-'
Minor chord Chorus ends on the word This is similar to the
'die' just as the chord transition between the
changes to minor first two verses.

Don't expect any The verses are gradually

answers, dear' getting shorter,
potentially symbolising
how little time the couple
have left to fix things,
maybe reflecting that the
singer is dwelling less
and less on the negatives
of the situation and
moving onto a more
carefree attitude (in the
chorus).

For I know that they

don't come with age, no,
no'- the singer is
realising that perhaps
they have never been
right for each other; there
are answerss to questions
and uncertainties about
their relationship that
never came in all the 25
years they were together.
 For I know that they
don't come with age, no,
no'- the singer is
realising that perhaps
they have never been
right for each other; there
are answerss to questions
and uncertainties about
their relationship that
never came in all the 25
years they were together.

'I ain't never gonna love Immediately after the

you any better babe/ I singer presents this
ain't never gonna love ultimatum, the song
you right' The speaker is jumps to the chorus and
presenting an ultimatum- there are no more verses-
the rising pitch, volume, this suggests that the
intensity in general relationship has ended.
reflects this. It might be There is no more sadness
inferred that she's and arguing.
realised that it isn't her
who needs to change to
try and make this
relationship work, it's her
partner.

So you better take it

now/ right now'- the
singer states the
conclusion of the
ultimatum. She is doing
her utmost in their
relationship, and her
lover needs to either take
it or leave it.
The brass plays the chord Aww, but it don't make
progression with long no difference, babe'
sustained notes- has a
very joyous sound.

And I know that I could

always try'

There's a fire inside of

everyone of us'

Same note, descends on You better need it now, I This is the section where
'day that I die' get to hold it, yeah/ I the singer ended up
better use it until the day dwelling on the negative
I die' last time. However, this
time, the key doesn't
revert to minor on the
word die- from this we
can infer that the singer
has gotten over her
hangups and has made
peace with herself.
The brass plays the chord Don't make no
progression with long difference, babe, no, no,
sustained notes- has a no'
very joyous sound.

And it never ever will,

hey'

I want to talk about a

little bit of loving, yeah'

Sustained chords again, I'm going to need it now Again, the part where the
but doen't descend at the I'm going to use it, say' singer is stuck on
end this time. negative thoughts-
however, afterwards, for
the first time, the singer
breaks out of this pattern
and is able to forget
about her hangups and
move on. This section
isn't repeated again.
 move on. This section
isn't repeated again.

Sustained chord Whoa'

Trumpets keep playing Janis continues singing The joyous sound and
the same chords for a iterations of the chorus happy theme of the
while, plus an octave punctuated by chorus is continued to the
higher after a few repeats improvisation end of the song,
indicating that the singer
is living a happier life
now.