1B B major

# 🎵 Music Inspiration Report _Here's what we heard in your track, next to the songs you admire: Another favourite (generated).wav, Club track I admire (generated).wav._

📖 How to read this report

Hover over any underlined word in the report (or tap it on a phone) and it'll explain itself. Here they all are in one place.

The basics

Length — How long the track runs, in minutes and seconds.
Tempo — How fast the beat goes, in beats per minute (BPM). 60 is one beat a second. Ballads tend to sit around 60-80, pop around 90-130 and dance music around 120-130. Now and then we'll read half or double the speed you feel.
Meter — How the beats group into bars. 4/4 means four beats a bar (most pop, rock and blues), 3/4 means three (that waltz sway), and 5/4 or 7/4 are odd meters you'll hear in prog, jazz and film music. 'Assumed' means the evidence was thin, so we went with the most common one, 4/4.
Bar — One full cycle of the meter, like four beats in 4/4. We count chord changes, sections and riffs in bars.
Key — The home note and scale the music keeps coming back to, like E major. Major usually sounds brighter, minor darker.
Camelot — A code DJs and producers use for keys: numbers 1-12 round a wheel, A for minor and B for major. Tracks with the same code, a number either side (same letter), or the same number with the other letter mix together smoothly.
Mode — The flavour of the scale: which notes surround the home note. Hover over a mode's name to see what it feels like.
Note names — A letter plus an octave number. C4 is middle C and A4 is 440 Hz. A bass guitar's lowest string is E1 and a guitar's is E2. # means a semitone up (sharp), b a semitone down (flat).

Harmony

Confidence — How well the notes fit the key, from 0 to 1. Above 0.75 is clear. Below 0.6 the harmony is ambiguous, which is common with modal music, drones and power chords.
Runner-up — The next most likely key. It's often the 'relative' key (C major and A minor share the same notes), which is why the two are easy to mix up.
Mode confidence — How clearly one mode beats the others. 'Low' means another mode fits almost as well, usually because the note that would settle it hardly gets played.
Colour note — The note that gives this mode its character. Lean on it in a melody and the mode comes through clearly.
Scale — The seven notes of the key's mode, starting from the home note.
Chord names — C is C major and Cm is C minor. C7 is a dominant 7th (bluesy, and it wants to move to the chord a 4th up), Cm7 a minor 7th (soft and jazzy), Cmaj7 a major 7th (dreamy). C5 is a power chord: just the root and 5th, neither major nor minor, the bread and butter of rock and blues guitar.
Slash chord — A/E means an A chord with E as the lowest (bass) note.
Capo — A clamp across the guitar neck that raises every string by the fret it sits on, so easy open chord shapes sound higher. Fingerings are written from the low E string to the high E string: a number is the fret to press, 0 an open string, x a string you don't play. Chords played as power chords (C5, D5) aren't counted: that shape moves anywhere on the neck.
Chord root — The note a chord is named after, like D in D7. Bass lines often play it.
Roman numerals — Chords named by where they sit in the key. I is the home chord, and IV and V are built on the 4th and 5th notes. Upper case is major, lower case minor, so 'i - iv - V' describes the same progression in any key.
AABA — The 32-bar song form behind jazz standards and classic pop: an 8-bar A section played twice, a contrasting 8-bar B section (the bridge, or 'middle eight'), then A once more. We spot it by comparing the chords of 8-bar stretches.
Chord loop — A short run of chords that repeats, like the four chords under a verse. We look for loops within each key and show them starting on the home chord.
Chord timeline — Every chord change in order, with the time it starts. Names like A/E show the bass note when it isn't the chord's root. A ? means that chord's notes were no louder than the other notes sounding at the time, as in a fast run or a lick, so the name is a best guess.
Harmonic rhythm — How often the chord changes.
Time in each key — How long the music stays in each key. Songs often move to a new key (modulate) for a chorus or a bridge.
Key timeline — The keys in the order they come, with their start and end times.
Drone / pedal — A note that keeps sounding while the chords change above it.
Tuning — How far the instrument sits from standard pitch (A = 440 Hz), in cents. 100 cents is one semitone.
Major/minor blur — The major and the minor 3rd both stand out. You hear this a lot in blues and rock, where the minor 3rd is a 'blue note' played over major chords.

Form

Form — The order of the song's sections. Each letter is a section, and a letter that comes back sounds like the earlier one (A B A C could be verse, chorus, verse, bridge). We work this out automatically, so treat it as a rough map.
Section energy — Low, medium or high: how loud the section is compared with the track as a whole.
Instrument columns — ✓ means that instrument clearly plays in the section. — means it doesn't, or it's too quiet for us to tell.

Energy & mood

Energy — How loud the track is from start (left) to end (right), in 24 slices. Taller bars are louder, so you can spot builds, drops and breakdowns at a glance.
Energy level — How intense a section feels, from 1 to 10. We work it out from how loud it is (compared with the loudest section), how many notes or hits there are each second, how bright it sounds, and the tempo.
Mood — Where the music sits between dark and bright, as positivity from 0 to 100. We base it on the mode, how much of the time minor chords play, brightness and tempo. Put together with energy, that gives words like 'calm', 'driving' or 'melancholic'. It's a rule of thumb, not a verdict: how you play shapes the feel too.
Positivity — 0 is dark or sad, 100 bright or happy. We estimate it from the mode, minor chords, brightness and tempo.
Loudness vs peak — How much quieter the section is than the loudest one, in dB. 0 is the loudest, and -6 dB sounds about half as loud.
Notes per second — How many notes or hits start each second. It's a measure of how busy the playing is.
Brightness — The 'centre of gravity' of the sound, in Hz. Higher sounds brighter or harsher (cymbals, distortion), lower sounds darker or warmer.
Minor chords — How much of the section's time minor chords take up. More minor usually feels darker.

Instruments

Who plays when — One row per instrument, one block per section: filled where it plays (stronger = surer), a dashed outline where it might (drums we couldn't confirm), faint where it doesn't. The vocals come from a trained model listening second by second; the drums, bass and chords from our own measurements (or, with Demucs, from each separated part). Hover over a block for the evidence.
Separation — We pull the drums apart from everything else before we analyse anything. Demucs, an AI model, does this well. Without it we use a simpler split by sound type: sharp hits versus held notes.
Drum grid — One bar cut into 16 sixteenth-notes (1 e & a 2 e & a 3 e & a 4 e & a). K is a kick-heavy hit, S a snare-heavy hit, X a strong hit (kick and snare), x a lighter hit, and . means there's usually nothing. h is a hi-hat or cymbal.
Groove repetition — How closely each bar sticks to the main drum groove. Tight feels like a loop, loose means plenty of variation.
Groove traits — A backbeat puts the snare on beats 2 and 4 (rock and pop). Four-on-the-floor puts the kick on every beat (disco and house). Half-time puts the snare only on beat 3, so it feels slower.
Fill — A short break from the main groove, usually leading into a new section.
Bass style — Roots means mostly the chords' root notes. Pedal holds one note under changing chords. Riff is a repeating figure. Walking is a note on every beat, moving step by step, as in jazz.
Clear notes — The share of beats where we could hear a clear bass pitch. Rests, quiet notes and muddy notes don't count.
Lowest part — When there's no separate bass instrument, we take the lowest notes of the main instrument (say, a guitarist's thumb on the low strings) and analyse them like a bass line.
Sheet music — The bass notes we found in the recording, placed on a 16th-note grid in bars of the detected meter, with the chords written above. It's automatic, so check it by ear. Swing and triplets get rounded to the nearest 16th.
Note lengths — A whole note is 4 beats, a half note 2, a quarter note 1, an 8th half a beat and a 16th a quarter of a beat. A dot makes a note half as long again.
Rhythm grid — One bar in 16ths (1 e & a 2 e & a ...). x or X marks where a note starts: X in most bars, x in some, . rarely.

Rhythm & sound

Pulse — How steady the tempo is: locked to a click, played by feel, loose, or free with no fixed beat.
Syncopation — Hits that land between the beats rather than on them. It's what makes a groove feel pushed or funky.
Percussive — How much of the sound's energy comes from sharp attacks (drums, but also picked or strummed notes) rather than held notes.
Tone — Dark and warm, balanced, or bright, going by the brightness in Hz. Clean or noisy tells you how pitched or how noise-like the sound is.
dBFS — Loudness measured against the digital maximum (0 dBFS). The more negative, the quieter.
LUFS — Loudness as ears hear it (ITU-R BS.1770, the standard streaming services use): low bass counts for less, the 2-4 kHz range for more, and silent moments are left out. Spotify plays music at about -14 LUFS, turning louder tracks down.
True peak — The highest level the waveform reaches, including between the samples, where a converter or an mp3/AAC encoder can overshoot. Above 0 dBTP the sound clips; Spotify asks for -1 dBTP or lower.
Loudness range — How much the level moves between the quieter and louder passages, in LU (EBU Tech 3342: the spread from the 10th to the 95th percentile of 3-second loudness). Small means even and compressed, large means dynamic.
Stereo correlation — How similar the left and right channels are: +1 is mono, values between 0 and +1 are normal for a stereo mix (lower = wider), and below 0 means parts are out of phase and cancel on a mono speaker.
Dynamic range — The gap between the loud and quiet parts, in dB. Bigger means more contrast.
Frequency balance — How the energy spreads across the range: sub (felt more than heard), bass, low-mids (body), high-mids (presence) and air (sparkle).

Instruments we hear

Instruments we hear — A trained model's opinion of which instruments play (Essentia's instrument model, MTG-UPF, 40 instruments), with how sure it is. It's a second opinion next to our own measurements and what you tick: shown and compared, never used to change a result.

Producer's view

Sidechain — Pumping: the pads, chords and synths duck right after each kick and swell back before the next, usually from a compressor triggered by the kick. Gentle is 3-6 dB, heavy (the obvious French-house 'breathing') more than 6.
Drop — In dance music, the moment the full beat and bass come back in after a breakdown or build. We map each section's role (intro, build, drop, breakdown, outro), its length in bars, and how far the drop jumps in level above what leads into it.
Mono low end — Club systems and phone speakers play the bass in mono, so a wide or out-of-phase low end partly cancels on them. Correlation below 120 Hz near +1 is mono and safe; below 0.6 is wide.
PLR — Peak-to-loudness ratio: true peak minus loudness (LUFS). Below about 8 dB a master is heavily limited (dense, loud, little punch); 8-11 is typical of modern club and pop masters; above that it's dynamic.

Melody

Scale degree — A note's place in the key: 1 is the home note, 5 the fifth above it, b6 a flattened sixth, and so on. Degrees describe a melody whatever key it's in.
Melody shape — The overall contour (rising, falling, arch or wave), plus its range and how much it moves by step to the next note versus leaping.
Intervals — The distance from each note to the next: half-step, whole-step, 3rds, 4ths, 5ths and so on. Small steps sound smooth and singable, big leaps dramatic.
Top line — The loudest pitched part, picked out automatically. On a full-band phone recording it's often the chord instrument rather than the melody.
Variations — Classic ways to develop a short idea. Inversion flips its intervals upside down, retrograde plays it backwards, a sequence repeats it a step higher, and an answer phrase brings it home to the home note.

Ideas & files

Shared DNA — Building blocks (chord loops, scale, groove, form, melodic tricks) your track has in common with well-known recordings. They're there for study and inspiration, not to say it 'sounds like' anything.
AI brainstorm — Written by an AI language model that reads the analysis numbers, never your audio. Treat it like a sparring partner: we check any times and chords it names, but its opinions are its own.
MIDI — A file of notes rather than sound. Drag it into a DAW (GarageBand, Logic, Ableton, FL Studio and so on) or MuseScore, pick any instrument, then edit, transpose or loop it.
MusicXML — The standard file format for sheet music. It opens in MuseScore (free), Sibelius, Dorico, Finale and many DAWs, where you can read it, play it back and edit it.
Report file — This whole report as a text file (Markdown, .md). It opens in any text editor or notes app and shows up formatted on GitHub, Notion or Obsidian.
Data file — Every number behind the report, in a file programs can read (JSON). Handy for spreadsheets, your own scripts or another tool.

Modes

Ionian (major) — The ordinary major scale: bright, stable, resolved.
Lydian — Major with a raised 4th: dreamy, floating, film-score.
Mixolydian — Major with a flat 7th: bluesy, rock, folk, laid-back.
Phrygian dominant — Flat 2nd with a major 3rd: Spanish / flamenco / Middle-Eastern.
Dorian — Minor with a raised 6th: soulful, jazzy, funky, less sad than plain minor.
Aeolian (natural minor) — The ordinary minor scale: sad, serious, emotional.
Harmonic minor — Minor with a raised 7th: dramatic, classical, exotic pull to home.
Phrygian — Minor with a flat 2nd: dark, tense, metal / cinematic.

## 🎵 My house track (generated).wav _You told us: drum machine / 808 kit, synth bass / 808, synth pads · House._ **1:34** · **124 BPM in 4/4** · **C major** (8B) · **Ionian (major)** · steady (likely to a click/grid) · balanced > **In short:** A upbeat, uplifting and energetic dance track in C major at 124 BPM. It's drums, bass and synth pads. It rises to a peak in the middle, then comes down; the high point is section B at 0:14. The chords lean on F, Am and C.

The whole track as a picture · click to open

Key C major · tinted keys mix smoothly with it

Tempo · dashed rings: half and double time · band: House usually 118–130

Energy & mood, section by section

Loudness · ring: where Spotify plays it · true peak -1.9 dBTP

### 🎯 Next to the songs you admire _Your track beside **Another favourite (generated).wav**, **Club track I admire (generated).wav**, measured the same way. We only point out differences big enough to hear; a song you admire is a guide, not a target._ - **What's there in both:** tempo & groove - **What's not there in yours (or not the same):** key & harmony (1 of 2), arrangement & energy (2 of 2), sound & mix (2 of 2) **What both have in common that yours doesn't**, the strongest leads: - **arrangement:** Both songs you admire land their drop harder than yours: more contrast going into it. - **arrangement:** Both songs you admire have a breakdown (the drums drop out), and yours doesn't. - **production:** Both songs you admire pump with the kick (sidechain) more than yours. - **sound:** Both songs you admire are mastered louder than yours. - **sound:** Both songs you admire put more energy into the air (>6k) range than yours. Measure by measure: your dot in the text colour, each song you admire in its own colour. Each row has its own scale; your value is on the right. Loudness over time on one clock: higher is louder, and the length shows too. Tonal balance by octave (Hz): each song's own share of its energy, so how loud it is doesn't matter. Where the lines part, one puts more into that range.

Side by side with Another favourite (generated).wav

| | Yours | Theirs | |---|---|---| | Tempo | 124 BPM | 128 BPM | | Key | C major (8B) | C major (8B) | | Mode | Ionian (major) | Ionian (major) | | Time signature | 4/4 | 4/4 | | Length | 1:34 | 2:31 | | Sections | A B A | A B C D B A | | First reaches full energy | 0:14 | 0:30 | | Energy · mood | 6/10 · uplifting, energetic | 6/10 · warm, upbeat | | First drop | 0:14 (bar 8) | 0:30 (bar 17) | | Drop lands | +1.6 dB | +7.2 dB | | Off-beat hits | 0% | 0% | | Drums · bass | yes · yes | yes · yes | | Drum pattern | four-on-the-floor | four-on-the-floor | | Sidechain pump | none | 6.5 dB (heavy) | | A chord change every | 3.8 beats | 5.1 beats | | Loudness | -19.7 LUFS | -18.2 LUFS | | Peak-to-loudness (punch) | 17.8 dB | 16.3 dB | | Loudness range | 4.2 LU | 13.3 LU | | Brightness | 2154 Hz | 2310 Hz | **What they do differently, and what you could try** - **arrangement:** Their drop lands 7.2 dB above what leads into it, yours 1.6 dB. Thin out your breakdown, or cut the kick and low end in the bar before the drop, so it has further to jump. - **arrangement:** Theirs has a breakdown (the drums drop out, then build back) and yours keeps the drums going throughout. Even 8 bars without the kick resets the listener's ear. - **production:** Their pads and synths duck about 6.5 dB after every kick and swell back (sidechain pumping); yours barely move. A compressor on the pads keyed from the kick, with the release timed to the beat, gets you that breathing groove. - **sound:** Theirs is mastered 1.5 LU louder. On Spotify both are levelled to about -14 LUFS, so match the mix first; loudness comes last, from a limiter on the master. - **sound:** Theirs puts 5 dB more energy into the air (>6k) range than yours.

Side by side with Club track I admire (generated).wav

| | Yours | Theirs | |---|---|---| | Tempo | 124 BPM | 126 BPM | | Key | C major (8B) | C major (8B) | | Mode | Ionian (major) | Ionian (major) | | Time signature | 4/4 | 4/4 | | Length | 1:34 | 2:18 | | Sections | A B A | A B C D B A | | First reaches full energy | 0:14 | 0:30 | | Energy · mood | 6/10 · uplifting, energetic | 6/10 · warm, upbeat | | First drop | 0:14 (bar 8) | 0:30 (bar 16) | | Drop lands | +1.6 dB | +5.7 dB | | Off-beat hits | 0% | 0% | | Drums · bass | yes · yes | yes · yes | | Drum pattern | four-on-the-floor | four-on-the-floor | | Sidechain pump | none | 6.5 dB (heavy) | | A chord change every | 3.8 beats | 5.8 beats | | Loudness | -19.7 LUFS | -18.4 LUFS | | Peak-to-loudness (punch) | 17.8 dB | 16.6 dB | | Loudness range | 4.2 LU | 14.0 LU | | Brightness | 2154 Hz | 2469 Hz | **What they do differently, and what you could try** - **arrangement:** Their drop lands 5.7 dB above what leads into it, yours 1.6 dB. Thin out your breakdown, or cut the kick and low end in the bar before the drop, so it has further to jump. - **arrangement:** Theirs has a breakdown (the drums drop out, then build back) and yours keeps the drums going throughout. Even 8 bars without the kick resets the listener's ear. - **production:** Their pads and synths duck about 6.5 dB after every kick and swell back (sidechain pumping); yours barely move. A compressor on the pads keyed from the kick, with the release timed to the beat, gets you that breathing groove. - **harmony:** Their chords sit longer (every 5.8 beats against your 3.8), which gives the melody room. Holding one of your chords twice as long is worth a try. - **sound:** Theirs is mastered 1.3 LU louder. On Spotify both are levelled to about -14 LUFS, so match the mix first; loudness comes last, from a limiter on the master. - **sound:** Theirs puts 5 dB more energy into the air (>6k) range than yours.

### 🎨 Picture of the track _The whole track in one picture, drawn from what we measured. Time runs clockwise from the top; hover any part to see what it is._

**What the picture shows** - **Chords:** The ring travels round the colour wheel: only 50% of the time are the chords' roots within one step of home, in 5 main colours; the furthest is C#m (first at 0:00), 5 steps away, on a root from outside the key's scale. - **Loudness:** The petal swells most at 0:50 and again at 1:14; it's thinnest around 0:12. - **Mood:** The tints: violet (brooding, tense) in A; gold (uplifting, energetic) in B. - **Notes:** The tune's dots spread over G4–G5; 93% of its notes belong to the chord under them; no tune dots in section A (1:20–1:34). - **Bass:** The inner dots are the bass, which plays the chord roots. - **Who plays:** The rings are fullest in section A (3 parts, 0:00) and emptiest in A (2, 1:20). **How it's drawn** - **Time:** runs clockwise from the top, like a clock; the letters round the edge are the sections. - **Outer ring:** the chords, coloured by their root on the circle of fifths: neighbouring colours are closely related chords. Darker means minor, greyer a power chord. - **Thin rings:** who plays when, one ring per part, brighter where it's louder. - **Petal:** how loud each moment is, tinted by its section's mood: cool colours for calm moods (teal peaceful, blue sad), warm ones for lively moods (amber warm, gold uplifting), violet and crimson for dark ones. - **Dots:** the notes, coloured on the same wheel: the tune's further out (higher notes further out), the bass's further in. - **Centre:** the key's home note in its colour, and the tempo. ### Harmony _The key you're in and the chords you lean on._ - **Key:** C major (confidence 0.95: clear; runner-up A minor) - **Mode:** Ionian (major) (high confidence) — colour note **E** - **Chords used most:** F (0:16), Am (0:16), C (0:15), C#m (0:14), G (0:14), G5 (0:02), Dbm (0:02), Ab (0:01) **Chords over time** - **Scale:** C D E F G A B - **Harmonic rhythm:** a chord change every ~3.8 beats **Time in each key** **Key timeline:** C# minor (0:00–0:14) → C major (0:14–1:20) → C# minor (1:20–1:34) **Chord loops** - `C#m` (i in C# minor) · 0:00–0:14, 1:20–1:34 · ×5 - `C – G – Am – F` (I – V – vi – IV in C major) · 0:14–1:20 · ×8.5

Full chord timeline (with bass notes as slash chords)

_Every chord change in order, with the time it starts. Names like A/E show the bass note when it isn't the chord's root. A ? means that chord's notes were no louder than the other notes sounding at the time, as in a fast run or a lick, so the name is a best guess. C is C major and Cm is C minor. C7 is a dominant 7th (bluesy, and it wants to move to the chord a 4th up), Cm7 a minor 7th (soft and jazzy), Cmaj7 a major 7th (dreamy). C5 is a power chord: just the root and 5th, neither major nor minor, the bread and butter of rock and blues guitar._ 0:00 C#m/E? · 0:03 C#m/E? · 0:06 C#m/E? · 0:09 C#m/E? · 0:12 C#m? · 0:15 Ab · 0:15 Am · 0:17 F · 0:19 C · 0:21 G · 0:23 Am · 0:25 F · 0:27 C · 0:29 G · 0:31 Am · 0:33 F · 0:35 C · 0:37 G · 0:39 Am · 0:41 F · 0:43 C · 0:45 G · 0:46 Am · 0:48 F · 0:50 C · 0:52 G · 0:54 Am · 0:56 F · 0:58 C · 1:00 G · 1:02 Am · 1:04 F · 1:06 C · 1:08 G · 1:10 Am · 1:12 F · 1:14 C · 1:15 G5 · 1:18 Dbm/E? · 1:21 C#m/E? · 1:24 C#m/E? · 1:27 C#m? · 1:30 C#m?

### Structure _How the track is laid out, section by section._ Form: **A B A** | Section | Time | Length | Energy | Key | Main chords | Drums | Bass | |---------|------|--------|--------|-----|-------------|-------|------| | **A** | 0:00–0:14 | 0:14 | low | C# minor | C#m | ✓ | ✓ | | **B** | 0:14–1:20 | 1:06 | high | C major | F, Am, C, G | ✓ | ✓ | | **A** | 1:20–1:34 | 0:14 | low | C# minor | C#m | ✓ | ✓ | ### ⚡ Energy & mood _How intense it feels (energy) and what it sets (mood), section by section._ - **Overall:** energy **6/10**, mood **uplifting, energetic** (positivity 58/100) · the track rises to a peak in the middle, then comes down · peak: section **B** (0:14–1:20) | Section | Time | Energy | Mood | Positivity | Loudness vs peak | Notes/sec | Brightness | Minor chords | |---------|------|--------|------|------------|------------------|-----------|------------|--------------| | **A** | 0:00–0:14 | 5 | brooding, tense | 31 | -23.6 dB | 4.1 | 2494 Hz | 100% | | **B** | 0:14–1:20 | 7 | uplifting, energetic | 69 | 0.0 dB | 4.1 | 2043 Hz | 26% | | **A** | 1:20–1:34 | 4 | brooding, tense | 30 | -34.2 dB | 3.8 | 2348 Hz | 100% | ### Instruments _Who's playing when, and what the drums and bass are up to._ **Who plays when** **Drums** throughout · **Bass** throughout · **Synth pads** in A B. _To hear the drums on their own, we split them from everything else with a lighter split that tells sharp hits from held notes._ **🥁 Drums** — plays in sections A B A · groove repetition: tight (very repetitive) · four-on-the-floor Main groove (how to read):

As text

``` 1 e & a 2 e & a 3 e & a 4 e & a Drums X . S . K . S . X . S . K . S . Cymbals h . h . . . h . h . h . . . h . ```

**Other instruments you named** — synth pads. We don't write these out one by one. We transcribe the drums (as a grid) and the lowest part (the bass, or the main instrument's own low notes), and what everyone else plays together shows up under Harmony (the chords) and Melody (the top line). **🎸 Bass** — plays in sections A B A · clear notes on 80% of beats · range E1–A1 · style: plays the chord roots · main notes: F 31%, E 29%, G 21%, A 18% · on the chord root 74% of the time Every note we transcribed: pitch up the side, time along the bottom. **Bass rhythm** (read from the sheet music, 49 bars) — 227 notes, ~4.7 per bar · note lengths: 8ths 88%, 16ths 10%, dotted 8ths 2% · 69% start between beats (6% on a 16th) · 1% syncopated (held across the beat) · 24 different bar rhythms Most common bar rhythm (in 44% of the bars with bass; how to read): ``` 1 e & a 2 e & a 3 e & a 4 e & a Bass . . x . . . x . . . x . . . x . ``` ### 🎶 Melody _The tune: which notes it uses, its shape, and ways to grow it._ **Top line (automatic):** range G4–G5 · main notes C 25%, D 25%, E 25%, G 25%, A 1% · repeating 4-note figures: `E C G D` ×8; `C G D E` ×7 · it's 93% chord notes, so it's probably following the chords rather than playing a melody of its own. _Want a proper melody analysis? Type the melody or riff when you upload (for example `A E F E A E D E`)._ ### 🎧 Shared DNA with well-known music _Building blocks (chord loops, scale, groove, form, melodic tricks) your track has in common with well-known recordings. They're there for study and inspiration, not to say it 'sounds like' anything._ - **Chords:** your `C – G – Am – F` uses the same loop as **I–V–vi–IV (the 'four chords' of pop)** — “Let It Be” — The Beatles, “No Woman, No Cry” — Bob Marley, “With or Without You” — U2, “Zombie” — The Cranberries (as vi–IV–I–V) - **Groove:** four-on-the-floor, the disco/house pulse — “Stayin' Alive” (Bee Gees), “One More Time” (Daft Punk) ### Groove & sound _How the track moves, and what it sounds like._ - **Pulse:** steady (likely to a click/grid) (beat-to-beat variation 1.9%) - **Rhythm:** busy (4.08 notes/hits per sec), mostly on the beat (0% off-beat) - **Percussive vs tonal:** 43% percussive energy - **Tone:** balanced (2154 Hz brightness), mixed - **Loudness:** -19.7 LUFS integrated · true peak -1.9 dBTP · loudness range 4.2 LU · a mono file (measured as it plays, on both speakers) - **On Spotify:** Spotify would lift it only 0.9 dB: it keeps the true peak at or below -1 dBTP, and this track's peaks reach -1.9 dBTP. So it plays at -18.8 LUFS, quieter than most tracks around it. A limiter on the master would let it come up further. - **Energy arc:** — biggest build into **0:16**, quietest around **0:12** **Frequency balance** ### 🎛️ Producer's view _What electronic and other produced music is judged by: the kick, the pumping, the arrangement in bars, and how the mix holds up on a club system or a phone._ - **Drum pattern:** four-on-the-floor - **Sidechain pumping:** none: the pads and synths hold steady under the kick One beat's level, averaged over the track: pumping dips at the kick and swells back. **Dance arrangement** (bars at 124 BPM) | Section | Role | Time | Bars | Level | | |---|---|---|---|---|---| | A | Intro | 0:00–0:14 | 7 | -1.6 dB | drums only: easy to mix in | | B | Drop | 0:14–1:20 | 34 | 0.0 dB | lands +1.6 dB | | A | Outro | 1:20–1:34 | 7 | -2.0 dB | | _First drop at **0:14** (bar 8); 50% of the sections last a whole number of 8-bar phrases (give or take a bar)._ - **Peak-to-loudness:** 17.8 dB, dynamic: plenty of punch in the peaks - **Mixes with:** tracks at 117–132 BPM (within the pitch fader's ~6%) in 8B, 8A, 9B, 7B ### 🧭 What's there, what's missing _The map the ideas below are built on: which notes of the scale your chords and melody use, the key's colour note, and the moods your sections visit. A gap is a choice you haven't made yet, not a mistake._ | | What you have | What's missing | |---|---|---| | **Tension notes** | a top line that's 93% chord tones | notes outside the chord (suspensions, 9ths, passing notes) that pull and resolve | | **Chords the key offers, unused** | chords built on 1, 4, 5, 6 | anything on 2 (D), 3 (E), 7 (B) | | **Moods not yet visited** | sections that move between excited and sad | never calm or tense | ### 💡 Ideas to try _Worked out from the analysis itself, no AI. Try them and keep what works._ - **melody:** Delay a chord tone: hold the note from the previous chord over the change (a suspension) and let it fall by step. - **harmony:** Try Dm or Em in place of a repeat of one of your chords. - **arrangement:** For a calm section: less energy, bright but gentle: fewer notes per second, softer and warmer, held major chords. - **melody/harmony:** Plain major, so the strongest colour is the leading tone (B) → C at phrase ends, or a V (G) → I cadence to land sections. - **bass:** The bass mostly plays chord roots. Try approach notes: on the last 8th before each chord change, play a note a half-step above or below the next root. It pulls the ear into the new chord. - **harmony:** Borrow from C minor: try a minor iv — Fm, or a bVII — Bb. You already use Ab from there, so this colour suits the track. - **harmony:** The track never visits the ii chord (Dm), even though it fits the scale. That makes it a fresh place to go for a bridge or a new section. - **structure:** Smooth key-change targets (or the next song in a set): A minor (relative), G major and F major (Camelot neighbours). For a dramatic final-chorus lift, jump up a whole step to D major. - **remix:** Same chords, new feel: try a half-time groove (drums feel like ~62 BPM) for a heavier, spacious section. - **arrangement:** The biggest contrast is the dip around 0:12 that comes back +23.2 dB by 0:16. Make it a real breakdown: strip it to one instrument for 4–8 bars, then hit the return with everything (a riser or a bar of silence just before helps). - **drums:** The groove runs without obvious fills. Mark the section changes (0:14, 1:20) with a one-bar fill or a crash on the downbeat. - **drums:** The kick stays on the main beats. Add one push — a kick on the 'a' of 2 or the '&' of 3 — for more bounce without changing the feel. - **rhythm:** The groove sits mostly on the beat. Try anticipating chord changes by an 8th note, or add a syncopated percussion layer (shaker/rim) to add swing. - **house:** House lives on the kick on every beat and the off-beat hi-hat: keep the groove constant and make the changes with filters, a breakdown and sidechained pads. - **production:** The kick lands on every beat but the pads and synths don't move with it. Sidechain them to the kick (a compressor keyed from the kick, 3-6 dB of gain reduction, release timed to swell back by the next beat) and the groove starts to breathe. - **arrangement:** The drop is only 1.6 dB louder than what comes before it, so it doesn't land as hard as it could. Take the kick and the low end out of the bar before it, filter the build (a high-pass sweep), or thin out the breakdown. ### 🎼 Sheet music _The bass notes we found in the recording, placed on a 16th-note grid in bars of the detected meter, with the chords written above. It's automatic, so check it by ear. Swing and triplets get rounded to the nearest 16th. The standard file format for sheet music. It opens in MuseScore (free), Sibelius, Dorico, Finale and many DAWs, where you can read it, play it back and edit it._ - `sheets/My_house_track_generated__bass.musicxml` — bass sheet music (MusicXML: open in MuseScore, Sibelius, Dorico or a DAW to edit and play) - `sheets/My_house_track_generated__bass.html` — bass sheet music, engraved (1 page(s); open in a browser, print to PDF) ### 🎹 MIDI sketches (drag into your DAW) _A file of notes rather than sound. Drag it into a DAW (GarageBand, Logic, Ableton, FL Studio and so on) or MuseScore, pick any instrument, then edit, transpose or loop it._ - `midi/My_house_track_generated__bass_transcription.mid` — bass, note by note (227 notes at their real times) - `midi/My_house_track_generated__bass_from_sheet.mid` — bass, from the sheet music (on the beat grid, 49 bars, bar 1 = 0:00 in the recording) - `midi/My_house_track_generated__detected_loop_2.mid` — detected loop 2: C – G – Am – F - `midi/My_house_track_generated__loop_2_variation_relative_sub.mid` — loop 2 variation relative sub: Am – G – Am – F ## 🎯 Reference: Another favourite (generated).wav _A song you're measuring yourself against. We analysed it the same way as yours; the comparison is at the top of each of your tracks._ **2:31** · **128 BPM** · **C major** · Ionian (major) · form **A B C D B A** - **Loudness:** -18.2 LUFS integrated · true peak -1.9 dBTP · loudness range 13.3 LU · a mono file (measured as it plays, on both speakers) - **On Spotify:** Spotify would lift it only 0.9 dB: it keeps the true peak at or below -1 dBTP, and this track's peaks reach -1.9 dBTP. So it plays at -17.3 LUFS, quieter than most tracks around it. A limiter on the master would let it come up further. ## 🎯 Reference: Club track I admire (generated).wav _A song you're measuring yourself against. We analysed it the same way as yours; the comparison is at the top of each of your tracks._ **2:18** · **126 BPM** · **C major** · Ionian (major) · form **A B C D B A** - **Loudness:** -18.4 LUFS integrated · true peak -1.8 dBTP · loudness range 14.0 LU · a mono file (measured as it plays, on both speakers) - **On Spotify:** Spotify would lift it only 0.8 dB: it keeps the true peak at or below -1 dBTP, and this track's peaks reach -1.8 dBTP. So it plays at -17.6 LUFS, quieter than most tracks around it. A limiter on the master would let it come up further. --- _A quick word on accuracy: all of this is automatic, so treat it as a well-informed first listen. We get the key right about 70–80% of the time on real music, and when we miss it's usually the relative key (B minor instead of D major). Chords come out best when the harmony is clear and sustained, and we simplify them to major, minor and 7ths. Tempo can land at half or double what you feel, and section letters are a rough map. It's a starting point for ideas, not a transcription._ _Analyzer version 438e2586._