iximusic deep-sheet provenance audit

Page saysF major · verse · Thom's A held across F → B♭m6

TranscriptSongsterr capture 10139 and the Demucs vocal stem agree: the verse vocal moves A3-C3 (6th down), A3-Bb2 (7th down), Bb3-D3 (minor 6th down), then climbs D3 to A3. Longest stretch on A in the stem is 1.95 s, about 0.6 of a bar; four bars run about 12.6 s. Verse chords read F, Bb/D, Gm, C from bass plus capo-3 guitar shapes; ixi hears the D-bass chord as Bbmaj7. Bbm6 is the chord she names in Ed's intro arpeggio.

FixHeadline: big descending leaps (M6, M7, m6), a walk back up, phrases that start and end on A.

Page saysVocal sits on A for four bars.

TranscriptLongest A in the vocal stem is 1.95 s; Songsterr shows A alternating with C, G, F, Bb, D and E.

FixCut.

Page saysOver B♭m6 the A is outside the chord, sitting a major 7th above the B♭ root — an added major-7th color on top of a clean minor-6 chord.

TranscriptNo Bbm6 under the verse vocal; the chord under the A is Bb/D, which ixi reads as Bbmaj7. Bbm6 belongs to the intro arpeggio.

FixIf kept, say: over the Bb/D chord the melody touches A, the major 7th ixi hears.

Page saysThe same vocal pitch flips from a chord-internal 3rd into a tense added-color tone above the chord.

TranscriptVocal stem and Songsterr both show a moving line.

FixCut.

Page saysThom never moves.

TranscriptTranscript, Songsterr and the vocal stem all show leaps of a 6th and a 7th and a climb back up.

FixCut.

Page saysB minor · verse · Thom's B held across Bm → G → Em → Bm

Transcript'Stuck on the B' is a clean lead guitar alternating two notes in 16ths during the chorus; strings 'on the B' also chorus. Verse vocal = 'minor pentatonic' with 'syncopated accents'. Songsterr capture 51276 agrees: verse vocal B3 D4 E4 F#4 E4 D4, minor-pentatonic notes, no held B.

FixRewrite: verse Bm-G-Em under a minor-pentatonic vocal; the B pedal belongs to the chorus lead guitar.

Page saysVocal stays on B .

TranscriptSame as headline; no held vocal B in the verse. Songsterr capture 51276 agrees: verse vocal B3 D4 E4 F#4 E4 D4, minor-pentatonic notes, no held B.

FixCut.

Page saysOver G ( VI in B minor ), B becomes the major 3rd, way too warm a color for the panic in the lyric.

Transcriptixi calls the G 'our dramatic flat six chord'; 'too warm for the panic' is Claude's and conflicts with her word.

FixUse ixi's label: dramatic flat-six chord.

Page saysOver Em (the iv chord), B is the 5th, the sound of resignation.

Transcriptixi: 'the hopeless four chord minor'. 'Resignation' is Claude's.

FixUse ixi's label: hopeless minor iv.

Page saysThom hovers above the harmony and lets the bass keep redefining what his pitch means.

TranscriptNo source; it depends on the transferred guitar B. Songsterr capture 51276 agrees: verse vocal B3 D4 E4 F#4 E4 D4, minor-pentatonic notes, no held B.

FixCut.

Page saysThe vocal is mostly the still point.

Transcriptixi: the melody follows the chords and keeps going down; later verses add variations. Songsterr capture 9548: the vocal changes pitch with each chord, A3, G#3, A3, F#3, E3.

FixCut.

Page saysEverything else is in motion around it.

TranscriptSame; the vocal is the moving line in ixi's account. Songsterr capture 9548: the vocal changes pitch with each chord, A3, G#3, A3, F#3, E3.

FixCut.

Page saysPre-chorus · vocal harmony stack outlines A minor (A·C·E) held over G → A → E

TranscriptStems (lead vocal, backing vocals, bass, guitars; metronome grid lines up with Songsterr bars 17-24 and 45-50): in the first pre-chorus, with the lead guitar silent, the lead vocal holds B3 for about 3.6 s (38.6-42.2 s) across the A2 and G2 bass notes, and the backing vocals hold G4 and E5 above it. A3 and C4 stay at the noise floor in both vocal stems. The stack is E, G, B, an E minor triad. Songsterr's A3 is a transcription slip. Detector validated first on synthetic A-E-G and A-C-E stacks (top three notes correct in all four tests).

FixSay: a held vocal stack of E, G and B (an E minor triad) over the flat-three, four, one changes; ixi hears it as mainly a minor chord.

Page saysThe three-voice vocal harmony stack holds an A minor triad across the whole phrase — A · C · E stacked above the moving chord progression.

TranscriptStems (lead vocal, backing vocals, bass, guitars; metronome grid lines up with Songsterr bars 17-24 and 45-50): in the first pre-chorus, with the lead guitar silent, the lead vocal holds B3 for about 3.6 s (38.6-42.2 s) across the A2 and G2 bass notes, and the backing vocals hold G4 and E5 above it. A3 and C4 stay at the noise floor in both vocal stems. The stack is E, G, B, an E minor triad. Songsterr's A3 is a transcription slip. Detector validated first on synthetic A-E-G and A-C-E stacks (top three notes correct in all four tests). Held is confirmed; A-C-E is wrong.

FixReplace A-C-E with E-G-B and cite the stems.

Page saysEach held note recolors per chord:

TranscriptThe matrix was computed from A-C-E; the recording's stack is E-G-B.

FixRecompute from E-G-B or cut.

Page saysC — 11th (sus4 color) over G, ♭3 color over A major, ♭6 over E.

TranscriptNo C in either vocal stem.

FixCut.

Page saysA — 9 over G, root over A, 4 over E.

TranscriptNo A in the held stack; the lowest held voice is B3.

FixCut.

Page saysIn the final D-major section, Thom pulses on F♯ over a surprise E major chord — that F♯ is the 9th of E, the tension note that resolves down a long time later.

Transcriptixi first says he 'pulses' on a ninth, then corrects herself (not pulses, just hits). Only AFTER that does the song go to the surprise E major. Claude merged the two, kept the retracted verb, computed F#, and added a late resolution she never mentions.

FixSay: in the D major section Thom hits a ninth; then a surprise E major arrives.

Page saysThey start on a 4th , Billy below Maynard, and Billy drops further to create a clashing major 2nd.

Transcriptixi: Billy keeps himself 'sort of stationary' while Maynard 'moves below him'. Billy below and dropping further would widen the gap, never reach a 2nd.

FixSay: Billy above, stepping down to a major 2nd against Maynard.

Page saysThe Gsus2 is borrowed from outside E major (♭III, mode mixture). ixi: "the ninth, there are ninths all over this song, not just in the guitar, but in Maynard's voice, in the violins and the viola, everything is just leaning on this tense note." The chord stack itself is sitting on the 9 of each chord.

Transcriptixi: 'ninths all over this song'. The every-chord ninth claim fails on the E5 she names.

FixKeep her quote; cut the every-chord claim.

Page saysThe "see me" repeats higher each iteration, an octave up in his range, and the chord underneath shifts so the same vocal pitch becomes a different chord tone each time — "take a melody, change the context underneath it, see what new things happen." The song ends on a surprise D chord, completely out of key , and Maynard sings the 9 of that chord. ixi: "the incomplete, empty, almost confused, ambiguous feeling."

Transcriptixi: 'same interval way up here' and 'take a melody, change the context underneath it'. A repeated melody at a new height changes its pitches.

FixSay: the same melody returns higher over new chords.

Page saysThe score shows ixi's traced cycle — ♭VII → IV → ♭III → ♭VII (mode mixture, three major chords) — with Maynard's vocal G♮ creating the M7 tension over A♭, releasing to F over E♭ and D♭, then snapping back to G♮ over A♭.

Transcriptixi's i, bVII, IV, bIII is the RETURNING VERSE; Claude moved it to the chorus and dropped the i. She explains the major IV as 'what Dorian does' and never calls it mode mixture. She identifies Maynard's 'feed me' note as F, the same note the guitar starts on.

FixRestore: verse i-bVII-IV-bIII in Dorian; chorus never reaches Bb minor; Maynard on F, a major 7th over the bass.

Page saysC♯ Mixolydian → C♯ minor outro · ♭III ↔ I vamp · vocal descending the minor scale

Transcript'C sharp Mixolydian, straight up' is ixi's Sleeping Beauty key. For Thomas she says it uses 'some of the mixolydian sounds' and metal progressions, then migrates into C# minor.

FixHeadline: C# with some Mixolydian color, heavy metal riff, outro in C# minor.

Page saysDuring the bridge, the guitar solo plays the same ♭6 → 5 flip Maynard has been singing — Billy doing it on guitar with 5, ♭6, 1 (skipping the 7).

Transcriptixi: the solo is 'just doing five flat six one', an ascending figure in a Romanian or harmonic-minor color. She never ties it to Maynard's descending flat-6 to 5.

FixKeep the solo figure on its own; cut 'same flip'.

Page saysSo the vocal motif from the verse has migrated into the chord stack itself.

Transcriptixi's direction runs the other way: an instrumental theme that Maynard finally 'reclaims for himself'.

FixCut; restore bass-to-vocal direction.

Page saysF♯ Mixolydian ♭2 · vocal harmonies M3 → unison → P4 in chorus, parallel 5ths in second pre-chorus

Transcriptixi: 'difficult to really assign a scale', morphs by section; Mixolydian b2 only 'for this part'; bridge = E Mixolydian.

FixHeadline: F# home, scale shifts by section; ixi picks Mixolydian b2 for the intro theme.

Page saysThinking Of You is in F♯ in a scale ixi calls Mixolydian ♭2.

TranscriptSame.

FixSame.

Page saysIn order to do that Maynard has to let go of the flat two and start singing a natural two." So the vocal harmony switches to parallel 5ths, and Maynard adjusts his pitches inside the scale to make the parallel motion work.

Transcriptixi: he must 'let go of the flat two and start singing a natural two', which leaves Mixolydian b2.

FixSay: he swaps the b2 for a natural 2 to keep the 5ths parallel.

Page saysC♯ minor · chorus · one held B across F♯ → C♯ → B → G♯m → A, one pitch, five chord duties

TranscriptIts own stem transcription holds the B over F#, A and C# only; it ends when the B and G#m chords arrive (per chat c6925498).

FixRewrite from the transcription, or remove the sheet.

Page saysThe chorus vocal centers on B (♭7 of C♯ minor), held while the chord stack walks: over F♯ major (IV) B is the 4th (sus color); over C♯ major (tonic flipped major, a Picardy-ish tilt) B is the ♭7 (dominant tip); over B major (♭VII) B is the root; over G♯m (v) B is the ♭3; over A major (♭VI) , the "over you" chord, B is the 9th.

TranscriptSame.

FixSame.

Page saysOne pitch that never moves, five jobs.

TranscriptSame.

FixCut.