*opens the good omens theme score to analyze all of the theory*
it’s such a beautifully simple melody, but all of the harmonies and extra additions make it not simple at all.
the close harmonies of seconds and thirds near the end of the key change, where the key changes from A to E flat, whICH IS A TRITONE UP FROM A, ITS SO CLEVER. plus, there’s all of these accidentals in the melody which
means it doesn’t really even stick to the key and the whole thing
sounds like its fighting with itself whether its minor or its major.
oh and, the last playthough of the melody with all of the thirds and seconds? the first playthrough of the harmony has no harmony with it, and sounds somewhat devious, but lonely, and the melody itself reminds me kind of a snake, and of the way crowley walks. then there’s the angelic middle section, which sounds, you know. angelic, full of choirs, not so lonely, just like how aziraphale isn’t technically alone in heaven. not like how crowley is alone in hell, anyway. and then after the angel section, there’s the tritone key change (which to me, signifies crowley showing up in aziraphale’s life)
and then the ENDING!!!! with the HARMONIES!!!!! its like a slightly dissonant dance between aziraphale and crowley, they fit well together but they don’t make the most conventional pair, and they don’t always work well together. but sometimes (signified by when it changes to the harmony being in sixths) they hit their stride and really GET each other. its not really dissonant but its not fully consonant either, and its so much more INTERESTING that way
plus the harp glissandos peppered throughout? mmmmMMMM YUMMY
@a-zira-fell i feel like you’d appreciate this mayb
dduane
