~~~ { 𝒕𝒐 𝒃𝒆 𝒐𝒓 𝒏𝒐𝒕 𝒕𝒐 𝒃𝒆 𝒎𝒖𝒔𝒊𝒄 𝒂𝒏𝒂𝒍𝒚𝒔𝒊𝒔

— 𝒂 𝒕𝒉𝒓𝒆𝒂𝒅

so let's start off with general things about the song: it's written in the key of C#minor (diatonic scale: c#, d#, e, f#, g#, a, b), and has an average tempo of ~115bpm. i wouldn't say it is one specific genre; it has attributes of drum&bass, electronic and progressive rock.

the song starts straight with verse 1, which has a soft, airy, almost nostalgic feel to it. the percussions are 'snapping' sounds instead of more traditional snare/kicks, and the background music has a 'staccato' style; combined, it creates a sad and wistful vibe that fits well

with the lyrics on longing/missing a partner after a breakup. the chords also add to the melancholic feel: C#minor, G#minor, F#minor (each lasting 2 bars). but interestingly, in 7+8 bars, the scale slips into harmonic minor scale as the melody contains a c note (7#) and the verse

ends with a G#major chord. the use of harmonic minor not only adds flavour to the melody, but also creates a sense of dissonance and conflict that underlies the meaning of the song (to be or not to be). the second part of verse 1 (leedo) is when the percussions increase in

strength, bringing in bass drums. the airy synth background music intensifies and almost overpowers the previous 'staccato' style, analagous to losing clarity and becoming more perplexed and overwhelmed by the tormenting thoughts of longing. also, it's interesting that when the

bass intensifies, there is a countervailing 'chime' sound (sounds like guitar plucking?) that has a higher tone; meanwhile, the vocals remain in the middle, as if caught between two opposing forces (or, metaphorically, two choices).

the pre-chorus background music has a more 'futuristic' electronic style. the drums are uneven at first (hw+kh part), creating a dramatic tension; at ld's part, the drums build up speed and rhythm, shifting from a tense/anguished feel to an angry/steadfast one.

the chorus, percussion wise, is highly rhythmic and contains bass drums in time with the song. when i first heard the chorus (esp in the teaser), i got very spanish style/flamenco vibes; but i realised quickly that it wasn't due to the main melody, which generally adheres to the

chords and the diatonic scale. instead, the background music plays a much larger role. firstly, there seems to be a guitar strumming sound that is very subtle and rhythmic (blending in perfectly with the perc). in contrast to electronic, the guitar sounds classical/acoustic

with no distortions or heavy processing (the way spanish guitar is played). secondly, there is a very quiet but poignant tune that underscores the 1+2+5+6 bars of the chorus. it's a G# note that shifts to an A. while it still technically lies in the diatonic scale, the tonic

C#minor+a note creates a E6/11 or A/C# chord, which is unusual. in the last 2 bars, the song slips once again into the harmonic minor scale with the C note (7#) that forms a G#major chord. and thinking about this together, it made sense when i thought about it more flexibly.

what happens if i shift the way i think centre the tonic, from C# to G#? it creates a G# phrygian scale! a C#minor diatonic scale is enharmonically equivalent to a G# phrygian scale; and a C# harmonic minor scale is enharmonically equivalent to a G# phrygian dominant scale.

the phrygian scales are used often in flamenco music, such that the phrygian dominant scale is often called the flamenco scale. the phrygian scale creates so much flavour, which is why even though the vocal melody is fairly simple, it sounds so complex, rich and dynamic.

and then, the tone shifts completely again with the drum and bass instrumental, which i associate heavily with progressive rock music. the electronic-sounding overlay of 'to be or not to be' is also very creative and interesting, because its post-modern/futuristic vibes

juxtaposes the more analogue sounds of the drum and bass, just as the low bass juxtaposes the higher 'to be or not to be' tones, thus creating euphonic music that also contains some form of conflict and tension.

the rap part! very interesting. the background music is an electronic-sounding repeat sample of the notes c#-d-c#-f. but wait, d and f aren't in the diatonic scale, and the sound is rooted in c#. so what scale is it? the C# phrygian dominant scale! this scale is linked to more

than the flamenco genre, it's used in all types of genres, and it creates a very dark and sinister vibe. that, coupled with the powerful beats, gunshot sound effects and impactful rap, creates a vibe of anger, bitterness and even vitriol. then comes hw's part, which is the

complete opposite. airy synths are back, along with the soft snapping beats and his delicate voice. a perfect juxtaposition to the previous rap part. what i found really interesting in the verses (both 1 and 2) are that they're split: hw+sh vs ld+rv.

in verse1, it starts soft (hw+sh) and shifts to a more powerful vibe (ld+rv); in verse 2, it starts very hard and powerful (ld+rv) and transitions to a soft vibe (hw+sh). always counterpoised, always balanced, always presenting 2 sides: to be or not to be.

the bridge! the 'woah' part was interesting because on one hand, there is a very deep and low drum and bass sounds; on the other hand, there is a heart monitor sounds with a higher tone. and in between are the boys singing – in the middle, as if 'at a crossroad' (xo's lyric). the

melody (kh+ld part) is interesting too, bc it follows the natural minor pentatonic scale, which is characteristically very aesthetically pleasing and wholesome, an almost 'neutral' sound, which complements how the lyrics (please die from my memory, please live on in my memory)

are conflicted yet balanced. then an upward push in terms of tonality, with rv's rap sliding upwards+sh's high note+the heart monitor. but then, the drop: the drum and bass come in, strongest they've ever been, as if to counter increase and bring the song back to neutrality.

the final chorus! musically, it's similar to the other choruses, but the way it's sung is more powerful, more passionate, as if frustrated that they couldn't make a decision (or perhaps even, that they tried to make a decision but couldn't follow through with it). and the

song ends with a G#major chord: one, that the song does not reach a resolution, doesn't go back to it's tonic C#minor to give closure; two, it ends with a c note, in the C# harmonic minor scale, with a dissonant, conflicted and tormented feeling.

summary– tbontb utilises a variety of techniques to create emotions and tension. with complex theory, creative instrumentation and oneus' beautiful voices, tbontb is a powerful of music that highlights the anguish in choice, the suffering behind love, and the struggle of balance.