The Hidden Language of Ryuichi's Chords: Exploring 'Avec Piano'

[The following essay is a post I wrote last year in one of Ryuichi Sakamoto's fan groups on Facebook. Upon revisiting it now, I acknowledge its incompleteness. Please note that this analysis was a preliminary step taken in preparation for a more comprehensive piece to be written at a later date.]

"Avec Piano" is a sheet music collection that includes piano arrangements of the soundtrack for the movie "Merry Christmas Mr. Lawrence." What makes it interesting is that each piece in the collection sometimes shares the same underlying chord progression.　　　　　　　　　　　　 　 　　　　　　　　　　　　

Mi
Re
La
Fa

This chord progression serves as a foundation for the tunes, even when they might appear complex upon initial analysis. Additionally, the movie's soundtrack often employs parallel displacements of the same chord, allowing us to trace the composer's writing process.

However, the approach of using parallel displacements of the same chord doesn't apply to the piece "A Hearty Breakfast."

In the provided video of a piano performance of this piece, you can observe that a similar chord progression is repeated, as in the piece "Germination," which I analyzed previously.　　　　　　　　 　　　 　　　　 　　 　　　　　　　　　

La　　Ti
Fa　　So♯
Re　　Mi

The key difference lies in the absence of "La" in the second chord of "A Hearty Breakfast." Let's revisit the chord progression of "Germination."

La　　Ti
Fa　　So♯
Re　　Mi
      ↘
　　　 La

The chord progression from "Re" to "La" in "Germination" resembles the "Amen" cadenza often used to conclude a hymn. The composer mentions that he incorporated this progression as a requiem in the piece, drawing a connection to the chord played when the British officer, portrayed by David Bowie, was on the verge of death. It evokes a sense of Jesus' ascension.

On the other hand, "A Hearty Breakfast" is played during a scene where Bowie pantomimes in his cell. Although the music shares the same chord progression as the later scene depicting his death, it lacks the "Re" to "La" progression. This absence hints that his hour of death is still to come.

La　　Ti
Fa　　So♯
Re　　Mi

Furthermore, after repeating the chord progression several times, two interesting bass notes are introduced.

①　　②
La　　Ti
Fa　　So♯
Re　　Mi
Ti♭　 Re

The first chord includes "Ti♭," which temporarily alters the tonality of the chord. The chord consists of notes from the "natural minor scale."

La - Ti - Do - Re - Mi - Fa - So

By inserting "Ti♭" instead of "Ti," the first chord (①) is transformed into the "natural minor" scale (on Re).

Re - Mi - Fa - So - Ti♭ - Do

Subsequently, the following chord (②) consists of notes from the "harmonic minor scale."

②
Ti
So♯
Mi
Re

La - Ti - Do - Re - Mi - Fa - So♯  (harmonic minor scale on La)

This scale differs from the "natural minor scale" but shares the same starting notes as the "natural minor" scale on La, except for one note. This return to the original La-based minor tonality represents the emotional turmoil experienced by the British officer. It sings of his fear and madness within his cell before his execution.

[Please note that this analysis was a preliminary step taken in preparation for a more comprehensive piece to be written at a later date.]