Referential Analysis of “Treefingers” by Radiohead
Watch the video to hear “Treefingers”
In order to better acclimate myself with the methodology of a strictly referential analysis I decided to choose a piece that was rather minimal in nature. The piece I chose is Radiohead’s “Treefingers” off of their album Kid A. Due to its minimalist nature there are less sonic elements to focus on. Hopefully, I can use this to my benefit to get a better grasp of addressing sound-in-time.
Referential Analysis:
The first sonic element of the song is a blanket of consonant synthesizers that wraps the listener up in its analog warmth (lower synth pad). The blanket of sound undulates and sways as if it is caught in the wind like a flag. Above the flag there is a brief shimmer of a bell-like sound. There are distinct temporal units (TU) that are marked by the blanket’s ability to rise and fall to different tonal levels (my attempt of saying harmonic motion, without referencing syntax). The emergence of the second temporal unit is marked by the approaching of higher pitched yawn, which fades in and quickly dissipates. In TU3 the blanket of consonance soars slightly upward and is followed by the shimmering of two distinct bell-like sounds of ascending pitch. The blanket floats higher in the fourth temporal unit in which we hear the return of the synthesized yawn pass by and ultimately plummets with a distant duck-like splat. TU5 unit feels as if we have returned to the pure consonance of the ground level established at the beginning. Here we spend a considerable period of time being able to observe the undulation of the synth uninterrupted itself before we encounter some passing electronic scratching that brings the “yawn” back in. TU6 and TU7 are repetitions of TU3 and TU4. Both TU3 and TU4, recapitulate the overall upward motion of the lower pad as well as the upper elements of the bells, yawn, and ultimate plummeting yawn.
The next unit marks the beginning of larger temporal unit, which I will call TUII. Here we feel as if we are on ground level as in unit 1 and 5. However the adornment of the upper structure is greatly increased. We hear several bells and then the approaching of a great distant dissonant screech that bends towards consonance as it approaches and fades away. Immediately following the screech we hear the very prominent twinkle of one consonant bell. We then enter the TUII2. This is marked by a descending of the synth pad to a level lower than we have yet heard. (TUII3) Suddenly, the ground drops out and the blanket separates into threads. On top of these threads there is an abundance of electronic scratches and glitches mixed in with consonant yawns and bells. The synth pad re enters and moves back and forth, up and down, in a breathing manner underneath the chaos. The pace of this breathing is faster than anything we have yet observed with the lower pad. The back and forth feeling of the breathing is disrupted when the pad descends one level lower and then remains stagnant underneath the consonant chaos above. The lower pad ultimately moves down slightly lower and at that exact moment all of the chaos above abruptly stops with a slight echo. Thus marks the end of TUII
The beginning of temporal unit III begins with a sense of peace in comparison to the chaotic ending of TUII. Here we again experience the lower pad alone for a period of time. The pad moves upward (TUIII2) with the melodic element of two ascending bells. For the first time in the piece the bells are maintaining the presence of a consistent but misty melodic element. Three variations of two ascending bells provide melodic material in TUIII2. The fourth variation of the two note bell pattern comes with a drastic upward leaping motion of the lower pad (TUIII3). On this higher level there are some faint twinkles of bells ultimately followed by the repeat of the ascending two note bell pattern. The lower pad moves again (TUIII4) as we hear another pair of ascending bells. The pairs of bells ring four more times until the fade into the swirling mix. AS the bells fade away the chaotic elements that defined TUII3 re emerge and dance on top of the lower pad. At this moment we experience the lushest complexity of lower pad and upper activity. This moment comes to an end with the ringing of a prominent bell and for the first time a descending bell after. All upper activity stops and the lower pad quickly fades out, thus ends TUIII as well as the largest temporal unit that is the piece itself.
Meta Critique:
While this was certainly the most enjoyable assignment yet, it certainly lacks context. I cannot deny that it was pleasurable and peaceful to listen to “Treefingers” over and over again. Through this analysis I did actually learn a good deal about the composition within it. I had always perceived the song as one element, beginning to end. However, while examining it on the referential level; I was able to divide into three unique movements each comprised of several sections. The scarcity of melodic material increased the relative importance of it when it was offered. Most notably the only instance of descending bells in the entire piece marked the end of the piece itself, rather interesting compositional note.
In reality, this analysis lacked context. It is important for me to ground my referential analysis with data from syntax and sound-in-time. Otherwise I run the risk, which I tried to avoid, of entering a fantasy world. It is very easy to go on and talk about this song putting you in a prairie, or in a forest, or in deep space. I did my best to try to avoid fantastical comments like that. Of course, my analysis would be more substantial if I were able to put it in reference to a syntactical and phenomenological analysis.
I will leave you with a video of Radiohead doing a live on TV version of one of my favorite songs, “Nude”. Enjoy
